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I have found this method of packing much better than any form of layer-loading, there can be no premature exposures, and, believe it or not, a much bigger load can be carried. Ail the best for the "Magic Magazine".

Thought Reading Threesome by MYSTICO

The performer fans a pack of cards and asks a spectator to remove three cards. These are laid face upwards on the table and the performer then says to the spectator "Please look at these cards and remember one—showing the two you have nor chosen to the audience; while you are deciding which you will remember I will leave the room for a moment (Turn my back, etc.)".

After the selection has been made the performer takes up the three and slips them into his pocket, removing them almost in the same instant and saying "Since I know your card must be one of the selected three and to discount a lucky chance will you shuffle the three into the pack".

Taking the rhree cards he slips them backs uppermost one at a time into the pack and gives it to the spectator for shuffling.

Receiving back the pack the performer says to the spectator who selected a card "Please concentrate on your card".

The performer looks at him steadily a moment and then slowly removes a card from the pack in such a way that the face value is not seen and places it in his pocket. He then recapitulates the procedure that has taken place so far, pointing out that the card in question was merely thought of and in no way indicated to the performer. He takes a card from his pocket and holds it face downwards, and continues "Will you now sir, state for the benefit of the entire audience, the value of your choosen card?"

The performer now disc'oses he has found the chosen card, in one of rwo ways (see ensuing paragraphs).

A second later he places the pack in his pocket and then, as though suddenly remembering, rums to the audience and says "You will recall that you were shown the value of two other cards in the three. I want you now to concentrate on those two cards".

Removing the pack he places it on the table and asks the spectator who is assisting to cut the pack.

The performer takes the upper half and, face up, commences to deal two piles of cards. The last two cards dealt he picks up and displays to the audience—they are the remaining two of the three originally laid on the table.

The modus operandi is as follows:—

Any three cards are first, secretly placed in the pocket. Three cards are then removed by the spectator from the pack as described above. The performer memorises the value and order in which he picks up the three cards and in the few seconds when he places them into his pocket he changes them for the three other cards already there, which he then brings out, face down.

He later selects any card (no face value is shown) and places it in his pocket. A few minutes later he takes out the top one of the three cards previously deposited.

Should the spectator announce the very card which the performer holds he needs but to slowly turn the card round to face the audience. His triumph is complete (there is a one in three chance of this happy state of affairs occuring). Should the announced card be different from the one the performer is ho'ding—say the six of hearts has been announced—he slowly slips it into his pocket and say, "There must have been a mistake, I thought your chosen card was the six of hearts!"

The spectator will hasten to assure him that he did say the six of hearts, meanwhile you have selected that card from your pocket and brought it out, throwing it with a flourish on the table. You then continue as outlined above.

Arrange for the three cards to lay face to body in the pocket—not squared up, but slightly spread out. After the switch the single card selected by the performer is placed in the pocket, again on the body side. This ensures that the vital cards are always on the outside (top) and therefore readily available.

It is necessary to cover by misdirection the slight incongruity caused by the action of the performer in placing his selected card into the pocket first, before removing one. The recapitulation of the steps taken in the trick, by means of counting off on the fingers of one hand with the index finger of the other, gives a satisfactory reason for requiring both hands to be free at this juncture.

Finding the other two cards, before the spectators start asking awkward questions, leaves the pocket completely empty at the finish of the trick as the single card removed by the performer naturally rejoins the pack when it is slipped into the pocket.

A Tip on Sixes and Sevens

(The original trick appeared in the ' Magic Magazine11) by ROXY R. de JANEIRO

I wont describe a new effect or go into details on the one under the above heading, which nice description was contributed by Mystico in the June issue of "Magic Magazine". Merely, and with apologies to the author, I wish to pass on to readers a suggestion which occurred to me when trying the effect with cards in hand. This is as folfows, and for its better understanding I must refer to the Seven heap on your left as "A", and the Six cards heap on your right as "B".

In the first stage of the working heap "A" contains the spectators card sandwiched between six cards and heap "B" contains merely six indifferent cards. In the second stage of the working the position of the heaps has been inverted. A new heap "A" was made and placed at your left as being the first real heap "A". This actually contains seven indif ferent cards but to all appearances is the former heap "A" of seven cards with the sandwiched selection.

Another heap "B" is made and placed at your right side. This is the real former heap "A" containing six cards, that is, five indifferent cards and the spectator's card. To all appearances this is the former real heap "B".

Well now. Instead of taking the top card from "A" (left) heap and placing it below the second card in heap "B", proceed as follows:— From heap "A" (left) remove, not the top card but the fourth card (supposed to be the spectator's card). Take that card and place it, not below the second card of heap "B" but, on top of the heap, so that the selected card is now apparently the top card of heap "B".

(Continued on Page 256)

"TITET TROLLERILEXIKON"

by BOR|E STENMAN

This most unusual publication, written in Swedish, is not a bibliography, nor a "Who's Who", nor a glossary of technical terms, nor a list of magical societies, nor a directory of dealers in conjuring supplies. It is a mixture of them all, and the numerous entries and cross references are arranged in strict alphabetical order.

Obviously the work of a scholar, a linguist and a magical enthusiast, this "Lexikon" is of vital interest to the serious student of magic.

It is clear that Mr. Stenman has drawn much of his data from Will Goldston's "Who's Who in Magic" (London, circa 1934), and, unfortunately, the information contained in that volume is, in many cases, entirely erroneous, unreliable and misleading. See footnote.

Footnote. For instance RAMASES did not die in 1896 as stated by Gofdston. The reviewer (V. Farelli, stopped in the same hotel with Ramases in Cairo, Egypt, for over a month, in 1920, and he met him in London, on more than one occasion in 1927 or 1928. According to English magicians, he died shortly before the Second World War. (No details available).

Furthermore, the information given by Goldston regarding Agosta-Meynier is incorrect.—V.F.

The author has consulted, also, "Le Livre d'Or" (A "Who's Who of Great Magicians of the PAST"), published in 1949 by Robelly, Tours, France. This is a much better book ("plus sérieux") than the Goldston publication, but some of the dates and statements are open to doubt.

The Stenman opus is being issued in five volumes, and, when complete, will contain about 1,500 entries and 190 (12 by 8^) pages. Numerous photographs and reproductions of old engravings. Helsingfors (Helsinki) Finland. 1953.

Mr. Borge Stenman is continuing his work of research, and hopes to publish, eventually, an Encyclopaedia containing some five thousand (5,000) entries. In this connection, the reviewer wishes to offer a suggestion.

The value of the work—from the point of view of the historian—will be greatly increased if the source of information is given in every case. This plan has two advantages: it gives credit where credit is due, and it "covers" the compiler in the event of any incorrect data being published in his book.

A Bon Entendeur, Merveille Victor Farelli.

London, 1953.

By the time this issue of the "Magic Magazine" is in your hands you will all be thinking of Christmas, and it is my sincere wish that you all have a good time. Many years ago I made a vow rhat I wou.'d never again accept an engagement on the actual Christmas Holidays, for there was I, among, strangers who were all thoroughly enjoying thmeselves, realising for the first time that I seemed ro be the only one 'working'!!

Granted that I was getting paid for the job, but I had been forced to leave a family gathering to carry out an engagement taken on weeks before, and although I usually do thoroughly enjoy presenting magic to a receptive audience, this occasion seemed to be the one exception.

So from then onwards I have always, to any enquirers, been already 'engaged', and I have managed to present my share of 'magic for the festive season' at one or more private or family parties, and thoroughly enjoyed it, in spite of the absence of any fee ! It was this type of 'party magic' that I had in mind when i said that I hoped you have a good time. I think thar a wonderful kick is to be got out of being able to present one or two mysteries on such occasions, and I cannot imagine any self-respecting magician turning up at a Christmas Party without some littie stunt in his pocket.

Here is one you can carry in the corner of your waistcoat pocket, take out at any moment and present without any preparation. You can pass round among the guests, presenting it first for one and then the other, and generally, you can have a lot of fun with it. Actually it is a little stunt with a piece of rope or string, and—if you are still inter-terested, you will see that it will cost you one twopence-halfpenny stamp. But read on.

There have been innumerable versions of the penetration of a rope, or silk, through a chair back, or the arm of a spectator. Bohlen has a version in his book, using a silk and a piece of thread. Max put out a version some time ago, using a double tape, with two tabs. I have seen a variation with a small length of thin rope or siring, and which, I be'ieve used also a small bead. Here is my method, using thin soft cord and TWO BEADS.

Take a piece of thin cord and tie a knot at each extreme end, but, before tying the last knot, thread on two small beads, preferably of a colour near to matching the rope. Work the beads backwards and forwards along the rope for a time ro make them easy running, and then, with a bead at each end, close to the knots, you are ready to go.

The effect is that you hold the rope in the right fingers by one end, bring the other end up to the same fingers, forming a hanging loop, into which you invite the spectator to place his arm. You retake in the left fingers the end which it originally held, pull gently upwards, and the cord appears to penetrate the spectator's arm, being now stretched out full length above his arm and between the fingers and thumbs of each hand. This may be performed just as effectively through the top rail of a chair, or even through the thigh of your own leg. The effect is easy to perform, and is merely a matter of routine. One important thing—never call attention to the beads, indeed they should hardly ever be seen, being hidden between the finger and thumb of either hand, as the rope is held by its extreme ends.

With a bead at each end, and held between the fingers and thumbs of each hand, display rhe rope, stretched out at full length. The left hand, while not leaving go of its end, repeatedly takes hold of the rope at the end nearest to the right finger and thumb and slides along the rope until it is taut again. This, as mentioned, is done repeatedly, as though just stretching the rope. In any one of these repeated movements, the left thumb and finger obfigingly (?) takes hold of the bead held in the right, and slides it along to the left. You will find this easy to do, and indis-

tinguishable from the first move of sliding the digits along the rope. Now you will have two beads at the left end of the rope.

Place the right end of the rope (knot only) between the third joints of the first and second fingers of the right hand, knot just protruding through the back of the fingers. Drape the rope down in the form of a loop, by bringing rhe left end over to the right finger and thumb, and as you place this end there, separate the two beads, so that one is almost at the right thumb tip, and the other about three-quarters of an inch along the rope, still hidden by the ball of the thumb and rhe finger tip. See Figure.

Ask the spectator to place his hand in the loop, and then you retake the left end in left fingers and thumb, but, you oniy retake the knot and the first bead, that is, the bead which really belongs that end. Do not separate the hands for a moment, but gently tug on the rope, upwards, just to show that the rope does encircle the arm.

Suddenly stretch the hands apart and the rope will appear to penetrate the arm, because, in doing so, the left finger and thumb takes its own end of the rope and bead to the left, and the right finger and thumb retain the second bead, while at the same time the right end of the rope is allowed to slip from between the first and second finger.

If you try it on a chair back, first place the right end (knot oniy) between the first and second finger, as outlined above, then the right finger and thumb takes the left end, (complete with two beads) places it beneath the chair rail, and back into the left hand.

The left now places the double bead in the right hand again, exactly as outlined for the arm penetration, and the procedure is the same from then on.

I hope you like it sufficiently to try it out, and to encourage you, if you will send me a stamped addressed envelope, I'll send you a rope already gimmicked, with my compliments and encouragement to try out a realty effective little trick, which can be easily carried and used on these intimate occasions, when close-up magic is the order. I made up quite a number and gave many away at Edinburgh, but I still have some left. The address? 9, St. A'ban Road, Leeds, 9.

Here is a stunt suitable for a Christmas Party, one which can be worked right in the middle of the guests and one which always creates tremendous interest. To foster such interest in the beginning I always present it as a sort of guessing game, the spectators being asked to guess 'how it's done'. The most enjoyable part of the stunt, to me, has been the wild, and yet sometimes ingenious, solutions the spectators volunteer. Try it, and you'lf find out for yourself.

The effect? Oh yes. Two smaTT scribbling pads are required, and two pencils. You hand one to your assistant and she then turns her back while you, with the other pad in hand, persuade a guest to write down any number from 1 to 100. While this is being done, you place a chair in the centre of the floor, and on the seat of the chair you lay three coins, grouped together in the centre. The coins can be of any denomination, all alike, or all different. It is best, however, to use those of the larger size, that is, half-crowns, florins and/or pennies.

Turning to the obliging guest you ask if he has written the number, and on being told "Yes", you ask that he tear off the sheet with number on it, show it to you and then pocket it, or if he so desires, he can throw it into the fire, or otherwise destroy it. The assistant is asked to turn round, and here the mystery commences.

Without looking at her, you lean over the back of the chair (so that all can see what you are doing) and commence moving the coins in varying directions and designs upon the chair seat. Suddenly you straighten up, and without so much as a glance at you, the assistant writes something on her pad, tears off the sheet, hands it to you, and you in turn pass it to the obliging spectator. He (Continued Overleaf)

opens it and reads a number written by the 'medium' and is bound to admit that the number is the correct one. If so desired the 'medium' may hand the slip directly ro the spectator and ask if that is the secret number. She is always 100% correct.

Again, she turns her back, and again the same procedure goes on, always with the same result, a correct answer. On many occasions I have had the same number deliberately given me in a desperate attempt to find out how the thing was done, for naturally, the spectators are watching the movement of the coins, and suspecting that the designs have something to do with it, are utterly nonplussed when a repeated number is not coded in the same way.

The strange thing is that, although they are watching the coins, which actually'have nothing to do with it at all, the actual secret is being carried through right under their noses, and if you think, on learning the secret, that this is just too silly for words, then I can assure you thar you have another think coming. Although the secret is, so to speak, right out in the open, the greatest mystery is that people don't see it, and if you try it out yourself, you will get the biggest kick of ali out of this fact. Now I've intrigued you, so fet me see if I can clearly convey to you what it is.

As I said the coins have nothing to do with the secret, but they do go a long way towards misdirection. They are placed, as I said, upon a chair seat, and that way you have to lean over and must necessarily move them about with your finger tips. Finger tips ! That's the secret.

You first of all arrange with your assistant (and a few minutes practice together will soon establish the simplicity of it all) that your left hand denotes the tens side of any number, and the right hand the units. With either hand, using the finger tips to move a coin, you can signal any number from 1 to 5, according to how many fingers you have extended and how many are folded up out of sight.

Suppose, for instance, that you were to lean over the chair, and with the first finger only of the right hand, (all the other fingers and thumb closed in to form a fist) you were to move a coin from the centre of the chair, to one corner, AND THEN REMOVE THE FINGER, that, to your watching assistant would count as one. Suppose you were to hesitate for a moment, then, with two fingers outstretched (all the rest folded in) you were to move another coin from the centre of the seat, perhaps execute a circle with it and then finish up with it adjacent to the first coin, AND THEN REMOVE THE FINGERS, that to your watching assistant woufd mean another two, which she adds to the previous coded figure. She continues to add up such signals until you straighten up and partly turn away. In this instance you would have signalled three, and she would write that number on her pad.

Suppose someone gave you the number 57. You would reach over the chair back, having previously brought all the coins to the centre of the seat, and WITH THE LEFT HAND COMMENCE TO SIGNAL THE TENS FIRST. You would have to signaf 5, and it must now be obvious to you that the number of ways in which you can do this is tremendous. You could signal it in one move, by holding the four fingers out straight, thumb also showing at the side of the first finger, with some fancy move of the coin, IMMEDIATELY YOU REMOVE YOUR HAND, that would signal 50 to your assistant. Remember you have signalled a 5 with the left Tiand, indicating five tens. You could extend the four fingers onfy, thumb drawn in out of sight into the palm and signal four, followed by the movement of another coin, using one finger only. You could signal a 3 and a 2, you could signal a 3 and two l's, you could signal two 2's and a 1. You could, if you wish, move the coins five successive times, using one finger only.

The variations are endless and only limited by your imagination and ingenuity, and so long as you carry on moving coins WITH THE LEFT HAND, and removing the hand every time you have moved a coin, your assistant merely adds the numbers coded and counts them as tens. IMMEDIATELY YOU DROP THE LEFT HAND TO THE SIDE, STUDY THE COINS FOR A MOMENT OR TWO, AS IF YOU ARE PUZZLED JUST HOW TO MOVE THEM NEXT, AND THEN RECOMMENCE WITH THE RIGHT HAND, your assistant knows that the tens are concluded and the units follow. In the above exampfe you would, with the right hand, signal in one of the many ways possible, the figure 7 . Immediately you drop the hands and turn away, she knows the coding is completed and she writes down the figure received.

(Continued on Page 256).

"MAGICIAN'S POOL"

by LEN BELCHER

"I was thinking the other day," says the magician, "how nice it would be if I could use my magic to make my pool forecasts come true. Let me illustrate what I mean. Suppose we have two teams—", here he points to two covers, one with a red and white pattern on the front, the other with a blue and yellow- "This team you see won, and this team lost." He lifts the two covers and reveals two cards, one of which bears a large 2, and the other a large 1. The audience sees that the covers are otherwise empty, then he drops them over the cards again.

"Unfortunately," he goes on, "my forecast was the other way round, but by using my magic I could have reversed the resuits, so that this team lost and this one won. It's just done by waving the magic wand." He does so, and peers into the tops of the covers.

"Yes, I thought so; this team has now won, and this team has lost. Of course the influence wouldn't be permanent—just long enough for me to pick up the money". This bit of business, if properly played wifl bring a laugh, because he hasn't shown the change actually

Then he lifts the stands to show that the situation is as it was before, but in replacing them on the table he reverses them both-

"I can see," he goes on, "that some of you are not convinced about the power of the magic wand. Perhaps I didn't make things realTy cfear. This team won, and this team lost He indicates the original resufts, but does not raise the covers. "I wave my wand, and the team that won would lose, and vice versa".

He lifts the cards out of the covers, and it is seen that the results really have been reversed. However, in replacing the cards he again reverses the covers.

"Then when I had picked up the money, the influence would wear off again, but it would be too late to do anything about it "

He removes the covers, and lays them aside, and it is seen that the results are as they were at first-

(Continued on Page 257).

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