ConjuRing Trix

by HANS E2. TRIXE2R

(Foreword by Peter Warlock)

IF YOU have evet been intrigued with the miracles accomplished with The Jardine Ellis Ring, then this book is for you.

If, on the other hand, you prefer tricks with borrowed rings, then this book is still for you.

In its forty odd pages there are described and illustrated three miracles with The Jardine Ellis Ring, and six outstanding effects with borrowed rings.

The Ring on Stick, The Ring on String, and Visible Ring on Pencil are effects that will leave a close-quarter audience gasping with amazement. We know that The Jardine Ellis Ring, is employed for all three, but they do not, and the handling is so perfect that they will never suspect that things are not as they seem.

In the section with Borrowed Rings, there is also a Ring on Stick routine, together with two methods for getting The Ring off Stick.

The Ring on String and the Ring on Silk are also accomplished with borrowed rings, as is The Flying Ring—normally an effect requiring extremely expensive apparatus, but now requiring just—a ring, a safety pin and a rubber band.

That is the only apparatus required for any of these effects, apart from the Ellis Ring for the first three effccta.

Finely printed, frith a striking board cover, and illustrated with 34 drawings by Jack Lamonte, this is a book you must have.

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PETER WARLOCK'S

PENTAGRAM

is published on the 24th of each month and can be obtained direct from the publishers for 117 per single copy. Annual Subscription 18/-post free.

PUBLISHED BY: The Magic Wand Publishing Co. 62 Wellington Road, Enfield Middlesex

Manuscripts for publication and books for review should be sent to the:

EDITORIAL ADDRESS:

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JACK HUGHES

will be pleased to send you full details of

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together with all his other effects in return for a stamp.

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THE IDOL WHISPERS AGAIN

ARTHUR CARTER

IN our eternal chase after novelty, all of us I think tend to overlook the fact that the giants of the past knew as much as us of the present generation. The subtlety on which the effect about to be described rests upon is over a hundred years old, being originally described by Ponsin in 1853, and which—since he did not claim to be the inventor may have been old even then. In fairness to the present however, it must be stated that the basic idea is linked up with two items described by myself in previous numbers of the Pentagram. The clever piece of showmanship of receiving whispers from an image was however originally due to Joe Ovette,

Effect. A spectator genuinely tiunks of any card he likes in the pack, after which the performer draws attention to a small figure of a Buddha. The spectator is now requested to pick it up and—holding the same against his lips, whisper the name of his mentally selected card into its ear. The performer then receives the image from him and, standing with the lips of the figure against his ear, states that it, in its turn will whisper to him the name of the card of which the helper is merely thinking.

After a few moments cogitation he picks up a pack of cards runs through the same and places one card face down upon the table; the selector being asked to treat his card in the same manner. Strange to relate, he fails to find it. It is we will suppose, the Five of Diamonds. The tabled card is then turned over revealing—the Five of Diamonds! Well, that is the effect, as simple and direct as could be desired, and although there is an element of risk, a suitable " out," which detracts little from the final effect is provided.

Requirements.

1. A small Buddha or other idol.

Both items are unprepared.

Working. Now for Ponsin's subtlety, which until Hugard and Braue published their monumental work: " Expert Card Technique " lay forgotten for over a century, and even now—as far as I am aware—this is the first application of it. It is simply Lip Reading. The performer, after handing the figure to the -spectator, simply takes up a position from which he can watch the lips of the latter while framing the name of the card. Lip Reading—like Pencil Reading, is something which cannot be taught it can only be tried, but a few attempts with an intimate friend will convince the reader if its practicability. Incidentally, it is as well to place the " whisperer " with his back to the remainder of the audience, as should the humour of the situation overcome him, the impressions received will be somewhat " blurred."

Now it is of course possible, that sooner or later, either the performer will make a mistake, or an awkward individual will deliberately place another card upon the table; in which case proceed as follows.

Hand the pack to be shuffled, and on receiving it back " glimpse " the bottom card. This is your key.

Request the spectator to place the card he removed on top of the pack, and give the cards a cut, which of course places the selected card immediately below the key. The performer now drops his card on top the pack, and the helper cuts a second time.

The spectator is now asked to hold the pack against the lips of the image, in order that it may whisper to the two—and obviously widely separated cards, to place themselves together. "Now," remarks the performer, "for the first time I am going to name the card which the Buddha whispered to me, it is the—(here he names the " key " card)—I do not propose to touch the cards myself, therefore will you be good enough to

deal them face up until this card is reached (the spectator does so) now will you be good enough to name the card of which you merely thought. Thank you. Now, if the Buddha's commands have been obeyed the next card should be the one of which you are thinking." The spectator turns it over and finds that such is indeed the case.

If desired the " out" can be deliberately presented as the second stage of the effect, assuming that the first has been successful, and while the "whispering" is in progress the performer may turn his back, thus check-mating members of the audience who may have suspected the method employed in the first case.

" Magic is the pretended performance of those things which cannot be done. The success of a magician's simulation of doing the impossible depends upon misleading the minds of his audiences. This, in the main, is done by adding to a performance details of which the spectators are unaware, and of leaving out others they believe you have not left out."

John Mulholland ..." Magic for Entertaining."

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