This apparent impromptu item is too good to be overlooked, and we wish we could give the name of the originator. It was published sometime before the war, and whilst we have used it ourselves we have never seen it worked by anyone else.

In effect the conjurer places a metal ashtray on top of a tumbler. A borrowed coin is wrapped in a piece of tissue and placed on the tray. Applying a lighted match to the tissue there is a flash—a momentary pause and the coin apparently penetrates the tray, falling visibly and audibly into the tumbler.

The requirements are simple and straight forward. A piece of flash paper, measuring approximately four inches by four inches, a spot of conjurer's wax, a small metal ashtray (preferably one that is concave on the underside), a coin of similar value to the one that is to be borrowed, a glass, and a box of matches.

Preparation.—With a dab of the conjurer's wax, stick the coin to the underside of the tray and leave the latter on the table ; the glass and the flash paper are nearby and the box of matches in the right hand trousers pocket. To present, first of all place ashtray on top of glass and then borrow a coin of similar value to the duplicate. See that the lender marks it. This coin is now wrapped in the flashpaper, using the standard coinfold. When wrapped it is held in the right hand and tapped against the table, accompanied by such

Jiety I

a remark : " Amazing—the paper doesn't seem to dull the noise." (Don't for goodness' sake sav " You can tell by the noise that the coin is still here." Such a statement is as good as saying that the coin is going to leave the paper pronto !). With the packet held at the right hand finger tips it is passed to the left hand, the coin being allowed to slide into a right hand finger palm position. The left hand now places empty packet firmly, but gentlv, on the ash tray, the right hand (with coin) going to trousers pocket for matches. The matchbox is withdrawn, coin being retained in finger-palm and at this point the conjurer states his intention of passing coin through tray. Whilst he is speaking, a match is struck. On the word " Watch ! " the light is applied to the flash paper—there is a flash which, accompanied by generation of heat plus conductivity of the metal tray, causes the wax to melt, releasing the coin which is seen and heard to fall into the glass. Left hand picks up tray, shows it to be empty and replaces it on table. Left hand picks up glass whilst right hand drops matchbox, the glass is tilted and the coin allowed to fall into the palm of the right hand (the position of the right hand should be knuckles towards audience). The right hand now turns over above tray the borrowed coin being released from finger palm whilst the top of the right thumb presses against duplicate coin. This change because there is little movement is perfectly deceptive. The right hand falls whilst the left picks up the tray and brings the coin forward for identification.



No. 1—" THINK AS I THINK "—This is an effect, where, instead of the performer receiving the spectators' thoughts, they receive his thoughts. Every detail has been attended to so that this makes for a perfect presentation.

VOLTAIRE, after seeing it demonstrated wrote as follows :—" I zvould like you to accept my admiration of the effect . . . in which members of the audience appear to read your mind. In my view it is one of the most brilliant of mental effects that I have seen . . ."




THE FASTEST INDICES IN THE WORLD — continued from page 20

slipped in that position from inside the trousers. The right hand pocket is similarly loaded with the other half of the stack. In operation two cards are freely selected from the pack and freely returned and shuffled. The pack is divided into two parts and deposited in the right and left hand trousers pocket. The selected cards are named and found " by the sense of touch " (from the Index). The stacked halves are withdrawn from the pocket as the original pack.

Alternatively, in the absence of the Index, two cards are chosen and controlled to the top and the bottom of the pack respectively so that when the pack is divided into the pockets the selected cards can be readily located and produced. The original pack is left behind in the pockets and the stacked halves produces in its place. The string binding the jaws of the clip open. Without it the jaws of the " Bulldog " clip would snap together with a resounding ' whack ' as the half packs of cards is withdrawn from each pocket.

NEW PENTAGRAM GRADING.—A maximum award of Ten Points in the following categories (when applicable) :-(A)—Physical Make-up (B)—Quality of Material (C)—Value to Magic (D)—Clarity (E)—Illustrations (F)—Readability (G)—Sincerity TOTAL 70 POINTS

"THE FITZKEE TRILOGY." This comprises the following books written by Darield Fitzkee : Showmanship for Magicians, The Trick Brain and Magic by Misdirection. All are published by Saint Raphael House, San Rafael, California, U.S.A. ' Price 5 dollars.

Book No. 1 " Showmanship for Magicians."

It is not possible within the compass of this review to completely analyse Mr. Fitzkee's " Trilogy." " Showmanship for Magicians " is the most complete treatise to date on the grooming and selling of a conjuring act. It not only sets out to analyse the ever present faults of the aspirant to conjuring honours, but seeks to give also a synthesis for successful presentation. We are fully in agreement with the author that conjurers devote too much time to tricks ; the need is for presentation of such an effect so that it becomes a vehicle of entertainment. This latter word in the jargon of many contemporary conjurers is only synonymous with comedy. Mr. Fiztkee, whilst realising the fact that humour and comedy have their place in the magical act, does not overlook the more serious type of presentation. Quite a lot of the advice that the author gives has been drawn from his own experience with the " International Magicians in Action " Show : that was a unique professional enterprise, for it not only gave the author the opportunity of seeing his ideas for modern magic expressed, but allowed him to watch modern audience reaction. There are in all twenty-five Chapters covering 187 pages, and one in particular that we should like to see writ in letters large in every magical society club room is number eleven. It deals with grooming and personal behaviour. An act otherwise good can be ruined by the faults that are mentioned here. We should like to have seen one thing mentioned, that is that (we believe) the conjurer who seeks the top in any or all branches cf his art must perform the effects that he believes in and in which there is something of his own ego. It is the lack of this that makes so many acts just a series of tricks. This is a book to be bought, studied, and used as a yardstick, for we feel certain that there are few who can say " That doesn't mean a thing to me." For the new-comer who wants to become a magician and not a purveyor of puzzles it is essential for here with sincerity and great enthusiasm Mr. Fitzkee has tried to lift conjuring a little higher up the ladder of entertainment. 68 Points.

Book No. 2 " The Trick Brain," price 10 dollars.

At the end of his introduction, Mr. Fitzkee writes, " I like to think that this is one of the first books to attack magic methods from a scientific standpoint." Whilst this is not the first attempt to dissect effects into basic methods (Devant at the beginning of the century in a small way—" Magic Made Easy "—and a little later Nevil Maskelyne in a much bigger way—" Our Magic"— attempted a similar thing) it is far and away an achievement that it can in our own time be considered a classic.

First of all the author presents to his reader nineteen (against Devant's seven) basic effects and in succeeding chapters gives examples of such effects, together with the known ways of producing such effects. (Incidentally .in a later chapter all these methods are precised for easy reference.) The groundwork covered is immense to say the least. From this point, as outlined at the beginning of the book, Mr. Fitzkee shows how the reader can devise new tricks. The principle is almost mathematical. The reader first of all looks at his list of nineteen basic effects and chooses one. We will suppose that the effect is one of envanishment. From here he chooses an article and one of the basic methods and a new vanishing effect is born.

The reader of course must use a little imagination as well.. The great point about this work is its power of stimulation and we think even the best read conjurers will find on reading that they will be reminded of many things they have forgotten. The conclusion of Chapter thirty-three greatly appealed to us. It is as follows :—

" I think the mind of the performer, utilising these elements (the things we use when operating the mechanism of magic) intelligently and discrimin-ately, influencing, and guiding the minds of the spectators expertly and skillfully, contains the real secrets of magic, secrtts beyond the abilities of anyone to reveal hurtfullv . . . The secrets of the mind, the real secrets, cannot be exposed." How right Mr. Fitzkee is !

The last chapter gives a useful glossary of Definitions. Superlatives are being outworn by the magical press to-day. There is, however, a pinnacle on which we place things that are great. " The Trick Brain " is one of these few. 69 Points.

Book No. 3, " Magic by Misdirection," price 7 dollars 50 cents.

Whereas in the " Trick Brain," Mr. Fitzkee analysed the means of accomplishing magical effects, here he analyses the types of misdirection necessary in the presentation of effects ; after the analysis he shows how the various known means of misdirection can be used with standard effects.

On pages twenty-three and twenty-four the author writes of the classics, pointing out that an analysis of their plots shows that their greatness does not lie there but can only be achieved by great performances ; further that a trick becomes a classic because it fits the average style and average abilities. Our own opinion is that a classic becomes such because of its outstanding and universal audience appeal provided that it is adequately presented. One must remember too that despite the improvements as regards methods, the effect of the Linking Rings, Egg Bag and the Cups and Balls to a lay audience is much the same whatever routine or method be employed. Continuing his work, the author gives not only examples of the misdirection employed by some contemporary American conjurers, but also as previously stated how certain effects can be improved by attention to details of misdirection. We only wish that he had not included the Die Box, which has only obtained and retained its popularity among juvenile audiences because of the " sucker " finish. The sheer artificiality of the apparatus involved prevents this effect from ever becoming a classic. We should like to take two quotes which summarise the aims of this book :—

" In true deception, skill is not the skill of the hands. It is the skill of the mind."

" It would be far better for magic and magicians if we could lock-up or banish those blundering goofs who spend from ten cents to ten thousand dollars for apparatus and immediately tell the world they are magicians. They are no more magicians than the man whose sole claim to musicianship is the price of a violin. Unfortunately the unskilled possessor of magical apparatus can buy a ' rabbit in the hat' pin, which is, in fact, more nearly the badge of the tyro than it is of the skilled perfonner. More tyros than experts wear them. He may buy his pin and tell the world he is a magician. He may even get out his junk and fumble through a performance, but does the spectator as readily detect a bad magician as he does a poor musician ? Of course not 1 When a fiddle sounds terrible even the operator of the fiddle knows it ; the audience does not blame music, the blame the performer. But in the case of magic, if the performer is poor, the poor unfortunate is the dope of his own ignorance." Think on these things ! ! ! 68 Points. AH of the trilogy are uniform in binding. All are Essential to the intelligent conjurer's library.

tJjfiz J/Lagic^Qa-Jt(umd

The Magic of Christmas survives austerity. This wonderful spirit of Christmas transcends all earthly things coming each year with its sweetness, bringing its message of Goodwill to us all. It is with pleasure that we take this opportunity to wish all Magic Lovers, where-ever they may be, a Happy Christmas.

From Percy Bee and Norman Cliffe we have received the " Soccko Watch Routine." It is an excellent twelve minutes of comedy conjuring utilising stock apparatus that packs into a small space.

Before presenting a headline prediction of a daily newspaper we were struck by the thought that the mentalist can do much to cook his own goose. Imagine the thoughts of an audience if, on the day when the prediction is opened, the headline reports some terrible catastrophe, a catastrophe which might have been averted if the mentalist really could see the future. Better let the prediction give the words in the heading free of any order. This idea of line content has a more genuine ring with a newspaper office, and recently, in presenting such a prophecy (which even in these days of newspaper austerity gave us write-up extending over three days) while making no claim to psychic powers we said we would try and get the words in the headline. We pointed out to the editor that if it were possible to get the actual order we could make a pile of money by just sitting back and picking out winners from the races or on football pools.

In the " Help Yourself" Annual, our friend Max Andrews has a very interesting article on " Magic as a Hobby." The price of this annual is 2/6, and all proceeds from the sales help to swell the hospital and charity funds sponsored by the London Stock Exchange.

In the November issue of the " Pentagram " we published a shuffle for Paul Curry's miracle effect " Out of this World." As several contributors and one contemporary have told us, this shuffle was included with a later version of the routine. For this we are sorry to have inflicted on them something already known. " Out of this World " came to us when we were with H.M. Forces, and immediately developed a false shuffle that could be used. That was the one that we published.

More Magical Societies continue to appear; the latest under the aegis of our friend, Stanley Thomas, at Watford. We often wonder whether specialist societies will ever come into being. For ourselves we would rather welcome a Society for those interested in mentalism. We realise that such a society would have to be one linked through correspondence with possibly one or two central meetings in the course of a year. Such a society might, howeVer, do more to improve methods of technique and performance than the home-based general society. We should very much like to hear our readers' views on this matter.

Children's entertainers cannot grumble at the lack of new material available for this season's shows. " Open Sesame " has something for everybody, and in " Join the Party" there are some excellent ideas. For the very young we very much like the " Humpty Dumpty" effect, put out by Unique Magic Studios. The effect, worked intimately, has all that appeals to the unspoilt child. " The Crown Jewel " and Wilfrid Tyler's " Fireworks " from the same firm, are two moderately priced items with terrific entertainment value. John Kempthorne, who tells us he is due for the Army, has a beautiful gag for cake-making effects . . . a " Breakaway " spoon.

Jim Merlini, who has a very big work on card magic nearly due for publication, contributes a very nice card effect to the January " Pentagram."


SILKS, preferably 24" squares—all colours Please write, stating price to :, HADLEY

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From Britain's leading writer on magic, VICTOR FARELLI :

" I am delighted with this book, and can recommend it with every confidence to all enthusiasts who may be on the look-out for new and good material."

From one of Britain's leading magical inventors, TOM SELLERS :

" It's a pleasure to come across a book containing some real conjuring. The younger generation of magician? are lucky indeed to have the benefit of the brains of such authors. A book that will be appreciated by all true conjurers ! "

From one of Britain's leading exponents of sleight-of-hand, E. BRIAN MacCARTHY :

" A wonderful book."

From the Magical Press :

" 'MasteredAmazement'—I say without hesitation—is the best book on general sleight-of-hand which, is also original, born since Edward Victor's triplets."—Verrall Wass in " The Demon Telegraph."

" Here is ... a book of really practical effects requiring little or no apparatus . . . This is a book in which sincerity and enthusiasm is apparent all the way . . . Unreservedly recommended."—Peter Warlock in " The Pentagram." --oOo-—

PRACTICAL EFFECTS WITH CARDS, COINS, THIMBLES AND CIGARETTES. Well printed and superbly illustrated in a 72-pagr book, bound in soft-board covers.





Less than two months after publication (at the time this advertisement is being written) it is apparent that we have another " smash-bang hit " on our hands ! It is, of course,



by Dr. Jufii DhOt«l, translated by Paul Fleming.

This 320-page, handsomely produced book, which explains 177 tricks (not sleights) that can be performed with little or no equipment, is " without exaggeration, a book that every magician should have by him for constant reference " (George Armstrong}; " a 1 must' for any magical library" (Al Baker); "the biggest magic book bargain of the year " (John J. Crimmins, Jr.) ; " an amazing collection " (Stanley Collins) ; and Volume I. of " one of the greatest books on magic " (John Mulholland). You can purchase this outstanding work (mailed directly to you from the United States), by remitting 28s. to our British Representative, Mr. Robertson Keens, 301 Norwood Road, Southall, Middles«, who will forward your order to us by airmail. Mr. Keene will be giad to send you, without charge, full information about other great books that are obtainable under this arrangement : Cotlins's A CONJURING MELANGE, 22s.; Sash'c's SLEIGHT OF H*ND, 28s ; Maskelyne-Devant's OUR MAGIC, 28s. ; Gaultier's MAGIC WITHOUT APPARATUS, 41s.; HugarJ's MAGIC MONTHLY (Volumes I. and II.) BOOK EDITION, 28s. ; Hugard-Braue's EXPERT CARD TECHNIQUE, 28s. ; and Downs's THE ART OF MAGIC, 28s. THE PAUL FLEMING BOOK REVIEWS are free, one copy to a customer of either Volume I. or II. (each 128 printed pages) with a 28s. order, or both volumes with an order for any two of the above mentioned books. Fleming Book Company pubicatolins conform to the slogan " Fine bookmaking at sensible prices," and our books are packed so securely as to reach English customers in perfect condition." FLEMING BOOK COMPANY BERKELEY HEIGHTS, NEW JERSEY, U.S.A.


THE GEN Number 12 (noic ready) completes yet another year in its successful career. During the past year, subscribers have received 12 issues containing 248 pages, full of good stuff essential to the modern and up-to-date Magician. Contributors have included :—Robt. Harbin, Jack le Dair, Lewis Ganson, Douglas Francis, Voltaire, Peter Warlock, Wilf Hutchinson.




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Con JUNIOR ing by JOHN BREARLEY A balanced programme, including patter of superlative conjuring for children by the inventor of thcs; classic tricks, Magic Assembly a".d the Postage Stamn Album

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Particulars from Hon. Secretary .Francis White, 39 Alverstone Avenue, Wimbledon Park, S.W.19


Increased cost of materials has forced me to increase the price of this effect to 12.6. 1 feel confident, however, that it is still a bargain to anyone who has ever worked the Egg Bag. Thanks to alt those who have sent kind words about this trick

ZAHAREE (Geoff. R. Hursell) 16 & 18 Watts' Place CHATHAM :: KENT



I invites all bona-fide Magicians to send for his list of new and used apparatus and books, or call at his studio 1 CLARENCE ROAD Harborne, Birmingham 17


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The Effect.—Two packs of cards, one red backed and one blue backed are offered for shuffling. Taking back the packs, the conjurer asks for a choice of either colour. The unwanted pack is placed on the table, whilst from the other, two cards are selected, noted and returned. This pack is now placed on the table, the other pack being picked up and placed in the performer's pocket. Asking the selectors of the cards to think of the cards they drew7, the conjurer reaches into his pocket and withdraws two cards, backs towards audience. Asking the names of the two thought of cards, the cards in hand are slowly turned round and shown to be those selected.

Before describing the method, the reader should consider that both packs are genuinely shuffled, there is no force, and, above all, until the two cards are withdrawn from his pocket the conjurer does not even know their names !

Two packs are required—red and blue backs— of the same manufacture, such as Woolworth's sell at present . . . the idea is to get two packs the same size, otherwise the moves become very tricky.

Have both packs thoroughly shuffled by two spectators and receive them back face down on the palm of either hand. The left hand contrives to turn its pack face uppermost by pressing on the top left corner with the thumb of the same hand. The pack in the right hand is now placed face down on the finger tips of the left so that the two packs are held together, but open like a book. The performer now asks which pack is preferred. Whichever coloured back is chosen the performer makes the following sleight:—Assuming that the red backed pack is the one lying face down on the performer's finger tips and that this is the pack chosen, the conjurer takes off all these cards with the exception of the bottom card which is easily retained with the left fingers, and lays them on the table in such a way that the narrow edge is towards the spectators and that the pack is face down.

At the same time the left thumb jiicks over the pack standing on its edge in the left hand so that it falls face down on top of the single red backed card and conceals it. In effect the performer has simply executed the familiar " slip " described in " Modern Magic," but with two packs instead of one, and has merely transferred a red backed card from one pack to the bottom of the blue backed pack. The choice is an equivoque, and whichever pack is chosen the blue backed pack would be retained. The red pack is placed face down on the table. As both packs are used, the spectator has no grounds for suspicion.

The blue backed pack is now fanned, taking care not to expose the " outlander," and a card is freely selected, noted and returned into the fan. The right fingers underneath the fan locate the card as it is returned and press lightly on the face of it in order to maintain the location. Without closing the fan the conjurer offers the pack to a second spectator for selection, and as soon as a card is drawn the previous chosen card is slipped to the bottom of the back below the red backed card in the act of closing the fan.

This move has long been a favourite of mine, and is performed as follows :—The right fingers press from underneath the fan on the face of the chosen card whilst the left thumb above pulls the card immediately above it a little to the left in order to conceal it. Now the fingers of the right hand pull the chosen card to the right, underneath the fan, until the card becomes disengaged from the rest of the cards. The action of closing the fan places the chosen card on the bottom of the pack. The second card is now returned and the ruse repeated, the position now is that the two chosen cards are on the bottom of the deck below the red

®4fexent MM

Effect.—Performer shows an empty glass then places an empty cover or tube over it. On top of this he places a block of wood about four inches square ; on this is then placed a square of sheet glass. The performer now fills up another glass with milk. This is placed on top of the glass and block of wood ; now, visibly, the milk in the top glass is seen to get less and less until it is empty; the block and top glass are now removed. When the cover is removed from the lower glass it is seen to be full of milk, and it is the same milk which was in the upper glass.

Requirements.—Two glasses, one has a quarter-inch hole drilled just above the bottom whilst the other glass is unprepared ; a tube must be made to fit over the latter—this tube being the same height as the glass. Your next requirement is a piece of sheet glass one and a half inches by ulenetiatian three and a half inches. You will now have to make a block of wood as the shape shown (see illustration). This is a piece of wood four inches square, but rounded on two sides, illustration shows an end view of the block. Across the centre of the block and right round it, you will have to cut a groove one-quarter inch wide by one-eighth inch deep. After you do this the block should be painted red and the groove black: also two black rings should be painted round the block near the ends, to match the groove in the centre. Whilst the block of wood may not be comprehensible to an everyday article it will, prionto presentation, stand the most rigid inspection.

Method. Show the unprepared glass and then cover it with the tube. Show the block of wood and place this on top of the tube, and on top of this place the small piece of sheet glass. Now pick up the other glass and keep your finger pressed against the hole while you fill it up with milk. Place this on the piece of glass, placing it so that the hole will be to the rear ; stand away from the glass and the milk will be seen to get lower and lower till the glass is empty. The trick depends partly on a natural law. As soon as the milk flows on to the groove it clings to the block and pours off at the centre and runs into the lower glass. If the hole in the glass is too small the pressure will cause the milk to squirt beyond the block. My first experiment with this was with a grooved three inch wooden ball, but I think the block is better and more natural.

THE TWO THOUGHTS — continued from page 25

backed card. The performer shows that the top card is not one of the chosen ones and places this card below the pack and then shows the next card and replaces it. With the right thumb at the inner end, the conjurer thumb-counts four cards by the riffle and inserts the left little finger at the break {i.e., above the red backed card). The right hand covers the pack, fingers in front, thumb at the rear, and takes it from the left hand, the right thumb holding the break. The right hand is now twisted a half-turn clockwise to expose the face of the bottom card to the audience. This manouvre effectively hides the break.

Now comes a very deceptive bit of business : Both hands approach the blue backed pack on the table together, under cover of the left hand it will be found easy to drop all the cards below the break in the right hand on top of those on the table. The third finger of the right hand gives the pack on the table a little push forward from the rear edge towards the audience in order to facilitate picking them up with the left hand, and then drops the blue backed pack from the right hand on to the place previously occupied by the red backed pack. This adding of stock is very illusive, not only is the move quite invisible, but the feature of using two different coloured backs and having a different backed card above the stock to be added makes the trick appear quite impossible.

The idea now, of course, is to produce the two chosen cards in the red backed pack. This pack is put into a shown empty pocket and the three top cards pulled out together and held flush with the backs to the audience ; that is the red back in front and the two blue backs behind.

The cards are named, the cards turned over, and the top card removed to show the second card. Care must be taken, of course, in order that the third card does not " walk."

The Two Thoughts are revealed !!

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