## Eie May6

This effect is based on the recently published " THE NULLIFACTOR ", by Stewart James, who, like myself, is one of the original " Jinx " contributors.

I make no apologies for so doing, as it is presumed '' The Pentagram '' is read by knowledgeable magicians, and if there are any readers who have not yet got a copy of " The Nulli-factor " I advise them to procure one without further delay, and add to their knowledge, as I consider this one of the most worth-while ideas to

2>ate be published for some considerable time, (NOTE.—I do NOT receive commission for this ! ! !)

### Effect.

The performer places a pack of cards on the table, then takes from his pocket a handful of coins and lays them on the table also, arranging them in a row.

After shuffling the pack, he invites anyone to cut the pack and turn the top half face up on the bottom half.

The value of the card thus disclosed will indicate which coin is to be removed from the row and retained, i.e., if an 8 hearts was disclosed the eighth coin in the row will be used.

When this has been done, the cards are separated at the point at which they were cut, i.e., where they are back to back and the four top cards of the lower half removed and laid in a row, face down, on the table.

A spectator is asked to read out the date on the selected coin ; we will imagine it is 1948.

The four cards are turned over, and they are found to be an Ace, a Nine, a Four and an Eight, thus coinciding with the date on the coin.

### Remarks.

A similar plot was used by Edward Bagshawe in his " CARD AND COIN DIVINATION ", published in " Secrets of my Magic ", by David Devant, but I think it lends itself very well to the Nullifactor System. The utilising of the top face card when the pack has been cut, giving a good reason for the reversal, and thus helping to conceal the method used.

Working.

The forcing of the coin is accomplished by having a number of various coins in the pocket all of the same date ; these do not take long to collect.

When deciding which coin is to be used, it simplifies matters by saying that a court card, if exposed, will count as ten.

It would look rather obvious if one produced exactly ten coins from the pocket,, so either have less, say eight or nine,, and if the card turned up is over that value just start at the beginning of the row again, or put down more than ten coins, then spiel about the values of the cards and remove any coins over ten from the table.

When one coin has been arrived at by means of the card value, this is separated, and the remaining coins are casually replaced in the pocket, out of the way of any curious customers.

As regards the revelation of the four cards bearing the date figures, these are placed in order on the top of the pack which is false shuffled. When the time comes, the Nullifactor shift is made (vide instructions in " THE NULLIFACTOR ") and all is ready for the denouement.

When the date cards are being removed and placed face down, one can put down three, hesitate, and they say, " Yes, of course, all coins must bear a four-figure date nowadays ! "—a small point, but one that tends to make it look less " pre-arranged " ! !

5M Wmd WMfiiti

### Effect.

A deck of cards is shown, shuffled and cut ; a spectator selects a card, looks at and remembers it. The performer then fans a packet of envelopes, has one selected, places the card in it, letting the spectators have a final look at the card before it is finally pushed all the way in to ensure it has not been changed. The envelope is sealed and handed to the spectator to hold.

A book of some description is given to the spectator, who is requested to give the suit of the card he selected, its bridge value (i.e., one for clubs, two for diamonds, three for hearts and four for spades) and to arrive at a page of the book by multiplying the value of the card by its bridge value (i.e., if the selected card was 7 spades, it would be seven times four, thus arriving at page 28). Page 28 is therefore turned to and the word on the page indicated by the value of the chosen card noted. In this instance the seventh word on the 28th page.

The spectator is requested to note and concentrate on the word, and to mark the page for reference by inserting the sealed envelope between the pages at which the book is opened (in this case, pages 28 and 29), then to close the book, and hold it to his forehead, strongly concentrating and endeavouring to impress the word upon the performer's mental receiving apparatus.

The performer has difficulty in getting the thought, and eventually gives up, and asks the spectator to announce the word aloud. The performer thanks the spectator, and says perhaps he would like to keep the card as a souvenir of the occasion.

The envelope is opened, the card extracted, and it is then seen that the selected word is written across it in green, apparently written by some spirit wavering hand, and the performer advances the theory that the spectator impressed successfully, but on the card instead of his mind. The spectator is given the card as a souvenir to retain, and, we hope, the performer receives applause, of which he says the spectator is entitled to a major portion.

### Remarks.

This effect is based on an excellent force by Annemann and included in his " 202 Methods of Forcing ". This will be found on Page 15 of the original Max Holden edition and on Page 21 of the English Edition (L. Davenport & Co.), and reads as follows :—

" Have about six letter envelopes at hand, and card to be forced face down underneath. Spread shuffled deck face down and have any one selected but not looked at. Hold face down in right hand between first and second fingers. Have stack of envelopes with card in left. Fan envelopes, using both hands, and have one selected. Card, in right hand goes under fan for a second and is changed. Remaining envelopes and card go into pocket. Card, still face down, is placed in envelope until time for disclosure. -Cute and subtle."

### Preparation.

First decide on the page and word to be forced, and then select a card that will arrive at same as described above ; in our example it is 7 of spades. Suppose the word to be forced was " MENACING " (a word of three syllables is best), write this word with green ink in as ghostly a hand as possible across the face of the card, commencing about half an inch from the lower left-hand corner and extending diagonally to about an inch below the upper right-hand corner. Turn card over and make an easily distinguishable (to the performer) mark on the reverse side corresponding with the finish of the writing on the face.

Place this card under a small pile of end-opening envelopes on table. Have book handy, also a pack of single force cards, i.e., 7 spades, or an ordinary deck with duplicate 7 of spades, in position for forcing. (It should be needless to add that back designs must match the card under envelopes.)

Working.

### This should be easily followed.

The 7 of spades is forced upon spectator. Everyone is given opportunity to note the card. (Performer should not look at it or give any intimation that he knows what it is.) The selected card is held face down in the right hand as described in " Remarks '', and is exchanged for the duplicate face down 7 of spades under cover of tne fanned envelopes. An envelope having been selected, the performer takes it, bends back the flap and inserts the card face down therein. When it is inserted sufficiently so that mark on back of card is aligned with top of envelope, he raises envelope, and without drawing too much attention to the fact, allows all to see that it is still the same 7 of spades within.

The card is then pushed all the way in, the envelope is sealed and handed to a spectator. Then all is ready for the carrying out of the effect as described at the commencement of this article.

### Effect.

The performer introduces the subject of CLAIRVOYANCE, explaining that it is an abnormal faculty of seeing what is out of sight, due to highly developed mental power of deep insight, and that in the course of his career as a metaphysicist he has noted that, on an average, about one person in ten has a latent clairvoyant power, which only needs developing to become pronounced ; further, that Whilst conducting previous experiments that evening (?) he has found evidence of such power existing among certain members of the audience who have assisted him, and nominating one person in particular asks him to be so kind as to participate in a test. We will call this person "A". At the same time he, the performer, offers to give a demonstration of his clairvoyant powers, and obtains the services of two volunteers who agree to act as '' subjects ''. These we will designate as " B " and " C ".

For the purpose of the test he produces a pack of playing cards, being a set of easily recognizable symbols, and a packet of end-opening envelopes, of the size to take a playing card comfortably.

The Performer mixes the cards, asks " B " and " C " to cut the pack, then instructs " A "

[Bty 5heiu}(it and Shed to take the pack, cut it, complete the cut, and to deal three cards, one to the performer, one to " B and one to " C ", all face down. He is then to place the remainder of the deck out of reach. (Note.—Performer does not handle or " peek " at pack at all.)

Removing an envelope from the packet, the performer demonstrates how a card is to be placed therein, using the card dealt to him, so that it is not seen by anyone, inviting " B " and " C " to take an envelope each, insert their respective cards, seal envelopes, and place same in their pocket, the performer illustrating step by step what is to be done.

He then proves his claim to abnormal powers of penetration by reading the contents of the sealed and hidden envelopes correctly. (Pause for applause ! ! !)

Turning to "A ", the performer reminds him that he, the performer, has a similar envelope in his pocket, and asks him to endeavour to identify the contents without use of any of the recognised senses.

When spectator "A" has expressed his inability to do so, the performer says that he is surprised, as he was certain "A" had a latent faculty for the visualization of hidden objects, but perhaps that as people so often do automatically carry out an action without being actually aware of doing so, so perhaps the power of crytesthesia, lying dormant in the subconscious, may be awakened and expressed by the aid of a physical action.

To this means, he takes the pack and asks the spectator to cut the pack, at the same time bringing all his thoughts to bear upon the concealed envelope. Producing the latter, it is opened, and (say) the card within is the six of hearts ; so the spectator is found to have cut the deck at a six and a heart, the equivalent value and suit of the one dealt to the performer. Remarks.

This effect is the outcome of a chat between Ron Baillie and myself of the possibilities of those two favourite subtleties of Annemann, the stacked deck and the window envelope, and we dare to think our combination of the two is original. Requirements. And Preparation.

(1) A packet of end-opening envelopes one of which is made into a " window " envelope. (For a description of this see Page 149, " Anne-mann's Practical Mental Effects ")

(2) A deck of cards, stacked in the Si-Stebbins system. One card to be made into a " short card ".

Prior to the performance one card is removed from the stacked deck, sealed in one of the envelopes and placed in the performer's pocket. We will imagine this to be the QUEEN OF HEARTS. So we look at the stacked deck and find that the QUEEN OF CLUBS is followed by the TWO OF HEARTS. These will be our indicators, and the TWO OF HEARTS IS THEREFORE MADE INTO A SHORT CARD.

The window envelope (fake side down of course) is placed on the top of the packet of envelopes, the prepared deck is placed in its case, and all is ready. Working.

After the three spectators are selected, the performer takes the pack out of its case, false shuffles same (series of cuts), asks " B " to cut, takes pack, hands it to " C ", who cuts also, and completes. Again taking pack, the performer turns to "A", and whilst addressing him CUTS SHORT 2H to top. "A" now cuts and completes cut, 2H and QC are now about centre of pack, so when "A " deals the three cards from top there is no danger of the two indicators being removed.

The performer takes his card, face down, and demonstrates how cards are to be placed in the envelopes and sealed, USING THE WINDGW ENVELOPE FOR THIS PURPOSE. When sealing, he is able to see, through the window, the identity of the card within, so by counting ahead in the Si-Stebbins system, he knows what cards are held by " B " and " C ", without having to resort to the pack for this information.

In calculating ahead, he must remember that the QUEEN OF HEARTS was previously removed.

After "A" has failed in his attempt at clairvoyance, the performer reaches for pack and idly cuts the 2H back to top again. This brings QC to bottom. Spectator "A" then cuts, but before he can complete it the performer tells him to mark the cut by crossing it. At the same time he draws the ORIGINAL SEALED ENVELOPE CONTAINING QH from his pocket, which everyone takes to be the one they saw him put in it. (This action, properly timed, takes attention away from what actually happens when the cut is " crossed ".) The cards at the cut are then shown and found to be the QC indicating a QUEEN, and the 2H, indicating a HEART, these coinciding with the value of the card produced by performer.

In the unlikely event of spectator "A" having a wild guess and naming the Queen of Clubs, the performer opens the envelope to see if he is correct, and then congratulates the spectator, calls for applause for him, and then draws attention to the proof of his own ability to discern the abnormal mental powers of another person

F'rst of all a very big " Thank you ! " to Leslie May for this excellent issue. It is all thoroughly practicable magic with some very clever slants.

Those who missed seeing Rezvani at the Harry Stanley " Get-together " in January nr.ssed seeing the most poetical piece of magic that we have seen since Okito performed the " Floating Ball ". Words cannot describe in full the beauty of costume, the delicate handling of the " tomatoes ", the air of lovely humility that made a trick into a dream. These monthly shows are without doubt one of the few signs of magical initiative at the present day. The March function brings an amazing act from the Continent.

J/lagic Qa Staund

We hear that another magazine, and a glossy at that, is due for publication very soon. Running to thirty-two pages, with a cover design in the Goldston " Magaz'ne of Magic " style, it will be called rather imaginatively, the " Magic Magazine " !

Wh ere the big Societies fail, the smaller coteries flourish and produce good magic. We have in mind several of these in England and Scotland. The Scotch contingent of Leslie May Ron. Baillie and Peter Moffat must have some wonderful sessions in mentalism. Incidentally, Ron. has sent us along one of the best ideas ever that we have seen for getting information in the " impression " manner. You'll have it next month.

I SGtíwom wsaosms/

MAURICE SARDINA

n»mBoic uwno'PUKiCBTtprt

WHERE HOUDINI WAS WRONG

by Maurice Sardina

(Translated by Victor Farelli)

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If, as a change from the search for the latest tricks " you would like to acquire some background knowledge of our great art, or if you are already interested in the history of magic, then you cannot do better than study this monumental work.

Here you will find unfolded, step by step, the truth about Robert-Houdin's great inventions, his " Orange Tree Trick," the "Writing and Drawing Figures," "The Pastrycook of the Palais Royal," "The Obedient Cards" "The Cabalistic Clock," "The Trapeze Automaton," "The Inexhaustible Bottle," "Second Sight Act," " The Suspension Trick," and " The Disappearing Handkerchief."

The book is profusely illustrated with photographic reproductions of rare old prints, photographs, wood-cuts and play-bills etc., and in its 120 pages there are many hours fascinating reading.

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