"Two of the rings I shall thread onto the cords ... the blue ones," says the conjurer, his speech and demeanour pointing the fact that they will be threaded over the ends held by the right hand. During its movement downwards the left hand has position the ends of the cords so that now one end is held between the thumb and first finger whilst the other is moved over so that is held between the first and second fingers. The left hand moves up and takes the two ends as shown in Figure 4.

position allows it to slide into the hat and, of course, free of the cords.

The second blue ring is handled in the same manner, but directly it has started its way down the cords, the right hand separates the two ends it is holding so that one end is held between the thumb and first finger whilst the other is taken by the first and second fingers. The ends are now passed to the left hand, the right end held between thumb and first finger going with the left hand end held similarly, and the right hand end held by first and second finger joining its left hand mate in the same position. The left hand held above the hat moves the cords up and down a little as though allowing the rings to settle.

" And now to make these two rings complete prisoners . . ." the magician remarks, and at the same time takes the two ends held between the left hand first and second fingers, and drapes them over the right hand side of the hat whilst the left hand drapes its ends over the left hand side of the hat.

The four yellow rings are now picked up by the right hand. Using both hands they are banged against one another. They are then replaced upon the table. One yellow ring is now taken by the right hand and the left hand lifts the ends of the cord on the right side of the hat. The right hand slides the ring on to the ends of the cords, and then the left hand takes hold of the ring, whilst the right hand takes the ends of the cords. The left hand does not allow the ring to drop but takes it down the cords and when it reaches the centre inside the hat it is stood upright on its broad edge

<r and at the same time the two blue discs are positioned similarly alongside it, as shown in Figure 5.

The handling is repeated with a second yellow ring, so that now there are two yellow rings on the rope.

The right hand ends of the cords are once more draped over the right side of the hat, and then, using the right and left hands in an opposite manner, the two remaining yellow rings are threaded on to the left hand ends of the cords.

If the reader looks down into the hat now, he will see two blue rings free of the cords with the cords passing over them as shown in Figure 6. Now if the hat is tilted so that the audience can see inside it, all the rings will roll and at the same time the exposed cords between the two sets of yellow rings will roll with them and be concealed by the blue rings in the centre, as shown in Figure 7.

As though to allow the audience a better view of the position, the magician reaches into the hat and with thumb and fingers outstretched takes hold of the rings, and seeing that the cord is concealed at the rear, shows the cords running through the

rings. Figure 8 shows the rear view, the cords being hidden from the audience.

The trick is now about to come to fruition. The rings are replaced in the hat and the ends of the cords allowed to drape over the right and left hand sides of the hat. Two spectators are invited to assist; one is requested to hold the right hand cords, the other those on the left.

A colour is nominated. Whatever the choice, the blue will be freed whilst the yellow remain on the cords. With this fact stated, the holders of the cords are asked to pull on the ends they are holding. A 'Hocus Pocus.' The yellow rings remain on the cords, the hat then being lifted and the blue rings allowed to fall on to the table.



WELL, THIS IS another transposition of two coins, an effect which has been offered in such a great many variations during the past decades. I'his particular version of mine was born when I tried out Bobby Bernard's " Ethereal Coins " which appeared in Pentagram in Bobby's issue back in July, last year. While trying out this effect only in idea, as 1 had no double copper/silver coin at hand, it occurred to me that I could duplicate the exact effect and movements without the use of a faked coin. The handling of the coins remains at aii stages clean and deliberate. The effect is suited for impromptu work at any time, when you want to do a small trick without any preparation whatsoever.

I am completely aware of the fact, that my working may not appeal to everybody as it is a rather unusual approach which needs some boldness to put over. Yet 1 hope that it will be liked by some readers, and I can assure you that, provided there is suitable misdirection, the trick will appeal to and puzzle laymen.

First of all the performer removes from his left trouser pocket a half-crown and a penny. He shows the two coins, and shows his pocket empty. Then he puts the copper coin into the pocket again, and the silver coin into his right hand. The spectator guesses now if the silver coin lies heads or tails up. Whatever his guess, he certainly will be surprised when on the opening of the performer's hand, instead of the silver coin, there is the copper coin, which seemingly has changed places with -he silver coin, which is taken out of the pocket which once again can be shown empty.

Now for the explanation of the exact working. Take out the two coins from the left trouser pocket. There are really only these two coins, and that is what I particularly like about this effect. If you prefer you can substitute the left jacket pocket for the trouser pocket. The two coins are well displayed on the left hand, and then tossed upon the right hand, and the pocket shown empty. Then the left hand takes the copper coin and puts it into the left pocket. When the hand comes out of the pocket, show it to be empty, pick up the silver coin, show it and toss it into the right hand, which closes immediately. So far nothing unfair has happened. Now in order to make everything perfectly clear, you recapitulate what has happened. You say, " Remember, I have put one coin into the pocket . . ." (Do not mention at this stage the denomination of the coin, as this will give emphasis at a wrong time). When you say this, reach again into the left pocket, take out the copper coin at the extreme finger tips, show it for a very short moment, and drop it back into the pocket. This is what you appear to do, in reality, the coin is slid back into finger palm position, and taken out again secretly. You continue to say, . . and the other coin into my right hand . . ." Here you open your right hand, pick up the silver coin with the left hand, between the finger-tips and the thumb, show it for a short moment, and throw it back into the right which closes immediately.

Ask the spectator, " Can you tell me whether the coin is heads or tail up." Upon his answer open the right hand and say " Right " or " Wrong " according to his guess being correct or wrong. Take up the coin again with the left hand, and throw it again into the right hand which closes immediately. Actually here you do a throw exchange, throwing the finger palmed copper coin, and retaining the other one. This is a standard move which I do not need to describe. It will be found in Bobo's Modern Coin Magic under the name of the Bobo Switch.

Again ask the spectator whether the silver coin is heads or tail up. Whatever his answer, slowly open the right hand, proving there is :to silver coin at all. Do not worry at all about the finger-palmed coin in the left hand. If your handling has been correct, nobody will have any suspicion concerning the left hand. You can even pick up the copper coin with the left hand, or turn it over on the right hand. Then very slowly reach into the left pocket, and bring out the silver coin at the finger tips, proving that the coins have changed places. And there you are.




YOU ARE able to predict a card and a number by apparently knowing in advance where a spectator will cut the pack.

The Method.

Place the ace of diamonds and the two of clubs to one side face-down. Also remove three cards, without stating the number, and drop them in a hat. During this preparation, you have secretly shifted the two of diamonds to tenth from the top of the pack and the ace of clubs to the nineteenth position.

Relate how some gamblers, as a result of long practice, can cut off the exact number of cards they desire. Ask a spectator to name some number between ten and thirty and then try to cut off that many cards, no more and no less.

He does and counts them one at a time which will reverse their order. Congratulate him if the number is at all close.

We will say that the spectator has cut off twenty-four cards. State that by no normal means could you know in advance how many cards there would be. Ask him to return two cards for the first digit and four cards for the second digit in this total. The order of these few cards is reversed again as they are counted back on the pack. Have him drop the rest of the cards in the hat.

Turn over the two of clubs and the ace of diamonds so that they represent 21. The cards in the hat are counted and there are exactly 21!

Remark that one card is an ace and the other is a club. The top card of the pack is revealed to be the ace of clubs!

Any number from 20 to 29 inclusive will leave the spectator with 18 cards to drop in the hat with your three. The ace of clubs will automatically be on top of the pack.

Any number from 10 to 19 inclusive will leave the spectator with 9 cards to add to your 3 and the two of diamonds will be on top of the pack.

In this case, reveal your prediction cards in ace and two order, indicating 12, and in two and diamond order to represent the two of diamonds.



THERE were three of us drooling around with a pack of cards . . . Francis Haxton, Jack Avis and myself.

Francis started the ball rolling by saying, " I'd like you to look at this effect."

A card was selected, say the five of diamonds, and returned to the pack. Jack, at Francis's direction, then cut off the top half of the pack and placed it on Francis's left hand. It was cut again and the top card of the cut turned face upwards. The noted card was then lost in the packet and this part of the pack was replaced on the remaining cards. One more cut and the cards were spread. The noted face up card was about the centre of the spread. " Just look at the card above it," said Francis. Jack did and it was the card originally selected, the "five of diamonds! "

Francis then went over the method which was as follows: After the selected card has been noted, it is returned to the pack and brought to the bottom using the pass. A bit of false shuffling doesn't affect the position of the card and the pack is placed on the table or floor. The top half is cut off and placed on the magician's hand, the spectator then being asked to cut the packet and turn over the top card. We'll say that it is the ten of clubs. The packet is then cut by the magician, using the double undercut so that the face up card now lies at the bottom of the packet. Holding the packet with the right hand and lifting up the other packet with the left, the magician, in the act of placing the right hand packet on to the left, uses the " Kelly Replacement" move bringing the face up card to the bottom of the pack and immediately underneath the chosen card. The pack is then given a straight cut bringing both cards to the centre. Finally the pack is ribbon-spread and the chosen card is found lying immediately above the face up card.

Jack came up with a slight variation of method. After the card was selected he had it returned to the pack and brought to the top. Then he cut the pack, completing the cut, keeping a slight break between the upper part of the pack and the selected card. The top card was now turned face up. All Jack then did was a slip cut taking the face-up card to the break and immediately on top of the selected card, the packet under the original top card was then replaced on top. With a spread of the cards, the selected card was found to be lying under the face-up card.

Being extremely lazy I came up with the least effortless version. After the card has been selected and returned to the pack it is brought to the top of the pack which, after a false shuffle is placed on the table. " Please cut the pack and put the top half aside . . . Now turn over the card you cut at." The magician picks up the half which has the face up card on top, double undercuts the packet bringing the face up card to the bottom of the packet, and then replaces this part of the pack on the half lying on the table. The selected card now lies immediately beneath the face up card.

Whichever way you like to try you'll find the effect clean and good.



EDITOR'S FOREWORD. One feels oneself fortunate indeed to have the opportunity of publishing this most informative article. Those who have seen Alex. Elmsley's card work during the past few years will know how much thought and care he has put into evolving the most deceptive card effects making use of a perfect weave shuffle. To watch Alex, casually cut the pack into exact halves and with equal casualness weave shuffle the pack is a lesson in itself. It will be good news to those who visit Scarborough for the British Ring Convention in September, to know that Alex, will be giving a lecture-demonstration. It is entitled " Low Cunning " and we know that it will be a most profitable session for all those who attend.

WARNING. This article is for mathematicians only. The many excellent tricks using the weave shuffle depend, with few exceptions, on the simplest of its properties. I am going to deal with some of the more complicated and lesser known properties, most of which are useless to the magician, who is practical only, and I am writing primarily for those with an interest in mathematics quite apart from their interest in magic.


Provided that we have a pack containing an even number of cards, there are two chief forms of weave shuffle. In the form in which it is used by most magicians the pack is divided in half, and the halves are interwoven card for card in such a way that the original top and bottom cards remain on top and bottom. This is called the "Out-weave" since the top and bottom cards remain outside the rest of the pack.

It is also possible to weave in such a way that one card goes below the original bottom card, and one card goes above the original top card. This is called the " M-weave," since the top and bottom cards have gone inside the pack.

The basic properties of these shuffles are as follows, assuming that we are using a pack of fifty-two cards.

Out-weave. After one shuffle, cards in the top half of the pack move to double their original position less one (e.g. the 10th card becomes 19th).

Cards in the lower half of the pack move to double their original position less fifty-two.

After eight shuffles the pack returns to its original order.

ln-weave. After one shuffle, cards in the top half of the pack move to double their original position.

Cards in the lower half of the pack move to double their original position less fifty-three.

After fifty-two shuffles the pack returns to its original order.

After twenty-six shuffles the pack has reversed its original order.


Both In- and Out-weaves. One shuffle brings together cards that were twenty-six apart (hence the usefulness of the weave in combination with twenty-six-key-card-type locations).

This about summarises what is generally known about the weave, and more than covers ull that most magicians need to know. So, aux armes, mathematicians, and forward into the darkness.


This is a basic concept in working out many of the properties of the weave. Suppose we have a pack containing an odd number of cards. We make an " Odd-weave," by dividing the pack in half to the nearest card (i.e., one ' half' has one more card than the other ' half')» and then weaving so that the top and bottom cards of the larger ' half' are retained on top and bottom. Now, we can take any card as a reference card and reckon the position of other cards by counting from the reference card. If a card is at a position N0 from the reference card before the shuffle, and at a position Nx after the shuffle. nx = 2n or n1 = 2n — P where P is the number of cards in the pack.

What makes this result important is that it is true even if to get n0 or nx we count round the ends of the pack, i.e., from the reference card to the bottom card and then straight on from the top. This can be seen simply by doing an odd-weave, when you will see that one card goes outside either the bottom or the top card and thus comes between them if we are counting round the ends of the pack. The top and bottom cards can thus be treated js neighbouring cards in exactly the same way as any other neighbouring cards in the pack. The pack as a whole can be treated as an endless belt, and it is of no importance what particular cards happen to be at top or bottom.

It follows that if an odd pack will come to a definite order after a certain number of weaves, it will come to that order even if the pack is cut in between each weave. For example, by discarding one card from a pack of fifty-two, we get a pack which will return to the same order after eight shuffles despite repeated cutting between shuffles.


This last example introduces another point. Suppose we do an out-weave with fifty-two cards. The top and bottom cards remain on top and bottom. It would make no difference to the final order of the cards if we removed the bottom card before shuffling, cut so that the top ' half' contained twenty-six cards and the bottom 'half'

twenty-five cards, wove retaining the top card, and then replaced the bottom card. But the shuffle would then be an odd-weave with a pack of fifty-one cards. In other words, the change in the order of a pack after an out-weave is the same as the change in the order of a pack containing one less card after an odd-weave. We can express this by saying that an even pack out-shuffled is equivalent to an odd pack of one less card.

In a similar way we can show that an even pack in-shuffled is equivalent to an odd pack of one more card.

For example, we know that a pack of fifty-two cards out-shuffled return to the same order after eight weaves. Hence, the equivalent odd pack of fifty-one returns to the same order aftei eight shuffles. A pack of fiftv-one is also the equivalent odd pack to a pack of fifty, in-shuffled. Hence a pack of fifty cards will return to the same order after eight in-shuffles.


Suppose we have an odd pack of P cards, and that it returns to its original order after S shuffles. First consider a card, whose position from a reference card is originally n0, and which moves to nx, n2, etc., in successive shuffles. After one shuffle n x = 2n 0 or 2n 0 — P After two shuffles n2 = 2nx, or2nx — P

= 4n0 minus the largest multiple of P less than 4n0 = 4n0 — X2P After three shuffles n3 = 8n0 — X3P AfterS shuffles ns = 2sn0 —XSP .. .. (1)

The pack returns to the same order after S shuffles, and therefore n0 = ns .. .. (2) n0 = 2s n0 — Xs P ...n0 = 2sn0 — Xs P ...n0(2s — 1) — Xs P ...n0(2s — 1) = Xs . • .. (3)

Xs, although unknown and varying with n„, must be an integer, and this last equation must be true for all values of n0. Considering n0 = 1, 2s— 1 = Xs P

This means that 2s — 1 must be divisible by P. We can see from equation (3) that this makes Xs integral for all values of n0, so it is a possible solution of the equation.

Thus, an odd pack of P cards return to the same order after S shuffles if 2s — 1 is divisible by P. An even pack, in- or out-shuffled, will return to the same order in the same number of shuffles as the equivalent odd pack.

In a similar way to the above, by substituting for equation (2) nR = P — n0, we can show that an odd pack of P cards will reverse its order after R shuffles if 2R + 1 is divisible by P. An even pack reverses in the same number of shuffles as the equivalent odd pack. If, however, the even pack is out-shuffled, the top and bottom cards will still be in their original positions, i.e., these two cards do not reverse, though all the other cards in the pack will reverse.

Solving the Shuffle Equation.—Pack of 2X cards.

A pack containing a number of cards equal to a power of two is a special case. Thus, 2X cards, out-shuffled, are equivalent to an odd pack of 2X - 1 cards. These will return to the same order afterS shuffles if 2s - 1 is divisible by P=2X —1. The obvious solution is S= x, so 2X cards retain their order after x out-shuffles. Similarly, we can show that 2X cards reverse their order after x in-shuffles. For example, a piquet pack contains thirty-two cards. An ordinary pack from which in the course of a gambling demonstration you have discarded the four Royal Flushes, also contains thirty-two cards. Thirty-two is two to the fifth. Therefore either of these two packs will return to their original order after five out-shuffles, and will reverse their order after five in-shuffles.

(To be continued)


" 101 MAGIC SECRETS," by Will Dexter (published by Arco Publications, Ltd., price 9/6).

There are two types of magic books. The first more useful for the true magic student is where the author acts as a teacher and does his best to make his book a series of lessons. The other is in the Goldston genre and resolves itself into the explanation of the 'how.' Will Dexter's latest book falls into the latter class and all in all offers excellent value to those who wish to do tricks rather than become magicians.

Well over one hundred effects are explained not with a multitude of words but with a series of excellent sketches and brief captions. The formula is much like the well known book of Dunn's but the drawings and choice of material are far superior in every way. Tricks range from impromptu table effects to more ambitious stages numbers.

As value for money it represents one of the best' buys ' that we have seen for many a day. The diversity of the contents and their accompanying clarity of explanation should prove their value to all practical magicians for most of us in our reading tend to overlook a number of effective items and this book has taken for its context more than a hundred all of which have proved their effectiveness. A word of praise to Stan Lane who from Will Dexter's notes and sketches has produced a most practical book.






ANNEMANN'S ONE MAN MENTAL AND PSYCHIC ROUTINE is a professionally routined mental act that runs according to speed of presentation and the effects included, from ten minutes to half an hour. The six effects described make one of the finest mental routines ever conceived, and can be cut down to three really sensational items for the shorter show. It is a strictly 'One Man' act, there is no cumbersome apparatus, no assistants, no confederates. A brief case will carry all that is required, but jou could travel with the necessary items all ready in your pockets if preferred. The mental and psychic tests are presented in a routined order, and include some of Anne-mann's choicest billet methods and effects. Ideally suited as a club, private party, television or night club act.

ANNEMANN'S "MASTER MIND" CARD ROUTINE was thaoriginator's favourite card routine for newspaper offices and intimate gatherings. With just a pack of cards the performer presents a series of five stunning prediction effects that leaves the audiences gasping as each one in turn eclipses the previous one. No skill is required, and the act can be learned and thoroughly practiced in an evening.

ANNEMANN'S MENTAL MISCELLANY is a collection of six off-beat ideas in mentalism that are typical of the author. The treatise on the Mirror Reflector and the one on Pencil Reading—to the man who uses them—can be worth many times the price of the book.





THIS COLLECTION comprises some of the choicest Annenuuin Secrets, now collected together ¡¡.nd printed in one volume.

INSTO-TRANSPO—Without sleights two initialled cards change places between the performer's and spectator's pockets. STOP—A freely selected card, lost in the pack, is found at a number thought of. THE POUND NOTE AND THE CIGARETTE CHALLENGE—Marked cigarettee in performer's mouth, number of a note written down by spectator—note openly burned—and then found in the cigarette—the best ever routine for this effect. IMPROVED REMOTE CONTROL—With red and blue packs the performer proves he can control another person by making them pick any card he chooses, while at a distance. MENTAL MONEY—Three pound notes borrowed and folded tight, one is chosen, the performer reveals its number. NUMBER PLEASE—A Telephone Book Test in which the performer reveals both name and number. SENSITIVE THOUGHTS—A sensational card trick, with two packs and two spectators. THE CARD DOCTOR—Spectator selects card which is initialled, corner torn from card, then initialled card torn into pieces, pieces vanish and card is found back in the pack, minus its corner. SLATES AND ACES—Performer and spectator write names of the aces on two slates, spectator rubs out three on his, the spirits' rub out the same three aces from the performer's late. POKER PLUS—Performer deals three face down hands of Poker. Second hand shown to beat performer's. Then performer's hand shown again, and it beats the second. Third hand shown to beat performer's. Then performer's shown again, and it beats the third. Terrific effect! THOUGHT IN PERSON—A most unusual card routine. A MENTAL HEADACHE—Another typical Annemann card routine with a mental twist. And, of course, a full description of a most useful GIMMICK.


Price 7/6 Postage 4d.





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is published on the 24th of each month and can be obtained direct from the publishers for 1/7 per single copy. Annual Subscript!*! 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:


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will be pleased to lend you full detail« of


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

Write now to

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