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The operator, after having demonstrated successfully, various experiments in Telepathy, Telethesia, etc. (without the aid of playing cards), announces that the success of the recently conducted experiments was largely due to the extreme sensitiveness of the mental processes of the assisting spectators, and. remarking upon the particularly acute faculties of one such volunteer, enquires if he was aware that he was the possessor of such powers and, whatever the reply, requests him to personally conduct an experiment in telepathy and mind control; the operator, although participating, to merely act as an assistant and adviser as to the procedure to be adopted in order to secure the most effective results.

It being taken that the spectator has expressed his willingness, we will now, for the sake of clarity, designate him as the operator, the actual magician as P (performer), and other volunteers (see below), as spectators one and two respectively.

Performer suggests operator stand and focus his mind upon a diagram or picture, and further suggests that in order to ensure that it is a commonplace and easily recognised symbol, it be the designation of a playing card—anyone of the fifty-two ; that he thinks intently of one such card, visualising its appearance in his mind as a picture, then for the sake of subsequent proof of either success or failure of the experiment, that he write the name of the selected card on a piece of paper, and place it in his pocket until it is required for verification purposes.

He is next advised to select two gentlemen, or call for two volunteers, and having obtained them, request them to stand, transmit his will to them and project the " thought " of the card-picture into their subconscious minds.

Performer then takes a pack of cards from its case, displays same, and requests operator to instruct spectator number one to announce any number between one and fifty-two that enters his mind. As soon as this is done, P. counts down to that number, not disturbing order of cards, and without showing face of card arrived at, writes its name on a small billet, which is folded and placed in full view or into the custody of some other member of the audience. P., idly mixing pack, then recommends operator to instruct spectator number two to step forward and select by chance one of the fifty-two diagrams or cards, explaining that in order to prevent any^ possibility of the faces being perceived, he will horn pack behind his back with one hand while spectator number two reaches round, cuts pack and removes card cut at, placing same in his pocket without glimpsing or allowing« anyone else to glimpse its face.

P. then briefly summarizes what has gone before, emphasising that the whole experiment has been conducted by the volunteer operator, that there has been no personal conduct between him (voluntary operator) and the three volunteers—so describing himself as one—and that, if the desired results have been obtained, they are obviously entirely due to the remarkably developed mental powers of the presiding operator.

Calling for a previously neutral member of the audience, he requests him to take the billet bearing the name of the thought-of picture (card) which has reposed in operator's pocket during the entire proceedings and to announce the name thereon; secondly, to open and read aloud the name of the card written by the performer, but arrived at by spectator number one's chance number—it is the same, and, finally, to display the -card selected apparently freely, but actually under volunteer operator's mental control—it is identical with the name of the card appearing upon the two slips of paper!

All that remains is to thank all assistants, congratulate the volunteer operator upon the development of these obviously latent mental powers, announce that he has successfully conducted a perfect example of " Thoughts in Action " and then congratulate yourself silently upon having introduced the audience to a somewhat unusual effect.

Remarks.—Please note the concluding line of the foregoing description ; as far as the audience are concerned, you have introduced a decidedly unusual experiment which happily succeeded ! That's all that matters, for no originality is claimed by me for the n\eans whereby the effect is obtained, unless it be for one absolute " brass-necked" action, which will be observed below.

Requirements.—A short, hard pencil; two small pieces of writing paper; a pack of cards in a case, fitted with Annemann's " Mental Masterpiece " or " Perfected Mental Masterpiece " (R. W. Read's improvement); a considerable amount of' cool cheek.'

Method.—Explanations will be brief—it being assumed that all " Pentagram" readers are wellversed magicians, and not merely " curiously minded customers."

(1) Volunteer operator is asked to stand and to write down name of thought-of card for subsequent identification purposes. Whilst " advising " him- to use " one of these fifty-two playing cards as a picture," P. idly picks up case containing cards, indicating same, then placing piece of paper on case, he gives it together with pencil to operator'to write name, fold same, and place in pocket without disclosing name of card mentally chosen.

(2) P. takes card case and pencil, places penciT in pocket, opens card case and takes out cards, thereby ascertaining name of " thought card " by means of the " Mental Masterpiece " (users of this appliance will realise why a short, hard pencil was specified in the list of requirements enumerated above). Then, casually showing faces of cards, he glimpses position of thought-of card and idly cuts it to the bottom.

" (LuAtvuiy,

Whilst this k a mental item more akin to the conjurer than the true mentalist, it will, be found extremely effective with small audiences, A factor is that a number of people take part and that there seems no possibility of collusion and/or forced choice.

The conjurer commences : " Ladies and gentlemen . . . the future is a thing hidden from the present by a heavy curtain. Sometimes there is a gap in that curtain, and some, like myself, are permitted a view through that gap." At this point the conjurer with casual comment picks up an envelope and rests it against a glass. Turning then to a member of the audience whom we will designate A, he asks this person to relax and think of a colour (don't choose a female as they generally say " red "), and then tell the audience that colour. This being given, the conjurer picks a slate and on it writes " One . . . (say) Orange." A deck of cards is now picked up, handed to another spectator B ; he is asked to look at a card and name it. This is also noted on the slate. To a third spectator (C) is given a pad and pencil, and he is requested to write down four lines of three figures (if time permits these can be given by other members of the audience. If the conjurer wishes to hurry he can just ask the holder of the pad to write down four figures), add them up and announce the total. This being given it is written on the slate. Now taking the envelope, the conjurer rips it open and from it withdraws another envelope. Ripping the end of this, the conjurer pauses and addressing the first spectator remarks: " Yo,u, sir, quite freely thought of a Colour . . . that colour was " orange "... Don't you think it strange that two hours ago I placed inside this envelope an orange backed playing Card ? " Slowly the conjurer withdraws an orange' backed card, the envelope being crumpled and dropped. To the second spectator he says : " You, sir, quite freely chose a card," (say) the Ten of Diamonds " don't you think that it is something more than a coincidence that, this orange backed playing card should be the Ten of Diamonds ? " " Slowly the orange card is turned round to show the face, which, of course, is the Ten of Diamonds. Those near the card can see that there is some writing across the face. To the third spectator, the conjurer turns and says : " You, sir, wrote on a paper twelve digits . . . these digits were freely chosen . . . they were added to make a sum, and the total of that sum was (say) 5724. Will you please read what is written on the face of this card ? " The spectator is handed the card and reads out " I (name of performer) predict that the sum arrived at by the third spectator will be 5724"!!

Requirements.—A Telematic Deck forcing (say) Ten of Diamonds ; one nail writer; twelve " Tens of Diamonds" each having a different coloured back. The colours covered are red, pink, mauve, blue, orange, yellow, green, brown, black, white, silver and gold. (To an intelligent audience the last four are not colours, but it is best to cater for every one.) The colours can be obtained in many ways—either by painting or sticking coloured paper on the backs. Card collectors no doubt would possibly have a back to suit every case. Twelve envelopes that will just contain a playing card. One envelope of normal letter size ; one slate and piece of chalk ; one pad and pencil.

Preparation.—On the face of each of the playing cards write the words " I (name of performer) predict that the sum arrived at by the third spectator will be . . ." (for position of this see illustration). A window to correspond with that part where the number will come is now cut away in each envelope and the cards placed inside. A small

" AUSTERITY AUGURY " — continued from page 36

indication should be pencilled on each envelope so that there is no doubt which envelope contains the appropriate colour. Memorising the order, these envelopes are placed in the left hand trousers pocket, window and, of course, face of card farthest from body. The ordinary envelope is sealed and can be slipped into an inside pocket. The slate and chalk are near at hand. The telematic deck encircled with an elastic band is also in the performer's pocket. Pad and pencil lie near the slate and chalk. The nail writer can be in position on the conjurer's nail.

Presentation.—As the effect has been well detailed this is given in ' bare-bone ' form :—

1. Envelope is taken from pocket and rested against glass on table left of conjurer.

2. First spectator names colour ; slate and chalk are picked up with right hand. Slate is passed to left hand and is held by thumb and fingers (see illustration) the colour being noted and written down.

3. Slate and chalk are placed aside on table right of performer.

4. Telematic deck is removed from pocket, band removed, faces of cards shown (without comment) band replaced and deck handed to second spectator, who is asked to peek at one card and name it. Slate and chalk are again picked up as before and name of card noted. Slate and chalk again replaced. Deck is taken back from spectator.

5. Pad and pencil handed to third spectator, who is requested to write down sum. This is the moment when the conjurer casually places his hand in his left hand pocket and locates envelope with the card coloured according to first spectator's choice. It is palmed but the hand is not removed from pocket.

6. Spectator names total, right, hand picks up slate and chalk as before. Left hand with envelope palmed comes out of pocket to take slate as before, the position of the slate completely hiding envelope.

7. Total written on slate. Conjurer recapitulates and picks up sealed envelope from table with right hand, passes it to right hand (see illustration) the left hand removing slate and, of course, leaving the window envelope under the sealed envelope.

8. End of sealed envelope is torn and window envelope is apparently removed from inside. The opened envelope is crumpled and dropped. Window-now faces conjurer. Holding this up, and as he turns to address first spectator, conjurer writes in window space on the card the number of the third spectator with the nail writer.

9. Window envelope is ripped open, card withdrawn and envelope crumpled and dropped on to floor. From the conjurer's viewpoint the effect is finished. The rest is build up.

MODES FOR MENTALISTS

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 would 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 . . . ." Complete Instructions running to approximately 2,000 words, price 7/6 post free.

No. 2—" CAUGHT THOUGHTS "—This is the effect:—After a pack of cards has been shuffled, a spectator is asked to cut several times, finally leaving.two heaps. The mentalist who turns away whilst this is done, remarks, " Choose which heap you like and I will take the one remaining." The spectator is asked to pick up his heap and look at the bottom card and impress it on his mind. The mentalist now writes something on a card whi<^i he drops into a glass. " Now, Sir, I am going to look at the bottom card of my heap, think of it, and I want you to try and gat my thought; there's a pencil and a card beside you." Mentalist picks up his card and spectator writes, dropping his card into another glass. Another spectator removes both cards, reads what is written, and believe it or not in each case the thoughts are correctly " caught." Please remember that there are no stooges, no carbon or other impressions, no one ahead method, no switches and not one suspicious move. Can even be performed with a borrowed pack. Complete Instructions running up to approximately 2,000 words, price 7/6 post free.

PETER WARLOCK :: " GREENBANKS " :: BRAMCOTE :: NOTTS

or from your " Pentagram " Dealer

THE SPECTATOR DIRECTS — continued from page 35

(3) Requesting number between one and fifty-two from spectator number one, P. counts down to that number, looks at face of card arrived at, and apparently writes its name on second piece of paper. Actually he writes nafne of card chosen by volunteer operator, which now lies at bottom of pack (now the reference to " brass-neck" will be understood). Note : If possible work away from table, and use pack as backing for paper whilst writing (care being taken face of bottom card is not seen by audience), this action is similar to that of volunteer operator when writing name, and is a strong point.

(4) Idly mixing pack, P. reverses bottom card secretly, and holding pack behind back, force bottom card on second spectator by means of Annemann's " One-handed behind the back Force." This out standingly deceptive manoeuvre is described in Annemann's " Par-optic Vision " on page 250 of " Practical Mental Effects" and is particularly suitable for inclusion in the effect I am describing.

The exact wording and minute details of the presentation are best left to the individual performer, to enable him to arrange them to suit his own personality and style.

The great thing to remember is that it must be impressed on all present that the volunteer operator is the sole director of the effect and that the success is due to his efforts alone. The actual performer merely acting as an assistant in an advisory capacity, suggesting the best procedure to be adopted in order to demonstrate that " genuine mind control " is in force.

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

"HUGARD'S MAGIC MONTHLY" (Volumes 3

and 4) published in book form by the Fleming Book Company, price 28/-.

Our first thought on receiving this volume was " How on earth can the publishers produce such a fine volume at such a low price ? " Exceptionally well bound, it accords in every way to the high standard set by the Fleming Book Company.

The size is full quarto and contains some 200 pages. We should like to emphasise -that this is not just a binding of loose copies but a special printing in book form. Illustrations are profuse, quite a number being photographic reproductions.

The material is of a high standard—card effects and sleights accounting for about one-third of the contents. Of these we should particularly like to mention Johnnie Scarne's " Challenge Grand Slam and Little Slam," " Telephonic Telepathy " by Abril Lamarque, " On the Beam " by Walter Gibson, " Can You deal a good Poker Hand ? " by Hugard, the " Infallible Indicator " by Dai Vernon, and " Name your Number," attributed to Allerton but actually Roy Walker's. These are first-rate material and to make extra good measure there is " Card Magic " by Hugard, running serially through the two volumes. Victor Farelli contributes some good sleights, and there is an excellent description of the one-hand-riffle-shuffle (this, incidentally, is superbly illustrated with photographs).

The coin enthusiast is also well provided for the effects taking our fancy being the " One dollar, eighty-five cents " by R. M. Jamieson, " Who'll give me One-Fifty ? " by Oscar Paulson and the " Coins through the table."

There are a number of effects utilising rope. Under the title of " Snapping a Knot," Harvey Graham gives a clear and simple way of performing the single hand knot. Under the title of " A Rope cutting Tie-up," Frances J. Rigney gives our own rope and ring effect ; scissors being utilised instead of the ring. Besides these there are many other knotting effects plus variations on the cut and restored rope.

Mentalists will not find a great deal of material, but what is there is good. We have already mentioned under cards " Telephonic Telepathy " and "On the Beam " which have a mental bias. " Guessing is Fun," by Engel, is a good presentation for close quarter work, and we also lilted " Subconscious Prediction " by Corning. " Glimpsing the Future," by Pavloff, is a nice idea of prediction.

In most issues throughout these two volumes Milbourne Christopher contributes a page. In these there is a wealth of ideas and material too numerous to specify, but they radiate the brilliant personality of the writer. It is enough to say that every conjurer, whatever his speciality, will gain something from reading this particular section.

There are some excellent routines by Jean Hugard ; mention of which must be the " Torn and Restored Tissue " (an excellent platform effect), " The Flight of Time " and Hugard's " Billiard Ball Finale."

In the later issues Fred Braue contributes under the title of " Roundabout " an excellent contemporary commentary on conjurers and conjuring.

At the end of the volume there is a very complete index.

We have in the course of this short review, only been able to skim the excellent contents. Jean Hugard has maintained the high standard with which he commenced the publication of this outstanding monthly bulletin, and we cannot recommend it too highly. It is on the crest of superlatives . . . superb !

67 Points.

Reviews of " Sleights Supreme " and " Abracadabra Xmas Special " unavoidably held over until next month

CRYPTOGRAMAGIC — continued from page 34

arrangement of the top twenty-one cards of the pack in this order: Ace of Clubs, any Queen, any Jack, any Ten spot, any Nine spot, any Eight spot, any Seven spot, any Six spot, any Five spot, any Four spot, any Three spot, any Two spot, Six of Hearts, any Three spot, any card, Eight of Spades, any Five spot, any card, any card, any card, any card, Ten of Diamonds.

Someone is called upon to say any number between one and twelve. Let us suppose that five is the response, though the result is, the same no matter what number is called. With pack in left hand, the cards are counted one by one into right hand, each as it is taken going under its predecessor. At the count of " four," the left thumb slides back the top card (the Ace of Clubs) on to the top of the pack, so that the first of the desired cards falls at the fifth position. This is, of course, nothing more than the well-known false count familiar to all card handlers. If, as the second card is dealt, the.right thumb slides the first one slightly to the left so that it overlaps the second by about half-an-inch, the steal of not more than one card is made certain. The first of our four cards, the Ace of Clubs, is thus accounted for. Now it makes no difference what number is first called for; the arrangement of the top stock ensures that the next card on pack will indicate by the number of pips on it, the position of the second of the desired cards, viz., Six of Hearts. With " five " as the original call, the next card in pack will be a Nine spot, and a count down to the ninth card brings the Six of Hearts. When this Six of Hearts is removed, the following card, a Three spot, gives the position of our third card, the Eight of Spades. The Ten of Diamonds is then found at the fifth position indicated by the Five spot which follows the removal of the Eight of Spades. A convincing false-shuffle given to* the cards before these counts are made will serve to add conviction in the minds of the onlookers that the results obtained are entirely fortuitous.

To prevent the possibility of the mask falling out of register—a very important consideration— it is advisable to have the cable card framed.

The Art Of Cold Reading

The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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