Kiss Of A Borgia

Half a dozen empty glasses stand on the table. One is indicated by a member of the audience and into it is poured a quantity of milk representing a potent poison. Into each of the other glasses a similar quantity of water is emptied.

Whilst the performer's back is turned a member of the audience wraps each glass in a piece of paper so that there is no possible indication of which glass holds the milk. After this the same spectator moves the glasses around. The performer then turns around and with his back to the spectator but in such a position that his actions can be seen by the audience, he requests that he be handed a glass at a time. With the build up of the poisoned cup theme, he dramatically stops the assistant and informs him that he, the performer, holds the poisoned glass !

Please remember these points :—

1 The glasses can be borrowed immediately prior to the presentation.

2 There is nothing chancy like checking the weight of the glass and its contents.

3 There is genuinely free choice of which glass the milk is poured into.

4 Nothing goes into the glass with the milk. 5 There are no magnets.

6 The pieces of paper used to wrap the glasses are taken at random by the spectator. They are not marked in any way.

7 If needs be, the performer can be genuinely blindfolded.

8 When the wrapped glasses are handed to the performer his hands are empty.

The routine with the little and most inexpensive little accessory comes to you complete for—

12/6 post free from— PETER WARLOCK, 24 Wordsworth Road, Wellington, Surrey or from your favourite dealer

The Magic Circle

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PUBLISHBD BY 7 HE PROPRIETORS THE MAOIC WAND PUBLISHING COMPANY, 62 WELLINGTON ROAD, ENFIELD, MIDDLESEX AMP PUNTED BY HBRBBRT WALKER & SON (PRINTERS) LTD., WELL CROFT, SHIPLEY, YORKSHIRE

ANNEMANN ISSUE PENTACLE OF PAN

HARRY E. BURNSIDE AND CHARLES W. CAMERON

THANKS to various fiction writers the general public have been initiated into the mysteries of the Black Arts. The following effect takes an old principle, gives it a new twist and using a Satanical theme we have

THE PENTACLE OF PAN

" In the practice of Black Magic the Occultist must construct a five pointed star, enclosed within a mystic circle. This design must be drawn with exact geometrical precision or the results will either be Nil or prove highly dangerous to the practitioner.

" Round the circumference of the Circle are inscribed either magical characters or, in certain cases, the Signs of the Zodiac.

" The Occultist, standing in the centre of this age old device, now calls up a Denizen of the Other World or through the use of certain incantations commands unseen spirits to do his bidding.

" However in the 16th century a noted sorcerer constructed a peculiar charm utilising the principles of the circle and pentacle.

" Having thus obviated all the arduous work involved in drawing the signs he was able to perform his magic in a much easier manner."

As he finishes his story the magician withdraws a small case from his pocket and opening it he extracts a small black and coloured disc. The base is in the shape of a circle and a five pointed star is fastened to the upper part. A brightly coloured stone is embedded in each corner of the star. Round the circumference of the circle are fashioned the Zodiacal characters.

The magician explains that each stone represents a certain wish. The red one is for wealth, the white one for health, the blue stone stands for power. A green jewel indicates the fulfilment of an ambition and the yellow stone represents happiness.

A spectator is asked to choose a certain stone, to place his forefinger over the stone and to press firmly.

Before he does this the magician turns his back. When the spectator has carried out these instructions the magician says.

" Should you choose wealth then visualise great stone chests overflowing with precious stones, gold and silver coins and all manner of valuable trinkets. Whatever you choose, please translate your wish into a mental picture and concentrate very strongly. Now Sir, are you ready, take your hand away and turn the pentacle around once or twice."

The magician turns round and picking up the charm he places it to his forehead. Concentrating for a few seconds he proceeds to weave a tale around whatever the spectator's wish has been, despite the fact that the wish is apparently unknown to the magician. When he has finished he asks the spectator to name his wish. The spectator does so and proves that the magician has in some uncanny manner divined his thoughts.

The preceding routine is not one that can be accomplished immediately. It does require a special piece of apparatus, but for those who can make or can have made for them the necessary "prop " we think it will prove to be one of those miracles that makes a reputation.

Credit for the original idea must go to the magician . . Blackstone . . for those who are interested enough, page 60 of " Blackstone's Secrets of Magic," will supply the original idea.

We do claim, however, the Title, patter theme, routine and several twists to the effect and to the original idea.

It is definitely not a pipe-dream, we have worked the effect as described on lay audiences and it has always completely bewildered them.

Many and varied have been the explanations given to us, but never yet has anyone divined the actual secret.

The necessary apparatus is shown in the sketches and should be constructed of wood or perspex (plastic).

A black circular disc with the signs of the Zodiac inscribed around the circumference. A coloured five pointed star, fastened to the top surface of the disc. A hole is drilled in each corner of the star and a small quantity of luminous paint poured in. Next a coloured stone (obtainable from most "make it yourself " stores), is embedded in the hole. A coat of clear varnish is painted over the stone.

9 c 8T0NE

O = HOLE DRILLED & PILLED WITH LUMINOUS PAINT

Tell the story as described in the early part of the routine. Ask a spectator to assist you, turn your back as you tell him to select a stone and to place his finger over the stone. Tell him to press firmly and to concentrate as he does.

Patter about visualising great stone chests, etc. and keep talking for, roughly a minute. The time required for the spectator to keep his finger pressed on the stone will vary with each piece of apparatus constructed and can only be found by experimenting.

Tell the story as described in the early part to turn the charm around several times. When he has done this you turn around and pick up the charm. The method of picking up the disc is rather peculiar but should be adhered to very rigidly as practice has proved this to be the best method of obtaining success.

The right hand is cupped and the charm picked up so that it rests at the foot of the " cup," thumb being to the top.

The disc is gripped between the curve of the little finger and palm of hand, in effect this makes a dark tunnel with the charm at the foot of the tunnel. Swing your hand up towards your forehead, turning slightly away from the spectators as you do so.

As the disc passes your eyes you will notice four glowing spots and one slightly darker spot. The darker spot is, of course the stone that the spectator pressed his finger upon. A glance at the pentacle before you pick it up will allow you to see the position of the various stones. Weave your tale around the wish that the stone represents and then ask the spectator to name his wish.

There only remains one or two points to mention.

The pentacle must be held against a bright light, stones uppermost, to charge the luminous paint. You can do this 10 or 15 minutes before you show the effect. The charm should really be lying on your table before presenting the effect, this will allow it to be exposed even further to normal lighting. You will find when you first try the effect that perhaps you will not be able to see any difference between the spots of light. Repeated practice will however, soon enable you to pick out the correct stone.

Do not actually name the stone, by weaving a story around the wish you will find that the spectators will afterwards credit you with reading their minds and will regard the stone pressing as so much fancy dressing. Have a small card printed giving the colour of each stone and the particular wish that it represents, making it easier for the spectator to remember the colour of the stone to be pressed.

" Tis said that words and signs have power O'er sprites in planetary hour, But scarce I praise their venturous part. Who tamper with such dangerous art."

Lay of the Last Minstrel.

Dealers Manufacturing Rights Reserved by the Author(s).

9 c 8T0NE

O = HOLE DRILLED & PILLED WITH LUMINOUS PAINT

" Mr. Parchment shook his head . . ' Something simple perhaps' ' There is nothing simpler, but I'll sell you something more difficult that you'll think simple.'"

" The Curate's Wand " — Freedon Hughes.

TRANSFORMATIONS EXTRAORDINARY

HARRY S. BURNSIDE AND CHARLES W. CAMERON

THE FOLLOWING item uses a borrowed, unprepared pack of cards and has several surprise changes finishing with a definite climax. The most difficult part is to explain the actual " modus operandi" on paper as the sleights involved are not difficult only requiring a certain amount of practice and care in presentation.

Effect :—Pack of cards shufiled by performer and one card selected. This card is not shown but is placed, face down on table.

Pack is then turned face up and spread between the hands. Spectator names any card that he sees in the spread and this card, say 5 of spades is pulled half-way out of the pack. Pack is then run through to find another two cards of the same value, say, the 5 of diamonds and the 5 of clubs. These three cards are then withdrawn from pack and placed back, reversed.

Stating that the unknown face down card on the table is the matching card to the three reversed cards in pack, the performer turns the card face up. He discovers that he has apparently made a mistake as the card is a King. Spreading the pack face down on the table the three reversed cards, which were originally 5's have now become three Kings. These Kings are removed from the pack and are mixed, together with the fourth King, by the spectator.

Performer now turns pack face up, cuts off half and spreads these cards ffice up along the table. The four Kings are taken from the spectators and inserted face down half way into the face-up spread.

Remainder of pack is cut, the cut is completed and these cards are laid aside. Flipping over the spread of cards on the table the four Kings have now changed to the four Aces. On spreading out the other portion of the pack the four Kings are found all together, reversed in the centre of the spread. The three 5's which completely vanished in the early part of the routine are now produced from the performer's pocket.

Everything may now be examined and the cards will be found to be quite normal. The above is a correct description of the effect as it appears to an audience and if the explanation that follows is gone over slowly with the cards in hand ths whole routine should be quite clear.

Explanation . . . The pack used is stacked as follows

The top nine cards are, Four Kings face down, indifferent card face down and four Aces face up, next the remainder of the pack face down. Shuffle and cut, retaining the top stack of nine cards, taking care not to expose the face up Aces. (Perhaps it is unnecessary to mention that the cards used should have white borders).

Force, by your own favourite method, the top card (King). This is placed aside unseen on table. Make sure that the remainder of stack is still kept on top of the pack. The riffle force to the centre is as good as any or cut the pack and straight force one of the Kings, recutting the pack to bring remainder of stack back to top. Turn the pack face up and spread between the hands (again keeping reversed cards hidden). Have the spectator name any card he sees, e.g. 5 of spades. Push this card half-way out of pack and holding the cards higher up, you, yourself look for any of the other two cards of similar denomination. In this case, say, 5 of diamonds and 5 of clubs. Also push these half way out of pack.

Now lower the pack and show the three 5's to the spectators. The reason for holding the pack higher is in case all four similarly valued cards are together as at the next stage you wish to give the impression that the card lying on table is the fourth matching card'. Square up pack with three cards projecting and turn pack to face audience. (See illustration A). Strip out the three cards removing behind them the three Kings stacked on top of pack.

Turn pack face down and drop stripped out cards face down on top. Position now, is three Kings on fop of pack and three 5's below them. Indifferent card and then four face up Aces. Push off the top card, a King, keeping it face down. Turn the pack face up, with the other hand insert this King, reversed into the pack about 6-8 cards from the bottom of pack. The spectator assumes this to be one of the just seen 5's

Turn pack face down and repeat this move with the next card (also a King) inserting same 10-12 cards from face of pack. This also appears to be a 5.

Turn pack face down again, double lift, showing a 5 spot card. Replace card(s) on top of pack,

slide off top card (King) and repeat the previous moves, pushing it in about the centre of pack. Turn pack face down and assert triumphantly that the card lying face down on the table is the fourth matching card of the set inserted reversed into the pack. Turn up this card and spectators discover that it is really a King. Performer appears crestfallen and then announces that he will require to bring a very strong concentration of magical power to rectify the mistake he has just made. Ribbon spread the pack face down across the table with the exception of the top dozen cards (face up Aces) to reveal the fact that the three 5's have vanished and that the three Kings are now face up in their place. Climax No. 1.

Remove the three Kings from the spread and hand them, together with the face up King on table to the spectator. Ask him to mix these four cards up, face down. While he is doing this, gather up the spread of cards and hold them face down. Palm off the three top cards and slip them into your pocket.

Turn the pack face up and hold it as in illustration B.

Keep a break with the thumb on the five bottom cards (four Aces face down and indifferent card which lies at the bottom of the pack). With the other hand take the four Kings from the spectator and bring them beneath the pack, at the same time release the five cards below the break, dropping them on top of the four Kings.

Remove face up pack with right hand, leaving nine cards in the other hand. Place these nine cards face down on top of the face up pack. Undercut bottom half of pack and spread cards face up along the table. Insert one at a time, spaced out, the four top cards from the portion held in hands. Keep these four cards face down as these are supposed to be the four Kings. Push them about half way into the spread.

The instant the last card is pushed in, turn over the half pack held in hands and cut, completing the cut. Place this portion aside face down.

Flip over the spread and reveal that the four Kings have now become four Aces. Spread out the other half of the pack and show that the four Kings are now face up together, in the centre of this packet of cards.

When performing this before lay spectators the invariable question at this point is . . . What happened to the fives?

Tf, however, no-one asks, magician himself states that. "In case you are wondering what happened to the three 5's . . . Here they are in this pocket!" Produce them and drop them on the table.

The foregoing explanation may seem to be terribly involved but if you have the cards in your hands and try out the routine you will find that it is quite straightforward.

We should like to give credit to Joe Berg for it was an effect in his book "Here's New Magic " 1937, that gave us the idea for the above routine.

" How long is your programme to last?' ' I hadn't thought,' said Mr. Parchment, ' say half an hour.' Mr. Verdi looked solemnly at the curate, ' Have you ever watched a conjuring show of an hour and a half?' he asked,

" The Curate's Wand " — Freedon Hughes,

INTER SPATIAL SORCERY

HARRY S. BURNSIDE AND CHARLES W. CAMERON

rpHE MENTALIST withdraws two packs of £ cards, each in a sealed card case, and lays them on the table.

" In daysi gone by . . wizards and witches used broomsticks as a means of transportation, Eastern magicians, of course, used Flying Carpets,

" Time, however, marches relentlessly forward and in these days of supersonic jets, wizards have been forced to discard their old, slow forms of transport. In their place they now use two methods . . first Teleportation . . used by those who are energetic enough to utilise the powers of their own mind. Second . . Matter Transference Cabinets . . being a lazy magician I use the latter method.

" This method has one great advantage over broomsticks - . not only can you use it to travel to another place but you can go forward or backward in Time. It involves, however, some little strain on the human frame, so I trust you will forgive me if 1 use these playing cards to demonstrate and not myself."

" Perhaps . . you, sir would hand me one of those packs of cards. This one sir, thank you."

Magician unseals the case and proceeds to quite fairly mix the cards and then requests the spectator to cut the cards and to complete the cut. Holding the cards before the spectator's eyes the magician riffles them and invites the spectator to merely think of one of the cards. Then he says . . " You have selected a card, sir, and I propose to send this card into the future."

" Would you, sir," (turning to another spectator) " name any number between, oh say, 1 and 25." The spectator names, perhaps 25.

",Right, sir, you wish this gentleman's mentally selected card to be sent 25 years forward into Time."

The magician places the pack inside the the empty card case and lays them aside, saying as he does so.

" Now we have placed these cards into the first Matter Transference Cabinet. You do agree Sir, that you have mentally selected a card. You neither touched nor removed one."

The magician picks up the second card case and opening it he extracts the pack of cards. He now proceeds to, quite fairly, count off 25 cards, laying the 25th card aside on the table.

" You sir, are the only person here who knows the name Of your mentally selected card and yet, here sir, 25 years ahead in Time, as illustrated by dealing 25 cards ... is your card. Please name it."

Spectator does so and Magician turns over the card ... it is the same card that the spectator has just named.

Everything may now be examined, you add nothing and nothing is taken away.

Any pack may be chosen by spectator at the beginning, it makes no difference. Impossible . . not really . . don your space suits and read the secret.

Requirements : Two packs of cards with card cases and a length of Sellotape.

Each pack of cards contains a short cornered card, shorted at the top left and bottom right hand corners (card being face down).

Both packs set up as follows, indifferent card, force card and short cornered card, followed by remainder of pack.

Seal flap of the card cases containing the set up packs. Whichever pack is chosen by the spectator, unseal it and extract the cards. Shuffle them, shuffling the top stack of three cards into the centre of pack, taking care not to separate the three stacked cards. Hold the pack in front of the spectator, cards facing him and riffle the top left hand corners quickly, at the same time ask him to think of one of the cards that he can see.

As your finger passes the short-cornered card the pack will break for a second and the force card will stare the spectator in the eyes and then the rest of the cards will riffle by too quickly for any others to register.

Ask another spectator to give you a number between 1 and 25 and then replace the cards in their case.

Pick up the second card case and opening it extract the cards.

The following move is one of Dr. Jacob Daley's. Say the spectator has given you the number 25, hold the pack in left hand turn over the top card, saying one, square it with pack, double lift and push the card(s) halfway over the pack; Pull out next card, saying two and lay it face up on top of previously turned card. Carry on doing the same until you reach 24. Stop, look at spectator and say—" Your number was 25 Sir, —please check the count." Square the cards and count them again, this time dealing them onto table until you come to the 25th card which will be lying face down.

(This, of course, is your force card, which lay second from the top of pack at the beginning). Hold this card, face down in your hand and turning to first spectator ask him for the name of his card.

Turn the card over and show that it has arrived at the chosen number of years in the future.

" A recent book on gambling tricks has been published by S. W. Erdnase, under the title ' The Expert at the | Card Table.' It contains a chapter on legerdemain." "The Sphinx," Volume I. Issue of Sept 15th, 1902. |

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