Leslie

J£DDIE CLEVER once produced an outstanding idea for the identification of an envelope which he called " The answer to a Mentalist's Dream," and which was published in the Tarbell Course.

This necessitated the purchase of two types of envelopes, both similar in appearance, but with different over-lapping seams on reverse, which were easily recognisable to the performer.

Difficulty occurred frequently in obtaining the two suitable kinds of envelopes, and I therefore sought a method in which borrowed, entirely unprepared envelopes could be used, and in which crimped corners, nail marks and other similar secret means of identification could be dispensed with.

This eluded me until recently when I re-read Annemann's Sh-h-h . . ! It's a Secret! and suddenly realised that the method, dependent upon the reverse back pattern of certain brands of playing cards, employed in his " Eight-in-a-Row-Location " could be adapted to borrowed envelopes.

The best type to use is the ordinary square letter size envelope, and the simple secret is that the overlap of the gummed flap on the reverse acts the same as the markings on a one-way deck of cards, i.e. if one envelope is secretly turned upside down before placing it into the remainder of the packet, the front or face appears quite normal but the performer can immediately distinguish it when he notes the reverse side. It being assumed that no writing of any kind is put on the address side, that being blank in every case.

The actual moves employed in the " Eight-in-a-Row-Location " are rather too blatant for close up work in this particular instance, although the principle remains the same.

However, those readers who care to use this idea will find that the following methods for a card reversal can, with a little thought, be adapted for use with the envelopes.

"A New Kink for the Reversing of One Card."—Annemann's SH-H-H . . .' It's a Secret! "The Genii" Cut-Deck Location."—Annemann's Book Without a Name.

My own method of reversing and presentation is as follows : —

On table or chair is a packet of ordinary envelopes, a packet of correspondence cards, or other plain cards—all the same size—that will comfortably fit into envelopes and a biro pen or pencil, in case spectator does not possess a writing implement. (PLEASE DON'T USE BLANK PLAYING CARDS THIS IS A MENTAL EFFECT).

Exhibit the cards and the envelopes, if close up work, just hand them to a member of the audience near the front; if on a platform obtain the services of two volunteers, one just to help seal the envelopes to ensure that you do not personally handle them, and for the other, ask for the services of a young man unmarried, but one either engaged or hoping to be so in the near future, if such a one is not forthcoming, select someone with a particular lady frend, this can be done delicately yet in a lightly amusing manner. Have this person stand on your right, and ask him if he would kindly write the name of the young lady of his choice (the Christian Name is sufficient) on one of the cards and place it in one of the envelopes. There is no need for him to conceal the name from you, in fact if you can't glimpse it, just ask him what the christian name of the young lady is, as knowledge of this will add to the presentation later.

Ask the other helper to stand on your left, take a small number of the envelopes, say about ten or twelve, insert one of the blank cards in each, and seal them. The act of licking or otherwise sealing the flaps allows you to note that these envelopes are all the same way up ; when this is completed take the bunch of sealed envelopes between the thumb and forefinger of the left hand, grasping them at the centre of the lower edge with the address sides uppermost.

Turn to the assistant on your right, ask him to seal his envelope (this enables you to keep track of the overlapping flap end) and to insert it somewhere in the bunch you hold ; as you say this, you reverse your pile of envelopes by taking them between the forefinger and thumb of the right hand at the top edge and swinging your right hand to the right so that he is now presented by what was originally the bottom edge of the packet, consequently when he inserts his envelope, it will be reversed, i.e. the overlapping flap will be in a different direction to the remainder :

If however, after sealing his envelope, he reverses it in any manner, do not reverse yours, but take them in the right hand, grasping them by the right edge or side and offer them to him, this will cause him to insert his upside-down.

DO YOU REVERSE

When he has done this, take them from him, idly mix (Charlier shuffle). Flap side to yourself, noting that reversed envelope is not left on or too near top in order to prevent a too sudden revelation, and place pile on table or chair, address side uppermost.

Briefly recap what has happened, emphasise that no one knows which envelope contains the name of the lady of his choice. (Don't draw attention to the fact that you mixed them yourself).

Then patter as follows :—" I would like you to imagine that you are giving a party, a big party, say your birthday party " (if you like you can ask the date of his birthday, and then give him a short astrological reading—any book of fortune telling, or some of the Sunday Newspapers will give you material for this). "You have a wide circle of friends, good true friends, but amongst them—one stands out—the Lady whose name you have written on a card and which is now somewhere in that pile of envelopes. You are mentally picturing that— Good. Now will you kindly help by imagining a little more, firstly that that pile contains all the replies to your invitations, secondly that each envelope contains a reply from a different person, and finally that each envelope is addressed—addressed to you—by the person whose reply is enclosed therein." (Get assistant to stand facing you, with his side to audience, you stand a few feet in front of him also with your side to audience. Give him the pile of envelopes to hold—address side up—in his left hand). " The postman has just delivered these, eagerly you take them, there is but one thought in your mind, will that certain charming person be present at the party, pray her reply has not been delayed—so please take the envelopes one at a time in your right hand, gaze at the address side for a second, then place to the bottom of the pile." (As he does this you watch for the reversed flap—immediately it appears, you say " stop"—although you may not know it, your heart is beating faster—a feeling of joy, a thrill of pleasure flows through you, she has replied, there in your hand is the letter you longed for from (e.g.) Elsie ! " Take it from him (to prevent him noting the reverse) tear it down the edge, extract the card, and show it for all to see.

Notes.

(i) I have discovered that in some brands of envelopes, when a bunch containing one reversed is riffled at the top edge, they will " break" at the reversed one in the same manner as a pack containing a "short" card. Readers may care to experiment regarding this.

(ii) An alternative patter idea to ensure that each envelope is held well up by the assistant, enabling you to note the flaps without difficulty, is to say that he knows she is fond of a special scented stationery, and he is to place each in turn to his nostrils in an endeavour to detect the perfume.

Dr. A. M. Wilson, he who published and edited the Sphinx for thirty years, once put into print a most biting remark, to wit: " The shores of time are strewn with wrecks of failure in the magic game, the majority of whom had no adaptability or were wrecked on the rocks of sameness." JINX, page 664.

ANGLE ON MARLO

three cards, two face down making a sandwich of the " predicted ? " card. Go on dealing or taking the cards with the free hand until told to stop. Turn over the dealt cards, place the next card on top, turn over the balance of the pack placing this in turn upon the face down card and then turn the whole pack over. The ultimate effect will be that the card you initially reversed will be at the thought of number whilst the card dealt as such will be two lower. Have the spectator read the prediction and then slowly count off the cards until you come to the " predicted card." The effect, apart from the fact that you have a reversed card in the pack is now complete.

It was from this point that Stewart went on and so with a slight break, and thanks to Stewart James and Francis Haxton, we'll give you "Angle on Angle on Mario."

KORTIALLY YOURS

When we received the details of the effect, being born extremely lazy we wondered whether it was necessary to even reverse the card in the performer's packet, or rather we wondered whether the turnover as such might be elimina ted. And so, if you dear reader want to make your job a little less difficult, when it comes ta the taking of the top card, turning it over and placing it underneath, simply double lift and instead of one take two cards. If you're super~ stitious, you can double lift on the second card,, the effect will continue the same ! P.W.

AT HALL PLACE, BEXLEY Reading from left to tight :—Harry Taylor, Shan, Billy O'Connor, Peter Newcombe, Francis White, Elizabeth Warlock, Reg. Salmon, the Great Masoni, John Brearley

{Reproduced by kind permission of Fox Photos Ltd.).

j^OT A month seems to pass now without magic sustaining an irreparable loss.

Arthur Buckley is death's latest victim and his passing will be mourned by all those who have a real love for magic. Whilst we never had the pleasure of meeting this great manipulator our friends. Geoffrey Buckingham and Francis Haxton have recounted on many occasions of the warm welcome that he extended to the British parties when they visited the States. His books " Card Control " and " Principles and Deceptions" will remain as two of the finest exploratory fields for manipulators. It was a coincidence that young Tony Blitz, unaware of Buckley's death, showed us on the Monday follow ing the receipt of the sad news, a delightful version of his "Separation" effect. We hope that Tony will publish this for it contains one of the most subtle switches we have yet struck.

The "Haunted House" telecast brought extreme reaction. Like the Marx Brothers, you liked the act or you hated it. There was no half way. All we know was that Hall Place, Bexley, pictured centre page, was the coldest spot in England on the day in question, and our thanks go to Elizabeth Warlock, who so kindly stood in for us at rehearsals during the day.

AT HALL PLACE, BEXLEY Reading from left to tight :—Harry Taylor, Shan, Billy O'Connor, Peter Newcombe, Francis White, Elizabeth Warlock, Reg. Salmon, the Great Masoni, John Brearley

{Reproduced by kind permission of Fox Photos Ltd.).

The laziness of magicians to-day is shocking. Nothing could be worse than the present vogue with certain conjurors who. when presenting that classic, the " Twentieth Century" silks have snap fasteners sewn to the corners of the handkerchiefs. Worse still, as we witnessed at a show last evening, when they have to fumble to snap the fasteners together.

Dan Vernon in " Select Secrets" gives a delightful method which seems to have escaped the butchers.

Alex, Emsley has struck another version of Tan Hock Chuan's "Astral Coin" effect, which you may remember, appeared i n our October issue. Coin plots are very hard to get and the original version and the one to be described should merit the attention of close-up performers.

A delightful evening at home with Fred Kaps and his charming wife we had a few days back. All being well he will be back in England in June. One of the greatest manipulators who can make manipulation effective on a stage, this young man, who looks so good and who conjures so well, is destined for greatness.

For the first time we are giving you an additional Annemann issue. In it are effects by four contributors of the Jinx, plus a delightful card item by Milton Kort.

There seems to be a growing tendency to decry the amateur among some of the professionals. This should not be— one may learn something from everyone and anyone. In most sciences to-day, a great many of the most important discoveries are made by amateurs. JINX, page 119.

Here it is—The World's Greatest Man & Wife Telepathy Act

Ken de Courcy's AUTOMENTALISM

THIS IS the greatest Man and Wife Telepathy Act devised to date. There comes a time in almost every magician's life when his wife wishes to join him in his work. One day they see a Telepathy Act and they realize that this is just the thing. But when they come to study the complicated codes required to work the act they give up, for they realize that it requires memory "plus."

A simple little gimmick, supplied complete with this printed book, cuts out all that hard work, and makes it possible to work the act ten minutes after reading the instructions.

THE EFFECT. The medium is blindfolded and seated on the stage—covered with a sheet, surrounded by screens, or simply seated with her back to the audience to ensure that she cannot see anything that goes on. Yet she is able instantly to name any card chosen from a pack (no force) and describe any object handed to the performer. It is a slick and fast act.

The act follows the classical lines, yet remember, the medium has only to learn how to use the simple gimmick supplied—anyone can learn this in less than ten minutes. For this reason it is even possible to press an intelligent assistant into service at extremely short notice.

There are NO LISTS OF OBJECTS for performer or medium to learn. There is NO MEMORY WORK and the medium doesn't have to learn a single code word ! THE APPARATUS DOES IT ALL FOR YOU !

There are NO ELECTRICAL OR SIMILAR DEVICES, NO PUNCHED CARDS or other complicated gadgets, NO LIGHTS, THREADS or similar signalling devices.

It comes to you complete with a neatly printed book of instructions and presentation, and that necessary " something."

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