Pentagram

An independent monthly bulletin for all who want good magic

Stan SiaiLLie'b

Outline of Method : Three paper-covered novels are used, each one having about 130 pages. One of these, the one to be forced,, should have a more highly-coloured cover than the others. One of the others is faked as described in " The Plot Thickens," described in the December, 1950, Pentagram, and also contains information regarding the contents of the book to be forced.

A number between 1 and 130 is written down to represent a page. The digits of this number are added together and the resulting total gives the line to be counted to on the chosen page.

You gain information of the page number by use of the " impression book ", and this book also contains the 128 possible choices of lines; therefore, knowing the chosen number you can instantly refer to the chosen line.

Preparation : Imagine that the gimmicked " impression book " has the impression block stuck to page 65. Pages 66, 67 and 68 have thin sheets of paper stuck to them. Written on these blank " pages " are the lines from the book to be forced, e.g., page 26 in force book gives line 8 on page 26, etc. Write about 40 lines on each blank page : on page 66 write lines 24 to 64 from the force book, with the appropriate page number printed opposite each line. On page 67 write lines 65 to 105, and on page 68 write lines 2 to 23 and 106 to 129. The reason for this is that when a page number between 1 and 130 is chosen, a number between 24 and 105 is most likely to be named.

Now you see that if someone writes any number between 1 and 130 on a slip of paper resting on the front cover of the " impression book ", you just have to turn to the middle of the book, look at the impression of the written number and then refer to the line written opposite that number on the appropriate reference page.

Working : Place the three books on a table, first the unprepared one, on top of that the book to be forced and on top of all the " impression book". A slip of paper and a pencil stub lie nearby. A blackboard and chalk are at one side of the platform.

A spectator is asked to assist : " Would you give me a book?" you ask him, pointing to the books on the table. Nine times out of ten he will give you the top one or the middle one. If he gives you the middle one, give it back to him and ask him to have a look at the contents.

If he gives you the top one, take it and then ask for another one. If he picks up the force one, ask him to look through it.

If he picks up the unprepared one, take it from him and then place the two books you hold aside. " You chose that one?" you say, pointing to the one left on the table. " All right, will you please look through the contents? How many pages has it?—About 130? All right." Pick up the slip of paper and pencil, start down to the audience, hesitate, look at the books left on the table, go back, pick up the impression book and lay the slip on it as you go towards the audience again. " We want a page chosen in the book. Any page between 1 and 130. Would someone care to write down a number between 1 and 130 to represent the page?" A consenting spectator is handed the book and paper and pencil, and you turn your back as he writes. " Would you sign your name as well?" you ask him. " Then fold the paper up two or three times." This done, take the pencil and pocket it, then the book in

WM textet'6,

Cleve* 3Xeuil&, 5Jhw>je MungwäcutA,

This is not a trick, not a routine, not a complicated gimmick, but just an idea that may be useful to you. It's certainly been useful to me.

Would you feel like spending two shillings if you read an advertisement something like this? : .4 LONG-GUARDED SECRET OF THE EAST NOW RE VEA l.ED FOR THE FIRST TIME !

Guzunda Magic Supplies are proud to present f() magicians the carefully-guarded secret colloidal preparation used by the wonderworkers of the East from time immemorial. This little-known compound possesses remarkable powers, and is prepared from rare Eastern herbs and minerals. Present-day magicians who are privileged to use it can now duplicate the feats of the Oriental mystics, such as the instant levitation of any small object laid on the open fingers, the performance of the Indian Rope Trick in miniature, wherein an examined piece of string is caused to stand straight up on command, and the genuine threading of a needle while blindfolded.

But this is not all ! Guzunda's new discovery can also ha used to make any borrowed pack of cards into a rough and smooth pack, an impromptu book test can be performed with any borrowed book, the sum test can be performed using a borrowed note book, a pack of cards laid by a spectator against his own forehead will, when removed, leave the chosen card adhering there, and many other marvels can be performed with the aid of Guzunda's miraculous preparation, noiv made available to all magicians and sold by all chemists, hairdressers and sundriesmen, at the price of <>nlv TIVO SHILLINGS FOR .1 GENEROl 'S ' SUPPLY.

It would be worth two bob if it would do all that, wouldn't it?

All right, forget abeut Guzunda Magical Supplies and off with you to your barber's, where you may buy for 2s. a decent-sized tube of Pomade Hongroise, better known as Moustache Fixative. Buy the white kind, which is labelled, oddly enough, " Blanc ", and which is semitransparent.

This moustache paste, you will find, will take the place of Collodion-resin or other Levitators, magician's wax, daub, and (in some cases) roughing fluid. It is quite transparent when spread in a thin film, and when rubbed on the fingers is invisible and indetectable to the touch. Yet it will levitate playing cards, pencils, wands, light-weight balls and the usual type of article which can be lifted by the stock levitators.

Used in place of magician's wax it will mos: effectively cause cards to adhere together or to any other surface, whether horizontal, vertical, or upside down. In conjunction with thin celluloid tumblers you can do an anti-gravity effect by smearing a little round the mouth of each tumbler. If you use a book test where page^ must be stuck together temporarily and indetect-ably, then this paste will do the job for you. Using a note book with the edge of the page smeared with this stuff, you can do the sum tes: in my version where the spectator's sum is stuck to the cover of the book when closed.

Smear some on the finger anl thumb (a fairly generous amount for this) and run a piece of string between the finger and thumb. The string will stand up rigid for about six inches according to its thickness.

continued on opposite page

Flashback!

U stands for Underbill

Lambeth Baths Winter Meetings,

Inaugurated by Bev. O. M. MURPHY Superintendent-Rev. GEO. FULLER.

PROGRAMME. SATURDAY, MARCH 6th, at 8 p.m.

PROF. J. S. UNDERBILLS

Reined Drawing-room Entertainment,

As given Ijy him wirh such success in India and German) : also at the People's Palace, and various Bazaars am! Exhibitions in and nrcund I/jndi ■ ■. assisted by Miss LENA ROSE. PART I

Prof. UNDERBILL will appear as the Wizard ol the East In hl> Piestlglntorlnl Acts, selected from the following Illusions a Mistehous Candle. The Birth of Flowers.

Productive tv.r. Bag. Beautiful and Astounding Transformation of Handkerchiefs. Mystic Coins. Flight of a Turtle Dovf.

MaEvellous Transmission of Time. Obf.dient Bottle ami Class.

Ite will al»o perform his startling and amusing Raiiiut Trick. INCIDENTAL MUSK.

Up-to-date Budget of Mirth, Mystery and Mimicry,

OomprUUlB VENTBIX.OQUIAX. SKETCHES,

BHADOWGRAFHY, COWWMUiTG Free from Vul^aritv, Original, and Duly Pru'.ected. Song I.I-ITI.E LENA ROSK.

20 MSNT7TES IN SHADOWtAND.

A S,.h. .■r:r.;„i,, i,.i„„,t /.„.(Ml, H:-I sw,

Cit.cIu line wilh I'koi . UN UKK 11 ILL'S SidesplittingA'crlnlnquial S'«Ictl, emitled ;

"CURIOUS JOTTINGS,"

A-.i.ted I,) Mr. & Mrs. OAISV CkOCCIXS, the Comical Couple, and MIMICKV.

ADMISSION B7 PROGRAMME, 2d.

From the J. B. Findlay Collection

Witfiid fon&cn'ô

CL ßMck with a 3iuwpxM,e

While this little card trick is quite worth doing for itself, the patient reader who stays with me until the end will see that it also has a hidden purpose.

A card having been selected ana replaced, the performer shuffles the pack and spreads it in a fan with the faces of the cards towrards himself. With an air of great concentration he p;cks out eight cards, one by one, which he pu.s, faces down, on the table in two heaps of four. He closes the fanned pack and asks the chooser if the selected card was a red or a black one. Whatever the reply he picks up one of the heaps of four cards and replaces it on the pack, saying, " We shall not want these then." The other four cards he takes in his hands. He turns one over, saying, " That is not your card!" He does the same thing with a second, and a third. He asks the name of the selected card and turns over the fourth it is the chosen one.

The spectators, observing that the four cards were all of the same colour, assume that the four discarded ones were of the opposite colour but in that they are wrong. The four other cards were the four aces, which now lie on the top of the pack in readiness for your favourite card trick.

The majority of Pentagram readers will nol need to be toid how to do it. The following paragraphs, then, are for the benefit of the minority, to whom I will explain how I go about it personally.

I sight the bottom card, remember it, and shuffle it to the centre of the pack (via the top) with an injogged card above it. I am prepared, then, for the classic force and, since I do not care " a tinker's curse " if I force the card or not, I generally succeed. (Which, incidentally, is the secret of the classic force.) I do not care because, if I miss the force, I use the " force card " as a key card and have the selected one replaced beneath it, using for this purpose the sleight which I described in " But Not To Play " under the egotistical title of the " Jonson Undercut." (All authors are egoists but few admit it.) So, when I look through the pack I can pick out the selected card either because it was forced or because I know the card above it. I also pick out three other cards of the same colour, to complete one heap, and the four aces to make the other.

Perhaps I should mention, for the benefit of any Abracadabra subscribers who may have borrowed this issue, that the trick could also be used to put the four kings on the top of the pack, or even to put five cards there for a Nap Hand or Poker trick.

[The rights of translation and reproduction of this article arc strictly reserved]

CLEVER DEVILS, THOSE HUNGARIANS—continued from previous page

Use a very small quantity on the end of a piece of thread and you can thread a needle behind your back. Likewise, roll a little round the end •of your C. and R. rope to stop it fraying.

Put a dab or two on the back of several Treasury notes and do the Multiplying Note trick.

Rub a finger on which you have smeared a little paste on the back of a card and you leave the very faintest smear which will rub off with another finger.

Put a dab the size of a pinhead on a card and the next card will stick to it firmly until you slide them apart. Smear a thin film over the back of a card and it serves as roughing fluid—but it has the advantage of rubbing off easily with a handkerchief.

If you do a billiard ball routine, a tiny dab on one baU will enable you to balance another ball on it. If you use threads in any effect, a dab of paste will stick them lightly to the tabl : a chair-back, the scenery or even the ce'ling until you want to release them. For the rising cards a pin-head dab will pull the card up vertically, but won't pull it far if the pull is at right-angles.

A small dab will hold the fake coin inside your shell penny, and will hold coins together lightly. A bigger dab will hold the spare piece in the torn and restored tissue.

Add a little applied with the finger and thumb will give you a spiked moustache as sharp as Charles Harrison's. What other magical commodity will do that for you? Clever devils, those Hungarians!

Stewed JÂeugfiiô

The following effect was evolved about three years ago on an evening when I was showing a few card effects and wished to vary the type of effect. No preparation is necessary, it can be performed quite impromptu but the effect on the audience far outweighs the simple means required to bring it about.

Effect.—Two packs of cards are required, both of which may be thoroughly shuffled before commencing as there is no preparation required. A volunteer chooses any pack and sights a card in it. Two further volunteers also make selections and the pack is shuffled once more. The performer now hands vol. no. 1 the second pack with the request that he (or she) concentrate on the name of their card and leaf through the pack, faces towards them, remove his card and without showing it place it face down on the table.

Whilst he is doing this the performer states that he will endeavour to read the volunteer's thoughts and, leafing through the pack he holds, also removes a card, placing it face down on the table next to the volunteer's card. This procedure is followed with the other two helpers. The performer now turns up each pair in turn, showing that the pairs match in suit and value, thus proving that the volunteers' minds have been correctly read.

Explanation.—It does not matter which pack is chosen, since there is no preparation. The performer approaches the first volunteer and slowly riffling the cards invites his helper to stop him at any point he wishes. When he is stopped the performer breaks the pack and lifts the top half towards the vol., asking him to remember the card at the break.

In replacing the top half, which is held in his right hand, thumb at the bottom, fingers at the top, the middle finger presses on the face of the card and, twisting it to the right, causes the card to break at the lower end. Thus as the top packet is replaced, the bottom card goes to the bottom of the pack. After the selections have been made you will have the three selected cards at the bottom of the pack. This move is known as the Master Move by Joe Ovette and is more completely described by Stewart James in the Mark of the Reader (Pentagram Vol. 1, No. 5).

Performer now shuffles the pack, retaining the three chosen cards at the bottom, then, noting the bottom card, gives the pack a complete cut. All that now remains is to build up the effect. As each volunteer removes his card from the pack and lays it face down on the table, the performer does likewise, commencing with the first and sighted card.

The reader is advised to try this out. It is most effective on an audience.

CanaôticA

Prompted by our Editor's remarks (April Pentagram) that no effect had touched on " Canasta ", I here submit a card trick which could prove an ideal overture to a game of Canasta.

Let us sit at the card table with our partner and two other players. The two packs we shall use are lying side by side, and there are the four jokers required for the game.

We offer to display a little-known fact regarding the game, so we hand one of the packs out to be shuffled. On receiving it back we glimpse the bottom card and remember it. Now a player cuts the pack and we lay the bottom portion across the cut, in readiness for the well-known Cut Force.

Taking the other pack we quickly run through it and bring the duplicate of the force card to the top. We tell our friend that Canasta begins with the letter C, so we lay on the table a king. Next the letter A is represented by an ace. For the N we lay down a nine spot. We continue until the word Canasta is represented by a row of faceup cards, thus :—

We point out that the letter S can also be a six spot, so we put a six below the seven. Also, T can be a two spot or a three, so we place these cards on the table under the ten. However, we make sure that the three is a black three.

4 jokers.

Black Three. Pack.

(Cut and crossed )

Performer.

We now announce the remarkable fact that if we total the values of all the cards on the table (counting the king as thirteen), we arrive at the number 53, which is also the number of cards in a complete pack, with a joker.

While this statement sinks in, we are gathering the cards and placing them on top of the pack, making sure that the two spot and black three are the ninth and tenth cards from the top.

It is now up to us to make a false shuffle and a few false cuts which do not disturb the top stock.

The pack, reading from the top is, eight cards, then a two spot, then a black three, and then a duplicate of the force card in the other pack.

Taking the four jokers, we make some remark regarding the powers held by the jokers over the other cards. For instance, as the joker is a " wild " card in Canasta, it can control the position of other wild cards, these being the deuces.

We now wave the jokers over the pack and request one of our friends to spell out WILD

DEUCE from the top of the pack, removing one card for each letter. He does so and on the last letter turns up a ty/o spot.

We replace the spelt cards on top of the pack and false shuffle. Now let us try for another card used in Canasta—yes, we will spell out BLACK THREE. There is more fanning the pack with the four jokers, and the card is spelt out by the spectator as before. On the last letter, there is the black three.

We replace the cards as before. Now, can our jokers find that coveted card, the red three? We'll try.

We spell from the top, THE RED THREE, and on the last letter we turn the card over. No? Not a red three? Have our jokers failed?

Wait, what is the card? It is (say) the four of diamonds. Let us see what card you cut to in this other pack. Well, well. The four of diamonds. CLIMAX.

Shall we now enjoy a quiet game of CANASTA?

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