## Pentagram

An independent monthly bulletin for all who want good magic

11oL5Jt*,4 Januwuf. 1951 Xvice CUu Shitting.

" ¿Revised Ve^MOit"

This fine effect was invented by Ralph W. Hull and in its original and rather crude form, is described in the " Encyclopaedia of Card Tricks ", page 294. . Later Captain Trevor Hall introduced the ' Rough and Smooth ' principle into the effect and published his version in his Testament of R. W. Hull, pages 67/69.

I have revised the routine so as to overcome one point in which I considered Trevor Hall's version was capable of improvement.

Hull called it the " Three in One " because the effect contained three distinct factors : a prediction, the vanish of a selected card from one half of the pack and its discovery in the other half.

The effect in its final form is as follows :—

Two assistants are invited to help and stand on the right and left of the performer. Between them is a small table, preferably with a cloth on it. The performer writes a prediction on. a small card, places it in an envelope, seals it and hands it to a third member of the audience. A pack of cards is shuffled and the assistant on the performer's left is asked to deal twenty-six cards on to the table. The performer explains that as the Joker has been removed the pack contains fifty-two cards. The twenty-six cards having been dealt, the assistant is asked to square the packet up and place it on the table. The performer takes the remaining cards and, remarks that as the pack contained 52 cards and 26 have been dealt from it, there should be 26 left, but to make sure that the pack is complete he will count them. He does so and there are found to be 26 cards. This packet is placed on the table in front of the second assistant.

The first assistant (on the performer's left) is asked to think of any number from 1 to 26, and the performer takes the first packet of cards and commences to count them, asking the assistant to stop him when the thought-of number is reached. The assistant, in due course, says,

" Stop!" and the performer stops counting the cards, replacing the packet on the table. Supposing that the selected number is ' Eleven ', the performer writes '11 ' on a small card, saying, " This is the ' 11 ' packet ". This card is either laid on the tabte or placed in a small clip behind the cards.

The performer now turns to the assistant on the right and requests him to think of a number from 1 to 26 and then proceeds to count the second packet in the same way. When the assistant calls " Stop!" the performer stops counting and places the packet on the table and writes the number selected on a second card, this in turn being placed behind the second packet. We will assume that in this case the selected number is ' 9 '.

In the above there are no suspicious moves and it is quite clear that no cards are palmed. The audience response is invariably everything that a Magician could wish for.

The Explanation. Two duplicate cards are required, say, queen of clubs. One is roughened on the face. One indifferent card is also roughened on the face and two others are roughened on their backs; it is as well that these last-mentioned cards should have relative values so that the performer can recognise them with ease, say the 9 and 10 of spades. One of these cai*ds is placed on the treated Queen of Clubs. The other is placed on the indifferent card that is roughened on its face. Thé unroughened sides of the four çards are polished with Simoniz or some similar car polish, to accord with the usual ' rough and smooth ' principle. The pack is then assembled as follows :—

The indifferent card covering the roughened queen of clubs is placed in the 25th position from the top, whilst the roughened queen is placed 26th. It should be noted that in this position the " slicked " surfaces are together, so that if the pack is dealt the cards move freely, but if their relative positions are reversed, they will adhere and be dealt as one card.

The 27th and 28th cards are indifferent, the processed pair being placed at 29th position, the remaining cards in any order, save the duplicate queen of clubs which is placed at the 52nd position. Temporarily the top card. is transferred to the bottom so as to conceal the presence of the queen of clubs.

The performer commences by writing his prediction " Queen of Clubs " on the card which is then sealed inside an envelope. The pack is now false shuffled so as to leave the set-up undisturbed with the exception that the bottom card is restored to its proper position on top of the pack. The first assistant is asked to deal 26 cards He does so and the result of the deal is to reverse the order of the cards dealt so that the 25th and 26th cards are left on top with their roughened surfaces in contact. They can therefore be counted as one when the packet is later counted by the performer. The performer takes the remaining cards and in the pretext of checking the number, counts them out aloud. The first and second cards are thumbed off into the right hand, and next the processed pair are thumbed off with pressure and placed under the two already held; the remainder of the cards are counted on top of those in the right hand. Misdirection is obtained here by counting the first three before the assistant on the /performer's right, and then turning to the left çis the fourth card is counted; the remaining cards' are then counted before the assistant on the left. The fact that the "third card" (really two) is placed below the first two cards in the right hand gives neither assistant the possible chance of seeing that there is more than one card. If the processed pair were used in the 27th position there is always that possibility.

With the count concluded, the performer when closing the packet reversep the position of the two bottom cards so that the "slick" surfaces are in contact and they will deal as two cards when the packet is next counted. The result of this count also leaves the duplicate unprocessed queen of clubs on top of the packet. This packet is placed down, and the first picked

Flashback !

P stands for Pepper

EGYPTIAN HALL,

" The New " and " The Wonderful/

BY

PROFESSOR PEPPER

Admission. FAUTEUILS, 5/- STALLS, 3/- AREA, a/BALCONY, 1/-FAMILY SOFAS, 3 Seats, £1 1/-

SI'ATS may be booked at Mitchell's. Old Bor.d Street; Austin's Ticket Office, St. James' Hall ; or at the Box Office, Egyptian Hall, from 11 to 5.

NO CHARGE FOR BOOKING.

W. II. Hctot & Co., I'timeri, !<-•.'-...:'.= r'-w. \V.

From the J. B. Findlay Collection up, the assistant being asked to select mentally any number between 1 and 26 and to stop the performer, as he counts the cards. The performer proceeds to count the packet out loud, the- top cards being, the processed pair come off as one; the remaining cards counted are placed on top of these cards, so that when the performer is told to ' stop ', the processed queen of clubs will now occupy the selected position from the top. The packet is replaced on the table and the number selected written on a piece of card.

A similar process is repeated with the second packet and assistant. He stops the performer at ' 9 ' (say) and the cards counted off are replaced on the remainder and the result of this count is to place the duplicate queen of clubs at the required number from the top. This packet is not touched again by the performer. The second number is now written on a piece of card. The performer picks up the first packet and counting down to the selected number, without reversing the order of the cards, asks the assistant to note the value and suit of the card at that position. When the selected number is reached the two processed cards are separated by the performer and thus it is the queen of clubs which is noted. The cards counted off are replaced and, as their order has ng>t been disturbed, the processed queen of clubs is replaced on its partner's roughened back. This packet can now be shuffled if care is taken to ensure sufficient pressure so that the processed cards are kept together.

This packet is now replaced on the table and the business follows to perform the miracle of the transposition of the selected card. The packet is taken and turned face upwards, the cards being counted by the performeras he knows the value of the card (see ante) which covers the queen of clubs, he applies the necessary amount of pressure when this card is reached and the pair come off as one. There are, of course, twenty-five cards only and the queen of clubs has disappeared!

The second assistant is now asked to count the cards in the second packet. The duplicate queen of clubs is ready in the ninth (or other required position) and is dealt face down on to the table, and, as the processed pair have been transposed and have " slick " surfaces together, they count as two. This assistant therefore finds that he has 27 cards. The ninth card is now turned up and found to be the selected card. The prediction is read and found to be correct.

I have included the prediction of the card to be chosen because both Hull and Trevor Hall attached importance to this feature of the effect. For myself I never include this feature because it seems that an intelligent observer will say "As he predicted the card, its selection must have been forced in some way ". I think that the effect is improved by leaving this feature out, for the routine as described seems to preclude any possibility of a force. But that is only a personal opinion. Many, I know, will differ from me on this point.

As a point of interest, Ralph Hull, did not use the ' rough and smooth ' principle in this effect. He moistened the duplicate force card on its face with saliva, thus causing the card below it to adhere.

Trevor Hall counted the whole packet at the commencement and his version doés not include a count of the second packet of twenty-six. This I think was a weakness. In this version both packets are counted and the long business of counting the whole pack is avoided.

This effect was a brilliant conception and, in my opinion, one of the finest effects- w cards for close-up work that I know. Believe .ne, the effect on an audience is staggering.

Editor's Note. It was my great friend Francis Haxton who, after witnessing this effect in His Honour's hands at Harrogate, told me how excellent it was. Since receiving the details of the effect I have used it a number of times but have adopted an alternative placing of the duplicate card and its mate. . This placing automatically brings into play the 27th card in the second heap. The set-up of the cards is as follows :—

Twenty-four cards

Twenty-fifth card roughened on the back Twenty-sixth card is the force card and this is roughened on the face Twenty-five cards

Fifty-second card is a duplicate of the force card and is roughened on its face Fifty-third card is roughened on the back

The pack is false shuffled and the first twenty-six cards dealt off as in the previous version, in fact in the handling of this first heap there is no deviation from the first method. With the remaining cards the procedure differs, and at the point where the performer mentions that he has twenty-six cards remaining he turns these cards face up and starts counting them one at a time from one hand to the other. As the fifty-second and fifty-third cards are processed, these are dealt with a slight thumb pressure as one card, the other cards following until the audience see that twenty-six cards have been deliberately counted. The heap is then placed face down upon the table. When the choice of a number falls on this heap, the processed cards in being counted from the top are separated, thus when the count is completed and the cards replaced, the polished surfaces instead of the roughened surfaces will be together, and so when the final stage of the effect takes place, the spectator can pick up this pile and count twenty-seven cards.

When His Honour and myself were together kt the recent Magic Circle Television broadcast, he assured me that this was an improvement. It is not put forward as such, but rather as an alternative more suited to certain types of presentation. Whichever way you do it, you have a really excellent and most mystifying effect.—P. W.

SIojuwia fax the £iai*tg

I believe an honest showman is one of the •greatest works of God. He devotes his life towards making others happy. It seems to me that to lie down in the final sleep, knowing that he has done no~ one ill, robbed no one, ground down no poor, nor taken bread from the mouths of babies, but through all his life has made men, women and children laugh and forget sorrow, has lived .the best and fairest life waicn a person can live

I think when 1 am sitting in the evening of life —at tr " last stand ", and t>e grim, relentless " Old Man " stands beckoning to me to make the last short jump—to take the last bow and final curtain call—and the world hears that I have passed on—that millions will remember me for the help and pleasure I gave them, for the sunshine I brougni: mio their lives; for the pleasant i.ours they 3pen_ a.vay .hom the great pain of their lives—grim struggle.

To be rememberea tor having brought forth smiles, instead of tears; joy instead of pain; it seems to me a goodly life well spent. The joys I gave will surely remain clear and memory would fondly binl in their golden charm.

WM Skate*'a

### Suppest with the ffiexgiat

This angle to the old Living and Dead test was prompted by the correspondence in Bruce Elliott's " Phoenix ", on different methods of locating a glass of water from among half a dozen other glasses of water.'

Requirements are : Two memo, pads, a packet of envelopes (I use wage envelopes), a black pencil and a red pencil, two members of the audience, and that's all—oh! you'll need at least half a dozen people in the audience.

Having got a member of the audience seated on each side of the stage, this is my patter :—

" Would you imagine, please " (to man on right), " that you're giving a party, and that you're providing drinks for half a dozen guests? And would you, to show you really mean it—by the way, you DO really mean it, don't you?" (He'll say " Yes " if you're serious enough about it) " would you write with this black pencil on half a dozen slips from this pad " (Give him one pad) - "the name of the drinks you propose to provide? One drink to each slip. Make it all the same drink throughout, if you like, or make it a selection of the most expsns'.v3 drinks you can think of. It's not costing you much ". (While he's writing, with the black pencil, turn to man on left.) " And would you, Mr. Left, take this pad and this pencil " (red pencil) " and write on one sheet the word ' POISON '?"

(There will be a little delay while Mr. Right thinks of and writes the name of his drinks. Mr. Left will have written his one word fairly quickly, so attention must centre on h:m while tbe other man is writing his six slips.)

" Mr. Left has written his one word— ' POISON '—in red pencil on his slip. Now, Mr/

Left, if you want to be really bloodthirsty, and a bit hammy, you could draw a skull and cross-bones on your slip, as well ". (This gives Mr. Right time to get his slips written. Turn to Mr. Right and give him about a dozen envelopes; anyway, more than enough for his requirements.) " Mr. Right, will you please put each slip in an envelope and seal it up well?" (Turn to man on left.) '' And will you put your slip in an envelope, too?" (He'll say he hasn't an envelope to put it in, so hand him the rest of the envelopes—all of them—that you're holding.)

" Now, Mr. Right, will you take' Mr. Left's envelope and mix it up with the ones you put your drinks into? Now you've got seven envelopes, haven't you? Each containing a drink, although one of them's got poison in it? O.K., then mix them up again, and distribute them to seven people in the audience ".

(Now address audience.) " The position is that Mr. Right here has invited six friends to have a drink, and a seventh person to take a cup of cold poison. Don't open your envelopes yet —think of the shock if you've got the poisoned one! Now I'm coming down there to see what we can do about it. We don't want a poisoned corpse lying about the place, so I'll take on any symptoms there may be myself ". (Go down to audience and feel the pulse of each person who has an envelope. When coming upon the " poison " envelope, feel the holder's pulse and continue :)

" D'you feel all right? You do? Good! I'll be back in a minute ". (Go round all envelope holders before coming back to him, then continue :) " You may think you feel all right, but you don't feel so good to me. Here, you feel wv pulse; I seem to have taken on your symptoms ".

(He feels performer's pulse, which slows down and then stops.) " You see? You ought to be dead. Now I'm dead, instead. Fine thing to do, kill the magician! Wish I'd never started this ". (Make thi^ man announce that your pulse really has stopped.) " I think you've got the poison there—better open your envelope and make sure ".

(He opens the envelope, which contains the " POISON " slip, sure enough. Performer makes him announce it, and returns to stage.) " So that's what comes of serving up poison, you see. The moral seems to be that you should have a magician there to protect you—and, by the way " (Taking out diary.) " I have a number of vacant dates, in case any of you are thinking of having a party Well, it was worth telling you, anyway ".

(Lay hand on shoulder of man who wrote the " drinks " slips, and continue :)

" And as for Mr. Right, here, who so kindly invited six of you to have a drink—an expensive drink—with him, he wants me to tell you that he'll be waiting for you six gentlemen by the bar afterwards, to redeem his I.O.U. slips and buy you a drink ".

(Cross to Mr. Left.) "While Mr. Left, anxious to make up for his vain bid to bump somebody off, will no doubt stand drinks all round ".

That's all.

The envelopes? Half of them are identifiable by having the flap cut rounded or pointed, or by

^ flight pencil mark in one corner. It doesn't matter who gets which envelopes. Both men must have different styles of envelope, and there is no suspicion that one identifiable envelope is forced. It will be remembered afterwards that each man had a bundle of envelopes from which to pick.

The pulse-stopping is well-known among magicians, of course, but I would like to pass on a beautifully simple method which Graham Adams showed to me years ago. While the writing is being done on the slips, the performer takes his handkerchief from an inside breast pocket, mops his brow or blows his nose, rolls handkerchief into a ball and stuffs it under his arm-pit instead of returning it to inside pocket. Then when the time comes to stop the pulse, a gentle pressure of that particular arm to the side will slow and stop the circulation.

Have the pulse felt with a finger, not a thumb. There is a pulse in the thumb itself which cannot be distinguished from the " patient's " wrist pulse.

Finally : this may seem a simple, silly thing, but it's funny if the helpers are well-known characters, and it gets plenty of laughs throughout. Laughs are too few in the average mentalist's repertoire, so give it a try. I'm finding it goes down well; you may find the same.

P.S.—I can well imagine William McC. making this into a riot comparable with his cod X-ray item.