## Prediction Of Ptah

HARRY E. BURNSIDE AND CHARLES W. CAMERON

THE MENTALIST hands a heavily sealed envelope to a spectator and asks him to initial the envelope, back and front and if he wishes he may place some secret indentifica-tion mark anywhere on the envelope.

The envelope remains in the possession of the spectator whilst the mentalist explains that he has placed a prediction inside. The prediction has been written on one of his business cards. When the time comes for the prediction to be disclosed the mentalist requests the spectator to produce the envelope. He is asked to guarantee that it has never been out of his possession, that it is still sealed and initialled and that he can still feel the card within. He may even hold the envelope against a strong light and see the outline of the card sealed inside. Taking the envelope the mentalist holds it at his fingertips and tearing it open allows the card to fall to the table. Now . . . if you are showing this to your fellow magicians watch their eyes as they strain to detect either the * switch' or the method of disposing of the duplicate prediction. Deliberately you tear the envelope open, tearing it down the sides and showing that it is perfectly empty . . . And ... so are your hands. Needless to say the card lying on the table has the correct prediction written on it.

Method. The envelope is our old friend, the double sided envelope. Take an envelope and also the front portion of another envelope. A thin trail of rubber cement around the edges of the front portion (first cutting a very thin sliver from the edges). Slip this front portion inside your envelope, the thin sliver cut away will make this easier.

Carefully press the edges together . . . first dropping one of your own business cards between the genuine envelope and the extra portion. (Going into the secret compartment.) Now seal the envelope and place ' blobs' of sealing wax over the flap. Have a spectator initial it.

When the time comes to produce the prediction have the correct prediction written on another one of your cards. Palm this in your right hand. Take the envelope, first having the spectator feel the card within. Tear open the end or better still open the envelope with a letter opener.

Under cover of the envelope transfer the card from the palm of your hand and press it against the envelope. Hold both together with the left fingertips and turn the envelope upside down. Squeeze the ends to open the envelope and allow the card to fall to the table. Wait . . . then tear the envelope open, show it to be empty, crumple it up and drop it in your pocket. One of Annemann's stunts would work perfectly here.

Prepare an envelope as described above and place it in your pocket. You also have in the same pocket a genuine envelope containing one of your cards, the envelope being sealed with sealing wax. Remove the genuine envelope and hand it to the spectator to initial. When he has done this suddenly say, as though a thought had just struck you ..." No, wait, something has altered. I wrote two predictions. I thought that this would be the right one but I have just had an intuition."

Take the envelope from the spectator, crumple it up and drop it in your pocket. Remove the faked envelope and allow the spectator to initial it and to retain it. Later you take the crumpled genuine envelope, bearing the spectator's signature, tear open the end, remove the card and then tear the envelope completely open. Crumple it up again and drop it in your pocket.

Most prediction effects have a few day's grace before they are required to be performed, so you should have ample time in which to do the ' necessary.'

When you come to do the actual effect work it as described. Whilst the spectators are reading your prediction you crumple up the envelope and casually drop it in your pocket and switch it for the genuine envelope. Apparently as an afterthought you throw the envelope back on to the table. Say nothing but watch their faces when someone picks it up later to examine it.

A small point, but one worth remembering is to draw a small circle on the flap of the envelope. This will ensure the spectator intialling in the identical spot in both cases.

" Tricks are like stories and should only be given for so long as the audience is amused and wants more."

John Mulholland ..." Magic for Entertaining "

THE MOST intersting piece of journalism dealing with magic during the month of August is an article entitled ' George Melies and the Film of Fantasy.' It appeared in 'The Times ' on August 31st., and the writer, unnamed, in a matter of a thousand words shows that not only does he understand the Kinema, but also magic.

We must give a big vote of thanks to our friend Eric de la Mare for this Malini issue of the PENTAGRAM. Those who have had the opportunity of seeing him work the brick trick, know full well the truly shattering effect that it has upon an audience. For those who like close quarter magic we hope they will use the effect and will not postpone the working of it because of the need for making up the necessary fakes. The photograph of Malini which appears on the front page and which was used by him in Ceylon on a brochure is, we believe, the last photo of himself that he used for publicity.

Malini, as many older members of the Magicians' Club may remember came to this country in the twenties and appeared on more than one occasion for the late Will Goldston. Herbert Milton had a number of interesting sessions with this legendry figure and can relate many anecdotes concerning him.

Our friend Jack Avis has just put out a pretty little method for a card discovery which he entitles ' Sorcerer's Serpent.' It is based upon a secret which is so very very simple but one which it is impossible for the beholder to discover. Selling at 6s. you'll find it on display at your favourite dealer.

Round the table the other evening Francis Haxton came up with a couple of variants on ' Take Three' which we published a couple of months ago. He has promised us both of them for a future issue.

The ' Budget' certainly looks a lot brighter in its new cover. It was at the A.G.M. at Brighton we raised the matter of making this little journal look little more contemporary, and it is a source of pleasure to see the idea carried into effect in such a comparitively short space of time.

Bobby Voltaire who has taken over the Editor's job has done, quite a job of work and has certainly succeeded in letting members of the 4 Ring ' have their magazine on time.

Just as we are ready to send back this proof to the printers, we hear with great regret of the passing of Rufus Steele. It will be a great blow to those who have a fondness for card magic for Steele was a man who could take his rightful place as one of the leading authorities on card table magic. It was from Dorny that we heard the sad news.

Speaking of Dorny or rather listening to Dorny is to have a great deal added to the overall picture of American magic. A first class raconteur we found that a four hour session passed almost in a flash.

With the first number of the new volume we have from Hans Trixer a delightful version of the needle threading trick in which the mouth is not used as a receptacle for the needles. When readers go through the routine they will, we feel sure, find that rather than diminishing the overall effect, the handling given by Hans for the two methods he explains, tends to make the effect even more mystifying. The needle threading trick, properly presented, as those who have witnessed Holden's fine performance. of the effect, is just as suitable for the stage as it is for intimate work. In the same issue we also have John Derris's version of the trick in which a copper coin held in one hand changes place with a silver coin in the other. The inspiration for this effect is that classic of dear old Johnny Ramsay. John's method which is perfect in effect makes it easier for those whose qualifications are more pedestrian.

At Southport the dealers all report excellent business, even though there were few novelties on show. One dealer's ad. on the back page of Abra has made us read it many times, as it would seem that, provided one can give the audience the necessary mental outlook, a new phase of magic is opened up for the budding wizard. Called " Unbelievable " the trick is a version of the cut and restored rope. Prior to the cutting, the rope is marked with an identifying tell-tale mark. Later the rope is restored, and truly " unbelievable " as it may sound, the tell'tale mark has vanished ! Now just think of the possibilities with this new type of magic . . a card can be selected and marked, torn into pieces and later restored without the mark ! A pound note, after the number has been noted, can be destroyed and later another

THE MAGIC CIRCLE FESTIVAL OF MAGIC Scala Theatre, October 3rd—8th

THE most pleasant thought that strikes one after seeing this year's show is that the Committee responsible have not fallen into the trap they made for themselves last year when nearly every act demanded audience participation. This year there is plenty of colour and the slightest of duplication.

After the stirring overture by Sydney Jerome and his Orchestra, John Young satanically attired speaks a witty prologue. Vanishing in a puff of smoke, the Master of Ceremonies, Dorny takes the stage. Used as we are in this country to rapid compering, the quiet style of this excellent raconteur makes a welcome change and the audience are soon under this American charmer's spell. We shall never see a cigar again without associating it with Dorny.

The first act to take the stage is that of Ram Das and Kim. The oriental mysteries which include the Sun and Moon, Paper Butterflies and Zombie are all smoothly and effectively presented. The stage is well set and the show is off to a nice start. Next to appear is Elizabeth Warlock. Calling her presentation " A Magical Rhapsody " and using cards, paper and silk she works up to a fast finish with a streamlined version of the Tambourine trick using a vast number of silks instead of the more conventional ribbon. The production of a silken Pagoda from the tambourine at the finish gives the act a nice climax.

Terry Hall next takes the stage and after using his famous dummy Mickey Flynn as an opener he brings on Lenny the Lion, a most marvellous dummy and a fine line of patter and effects. Here is one of the greatest technicians of all time. Add to that qualification a clean attractive personality and you have a ventriloquist earmarked as a top of the bill act. It is customary for the non-magical acts on the opening night to receive great ovations. To-night was no exception.

Back to magic and Tonny van Dommelin, the attractive looking Dutch manipulator. In a gambling House setting, Tonny did the most wonderful things with dice, cards and poker chips. He had a nice running gag of producing glasses of beer. This is an act that must be seen.

The Great Masoni and his company close the first half of the show. This is a Chinese presentation that includes some nice traditional effects well presented ... the Smoke Vase, the Chinese Rings, Bowls of Gobi and a fine vanish of Shan at the end.

Opening the second are Juan and Avril, a musical act with plenty of colour and black light sequence. The well known TV personality, David Berglas follows, and presents that delightful combination of cigarette production, pickpocketing and prediction. This is another case where personality means so much to an act. David's complete ease of working, his natural mannerisms and skill leave no doubt as to why he is one of the popular magicians of to-day.

We have already seen Shan helping the Great Masoni, but now she performs the Memory Test. She performs it with a manner that is unequalled and no matter how difficult may be the item named she never goes wrong. The act owes a great deal to the presentation of Eric Mason. It is a winner every time.

The act which follows is one which many have seen on TV, a medium which has never done it justice. It is the act of Albert Burdon and Company and it is one of the funniest cod acts we have ever seen. This was the show stopper of the evening.

Mireldo, the French illusionist closes the bill. Plenty of noise and fire all presented in a continental manner concluding with a " Sawing Through" which has to be seen to be believed for even knowing the method one is led to doubt whether the trick can be achieved in that way.

It would be unfair to conclude without giving great credit to Gil Leaney and Bernard Lovett for the Stage management and also the attractive settings.

MAGIC-GO-ROUND (continued) note with an entirely different number returned to the borrower. No doubt such tricks will follow the release of this exclusive and breathtaking idea.

From Arco Publications we have received a copy of Will Dexter's book on Chung Ling Soo. To do full justice to the contents we shall wait until the next issue, but in passing we would like to say that no student of magic can afford to be without this pen portrait of one of the greatest illusionists of this century. The price is 15/-

In closing this volume, may we take the opportunity of thanking all those who have helped to make up the contents. In trying to present tricks free from boxes and fancy pieces of apparatus we plow a fairly narrow furrow, and it gave us a great deal of pleasure when Francis Haxton talking and demonstrating at Southport, made reference to so many tricks that had appeared in this little journal.

^¡¡0 I I I I X

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