## VOLUME 11 No 8 i6 20 Cents MAY 1957

TRIPLE MENTAL COINCIDENCE

### RAVELLI

THREE PEOPLE, namely the magician and two spectators, each think of a number and remember the card falling at that number. Although such numbers appear to be governed by chance, the cards thought of, impossible though it may seem, are identical!

Method. Though the effect calls for a long description its action is easily understood. First of all you need a pack of fifty-two cards and two spectators. For the purpose of the description let us call one the right and the other the left spectator.

Hand the pack to the left spectator for a thorough shuffling. When he has done this stretch ou[ your left hand in order to receive the pack. At the same time turn away your head, so that in effect you stand with your back to the spectators and cannot see what goes on. Now ask the spectator on the left to cut off about half the pack and take it. The nearer he cuts to exactly half the easier your work later. If the pack is held in a position similar to the ' mechanic's' grip you can tell without looking if he has taken approximately half. If the amount should be much less ask him to take a few more. The grip you have on the pack should prevent him taking more than half.

Now without moving ask the spectator on the left to hand to the spectator on the right some of the cards he holds. There is a rider to this and that is that the cards should not be divided exactly; one must have a thick heap and the other a thin one. When the right hand spectator has taken his packet each is asked to count in a silent manner the number of cards he holds. When this has been done they are to slip the cards into their pockets.

At this point explain that each has a number in his mind, a number achieved purely by chance. The procedure you have adopted, you go on to explain, rules out favourite numbers which might result in the two spectators having the same number in their minds. Furthermore, it is impossible for you to know either number.

Turn to the left hand spectator with the cards which were left in your hand, you explain that you will show him these one at a time, numbering them as they are shown. He is to remember the card whbh falls at his thought-of number. With the pack held face down in the left hand, the right hand removes one card at a time, shows it to the spectator then places it face down on to the table. At the sane time he counts each card. At the end of the count the performer knows not only the the number of cards held by the two spectators (for to achieve this he has only to subtract the number of cards dealt from fifty-two), but he has also reversed the order of the cards so that the card which was at the top of the pack is now at the bottom and vice versa.

Now at this point in showing the cards to the second spectator, the one on the right, it is necessary that he thinks of the same card and to achieve this it is necessary to reverse one less card than the total number. As you have reversed all the cards, an adjustment must be made. Let us give an example.

The number of cards that you have counted on to the table is twenty-nine which means that the two spectators hold twenty-three cards between them, and to achieve the force on the second spectator, twenty-two (one less) cards must be reversed. You have, therefore, reversed the order of seven cards too many. These seven cards lie now on top of the packet, but their transfer to th« bottom of the packet will adjust the matter. Perhaps the easiest way to achieve this is to run them off singly in an overhand shuffle, but any other method arriving at the same result will do.

The second supposition is that the number of cards taken by the first spectator may be smaller than the number to be reversed. Suppose that the spectators hold twenty-eight cards between them, which means that you have twenty-four in your packet. This means that twenty-seven cards have to be reversed, and as you are holding only twenty-four this means that three cards must come from the bottom to the top of the packet. The means of doing this either openly or underhandedly are numerous.

When the cards have been transferred from either bottom to the top or top to bottom, the effect is as good as finished.

At this point, however, where the cards have been picked up and the necessary adjustment made, stress that you can neither know the number or the card in the left hand spectator's mind.

The cards are now shown in the same way to the right hand spectator, but when say two-thirds have been dealt ask the spectator if you have passed his number. If he says " Yes," drop the remaining cards on top. This helps to speed up the trick a little.

Both spectators will now have the same card in mind.

Tell the spectators that the cards in their pockets are now of little consequence. Pick up the cards lying on the table with the right hand. Stretch out the left hand and as the left hand spectator takes his cards from his pocket, take them face down in this hand. Now place the cards in the right hand on top of those in the left hand and extend this same hand towards the right hand spectator who, having little choice, places his cards on top and thus makes up the full pack.

### Square up the pack and place it on the table.

Explain that before you started this 'experiment,' you, too, had a number in your mind. It was (naming a number which is one greater than the number of cards which remained after the spectators had taken their share. Thus if you had twenty-four, you name twenty five).

Slowly deal off twenty-four cards on to the table and then deal the twenty-fifth placing it near the front of the table without permitting anyone to get a glimpse of its face. Stress the fact that the card, because of its position, cannot be exchanged.

Explain that the numbers of the spectators were governed by chance and that in view of what you said previously it would seem unlikely that they could be the same. " My number," says the conjurer, " was twenty-five. May I ask your numbers?" (These are given, say, as 18 and 10.) " Thus," says the conjurer, " we have three numbers, 10, 18 and 25. All are different and each thought of a card at that number." (This is not quite in accordance with facts, but nobody is likely to query it.) To the first spectator: "You had the number 18. What was the card you thought of? " We'll suppose that the reply is the ten of spades. " Thank you, sir and you, sir, had

10. What was the card you noted? " The second spectator rather amazed will give the same card, the ten of spades. Then say, " I, too, had a number in my mind. It was 25 and the card of which I am thinking is still lying at the front of the table. Will you please turn it over ? " The spectator does so and to his amazement finds the ten of spades.

Additional notes. When dealing the thought of card glimpse it at the same time and thus be ahead of the spectators before they name the card.

The spectators may write the names of their cards on a slip of paper, folding them and leaving them in full view. By some this might be thought a more telling finish if the writing on the slips is read aloud at the penultimate stage of the trick.

To shorten the procedure somewhat, should the reader think it too long, any number of cards may be used providing the total number is known. For instance I sometimes use thirty-six cards. These are easily available after a standard four ace effect where sixteen cards have been used and then placed aside.

I have already mentioned that with the second spectator's choice it is unnecessary to go through all the cards. With the first spectator this cannot be done as the performer must know the total number of cards held. However, I do use a subterfuge which obviates or seems to obviate counting all the cards. When I turn to the left hand spectator and explain what I want him to do, I count off five cards, instancing that were his number five he is to think of the fifth card. I then place these five cards under the packet, retaining a break. Then instead of counting the cards on to the table I count them from hand to hand. When I reach the break I ask the spectator whether he has seen the card at his number. With an affirmative answer, I simply cut the cards under the break to the top of the packet and add five to the counted number thus arriving at the total number of cards in the packet._

CASE FOR CARDS

### A SERIES BY STEWART JAMES THE HOODOO CARDS

A WRITTEN prediction is given to a member of the audience to retain. (1) After the Joker is tossed to one side, the pack is shuffled (2) and dealt in four face-down piles, a card at a time.

A spectator slides the Joker into any pile and removes the card either above or below it. (3)

Letting no one else see his selected card, he places it on any heap. Any two of the remaining three heaps are placed on top of it.

The remaining heap is cut by a second spectator who notes the top card after the cut. The large heap is dropped on this small heap and the pack is cut. (4)

A third spectator removes any number up to a dozen cards from the top of the pack and places them to the side. He does the same, with the same number of cards from the bottom. (5)

He looks at and remembers the card that is now on top and gives the pack a single cut.

You quickly fan through the pack and remove three cards in a group. (6)

The centre card of the group is the first card noted.

The total value of the other two cards is the same as predicted. Counting on to the number predicted, there is the second selected card.

The dealt off cards are left on the table but the two packets, placed to the side by third spectator, are returned to the pack (7) and the predicted number is counted again.

There is the third selected card.

The Method.

Secretly get four 3's on the bottom and four 10's on the top of the pack.

(1) The number on the prediction is 13.

(2) Riffle shuffle, leaving the top four and bottom four cards undisturbed. Conclude with a false cut.

(3) This method of selection leaves thirteen cards in the pile.

(5) These two groups are kept in separate piles.

(6) The first selected card will be the only card between a 3 and a 10. Shift all the cards below this group of three to the top of the pack.

(7) One packet is returned to the top and the other to the bottom of the pack.

BROWNWAVES-NO LOOKING

ALEX

L WO spectators each think of cards lying at freely chosen numbers. The performer reads their minds and names their cards. The cards are shuffled beforehand and the performer does not look through the cards.

### The Method.

Start by dividing the pack exactly in half, and give half to each of the two spectators taking part. It is best if you can get a break beneath the twenty-sixth card of the pack before starting so that you can just cut the pack in two at the break. Otherwise, deal the pack into two. If you deal in twos and threes, the deal is speeded, and also it is less obvious that the pack is being divided exactly in half.

Ask the two spectators each to shuffle their cards and then to cut off a number of cards and return the rest to you. Ask one spectator, whom you will call A, to cut off more than half of his packet, and the other spectator, B, to cut off less than half his packet. This is not absolutely necessary, but it makes things simpler for you later, and is quite logical on the excuse that you do not want both to cut off the same number. When both spectators have made their cuts, take back the remainder of A's cards, an then the remainder of B's cards, put B's remainder underneath A's keeping a break between them with you left little finger. Square up, and while squaring sight and remember the bottom card of all. This is the card which B will choose. It can easily be sighted if you square the cards at the left fingertips, so that they are in a vertical plane, faces to the left (B, of course, should be to your right).

Ask both spectators to count their cards secretly and to remember the numbers they obtain. While they are counting, you appear to give your cards a casual shuffle. In fact, you transfer your cards to your right hand in the position for an overhand shuffle, taking the left little finger break with the right thumb. Run the cards above the break singly into your left hand, counting them to yourself, and when you reach the break throw the rest of the cards all together on top. Remember the number of cards you have counted as your key number. Because of the way you limited the spectator's cut, the number will be quite small. You will find that this shuffle can quite easily be done by touch

ELMSLEY

alone, without looking at the cards.

Now tell A that you will show him the cards one at a time, and you want him to remember the card that lies at his number. Take the cards from the top of your packet, show them to A, and then lay them in a pile on the table, face down. Their order is thus reversed. As you show the cards, count aloud. Carry on showing the cards until you have shown twenty-five. Say "You should have seen your card by now—do you remember it?" Pick up the counted cards, and replace them on top of the remainder. If by chance you have less than twenty-five cards in your packet, count out all the cards you have, pick them up, and cut sufficient cards from the bottom to the top to make the number up to twenty-five.

Turn to B, and ask him also to note and remember the card at his number. Show him the cards as you did to A, counting aloud. The heap into which the cards are dealt on the table should be a little scattered. When you come to the card which lies at the key number which you remembered earlier on, deal it so that it is a little further to the right in the heap than the other cards. This card is A's card. Deal on up to about fifteen, and then say, "You chose the smaller number, so you should have seen your card." Pick up the dealt cards, taking care not to let A's card go square with the others, and replace them on the remainder. Square up and take a break under A's card as you do so.

You can simply sight A's card at this point, I prefer to continue along these lines: "You are both thinking of cards, and the only evidence outside your minds as to your cards are the packets you cut off. I want you to destroy that evidence by returning those packets to the rest of the pack." Cut off file cards above your break with your right hand and hold out the cards in your left hand for A and B to drop back their packets. Square the cards in you left hand by tapping their inner ends with the back of your right fingers. This action is quite natural, but it tilts the right hand so that you can sight A's card on the face of the right hand packet. Then drop the right hand cards on top of the rest, and put down the pack. Go into the usual pangs of mindreading, and name the two thought-of cards.

### 30th CENTURY PROPHECY

1 HE MENTALIST takes from either his pocket or his table two visiting cards and on one a member of the audience is requested to write his name. On the other side the mentalist says that he proposes writing three short phrased prophecies for three different members of his audience.

### WARLOCK

He will designate them respectively 'A,' 'B' and 'C.' With the writing on the card complete it is placed inside an envelope the flap of which is folded over but not sealed. This envelope is rested in an upright position against a glass standing on the table.

The three members of the audience 'A,' 'B' -and 4 C' are noted.

' A' is asked to think of a colour, and th§n state his thoughts to the remainder of the audience. This colour is noted by the mentalist on the second card.

' B' is asked to think and then state a four-figure number. This, too, is written upon the card.

Finally ' C' is asked to think of any city in the world and when he has made his choice known to the audience this, too, is added to the card.

Momentarily placing the card on the table, the mentalist picks up the envelope and going to the member of the audience who signed his name upon the first card, asks him to take it from the envelope. He is asked to check that it is his signature upon the card. With this agreed he is asked to look at what the mentalist wrote on the opposite side.

Taking the card on which ' A,' ' B ' and 'C's' choices were written, from the table, the mentalist says to his audience: —

"' A' with a choice of any colour chose orange. What did I write on the card that you signed ? " The answer from the assistant holding the card is " Orange." This mode of question and answer is successfully continued with the remaining two choices.

The Requirements.

Two similar sized visiting cards.

Two similar sized envelopes.

A pencil.

A glass.

The envelope used helps a great deal with the trickery and is prepared in this manner: —

Firstly cut away the back portion of one of the envelopes and shape it as in Figure 1 so that it conforms with the shape of the front portion. Now slip a piece of cardboard inside the other envelope and with a razor blade make a slit as shown in Figure 2. One side of the cut-out back is now lightly coated with seccotine or office paste and then slipped through the slit in the envelope so that it aligns with the normal opening in the envelope. Figure 3 shows both front and rear view of the completed envelope. When dry it will be found that if a visiting card is placed inside the envelope opening it will automatically emerge through the back of the envelope. Just a slit across the back of an envelope can never make this clean in handling. The slit will show, of course, on the address side, but this side is never really shown to the audience. However, if the reader wishes to conceal it there is an easy procedure which I have adopted. In making the envelope I use as the shell, one which has been through the post. The necessary slit having been made which will go through part of the name or address, I rule a blue pencil line along the slit and the remainder of the address, then adding another address making it appear that the letter has been forwarded to another address. With the two cards, envelope (flap uppermost), glass and pencil on table the mentalist is ready for the presentation.

cur WW

cur WW

The Presentation.

The cards and pencil are taken with the left and right hands respectively. The mentalist steps into the audience and handing one of the cards and the pencil to a spectator asks that the latter's name be written on one side.

Taking back card and pencil and returning to the platform he tells his audience that he proposes writing down three prophecies. On the side opposite to the signature he writes:

Plenty of space in each case should be left after the word ' choose.'

At this point the performer should be standing to the left of his table, and with the words, " These are my three prophecies "; the pencil is placed in the breast pocket and the ' prophecy ' card is taken by the right hand, which then reaches out for the envelope. The envelope and card are then brought across to the left hand going on top of the blank card. The right hand takes away the signed card, leaving the envelope gripped by the left hand thumb on top and the fingers underneath. With a remark, " For a minute or two I'll leave this card in the envelope," the right hand holds the card aloft and then taking care that the signature side is uppermost, the fingers holding the card flip open the flap of the envelope and slide

FRONT VIEW 5ACK_V!EW

SHAPED roKJWN INDKfUB SHADED PORTION, ETC.

metf cutout a gummed TO SLIT ENVELOPE

FRONT VIEW 5ACK_V!EW

SHAPED roKJWN INDKfUB SHADED PORTION, ETC.

metf cutout a gummed TO SLIT ENVELOPE

the card into it. Actually the card goes through the slit and underneath the blank card. With the added remark, " I'll place the envelope here," the right hand fingers turn down the flap and slide the envelope from the left hand, leaving the two cards behind. The cards are automatically squared and with this action a turn to the right is made and the envelope, flap side to the audience, is rested against the glass.

In his left hand the mentalist now has the blank card on top of the ' prophecy ' card. To the audience he just has the blank card. They are casually turned over as his right hand goes to his pocket fQr the pencil.

Three helpers in the audience are requested and are dubbed A, B and C.

Each in turn is asked to think respectively of a colour, number and city and as these choices are named aloud the mentalist writes their choices in the appropriate spaces on the signed card. The pencil is replaced in the pocket.

Now comes the essential move of the trick and smoothness is a necessity. The right hand comes across and takes the two cards as one from the left hand. They are held thumb at one end and first and second fingers at the other (see Figure 4). The pressure of thumb and fingers is sufficient to give them a concave form. As they are held thus, the mentalist says, " Here are your three choices," and then apparently the left hand takes the card (?) and drops it upon the table. Actually the left hand takes the blank card whilst the ' prophecy ' is allowed to spring back from the thumb into a palm position.

The right hand drops to the side and the left hand picks up the envelope and brings it across the body. The right hand with the palmed card comes to meet it. As the envelope is taken on top of the palmed card the flap of the envelope is at the fingertips end of the hand. Also in the take, the card should automatically slide through the slit on the underside of the envelope. The mentalist is now in a position to go to the member of the audience who signed the card and then open the flap exposing one end of the card (see Figure 5). He does this, allowing the spectator to remove the card, and slips the envelope inside his pocket and returns to the platform. The spectator holding the card is asked to check his signature and note what the mentalist has written.

syews rotmon of sirr ¡N ENVELOPE

Taking the blank card from the table, the mentalist picks it up and remembering the items that have been given he apparently reads these from the blank card. In each and every case the mentalist is correct.

One closing detail with reference to the choice of colour, a detail that can heighten the effect and make it appear that the mentalist has truly psychic powers. Suppose that the colour given is ' Red." Instead of writing just this common word, the mentalist writes down a shade of red, like crimson or vermillion. When the closing phase of the trick is at hand, the mentalist says, " Our friend A was asked to think of a colour; he named 4 red.' When I made my choice I saw that colour, too, but it was a definite shade of red, it was crimson; that was the colour you had in your mind, sir? " And then giving the chooser no time to reply he asks the holder of the signed card to read aloud what is written on the ' prophecy ' card—" A will choose crimson."

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BOOKS

" THE DAI VERNON BOOK OF MAGIC,"

by Lewis Ganson (Published by Harry Stanley, 14, Frith Street, W.l. Price £2/5/-, De Luxe edition £3/10/-).

To Lewis Ganson has fallen the honour of writing a book dealing with the magic of the greatest natural magician of this century, Dai Vernon. It is a task in which he has surpassed liimself. It is a task which when completed needed a publisher with imagination, a publisher willing to shoulder the cost of hundreds of photographic illustrations, a publisher who would stint nothing in order that one book on natural magic published in this country could become a classic of all time. And so our thanks go as on so many other occa-soins to Harry Stanley for making the working material of this great artist available to all those who follow the muse of magic.

The pellucidness of Lewis's explanations is a byword and therefore the clarity of description and explanation is never in doubt. In all there are some twenty-four chapters, only two of which are not devoted to tricks as tricks. They are the first two in the book. One is entitled " Background to a Legend " and is a most interesting biographical note on Dai Vernon, the magician who has become a legend in his own lifetime.

The other called, " The Vernon Touch, is a most important chapter because it shows and allows the reader to understand Vernon's mental approach to a trick.

To review the book chapter by chapter could prove tedious to the reader. It would be just as difficult for a reviewer to find ' high spots ' for the overall standard of effect is so high that every chapter would qualify in this respect. We shall, therefore, take the classic effects first.

In order these are, Vernon's handling of the Han Ping Chien coins through table, the Three Ball Transposition, Cups and Balls, Expansion of Texture, Ball, Cone and Handkerchief, and the Thumb Tie. When Vernon was in Europe several hundreds of magicians both in this country and on the Continent had the opportunity of seeing the miracle quality of these non-apparatus effects and their explanation shows to a marked degree how much the Vernon touch is applied, for in each and every one no finger-flinging skill is called for; neither could it be desired. The magician in each and every case goes out to prove that he is a likeable deceiver and in so doing covers all his tracks so that the deception is complete and natural. Thirteen photographs and fourteen pages of description alone go to Vernon's presentation of the Cups and Balls. Every point is made clear and the reader is given an unforgetable lesson in the greatest of all classics.

Many readers may well say that such tricks demand a degree of skill beyond the average devotee of magic. Our answer would be one of negation. Vernon's magic involves no digital gymnastics, for he has approached each feat with the object of simplifying the technique. Practice is necessary, of course, but it is practice of sleights and subterfuges that are well within the reach of those who wish to go forward in magic. There are very many tricks, however, that come within the easier category. The " Seven Card Monte " the adaptation of " Clipped," Martin Gardner's cigar vanish, " Coin on Knee," " Mental Spell," a miracle spelling trick, " One up and One down," are good examples.

There are tributes to other artistes and one must particularise the description of the Leipzig '* Card Stab," Paul Rosini's " Impromptu Thimble Routine," the last trick originated by Dr. Jacob Daley, Charles Miller's delightful and deceptive move for use in the " Cups and Bails," and Welsh Miiier's " Cards and Matches."

There are some nice tips on knots and a version of the six card repeat that is not only miraculous in effect but should bring a new lease of life to this much abused trick.

The lessons that one learns after reading through this great book of magic is that the good magician must be himself and that natural handling cannot be equalled by mere skill alone.

Bouquets to the publisher, the author, the printer (our good friend, Harry Clarke), George Bartlett, the photographer, and above all, the 4 Professor " himself, Dai Vernon, for this book of a century. With more than two hundred pages, two hundred photographs, all on art paper, the book has a binding that will last and serve you a lifetime.

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ANNEMANN'S ONE MAN MENTAL AND PSYCHIC ROUTINE is a professionally routined mental act that runs according to speed of presentation and the effects included, from ten minutes to half an hour. The six effects described make one of the finest mental routines ever conceived, and can be cut down to three really sensational items for the shorter show. It is a strictly 'One Man' act, there is no cumbersome apparatus, no assistants, no confederates. A brief case will cany all that is required, but jou could travel with the necessary items all ready in your pockets if preferred. The mental and psychic tests are presented in a routined order, and include some of Anne-mann's choicest billet methods and effects. Ideally suited as a club, private party, television or night club act.

ANNEMANN'S "MASTER MIND" CARD ROUTINE was thaoriginator's favourite card routine for newspaper offices and intimate gatherings. With just a pack of cards the performer presents a series of five stunning prediction effects that leaves the audiences gasping as each one in turn eclipses the previous one. No skill is required, and the act can be learned and thoroughly practiced in an evening.

ANNEMANN'S MENTAL MISCELLANY is a collection of six off-beat ideas in mentalism that are typical of the author. The treatise on the Mirror Reflector and the one on Pencil Reading—to the man who uses them—can be worth many times the price of the book.

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INSTO-TRANSPO—Without sleights two initialled cards change places between the performer's and spectator's pockets. STOP—A freely selected card, lost in the pack, is found at a number thought of. THE POUND NOTE AND THE CIGARETTE CHALLENGE—Marked cigarettee in performer's mouth, number of a note written down by spectator—note openly burned—and then found in the cigarette—the best ever routine for this effect. IMPROVED REMOTE CONTROL—With red and blue packs the performer proves he can control another person by making them pick any card he chooses, while at a distance. MENTAL MONEY—Three pound notes borrowed and folded tight, one is chosen, the performer reveals its number. NUMBER PLEASE—A Telephone Book Test in which the performer reveals both name and number. SENSITIVE THOUGHTS—A sensational card trick, with two packs and two spectators. THE CARD DOCTOR—Spectator selects card which is initialled, comer torn from card, then initialled card torn into pieces, pieces vanish and card is found back in the pack, minus its corner. SLATES AND ACES—Performer and spectator write names of the aces on two slates, spectator rubs out three on his, the spirits' rub out the same three aces from the performer's late. POKER PLUS—Performer deals three face down hands of Poker. Second hand shown to beat performer's. Then performer's hand shown again, and it beats the second. Third hand shown to beat performer's. Then performer's shown again, and it beats the third. Terrific effect! THOUGHT IN PERSON—A most unusual card routine. A MENTAL HEADACHE—Another typical Annemann card routine with a mental twist. And, of course, a full description of a most useful GIMMICK.

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### PETER WARLOCK

IN VOLUME 6 of Tarbell is described a trick by that prolific originator ' Gen' Grant entitled " The Bombay Ropes and Rings." Tt is a modernised form of the classic " Grandmother's Necklace " but the touches in it make it an attractive effect for adults and children alike.

Somehow the handling, excellent and straightforward though it was, did not appeal to me and after having a special set of wooden rings made, several experiments in handling led to the method to be described. On those occasions when I have used it the audience, whether magicians or laymen, have liked it.

The Effect. Two lengths of silk cord and six wooden rings are introduced. Four of the rings are painted yellow and two blue. On the table rests an opera hat open.

The two lengths of cord are held together and the blue rings are threaded upon them. The rings are now lowered into the hat and on each side of the blue rings are now threaded two yellow, so that the blue rings are imprisoned between the yellow. The magician requests a spectator to nominate one of the colours. We'll say that the colour is blue. With a ' Hocus Pocus ' the ropes are withdrawn from the hat to show that whilst the yellow rings are still threaded upon the cords, the blue rings have penetrated them and remain in the hat.

The effect is colourful and suitable for either adults or children.

Tfve Requirements. Two yards and a half lengths of coloured silk cord. Six wooden rings. The ones that I have are three inches in diameter and have a hole in the centre threequarters of an inch in diameter. The thickness of the rings, which allows them to stand edgewise, is half an inch. These rings were cut from half inch plywood and then two were painted blue and four yellow. With regard to painting, should you have a local firm who are able to stove enamel (this means that the paint is baked on) get them to colour the rings and you will have a really first-class job. (One warning word, should this be done. Never bring any acetate solution near to the finished painting for it will soften it wherever it touches.) One opera hat.

Presentation. We'll assume that the rings are stacked in a pile, blue at the top, yellow beneath, at the front right-hand corner of the table, that the hat opened and mouth upwards is centre table, and finally the two lengths of cords lie side by side across the table.

The topmost ring is picked up and banged down against the rest as the magician remarks, " Some coloured rings "... The two lengths of cord are then taken by the left hand, between thumb and first finger, one being passed to the right. The hands are held high and the audience can see two separate pieces of cord, although the magician adds, " and two lengths of silk cord."

The right hand passes the cord it is holding across to the left hand which remember is already holding one end between the first finger and thumb, and it is taken between the first and second fingers.

The right hand now strokes the cords in a downwards direction and when about six inches from the lower ends takes the cords in exactly the same manner as the opposite ends held in the left hand. The cords are then brought up into a horizontal position, care being taken that the cords are parallel to one another and do not cross one another. Figure 1. (This and the following move, as owners of the Tarbell, Volume 6, will know, follows Grant's routine). The ends of the cord held by the right hand are now passed to the left.

so that the end between the right thumb and first finger goes together with the opposite end held by the left hand between the left hand thumb and first finger, whilst the right hand end of the other cord goes together with the left hand end held by the first and second fingers. See Figure 2.

With the ends firmly held by the left hand fingers, the right hand runs down the cords with the first finger between them and on reaching the centre loop gives a good tug, which without any comment shows the strength of the cords.

The right hand releases its hold and the cords dangle down from the left hand.

At this point the reader may well think that there has been unnecessary changing of ropes from hand to hand. Believe me, this is not so. The handling from the audience's point of view allows them to see that there are two separate cords and that these two cords are free from any preparation.

With the remark " And a hat," the right hand picks up the hat from the table, turns it so that the inside may be seen by the audience and then replaces it mouth upwards on the table.

The left hand now lowers the lower ends of the cords into the hat so that they just touch the bottom. The two ends of the cord held between the first and second fingers are taken by the right hand, between thumb and finger, whilst the left hand is lowered slightly so that the relationship exists between hands and hat as shown in Figure 3.

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