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This is a simple, straight forward and easily followed effect which will raise a few laughs as well as being a profound mystery. It necessitates the making of a special sized slate, but I feel sure you will more than find it worth while. It can be done surrounded or on a stage. It is just as suitable for small as for giant cards if you only want to do it at family gatherings. However, by using giants you introduce both novelty and extra visibility.

Effect.—You name the bottom hidden card of a freely shuffled pack of cards. You write this name invisibly in the air and it appears on a business card. You then do it again, only this time you write another card's name on a slate or tray held by a member of the audience.

Requirements.—One pack of giant cards (or ordinary ones); one slate of such a size that a giant card just goes in the rebate at each side (4!" x 7" inside frame) and fits exactly ; two cards alike (say two Kings of Hearts). These are backed to match the slate and acts as flaps ; a piece of chalk ; a pencil; about a dozen business or blank cards of approximately playing card size.

Set-Up.—On one side of the slate write or print a figure Eight crossed out (as in figure 3 a) and the name of card on the side of flap (King of Hearts) in figures. Write the name of any card of pack (say Eight of Clubs) on the plain side of one of the business cards in pencil. Put this business card message side up on blank side of slate. Then place the named card—Eight of Clubs—face down on top of it. Now place one of the " King of Hearts "

flaps on top. Put the other flap-picture to chalk writing on other side of slate {see Fig. 2). The giant cards are placed in a box if you have one, and the slate placed on back corner of it to hold the single flap in place underneath {see Fig. 1). If you don't use a box just place it over one of the back corners of table or on some object to allow you to get your fingers under easily and hold flaps in place. The pencil, chalk and business cards are laid on slate. You are now ready for the . . .

Presentation.—" Some time ago I had a dream—a strange and vivid one it was. I dreamt that my astral self left my body and floated away into space. Whilst it was away I watched it perform several little tasks that I had been unable to get around to but had intended doing for weeks. Then it came back . . . and I awoke. When I got up I found these jobs had really been done, so, having been trained by ' Mr. Pelman,' I decided to utilise this astral self and make it really useful. Now my astral eye and hands can help me a lot. Let me demonstrate." (Pick up giant cards and begin to shuffle them, be careful not to disturb slate flaps, etc.) " Here are some playing cards. Oh, yes, they were specially made for a short-sighted old aunt of mine who used to play Patience with them on the lawn, but she got so out of patience playing Patience that she gave them to me." (Hand them to gentleman on left and ask him to shuffle them.) " Enjoying yourself, Sir ? " (Now walk over to table and pick up the slate as a tray and let some lady on your right remove the business cards and examine them. Ask her to choose one ; note its blank expression ! and return the others to you on the tray. You now put the pencil, chalk and remainder of cards on table, return to lady and have her place the card printed side down on the ' tray ' you are holding. You now go over to the gentleman who is shuffling the cards and ask him to hold them well down so that neither he nor you, or anyone else, knows the top, bottom, or position of any card of the pack These are placed on ' tray,' see 111.). " Now, Sir, you have shuffled this pack really thoroughly and in a really expert fashion, and you feel sure that I don't know where a single card is ? Now I am going to let you look under the tray and I want you to tell me the name of the bottom card. You can't ? Dear me ! You see you have not got an astral eye like mine." (Look under, letting audience see there is nothing to see.) " Now, according to my astral eye the bottom card is the Eight of Clubs. Is that correct ? You don't know ? Well, will you take my word for it ? I may be wrong you know, so I am going to give myself another chance. I am going to write ' Eight of Clubs ' on the business card this lady placed under the pack. There is nothing on it

4' MY ASTRAL EYE " — continued from page 68

now is there, lady ? No ? Thank you ! " (Write ' Eight of Clubs ' in the air with the pencil.) " Now Sir, if my astral has seen the bottom card and I have named it correctly, it is very clever, isn't it ?— And, madam, if I have managed to write its name on the card you just placed there, even if it's the wrong one, it is good is it not ? " (pause) " But if I have done both correctly it will be almost, if not, a miracle! " (Wait for laugh.) " Now we will look and see—what-we-shall-see." (Empty cards off the slate on to left hand and put slate remaining flap side up on table. Hold the business card on pack with right first finger and tip the cards up to let the audience see the bottom card—Eight of Clubs. Walk over and let the shuffler of the cards verify it aloud then go over to the lady on right and let her remove the card she placed there (?) and read it aloud, too. Bow as if the effect is over) then . . . " I'm glad you liked it, folks, because it was shown to a friend the other night and he didn't seem at all pleased with it. What would have happened had the card not been the Eight of Clubs,' he asked. Now I ask you, isn't that a silly question ? He asked what would have happened had it been, say, ' The King of Hearts ? ' " (As you say this remove the Eight of Clubs, wave it around to casually show both sides, and throw it down on table or chair. Point to King of Hearts as if you didn't know what the next card would be, but you'll use it as an example) " ' Well,' says I, 'I would have had the cards on the tray like this ' " (put cards on tray exactly as before on top of flap) " looked under and told you it was the King of Hearts and written King of Hearts instead of Eight of Clubs. But, if you don't like that we'll try something else." (Empty cards off again letting audience see the front card is just the same, walk over to lady on right again and get her to stand facing stage and grip the slate. Here you hold it just as high as she can reach—message facing yourself—and you will find she cannot see anything and neither can the audience. Pick up chalk.) " I am going to let my astral hand write with chalk this time—are you ready ?—I will now write ' Eight . . . ' " (stop) " Oh, I am sorry, it isn't ' Eight' any more—it's a King, so we'll cross it out " (do so). " Now, ' K-i-n-g o-f H-e-a-r-t-s.' Did you feel anything, madam ? No ? Well look at the gentleman over there." (Point backwards towards rear of audience and the lady will turn round, and so will slate. Just watch the lady pull slate down and look at it.) " So you see, ladies and gentlmen, my astral eye and hands are equal to all emergencies and it makes no difference which card is chosen ! "

Notes.—(i) Don't draw any attention to the crossed out' eight' ; the audience will see it and talk. (2) If surrounded the lady holds the slate well down between her palms message side down—or you can just place the slate, message side down, on to table and let someone pick it up later. (3) Do not refer to slate as a slate but as a ' tray.' In fact I have seriously been thinking of making a tray in wood to replace it.

THANKS TO MARLO " — continued from page 67

into four pieces, slips the paper clip off his shirt cuff and slips it over the four pieces of pasteboard. The four pieces thus clipped are then finger-palmed in the left hand. Seeing that the four members of the audience have torn up all their cards, he moves over to the spectator holding the cloth bag. " Everything alright ? " he says to him and receives an affirmative reply. He then takes the bag with his right hand and moves to the nearest member of the audience with the torn pieces. " Would you mind dropping all your pieces into this bag, Sir ? " As he says this the left hand comes up to aid in opening the mouth of the bag. The bag is then held under the spectator's hand and the pieces held by this spectator allowed to fall inside (the pieces torn by the conjurer and held by the clip are still retained in the finger-palm position). The second, third and fourth holders of pieces are then approached and their pieces dropped inside. The conjurer then turns to another spectator and asks him to hold the bag. As he does this he allows the clipped pieces to drop inside. " I might as well drop these pieces in as well," says the conjurer as he picks up from his table the few torn pieces that he used to illustrate the method of tearing. Getting the spectator with the bag to open the mouth the odd pieces are then dropped by the conjurer. " Will you please give the bag a good shake, so that the pieces are well mixed ? " (the spectator can shake the bag as much as he wishes, but the pieces will not be dislodged from the paper clip). Holding his right hand up and letting the audience see that it is definitely empty, the conjurer places it inside the bag, feels for the paper clip, and then, having found it, slides out one quarter. This he removes and places face down with slight pressure on the piece of perspex. The spectator is then asked to give the bag another good shake, and once more showing his hand to be empty it is placed inside the bag and another quarter withdrawn and placed on the perspex. This procedure is repeated twice more so that the conjurer has the four quarters in correct position on the perspex. As he takes the last quarter he takes the clip as well, slides it off the last quarter and finger-palms it. The spectator is now asked to name the card he thought of and autographed. Picking up the piece of perspex, the conjurer turns it over to reveal the selected card. Everything, if you are that way inclined, can now be examined.

NEW PENTAGRAM GRADING.—A maximum award of Ten Points in the following categories (when applicable) (A)—Physical Make-up (B)—Quality of Material (C)—Value to Magic (D)—Clarity (E)—Illustrations (F)—Readability (G)—Sincerity TOTAL 70 POINTS

44 BASIC CARD TECHNIQUE " by Anthony Norman (published by Max Andrews) price 35/-.

Rather late in the day this much vaunted book has arrived for our review.

When, many, many, months ago we had a quick glance at the ' galley ' proofs, we thought that the contents of this volume might provide a handy work for reference. Now that we have had an opportunity of reading through carefully we can only express our great disappointment. If the book is for the card student (as Mr. Norman would designate it) the data is insufficient. The author has taken from many sources various methods of performing certain sleights, and has given in brief form thsir mechanics.

The following are the basic sleights dealt with :— The Pass, Locations, Palming, Forcing, False Cutting, False Shuffling, False Counting, Double Lifting, Top and Bottom Changing, The Glide, Glimpsing, Reversing of Cards, Back and Front Palming, Fanning and Flourishes. Under the title of " Card Subtleties " arranged packs and a few ideas are dealt with. A chapter deals with the various ways of treating cards, i.e., roughing, etc. Nine pages account for such items as forcing packs. Twenty-eight pages give some card climaxes, none of which fly very high, and there is a concluding chapter on what the author calls " Presentation." In all these chapters the author appears to show that he has not the necessary experience to write in an authoritive way on card work. Statements like " One cannot over estimate the pass. It is the integral part of about seventy five-per cent, really good card tricks " (the italics are ours) and " It seems to be the common desire of practically every card magician to attain the heights of such perfection in manipulative skill " (the back and front palm is referred to here by the author) show too well that Mr. Norman's outlook on card magic is not that of the would-be card expert.

Hofzinser and Erdnase, so far as we can judge from this volume, seem to have given nothing that could be considered " basic" and the suggestions that the performer should wear his magical society medal and have his monogram on his table cover have rather a mildewed touch.

How in a book dealing with basic card work, the classic force, culling, second and bottom dealing, Dai Vernon's method of the two-handed palm and Curry's turnover change (one of the finest of modern day sleights) have been omitted is beyond us. For the author's information, the conjurer responsible for the single-

hand palm, was, as we have mentioned many times, the late John Elrick.

The book is illustrated by Dennis, and there is an excellent Preface by Francis Haxton, who truthfully concludes by saying " This book is particularly recommended to the beginner."

We consider that 35/- is far too high a price for a book that is, for the most part, a re-hash and also fails to cover the field defined by its title.

For the book collector, it is well printed and reasonably bound. It has a most attractive dust cover. 42 Points.

"STUNTS WITH STAGE MONEY" by Jack Lamonte (published by George Armstrong) price 5/-.

This is an unpretentious little booklet of some thirty pages in which Mr. Lamonte details twenty gags, ideas and effects, making use of "stage" money. The two best effects are " Tear-ably Good," a torn and restored not;: routine, and " Impromptu Note in Cigarette." For the comedian who likes to think that he is a magician there are several worth-while commercial ideas. The booklet is lavish in illustration, but why the illustrator should not be content with drawing what is necessary, instead of attaching heads and shoulders, that are neither caricatures nor likenesses we don't know. This form of illustration seems to be spreading in certain publications and periodicals and we can only presume there are some people who like it. 49 Points.


(published by George Armstrong) price 3/6.

It is a great pity that the publisher was so late getting this publication out. A pity not only for himself, but also some of his advertisers. It follows, in the main, the 1946-47 model. Quite frankly we would say that this is an essential purchase for the enthusiastic conjurer as the information that Mr. Armstrong has collected regarding Dealers and Societies is all embracing. There are nearly one hundred pages, and besides the information already mentioned there are some twenty pages dealing with " Tricks of the Trade " and " Workshop Wrinkles." The Cotswold Assembly, the Ring Convention at Buxton and the International Congress in Paris are all covered and accompanied by photographs. An excellent buy at the small price. Unreservedly recommended.

Peter Warlock's 44 MODES FOR MENT ALISTS "


Number 1—" THINK AS I THINK."—In this effect the Spectators receive the Mentalists thoughts in a most definite way.

Number 2—" CAUGHT THOUGHTS."—The second item in Peter Warlock's " Modes for Mentalists " series is up to the same high standard as the first release. Caught Thoughts is a practical mental routine in which the mentalist not only catches the spectator's thoughts, but the assistant catches those of the performer as well. A double thought reading effect. The routine is logical and the method is practical. Most important, it is entertaining if properly presented. This duplicated 4-page manuscript is neatly produced and mental magic enthusiasts who use the effect will consider their money well spent.—" Magic Wand."

I regret to say that I have no copies of this in stock. There may, however, be a few available from Dealers.

Number 3 (for release on July 22nd)—" MIND OUT OF TIME."—This is the ultimate in card prediction. A full description of this effect will appear in the July number of the " Pentagram."


LEARN HYPNOTISM.—ANYONE can learn to HYPNOTISE provided they " know how " and are willing to devote a little time to practice. Practical lessons in THE WIZARD everv month, written especially for the ENTERTAINER, by S. E. (Dexterous! Dexter, V.A.F., I.B.M., ALSO MUCH GOOD MAGIC, for Mentalists, Children's Entertainers and Club Performers. Special section for Vent«. 36 fully illustrated pages per issue Subscription : 6 months, 12/6 ; Year, 24/-





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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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