Amsterdam

This is an original translation from the Dutch by the author, and it is the first time this work has ever been printed in English.

As illustration I exhibits the cigarette is held horizontally by the tips of the right hand fingers and thus pushed into the left fist. To demonstrate this move in particular the cigarette is further inserted into the left hand by the right forefinger, this to higher the illusion. Then the left hand squeezes the cigarette and immediately thereafter the fist is disclosed to prove that the cigarette has vanished. In order to elevate the impression the cigarette is twice pushed into the fist genuinely. The third time however, the cigarette does not come into the fist at all. Being contacted with the bent forefinger of the left hand (illustration II) the tips of the right thumb, first and second finger slide along the cigarette, creating the illusion that the cigarette actually disappears in the fist. As soon as the tips of these fingers touch the left fist, the cigarette is clipped at the end by right thumb and middle finger and at the same time the first finger is extended and inserted into the left fist as though pressing the cigarette further into it (illustration III).

This is a very deceiving sleight, an optical illusion that is complete.

that Link Patriotically

By L. BARBER

Surely not a new trick with linking rings? Yes, indeed—and a nice showy one with an astonishing climax and, because of its combination of colours, very suitable for Coronation year. It Is in time for Christmas, too, when you might like to call it a miracle festoon. An important point in its favour is the avoidance of any special equipment.

The magician picks up his wand in one hand and a small tray in the other. On the tray are ten coloured rings—4 red, 3 white and 3 blue. Replacing the tray on his table, he then picks up the rings in red, white and blue order and slides them onto his wand, finishing with the odd red ring.

He next picks up a tumbler and demonstrates that it is free from any trickery. Placing the tip of his wand into the tumbler he lets the rings slide off into it and then lays down his wand. Holding the tumbler well clear of his body he rattles the rings about and then gives them a le rk up into the air. When caught in their descent by his free hand, they are linked together in the correct red, white and blue order.

The only preparation needed is to have the linked rings already on one end of the wand, bunched together, and this end concealed behind a silk or other object.

Standing with the table to your left, pick up the wand with your left hand, with the linked rings inside your fist, and the tray with your right hand. After showing the rings, replace the tray on the table and proceed to slide the rings onto the wand, naming the colours as you do so. They will naturally slide down to rest against your left hand if the wand is slightly tilted. The switch is then made.

Call attention to the tumbler on the table by looking at it and mentioning it. As you do so, take hold of the wand at its other end with your right hand, tilting it sharply downwards and at the same time releasing your left hand hold. Carry the left hand on to pick up the tumbler and show it is empty.

The switch takes more time to explain than it does to accomplish, and, although all the rings are momentarily in full view, there are several things in your favour. The audience do not know yet what you intend to do and are not looking for any specific thing. The rings are coloured and bunched tightly together when they slide across. Hence it would tal^e very keen eyesight to count them even if anyone thought of doing so, it is a very natural move to take the wand in the right hand in order to pick up the tumbler with your left hand and, lastly, by referring to the tumbler and looking in its direction, attention will almost certainly be diverted from the wand.

The loose rings should now be resting on the end of the wand inside your right hand with the linked rings in view. To ensure this, you have only to put the tip of your right thumb between the two red rings. There is ample time to make the break whilst showing the tumbler, even more so if you pass it out for inspection.

The odd red ring only serves as an ind ¡cation of where to part the sets; but if you prefer to mark one of the other rings at the beginning or end of the sets in some easily recognisable way, then you can dispense with this odd one.

Holding the tumbler at a slight angle, put the tip of the wand inside it and tilt the wand sharply to let the linked rings slide in. A little practice will soon find the correct angle to make sure the linked rings slide off in a bunch.

Now, holding the tumbler well away from you, step behind the table to its left side and casually place the wand with the end holding the rings behind a silk as it was originally. Any slight noise which comes from the loose rings on the wand as they are laid on the table will be covered by the other rings rattling in the tumbler.

A rattle, a jerk up in the air and you have the complete chain and, I hope, applause.

Modern Coin Magic, by J. B. Bobo. (Carl W. Jones, 40/-).

Coin magic is in a class by itself and for that reason any book on the subject needs to be specific and thorough. The author of this book has sensed these demands and it would be difficult to find that he has left anything out. Study the figures for a moment: 116 sleights, 236 tricks, 510 illustrations, 358 pages.

Subjects covered by the book are concealments, palms, vanishes, sleeving, holding clips, boxes, trick coins, shell and folding coins, routines and a special section for the classics. The illustrations by Nelson Hahne make things abundantly clear since they are good drawings and keep to the point instead of being mere decorations.

The book is good in itself—well printed and beautifully bound so that will adorn the library shelves. Yet, after all, its chief asset is that it leaves nothing unsaid or undone and therefore, becomes an essential to coin manipulators and book collectors. It ranges from the classical to the last word in modernity. Hence—a "must" to all who care for coins. —M.B.

WHAT'S MY LINE?

by LEN BELCHER

If you are looking for a mental effect that is right on the topical button, off the beaten track, and good for some restrained humour, then this is it.

The properties are very simple, so are the methods (plural, because you will know several), and you can put all you have into the presentation.

First, get eleven largish pieces of white card: one has a question mark on it, the others have numbers 1 to 10. Ring hinge them at the top, so that if they are laid on the front of a table you can turn them over to show first the question mark, then the numbers, one by one up to ten. A heavy ash-tray, or something like that will prevent them from falling off the table—or you could p'ace them on a card-stand—or what you will.

Next you need a pay envelope with a window cut in the flap side, a piece of card to fit, and a pencil.

Announcing that you would like to present a one man version of the famous T.V. feature "What's my Line?" you ask a spectator to write on a slip of card his job or profession. If he likes, he may invent one! You say you are asking him to write it down beforehand as a safeguard for yourself. He slides the card face down into the envelope, and in sealing it you learn all you want to know.

A second spectator is asked to operate the number cards. You quickly run over the rules: you can ask as many questions as you like, but every time the answer is "No", one is scored against you. If and when you get ten "No's" the spectator wins and you will give him a certificate to that effect (Room for publicity here on a deliberate miss).

The spectator must tell you if he is wage-earning or salaried, and must also perform a littfe piece of mime to illustrate his line.

So you start off: I leave it to you to build up the suspense. Do two, with added suspense on the second—maybe up to nine "No's",— then announce the Celebrity Test. Have a third spectator imagine he is some celebrity and let him write the name, and seal it up as before.

Now you have a blindfold fixed and it can be as genuine as you like. You tell the spectator to perform in dumb show some action connected with the Celebrity whose name he has written—to do anything in fact to give himself away to the audience.

You begin your questions, and it is up to you to achieve a grand climax in the revelation of the name!

A Brilliant- Effect that- will take the audience by storm.

A freely selected card is shuffled back into the pack by a spectator. He then binds two sheets of glass together with elastic bands. When he springs or throws the pack at the glasses . . . the chosen card suddenly appears in the centre of the bound glasses. No cover used. A fine stage effect. Quite mechanical.

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