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The Fourth of a Series large hole in the centre glued about a third of the way down from the lip of the can. This forms a rim round the inside of the can. The hole in the disc should be large enough for the liqueur-bottle to pass easily, through it. The diameter of the can should be slightly more than the diameter of the bottle mentioned below.

4. A card-board tube open at both ends of the same diameter as the can. This should be decorated to match the can. The combined heights of the can and tube should be just about two inches more than the height of the bottle of Guinness.

5. One of Max Andrews' Guinness bottles (rubber). The lower part of this must be cut away so that you are left with a truncated bottomless bottle which, when standing on the rim inside the can, looks the normal height of a Guinness bottle.

6. An extra bottle-cap.

The set-up and routine should now be obvious. The chocolate liqueur bottle is placed in the can so that its neck just projects above the rim inside the can.

The upper half of the rubber bottle is placed inside the tube. The dupficate bottle-cap is placed where it can easily be palmed.

To work the effect, appear to pour the milk into the can. Then, gripping the rubber bottle through the sides of the tube, place the tube over the can, masking the upper lip of the can and the lower lip of the tube with the left hand. Release the bottle so that it slides out of the bottom of the tube, into the can, and comes to rest on the ledge running round the inside of the can. The tube can now be removed and the bottle (which appears to be the full height) shown.

Obtain the duplicate top and concealing it at the tips of the right fingers, insert them into the top of the tube. Replace the tube on top of the can and again mask the join with the left hand. With the right fingers, grip the neck of the bottle and hoist it up into the tube again, holding it in place by gripping the sides at the lower end of the tube with the left fingers. When the bottle is safely gripped, remove the duplicate top and throw it to the audience. Keeping the left hand in position, say the bit about the short drink, whip off the tube and throw it into the receptacle. If this is done properly there will be no danger of the half-bottle dropping out. Quickly remove the wee chocolate liqueur from the can and throw the can into the receptacle.

Hope you like it.

Eddie Joseph in Leeds

The Leeds Magical Society is to be congratulated on securing the services of Eddie |oseph to present to them his now famous lecture on Sunday, October 3rd. Although Eddie did not arrive in Leeds until somewhere in the region of 1 p.m. and had to say goodbye just before 5 p.m. in order to catch his train, it is amazing how much he managed to crowd in to a most appreciative audience.

The Rising Wand, Rope and Silk Re'ease from a bound wrist, Six Card Repeat, (with a difference), Coin Productions from a hank. Borrowed Ring and Stick, Chosen Card Finds itself in a Hat, Rice and Cups, Sponge and Bowl Routine, and other items too numerous to mention, were presented in a style all his own, and after each demonstration Eddie literally 'tore the item to pieces' in order to show the audience just how easily he had fooled them. The writer on more than one occasion could have sworn that he saw a quiet chuckle on Eddie's face as some of his subtleties passed right over our heads.

If you have never seen Eddie Joseph in action, then make a date with him on his first and nearest visit to your locality and you wi'l surely agree with the members of the Leeds Society, together with visitors from York, Manchester, Huddersfield, Dewsbury, Bradford and Sheffield (have I missed anyone out?) that an Eddie Joseph Lecture is a lecture worth while. I hope he comes again, and soon.

George Blake.

P.S.—The writer reminded all those present that they could meet Eddie Joseph every month, through the medium of the Magic Magazine. I hope they do. Reprinted from the "Times"

ij Geor<5b Blake

Here is an effect with cards which you, dear reader, are going to read and THEN PROMPTLY FORGET ! ! ! I can imagine you saying in reply 'Well, it must be a poor effect', but I can assure you that exactly opposite is the case. The effect is completely baffling to a lay audience, and I have fooled many magicians with it, such magicians, with their knowledge of the many 'moves' employed in ca:'d work, together with their unavoidable (it would seem) habit of anticipation, always seeming to guess the wrong solution.

You will by now gather that I am trying hard to impress upon you how good the effect is, but no amount of words, in cold print, will do that, so, I am prophesying that you will read it and promptly forget it. Such is the fate of many effects appearing in magical magazines. There is, however, a much better reason for my stating that you will, after reading it, close up the Magic Magazine and give no further thought to this month's effort. The reason is that the modus operandi is so ridiculously simple, that you will never believe it wi,l 'get over' to laymen and magicians alike.

Countless times have I proclaimed that we magicians get our secrets much too easily. We read (or scan through—there is a difference!) the effect, then, IMMEDIATELY, we go on to read the secret, and then, the more simple is the solution given, the more likelihood is there that we lay the thing by. If we were given the effect only and left to figure out the working, we might think a little more of the hundreds of effects we read. The lay-man gets the effect only (1 hops!) and is left to puzzle out the secret, if he is interested in puzzling it out, and maybe that is why the beloved layman appreciates an effect much much better than we average conjurors do. However, let me tell you of it. its title is:—

"cut and come again"

The performer hands out a pack of cards for thorough shuffling. The pack may be his own or a BORROWED ONE. Receiving it back, face down upon his palm, he cuts the pack casually a time or two and then holds the cur-off portion (the top section of the pack) face towards his audience, just as he cut them, fingers along the top short edge of the packet, thumb on the lower short edge.

Holding the cards at arm's length, he calls attention to the fact that at no time can he see the face of the card, indeed, when he cuts off the top packet, and all the time the cut portion is held towards the audience, his face is averted. He then proceeds to 'read' off rhe value of the suit of the face card, finally naming the card itself.

The packet is then thrown on top of the rest of the cards in the left hand, the whole pack is again shuffled, genuinely, by the performer, and, once more turning his head away, he takes a random cut, holds the packet face out at arm's length and succeeds in naming the card. The effect can be repeated ad. lib., the spectators may shuffle the pack at any time and the routine be proceeded with May I again remind you that the pack may be borrowed if necessary, but if you use your own, then 'readers' can immediately be discounted for the card being read is on the front of a packet of anything from ten to thirty cards, according to how many you cut off, and a se; up deck is also out of the question, for the pack is genuinely shuffled by the spectators and yourself. Your face is averted every time you cut the pack and during the time you 'read' off the face card. What more can I say to persuade you to try it out.

The secret! One short card, or, a short corner card. I know, I said the pack could be borrowed. I'll deal with that aspect in a moment, for the solution is just as simple. If you use a short corner card, then the short corner is on the lower left corner of the card as the pack is held face downward. If the top right corner is also short, so much the better.

With the short anywhere in the pack, hand the latter out to be shuffled. Receiving it back, take it on the outstretched left palm, the long edge lying across the fingers. The left thumb levers up the left side of the pack, ready for a cut and further shuffle, and the right squares up the pack. Bear in mind, the spectators have no idea what you are about to do, so the following actions seem quite natural.

First, sight where the short corner card is. This can very easily be seen on the corner of the pack nearest to you. Cut the pack so that this short corner card is about ten or a dozen cards from the face. If you are using a short card and cannot easily spot its position, then riffle the lower edge of the pack, cut at the short card, which brings it to the top of the pack then cut off about a dozen cards from the top and throw them on the face of the pack. In either case the locator card is now about ten or twelve cards up from the face.

Cut at the short corner card and casually shuffle off a few cards on to the face of the deck AS YOU THROW THESE CARDS ON TO THE FACE OF THE DECK NOTICE, BY A VERY SHORT GLIMPSE, WHAT CARD IS ON THE FACE OF THE PACKET IN THE RIGHT HAND, AND IMMEDIATELY THROW THE BULK OF THE PACK, NOW IN THE RIGHT HAND, BACK ON THOSE IN THE LEFT. The glimpsed card will now be next to the short corner card, and you may safely avert your head.

Remember, at this stage, you have not yet commenced to do anything which is of consequence to the audience. All you have done is to again cut and shuffle the pack, in a most natural and disarming manner, operations which are performed almost every day with every pack in almost every card game.

With the head turned away, apparently take a casual cut and hold the packet cut off towards the audience, at arm's length. What you really do is to quietiy riffle to the short corner card, cut the pack there, AND, FACING THE AUDIENCE, IS THE VERY CARD WHICH YOU A MOMENT OR TWO AGO, INNOCENTLY SIGHTED. 'Read' off this card in your accustomed manner, turn the packet face towards yourself, as if to make sure that you ARE right, and then immediately bring the hands together for a further shuffle of the pack.

As you shuffle cards off to the face of the pack, suddenly stop, sight the new face card of those in the right hand as you drop the packet on the back of those in the left hand. Again you have brought a sighted card on top of the short corner card, and thus you proceed, ad lib.

After you have 'read' two or three cards, you will find the short corner card gradually creeping up towards the top of the pack, due to the fact that you keep shuffling a few cards on to the face of the left hand packet. When the short corner card passes about the centre of the pack, merely give the pack a cut ten or twelve cards below the short corner card, and again you are all set to repeat the 'readings'.

If you will only take the trouble to try this out, you will really be surprised how easy it is to glimpse the face of the right hand packet, as you throw this packet on to those in the feft hand. You may stand square on to your audience, but a slight bend of the right wrist will ensure that the face of the cards being shuffled off are just out of sight of your audience.

As a variation ask a spectator his or her favourite colour, red or black. On receiving an answer, casually shuffle the pack, stopping at the chosen colour when you spot it, then announce that you will try to cut at their favourite colour, do so, and then go on to deliniate the card. Similarly, ask someone their favourite suit, and proceed as instructed above.

Just a little practise and you'll find the trick no effort at all. I don't advise carrying the readings too far, six or so will be found quite sufficient, then carry along with some other effect.

I almost forgot! The borrowed pack! When I first published this effect in "Entre Nous" way back in 1942 I mentioned that I was passing along a tip which had been very closely guarded for many years, and I truly believe it had. I seem to recollect that Chris Van Bern was the first to let me in on it just after the first world war. It has been spread about a bit since then and most magicians, even you my reader, may know of it. However, we seasoned ones in magic are apt to forget, at times, that younger ones are following on, and this may be new to some younger wand weilders. It may be well known. It certainly isn't well used!

With the borrowed pack in hand find a suitable moment, either during a previous effect or just prior to performing this one, to execute the following 'sabotage'. Slide the top card of the pack, face downwards, slightly towards you and then slightly to the ieft. With the right thumb, bend about a quarter inch of the left bottom corner completely underneath the card and press it flat. Now open the corner up again and bend it upwards, again creasing it flat. This will have the effect of breaking the corner, not completely off, but sufficient to weaken it.

Place the card somewhere low down in the pack and with the right thumb riffle from face to back of the pack, as you would with the short corner card and you will find that you can make a perfect break at the bent corner. In fact you have done nothing but make an impromptu short card, enabling you to carry out most effects requiring this accessory.

If any reader feels a little guilty about doing this sort of thing, there is nothing to prevent him making a present of a new pack to the lender of the mutilated one, although I can assure him that the bent corner will rarely be noticed. Indeed, it will often happen that the pack you are loaned will already contain a card which is 'dog-eared', in which case you merely make sure that the bent corner is sufficiently broken to be pliable. If you still have any qualms, then use the joker, with corner duly bent, as a locator.

A further effect, especially suited to the use of this 'dog-eared' card, is as follows.

Have a card freely chosen, noted and returned, you, in riffling the pack, making sure that the chosen card is returned above the short. Have the pack cut a number of times, then fan or spread it out over the table, face down, in an arc. Tap the cards out a little further, as though to spread them more, but really as an excuse for locating the bent corner. The card to the right of it will be the chosen one.

Push this out of the pack, together with two others, and force the chosen card by the familiar take it or leave it force, discarding the other two cards and leaving the chosen one, face down, to be 'discovered'. You will find that the bent corner is easily discerned by anyone actually looking for it. Thus this type of card becomes a locator both to the sight and to the touch. I leave it with you.

Yours magi'dally,

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