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Although a Swami gimmick and a bunch of visiting cards still seem to me to offer one of the simplest and most convincing means of secretly producing writing, I have never felt assured that I could match up my thumb-writing with script made with a pencil. • So after much trial and error and many quires of torn paper, I turned out the following effect.

I have a feeling that it may correspond in some ways with Richard Himber's " Voodoo " envelopes, but not having been able to learn much about these, apart from reading American advertisements, it may be that we have gone about things in different ways to reach the same end.

This is best used as a prediction, and I get an effect on these lines : In full view on your table, on an easel, or hanging from the ceiling on a bit of elastic, if you prefer it that way, is a sealed envelope. Before drawing attention to it, set about getting your needed information—the answer to the sum, winner of the competition, freely chosen word, name of the chairman's favourite blonde, or what have you.

You then, as convincingly as you know how, point out that the envelope is there and has not been touched since the rise of the curtain (curtains, too ! How. do you get these well-appointed bookings ?).

Picking up the envelope, you show it both sides and draw attention to the imposing looking seals on the flap. The envelope is now in your left hand, and with your right you take from your jacket pocket (all right, then, there are no jacket pockets in your suit: don't quibble !) the pair of scissors you've not used since your supply of Clippo cement ran out. You deftly snip off one end of the envelope, tip it up (the envelope ; not the end), and out falls yet another envelope, also sealed with that distinctive sealing wax your wife got for Christmas.

Again you snip off the end, and as quickly as you can, without falling over the footlights (aren't you lucky ?—footlights as well!) you hand this second envelope to some lucky spectator in the expensive seats. He probes about inside, and withdraws one of your visiting cards.

KISMET — continued from page 81

And there, on the back (unless you're one of those four-flushers who have printing on both sides !) —there on the back, I say, is your prediction. It's a longish one, and in the middle of it come the words or number just ten seconds ago revealed by the audience. What's more, it's written in red pencil, and if you want to make it extra convincing, when you first picked up the envelope, you have taken out a red pencil from your pocket and written on the outer envelope : " This envelope was sealed at

■- o'clock." In fact you'd better do this, to get the audience used to seeing red !

Because red they certainly will see. If they saw black writing they'd recognise it as a carbon impression. And there yoil have it—red carbon paper in the outer envelope is responsible for the whole thing. Now read on.

The outer envelope (and to be original I'll call it envelope number one !) is prepared by having a slip of red carbon paper pasted by one edge to the back of its face. The carbon faces inwards (and if Peter Warlock makes you a nice drawing of it you need read no further), and is inserted into envelope number two via a slit in the corresponding end. Beneath the carbon is your visiting card, with the body of the prediction already written through red carbon, and a space large enough for the number or words predicted.

Both envelopes should be dissected by having the flaps carefully opened beforehand, and the whole thing will then fit together easily. Having assembled the envelopes, gum down the flaps again and apply your sealing wax.

When you pick up the sealed envelope, which is faintly pencilled on the face over the part where the blank on your card comes, you write, with a sharpened thumb-nail, the number or word supplied by the audience. Take your time over it and do it neatly—it's much easier than with a Swami. Then comes the end-snipping part. Snip off the end of envelope number one at the opposite end to the carbon paper. Withdraw envelope number two, by dropping it into the other hand. It will carry with it the visiting card and leave behind the carbon (remember ? You gummed it down, you crafty beast!). So that envelope number two, which you hand out, after you've snipped off the bit with the slit in it, carries with it that cachet of the careful conjurer—you can hand it out to be examined. And if Warlock can say the same about some of his props, then I'll promise to mention the Pentagram when answering advertisements ! !

While the multitude is baiting its breath ready to cheer you to the proverbial echo, and, incidentally, while they are watching the man in the front row dig out your card, and listening to him read the contents, you yourself put in a little shady work screwing up envelope number one into a ball and stuffing it into your pocket out of discovery's way. But if you take my tip, you'll switch it for another envelope identical in every way—except for the carbon— and drop it in the lap of the most suspicious-looking (you know what I mean !) member of the audience within reach. But do please remember to have your duplicate envelope with a snipped-off end as well.

And lastly—and seriously—make this up and rehearse it carefully, and you've really got something. What's more, you've got it for the price of this magazine only because I couldn't spare the time to make up a few hundred sets of envelopes to sell.

All manufacturing and selling rights reserved by Will Dexter.

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 every 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 Vents. 36 fully illustrated pages per issue Subscription : 6 months, 12/6 ; Year, 24/-

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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 every 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 Vents. 36 fully illustrated pages per issue Subscription : 6 months, 12/6 ; Year, 24/-

GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING COMPANY 11 MONASTERY GARDENS ENFIELD MIDDLESEX

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Mil&awuie CfiutiapA&t'd

SM& Qjumuj,

The magic I like best to do is that which requires no special apparatus. I enjoy tricks which may be done anywhere at any time. How sad to spend years developing a sleight which is only good on stages, then spend most of your time performing while surrounded by spectators.

This little feat, once acquired, may be used under almost any set of circumstances. You can do it in the parlour, in the centre of a night club or while conjuring on a stage. It is best when performed as an introductory trick—before one of the standard rope and silk penetrations, for instance. But enough prologue, let's get on with the performance.

Effect.—The wizard drapes a silk over the centre of a length of rope and ties it in place with a single knot. He holds the rope vertically, one end in each hand and calls attention to the tied silk. Hocus pocus ! He blows on the silk. The knot fades away and the silk falls free.

Requirements.—A Silk( I use an eighteen-inch square) ; a five feet length of rope, and enough practice to make the presentation perfect.

Presentation.—The performer drapes the silk over the centre of his rope and holds the rope as shown in Figure i. He seems to tie the silk in place with an everhand knot, but this is what really happens.—As the two hands come together the right thumb slides under the strand marked A in Figure 2, and pulls the strand through the loop. The right thumb holds this strand as the left Hand tugs to the left to draw the " knot " tight. As soon as the " knot " holds, the right thumb is withdrawn and the right hand is moved to the right along the rope until it reaches the end. It is vitally important that you practice this move until it appears that you are tying a simple knot from the front. Hold the rope vertically between your two hands, show the tied silk to the left, then to the right. (If the trick is done too quickly there is no effect !) Suddenly blow on the silk. At the same time tug the rope taut between your hands. The knot will vanish and, as promised earlier, the silk will flutter off and away. Release the lower end of the rope with your right hand and catch the silk before it reaches the floor. Acknowledge the applause—or were you performing in front of a mirror ?

Sbn MaiMl'i.

Me ftufauyat

(with apologies to

With all the learning by the Wise possess'd, There's yet one branch of Knowledge little guess'd, —The Art of Magic ; let me say it now : They wonder still, for all they laugh and jest.

But there's no time for quarrels here below, Within our Magic Circles, Men must know, That we are of a Clan, and strive to help Each other, as we did, once, long ago.

Ah ! that the Mantle of Houdini fell, Upon my shoulders for a little spell, How soon I'd open wide the Magic Door, To learn its Secrets, and its Wonders tell!

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