## Mm

those acquainted with the publications of the Armstrong Press will have found already some delightful ideas of this very thoughtful young man. " On the Lap of the Gods," is a card effect that you mus; try and assure yourself of the literally staggering result. We are beginning to evolve a theory that Annemann was a deliberate focal point in the scheme of magic, so much so, that in Amsterdam on April 24th we are giving a lecture entitled the " Annemann Tradition," which not only sets out to show what Annemann himself did for magic, but also how he brought from out of the fading light, effects of the generation preceding his own.

And so once more we light our little candle.

ON THE LAP OF THE GODS

### ARTHUR CARTER

HERE is a card prediction which really justifies its strange title. But don't worry. At best you may get a super miracle—at worst, a good if somewhat drawn out trick, which I feel sure that you will like, especially after you have performed it a number of times and had a few lucky breaks turn up.

The requirements are few and simple. A pack of cards containing one marked card, in the writer's case, the five of Clubs. The mark must not of course be too obvious, but at the same time must be sufficiently plain to be instantly spotted by the performer while a specator is dealing the cards. The card should also be ink-marked on both of its long edges in order that its position in the pack may be apparent to anyone who is looking for it. On a blank visiting card write " You will inevitably choose the five of Clubs" and seal same in a small envelope, which is then placed in a convenient pocket. You are ready.

The presentation of the effect is roughly as follows. Request a spectator to pick up the pack and mix up the cards thoroughly. In a case such as this, the word " mix " is I think preferabe to " shuffle " which somehow seems to suggest trickery. It is small points such as these which make all the difference between a piece of magic and " another card trick." While this is being done, remove the envelope and to® it upon the table.

When the holder of the cards has finished his mixing, take a quiet look at the pack while it is still in his hands. Possibly, as has occurred to the writer twice— the marked card will be

It doesn't seem possible that this is the eighth Annemann issue that we have put out. In each and every one we have tried to present our readers with magic that we felt Annemann would have liked and also magic that he would have published in the immortal Jinx. This year, our friend Arthur Carter takes care of the whole issue. A great lover of mental magic on top. If so, the gods have vouch-safed a super miracle. Simply request that the top card of the pack be placed face down upon the table, drawing special attention to the fact that you have not touched the cards for one instant. The prediction is then opened and read, and your victims retire — possibly, to bang their heads against the nearest wall!

Assuming however, that this "break" does not occur. It probably won't! Take back the cards and cut the pack so that the marked card is roughly about eighteen cards down. The marked edges will allow you to do this with reasonable accuracy, and placing the cards face down upon the table request the helper to name a number—not too big and not too small, between 1 and 52, Phrased in this manner you will be almost certain to be given something round about fifteen to twenty. Remark, " As an ordinary individual I would have no idea what number you would select, but as an extraordinary individual I am able to state that it is definitely bound up with what will happen in a few minutes from now;" and ask that the chosen number of cards be dealt face down in a pile upon the table. Watch carefully for the marked card and note carefully the position at which it falls, as possibly a "break" has come your way. Here are some possibilities :

(a) The card will be actually at the number chosen.

(b) The card will be on top of the remainder still in the spectator's hand.

(c) The card will be 10th, 11th or 12th in the heap upon the table,

(d) The card will be in a position in the dealt packet corresponding to its number of pips.

The four " breaks" can be dealt with as follows ;— (a) and (b) are I think self explanatory to any card worker, (c) In this case our worthy Editor's " Precogspeller" Pentagram Vol. 6. No. 9, can be presented under test conditions, (d) This is rather subtle. Ask the dealer the date of his birthday, and after a few moments' calculation, state that his lucky number should be five (or whatever the number of pips on the card). This number is then counted down to and the five of Clubs revealed, after which the prediction is read and found to correspond.

Assuming, however, that your luck is dead out, and no "breaks" turn up, the remainder of the routine is a matter of "Hobson's Choice". The spectator is asked to suggest a further number, and a corresponding number of cards is dealt from either the cards already used, or those still remaining in the spectator's hand, according to which packet -contains the marked card. In this manner the pack is whittled down until only one or two cards remain. The mark on the card of course enabling the performer to keep track of it at all times. If at the end a single card —either in the victim's hand or face down upon the table, remains, the effect is very fine. In the case of two cards, say: "Now please consider very carefully which of the cards you want and place the other upon the table." If the marked card is laid down, you are all set for a smash finish, if the other, remark: "So you have decided to keep that card, will you please tell us what it is." There is very little to choose between either for strength of climax.

continued on page 38

THE FEMALES OF THE SPECIES ARE. . .

ROBERTA AND MARION

From the J. B. Findlay Collection

" Incidentally, it was interesting to see how much more effective it was to see girls handling silks, trouble-wit, rag pictures, etc. Sometimes it affects my risibilities to see a hulking bruiser of a man deliberately doodling with fragile diaphanous silks."

Robert Houdin, Jnr„ " The Jinx," page 759.

" To approach humour with any degree of understanding, it is necessary to delineate the difference between comedy and tragedy. Contrary to the general conception, tragedy is not always a 'tear jerker' nor comedy a vehicle for slapstick actions and humorous quips and witticisms. The only real difference between the two is in the climax or ending of the story told." Leith Loder—" To Wit."

THE PERENNIAL PHOENIX

ARTHUR CARTER

1HAVE always had a liking for the burned and restored note effect, and during the last twenty years or so have tried out various versions, all of which have combined to drive me to one conclusion—namely, the owner of the note, must receive back the actual note lent, otherwise disaster is sure to come sooner or later. On at least four occasions in my own experience I have had spectators either examine the note in question closely, or be requested by friends to make a careful note of the number; while I have also met no less than three people who have told me that they did not receive back the original from other performers. One—a lady, openly denounced the performer, another lady who also realised what had happened, kept silent. The third, a gentleman, although realising that what he had returned was not his original property, was completely baffled as to why such should be the case, and left the matter at that.

The best version of the effect which I think I have ever come across, was that of the late Douglas Dexter, described in the April, 1950, Pentagram, in which a borrowed and marked note is sealed in an envelope and burnt, and is afterwards reproduced from a second envelope which has been examined and sealed by a member of the audience. At no time during the entire effect is the note touched by the performer, the note at all times being handled by tweezers. This, I believe, was Dexter's main claim to originality. In any dase, the entire effect was one which, for sheer artistic simplicity would be hard to beat. The only defect from the writer's point of view, was that a certain amount of finger-palming and pocket work was necessary. In the version about to be described, which is exactly the same as Dexter's in effect, all this is eliminated and the hands may be shown completely empty at any stage of the trick. The requisites are :

1. A Special Stand, to hold the Envelopes. As this is mainly responsible for the cleanness of the moves employed it will be described with some detail, although it is really extremely simple, and in no way mechanical. The writer's consists of a single strip of inch square deal, eight inches long. In it are cut three deep parallel slots, reaching to half an inch of the two ends; these are one eighth

On table.

A Pencil. In breast

WHITE ENVELO®

of an inch wide and one sixteenth of an inch apart. For the purposes of description, we will call the slot at the front of the stand " A," the middle one, " B," and the one nearest the performer " C." The stand should of course be attractively coloured, but not pillar-box red, please!

2. A Blue Envelope. This is unprepared, and is placed in slot " A," being pushed to the right hand end.

3. A White Envelope. This furnished with the usual slit, and is placed in slot " B," being pushed to the left hand end.

4. A Pair of Tweezers. These are placed in the breast pocket.

5. A Pair of Scissors.

pocket.

### 7. Means of firing the White Envelope.

It is of course essential that the colours of the envelopes be sufficiently distinctive, otherwise there may be doubt as to whether the one containing (?) the money was: actually burnt.

Now for the actual presentation. The magician commences by asking for .the loan of either a ten shilling or one pound treasury note. On the same being forthcoming, he is asked to mark it in some distinctive manner, " so that if he ever sees it again he will know it!" This " line " is always good for a laugh, and is handed a pencil for the purpose. The lender of the note is now asked to fold it in half, in half again, and in half once more; the final packet being about one and a half inches scuare. The tweezers are now removed from the breast pocket and the note received between their prongs. The pencil is now taken back with the left hand and replaced in the pocket, because, remarks the performer: " That's how I got it!"

The magician now returns to his table, holding the note still in the tweezers, high above his head during the journey and draws attention to the fact that the note never leaves the sight of the audience for a single instance. The white envelope is now picked up in the left hand and the note placed inside, being passed straight through the slit and retained at the back of the envelope with the left thumb. The envelope is then sealed.

The blue envelope is now removed from the stand with the tweezers, and the white envelope placed back on the stand into Slot "B," the note only, being -pushed into Slot "C" which retains it still in its folded condition, the envelope in which it was apparently placed screening it from the view of the audience.

The blue envelope is now picked up with the tweezers and passed to a second member of the audience with the request that he examine the same and seal it. It is then received back with the tweezers, and replaced in Slot " A " of the stand; the white envelope—still apparently containing the note is then removed, leaving the Blue examined envelope in position screening the note as its companion did a few moment® previously. During these moves the hands may be casually shown empty; and when I say casually I mean casually, and not waved in the faces of the audience.

The white envelope is now set on fire, and after it has burned for a few moments the flaming remains are dropped upon an ashtray and allowed to burn themselves out.

After the resulting situation has been played up for a little, according to the type of audience and the performer's ability as a comedian, the hands are again shown empty—apparently by accident, and the scissors picked up in the right hand.

The left hand now removes both the envelope and the note from the stand, the left thumb clipping the note behind the envelope. The left hand now holds the envelope about chin height, flap side facing the audience, the note still being concealed behind. The right hand end is then snipped off, and the scissors replaced upon the table. The right now picks up the tweezers, and these are apparently inserted into the slit end of the envelope. Actually one leg goes inside and the other goes outside and over the note.

The tweezers are now squeezed, and the note apparently drawn from the envelope, actually it comes from behind in the same manner that is sometimes used for producing a selected card, but the audience does not realise this. As soon as the note is clear, slowly lower the hand containing the envelope to waist-level, gazing fixedly at the audience meanwhile. This is an impressive gesture which will bring a good burst of applause. Step over to the lender of the note and request that he himself removes his property from between the points of the tweezers, and assure himself — and the rest of the audience that it is the actual note he originally loaned.

(Commercial Manufacturing Rights Reserved by the Author).

" Yes," he went on, " you are very intelligent, but you're an amateur ; and the gulf fixed between the most dim witted pro. and the cleverest amateur is immeasurable. Certainly it's important to think the right way, but like faith without good works, thought without technique is dead. Thought transference across the footlights is only achieved by suggestion. By words loud enough and effects broad enough to get over to the bulk of your audience, you suggest to them the state of your mind ; you interpret your thoughts for them."

Nigel* Fitzgerald—" The Rosy Pastor "

THREE MORE POKER CHIPS

### ARTHUR CARTER

THE PROBLEM of the three poker chips—or counters, in English parlance, is undoubtedly one of the finest impromptu mental problems extant. There were occasions when Annemann, Mahendra and other leading mentalists convinced their audiences that by means of it they genuinely read minds. But it possesses one rather serious defect, any slip-up on the part of the assisting spectators while the performer has left the room— however slight, is fatal, and there is no " out!" After the writer had had two " accidents " of this kind, and two of the victims of successful performances had remarked : " Damn good trick, old man—but I suppose it's mathematical"—or words to that effect, the version about to be described was evolved. In it the dumbest of helpers would find it hard to make a mistake, and although numbers are employed the method is by no means mathematical.

The actual effect is of course the same as in the standard version. Three counters, coloured respectively Red, White and Blue are placed upon the table, and while the mentalist is out of the room, three spectators, Mr. A, Mr. B and Mr. C each pocket one. On his return the performer explains that in order to read minds it is essential to employ articles logically associated with one another, and accordingly introduces a pack of cards, by means of which he "divines" the exact choice of each of the helpers.

The astute reader will I think, have guessed already that the secret lies with the cards, which are simply—but subtly prepared as follows:—

Thirteen of them are marked in some distinctive manner upon the backs, these for the purpose of description we will call "A". A further thirteen are also marked distinctively, but slightly differently, these we will call "B"; the remainder are un marked. These we will call "C". The pack is then stacked as follows:

A. Nos. One to Thirteen.

B. Nos. Fourteen to Twenty-Six.

### C. Nos. Twenty-Seven to Fifty-Two.

The presentation is as follows. As soon as the three members have made their selections and the counters are safely hidden in their pockets, the magician returns and proceeds to distribute the cards thus:—

4. The remaining "C" cards he keeps himself.

" Now," he remarks, " each of us is at the moment holding 13 cards, which is of no use whatever, because when we begin to concentrate, our minds would all throw out the same vibrations. So once again I propose leaving the room. While I am absent I want whoever holds the RED counter to add six cards to mine which I shall leave upon the table. Further I want whoever holds the WHITE counter to add less than six cards to those upon the table. Finally, I want whoever holds the BLUE counter to add more than six cards in the same way. This will ensure that each of us ends up with a different number of cards, and will result in our thought waves each having a different vibratory wavelength. Is that clear? Very good. I will leave the room."

Assuming that the three spectators have done as requested, the mentalist returns, and continues :

" I do not of course wish to know how many cards each of you hold, but I will nevertheless count mine." This he proceeds to do by dealing the cards face down, upon the table, as he does so he quietly notes the exact number of " A " cards in the ■packet by means of the secret marks upon the backs, let us suppose there are four, this reveals that Mr. A. has taken the WHITE counter. The experiment is partially completed, before the audience even know it has begun!

" Already," he remarks, "I am getting vibrations, but they are very weak, so I will try and intensify them by giving back some of the cards I hold to you." This he proceeds to do, giving a card here, two cards there, and so on, apparently at random, under cover of the distribution. However, he is also counting the number of "B" cards that he holds finding (perhaps) six exactly. This at once tells him that Mr. B. holds the RED counter, and by a process of elimination that the BLUE counter rests in Mr. C's pocket. From then on he may continue to hand out cards as he feels disposed, as all that remains is to reveal actual selections with all the showmanship at his command.

All should now I think be clear but perhaps one or two examples may not come amiss:

4 "A" Cards. 8 "B" Cards. 19 "C" Cards-Mr. A. White, Mr. B. Blue, Mr. C. Red.

6 "A" Cards, 9 "B" Cards. 15 "C" Cards-Mr. A. Red, Mr. B. Blue, Mr. C. White.

18 "A" Cards, 6 "B" Cards, 20 "C" Cards.— Mr. A. White, Mr. B. Red, Mr. C. Blue.

" You're obviously a perfectionist; and perfect acting demands a perfect audience, which is a very rare thing. There is great acting to be seen in London at the moment, thank God, but it's the exception; I'd prefer to see full-blooded theatricality than the sort of thing you'll find in most West End theatres; the would be highbrow or the plain bloody suburban." Nigel Fitzgerald—" The Rosy Pastor "

THE FATHOMING OF A WORD

### ARTHUR CARTER

TO Theo Annemann lies, I think, the credit for having evolved the first absolutely unequivocal book test. I am of course referring to his famous magazine test described in " The Book Without a Name," in which an absoutely unforced word—or for that matter a whole line, or if you happen to be a second Chan Canasta, a complete page, oould be revealed by the performer.

In the version about to be described, three spectators each make an absolutely free choice of a page, line and word, while a fourth helper selects one of three novels. The mentalist has meanwhile selected a single word from a dictionary which he writes upon a large slate. Despite these stringent conditions however, the chosen words are found to be identical. The requirements are as follows :

1. A small dictionary, those sold by Woolworths, will be found admirable.

2. Two duplicate Novels, of roughly the same size as the Dictionary, and containing approximately die same number of pages. The dictionary and one of the novels must then be taken to a bookbinder, with the request that he re-binds one of the novels in the dictionary cover.

3. Two other novels.

### 4. A large slate and chalk.

One further item by way of preparation is necessary. Each of the novels are numbereid respectively, one, two and three inside their front covers. The duplicate of the one enclosed in the dictionary cover, being given the number two.

By this time, the presentation should 1 think be fairly obvious to an Annemann enthusiast, or for that matter any experienced mentalist Assuming that the novel used contains about three hundred pages, a member of the audience is asked to name a number less than this figure, say one hundred and twenty, a second person is then asked for a number from one to twenty, and gives (say) fourteen. A third helper is then asked for a number between one and ten; and selects (say) six. So far nothing could be fairer.

Having shown the slate blank, the performer states that he also proposed to make a choice, in his case a word, from a book which will give him the best possible selection, a dictionary, which he proposes to keep secret for the time being.

The "dictionary" (?) is then picked up and deliberately opened at page 120, the 14th line is counted down to, and the 6th word noted and written upon the slate, which is rested against a chair back, blank side facing the audience. Up to the moment no mention of the books to be used has been made. This is one of the strong points of the routine.

The duplicate of the "dictionary" has now to be forced, and whereas the method usually employed 1 Annemann, was the "take it or leave it" principle, the following method, due to Mr. Stanley Collins, is I think far more subtle.

The three books are placed in a line upon a tray, the required one occupying a position at one end.

A member of the audience now freely chooses One, Two or Three. There is no equivoque used. In the-case of One or Three the book is counted to, from the correct end. If, however, the choice falls upon Two —the most usual selection, attention is drawn to the numbers inside the front covers, the helper being requested to return those bearing the numbers One and Three The page is then located, the chosen line and word counted to, and another miracle is accomplished.

Since it has been proved times without number, that in experiments of a mental nature, the audience cannot remember details unconnected with the final effect, the average impression will be that the page, line and word, was made after the selection of the book, in fact the performer may if he wishes openly state that such was the case.

Finally, should the "line" number—as it sometimes will, be greater than the number of words available, the final word should bo the one used, a further "proof" that the performer had no previous knowledge of what the selection would be.

BOOKS

Within the thirty pages of this booklet, a professional magician, after a forthright introduction, details some seven practical effects followed by a well routined magic act. All the effects are direct and call for little more than a knowledgeable technique. Their directness should prove their value with a public audience, and this, as Mr. Francis points out, is the only audience that pays you. We particularly liked the production of drinks at the finger tips, an item which would prove most suitable to a silent act. Good too, is the "Crazy Cocktail Shaker," an effect, easy to have made up and having the qualities so necessary in a stage or cabaret act of to-day. The routined act, " This is Magic " is one much in the vein of the author's " On the Way Home," for it makes no demands on stage setting. The performer enters, performs a multitude of magic and is yet able to exit without the need for the clearing away

ON THE LAP OF THE GODS—continued, from page 34

The possibilities of this routine are really endless, and only depend on the ability of each individual performer in sizing up the situation at any given moment.

For instance, the writer once had the pleasure in performing it before those two great card men, Stewart James and Francis Haxton at the latter's house. Stewart James was the dealer and the writer trusted entirely to luck—not touching the cards once throughout, as in fact it is sometimes best to gamble for high stakes. The first number given was "nine" and "mirabile dictu" even this small number sufficed to "draw" the marked card. The remaining choices were "five" and "three" which left Stewart with the predicted card in his hand! Furthermore, on this occasion no form of equi-

of props. A decided bargain for the magician who sets out to entertain in the commercial field.

Verrall Wass dedicates this book of some 150 pages to all those magicians who prefer entertaining the public to conjuring for conjurers. To achieve the many effects that he offers, the author seems to go the hard way, especially (in view of the fact that he is preaching commercialism), in such an effect as the " Nofors Card in Cigarette." All in all there are more than forty effects detailed; they include; 17 card tricks, nine tricks with flowers, nine with silks and a number unclassified. For the magician who likes to make up apparatus and can be certain of always having a stage upon which he can perform, there are a number of originalities which will more than repay the cost of the book. For those who seek their living on cabaret floor or by dinner dates, there are one or two items like " Ardent Lovers," that will find a place. For the close-up worker there is nothing.

voque had to be employed at all. The cards incidentally, were shuffled between each selection, and the fact that this can be done is a real facer for any awkward individual who is out to catch the performer.

A possibility which may appeal to some card workers might be the employment of duplicates. Provided the card used were an inconspicuous one, and the number did not exceed, say three or at the maximum four, the risk involved should not be too great; especially if the effect were the last item presented, the additional cards being added at an earlier stage, prior to which the pack had been freely handled during the performance of other tricks. The "breaks" would then be easier to come by, but in any case it is a matter for each performer to decide for himself.

The next issue of the " Pentagram " will be contributed by Edmund Rowland. Those who have occasion to read magazines already wili have noticed and enjoyed some rather unusual effects by this magician. You'll remember, and will no doubt have used, the paper tear effect in " Pentagram" No. 2. Vol. 7 as well as the tricks with magazines that appeared in the " Gen." A member of the Pentacle Club in those after war years when the Society was lacking in numbers, Edmund was , one of the very few who helped * lo keep the University magical ' flag flying. Now a maths. , master .in a North country school he is able to give a little lime to the origination of magical effects. One of the effects to be published shows how a commonly known trick with a sound principle can be used in a more subtle way.

Just recently we have been giving a little thought to the presentation ol magic for children. As a child we can well remember the magical per tor- j-mances that we witnessed and all in all we cannot remember any of the magicians employing the "namby-pamby" methods of audience approach that are in such common usage to-day. Never do the people seem to realise that all children, once outside the nursery, wish to j have an aduh mind. The sight of so much of this 'teeny weeny* attitude is that it makes them despise, not only the magician, but magic.

Also, a great deal of the reality of magic has been lost. The popular rabbit has been replaced by either a plastic cut-out or else by a piece of fur fashioned into a shape unknown to God or man. Laziness is partly the cause of this, the other part being the propagation of dogmatisms by those who finding their own personality suited to such offerings wish to instil the same ideas in the heads of others.

In this country to-day there are a few magicians who specialise in school work. We know them all and we know that the magic they perform is adult magic presented in i Carnival of Magic

Pwwflnd by Parent Amjohly No. 1

The Society of American Magicians LADIES' >I«.»«T

Apl-3 20, Oil Hotel McAlpm

MAX HOIDEN, Mmfrr of Cntmtmm

'PROGRAM

Fotii Miowt Acdrctt of Wdtosst

Bernard M. I_ Ernst

T>k wJm t-l-1 ■ it filial to c'^ltji w«l™t flKkt. to iIk i..I nnt e( Mit peffcrwitf, an flow I-'-, m^ I. •! yi, 1 ihefttCT cjvbt

1—Arnold Belab_

2—Sherman Price J-W. R. «'».mcto.V 4—Charles Harris J—Stanley Hunt 6—Ai Baker

Magic cf 19JI

„The Midget Magician ..The Great Originator

The Pride of England The One and Only

Together with Ma* HoMen

Master Mentalist

S—Julien J. Prossaub* Doll House Illusion

Anijtrd fey Mis« Dor» Biter, iirt of 2ieg/eld Foil*»

1 I—CHARLES 0e Montb_____ "He Left Rajah Raboid"

12—Leon Magvire it Frans Clinton____"Jo-Ker"

7—Annemann

Amojffmeûï pf the icn à> o« intKcase merit-nil ire befcved to be equally the best in magic

Ufa* rrtPtil At si™» Cemm&trr «il rW h ftmki ib* W an

«1 tit ~ *JX*I< *bt Jttthn 4* tbh t^tiftwrn, «trtl tri —U hn&J

j*' >t: r1l riot. Itêff »' ten*ft ftrjwrm**<rt.

an adult manner. One quite recently was performing at a very famous West of England Public School. His performance ended he received a great ovation. During the course of conversation with the Headmaster after the show he was shown a twelve month old copy of the _ school magazine in which

~"j appeared a write-up of a show put on at the school by a local magical society. That article should have been published in every magical magazine in this country, for it showed only too plainly the faults that can be attributed to so many magical societies and that too many who attempt magic for the younger generation just haven't a clue! You may say, ' Yes, but these are boys of an advanced age.' Believe us it doesn't only apply to them and the answer is given by instancing a magician we know who specialises in prep, school shows. He not only works adult magic for such occasions, but is also fortunate to have a daughter who is a Secretary at one. From her he gets the latest conversational gen. between these youngsters. At the moment it revolves around atomic explosions, jet aircraft, space travel and horrible methods of death-dealing 1 It is very nice to think that one should introduce a toucb of whimsy into a show, but remember that it is not the child or even ;he adolescent that appreciates such a thing to the full. "Alice in Wonderland" for example has given far more pleasure to the adult than the child. Only a few conjurers have the knack of producing a trick that has true magic allied Jo whimsicality. Charles Waller is one of the few.

The basis of a true magic show whilst it may be ignored by magicians and those who write about magic, is mvstery. To be appreciated by persons of all ages the mystery must be capable of easy understanding; it must be presented most directly; it can have humorous twists, it can be fantastic, but it must be a mystery. Please let the children see more Of it!

" Never again tell a man who talks poorly, to resort to Pantomime, as an 'out'. In attempting to follow such advice, that man is going down not up for he can most certainly develop perfect speech easier than he can master this very demanding art of pantomime." Leith Loder—" To Pant or Pantomime "

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