be found wrong with the visible and available objects used before the audience.

You need two sets of alphabet papers. The sheets are cut 4 inches square and large black letters inked on. I used a set of children's blocks to make my outlines. Only two papers need be replaced at each performance. The paper should be of good linen quality on the heavy side.

One set of papers is folded up in a hap-haz-zard way to about x l£ in. in size. These 26 billets are deposited in a regulation "Cards Prom the Pockets" index as sold by all dealers. Only one of the two indexes supplied is used. It will hold 26 of these papers in place of the half deck it was made to contain. You know them as 1 to 26 and the index is placed In your 16ft trousers pocket.

The slates? On one side of one slate the message is written. Beforehand, pick some one person in your audience, and not seated in a spot difficult to reach, and learn his or her first name. That's what you fill In after "Dear —;

We've described this procedure in previous Jinx copies, but there are new readers who shouldn't have to buy a back Issue. In one corner of the message side put the figure 1. This side is at the bottom outward of the stack of two, figure towards audience as you hold them at first, keeping message side down. Openly mark top side with a figure 1 to match. Right hand takes hold slate at the right outer corner, turns it outward like an end hinged notebook and brings it back underneath the other. The new surface next is numbered 2 on its outer left corner. The same hinge move and come-back underneath is made, but during the action the slates are brought up a bit to face the performer. He writes a 3 on the new surface and then lowers the slates to show. He then lifts them again towards himself and apparently makes the same move for the third time but actually, the hinged out slate, instead of going underneath the other, is brought down on top of the slate in left hand.

Without pause he is seen to write the number 4. However, facing him now is the number 1 side and his action is simply that of changing the 1 to a 4. Then the slates are lowered and the audience sees it in all fairness (?). The slates are given spectator and the selected letter taken.

He gives them out with his right hand, and, while he explains that as little light as possible should get between them, the performer's left hand has dropped to his pocket and secured the letter needed. The picked up letter with his right hand is seen by all and torn. After the pieces are -folded to about the correct size a fingerswitch is made and the performer approaches the spectator quickly, his left hand diving deliberately to left trousers' pocket again to get rid oi the pieces and come out with a large rubber band.

"Open the slates just a little," the magician requests, "the pieces of the initial should help to get a direct line open to the hereafter." The restored paper is pushed inside and the rubber band snapped around all. "Tnat should help to keep light out."

Tne effect is done except for presentation of the finish as described before.

Now I know that the excuses aren't perfect. I've said that Tr6m the beginning. The idea was a flash-in-the-pan but two weeks ago. I made it up and have used It twice. The torn and restored initial definitely has possibilities. With other restored paper effects there was little or nothing to differ-

Page entiate between that destroyed and that restored, except in the simple cases of Chinese laundry slip markings and magazine pages.

In this case we have a restored letter freely picked by a member of the audience, plus a message via slates, and a clean finish that will stand Investigation.

I hope to inprove it and make it even better. Maybe the N.Y.C. Clinic will see fit to work on it. Maybe you already have a better application.

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