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stantly, as if you have ignited the match, bring up the right hand to lips, screening your mouth with both hands cupped. This hides the move with your right second and third fingers which grip the burning cigarette and bring it out of the thumb-palm position. This brings it into the proper position for placing between lips. Start smoking cigarette and then bring hands away, at the same time blow out make-believe match and throw it on the floor.

If you prefer, you may have the lit cigarette in holder pinned to your trousers or coat near bottom edge on left side. The cigarette is stolen in this case by left thumb and first finger while the right lights match on shoe, ./hen hands are brought up to face it is the right hand which does the screening and the left middle finger hoists cigarette upwards which brings it gripped In regular smoking position between first and second fingers.

(Editor's note.) I've used this quite a few times and find it much easier and more sure to grab the cigarette from pocket with right thumb and first finger. The second finger pushes the cigarette back into hand and the lighting of match is done with the same hand a moment later. The left hand cups and screens the right sufficiently and the cigarette is in position to be taken between lips.

THOUGHTS IN GENERAL. (Annemann)

Being in a continuous state of "Jinx-Jordan vs. Pour shows a night with one day off every two weeks" this column is in order that I may not have to concentrate on one particular effect. In the making are three complete routines along varied lines and they will, I hope, make up for a dearth of material of late which I could justly accredit to myself.

For those who might like to try the card on a ceiling effect (which 13 one of the most effective effects to say the least) I can give a most practical bit of information. Get a small (sample, if possible) size salve tin with cover. Into it put some Woolco Paste, obtainable in nice large Jars from Woolworth stores - for a dime. Be sure that it doesn't come to the top of the tin. Just Carry this around for the time when you'll need it. Opportunity arising, remove the top, transfer It to bottom and keep In your right trouser pocket. With tin not too full, the paste won't start sticking up things. Use any deck - have the card selected and replaced. Get it to the top and ask if anyone has a suggestion as to how you might find it. The stall serves you well. Your right hand drops to pocket and the second finger gets a dab of paste which is then applied to back of top card. Now — after passing by any suggestions remark that you have an Idea (it will be more bizarre than any offered). Give the deck a last minute dovetail shuffle leaving the sticky card on top. Hold In right hand with second finger and thumb at the ends. Throw flatwise to ceiling with a little twist to the right as you let it go. The circular or rotary motion of pack is what assures a nice flat contact — the deck falls and the card is there for all to see and remark about .until the janitor or house boy gets a ladder. This particular paste works better than soap, etc., and all those things which have been written about before. And for the first time I think I've brought out the partial spin of the deck which maKes this effect a sure thing.

From out of the past comes thl3 tip. If you use tubes with which to cover glasses, etc., make them of heavy cardboard and make them square, tut them together with cloth tape and they'll fold flat when not in use. Hake two end rings for each tube from thin wood. Put these on the ends and they hold the tube in shape, ./hen through everything packs flat for your suitcase. I found it more than practical. You should too.

Extremely strange is this thought. Get a book or two on lip reading. Flay around with it if you go in for the mental type of work. People al-way talk and say things to their friends while you are working (especially when doing the private and intimate jobs) and it comes in mighty handy for the performer who can take advantage of situations. I know that not one out of a thousand villi take this paragraph to heart. However, one has --- and it has been worth plenty of money.

Rehashing is a bit of business always argumentative. Some readers heartily dislike it even though a redress of an effect may make it workable for them. However, if you do the Brema Hut Trick use It with a glass mixing rod or 1 swizzle stick' rather than a string or cord. Removing the nut from a glass rod is much more astonishing and the patter to use is that you are ln.-possession of a strange bit of glass. Let them examine the rod and then Introduce the nut as an incidental piece. Work the trick, leave the nut on the table without comment and keep your attention on the rod. The super-smart ones will check the nut to no avail, and although they may be certain the trick is there (it's too bad It has to be a shiny brass nut because of being so uncommon -- that's why I started using a decoy away from it) they won't discover anything. Dr. Gordon Peck even went so far (more power to such showmenl) as to carry a half dozen rods wrapped up in chamois. He'd unwrap them and select one for the effect, putting the rest back,

Very practical as I have discovered is the idea of using a common cigarette dropper for the much played around with blindfold cigarette divination trick. There have been many methods for discerning the make of a smoked cigarette while blinded. Ly version was to have four brands dumped into a hat and shaken up. Show the right hand empty with a flourish and reach in and mix them a bit more, --.t the same moment the left hand secures a cigarette from dropper under coat edge, jifter mixing the left hand follows the right hand in and apparently draws a cigarette out, places it between lips and the spectator lights. One inhalation and you name the brand, The spectator takes cigarette from your mouth and checks. You repeat and that's all. Merely have one of each brand in the holder and you know the order. This works.

Lastly, if you go in for chances, do y?ur card tricks minus 3 cards - the 9D, AS, and 2C. Whenever possible ask the spectator to name a card rather than select one. The moment one of these is named - and it will happen - hand them the deck to be mixed. Cause the card to vanish and then take it f;'om your pocket. It stuns.

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The Jinx is an independent monthly for magicians published by Theo. Annemann of Waverly, N.Y., U.S.A. It can be obtained direct or through any magical depot for 25 cents a copy, and by subscription is $1 for 5 issues postpaid to any address In the world.

DEATH FLIGHT/

"D e xw equirements; a packet of blank cards; a packet of small envelopes 111 hold the oards neatly; a pencil.

Excellent for press and publicity work is this vmftr efJRSk Ive and out of the ordinary triok. The preparation is very simple and qSickly done with a minimum of material, all of which is essential tb modern raaglc.

Effect: The performer hands a spectator seven blank cards,one of which he is asked to take and write upon it the name of a dead person. He is then told to shuffle the seven oards and they are placed in an envelope, sealed up and the envelope initialed, whereupon the spectator may pocket it. Then seven more blank oards are shown and examined. These are sealed and the envelope Initialed and held. The 'Death Plight' takes place when the performer causes the dead name card to travel from one envelope to the other. Upon opening the first only six cards are found, all blank, in the seoond envelope are found eight cards and the dead name card among them!

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Preparation; Place six blank cards in one of the envelopes, seal it and place it second from the top of the packet of envelopes, they all being flap side down. In the top envelope place a single blank card.

Operation; Count out seven oards and give them to a spectator. He selects any one of them and writes upon it a dead name. Then have him mix them up with the writing side of the dead name card down, You have taken the top envelope from stack. Take, the cards, Insert them in envelope (single blank card is already there) and hand envelope to him for sealing.As he does this pick up the stack and pencil. Take envelope back and place it on the top of the packet with flap side down. Ask his Initials, turn the two top envelopes over as one and write his initials on back. Slide this envelope from packet and hand him to pocket. The speotator thinks he has his own envelope but really he has the one with six blank cards.

Hand the second spectator seven cards which he counts and examines. They are sealed by him in an envelope which you take, this time, from underneath the stack. Take the sealed envelope back, placing it on the top like before. *sk this person's initials, turn over the top two as one and write them on the back. This envelope (containing eight cards and the dead name) is then given spectator also to pocket.

As far as you are concerned the trick is over except for the subsequent 'blarney' to build up the passage of the dead name. When the first envelope is opened only six blank carus are found. The second envelope Is opened and found to contain eight oards and the dead jAame is there!

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