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in the same manner, each time discarding the right hand packet. Continue this until only two cards« remain on your left and these will be the ones spectator wrote down.

Should he want your two cards to remain, discard the left hand heap and go through the same procedure, except that in this case you discard the left hand pile throughout until you have but two cards left which are the ones you wrote down.

Beginning this, emphasize that free choice is given. If he points to the slip which contains the names of his cards and points to the heap containing yours tell him that the two cards as on the slip will be the ones left behind and that he chooses to discard the right heap, so all through the effect you will discard the cards that go to the right. No matter how his choice goes you have him beaten,

This Is really a good finger exercise as well as effect. The magician patters alone the line that many peonle ask him Just how he goes about to keep his finn-era so nimble. In answer to this much asked question he will show thorn his finger exercise. Two thimbles are shown. One is red and on the right index finger and the other Is blue and on the middle finger of same hand. The hand is given a slight wave and the red one Is seen to have jumped over the blue and Is now on the fourth finger. The fingers of the left hand take it off and put it back on the Index finger but on waving the hand again, the thimble Jumps back to the fourth as before.

Repeating this once or twice again the magus says that the hardest thing to do Is make both thimbles change places. Waving the hand the blue is now on index finger and the red one on the middle finger. This is repeated a time or two and for a finish, when working close enough, the spectator closest may remove the two thimbles and try It for himself.

Use three thimbles for this. Two reds and one blue. The extra red Is thunb n->,lmed to it.art while the other is on Index finder and the blue is on middle finger. It should be unnecessary to say that the back of hand is kept towards audience. The hand Is held, fingers outstretched, and then the fourth and little fingers curl in, the fourth finger going Into thumb palmed red thimble. Wave hand and at the same time open the fourth and little fingers thumb palming the index red thimble. This is done under cover of a sleight wave of the hand. Put red thimble back on the index finger and you are all set to repeat. Do It about three times. The last time red thimble is put back on Index finger the fourth finger of the left hand goes into the thumb palmed thimble (red) and steals It away. It may be dropped Into left coat pocket during the last part of this effect.

Describing this last part will be r?.ther hard so try it with thimbles on your fingers. First thumb oalm the one on your index finger. Then with aid of thumb and fourth finger, the thimble on middle finger is lifted off and put on index finger. The middle finger now goes into thumb calmed thimble. Repeat this several times to the finish. The idea of letting a spectator remove the thimbles is to prove him wrong should he have been thinking you had three thimbles. However, never mention using two thimbles as it is sure death. The first thing a magician should do is learn to talk —— and when.

Editor's note: This is an excellent trick for anyone and by a fellow who Is rapidly coming up lh nl\$it club entertaining. I can't do many sleights (If any) but this is simple because It uses only the simplest thimble steal. V/hat makes It good is that there is no vanish and it serves as an admirable interlude on any program.

An unprepared glass tumbler is shown and in It Is placed a red silk handkerchief. This Is put on the table and a sheet of paper Is next placed over the glass so that Its shape Is seen at all times. A borrowed hat is placed on top of the covered glass and by holding it at the sides the performer pushes It down and the glass and contents pass through the crown into the hat!

On the inside of the paper used to cover the glass Is glued a piece of red silk by one coiner. At this point on the outside of paper Is made a slit so that without trouble the piece of silk may be pulled into view. It isn't at all necessary to cover this bit of silk on the inside of paper but it should be done if you want to show both sides of the pap.er at the start. However, there shouldn't be any suspicion attached to the paper by anyone so this detail is up to you.

Showing the glass, the red silk Is placed in It. Now cover It with the paper and press it down all around so that the paper takes on the shape of the glass. Keep this paper covered glass in the.right hand as you take the hat and for a second put the parcel into the hat with the remark, "My Intention is to pas the glass through the crown of the hat." This move allows you to drop the glass and the paper retaining its 3hape Is Immediately withdrawn as you continue. "However, most of you would no doubt like to see it as it harapens. At this point put hat on table and pretend to make a hole in Daner and draw out tip of red silk. "The glass itself could not do this if It weren't for the red handkerchief which actually goes through first and clears a passage for the tumbler." Tuck the tip of silk back into paoer, and holding the glass (?) on table with right hand pick up hat and bring over the top of it. Let gd of the glass and with both hands on hat brim push it down. The paper is crushed and immediately you lift the glass with silk inside from hat. Place this aside, return the hat quickly, and as you step back to your table for the next trick carelessly ball up the paper and toss It aside out of the way. The entire effect should be done smartly with little stalling so your climax Is reached as quickly and surprisingly as possible.

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 subscrip-r tion is \$1 for 5 Issues postpaid

1 THE ORIG-ION AND HISTORY OF THE TORN DECK TRICK. (Julian J. Proakauer)

Editor's note: Mr. Proakauer kindly presented this effect to Jinx readers and I have not taken the liberty of changing the wording of hla instructions .

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Modern ownership of magical effects is always in doubt unless its creator really does invent something new, novel and different. Whenever a magician announces "This is an original effect," in keeping with other magicians who have a fairly large magical library, I smile skeptically.

One magician may make the pass; another magician with a clever shuffle achieves the same effect of bringing a card to the top or bottom of a pack. It doesn't make any difference what method is used-it's the effect on the audience that counts, with which little lecture, we will proceed to the cause of this article:-

More years ago than I like to remember, I "invented" an "original" method of "Sawing a Deck in Half." It was at the time that "Sawing a mo-man in Half" was in vogue. Here it is:-

EFPECT: An unopened pack of cards is handed to someone in the audience. The seal is broken and cards are shuffled. Magician takes pack back, and has card freely selected by anyone in the audience. Card is replaced in pack. Kaglcian goes back to stage. Magician then takes saw and cuts pack in half. Magician takes one half .of cut pack in hand, and asks someone In audience to cry "stop" at any desired place. Magician pulls cards out of pack throwing them on floor until someone crys "stop". Card on which he stops is placed on table. He now takes other half of deck and repeats the "cry stop" effect. He then shows the two pieces and holds them together. They fitl It is the previously selected cardl

METHOD: As selected card is returned to pack, pass it to the top. That's all there is to the trick - nothing more. The rest is simply showmanship and presentation, as the "half-cards" are being thrown to floor, obviously you are "second dealing," always retaining the top half card.

We now skip a few years. "Sawing a Woman in Half" is not so prominent now in the minds of non-magical people. But the above described effect Is just as good as it was many years ago. "Torn and Restored Cards," "Card in a Box," "Card in an Egg," "Card In a Cigarette," and other effects are in vogue. So let's bring our trick up to 1929:-

METHOD: After a card is selected by someone in the audience,with a flourish a pencil is handed to an unknown assistant with Instructions to "Write your name on this card. That's to identify it later." The magician now goes through the same type of presentation as above, but instead of using a saw (it always was difficult to saw a pack of cards in half - the pasteboards slipped) he states that he has been reading "Physical Culture" magazine lately, and by eating the raw meat and vegetables prescribed therein can easily tear a pack in half. The balance of the effect is the same.

Still another method, and one I used Jan. 20, 1936 at an entertainment where A1 Baker and I were the only magicians, is this. After the card has been selected, returned to the deck, and passed to the top, I cut the deck in half. Placing the halves at opposite ends of the table,I offer the spectator his choice of either pack. Of course, this is "magician's choice" and the correct half forced. I give the assistant one half and retain the half with the selected oard on top. I now 3ay to the assistant "do as I do." With that, I tear up my part of the pack! This brings a good laugh for usually the assistant "stalls." If he does tear his half in half,it's still a good thing for I pick up all his pieces, and the pieces from ray half, and "mix them." This confuses the issue. Go back to the original cry stop idea and you have performed a 'miracle.' Incidentally, for you weaker magicians (like me) to whom tearing an entire deck is hard work (or an almost Impossible task) this method where you tear only half the deck 1s a swell idea.

About three or four years ago at an S.A.M. show a magician did a "Tearing a Pack" effect something like the one described herein. Quite honestly he thought it was original - his method probably is. I don't know to this day the method by which he achieves his effect - but I do know the effect on the audience is the same as the above described effect which I first did about eighteen years ago - and to which I lay no claim for originality except for the patter and presentation. This trick was first described, to my knowledge, about seventy-five years ago, but it might have been used long before that.

This is a good effect, and I ¡am glad that the Editor of The Jinx (who had heard that it was my "original creation") asked me to describe it in print for the readers of The Jinx. I disclaim any originality of the exact effect, but I do claim full credit for having been the first to bring it to light in the last several years.

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