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1/4 inch thick

1/4 inch thick spades in it. He opens the box and takes out the card for all to see. The three of spades.

A P oc Ir card box and one duplicate of any card to match deck is needed. Empty the side pants pocket and place any indifferent card in same with its face to body. Put the duplicate card face down in regular compartment of the card box and have box open to the false compartment. (It might be a good idea to carry the ring in this compartment of box which will keep it from closing and be a good excuse for presence of the container. Ed.) The card to match is, on top of deck. After patter, riffle shuffle leaving card on top. Spread deck face down. One is pushed out, touched with ring and dropped into card box which is closed and given assistant.

You now have to force the three of spades on three spectators. For the first person, I make the pass and use a straight fan force. If, by chance I miss I have him pick three or four cards and lay them down for the old elimination force.

For the second I use the riffle at end of the deck and then slip the top card to center. And for the third, absolutely the bfest force to use is the one hand forced described in a previous issue of The Jinx. The cards are held face down in left hand with the three of spades on top. The spectator cuts anywhere he pleases and reverses this cut off portion on top of the lower portion. With deck in the left hand, you spread cards on table and spectator notes the top card of lower portion. What really happens though is that the left hand has turned the whole pack over in the mere action of putting them on table for the spread, and what spectator thinks Is the top card of lower portion Is really the original top card of deck.

The spectator notes this card and hands it to performer who deliberately puts in trouser pocket, palming it right back out again to top of deck.

Returning to assistant who has the box, you hand him the deck, palming off the top card and reaching into right coat pocket for the ring which you have left there.

Continue the patter and have the three spectators in audience stand in turn and name their noted cards. Then have third man reach Into your pocket and remove the Indifferent card. Lastly the assistant looks through the deck, and finally opens box (which has done its work) to find that the three of spades has been there all of the time (?). This effect can be given a real mysterious form of presentation, end taken completely away from the ordinary status of a mere card trick. What's more, it does hold attention.

^Tr magicians by Theo Annemann, iVaverly . jf New York, U.S.A. J^

The Jinx 13 published monthly1 for magicians by Theo Annemann, iVaverly New York, U.S.A. __

By the copy, 25 cents. By subs crip-tion, §1 for 5 Issues postpaid. The ^^ Jinx Extra is a semi-annual at ^^

per copy. No subscriptions. ^

Order through any magical depot or direct from the publisher above. ^^

jordan pi,us Gardiner annemann

Calling the trick "preposterous," liiartin Gardiner furnished a trick for Jinx No. 40 which received nice mentions but was passed up by many more. I have combined it with a somewhat similar trick of Charles Jordan's and whenever I've used it, comment has been good and the requests for the working vie re numerous. Certainly it is one of those things you have to KNOW, rather than SEE HCW, for there is nothing to catch and follow. !

You fan through a borrowed deck and remove the Joker or extra cards. In this action you simply count from face of deck and note the 27th card from the bottom. Close deck and have someone step forward to table. Spread deck across table face up from left to right, and a3k the spectator to pick whichever half of deck he wants to use. Whichever he points to, scoop them up, making a break below the noted 27th card, and thus the deck is subtly separated into two packs of 26 cards each.

Ask this spectator to look through his portion (don't call It half) and take out one card that appeals to him. In the meantime you pass into audience and have someone else select a card from the other half of deck in the regular manner. They note and remember it, replace It, and you return to front, shuffling this half. It is only necessary that you bring selected card to the top upon its return and then shuffle 2 cards onto it, leaving it third from top of the packet.

Ask the standing spectator if he has chosen a card, at the same time crimping upward the rear left corner of your 26 card packet. The base of the left thumb does this, while the tip of the same thumb is on outer left comer of packet pushing it downward. The result is a slight crimp at rear of packet but not at front. Hold out left hand and ask spectator to put his selected card on top. Then tell him to put the rest of his packet on top of all. Thus two cards have been selected and returned without much loss of time or motion.

Saying that it is customary to mix the cards a bit,, cut off about 9 cards and drop them face down on table. Cut off about 9 more and drop them to the right of the first pile. The third time cut at the break which shows at back end of pack, and as the right thumb lifts packet at this spot, you glimpse and remember the face card of the bunch. Drop this packet to the right of the second packet on table. Continue cutting remainder of pack into three more heaps, which are placed in a similar row side by side under the first three. We shall call them and place them thusly; 1-2-3

4-5-6 Assemble the plies by putting 1 on 3, 5 on 6, 2 on 3, 4 on 6, and then 3 on 6. This really puts things back about where they were but the mixing allows you to learn the identity of the standing spectator's card which Is 26th from the top. And the third card vinder it is the one selected by second person.

Ask standing spectator to think Intently of his card and hold out his hand. One at a time you deal pastboards onto it face down, spelling a sentence and then the card. When finished he

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acknowledges that you are correct, and, turning over the top card of deck, there it isi (You'll be surprised how many people*ask you how you could possibly know the card, let alone find it)

Knowing the name or the card, and the fact that it is 26th from the top, makes this very simple in execution* The names of cards have a spelling range of but 6, from 10 to 15 Inclusive. Depending upon this detail, you merely use one of six sentences before the name of the card, invariably ending with the 25th card dealt. Turning the next one brings up the card itselfI

you picked out the you selected the — you took out the -you picked the ----

——- any 13 letter card. •—— any 14 letter card. ------ any 15 letter card.

As you reveal this card, take back those you have dealt off and put the 26 on bottom of those in hand, leaving the second chosen card third from the top. One of the nice things about this combination is that it almost takes care of Itself and wise people are fooled because you never are seen to be keeping control of any cards.

Ask the second person to step forward, and as they do, give the deck a dovetail shuffle or two, keeping the top three cards at least In place. Hand deck directly to this person and ask that he or she deal cards face down onto your hand.It is necessary for you to have any number of cards from 5 to 10 inclusive dealt onto your hand. I have found no trouble in merely saying that I want a feW cards, and for the person to deal. As they deal the fourth I say, "Just stop when you please." So far, I've not had anyone go beyond the six following cards. A cute point is to have them deal slowly and say the name of their card to themselves with each card dealt. This will keep a person from going very far.

When they have finished you work with the packet in hand, mentioning that it contains only as many cards as spectator wished you to have. How, deliberately and openly you shift single cards from the top to bottom of this packetf spelling out the words of a short sentence. At the termination of each WORD, turn over the NEXT or top card of packet and discard. At the conclusion of the sentence one card will remain in the hand. The spectator names his chosen card, you turn the one card up, and it is the same!

You have six more sentences for this seoond revelation, depending upon the number of oards dealt onto your hand. The chosen card is third from top of deck at the start of the deal off. Remember to shift a card from top to bottom for each letter, and when the word is completed, the NEXT card Is shown and discarded. Hie remaining card will be the one selected.

the ust card will be your chosen card_____9

the last CARD will be the CARD YOU CHOSE —10

I hope that long directions haven't scared the reader away, but the important points had to be covered. A single tryout before well versed card men will prove this to be an excellent impromptu group stunt, and far different in effect and method of execution from the usual run of the mill trick. The sentences aren't difficult to learn, and in this case, the bit of memorising will pay good dividends.

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WIRELESS TELEPATHY (continued from page 328)

be used on the spar* ooll to eliminate the noise, and the buzzer of the coil must be specially built or well muffled to prevent the vibrator hum being heard by the audience.

The coil or buzzer circuit is closed through contact pieces of brass secured under the sole of the shoe. Other contacts may be made to work by pressure against the side of trouser leg, or from a push button key in the pocket.

The receiving end is simply a detector (any constantly adjusted type), and a receiver With 1000 ohms resistance. Thus it can be seen that the woman carries no batteries, and there is nothing to take up room. The earphone is dressed under her hair on one side and the wire run down the back of her neok.

In her ear, she receives a continuous buzz when her partner closes the circuit. Short and long buzzes can be used ad infinitum.

And what can be done with such a contrivance? We will presume the average amateur wants to use it for homes and parties. The medium can be put in a distant room under guard. The performer has any deck spread face up, one card touched by a spectator and thoroughly shuffled. The deck is carried to the medium and she sends back the co-rect pasteboard. That's a simple one. The perforator touches nothing, merely sees the card, and has ample time to send it to her. Short buzzes are for 1, 2,3 and 4. 5 is a longer buzz. And to send anything over 5 use the long buzz followed by shorter ones. Two long buzzes and two short ones would thus signal 12 or Queen. After a slight pause the suit would be sent by 1, 2, or 3 buzzes. If no suit is sent, she knows It is the fourth one.

Now we'll try a book test. While she is out of the room, someone freely chooses a book from the case, opens it at any page, and selects any word in the first line. The medium returns, but all ready the performer has sent her the page number. She approaches the bookcase and passes her hands over them all. A single buzz tells her she is close. She touches individual books at that section and another buzz picks it for her. While she now takes it out and fumbles around for the page she knows, the position of the word in top line is sent, and all works out well.

Suppose an article is hidden. She returns to the roam, not knowing what or where it is. As she passes about the room, a single buzz tells her whpn she is "hot" and silence informs her when she is cold. As the search narrows down she looks under and around, touching and picking up li :ely looking articles until two short buzzes let her know she has it. With the article in hand, she can then pass around the room until a buzz tells her she Is in front of the owner.

And again, the old murder test is made perfect. Someone acts the murderer, pretends to stab another person in room, and then hides the weapon. The medium returns, finds the dead (?) body first, then locates the weapon, and lastly picks out the murderer.

Colors can be sent by both partners having a list of them memorised and merely signalling the number. Unknown problems can be added correctly. Birth dates can be transmitted. The possibilities of this device may not reach to stage routines and performances but for intimate work it will be found very satisfying, and very cheap.

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