positions except for the middle section which is left missing. The force card should be, for best effect, a three or five spot card of spades or clubs. This puts a single and very noticeable spot in the center of the missing piece.

Put this stapled card into the secret compartment of the cardbox, face up. On top of it put the duplicate Joker, also face up. Leave the box open at its empty section, ready for use.

Put the missing middle section, and four of the wire staples, ontfc the center of one of the blue silks. Close this up into a bundle as small as possible and push it into one end of a hank color change tube. The tube is placed on your table under the corner of the other silk.

The deck contains a Joker and the card to be forced is where you can use it best for the purpose. The crayon pencil is in a readily accessible pocket.

First the proper card is forced upon the first spectator. He is instructed how to tear it, during which while the performer secures the silk and the tube. The latter is held in the left hand as is usual, the loaded side down. The silk is thrown over this fist and enough of an indentation made to accept the torn pieces from the spectator. Whereupon the corners are brought up and the silk made into a compact bundle. During this action take care to pinch the pieces in order to double them up somewhat. As the bundle is crammed into your fist, the patter being that the card sections must be securely wrapped and wound inside the silk for best results, the tube is pulled up about 3/4ths of an inch. Then the silk and its contents are forced into the fist (tube) which action forces out into the fist the other bundle. On the last push in the tube is stolen away with the right second finger as per all stock instructions and the left hand immediately deposits its bundle in tne hand of the spectator who also holds it tightly. (Editor's note: There may be other performers who would rather use their own favorite gimmick for making tnis "not noticed" color change move. Any device capable of accomplishing the effect jls applicable.) Patter stress 11UST be laid upon the action of keeping everything tight and compact - to excuse the moves necessary.

The deck is now retrieved and the tube cast off. While another* person finds the Joker the performer picks up the cardbox letting it be seen enpty without mentioning the fact. The Joker is dropped face up inside - the performer closes the lid - and then says. "We'd better initial the card, or, better still, you do it yourself." He reaches into his pocket and takes out the crayon, giving it to the spectator. He open6 the box, this time with the secret part in view, and is sure that the two cards now there (Joker with prepared card under) are tipped into one .corner so that the Joker appears as one card. The performer keeps one finger on the outside edge of the card(s) while the spectator makes his mark. Use of crayon makes it easier and quicker and plainer for this part. The lid is closed and the person holds - giving back the pencil.

The business with the stapler comes next. The silk bundle is opened. The box is opened. Everything but the box itself may be kept by the assistants.

It will be seen that the torn card is not perfectly and "magically" restored to its natural self minus the middle. This always has been one of my pe.t peeves. No one with modern day sense can expect such an accomplishment. By this variation you impress with your cleverness without insulting intelligence.


The spectator shuffles the deck. You take it back and illustrate what he is to do. He deals two packets of cards face down upon the table, each pile containing the same number of cards - with not more than 10 in each. Then the spectator is told to note the next card on pack, replace it, and put one of the packets on top. The other remaining packet he is to place in his pocket. You take the pack, find his selected card, and also tell the number of cards which he originally dealt.

This trick wouldn't be legitimate if the remark "the method is simple" weren't made. Upon return of deck you glimpse the bottom card (AH for example). Illustrate your patter by dealing two piles of two or four cards. Take these dealt off cards and place them, in a group, out of the way, say in the center of the deck. Give deck to a spectator. Turn your back while he deals his piles. He remembers how many he has dealt plus the identity of the card looked at and replaced. One pile goes on topj one pilé goes into his pocket? you take the deck and Dlace it behind you while the patter says that* "out of sight" is a form of "Kerlin-ism", a phrase which nobody can deny while not being able to substantiate. Silently count off

14 cards from the top of the deck, reversing them in the process, and take the 15th card from off the bottom (key card- AH as noticed). It winds up on top of those counted off.

This group is put on top of deck and it is brought forward. You recall that the spectator holds pocketed some of the deck. Ask him to put the cards on top of the pack. You can turn your head while this is done.

The noted card now is

15 from top of deck. It just works out that way by itself. Deal 14 cards face down upon the table. Turn over the next card and it is that which was selected.

Turn the card face down again and place the dealt off 14 cards back on top of it. Square the deck and tell all that you now will pick out a single card — which you do. It is put upon the table, face down. Actually you have fanned the deck and looked for the card spectator selected, counted the cards to the left (between this card and the peeked at AH), and multiply by 2. This gives you the number of cards dealt by spectator in the beginning.

Examples Spectator's card is the 7S, and the AH is the glimpsed bottom card. Fan deck, looking for 7S, and, say there are 3 cards between it and the AH. 3 times 2 is 6 - so you remove any 6 spot and place on table, face down. He names number of cards counted and you turn over your revealing pasteboard.

third word. Without showing, pick up the other slate and drop it over what you have done, flap side down. Lay slates,as they are, in a visible spot.

A volunteer assistant now is given the book and deck of cards. You turn your back. He is told to cut the deck once or twice and then cut it into two piles. Next he is asked to take the top and bottom cards of each pile. You remark that the picking is made as mixed up as possible.

With these four cards in hand, the spectator is to add their values together for a total which represents the page in the book to which he is to turn. 'Then he announces that he has it, you ask that he put the cards back among the others and forget them. Turning, you request that he locate a word on the page by first adding together the figures of the page number at Which he is looking, and then counting across the printed lines until he reaches the word at that spot.

Whereupon, the word being disclosed for all to know, the performer picks up his slates to reveal that he has prognosticated successfully the choice of many thousand words.

It will be seen- that with the arranged deck and the adding together of the top and bottom cards of two cut piles, the total can be only 28,29, or 30. And, the tenth, eleventh, and third words, respectively, are all that can be noted by the spectator.

Two of these are written on slate and flap as described. The third you write on the other slate during the effect, and onto this unshown writing drop the other "casually shown blank" slate with flap side down.

Knowing the positions of these written words inside the slates it is no skillful problem at all to finally take then apart to reveal the proper word of the three. Should it be the one just written,only the top slate need be lifted and shown. For either of the other two the slates must be turned over, allowing the flap to drop from one to the other of the inside surfaces. The "lift-off", in this case, must be more careful, for only one of the written on surfaces is disclosed while the other slate is tossed back onto the table. The action is not reprehensible, in a way, because the audience has seen, at one time or another, both clean surfaces of both slates. And, having seen you write something on one, they accept what is shown as that writing.


Imagine someone betting you a diamond-studded thumb-tip that he can beat or tie any poker hand you can draw from a pack laid face up on the table] Here are the rules:

You have the first choice of 5 cards. Then he can choose any 5 cards from those remaining. After you see what he chooses, you can discard (if you wish) as many cards as you like, and then fill your hand from those remaining face up on table. Finally, it is his turn to discard and fill his hand from the cards remaining, but not, of course, from any of your discards.

What 5

cards would you select and how would you play them so that no possible selection of frig could beat or tie your hand after the draw?

There is only one correct answer, v/hich is based on the assumption that all suits are of equal value, so a Royal Flush in Spades, for example, would tie one in any other suit.

Remember that if you take 4 Aces and a King, your opponent can take 4 Queens and a.,King. Then if you don't discard at all, he can do go and draw any kind of a Straight Plush, to beat your Four-oi'-a-Kind.

Remember also, that ir you take a Royal Flush at the start, he can do the same and tie you before the draw,;the draw being optibnallto both parties, naturally.

Come next Jinx issue we'll tell you the cute, and perhaps valuable, secret.

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