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are letters in his name, although you don't tell him this. Thus, in this case, you have him write a row of five figures. If the name were John he would be told to write four. You quickly put down the second row under his, and write the key number you have memorized. He writes the third row and you write the last two. The mile that governs the writing of the last two rows is the 'nine' rule relating to the top and the third lines. Thus, in writing the fourth line, you watch the first line and put down figures which, added to the figures directly above eacth one, total nine. If the top row is 63052, the fourth line will be 36947. The fifth row is written while watching the third row and the same rule applies. Then the line is drawn and the spectator adds the problem.

The resulting sum villi be exactly what you have prophecied on the folded slip he has pocketed. That's the first climax. Now explain that you will go further and that there is an unknown force or power at work when the spectator jots down his numbers at random, «.sk him his first or last name as the case may be. Then turn over the slate or pad. On it is the list of letters and figures as listed here. You may remark that you have numbered the letters over and over somewhat as is done by numerologists. Don't say 'as done (exactly) by them' because numerologists leave out the zero in their computations. There will be, in each case, one more figure in the total than there are letters in the name. Say, therefore, that you will use only the correct number of figures as they were written down in the total. Counting from right to left you cross out the first figure. He names the first letter. H. The figure after the letter H is 8, so you write H under the 8 in the total. He names the second letter. A. The figure after a is 1, so A is written under the second figure in total. This continues until finished AND THE NAME OP THE SPECTATOR ASSISTING IS SEEN TO COINCIDE EXACTLY WITH THE TOTAL OF THE PROBLEM HE HELPED ASSEMBLEI 1

The presentation of this effective idea may be varied by using two slates. One contains the chart, while the other is used for the problem. Start by having spectator who assists put the chart slate (without it being shown) Tinder his chair, or in a safe place. Now you write something on one side of slate and say it is a prophecy. Don't show it but continue by having the problem written on the other side. When the total is read aloud, turn slate over to show your prognostication correct. Now have spectator take his slate and show the chart. Ask him the first letter of his name. He says H. Ask him what figure io after the letter on the slate. He says 8. Then you openly write H under the first 8 on your slate. Continue in this maimer, which la very effective to the audience, as they don't realize you know the name beforehand and It la fascinating to watch the name build up under the total.

Although, at the start, this stunt may appear a bit complicated, I doubt If anyone will have trouble understanding and making it work if they will just try it out on a piece of paper to get the idea clearly in their minds. Many who know the nine principle of the addition are thrown off still because even that part Is not done in the same order as the old trick. The smart ones generally look for adjoining lines to total nine, disregarding separated lines.

There are but two operations before presenting It; changing the name to figures, followed by memorizing the key number. Try to use last names whenever possible.

Without fear of successful contradiction I can assert myself in the claim that here is a new and different viay of revealing a number of chosen cards, liethods are legion, I know, but this effect lends itself to an interesting angle of patter.

Three cards are selected and returned. I have always said that one repetition is enough, but after trying it out a number of times, I can say that three times for this effect is correct. The performer stands at the front and remarks that tricksters usually find cards by exercising a strange power which enables them to have the cards appear at any position in the deck. The common position, of course, is at the top. However, the performer turns over the top card to show that it is not one of those chosen. Turning it over, he asks a spectator to name his card. Snapping the top of deck, the card is turned again and the selected card is there I Turning it back, the performer says thait had he asked another one of the three persons first, the result would have been the same. Another is asked for his card, and on snapping the back and turning the card, again it is the one named. This is repeated with the last person, whereupon the performer finishes by remarking that had no one named a card, the original pasteboard would have remained. Turning top card again, the first one shown is there, and the deck may be used for further mysteries.

Mo3t all of the twenty-cent decks at Wool-worth stores now have an extra Joker which is the same as the regular Joker. It is necessary only to have a duplicate card and I prefer an outstanding one such as the Joker. Have them on top of the deck together, and have the top one trimmed a3 a short card. Shuffle deck, leaving these two In place, and have three cards removed by three spectators. Undercut about half of deck, have first card replaced on top half upon which lower half is dropped and deck squared in passing to the next. Riffle to the short card break and have next card replaced on top of short card which puts it just below the first card replaced. Repeat this with the last card. How, as you return to front of audience, cut the deck several times, the first time at the short card again and then cut three cards from the bottom to top. This leaves you with the three cards selected on top in correct order as replaced, followed by the two Jokers. At thia point, cut off about fifteen of the top cards, laying the rest aside, saying you will need only a few to make clear your example of power.

As you say this, the left thumb pushes a little to the right the four top cards (to get the correct number) under cover of the right hand, and you make practically the common tvro-handed pass with the exception that the four cards in passing to .the bottom are reversed and left there with faces against face of deck. With cards in hand and in making the ordinary movements for

The Jinx la an Independent monthly for magicians published by Theo. Annemann of i'averly, N.Y., U.S.A. It can be obtained direct or through any magical depot for 25 cents a copy, »and by subscription la \$1 for 5 issues postpaid to any address in the world.

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m i<*sada tile P&33-, It Will be iubulu a^mw u £1.0 w have them face up as face down, This leaves only one of the Jokers on top, and the right hand as usual has covered the move.

Now hold the deck with backs out (real backs) in left hand with fingers at lower end and the thumb at upper end. The deck is standing up and the backs are towards audience. Turn over the back card by sliding it off towards you with right ringers and replacing it on deck with its face out* It is the Joker. (Go back and follow the general line of talk as suggested) In making the same move to turn this card back again, it is pulled off about a quarter of an inch when the right thumb at back of the deck also pulls off the card there behind the front one, and both are turned together and placed on front of deck. To the audience you have turned the front card face out and then back again. The first person names card, you snap back, and turn the top card only over. It's the one. as you mention about the possibility of asking someone else for their card first, repeat the move of turning the card back again and another is stolen from the back and left on front. This is the second card, and after this is turned back, the third card is in place. Finally, in turning the third card back, the last of your reversed cards on back of deck is brought to the front. Now you say that if no one had named a card, the original pasteboard would have remained there and you turn it over to prove. The deck is all one way now for anything else you want to do.

| THE CARD PHENOMENON. (Audley Walsh) |

One of the many many variations in card spelling, but with a different twist, is the following. Set your deck by having all cards that spell with twelve letters on top. There are 14 of them in alls the 4-5-9-J-K of Hearts and Spades, and the 3-7-8-CJ of Clubs. Above these put four indifferent cards.

Hand deck to spectator with the request that while your back is turned he is to count off any number, say up to a dozen, in one pile. You direct him to pocket these for the moment and deal another pile of the same amount. He is then to shuffle this second pile, note the bottom or face card and place the packet back on top of deck. At this time, and remarking that you can have no knowledge of the number of cards counted, you turn and explain the rest of the procedure. He is to take the cards from his pocket, place them on top of deck, and then proceed to spell his card by dealing off one at a time with each letter. As you explain this you illustrât® by naming a card at random and doing it. You take a twelve letter card (and the card you use, to be certain is not his, is the one at top of deck before adding the four cards when you set it up) and spell it off deck into a pile and then turn over the next card. Having shown spectator what to do, pick up this spelled off pile (cards of which have been reversed in order) and put them back on top of pack. Now step away, and have him remove the cards from his pocket and put them on top. Then he names his card for the first time, spells it out turns the next card and it is there 1

This is an age old mathematical problem done over with the cards. If you follow the above, it will work out every time although you never know

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tator has dealt off into each pile. This is a baffling point to many magicians.

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