son. It knows all about those who come and go." The performer looks through and removes the card he has named from the deck. He puts the deck back upon the table and, holding the card in his left hand, puts it into the'nearest person's pocket and holds his hand there for a moment. Then he withdraws the card and holds it to his ear. He listens. Then he mentions the name of a card to this person and says, "Remember that."

The performer passes to the middle person. He does the same thing over again. "Remember that." And on to the last person he goes and does the same thing for the last time. "Remember that." Then the magician steps forward and offers the card he holds to a spectator in the audience.

"Keep this as a souvenir", he says, "the —- of------can tell you many of the vicissitudes of life if you treat it right." Then he turns back and asks the first person in line nearest him, "'That did I tell you that I

heard from the---of------?" The person names a card. He is asked to show that in his pocket. It is the sameJ And this question is repeated with the other two people — the same result.

Over twenty years ago Charles T. Jordan invented this general effect and he called it "The Sagacious Joker" when he sold it for fifty'cents. There have been a number of variations conceived since, but invariably they depended upon a force of one card, top changes, and none made any pretense of presentation before fair size audiences.

Undoubtedly what I now record will be a madman's pecking at his typewriter, to most of you who read these lines, We met an unusual person a few weeks ago, and, among other weird ideas propounded, he told us how he had developed his senses of sight, hearing, and touch, to an extremely sensitive degree. His actions were based on the known fact that a loss of one sense results in making one's remaining senses proportionately more acute.

First he stuffed up his ears for a week. His sense of sight gave him perception of things about him he'd never noticed. The next week he had a' Johnson bandage applied to his head. It's the accepted thing for no light to the eyes. For seven days he went about his apartment and was helped through the streets without seeing. His sense of hearing and touch had their days and he loved it, knowing that he would be able to see again, and having an experience which was replete with new sensations. The third week he saw and heard, but did not speak. His wants had to be made known by gestures. After three days of this he began to notice how many deaf and dumb afflictions are around and he craved to learn their alphabetic way of finger-conversation. But he was on a schedule. The fourth week combined the first two. He could talk but could not hear or see. Now only the sense of feeling and the strange sound of his voice in his head kept him in contact with the world. The fifth and last week was a complete blackout - no hearing, no sight, no speech. He was utterly helpless except for the sensation of touch. '.7e have talked with him since he broke his schedule - there is a sixth week. But he wants a couple of weeks on earth again before trying it.With arms and legs comfortably secured in wrappings to prevent motion, with hearing gone, with sight gone, with speech gone, he wants to be a living corpse with*only his thoughts to thrill or torment him. I'm supposed to drop around at his apartment house tomb and try to let him know it's me, what day it is, the time, and, I presume, what Hitler and Roosevelt are doing. I'm only afraid that he may try a 7th test and stop breathing for seven days. That ought to teach him something.

Mail box: Sid

Fleischman writes from the West Coast that he does a gruesome little effect, dreamed up for the amusement (?) of trick-hardened magicians at a club meeting. He suggests that it be kept from lay audiences because "it is a satire". You show a white handkerchief folded and knotted into a sack with an unknown object within. Some gentleman holds it while the inevitable card is selected and returned to its deck.

The card then is found missing from among the others. The spectator opens his bundle - hang on now - to find himself with a beautiful set of false teeth and the selected card securely clamped between them! Mr. Fleischman reveals that the card merely is a duplicate of the one forced and then palmed from the pack. He also suggests that the torn-corner feature might be applied, but we'll go him one farther. Why not do the stunt before lay audiences, and have a molar-minus person indignantly rush forward to reclaim the mouth-choppers, saying, with a stomp of his left foot, "There's such a thing as carrying a trick too far", as he clicks the stuff back in place,"minus the card, of course. We'd call that a biting remark to any magician with nerve enough to do it.


Now tell me in all honesty. Isn't that an example of why all magic papers should be edited to the hilt? After a contribution of that sort I welcome opening an envelope to find a bill -even when it's from my dentist!

Joe Berg's new sponge ball quickie is a cutie. When it's poked into the fist, which action makes it go inside out, the thing changes into a rabbit.

--- How a "blindfold auto drive" can thrill

Britons in this era of Stukas and Molotoff "bread-basket" bombs is beyond us, but a Rev. Win. J. Haig-Brown, Curate of Thames Ditton, recently did just that for Englanders to good publicity in the name of "National Savings". What magic news that trickles through proves that hobbies, in war time, can become morale builders, with the art of entertaining in the No. 1 spot.

--- The material cut Editrivia short this issue, but we'd like to remind that armless men can perform greater feats with their feet than some magi who try to perform feats with their hands. Maybe it's because they have to practise in order to live.

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