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called "MYSTERY" (Unusual Detective Stories). Of the type whose editor (hello, Draculai) goes peacefully to sleep while readers lose a hair to every page and get an atrophied corpuscle to every chapter, it is of interest to magicians for the "Norgil, The Magician" stories which appear in every issue. A practical and hard, working professional,Norgil manages to snare civic malefactors and aid the gendarmes between saw cuts. The stories abound in incidents during the stage performances which actually have happened during the past on magic shows. Fresh on the stands as you read this (dated Jan.1940) the copy features The Lady and The Lion. The illusion and incidents concerning the lion, etc. are just about as they happened on the Thurston show. After you've read a couple of issues you will solder a detective's badge to the back of your shell half dollar, build up a trick wand that shoots real bullets, finger print your pull to find out if you or your double played that last church show, and even bring to Justice the guy who shot the booking agent who offered you that ten dollar date.

Nicola is now on his way home sifter losing his entire show when his ship was mine sunk as detailed last week. We'd like to see Nicky at the Radio City Music Hall for a while with an illusion or two each week. Now this isn't the usual pipe and impractical dreaming behind the usual blurbs and impractical hopes that a magician will play somewhere. Nicola is strictly an illusionist, he does no sleight of hand nor close up tricks, and one of the very few left capable of nattily and effectively presenting illusions in that mammoth house. Heretofore, on the other side of the question, the Music Hall has turned down illusion shows mainly because of budget trouble. They carry a "stock" load which doesn't allow of the big overhead necessary for a magician's troupe. But — the Music Hall builds a lot of stuff for a week's production. Let them work oift a few revue routines around a few illusions. Let Nicola be the magician. Nicola, now showless, can, for once, afford to work for much less than his usually demanded stipend. To even matters and not in any sense chisel his earning rate the contract calls for the illusions to be built and turned over to Nicky at the finish of his engagement. He'd have a new show for the cost of living, salaries, and effort for a few weeks. He'd have the Music Hall prestige. The Music Hall would have a good novelty program, Nikola's front page breaks in publicity for being the only American's on the mined ship plus the interview publicity when he lands back here, plus the publicity given magic in quite a few moving pictures within the past few months. The budget wouldn't suffer, and quite a few magi would pass through the portals to see a truly worthwhile presentation of the big stuff.

Rouclere, Jr. presented the bullet trick at the recent S.A.M. Ladies' Night and garnered much applause. Being an old timer and "gore-monger" at that horrific hoodoo trtck I wondered at the logic of one action in the effect. The lady suffered herself to be shot at with a musket of doubtful origin while holding a plate against her abdomen. The plate broke. And then the lady sorceress spat the leaden slug from her mouth onto a platter. We actually love the bullet trick. We've done it for 7 years under conditions that were more stringent than ever before in the past. We've written Rouclere, Jr. offering advice on keeping the stunt within the bounds of possibility while presenting it as an indubitable mystery.

Orville Meyer's trick in this issue is a Dunninger ty pe of miracle. Incidentally, Dunninger^s I program will be offered next week.

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TO DO A MIRACLE (continued from page 470)

at private homes where I am expected to entertain, I seize the opportunity to corral some gentleman for a card trick or two. At a club it is easy to arrive early and locate some one — nite clubs and table work - a card trick on some one person. For him do one quick trick, AND THEN FOLLOW WITH "Everywhere and Nowhere." (Ed.notet A standard classic with cards in which the same card keeps turning up in all positions and then isn't found in any of them. Our favorite explanation of this Hofzinzer immortal trick is in Downs' Art of Magic, but variations, of which there are legion, can be found in almost any representative book of card effects.)

Force the same card used in the previous trick. Do your quickest version. Then I follow with one more quick trick using the same card, forced if necessary, the Ten of Spades — your spectator is dizzy seeing Tens of Spades. He'll probably accuse you of having more than one ~ let him examine the pack. Then do still another — really I might say one long trick with the Ten of Spades showing up each time. You'll have spectators saying their pack has become haunted. But — mind you — all this, for one spectator, preferably with no one else around, quite some time before your actual performance. Now, when you're through with him, and before proceeding with your show, take an opportunity to place this Ten of Spades where you can reveal it most spectacularly. Slip it into someone's pocket, even in one of your bewildered spectator's pockets.

Now you no doubt begin to see the light. At the proper time during your performance you have the pack in your hands. State that you are going to have someone think of a card in the pack. Smile at the person who was your victim earlier in the evening and say, "Will you, sir, just think of any card in the pack. Perhaps you can visualize one card that might seem unpsual to YOU, some card you think outstanding. What card, out of the fifty-two, might seem to you one that would possess unusualness." I can't tell you just WHAT words to say, but if you say anything along this line, and smile at your spectator in the right way, 99 times out of 100 (or at least 24 out of 25. Ed.) he'll name the Ten of Spades.

Now you can cause your miracle to happen. And, believe me, it can be put over with a bang depending only upon the limits of a performer's showmanship. Even the spectator himself will be astonished and he will not realize that you have prepared for it in advance. I have heard people ask him afterwards why he named the Ten of Spades, and he's never yet given a clear enough explanation to anyone to make it suspicious.

If the spectator should, by any chance, fail to name the right card, just be prepared to go on with some other trick using the card named. But, as will happen in practically every case, he WILL name the right card and the spectator's will mention it for weeks. I've found that it makes the most remarkable impression of all when used at the private party as a close-up trick for the small home gathering.

There are other ways you can use the idea, such as by using this spectator, in the course of your program, for the "You Do As I Do" effect. Or just have him stand and think of a card — after proper concentration v0u name it. The performer who starts using this"principle of "forcing" a thought will find that it will become one of his most valuable secrets.

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