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cramping the letters, start the first line at the very top of the outside card with the bottom pencil. This may sound like Einstein talking in his sleep, but the idea will become apparent after a few trials.

After the serial number has been written on both cards by means of the double pencil, move the pencil down a step and you will find no difficulty in writing the double row of letters as they are called out. Before starting this writing though, move the outside card slightly to the right. This will cause the line-up of numbers and letters to be varied slightly on the two ends. It is a small point, but the two cards might be compared later, and this will make them seem different, even though the formation of the letters and figures are individually Identical.

The procedure for the column of figures is slightly different. After the letters have been recorded, slide the outside ctrd to the right, so that It's left edge is about half an inch from the left edge of the card in envelope. As the single numbers are called out, they are written in the following manner. Turn the pencil slightly to the left, so that the upper lead is resting on the card in the envelope, and the lower lead on the outside card. You will find it a simple matter to mark the figures in a column, one under the other. Again, this column Is in a different position on each card, a fact that someone may notice. Draw a line and add the column, putting the sum down. The pencil is now returned to pocket, the envelope placed back outward in a conspicuous but safe place, and the card., together with another pencil, handed to the new secretary.

Up to this point, the performer has (or should have) acted sublimely indifferent to the numbers and letters given him. This attitude Is maintained in the election of the card, so that no-one may have the suspicion of a force. The performer then addresses the audience at large, and asks for the name of an automobile. He should move his gaze from one to another as he makes this request, and undoubtedly at least two will answer. One of these, and probably more than one, will answer "Ford." If anyone at all mentions "Ford", direct the secretary to write down "Ford V-8". In the rare event that no one does, ignore the names suggested, and continue talking. Say that you do not want merely the manufacturer's name, but the motor type also, as for example, "Studebaker Straight Eight." If no one then suggests "Ford V-8", It is because you have put them to sleep and they can't hear you.

I must admit that I can vouch for the certainty of this force only in New York City, as t < -----^-re. Ford is prac-

Houdini Magic, Inc. © 2002 . »"d i think it safe to 3 ay that not one woman In a hundred knows how to designate the engine type of any oard hut a Ford. Anyone who doesn't care to risk this part, may substitute a standard color or book test force, the effect, however, not being the same.

After the card and auto have been forced, take the envelope, «lit side down, and allow one of the signers to clip the end. He is then directed to reach in and remove the card. Take the card and the scissors from him, read the letters and numbers aloud, and after each is called out, ask the secretary to corroborate it. Hand the card to the one who signed it. While he is acknowledging his initials, cut the envelope in half, along the slit, and hand out the halves.

At the start of the performance, have the prepared penoil in the upper left vest pocket, double end up. Next to it is a plain pencil, similar to the long one. This used to write on the first card and for signing the envelope. It is replaced in the pocket while the business card is being borrowed. The double pencil is then taken out and the prepared end concealed behind the envelope. With ordinary caution, there is no danger of detection. Po not use a pencil with a rubber tip. For obvious reasons this cannot be used to erase an error. If you think it necessary, carry a small eraser in your pocket. The distance between the pencil points (and consequently between the written lines) can be increased by wrapping a strip of paper around the stubby pencil before fastening it to the longer one.

EDITOR'S NOTE: In trying this problem out, I found it to be more subtle if you write only the one column of figures on the outside card. Then draw the line, and when you add and mark down the total, write It on both cards. Previously, when you wrote something on the card to be sealed, you also wrote across the center of card, "The total of the figures called for adding, will be." Then you left a little space, and then put down the name of card and auto name. You have already prophecled figures as found on a bill, so there is no point in prophesying a column. The second time you forecast the total of four figures to be called, and this changes, quite a bit, the appearance of the two cards when and if they are compared.

I THE NEW "MIRACLE" EFFECT. (Orvllle Meyer) |

Effect: On the table is a stand or easel and a pack of cards. The stand is made to hold 25 cards In 5 rows of 5 each. A spectator counts off 25 cards. He shuffles these and has five selected by other members of the audience. The cards are replaced in packet, and anyone shuffles them. Cards are then placed on the stand, in five rows of five cards, and they may be placed face up, face down, or all mixed up, as desired. The performer then picks out the five selected cards, one after the other.

This has been a very fine effect for a good many years, but heretofore, the method on the market needed two reader decks, several switches, eto. In this method, only one (ordinary) pack is used, and it will be found to puzzle good card magicians.

Take your own pack, and sort out all even Hearts and Spades, and all odd Clubs and Dia monds. Now block out some spot in the back design, or pencil dot each card in some not-too-prominent place on the back. I use Blue ink on Rider backs, and block out the inside curl at upper left corner. Two minutes with a pencil will suffice with a borrowed pack.

The pack Is now stacked as follows: first, 25 of the above mentioned cards, then 20 opposite, the odd Hearts and Spades, and even Clubs and Diamonds, which are not marked on the back, then a short, or bent corner card, and then the remainder of the pack. Put deck in case.

To present, state that you will offer a modern miracle along the mental telepathy line, using a deck of cards. As you remove cards from case state that you will not use the entire pack as the little stand (call attention to it) happens to hold conveniently by 25 cards, and you proceed to count off 25 cards, and hand them to spectator who is to assist you. I find that this method of handing out the 25 marked cards is never questioned.

The spectator shuffles and goes Into the audience, and has FOUR cards selected, and retained by the spectators. You ask HIM to select the 5th card; and to do this you lay deck you have been holding aside, and take the -21 cards he has. Fan them for his selection. As soon as he has taken a card, you close fan and hold this packet in right hand, and pick up the pack again, in left. You ask each person holding a card, to show it to one or two near him, and ask assistant to show his around also. You turn your baok for a moment at this point, and immediately drop the 20 marked cards to bottom of deck, and take off the 20 unmarked odd H and S and even C and D, the short or bent corner card making this an easy operation. With a word of warning, you turn around. To all appearances everything is exactly the same, and you hand the 20 cards to assisting spectator, requesting him to replace his own and each of the other four, and shuffle well.

He then deals the 25 cards onto the stand, face up or face down, or mixed face up and down, just as he desires. When ready, you are able to pick out the five cards, as you have only to look for even H and S, and odd C and D in the face up cards, or your dot or mark on the face down ones.

And there are no packet switches, and the spectators will remember this effect as one where, "performer never even touched the cards," forgetting, as usual, the one time!

| DUO TELEPATHY (Robert H. Parrlsh) |

Many good methods of transmitting information have come along in the past years, but for simplicity of effect, and directness of procedure, this little routine of two items must be given a low bow.

The assisting spectator thinks ,of any card, removes it from the deck, and holds it up for all to see. The medium, notwithstanding the fact that she is seated with her back to the audience, and is, if desired, blindfolded, takes slate and chalk and Immediately inscribes on the slate the name of the chosen card. The magus now hands the spectator a slate, and asks him to draw in view of all any simple geometric design that occurs to him. It is no sooner completed fch.n t-.via ninihim n^i*i "t Visita impression!" ,

And taking her slate quickly reproduces the drawing which she has obviously never seen.

This short mental routine for two people is just as simple as it is effective. In both oases, the information is relayed to the medium via a thumb tip writer worn by the performer, but the ruse employed is slightly different in each case.

These thumb writers are on sale by most all magical dealers and are of two general types. One is a short thumb tip with lead attached to the ball of thumb. The other 13 a small clip which attaches to the thumb nail Itself. Some like one and some like the other, so it is not of any value to recommend either. Only a few trials are necessary to ascertain which is the most practical for each Individual.

Having explained what is to be done, the performer asks that the audience aid in projecting the image of the card to the medium. Prom that time on not a word is spoken until the denouement. In explaining what the medium will do, the performer has picked up slate and chalk, and when he returns the slate to table he inadvertently retains the chalk in his right hand, where he already wears the thumb tip writer. He stands facing the audience during the removal of the card by spectator, right am dropped to side.

Slipping chalk into position between fingers, it is but the work of a second to write the initials of the card removed, on the surface of the chalk (use a fairly long piece). The moment the performer gets the card down, he picks up the slate from table, and hands it along with chalk, to the medium, who quickly works up to her first climax, holding up the message for all to see.

The performer now takes the slate, and while quickly erasing It, asks a spectator if he would like to assist in another more difficult test. Performer hands him another slate, and asks that he draw a single and simple design for all to concentrate upon. The performer still holds the medium's slate, and is wearing thumb writer, arm. again at side, he draws on the edge of the slate, as well as possible under the circumstances, the idea that spectator is producing, on his own slate. Since these are seldom more than a triangle, circle, or parallelogram, the medium should be able to make It out.

During this time 3he has been listening to the chalking of the spectator on his 3late, and as soon as the sound ceases, she cries, "I have an impression." The performer immediately hands her the 3late he is holding, and with appropriate pauses and flashes of Inspiration, the medium quickly reproduces the drawing and stands up, slate in hand, to reveal It, and take her bow.

With a full deck of 52 cards which you have borrowed, it is possible to present rather an astonishing method of discovering a thought of card, auch a method was first introduced In Hatton and Plate's logician's Tricks, but only a 52 card euchre deck could be used. Using such a deck to-day is rather artificial, unless done at a time when euchre is being played, and such a deck is handy without requesting it. .therefore, this method with a full pack, should find a more welcome reception with the average reader.

Page nave tlie deck shul'l'lea and dealt into l'our piles of thirteen cards each. It would be well for the reader to follow this routine with the cards actually in hand, a spectator choo3es any one of the four piles, and you fan it face down with, both hands. Then, taking 6 cards in your right hand, and 7 in your left, you raise them quickly, at the 3ar.ie time telling spectator to think of any card he sees.

notice, if possible, in which hand the noted card is. iou only give him a moment or two in which to note a card, and it is seldom that you v/on't be able to know in which hand he aoes a card to remember. Then place the 0 cards on top of the 7, and drop these on one of the 13 card pile3 on the table, «.t the same time, the right hand picks up the other two piles, and o.rops them on top of all. square up the card3 by tapping them.on the table, and casually glimpse the bottom card, liow you may give the deck several genuine cuts.

How ask the spectator to concentrate upon his thought of card. ..ct a3 if you are trying to get an impression of same, and look through deck for the glimpsed card which you cut back to bottom. The selected card will now be 14th to ¿0th from the face of pack if in the left hand originally, and ¡¿ist to 26th if in the right, ¡..ake a stab ut the color, but, whether right or wrong, complain of a weak ii..pre3slon and say that you will try to get a better one. "gain lay out the card3 one at a time, from left to right, into four piles. Pan the cards in front of him, pile by pile, and ask him to tell you when he 3ees his card. It will always be from 7th to 10th from the face of the packet. If the thought of card was in the right hand,'and is now in either the 1st or 2nd pile, counting from left to right, it is the 8th card from the face. If in the ord or 4th pile.it is. either 7th .or 8th. If the card was originally in the left hand, ana la now in one of the first three piles, it is either 9th or 10th from the face. If in the 4th pile, it is 9th.

Even if you didn't notice from which hand the spectator originally thought of a card, it will be easy to locate, because you already know the color, having stabbed at it at the start, and received either an acknowledgement or denial.

jfou are supposed to be reading the spectator's mind, so act like it. fou can look at the bottom card of the packet in which card la seen by spectator on the second deal and fanning, put it together with the other three piles, and have the deck cut again before you locate the card.

However, as first explained, It is an easily worked problem, and does not require too much mind effort on the part of the watching audience. wnd the initial shuffling and dealing by a spectator, makes them realize (you mention it,too) that no one can know the location of any card, and that they have free selection of the pile, and finally of a card.

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

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