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As the reading and showing is being done, you drop the deck into your pocket ana come out, at the disclosure, with another deck minus the ten of clubs. This leaves you with a deck containing only one duplicate, and, having been xritten upon, the one card can be left with the spectator as a souvenir. The following trick should therefore be one which won't make too possible the very unlikely chance that the other card of like suit and value will be seen.

Dear Teds

In a recent Jinx (No. 102) was a Poker move by Art Iyle using a double draw. This reminded me of a similar but slightly different move which I think is a little better covered. It was shown me some years ago by an inveterate poker player.

In the first place it can only be used while you yourself are dealing, but it's no detraction for any such dodge is employed but once ir twice during an evening of play. Suppose you hold a pair of nines, a four, Queen, and Ace in your hand. Comes time for the discard and you lay the two nines in front of you to your rigjit, the other three cards go to your left. Now you deal the draw around unti1 it comes to your turn to draw — you change the procedure. However, it's a change never to be noticed, simply because about 40% of players, when dealing. draw to themselves this way. The deck is laying on your left palm. The right hand comes over and the thumb levers the top card tip in a perpendicular position from the back of deck. This card is facing you. Suppose it is a seven, the next card levered up in the same manner ana it is an Ace. You immediately lay the deck down with the left hand while the right places the seven and Ace on the pile to your left. This is the pile that holds the four, Queen and Ace.

If neither of the two top cards will fit in with the pile of three to better your hand, Ace or Qieen, you lever up a third card and throw these cards onto the pile of two at your right.

In other words, you draw either two or three cards, to the heap to right or left, whichever the draw will help the most. You really are drawing to either of two hands.

Sometimes you'll have a pair and the other three cards will be all of one suit giving you a chance for a flush. I hope the above is a clear enough explanation. It may not be of much use in a poker deal demonstration where the magician never deals less than four of a kind but it's a handy thing toj know. I sometimes use it in a demonstration showing the auditors just how it works, in short expose it, letting them use their own wits on other deals and stacks.

Another dodge used by the same player I consider very good. It gets a full house on your deal. Get any three of a kind to the bottom. It can he used only when over seven players are in the game, a case in which the discards must be shuffled before the draw. On the first hand the chances are that you'll get a small pair. If not you're liable to get the fourth mate of the three on the bottom. Let's say the small pair. Discard your three off cards, pick up pack and casually ovwrhand shuffle, running tlie three of a kind from bottom to top. Pick up your own discard and put on bottom. Any player's cards who has passed out of the game also go to bottom. Other's discards go on top. It is best to go around left of you putting the discards on top or bottom. If you have done this your three of a kind are in position for you to get them on your draw. Give a couple of false shuffles, undercut and throw on top making a crimp, set to your right for the cut, and if he cuts at the crimp as he usually does, you have only to deal to get your full house.

Of course we all know that actual table play is much different from a series of demonstration deals but the artifices actually used by the sharks are always interesting to me and to other card handlers as well, I believe. And, as I have said, the material can be used as an out and out expose without detriment to magicians who entertain.

EDITRIVIA (continued from next page)

hibitedf not as mindreading, out merely as a coincidence and the magician pretended the surprise which the rest of us truly felt.

About ten years later I met that same man and got to be quite friendly with him. He told me that he had the names of those with whom he was to have lunch about ten minutes before he went into the dining room. He had spent those ten minutes with the stock of telephone directories all hotels have. He found the home telephone numbers of three of the men. He wrote them down and totaled them and memorized the sum. In presenting the trick he sold the idea of each man writing down his telephone number so subtly that later everyone thought that a free choice of numbers had been given. Added to the skill of his suggestion he banked on the fact that he was a stranger to every one and that no one would imagine that he knew their telephone numbers nor would have had the opportunity to have learned them. As soon as the soup was served he had pushed the noodle-numbers over to the side of his soup plate. I don't know what end ing he would have had for the trick had he not had the good fortune to have noodle soup. I have used It since as a mindreading trick successfully but have never been able to get as sensational an effect. A few months ago I met one of the men at that luncheon and he was still talking about the amazing coincidence of the noodle soup.

The noodle soup trick was as amazing as the trick Horace Goldin did with my set of cups and balls about twenty years ago. I had just purchased the cups on the way to visit Horace who was ill and kept in bed in his hotel room. He did the trick on top of the covers as he sat dn bed. He had just finished breakfast and he used bread pills for balls. They vanished with the most amazing facility. I did not have to wait so long for the solution for when he got up from the bed I discovered he had been throwing the balls of bread under the covers instead of the cups.

With best wishes and the hope that you enjoy your loll, or lolls, _/-} . -

IXtring Mr. Annemann's vacation the 5di-trivia pages are being filled by friends. This week's information is presented by John Mulholland, S&itor of THB SJOTBC. Next week a rather 16nesome for magic news editor will be hack on the job.

f\ear Ted,

You ask that I fill your "Edi-trivia" page for one issue in order to give you a little time off for "lollihg". I am at a loss to know quite what you have in mind for in looking up loll in Webster's X find the first meaning to be; to droop, to dangle. The second meaning is; to let the tongue protrude as when heated by. labor. The third; to move in an indolent manner. Let that pass; you ask that I fill the page with "interesting and informative facts." Limiting the material to facts, Ted, will, I fear, make it much duller reading than that to which your readers are accustomed, but we have been friends for too many years for me not to do my best to your most cordial request. So here goes.

Attempting to discover the origin of a particular trick has always been an interesting way for magicians to get out of the dirty job of trying to get more bookings. Lately much has been said about stringing beads on a string. I haven't the foggiest idea who first performed the effect of magically stringing beads but in 1817, in New York City, Ramo Samee, the East Indian magician, had in his program the feat of swallowing a handful of beads and a length of horse hair and then pulling from his mouth the horse hair with all the beads threaded on it. His claim was that he strung the beads with his tongue. Mind you that feat in method is quite unlike the one sold today. When today a magician gets up a practical method of performing an effect which is new to audiences it seems to me that he should be given full credit even though somewhere back in history another magician had shown his audiences a similar effect. After all. as David Devant pointed out many years ago in his book "Magic Made Easy", there are very few different effects possible in magic. But then I hold the view that magicians should be complimented for attempting to get material not on the general list, rather than be picked on because some detail had somewhere in the past been used by someone else. But to get back to the beads on string. The manager of the hall where Ramo Samee was playing suggested to him that the feat would be much more effective were it attempted in a more thrilling manner — as, for instance, with sharp pointed needles which seem so much more dangerous to the audience. Ramo Samee changed his trick and liked the new way so well that when he went back to India he taught all his family. The trick was brought back to America by the Indian magician who appeared at the Chicago World's Pair of 1893. There is was that Houdini learned the trick according to the printed statement in his book "Magic Made Easy" (Which I believe was the first of the several books of that title). Several magicians have said that the trick was performed in America by various magicians between 1817 and 1893 but I have never seen it mentioned on any posters or programs.

But enough of the when of showing tricks. The part of the Jinx which has always delighted me is the part describing the how of showing magic. So here are a few ideas.

The coin in the bottle always seems to fas

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cinate audiences. When well done it Is a miracle but, and here is the difficulty, it is not easy to. do well. This is a very easy method. The magician exhibits a bottle and a cork and, if it is a natural thing to do under the situation, has several members of his audience examine both. He then pushes the cork into the bottle and has a spectator hold the bottle, horizontally, with one hand at the bottom, and one at the neck of the .bottle. The magician then borrows a half dollar and pushes it right through the side of the bottle. Again the bottle is shown to the various spectators and all may see the coin in the bottle which has no other opening except the one which is plugged with the cork.

The trick all depends upon the fact that the magician has two corks. One cork is for examination and one is hollowed out to hold the coin. The switch iB very easy. When both bottle arid cork are handed back to the magician he calls one spectator forward and asks him to judge the thickness of the glass of the bottle. While he is doing that the magician calmly and most deliberately puts both hands in his coat pockets and at the moment the spectator states his estimate of the thickness of the glass the magician says, "That would be my guess too," and brings his hands out of his pockets as he steps toward the spectator. It is undoubtedly unnecessary to mention that the magician has switched corks in his pocket. This is probably the time to mention how to hollow out a cork. Bore a hole in a board the size of a cork and push the cork tightly into the hole so that the small end is flush with the board. The board, by the way, should be in thickness at least of the depth it is planned to make the hole in the cork. The hole in the cork is made with a steel drill of the desired size - in this case a thirty-second of an inch larger than the coin when folded.

In seemingly throwing the coin into the bottle the magician uses whatever method he prefers to cause the borrowed coin to disappear and then hits the bottle, with the empty hand, near the bottom of the bottle. Striking the bottle tips the bottle and jolts the coin out of the cork where it unfolds. As long as the bottle is not tipped neck dbwn the spectators cannot see that the cork has been hollowed out even with a completely transparent bottle. With this method, provided a well made coin is used, an ordinary colorless-glass bottle may be used. If the magician wears a ring on the little finger of the hand with which he strikes the bottle he can get a metalic klink by striking the bottle with the ring. Spectators feel certain that they have actually heard, as well as seen, the coin pierce the glass wall of the bottle.

Twenty-five years ago I met a man in upper New York State who achieved considerable reputation by his ability in showing two tricks. He was a small town business man who had never met a magician and knew no other magic. One of the tricks 'was to ask three men each to write down, on the back of a business card of one of the men, a number of four figures. Hie card never left the hands of those three men. One of them was then asked to total the three figures. The time I saw this trick was at the luncheon table at a resort hotel. The trick was shown during the soup course. The magician had a plate of alphabet-soup before him. He picked out of the soup, with his spoon, five numbers and surprisingly enough they agreed with the total of the addition. I failed to mention that, of course, the men had been asked to keep their figures concealed from the magician. It was ex-(continued on last page)

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