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cigarette magic that looks like the last word. With 300 pages ana over 300 actual photographs of himself in action, he's covered a field that has needed real practical covering. His dope on talking with tongued cigarettes alone is a valuable bit of knowledge. --- That idea of Howard Albright's is a practioal thing. I mean his Safety System for filing secrets, magazines, ideas, and general magicata. It's a nice cabinet and too many magi need something to keep their loose papers and manuscripts in a businesslike arrangement. --- What well-known recently played a private job, was requested to do the card and cigarette, fixed it up hastily in the you-know-what,and then when presenting it forgot what card he had put in the cigarette? •— That sketch of me in Max Holden's new book of magi programs flatters the condition I was in at the time the original photo was taken. If I remember correctly I was far from being full cheeked - what with all the meals I was missing at that time --- The California air ana life must be all to the merry, judging by the current appearance of Bessie Houdini. She's looking much better than she did when I saw her last three years ago. Also had the pleasure of meeting Dr. Edward Saint, that new personality in the magic world. Well, I thihk he's worth knowing. ---Beaten at my own game: John iiulholland told me at the S.a.M. Ladies night that he recently played a date and did only four tricks in a little over an hour. I thought I was doing something when I got away with five, dammit.

I COLOR BLINDNESS. (Slgmund Krumgold) |

Displaying a slate which is divided into five spaces by painted white lines, the performer also shows a crayon box with chalks of five or six colors, including one white piece. He says he will hypnotize the audience into a state of temporary color-blindness, and after a bit of mumbo-jumbo announces that It has been accomplished.

To prove his assertion he asks for any color. When one is named he takes the white chalk from the box, saying solemnly, "Ah yes, here is the red chalk, (or whatever color has been called.)" And just as solemnly does he write the name of that color in the first space. Of course, the name of the color will be written in white chalk. Placing the white chalk back into the box, he now asks for another color. No matter what color is named, he again takes the white chalk and proceeds to write the called-for color in the second space. This continues for the next two spaces. In the last, however, he writes "white" saying, "l-to-one has asked for white so we'll put it in this last space. He also asks for someone's initials which are put in the same last space.

Now the performer turns the slate with the writing away from audience and breaks the hypnotic spell by saying rriumbo-jumbo in reverse. Upon turning the slate towards audience again, it is seen that they were verily in a state of color-blindness, for the names of the colors ARE HOW REALLY WRITTEN IN THE COLORS THAT THEY (now go to the next page)

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pocket and give one to him to draw the sketch go he'll have a definite idea. Then, give the other paper to the first spectator with the remark that he also may as well write his thought down in order to firmly fix it on his mind. I've tried various routines for this part, and the described actions worked out best. Then tell them to fold the paper tightly once each way.

Explain now that in ancient times, the soothsayers gazed into the smoke of burning incense or that of some personally owned article to divine secrets pertaining to that person. You will attempt the same thing, but in a smaller and less impressive way. Look at the first person and reiiiark that you 'want hii.i to tear and burn his paper. Continue, "Look, tear it and then burn it lijce this." As you say this, you reach for a take the paper second man is holding. Still addressing the first person, hold the closed corner of the doubly folded paper to the upper left, and tear paper through the long way, just a trifle to the right of oentor. Put the right hand torn off bit in front (audience side) of the left hand piece, and keeping the closed corner always in left fingers, tear them again in half again a little to the right of center. Put the right hand pieces once more in front as the left thumb draws back with the folded piece (middle) of the original whole slip. The right fingers, take away the torn pieces, minus the left finger palmed piece (not really palmed) v/hich is held by thumb against fingers, and you step over to the ash tray where you droo them. As you finish this action, repeat, "Just be sure the pieces are small and will burn easily."

Now watch the first person tear his slip and put it with the pieces you dropped. Then tell the second person £0 light them. Up till now you have ignored him since taking his paper. Afterwards both will swear, as do the audience, that they have torn and burned their own papers. The described maneuvreing is perfect misdirection in regards as to what tajces place.

As the second person lights the paper, you pick up the slate and step back. The left hand has dropped fco pocket for chalk as you directed the burning, and the folded piece flipped open. It is small enough to be in the palm but you may only open it half way. Bring it out and put it under the tip of right thumb holding slate. Ask them to each think of tneir card and picture. Start to make a few rough lines on the slate with left hand holding chalk. At this time you have the picture. Look at second person and tell him to think of the picture as a whole and not as individual lines. Your right hand with slip, goes to pocket for a handkerchief, and you rub out something. The paper is left behind and you are now free to finish the picture and write the name of the card in the middle of it.

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

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DESIGNATE I Somebody has been wrong I

The metiioa for this surprising climax to a cute and original plot is simple and mechanical. One of the now fairly common addition slates is used, and one of which most actice magi have. There are two good makes on the market, one by A1 Baker and one by Thayer. Baker's has a locking feature and the lines are drawn in place with chalk, but the Thayer slate is perfectly practical because these extra features are not necessary to the success of the trick. For those who do not have the device, it is a slate marked as per the illustration, with a half flap hinged to the middle of one 3ide, and when up or down, this two spaces wide flap changes the writing in the first four spaces.

With the flap hanging down, print the names of four colors in their proper colors. The order I use is red, green, yellow, blue. The bottom space is left blank. Put the flap up and the slate is blank for the start, ¡¿ore than one color is always called, when a group or audience is requested to name them, and the name of the proper color is written in the proper space with the white piece of chalk. In the bottom space (which never changes) is written "white", and also anybody's Initials. ,<hen the slate is turned and the audience de-hypnotized, the flap is let down, and the colors are then shown to be just what they are supposed to be. With the Thayer slate, if the chalk doesn't stick well to it, use some water color paints.

This is especially good as an item in programs for older children, but it never fails to cause a lot of laughs before any adults, particularly at the start, when everybody gets the idea that they have been 'sold.'

Most of the tricks along this line use only one spectator and the performer. Now it is possible to use two spectators for a double effect. Two ordinary decks are needed. The working will suffice to make clear the effect itself.

Hand one deck to one spectator and have him shuffle. As he finishes this, hand the second deck to the other person to mix also. While he shuffles, take back the first deck and give it a further mixing while obviously waiting for second person to finish. You note both the top and bottom cards of your pack. It is easy to merely note the bottom card, shuffle it overhand to the top, and note the new bottom card. Now take the deck from second person and place your "keyed" deck in hi3 hands. Ask the first person to cut off about half of the pack and hold. At this time, the two spectators each have half a deck and you have a full deck. You know the top card of first person1s cards and the bottom one of second person's.

Tell them to do exactly as you do. Look at the first person, Take a card from the center of your pack and look at it. He does the same. Put it on top and cut the pack. He does likewise. Now look at the second person and repeat the procedure. Now have them put the two halves together and cut them once more. Take the pack from them, at the same time handing the first man your pack. Tell him to run through it and

Page remove the card he looked at. Handing the re3t of the pack to the second person, he looks them over and removes his looked at card also. You fan your deck and remark that at the same time you'll take out the two cards you picked by chance. Lay your deck aside and hold the two cards with backs out. The first man turns his card so all can see. You turn one of your cards and it is the samel The second man turns his card. Your remaining card matches I

Remembering the two key cards your task has been but a pleasure. When you run through the deck they have looked at and handled, you have only to remove the card to the left (or above) the known top card, which is that looked at by the first person, and the card to the right (or below) the known bottom card, which belongs to the second person. This double bit of business will upset a few at least, and r.iako for a much better effect on the whole.


If ever there was an impromptu mental novelty, this should be it. I took the basic working from an idea of Montreal's Charles Peet about two years ago, and it has served me quite well.

Borrow a derby or soft hat. Say that you'll show a test of clairvoyance and telepathy combined. j\sk for the loan of seven or eight one dollar bills. However, before starting to collect them, step up to one volunteer and ask him to write his name in pencil on his bill to identify it later as his. ^sk him to fold it over and over until it is in a small flat square. At the same time have the rest of the donors do tfce same. While the key subject is writing and folding, you can pick up one or two of the other bills that are ready. Holding the hat by brim in left hand, take the bills in right and drop them in. When you take the marked bill, pretend to put it with the rest, but put it under fingers of left hand inside hat, and then collect the rest.

Hand the hat to a spectator who stands on the other side of the room. The left fingers keep bhe stolen bill. Don't try to palm anything. Just keep it in the fingers and let the left hand be natural and out of direct U3e. And don't stall around but keep moving at this point. Walk away to a far corner. Tell the man with the hat to pick out a bill while your back is turned, hold it up, and say "All right." You turn your back. When spectator speaks, say, "Put it on the table, and take another." Next time you say, "Ho, still not right, put it aside and try again." In the meantime you have been standing with back turned and have gestured with right hand. The left, however, has opened the stolen bill and you note the number and refold. Take it easy as you'll find when you try this that you have more time than you think. Also you may think it hard to remember the number but if you'll try this first before saying you can't you'll be surprised. And most of my readers who have a yen for this type of trick is familiar with mnemonics. On the third or fourth piok, stop the selector and say, "That's it." Walk over to him and take the bill he holds with your right hand. Without a pause, walk to the one who signed the bill. When almost to him, pretend to pass the bill to left hand which Immediately goes out to him with bill in it. He takes it and you walk back towards hat. Tell him to open bill and see if it his. It Is. First climax. Take hat from spectator with rl$at hand and put on table, dropping right hand bill inside. Now stand before owner of bill and have him open bill and look at the number. Slowly and deliberately you read the number. Second climax. Then ask owners of other bills to raise their hands. P.S. Try to get a rattier well used bill for the signed one. It helps a bit in the handling.

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