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Homonyms, for example, are "bare" and "bear1» or "wail" and "whale" to be concise, but, for a more simple set we'll pick the words "I", "eye", and "aye". These three words are pronounced the same tho they appear in different parts of a dictionary. Now follow the set-up.

I note the page and word number of each word. If my dictionary has two or more columns I note the column number. This is what I finds aye 16 2 13 The first number is the eye 73 1 19 page, next, the column,

I 95 2 22 and the third, the word position, from the top.

I have four small pads of scratch paper. I take three separate sheets; and on one is written, in a column, the three numbers for "aye". Similarly on the other two are written columns of three numbers for "eye" and "I". Each of these are folded twice and the outside corners pencil dotted. That ends the preparation.

First pass out the four pads. Tell each person to write a column of three numbers: the first is to be a page number; the second is to be either a 1 or 2 (column number): and the third should not exceed fifty (or less - this is the word number). Meanwhile you palm the three prepared papers.

Each spectator is told to fold his paper twice. From each of them you take the billets and then add your own so that all are squared. Without conmerit or apparent showing the hands can be seen otherwise empty. Then the three audience papers are finger palmed as you pass the other set to a fourth man who is to mix them well and then give them to the spectator holding the book.

You now apt>roach this person and tell him what he is to*do. He further mixes the papers, picks one, and opens it, noting the numbers. He opens to the page of the first number, looks at the column of the second number, and counts to the word of the third.

At this point you pick up and open one paper, in explanation. This is the paper with NO pencil dot on the outside. Read the numbers aloud in this explanation. Then look at the audience and ask who wrote on that paper. The fourth man must acknowledge it.

Crumple up the paper and toss it aside. Turn your back for the rest of the test. Then, as an afterthought, have the man with the book see if all his papers contain different numbers. He answers "Yes", selects one, and locates the word.

The "build-up" at this part is individual. The performer says merely; "You are thinking of the word-----." He but pronounces the sound of the word of which he is thinking. Then he says, "Is'that correct? Will you spell it out for the rest of our audience?"

When the paper writing part is done without delay or stalling this finish is clean and strong in effect. The force papers can be handled in different ways. A double handkerchief may be used for the selection provided it is taken from the breat pocket.

Another subterfuge is to have the force papers in the coat pocket. Taking the collected billets you show the book-man that he is to pocket the papers, reach in and take out one. You pocket them, in explanation, take out one of the spectator's, then remove the three of your own. A rhyming dictionary gives words.

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*) ecently we saw a small model of this trick performed and v/ondered why it might well not be resurrected by present day magi who desire something pretty and different. Our first record of it is in 1911 and apparently invented by a Mr. Albert Russell. It found a good spot in the program of Theo (Okito) Bamberg.

The performer shows a cylindrical glass tube container standing on the table. With it are (1) a cardboard cylinder which loosely fits over the "hydrometer tube", and (2) three tumblers, each filled with a colored liquid, red, white (clear), and blue.

The glass tube is covered and each of the tumblers emptied slowly into the container. The cardboard is removed and the three liquids are seen to have remained separate and apart, each taking up its one-third portion of the glass. From his pocket the performer now takes a lighted candle and holds it behind the tube to show the transparency of the liquids throughout.

The cardboard cylinder is replaced, a pass made, and upon its removal the liquids have mixed surprisingly for the glass tube is now filled with clear water which can be poured.

This effect lends itself well to various liquid or "water and wine" combinations, and it certainly isn't difficult. The glass tube is unprepared and can be secured from chemical and laboratory supply houses. The cardboard cover also is unprepared except for a small fingerhole somewhere in the design on it about half way between the ends. Next make a celluloid cylindrical fake to fit around the glass tube and inside the cardboard tube. Because of the finger-hole the celluloid thus can be left on or off the glass cylinder at will, and, when carried away inside the cardboard tube, is not to be seen when that is shown empty.

The lower third of the celluloid is painted blue, FROM THE INSIDE. The next, or middle, third is left clear. The upper third is painted red.

Have enough water in three tumblers to fill one-third of the glass tube each. Into one put a small amount of Nitrate of Copper to which is added a few drops of ammonia, making the required shade of blue. For red have another glass contain a weak solution of permanganate of potash to which is added a few drops of Sulphuric acid. The White, or clear, glass contains a piece of Sodium Hyposulphite about the size of a hazel nut. This last is plain "hypo" sold in bulk by photograph stores for about thirty cents for 5 lbs. If you purchase a pound box throw out the little can of "hardener" inside which is used for photographic purposes and not necessary for magical purposes.

The working should now be clear. When these liquids are poured into the covered glass tube they mix and produce a clear content. The painted celluloid is revealed to show the different liquids remaining separate. Then, when the fake is carried away at the next uncovering, all is serene.

The candle from the pocket is too ancient for space here. The match tip buried alongside the wick hits the piece of sandpaper sewn or pinned in the inside pocket. The use of the light, however, shows up the colors prettily and also is proof that the liquids (?) are really filling their portions of the tube.

As I write these lines I can picture a possible combination. The P ft L Candle Tube could be used to hold water. The late tubes are made with an expanding ring on the plug, but Petrie no doubt would supply the old solid plug to all-of the tube holding liquid without leaking. In this case the candle would be picked up and a lighted match produced from the pocket instead. The cover replaced, the candle would be put into its tube receptacle and the lid stuck on. As someone held this the performer could produce an empty wine glass. The cover of the glass tube would then be removed to show the clear contents. The wine glass next would be handed the spectator or assistant in return for the candle tube and the audience asked for one of the three colors. The tube opened, the candle would be seen to have disappeared and from the tube poured the color liquid called for. Lastly, from the inside pocket, could be reproduced the candle still burning (?). The final color "asked for" would have to be simply forced by the "hearing" red from among1 the many voices. The tube would be filled with a solution of water and sodium carbonate and the wine glass rinsed out with a strong solution of alcohol (or gin) and phenothalein. This mixture can be sipped, but just wet your lips for it's a fair-to-middlin' physic.

All of this may sound a bit weird, but it's merely an attempt to get the reader started on his own combination of effects using the separated liquid effect as the body part.

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