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You hold glass up and mutter a toast (or wish) towards the boxofflce. Bring glass down, face audience directly, and tip to pour the wine into the goblet. Watoh it intently as you put the glass back on table, empty side out. They think you don't want to spill the wine. Really you don't want to reveal your skullduggery. Take a sip (I) and your opening trick is over. Now you worry about the rest of the show. We are adjourned.

To Tom Sellers, Scottish genius of magical rareties, goes credit for the production box in whloh way the silks can be produced for subsequent malfeasance. Then Stanley Collins and his former co-operative Mr. Brettma came in. Lastly entered Thirteen of Magic, perhaps not too gloriously, but always productively. As a final thought we suggest that the effect, as a whole, has possible value as an "encore" tilck. The toast might be drunk to the audience for staying through your performance.

(Editor, speaking In awes I just sort of figured that common ten oent store cement might not hold that wine behind the bent tin. Prom one of my nostrum-type notebooks I find a formulae, to wit; Glycerine cement - water tight, permanent and Impervious to oils, acids or temperature. It even has to be chipped away with a chisel. (Not while I'm a magician!) Mix powdered litharge and a very concentrated, olear, syrupy glycerine until a soft viscid pulp is formed. Use immediately as it hardens quickly.)

min ir&f mtl 'ff cry he effect is that the performer shows two 4» black-boards.about 6x9 In. in size and rubber bands onto one a plainly shown blank piece of paper. The remaining board is placed on top of the first, paper between, and heavy rubber bands secure the two together.

In a "magically-like" manner, trusting that It all occurs naturally, a name, number, or object Is chosen by the audience. The large bands are removed and the boards separated. Still attached to one, by the little bands, is the piece of paper. That paper NOW bears either a picture of he who was named, an inscription of the number resolved, or a sketch of the object chosen.

It all really happens between the boards. The apparatus, if it can be called such, la very simply constructed. The sketches and description to follow will make clear the entire operation. It is a sort of trlclcy difference between "little" and "big" rubber bands. The small ones hold the paper onto a board whereas the large ones hold the boards themselves together. Between the two, much happens.

a-blank sheet of paper b-tin sheet black both sides o-dupllcate prepared paper d-thln elastic band e-thln elastic band f-one of the blackboards g-the other blackboard h-wide elastic band

Put 2 bands

(f) on each end about lj in. down. On top put paper (c) with prepared side facing board. On this place tin sheet (b). Fasten ten and paper to the board with two bands (d) as per Fig. 1. The board (f) now looks like board (g) with two bands across It. Bands (d) and (e) should be placed close together to look like one band. If a blank paper (a) is Inserted in the bands (d) it appears as if merely fastened to the board. Board (g) is placed on (f) and the two bound tozether with 2 bands (h). Put them directly on top of bands (d)(e). In order to make paper (c) appear instead of paper (a) pick up sandwich in left hand with board (f) on top, get right fingers underneath rubber bands (d), (e) and (h) and in action of pulling off the band (h) transfer bands (d) and (e) onto the board (g). Thus the tin plate (b) and the two papers (a) and (c) but transfer themselves In a manner most convincing to the onlookers and mechanically operated by the performer.

Reading won't do it; boards, tin plate, rubber bands and paper must be at hand. Then, only, can be seen what does happen. In cold type it must sound drab. It takes actual following to impress upon the performer its real value.

You have seen both "revelation" and "pictur-lzation" of mind and thought. Now is told the means by which it all is "foroed".

The request for names, which can be revealed by letters or depleted by sketches, is tricked by the performer's writing down names, not as called, but all alike as he 'fishes them. An excellent alternative Is to write names as called, using 2" x 3" slips of paper in size, let a member of the audience watch the proceedings and Jotting down of each name, see It crumpled and dropped into a hat In each instance, BUT not see you tuck the first (force) paper under the hat band so that it may be retrieved after the very thorough shuffle of the skeptio or sneptioa.

The first slip written was TBS one, tucked away at the start, and the hat eventually given someone to shake. Other papers were honestly written. You pick out the correct one and there is nothing wrong to find.

You pick out of the shakened hat one or two and toss them aside. Then you produce and hold one paper which IS the "forced" selected one. You, the performer, have complete control through out. You manipulate the frame, and then go on to influence what seems to be a fair vote.

Before explaining the "choice" let's take up the simplicity of the "two board" problem.

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r* A» M- Wilson, he who published and edited The Sphinx for thirty years, once put into print a most biting remark, to wit; "The shores of time are strewn with the wrecks of failure in the magio game, the majority of whom had no adaptability or were wrecked on the rocks of sameness."

Now that the first metropolitan-type of excitement has passed we New Yorkers can sit back and accept Dante in a position no other magician has been able to fill. He hasn't done it in the latter bracket for the show reeks of Thurston and depends entirely upon a trap door. But Dante has practically captured New York City with "adaptability", a little thought of thing among those who "knock" him while sitting in the local magic shop arm chairs. We can advise you, you, and you to spend fifty dollars buying up old magic catalogues for illusion ideas long forgotton, but that money will be "down the well" if you haven't the personality and business acumen to make of it a worthwhile endeavor. Dante has both. The show (Morosco, W. 45th,N.Y.C.) is in for a goodly run as you read these lines. We'll admit that we're not crazy about the ahow, nor the prices, but we are all together for Dante — on the stage.

Mr. Abbott, "Gen" Grant, and any others on his staff important to "Tops" may as well save space using our name to say we're "wrong" about mentions here. The "come-backs" haven't upped Percy's weekly supply of Jinx copies, nor have they downed them. By the way, where's Freer?

The early fall has a magic book due which has been delayed but will stampede the dealer's stalls without doubt. It's by the master of subtlety and subterfuge. --- Frank Lane, the

Bostonian who publishes tttk Funny Talk

Monthly went to the trouble of having a nice big caricature of us made in answer to our recent remarks regarding his business ethics. So far he hasn't published it, but this is a bona-fide offer to waste space here in case he dares send it on by registered mail. We may have our faults but we're not fallow.

We like very much an item passed on to us by Walter Gibson. It seems to have come from Mr. Oscar Thomson, a Philadelphian of magical note some years ago. He, like a lot of us, got all upset when setting up an occasional show, and had difficulty remembering the order of things. Not wanting to make apparent that he was working in a set order he adopted a cute subterfuge. On the back of each trick, in some little spot not noticeable by those out in front, Mr. Thomson stuck a small label telling him the name of the next triokJ Walter also told me of someone having another system. On one of his side tables he placed one article important to each trick. They were in order and the act of picking up the object next would serve to bring to mind and "carry" the performer into the next proper trick. I like the first one best. It doesn't let the show get lop-sided as to starting position.

We like awfully much the fact that Frances Vandevier saw enough of a future in magic to up and marry with Laurie Ireland. Or maybe she saw a future just in Laurie. Or maybe she sees that there itoes a genius of thought needing a balance wheel. Or maybe she just loves him. Anyway, whatever the reason, we're for her. As for the groom, how can you criticize a man who can conceive of a wooden duck picking out the

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card you chose? Blessings be with you and may showers of orders rain on your emporium at 109 North Dearborn Street, Chicago, Illinois. Or is that an ad?

Mailbox: "The picture on Jinx #110 is very chummy. In that Maine background you all look like a gang in a bomb shelter waiting for the "all clear". (What about the tricks? Ed.) "All I know is what I read in Jinx No.102. Regarding your method (Art Lyle's. Ed.) of receiving cards on your turn to draw. Out in the far west poker is played the hard way. Disoards are thrown on the chips, BEFORE THE PLAYER IS DEALT HIS DRAW C'RDS. Take warning never to come out this way with that brand of poker, but if you weaken, notice is hereby served that Woodpecker Hill still has several vacant graves left." The grim epistle came from a man whose letterhead tells of the Trinidad (Colorado) Monument Works, Artistic Memorials of Everlasting Beauty. (We still insist it was Art Lyle's mistake, pardner. Ed.)

We were listening to the radio on Sept. 5th, and, at the moment of British trouble news we Jotted down a note that things were pretty bad. To-day (Sept.25th) we received our copy of the "World's Fair" from "over there" dated Sept. 7th. The magic page reporter discussed a meeting with Gilly Davenport in words such as, "Walking along New Oxford Street in between times of last Saturday's air-raid alarums, who should we meet but Gilly Davenport, rather apologetio for looking - as he expressed himself - "scruffy". This, he explained, was due to spending some time indulging in his favourite hobby - photography." Well, cousin, I'm throwing away my Argus #3 tomorrow. I don't mind my picture being taken, but not from 3 miles up, and I don't want it to let me be "scruffy" right afterwards. But it's marvelous to read (censored or not) that the boys in the hard hit territories can still think of a rabbit coming out of a hat.

Abril Lamarque, whose two years of S.A.M. effort against exposing and endeavor for better publicity by far sort of ran into and against the proverbial atone wall, has opened up a N.Y.C. (Graybar Bldg.) studio of advertising which might be of use to magicians who are in the market for truly original ideas. It wouldn't hurt to inquire, anyway, even if you do find the prices higher than the usual "boy around the corner". --- The politically con-

cious magi are digging away back to Jinx No.9 for "A Matter Of Policy" the Repub-Demo triok with Mules and Elephants that'll be good as long as there are elections in this country.

We'll remind you of it again in 1944. --- The older timers who remember Kolar ("Remember Me To The Chief Of Police") might be interested in knowing that he is now in Wheaton, Illinois, advertising himself as a toy,game,puzzle,magic, publicity thinker-upper for merchandisers such as was once done by "Stunts" Proskauer. —-The very latest femme magicienne is Paddy . Into N.Y.C. with all baggage she appeared at a nearby spot with a full evening's show. Very few of the locals know of her or how it happened under their very eyes, but a report of the show goes high. We met her and almost said "Hello, Miss Sonje Heine." It's difficult for a gal magus to get along, as history has proven, but certainly the art can stand a little more "dressing" than the best of the so-called exponents have been giving it. --- There's a rumor that

John Mulholland has sand bags all around the building which houses The Sphinx. Our two cats are going on a real hard hunting expedition this coming month for that mag.

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