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£%> borrowed and marked quarter, or shilling, is dropped into a borrowed wine glass. The performer borrows also a handkerchief with which he covers the glass. A sort of drum head is formed by his snapping of a rubber band around the glass and hank. He next shakes the glass and the coin is heard to rattle about inside. By one corner the handkerchief is yanked from off the glass. The coin is gone without a single false move or gesture upon the performer's part. And the marked coin is found inside the pocket of he who loaned the handkerchief.

Once that you have mastered the presentation of this effect you'll never forget it. It should ever be an impromptu Malini-like mystery In your repertoire.

Before starting secret a duplicate quarter or shilling piece in your left sleeve. Let this coin slide into your left hand while a coin is being borrowed and marked. Take that coin in your right hand. Apparently place it in your left hand, but palm and show the duplicate which immediately is dropped fairly into the glass.

Next look around and pick upon a spectator who wears a coat breast pocket handkerchief. Step up to him, and without asking his

COIN THAT Q£T5 around permission, say, "May I borrow this for a few minutes,please?" Deliberately pull out the hank and at the same time drop the marked coin into the pocket.

The glass is covered and a rubber band snapped around the mouth of same, effectively enclosing the coin therein, thought to be that which was marked. Holding the glass by the rim, pull the handkerchief, on the side away from the audience, a little backwards and upwards, thus making a small bag which hangs unnoticed on the back of the glass. After some shaking of the coin in glass, a last minute backward throwing movement tosses the coin upward into the small bag, putting it outside of the glass but still inside the handkerchief. The handkerchief is grasped by the front corner and quickly pulled off the glass. The rubber band sliding off glass brim encircles the coin and causes it to disappear within the hank.

Call all attention to the spectator who finds the coin in his pocket and lets the owner verify his mark. You have ample opportunity for removing the banded decoy.

Once I wasn't asked, and the other time they forgot to pass it around.

This secret will make it easy for some readers to get another pint, but to them I must say, in warning, "Do not try this on any gentleman who has to visit the washroom or make a telephone call everytime it is his turn to buy a round.

'Ye have just finished the last drop in the bottle. It is emptied to the very last drop and set back on table or bar. By the time you've finished this drink, you'll notice another drop of liquor accumulated at the bottom of the brittle. Now comes the underhanded work.

pick up the bottle, show the one small drop left, and ask how many are there. As only one drop is left the "fall guy" naturally must say "One". But, you wager that there are at least ten drops left, and, if he bets, this is what you do.

Cut a thin triangular sliver from the white edge of a dollar bill about an inch long and 3/8th of an inch at its widest end, it running down to a point. Wet it with saliva and stick it on the inside of bottle neck letting longest part of sliver point stick out. Turn bottle upside down and start shaking with an up and down motion. Prom that lone drop in the bottle you will be able to shake out at least a dozen small drops upon table or bar. Don't ask me why. Waiter. Another bottle of Haig and Haig.

Page 817

As of August 25, 1941

Our honor, presuming that we have such a thing, is at stake, at least to us. Some years ago Thayer advertised a "Block 'Era Dead" effect of Arthur Buckley's (and, by the way, what ever has become of he and his wife, who, as "The Australian Buckley's, did a very neat telepathic act and horoscope business?). The stunt depended upon the secureing from the pocket of one of ten paper pellets, the container being a block of wood with holes bored for the carrying of rolled papers. The effect was exceedingly nice, and still is.

About a year ago, after a lapse of at least 15 years, Thayer revived the effect with new indexes to accomodate papers covering a full deck of cards. This event occured shortly after Jinx No.82 made its appearance, containing a number of experiments with indexes of our own conjuration, titled "Pocket Prophecies".

Made according to our conception of how A1 Baker's original trick of substituting written on papers for cards in the "Cards From Pockets" indexes could best be accomplished, we've given them 15 years of hard and constant ueeage in a professional manner. Cur most revered comment was when the late Nate Leipsic congratulated us on a presentation of "Lady and Gentleman" (Jinx #82) saying that it took him all of 20 minutes to realise we were using pocket indexes.

And why all of this talk and wordageT Simply because we have a letter written by Thayer's to a prospective customer for the "Simplex Pocket Index Files". It says that "this is not the same as explained by Annemann his his #82 Jinx but entirely different. In fact, at first we made up one set of these exactly as per the description in Jinx to which you refer but which were not satisfactory in that it was very difficult to gain position of the slips. And for this reason we devised an entirely new idea, or principle and which are without question the most simple yet and very easy to work - one in each pocket."

Well, we too have one in each pocket, and we have all of those years behind us which knowledge and experience went into that issue of five tricks. ■Ye know two amateurs personally who made up the gimmicks and are unhappy only because they don't have enough opportunities to make use of them. If our written notice that "All manufacturing rights, in design, size, and for its purpose" were copyright (1940) caused a dealer to present the general idea in another form without having to have an O.K. from us, we can't blame him for exhuming a forgotten trick to excuse the use of his rubber banded indexes (when one band breaks, as they do especially when not used for a time, the whole gadget begins to fall apart, giving more trouble than the trick is worth getting it together so you can have more work locating the proper paper which, in folded size, is smaller than our conception uses), but we do not like his telling a prospective $1 customer that our gadget isn't right. It can be made with your worst deck of cards and 15 cents maximum. It will last 3 years of every night dates. And it sort of makes us sorry we spilled the information as long as it helps someone to make sales on the trick's effectiveness while not following through with practicability.

Next issue we have an entirely original effect which makes use of a single pocxet index. You've guessed it. The index, specifications reprinted from issue #82, (for that popular number is too far gone in stock to refer back to) will be ours, and not that conceived as a sales item by opportunists.

News? Not much. But after Labor Day the boys should be getting back in trim, and the reviews of convention shows will be hurtling in, and we do mean hurt. Not that we like it, except as a Jinx sales item, but we figure that the "Fifth Row, Center Aisle" innovation will be devastating for maybe two years before magicians realise that such unbiased criticism is good. ~ then perhaps tne other journals will demand the truth for their columns. We'll have to look for some new piece of age old hypocrisy to fight, at such a time, if we last that long against the brickbats.

Bert Allerton's new six page circular is a collector's item last, and any up-and-coming performer's must first. We know him only by reputation, but if that plus knowing where he works week after week is anything of value, Allerton is on top with tricks as they appeal to an audience with disdain towards the methods used to accomplish the recorded and talked about miracles. He is slated for N.Y.C. soon. We will try then to tell more about him and his tricks - from as inside an angle as we may be able to wangle. — Bert Kalmar, he of the song writing team,"—and Ruby", is sojourning in the East while waiting for and sweating towards the opening of the musical show which will dance and swing to their music and lyrics. He's a living example of one magical enthusiast who carries with him always the very best and cleanest tricks on the market - doing them well enough to confound professionals who have passed up or never noticed such items. I hope he lets us list his picked mysteries - and so should you.

Chester

Morris, the fellow who almost always wins the girl in movies you've seen, goes about Hollywood with an unholy glow on the back of his coat, at times. Can it be that he took Jinx #135 that seriously? And don't we hope that he has a good partner in the subsequent crimes! —- FUlton Oursler read a magic catalogue and found an item he thought worthy of being mentioned in his column in Liberty magazine - "The Magician's Story, a superb magical ooem-sermon. Eriefly, it is the story of a magician who was loved for his human qualities but religiously was an atheist Its rendition will brand toe performer (you said it! T.A.) as one who can offer souler (sic) depth in his program. It cannot be used in the State of Kentucky." And we can chuckle at Oursler's question, "Why haven't all other states followed Kentucky's noble example?"

In reply to those who have asked why our review column did not cover John Mulholland's appearance at N.Y. 's Radio City Music Hall during the week of May 15th we may be quoted, "Weekly, prior to Mahomet's first N.Y. theatre stage appearance of this sort, we had taken pains to disparage the man's ability to edit a publicatior for magi.-Our enthusiasm resulted in a subscribers' revolt. The space, some said, should be used for information of more interest and not be so repetitious about facts. Against our judgement, believing that a well should run dry before the drinking must stop, we "killed" the review rather than have readers think we were beset with a persecution complex. The review, it now should be apparent, was highly uncomplemen-tary. John always looks more serious than Papa Dionne must have appeared when the doctor held up a hand instead of a finger. While he may be (as his admirers insist) or may not be (as his detractors insist) a "whizz" on the lecture platform,where no one worries about getting the curtain down and the picture started, in a large theatre, with a fast show stumbling over him, he just isn't quite up to his own par. And that's our reason for the omission and our opinion of his exposition. Gabbatha!.'

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