«JANUARV
Price 25 cents - 5 Issues $1.00
T he S.A.M, Club Night was on December
3rd at the Hotel McAlpin in Mew York.
I had a review written out with all of
the effects presented and the running
time of each. In view of the fact that
the show has been reported capably else-
where before this, I>ve basketed my copy
and will touch on the high spots only,
especially those details which others
didn't consider of value as news.
S am Margolies talked four minutes about the
Annual Show for the Hospital Fund and wound up
by introducing Cardini, thereby upsetting Mr. Ho-
mer and causing no end of ruckus and bad language
within very few feet of the front rows. Cardini
did eleven minutes, the latter three being taken
up with a travesty on a cute rubber band trick and
the bland remark that those present could find out
about it by reading Popular Mechanics. In short,
Mr. Cardini gracefully crammed it down everyone's
throat that exposing was his business rather than
that of the society. 'Whether or not the society
likes such cramming can be assumed only by their
adherance to the expose rules.
C omments were quite plentiful. To me, the sar-
castic by-play by Mr. Cardini was sadly out of
place before such a gathering. I wonder if he
would do it at a regular meeting rather than before
assembled guests who could only lift eyebrov/s at
the display of bad taste. It ruined a magnificent
manipulative presentation. Mr. Altman, Chairman
of the Expose Committee commented, "It was very
poor judgement." I asked Mr. kulholland about the
expose mentioned. "I haven't seen it," he replied.
I asked him what Cardini meant by his last remarks.
Came the reply, "He didn't speak to me, did he?"
I asked, "Did he?" John smiled, shook his head and
walked away. Mr. Julian Proskauer, National Counsel
President, speaking of the show and behlnd-scenes
activities, remarked, "The petty jealousies amonl
magicians are enough to make a sane man insane and
an insane man worse." I asked him about current
exposing. "The harmony that now exists on the sur-
face in all magical aocieties for the first time
in years is sitting on the edge of a volcano wait-
ing for the next big expose to blow it up. Expos-
ures of magical effects used by working magicians
will wreck any society, but exposures of petty
tricks interest outsiders in magic — however
when you countenance small exposures you encourage
exposures of everything, and it's time that was g
stopped." He looked at me, "You don't agree with
Page 77
1936
England l/- postpaid - 5 issues 4/-
me about the petty tricks, do you?" I said, "Hell
no, but I asked for your views so I'll print them."
E ugene Homer, when asiced about his evening's feud
with Mr. Margolies: "Don't bother me. I haven't
time to think about the I"
Hardeen was asked how he liked the show: "Who asked
John Mulholland to talk about the history of the
S.A.M. anyway, and why didn't he mention Houdini?"
(quoted by permission)
O therwise it was a pleasant evening. Mr. Belals
made no comment about the incessant clatter
and bell ringing by which Mr. Homer showed his
obvious disapproval of the former's presentation.
I think he showed a lot of will power. He should
have walked off and put the bell where it belonged.
P erhaps I seem a bit upset but these things are
overlooked in the usual glowing reports. If
this petty kid stuff of sticking out tongues like
chastised school boys would be done only at the
closed meetings, at least outsiders and invited
guests wouldn't be impressed that magic is for
children only. These same men wouldn't use such
tactics In their business or they wouldn't be able
to buy even The Jinx.
P ercy Abbott will start a new monthly called
"THE TOPS" on January 1st. By the subscription
price I assume that it will be a house organ, but
1 envy the published list of his contributors
for the first issue. The advance notices say that
grievances will be published and that if you feel
like speaking your mind, just send it in. This is
a step in the right direction for the good of
magic. Since the lamentable death of Doctor Wil-
son, there has been no magazine or publication to
challenge advertisers who creep In and openly de-
nounce the practice of these same advertisers who
persist in advertising what they haven't got and
can get only through advance orders. Doctor Wilson
used to guarantee his readers against loss when
they answered advertisements in his magazine but
such a practice seems to have died with hija. So,
if none will undertake such a responsibility, it
must be left to independent publications not de-
pendent upon advertising to keep the magical buy-
ers informed as to which dealers are reliable and
which are not. I've tried to do it with The Jinx,
and Mr. Abbott's publications, if it adheres to
this advertised policy, will be a welcome addition
to the field of honest magic for sincere buyers.
Mr. Abbott announces that 'anyone' may advertise
in his magazine. Therefore I fear for his 'grie-
vance1 policy. The Jinx takes no ads. We are free
to say what we please. We oan win renown if we
are on the right path, and if otherwise, our cir-
culation will convince ua that we are wrong. Let
us hope that 'THE TOPS' has a successful exis-
tence for the sake of good magic, if only because
of Its excellent array of contributors.
something's wrong somewhere. Burling
O s e n t me a couple of letters and be-
cause I couldn't see straight after
reading them, I ordered any more re-
turned. — M y dear Annemann: I am appen-
ding this little private note to ay other which
you might want to print— (What do you mean note?
This one Is two full pages and the one I did use
was more than I promised.) — N o Stage Magic was
NOT seven years late, but like the Edison Talking
pictures, Television National Broadcast and MANY,
MANY OTHER projects, it was announced, started
and then withdrawn because I could not find time
to produce it on the scale I desired.— (You're
still pretty busy, aren't you?) —there was no
reason for any competition between our publicat-
ions. Certainly mine has in no way slowed yours
up, it has in reviews commended your Jinx and your
own ability.—(I'll give a life subscription to
The Jinx if you can show my name or that of The
Jinx in any issue of Stage Magic to date.)
urling, as far as I'm concerned my only dislikes
B of a great degree in magic are against those
who advertise something they haven't got and don't
produce. For two months (Oct-Nov) you promised a
picture of your new shop in The Sphinx ad. In Dec-
ember you promised It again but in your catalogue.
(Nice plug?) And I'm not kidding when I say I'll
give you another life subscription if you'll just
print the address of the shop under the picture.
I don't mean a box number either, for I'm old
enough to know you can't keep it in one of those
little things. I've used up enough space so shall
go into ay dance and finale:-
THIS SHOULD END THE BURLINO HULL MATTER.
Prom a magician known to most Jinx readers,
at least by name, I have received a letter which
may put a different aspect on my recent corres-
pondence with Burling. I am always ready to be
set right, when I am wrong, and I value this man's
judgement and opinion. Hence I shall quote his
letter here, in all fairness. First I shall give
brief extracts from his letter, then I shall print
tha letter in full, below. Extracts:
"You were wrong in saying what you did about
Burling Hull....Nothing that you could say would
hurt him in the eyes of magicians Hull Is an
honest man in every respect. He always keeps
his word. You owe an opology " number of spots on the card and then count to the
Those are, as I said, extracts from my good
friend's letter. Now here it is in full:
"You were wrong in saying what you did about
Burling Hull, because you merely spend your mon-
ey to give him some free advertising. Nothing that
you could say would hurt him in the eyes of ma-
giclana who have had dealings with him, as they
know already things that you would not print.
Hull is an honest man in every reapeot, if his
letter printed in the November Jinx is to be be-
lieved, but he wrote that letter himself. He al-
ways keeps his word, unless he feels he has good
reason for breaking it. You owe an apology to
the readers of The Jinx for mentioning him in it."
I apologize.
Page 78
r
Idrlhiz Cic/arette 1/ctHiske.r
cCu-Brent
C an any of The Jinx readers Imagine a visible
cigarette vanisher? Such a device is beyond
the pale of a magician's imagination I am afraid,
but in this case it is quite true.
S uch an implement of mystery is not secured
secretly, but actually and openly shown, the
cigarette inserted, and it's gone I This is a
very excellent vanisher and is nothing more or
less than a regular short-size cigarette holder
as used by many smokers, and which may be obtained
from any tobacco store. With a piece of elastic,
you thread the holder through the stem, tie a
knot to the end of the elastic which enters the
channel-cup, and the other end to a safety-pin.
Place this in your favorite position under the
coat so that it can be easily obtained, but try
to make this move appear as though it is coming
out of your pocket when produced.
P erform this in an off-hand manner. Take a cig-
arette out of your case, place cigarette into
the holder in a most casual manner and a little
force will keep the cigarette fixed firmly. Of
course, the audience can see the presence of the
holder but will not in the least suspect that it
is openly being used as a vanisher. You need on-
ly to release the holder and it will fly under
your coat. If desired, the holder and cigarette
may be reproduced from some other part of your
person by using a duplicate set. The same effect
may be obtained with a cigar and cigar holder.
E ditor's Note; This is a genius-like idea. Put
a very small piece of adhesive tape into the
holder with the sticky side outward. Fold the
tape so part of it will be sticking to inside of
holder. Jam the cigarette in and when the paper
hits the tape, It is bound to stay there. Some
holders don't hold the cigarette as securely as
might be hoped for.
s4qaut <4
implicity is ever a virtue in magical effects.
S This should find favor with many because it is
effective, to the point, and there is little chance
for the subject to miss. Writing a prediction on
a slip, the performer folds and deposits it in a
cup, A deck is mixed and spread on the table.
A spectator freely chooses one and is given a
small book of poems or fiction. He is asked to op-
en the book to the page corresponding with the
word at the same number* The slip of paper is op-
ened and read. The performer has correctly pre-
dicted, the word.
A s said before, it is very simple. Only thir-
teen selections are possible and those from
one to twelve (first word on page one - second on
page two, etc.) are written on slips and carried
in a pocket index holder in the right trouser pock-
et. On a blank slip, the performer first writes
the thirteenth word and drops it into the cup.
The cards are stacked in the performer's preferred
system and may be false shuffled at the start.
They are spread face down for the selection of one
after which the performer scoops them up to the
break, drops the packet face up, scoops the rest
and drops them also on top. The maneuvre has given
him a flash of the card next the chosen one and he
knows the number. There is ample opportunity dur-
ing the location of the word to secure the right
slip from pocket. He reaches into cup but takes
out the paper he had in hand, leaving the other
behindl If and when thirteen Is chosen, the spec-
tator removes ItI
 EFFECTS I(one
INDEX
*THE JINX" NOS 1-13 INCLUSIVE
Two Papers and a Spectator
The Master of the Message
1
4
3
13
Cigarette Perception 4 14
AND THE SUMMER 1335 EXTRA One of Those Things 4 15
Jinx No.-Page A Question and the Answer 5 20
Slate Imortality Extra 40
Par-Optic Vision Extra 48
[BOOKS \ 55
A Card to be Thought About 11
The Jinx Five Foot Shelf of Magic A Divination with Matches 11 55
8 32

|CARDS|(with ordinary cards), | MENTAL EFFECTS 1(one man with preparation)

Synthetic Sympathy 2 7 The Mystery of the Blackboard 1 4

The Lie Detective 5 19 The Demon-Yogi-Goblin Book Test 2 8
The Card That Isn't! 6 23 Dead or Alive? 3 11
The "ELM" Card Change. 7 26 The Twentieth Century Newspaper Test 4 16
Lies! Lies 1 Lies 1 Extra 39 With Sight Unseen 5 18
The Face-Up Face-Down Location. Extra 44 Thought Rays 8 31
A Principle in Disguise Extra 45 The Modernized Reading 9 34
The Fan Location 11 54 Pseudo-Psychometry 9 36
A Trick with the Fan Location 11 55 Extra-Sensory Perception 10 52
Aces of Eight 13 64 Horrors 11 1 Extra 41
The Impression Moderne Extra 43
A New Method of Tabulation Extra 46
Cards and a Newspaper 13 63
|CARDS|(with prepared or duplicate cards).
Hallucination 1 1 |MENTAL EFFECTS |(two people),
The Devil's Four iices 2 5
The Finders 2 6 A Practical Card Code 7 26
A Card in Transit 3 10 Telepathy on the Cuff Extra 40
Card Box Sympathy 4 14 From Out of the Air Extra 45
The Red and Blue Back Color Change 5 18 The Unknown Subject Extra 47
The New Nightmare Effect 7 27
The Renovated Sphinx Card Trick 9 34
Twentieth Century Cards 10 50 I MISCELLANEOUS TRICKSj
Surprise! 10 51
Just the Same Alike. Extra 41 The Supreme East Indian Needle Feat 1 2
It Goes This Way Extra 42 The Bending Swizzle Stick 3 11
The Ribbon That Made Good Extra 43 Impromptu Frame-Ups 6 22
The Migrating Pasteboard Extra 44 The Astral Shirt 6 23
A Daffy Discovery Extra 46 The Lemon and the Dollar 7 28
The Card Unharmed 11 56 The Astral Shirt Again 8 30
Four Aces on the Stage 12 60 Transient Money 8 32
A Matter of Policy 9 35
ICARDSJ(with a prearranged deck), The Flash Ribbon Restoration Extra 39
The Handkerchief that Flew Extra 46
Your Card! 2 7 Higher Magic 13 62
The Solution of "Something to Work On" 5 19 The Super Slates 13 63
An Improvement a la Carte 8 30
The Solitaire King 12 59 |PUBLICITY EFFECTS],

|CIGAKETTE TRICKS\, A Neat Publicity Stunt 5 20

Two Mindreading Publicity Effects 6 24
The Henry E. Dixie Cigarette Vanish 10 51 Tom Bowyer's Publicity Trick 8 31
A Cigarette Rolled By Proxy 11 54
I TIPS AND SUGGESTIONSj,
[FORCING^, Thoughts in General
With One Hand Extra An Original Tie tf^ Loads
The One of a Bunch Force Extra 43

q Square
Pot/al V. H&aih
ucky number magic squares are scarce even though
L magic squares thenselves are not. Most of these
squares are complicated bits of figuring which
do not find much favor with the spectators. In
this case, however, Mr. Heath has a novel presen-
tation which uses the spectator's birth date and
Is not too long to become boresome. We shall ex-
plain It as we go along and the reader can follow
with paper and pencil.
I llustrated here is a magic square made from the
numbers 1 to 9. This must first be learned per-
fectly so you know the position of each number
as a sort of key to later operations. Make a skel-
eton outline and above it write in figures the
month, day and year of birth. Itee the last two
figures of the year for more ease in working. We
r / 6
shall assume the date to be January
6, 1883, which, incidentally, is
Mr. Heath's date of birth. It is
written above the outline 1-6-83.
3 >r 7 First the 83 or year date is put
In the (1) square. The spectator
y ? z is asked which of the two remain-
ing figure shall be used first. He
indicates either and is then asked whether it is
to be added or subtracted. Both of these select-
ions are absolutely free. Let us assume he picked
the 6 and it is to be subtracted. Subtracting 6
from 83 leaves 77 and this is placed in the (4)
square. Subtracting 6 from this 77 figure leaves
71 and this is placed in the (7)
square. You are now finished with
the 6 and it may be well to say / - 6 - C3
here that the 6 could have been
added in the same manner that it
was subtracted. Also the figure 72. rj 7?
1 could have been selected first
and also added or subtracted. Not
one of these variations will make 11
a difference in the final result.
Now the figure 1 (in this case) 77 73 <py
is taken and either added or sub-
tracted In the following manner.
i/e shall assume it is to be added. The three num-
bers now in the square are considered as key num-
bers because they are in the 1-4-7 positions. We
now add 1 to 83 making 84 and place It in the (2)
square. Adding 1 to 84 makes 85 and we place this
in the (3) square. We continue by adding 1 to the
77 in the (4) square making 78 and place it in
the (5) square. Adding 1 to 78 makes 79 and we
put this In the (6) square. Now add 1 to the 71
in the (7) square which makes 72 and it is placed
in the (8) square. 1 and 72 is 73 and this is put
in the (9) square which completes the square.
P lease notice that when starting on the last
figure (in this case the 1) the three numbers
already in the square act as keys to follow. Add
or subtract as given above from the number in the
(1) square for squares (2) and (3). Now start
Y/ith the number in (4) square and continue with
squares (5) and (6). Then start with (7) square
and finish with squares {8) and (9). The com-
pleted square is a magic square and can be added
horizontally, vertically and diagonally, the re-
sult, in each case, being the same. This proves
the square, in this case 234. The digits in the
sum are added together until a single figure re-
mains and that becomes the lucky number of the
person whose birthdate has been used. In this in-
stance the lucky number Is 9.
Y ou can have a lot of impromptu fun with this
and the alert magus will do It on the back
of his business card, give the spectator a short
reading by numerology of his lucky number, and
leave' the card with them. Try it a few times and
it becomes very simple in operation.
Page 79
// (meamujf cold1)
Otis Wti
ffect: The magician has just finished an eff-
E ect wherein he has a borrowed handkerchief. He
is about to return It when he pauses and states
that he will do one more stunt in which the hand-
kerchief plays an important part. "This effect,"
says the great whosit, "is my famous vanishing
nickle." He starts searching through his pockets
for a nickle (?) but finds that they are as scarce
as the tips he has received that evening. Borrow-
a nickle, the penniless magus puts it under the
handkerchief which has been draped over the hand
all this time, and upon saying the magic words,
"One cent - two cents - three c^nts - four cents -
and five cents," the handkerchief is whisked off
the hand and in place of the nickle is found an
ice cream cone! It is presented to the spectator
who loaned the nickle as an even trade.
peration: The main confession Is that the cone
O is not a real one but a one cent candy cone
that has marshmallow topping for ice cream. The
cone itself however, is real in size and cake. At
a distance of three feet it appears real in every
way upon production. The fact hat it is candy and
not ice cream does not hurt the effect but tends
to get a second good laugh when discovered. These
cones are sold at all kid candy counters through
out the country and if not being carried at pre-
sent by your dealer, he can get them from his job-
ber when an order for a box is placed, so there
is no reason for not given this effect a try.
ut the cone In the left lower vest pocket. The
P steal at this point is practically the same as
for the popular wine glass production. The hank
is over the left hand while the right searches the
right vest and trouser pockets, ending with the
lower left pocket which brings the right hand un-
der or back of handkerchief whereupon the cone
is removed to under hank and right hand now has
hank draped over it while the left hand continues
the search in left pockets. Borrow a nickle in
left hand, put it under handkerchief, and whip
handkerchief away after dropping the coin into
right sleeve. Hand the cone to donor of coin and
by dropping right arm the nickle drops in your
hand to be returned if you feel in the mood.
E ditor's note: Mr. Manning has an extremely
cute Idea in this effect. He has used it con-
stantly for night club work and the fact that re-
porters and reviewers have given It mention is
proof that it is effective. With these cones, and
in a typical club, only a very few around the
spectator getting it will ever know that the cone
Is not real. However, it is this writer's opinion
that most of the 'what's new' boys will pass this
number up until they see someone else use it, end
then the rush will be on.
The Jinx is an independent mon-
thly for magicians published by
Theo. Annemann of Y.'averly, K.Y.j
U.S.A. It can be obtained direct
or through any magical depot for
25 cents a copy, >and by subscrip-
tion is Jl for 5 issues postpaid
to any address in the world.
 C7houqht Ccuxl Pars

or many moons a popular card effect among club and drawing room perfor-
F mers has been to pass three thought of cards from a stack of 15 to anoth-
er stack of 15, both packets of cards being sealed in envelopes. A long time
ago I tried to figure a method for doing this with unprepared cards and in
an impromptu like manner but never seemed able to develop it. Dr. Daley and
I were talking when the subject came up and his agile brain almost immed-
iately figured the method as given here and which is perfectly practical and
very effective. The general effect has been changed somewhat insofar as the
number of cards used and passed Is concerned. There Is a reason for all of
this and we respectfully ask that it be tried as herein described before
the reader attempts any variation or Improvements.

et a stack of about six business size envelopes. Use any deck, but prior
G to the presentation put any two cards into the top envelope (with the
flaps facing you as you hold the stack in left hand) and then turn the flap
down in back of the envelope. Put any eight cards in the second envelope.
The flaps of all but the top envelope are left opened outward. The stack
of envelopes now appears ordinary.
tart by handing the deck to a spectator who has stepped forward. Have him
S shuffle and deal two separate piles of ten cards on the table face down.
Ask him to pick up either heap and step into the audience. He Is to fan the
cards facing two different spectators and have each merely think of any card
which pleases them. When the spectator returns to the front, the performer
is holding the envelopes, and taking the ten cards from spectator they are
inserted in the top and flapless (turned back and under) envelope. This act-
ion is normal and the flaps of the open envelope will hide this move although
there is little chance of anything wrong being seen. The right fingers immed-
iately grasp the open flap of the second envelope and this Is pulled clear
of the stack and handed spectator to seal and pocket.

H e really geta the envelope containing eight indifferent cards while the
group of ten goes into the top envelope where two extra cards are added.
You now pick up the other pile of ten from table and put these In the next
envelope under the top one. The flap of this envelope Is open while the flap
of the top one is still turned under making the move very easy. This time
the top envelope is removed and the stack pocketed. You seal the envelope
and go over what has happened. Two piles of ten were dealt, one selected,
and therein two cards mentally chosen by spectators. The spectator has the
packet sealed and in his pocket while you have the second group of ten. You
are now to cause the thought of cards to leave his envelope and come over
to yours. The spectator removes his envelope, opens it and counts the cards.
Only eight are there I The spectators name their thought of cards. Your assis-
tant looks through his fan of eight and announces them gone I You now hand
your envelope to someone else who opens and counts to find twelve I And on
looking them over the two thought of cards are foundI

ust in case it ever happens that the two people in the audience think of
J the same card, there is one out. When this occurs, hand your envelope at
once to someone else to hold. Take your assistant's envelope, open and make
a false count of nine. Only one apparently has gone. Hand the cards to the
assistant so he can check and verify the'disappearance of the card named.
Then take the envelope from other spectator, open and false count eleven.
Then hand them to the spectator to verify the arrival of ttie card. They will
never count them again, but just look for the card, however it will rarely
happen. The trick, as It stands, makes an excellent club number.

Dr. Jacob Dalau cutd

Page 80
ilililll

Editor Speaking
oston's gift to the world of fun-
B ny men, Mr. Lane, is muchly over-
drenched when he persists in adver-
tising the 'famous three pellet card
trick' as his own, or method either.
Originally the idea was Al Baker's. I know of one
individual who bought it with two other effects
from Al over 15 years ago anc\ paid $1 5 cash. I
learned it just ten years ago this pa st summer.
Baker gives me credit for having work 3d on it a
good deal and being the first to put switches on
it. John Northern Hilliard used to do it (over
five years ago) with the Two Souls trick which
also was Al's. The funny part is that Frank took
down notes of my routine three years ago for a
Mss. he put out of my routines on various effects.
I had my method in my 'Complete Mental Routine'
book which Holden copyrighted in February 1935,
so it proceeded Frank by quite a spell. The method
Frank uses with a stacked deck was just one of
Al's versions. I know of six different methods
and routines. Four are Al's and two mine. I can't
understand though why Frank should have given it
to Rufus Steele for his book too. It doesn't
seem quite fair to the buyers disregarding the
ownership. And my, my, what are fellows going to
say when they buy it on the strenghth of that
Sphinx ad to wit: 'with your back turned, and the
cards in the possession of three spectators, each
one selects any card he wishes. The deck is thor-
oughly shuffled, yet when you turn your back, you
look in each spectator's eyes and tell him posit-
ively and without fail, the name of each of the
cards.' How will the purchaser feel Y/hen he finds
out about the writing on the paper, the collect-
ing, etc.? Such an ad (despite the trick still
being good) is what makes Frank Lane the funny
fellow that he is-. Excuse for the use of space.
I just want to keep the records straight.
J INX effects must be good. Petrie-Lewis has put
out a combination with a pencil in which it is
apparently shown pliable when shaken and finally
vanished. They are including a bent pencil with
the set a la Swizzle Stick in Jinx No. 3 which was
this writer's conception. While we are too pessi-
mistic to expect royalties we would have apprec-
iated a little credit. However, We're glad to know
that the material within these pages is found so
practical.
A new low in magical psychology was hit during
the past months when a well known inventor
marketed a slate and flap for spirit work. It is
a very nice addition or improvement on the regu-
lar slates in use, but the demonstration and sell-
ing point is that it can be tossed in the air!
Can anyone please give me just one little reason
for a slate being tossed in the air? And what ef-
fect such a maneuvre is supposed to have on the
devout sitters?
T elephone conversation: "Is this Mr. Holden? We
are having a little church supper and would
like to have a magician come up and entertain us."
(Max) "This is the time of year when even the bad
ones are working. How much do you want to pay?"
(Voice) "Oh, we can't pay anything, but we'll give
him refreshments and hi3 subway fare."
(Max) "What are the refreshments?" (Voice) "Ice
cream and cake." (Max) "I'm sorry, but magicians
are very hearty eaters and attend only full course
dinners on those terms."
H arlan Tarbell is exposing (there's no other
word for it) in Opportunities Magazine. With-
out being told I know they're just small things
to stimulate interest in our Art. '</hat makes this
so tragically funny is the way every magic paper
has mentioned the modern trend and wave of night
club table magic without the definite thought that
such magic is of the small and close-up type. And
it is this type of trick the stage and auditorium
Page 82
magician exposes. DO EXPOSERS EVER EXPOSE TRICKS
FROK THEIR OWN PROGRAM? Would Mr. Tarbell like
to have a local magus expose the colored sands
effect the day before he landed in town? Or the
Seeing with the Fingertips method? I dreamed of
great revenge one time. The exposer was beaten to
each town by an expose of his program tricks, one
after the other. Then the mean magicians sent a
copy of each expose as it appeared to the exposer'a
booking agent who figured it was bad policy to
use a magician whose tricks were all exposed ahead
of him, and so, dear children, the magician had to
go back to work. However, it was but a dream.
D eclining memberships in various magical socie-
ties might be stemmed a bit if the committee
or officers in charge of stimulation would issue
a questionaire to the delinquent ones as to why
they had allowed their membership to fade. After
all, it's more reasonable to suppose that members
dropping out could give ways for the club to be
jacked up a bit rather than from members who are
evidently satisfied with the running enough to re-
main in. If an organization drops to half of its
living members, something should be done over. It
is what they generally do with apartment houses,
and apartment houses don't use whitewash either.
D id anyone ever see in print before the advice
never to ask a magician how he does his tricks?
I haven't and so I bring it up. It's terrible
form, and very bad manners. Magicians who should
know better persist in asking others how they do
this trick or make that move. If YOU do it, just
stop it for a while and see if you don't get a-
long better with the boys. You'll probably learn
more too, because if eager to learn how something
is done, the wise boya generally close down and
you are out of luck. And after all, if another
magician has a move or a trick you can use in
your act, did you ever consider buying it or mak-
ing it a business deal? If you can make money do-
ing a trick, isn't it worth buying? But although
you don't buy your tricks and moves, don't make
yourself appear like the veriest beginner when
you ask someone to show you his pet trick.
J acob Steisel, of New York, passes on a very
cute tip when he suggests that those who have
used the floating match trick, try it now with a
small Christinas candle. This makes a miniature
illusion of the trick. Use the match box as usual
and take a mtch from it to start. The candle can
be taken from vest pocket and stood on box where
it is set burning. From hereon the working is the
same as with the match version.
C ontroversies about the glass penetration frame
have about dies out so I'll suggest that we go
back to the original base of the trick which was
the Lady Through the Looking Glass Illusion. In-
stead of clear glass in the frame, use a mirror.
Have the clips on both sides as usual and a silk
handkerchief with Alice, of Wonderland fame on
it. Have the cards to be used in front and back
of mirror plain white with star traps cut with
razor blades. If you have a locking frame you are
set for an excellent effect when you illustrate
Low Alice went through the looking glass into
Vvonderland. (Dealers please thank me for this if
you decide to use the idea.)
A l Baker dropped in and asked me to suggest
that buyers of magical effects always read
the instructions with the trick first, and then
do the trick at least once according to the in-
ventor' s method. After that one can work in his
own variations. Everyone will admit that improve-
ments are possible, but generally the originator
has spent time and experimentation before putting
out a trick and has reason behind each move. As
Al very aptly remarked, "Many a trick has died
of improvement. "

Impromptu l/ision
B orrow a business or plain card and ask the
owner to write a question, line of verse,
or name of a dead friend on its back. Take it
from him at one end with the writing underneath
and with your left thumb on top and the first
finger under. With right hand pull out your
pocket handkerchief by one corner and cover the
card drawing the corner back along forearm until
the card Is covered at center of handkerchief.
Now, with thumb and forefinger of right hand
(finger on top) grasp the Inner end of the card
through the hank close to where It is being held
by left fingers. Left fingers let go but Immed-
iately regrasp the card but this time through
the hank. (The thumb at this point should have
two thicknesses of hank between It and top of
card. The right hand now goes forward and picks
up the front hanging corner of hank. It is brought
directly back with corner along arm to show the
card Is still there with writing side down. V/ith
Just a glimpse of card the corner is thrown back
over it but BOTH corners on arm are thrown to-
gether and they now hang down with the card
apparently held in center of hank.
R ight thumb and forefinger (finger on top) now
grasp inner end of card and hold the bundle
vertically in front of eyes while left hand
twists the hanging ends a little. At this time,
the card will be on the back of the folded hank
and the message or writing looking at you! This
bundle Is then placed In the breast pocket with
the corners of hank sticking out. Take hold of
the writer's hand and answer the question any
way you see fit or reveal the contents of the
card. At the finish, reach up with the right
hand, grasp a corner of the handkerchief and
pull it quickly from pocket when the card will
drop to the floor. I have found this a nerfect
press stunt and it can be done with a drawing or
sketch which you reproduce. Being impromptu and
using an old time coin move, you have quite an
effect which also can be done with your business
cards and left with each spectator.
Pi/zztinq
Bobby Hummer
A neat version of the think of a card spelling
principle is to be had in this effect, and it
also brings out a nice mixing idea of which I
wasn't aware. I'll describe the working as I go
along.
H ave six extra cards to match your deck and
they are such that they can be arranged to
spell out with 10-11-12-13-14-15 letters. I've
been using the AC-6H-JS-8H-9D-QD. Take these
same cards from the pack proper and arrange
them as above from back to face. Put them on
deck with nine cards above. On top of all put
the six duplicates regardless of order.
deck with three cards (any three from deck) above.
On top of all put the six duplicates regardless
of order. Start by using about half of the pack,
but without calling attention to it you take
the top 27 cards. Run off a few cards (the top
six) and hand them to a spectator with the re-
quest that he look them over, think of Just one,
and then shuffle then so that not even he hlmeelf
knows where his card is. Taking the racket back
Page 83
drop them onto the top of the cards in hand and
proceed to deal them singly into a row of three
face down piles from left to right. Pick up the
piles from left to right, the first going on the
second and the combined two on the third. Repeat
the dealing twice making three deals. Then hand
the cards to the spectator who deals them face
down, spells his card letter by letter with each
card dealt, and on the last letter he turns It
up and finds his card!
Y ou can readily see that at the start, the six
cards put back on top plus the three cards
above the second set of six make .lust enough to
automatically spell out those cards no matter
which is thought of. The three deals lescribed
bring the 27 cards back to that sane position!
T ell them that the dealing is of a strange nat-
ure which brings the thought of card Into an
odd position. I've presented it simply as a sort
of puzzle, and I have seen magicians who knew the
automatic spelling principle study and worry over
the shuffling of the six and the deal. For those
who don't want the extra cards for the mixing
feature, just hand the six cards from off the
top but have them In order. Then, while spectator
Is thinking of one, run nine cards off and have
the bunch of six replaced at this point. Now make
the three deals and finish. However, you can fool
the wise fellow who knows cards by using the first
version above.
tUtdercover JfU/sterq
D uring the summer I met a bartender who told
me about a triok he had seen years ago and
done by some transient bum who had been in his
place. As he related It to me, the fellow had
taken the house deck and asked for a tray. A
card was selected, replaced and shuffled. The
tray was placed on the floor bottom side up,
the deck dropped upon it from a standing posit-
ion, and upon turlng the tray over the card was
found beneath.
I realized that the working could be very sim-
ple but the bare bones of the effect itself
rather Intrigued me as it had the elements of
effect which stand out In an onlooker's mind.
I played around with it a little and since then
have used it quite a number of times, especially
when someone has taken ne to such a place.
F irst have two cards chosen and returned to
the deck. It is necessary to have one on top
and one on bottom after this and I know that
as usual, each will have his own pet way. For
those who use a pass, have them returned together
and split them. But remember which Is which.
Hold the deck In le-ft hand by the side with the
thumb at face of deck and fingers across top.
Have deck well into thumb and first finger
crotch. Ask for the tray and take It with the
right hand, fingers underneath on ^he upper side
of tray and thumb on upper side w&ieh Is"the
bottom. Step back a little as If looking for a
good spot on the floor and the tray covers the
left hand which turns deck face up and thumb
slides the face card off under fingers on the
underside of tray.
F inding an apparently good spot drop the tray
flat down from a standing ppgition letting
the card go with It. If you just let It go you
hn,ve nothing to worry about. And it is a very
disarming bit of business. Explain at this point
that you use a metal tray because it will work
only on metal and not on a wooden floor or sur-
face. Ask the person whose card is still on
top of deck to name it. Drop the deck onto the
tray and the named card flips face up. This ia
merely the ape old trick of sliding the top
card sidewise about half an inch to flip it
over in the drop. Many know it but it is a build
up to the finish. Pick up the cards and ask the
name of the second card. Drop them again but
this time nothing happens. Try the second time
and then hand deck to spectator and ask him to
take out his card. He can't find it and as a
climax you have him lift up the tray and his
card is looking right at him.
B y this time no one even remembers you put
the tray down and I've had them swear .they
put it d.own themselves. And the wise ones who
know the air current flip over are given some-
thing to worry about when the finish comes.
Johacco 14iacfic
lose up performers will be delighted with this
C number, and it can be shown before quite a
goodly sized audience too. In effect the perfor-
mer shows both hands empty and the left formed
into a fist. Prom a bag of popular tobacco a
quantity is poured into the fist and when the hand
is opened the tobacco has vanished. Reaching into
space with his right hand, the performer makes a
catching motion and proceeds to pour tobacco from
it into the left hand from where it may be re-
turned to the bag and all examined if thought ne-
cessary.
LTD
7 Y ou will need a thumb-tip, a bag of Bull Dur-
This illustrates how both gimmicks appear when in
the bag and in nested order. Top right is the bot-
tom of bag cut out in circular form, leaving open-
ing for the nested tube gimmick. Bottom right is
the gimmick tube which fits into the bag after the
tobacco has been taken out. Then the bag is filled.
T lie principle upon which the effect is worked
,was admittedly suggested by DeMuth's "Saltrix",
but the application, insofar as known, is orig-
I inal. The entire principle would be the same, but
Page 84
as will be readily understood, the "Saltrix" can-
not be called an item of innocence. Taking a salt
shaker from the pocket for a trick is not an inno-
cent procedure and far from appearing impromptu.
It is natural for tobacco being on one's person
and is most natural in thia respect. The gimmic
is a flesh colored tube of a size that the middle
finger can be inserted slightly at the open end.
This fake fits snugly in another tube which has
been set in a bag of popular tobacco, after, of
course, the bag has been treated by cutting a hole
in it at the bottom.
O pen a bag of 'Bull Durham' or 'Duke's Mixture'
and dump the tobacco out. Cut a circular hole
in the center of the bag's bottom. Now insert"the
gimmick tube into the bag and then repack the bag
with tobacco. The finger tube is closed at one
end the same as the gimmick tube and is handled
in the same manner as an oversized finger tip. In
your coat pocket have a duplicate bag with a bit
of tobacco gone. Start by bringing out the fake
bag and show the left hand empty. The right hand
then passes bag to the left while it, in turn, is
shown empty. Taking the bag back with right hand,
the tube is left In left fist and the right pro-
ceeds to pour the tobacco into fist and into the
tube. The right hand now drops bag into pocket
and with a gesture of poking into fist the few
flakes that are on top of the left fist, the
right middle finger steals the tube In the usual
and well known move. The hands are now held high
and far apart. The left is first shown empty and
in the meantime the tube has been pulled off the
finger and Into the closed right fist for the sub-
sequent dumping of the tobacco back onto the left
hand. The right hand drops to pocket and bringing
out the unprepared bag, lets the left dump tobacco
into it and the bag may be laid on table in case
anyone thinks of looking at it.
B ag tobacco is the ideal type for this effect
because it is flakey and if not packed down too
tightly into the tube will flow freely at the
finish of the trick.
Classical ClctareXZe
Cuermt
C igarette tricks are always popular
following effect on those who know
cig vanish via the thumb-tip is quite
and the
the old
mystify-
ing. It is an excellent close up item and it
has everything in magical elements.
ham tobacco, a booklet of cigarette papers
and one ordinary cigarette. That's all. The
thumb tip is tucked slightly behind your hanky
which is in the same pocket. The regular cigar-
ette is placed into the lower right side veat
pocket protruding a little so that it may be
easily secured at the opportune moment by thumb
palming it. if you wish you may place it into
any of the standard type of cigarette holders
and pin to the position given.
R eaching into right coat pocket take out the
tobacco and paper. Hand to a nearby spectator
to open and also have one paper ready for you.
In the meantime you reach into breast pocket of
coat and take out the hanky including the thumb
tip fixed to its proper place, on the thumb. NOT/
state that you would prefer using some one elses
hanky instead, so borrow one, allowlnr spectator
to keep yours as security. "Vith ripht hand hold
the borrowed hank at the center of one side and
with left hand pretend to hunt for a match in
your lower right vest pocket and at same time
secure the real cigarette by thumb palming. As
if not finding a match bring out hand, drop the
hank over left hand and with ripht reach into
left vest pocket still searching. These moves
must be timed but are perfectly natural. Not
finding a match borrow one from another spectator
and have him poke a pocket into the left fist
with this match.
A s if the hole were not large enough, use your
finger and then thumb to make it larger. The
thumb tip, of course, is left in the pocket and
underneath the hank, the left fingers are now
holding the cigarette. The match is taken from
spectator and placed in your right coat pocket.
Take the opened tobacco bag and pour some into
the pocket. Put the single cigarette paper in next
and tuck it well into the tip, making the usual
getaway on the right thumb. With hand obviously
empty reach into right coat pocket and take out
match leaving tip behind. Now state that you will
cause the tobacco and paper to penetrate the hank
and appear in your closed fist. The hank is next
drawn off and shaken out to show the tobacco and
paper gone. Upon opening the hand, it is a surprise
to find a perfect cigarette. With the match you
light the cigarette and take your bow. From this
point the Individual performer may go on with any
routine or effect using a lighted cigarette.
p ZTom Card
and Balloon
V ersions of a chosen card in an inflated balloon
are many, but invariably by mechanical methods.
The following was designed as an emergency method
and its simplicity will be appreciated by all
Club performers.
E ffect: The performer exhibits four colored
balloons on a small tray. A spectator who will
act as an assistant is requested to select one of
these after which It is inflated by blowing air
into it. A tape ribbon is tied securely around
the neck to keep it so. Another spectator selects
a card, a corner is torn from it for the spectat-
or to hold, and the remainder of the card vanished.
The balloon is bursted and the selected card found
inside. The corner beint held by the spectator
fits.
peration: You will need an ordinary deck of
O cards with one duplicate. Pour colored OPAQUE
balloons, a straight pin or two, a piece of tape
ribbon and a little tray complete the necessaries.
Tear a corner from one of your duplicate cards
and place it in your pocket where it can be easily
reached during the course of the effect. This
card, minus the corner, is rolled and inserted
throu J^he neck of the balloon, after which it is
straightened out Inside. The other three balloons
are unprepared. Put the balloons in a line across
tray so that the balloon containing the card is
second from your left while holding tray in front.
Place the tray on a nearby chair or table.
P resentation: Force the balloon containing the
card with this subtle method. State that you
have four toy balloons and that one will be sel-
ected for the experiment. Ask spectator for a
number from one to four. (Don't say "between one
an four) They will generally say 'two' or 'three'
regardless, and it sounds more logical. Let us
assume they have chosen 'three'. Step to table,
pick up tray, walk to spectator and have him count
to the third one in the usual fashion from left
to right. If they say 'two' it is there also be-
cause it's all in the way you pick up the tray.
It is pick up AFTER the number is given and can
therefore be picked up either by front or back to
bring the right balloon in the right position.
The chosen balloon is blown up by performer and
tied by the spectator. He holds the end of the
ribbon with the balloon dangling for all to see.
Y ou now force the duplicate card from pack.
Drop pack In pocket and secure the corner
there. Taiie card, tear off the corner, and drop
your corner into his hand. Folc. the card over and
over (incidentally folding up the genuine corner
with it) and vanish it. A nice way is with a cig-
arette vanisher after rolling the card the long
way, or one may use a double handkerchief. Pull
the pin from your lapel and explode the balloon.
The card is there, minus its corner, and the cor-
ner held by the spectator fits. Throw the three
remaining balloons into the audience.
Itinerant Dollar
Jacob Steiscd
O ne of the cleverest ideas which has come my way
in a long while is this idea by Mr. S'teiss>3.
I can record the subtlety which makes many varia-
tions possible and also suggest a possible presen-
tation, lifter that I leave it to the individual
performer to take it apart and work out a routine
to suit his needs and fancy.
I n short, a dollar bill, the number of which has
been recorded by a spectator himself, travels
into a cigarette and from there to a lemon. From
this spot it may find its way to a sealed box or
envelope, or even another kind of fruit.
in many books has been the principle
Jof changing the last figure on a bill to match
the number of another, both bills being the same
otherwise because they were secured in new form
and with numbers consecutive. Mr. Steisal makes
possible with his idea as many as ten duplicate
bills through the simple process of erasing the
last figure of each with a common ink eraserl!1
J?iius it can easily be seen how apparently the same
bill may be found in different places and checked
each time. It Is merely a case of loading the var-
ious spots and either handing out or planting the
bill to be used.
W ithout a great deal of thought on it because
of too much travelling of late, I can suggest
trying to borrow a bill with the naive statement
that you want to try a feat of bill burning you
have lately learned. It is good for a laugh and
after the short stall for looking around say that
evidently tiie audience would rather have you use
your own. I'a.ce out four or five bills and hand one
to a spectator to write dov/n the number and also
initial it. Before taking it back, pick up a
pack of cigarettes, one of which has*been faked
with a duplicate bill and resettled. Open, or allow
soneone to break the seal, and remove cigarette.
Ho_d it while someone initials the tobacco end
and place in mouth. How take bill back and use the
slit"envelope into which it is placed. The bill
goes to left trouser pocket as you take out the
match and light cigarette and then envelope. Pin-
ally the cigarette is checked for mark, broken
open and the bill handed WAN \lhO LARKED CIGARETTE
to call off the number and the first person says
it is correct. At this point picK up a tray of
three lemons, one of which has another duplicate
inside. Have another spectator take any two of
the lemons and if he leaves the right one behind
tell him to keep them as souvenirs and to hold
the tray with other lemon on it. If he takes the
right lemon among the two tell him to hand you
one and if he hands you the right one toss it to
someone to hold high in the air. If he keeps the
right one, let him hold it high.
isappear the bill again to suit yourself but
D in a different manner. I suggest an ordinary
cigarette pull as being very clean at this point..
Now take the lemon, cut it open and find the bill.
THE MAN WHO HELD THE LELON CALLS THE NUMBER AND
AGAIN THE FIRST liAN CHECKS IT AS CORRECT. The
last effect is very, very variable. It can be
found this time in a bill tube which was in left
trouser pocket and into which you put the initialed
bill at the very start. It can be pushed into the
end of one of the fountain pen gimmicks and then
found in an egg which is freely selected from
several. It may also be found in your banded
wallet a la card into pocketbook. If you use the
egg finish, the fact that the bill was wet from
the lemon is covered. If you use the tube or
pocketbook, always wrap the bill on the second
vanish with a square of oiled paper and remark
that it aids in the disappearance. You'll be sur-
prised how effective it is to see a bill wrapped
in such a way and vanish, only to find it in the
same condition. People appreciate the fact that
you have done this to keep it dry and the point
aids in keeping them from the thought you had a-
nother bill.
R egardless of the finish, let the original spec-
tator who marked the number down and initialed
the bill hold the egg, tube or wallet. Then take
the bill from the man who held the lemon and make
it disappear for the last time. Then remove it
from the egg with the fountain pen, or let the
spectator himself take it from wallet or tube af-
ter coming up to stand before the crowd. Then have
him check the number and verify his original ini-
tials. This is the grand point for the finish.
I have written this just as I have been thinking
about it, so please excuse the general way in
which I have covered it. I think the principle
behind it very clever and practical, and I also
know that each person will have his way of doing
it. The effect can be made into quite a feature
club or parlor effect and I know of several per-
formers who will delight in making use of it as
soon as possible. I hope you do too.
33- Card
Dudley 14/alsh,
E ffect: The performer borrows any deck and pro-
ceeds to deal four piles of eight cards each.
The onlooker selects any one of these piles, and
picing it up, the performer has him think of a
card when they are fanned face outward.. The four
Pa-e
piles are grouped together and again dealt into
four piles. Panning each pile for the spectator
to glance at, the performer asks him to state
v/hen he sees his thought of card. The others are
discarded and this pile dealt into two rows of
four cards, one under the other, and with all of
the cards face down. The spectator indicates a
row, then two cards in that row, and finally one
card. He names his card thought of, turns the one
left on the table, and it proves to be the one!
peration; This effect practically works itself
O with the exception of a simple bit of infor-
mation which the performer gains at the outset.
Follow the above primary maneuvre in the effect.
Have one of the four piles selected. Pick it up
and fan four of the cards face down in left hand
and four in the right. Now ask the spectator to
think of just one card that he sees. Lift the
two fans together, hold them for a second and low-
er them again. You won't miss once in a hundred
times of knowing in which of the fans the card
has been noted. When you drop the fans, put the
one in which the noted card lies under the other.
Reassemble the piles, putting one on top of the
one in hand and drop this packet on top of both
remaining piles. This routine is always followed.
The cards may now be false shuffled and cut pro-
vided the order is not changed. Deal a row of
four cards face down, on top of these another
row and so on until the 32 cards are again in
four piles of eight cards each. Pick up each of
the piles and fan towards the spectator. When he
sees his card he says so whereupon the other three
piles are discarded. Now deal this pile of eight
into two rows of four each from left to right
and face down, one rov; under the other. The sel-
ected card will always be in the lower left cor-
ner. Have spectator indicate a rov/, then two cards
in that row, and finally one of the two left. In
each case, the well known dodge of either leaving
or discarding the row or cards selected is resort-
ed to and the last card left on table is the one
which turns out to be the spectator's thought of
card. This effect, smartly worked, is clean cut
and although it may not sound so great in print,
a trial will convince the performer as £o its val-
ue as an impromptu table trick.
Psychic fchows
Robert Pcwrish
A lthough there isn't much originality in this
effect, it is one I have been using quite con-
stantly and with which I have had much success.
To the audience you have performed quite a miracle
in psychic tests. Your assistant or medium goes
out of the room and the performer then spreads a
deck of cards face down on the table, A spectator
is asked to step forward and take three cards in
a bu^ch from the pack. He is then to give two of
the cards to different people in the gathering and
keep the other for himself. All of these people
stay in their places and conceal their cards from
sight.
R eturning, the medium asks if the person hold-
ing the Bpade will please stand. He or she then
successfully names the card. This maneuvre is re-
peated with the second card. However, the third
time there is a little difficulty. She cannot get
the card but has a vision of a dark haired, middle-
age man in a grey suit. Will he stand? Taking
hold of his hand she then names the card. This
bit brings the effect to a nice climax.
a uite easily worked is this routine because it
needs only a stacked deck, ,n.fker the three cards
in a bunch are withdrawn from the decK, and v/hile
spectator is giving two of them to others, the
performer picks up the deck, cutting it at the
point where the cards were removed and leaving it
face up on table, i'hus the medium, upon return,
can glance at the face card and instantly know,
because of the system, the three cards removed.
Naming the suit of the first card (all three will
be different) this person stands and has his card
named. The same thing happens with the second.
Each time the performer steps up to the person,
takes their card from them and shows it around. On,
the second card, however, he takes it and showing
it around as before just happens (?) to stand in
front of (or behind) the person holding the last
card. Thus the medium knows whom to describe in
bringing the feat to its cute climax.
Tftottet/ In the Pocket
Jack Yosburyk
E ffects which are impromptu are always popular,
especially when they a little out of the ord-
inary and very clean from the start to the finish.
While not startling, this coin routine is simple
of execution and appears like real magic.
B orrow a quarter but have the spectator note
the date before giving it to you. It is openly
folded in the cloth of your right trouser leg
above the knee, and after the donor has felt it
there, the fold is dropped and the coin has van-
ished whereupon it is produced from the trouser
pocket. Once more it is done, and after being
felt vanishes with your hands obviously empty.
This time the spectator himself reaches into your
pocket and takes out the coin which is checked em
his ov/n.
V anishing moves for coins are rarely original
these days, but the routining of this effect
is what makes it a clever addition to impromptu
repetoires. It is only necessary to have a quarter
in the right trouser pocket before starting. Bor-
row a quarter and have the date noted. Lay it on
the trouser leg just over the quarter in pocket
and draw up a fold over it. If you will try this
you will find that the right thumb can be under
this coin (both thumbs are inside fold and fin-
gers are outside) and as the fingers of both
hands press this fold up over coin the right
thumb can draw the coin to the right into right
fingers while their tips hold the edge of the
fold in place. The spectator is asked to feel
the coin, but really foels the coin in trouser
pocket. The fold is allowed to drop and the coin
has disappeared, the right hand going directly
to pocket where it leaves the coin in hand and
brings out the one which has been there. Immed-
iately upon the producing of this coin, you say
that you will try again. Start the make the same
fold but accidently (?) drop the quarter. Pick it
up with the right hand, but at this point it so
happens that your right foot is close and in the
picking up motion the coin is dropped into the
right trouser cuff. The hand comes up as if hold-
ing the coin and the left fingers make the fold
as before, while you ask the spectator to feel
the coin again. He does, and once more feels the
quarter in the pocket. This time, when the vanish
is made apparent, the hands are seen absolutely
empty, and when the spectator reaches into your
packet he finds his own quarter!
Page 87
Slate
Jecut
ean Fugard has a clever and subtle method of
J handling a flap in this effect and I know it
will find favor with not a few club and close-up
workers. All in all, the general effect has not
been changed much inasfar as a message or name or
something appears on the slate, kr. Hugard's
subtlety consists of making the conditions appear
more strict by the application of a piece of news-
paper cut to slate surface size. After showing
the slates as usual and rubbing off the sides if
deemed necessary, a piece of newsprint is stuck
to one side of one slate by its corners with bits
of wax.
U nbeknownst to the audience there is ,a duplicate
piece of newspaper stuck to the slate itself
and covered with the usual flap. Under the paper
stuck to the slate proper is the message or rev-
elation. The paper the audience first sees is
dutifully stuck to the flap and the two slates
placed together. Mr. Kugard gave me no definite
excuse for the paper but I suggest that patter be
formed regarding absolute darkness being necessary
and because failure has resulted at times when
slate frames were not exactly true and even, the
paper v/ill circumvent that.
C oncluding this bit of patter, the performer
opens them again and has a spectator (who is
later to open the slates) initial the paper with
a crayon. Of course, he initials the real piece,
the flap having been dropped to the other slate.
Back together, the slates are held by him until
it is time for the climax. The performer opens
them, and discards the slate bearing the flap.
The spectator identifies his markings and he hia-
3elf removes the paper and finds the message. This
leaves the slate and paper in the audience, and
the evidence of trickery has been done away with.
Wore Htifher Mcujic
a uite a few nice letters were received after I
printed the instructions for the stamp on the
ceiling effect in The Jinx for October (No. 13).
I've never seen the following idea in print and
it was first explained to me by John Northern
Hilliard in the fall of 1933. It takes quite a
bit of practice to get onto the knack of it, but
once mastered and when you have confidence, it
will cause great comment wherever you do it. The
effect consists merely of burning a common match
from end to end and then tossing it to the ceil-
ing where the burned match sticks and actually
hangs by its head.
D oing it quite a few hundred times in the past
two years I've found that it will work with
common kitchen matches, paper matches or safety
matches equally as well. However, the ceiling
best suited for it is the kalsomined type. The
first part is to burn the match entirely to a
piece of charcoal. Light the match with the right
hand and hold it with head up for a few seconds
to thoroughly burn the head out, and then, as the
flame travels down the match towards fingers, wet
your left thumb and forefinger and very lightly
apply to the head of match to cool it. Thus you
can then hold at this head end while the other
end of match burns out. There must be a good a-
mount of moisture applied to the head but not
enough to crush it. How lay it on the right fin-
gers parallel with, fingers and v/ith head nearly
to the end of fingers. Judge your distance to
the ceiling and with an easy but long sweep let
the match fly up. Let your hand stop when about
pointed to the corner of the room or where the
wall meets ceiling. The slightly heavier weight of
the match head serves to take this end upward
and you'll find yourself looking at a burned
match hanging downward by its head.
J ust keep trying it until you get the hang of
it. It is what I had to do but the effect has
been worth it many times over. I can't add to the
above instructions in any way except to say it
will take a little patience and experimenting.
You'll be crazy about it though when you do it.
~7/ie tfltra Slate
Dr. Jacob Dalu
G ood methods for the appearance of spirit (?)
writing on slates are many, and there seems
to be no end to ideas. The method explained here
was shown me by one of the cleverest of amateur
magic fiends and it has supplanted my present al-
most impromptu method.
I n his hands the psychic has four pieces of sil-
icate of the flap type. With a handkerchief or
dry cloth he casually wipes the upper surface of
the top piece, turns it over, cleans the under
side r.nd puts the cleaned slate on table. This
is done with all four pieces of silicate in the
most open and easy manner and then all four are
spread in a row. The spectator is asked to indi-
cate any two of them, and two are laid aside. Two
are picked up, put together and the spectator may
hold. Upon sliding them apart, nothing is found.
A few moments later they are separated but still
nothing is found. Finally, on the third attempt,
a real chalk message completely covering the en-
tire side of one is found and all four pieces may
toe left with the sitters.
E xactly one simple move makes this whole thing
possible as well as perfect. When the four
pieces are being held in the left hand, the mess-
age Is on the upper side of the third slate from
top. Dr. Daley uses pieces of silicate 5 x 7 In-
ches as the most practical size. The left little
finger holds a break between the third and bot-
tom piece at the start. The top piece is cleaned
and then turned over with the right finger and
thumb at the lower rifdrt corner (inner). When
this side has been cleaned it is slid off and
dropped on the table. The top surface of the
next slate is now wiped off and the same man-
euvre Is made but this time two pieces are turned
together as onel In short, you merely make a two
card turnover with silicate flaps 1 The newly
presented surface is cleaned and the piece slid
off to table. Therefore the underside of this
second piece carries the message and the remaining
two pieces are cleaned in the same manner as the
others.
O n the table are four pieces in a row, and in
the moat open manner all have been cleaned on
each side. The spectator indicates any two. No
matter which ones he talces, he must or must not
Pa-e 88
include the message slate and the performer either
keeps the two indicated or lays them aside and
proceeds to use the remaining pieces. The message
slate is dropped on top of the other and the two
held. To look at them the first time, the top one
la slid off with right hand but nothing has been
written on the upper side of lower slate, and
the piece slid off is put back on the bottom. A-
gain they are held (message is on bottom of lower
slate) and this time the top piece is opened out
like a book but still nothing has appeared. This
top piece again Is put "underneath the other and
In handing them to spectator the two are turned
over. This time when slid apart, the message looks
directly up at them. Once used, I think this me-
thod will be found highly effective and practical.
I certainly like it and have found it to be one
of the cleanest methods of which I know.
Automatic Seconds
Hawf J.
T here has long been a need for a simple and de-
ceptive way of dealing seconds. This method
was devised to fill that need. Take a sharp ra-
zor blade and slit along the long edge of the
closed end of your card case at the opposite
side to the flap. Make the slit exactly along the
crease of the cardboard and it will not be notice-
able. Sometimes the whole end of the case will
open out when you do this. When this happens, a
couple of daubs of glue on the side tabs will rem-
edy the trouble. How, if the cards are put in the
case with their faces towards the flap, the thumb
can shove the top card back through the slit un-
til its outer edge is hidden by the case.
I n presenting a trick with the prepared case, a
card is chosen, replaced and shuffled to the
top. The performer explains that he will put the
cards in their case to prevent any possibility of
manipulation. He does so, secretly shoving the
top card through the slit as just described. The
left hand grips the case from above, fingers at
the left side and thumb at the right, with the
hand far enough back to conceal the projecting
card. The little finger rests on the end of the
card, ready to shove it back into the case.
A spectator is asked to name a number. The thumb
of the right hand pulls off cards from the top
of the pack until one less than the number named
has been reached. This is easily done by gripping
the cards through the cutaway circle at the end
of the case. As the right hand cornea up for the
next card, the left little finger shoves the cho-
sen card In flush with the end of the case, and
the right hand pulls it out and shows it to the
audience.
T wo or more cards may be controlled in this way
as easily as one. Simply shove a small bunch
of cards through the slit instead of but one! It
does not matter if more than the correct number
are shoved through. When you have produced the
first card, throw it out face down and ask the
selector to pick it up and identify. While he is
doing so, turn the case over so that the cards
lie against the side on which the slit is, and
with the first finger of the left hand push the
top card - or cards - back through the slit; then
continue as above. As a variation, cards may be
spelled out letter by letter, iising their own
names or the names of the selectors.

Did He know? "
hree men apply for a vacant post. The prospec-
T tive employer liking each applicant equally
well, proposes a test.
The light will be extinguished and the employer
will mark a cross in chalk on the forehead of each
man. He has chalk of two colors, blue and white,
and the cross may be either one of the two.
The light will then be turned up and any man who
can see one or more blue crosses is to stand up.
THEY: ALL STAND UP.
The employer then asks if any man can state the
color of the cross on his own forehead. After an
interval one man states that the cross on his head
is blue.
HOW' DID HE KNOW?
T he fact that all the men stood up shows that
there must have been either two or three blue
crosses. (If there had been only one blue cross,
the man bearing it would not have been able to see
a blue cross and therefore would not have stood up.
If any of the three men could have seen a white
cross he would AT ONCE know that the other two
must be blue, because there must be at least two
blue crosses for all the men to have stood up.
The fact that there is an interval before anybody
speaks shows that nobody has seen a white cross.
Therefore the man knows that the cross on his own
forehead must be blue.
(Editor's note: The moral of this brain teaser is-
read 'Annemann's Complete One Man Mental and Psychic
Routine1 and have a convex mirror reflector.)
Jest
£ddie Clever
n the book "Sh-h-h—i It's a Secret" by Anne-
I mann is an effect where the spectator takes
ten chances to find the performer's card and fails,
whereupon the performer takes one chance to find
the spectator's card and succeeds. The method as
explained used an impression device, but this im-
provement in procedure for gaining the informat-
ion simplifies it and may make it more desirable
an effect for many. The subject is asked to think
of any card in the deck and write it on a slip
of paper which the performer hands him. This is
folded and dropped into a glass or placed in full
view. The performer now writes something on a
piece of paper which is placed elsewhere. The
deck is spread face up on a table and the spec-
tator given ten chances to pick out the perfor-
mer's card. He fails. The performer now sp^sads
the cards faces down, picks one card, has tile spec-
tator name his thought of card, and it is right.
U sed are three pieces of paper, a deck of cards,
and the simple finger switch of papers which
is too well known to need much discussion. The
performer has them in his left trouser pocket to
start. One is folded and the other two open. The
Page 89
two opened pieces are removed and placed on the
table. One is handed spectator for the writing of
hia card after which he folds it. lieanwhile, the
performer has secured the dummy in left hand from
pocket and taking the folded slip from spectator
switches and drops the dummy in the glass or in
view. Immediately picking up the remaining open
slip from table, the performer writes his own
card's name down, folds, switches for the spec-
tator's slip and drops this in view, retaining
the slip upon which lie has just written. And the
card whose name performer writes is on top or
at baek of deck (and may be any card)•
preading the cards from left to right faces
S up, the performer does so that the last card
or two remain hidden at the end. At this time the
spectator's slip is a dummy, the performer's slip
belongs to the spectator, ana fingerpalmed in his
left hand the performer has his own slip. The
spectator now indicates face up cards, one at a
time, and the performer says 'No' after each un-
til ten have been selected. Scooping up the deck
the performer hands it to spectator. Picking up
his paper (apparently, but actually the spectat-
or's) the performer opens it and calls off the
name of his own card, and reads the name of the
spectator's card
belongs to the spectator, and fingerpalmed in his
left hand the performer has his own slip. The
spectator now indicates face up cards, one at a
time, and the performer says 'no' after eaoh un-
til ten have been selected. Picking up his paper
(apparently, but actually the spectator's) tiie
performer opens it and calls off the name of his
own card, and reads the name of spectator's card
at the same time. He refolds the paper, switches,
and tosses his own paper to the audience to ver-
ify, retaining the spectator's slip just read.
Scooping up the deck, the performer hands it to
the spectator to verify the presence of the card
in deck. However, knowing the spectator's card
at this point, the performer scoops up the deck
in bunches which enables him to leave the spec-
tator's card on top and which action transfers
the performer's card to centeri The performer now
spreads the deck face down, and picks up one card
which he places face down on spectator's out-
stretched hand. Picking up the spectator's slip
(really the dummy) the performer switches and
opens the actual slip which he reads and hands
still open to the audience. The spectator turns
his card on hand over and it is the same!
O n paper this routine may sound a bit compli-
cated but it isn't. Prom the audience view-
point the action is direct and nothing is done
of an untoward nature. The theme is interesting
and different from the usual card problem. And
when the spectator is picking out cards in an
effort to find the one thought of by performer
the interest holds. It is all presented as an
example of how difficult it is really to find a
chosen card, and when a person can't pick it
with ten chances and a face up deck while the
performer does it with one chance and the cards
face down, the point should be proven!
The Jinx is published monthly for
magicians by Theo Annemann, Waverly
New York, U.S.A.
By the copy, 25 cents. By subscrip-
tion, fl for 5 issues postpaid. The
Jinx Extra is a semi-annual at §1
per copy. No subscriptions.
Order through any magical depot or
direct from the publisher above.
O f all the classics of magic, the 'flying ring1 effect is one of the pret-
tiest, in this masterful method however, NO PULL OR BODY ATTACHMENT IS
USED. The effect is just the same as with the original version wherein a
borrowed ring passes from one hand to the other while they are enclosed with
handkerchiefs, which also may be borrowed. Follow the instructions as given
here and you'll have one of the nicest program effects you ever have used.

D uplicate a wedding ring in the five and ten cent store. Good imitations
are to be had there and with this in your right vest pocket, two men's
handkerchiefs and two rubber bands complete the preparation. Place the two
handkerchiefs on the table hanging over the edge and with the two ends on
table close together. Get the ring on your first finger and keep this finger
folded into palm. Go into the audience and ask for the loan of a wedding
ring. Have the owner slip this ring on second finger of your right hand. Go
back to the front, picking up a gentleman on your way to accompany you and
help. He is to be quite a distance from owner of the ring. As you go to the
front, bend in second finger and extend the first.

T he assistant removes the ring from the first finger, it being natural,
and he never suspects the use of another finger. As repeated performances
prove, neither does the owner. Stand with your right side to audience as you
have ring taken. Tell him to hold ring tightly in his fist. Walk back to the
table and pick up one of the handkerchiefs with right hand. AS YOU DO SO,
PUSH THE BORROWED RING UNDER THE TIP OP THE OTHER HANDKERCHIEF! This is done
in an instant and is NEVER DETECTED! Hand handkerchief picked up to spectat-
or with a rubber band. He lays ring in your hand (duplicate). Then tell him
to cover your hand with the hank. As he does you hold your arm up and the
ring drops down your coat sleeve! He puts the band around your wrist to hold
the handkerchief. As he does this, pull up your right sleeve which prevents
the ring from dropping out should you forget and lower arm. Let the audience
get a casual look at your left hand which is empty.

G o over and pick up the other handkerchief with left hand, grasping the
ring under tip as you do so. Have spectator taice this handkerchief and
you close your left hand into a fist. This hand is covered also and banded.
Hold the hands far apart and command the ring to travel. Remember that up to
now no one knows what is going to happen. They have no reason to suspect a
thing being wrong with the left hand as the misdirection is quite perfect.
Have the assistant remove the handkerchief from right hand. The ring is now
gone! Thank him and dismiss him. Now walk directly to the person who loaned
the ring, keeping the left hand high in the air. This person removes the
band and handkerchief and finds their own ring!

Y ou will find this perfectly practical in working. In the pull method on-
ly one ring is used but the effect IS NOT any better. The pull method is
not easy to set, it sometimes is noisy, and there is always the possibility
of losing half of one's shirt during the journey of the ring. Don't manipu-
late the hands during the effect. Don't call attention by 'flashy' moves
that the hands are empty. They should be I The audience will never have any
reason to suspect otherwise. Just give it plenty of practice to make the
routine smooth. You'll wind up with an effect you will be proud to perform.

Page 90