into*

DECEMBER 1936
MAGIC — Age cannot wither her, nor custom atale Her infinite variety. Shakespeare.

O nce in a while a really good effect pops up

and is found to be different in its psycholog-
ical appearance to an audience. There isn't any
As I myself have been doing it, a one kind
deck has been used for cleanness. Some may think
this a funny idea of 'cleanness' but I mean from
definite part of this that is new or original the audience standpoint. The minute you start
except for the dress. Dr. Jacob Daley first told messing around, spectators get lost in follow-
me of the general effect using playing cards ing you, and no matter what you have to do, the
for both spectators used. Al Baker then came presentation, as far as they are concerned, MUST
along with the idea of illustrating to one per- be direct and open.
son how the slip should be torn for burning,
and getting information in this ingeniously Have the deck at hand or in your pocket with
ordinary way. Finally, after using the stunt the usual different card at the bottom. Have a
for a dozen or more times as an impromptu item, few pieces of opaque white paper about two by
I varied it by combining three inches in size. A
with a picture and began couple pencils, a nearby
using a slate for the de- ashtray, matches, slate,
nourment. This developed and a piece of chalk in
the problem into one that your left coat pocket com-
can be presented in front pletes the set up.
Of goodly sized audiences
and gatherings. Have the spectators on
each side of you with about
In effect,the perform- three yards between. Take
er asks that two spectat- out the deck and overhand
ors come forward to be on shuffle it, the fingers
each side of himself. The of the hand holding the
performer shows a pack of deck retaining the bottom
cards, and the first per- odd card in place. Explain
son is asked to take them to the first that you want
himself, merely cut some- him to look at a card by
where and remember it for chance while he has the
a moment. The second per- deck in his possession. He
son is asked to think for is to hold it in his left
a minute, and decide upon hand, and with right mere-
any simple picture or di- ly cut off a bunch of any
agram he may like. Both amount, look at the card
are given slips on which thus cut, and replace those
they jot down the mental removed. As you say this,
ideas. Close at hand is an ash tray. The slips illustrate by cutting off a bunch and looking
are torn and burned while the performer picks at the face card, but don't let it be seen. Now
up a slate. Standing between the two people, deliberately put the deck on his left hand and
bit a little to the rear, he mark3 upon it. The step back. The moment he replaces the cut, step
first person now names his card, and the second up and take the deck, A S you take the deck from
person shows his thought of picture-. The slate him, turn and ask the second person to think of
is turned, and upon it the performer HAS DUPLI- a geometrical design or any simple picture that
CATED THE PICTURE OR DISGftiid, AND IN THE CENTER he likes, and which means something to him. Do
OF THE SKETCH HAS WRITTEN THE NAME OP THE CARD. not hesitate or stall between taking the deck
Therefore this Biases a telepathic effect suit- and giving these instructions. The card select-
able for those who wish to do a bit of thought ion has been so direct that no one gives it a
reading in the middle, or as an interlude, of thought, especially with the immediate mention
their regular program of mysteries. of the picture and because it i3 a bizarre idea
in comparison to a card.
There are certain variations than can be used
by those who adopt this trick, but as it stands As the spectator says he has a picture in
now, it has a double climax at once which does mind, drop deck in left coat pocket, at the same
away with the usual reading or revealing of the time taking two papers from the right or vest
thoughts one at a time as has been customary. (turn to page 167)
Page 165

L et's start off with a not so bad idea for
figure magi, and o'hich was forwarded "by
William Rueskamp. You have 1000 one dollar
bills. Put in ten bags so that no /natter how
much is asked for, from $1 to one thousand,
it can be handed over immediately without open-
ing any bag. kost people say it can't be done.
Put one dollar in the first bag, then 2, 4, 8,
16, 32, 64, 128, 256. The nine bags filled to-
tal 511. Subtract this from one thousand and
you have 489 in the tenth bag. How any amount
can be passed out without opening a bag. A
figure wizard could work this up by calling
the proper bags as the audience names the a-
mouiit That brings to mind a really new
slant on figure magic in the form of a neat
blackboard or publicity trick which Wallace
Lee will have on the market shortly. It"3
called 'Pakerithmetic' and is effective e-
nough to use before club audiences and subtle
enough to upset fast figure men. You actually
seem to add any (and I mean ANY) column of
five figure numbers instantly, and CORRECTLY.
Correction; In Eddie Clever1s effect on page
163 of the last issue, mention was made of the
publication, "Take A Card," and the authors giv-
en as Larsen and Wright. It should have been
IiicLlillen and Brown. Incidentally, Jean Hugard
has written and also told me regarding the
"under the handkerchief cutting'' business as
used in "The Guidance of Fate" (first part)
last month. This principle was originated and
sold privately by him for many years before
being marketed in conjunction with another
effect several years ago. The Meyer effect
made a new use for the principle, and I'm on-
ly too glad to see that Jean gets credit for
the original thought and use of it.
It's a known and recognized fact that the
entertainers along mystical lines who have had
the most success in making money, have stayed
away from association with others in the same
line. Granted that such association can do a
lot in the development of effects, it also
spreads a trick across the country and makes
it passe through being overworked, A certain
fev/, especially among private entertainers,
have sat back, said nothing and done nothing
before other magicians, yet have watched
things closely and developed their own pro-
grams jealously to a point of distinction,
not to mention difference. They've realized
that too many are always ready to find out
what they are doing and then immediately copy,
invariably in a much inferior presentation.
V/hen one reads history and sees how the old
timers guarded their secrets, to the extent
that only through apprenticeship could a per-
son learn magic and start out for himself,
then it becomes easy to see why the magic of
to-day is not looked upon as being mysterious,
but rather as a form of entertainment. That's
why some poor magi are successful as enter-
tainers, while really expert conjurors (who
rely solely on perxect technique rather than
amusing and distinctly different portrayals)
are sitting on their reputations of skill.
Appropriate spot for Hew York magi on their
night out: Presto's Garden, 139 East 45th St.
The new book I mentioned last month has
stirred up some comment and is by Guy Jarrett.
The author, who has done the whole job except
to cut down some trees and make his own paper,
has more actual stage illusions and mechanical
effects to his credit than anyone you can men-
tion. He's been behind the scenes of all big
magic shows during the past thirty years and
his inside stories of the "greats are truly
revealing. As he says himself, "This book is
Page 166
not for reading or distribution in a Y.W.CH..
The title Is merely "Jarrett." There are over
120 pages, 20 of which are sketches and draw-
ings. I hope all buyers will appreciate the
caustic and subtle (not so subtle in spots) >vit
and get as many belly laughs as have I. Any man
who can compose a book as he sets the type, is
worth, at least, serious consideration.
Times have changed: In Stanyon's Magic for
January 1904 he remarks that customers have
been unable to obtain Gasolene for various fire
effects because it possesses no commercial
value! He announces tnat arrangements have been
made to have gasolene specially distilled for
their conveniance. 'j/isdom: The Knight's of
kagic, in New York, have arranged with Jean
Hugard for him to give five lectures on the
theory and practice of magic at their meetings
in the Central Opera House on the second Sunday
of each month. Paul Duke, at the Hotel
Adelphia in Phil—ditto, found himself between
two alert gendarmes late one night and with a
suspicious bulge in his hip pocket. The street
corner frisking revealed an extra large size
pull he had just purchased at Kanter's (free
ad). I recently saw Prince kendes at the
Royal Palms Club in Miami, and he does a strict-
ly Cardini act even to the mannerisms. The
crowd seemed to like him a lot, and I suppose
that counts for much. At any rate, he's working.
Two blocks away Professor Seward stood on
the platform of his two thousand dollar set-up,
beside his eighteen thousand dollar mahogany
inlaid private bus, all located on his own
fourteen thousand dollar Flagler street cor-
ner lot about four miles from his twenty-two
thousand dollar home on Miami Beach, and sold
dollar horoscopes to the Florida crackers who
have listened, to his astronomical advice (and
tireless gifted gab) for many consecutive sea-
sons. Why learn sleight-of-hand? Sleight-of-
tongue pays much better.
In the November Genii is "A Simplified Five
Card Problem." I liked it muchly and use with
five of those very swell Davenport card silks.
The spectator stays behind me for the selection
and mixing of deck. With him still behind, I
take out the correct handkerchief (folded) and
hand it to him to wrap deck in while I concen-
trate (as if I could!) and correctly name the
card. Now I step aside, take deck and remove
handkerchief, remarking that too much concen-
tration always ruins the silk with an impress-
ion, and the moral is, "Don't think too hard."
It's good for a laugh and people don't realize
afterwards they didn't see the silk first.
That 'Hall of Shame' department in the
current Linking Ring is a nice idea, and
was just as nice ten years ago when the title
waa thought of by Kolar. Then, however,
it was to be used against snake-in-the-grasa
advertisers as well as exposers. Kolar gave
it to me, and I well remember the symbolic
drawing that Nelson Hahne made for the col-
umn. I wrote it for two months, but Dr. Wil-
son kayoed it in its entirety because I was
getting too rabid, over his advertisers. I'm
£lad it's being made use of now anyway, but
I'm a little sorry I didn't think before now
to lase it in this sheet.
Galli-Galli is leaving us all for a while,
and taking his chickens with him back across
the sea until the government says he can come
back again and make another robe full of lucre
by his incomparable switching of tens to ones.
Keith Clark has broken down after these
several years and is publishing a treatise of
(continued on next page)
 Jinx Ho.-Page Trickery! S Extra '36 137
"What the H !?" 23 145
I BALLS | The Touch That Tells 23 146
The Reticent Queen 24 151
An Original Ball Dropper 15 75 The Kodern Eye Popper 25 155
Card in the Cases 25 158
Only an Image 26 163
IBOOKSI Here Or There? 26 163
The Jinx Five Foot Shelf of Magic a 32
(v/ith prearranged cards) ........
IERAIM TES"TS] Your Card! 2 7
The Solution of "Something to Work On" 5 19
How Did He Know? Winter Extra '35 89 An Improvement a la Carte 8 30
The Solitaire King 12 59
A Cute and Quick Location 14 69
|CARDS I(impromptu - ordinary cards) A Different Card Spelling 15 75
The Scarny Thought Card 19 107
Synthetic Sympathy 2 7 Another Stop! 19 107
The Lie Detective 5 19 The Card Phenomenon 22 130
The Card That Isn't! 6 23 "We Stand Pat" S Extra '36 136
The "ELM" Card Change 7 26
Lies! Lies! Lies! S Extra '35 39
The Face-Up Face-Down Location S Extra '35 44 I CIGARETTE TRICKS|
A Principle in Disguise Summer Extra '35 45
The Fan Location 11 54 The Henry E. Dixie Cigarette Vanish 10 51
A Trick with the Fan Location 11 55 A Cigarette Rolled By Proxy 11 54
Aces of Eight 13 64 A Visible Cigarette Vanisher 16 78
A Card in Flight 14 66 Tobacco Magic W Extra •35 84
The Acme Thought Card Pass 16 80 The Classical Cigarette W Extra •35 84
The Undercover Mystery W Extra '35 83 Cigarettes in the Dark 17 92
The 32 Card Mystery W Extra '35 86 The Phantom Cigarette 18 98
Automatic Seconds W Extra '35 88
The Spectator's Choice 17 92
The Torn Deck Trick 17 96 [COIN TRICKS].
The Audley Walsh Coincidence 21 122
A Question of Power 22 129 Coins, En Route 14 66
A Paradox of Pairs S Extra '36 134 Money in the Pocket W Extra '35 87
The Ad Lib Spelling S Extra '36 138 Silver or Copper? 20 114
Miraskill 24 147 Here's Your Change 22 130
Climax! 24 152

|FORCING|
(with prepared or duplicate cards)
With One Hand ;; Extra '35 42
Hallucination 1 1 The One of a Bunch Force
The Devil's Four Aces 2 5 The "So Simple" Force
s Extra
Extra
•35 43
•36 135
The Finders 2 6 The Novelty Box Selection
.".Extra '36 138
A Card in Transit 3 10 a
Card Box Sympathy 4 14
The Red and Blue Back Color Change 5 18
The New Nightmare Effect
The Renovated Sphinx Card Trick
Twentieth Century Cards
Surprise!
7 27
9 34
10 50
10 51
IHANDKERCHIEF EFFECTS |.
The Handkerchief That Flew
The Spectral Seamstress
Twenty-First Century Silks
1 Extra •35 46
21 124
25 153
Just the Same Alike S Extra '35 41
It Goes This Way S Extra '35 42
The Ribbon That Hade Good S Extra '35 43
The Migrating Pasteboard S Extra '35 44
A Daffy Discovery S Extra '35 46
The Card Unharmed 11 56
Four Aces on the Stage 12 60
The Puzzling Speller W Extra '35 83
Simplex Torn Card and Balloon W Extra '35 85
The Miracle Speller 18 9a
An Amusing Card Reversal S Extra '36 134
IIMPROVEMENTS AND VARIATIONS] 18 99

1 MAGICIAN'S BUSINESS CARDS \ ,

Jinx Noa. 14 - 15 - 17 - 19 - 22 - S3 - 24.

I MENTAL EFFECTS \ (one man impromptu)

Two Papers and a Spectator 1 3
The Master of the Message 4 13
Cigarette Perception 4 14
One of Those Things 4 15
A Question and the Answer 5 20
Slate Immortality S Extra '35 40
Par-Optic Vision S Extra '35 48
A Card to be Thought About 11 55
A Divination with Matches 11 55
83 A Matter of Policy 9 35
Impromptu Vision W Extra '35 The Flash Ribbon Restoration
A Test of Power W Extra '35 89 9 Extra •35 39
Higher Magic 13 S2
Brrrl (meaning 'very cold1) 16 79
\ MENTAL EFFECTS | (one man-preparation) The Itinerant Dollar W Extra '35 85
More Higher Magic W Extra •35 87
The Mystery of the Blackboard 1 4 A Ring in Transit
The Demon-Yogi-Goblin Book Test 2 8 A Novel Glass Thru Hat
w Extra •35 90
17 95
Dead or Alive? 3 11 Inflation 20 114
The Twentieth Century Newspaper Test 4 16 The Ordinary Changing Tray 20 115
With Sight Unseen 5 18 Keith Clark«a Finale Trick 20 116
Impromptu Frame-Up3 6 22 The Candy King 24 151
Thought Rays 8 31
The Modernized Reading 9 34
Pseudo-P3ychometry 9 36 lKUMBER EFFECTS!.
Horrors! S Extra '35 41
The Impression Moderne S Extra '35 43 The Lucky Number Magic Square 16 79
A New Method of Tabulation S Extra '35 46 The Addition of the Age 19 104
Extra-Sensory Perception 10 52 Governmental Wizardry S Extra '36 136
Cards and a Newspaper 13 63 Calendar Conjuring 23 141
Diabolical Influence 15 76
Again a Prediction 16 78
Version of Al Baker's 3 3illet Trick 19 108
21 1PROGRAMS FOR MAGI|.
Prophecy Plus 122
Triple Coercion 21 123
22 Suggested Program No. 1 -
Numero! 125 "A Club Act of Magic" S Extra '36 133
Dice and a Book S Extra '36 135
'36 Suggested Program No. 2 -
On The Wire S Extra 13? "A Mental Club Act" 23 143
Bert Reese Secrets S Extra '36 140
23 A William Larsen Program 26 164
Dr. Daley's Death Divination 146
A Mental Test Revamped 24 151
Numiamatigic 25 157
25 |PUBLICITY EFFECTS!
The Word on the Page 157
The Guidance of Pate 26 159 A Neat Publicity Stunt 6 20
Two Mindreading Publicity Effects 6 24
Tom Bowyer's Publicity Trick a 31
1MENTAL EFFECTSf (two people) An Original Faked Envelope,
with a Publicity angle. 15 72
A Practical Card Code 26
Telepathy on the Cuff S Extra «35 40
Prom Out of the Air S Extra '35 45 I SLATE MYSTERIES |
The Unknown Subject S Extra '35 47
Thoughts in the Air 14 70 The Super Slates 13 63
The Psychic Knows W Extra «35 86 The 20th Century Slate Test W Extra '35 87
Money Mentalism 21 125 The Ultra Slate Message W Extra '35 88

jMISCELLANEOUS TRICKSj |SPIRIT EFFECTS \

The Supreme East Indian Needle Feat 1 2 Death Flight 18 102
The Bending Swizzle Stick 3 11 Prom Beyond the Grave 20 115
The Astral Shirt 6 23 The Annemann Bell Box S Extra '36 134
The Lemon and the Dollar 7 28
The Astral Shirt Again a 30
Transient Money a 32 THIMBLES!
Finger Exercise! 17 95

|TIPS AND SUGGESTIONS|

Thoughts in General 12 58
An Original Tie for Loads 13 62
Thoughts in General 18 101
Think It Over (A Series) 20 111
Think It Over 21 119
Think It Over 24 149
Think It Over 26 162
 (continued from last page)
cigarette magic that looks lirce the last word.
With 300 pages and over 300 actual photographs
of himself in action, he's covered a field
that has neeaed real practical covering. His
dope on talking with tongued cigarettes alone
is a valuable "bit of knowledge. That idea
of Howard Albright's is a practical thing. I
mean his Safety System for filing secrets, mag-
azines, ideas, and general magicata. It's a nice
cabinet and too many magi need something to
keep their loose papers and manuscripts in a
businesslike arrangement. ./hat well-known
recently played a private job, was requested to
do the card and cigarette, fixed it up hastily
in the you-know-what,and then when oresenting
it forgot what card tie had put in the cigarette?
— That sketch of me in Max Holden's new book
of magi programs flatters the condition I was in
at the time the original photo was taken. If I
remember correctly I was far from being full
cheeked - what with all the meals I was missing
at that time The California air ana life
must be all to the merry, judging by the cur-
rent appearance of Bessie Houdini. She's look-
ing much better than she did when I saw her last
three years ago. Also had the pleasure of meet-
ing Dr. Edward Saint, that new personality in
the magic world.. Well, I think he's worth know-
ing. Beaten at my own game: John i.iulholland
told me at the S.A.M. Ladies night that he re-
cently played a date and did only four tricks
in a little over an hour. I thought I was doing
something when I got away with five, dammit.
[COLOR BLIHDHESS. (Sigmund Krumgold) \
D isplaying a slate which is divided into five
spaces by painted white lines, the performer
also shows a crayon box with chalks of five or
six colors, including one white piece. He says
he will hypnotize the audience into a state of
temporary color-blindness, and after a bit of
mumbo-jumbo announces that it has been accom-
plished.
To prove his assertion he asks for any color.
'ihen one is named he takes the white chalk from
the box, saying solemnly, "Ah yes, here is the
red chalk, (or whatever color has been called.)"
And just as solemnly does he write the name of
that color in the first space. Of course, the
name of the color will be writ-
ten in white chalk. Placing the
white chalk back into the box,
he now asks for another color.
No matter what color is named,
he again takes the white chalk
and proceeds to write the called-
for color in the second space.
This continues for the next two
spaces. In the last, however,
he writes "white" saying, "llo-
one has asKed Cor white so we'll
put it in this last space. He
also asks for someone's initials which are put
in the same last space.
Now the performer turns the slate with the
writing away from audience and breaks the hyp-
notic spell by saying mumbo-jumbo in reverse.
Upon turning the slate towards audience again,
it la seen that they were verily in a stabe of
color-blindness, for the names of the colors
ARE HO./ REALLY WRITTEN IN THE COLORS THAT THEY
(now go to the next page)
Page 167
(conbinued from page 165)
pocket and give one to him to draw the sketch
so he'll have a definite idea. Then, five the
other paper to the first spectator with the re-
mark that he also may as well write his thought
down in oruer to firmly fix it on his mind. I've
tried various routines for this part, and the
described actions worked out best. Then tell
them to fold the ;ouper tightly once each way.
Explain now tbat in ancient times, the sooth-
sayers gazed into the smoke of burning incense
or tl at of sone personally owned article to
divine secrets pertaining to that person. You
will attempt the same thing, but in a smaller
and less impressive way. Look at the first per-
son ana remark that you want hlra to tear and
burn his paper. Continue, "Look, tear ib anct
tlien burn it like i;his." As you sc;y this, you
roach for a take bhe pauer second man is holding.
Still addressing the first person, hold the
closed corner of the doubly folded paper to the
unper left, and tear paper through the long way,
just a trifle to the right of center. Put the
right hand torn off bit in front (audience side)
of the left hand piece, and keeping the closed
corner always in left finders, tear them again
in half again a little to the right of center.
Put the right hanct pieces once more in front
as the left thumb draws bacjt with the folded
piece (middle) of the original whole slip. The
right fingers, take away the torn pieces, min-
us the left finger palmed piece (not really
palmed) which is held by thumb against fingers,
and you step over to fcne ash tray where you
droD them. As you finish this action, repeat,
"Just be sure the pieces are small and will
burn easily."
Now watch the first person tear his slip and
put it with the pieces you dropped. Then tell
the second person to light them. Up till now you
have ignored him 3ince taking his paper. After-
wards both ./ill sv;ear, as do the audience, that
they have torn and burned their own paoers. The
described maneuvreing is perfect misdirection
in re^aras as to what taices place.
As bhe secona person lights the paper, you
oick up the slate ana step back. The left hand
has dropped to pocket for chalk as you directed
the burning, and the folded piece flipped open.
It is small enougn to be in the palm but you
may only open it half way. Bring it out and put
it under the tip of right thumb holding slate.
Ask thorn to each think of tneir card and pic-
ture. Start to make a few rough lines on the
slate with loft hand holding chalk. At this time
you have the picture. Look at second person and
tell him to think of the picture as a whole and
not as individual lines. Your right hand with
slip, goes to poc.-cet for a hanakerchief, and you
rub out something. The paper is left behind and
you are now free to finish the picture and write
the name of the card in the middle of it.
The Jinx is an independent mon-
thly for magicians published by
Theo. Annemann of <Vaverly, M.Y.,
U.S.A. It can be obtained direct
or through any magical depot for
25 cents a copy, and by subscrip-
tion is $1 for 5 issues postpaid
to any address in the world.
 (continued from last page)
DESIGNATE! Somebody has been wrong!
The method, for this surprising climax to a
cube ana original plot is simple and mechanical.
One of the now fairly common addition slates is
used, and one of which most actlce magi have.
There are two good makes on the market, one by
Al Baiter and one by Thayer. Baker's has a lock-
ing feature and the lines are drawn, in place
svitli chalk, but the Thayer slate is perfectly
practical because these extra features are not
necessary to the success of the brick. For those
who do not have the device, it is a slate mark-
ed a.3 per the illustration, with a half flap
hinged to the middle of one side, and. when up
or down, this two spaces wide flap changes the
writing in the first four spaces.
With the flap hanging down, print the names
of four colors in their proper colors. The or-
der I use is red, green, yellow, blue. The bot-
tom space is left blank. Put the flap up and
the slate is blank for the start. Uore than one
color is always called, when a group or audience
is requested to name them, and the name of the
proper color is written in the proper space
with the white piece of chalk. In the bottom
space (which never changes) is written "white",
and also anybody's initials, .i/hen the slate is
turned and the audience de-hypnotized, the flap
is let down, and the colors are then shown to
be just what they are supposed to be. With the
Thayer slate, if the chalk doesn't stick well
to it, use some water color paints.
This is especially good as an item in pro-
grams for older children, but it never fails
to cause a lot of laughs before any adults,
particularly at the start, when everybody gets
the idea that they have been 'sold.'
1 FOLLOW ICE. (Jean Hugard) |
ost of the tricKs along this line use only
M one spectator and the performer. Mow it is
possible to use two spectators for a double ef-
fect. Two ordinary decks are needed. The work-
ing will suffice to make clear the effect itseif.
Hand one deck to one spectator and have him
shuffle. As he finishes this, hand the second
deck to the other person to mix also. While he
shuffles, taite bacic the first deck and give it
a further mixing while obviously waiting for
second person to finish. You note both the top
and bottom cards of your pack. It is easy to
merely note the bottom card, shuffle it overhand
to the top, and note the new bottom card. How
take the decK from second person and place your
"keyed" deck in his hands, -b.sk the first person
to cut off about half of the pack and hold. At
this time, the two spectators each have half a
deck and you have a full deck. You know the top
card of first person's cards and the bottom one
of second person's.
Tell them to do exactly as you do. Look at
the first person, Take a card from the center
of 7/our pack and look at it. He does the same.
Put it on top and cut the pack. He does like-
wise. How IOOK at the second person and repeat
the procedure. How have them put the two halves
together and cut them once more. Take the pack
from them, at the same time handing the first
man your pack. Tell him to run through it and
Page 16a
remove the card he looked at. Handing the rest
of tiie pack to the second person, he looks them
over and removes his looked at card also. You
fan your deck and remark that at the game time
you'll take out the two cards you picked by
chance. Lay your deck aside and hold the two
cards with backs out. The first man turns his
card so all can see. You turn one of your cards
and it ig the samel The second man turns his
card. Your remaining card matches!
Remembering the two key cards your task has
been but a pleasure. When you run through the
deck they have looked at and handled, you have
only to remove the card to the left (or ubove)
the known top card, which is that looked at by
the first person, and the card to the right (or
below) the known bottom card, which belongs to
the second person. This double bit of business
will upset a few at loast, and make for a much
better effect on the whole.
A MENTALIST WITH MOHEY. (Annenann)|
I f ever there ./as an impromptu mental novelty,
this should be it. I took the basic working
from an idea of Montreal's Charles Peet about
two years ago, and it has served me quite well.
Borrow u derby or soft hat. Say that you'll
show a test of clairvoyance and telepathy com-
bined, i-.sk for the loan of seven or eight one
dollar bills. However, before starting to col-
lect them, step up to one volunteer and ask him
to write his name in pencil on his bill to iden-
tify it later as his. Ask him to fold it over
and over until it is in a small flat square. At
the same tine have the rest of the donors do t2ae
same. .Vhile the key subject is writing and fold-
ing, you can pick up one or two of the other bills
that are ready. Holding the hat by brim in left
hand, take the bills in right and drop them in.
When you take the marked bill, pretend to put
it with the rest, but put it under fingers of
left hand inside hat, and then collect the rest.
Hand the hat to a spectator who stands on the
other side of the room. The left fingers keep
the stolen bill. Don't try to palm anything.
Just keep it in the fingers and let the left
hand be natural and out of direct use. And don't
stall around but keep moving at this point. 'Walk
away to a far corner. Tell the man with the hat
to pick out a bill while your back is turned,
hold it up, and say ".all right. " You turn your
back. When spectator speaks, say, "Put it on the
table, and take another." Next time you say, "Mo,
still not right, put it aside and try again." In
the meantime you have been standing with back
turned and have gestured with right hand. The
left, however, has opened the stolen bill and
you note the number and refold. Take it easy as
you'll find when you try this that you have more
time than you think. Also you may think it hard
to remember the number but if you'll try this
first before saying you can't you'll be surprised.
->s.nd most of my readers who have a yen for this
type of trick is familiar with mnemonics. On the
third or fourth pick, atop the selector and say,
"That's it." Walk over to him and take the bill
he holds with your right hand. Without a pause,
walk to the one who signed the bill. When almost
to him, pretend to pass the bill to left hand
which immediately goes out to him with bill in
it. He takes it and you walk back towards hat.
Tell him to open bill and see if it his. It Is.
First climax. Take hat from spectator with right
hand and put on table, dropping right hand bill
inside. How stand before owner of bill and have
him open bill and look at the number. Slowly and
deliberately you read the number. Second climax.
Then ask owners of other bills to raise their
hands. P.S. Try to get a rather well used bill
for the signed one. It helps a bit in the handling.