JUNE
DEAD MAN S HAND
W hen "Wild
Bill" was
shot from be-
hind by Jack
McCall,in the
Deadwood days
of outlawry, it stopped the
life of a picturesque char-
acter, but started the leg-
end of the "dead man's hand"
and made possible this most
original card story and rou-
tine in years. In the Mann &
Lewis Saloon of Deadwood, S.
0., "Wild Bill" Hickock was
HENRY T CHRIST
1937
playing poker
with friends.
His back to-
wards the one
door made it
possible for
the murder just as Bill was
preparing to make his "draw"
to the hand illuatrated here
with the original cards that
were taken from his lifeless
hands a minute later. "Aces
and Eights" have since be-
come nicknamed,and v/ith this
(try the back page)
Page 209
 W e slipped last month, it seems,
and the result was an extraordin-
ary issue that contained three excep-
MODEL PROMOTION BY MAGIC
\\ tionally well plaudited tricks out of
four. Looking for one well received
myatery has teen our practice. When
two turn up we growl with glee. When
three slip through we are astonished
but try to be nonchalant. What the re-
sult will toe when all four click with everyone
I can't say — yet.

The foregoing paragraph is no

doubt the result of spring feeling.
When this copy gets In the mail box,
we'll be home in Waverly, N.Y. for
the first time in fourteen months,
and the thoughts of that vacation
(Prom what? Ed.) are affecting all
Chat we do or write at the moment.
That "Restless Cards" effect in Jinx Ho. 31
was really mine and not "lifted." It first ap-
peared in the Seven Circles mag for December,
1951 after I had shown it personally to Walter Ju'ian J . Proskauer (left) president of the Society of American Magicians and
Gibson who gave me credit. It's a good trick, Stunts, Inc., New York, pulls a promotion trick at « recent underwear style show
and I republlshed it because I didn't want it
lost. I didn't know that Walter put it in Black-
aton'es book without credit. Pew know that Gib-
son "ghosted" Thurston's and Blaokstone's writ-
ings for many years.

Stewart James' Tip-See Milk Bottle Trick la

one of the cleverest and cutest things In a long
time. Abott is the manufacturer and sells deal-
ers at a 40% discount on the $1 retail price,
paying Stewart a straight royalty on the idea.
A New York bum is making the gimmicks up and
selling to dealers for a quarter each. I was in
one man1s shop when he flatly turned the fellow
down and said he'd play square with the origin-
ator even If it did cost him 35 cents more on
each sale. This, despite the fact that the boot-
legger named practically every other N.Y. deal-
er as having bought from him! What price origi-
nality? And fairness to Inventors?
At the Bamberg show, one of those incessant
loud mouths was behind me and blabbed explan-
ations of everything to two strangers beside
him. He told them how much apparatus he owned,
and how everything presented was old stuff to
him. Even during the Intermission he was show-
ing (with a pack of business cards) how David
made the correct card be selected. The paper
tearing was "a ten cent trick with larger sheets|"
the rope trick was "screw gimmicks to hold the
pieces together" and "I use the same talk, too?"
the swinging pendulum "the old sawing through a
woman;" but the payoff crack was about the sub-
stitution trunk, "I have one of those. It cost
me $250, BUT MIKE IS NICKEL PLATED!" This par-
agraph is to Inform the crackpot that the candid
camera man with me, who was moving around and
snapping the whole show, took a perfect shot of
him in his seat so I could find out who he wast
I'll send him an 8x10 print if he'll write for
it, for at present the picture with his name
and address on back Is being shown all comers
as the first example of a loose-tonslled exposer
in action.
Exclusive! David Bamberg doesn't like being
tossed around by U.S. bookers and plans leaving
country about August. That Seagram's Mind-
reading trick used as a throw-a-way was figured
out by Dai Vemon who split $250 with Sam Margu-
les who sold the idea.
Page 210
Stunt
Our favorite publicity picture this is-
The top picture was
sue (see cut) shows Julien J. Proskauer,
in Advertising Age for
the president of Stunts, Inc., shooting
April 19, 1937. The bot-
the dress off of Miss Marian Semler.
model, to introduce to the world a new
tom picture was in Tide
brassiere known as "Ace of Hearts."
for May 1, 1937. All of
which reminds one of the
A.M.Wilson, M.D. quotation, "MAGIC IS AN ART."
The S.A.M. president is to be wildly cheered
and salaamed for his originality In discover-
ing a new field for magical publicity.
When Howard Brooks walked off the floor of
Cleveland's Hollenden Hotel nlte spot after a
few minutes of back and forth heckling, he was
paid off on his two week contract. Then, be-
cause the agreement also called for his keep,
Brooks went on magicdom's first sit-down strike
and lived his time out. When this appears he'll
be on the high seas for London's Mayfair Club.
See the movie "Find The Witness". It's a mur-
der story with the chief character doing an un-
der water burial when the crime is committed.
Tip to Mrs. Bill Larsen, who runs the Genii
woman's page. Serve fist size mounds of cold
chow mein or chop suey (any type) when a late
snack Is in order, and you're tired. I know
It sounds revolutionary, but, like the Jinx
Zipper concoction, it has been tested.
 THE JAIPUR JINNEE before coming to pages with wire between. Have
N atural looking methods for the selection of
a book page and word are seldom seen. With
the following method, the principle of a re-
ribbon in left coat pocket. Hand it to someone*
Hold the book between the hands, each hand cov-
cent illusion, and an older die and frame trick, ering one end of wire. Ask person with ribbon
haa been brought into play, and provides a most to insert it between pages anywhere, but by pull-
perfect way of getting to the proper page. Some ing book slightly towards you the ribbon goes in
of the complicated methods seen should always ahead of the wire.
be performed In a show where there is an inter-
mission. Then one could start the selection be- Before this you have made your prediction on
fore intermission, during intermission perform
all of the intricate and complicated means of
selecting the page, and after the Intermission
finish the test. By doing this, the audience
will be spared all of the involved ways of mere-
ly finding a page in a book. For the ones who
agree with us, the following idea has been e-
volved and thoroughly tested.

The mentaliat makes either a prediction on

a slate, or cleans two slates for a spirit mes-
sage. Slate or slates are laid aside, and a
book or dictionary shown. A length of ribbon
is picked up and handed spectator. The perfor-
mer holds the book and the spectator holds an
end of the ribbon in each hand. He brings it
over the pages of the book which performer Is
holding by the ends, and is told to pull the
ribbon down between the pages of the book, some-
where near the center. The slate is picked up
and the book handed to someone. This person
opens the book at the ribbon, adds the page num-
bers together on the left hand side, and counts
down to that word. IT IS THE WORD PROPHECIED BY
MENTALIST, OR IS POUND WRITTEN BY SPIRITS ON THE
INSIDE OP SLATES I

There is a bit of preparation and practice
necessary for this feat, but for those who try
It and use it, we can assure a stunt that can
be done anywhere with only a moment's study of
any book* Get a spool of spring steel piano
wire #3 at any large music store for ten cents.
Cut off a piece of wire several inches longer
than the book. At one end of wire twist a loop
and stick the other end of wire through this.
This makes a noose which can be pulled fairly
tight. On the other end of wire fasten a small
ring which will fit over the end of your fingers.
Paint this either flesh color or black, wire
loop and all. You also require a piece of rib-
bon about two or three inches longer than the
book, and about half an inch wide.
To work, lay the wire between two pages of
the book, off center towards the back. The run-
ning loop is out at one end, and the ring at
the lower end. The wire should be long enough,
so that when you have a loop about three-quar-
ters of an inch in diameter at the top, the
ring at other end is against the pages at bot-
tom. The ring should be made from stiff thin
wire, but not spring wire. You have added to-
gether the page number figures on left hand side,
counted to that word and memorised it. Either
write this on a slate and cover with flap, or
make a straight prediction.
Bring the book forward, holding right hand
at outer edge (edge nearest audience: loop end)
and riffling the pages as you do so. Riffle
through before a spectator, stopping however
slate, or shown slates empty and placed on table.
Mow step back and explain what has been done. As
you do this, stand with left side somewhat to-
wards audience, both hands holding book, but end
with loop is away from audience and your fingers
slip end of ribbon through loop! When you say,
"And on the slates on my table," you swing sharp-
ly to left (table is on your left) and at same
time left hand moves away from right. Right hand
with loop remains stationary. This action pulls
ribbon around in between pages where wire lies.
And the sharp pull drags ribbon through and out
the other end and wire slips off ribbonj As you
swing left and wire comes loose, pick up slates
in right hand and drop wire on table. Bring slates
forward and hand book to someone. And that's all
there is to it. Sometimes the pull does not bring
the end of ribbon free at top of book. It remains
between pages. If this happens, pull it out with
a flip of the finger as you look for someone to
take it. Be aure table is close so it requires
only a turn of the body to pick up slates. And
remember that the right hand remains still, only
the left hand moving away. This has been tested,
and the ribbon is never seen in its flight, the
swing of the body and hands concealing everything.
It is strictly a method which requires practice,
rythm in your movements, and confidence. After
it is once learned, It is as easy as the compli-
cated methods and far more fair looking. No one
will ever suspect that a ribbon in the book is
changed to an entirely different spotl And when
the spectator takes It to look up the word, the
book and ribbon are unprepared. For what more
could one ask?

EDDIE CLEVER Page 211


(go on from here)
band of five cards a strange story and oocurenoe
takes place at any time or place, and with any
deck of cards.
As you unfold the story of "Wild Bill" Hiok-
ock and his untimely end, you tell of the five
cards he was holding when shot. Using any deck,
you run through them, face up, and while talk-
ing find and throw out face up the Ace of Clubs,
Ace of Diamonds, Eight of Hearts, Eight of Spades,
and the Queen of Hearts, these cards have since
been known as the "dead man's hand" you explain,
and somewhere, in another world, "Wild Bill" is
undoubtedly interested in the group of five up-
on which he had his mind centered when shot. It
can be the only explanation for the experiments
to which you shall put them.
A nearby spectator is asked to pick up the
cards and mix them face down. He then selects
any one at random, looks at it, and drops it on
deck which you cut to lose card. The remaining
four are not shown, but dropped on top, and the
pack again mixed.
Now you recall the nickname of the cards, and
deal four cards from top of deck in a face down
row from left to right, spelling a letter with
each card — D K 1 S . On top of these four you
deal four more, spelling — M A M S . Four more
are dealt, spelling — H A N D . Now you appar-
ently oall Bill into your presence by spelling
four more - - W I L D , and still another four —
B I L L . You have thusly dealt out five rows of
four cards each, the rows being dealt on top of
each other successively.
At this time you state that Bill's interest
in the cards invariably results in the location
of the one removed by the spectator, for after
all, when Bill was shot, he was contemplating
on what card he would discard for the draw. The
spectator names the card he selected from the
five. You turn over the next card on deck. IT
IS CORRECT!
Continuing, you gather together the deck and
give It bit of mixing. You state that the second
strange coincidence is truly that. The "dead
man's hand" only appears by chance once in mil-
lions of times. And when it does, strangely e-
nough, it falls to a person whose back, at the
time, is towards a doorl Very deliberately you
now deal out five hands of poker to as many per-
sons sitting around, one of them, of course,
having his back towards a door, or as close to
such a position as it is possible to obtain.
Everyone present invariably remarks about
this, and the tension can always be noticed.
You look at this person seriously, say that' he
has his back towards a door and that there's one
chance in millions that history will repeat. Ask
him to pick up and look at his cards, Imagining
himself to be "Wild Bill" Hickock for the mom-
ent. He picks up the hand, looks at it, and at
that moment A SHARP CRACK OP A PISTOL BREAKS
THE SILENCE1
And If you, dear reader, don't think that
the onlookers will jump, and the man holding
the cards bounce more than all others, It's
just because you haven't tried the stunt, or
seen somebody else do It I
The secret working is an ingenious non-slelght
method that practically works itself. Take a
deck in hand and follow through. It will work
the first time for you.
Page 214
Turn the deck faoe up and start running it
through to find the five oards. Count the first
sixteen oards from faoe of deck, and hold a
sort of break at that spot while you continue
through deck, throwing out any of the five
cards as you oome to then. If any are missing,
go back and find them among the first sixteen,
adding enough more oards to make up for any re-
moved. Turn deck face down keeping the break
with left little finger.
The spectator takes the five oards, mixes
them face down and selects one. At this point
you undercut off the sixteen oards below the
break, have him drop the card on top of deok,
and you drop the group on top* On top of these
have him put the remaining four faee down oards.
You can now give the deck a dovetail shuffle
leaving the top 21 cards undisturbed, and fin-
ish with a false out if you wish.
Deal out a face down row of four oards and
spell DEAD. Then a second row on top spelling
MANS. With the third row spell HAND. With the
fourth spell WILD. And lastly spell BILL. That
deals off 20 oards. Patter along as heretofore
given, and when the selected card is named,
throw the next card on deck down faoe up. How
pick up the four heaps, one on top of the other
in any order and drop them on top of desk. Put
the faoe up selected card on top, AND THE DECK
IS STACKED AUTOMATICALLY FOR THE POSER DEAL!11
Left as it is, the "dead man's hand" will
be dealt to the first man of the five who are
dealt oards. You have had ample time to note
which five you will deal to, among those who
are near, and which one of the five has his
back towards. Thus you can put on top of the
assembled deok enough cards from one to four
to bring the hand to the second, third, fourth
or fifth person as you will. Outside of that
it is entirely a build-up of tension through
seriousness.
The gun shot? Just one of many possible gim-
micks. All magical novelty shops oarry cap shoot-
ing appliances for jokes and jokers. They have
been built in cigarette packages, decks of play-
ing cards, etc*, any of which you can put down
near you before starting the routine, and merely
pick up at the right moment*
Suggested though is one of two appliances
that will serve continually and anywhere.One
is a small tin box about lxl^ inches and quite
flat. It is loaded with a cap and placed under
any object. When the object is lifted, the ex-
plosion occurs. In this routine, carry the box
set to go, with a rubber band around it. Just
before you start, slip it under your foot or the
leg of a card table If you work on one. The other
gimmick is a very small pistol worn as a charm
and which sells for about 50 cents. It uses small
blanks, is less than 3/4th of an inch long, and
will make a noise louder than the one that got
Bill down.
This tiny gadget can be carried loaded with
the hammer down, and just before starting you
can cock it. At the finish of the deal, while
you are still talking, and all eyes are on the
fated spectator who has the hand, you have only
to toy with it and pull the trigger on time.
As has been said before, this is one of the
most original tricks to make an appearance in
many a moon. It hasn't failed yet to go over
with terrific effect as long as the performer
takes the whole thing seriously and presents it
as a strange thing. And people being supersti-
tious as they are helps one on to success.

R egardless of how many say that magic Is being
killed by this and that, the fact remains
that night clubs and hotels are still providing
most lucrative spots for magi ever. Marlowe, the
Mystic recently closed nine months of table work
at Philadelphia's Arcadia, and opened at New
York's Hollywood Restaurant, a spot which no one
else to date has had. He gave me permission to
state that hi3 ENTIRE routine of table mysteries
have come from The Jinx. Who says the sheet is-
n't practical? And who are we to pass up such
a good ad?
And for those who want The Jinx bound, we'll
recommend Mrs. Gerald Kaufmann, 150 West 80th
Street, New York City, for she does a very ex-
cellent job and the covers are hand lettered in
gold. The cost Is around $2.00. No. 50 issue
(are we optlmistio?) will carry a four page in-
dex complete for the front of the book.
Incidentals: Sid Lorraine has used "The Mag-
ical Chatterbox" catch line for over nine years.
We recently mentioned It in conjunction with
Howard Brooks. Rajah Raboid doesn't seem
to click with his combination magic and bur-
lesque revue which floundered around Mew Eng-
land one and two nighters preparing for the fi-
nal nose dive in Paterson, N.J. Pretty bad com-
plaints were registered by the help who were
given 30 week contracts and then paid pro rata
for the odds and ends dates, finally being
dropped by the wayside without regards to the
two week clause. We'd air some other pediculous
facts but they haven't been checked. If you
save or send news clips and articles, PLEASE In-
clude the date and name of publication. Magi
don't do It with their own scrapbook clips, and
if there's anything exasperating, it's to see
an old and valuable clipping with no date or
location on it.
A complete Mss. routine with 8 photographs
of the East Indian Sand Trick was in the Nov.
1929 Sphinx by Doc. Nixon with every necessary
and original detail. Yet until David Bamberg
used it in his recent N.Y. opening, only three
people In the oountry actually featured it,
Harlan Tarbell, William Arenholtz, and Gene
Laurent. When David did It, U.P.Grant took 51
orders in three days and has passed the 100
mark now. Nixon's method had the added point
of all loose sand being gone at the finish, ap-
parently being used up in the productions.
Laurie Ireland got me in a corner and asked
for one nice mindreading stunt he could use In
his program without much work or set-up but good
for large audiences. We recommended the "Extra-
Sensory Perception" on the back page of Issue
No. 10. Laurie bought a copy right there and
then, read it and said, "You know, I had for-
gotten all about that. And 1 like it too. It's
just the thing for me." Moral. Check over your
copies once in a while, instead of waiting for
someone else to dig It out. Isn't it better to
be able to say someone is copying you, than to
have them say you are copying them?
A blanket "thank-you" is in order for those
who have written that they like the Modern Ma-
gician Programmes we have been running. Ellis
Stanyon had the idea back in 1902, but coals
of fire were heaped on his head for explaining
the methods along with the routines. Holden's
late book was a valuable work of more modern
times, and most magi like to know what the oth-
ers are doing and in what order, the honorable
Page 216
and more wise ones using the information so they
won't be duplicating someone else.
In the May 1937 Sphinx appeared a reproduced
program of Anton Kratky-Baschik in 1858. His No.
8 item read, "Novel Peat, by giving the Profes-
sor one finger he will take the whole hand." It
can be modernized "by saying, "By letting a ma-
gician see one trick, he'll take your whole act."
Russell Swann is doing very well at Chicago's
Palmer House. He must be slipping though with
the "ball of fire" mystery which we showed him
ever so long ago (it seems) because one reporter
wrote; "Swann makes a flash of fire by the burn-
ing of paper which leaves no ash." What's the
matter, Russ, all gags now instead of mystery?
And what's all this about your exposing? Just
small tricks? And will you divulge the pencil
and loop trick, which has been your greatest pub-
licity item? Or is that one too small?"
Trick: If you use any of the Davenport silks
with card pictures on them, try the idea that
Anthony Ross forwarded. Tear off corner of a
selected (forced) card and let spectator hold.
Wrap card in a white silk and put in a card box.
When opened, the card Is blank, the printed cor-
ner spectator holds still fits, and on the silk
Is the picture of card. Take a duplicate of the
force card, put against a blank and tear both
together. The printed corner will fit blank card
plenty close enough for all purposes. Tear cor-
ner from selected card and give spectator the
corner you had finger palmed. The card box does
the rest.
Magi who looked at the picture of Oklto and
David Bamberg in the April Sphinx have been ask-
ing dealers for the trick father was showing son
(and what an offspring!). And they didn't know
(and don't yet) it was only a Chinese lock11
The one man-one copy magical monthlyi Harry Opal,
of Toledo and all points in all directions, puts
out a monthly magazine, individually written,
and sends the copy to a different person each
time. Some collector will have a priceless bit
of magicana when he gets hold of thatl1 And I
mean nothing less than a complete file!11—Bob
Gysel, of the same town, has educated thumbs it
seems, he being able to escape from three thumb
cuffs with their key holes together, j wonder
how he is at thumbing a ride?
And for a payoff paragraph we'll tell you
that one magician read a magical ad, bought the
trick, and came from N.J. to N.Y.C. with a gun
In his pocket for the advertiser. It actually
happenedl! 'Twas too much money for too little!
THE PHANTOH
ARTIST
P ercy Naldrett first published the effect of
this quite perfect program trick under the
name "The Celebrity Trick." However, the most im-
portant part of the stunt, the cut-out sketches,
were not given, and it was left to the individ-
ual performer who saw the trick's possibilities
to have them specially made.
At that time, twelve years ago, I became very
enamored with the idea, and obtained a set of
ten pictures from an artist in Syracuse, New
York. For several years after that, I believe I
was the only one in the country doing the trick.
Then I sold several sets, three I think, but to
date I have never seen anyone using the trick,
let alone my pictures. In its original form, the
pictures were cut out 17 x 22 inches which re-
quired a large display frame or easel together
with a mechanical or stage method of switching
the cut up paper.
For the first time I'm letting out four of
the set, pictures of prominent figures, and of
such a variety as to cover most every type of
performance, whether before mixed audiences, po-
litical or children, and of a size,8^- x 11 in.,
as to make of it a really practical club number.
The effect is straightforward and quite start-
ling, as well as being different. The magician
announces that he has found it possible to call
upon spirits in another plane, and have them con-
trol him In such a way that their influence or
presence is apparent. Someone from the audience
is aaked forward. The performer asks for a number
of names of famous people or presidents who have
passed beyond. The names are mixed, and one chos-
en by the spectator who retains it, unseen, in
his closed fist.
At thi3 point the performer picks up a blank
sheet of paper and a pair of shears. From now on,
he states, everything will be left to another
power. He starts folding the paper and clip-
ping away at it with the shears. He continues
cutting, clipping, snipping and folding, until
the paper is only a couple of inches square and
in a bunch. Laying aside the shears, the magua
asks the spectator to open the paper he holds
and reveal the name. Deliberately and precisely,
the performer opens out the cut-up paper, and
places it against a black background. IT IS A
PERFECT BLACK AND WHITE PORTRAIT OF THE PERSON
SECRETLY SELECTED1
Probably the success of the experiment lies
as much in the credit given performer as a clev-
er artist as in the mystery of the chosen name,
but withal, the effect has been well received
always and won't fail to get a hand. It seems
that no one ever thinks there is any fake In
the cutting. They look upon the name selection
as the mystery or tricky part, and the cutting
as pure skill. However, the simple secret is but
a force of a name, and a switch of the paper,
outside, of course, of natural ability on the
part of the performer to make a good presentat-
ion of the cutting and folding.
Page 217
Reproduced in this issue are four pictures.
Let it be understood now that a cut out model
from one of these will last for four or five
actual performances, and you can make three
or four models at one cutting. Lay a sheet of
ordinary typewriter paper over a picture. With
a pencil outline all of the black sections. Put
this tracing on top of two or three more sheets,
thumb tack the corners, and cut out all black
sections with a razor blade.
Now take one cut out before you. Fold It in.
half very sloppily, being careful that small
points and parts are folded too and not torn or
crumpled. Repeat this each way to reduce the
paper to about two Inches square in size. As
you make each fold DROP IN A LOOSE SLIVER OR
BIT OF PAPER, so that when you unfold it, these
chopped up bits will drop out.
Do the folding 30 that the upper left corner
of the sheet will always be outside. When fin-
ished, put the packet under pressure until need-
ed. Then, with a dab of paste, fasten it by this
corner to an upper corner of a plain sheet. Fold
the paper through middle the long way, and with
folded packet inside. Place on your table with
shears on top. With this size sheet you won't
have any trouble finding a background on which
to display it. Almost anything with a dark color
will do. And if you work with a suitcase show,
you can have a black painted sheet of three-ply
with two victrola needles along top edge on which
to impale the opened out sketch.
Before paper is shown or cutting even mention-
ed, have the name selected. I hesitate to give
a method of forcing here because any person who
will put this stunt to work has favorite methods
of his own, and regardless of what I say, will
apply those Ideas. Some are sold on the Change
Bag, while others will merely have names called
and write the same thing on all slips. It doesn't
matter much what you do as long as the name sel-
ected is the one you want.
Now pick up the paper and shears, letting the
sheet drop open, but keeping the attached packet
to the rear and top, that corner being held with
the fingers In front and thumb behind. Now fold.
paper up as it was at start, with packet Inside,
and start trimming. Each time you fold and cut,
cut away all paper in back that covers the pack-
et. Pretend you are cutting a design by your act-
ions. Don't just hack at it. Act as those there
is something precise to be cut or trimmed. BUT
KEEP FOLDING AND CUTTING UNTIL ALL OF THE BLANK
SHEET IS CUT AWAY! And make the pieces small in-
stead of large.
Lay shears aside and have the name looked at
and called aloud. Then open up the paper you have
and put it against the background. The small
pieces you folded in will drop out, and make it
all look very real. And you'll have a stunt which
you'll be proud to feature.
 HANK THE HERMIT
E ffect: A silk is removed from the trousers
pocket which is then shown empty. The silk
is marked with an initialed label and then is
vanished. A spectator produces it from the ma-
gician' a pocket. The trick is repeated, and the
spectator who initialled the label is asked to
take the silk from the pocket, and identify it
for himself.
The equipment needed is two 13-inch red
•ilks, a box of gummed labels (Dennison Index
Tabs No. 817), and a handkerchief pull. A pen-
cil also is in your pocket.
To prepare, write the word "Hank" across the
top of one of the labels, and scribble a couple
of initials below it. Attach this label to the
corner of one of the silks. Roll this silk in-
to a ball, starting from the corner diagonally
opposite the label which is thus saved from be-
ing too much wrinkled. Conceal the marked silk
in the top of the right-hand side trousers pock-
et, and put the other silk in the bottom part
of the same pocket. Attach the pull so that it
hangs at the left side. By the way, it saves
trouble to tie a loop in the end of the elastic
cor* of the pull. This loop may then be slipped
easily and qulokly over one of the back suspen-
der buttons.
Fatter and presentation: (Mote: the number*
refer to the list of moves given at end of this
article. Moves which can easily be deduced from
patter are omitted.)
"I'd like you to meet a funny little friend
of mine—a hermit handkerchief. Hank the Hermit,
I call him. This is his c a v e — a n d this is Bank.
Ee nates to appear In public; just look at Him
blush! (1) Bat please don't laugh at him; that
makes it worse*
I suggest we give Bank a formal christening.
Will you be the godfather? Just remove one of
these labels and write the name 'Hank' across
the top of it. That's fine* Now, just as a mat-
ter of record, will you write your own initial*
below? Thank you. How with this marked label
we'll seal the hermit. (2) This, by the way, is
known as hermetic sealing.
You might like to see what Hank's cave looks
like; so I'll pull the cave inside out and show
yon. It's not very well furnished, but Hank does-
n't seem to mind. (If lining of pocket is black,
you might say that it's rather a black outlook
for Hank.) Of course, he spends a good deal of
his time at the bar (3) just around the corner
here. (4)
As I told you, Hank is very shy with strangers.
In faot, he gets all balled up, like this, (5)
so that he hardly knows where he is. (6) And I
think you'll admit that it is pretty hard to
tell. (7)
Et's probably back in his cave again. Will
yon (8) take a look and see? (9) And here's
LORNE DE BLOIS
Hank—-complete with label.
Now (10) for the benefit of the two people
in the last row who didn't quite see that, I'll
do it over again. Here Is the empty cave. And
at this point I'll take time out to pull up my
sleeves, so that you'll be quite sure that Hank
does not use the elevator. (11) Now we'll re-
place the cave in position, and call on Hank to
do his aerial act again. (12)
This time you know exactly what to look for,
s0 it's up to you. Will you (13)hold my wrist?
Just make sure there are no concealed exits. Mow
watch! Did you see anything? Well, he's gone. (14)
I think you'd better send out a search party
for your godson. (15) Do you recognize him? You
do? Thanks very much*
Nice work, HankI You can go back to bed now.
(16) What's that? Oh you're thirsty, are you?
All right. (17)
Moves as per patter cues:
1. Pray for a laugh.
2. Attach label in same position as on dup-
licate silk.
3. Replace lining, at the same time engag-
ing concealed silk with thumb and pulling
it down into main part of pocket. Leave it
near mouth of pocket so that it will be
easy for spectator to remove it.
4. Indicate hip pocket.
5. Roll up silk between palms, starting at
corner opposite label.
6. Palm silk away in right hand. I use the
thumb palm — it's easier.
7. Slowly open left hand.
8. Address spectator other than the one who
Initialed silk.
9. With right hand hold coat aside and look
down at pocket. Keep hand well away from
pocket. Spectator removes duplicate silk,
which you take from him before he has a
chance to thoroughly examine it. Hold it
up casually so that the label shows; but
do not give anyone a chance to see label
at close range.
10. As you speak this sentence, right hand
goes into the pocket and shoves palmed
silk into top of pocket. Take your time—
there's no hurry.
11. Lay silk on table, and stand at right of
table while pulling up sleeves*
12* Turn to table, so that left side is away
from audience. Pick up silk with right
hand, at the same time stealing pull with
the left.
13. Address spectator who initialed label.
14. This time open the hand suddenly.
15. Hand holds coat aside as before, and the
spectator is invited to reach into pocket
and remove the silk.
16. Start to put silk into side pocket. Pause.
17. Put silk into hip pocket for finish.
Page 218
The Phantom Artist
George Washington
 THf m m DRACELfT
ANONyMOUS
ug from my scrapbook of personal notes, facts,
D and fancies comes this really fine Idea re-
garding the age old phantom ring on the cord
between the wrists trick. I print it for poster-
ity, or something or other, because it is too
good a routine, and has too nice an effect to be
lost in the limbo of forgotten trick*.
A wooden ring and two stout cords are exam-
ined. A spectator steps forward as the subject
to work with the performer. Someone else ties
one rope to the performer's wrists so that there
is about six Inches of cord running between them.
The performer's hands are thus tied in front of
him, and the spectator's hands are tied in the
same manner behind him. The spectator faces the
audience and the performer takes the ring.
He steps behind spectator fo a moment, and
then turns spectator around. The ring is now on
the cord between spectator's wrists I The spec-
tator again faces audience, performer stepping
behind again. Again spectator turns, but per-
former is carried with him as the ring now en-
circles both spectator and performer ropes be-
tween wrists! Again the spectator faces the
front, and this time the performer walks free
with the ring only on his own rope. The spectat-
or is free! And everything is taken off by the
audience and examined to their heart's content.
There are really three rings used, they be-
ing large wooden curtain rings, and of a size
to fit over the hand and be pushed up on fore-
arm under sleeve. Take one of these and drop
it or pound it until it cracks. With such a
ring, the defect can only be noticed when the
ring is sprung open. Put the broken ring under
vest, and a solid one on left forearm. Have the
other solid ring and two ropes at hand.
Have spectator's wrists and your wrists se-
cured as described. Take solid ring and step be-
hind spectator. Merely exchange It for the vested
and broken one, spring it slightly apart and slip
over the spectator's rope between wrists. Turn
him around and show. The second time, merely
open the ring again and slip It over your rope
between wrists so you both are secured. The last
time remove ring from both ropes and vest it,
bringing the solid ring down from left arm onto
your rope for the finale and subsequent inspec-
tion.
OPRATCX CALLING
SOLOMON
hen one can do a trick with the assistance
of a telephone operator, he is quite a per-
son, and that is just what seems to happen In
the case of this excellent home, office, or
Page 220
press stunt.
It is short, simple and sweet, depending up-
on dial telephones and a bit of timing. Host
cities of any size have dial phones now, so tht>
inclusion of this feat is warranted. During the
evening, or while you are in an office, you ask
for the use of the phone and dial the operator.
You speak into phone, "Ring back In a few min-
utes, operator, as soon as you get my friend's
thought Impression, and tell him the card by
the number of rings. Use the usual suit order.
I'll call you back."
Now you explain that the operator is concen-
trating, and that a card is to be selected. The
puzzled spectator takes one from the deck which
Is laid aside* You do not see the card. Tell him
that the suits are in a certain order, as H-C-
D-S and thought of as one-two-three and four
so a suit can be told by the number of rings.
The spectator concentrates, and in a minute or
so the phone rings once, twice, three times or
four and stops. You say, "That's rings. It
means the card must be a ----. Is that correct?
Now think of the value very hard, and listen."
The phone starts ringing again and stops when
it has rung the correct number of times I
The stunt has an amazing effect on a person
with whom it.is done. The calling of the oper-
ator, of course, is so much hooey, and the poor
operator doesn't know what it is all about. How-
ever, they get so many orackpots on the wire
everyday with foolish questions that they are
used to suffering. Note, however, that you say
the above remarks quite fast into the phone,
pause for the operator to say, "What?" and the*
say, "I'll call you back." That quiets her down
and makes her think you're a bit mixed up.
It is only necessary now for the correct card
to be forced and stand by for the rings. Your
confederate in crime is outside, and calls the
number at the agreed upon time. With all dial
phones, one can dial the number and listen to
the ringing at the other end which is automatic
When the correct number of rings are heard for
the suit of card, he hangs up and breaks the con-
nection which stops the ringing. He immediately
dials the number again and this time listens un-
til the correct number of rings have been made
for the value before hanging up. The very slight
delay In re-dialing the number is taken up by
your asking spectator if the suit is correct and
telling him to start thinking intently of the
card's value.
As simple as it all is, you'll find Y*ry ef-
fefcive the ringing of a phone bell. It affects
the onlooker as being quite spooky, for they
are used to answering a phone, and just letting
one ring and counting the rings is a strange bit
of practice.
O-MfN
AZTHUZ P£ MFLLO
rinciples may be old but new applications art
constantly being made as in the present oase.
(continued on page 222)
The Phantom Artist
William Jennlnge Bryan
With only five red back cards and two with blue
backs, an entertaining little story is illustrat-
ed.
Fatter: "These two blue backed cards that my
friend just removed from the pack represent two
0 men. Mow let me show you my pockets, as empty
as usual. One 0 man goes into this pocket, the
other in this one. Now, will someone please re-
move any five cards from the red backed deck.
These five cards will represent five magicians.
One day these five got together to exchange
secrets with each other. And so that no outsiders
could Interfere with their mysteries, they went
to a secret place known only to them, that is,
they thought that. But from the very beginning,
these two G men that I have in my pockets had
followed them, thinking that these five magic-
ians were gansters up to no good.
They began picking them up, one by one. After
that had captured the whole lot, they realized
they had made a mistake, so they started taking
them back to where they had found them. Then
came the suspicion that perhaps the men really
were gangsters after all, hiding under the guise
of honest magicians, so the 0- men started out to
pick them up once more for more thorough in-
vestigation. But the whole truth of the matter
is that the five men really were magicians, and
being clever escape artists, had made their es-
cape, leaving the two 0- men all by themselves."
Working routine: First introduce the two
decks of cards, one red backed and the other
blue. From the blue backed deck have a spectat-
or remove any two cards. Take these, without
letting the faces be seen, and lay them face
down on the table. Start patter and show both
trouser pockets empty. With right hand pick up
one blue card and place it in right pants pock-
et. When card is in pocket, turn it face towards
audience* With the left hand do the same thing
with the second blue card.
Mow take red deck and have another spectator
remove any five cards. Lay these down on table,
saying they represent five magicians. Mow fol-
low this part with oards in hand. Right hand
picks up one of these red backed cards and puta
it in right pants pocket behind the blue backed
one already there, turning its face to audience.
Left hand does the same by placing another red
baoked card behind the blue one in left pocket.
Repeat this again. First the right and then the
left. This leaves one red backed card on table.
Pick this up with right hand and place in the
right pocket.
The result of this maneuvre leave you with 4
cards in the right pocket and 3 in the left.
Mow the left hand removes the first card
from left pocket, this being the blue backed
card, but without showing it as you patter a-
long, you place it face up on table. The right
hand does the same with the other blue backed
card and places it faoe up alongside the one just
put on table. Again the left hand removes a card
and puts it next to the two blues, face up. The
right hand does the same. Mow the left hand re-
moves the only card left in left pocket.
The result of this second action leaves you
with 2 red backed cards in right pocket and none
in the left, and 5 face up oards on table, sup-
posedly the 5 red cards. The first two, though,
are the blue baoked ones, the remaining 3 being
red.
Mow cornea the last action, according to pat-
Page 222
ter. The right hand picks up one of the red back-
ed cards from table and places it in right pock-
et. The left hand does the same with one of the
blue backed oards, putting it in left pocket.
Repeat this again, first the right and then left.
The right hand pockets the last card. And the
result now is that 5 red backed cards are in the
right pocket and the 2 blues are in the left.
When you come to the part in your story about
the joke being on the G men - remove the 5 red
backed cards from right pocket with right hand
and throw them face down on the table. At the
same time the left hand removes the 2 blue backs
from left pocket, throwing them face down also.
The story is what makes this routine cute and
surprising, and it can be done impromptu without
have someone "take a card."
fLATf AND SILK
CMUZCtilLL
a uite a few magicians have used this old time
effect, but at present it seems to have died
out. The usual method has been for a faked plate
to be used, but this method is simplicity it-
self, the plate and newspaper being unprepared.
A common soup plate is shown together with a
sheet of ordinary newspaper. The paper is put
on the table and the plate placed on it with
the eating side down. One or two handkerchiefs
are now shown and vanished by any favorite means
or appliance. Upon the plate being lifted, the
handkerchiefs are found underneath.
Dependent heretofore upon a soup plate with
special flap, this maneuvre will find favor with
non-apparatus magicians. It is simply a clever
steal of the load from
behind the table upon
which you are working.
The only gimmick necess-
ary is made in a few min-
utes from two paper clips
and a thumb tack. Chain
QH.S. the two clips together so
that the double loops
(the end paper goes in)
are away from each other*
The thumb tack is used to
tack one of the clips to
the back of the table so
that the other clip hangs
free. Of course, duplicate hanks are used, one
or two (if two are used have them small size)
of which are folded and placed in the free pa-
per clip.
Show soup plate and place it on table face-
down, protruding about two inches to the rear
of the table over the hank. Show the newspaper,
and holding it spread out in the left hand, reach
for the plate with the right hand. Here is the
important move. Grasp the plate with thumb on
top, the first finger underneath, and these tuo
fingers hold plate while the other fingers grab
the handkerchief. Pull the plate off table to-
(continued on page 224)
The Phantom Artist
Abraham Lincoln
wards the rear, letting It swing down back to-
wards audience, safely masking the handkerchief
which Is clipped behind plate with other fingers.
Spread the paper on table and place the plate
face down, being careful to put front edge down
first so as not to expose the silk.
All is now done except for the vanish of the
silks, and for close up parlor work this meth-
od will be found very nice because anyone may
be asked to lift the plate at the finish as there
is nothing wrong with either plate, paper, or the
handkerchief.
fOCltfT&OOk: CAW
ANNfMANM
M any ways have been figured and produced for
this effect of a selected card being found
In a rubber banded pocketbook, each getting more
complicated than the others, and generally los-
ing sight of the very important fact that you
can't waste any time in opening up the pocket-
book or metal plates without hurting the effect.
It just doesn't do, as far as professional work
around the clubs is concerned.
After all, the only thing remembered by the
onlookers is the fact that the card travels in-
to the wallet from the deck. No one ever is de-
ceived into thinking that it is anything but
sleight-of-hand, so the only thing left is to
do it fast and clean, getting it over as direct-
ly as possible.
May excuse for putting this on paper is that
I've uaed it steadily, and there is no prepar-
ation or setting of things. Just the wallet in
pocket. It has always been used as an incidental
in a routine of table and close-up card effects,
it will be just as startling to the people who
don't know it (moreso because of the speed),
and a puzzler to those who do know it because
of the extra encircling of pooketbook with the
rubber band.
In a pocket easily accessible to the hand with
which you do your palming, put a regular three
fold wallet, inside of which is a two of spades
or clubs, and around which is a rubber band run-
ning both ways. With a pin or knife point, put
a nice rough scratch across one of the pips on
card. It will look like an accidental dig.
In the deck you use, find the duplicate of
this card and mark it in the same way. Now go
ahead with your tricks. When ready, force the
card and ask selector to look at it. Eave it
returned, you shuffling and bringing it to the
top of the deck. Now look at spectator and ask
him to name the card. And as you finish asking
that, and he starts to answer, you palm off the
card, reach into pocket, leave card behind, and
come out with the pocketbook which you toss to
the table as he names card. Hand him the deck
which he looks through, saying card is not there.
Then very openly open the pocketbook after re-
moving the band, and reveal the card inside.
Page
Without it ever being mentioned, the spec-
tator will remember the dig mark. You fool a
magician because, although he may know you palm
a card away, he thinks you put it in the pocket-
book, but gives you credit for something new be-
cause the band goes around pocketbook both ways.
And the person who doesn't know the trick is
just as much fooled as he would be with any oth-
er way. Why work hard when it isn't necessary?
THE O S 9 Of LHASA
ANMEMAMN
J ust a few years ago I would have taken this
idea, put a full page ad in the Sphinx, sup-
plied a book and deck of cards, made a price of
about three dollars, and sold from 100 to 150.
I'm rather proud of the way it has worked out,
and it is a direct result of the effect "Between
the Lines" that received much in the way of plau-
dits in the Hay issue.
Whereas "Between the Lines" was a straight
book test with the word revealed at the finish,
"The Oss of Lhasa" is a prophecy, fair and very
square, of the word to be selected under the
same conditions. Therefore, it makes a very nice
method to follow in repeating the trick. And I
mean it when I say that it will confound magic-
ians because they will know the book used is an
ordinary one and cannot be faked. And you need-
n't worry about anyone figuring it out.
In short, I have discovered a very simple me-
thod of arranging cards at will, so that although
different combinations show up and may be sel-
ected, the word will always be the samel Thus
you can write the prophecy on a slate beforehand,
and let them have their way.
Follow this closely. Take a book of straight
reading matter. I used "Gone With The Wind."
Start with page 12. Jot this number on a sheet
of paper and look at the first line. Look for
a common word among the first ten, like "and"
"that" "this" "to" etc. If you find a word of
this type, mark down its position in the line
next to the page number like this (12-4). Now
continue through the book to and including page
98 looking for this word among the first ten,
putting your findings in a column under your
first figures as above. Thus you will have a
list of every page on which the word appears
among the first ten, and the figure denoting
its position from 1 to 10.
There must be no duplication of figures in
the page number and word position, such as the
3rd word on page 25, the 5th word on page 52,
e t c Neither do you look for a word on any page
that is numbered with a zero, such aa 20, 30,
40, etc. These rules also eliminate such pages
as 44, 55, 66, where the two figures are alike*
However, the 10th word on any acceptable page
is all right even though there Is a figure 1
in the page number. That's because there is a
10-spot in the deck. Otherwise, the three fig-
ures, page number and word position all must be
different before they can be listed In the ref-
erence column.
Take "Gone With The Wind" for instance. I
looked for "AND" and my column looked as it is
given here, the first two figures rep-
resenting the page, and the third one 14-7
meaning the position of the word in 18-5
line. There were other "AND" word3
but they were in a position to clash
19-7
27-4
with the page number so were left out. 2 9 - 7
Now take playing cards from Aoe to Ten 31 -10
from a deck. Look at your table and 34-8
lay the cards out in groups of three 37-9
to represent combinations of page and 42-7
word numbers. You must use up 9 of 43-6
the ten cards. One such combination 47-6
would be 2-9-7, 3-A-10, 4-8-5. In this 4 8 - 2
particular case, the 6 spot was left etc.
over and discarded. There are always
three or four possible combinations that will
use up 9 cards, and you only need one. Now put
picture cards between the sets of 3, which are
in correct order according to table, from back
to face. Now the packet reads: 2-9-7-J-3-A-10-
Q-4-8-5-K:. Make up four packets like this from
the deck, discarding the six spots, and pay no
attention to suits. Put them all together and
you have a stacked deck which will select "and"
in "Gone With The Wind" or whatever book you are
using, and whatever word you are working on.
Put book and deck on table for spectator.
Give it a false shuffle and cut it a few times.
Tell them you will make a prophecy. Write on a
slate and lay it down. Walk away and ask spec-
tator to cut the deck a couple of times. Then
he is to deal off three cards in a face up row
from left to right. If a picture card la among
them he is to push them all away and deal three
more, repeating this until he has three spot
cards before him. Tell him to take the first
two cards and open book at that page. You ex-
plain that if the cards are a 2 and 4, he is
to open at page 24, etc. When he has book open
he is to look at third card and count to the
word at that number. Then the word is named and
you finish by showing the prophecy correct.
In "Gone With The Wind" I found three words.
I give them here, together with the stacks that
will find them. Cards are given from back to
face of deck, and only 12. Repeat three times.
THAT - 3-9-7-J-A-6-8-Q-5-2-10-K etc.
AND - 2-9-7-J-4-8-5-Q-3-1-10-K etc.
SHE - 2-5-7-J-A-4-3-Q-8-9-10-K etc.
The word "that" appeared only eight times up
to the limit page of 98 in a position where it
could be used, and yet it was possible to make
up three sets of cards with no repetition of
figures. "She" only appeared 11 times. "And"
appeared 22 times in usable positions and FOUH
different stacks can be made to set deck, while
only one is needed.
Thus it is possible to obtain words that are
not too common if one spends a little time. But
for the common words mentioned here, any book
can be "cased" in half an hour or less.
This same principle works as well with a mag-
azine like Liberty, Collier's, or The Saturday
Evening Post. Just use the pages on which read-
ing matter appears. And for those who really
get around a bit and want to use the effect, it
doesn't take much effort to "case" a few of the
popular books and current magazines, jotting
down the stack in your notebook. You'll hardly
find a home or place where you can't pick up
one of the copies you have listed, and the ef-
fect becomes that much greater.
Page 225
&ANANA 1)1 LL
EDWA2D 2.EESE
N ight spot audiences will no doubt see this
effect in performance when someone takes it
up as an original twist on an old stunt. It Is
good for a laugh, if only because of the new
object into which a dollar bill is directed.
The cigarette and dollar bill has been done
quite a bit, so this should prove of interest
as a novel variation. The cellophane wrapping
is also away from the usual envelope.
Get a banana stalk which has only three
bananas still attached. Choose one on which
you are going to work. At the bottom of the ba-
nana is a knob. You will notice that a small
line connects the knob with the skin. The knob
is cut off at this line with a razor blade and
carefully laid aside. With a small pen knife
clean out the green pulp to the fruit Itself,
of course, taking care not to injur the akin.
When fruit itself is reached push a round pen-
cil up into the banana about half way, and
withdraw.
Take any fairly new dollar bill, tear off
the required corner, take down the number of
bill, and then roll up the will the long way,
so that you have a small and tight roll which
Is as long as the bill is wide (2 3/4"). Roll
this bill In a piece of red cellophane about
2 x 5 inches, twist the ends of cellophane to
hold the bill, and cut off surplus ends. Push
this up into the banana, and replaoe the knob
with seceotine.
A sheet of cellophane, the exact size of a
dollar bill is rolled tightly and wrapped in
the same manner as was the genuine bill. This
is placed in the left trouser pocket, and a
common match is put in the right trouser pock-
et. Another sheet of cellophane 2 x 5 inches
in size is put on table with the torn off cor-
ner of bill under it.
Explain that you will show how a one dollar
bill can be changed to a ten. Borrow one from
someone, picking up the small sheet of cello-
phane from table with the torn corner beneath
it, and hand paper to the spectator from whom
you accept the bill, finger palming the torn
corner.
Tear off the corner of the borrowed bill,
remarking that it will help prove that the one
really changes and is not exchanged. Switch the
corner for the one you have been holding, and
this is given the spectator. Ask him to also
write the number of the bill on the torn corner
while you read it off. You actually call off
The Jinx is published monthly for mf_
magicians by Theo Annemann, Waverly
New York, U.S.A.
By the copy, 25 cents. By subscrip-
tion, vl for 5 issues postpaid. The
Jinx Extra is a semi-annual at $1
per copy. No siibscriptions.
Order through any magical depot or
direct from the publisher above. ^^
the number of the bill in the banana, either
from memory or from your thumb nail.
Very carefully roll the bill up lengthwise,
take the cellophane, and wrap the bill in it,
twisting the ends tightly and clipping off any
surplus. Hand this to the gentleman to look at,
at the same time getting the duplicate rolled
paper from pocket. Take bill back in your right
hand, and as you step back, pretend to put it
in left hand which opens, and the right hand
goes to right pocket and brings out match, the
real bill being left behind. Explaining that
the change is caused by heat, as the cellophane
wrapper burns away, light the match and light
the end of the apparently wrapped bill. Every-
thing burns. You look at it go, and then remark
that all great discoveries have had to go through
failures and trial, and ask if someone else will
loan you another dollar. Say, "After all, if 1
succeed only onoe in nine times, we show a pro-
fit."

Now you say, "Well, about the only thing I

can do is ask you to have dinner with me." And
with this remark you pick up from under cover
the banana stalk, saying "I'm sorry there are-
n't more, but the man who loaned me a dollar
last night brought his whole family."
Hold out the stalk to the person with the
prepared banana closest to him. If he takes it,
well and good. Tou remark, "We may as well
clean this up," and hand out the other two to
spectators nearby. If he misses it the first
time, tell him to give it to a friend for com-
pany, and have another. If he gets it this time,
take the last one for yourself. If he misses,
tell him to give it to someone on his other
side, and then hand him the stalk.
Mow say, "if I didn't have anything to eat,
would you give me halff" Then have him stand,
peel the banana first, and then break it in
two. The red wrapped bundle shows up in the
center. He removes it, unwraps the bill and
check It with his corner and number* You now
give him a new bill for his torn one, start to
go back to the front, and as afterthought, go
back and say, "Here, I gave you a new bill. I
may as well give you a new banana too." Take
out a spare banana from pocket and present It
to 1^
ed within the silks themselves. The master silk
may be produced among others from tube or box,
and then the production continued with it alone.
Or, it may be taken from breast pocket of coat
and started* The four produced silks are ordin-
ary, so may be used as part of a trick to fol-
low. As such an interlude, this Idea is really
worth the while in preparing. The mechanics of
the silk will be understood from the presentat-
ion details.
The border of the master hank is double and
about 3i inches wide. Each of the four ordinary
silks are pleat folded diagonally, and then are
doubled In half. Each is then poked or drawn in-
to the border to the positions A,B,C,D In the
sketch. Two corners of each handkerchief pro-
trude slightly from the holes, the edges of which
have been prepared to prevent ravelling, and of
a size as shown* You must know which corner is
which, a few trials making this clear.
To present| Left hand holds corner F, and
right hand corner Q. The handkerchief is twirled
about, freely showing both sides, and the hands
otherwise empty. Left hand releases corner P,
and seizes corner E. Right hand releases its
corner Q, the "hole" corners being allowed to
hang behind the handkerchief proper. Now, show-
ing the right hand empty, It takes corner G and
rapidly raises it to left hand, whose thumb and

FOUR.-IN-ONE SILKS' forefinger seize a corner of handkerchief C,

OiAZLES I JORDAN
W ith your hands absolutely empty save for a
17 inch handkerchief with contrasting bor-
der, you stroke It from end to end and it be-
comes two handkerchiefs. Another stroke and it
becomes three. Another and It becomes four, and
merely by running the hand down the four hand-
kerchiefs they become five. This production is
very suitable for either the club or stage, and
each handkerchief may be made of silk with a
dark border, and all five centers are of dif-
ferent contrasting colors. There are no fakes
or gimmicks as the production is self contain-
Page 226
the right thumb and forefinger seizing the other
corner of the same handkerchief, releasing its
hold of the outer handkerchief. How, on stroking
the right hand down master handkerchief L, hand-
kerchief C is automatically drawn into view and
hangs beside L In left hand. In same manner right
hand carries corner P up to left hand, and hand-
kerchief A is drawn forth. Right hand runs dowaa
the three and holds them by corner H, left hand
allowing other ends to fall free. By repeating
the moves with left hand as made with right, the
other two handkerchiefs are produced.
Work this deliberately and smoothly without
making it jerky and hesitating. The contrasting
colors seem to flash into view each time from
nowhere, and the spontaneous effect is pleasing
to the eye because of its cleanness.