Derris

same problem faced me and here was my answer which has served me in good stead and I hope will be useful to you.

Instead of using a piece of thin card as backing for the carbon, cut a piece of 1/32" celluloid measuring \\" by 4 J" and a piece of typewriter carbon to the same size. Stick this to the celluloid at one end with a small piece of Sellotape. Next cut yourself a supply of paper strips measuring approximately by and insert one of these between the celluloid backing and the carbon and push the whole into the slit in the back of the diary, the hinged end going in first so that about one inch of the paper projects out through the slit. Fold this down, close the diary, place in your right breast pocket and you are ready for a little miracle.

You are sitting at a table and you hand the spectator opposite you the diary and a piece of paper approximately the same size. With the pencil draw an oval shape in the centre of the paper so that the carbon insert is enclosed within the oval. You ask the spectator to think of a card and to record his thought by printing the name of the card in the oval. When he has done this ask him to fold the piece of paper into halves then quarters and to tear it into many pieces and place the pieces on an ashtray. Whilst he is doing this you relieve him of the diary with your left hand and in the act of returning it to your breast pocket insert the second finger of your left hand between the cover and the last page of the diary, near the top so that your finger actually comes underneath the folded flap of paper projecting from the carbon insert. As the diary goes into the pocket you raise this finger so that now the piece of paper projects outside the diary. You grip this between the first and second fingers and under cover of sliding the diary into the pocket you extract the piece of paper entirely and crush it into a ball which is concealed in your left hand.

The hand comes out of the pocket and goes naturally to your lap where the paper ball is dropped. You are now at liberty to place the hands on the table if you wish. You have been doing this all the while the spectator has been tearing up his billet. If you wish you may now ask him to burn the pieces so that no evidence is left except his own thoughts. This he does and you remove a pack of cards from their case and cut them a couple of times. Tell him you are going to remove one card from the pack of fifty three and place it down on the table in front of him, before anything else is done. You take the pack down below table level into your lap and in the act of running through the cards you open the ball of paper, read the carbon impression, screw it up again and get Hd^of it either in your pocket or under your waistcoat. All you have to do now is remove this card from the pack and place it down in front of the spectator.

Ask him to name for the first time the card of which he is thinking, and after he has spoken ask him to turn the card over and then watch his face. This item is very practical for I have personally done it many times at the coffee table for which it is ideal, so go and dig out your diary and give it a try.

" But the criticisms of amateur magicians, generally, are valueless. As a matter of fact there is invariably more destructive criticism from an amateur magician, in discussing almost any performance of magic, than the-e is constructive. There is a osychological reason for this, going back into the critic's ego.

So it is best not to listen to the vo^nteer critic unless one has reason to know that his taste is sound and his advice valuab'e," —" Showmanship for Magicians," by Dariel Fitzkee.

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