The magician removes a match box from his pocket, slightly opens it, and places it on the table. He requests the loan of another match box which is initialed and handed over. The performer also borrows a hat which he puts to his right side leaving his own hat on the left side.

Toth of the match boxes are placed into the borrowed hat and the hands shown empty. With one hand they are now transfered to the performer's hat and this hand „again shown empty. The performer makes a pass or two to magnetise the hat and boxes and then removes his own box from the hat. He puts it on the table leaving the spectator's box still inside the hat.

The hat is shown and tossed out. The spectator's match box is gone! And it is found in the spectator's own hat! Both are returned. The cleanness of the effect can be realised when it is known that during the entire working there is no palming, no extra box, no pulls, and no loading.

It is required that you fake a match box. The first two top figures show the outer cover. The next two left side figures show the drawer, mark its prepared sides at A. This can be done with small pieces of paper to suit. The matches are clued into the drawer (s) if you wish. The second figure in the right column shows the drawer slightly pushed out and when it is in this position the match box may be casually handled and thrown on the table without detection of its fake qualities. The last figure shows the same box when it is folded, and at which time it appears to be two.

The hats are placed on either side of the performer and both boxes are placed in the borrowed hat. The performer resorts to the old but ever good dodge of asking, "Shall I make the

boxes pass visibly or invisibly?" The answer invariably is ''visible." He reaches into the hat, closes the partly open drawer, folds the fake box and, bringing it out with the ends towards the audience to appear as both boxes he deliberately puts them into the spectator's hat, saying, "And, as you wished, the boxes passed VISIBLY from one hat to the other."

But now the performer will attempt to pass them INVISIBLY, and asks the spectator "Shall I do this with your box or my box?" Of course the spectator wants it done with his initialed box and the performer reaches into the hat, straightens out the fake box and opens the drawer a bit. This" he brings out and either pockets or places on the tabl*»

The trick is now done except for the showmanlike histrionics of the performer, because his hat is now empty while the spectator's marked patchbox is found in the spectator's own hat, the place where it really has never left.

Pag* 492

NEW SHEET READINGS (continued from page 491)


By this time the medium has the flashlight in her lap and is well started sorting the envelopes into three or four piles. She has sort of slumped in the chair which gives her more lap space and as the sheet runs from knees to head she can work quite unhampered.

The performer has innocently stalled for a few seconds while the spectator completes his mixing arid picks out one, calling the number as he does so. The performer takes it and asks for that person's acknowledgement. Then he approaches the medium and holds it against her forehead with the number towards audience. This has given her ample opportunity to pick out the correct envelope, lay it on top of the flashlight lens and turn on the light. And she reveals the information as she gets it herself. There is no need to worry about the flashlight being seen if the medium is only careful enough not to turn it on when there is no envelope on top. It is just as well if she is seated as near bright lights as possible. They'll help cover any accidental flash.

The action continues until the next to the last is reached. The medium gets this as soon as she hears the number and also the next one as soon as possible, for it is the last. She starts on the last and says it is none too clear to her for her power is weakening. Under the cloth she has concealed the light and squared up the packet. She moves restlessly as she continues and as she turns a little in the chair to arise, still under the sheet, she deposits the packet of envelopes in the clip.

The performer has kept all of the answered (?) envelopes in his left hand during the procedure and now transfers them to his right. The medium stands and the performer moves the chair back again making the exchange. The 8heet is removed. The performer thanks the assistant and hands him the bunch of envelopes for redistribution to the owners who may want them.

The clipping reproduced here gives the rea-

Handrlting ia something which may or may not identify one person from another. It's a moot question and therefore leaves the path open for a magician to make the most of things

Prom a newspaper clipping reproduced here we have seen that the effect might be of use to many readers. What we reveal here is in effort to give a method so that all accomplish the same thing, if not genuinely, as per the English newspaper man, by underhanded trickery as per nearly all magicians.

In a room of from 10 to 20 people the performer passes out a bunch of cards to correspond. The performer states, and makes It flear, that he is a graphologist, a student of handwriting, and that he is therefore able to judge a person's characteristics through the pen strokes found on his pad 3heet.

Each person setting a paper writes, at the direction of the performer, a sentence selected from the classics, but something not running over ten or twelve words in its length. The performer turns his back or retires from the room, during the interval when the papers are collected and mixed in any acceptable container. Then he returns to the scene and continues to prove his graphological sense.

Reaching into or amongst the papers or cards the performer looks at each and proceeds to gaze over those watching him. Then he deliberately approaches one and gives him or her the writing. It is always correetl This action is continued until all present are satisfied.

son for the son for the

The clipping reproduced here gives the rea-

method put down in this It'a an effect which was forwarded to me and the explanation to follow is my own. Perhaps the fellow lauded in print is expert enough to do what the article portends, but there are many tricksters who can make use of the effect by means of a subterfuge and cheat a bit in the Interest of entertainment.

The entire problem bolls down to a way of discerning one from another of from 10 to 20 people. The passed out cards must be different In some manner, but not necessitate a prolonged scrutiny on the part of the performer.

I first thought of the tinged glasses and lujrinous writing on the cards which would show up perfectly under that kind of "looking at" but this was discarded because no one can put on glasses or spectacles before friends for a particular trick without exciting suspicion.

That's an example of but one method I tried, and after that there came a numberof others, all of which fell by the deckslde, until I found pne that 3tood up against all conditions that have come along to date, even though it is very early In the new year.

Quite a few years ago, Theodore DeLand, then of Philadelphia, Invented, or created, an edge reader dedc of cards which made history then and (continued on page 495)

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