The board is picked up and held in the left hand flatwise. The right hand taps the lower end of the deck onto the board as if trying to make it stand alone, and at the same time moves forward a step or so which brings the thread taut, taking up all slack.

At this time he asks the nan;e of the first card to rise. As it is told him, he seats the deck directly in front of the pegs, keeping the thread taut. A steady but firm pull is exerted by simply moving the board forward a couple of inches, arid the card rises from the banded


deck! When it is nearly out, the performer removes it with his right hand, giving it a short, quick jerk, and this will cause the deck to fall over backwards on the board. And at any time during the effect, when there is no pull being exerted by the thread, the pack will tumble over if a perfect balance is not kept. This is one detail which makes the effect appear so weird to people who realise that there should be a pull in some direction, but any kind of pull would tip the deck over.

The deck is set up again and while bei^g spotted, a half step forward takes up the slack and tightens the thread. The effect is repeated and finally the third and last card rises. At this time the performer steps forwards towards the spectators and the remainder of the thread is pulled clear of the deck and falls behind. He hands the deck to a spectator and the board to another. But during this action the board has been turned upside down and the wire brads or pegs have fallen unnoticed to the floor.

In the home, a performer could drive a couple of phonograph needles into a table at the side of the room (don't tell the wife!) and have an assistant an an advantageous point pull the thread. This v/ould do away with the board, and certainly there are few who would say that we haven't cut the visible apparatus for the rising card trick down to the absolute minimum.

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Hassan is going fishing!

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Hassan is going fishing!

Page 490

Quite some years ago Mr. Hull published an effect which he called "Sheet Readings" and which embodied a very effective method of presenting an old principle of sealed message reading. I made a few notes on it at the time for the action seemed very fair from the audience's viewpoint. However, there were also a few little points that didn't suit my own way of working and a detail or so which I subsequently added to make the working even more effective to the onlookers.

In the original effect the performer passed out small envelopes, cards and pencils for the writinr of questions, numbers, names, etc. The envelopes were numbered for later identification. Sealed and collected in a basket, the envelopes were placed on a table while the medium took her seat in a chair and was covered completely with a large sheet. One at a time the performer proceeded to hold envelopes against the medium's forehead outside the sheet. Immediately she would call a number and the spectator would acknowledge it. Then she would answer the question or reveal the contents of the message. At the finish the pile of unopened envelopes were left in the basket at a spot "/here those wishing could look them over and regain their original writings.

The original method used a "change basket" of the type then much in vogue with crystal ball readers, and the action depended upon switching the original bunch for dummies, the medium getting the originals for her information beneath the sheet. The numbers on the envelopes were not of a size to be seen by the audience and so we went to work on the premise that the audience should see the numbers and assist in the handling a bit to prevent trickery (?).

As it stands now, this is the effect. Not more than 20 drug envelopes and cards with pencils of the bridge scoring type are distributed. In the corner of.each envelope is a large and heavy figure (1 through 20) of the gummed type sold by stationary stores. These can be seen easily in clubs and homes for quite some distance. Questions, names, sentences, numbers, etc., are written and sealed.

A spectator from the audience collects them and comes forward to further assist with the proceedings. The medium is introduced, seated in a chair, blindfolded if wished, and covered with the sheet.

The spectator mixes the envelopes thoroughly and hands one to the performer, calling it's number as he does so. The performer holds it against the medium's forehead and she immediately reveals its contents. This is continued until all envelopes have been taken care of. The medium is uncovered, and the spectator takes the unopened envelopes into the audience for their return.

Probably the most important factor in this presentation is never seen, which is as it should be. The modern dealer catalogues seem to have lost sight of one of the most valuable accessories in magic. The older catalogues of even a decade ago never would have dreamed of omitting it. It's the old deck changing servante

Page to be attached to the back of a chair. A five inch bag hangs from a metal band and above this, against the chair back is a clip which holds a pack of cards laying on its side. Let us say that the clip holds an arranged deck for some nefarious purpose. The magus has a shuffled deck in his right hand. He needs the chair for the trick or needs it out of the way. He moves it naturally, right hand on its back and the left hand lifting the front of the seat. Or he may move it back with one hand. Regardless, the deck in hand has been dropped into the bag, and the clipped deck is retained after the chair has been moved.

Having obtained or built one of these silent servants cut a slit across the bottom of the bag and sew into place a "zipper". These can be obtained almost anywhere to-day for attaching to any type of cloth. Department stores and Five and Ten Cent stores have them.

In our case we're going to put something of value INTO the servante instead of taking it away, and we're going to use a packet of No. 2 size drug envelopes instead of a deck of cards.

The envelopes should be white. The numbers should be placed in one corner for an important reason. A dummy set of envelopes are made up and blank cards sealed inside. This set can be used a number of times until dirt steps in. Another set of envelopes is prepared and ready with cards and pencils. The cards are of good quality bristol board and a little experimentation will teach more than lines of print here. The pencils are soft in quality.

The sheet used is opaque insofai* as seeing movements through it, but it is white and of the bed sheet type which lets light through it. The medium has a good pocket flashlight on her person.

The medium is not in view when the effect is begun. She may spend these moments testing her batteries. The performer passes out the writing material himself and returns to the front. A spectator is chosen to collect the sealed envelopes. As he comes forward the performer takes them naturally and stands the assistant to one side.

Introducing the medium the performer steps to the chair, upon the seat of which is the sheet, and upon the back of which is the servante with the dummy set in the clip. He moves the chair forward a foot or so and the medium is seated. The package of envelopes has been exchanged.

'.Vhile the meadium sits holding the sheet, the performer explains that she will assume a clairvoyant condition and attempt to attune herself with members of the audience. As he talks he hands the envelopes to the spectator (dummies) for mixing. And while this is being done the performer stands before the medium, opens the sheet out and drops it over her. As the sheet is opened out the medium Sits back and upright in the chair, reaches both hands around behind it and secures the original envelopes from beneath the bag. This action is completed while the performer adjusts the sheet by stepping around behind and pulling it well over into (continued on the next page)

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