The Magic W and Series. 3 - Net.

r TOM SELLERS

LONDON
GEORGE JOHNSON THE MAGIC WAND OFFICE
24 Buckingham Street, Strand, W.C.2.
TRICK TRACK5
BY

TOM SELLERS
Author of "Tricks that Work,
Sellers Secrets, etc.

THE FIFTEENTH BOOKLET OF THE SERIES.

LONDON
GEORGE JO H N SO N , The Magic W and Office,
24 Buckingham Street, Strand, W.C.2.
1942
 CONTENTS.
1 A (; e .

A Production Box ... ... ... 4

Coin on Knife or Sword ... ... ... 4
From Match to Match ... ... ... 5
Give me a Light, please ... ... ... 5
th e Haunted Chair ... ... ... 6
A Magnetic Pencil ... ... ... 6
The Floating Paper ... ... ... 7
Spirit Rapping ... .. ... ... 8
The Finder Pencil ... ... ... 8
The Cork Returns ... ... ... 8
A New Changing or Producing Canister ... 9
Calendar Book Test ... ... ...
A Novel Book Test ... ... ... 13
A Flower Growth ... ... ... 14
Liquid Transposition ... ... ... 15
The Ghost Taps ... ... ... 16
Mystify Yourself! ... ... ... 17
Obtaining the Key Ring ... ... ... 17
A Number Predicted ... ... ... 18
The Green Ray Mystery ... ... ... 18
"And so to Bed ... ... ... 20
 FOREW ORD.

'I'here are tricks that put us on the track of

different (and sometimes better) problems. For
example: the principle of the production box des
cribed in this booklet may be adapted for other
purposes.
Once again, dear readers, 1 leave it to you.
T om Sellers.
Edinburgh 1942.
 A PRODUCTION BOX.
Effect. A very large production is made from a small box seven
inches square.
Requirements. A box seven inches square, made with a bottom
that will spring up against one ol the sides on releasing a catch.
See Fig. 1. A table with a box top two inches deep, the top being
removable in order to get access to the interior. There is a hole cut
in the centre, six inches square. The whole of the table top and
sides are covered with black velvet, and there is a fringe. Fig. 2.
A piece of tin covered with velvet is slipped under the velvet of the
table top to cover the hole. Fig. 3. The table top is eighteen
inches square, and the piece of tin six and a half inches square.
Next make two oblong boxes seventeen and a half inches long by ,
five and a half inches wide and one and three-quarter inches deep;
these boxes to have a half-inch hole bored at the centre of each
The next requirement is four square boxes, five and a half inches
square by one and a half inches deep. These square boxes also
have a half-inch hole at each end.
Preparation, Fit all the boxes inside your table top as shown in
Fig. 4. Now load up boxes (and spaces) with the items you intend
to produce. Replace the top of table and you are ready.
Method, Show the production box empty and put it down over
the trap ; press the catch and the bottom flies up. Push the piece
of tin aside and -make your first production from No. 2, Fig. 4.
Figures 5 to 9 show how the different loads are brought under the
trap, shifting the various boxes by pulling with the finger inserted
in the holes of the boxes. After the last load, the piece of tin is
pulled over the trap and the bottom of the box pressed back to its
normal position.

COIN ON KNIFE OR SWORD.

This is a variation of theoriginal method used for this well-known
effect.
Requirements, Three discs of clear celluloid. Two of the discs
are thin, and one is thick, the diameter of the two thin discs being'

4
the same as that of a half-crown, the thick disc is a little less.
The three are cemented together, the thick disc being- between the
two thin ones. See Fig. 10.
Preparation. A knife and an inverted wine glass is on your
table. Put the celluloid discon top of the inverted glass ; it will be
almost invisible at a short distance. Place three small pellets of
wax on the upper side of disc.
Method. Borrow a half-crown, keep it in full view while you
walk to your table and deposit the coin on top of the disc. Pick up
the knife to show, if desired pass for inspection. W hen the knife
is handed back, pick up the coin and disc together, pressing them
into contact so that they will adhere to one another. Set the disc on
on the blade and let it run back and forth a few times. Retain the
disc after removing the coin to return it to the lender.

FROM MATCH TO MATCH.

Effect. The performer places a match between third and fourth
fingers, and another between first and second fingers. The match
between the third and fourth fingers is struck on box, the flame
travels up and lights the match between the first and second fingers.
Requirements. Two matches and a piece of thread about three
inches long. Tie each end of the thread teethe head of each match
and replace in box.
Method. Hold the box in the right hand, open with left hand,
and remove the two prepared matches; close the right fist, have
the thumb upwards. Place one match between the third and
fourth fingers, and one between the first and second fingers. Strike
the lower match on the box, the flame will travel up the thread and
light the second match with a pretty effect.
It found necessary the thread may be lightly waxed.

GIYE ME A LIGHT, PLEASE.

Effect. The performer places a cigarette between his lips, then
strikes a match to light the cigarette. As soon as the match is
struck, the flame leaves the match, floats upwards and lights the
cigarette.

5
 Requirements. A packet of cigarettes, a box of matches, six
inches of thread.
Preparation. Run thread into the end of cigarette and attach
the other end of the thread to the head of the match. See Fig. 11.
Put the cigarette back into the packet and the match back into box.
Put both into the jacket pocket.
Method. Remove box and packet together ; take out the cigarette,
then the match, and return the packet to the pocket. Place the
cigarette between the lips and strike the match. The flame will run
up the thread and light the cigarette. At this point, flick out the
match with the well-known finger dodge.

THE HAUNTED CHAIR.

Effect. The performer makes passes in the direction of a chair.
As he does so the chair tips backwards and forwards as long as
desired.
Requirements. A chair and a length of thread.
Preparation. Have the chair about the centre of the platform.
Tie the thread to the back of the chair as shown tn Fig. 12. Next
fix the free end of the thread to the wing, but see that it is fixed
higher than the chair back.
Method. Show chair all sides. Turn it upside down to exhibit
thebottom; at this poAt the chair back should be touching the
floor. Here you step over the thread, getting a foot on each side of
it. Now stand the chair upright, the thread being between the legs.
See Fig. 12. To make the chair tilt to and fro, simply take a step
back or forwards as you make passes. Break the thread at the
conclusion.

A MAGNETIC PENCIL.
Effect. A n examined pencil is made to adhere to the finger
tips.
Requirements. A piece of wire, bent to the shape shown in Fig.
13. The loops marked x x are made so that they can be
clipped in the crutch of the thum b, the reason for having two loops
is that you can work the change-over palm with the fake. The
whole affair is painted flesh colour.

6
 Method. Pass the pencil for inspection, meanwhile getting the
fake into the right hand, clipping in the crutch of the thumb.
Show the left hand back and front, receive the pencil in the right
hand and as you proceed to stroke the back of the left hand with
the pencil, transfer the gadget from the right to the left hand, using
the change-over move. The gadget should now be in the position
shown in Fig. 14, and the pencil is placed between the arm of the
gadget and the fingers as shown, the back of the hand being
towards the spectators. W hen removing the pencil, the change
over is again made, bringing the gadget into the right hand again.
The gadget is disposed of when finally tossing the pencil out for
inspection.
THE FLOATING PAPER.
Effect. The performer causes a piece of paper to float up and
down while he makes passes. A hoop is also passed over the
paper to prove there is no natural means of support.
Requirements. Two chairs at opposite sides of the platform, a
length of thread, a hoop and a sheet of tissue paper.
Preparation. Attach the thread to the bottom of the chair leg
on the right side; the other end of the thread is attached to top
corner of the cross-bar of the chair on the left. The thread should
be taut when you are standing upright as the thread lies across
your left shoulder. The hoop should be hung on the corner of the
chair before the thread is attached. (See F'ig. 15.) Allow the thread
to drop to the floor and all is ready.
Method. Pick up the hoop and the piece of tissue paper, put the
hoop over your head and at the same time pick up the thread and
allow it to failover your left shoulder. Step backwards till you are'
about four feet away from the chair ; stand upright till the thread
gets taut, and crumple the paper round the thread. Allow the
paper to rest on the left hand while you bend downwards slightly.
To make the paper rise straighten the body gradually ; to make it
fall, bend forwards. Keep your eyes on the paper while you make
passes, to take attention away from yourself. Pass the hoop over
the paper; take the hoop in the left hand, replace over the chair
and as you pull the paper free from the thread with the right hand,
the thread falls to the floor again this as you walk to the front to
toss the paper to the spectators.

7
 SPIRIT RAPPING.
Effect. The company sit around the table as usual, hands are all
linked together by the little fingers. The lights are put out, and
raps are heard.
Method. W hen the lights are put out and the hands linked
together, press your right hand hard and flat on the table, spread
your right thumb as far to the right as possible. If you now bring
the thumb, still pressing it on the table, towards the first finger, you
will find that the thumb will jerk and make a distinct rap ; several
jerks will make several raps. Thats all, with the exception that
you must see that the thumb is perfectly dry.

THE FINDER PENCIL.

Effect. This is designed to pick out a certain card, or a number,
from a row placed on the table. This pencil makes the discovery
in a mysterious manner.
Requirements. A pencil and a ring, the ring being about one
inch in diameter.
Method. Lay out the cards in a row on the table. Now slip the
pencil through the ring in such a manner that the pencil is sup
ported near one end by leverage. Hold the ring by the first finger
and thumb as shown in Fig. 16. You can now make the pencil
point to a forced card, or any card named. If you raise the thumb
slightly the pencil will sway to the rig h t; if you raise the fore-finger
slightly the pencil will swing to the left. W ith practice you will be
able to make the pencil move to any point desired with accuracy
that seems uncanny. The slightest movement of the finger and
thumb causes the pencil to sway backwards and forwards. (The
ring is not quite at the correct angle in the diagram, it should be
held nearly upright.)

THE CORK RETURNS.

Effect. A cork taken from a bottle, vanishes, the cork re-appears
in the neck of the bottle.
Requirements. A metal bottle as shown in Fig. 17. Running
from the neck of the bottle to the bottom is a tin tube. A small
bole is drilled in the centre of the bottom of the bottle. Cut a cork
to fit the bottle, as shown in Fig. 19; this is cut from sponge rubber
and is fixed to a rod (Fig. 18) by the cleft. The rod and cork are
then pressed down into the bottle (Fig 17). A real cork of the
same shape as the fake one is required, this is covered with
powered sponge rubber to make it match. The last item is a tin
disc with a pin fixed to the centre. (See Fig. 20.)
Method. Place the disc and pin behind some small object.
Remove cork from the bottle and lay the cork aside for a moment.
Cover the bottle with a handkeohief and stand the bottle over the
pin on the disc, thus forcing the rubber cork through to the top of
the bottle. Vanish the first cork by your favourite sleight, lift up
the handkerchief and show that the cork has arrived back, in the
bottle.

A N E W CHANGING OR PRODUCING CANISTER.

Construct a canister as shown in F'ig. 21. Divide it throughout
its entire length with four angular pieces of tin ; the size is four and
a half inches in diameter and five inches high. Make the space
B. to B. one and a half inches, and the space A. to A. one inch;-
Next insert two tubes, closed at the bottom, into section B. B., the'
tubes being one and a half inches in diameter ; the tubes must work
easily back and forth, as at B. B. Fig. 21. Next solder on a disc
for a top, with an opening one and a half inches in diameter. The
canister should now look like Fig. 22. Now solder on the dome
top and lid as shown in Fig. 23. This should make the apparatus
look like the usual tea caddy.
To Prepare. Have the tubes in position as in F'ig. 21. Load one-
tube with three knotted silks ; leave the other tube empty. Fill up
space A. A., Fig. 21, with tea.
To Present. Empty out the tea and tip the canister, getting the
empty tube to the centre of canister. (As the space A. A. is only
one inch the tubes cannot go astray.) Pick up three loose silks and
insert in this empty tube. Tip the canister again, getting the other
tube into the centre of the canister. Then withdraw the three
knotted silks. Other variations will suggest themselves to the
reader.

9
 ab a men i i
r e h men 0 5 | L _ E I
S 5E 0 5 GO cp
H ollow sh aft
 CALENDAR BOOK TEST.
Effect. A spectator is asked to choose three figures from a
calendar. A page of a book is opened to correspond with two of
the numbers, Then the spectator is asked to count to a word to
correspond with the third number. The performer divines the word.
Requirements. A book, a calendar, a slate, a piece of chalk, a
scribbling pad and a pencil.

Preparation. O n the frame of the slate write the following num

bers and words from the book :
Page 36, the 9th word. Page 69, the 3rd word.
Page 39, the 6th word. Page 93, the 6th word.
Page 63, the 9th word. Page 96, the 3rd word.

Method. Hand calendar, pencil and pad to the helper. Tell him
to mark off a square of nine numbers on the calendar, then ask
him to add up each column, and reduce each column to a single
digit by adding the two figures together (4 &2 equals 6, and so on).
He writes these three figures on the pad.

Exam ple:
Sun. Mon. Tues. W ed . Thur. Fri. Sat.

1 2 3 4 5

6 7 8 9 10 11 12

13 14 15 16 17 18 19

20 21 22 23 24 25 26

27 28 29 30 31

T each0f 52 53 58
Column 6 9 12
3
It will be noled that the columns are to be reduced to a
SINGLE digit.

12
 The performer can only be given six possible combinations. The
example shown gives 693.
IF he performer now asks the spectator to g ive him A N Y 71VO of
the three figures. Suppose the spectator replies "N ine Three.
The performer hands him the book and asks him to find page 93.
Meanwhile the performer picks up the slate and chalk, secretly
making a mental note of the word against 93 by glancing at the
frame of the slate. The helper is now asked for the remaining
number. "Six. He is told to count to the sixth word on the
selected page and to concentrate upon it. The performer then
does his mental showmanship business and writes the wo. d on the
slate.
Having the required information written on the frame of the slate
makes it very easy for the performer, but it would not be very much
trouble to memorise the six possible words.
A free choice of three or [Link] different books could be given by
having the necessary information handy so that a secret glimpse
could be taken.

NOVEL BOOK TEST.

Effect. The performer asks for any three figures, such as 4, 5, 2.
These being given they are written on a slate or board. A book is
now handed out and a spectator is requested to open it at page 45,
these being the first two figures of the previously given number.
The spectator is now asked to count along to the word represented
by the last figure: in this case the second word. He is asked to
concentrate on the word and then close the book. The performer
now picks up a newspaper and draws attention to an advertisement
printed in the Personal column. This advertisement reads as
follows : So and So, the magician, will discover a word, from a
book, which has been thought of by a spectator. This page [Link]
out and given to a spectator to read. W hen this has been done, the
performer concentrates and then discloses the word.
A ny book may be used and the number is not forced. I am
inclined to think that the method I give has never been used in any
book test. Here is the secret.

13
 Preparation. Obtain a book of at least 100 pages. Now get a
large sheet of white paper the size to be slightly less than the page
of a newspaper. Divide this sheet into 100 sections, 10 along by 10
down. Number these sections from one to a hundred (See Fig. 24).
Under section one write the first nine words from page one; under
section tw'O write the first nine words from page two, and so on up to
ninety-nine. O n the other side of the paper put some wax at inter
vals along the edges. Advertise in the "Personal column of a
suitable newspaper, as explained in the effect. W hen the paper is
published, purchase a copy, and proceed as follows : Take your
white sheet or chart and stick it to one ot the centre pages of the
newspaper by means of the wax. Fold up the paper and all is
ready.
Method, H and out the book. Now ask for a number of three
figures; we will say, for instance, that 463 is given. Tell the spec
tator to open the book at page 46. W hen he has done this, ask him
to count along to the third word, to concentrate upon it, and then
close the book. Now pick up the newspaper and tell the spectators
that you will read out a very interesting advertisement. Open the
paper and appear to be looking for the advertisement. Actually
open it at the chart and quickly note word three on section forty-
six. Close the paper, tear off the advertisement page, point out
your advertisement and have this read out by a spectator. After
he has done this, you say, I will now proceed to keep that
promise. You appear to concentrate, and then name the chosen
word.

A FLOW ER GROWTH.
This simulates the Indian Mango Trick, but the method used
is quite different. To give the presentation some colour a turban
should be donned and an Oriental instrument played during the
trick.
Requirements. Three sticks, tied together near one end, so that
they will stand upright when the free ends are spread apart (See
Fig. 25). A flower pot, some earth, a sheet to cover the sticks,
and a specially constructed watering can. This can is the usual

14
type used by gardeners, but it is divided in half by a partition, and
in the part nearest to the handle three metal tubes are fixed. (See
Fig. 26.) Three feather plants must now be made, by fixing feather
flowers to three thin tapering tubes. The tubes are tapered in order
to fit one within the other. Fig. 27.
Method. Krect the three sticks. Show the flower pot, fill it with
earth from a bag, and place the pot within the sticks. Now cover
the sticks with the sheet, and arrange so that the opening is at the
back. Sit behind the tent, take the can and pour some water out
visibly. Bring the can behind the tent and pretend to water the
earth in the pot; really take one section of the plant from the can
and stick it in the pot. Bring the can into view again, remove the
sheet and show the small plant growth. Repeat the above routine
twice, sticking the growths on top of each other.
If preferred the rear half of the can may be divided into three,
instead of using tubes, though these compress the feather flowers
very well.

LIQUID TRANSPOSITION.
Effect. A metal cup, full of liquid, is placed in a tube; the
liquid vanishes and finds its way into a hat.
Requirements. A n open tube as shown at " A Fig. 29. A tin
cup B Fig. 30, and a Ghost Tube affair, C Fig. 31, which
fits easily into B. Between the double sides of the Ghost Tube,
a quarter of an inch from the top, the tin ring D Fig. 28 is soldered,
making a shallow tray between the two sides. A hat and a jug of
water are further requirements.
Preparation. Place C into B and partly fill the little tray
with water.
Method. Show tube A to be empty. Fill B with water.
Show hat empty and place B inside; apparently remove B
from hat, but really bring out C . Now here is where the mis
direction comes in. Apparently spill some water from "C , this
being actually water from the little tray at the top. Take C and put
it into the tube A . Eventually show A empty, allowing the
audience to look through the proper end, of course. W alk over to

15
the hat and remove "B , then pour the liquid into the jug. You
will notice that A , " B and " C all have a lip running' round the
top edge. The lip on C should be a fraction larger than the lip
on B, thus making it easy to lift C from "B .

THE GHOST TAPS.

Effect. A small wooden block is freely shown. It is put into a
little empty box; on top of the block a miniature hammer is placed
and beside the hammer a stout two-inch nail. The box is now
closed. W hen held in the hand a series of taps are heard. The
box is now opened, the hammer removed, then the block; when this
is examined the nail is seen to be deeply imbedded in the centre of
the block. The box is seen to be empty.
Requirements. A block of wood of the shape shown in Fig. 33,
2|in. x 2in., a hollow cap is made to fit one end, 3/8ths of an inch
deep, Fig. 32; this is further hollowed out in the centre to take in
the head of the nail, " A Fig. 33. The cap fits on to the block and
covers the nail which is deeply embedded in the centre of the block.
The join of cap and block can easily be hidden by a simple painted
design.
The next requirement is an oblong, box with lid at top, and door
in front, Fig. 34. 5|in. high and a little over 2in. square. The front
door is hinged 3/8ths of an inch from the bottom ; this converts the
bottom of the box into a shallow tray.
A miniature hammer is required, the full length of the hammer
being 2{'m. The handle of this is hollow. Fig. 35.
Preparation. Hammer a stout 2in. nail into the centre of the
block, but leave a quarter of an inch of head projecting. Replace
the wooden cap on top. Have a duplicate nail at hand.
Method. Show the block and box freely. Insert the block, cap
end down, into the bottom of box, via the front door. Close the
front door and put the hammer in from the top. Next show the
nail. Apparently drop it into the box, but really put it into the
hollow handle of hammer. Close the lid of box, and hold in the
right hand, thumb at front, fingers at the back. Tap on the back
of the box with the nail of the third finger ; open the lid and remove

16
the hammer. Open the front door, remove the block, leaving- the
cap behind in the bottom of the box. Note that the cap should fit
loosely.

MYSTIFY Y O U R S E L F ! RIBBON AND STICKS.

I give this trick the title Mystify Yourself, because it was quite
a while before 1 could see how the result came about.
Effect. Two spectators face each other. They hold two pieces
of broomstick between them, one piece being held higher than the
other. The performer takes a length of ribbon and hangs it over the
top stick only; several twists are given with the ribbon round loth
sticks, the ends of the ribbon never going between the sticks. The
ends of the ribbons are now tied. The ribbon is unrolled, and
Presto ! The loop of ribbon is on the bottom stick. The ends of the
sticks are securely held by the two spectators throughout the trick.
Requirements. Two pieces of broom-stick, two feet long, and a
yard of ribbon.
Method, Request the two spectators to hold the sticks, one above
the other. H ang the ribbon over the top stick as in Fig. 36. Next,
twist the two ends around the sticks as in Fig. 37. Now bring end
B only, back to the front, F'ig. 38. Tie the ends. Bring the loop
over the top bar and you will find the loop securely tied round the
bottom bar. The illustration shows but one twist, actually several
twists should be given to " A and " B (F ig.37) before the end B
is brought around to the front. The result is the same as in the
single twist illustrated.

OBTAINING THE KEY RING.

This is a method for secretly obtaining possession of the key
ring in exchange for one of the ordinary rings, when presenting the
classic Chinese Rings.
Requirements. Make a chair-back foulard as shown in diagram
40. Notice that the foulard has two sections at the bottom half;
they are of sufficient width and depth to accommodate and conceal
one of the rings used. The foulard is designed in a manner that
conceals the pockets.

17
 Method. Have tin: key ring in the back partition of the foulard.
Pass out all the remaining rings for inspectionafter having
linked some of them together. Receive back the two singles and
the set of three. Lay them upright against the foulard, but at the
same time slip one of the single rings down into the front compart
ment. Now receive back the set of two, lay these against the rings
on the chair and as you lift the whole lot up together, slip out the
key ring behind the other rings and continue with your usual
routine.

A NUMBER PREDICTED.
Effect, 'l'he performer shows a slate on both sides. Taking a
piece of chalk, he writes something on the back of the slate and lays
it aside without letting the spectators see what has been written.
He now asks a spectator to name the first figure that comes into
his mind. This done, the performer picks up the slate, turns it
round and in heavy white characters is seen the number which was
given by the spectator.
Requirements. A framed piece of white enamelled plate, about
seven inches by five inches, 'l'he appliance looks like a school slate.
Paint one side dead black and smoke the other side black with a
candle. Obtain a lump of chalk ; I advise a lump as the figure will
be fairly thick.
Method. Show the slate on both sides. Take the chalk and
pretend to write something on the smoked side of the slate, then
lay the slate aside. Now ask for a figure. This given, pick up the
slate and hold it in the right hand, fingers at front, thumb at back.
As in your patter you go over what has happened, write the number
with your thumb on the back of the slate. It only remains to turn
the slate round and show the number. As you have rubbed the
soot off with your thumb, the white enamel shows through and the
number shows up boldly.

THE GREEN RAY MYSTERY.

Effect. The clairvoyant goes out of the room. The performer
writes a chosen figure on a card ; this is dropped into an empty box
on the table. A coloured handkerchief is chosen from several of

18
varying colours, this is also dropped into the box. The performer
now has a card selected from a pack held behind his back. T he
pack is put into the box beside the handkerchief and the number
card. The box is closed and covered with a red handkerchief.
The performer now lays a pair of spectacles with green lenses, either
on top of the handkerchief covering the box, or on the table.
The clairvoyant enters, picks up the glasses and puts them on.
She then divines the chosen number, the coloured handkerchief and
then the chosen card, by looking-through the green spectacles.
Requirements. A small, shallow box, four silk handkerchiefs, a
short piece of pencil, a piece of blank card, an extra red handker
chief, a pack of cards, a pair of spectacles with metal lenses"
painted green.

Preparation. Place a pellet of wax on the inside centre of one

lens of the spectacles and put the spectacles in the right hand jacket
pocket.
Method. The clairvoyant gets her information as follows. The
figure on the card is conveyed by the table top (or the box) being
divided into nine imaginary squares, thus :
1 4 7
2 5 8
3 6 9
The spectacles are placed in that position which corresponds
with the required figure.
The colour of the chosen silk is coded by placing the short piece
of pencil on the table behind the box in one of the following
positions: Pencil point up, R E D . Point down, W H IT E . Hori
zontal, point to the right, B L U E . Pencil set at an angle, G R E E N .
The card is revealed in this way: Cards, shuffled and cut, are
placed in your hands behind your back, the top card having been
noted by the spectator. Facing front, you tear the index corner off
this card, slip the card to the centre of the pack and finger-palm
the torn corner: Here you arrive at the point where the pack is
placed in the box and the box covered with a handkerchief. The
hand goes to the pocket for the spectacles and presses the torn index
on to the waxed "lens. Setting the spectacles on top of the table

19
or on top of the box if there is roomcodes tlie number on the card.
The clairvoyant, when called into the room, proceeds as follows.
She looks at the position of the spectacles to get the number, then at
the pencil to get the colour of the handkerchief, and learns the
cards denomination as she puts on the spectacles.
Admittedly all known ideas, but built up to form a simple and
interesting thought-reading effect. The necessary quaint scientific
patter regarding the "Green R ay must be arranged by the per
former. The spectacles are opaque, but may have a tiny pin-hole.
The position (table) indicator is credited to Patric Playfair. The
torn index corner of card to Bruce Hurling.

AND SO TO BED.
Effect. A candle is seen burning in a candle-stick. A tube is
placed over the candle and when the tube is removed a small
banner with the above title is seen to have taken the place of the
candle.

Working. The diagrams explain matters. The cross bar with

the banner is turned down in line with the upright, then the hollow
candle is slipped over. It only remains to put the empty tube over
the candle, remove tube and candle together and so to bed !

20
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T R IC K S T H A T W O R K .
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