7. THE MIRROR PRINCIPLE
The use of a small mirror provides for some of the most striking of all mental effects. In the original form of this trick a small piece of thin mirror plate was fixed on the back of a pocketbook in such a way that it was concealed by a loose leather flap, which could be turned back at will (Fig. 10).
Facing a spectator, the performer gives him a sheet of paper, a pencil, and any flat object lying handy to serve as a writing support. He takes out his pocketbook, places a similar sheet of paper on it, and instructs the spectator to draw some simple object—ho1ding the paper in such a way that the performer cannot possibly see it. As the spectator does this, the performer pretends to be drawing something on his paper; when the spectator has finished his design, he says, “Now I want you to concentrate on your drawing. Close one eye and continue to look at it with the other. . . No, not that one”—and as he says this the performer holds his pocketbook in front of the spectators open eye (whichever one it chances to be) and thereby catches the reflection of the drawing in the mirror (Fig. 11). Stepping back a pace or two, he draws a copy of the design. Both drawings are then shown to the audience.
If the necessary interposition of the pocketbook is made in a casual, offhand manner, no suspicion will be aroused and the subsequent effect is startling. A small convex mirror is now generally used in place of the pocketbook, and the reflection is obtained when grasping the subject’s wrist to adjust the angle at which he holds a slate on which he has drawn a design. This action must be done casually and as if merely to make sure that there can be no suspicion of your being able to catch a direct glimpse of the drawing.
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