DEDICATED
- - -" '=
.~.
"-- -
"~ .~ -
~ho
dare
to
mindre~ders
those persons call themselves an~
.... ho
triumphantly enchant the .... arid ~'Ith their unique art.
AME m
CONT ENT S
CHAPTER
BLUE
RIBBO~
EFFECTS
.,
PROPHESY
o
AND A CENTRAL
THE COVERT TEAR VI I
TEAR ASD FEAD METHODS
71
VITI
THE YOUNG LID'IS
93
IX
p'tRA ~nD
POh'ER
102
x
S .~NS
TEMI tlETHODS
111
XI
PRE - TOR!,; MISSIVES
121
XII
SEALED
'~ESS.~GES
Xln
THE D.AY
OF THE
SIT - T ORES
139
I;';DEX DEDICATIO)l
133
153 III,
CREDITS
IV
"Th. p.,t
II but
t hl
bl, IElnin c
of I
blilnnLni, Ind al L thlt L. and h •• ben. II but
t he
tulU"ht of thl dl v n."
Thl
DLlcov.~y
of
t hl Yu tu t l
Hlthlr. CeO r&1 Willa
,
• You Should Know Sid Lorraine "
..
-• ..
.8p.lcl~n .
of 192!1 , 10U.~
a
.ut~or
!l"- "r lur , 1$ a t ourl a t "f h i . I I ...
C.n.<'tl~ .n~
vt.ll~d
pr oll ["Il I ~n!
hut spent "oft U1Unr, 1I.~ l o . t ~~t - .e~lnr..
[ a th e r t h an " IS In f n ~\.nd .n~ ~o
•
-
July Lo ~ [.!~e ,
•
•
Ib rr y
L .... l
and
Hutch\n"...
pubIt.h,"r of - The Conlu r e r "' Ch r onlcl .. ,"
Ind ollterl .
11 1\\ Go ld s t on ... de Sid an hono r ary . " .. be [ o f the '1 1,\0 Ci r cle of London . S i d a 100 "lOt. youne 118,Ie l a n { [ DO South Af r lc. who beea ... f.",cu o as Rob e rt H!H b tn. !hOI h ighlig ht of the t our t"o\: p l"'c ., .. hen Sid vislUd Ca"brldge . Hu e he "n U rtalned. t ~t Ca. br l d ,;e 11.0. 1< 108 CI~b an d ne t vlth Jo.hn Ga . b llng . entertaine r to Royal t y an d t he fl r lt .. aSlelan to dulEn and have built a Io.cldn, !lap .Iate In 181\1. Sid .. . . allo. Inv i ted t o. the " xciu.lv" C•• brldge " ' E l c club fo. r rnl"e r .lty .tudent. call e d MTtte Peottde" vhe r a I... OlH t he .ecuury of t~e dub, an ...... rlc.n nudent . " t . J.T . Gar t uI . flurln/,: I ~.b (ut , 'I t . Canus shoO/"d S I -! .. cleve r thg ll ~~l taRdln& aGve done .. I t h II folded ,cu.p o.f paper . ~I" .... v ery 'ap.uu,d an~ too~ detaIled nO t e. . T~ls .. o"e la t e r hec •• " kn o,"", allonglt _.o:lcl.no .1 'the cen t e r- t"a r! ' .l~o r effe r ed to ... (':-T. ~ r. Ca H uI tnforll.d Sid thlt he had l " a r n~d of i t fr OIl • ~·y •• n of BOlton , • lI'slc l ~n and poychlc Investlsator " ho h a d learned of It f ro." the .edlu... . Th" .. o. re SId tlloullht about the ao.at l na
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10. Bo ... y"~ and Joseph OVette of Toronto and the third letter .lcnt to ~nne.". nn "Ith "ho", Sid had bcen corresponding f<>r yft3n . <:!d of course kept a cory of the notes for hi. file s . These htte r ~ are th ... flu, no,e. on r~cord "nnen on the C-T prlncl"le ! In laU. yea~. when the 'e e nt .. r-tear' .. "thod becam~ the rage "Itll magicians wo
6 . Tlli~ i" sl10wn In fig . I. A .eeon!! letter " ent to ~ a ,~oll Jon~s ~nd app" ... r~d in ~Iagicl< on October 18, 1974. ~eep In "Ind tllat tll~." lett~r . . . ere "rltt~n some /,0 years after th~ ev~nt. ~ i d 118d forgotten 50 .... of t .. e fin~ deull. or that ~ol.<>d~ . , third I e Her "ent to Karl Putves for the Pallhearet'. ~ .. vle". tile Jin x, I had become {ntrl~ued ... Itll the c<>ntrooers)' the hlHO.y of th e r.ent~. - t e ~r ",ethod and llad been k~~pLng notu and a .klng questions 0" I coutd not ~elp "otlclrrs Sl~'. tellers. Throug~
.unoundln~
tn Jlnx 110. 710, f or Janua r y &th, 19100 , Annellann prInted ~n effect co[\tdbuted by Dunolnger titled , "Tn" S~eret.·· Thts w". " woddog of the center-tear prlnclph IIslne fiUh paper. The effec t was good ~ut the _"st tnte.estlng parts of the artIcle were Dunnlng .. r ' . and 'no,,=aon', C01:lmen t . ~bout the history of the center-tear .... thod ,.hlch "ere "oSt revealing. To ope." the effect, Dunnlnger .. rote, '\lhlle this effect has been sold under different n"De S ~od credited to U ""oy different people, no one as yet h as publl.lle~ the pre."nt"tlon ·Jhi~h I first u.ed 25 yeaa ag<>." That otate~ent "ta""o the .. ethod in the ha nds of tlunnlng
,
H ate .. ent (and >lC have evidenc e points to th .. th e r @ cor~ straight ~n d intrlsued Be the ~o.t .ald that Joseph Ovett ..
~.d .old tll • • ff,ct vll ... n,,"crlpt . "IOrIO OlIO ,.,n,,"crlpt thlt was ID.t snd alaDst (orlotten. to'8Q tt~n abDut It h~ ~Id not •• ntlDn It In his len.rl .
a.
1 I"H!. ~.,HattIV l.'un~htd an Intanll' liea r ch f(lr thlJ Oven" aanusc rlpt. I natted hy loo\
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In th. ~.Pt. IqJI. Vol. 10 Ho . 7 , I.,ue of the ~phLnx , a .~lter l "'"1
t Illed. '-\,!lImt "It?" by O"ette i The ad .
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JOS. OVETTE
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Many ,hank" for t he ~podo.l. .n . . ~tHoell t n •• tl .e on th. C.nter Tn•• , This ohould .e.t ,, ~t~ gr ... l .~prD~.l ""'0"8 the CENTER J[AR[RIST~i I know you will be pleued with th e enclo.ed OVetle • IOOn t h sgo 'lIl t Kort wrote uk In S If I Md :~e ""o ul e r! p, O".tt ~ had .old AI h., lIanted It for" !~~~~d ",h o w, s In.loua to obtain Il. 1 IIrote l1U~ ~hH 1 !l! not h.~. It [ or In .1 OVl tte Ite ,. . It 1111 no t _~:>: ,h••. But I~ .tart.d •• t .. lnkln& - I didn't lo..ep ::oc anr of Joe' ..... s. a. thlO, .... r. e1w.ys badly "rlttIOn ~bout
•
and "I"eogr.phed - Ind Uluilly copies of .o.eone ell"" •• terl ... l . lIut lenol/lnS th ... t I had chided hi. for ..... ketlng the thinS I hid .ent hi. fro .. [ngllnd I h It ,li re I .... "ld hive .. " , d . cOPJ. This stir ted a .. arch through a pi te of Ituff lucked t o be .orted , fll.d Or thro .. n ,"v.o.y .nd thert It .... ! I had forlottn the tltte he g.ye It but your ".ro~ fn.a the Sphl.u ad CIUled • ~hu"ltle for I h~d jU1 1 unea
Sld'l 192'1 no.e. AU Ihown In f11!.. 3. PIe •• , note t hlt a nnte nf h~"lng lent the latta .. to To .. (80"ylr), Ovett.'. ? '.!JAT I~ IT T ",anu.crlpt Io .hown Illghtly reduced In Fig. 4A, S a nd C. Note that (Iv.tle-' C-T h " •• d " A IIvl"" And dead test. Tha L-&-D tUt "' ... s lost popul.r In 19)1 dUG to the then fashionable Spl r ituallil rlllgion and t he ."dlu,.. , .nd .... glcl.nl ,.. de he.dllne_ ~hall.ngln8 and duplicating the ... dl",,', feat.. The '" . . .a. IISn,d, dated (Oct. 20, 1931) and nUlIbered 32A by Ovett.. . APPI ... ntly 12 copi.1 had been .old .l~.ady. The lotal nu.bar of cop I . . . . old la not kno .. n . Th .. • lnu.crLpt .... advertised only thr .. ~ tllle. In the Sphln~. on Sept., Oct .... nd Dec. of 193]. Thlt put~ th e •• n ... crlpt In the •• «}".Iv" cltegory .Ince .:>p ... ~entIJ onlJ • fe .. cop I . . . . are .nld In'" of .. hlch " ent over.e.s. It II quit~ ~vld""t thlt It . . . . . t t hla tl •• la 1931 th.t Ted
,
Tilt PURL()INED THOUGHT
p. ge. repre sent true first notes on record . . the center-tear ~ethod by LondoD 00 December
~.
......
~f
t~r.e
the
ootea were accompanied by .-:::::~;'O; :lded billet and ~e.e aen t Ton Bowyer and Joaeph Toronto and Ted ~nnenaon of ~
:
,
TilE PU RLOINED THOOGKT
,
Con. fo r lhe Ove l le .. n • . cdhd "IIlIAT IS IT?"
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THE PURLOINED THOUCHT
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. J.. t!:. \oro ~!11"" aU no" burolo" U,a ;>,rfor:lOr e . . . . loto th" • .:oko oo,.loa jro~ hit ~I"", roue o r e!!~ •. _l> ... reDtl~ tl:, '~Oh Deu 0, • er l·".. 1 I)~O", lor .. u~ .01., 10.0 ~,>elh cut . htU. l Or lUtor . t!:. cotl •• Hut .oG laU cc..;. 01 t!;o toud ;>UI"O . !.1~U1 ... ~OU'
••••••••••••.:'1ouo uOUI". the oo~loud )1 . . 0 c! ,~-", .. , ~Mch It lO .or'" at a '=3;>10 10 tho ~or1r.1t1! o! thU c!focUYC ta~t . . thCd. It .. Ill bl lo .. "e U h c .. U~= .. ; 10 u n ; ,,~, ~~d lor t l:t. reeloa bo1"l"0~d ,"r1tlo, .:t"r1~I' .,,: bl utd. ":.'b • • 1,.. . 1:O.. ~yer h I",><>n"o\. ~o lIo~ thet If•• 11.0 01 tho oa.lout c"l'la h b~H, lor tl:h un Iobout 2! " ~ hol>.I.) ~I. h 1=' .... OM,,!' lo r '"rIUc~ 000 or thort ~u.U,,". ~ . . . o 11I~1 Illoh . . the .,.c"foud er<> "~,,dd. aha . . YOO ;>OG~IlI , t06 , . . .d. \t:r or Ordl"".;, ,I: t o. 0... ordl~"; bos a: ~d~t: cto~u rQ=U h tho "rlor.. ~ .. · ' rlCht h,,,. \rou ..... )oekH. ~'lth 11 ~ll fO';IIIrQd to ~r . . oDt ? ? 'th~t II It ! !
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, UOT thll ~.Ul=IDtr;' hune,lo. hO lolcr"" ,ho b;>o.t~'or U,Qt 1>111 .ho~14 1014 MI "Tlt1"11 10 lI~lJ ooc. , t too 10 h~ lf "e:lo. SUpples e I.," ~coo. CI".'l" ~ol oJ.doe H~ • .,01 tho ,.rlor", • • r ~lIlekly cOllnu. "OnO,l\.', ttt~l" ~~" ~ltr.out" "~Oo"~ .~l~nc. o t tltl • • ;.ot:1 up to coethor "crt:' . ,., ... Urebl;· unlo: 10. n~~~ Iro,," Hrct .;.et~to.-. "o~ roo ;.~tI tho ~~o .. I "Un.\1co, ' l l I;O~t: tore ~ ... t.-u .. ' 10 11k. ,""n.c., o~o~~t th~t On. 01 th., 1. to14 ,0 ~'lt" ~ o~ ... o~ 0.,,0 doo~ .,~. t:· . ;orfo""". <:l~~;.""01~Orl: ~~.o tM. 1,"ot~tOT I, ~o~ '-I,no ho Iu UUlog. :'ho 10YOO b1l1~u hulo/l boo. " ,IUoo :od 10U.:4 . u>O ;> C.· louor \.ok •• no 01 tl.• "l1YlcS' bilhU I ..... <: t ~ .ct~tor ~O~ ~.k. 1>1, tl.. IIn1. onlti:1 of U,Q UrB Co". 71:1< 1L ;..::.t br·)l'.; tor cHoct . ;!o thlo. IG lull .01_, to~u thll blUet 10 : ~o.~o ploee. "Illct he do· ,0.1t. OD ,," .. Ill tr~;'. L.u I;act.l.tor I~ 1100 .I.. rc;,~to u ~lth IIrn • tb~ ·h~d· billa: 1>. lU:a.ill to=n It 10\0 • • hOo 1>0 40 .... ~Iee . . , toI>t h. , ft ~I. II ... to-~to~r·, t~: ... I t .0 U:~t U:o 000"' . 01 no bille, \.~10'Ii'"1I tho ~:.t "a~ . . 0.1 U,\f 1>I1IH to. Hoh ~~}h O'.'OT ·II~H: to 1I~t.••• p'l .. t:.o c=o ?,r, 01 t~.o blllDt. ':too "do:C" billot ot.ouH b, . of. "~tll ooU to l~". CI b1 tM& U .. ., tho .)"ct:t~ .. , I.:~o .000 ~o ,,~~, to,~. F""I~~I:, thot th01 do Got ~'-, <;.1 IIlIet. ,ttootloo~.:t ti •• bl'lo~la! ~I tl:. .. u n . Jotol •• • ,>00 ,'=plo billot /O",Isldo ~ott~d lIu) to {ally uC.,.U"O' Lo~ th~ ·'.~C· 0'''0 II tOrO fro .. r.,,"la~"r 01 ~1l1~t. \Ohl1. aD'" ,,~cutor 1& a~ttlo~ flte 1.0. the tOrO pleeo., n •• pnla.a., 10 ,1:.0 :H 01 CHUar: ht. .,:\ct.". I.IID 1>h ;>cebt. ,"lUI ,"h.ch to. 11"" " cll::r~t\o ItO J"U pl:c •• In hH ~~uUl. un{OH. n. "40~C· "" .. I ud ~~1 ... It. ~ .. 1~,1.t: It ~u ' . p.l,"'~. "lUI ..:Iet bo~ I t flo.!er U,., t.. rOLh I t ~. 1.0 th, clxa rctte.
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.... Ithy ~fI " Ydr" •• find '.gle ~ot;hull ... t, b~e ... " con,,~ro .. nt .. Ith tha center-tOlar . . thod .fter the rele ••• of the O,,"tt~.... "nd aun though th. p.lnclpl~ waS al ••• dy ~II known by .. s.all sroup of ... glc1400 who ...... Investigating tha .,dlu", like Dunnlnger, Joseph Rlnn , L,t.nd "y ... n of Bo.to~ (",hn .. ho"ed the oethod to GarruI) . nd Id Saker , the cen"er-tear principle 11 o wl y b"CiU'" th .. rase "It h .o-'"e •• ~Icla fll like Tad Arnold and Hanln Sunshine. But even then th. c.nt~r- t " .. r principle "'88 to ..... In very uC\ushe for "nother
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In a a"cond I~tter, Sid Lo . . ,lna afur .efr~.hln~ ~iI .".ory "'fote to "" t~'l h~ r.. ..... b"r~d th.t .. ft~[ r .. toa"ln~ fro. [n~land ~ • • • ked about. I1r. ",/" ... n fro. BOlton but n .. " ... did find out ..1,0 ~
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In .y [ .. aorel, I found out that he w." Dr . t.t.nd C. lIy.on """ pre,ldenl of t he Bo.ton nUMbly ~o . 9 o f til. ,oclcty of ~"~~Iean '1"lllcl~n. , D~ . Wym an wa~ I ftno ". gt~!." and a .. r10u" tUdent and Inv •• tlgate, or tilt Splrltuall.u and the ,..dlu •••
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It is curloua to nOt" tha t of the th [ " .. pt[.onl who rec.lv~d Sid'. l .. tto • • • bou t t h" C- T, only Ovett<'18 .. lu t[UI ulu.. . To. Bo"yer " •• , pro f ... llonal "glelan "orklng the night "POll wi th 1'[01" a nd illusion. and would net t~ln ~ of Insul tlns hll payi n g ludt"nen hv en t ertalnlng tho . . . lth • lerap of piper. But To. . . . . . b .. nd th .. trlek .nd would I . t .. r hey .. I r ude .",.kt"IIIg Ifte[ .eeln • • 'I.nultot ~et t Op doU •• by ti'l. us. of th.t one Ite • • Iono.
In H28 sn d 1929, T.. d Anne.ann wa s a bUlY 22-y •• • -old t.relto ~ of .yst.rl.... Thlo eln be . . . n by hi • • do 10 fl a. ~. ...n"".on', fl"t .d. In the Spllio • • pp •••• d In Sep t. of 1928 and wer e
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THOUGHT
I WON'T GIVE YOU YOUR MONEY BACK~ NO! ... .... _ .. .. _ _ ... _ _ ........ _ . . """,...,.,.,.T'Ot _L'~
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ANNEMANN
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Ah'KEIIANN ' S
1 928 SPHINX ADS
...... _.... -, .... .... __ . _. -.,........ =_ .. ,......----.',,"'_ ..... -......__-"""" ",."...... ..,.."'",.,..... ... '_L_.., .. <-<_M_ ," .'W" Are We Growing? And How!
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YOUR SECOND CHANCE TO WIN With ANNEMANl'I
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ANNE MANN - - - Waverly, N. Y. Nov, 1928
Oc t . 1928
"
Llnl. "o"d~~ that 'h~ t.tte~ "rltten to r.d by Sid Lor~.lne th. c.nter-tnr ".nt u"notlced. '1a,lc dealen al a rub up.~ate th.lr ... 11 Into two h,.pt. 'In, h •• p contalo. order • • nd
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get. pd.a .. tUntion "hlte the second henp \I uaporarlly Iheived un t i l there \I U" .. to paru.a H. It II pOlllbla that Ted .. ad It tuuodly and "lstoOk It for I ball~d billat telt that "n then ~.1r.ln8 the roun~ •• This Ult n.e::obled the center tear a. the .,edlu. took" balled blltet f roa the "riter, ."Itched It .nd then ,ore It to piece. . Ubelt , ... nne ... nn either did nOt receive t~e :atter o r toully for~ot about It u he did no. _.ntloned It In -!I history of the C-T. ~nn .. aann did not beeoa. avar .. of t~e ~yna.lc J>O •• lblllties "f ,-a C- T a .. thod until Ted ~rnold d .... onltr.ted It to hla. ~I .. ve~y sl;;lola" kno"., an effect ,Ieterlbed In print tlke. on II" .:togeth"~ dlffe~en t ~re •• ",h en tt to proper l y deeOnll
T[f! ~R'IOLD "SS ~ ""sle entku.l . . t "h o ue,ud to be ev~ry"'here nnd kne" "veryonl. lie "'.1 ~ ~ood f r Iend of DBI "'"rnon .nd lIartln Sunlhln .. , "nnea'nn, John lIorthe r n Hlllt.rd and 1'1[ •• Houdini and all the blS n . . . . o f the ",,&Ie ",odd. ~I can be lea" by the \,t[lu-up abOU t hili that appeared In th e Sphinx In 1I0v. 1932 (HS. 6) , 'Ie " •• .tIO all exeell"nt alnd r".der. Ted Hnold wa ' a live- wire with a ch" .... rul per.onellty . "nneaann It.ted that T,d Ar nQld cheered III .. up "hen he (~nne.ann) felt dl.courilled. Tad ~rnold lola' juat the one p.. uon who w""td be "o".r.ucit .. d- by the .... ~ln& C- T pr inciple and "'olltd In turn p." on till' .. xclte""nt to Anne ..
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:.c! ',nold lef t ._~
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flolJ G. Thayer', !>raul,!u] magic ahop in Lo. Angelo. , Cali_ fornia, has .0 long been ",tabli.hed as to lJ.e "'en Imown
throUihout the magienl world. In his own hewry, he has al·
wan .p.f magic books and for " numb.r of .;"ears edited "Tha~.r'. Magical Sulletin," one of tlle ben per""lical. of mngic '>'U published, The Iinge in Thayer'. Studio. with in complete equ ipment, i. the me"ling plne e for 1".,,,1 magi. ian •. (Sep t. 1'937)
1~~2 ... "re .\1", year • . Th" d~?ru.lon IU toll and . doll.r ... a. hard to cOn" by . perk thing. up ~ '>It for rn"l!lcian', Floyd Thay~ r launched f" .. ou. Trick of the 'Ionlh Club .,.lled T . ~ . ~. Tne first ~d for ~lub appeared In the June 19)] Sphin x . Hg . 7, ~nd was followed
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by B .econ d ,,~ . , ~1 8 . ~. for [Iv .. dollars In du .. ~, tn .. " .. ",b~,. ,. .. c .. tv~d 12 trick., one for each .. ontn of tn" 1~ar. Th~t placed the \>[1,,<,- M eacn trlc~ at 42 C<'-nt~. Sounds like ~ bargaIn and It wa ~ but only [or the chap that had the ! I v~ dollau to 'pare . So th <'- club r<'-Ilalned very ~ugust
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fourteen IIOnth. lote~. • ald. " "' lent 'mt . . ted •• ~o. l, NQ. 2 lind called "Nt Plus Ulua R."dln& Method , " ~Itr~ ~u g . 1932, contributed by "nnU/lnn. ~ reduced version of t ho '1IU. t • • 1>''''0 In fig. 9 , r~leu"
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The .ead •• tin app . ec lat e Jut \\0" "l~hly Ann''''nn "alued t~e leeret, "" ft.,tly, the rld, he 8've It .... lOott e~ceptlon .. l. "I t1t\ .. d It *~. rl'l8 rltr a! " Which to Latin for "nothing 'OCt beyond; the ntu, •• o r "ttlOlt point; plrhc t lon ! " ~n .. e •• nn ,pe~, • lot of tllought and had to uarch deep t o co •• up .. Ith the on:T lult.ble title for "hi' he conlldered 3."0 •• " Jec . e. ev",r! Secondly Anne."nn r efu!f.d to sell It hlaself tn genenl. "t pre f erred In. t e.~ to ~eep I t ".duII". fo r I • .,bea of the 'f,~ . on ly. red Ann"'IIlInn lUted In the ';e-Plus"Ultrs ,n o had dl.covI •• d It . lh" • ..... ~n errOneoul h.p r es~lon t~at Anne"a~~ had bu t It I. ob"lo"o t h.~ Ted ~[nold had aho .. ed It to hl-. ~nne.an" lIur eo rr ecad that nate.en! in Jin" ~o. 14. pege A9~.
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~ . . .e ,II ~nov, gentl ... ea , , Bood s .. c.et I, ha.d to ~eeF do,.,.. Thayer thought highly of effect .1,0 .. It .eceh·e! ... ny accoladn , so he Included It In , later cantosue under the title of "S.ok .. Ray." and credited to Anne.ann, Fig. 10 . Yet. tha .. eret .. Ul u,ulnad IIOlt uelullve until Anne"'.nn published It In Jinx So. 6 , in He.th o f IQ35, after .. hleh I t t[uL~ bee ...., pu blic property . IInfottun.t. lt fo r the ~entAlI.ts, 1I01t ~'8Idan. did not give I t toO auc" I.portan<,-e and b.!:on to ellpo,. ( t t o friends .nd audlenc .. s .
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No. 1321. "S moh Rays" {A NN E MANN) t po« • ,m,1I "". of p .... " " 1.1 ."'~ . . . . . . ',.,." " .. hd 'G .. ,," , ~. "j • • "". . . " .. <><1 . , «I."" H. ,1I.ft '~1~, ,~. "'p ... ,,", ,,,"" ,"d , "~'." ,.. ",. "',' ,m«, _"" " " .... " .. ~;. , .. " .mp" ~ . ..... , h,ld ~~,0Ml h;, ,.,,~ '" 1.11 " ... '" ,II ...... 1.0 10..
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young !lindr ea d e r In 1I <l .. ore beg.n t<:> a,laze ~e had had a po werful and moot unique " eapon. t~e ability to combIned the c-t princtple "ith hi. ~astery of anS"H questions for ht. .. ud lence.! lie liaS ··:i.o &u1 - Tne PrInce of Hptery~" tlogul "as mystifylne everyone "h o aaw hl~ Including the , ...dla hoy.. ~e "-,,. booked solid In U,e nightclub. of Baltl",or. ",It h long engage"ent! doing nothing bUl MOGUL hi. quenLon ~ns ~ erlng act da the C-T . a nd WQO soon In great de", .. nd . HI. Mme spread and hi. agent so on "., ,.,,.,, ,·.m booked hi. on a tour of the hlg cities. Fig . II In
1935,
audi~n"e..
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'108ul ,u" credited by m~glclan. a. havlns popu larize d the C-T ... thod of thought reading. He proved th at the ",.thod .. eano nothing to the lay aud i ences. ~e all~ln proved what h a d h een proved .,nny time' before . That "'1enUlst "Ith .. s ccap of paper can .,a lc ~ ~ deepu IIlIp r es5ion on the .. Ind t ha n a ", a glel an with lin e xpensIve IllusIon box . In Ne w York City, he altaln baffled everyone. The sop h is t Ic at ed "edla boys ~ere a t a los. to exp laln his ~ct . They ~ne " ab out th e trlck:.ery In the "Indr~ ,.d euart but '!ogul W~ ~ of II different breed , trall-bl a zins a ne " technique. No two-person cod.s for l10gul o r ..... sy clipboards or the ,eallng "nd coll e cting of envelopel. turythlng wa s di r ect and to the point ·"I t h no fuss o r bo th e,. Th e audienCe! r ece iv e d str a ight ans ... . . dire ctly .
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The N.. " Y<>~k preu for '1"y 9 t h, youthful .. indte~der :
1936 uld of the .uave And
"There 1. nothing va3ue to Mo ;:u l- 8 "n,,"et s . You just .. rite out s questlon ~nd b urn It, and then. ,,!th disturbing &ccur a c y be ulls you your que . tlon and an."er~ It." "It"s the uncanny accuracy an~ deull of hi . a08"ero that ukes you wooder "hether yo u have 1mblbed too =a ny beer •. "
Please note (hat nO ",ention to .. ad e of the billet. f ir st be ing torn to pleceo before b urning the... Thl.'l Is "" .. ethl n g· that th e Hudent . hould alw"y' re .. er:tber . The pked for l~ ""e~ . at t he ~elo' York ParQ~o"nt, presentln~ MI. a!
•
•
A mos t na t ural pd. 118ny gave the niCK out to thulr audiences as t h
publiC
The readQr 1. cautioned not to ~e dismayed by expo .u r e a of .. Induader". art In the pre... The e"posen an d the peoph ~hQ read thel< <... bHngs and take thea u_doully are a very .rull a lnorlty ~nd to the tru .. ~ ho"", . n are In.lgnlflcant. The theatu patron "anta to be entert a ined 3nd care. ltttle ho" you do it. E"po.er. are prt~8dly party-poopers In general, and are not populor "Ith audience • • They loo~ ridiculous "hen on stage. LUte the voice In the wndern .. ".. fe" pay attention to the .. . Audiences love a . ystery and do not wi sh to b" disillusioned No ."ou n t of ex po.ure Can hurt the true .ho" .. an. The Arnadng Joseph DunnlDger proved that point wh en he publicly exposed hi. 0"0 ",ethod and t~en went on to baffle the "odd aod dl.b to the very top ?f the entertalnr:tcn t ladder. I)". Henry Slade Who W~ 5 the nost expose.d ",edlu," 100 year. ago received world fal:\l~ and stood before cro"ned heads with his cagl~. Uri G~ller contlnue. to entertain huge audIences and alOU. fortun ~" "lth his ",uch e"'posed "'aEic, so"ethl"g that no exposer ev~r hopes to do Billle Dunnlnger told this Buthor, "~a"y can play your fiddle but 00 one can play It Uke you!·' It Is up to the indlvldua1 to 1:lake hls lIa rk OD the \lorld wIth his olin personality and charls1ilB . The role of the "lndre~der 15 .pellblndlng. I t enchantS both "dulU and chIldren. The world .. arvel. at the art, glaIRour and .y. tery th~t surround. the t1lndreader . If they suspect trickery, they then .. anel ~t the cleve,. cunning, audaCity, sho"",anshlp and hi. pseudo-miracles. th e
I'on duw1nc of JOSeph Dunnlnger by artls~ Ror.aH Cl yno (195S) fro", tho AI(E oOllection
,
20
• CHICAGO AFTER DA RK '
CHICAGO 'S .ACE NIGH T-SP . OT MAG AZIN E
YAW N PATROL by Golly rlJr'~
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Of all the ~~tl!IHltlC!!t In the 1I8gtc ""rld that pop"l~ rlz~d the e-T lIethod , only one o f < ~~o
Sun.~lne had a very strong an~ convincing argulOent Knd could and did convln~e .oae " ell (nfor,.~d M81~l"ns . !lut udly he never could convince the dght peopl~. ~e thoroughly convtnced J.e. Tho.p~on, Je , prollft~ "agt~ .. l "rlter and creater and lifelong lIasl~ enthuiast. In his e~~ellEnt b90kl~t, "Cenler.entRl,·· (Fig. 13) rhoopson stated ; he re.e"bers ~learly the da y way back in the thirties, "hen l\e was toying .. ith a ptece of newspaper and CE ~T Eln I El'."r: \ L gradu al ly reducing It to bit • In an absenl-.lnded fashIon. At J G TIIO~H'SO~, h last he looked down Rnd [otlnd [hat only a •• all squar" "as l.ft ,., a small folded square that opened up, hoo/ever. and 00 the Inside "'a ' ~ : .. rge number 8ppa<~otly fro .. II fairly .Izeab l e adverl1ae .e nt. Such a big .ur f ace fro ll .ueh a tiny squau. tf only that could b ~ used, thought our hero. Then oalOe the da wning and the lorn center p rlnclph "a s born In the mind of Hartin Sunsh.lne." If Hartin sun.hlne did dl.cover the CoT Principle on hi. 0"", h8 o/sa ao re than ten yea r 5 tOO la t "- .Ince the CoT " ...... "'-"-, Ed wao knoo/n In the early 1920'. and perhaps before tnat as stated by Ounnlnger and e , L. Boa rde. Fig . 13
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tne Ovelte Ilanuscrlpt on the C-T wa s also out in 1931. Sunshine could never ~atlvlnce .1.1 Bake r IIno suted in hl~ hook "AI Saker'. t\ental llagic" 00 page 10,
~lIh08" 10",,101,1. br.ln It .... th.t devls,d th .. st ... lln, of the eentl. portion of • fol~ed _U'BI dip, In th .. acl of turin, It to ptec •• , Is not kllo\ln .nd prob.bl, .... v .. r .. Ul be ko .... o. It ue .. s to b, ,la .. ll ceruln t h.t •• dlu" and profe .. lonal .Indre.d.,r, uled thll .uhtl. proeeed"re lone before It bee,a., kno\ln to "llcl ... o. The ueret \III reve.led to the .. dltor of , ' . l l e publication by Sunlhlne, the \1.,11 kno\ln aenuLl. t ." In ~uguH of 19J1, the .d .ho .. n In FII. 14 n.. Gn-.. - . - ... ~ . ..... I.'-" appured In the Sphln.. ~l B.ker .nd ".rtin Sunlhlne te .... d up .nd opIned the Bro.d,. . y ".,lc: Shop . .4.1 The Broadway Ma!Jic Shop aaker .nd Sunsblne ",re vI.y close fri .. nd. often dinti'll togetber vlth their fnilies. tile IIrnad\la, 1I"le Shop st.yed In buslo,.. ror th r ee , .. , r s .. h .. n I t VI. lold It t he end of ]933. U B.ker "as very knO\lhdsable In b i l l e t work and the uc r eto of t he .edlu., and " •• " t he eontua.ate" I.gle ~--.hl.torl"n! If Hartin THE BROADWAY MAGIC Sunsllin .. had Ind •• d Invlntad ' ' ' ' - <- ....... - " - - - tbl C- T aethod, ~I Saker .~----would .urel, lIav. ko.,n It.
RAKER AND SUNSHINE
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1ft anll event, SIInlhlne'. elala of having Invlnted the C-T did .pp~ar tn pdnt until Ed H.lIon publ1.hed the und.ted al.
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,, 111 be "Un, U B.ker ~n . .. of the C- T principii 10nR t he Ovette ... nulcrtpt elII" OU t and he had lea r nld of Il .nolher .ource . hrlr In 1975. 1 .po~. to AI Flo . . o and H told at: that :In Sunshine Il .nd now Hvln& In Thre .. Lak .... IIllcon,lo . • trllKht .\I.Y \l r oU .. lett'. to H.nln Sunshine .nd to ar .r,.t ell. he ...... ered It. Tble letter I . Iho\ln to fiB. IS.
\Ill, ....
23
PU~LOIN£D THO UGHT
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Please note that In the letter Sun.hln.. Ha t u th a t ~~ . howed the C-T to Dunnlnger ! I then wrote & ~econd letter to Sun.hlne dated 5/31/75 and asked hi. about the ~nnellann _tate .. .,n t In Jinx No. 74 where ~nnell a nn stat ed thst Sunsh i ne had told hI .. that he (Sunshine) had lea rn ed t he C-T fro~ Dunnlnl:~ r. I received 110 r\Oply t<> .. y s\Ocond letter bu t ~artln Sunshine then ,,~de a trip to New ~ork City and vllited ~ Ith Pr o Morrl. ~ . Young 11.0 . . .h<> Is a lIaglc Author, e n thUllast and hl . tortan and with wholl w.. l1 know n Dr . Young questioned Su n shine I wa. co r re.pondlng at the tllle . nnd se n t ... the t wo htte r . 9hololn tn Figs . 16 a nd 17. ~ote that the detalh .. nd dates of Sunshine's story keep ch a nging.
In 1923 , PUnnlnger, Joseph Rlnn and Joseph 1 I , ,oag . fer August, 1923 . The r ... wad wBS never collected and challenged only t " ic e but it p r oved that thue Olen of t he psychic co ... t t t ee kne .. just about .... erything there " a l to kno w about the .edlu.'s buslne., plus "any trick s of thdr Oll n . IIhlle vl.ltlng with AI Flosoo on Jan u ary 3, 1975, I . . ~ad flosso .. bout th e C- T pelncipl e . He said , -The C-T was v\O r y Fuhr a r ound Ne w York In 1925 . Count Orloff . t he sleight of .... ~ e~p e rt, .... . a gre a t e xponent of the C- T . He had nu .. erou. _t.iona a nd outo for pr esenting It." On January 25, 197~, a lIonth a n d a half hefore Ounnlnger ad , I vl$lted hI. ho .. ~ . H~ was ve r y 111. I just as k ed hi .. one otlon a bout t he tl .. e t hat RiDn a nd he wer e ch a ll e nging th~ lUllS through th .. Science and Invention .... ga.lne In 1923 and rher they knew the C- T lI"thod then . He answer .. d, "~e . ! of ___ ae, everybody kn e w tt!And he f urth er saId that he did not " "' ho Inve n ted it a n d t h ought th a t no h ody kne w. By _rybody' kno wing the C- T, he lIeant the cl r cl~ of lIediuu I!n~ cians who we re Inve.tigatlng the OIe dlu •••
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'll "f .II~I~ cI.I •• "r .""."ne 11•• 1'1' invenud til. C-T In to" 1930', O~ tile 1920', ."und. ",,"t ddtculo ... Vll@D ... ~"n'irl~r tlla: n" hI. an authotlt, thin C.l.. ~o.~de. the .uth"r "r "'.Inl, l'Ientli' V"L. I, 00 blllet • • "lIted to . , In lin lntervle .. on flet. 3, 1981? th.t he I
Kililard . author of GreatOlr .. Ith II.vlng f1rlt '(nolilldS I Ment&lhts lind bill't worker. .. ere c8lh_d -11.dlu ... • In the of It. heyday of splrltuall, •• lI~dlulIl
pdnc:lple ""I ... t1 «no .. n In Europe In 192L of luly llao d"lnl Il. HU. r burnlnll til. torn bIllet, ~apelll turned hi. back., ulld tile c .. nt~r piece and .. rota tha ~ord on hi. f"reare ~Ith I lI.t '''IIP penCil, then turned •• "und and rubbed t~. ashes "a his Ira for thR r~veldltl"n. , rellable ru.or re.ched the A'IE office to tha fact that. 1I.L1 k.nown ..... t1c dealer-auth"r of 1.<>odon h.d knolln lin "I~ "Slclln IIho k.ne., of tile C-T In 190~ ! It h curl"us t" noU th.t the principle never app •• r.d In print In pny .agl~ pub-Itc~t!"n, to "Ut knowledge , 'IOt!! SId t'''tr.lna put It to writing .nd Jos.ph Ovett" !lol~ the •• nulcrl·pt. Tile
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'ole "Ill never k.n"~ Jult 110 ..... ny year. th~ C-T uthod II .. • round befora It appeared In print. Be rt Rees. kn ... or It It,,"nd 1~24 and probably urller. Runnlnger II IIs."cl.ted IIlth i t In 191~! Chllrle. foster lind "ther billet ~(}r~ers eay h.ve kn"wn It -but ... h.ve no evlde .. c. "f thl •. Yet ! - lie c.n . . . lIy rel.u IIlth th. nedlu .. s 'Iavlnr, !lUt kn,,"led~e of the C-T principle .I .. ply becaule tile eedlue. lIer. challenged ... n, tt.e. to reId •• Il.d ••••• g.,. under I.po •• lhll c"ndltl"os. Dur i ng the h.,dIY "r .plrltu.II.1 and tha 'e'.lge u.~lng ledl .... , th@lr ellen .. plly.d , ..... IIlth the • • nd ch.llen,ed the e"dl ... , ." divine th'lr l.borlously sealed le •• lge . . . Ithout "p"Rlng the envelop ••• Th. IIrlter. sealed their .e"'SI. IIlth 1'~lLn8 W,K, .. Ith t hread an~ b. . . lIaK; IIlth .. Ire thr~.d and tven lenlad the .. e.uges beu"'n ne,l platel a nd soldered thea. Thea. , 1 .. lvas were hft lIittl the ..,diu., over night ~nd .o .. etlan ror lIeell. The writers " e r . 11,11 utlsfled If the ... dlu. coul~ devloe the IIrllten .. u.age and ,tve dlr,ct an.~er. and return the ... Ied .llIlye without leaving any clue u to h" .. he did It. lt II •• the .port or the d.y. Splrltuell . . . . . . fashionable lind ,0e,tLe,. the nnl, plstlet In tOlln. ~ IO"d ... dlu. nev.r p a lled up • chlUenge. In con.aquenee tile •• dlu,., d.~eL"ped In advaRc,~ and 10phlaU<,ated art f"r flndln& "ut the .ecretly .. tltten ••••• g • • nd for opening sealed ""Iae • • nd .a ••• lIn, the. vlth"ut IIlvln, a clue.
30
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The ave,age s""l~d "nv" l op~ "RS treated "ith a tr~n 5pa,enoy "'''thad by the use of alcohol Or 11ghl. ~ u al erl envelope .. ith ... slople wax 8eal 1<"8 easily h~ndled U shown In Fig. 20. Th .. .... a.age paper "& ~ extracted through a 'flail opening and then upl&""rl and th .. • "all op .. nntn g resealed. %OI"tl,.eo the " ... ~ seal had to be ... ~oved .. tth a .harp ;,ot knife and then replaced, ~n env~ lop e s"81ed wi tit thread and beel' wa. or wIre was $I.ply destroyed In front of the oltter In the pretence that It w.o.. no longer needed Or that a test by fl ... had to be " ade.
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the proce •• of dest royin g the enveLope by t .. aring It to the .. edlu," .. anaged to hold bnck a piece and elt .. ps,,- a word "' t wo. That Is all the ''''''rt .... diu .. needed. Once he 11,,1".d " '01 .... holv" .I"ply by tearing the envelope In h"lf around t he d •• I"e 8n~ then te~r!n8 It again lind holding bac~ the piece that contaIned th" folded paper. tig . 21 ~iece.
bettH way tc put a "e~sage th~ough th~ flc~ test than ;,;..;:"~ u.ed of th~ ft<~ place and the fI ~e- pl"ce tong~l fig. 22 • 8 Set of locgs that He . . peclally gl""iclt ed fo< the lIedtu ... .. contain twO fectangul~r piece. of ~eta l at the ~
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If the envelope .. ". sealed at til• •edlu. ~oul" tell by feallna or by holding It up to • \!~ht just about where to plnell th., ,,,,,,tope . It I. & weI! I~~,
Fig. B
THE SL~CK B~G; Th. top udluu alw,y' kept a blael< fell b.S h.ndy. IIlth It they could pedorl •• ny Ilr.cleo. It w•• ued for .wltchlns .rtlcl ... Ilk • • IIrl't ~atch Or • •e •• ,s" that eay h,"'e bun . . ,l.d 111 " TI~ CA~ OR SOLDtRED BElIIEEI! IIETAL PLAT[S! Tlte b.g " • • • 1,11 •• to the ."Iclan-. cltanSlns b.S. It hid one pOcket Into which. du •• y obJ.ct pl.ced .nd had • • • "ond pock.t that .. as botto.le ••. ~nythlnl placed Into the botto.lt •• pocket WQuid fall on th .. fledlu.-, lap. The blS wu so.,lI.es dlsguls .. d at juSt. piece of black felt but on. thot h.d -eCta l peck.tl. To divine difficult .e . . . ,,,. like OU ,,"ied between .eu\ pl~u., tbe ... dlu .. proceeded •• folio ... : Into th" pock.t of the felt bas, the •• dlu . . . . cr.tly pl~ced an object of the ".'1 .11''1 .. the sealed . . . . . g .. , '.Y for . xa.ple • • etal cigar rete ea.e. Tltll obj.Ct " ould nev.r be I .. en '0 It •• da I I t t l . dlffeutlce .. h.t It looked lilt ... 0011 lu bulk would h. hlt. Under the pretext that the !eeled ••••• ~ • • hould be l.ol.tJl.d In total darkn ... I, It 1I0a ta~en fro. the litter ~nd o~ .. nly Inllrted Into t ... bag. The .. tause fell on tha .edlu.-, h~ .. nd the b., ..as roted Into a bundl • • r oun d tt•• ell.reta c.s. ,nd then lock.d loto • • • • 11 eh •• t ~h.t re •• tn.d In light on the t.ble. The sltur .... nOOe tbe wl •• r Ind tb .. wh ole thins appe.red nor •• I. The ".dlu. lIolild then tllk .bout ralilion or .y.tlel,. for. while. The •• dlull ... . ,lw,y. In fun cO""'and of the .Ituatlon "nd the .1tur. He would dlvln~ the musage and gl"e Bn In5~er In his own ,ood til" and .. htn hI .... ,ood .nd r"ady .od not " ..,co06 .<>oner. SOlletl ••• It took houn. In oDe c ••• Chlrln Foster look
10••
12
th .. "hol e nfternoon t o Illve ..
a.
In January 1921 , The toole IIrothen Store, devoad to oentroll ... Bffecto , Harted ad ve
iH[ PL ..oIIlED THOOGIIT
Pooles Patented Professional Products
POOlE BROTHERS STORE, 19B3 B!Oa~wal, New Yor~, N, y" "Golumbus 4935"
•
"
,
•• •
", (i.e 72c'~JtJtIl co~ect4-
~fte~
t ...",,.
""CO • ., •• " "''' '''' '" «.
'''m ,.....
, ... [\na up tile hlll.nl ~nd d l lpo.lnll of t he pieces by bu rn! "/:, the 'pa"t,tor Cln plainly lee thet the oper.tor ha. Itolen nothing u hll hand. Ihow •• pty , yet! The jI_yehle [e.der II In po . . . slon of the wrItten thoughtl! Thl. ,Ulhod utlliz •• an up - daud veulo" of .tolen clntlt hold out "~lcl1 "I' pubHlhed In the Tlrbell cour ... 110. 5, c.lled 'M •••• " In til. Fl ..... ,' Th .. hold out ts an Innocent .pp ••• \ng Dole pad table, that . . . . u re . 6 by 9 Inch •• and could be e bit I •• ller If d •• lred. TIll .. cond PI'" down the ,ebl .. , II .. tWO '1,11 plec •• or double ,Ided Icoteh l.pe . . _hown In Fil. 25. IIhen the top pat' I . . . . Ioved, the prep. rood page I • • ~po •• d.
""
or
F iq.
25
o o
TilE Pll£SENTATION: SltUn, at .. tabh IC[O" fro. the si tt er tha PI,,,hi" Reeda r pr opoa . . . test In thouK.ht tren,ferene" and Uar. off the tOP p.ga of the ubiet and f["o" It t.erl out two pleee. of p'p"r eppro~ieaul, l Inehel Sn., of tha pleee' of ,c(>teh upe '0 tll a t the folded tOrn Cent .. ,. la attached to the upe. Holding til .. tabl .. t In hit hend like a trl1 tha ,J Read .. r covera the other piece of ,cotcll -'-'-<'..!==~ J till" with III, thuab to a"old t hl IltHr '~(>ltlng It .nd u'", the altter to drop all hi' pieci. (>B t(>p of th. oth~r FI,. 16
____
J6
,•
,,
Relde. DO" p&n"~1 .bou~ ,,"ychlc p'henOI'''' and loe .. of of the past as III lIelV" th~ tOfn pL.,etl about wltll " pencil lind then drop. all the plletl into .. fire bowl .. heu. the plecu a u conlu .."d. Th ... Plychlc Reid .. t h en proceed, t o aad the thought. and divine th,. n .... and .I~ • • r eldlng on It and then picking up • Illte the Re.d ...
nh
hau
by the .ltUrl
rh .. lol .. tlon 11 qui t e ob~loul and the "orkin, of It IOU \/!"oIl • ..,vln, til'" ptec •• about til .. top of the tlblet with t~ .. ".I.er end at • pe"cll, I. It '" held ll~ .... tray , the 11 ,.. 4". c.~ Ipot t il .. fol40d " .. nur of the •• tond tOrn billet and •• ne\lve.1 It to the of upol"d scotch up .. and pre ..... down. bit on Lt. The t ... o torn ".nun au now In'chld to the twO piece. of scotch up e as th .. Reeder BOU to his ttre bo .. l .. hldl Ihould he hu.nln~ Ind dUllPI all the loon plec". Into It In II "' .Y that only t h e baok of the b,ne pod Iho " . to the fltte.. The tuder then u..,. 'he pad to .crlbble I.pre.slo n l on It, opening "I' the folded centeu ODd le ll .nlnl the aec r et thoulhU. The d.o.otlc revelation.
"'J.
pi''''
{DUO ...
The 1I111.lon II perfllct. The litter .. lll rl.eab"r and tell othero thlt hilihe tore up the bllle .. to plecla. The I l tt,H aees the leider', e",pty hindi Ind uea the pllcl, of piper drop Into thll fire bo .. l. Uter t he reader lakeo e fa ..... rk, on the note pod he tearl off the top Iheet and dloce r d. that Into the fI
Th" \'e r noo tlblet hold out lI.ed In the .bovi ,II, II Ig"ln III,d here. but only one "I"ce o! 4gub\e - llded .cOtch tape I, needed .. hlch I, attSched to t"e center o f the .. cond pa::e f r ol '''e top. ~1I0 IIlIed II a forcing book thKt co n teln. onlv one pig" repeated th r oughout th" boo~. Th •• ~ book. Ire Ivallb_le. The oper8to r Ihoul~ .elo~t ... ~..,@ O r ot ten ,",ord. on both pe~e. or prepa.. • pro .. ~ter.
THF. P'l~St<;T'T10": TIl" '\.en till I t toU.. about tile ( U t i of thl ."oul "Izer
and I. tol~ to In.e~t ~ ca~d into any part of ttle boo~. Another person, p~efe~ably ~ child, is uked to callout a nu .. ber [~o" 5 to 10 and the peroon holding the book is told to note that wo~d on the top line of hi. chosen page . (Note: The opeutor lI.ay allow the person to choose the 100ft han~ .I~e page o~ the right Or he aay just tell the person to concentran on the left hand pag .. or whatever. lI"t the operator lIust of couru keep t~ack of wh.t page the person I .. reading.) ~ent&list takeo back the clo .. d book and give. th1 . per l on a piece of paper to 'Hlte hi. chosen wor~ on and to fold It and keep i t . ~ third person Is then approached on the left of the audience and he Is told to open the book to ~ny page and ' While hi. eye. aa closed he I. to pa •• hi. finger tl~ over the page and stop and 'hen open hl$ eyes and note what wo~d he has stopped by chance. (thi s person 1. treated ~Ith apeel.l CUe. lie given a neatly ,"tee folded pape~ "Ith a line dn.wn on center.) The '1entall't ,~ke$ bac~ the closed book snd ~Ivea th I ~ person an opened prefol~~~ paper and ,ol~ to write down his word on the lin. and to ~efo1:l ,he paper . "lentallst place. the boo~ on hl~ tllble snd plt'l.3 up t he hold-out tablet ~nd approcshe. th .. third spectator on the left of the audience. lientRIlst uk. for the folded paper and then tell. the other tliO persons to tear their papers up as he 10 doing. Hentalt.t plRce~ t~e torn piece. on hi. tablet that h~ hold. 11k.., The other two per"on. 3re asKed to dUllp their pieces on a tray. the tablat a\oo and the '1entallst dumpJ all the piece. Into th .. [Ire bowl which he ... ts on flte. Again the lIethod h quite obvious. The tientsl1$t dready know. what the flrot "or~ on the page 10 and ,,180 wh~t the second word noted to a s he ha s l!Iellorlud th~ first Une 0[ the bool<. ~.., only n,,~d. to kno" the third IIo:d noted and thl$ h~ gets via the folded center piece of paper that re .. alned ~tt .. ched to the hold-out pad! The Mentalill uses the paper pad to jOt dOlln notea and then reve~ls all three IIord s !
",,
",
en~i.u
til;
'7~a.4-4 (
-
In lOhi. effect. three penon. fro lO the audi e nce app3~entty have .. f~ee and secret choice of any IIord In a newspape r . ~nd a ll szingly the Mentalist C3re.• little of what word Is noted! EFFECT: Three pieces of nellsprlnt froIO. the local ne ll .paper and pas.ed out audience t o three peuon s . The ""dlence choo'~$ any Une of print and any IIord on The Mentalist dou not knOll the line or chosen, yet divine. lilt three .. ord$.
are torn lnto the 88cretly the tine. the "ord
'1ETIIOD: Unknown to the audience all t hree per s ons choose the use word ! A locsl ne .. spaper is prepared before the show so that I t contains three pages all alik e . In presenting the effect, thO! ~entall.t te"u ou t a plec" of n .... spaper frot! th ..
Fig.
27
State
01 Ne
.........
•.•a.'....... ,~.
• Fill' 27
thr ee duplicate pag~. 00 t hat he "nd s up .. Ith three pieces of ne " .prlnt all containing the ' . " e articl e . This 1& all don e In one tearing .. ove. One of the plecn Is ,hown In Fig. VA.. He then passes out the three piece. of newspaper Into the audience, each piece going to thrCe wI dely 'eparated sections of the audience . ~. uch piece I s given out, the ~ent.llst pointo to tho n"" . "rarticle to be used. The "udl ence Is not a"are thut the. tt>r~e plec~. ~ll read " lilte. A fourth person i" no .. a s k e d to "ecretly .. rlu do"n a nu .. ber fro .. 1 to 7 "nd then to show I t t o the three per s ons "no hold the ptece. of ne"'papH. They ar e then told to concentrate on that one Hne of print reading (ro", the top of the Urst paragraph down. Th~ flr.t line of the fl~.t par.craph becomes line No . 1, etc. ~nother peroon to as 1
All three pHsons s hould be reading the sa .. e " ord. fig. 27A repr ... "nU the torn out article. AI e a oh pl"ce I. given out. the Mentalist tears out or Cut. out with ."I"or5, the top po~tlon ""IIIovlng the he adline .. hleh in this ca.e reads, -U.S Fottlgn Funds Rede ... • Thl. action etl .. tnate. the dBnller of confusIon and leaves only t he pa ragraph that . tart s .. Ith "\I8Ol>logton." Each of the three persons I. theD as lted t<> wrIte down their .. ord on a pi e ce of paper which to then folded twIce. The l1enullst ulte. one of tbe pIece. fro .. ~nyone of the three peroon. and teU. the other two person. to please tear up tbelr papen to tiny piec es "hile the Henull51 t~8rs up the one he hold • . Hl the piece. are then "olle"terl on th e Vernon hold-out table, and are dUilped Into t he ftre bow\. Opening the folded cen t er that Is r@uined the '{enuliot gl1 .. p.el one "ord and that Is all he need •. The '\ent"lIst Infon.. the audience th.t the tUt Is a 1I.0st difficult one . He re .. lnd~ the .. that /'te hal no way of ~no .. ing .. hat line of print has been ,,/'to.en or .. hat word on the line . but through the art of thought reading he .. Ill try to a~cerUin the three chosen word.. He ,ul<. for oOOperallon ~nd ollenee as t he test proceed • . He then pretend. to read the tho"ght~ a nd fl r .t cBll. out twO other "ord., any [,,0 other word. fro," the artIcl e and then finally cal to out the one .. o rd "gIve," whic h convinces al l th3t /'t" ha s divIned the three different ·~ ord$~ .0.$ an e X8"ple, let', say that the "hosen
belonged
to the
othe~
two per.ool .
IIOTE, Fig. 27B ohow. the back of (he torn o~t pieces . ·""Ile praparlng the naw.paper for the Ihow , the Henulin choola. an arllch that ha. In Id on tha baclt. Thlt Insura. thlt the eorract art lela .. Ill ba u .. d In the talt. Tha 'lantalllt Iho lequllntl hlelalf .. ilh tha news Irtlcla that I, to be uaed. Plel,e nOte thlt line 110. 8 In th e artlele II VI.Y Ilion .nd eln nOt be us.d for the t~'l, that II why tha '1entalll! .. k. for I nu.be r frol one to leven f o~ ehOOllng thl line. Th. above effect, "Ch.ln of Tnought" wa. !I"l I>ubltah.~ In two . . nu.crlpts, Six Coluenl Ind Of 1I0rds lind \'/I~ardl In .. hleh three boo k . ,II IHlte but .. \th d l ffar.nt Jlc~et. w,ra u.ed !
liold-outl fo r the torn eenter aff,ct ~re few but .11 you aetuilly need I. one good ana. T~e D.I \',rnon tabht hold-out nad In above efflet. I. one of the be.t Iince It leave. the pe~for.e r- . handl e.pty Ind unencu .. bered. ~ . I . u II also lIood tQ uoe In place o f the tablet In thou e . . . . whe~1 you Intend to Ule • • IIU In the prelenUtlon. ~ bool: .In na used In like alnner In" '0 .In yo u. leereta ry- type ... Ilet. Ul you naed \I a ••• 11 piece of double-I tick .cot.h tape . n,e ... llat Is handlad In the open po.ltlon and the to r n billau a . e droppad over the p.per p.d of th' WIllet.. Than the papar pld in tha ".llet II uoed for Jotting down notei. l1~TCH-BOOI: ~OLD-OllT: ~h.t c.n be .He Innocent looking tha n • tle.n aln trlY with, book of •• tche. re.tlng III it? So yo .. t.ar up the . . . . . Be billet lind then pllc. the "ad of p.pen O"tr tha .Itch boo~ .. h.ee the folded canter piece baeo ••• att.ched to the uriI' of Icotc h tap. you plsced on the cover of t he book of .atchel. Hter 10'" patt.r you turn ov.r the book of ",atChll and pick It up , pal. the FC piece ~nd op.n the latc~-boo~, tIl:. a a.teh mild burn the papers In the ash tray! I 11 ... y. I:aep • • • n of ltghtar fluid clo.e by Ind pl.ca a •• a11 .. ad of .otton In a deal' fire bo .. !. Then 1 Iprlnkle th" cotton with the flUid, throw tile papa .. In and ot rlk e the ... tch. That .al: •• for a hat and fl •• hy flu.
H.-I.TCH ST 1 el( AOLD-O~T' Till. " I variation of the effact titled "GUt Fold," by A. P. ~f.ha. which appelrad In the Phoenix So. 104. In the •• h tr.y He tWO I:ltchen .. oode" ..... t.hel. One of the IIMtch Hlckl h .. been preplred .. Ith I ••• 11 gob of blue tack Or .aglcla,, ' . . . I" or double-Ilded scoteh upe on th e wooden "n d. During the .Iltlng, the Iltt,r Is •• ked to "ri te I thought On It piece of paper th.t the p.ychlc then de'troys by tearing the p.per to bltl durin! the roullna ritual. The p.per. are thro .. n into the .Ih t .. V. The p.ychlc thin pld
both together fire up the tOrn p{e~es courae ge~. the prepared .. atch with .tta~hed to it!
of p"per. The psychic of the fold~d <:~nter piece
Tht. pre •• ntatloo of thl! T-C princtple co~pl .. "ly . ystifles the spectatou . The s itU . . . . cretly wrUes Out t"o questions on a large tablet that .emoure. ~ by a Inche. an~ t hen folds the paper ~ nu~b~r or tl.,,, o . The Ruder then tears up the paper and burn. i t and then gives th~ .Itter .. re adIng during whloh he IIOS"erl the two qu e.tlons directly ! TO PREPARE: PleaH note FIg . 28 ;,hloCh represent s the t op sheet of a tablet 5 by 3 Inch es . The tablet ~ust be of rough sof' paper easy to tear. The top Bheet Is pre pBrd by drowlng the line • • a shown on whIch the sitler "til " rite hi. queltlona. Th e top line on the .heet for question ~o. I I . 1-1/2 Inche s do .. n frO!. th ~ top of the . he"-t. Th~ ho t to~ Une on th~ .h~et hone Inch up fro .. the hot to .. of the she~ t. The lIne • • re Pig. 2S .bollt 1/2 inch "pan. If needed, the .pace • • bov~ and belo;, the question. can he filled wIth the ~eader'. nu.e and date, but that 1. not nece.sary. Kate th.l the top sheel I. not prefolded.
-
TH~ PR~SL~THIO~: Thi. method is strl'tly for the prlvBle aader and but ~ulted for the office reading in the psychi.'. den b ~t .111 be used .n/"here to g.lve readings. ~ person co," ... to you !or a read Ing. You thanl< t he person and then infor. th~ pe .. on that you will give her or hi'" a peroon a l re.dlng and al.o an,"er t~O {"portant QuU t lon • • The tablet Is given to the perlon .. ith a ~e ncll or pen and aoked to wrIte out the t"o qu ... t lon • • Question ~o. I should be the 1I0.t I ~po rt.nt que.tlon In her IHe. Th . psychIc say w.lk ""ay wh ile the ~uestlons are .. rltten. Hle[ the "rltlng, tne .!t ter Is told to tear off the top s heet snd to !~ld the page In half fro .. top to botto .. . Then to ~ ~ old It again In hal f ~ nd t~en agBln 1n half . ~fte r the folding the blltet wIlt 1001< It"e In qg. 29. The sitter la next told to tUrD th" L -- __ ~ablet he" do .. n because s o .. e people h."e .o¢ uud you of gll~p.lng an I.pre as ton fro .. the FIg . 29 abl et.
J1
Plene note that the ~pecutor .~ot no t he tol~ to fold the paper onee, t.,lce and a thted tille, b~"e ... . e hef.he .. III then r elle .. he~ that the ~a~e~ va. tolde.d thr e~ tl...... The .. yotery h deepened If the ,Itte~ I. lold to fold the t"pe~ In ha lf , And In h,1f RSllin a"d the" to fold It Iseln. Thll 10 whet lIystl Oe f the olttee. liefahe "Ill b. pU1ded be."u.o he/lhe r.ne .. bers tha t the queatlon pape . . . . . folded ,ever.l tla •• (In their IIlnd. the nUllber of tillel that the ~Iper "'a. folded could ha"e been .ny nu.bed and In oeder f o r anyone to re.d v"lt vas ... Itten, the t"t'e.r .Uft he unfolded u_ven\ tille. allo Ind they nev~r lie you do lhat. To thell t he "lIole thins 1. IIO.t unCAnny Ind th ey v iii "onder Ind .. Ill t81_ ,bout It later. The Rea der neot puCo r a. " r ltu.l and tal10 tile litter to cup the fOlded p"pe r In tile h"ndl willie the Re.der hold. the .I tt eu hand •. The Re.de r .tlte. thlt he .. I l l n y t o a .. , .. er til" •• cretly "rltlen quel tl on. but th .. t th"re It no Kuaranue thlt ht will aucceed. It III dep"nda on condition, .nd hlf/her ""oper'tlon. The readee ne xt .tltU, "~e Ire flnl.lled .. Ith till paper . " and hi t.l
"1,,
'!~e ,?""tl'>'O~~ 1:1", 1)io""",.4"'" A vl",,,lolIl , •• llln8 "eyed" ftlrty lady coae. Into your parlor . "You cone for a re.dlns do you?" .ok. th .. p.ychlc. "ThanK you foe eOlilng and I will nOt dlfappolnt you. I a~ • though t r •• d~~ Bnd I •• gOing to t ell you thin, • • bout you r ."lf that you "ould nOt dare confide to your aOft tru.ud friend.
, _ _ _ _ _ _ _ _,
FIS.
30
HS. )0 ohow. a prepa r ed .he . . that ."'"ur.f C. by 9 Inc.ha. o r ••• L le r lad h . . pencil line. on It. The paper ant be I"y tQ tear. Thi. t. given to thl ,I n er • • • he I . told, "I see by your weddlnl bend th"t you art .. anled. Ph_" ... wd te the n" ... o f your hUlb.nd on tile lin . . . . . rked I." "And you do lIave a love r o r
YOIl flirt Or vice .o.e . . n th.t da.l ru you S . . . tty .nd with .. holl Is vOu< "~h.t " ... lin IIdte hll na.u on tha ~o. 2 ve... . h,"ve ""ou ·' ••• lin J favo rite ,po rt ? ~r!te th.t do"n on the 110. hnd. e nOll ''''y far beln think ing of villt lni a vac.t lon .pot • • "liow fold the paper \/.itl th.t do wn On the 110. ~ llneo ." fold It In UI what you w.ou . e ~a ctly 10 h,lf ao that 1 can not live It • last fold. " half ,saln . - 001 sore n.e In half and th.n tour tl.~ .. The Iltte [ h •• bean Instruct~d to fold the paper I.asl ne thal you can There I~n-t " unt ,.lod to t h' world ttlat can yo u take lhe folde d t ~. . read "h't .tla wrou ,ftt[ ,II thon folds '.. od or cutti ng It by It Il t he[ by t.ario g papar .nd dlsu oy It, d <:o.n .' •• In fol
.h.
four I. only an "" •• ple of hOll the pape[ c.n t"l
In t~11 ,.uen tatlo n u.ln~ t~e C-T prln< :lple , the 11 .. ",,11 .< lear ' up t h. fol~ed bille t very Iloll ly and openl y Ind dlsca [d. eaCh piece at It t. totn off r llht to the very leavi ng nothla~ . t fold .. d c .. nt.t, the .nd to dllc .td . The f old. d bille t I. Ilgne d by the sltt .. r 00 the ollttl de 10 th.t the .Itte [ lees hll sllne d bille t tern b .. for. hls eyeo • " IIII' of pa;>e [ ~ sp.cU t or .. n u • • qu •• tloll on EFFle T: folde d paper . Ind f old. It twice .. nd .Ign! hi. n .... on th. t~
,"
r .Id~ of The 'I.ot aH.t .110 Ilgn. hll "a.e on the othe otha r th. O[ pape r '0 thl t the Illna tu[ ... of ooe ~olded t II then bille The II h.ndl ed. ~l.lnly I.,en "' the {o\d. d p.per Ve.! ! e[ the folde d "ent :oro to tin, pll<: e. In<:l udlnl th. "rLtU n wo[d sl ~.nt.lt.t [ ..... In. In po •• e,slo n of
".
'"
, <>. To p[ep ar. fe[ the lest befo [ .. the .ho" off Turl nl Inche s .ppto x. ~."Ull.t ..... .. 1"1''' [ p.d 3 by • lin .. acro . . II ws a r d • ':teet he r ol d s lhil pl,ee ullCQ and then hto .Igns a~d •• of t he foldR d paper on both sid :~p N uo the p.per then l •• U ~e :'0' on both .Idl. . ~~THOO:
,.,
", ",
fashion and dlooa r d$ all pi~c~s e xcept (FC) Fig . 3!. Not~ PIg . 31 .. hl~h sho " . the FC plee~ that the 'lenaliit retJIn. and s~cretly pal ... . Say that the lIantallot'. nB,"e Is Hall Inger . TUt: PRt:SENTATION: The .Itter Is given" 3 by ~ Inch pape r that the Mentali st prefolds twice and then open. and I~ tolj to '"I u. a thought on th e center , B word cr na ",e or nu"be r. He Is th e n told to fold the paper twice and then to sign h i s nue ,. or o.' the top. for this th e H~nlall.t dr~ w . a line on the outllde o f the fo l ded bl l h t to Indicate where the allter " Ult sign hi. na .. e, ." kl ng sure th a t the f olded bil l e t li e. on the tabl e with the FC to the u~per left a!I seen by the sittl'!t J, tn Hg . 32 . ~ft er the sitter sign. Us nalla the Henul lit t hen t urn a the rol~D' billet over ao that the FC 1 0 no" on - '" upper r ight corner and dr .... another line on th~t side ~nd . Igno 'lIs name an it , He .
f olded
fig.
"enter
31
Fe>~ Fig .
32
Fe
•
n.
T he '1enu\{st then pro.eed. to te~r the rolded p~per t o b t u , . l owly and openly and dl.card. each plec~ .. It I. torn . lie first hold . the billot 50 t~~t the FC I . to the upper left ~orne r a. '~en by th e '1enallst and he can He hi • • ignature on it AO t'le .Itte r H e . hi. signature on the other .lde. ~ • • hown In Fig . !~ th e Hent al l.t tear" do wn th~ dddle ~" per the dash lines and discard. the dght hand piece "I th a flQud. h. The re,.alnlng half of the billet .ho ws the " rlur's .Ig nature to the nudlence and the Mentalist cali. attention to that. The bal f billet r e ~alnlng i. nO .. turned over so that the writer' . Sign a ture face. the Ment~lt.t and It Is held as In Fig. 35 .. I th t he FC on the uppe r left corner . Iorhlle doing the above turn the Mentalist mak e' . ure th"t the left end of t he bille t goes under the Fe du •• y ~uarter plec. pah\ed In the I~ft h8nd a • • ho .. n In fig. 36.
ple"e
Fig.
n g.
3J
)4
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h~lf of th_ billet It torn off . , d.,h lin". In FLA. 36 .nd h dllc..rdtd >te.ntl'l~t bdnA' thl dus.y qUlrter pileI Into vl~" by \lashing ou t with ht, ltft thullb !nd pulllnA blck t he teulg, place Into \1.11 po~ltlon "Ith hll fln~e r • • nd out of light . [vlrythlns loo~. nor.al '0 h.r, U thl .udl~nc .. •••• pan of the 'I.nulln' • • Ignature On the du.IOY pile". The le.uge pileI Is held blck In p.l .. pOlltLon .. hlle the i'!lnulllt t.ke. the du .... y piece .t ill. dght hInd flnsertlp. and c.lll at tention to thl pl rt of the Ilgnlture .. hlth II . t l l l vilible. lIere the '\lot.llst t urn. thl pileI ove r to 1110" \l1.t of the Ilgoltur. on the othl ' I l d_, AUT the wrlt la& Is uplldl down .nd I t II only rt •• hld .0.entlrHy 10 th. IY IU of the ludltnc" Cln nOt dlotln!ullll the Iwlndl" . TIIII du ... y piece t. now lOrn .lo .. ly .nd discarded. Till [lvIOlatlon foilowl. That . Slntl".. n. \I tile SIH of The flight of tho Phoenix. It hu b ~~n l,,'I~dld hI r e for the ukl of co'"pletl!n . . . 8nd to show wh It Can be donI by "ey of a varin Lon and II chaliinge. ~ctu.l11 It Ls not good '1enUII •• to call .ttentlon to a IltnBtuI which II vl.lhle foe thl ludllnCI to lee. 1 n .ctll81lty YOII[ ,udlence Is ".tchIDg YOIl ve[y c.refllily .ad they will be ... 8zed no . . tte[ ho .. you pre lent the C-T te.t.
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d~ht
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---_ _ _ -_._-_ _-_ -- ___-[ffii" _._--_ -_._--_.-__ --..._..... _-.-_--...-_. _ .. _-........-- .... ...-'-"-' __ .__ ... --. ... _._ ... _ ... _._. --_ ... __ .....-.... -_._._--_ .. --_._------_. ......... ___ ...._._. .. ..--_ . ....... _---_ ... __ ._-_ ... . -----.. ---_ .. _._ .. _--_ .... _-............. _. __ _N._ . . ____ . .... ... -.-. --_. --'---'---" ---_ . ...... _ _--_.__......._.____ .-"'-'-_._._ ..... ......_-_ .. _-... _ .. _._ .... ....... _.. ........ .. _._-------
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A Slue Ribbon Test by E:dlflund RO~'land as I t
appeare" In The 'll1glr: Wanc!,
December.
19"" .
THE PURLOINED THOUGHT AT! interesting ad. by 'lartin Sunshine as it in th .. rebrullry 1915 Sphinx.
~ppeared
'-, ';O\ I U 111 " , 'HI I :" 1) !c1l 11 11'.
STH.EA ~ ILl N E
A 1935
MENTAL KNOCKOUT! Till III <1' '11 \ 1'" "I"". I)" Fro >'!l
11 11"
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II E R E'S W II AT T HE Y / S A Y.
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ho '''P> up"" t he
OF pbtfon".
Th"~ " ell ""'" on n ' ''~~ 01 h,hl~> ,h:.. L! " tc",,' ~ , 1'<1<.
MIRACLE THO'T
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See
be
50 and 5~ for the solution an~ also to r ead page 30 of the Jinx ~8.
p~~es $ur~
ct-:1-
'PACTS ABOUT C-T BILLET IIORK :
1. Th .. fact that a $lIp of pap'lr Is prefolded .~ ans nothing to th .. lay audtetlee. They eare oothtog ona II I., or th e other ... hether the paper Is pre folded or not.
tI.....
2. The sudlence Care' little If the p.pe r Is fold e d just onc .. or i f i t 11 folded .evRral To the lay .{nd t he act of folding the paper In half to cov .. r the ,eCtet ... ritlng I. sufficient. 3. Your audi ence care. not as to "hat the olz .. of th e paper 10, or the color of It, or the texture of It. Or ho" It Is folded. Th .. Hentall.t can thar .. for usa "hatever fold or color or she of paper 18 to hll advanuga • ... Your audience care. nothing as to "hat writing tool h usad . Magicians "ony that penClh are no longe r In vogue. But to the audlanc .. it a.ans nothing if a pencil h used , or a pen, or your finger. 5. Only one person, th~ paper th e .essage wa. "dtten. thla ... tter.
wrlte~.
No
knows on what pa~t of the placas Bn~ I.portance on
on~
The l.porUnt thing to the audience I,. "hBt ... . written .nd, If you can lo.eho .... ysterlously divine It without opening out the folded paper and, 10 It entertaining? Thrilling? My.tifying? Baffling; ""eso"'a;
1>.
7. Once the perfor.er starts to te.~ up th .. folded billet , tha audience gives up on the "dtten ..... age and .. IU ... that It has been destroyed beyond recovery. the hy audience only r e • .-ben 8 , If the paper h burned, forget th .. [act that i t ws. nrot that the pape. was destroyed and torn to bits. 9. In order to Uar or dastroy the p.per the pert or . . . . . Ult flrot pretend to have divined the though t and say that the paper 19 no longer needed or that. test by !Ire .uat be done. 10. audience,
The burning of .. specially if •
blliets to very effective with an act h to be done aft .. r that .
Q & A
11. II ••• 11 slit or t .. a" or cu t In the body of the paper a.y b., the key to the • .,cr et .. far .. the ope ra tor i. conc.,rned but It a .. ant nothing to the .peetator! The ,l it or tear can be rationalized by " e ar or accidental tear but uouallJ it goe. unnoticed.
12. C.cd stu,,-It .nd .ole p.p"~ IIlv, • • ~.orv. ~nc~ yer Is t"e beat. Your printer knoll. "hit r .. l t "Uve Piper iI . It te.r. easll, .nd I. thick and oplque. ~ll paper •• ~. "Itll ht3~ r.~ content It preferr.d. In, pinch. ne",p'per or pulp '.gadne .nd book papar
I. PHiett.
14. A j.gged edSe can he plac.d on a paper or card during the telrlng for the blneflt of thl oplreto~. Thi. tlchnlque II detailed In th .. e n lCU , "The Ey. of the Pyratlld- (p.te 101) and -The lroprovl.ltor(p.ge 80). th i n p.per behavll d iffe re ntly In han
IS. of
"'e
16. 'IIny of the C-T lOve' aroo b.tter don .... It" an Indue c.rd .I.ply b.c.u .. the cud I • • tlff which •• ~e. It e&., te Inurt the tip of the th~.b Into It for opening. Tile hag-Eye ~o"e I. eaaler when done with thick p.per or In Inde~ clrd , fer e~~ lIple. 17. So •• p.~er 'Ikl. I nolle " hen handled. Thll hc t alone cln b. uud to the Re.dtr' • •d"antat_ by .pplylng .0., thought to It. You c.n tell wIIat • p.rlon \0 [Iadlnl by tbe nol,a. Ig . Glvoe It fo [ c" the ,0 plac. the :he n fold the
the "'rlut In e~pecll". fount.ln pen to wrlt~ with. wrlur to "rlu c.refully Ind then till the ",rlur billet wrilln! Itd e do"n till the Inlt drle • . You billet to your Id".nt.g. ~
19. La . . ly . • blll.t Is 'p.ychoiolically In"I.lble,' to T. ~. lIaun fro. hi • • s. -Strlpt.To t!l.e ludl.nce the I~r.p of p.per II Inllgnlflc.n t. It II only a .... n. to fottlfy t!l. thoUlht. ~nd aft .. r the .C.lp of paper tl t orn up .nd dL.carded It h forloten.
~uo t e
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l:IhACIJ: :JI O' l' £ .o..d~, ••' to ·\ •• t tbl '~.~~. ' ~~ at ~ ~r.ror..r ~ad . . . t~t ~ .t~r ( \0 OlIUl"1.tL1I!U·} U~02l \1:. " lIo!l,
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'aUOWI "'J' emf ....tt.,.-. ; ........ utl"" IIZl4 so,.... PJIQ'""I4I"•• 'flllo «"1lt.11.ID .brout:ll\ ,. ~PD tbe "<16<1 ~l 7CJV"cQlZl1ttu h .. total. nnmcer to .. , • H. I..... 'bUll , d'eted "". _ ..... t o~. Thl c"lII.lHt .. It.&. Nt""''''' .. ,. u .U. nit s-otlt'&all ...,. .......... J.l thont;:h 1 han lin..... t -r" 010 Io..L1o Mr.... I p.~ .1l.4 ..... 01' to .., ..bUg c""tao t h t... u hh air'" -..14 ::a _ . ;.:_
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Ha1'l.JoII ........ .. Io.a4 'the .,huun ot .... t~ )tou bet<»" J u.clJ. ". en.tetuJ, " " r , ...... eoope .... U .... 1D. .... t'n' Ute tu, ........ 00.. . .-..0 •••• ot t htl ~perl~t La .antnl t eleTi , lon __ i t 1 ~ .~ 1t 10 __ t.~ 1101\17 "pm> 70'11 , Bir, UIA 1""" .,1&o1.J:l.« your. .U .... t1.ftl;r lnto l;¥~ • .. Of Douro • . l .. ~t. ~otlo t __ .~ I " i l l bOt ~ ourl0u. lo ~ )"""" '""~ ~ "do... 10Ul' 01", .. t h ll>«.
n. •
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Klnd 11 ,l.,r 1~ ~, tor ~ h. ~,cln t! ot aLl \lIOU£ht .ree.. ,. lOur tl ret and 1",,'1. n..,.. . Cow-cenlra.t. UP"" It, a ", 11M. brJ.n& h10 .... lo11Z" a.1nd'l ere _ ...el. IUI4 .n:), l.tte r ot 10ur ....,,0 . CloU 1011,t ere. _ U , 111 aak. OODO ~ t .. ,t~ 10 ~~ 1ft 11. ...
·II1-"" 11...... ' .rr.ot
I ..., t .. Wlat 1 ..14 btton .. , UIa\ Ue cr.,wr ~ ot tbJ • ..n.,l .~ena. o~ow- 100. It 1 0~ wort ~&1net ~ GAd 40 not oloar your ~lnd ot all t~o~ie .%oept t hat ot 10ur own tlrat IUI4 1&, '1. ~ 1 -".aU Ilan to 00211'0" t ollun . .llI4 11 1 0U 4o ",,'I. 0'" to oollt1A.... ald1D.e" .. , .... ~, . J .... &II nlll.an \be .t~e ""., ;r 101l "" go~ to 00_ opu... ta , . ah1oh 1 ........... 10n .-111 ••• eo •• ."... · 1 ...,. ~/load¥' (r .... ' " noa l oo t~ . '1. e .. h o~r . hi , ll!t o t~. t o 1u!leno. an4 your rl~t .14t 10 au41eno •• l ~'a411
so- br~ beto r o fOIlZ" ~tnd'l el' fOur nabI . ..1...... ~ lll 10un.tt 1o •••• '1\1\ lOur 010' 010a.4, .aeb and O?ry lett, .. ot 10ur ~I Connnt ....."1 (S'UC~
Bt'5Il!!l!S)
t~o man , etop beok .e?orAl D&O", ... 1~ , t oo4l17 a t hl~ __ ... I t trrlne to • •• throUGb hI_ t or. _ hend, tbo .. 1 tl?o • tew no,at l? ot ~ h.", --
I look . t
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1 40 not
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• fIOot~ t or. l ~hl. ~ nti ...,_ :<>" clo ....17.
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.lp.1n 1 loolI: .., tll~ an4 at.p tc_orU
your ~ho~t -- I .. to tn6 t o aak 10U, alr. to plo.<:D t'''ple (U. le tt d 40 ton! Q rl~t an t o... .r
to"""
lIu~nLSS :I i'l1LC. t..... tonfl"-ll.'" ot Q r id't to hlB U"pl. to l 11u~ t ... t. hOI>" 110 ..bould p lo.<:C hte t1nl:ua an OJJ" Uoople. III Uh pOD I Hee 1 "h lare::- Or hlJr;. I.n .. 10-; ?oiBe In ","..,11 t~e . ..... ......,.,Or • ?ODtrUoqu.1 ot
40n _ _ (:rr not to:.on )101U" J",'" or lIPI) _ 1 e.., "I o.:,.olnl; to a.., "\lI< ,lpb.::obet e!oe'lJ" ",,"C h Uer ...1 1 Uu . ~"l1ell 10U ~ .... t.ho firet liner ot ¥~ ri :ollt ~ ple ..... IreD:/. J:q too:,,11 ,IU fOW' t~ ... el1t;t1tlr". -.~.
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COn tin ulit On page 5<1
"
.
~,
~estr1~tI"n.
O
~
ne of the of the C- T .. thod for thought reading Is the lhllt a tion to th~ number of word$ tha t can be stolen and gltapoe. '1" .. " or three at the ""ot. That i. all the eKp,.. lenc"d r . ychic n .. ed s . But tor tho." ,.,ho prefer to know the entire queo t!on " " have the 1<>110,,10& ,"" thods :
?tt.e St ..U~
-
Here ~ .. us .. a piece of paper or .oft ca r d the size of • bus\,u •• card or . llghtly l arger, The paper 11 pre-folded as .h">l11 by th .. da.h line. In fig. 39A. On the very cent ... line of the card, one or two Hnu are dra 1J" acroU the length
of
t h~
card
f or
the
\I[ltlng
of
,
I
uJ}l .0 ~ m,. • • ,,, A ,,,
the
question. The VIP i . told to \lrite hi. question on the li ne a nd to turo the ca r d over. for the revelatlon the Psychic pic "' . up the card and fo\d$ it. The card now lookS li k e In Hg . 3gB , with the X and dash ltlle. dest8n!l~lng the qu~rte r section of the card that contaIns the qu u tlon. Th" folded oard 10 ne~t given a qURrter turn clockwl. e so that the billet no" looks Hke In Fig. 19C.
. . . . . ><
..
B
-
C
If ,, , ~:, I ,
fig . 39
Nex t the card 10 torn In half do " n the "Iddt .. as aho"n by the arro" In Fig. )9C , and the ri ght "snd pIece I. placed over the t e ft hand piece. The "add ed lorn billet no" lo"k. like In Fig. 390. The piece s u-" tOrn In half one .. ore tl." so that thl! quaner section "X" I. on top of th e "ad a n d f a cing the p" r f or",,,r. To the onlooker , It appear> tha t hi. question h80 been torn to bltl beyond recovery but a ctually hi. entire qu e .tlon Is ontaloed In one quarter piece of the blllel which the psychic no'" place" in pal . po.ltlon by pushIng it back into hIs rIght pal. "lth hi. right thumb . The rest of th~ pieces are lorn to tIny biU and dlsc"rded. The Psychic 1$ no", In posse •• lon o f the entIre que . tion ~nd he can rev e al It in hlo o"' n good t l _ e and .oot dra.atic f .. hI4n ! (NOTf The pal.lng of the vIta l pa r t can be done "ith either hand. I ,re r the right hand ." t ha t th e p"l .. "d .ectlon c a n he ntt a chad 1 "pIece of Icotch t a pe on a tab l et or alate tn th" Bct of han Ing .. penctl or Chalk . . . u.tng that th" opeutor Is right h~ndcJ.)
~Ith this ... t"od thl op"utor lIte~all1 read • • Ind. Uke .. (Thl. dleet first II'Plarad In The Teser"ct und .. r the tltl .. bool<.! of o. - Pl .. ated Thnughu.) Thl • • • thnd II unlquI In thlt •• veral q .... tlon. cln be Inl""ud Ind tile operator In Oflt fell-II/oop Ilett pon . . lon of all the quelt l on.. I I I tlcllnlqu .. II .Olt .... zlng conold .. rln! tha' thl. all happens by uslns till prlnclplu of the otolln center .ethod ond the fact thlt thl oplrltor .. ndo up wi t h ~ tiny CO.plct "'ad of que.tlons that op.n Out Ilk. a book! ~nd re •• ln out of IISht In the pal" of 1111 hInd! Thil d<:>u a way with the need of clIpboard, Of envelope I",itch ... or the 'teallns of bille ... The ope~ator i. In total cont~ol. Since a luip of adding .. chine paper and . . . . . pler ~r. uled, the preoent.tlon i. best lult.d for the office or the ho •• ,
IN [fFECT: The Thought Rudu off.rs to do , ,plelal Ult ulin, four or five pro.lnlnt ,",beu of hh a"dl .. n~l. Tlkln,. lGn, plec. of ,ddln, .achlne p.per (r". one of tile .'clllne. near by. the p.rror.er a.~. thlt t he cholen p.roons "rite que.tlon. on the Itrlp and fold and lupll It '0 that DO On. Cln '". ",lIat tile qUleUonl .. rt. IIhen th. "ritln, I. flnl.hed the "rite •• IU I.ked to COnCentrlte Gn their que.clon. and tben the "'added .nd st .. pled .trlp of paper is torn Ind burDt . The Thought ""ade. then proc.edl to resd l~e thouShu end an."'er the que.tIGnl! (~OT[ : In.tead of the '''pler, the o~cr.t"r can u •• ~ ~I"e Itlcl<. I I .ol~ today In l .. tlonlfY counle", The Iddln~ eftthln. pape r I. treate~ " Ith tha ~luG Itlck at the lon, Idgl' only, 10 thlt ~hen the question I. wrltun .nd t he p a pe~ ( aided It .... 1. itnlf. ~enulln Rudv T. ~"nt.[ of Toronto "[ate In to 011 that .. POlt·lt tlue .. ic~ to betn, laid t~at converta any papI' pad IDtO a Po. t -It pad.
fig. 40 [ep[eu.ntl • • trlp of "' hilt ..... chlne pIper Ibou t 18.5 Inch •• long. To p r ,plrl , the operator drawl .. line .10nS the \en,th of the Itrlp It the Center and If deolred he uy dra" t .. o other lines above and bllo" t he Center line. The otrlp 10 then nutll' folded Into pl uta o f .bout 1 . 5 I nd.... AIID KAK I NG SURE THAT THE ENDS OF THE STRIP ARE ABOUT 1/4 INCH tONG!R THAN THE ?tEATS. Tht. II .hown at )( In FLg . 4\. ulu"ing th. t five Plrsonl .. Ill be "~ed to " rtte que.tlonl. THE PlESESTATIOII: ~ftlr the :,,,tu.e en" InalrU"tlonl, till plrtldp,n" ." .. Isked lo think of I.· "or .. nt queotloos ,nd then to ~rltl :'... on the nrlp of 1>1;>1 •.
,I
,\
• •
,\/\V\ , fig:. 41
to write Spec ta t or" I, I.ked In hi. quelt lon In the .paca .t -"" cf Thil allo" l I IPICI P'g. 4l. The ng. l "rlt the fcr J tnch@ ) aalt a the aplce of three cpera tor p laci n g plre nthe ll. by lnch el (Part ,,) Irolln d the three Inch plrt l the Itrl p. The " r t l r II of cautI oned nOt to lat anyo na Ie. "hit \I wr! tten and then tc fo ld the one pl.a t by pinch ing It wi th the On. flnge rl. P.,do r • .,r theo plac." d folde the cf lid. the Itap la on In Ihe"n II This It. pleat to .e.1 NOTE that the nrH riB. Hr. sup I. Boea throu gh only the flut three f old" of p.per t o . . . 1 the cne pint . The n."t per.o n I, a,lted to "rite hi. qu enlo n In spu:e "S" as ,h.o wn In Fill. 41S and 4~J\. "fter all ((VI plrio ns hav"their quel licn. and folda d en ",rltt the pllat ed ltdI' , ~nd thl perfo r.er the ha. place d Itlpl e. all aroun d, 3. • . riB In IIlte Itrlp .. Ill look PLEASE NOTE THAT TH[RE I S NO STAPLE AT "e" IN FI,. ~3 and that thero are THREE STAPLES Oll THE BOTTON or THE \/AO. THAT IS /lOST IIIPORTA'lT rOR THE WORKING or T~! METHOO!
• Fig.
,
t.::... -
t '
43
t
Tea . . . . . y lupl ed .Id .. FIB ·
d . . lgnat lnB the botto e o f the fig . • )\) tho"l a dotte d line Pl.". e NOTE that thl! botto . Itlpl .. cnly Inlld e fold. of rapar . and not tha botto a 114 Inch of lha endt of the l Ull' 30 throu Bh throu gh the pllat ll r Iince .ll An \0 nc .. r e.dy for the .. velat lon. An e •• y utte thIrd . and to In ad .. ed .upl the oper ator does I, to air up the nuou . to contl he vhlle rt pa r hold blc1r. In p.la pCllt lon the cente t hro .. n then .re hlch . . . tear up the othe. t .. o part. t o tiny pllee t. balke "lite Into the fl.1 bo ",l cr ~n ash tray o. Into the the n attac hed t o , II U Fig. In d lente Th" pelee d " ad repre the t ape h t .pe tlble t Or slate by the aid of doub le aided .eotc hal\d . the reed frolO say be Ittac had to the hand and the que. tlonl (ncte thl tiny " .d of p.pe ,- openl Out like a book, the SInce It 1. onl1 • "Ite r or tuft nl thrnu Bh ,lnBl e 'Up tl In Fl •• U) Thll setho d "'I' pre. lad IntO e e It to ~l\Ov the que.t lons! frien d .. ho tora out. piece a ,arvl ce due t o ape' tad "Qu e.tI by ! . "Here l ... d that of addln l-,.. chln .. p.pe. at t he tl" offic e ,.yln lIka • chara o r~ . .. It I t " ludle nce te.u d and BU,'I slnd l" "Ith lIttl~ fUll or fUllb lln! .
II,
"
The gift of the Cods , no lell - ao us
ptOph~sy
according to
the
proportion of
falth.-
Holy IIrit . ou place tn front of you two folde.:! Fe billet •. You :nde th ~ Fe biller. before the .how by fir$[ folding t"O slip. of 3 by ~ 10. PilPCf twl~e and then tearing the .. twice and keepIng the folded center plec@ • .and di.cardlng the tut. Fig. 37. The.@ t .. o FC blll.n are blank. you h8"e "r1tUn ,o'"ething on the .. , that is soon.
fig. ~ut
and
37
you tell the 5itters that that you will sho,", what
You 8re u8ted u th~ ~" 8nce Ubl~ "lth two or .ore litterS 8CrOS" fro .. you. You at" toying with the FC billets and then yo" place one FC billet over the other uddl~ fashton, but 10 not say anything about it u If Il .. eant nothIng and you leav" the wO FC blll~U .ount"d .0 thst they look 11k" one olngl e billet. Sl tt ",r ~A" i~ On your left end of t he t.bt" snd sitter "S" is on the right end . You give "A" t~o twice-folded .Up3 of 3 by 5 In. ~ap"'r and th" u:> .. to "S" so that both hav" two billets uch . "~" 18 a.~ " d to secretly ,",rite down the na .. e of a girl, or hl~ pet tu,tle Ot ",hat- have - yo" on one of hi. b!lleu. "A" 10 then told to sho ,", "8" " hat he has written. "8" 18 ... ked to ples.e copy the ID .. e thing secretly on one of hi. allp. of paper Rnd bOth arC asked to fold the pnpeu t"lce. Prophet alloys "A" to hold on to hi. f01de lott ery . "S" IS l aid to sho " the number to "A" .nd "A" i. told to .. tlte do .. " that saa" nUllber on his othe r billet. Prophet take. back the 'nu .. ber' billet froa -A" and placu It ,"ounted over the firlt ns"e billet In front o f hi .. , ",hlle "8" Is allo .. e
,., ,, bl11~t.
fr on t
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.Ing\e right the . e bllteu llln l .Itters have lin Hen ~l. " lIounted JaQUns It" e folded Iinele billet III tn u .... , \ d e . center
"ther billet.
(Fig.
• Fig.
"
bUI"-t was "rltten by "II" and lhe "nu",ber" bil l .. , ·.. as "r!tlen by "A" which t. juot the op~o . lte trim their choice. . "A" and "aN are each holding one ~ln81e billet wlth their ,eCret thought In tllelr 0\10 hand"rltlng~ BUT
til ..
n ... "
"A" and "e" are nO\l told to ,,,fold thelt one hlllet tl1ey are holding and wllich they hIve '1TItl'on /lnd to tear the ~ up to tiny bit8. The Proph~l ~how. them hOIl to do thH by temrlng up th@ two n.!le and "number " ,""un ted billet. In f'Qnt of hlill. The Prophet uk ... . u r e that he steals the t"" Center pieces fro .. the nn.e and "nu~ber" billet . . . ~d keeps these wo pieces secretly pal .. e d In hll right ~and (or l eftl . ~ll the piece. are discarded into a pile on the center of the table. "No .. !" UY ' the Prophet, "Let,." " h"" you ",hat I ... rote on " Y t .. o pieces 01 paper that have been sitting here In fron t of you lon~ before you "rote your prlv.t" thought. down. " Proph"-t reache s over and pinche s the two ",oun t e d FC billets and .dd. the two pal .. center pieces together "nd oho '" all ~t the fingertips. The four FC pieces look like t wo .s t he eye of the .Itter. can nat See the difference. The Wa dU ll oy FC ~hces are pulhd back wi th the thu llb into palll poSition. Tht- Itove Is ,"oH eaoy to do since the twa du .... y billets "ere .. ounted tegether as onto Then on~ of the other plHe o 10 opened up. You sho ,", t~e "name" pIece, ~fter unfolding It, to "A" ( but not to "B"l And Lo! and Rehold! "A" sees hl o eno le n nne but It i. not tn hi s 0"" h."d lolr illng! So he na" to .Isu",e that It I s your handlolritlnE! The "nulOber" bill e l is opened Out .nd Show" to "S" ( but not to " ~·l and again "B" ,ees his chosen nu .. b e, written tn a Hr.nge h~nd"rltlng not ~t. ! So he 0.100 ~"ulOes th a t It I. your handwrilIng! Tear up the FC pieces a ll together and discard ,,11. The Stun n ing I .. pact on the .itter . - .. Inds 10111\ Illence the,. a~ it I . usu al " Ith moO t billet te . . . . End of worl d shaki ng ., tracle. NOTE: PIcking up th e t"o du .. .. y FC pieces "htle you have pnl_ed the r e al FC phce. In the nlO" hand, h easy. Un the four finger l of your hand as a l ai Id shield and plac e the tips of the faur fingers on the table behind the two dU .. II Y FC plec "" and pre . . do"n hard en the table t op. Rele .. oe, If you h"oe to , the t .. o du .... y pieces and then pinch all four pieces together In a wad.
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(at W '. \11110 1 1' ..... the r~"r. of ~ rl~t hlll>ll. to nto ucple to 111_\"0,.0 tho . . . . && I han Jill'
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'feu o...u. the &l~bn dow!J' • • J. - ]I _ C - 11. It<>. "'0" 10U r ..l tIIo ti ..t p .....ure at hi' f1n£... __ r.~ •• t t~t l.tto.. ~ ~~ln all ~ .. ~, C.ne~ after the th ird lette .. JOu Can .. oot=l~. th. ~ __ tor ou.:ph: 1>-. -1" tor IlaTH • • D-J.-!I tor ~lel . Ito . (n.... 70U ' !'"" thl ~ 10U ~ to.~a .~.totoro:) J. .... theu IUU of l'OU lao!tu ""d centl . ..... 111 t.b.e .u41e"u 11110 art
a.~~t04 11th thl. c-r.tl.~t You , 11r, (to ~ of thl 'pOototors) do not teU ... lhh t"""!I=n'. n=.e but kl,IIe.lJ' ":.-111 1t 1t t ... rlela C.., ... ilotun buau.-.. ) I «et \.1:. t=p ... aa l .... th&t U1h £lnUU.lO.. ' . """. 111 ;J:aY11l _ h u..t corr •• U It ~.,c ... h c" ....1'1.1 ..... ..,. o..u hi .. b7 "".,e. thMk youl
(70 'I'I ot1l:)
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tho ' wt " .... . plaoe ot birth"""" -.tt.'. ""'" h worbd 1D. tho • ...,. r--=er. In,te''''' of oo::=lttee brlng1D.c .. pU"L.:r ..... t~ . 101l ~ call tor .. Talunt..... SlIOIll(AJSIID'
couns
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~tre BAlLne ~gnt~
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-N".otin "IItlen 1.ro the h=h of • dloTl:llZl . AU ....,tal .rUoh ... ~U1N ~11l .•• ar.d ... rn! ~U ""re the .......1...... or I .ol>ocl.4 II.... vr1ttou•••• ~ ... bll1"Utll6 !
t . _",,0.1>1... 3!:4! 30\!:: St J.~ t O "l (.. . iI. 7.
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Conti nu ed
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paqe 50
S o deer up,.ted expo. urn of tha C- T •• thod b)' ."Iela .. -. In o,,:w'paper and •• g.zlna antell. It n.aed like lha whola world kn~w about th e Itolen center piece tha t contained dl tlla writing. So,"., short-ll,hled "glclln-, p •••• d Out the t .. cret •• throw .... y I lf u to their ludlence. and 'vln Ichoo1 children ... re Url n , vlth It ! !lentall'ta Ulponded. by • n"lber of brllll.nt vlrlatlon, of the C-T , .. thad. On_ of thl.e r ......... tn
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Tha Unlv~ . . . 1 Hind .Ithod use. , hr,e pl."e of IQft .a.y t o t ear piper 7-3/~ Inchel by 2 Inch. ~s 'hown In tlg. 46-1, th r aa ovals a.e drawn on the long dip. The top and botto. ovall ace u . . d for 11&"a t ure. and 0111, tlu clnt.r oval vIII coatal .. the 'acrlt ••••• 'e. The papl. la theo f oldld In half the IonS w., Ind tvl CI lhe other wa, to a .. d up with. foldad blll.t that I. 1/2 Inch wide b, do . . tel four Inchl. lon8. Bu t the entIre . . ".et ••••• , . 11 coptlln.d In only tha botto. one Inch of t he folded billet! thl. I, shown by the duh I1n . . \p tiS. 46 (3). MOT[, that the billet II I p!tlal.d It, the VIP and the.a Inlt i l h .I.aln In alght uptll tha billat I. d,.troyed . To . . c r etl, lUll the vital po r tion of the bllllt , hlll1e nco ••• nd. a tw o-hand t.lr. Th' (old.d billet II held finly In the left hind plll"hln& I t with the thu.b 11111 and the II [ alchins OVlt vith the rlBht h ... d to tlk. the blll.t bu t
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t •• rln, off th~ vlt.1 plrt In <>, proc ••• Ind k~~plng It plt •• d In t . f t h ... ~. ~ft~r til. te.r vl.lbl. bllht stilt looh ton& .nou,h to d.cleve the ey •• th. bll h t i . th.n propped up I . . . boolt or .. hat~h.Y.~you .. It II the torn .dg~. In 1I11\nB. Tile reulellon follo .. " . ~ fuy-to-te" p'per to reco ... en
NO", ! .. ntl ... en, there I . nothing .. r on~ "till • t"o~lIlnd teor. The N.ntatln lIust use the uthod th.t he \0 1'Io.t .".. fon.ble with .nd the t .. o~h.nd tear 100«1 ncr •• 1 provldln~ the bill.t r ••• lnl In I\,h ~ut .. luck would h.ve It, .tong calles ... eh.p by the na .. e of .. ho dl~cov.r. th' one - h'nd tear~
II .. h.t AI Kor.n had to "Y Ibout .nd the one-hand lear (fro. hi. lectur. not •• ), "To .e th e Center tear I, the 'Olt btuatHul d,lng In 'lgle ••. II"t It Can be th' "'orll. I t II one o f .. y ..ost pauet lI e'ponl, utdon t hough, uled In .howl , I save It rOt the pres! boys. !t l
,"
H.r.
C~T
"the belt ... thod \s the one-h.nded tea r. (Here, H Kot.n tl nferring to The ~nlveual ~Ind toutlne.) I got the I~ea for thll In , typewriter flctory." "lie atching th •• put rlllbons Dn the tolll, there ... . thh girl t.atlng the ribbon .. Ith one hind. I couldn"t t.lr It .. Ith both! '~h.n I .1 .. he r do that I •• [J, "Th.t"s • be.utlful .. ov, YOY"'" ~ot there Oarllns!" It' • • I.pl •• ~rlp t~e Itrlp ",Ith Jour tl1u .. b Ind first finge r, the other tht . . finger. !.lp lIelo" snd tear It. Too elly.
".re ..
~J eontrlbut[on t o P.on Salllle", :'nl ••• ,.1 1'IInd epiC. II tile ule of ~'ffor.ted p.pe r. I publtlh,d thIs td ... in "Of Gltts .nd Talentl" In 1982 and "u ~.rt of .everRl efhctl po"tol, .. Ith • IIcr.t.ty ... l1et , Fi g. 47 , Th, s.cretary Jatl.t COin. I ",Ith • p.d of p.rfot, t ed ~.p.r that \s 'Clt ••• y to talr ofr. :IUIUy i n tbree, four 0 • •Ote •• ctlonl, ~Iu • • p.n or pencil. It I • • eO.llon lIj.et \ .. r. l ule.
s....
Fig. H
Since ,o.t personl I . . cOnV"".nt "Ith the I .. cret.ry vallet they kno .. of Ind hive ulld the p.rfor.ted paper and therefore the
"
p~doratlon. K~
.. p In 101 nd
torn, 50
th~
aH of little consequence and .. 111 not he s"'pect • that your audience Is not a"RU that anything II ever pedoutlon. Olean nothlng~
To prepare for th~ effect draw two heavyllnes over the perforation. with a felt tip pen on the top a heet of the pad In your .~cretary w,llet anrl tear It off. NOTE that w~ will use only three section. of paper. This can be done In front of the audience. Then fill the top and botto~ spaces \11th na,"e~ and date s a • • hown In Fig. 4S. Thl. leave . only the cen t er .ectlon for the VIP to IIrlte In hi. 8ecr~t thowehts. Then pre{old the paper Into quarter. Rnd open i t Out agai n and have the I'IP "rite hi. ~es.arf Bnd Ln.truct hi,. to fold It again Into quarters.
rtg.
48
Place B gum label as per hlllle' • •ethod a. Bholln In Fig. 46-(2) and then fold the hiliu agai n al ,ho"" In Fig. 46-(3).
c Fig. 49 You are nOli ready for t he Cover t .b . ~I$ . lon. F1g • • g- ... sho". the '.lay th~ billet Is odglnally h~l~ "'lth the right hBnd the third and little fingers curl .. ~ tOllard. th e palm. FIg. 4g-B ,ho"s the third and little finger s e~unded and srlpplng the vital part of the billet In • vl",_-lIke action between t he dddle and third fingers. The coup de grace I, shown In Fig. 49-C as the middle and t hird ~"d li t tl e fingers are . napped tow .. rd. the pal. 18kine lh~ vilal .e~tlon of the billet "Ith thee . Due to th~ perforallono th~ bllht bre"'" wi t h an audible . nap that lI.a~e. beautiful ~ uolc In t he deceiver', ea.s! Just a little practice will t~ll the practitioner Juot hew lI. uch finger pre •• ure Is necessary ..... Iho"" In fig. 49-C the billet apears to b e Intact and your audience i , none the wloer. The btllel caD "ven be given to any .pt-cutor In the audience who i . told to burD It up. n.e uvehtion of the .~cret thought "Ill .lOaZe Bnd baffle your audi e nce. End of .. Iracl ...
8 This
*
He~e I. ano~her lI e~hod for the Covert Tur Ithleh has lilllilaritie l to the Bailli e "ethod b~{ II not U all related to I l . 'thi. method W'13 dls~overed and fi ts t relea . ed In 1985. It e nable . the Mentallst to get an entire question or .,eu"ge that has been lecre.t\y Wrillen, .Igned and s e aled in "folded .. I !! I"~. Th~ "rlting I . not confined to th e center of t~e paper.
v a luable technique the followin g II O"~': I f ~ . qua ro of paper 3 by S Inche! I . folded twice as sho",n In Fig. SO, and pre . sure ,. appli e d downwards In. Ide t"e back fold, ~ • • hown by the arrow, the In. Ide . o f the fig. billet "Ill , hoot Ont and fo"", fig. ~1 the fold 8 hown In fig. 51 . fi g . ~l . ho" . t"o area! of paper, A and 11 , divided by dash lIne •• ~re .. A Is the sa"e "I.e as the ~hole told ~ d blll~t aho"n In Hg. ~O. ~rea B below the dash lInes ~ontaln. everything that t~e VIP wrote! If the t"o pl~~ e " a. e .e~retly . eparated, area A, ~hlch I. t .. k~n for the "hole billet by the audi e nce c&n be burnt or torn to blu, while the vi tal part , area B I. pal,.~d off! In the hands of the shc" .. an. thi s .ecret Is ft powerful ",eapon and ! l 1. ",o s t easy to do. resU
On
PREFOLDI~G THE PAPER: Th e prefoldln~ of th"- paper Is sl .. pIe yet It I. n ost I . portant {or the succe ss of the t u t.
FaST f OLD: Take II . llp of paper 3 by S Incheo and fold It froll dght to left off-center as sho wn In Fig. ~2 and ~ :n. thIs fo .... a 'step' on t he left .I~e of about 1/4 Inch. Then "'" aken t he crease a t the ~old by folding t he paper the o ppo s Ite ""y a nd folHng It bac i< a nd ~orth until the crease I. near the b reakInG point. If you "I s h, perforatl",u can he ."de alon~ the c rease. Thl. first fold divides the paper Into twO unequal part s ~ a nd B . . shown In fig. ~2. The unller B ~"-ctlon I, the vItal part
I n "hleh the VIP 1.·111 "rite his
, fI 8..
y
fig.
53
z
SECOND FO!.D, Fold t.he blll~t off·center l e aving tile ·.t"-p· on the Thl. leaves ~ tiny $q~,a of paper billet a. sho wn by the aHOw \n Hg. aul.t you to Inoert the tIp of your the billet.
53Y fro .. bottoll to tOF al~o Inside ~s .hown I n Hg . 5lZ . exposed on tht baek. of lhe 53Z . Thl. tiny .qua r e will thu .. b Into the ba ck fold of
THIRD FO!.!), Take the billet ..... ho wn In FIg. S3Z and pull out the Inoldes so that the billet will 100St like In Fig. 51, and b,ea "- t he diago nal crea.e a bit. Then retold the billet BS In Fig. BZ and place It In your poc k et. TUI: PRESENTATION; Taite out the p,efolded bil l et and open It. out and In the l.rger .ectlon A .. d a out your In. nun Ion., date , your Ilgnature , e tc., so that It cOver! 1I.00t of the section , fig . 54 , forcing the VIP to .. rite 00 the top ","all.,< portIon . The \lIP Is In"tru~ted to wtlu anything he .. Ishe., • queltlon, ?oe .. or quoU t lon , 08me etc. lie 10 Instructed to .. rtte secretly .0 that no one .eeo what he write. and then to turn the paper wr ltlng·.ld .. down. The perfor,. . r then plo la up the paper without loo~lng at It, fold" It, aod op e nly .eal. It with a color gu ..... d ot!c~er. The fold"d Slip L. /lIven to t h e VIP who Is asked. to lo!tlal i t or Ilgn I t on both oldes. ~OT[' AI .hown In ftg. 55 , the gu,""ed label Is pl.oed not In the Cen~~r but to one .Ide near the folds . ~OTE aloo thot the .tlcker hao been f olded high .0 that It form~ & tiny t Rb about 3/16th Inch above the billet. Thi! tiny lab 15 1II0st hponent for the handling of the 5ecret billet ",oves to folio .. . Hter the VIP Ilgn. the billet, you taite I t aod hold It at the (tnger tip . . . you ny , "I do not have to loo k at the fold~d pape r (aad you never do) out 1 Ilu.l feel it with "Y finger tip. as that II how I get .,ental Impression •. A. you fed the bIlle t .. Ith the fingers of both hand~, you h a ve ""pie apportunlty to Insert the tip of yoU[ ,lght thullb tnto the back fol~ of the bltlet (alsu .. lnE you a re right hand"d). Thl. I. ea .. y to do I!"ply by pu.hlng ba~1< .. Ith you~ dg h t thu .. ~ tip on th e upper right corner of the blll~t ~ he[e the tiny Iqua,e of back paper I . e x posed.
Hg.
fig.
{
54
55
,,
co ,
,
fig.
S&
~fter the thu .. b Up I. Lnsened Into the ba~1< fold, the tMullb Is bent dOIlDllardg as ~ho lln In Hg . 56.. Thl. will CaUle the aelloD '" take place b eh 1nd your hand "WIthout fla.hlng It t o the audience.
Fig.
57
lIext \11th your left lh"lIb and left first fIngertIp pinch the bUlet at t h e upper l e ft corner of the gu", nicker and pull up on the billet as Iho\ln In Fig. 57 . Your right hand and thulllb do not lIove, but the down .. ard preuur .. of the right U,unb tIp a s the bille.t Is pulled upwards, .n aps out the tn~lde fold of th~ bIllet! Outing the handling of the blUat, th .. opetator ,"ust lIallded billet h~hlnd the .c~n.... !lOTE: In Figs. ~8, 59 snd 60 th~ ~ lght ,hUOlb has been re"ov~d for clarity. To the au~lence, the billet ~tand. tall aDd high In full . I gh t co,"pleu with Ilgnature. ~ll I .. no" ready f or the coup . You ne~d not 10k the VIP If he recognIzes his .Ignature .Ince I t has been In sight at all tl .. es. But do ask the \'!P to con~entrato!. on hi' oee
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p.~O."' ua"Q. ' ''4 'lIOn'll l'1ip .4~ :~lON · 09 -\II .. liT UIIO,! * .11 'PUIl'l '110'1. "on u¥. "'I 'pu~'1 auo 41\" '''IIH "Ill ~Ull"'" U} "lqnull '.lll0}l"d "'11 JI
''''1
--- -.::.,,~,\)-;.:
~ !J?(' "I:J
it act"1; :;~
1ILe
'if(;~
at1d
tlu 1fda~ '1any
effect~
can be pe rf ormed by lhe
U~~
of the Nlboo Ventura technlqu,,-. Th, rollowln, four effect. ...... ,,,od " ' p h .
HI_ 61 oho" . . . P'!" tOrD "lit of • pocket boo'" that •••• u ••• ~-]f2 b, 7 Inche •• Tha VIP h •• been given. f.e .. choice of .ny page In the bo,,~. Ute. the plge I. torn out. the pedo.,,,. designate. 00 area of about) by 4-lf2 Inch. a at thIP. top of the P"g" (or the botto. If thal '" prahrred) and. bla"k line I, dr ... n aerO,. the page "Ith an lnl< &aTlter.
...
H t e.
pedor'"
'" tear,
dl,card. de.lllllted par t.
... cUno
of<
"
" ", rut
", ", ",
oholen
of page keeping "n I y
~en, t .. ., 11.&. circle. are dr ... n on tile cholen pllee of th. page and the perforl'" elrcle. one word, (In thl. c . . . th. word -"l t h" \I c!rcl"d) .. !thln the loft ltd, circle . TlI,n the VIP \I told t o aeen'_tly elrel. an1 wo~d "I thin th e ceed I. d •• lred •• th .. ?1<>. off.r, •• ny ~~enu., for p.tter. In tlte .bo ..... ffect, (or .x •• plt. the VIP h •• circled th' "'Otd -.ultc •••. ~ So the ;:erfor •• r cln ,.y thlt h. h.~ .entlily tUKltelted thlt the word ·Iulte . . . • be circled to for. a sentlnc . . .hlch lnclud •• the phr . . . -\11 th lui tcne!-
Fit_ (,2 .ho ... t"~ sa." t •• t b"lnt don~ with. of ne.wlp.pe~. the pe~for."r teau off • pi.C. of oew5p.p.~ .bout ) by 5 tnche.. In fit. 61, tht pi .. "" .~ov. the w,"y ltne tI u •• d. ~ • • ",rt'tlon to the above te. t , the I'IP ean b~ ask"d to underlln. or circ l e Itve".1 "ord., uy about t hre., pl~ce
"y,
for the pre"'ltatlon the pedorl"r .. ay You hI..," circled three word. , Ind you I •• the oolJ one who kno ..... hIt tho.e w"rd. I " , .0 I corraet? I will only ItUllpt to rev •• l to you two of the .. ords. If I do thlt you IIU.t .d.lt thlt I • • o.a feat. Correct? The revelatlonl follow blffln,l,.
11: f; ~ ~"If .. - ....
fig.
&)
fI,.
62
C;i~t4tThe 'tlr.cle \/orke • • ppro."'ul hi. audlenct with I 200 page pocket book In htl hInd.. lie ltat~. th.t h, hal 1 .. 00
The VIP I. n.xt Inltructed to circle any on. itne of the r ..... lolng 12 or 13 line, and th.n to copy thil entl,,, line on Inother pieCI of paper and to lay till pllce of the P't" . . ,kS-IUI down On thl ubll. Th~ perfor.e • • ppro,che. ,od •• yl, "Ple"'1 ... teh .~ c.rtfully. I a .. not 10101 to look . t thl torn pllce of the page, but 1 .. 111 lold It with tht .ark. 00 the Insld, without looking . t It Ind then fold It 1.lln .nd seal It .. 10U cln ue. The perfor"e~ cop. thl plrt of the plgi that conUln. th~ Ia$t three or four WO~d3 of thl underllotd word, uIlnl the Nlhon Venture mov .. , Rod the rut of tile. pI,e II burnt. "AI I seated, 1 have lelDorlzld IVlry word on '''try line of Ivery p.ge. aut 1 nud .0 .. " hllp, If you tell u the Ilut three worda of thl cho'ln line of print, the one you underlloed and copied, 1 will t,,11 JOU th" t •• t three word.! hlr Ina ugh!
After t>'" \'lP ~ "l h out t~e tl .. t t~ree wor~., the ~II ~ o r~lnf behind hi. Ublet jots the~ do"n and then c a lls out t he h.t t~ree or four "ord 5 .nd for the cll",a~ he h8~ the VIP read out loud the entire Line fo, th e benefIt o f the audience.
effect dQne with the telephone I. "o.t IntrIguing entertaInIng Bod above all .. y~tifylng So give the VIP " pair of .~I.sor. and the telephone dIrectory and tell hi . tQ cut Qut any colu ., n [ro .. th e telephon e dIrectory and to Uk " " bout ~ Inches o f the colu .. n "nd thro" ""ay the rest, lie to then to duw a line wi.th an tnk felt tip pen under any Qne of the .. any n" .. es, fig, 6~ , lie ~uot ~I . o write down the n" .. e ~nd nu .. ber (on . eparate p.per) of the one per . on on the cho5en colu~n, ~nd then plac~ the colu.n cho$@n-naOle-down on the uble . For the test you pick up the piec e of colu"ln and fol·:! It a~ per the ~Ihon Venture routine, seal i t a nd hutn It after stealing the vltal par t . Thl. I. easy t o do as the f e lt tip pen "3 r~ s Can be .een fro e the back of the colu"n. YQU lOOK for thU~ ",ark . and fold th colu lln accordIngly. Any
fig,
6';
For th e dr.,utle . have a telephone pl~ced .1 t YO U· ~I "~~o~l , EdV~ the I'IF oopy the na.,e only of the chosen line on a s lau but not ohow it to you, You then ~ .y, -I ... going to dial. nu .. ber and oee wh o an " wers," You have opened the pal . ed stol e n piece of the column be hind the telephone If passlble, or b e hind a tablet. '. hen the p",ty on the tel e phone answe .. you a"k for the peroo n by ~ I. full nalOe and i f there (" no an.wet ask for the party any"ay and carryon a pre t ended shor t conversation and hang up. For the cll " 5~ a "y , "Did 1 c~ll out the n~"e correctly? Ye.! Phase .ho .. the slate to the audi e nce!" The dra .. ,. I. co"plete and It wtll thrlll your ~udlence.
",
,, ,., " '" ", ,., " '"' " " '", ..," ,., " ,.,'" ," ", , " "" "
above effect <0, UI ua I e[fect done wi th telephone, nlgl na lly Invented "nne .. " nn, H"ote r l1en18II$[ enhance <0, te a t ukln; VIP fully nafle <0, ~trecto r y , then dlre~ted CQlu li n that conuln. VI p' . n'''u! ~ l . nD",e tes t done wit h wife 1 1 sted then childr e n are. ~Vent <0, t est ~ eco .. "s on", of a persona l and Intl,.~tf nature,
.
." .. . .
""
",'
If the perforOler notices that the und~rlined na"'e Is rlg~t \", the Center of t~e ~olu"n snd not "ulUble for the ~Ihon \'entu"~ [oldl, he cao direct the np (0 cut off one Inch frolll any ~nd .
00 the 'llhon Ventur e ",ov" . ·~tth a dollar bIll before ~ three-'",y .,I[ror . It will a .. ~", you. 'lot o nly ar .. th~ lO oves dec e ptive Bnd un''' .. n hut the dollar hili p~pe. I s ,",0 5 t prac.I~.I, soft and lI ana g eable ~aklng th .. the
Pig. 65
You can then burn the bill~ Sat the bill on [Ire fIrst Bnd then .enr It. The burning bill Is perfect . Isdlrectlon s o wa~ e the bIll in the air while the right hand goes dowlr Into the paot. or coat pock .. t, .nd then divine the nu.,ber . BUT If burning money goes .s.lnst your graIn then you c.n do the followln~:
Fold the dolLer bill 90 that the pyramid .how. on the .horter fold 8S In Fig. 66. and th .. n fold the bill once .. ore fro ll right to le.ft 8" ahown In fig . £7. You hav e .. ade the fold. In o~poslu direction ~ o you "Ill have to lIake th .. .. ovea behind your left hend, the left thuIOb doing the n cret pull out of the In s ide folds of the bill.
fig.
~6
By looking u your left pal " you will be able to see .. o.t of the .erlsl nu"b., and can procee~ as you wish . Uter uveallng .. o . t of the nu .. ber you sct as though the lu. nutlber or two I. giving you ,"ueh trouble DO you cru",p!@ the btll ti~htly 8nd place It to yo~r forehead pretondlng .. uch effort and then rev@al the. last d!glt.. r ncruOIpl e th @ bill for verlfl""~lon
fig.
70
67
Be sur. to p'.'tlcIO t he .ove~ leve,.1 tl.e.. The folded doUar bill II I.rler tbao the rol~.d 3 by ~ paper. SO 10U .UAt w.tch your a"llel. The .,,<:1'11 11111 be .. ell cov~r"d If 10u tilt th e top of you r hand. tOlla r ds you IIhlle Mklng the v it al 1I0ve.
SCORPIO
Of all the Covert Teu .ethod. , thi~ tu r n out to be the flvor1te .. it Is .0 easy to do. ~'h. t follo\ll I, the I.test t"chnlque In billet vork '.plo,ln« De ...... thod ••
.A1
EffECT : A p, •• on Is ".kad to •• c r etly writ e t .. o lIord. on the bl"n k sid .. of • bu.ln . . . card (.nyone', busln . . . c~rd). Til., CA r d II th en folded Into qUlr ter. And pl"e"d on the t able tent fUhion o r I t i. held H t~, per for .. e r'. flngerltps In full vl.lI. The "ard Is then " .. troyed by bu r ning or uulns to pia" • • • nd til. .. two words are revallad. l , pIO 't pTU ~ETKOO: The \'11' I. told to t!"llnk of two ilardi but unknolln to til.. rest of the ludlence, t ha t .. o word I .u.t ba rell t ed. Tiley .u.t be Intonyal or oppollte~ Ilke 'bllclc. "od wlllu,' 'tall Ind .IIor t,' ~[c. "nel til.. twa .. ordl .re Wrltlen, the l1entall.t eln ull ;t hat the I.e and word II by divining lhe B r it onR~ You Infou the I'll' thlt he !"In a wid. choice Ilne~ ther. ar e thoullndl of such co~blnatlon •• Th" VIP II na~t Instructed to •• cret l y wd u dOlln the tl
"
TtlE CARD: FI~. 68 oho\ll bot'! .Ideo of th~ bu.la .... card \11th t\lO Iinel drl"n on th .. ble", of It In th. Corract plae .. for th. IIrLtLng of th. lllO "ords. Th .. c.rd aUlt be prefold~d and "all cre.,ed. TII.t eln b .. done on the .pot I. the perforaer lectur ....
".,'-----
_.. .".'''' "J" L~_-_-_-_'_.,.'_,._~_( .. ... u ..... "
• ".
Never Look It the folded card or Into the [Ire bOlll or troah can aft"r th" card LI dllclrd .. d. "Th" arCana aov~ that I. done behind your bac~ Is Ihown In Fig . 1>9. The clrd I. torn along th~ d.r~ line as IndLeated by the arrow In H •• 68- ... , to the hlif poLnt .nd the 10"'" right quaner I. (old.d blck froa right to le!t oya. the (IC .. of the ca r d "hlle tht upper [It:hl ~ua[ler II folded behind th .. top-Iaft qUl rt .. r, Th. folded clrd will nOli look 11k .. In Fig. 70. wi th one of the wordl .. xposed ~
•
~ou ,"ust then either fold the top of the card back ~nd behind the exp,,"ed
.....,
ol'''"" ""
F 19.
"
~fter
the clrd I. (oldld Into qUlrterl you brlftg your hand£ fo,"ard holding the card It the fln,,,rtlps so thlt tha clrd nO\l lookl (audience sid.) like Ln Figi. 71 o~ 72 d~pendlng In hO
Hg. 71
------, Lo v(
th~ opposIte of the eJ
NOTE: Wh~n the ~3 [ d I . torn behInd your back It will lem v e the torn edgeo .. bit ragged, '0 tak e the folded card fro., the top fold so that your finger tIps cover lIo.t of fig. 13 the ragged edge gUT do not "orry over thIs .Ince at a .ho rt distance thto \. hardly noticed. Do not undersell thl. Ite .. . Here 10 )lentall,. In It. pure. t for. which l~ave. little to be desired. So make the ~o.t of It!
(Stan Ls a OIellober of t he AME Think Tank of long Itandlng. lie authoted the Dyad of Chron08 In the Kolophon . Stan no" n.ld e. In New Mexico . He 18 a g r aduate p.ycho~ loglst and a practicing Kent811~t with .. any a ll a~ln g Idea.. This one effect by Stan started t h e ball tolltng and opened up a "Ide range of po.slblltles wi th the Cove . t To~n hu.lnUI csrd . ) ~ partl.lly p r e-torn billet WaB flrlt used In The Donovon Paper" for the Blue Ribbon B Ill et test, -The O. of OJ
a.s c.~d. a~!! IN EfFEC T tha VIP linU s ~wo 1I0~d. on tllO bUlln Th~ cards Ira t~e" pt a c .. tha clrd. vrl ~ ln, Iida dovn on I ubi' . t noug hts reveal.~. (olda d into qua r ter. and
, , (it...,
l,,~q- ~ I..:b
_ 1.o...1,.l. <,; 11 . • - -
. ;...
•
-" -.M~ _
''',.-. ,
,.' """"'''
,
1J',J L,~~ x- f A L L
J.
fl..
74
-
Hg. 75
~n~ lh" card l The card . " ' a prap arad " • • hown In Fig . 7~ Tha VIP wrl~e. on the line In the No • • Ih<>" ld ba prafo tded. ha cardl . ) (NOT E' The nu .. ber. of the qu a ter. lire nO ~ on t qu a rt.r. froa tho elrd ldad prefo Bah\n d hi. blcl< the pa.fo raer tel" t he qUIr t". lio.3 the fold. tho cente r poin t and then up t o bot t o_ I n fig . n ll .ho II e~ qUBtt ,.cll on blck and behIn d No . I quar ter 75-A. ~t 110. 2 .. Ne'
Next t.t. tho tWO cards and plae a thes f l at no the t.ble but the c. r d ,ou folde d I. pl.c ed vlth itl 100. e coroa r s OD the l ower right •• • bo"n by the a rro w In FI,. li nd t he VIP-. card is 76·~ III th the loo.e corne r s d piaca On the uppe r rLgh t , fig. 7~ - B . flit ca r ds down Hold th' and ." vI til your Inde " HnS then r .. I ..... the ca r ds aod they .. Ill opan out a. In FIS. Th. card YOII fol d ~d 11111 71.
"' .....__ I U llls n u Xi HH OfW ' Of :;'\
-
I
'11, I ~
•
•
.
FlS·
"
"
open out ~nd ~eveel the hidden .ecre t " ord to you • .. hlle the other c.rd .. Ill 0P'" Out to"ards the HP and , ..... Lt... tho " only the ~~.t of th., bu,ln . . . ,,-.~d a. i t thould b., and III look. no~_al lod fiB· beyolld tu.pl,,-Ion! ~I toOn . . the on. uord I. III1_pted tell th .. VIP to hold the ca~d. flat "'Ith hi. IndeK fln"n and th .. n to concentrate on lhe " od In the card he folded. Allo .. lng that the VIP II thlnklns of the lI orda , " s hort and t.o.ll," you atlU !o~ eKa .. ple thlt he II thlnklln g of the " ord ".horL" Than pick up the e.td you (olde~ .nd "Y . ~ .o.nd 00 thl. card you "rot" the wor d "Tell ! " End of HI • • cl".
-,
"
'-----
Ha~. If a ~'''n t but profouI\d test u.lng Stan-, foldln~ ... thod. (Here lie 11111 ule only olle ce.d ~nd on. " ord.) Prep •• e the clrd lI~e In FiB. H. ~IV' the VIP IIdtl! one word 011 the line (or • thon'lu •• tlon) and proce .. d to a •• the card n. pe. Ibove e ff ect up to fig. 7~~B $0 that oDe Iide of th e cnd 11111 lOOK liKe In Flg. 7~ ~n and the other .Ide IIt ll 10D~ l ik e Fig. 78 . But you "t il be covarlng the e"po.ed .. ord end ha lf the card IIlth you r fillsers as ,ho ll n In Fl,. 79 , a. you turn your hand ove r to fl •• h the ca.d. To the ."dleoce It app • .o.r. thlt the ca r d 1. folded In hllf .nd the lIord I. cov ... ad.
"Ixt tura t il~ ca.<.l ova. with the word helng you, Slllp,. the Ind I ..... dl .. t .. ly fold the card Into quartera , and If you wltb "t, a p .. per clip to .eture the card . ~ fCe r the thoUllht II divined, d •• troy the ca r d by burnlll& It. PlY DO he .. d to "hat Inyone IIY ny. The.e II no way In which the I.y alnd can "rrlve at the lolutlon. But you .,ul t dutroy the card to d •• noy the 501utlon. ~,.p In l ind that the audience h nOt ~ .. ar. that the ca rd hu b .... n urn . Su n u.e. then .. e t hod. In everyone of ht • • ho w. and upeau the effecl uvenl t\lIn. wo~d
-,
THE PURLOINED THOUGH7
A LOOK BACK.
THE JINX ......................
,,-_.-
__ .... _.........
)0. • • _ . _ . . . .. .. . . . . . . . _ _
. . . ._ _
.' .
_.--... .........
CA N
YOU DU P LICAT( THI S rOR ONI: DOL LA R' I< E Y£R I
WA'{[HI. Y
NEW YOU
"'e" Io,nnemann's ad. tor hi" Jinx as it appeared In the Sphinx for Feb. 1935
76
ea'[
tJ.,ud
ead 1!tetacd1.-
t ,. ,Iaot
on ., ,,. '"""u"
Hep
t>ubll.h~d
forward
hi.
book
vllen
~lIenut
AI
<•• , • Jaker
~'Sl~,"
In \949. In lhl. book AI S.k.r rev •• led B .ntedul uchnlque th.t lOa. not thought possible. On. efftct .Iona , "N ... Light On The Center Tea.," uncovered" ne" hnds"ap' of ."ought beyond the co.prehenslon of co .... oI1
_Indl. In At Ba"'It . -' ." th ol, th e CoT principle o f I t • • llng tha (olded c.nter piece hl"oon ob.olate! the '1"ntalltt .tlply doe. not Iteat
anything tho""h t !
except
the
.peclatO[-'
.t.. t .0rt&1 .'Onl th. unlnltlatea can I •• ~tl'l' that the lI.ntall.< can "nnnol .. !oldl!d piece of plpe[ to the ."tent lllat h' "an ~ec[etly open It ~nd rend the hidden 1""lge In the ~Cl of tudng the f olded paper to btU! ~hal . ,nner n eould h."1 conc eiv ed .uch .. d.llcate piece ot .on .ond dev elope It to perfection even to the ~oLnt tl,.. t the ...... ge ~j>pe3u dght tide up eytry tto... ? That ... n " •• Out late At a.ller , So lel-' 10 behind tht Icen •• and ob •• rve H Sak er- • ••• ~erwork. In 1979, In a c.onverl.t!on "Ith 0.1 \'arOOn at the Hagle c•• tie, Oal. Infor •• d •• th.t Nell Yor k !l1,lelan Arthut Finley,
or ••
"
fa.ou. t()~ h.vlng lovloud the .p~lling trick with c.
,I
To '1 kno"ledge Al B.", •• WI. the flrlt to publish the U.brell. l'Iov., In ht. bookl"t "AI Blker-. 10DI< :>n • • " In ]qll. L~ur Al Baker a"pUed the prlnclpl. of thr U,brella '10ve to the stolen torn center and Invennd ... hat "I
A\ B.ker railed h •• vlly on the a'.wa,. ".4 bee ••• an e"plrt It It.
,ove and u.ed It pIllet tfr.rts he
ex .. cuted
the u.brell. lOove behind. letter envelope held 10 hl5 hand. ~ tall order IIh~o thl_ test 1m dooe under Ctre. Bul we c'"" nO' dl boO J.l a.kerB. Thl. IIrlrer had (0 ~Ircu .. vent the u . brett .. tt co,"plelely for doing • ove, due to clu~.y thu"b • . and ell"In~te lfong >lith B pr~rol~ed paper belne u.e~ . The public doe.n't car. one hoot about that. But I '" an,~d to aiio" the spectator to fold his o"n paper afte. the "ritlng SOl I devel<>ped an t.pro,"ptu veriiOln of AI hku' . New Ligh t Center Tear whi,h 1 called, "The IllIprovlsltor" ~nd "hleh flrst apptar~d In lhl! Apodos! . In ~arch i918 and again In the Koloph<>n In Oct. 1980, The teChnique {or Th e l a provllito. follows and let ae a .. ure you that once the billet ",orke~ .B.te~. this technique, the, .. I. no hesItation Dr .usplclou . o r unnece ss .ry ,"oveo, The >lhole ·"o.klng appear. a. the nor~al ,"ove l of tearing B piece of folded p~pe, to bit •. One outsunding feature . bout the Al Bak.e~ Tear I ~ that the De.uge o l" ay. COlOeo up right-side up .nd ready for a fast 'read.~ Thl. .a.... feature can be ntnlned .. I th the I .. p~o"ptu ",ethod by carefully watching just ho ,," the sitter fold. til .. p~per .
'"'0
Hn:CT, The .Itter \"Ites 8 though t on op.que pape, and fold. It. The PsychiC Reade, paper aJ he Instructo the .ttter to concentra t e, I s then tOlrn to pieces and h"Tned and the thought reading ts gtven ,
hi s "loin piece of Ukes the folded Th e fol:!ed P8P~( to divin e d snd "
'1ETHOD _~I,D TECH~[Q\I[: Th e technIque used ukes advantage of s ecreU of paper tearlng >lhlch all billet " ark .... s hould ~ no ... In the AI BaKer lIIethod a speel,,1 fold >las used that left an undeda., that .. a de It uIY for the operator to tnsen hi. thulOb into the bIllet Lo secretly open It via the ulllbrellB . ove, In the laprooptu version " e do not ~ave that a dvant3ge but an underl.p !n the folds can be .. ade autolOatlcally by tenrtng the paper In 8 ce r tain
""y.
Let
u~
auu~ e
thllt
the
oper a tor
I~
right
-,
•
,.
•
~
,~
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III
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6~ and thl l I. folded b"~k onto the bl1Ht forlling .. wcdge sha~ e ao sho"n I n Fig. 86 .
The only ~urp05e ror the "adge sh,,~e fold 10 to d \0\1 the o~erator to In. ert his thu~b Into the top told of the billet for the ~"cecutlon of the umbr"ll" cove later •. The piece. "5 .ho w" In Fig. 86 8re next torn In half 88 .howa by the arro" and ,'18.1'0. 1 Ine •• The rl~ht hand piece. are plac e d be~lnd the let. hand pIece s a nd the pieces will t hen look 11k .. In Fig. 87.
,"
the han~ltn 8 th ~ operator ne~t In.erts t~e tIp of his right thunb under the top layer of the pieces by the help of the folded-b a ck wedge Fig. 88.
Fig. 89
The next .ooe i . the urlbrella "eve - but the .. Ove can not be done "hlle the pieces sre held as shown in fig. 88 becau.e the folded c e nt e r piece ha. ao rOO1O to $n"p out of Ito fold. ~o you _ ust reOlove th~ torn pieces fro ll behInd the FC piece . A. sno"n In Fi8' 89, the left flnge~. have taken ,,11 the looae pIece s leavIng only the Fe pi e ce In the rLghl h8nd . a. i t ~otate. ~ount~rcloc" ,,15e .hlLe the right Iland rotat~. "lockw!.e. The phc,," In the l~ft hand au ne"t place~ over the Fe pIece and at th e sa!'le ll ~ ~ the right thu ~ b pushes In ag8ln.t th~ left finger . (as sho wn In FIg. '1'0) lind the FC piece ,nBp' open like an umbrelh. NOTL: The hand. nevee 'ep&e&te whIle d<>lng the ",OV" , oho"n In FIg. )\9 . Tne finger , are kept .. clos e as pos s ible 10 tna t all the op e nt"r appeau to be doing I s tearlnll the paper.
Fig. 90 .1'0.0'" t"e fInal the FC p i ece to . nap open. clarIty.
?u.h of the right thu .. b "hlcn cause " The \eft thu .. b has been r e ,,"oved fo"
In sctual practice th e left thumb hold . the \o,, " e pIece. 8"d .. ay aho a .. ist the right thumb If th~ billet does "ot open .s It .houl~. You can not loae as you au actually doIng til. .. u~bre ll" OIOve "'Ith twO hsnds. I(eep the {lng~u of
Fig. 91
I
Fig. 91 Iho ... the left hind II It l ook. JUlt leeonds before the 1lllIpoe . The left nlnd !. holdlnB all th .. plee . . IIlth the cenUr pllce opened Rnd .ho ~lnl.l the IInuse ... hlch .hould al\llYo eooe up rlght-.lde up Bnd I, aho holding the loole piece. behind
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THt CLl'!PS[, .·hlle the ",udllnce hI' 100& Iinci ~l"en up on th e .e,,"go paper I •• ulllni thlt It II deltroyed blyond ."co"e
Hter the .. ovel ate ",al t e r ed , all tile .. ove. o f t~. .. ethod above cln be done In 10 ucondl of tl"e or 10 .. . I
Tilt rOLDl~(;' ~·lth JUlt • Httll effort specutor u he fold. hh hi ll et 10 that t he ."."~~ up rlght-aldl up. For the t i l t , you tiki the .p"CtltOf~' pa~er, ) by ~ Inch IpproK., Ind ".It l your oa,. DO thl top Ind I llnl at Ibout tnl tInte r .. ,ho\ln in fig. 92. HUr the 'p .. ctltor .. rite. hll se ••• ge I I you s tand aw.y tell hili t o fold t he papa. In half . To the s~ e ctator'l .. Ind that 1$ all the fig . •" folding tlut t. needed! It covers hll thou&hU tOa pletll, fro .. prying 'ye •• But IOU Inltlt on a letond !old, but flrlt you watch carefully hO\l til e piper \II . [old.d th' nrst Ute.
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If the PilI'''' 1. fol~e6 froT1 the spectato r' s le ft to hi. dght 88 . hQ~n In Flg . 9~-A.. tell 01:11 to fol1 It on~e ",ore "n d noraatl' he "'1l1 fold It either fro., the top ~o"n or froo the bott""' up. In any event the fold 1. perfect and the usoas" "Ill show right side up. That partl.ulBr fold 10 done by .. left hand"~ person. If the fold Is done ftu" right to left, the uaual fold for a d&ht handed person, THEN YOU :iUST DO Til£. SECOND FOLD, So: ~ou reach ov~ r and pinch the folded pal'''' .,Ith your right hand DO oho .. " tn fIg. 94 and fold th .. pap~r ioto Quarters downward. 3S you say , "Let', fol:1 tt.e paper one .. ore tl:o .. Into quarten to ",ake
ourI!- th!lt your thoughts pclvllte." No,", t he pap'" t.
are
Indeed
"e"ln
p~rfeol
for the test 80~ the ",,,osage "Ill oho., right side up. lIut even if the .. u.age sho w, upside down, II .... "uld not present ."y undue prabl" ... to the e~peden~ed MenuHU, \ou can eight the MOUee In the pro,,''"' of leadng. It!
London, 'larch 31,
Fig,
94
1930,
Two $ulcldel tak"s place at abouI th~ une tl .. e the other near this day, One ne~r London and Stop, 0"00 per.on " .. OIed t'ottlnha,. . hlre. The other Dllvld Henry Butler! Fred"[lc~ Henr! Butler . Profusion : Both b u tcheu! " " ., ,Stop. Stop,
Fate? ~,aglc, Ju.t coincidence: y"u say! Or "ere they: Arthu~ Conan Doyle Itr ote of similar 5trarlge Colncld~ncu In book, -ThroulIh the 'Iagle Door,"
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The~e Is a luange faoulty cf the .. Ind knc"" a. ,"eup"yenoal. {the aetl c n of .Ind on .Ind "Itho ut knc"n phy~lcat agenoy}, which a.nscends probabilitiet ~nd unuptalned colnoldences. Hany believe that the 'l ent~lIst ~reHU hh !llra~lu by being In po •• e".lon of thl~ I.culty and that by controllinG the thought> of ot.hen, he can synchn>nize ~vent • • 0 that they coincide In t I.e. " =•• ter '1entallst neve~ undere~tl.8te. the I_pac t of lhe "coincidence effect' en the au~lence. In the foll owing preuntatlco uoing the C-T principle, the perfe r.,er e .. pha~lzes the "You do as I do" theme.
EFFECT, The ~entatts t gives a .hort lecture on the synchronicity of celncldence and th"- "'any strange coincidences that have happened in the pUt . lie prepo .... an ""perl,unt aleng the.e line.. If ene persen
thO! " o r d
turning up dght-olde
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Hter the sp .. ,tator ha s circled his ,",ord l~ll hi. to fold th. fro .. left to rig ht I n half and th en fro", tOP to botto. int '" qu a rten. The n t ak ~ the t wo pieces and phce thea together as part of the r itual . Per f orller ~ a y turn tht- t wo pleen ov er Bnd over for eff eel. but keeping track of the .peetator'. pl .. c" nnd th .. " he can pr oceed In on. of t wo WB YS : He can del troy the two plece$ together readi n g tht! $pec t ator'. "ord In th e proce .. or he can give the perfo ... er'. fold .. d pape r to the 'Ilecutor t o dc,no,while the p .. tfor.er de.troys the IpectKte. - . paper . Ir t h e opectator co ... e nt5 that It I. not hi! pap er , t he perfo r .. er cln OUt<. th,.t that 10 part of the dtual. Stn~,,th~ "pHtator has been doing eve ryt hing th e Yental1st .ugge5u , It I. unl1~ely tha, he 11 111 ~~y ~nytht n g at all "htle the lay audlen~e geu the full benefit thtn~lng that tne spe~tator ha~ d ... t
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NOTE : The above effect Is prOEraIQed 50 th a t I t can be done al .. est toully 11IIpronptu using any ple~e ef n"""paper. But If the '1a.ter of ~y.t .. r y lIa nt. to take It a bit further, he can us .. t '"' ''' duplicate nellspapers and have the .?e ~tator chues" the page In "hlch ca.e the chooen pae"s " Quid be r emo ved f ro .. the newspapers. Neu the .pectater as ked to choo ... ", tnt part ef the page "til be u •• d. That "a y the ""' 0 p1eceo e( "e"'p"per used 11 111 be duplicate., etc .!
I.
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by Richard J.
'l stedlnrt
( The Dltl .ate Cent"< Tear "a. ft r . t publl.h"d In The Apede .I. , an ~ ~f relea~e dated 3120/7~ . In my "tslt to the ~.ag lo C~st1e In lIoly~oed the folle~lng rea r I W8 S pleasan t ly .u rprl oed to find that t "Iental\u! &t th e oast l e " ere using It . It .opear. ~ere a~aln In ~Ichard~ a own ,",ord. wit h hi. Ioteo t co r rect len • . ~'!)
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Cerlnd .. h". nlad In hi. boo k "13 Step' to :1entall." , " that the center ",ar Is about the g re atest alng l e effe~t In Henult.... >lany other per f orur • • har e the $ . . . e vle ll.
__
Studying
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A mi nd r ead i ng test Wi t h a bil l e t
folded billet _
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retires
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Ct'rl~er
Tearing session "Ith Richard Oster lln
Po. yes." I ha,,~ used th e ba . l~ e(f . ~t wtth gre a t . ucce • •• ho"e,,"[ the.e ~
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I feel all the above c~lteria have been ", et In o y .. ethod. Since 1 have " or ke d on this ",ethod on and off for ~n entire yeaT 1 " ~nt to oske . ute i t (alia only In qualified hands. .~I Ma nn cat e r. only to proles.lonal Ment.lI.t . and ha s 3 love for subtle _"thod . , '0 ! " .. pa " .lng th!. s e cret on to hL .. . ~t t h" tine of thl. "rl t lng. only two o t he r l1entallst. Ronnie Gann Bnd Danny Tong - kno~ . Y Ole lllod. tr the center tear I. the ultllll~te effe"'t In "entaIL ... - This Is th e ulll.ate .. ethod . EFFf.C'[', A spectator "rites " n~,.e or a .I "' ple deolgn on a piec e of paper and fold . the pa per . The Itentall.t openly te"rs the paper lnt<> 510311 piece. ~ n d hands th~ . ba ck to th e ~ pectato<. The perfor_er then rtivulge a the na~e or d • • iRn i~ a Hrlklng way. At the conclusion the 5pect ~ tor can look th r ough t he torn pl.~ " s and { I nds his lnlor ~ .tion torn " e ong the pieces he hold.! the elfect can be done clo s e up Or Oa the s tage. Nothing is eXal\geraud! !
S&CR[T: 45 the paper i . tOrn th e Hentali . t i. ab le to r"ad Infor o aUon
/
figs.
Richard O$ t erllnd
96 1-9
.• I .' ~at .. ~~! ~".e lu d tt to 'l .1 ·11• • ~~eet o ~ente. t. ! 0 "~I, .. lf .. . ~~ De~ .s . I~ t" pr ov e .n b e ll ll d ir tn , .n y o n e ·I n ,t b la l.
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bOlt It do~. h .v . ti le ko o .. . • P le •• e
3 .t o n 1 b es ln h i u e x p l. in th a IT .e th o d do t 1 1 k . an y th ~"c:ioe •• t. k e • c . 811t •• • t .1 .I in g o o li d e •• b l. I . ed th .t th u'~od :l eE '. O ll o l. t S \;ORI: ! a! h n o t. p ip I h .v e a. ed e d . . . . . . nd .~~ !< ne It II nd er .1 1 .. . r f. lI . to t~e ty p e . . . f o o n u n .n ," d :_ ·,1 0 U I n d it io ," It .n y .. he .. . le o c e , P ie .. R nf .. pr .c t io e t l. e • • n y p l. o e . i~. p .p .. r it lo d .. .. d .h o u ld by ~ lo ch •• , S in e. th ll i. •• •• " • • • ~proKl •• t. I , ) se < ': c h p .d th e 00 11 0011 aV R Il .b le 'a 1100 .i > . o f u sh o ll id lI .v !, !o l tb e . a.;> d lf H c u .f fe c t I. p r lt y o .p tu . ;; I, e . p .d th I .I " ., s c .r ry i • • i~. ' w • it ~~. h tl n U d p .g .. ti n te d p .p e ) 00 II I. r ".~alfa II :~:,u,h th I. III .. u th t e p ip e r. ) o f s •• ln g D.. .. I li n e .l lg b tl y b " ,.~e,. (f lo " e " n t. r ig . • 6) .n on th a d hI ve tl \e ~"~. of .. sp e e t. to r p ri .. . f •• o u . p n t tl \e eu o n on th e H ,I ,p le d u lg ne n . T ur n ,o u o r d • • ", .. r b le k " " " ~O'l' .n d .. \t h yo ur b . t" ', II b .c e in t k H il I tu rn 1~ICttOr to fo ld ti ed In st ru c i 96 tl \. T ur n blolo. .n le p .p er In h a lf . d te ll th e '~3In tp 'C ta to r "t h e o th e r 10 ta U dI ll p .p " .y .. O pe nl y ta~e . P !! ,o u r h er In h .l f f t 1I" .. d .0 b .c k ti le p.~e r en d th a t ti le fo ld d,".~ co r .. . r. ho ld It .d c .n U . (f e ) Th • • iQ~I. Is on th e up !D ld ed .d g u fo ld ed ed p •• ,e (. on to a n to Ih . p " h ll . th e rl a h t .1 .h ow ,l ie . u p l, ln tv a n In F I, . 97 th .t " d tl n g - 1, !lr~ly on o r d .. .. tn l i. 0 " th l n.~t th e .I o d b .. p •• •• •• th e n '" e l" •• no t o ':I el n& ". Id b .. , d .s ls n n ly t il " I. n " u t .1 '0 ti l. o f I •• ,' n lt lo li n .. of to u ch In d th n It e U n .e of .I ,h t . \,; 11 \1 . fOU e re II IU n ~'U'''t' o ,. "b u c k le " f th e
'_ ~:t~ . "U e.
Fl.,.
t".
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closed. Th" piece lu.t tOr" ofr ... Ith the r\~ht hand I. p1mced [n front (audience side) of th" left hind pie"". . ~. tldl piece [I pl~ced, It. h An ~"Y .atter for th e rl,h t tl"... b to open out tha eentH piece .. ohow" In Fi5' 97-8, A"d , "po u the wriling or drl"lng, Thl. vI. " II covered by both handl which hide the "r ltlng froa daolt .ny .ngle . After II,htln, the Ucret n ••• Or de.l,n , you eln refoU the center place end teer a,lla through the p.pera .everal tl.ea .nd hand all the piecel to the Ipec t atOr .nd t ell hll to Concentrate and thin reva.l the t hought I" your .Olt dra .. atle aanner. IIhan the Ipeetator look" thr ou&II the tOrn plecel there will be the nue or du"ln, all torn up JUIl like It Ihould be. Aho i t "Ill b. torn I nuaber of tl .. u ... Ith all the placea upauttd, th erabY .. kin, It lapoaalbh to read I r~1I rOlllloe "ork,l! On. of the uaaon. It [I ao ,ood i. th.t It do"a tlk . . . oa, pr.ette .. thereby ..... Ing It l'pol.lbla for so.eOn. to d"pll~au. '-':et a n ... ber of pod. II ... ) by ~ inch,," and ... he .. YOII have t"rn up ahout tbr .. e of th" pa~s, vou'll ~av. ,ustered t'" routine. ~pPE'IDn: I al"aYI hive oy spectator p~lnt the na .. e of • f."oul perlon, Ute< handing b.,,~ the torn piece. I hllve III. pletur .. tha perlon [0 III • • Ind, No .. I basin describing the pe •• on the ".y 'IO~t peopie r ........ ber th .. penon. For Llaeoln I .I!:bt nv: "The peUD" you ue tldnklnr of I. no lonser living, but so.eone you have gre.t r .. p.~t (or and ad.ire d.eply. ~I~htl You .ee hl<1 lilting In 8 eha lf al.olt Ilk, • Ho"e 'tUlle . There \I • • ole,," loo~ In hll eyel. Till. a." who lived throuth ~r,at .hfortune h 110'" faced "Ith his o"'n penanal ",It fortune . ~a \0 belag allrder.d ~ In .. Ilr,e roo. with .any paople "atchlng. You can .ee tha ter r ible on,ullh In your lind. It II • ud d"y for •• bklnd! Tha ... n h •• 1 long beard and it a .. st be Lincoln! I IIhlt yOll are doln, II ereatln, .. pletllre III tbe .pectator'l .Ind .nd th .. n de.~rlbln& It ... thollill you were reld!ng hi. "Ind. It \I R'UZlng ho" you can l ead a willing .pe~utor atone your tralll of thought .0 that later lie ... ill . wear tlla t you told hi. a .. ell aora tllin "al wrltteo on t he pap.rl
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linn e mann ' s ad . f or ~ is '!ethods o r Fo rcing as it a ppear e d in the S ph i nx !or April, 1 9 32
92
the publication of A1 Baker~s Mental Magic (1949) later the release of lIy aanuacript The Apodosts dated 3/20/~ (NOTE: tty Ganuscripts are dated in Gnellionics) an avalanche of ideas exploded tn the Binds of enterprising Mentalists causla, a chain reaction that resulted in the invention of aany handll for the Tear and Read C- T aethod . The AME files have a good dozen and 1I0re of lIIanuscripts aD the Tear - and - Read C-T aetho Most are listed here by date priority. 1.
Ray HYlllan -
1952 - Concepts Never Die -
Phoenh:
1266 - Ray gives us here a sans - tear instant read .ethod using a piece of paper or card. It is a shoot-off of Bert Reese~s Uabrella shape . Ask the lady surely aay Yes! so you a glue dot on the palm
Have with a paper folded diamond if she likes dialllonds. She will fold the paper diamond shape! Try as a hold out. Great !
2, ~ay Hyman - Heraclitus Helps - Hay 1954, Linking Ring - This Is a hands - off C-T effect par excel lance. 3 . Richard Osterl1nd Tear - in The IIpodosts .
1979 - The Ultillate Center
4. Bruce Bernstein - C-T Technique private mns . by Bruce Bernstein a good Sruce .... hands.
1980 routine
a in
5. Ray HYlian - The Eccentric Tear - 1981 - Linking Ring, Vol. 66, Oct. 1986 - II refreshing new approach in the tearing technique done with an iodex card . 1 tried a busness card and it worked even better . Ray geta away froa the center piece and the usual conventi o nal tearing lIoves. Script - 1981 . 6. T . A. Wa ters variation of the T & R Bethod with !Doves.
The author~s own somewhat easter
7. Phantinl - The Knight"'s Gambit - 1982 - Two methods. One is a sans tear billet method and the the other a T and R method. Both great.
8. Ed HarIa - Tesrs Without Tears good moves by an expert card manipulator.
1983
-
SOllie
9. Richard Osterlind 1986 Surrounded Slow Matton C-T Method - 800klet by Jeff Busby - SOllie great Boves and inside secrets of paper tearing .
10. Theydolt IIorth knOllin8.
-
Karrel
fox
-
A hands
II. Richa r d Stride Scattered Booklet by Hank Lee - Very Good .
off method
Thought
1988
12. Rudy 1. Hunt.er and Al Mann The Sti ng Ray - a 1988 revised idea flrst published in The 'lag-Eye 110ve Supreme - 198~ - details folloll. 1988 - The Tell Tale Tear 13. S tan Alexande r Another private handling of the T [, R method IIith StanIs olin !:loves.
All the above techniques have their merit . For tho novice Bi ll et King 1 wou ld recOT'lmend studying Ursl tho Ray Hyman routines, next Phantinils, Os t erlindls then Richard Stride's and then the rest . t predict tha t the serious student will inv ent even bette r moves. Do peruse also the following . , . ' . , .
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Nothing could be Simpler than the 'lag-Eye 'love. ,HI you do is tear away on the usual folded billet and the hidden thought reveals Itself in due course ! - The liag - Eye move was born out of desperation. ~hile visiting the falilly in Sweden, tn 198 0 , 1 heard that Bruce Bernstein had JUSt imvented the ultimate In C- T technique, sur pos i ng anything yet in print! 1 asked myself , "~hat did I miss?" 1 then took a folded bIlle t In hand and held it wlth the FC on t he right upper corner as usual and stared at it.
Next, taking a sugges ti on f r or.! artist Gustave Verbeek who turned the world upside down in his drawings (above) , 1 turned the billet around clockw i se 180 d e gees so that nol,.l the FC WIlS on the lo ver left corne r, and Vo il a ! the Mag-Eye move vas bo rn e . One of the arcane !ec ret s of inventing magic is to turn it over or ::Iouble it, Things do look very different when you turn them ove r and If you double the items an entire new world Is revealed with :any possibilities . Th is technique will be seen later when two ~ll iets are used instead of just one.
The Mag-Eye mov e r:lade obsolete the umbrella move and tfolded center technique o r the need to open anything Out IIlth :. thumbs. And it I s most easy to do. Mentalist Robert Cassidy d~ the move in a darkened barroom. He reads the thought IIhen he fir his c i garette Hghter to burn the billet! Richard Osterlind :....a a recent sholl (19&&) performed the Mag - Eye move over SO tice.
at
the
requeSt of
his
audience who Spent
looking at the pieces and finding that Ri chard had X-Ray vision!
no
the
solution
rest of other
IN EFFECT: The usual wrIting o f thoughts and after tearung the folded paper to bits .
THE TECHNIQUE ; Fig . 95 represents a plece of pape r or card abo~t 2-1/2 by ~ lnches or a bit larger. The paper Is prepa red by prefoldlng It and writing the instructions so that the writer is re stric ted to write only on the line with the asterisk. for the basic Mag-Eye Move tec.hnlque the space marked (A) must be left blank. Durine tho tearing of tho bil l et , space (, ) may come tn to sight of the aud lence so It is be t. te r tha t It shows blank . Th. solid eros s Hnes re p rese nt tho folds of the paper .
the nl &"' :
than
the
to sa!,
revelatl ::l5
a ~r?rMI1~
~r:~ "';1' w,d.. ~,
(A)
;!..'VLDVE
0'k.f- y~
- -
-
-
flg.
98
~
~D
~
II B
A Fig. 99
Fig . 99 shows the way the pape r Is prefolded . First from left to right off-center so that a step 15 left on the right edge as in Fig. 99 - ,1, . t.:ext the billet Is folded hackwards from top to bottom away from you so that the 'step' 15 left on the outside of the f olded billet as sholln In Fig . 99 -B. NOTE: The 'step' is for your convenience so that the fingers can be stuck into the billet for tearing. It may be that the operator's ftnge rs are agile enough that the step Is not needed .
Tear
~
~::::;,~ FIg.
After
,
100
THE HANDLiNG; After the secret thought i s wri tt en and the paper folded , the performer takes the billet at "X" betlleen the left thumb and fingers and holds it as in Fig . lOa , with the Fe on the lower left. THE FlRST TEAR;
loose corners
the concentration the
Hg. lO l
Fe
-> L - J
billet is torn in half down the middle as ShOW!l by the arrow in Fig. 100, NOTE: All the tearing must be done without looking at the hands and while talking to the audience . After the first tear the left hand is holding haU of the billet as shown in Fig . 101. This is the vital part of the bille t that contains the secret message right under the top layer of paper.
Fig. 102
THE SECOND TEAR; The right hand then cones over while still holding the right hand torn p ie ces of the blilet , and tears away the top laye r of the half billet as shown at "X" 1n Fig. 101. The "step" in the paper 10'111 help in taking only the top layer and tears downwards as shown in Fig. 102 and continues all the way down and then to the right to detach the top layer which exposes the secret word as shown in Fig . 103 . fig . 103 All the torn pieces are now placed together and the wad is turned t.o the hor1.:ontl\1 as shown In Fi g. 104 and at the last moment before tearing the pieces furthe r the word is glimpsed and all pIeces thrown away . Please note that if the pa per is folded incorrectly the Clessage will not sho w. The operator must Ilake sure that the instructions of folding are done as stated .
Fig .
lOt.
Bob Cassidy incorporated the 'iag - Eye move lnto his program as soon as he read about it in Phanta-Graphs . He performed it under all conditions and then came to the conclus ion that the blank space (,,) shown In Fig . 98 was reaily not needed and should be utilized with more writing.. 1 t ook his advise and worked on the idea and came up with the following handling: The technique I s just. a bit rllUeren t
than
\.Ie-II use the same size paper , 2-1/2 ~y t. inches, but now the spectator is A_ asked to write ac~oss the length of the ",aper as shown in flg. 105. A line ls ~rawn to asslst the writer just above the ;:ente r of the paper . To make things easy !or t he Billet King a sec ret slit Is made ~!l the paper as shown by the solld short :ine at "B , " about 3/t. inch long .
97
the orig1 na l.
'r B
w:JilJ" 1 ",,,,,,,,,,7 ----_._---n,. ) Fig.
105
Th,
pa pe r flt"Sl Cold!.ng I t left
prepared
lnto '0'
106-8 leaving the underCold on
F 18 •
quarters shown
by
r ight " from shown '" oCi-center '0 "
'0
Flg .
",
ou t side as
106-C .
D Fi 8 .
,
[]
G
Then open out the paper and weaken the C :" , ~~
as
Pretending that the pape r 1s no longer needed, take the pape:1n Flg . 100 tn preparation to dotng the Mag-Eye 'love . Tear t"e
billet In half and
then
~ake
t he second tear peeltnR off the
layer of paper as before t o expose the wrltlng. After the second tear your hands .,ilt look like in Fig . The first half of the 10 7 . question is exposed in the left hand but is only visible on the performer·s side. The other hat.f of the question is also exposed on the audience side but not vis i ble as the performer covers it lIith his fingers . The performer does not look at his hands du r ing these moves but patters lIith the aud fence. Fig . 1 0 8 shows hall the hands look [ror:! the audience side. Note that the right flngers completely cover the exposed tast half of the question (arroll). Next without looking at your hands , revolve the tllO halves as shown by t he a r rolls In F i g. 109 . The IIdUng 1n the Ie! t hand will now be easy to read BUT do not look Bt your hands yet. You may hold you r hands wi th back to the floor to avoid flashing the writing on the papers in the r i ght hand.
se
Fig.
Fig .
108
t 09
t~:
Next place the slips in yOUt left hand over those of the right hand as shown ln Fig. 110 and note that the finger tlps are touching and covering the wrlting under the bottom pieces. Now you glimpse the first half of the question as you look for an ash tray Bnd then turn the slips over as shown by the arrow in Fig. 110 and just before you tear some more you read the las t hal f of the question! Fig. I I I
Fig.
11\
After turning the paper over you may if you wish push all the papers into the left hand so that only the ends show. Then you can resch for theash tray with your right hand . Yes! Some members of your audience will suspect that 'au have somehow glimpsed part of the question. Some always do. But no one w111 believe that you can read all the question. The Mag-Eye Move is an exclusive and advanced technique and only another well inf o rmed '1entallst can tell ·... hat you are doing.
ZN,(;Z.tf
R C-fJ-
A method called Sting is included under the Q & A Central chapter. It appears there as a stolen-center item. After learning the method "Ientslist Rudy T. Hunter of Toronto sent ln hls ideas using the Sting method as a T & R method. That one idea elevated the Sting operatlon so that _any lIlay consider it even better than the Hag-Eye Move Supreme , sllllply becasue the moves are fewer and simpler and the Mentalist cops the whole question 1n one 1II0ve. Use the moves under Sting as in Figs. 39-", B, C snd 0, but after 39-0 turn the pieces counterclock wise one quarter turn and then slip becl(. the vital part (X) into the left palm. Thts part is folded lnto three sections and contains the entire question! Fig . 112 shows the vital part marked "X" moved to the left. Fig. 113 shows the tip of the left thumb stuck under the top fold of the vital part and ready to open it out behind the hands. Both thumbs assist in opening out the vital part . Fig. 114 shows the vital pa r t o pened out completely and the question showing.
fiC!.
/
,
Fig.
99
11 2
114
Fig.
113
7&e 8ce.eCl?t'C-'"c by Ray
Uyman
Beyond a doubt, Ra~ HYlllan#s Eccentric Tear Is ooe of the best if not the best o! the T I> R methods. It Is simple as all good art should be an! mos t easy to do. A eh ltd can do.
Lt! the
Besides it delivers be f ore performer's
eyes
two vita:
pleces of information which
ca~
be dealt wIth one at a tillle. Ray invented this method ie. 1981 for Annemann's Telephone Drama effect and it is the per(ect solution fo r the workin g of that effect . Yet if the perperfor:mer wishes he can have
two questions wrltten instead. The
appeared Annemann
Eccent ri c
Tear first
In prLnt 1n the Linking Ring Parade
for Oc tober 1986 , edited by Ph1l Willmanh and 1l 1 ustt"sted
by All of Ray his permission.
Hyman's
C- T effects
~arshall
1n
this
Phllyaw. book
appear here by
The telephone OraCla effect as invented by Ted Annelllann used two billets . .. person ."a s asked to think of a friend~s name and his/her telephone number. The psychic then directs the person to ptck up the phone and to dial the number as the psychic tells him the full number ! \.Ihen the person called answers the phone the psychic tells the caller to ask for a certain person by name! and Lo! and Behold ! the psychic has divined both the phone number and the name that a total st ra nger froCl his audience was me r ely thinking of ! Ted~s Telephone Dra ma appeared in h i s booklet "Annemann"s Com plete One Man Mental And Psychic Routine" (Copyright 1935) . Ulth Ray Hyman's method only one billet is used , a 3 by 5 lnch index card. Prepare the billet as shown in Figs. IIS-A to D. The ind ex ca r d, Flg. IlS - A, Is folded In half from left to dght slightly off - center (Fig. liS-B)
100
,
• Fig.
,
115
,
leaving an overlap of about 3/16th lnch. The card Is next folded Into quarters as shown In Fig. lIS-C . A pencil dot is placed on the upper left corner for ease of handling .
•
NOTE: The informatton on the upper half of the card , Fig. 11S-d is used only to fll1 up the card. Th e vital information is on the lower half of the card.
, -0'\
The tearing method after the thoughts are written is sho wn in FiS. II6 - A to D. In Fig . lI 6 -A the perforller is holding the billet at his fingertips with the d o t on the lower left corne: as he asks the person, " Will you remember the name and phone number you are thinking of ? " U pon g etting an affirmative answer, the performer says, "Then we do no t need this card." and he tears it lnto quarters. The performer opens out the card so that it ls only folded ln half as In Fig . 116 - 8 , with the dot o n the center bottom, and tears the card down the mlddle. The pieces in the right hand are placed over the pieces in the left hand and the pieces are rotated clockwise one quarter turn as shown in Fig. 116- C.
[,
· l
"f_Sl .. ",
Th, :'land
".
pieces of card in the right now held by both hands a t the
101
D
DHOW
I ..:,-",,-.;.:.;;.-.~ ";;;~:;,;;.;'-
1"·'_00.:-0,_,,,,,,,_
001""","", "'",.... oruFie .
11<::
,
.-.. .
"
The performe r Inserts the tip of his right thumb under the top single layer of card and then cups his two hands together to av o id flashing the action, Fig. ll6-D , and open s out the top layer of c ard o nly int o his left palm and tears the ple c es one more time. This is shown in Fi g . ll7. Fig. 118 shows the hands with the thumbs removed for clarity. Your left hand is holding the lower left quarter o f the card with the telephone number o n It. ~hlle the right hand is holding the other three quarters of the card but .. ith the name exposed. BUT you do not look at YOlJr hands at th i s time.
vcu· 0",.
•.It'- ""''''1 0., u " f
<
•
Fig.
116
•
!ingert-lps as shololn tn Fig. 119 IoIh1le the piece IoIlth the phone number is kept palmed and Ollt of sight in the left hand . NOTE: Right hand not shololn in Fig . 119.
,
~g.
,
" ~(
FIg . 117
Fig .
_ r._,....._r ...__
lIS
ilt • ..-
~
.
" ... ,,, +- ...
,# ".......... "'"
-/ .. - "::"
.
~~t
,
'\
119 Fig .
120
Neltt just before you make the final tear , look at the name and remember it and then tear the pieces once more and turn the pieces in the right hand over and place them over the pieces in the left hand as in Fig. 120 . Look at your volunteer and request her cooperation aa you try to reconstruct holol she loIould telephone her friend . ~ll11agine you are lifting the telephone off the hook," yOIl instruct her . At the salDe tilDe mimic the action of IHting a telephone up with your left hand, stlll holding the torn pieces, and raise it to your left ear. "You hear the dial tone and beg t n to dial." Here you bring your left hand dOloln in front of you as you pretend to dial the phone in your left hand. At thIs tilDe you are look!ng directly at the palmed telephone number! Look only long enough to obtain the first three digits of the exchange. Then look at the volunteer. Pretend to dial. - Callout the first digit. - Pause.Look directly at her and ask her i f it is correct. Now dial the neltt two digita. Again ask her to acknololledge them. As you begtn to dial the rest of the dig i ts, you can look directly at them as you apparently are dialIng the imaginary phone . After the first tlolO digits . agnin look up and ask he r to acknowledge them . FInally you do the last tlolO digits . In the neltt move Ray gets rid of the cumbersome palmed piece of card simply by clos t ng h i s fist to c r umble all tnto a ball and then [8lses his f i st to the left ear 85 though holding a phone. "I can hear the phone ringing. A voice answers. It is a female voice! Is that correct?" After she says "Yes ," you continue and say. "Hi! l1ary! Is that correct?" End of breadth taking Drama . 10 2
Ive forever! Oh! gifted child of the Brotherhood . For great is your wisdom . Blessed be thy seed forever, Oh! Mighty One. The lions tcemble in your presence! (You blew chloroform into their "ostrlls, you insensitive brute!) Your coffers spillover with g old and your fortunes gro~ daily. You no longer buy razor b lades. You simply place the old dull blades under a plastic. pyramid and they sharpen it'!.e the edge of Excal1bur . If that falls you rub the blades back and forth inside a drinking glass. ( Little wonder you are ric.h.) Your esoteric knowledge of over common minds and the power secrets of the pyramids
the pyramids to prophesy.
give you dominion Profound are the
OF iHE SUN AND OF THE MOON: EFFECT; The Egyptologist speaks of the power of the pyramids . He shows the sitter a plece of paper folded In the shape of two pyramids, Fig. 121 . Holding it at the tips of the fingers with the thumb at "X" he asks the sitter to make belleve that these represent the pyramids dedicated to the sun and to the moon . Hihe secrets of the pyrsrJllds :Ire usually found deep inside the'll near the base." Explains the '.ltse One . "In order for us to read the secrets of these t'JO pyramids we must fIrst cut deep lnto them to expose the base and IJe can then read the secret writings," "Please give me the name of a long dead relative of yours . Upon hearing the name the performer cuts open the pyralilds and lays bare the base which exposes in the very center of it the name Just spoken a~ld other messages!
104
Fig .
121
HETHOD; To prepare take a 6 by 9 lnch tablet and draw on it t J O squares . This is shown tn Flg. 122. One of the squares Is 6 inch to the side and the other 15 two lnch . On the larger square place four mar~s , 1, 2, 1 ~~~ 4 , ~ll ~'1 1 incho!s froll each corner as s:lO.rn ""od t·,.:!n dra ... the t ... o lines , 1 to 3 and 2 to 4.
1
x
Next cut out the t\% squa r es and the big square along t he llnes and wlll 8ive you a blllet as shown 1n Fig . 121. 00 not fold the small square but palm it in left hand . NOTE that the big squa re has four pencil dots around the cente r . These will cOllie handy later for reforming the base of the pyralnld . >\ll is now ready for the presentation. fold thls
Fig.
This ls the type of effect that you lIIay do in a relaxed fash i on , tongue in __ cheek , and you llIay even place your feet on the table and slouch down In YOlJ r chair with your hands on your la~ sod out of sight . That 1s ooly a suggestion , blJt
after
your
short
lecture
~nd
after
the
sitter tells you the nartle , you write the name with 3 s wa mi gimmlcl{ secretly on the so.all sllsre you hold in Jour left palm . Now you are ready to cut into the pyramids and devulge the secret wrlttngs , So you take scissors in hand and cut the bllie t along the creases illS in Fig, 123. The first cut separates the billet into two parts . Next mount one part ove r the other as shown in Fig. 124 and aligned both pieces so that the billet again resembles Fig, 121. 'lake the second cut along the c rease and you will nO\l have four ?ieces BUT since the sitter has no idea how the billet was orlg lnally folded, you will now .irop the four pIeces on the table plus t he ,a imed 2-inch sqlJare to make fIve [lieces! and the sitter sholJldn't be the wiser. A.f te t th, pieces are arranged witll the pencil do ts on the outer corners the He of the p),ralltJ co~es l'lto ~lJ'lt '\o ,j -: 10"'<9 ll~e 1n ng. Ir)')! 411 ttl
105
Fig. 125
122
Fi -: .
/~ ~, \.-.
Fi~.
17.4
)
r~
\'Iazlngly, there Is no lt'tlt t:) what the clev er pe rf or-.e r can do wt th this principle . SInce the sltter never sees the o rIginal blllet except 1n the folded state , the sIt ter does not kn o w what the actual size of the billet wa s and the fact that the fInal square I s lar ge r tn area than the 0 (lgl081. Ne lther does he know what 1s wrItten lnslde of It . The pe rf o r mer c an th er ef o r prepare the pape r ln a number o f ways. For eKa mp le, The Wise One cs n cu t up '\ sb: - square lnch paper and rearrange it llke 1n FIg. 12 ~ . rubber cement t',e pleces in place on 'lnother sheet of paper and then i rsw anythlll::\ '1<' ... l~"H )n It U'<~ tn Flg . 12? ! (o r a c r yptl..: 'R"! sS'llle) • 'Fig . 126 S 110 \01 5 1\ ita''::He, " ;;'131r , II bed , a wo!)rien :>l '1 n'-< 1.11 NOTE that one coffln t.,/O cl)fflns . and the plan~ cross the dlvl,," '!'! Iln",So After these thlngs ar e Jr"l"' ,' the squllre l s cut 113a1" lnto t he four pieces and then refor'ned to snow t he o;n.'11le l" ~q alJl" e .'1'3 -sa:!" to fl3 . 127.
Ttte four ~l~":dS l" t'te forn n f the suller 91uare Ire l d·d" c..l~ber eellented onto a eles" sheet , 'Ind th en placed ove r another c lea n sheet of paper and with ":'IcbDn pape r the drawtngs are tra c ed . Then cut out the new slx-lnch squ are sheet in o ne p l ece . You will now have a squ are th at ls exactly as Fig . 127 and you can do t he pyram l d test wlth it. After the pieces a re cut f o r the r eve lation o f the dead name the square w11l look. llke In Fig . 126, with the dead name wrltten tn the center plece ! The ce nt e r p le ce c~n also h~ prepared ... lth mystle "'[ltlngs teavlng 3spac~ l,\ tile : ent e r to flll tn tl! 1ead llalRe 11.5 In -.;"[3 . 128. The folded bille t shown in Flg . 121 c 'ln "Iso he \eclC at ed .lit h pl'llm tr.;!~ s , etc., 0 '1 t~e ou t 91 18 1 S I n Fig. 129.
106
Fi g .
126
Flg.
127
Fig.
128
Flg. 129
.
, , ,.
,
NOTE: Sq u ar es s h o "," ab o v e .'lre no t sc al e . I , " c tual h, .;( cl e . o rI g Inal sq u"Ire '-'il l I nch e s Ht e r pra c tl ce b, Ch , " qu"Ir e 'J il l I, 0-1 / 4 l nch sq ullc e ",It t \e " d rearran ged Ch , .:erl ter " 11.I'I re J nl "1 .... 1./ ' ',,,! lrl ';' l ~i " 1'1 " r e
' "'
",
,
C:tE Ol fS : oo!Brer"s RevlelJ ;:'"rt Fulves. ~.:!:?'
."
"
b4 $lc !I rl l.: t ,te use d Il j) p e ar e d ( n the P" U 6 ,f!,. and c red 1 tel t o JO 'Je ph ? , t;c fi 'll t,J[ 1,,1
.. . " ....... " .... ,. rOO' .. ..... .. . " . . . ...
Joseph K. SchmiJl
;:: :,:: "::,,::,~::,;~:;:,,,,ru d r ..... , .. ..... , ... ' ..."............... ..,,,.... .. ... ...
.". .... .
~<;~.~1~.~.J.: .T.~~I:. . ..., " ................ .....". ,." ,., ..............10........ ,.... ..... . • ... ,,'...•••......... ,.,or .......... .. ,••.•or'""...n.,..... ." ... ,." n, ""'.0>. ......" ..... . " .... ... ..... ...... " ."... ",., .,. ... t·." " ... . ., .. .. . . .. " ,.. . ,,,., ......... ......,,"",. ... ... , ... , , . , ...... ,.. ...... .... . ......" . ............ ,.. '''''' ......r,.,or,.. •..".,. ..." ..,.... .".."",.. ...... ,.. " . ...... . . . . ...... ".to . ..... ., ............ .,, " T. . , .. .
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to .
rn
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a
c
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h
h
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" ' , ,0' •• ' ' '' .. r" .... , .. ,,, . ........" ..... or,." .. ". ,. , .. " .. or ..
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"0". " . ... '." 0' ... , ...... " ,.,.. ,.
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to • •
tI, ....... ..... ,............ .. .. .. ... " .... ... " ........... " ... ""'-'J,.." " ,.. , ........ "" ......... . ,.... ,.. . ,.", ... " . . . .. ' " ' ' '' . " • ••••• , ..
.. ... to . ..
tn Septemb e r o f 1(1 79 , '1 e nt !! Il'Jt and free tan c e \lriter , Malt Co rtine of Seattle , Vashingt o n. sent t o the AHE office a manuscr1pt detallln g some amaz ing mo ves wi th a billet folded pyramid fashion! Hls no tes were publlshed in "The Dono von Papers" (AME) in May of 1982. His first effect detailed a method of foldIng and th e n tearing the pyramld billet and d01ng the umbrella move \lith the pyraml d " s tip, which c ontained the ",rlt e n thought, and readln g 1t 1n the a c t of tearin g It . His effe c t t he ref o r fell under the Tea r .1n d Read cl a ss .
107
I played wlt; the pyrs':1id f\lle!'\~l!'\s "'" l oils co vered 1n I ,~ pll rt
/
The test with a pyra'llid fold lIIuSt of necessity ~e lone IoIlt; 3 ;quare '1llp of ['I aper . The Post - It note pads t'lat are lo vougue to:hy wlt.h a strip of adhesi ve at the top are the perfect g I mmIck to use . So let's try a test. Give the s it ter a slIp of pap e r f r om your Post-It pad and make sure it ls adhes i ve - side up and that the adhesive st r lp is on the sitter's right as shown 1n Fig . 130 . You may draw a lIne on th e center a nd also the arro ~ s i nstructing the s I tte r that afte r he wrItes his thought dO \J n he 13 t:) ~eal th~ lllss1ve by foldIng the paper c , Here you caTI le1tr 'lpec to; ~,Jlde<\ it OIl11 loo~ ll~! I n 'f'lg , 111 'lfld here you re _n tn;! the i ltter that llis thought 13 ~eale l ~y the 31ue , lie Is next to fold the paper ,gain Into a 8fl1all pyramid '1ha;Je by foldlng the bottom corner "p to tlle top ";(1 th1jt t'le hillet J Ill now too:t llite In Hg. 112 . up the folded ~lllet ;y t'le ",'l{ clt (~ t'l~ foltie1 cellter ,J'ltc;' con taln, the Jrttt~ 'l t'\OuEilt, .J
Fi g .
130
, Flg . 131
Plc~
'lpt!.(
f l. g. 134 sho \J s the way th e billet i s held fo r tea cl ng . The rlght thumb tip is Inserted under th.:! top fold (si ngle layer) nf paper "'h i le the left thunb anI] fingers ho l d the blilet 'It poInt "'(", The {lrst teftr 1.'1 .n:l,de as sho iol n cuttlrlg off the tIp of the pyra'llld .
lOB
I --/; / I Flg .
I
'
133
,,
(\
I};
F l g.
134
Fig. 135 shows the tearing action The left hand pushes away feom the performer's body while the right hand pulls to""ard the performer. This creates, a jagged tear on the top Sln-
Fig . 135
gle paper. "<'13. 1315 (and 117) shows the left hand 'l{)l rione aft er the tip l, Ill a ceri OllfH t:ll~ other pieces of [)3[)er h!ld Ln t,e rl~ltt hand and hiding the lction fro'll the audience , It then beco'a es ln eaiY 'IIatter to do the umbrella move ",hic, ..,tll open out the folded tip '1nd reveal the thought ",hlch comes up right-side up. Here we !!lus t resort to ,10.1 Baker's technique for doing the umbrella move with the folded center piece.
I I
\ ((;;(,;"r:i>ii_
~!I (
~lg.
The folded pyr a1l 1d tip loIill not open out due to insufficient sp ace, until all the loose pieces of toefl paper are taken fl:olll in fcont of it {the ill.ldlenze side} an1 pLlced behind it over the dght thumb naIL . Now the folded pIece h'ls rOl)n anoush to "[len all t 'lll,llJ ')'/ "\ ~\I:" push \Jlth t' , 't t.,u~h ttp . ~>~'! The hlprovlsltor, Flg . SCI) 'j'HE: Tnl~ te'ICln~ tech'lique that cce it .!i \ J IdJ!1 telf : a 'l I>! ~'1'!1 ')lll,~tL '{r\x Cortine l! " ! ' i .\:] t1h< ';:'tc'\ fH: above ;Dove . -
/~
/
Flg •
"7
t..,.'=-_- __
~C--
136
c--.-~_
,If,
~ '
).~~
_../ I ( -(- ,-'-.J
fig.
139
Fig. 138 Bhows t~~ right thu~b ttp 'tuck lnto the pyra~IJ tip ll~e a thumb-tip . To [)roceed t'le perff) r ,ner te'lrs off the other t"a ~ocn er tips of the Pic~lnld ~, ina"," by the arro~s and da!h lines and places all behind the pyrallid Up . In this [)ositlon the py ramid tip "'ill not open up. Sf) the perforlQer takes the loose pieces from behind the tip and places them on top as sho",n In Fig . i39 . The pyramid tip "'lll no", snap open umbrella fashion when the thumb tip pushes lnto the left finger tips and eX;loses the word right-slde up! ~
09
t
h. Ai B.ke< ,.llet " " k "d Bert 'tease billet routine are definite sans tear center methods since sitters mostly write tn the center of t paper and the papers are not tor-no '3. Ted An nemann was probably the first t" publish an effect where the folded bll1e~ remained tn slsht at all times SD" handled at the very tips of the fingers.
Ted called his sans "The
!'laster
Of
The
Message"
and
published
it
1n
tear method ,
Jtnx
No.4 for
January 1935 . Since Ted fooled sevcra l ltIell versed persons wIth It he thotlSht erlOugh of the ~ffect to puol!sh it. The routine had /I
pe r son write something on a piece of paper a nd fold it twice. This bil let i s then passed to aevera l persons to op en and read it as witnesses. The folded b1l1et is then passed to the performer who holds it at hia fin ge rtip s and divines the thought and then opens the bille t to verify and refolds it and hands it back to the writer . A very profou nd effect indeed for the uninitiates. Behind the ije was the one who got the billet last scenes a ~tooge was used . and opened it and then c l osed it leaving the writing on the outside! Later s l lllllar effects c rop ped up but OIltllout the need for the stooge !
112
1'l52 - Ray ay nl1l1
Phoenix No.
266 for Oct.
This method first appeare. 17 , 1952
for this test a small piece of pape r Is t o !:"o off ( r om anywhere or a small paper pad Is used. The pape r should be 2 Inch square . The reader may find In pra c ti ce that soft r ough noise le ss pape r will work pe rf ectly . Noisy paper must be av o ided. Perforllle r d ra ws a c ircle In the cen ter of t he squllre as shown in fig . 14 0 for the spec tators to write In . The paper must be p!:"e fo l ded . r.o !: nc!: CJ ill f olded f r om bot t om ri ght t o upper left so that It overlaps co!:ner C2 by about 3f16th inch as Indicated by the dllsh lines in fi g . 1"1.
cc
c·
Next (old the lower corne r s , Cl and C4 , up t o C3 as shown In ftg . 1"2 so that you a gain have a squa r e fold o r a diamond fold depending how you hold It. I/hen you turn thls piece ove r it 100k;s like In fig. 143 wh lch sho Ol s t he ove rla p thllt wlll assi st the operato r to Insert the Up of his t humb Into the folded billet. for the p re sentation , Itay patters about the sllllple (lnd pu r e concepts h el d by the ancient Gr eeks that were Indestructable. These were t he square , the circle , the triangle and the diamond . A spectato r Is asked to think of some materia l thing destined to destruction wit h time , and to write that in the circle as the slip of pape !:" is placed before the IIrlt er with the Cl and C3 corners nearest him/her . The writer Is then told to fold the paper triangular-shape and then into II d ia mond . The perfo r me r t akes the folded bille t and se c retl y Inserts the t i p of hi s thu mb (left or ri ght thumb , f i g . I"") into the bac k of the folded b il let in preparation for doing the umbrella r.tove . Ray fooled a lot of well ve r sed people wi th this move and he pract I ced It unt Il he could open out t he billet umbrella fashIon UIT H ON E HAtlD r.laslt ln g the move behi n d his fInger s of the same ha n d !
113
In print in
"
0
c, 140
Fig.
" >~-----y .' ,
,, ' " Fig .
141
O' ~ c, ¥ _ ,I
fig .
1"2
Cr!
C ,.---
'-1___......--.1 Fig .
143
_1
ly-"=
\111
~; ~
(61-1. A1""-
Fig
~
1~4
Ray, usine his left hand, opens out the billet behind his left hanCl fingers anCl after he g11mpses the written thought he crumbles the paper into a wad and gives it to the spectator t o tear up and discard.
The billet opens out fully by simply pushing t he ti p of th e thumb into the billet and against the fingers. '.n easy push works better than rl hard push . Practice is most essential.
In 1962 , The Don Tanner S tudi o of Colur:lb us Ohio , pu t out an effect by Jack '
II4
In 1970 , Syd Bersson put out hIs ) -H ~lra e les . Th is ~anuser i p t i n cluded three effects . One eff e c t dealt with a sans tear center ~ethod titled "Hlndreadlng" and wa9 done with an Index c ar d fold ed Into t hree equ al panel9 . The secret thought wa s written In the center panel and then the wrltin g loIas cov ere d '.1 1t h t h e other [ 101 0 pa nels and th e folded c a rd loIa9 handed to the pe rf o rf o r .er behind his b~~~ .
",
,"
1979 IB~ conve!'l tl o!'l lIouston , 1" ;1 I II ti ne !lias t Texas, S,d Bergson spen t C;yd pointed .y booth. my boo th IoIhispere d , "Thts 1. th, rea 1 magic (mean ing mentalism), tho res t just t oys .
."
"
"
" ,,' Ilfll.(;\OS
Syd was a gr eat shO lolman . He was g ifte d with t he hypnotlc - eye-Svengall-type magical persoanality. While at my booth he p re sented for some young mentalists his 3 -M ML ndreadtng e ffe ct wt,.th the index ca r d . That loIaa a prevtleged s i ght [0 see as Syd took the card behind his back thcn had the folded card bu rned and then div i ned the t hought . Syd was al r eady very 111 at that lime and passed away shortly a fter . lJe are a bit richer for having seen h i s majestic showmanship . There Is flOthing \lrong \lIth taking a billet beh in d the bac\( . Han y great s holol man have done that tn the past and st UI do it toda y. Tn Sy d "s effect the card i a unfolded behind the back and refolded wi th t he wrttlll g on the outs ide . The Mentalist th!'n pretends tha t he has th~ thought and brings the card f orward , g li mpses the thouht on t he bac\( of t he card whlch 1s nolol exposed and then burns the card. Hagiclans may slJr'Hse that so',e wise guy tn Y,Jur l,Iulle'tce .o/ ltl '10 1)llht 'llt,fa In t~lJlll111e.J the show 'an ship of t 'l1"\\tn:;.Jc Olr I '~rd;·)'I , t:l~y ny ,10 t'l~ ~'I Io! effect 1n a ,nos t convtnslng manner by dolo::: l.t .)n@- ahead!
..., ", .......... , "'" ...., """ ... t., ..,..... ..",...... ,10,.tt_ ,.... ........." ....., ............ I~". '1 . " " • " ...... .. " ....,
.. "
'
r .. 1>0.00 ,. , _.,,,,, . . , _Ill .. , ,.. , . _ . ...... "',. " WI'I .. l "u ... ,,' .. " " ,..'" t .
,., l'"
~"'-' ... .. _ ' " -•• .... l l " OIl .."'" __ " , .. _,,, . . . t . . . . . .. . . 00_
lIS
Here you will do the test with 3, 4 , o r 5 persons . Pass out prefolded cards (the cards hav e been prefolded befo re the show and the creases have been weakened by folding the ca rd s back and forth) to the persons and have thea wri t e thetr thoughts in the cen t e r panel of the cards and th ee folding the ca rd s and placine them o r th r owing thelll i nto a pape:bag . The bag 1s shaken and then one person takes out one folded card and hands it t o you behind your back . You struggle with the thought, and you sweat a bit and 1n the meantilile unfold the care and refold it leaving the message on the out i sde BUT , you s a y yo c just are not gett in e the vlbs. You st r uggle a btt mo re an d then declare failure and dec ide to try another ca rd! You have got i t made now as you reject thls first ca r d and place it on the table out of the way. You can place the f olded cll r d unde r sooeth i ng looklnp; at the written thought in the process. Let's say the th o ught 15 "liary," You then ask f o r a second c ard which is again given to you behind your ba ck , BUT TillS CARD YOU DO !'lOT U!'IFO LD! As soon as you feel the card wl th your fingertips, you smile ! "Thts 1s a bit better." you say , "1 get the though t 'Hary!' "Who is think i ng of Ha r y?" you a sk . Hter a confirmation you bring the card forward and show it on both sides and open i t t o vertfy and say " I was right!" You are actually reading the tho ughts of another person hut pretend that the card reads "H ary ! " You are nOll one- a head. Put the card a side and take another but now you can handle the cards openly I n f r on t of you and y ou r audien ce can see that the thoughts are indeed covered from S I ght . After reading all the cards in the bag , you rememhe r the first card and divine that thought qui t e e a sily s in ce by now you are well vlbed. So then you throw all the cards into the pape r bag reversing the first card that had the writing on the outs I da, laRva the bag on the table as you take your bow . Thls , r.entlelllen , is a I<:llle r effect. Don't pass It up. lt can be done totally Impromptu simply by asking the hostess for index cards or use any ca rd stock on hand.
THF. TlJO- CENT 3-'1 HIRACLE: 1 added mi racle, and called it "Syd's Stunner" Donovon Papers . 1 wanted to do everything without need o f tak i ng the folded ca r d beh
r 16
Illy two cents to Syd's and wr ote it up In The in front of the audience ind my back.
So
1
folded
the
e al"d
,H
~ho"n
in
fig .
146-A and B . ThIs tol
You can do i t in a darkened bar rool:l or lover's nest. Simply strike a match , pinch and hold the card horizontally and apply the match to
the
right
outer corner.
This causes
ftg.
146-A
the
",stch to be held under the card and the writing 1s seen. The wrIting should be done I.Itth a felt tip pen. -- AgaIn , the I:eadcr PlAy feel that the method Is too obvious in Illlieh
case the effect can he done one-ahead . You !'lay be able to flod an index card stoclo; that is very thin or even hetter you !'lay be able to get cards made from rice which are tl:snsparent in normal Hght.
\ ) -- --
-
--\
;v1ATE: fig.
14(. - B
'D~u.6le ~aci.d~u,t:" ~
'7woAnnemann·s 'tlaster of the Message' routine intrigued me no end . F ra nkly , since the lay audience knows nothing of the use of II stooge , the presentlltion left nothing to be desired. It proved
that
the
Haster
'Hod
coul11
tI'~t'".rn
what
was
", .. {tten
on
II
folded piece of paper. Bert Reese had proven that in court by his clever billet switching . Now wouldn't It be nice If the test could be done with II single billel , where the billet Is In Sight at all times with no chance for II switch? The challenging project at hand >las
to he able
to unfold and
refold the one hillel , right under the nose of the silter , leavln3 the written message on the outside but hidden f[or.! the sitter'! eyes ! Then to again un f old a nd r efold tile billet to place the message back inside the billet ! A.nd all had to be done in front of the sitte r who 1s only two feet away from you . Toying wi th the folded bUlet , t found a way and I called the effect, '01-2' meaning ----
IN EffECT: A person is asked to wrl te two o r three ,",ords or names on an opaque card and then to fold it twice . The card i s then placed tent fA!lhl n n In front of the Mentalist who then p i cks
117
it up and
places it on top of his head and then reveals the hidden thought! The still folded card is then either torn up and dl .... ArrlE"rl or e1vpn h!lek to the writer. THE CARD: The card measures about 2- 1/4 by 3inches . It Is an opaque card of index card stock , any color. I t is p r epared by drawing two or three lines on t he upper half for the writing as shoun in Fig . 147 . The card Is then pre folded {ror.. the bottor.. up exactly in half to h i de the message inside lind then folded again from left to right (or right to left) to form II tent fold which is then placed , after the VIP writes, in front of the performer.
,
Hg.
PLEASE "IOTE that the lower half of the card is left blank . DO NOT ~RITE OR ""~K THE LO .... ER HALF as 3nything uritten on It uill show when the card is secretly rever"prl.
~
Fig .
148
The tent folded card Is Shown In FIg. 148 . as it looks to the performer . Please note that the folded center is tOlolards the performer uhile the stngle loose ends are pointing away . This serves tuo purposes . First the card rests In the correct position for the lIIove that follolols and secondly, the performer can not be suspected of peeking throuRh the folds of the esrd. PRESENTATION AND METHOD: A test has been proposed , so you take out the prefolded card and ask the VIP to Iolrite sooething on the lines. Names , numbers, uords or whatever. Caution him not to let anyone see his writing and then to fold the card and pl a ce It tent fashion in front of you . Do not touch the folded card but do nake sure it Is positioned correctly as shoun In Fig . \48. 'sk the V1P to concentrate On the ft ... t letter of the uo .. d a l you take on \I pensive nood. Then saying , "I've got it!" You strike the b i llet with your open right hand (assuming you are right ~anded) slapping I t and keeping your open hand covering the bUlet. This is shown in fig. 149 . Your hand is flat on the table. IJhat has actually happened Is that Fig. the billet Is nou flattened ou t under 149 your hand and is folded only once . Bu t the audience Is not awa~e of this . They do not know whether the billet opened out or crumbled into a ball . In any event they are more intrigued by you r actions ulth antiCipation of what follows . ~
say,
As soon as you st r ike the card you "I now know the first letter of the
II8
\,
~--:-':"'--.f. /
first word! Now please concentrate on the second letter of the flrst word, if there ls a second letter." etc. Of course you do not know anything yet. You are just pretending. So you put on that pensive mood again and then strike the card again with your other hand slapping your own hand that 15 stIll covering the billet. fig. IS O. The card is totally out of sight. You have agaIn stated, Rl've got it." I am beginning to have a very good idea of your thoug1-jts . Now please concentrate on the third letter of the first word , tf there Is a third letter . " Or you !'lilY say. "Let's t r y the first letter of the second word."
Fig .
151
At this moment the position of your hands are: Your right hand 1s closed into a fist with the tips of the flngers stuck into the once-folded card whi 1. your
119
,
~ ~
.~~
-~0
You again pose pensively and then m.ake a dramatic grabbing motion 1011 th your rl&ht hand forming lt into a flst. The fisted hand 15 sholln in Fig . 151 . The other hand has been removed to show the fist but in actual practice the left hand is still covering the knuckles of the right fist. A most amazing thing has happened when you closed your rIght hand lnto a f Ist. Firstly, your audience assumes that all you did was cup your hand around the crushed lIadded card but that is not the case. I.'hat has actually happened is: THE FOUR TIPS OF YOUR RIGHT HAND FINGERS HAVE GONE SETI.'EEN THE fOLDS OF THE NOI.' ONCE- FOLDED CARD! This actlon is automatic. ,11 you have to do il to close your hand lnto a flst. The move is done at a regular pace, not toO fast and not too slow. " little practice 1.1111 show the cor re ct speed . The reason why the tips of your fingers go lnto the fold o f the ca r d Is because pressure on the ca rd was lifted when you closed your hand and the card opens up under Its own resilience as shown In Fig. 152. Fig. 153 shows what the hand looks like from below.
."
\
\
r: Fig.
152
., \
Fig.
153
-
left hand Is partially covering your fist and both hands are on the table. 'tou next ask th ~ VIP LO conC.,n t rlOt., on the third wo r d , or whatever and at this t i me you ra i se both hands ave !:" your head together and without separating tbem . During this action your left band fUps down the exposed half of the card whlle the right hand opens up and flips the other half of the card in the opposite direction ! This action Is secret and takes place under cover of the hands held over you r head. fig. IS4 .
.""
Fig.
154
You have flipped the card so that now It Is again folded just once but now has the written thoughts exposed on the outside an t' the wrltlnr. Is next to your right palm! Next you take the billet wi t h your left finger tips and (ol c It Into quarters 50 that the nessage ends up hIdden on th., underside of the tent fold. It Is now safe to put It fo r a mOr:len t on the top of your head as you challenge anYOne In the audience t o tell Io'hat Is written on the card by looking at It. You a !:" e telling your audience that the care 15 opaque and the sectet ... ritlng Is Io'ell hidden. You then take the billet and place It on the sitters temple next to his eye asking him to concentrate again on the first Io'o r d . Here you alia ... the billet to open out so that you can read the ... rltlng on the Inside of the tent fold ! You can then reveal the thought and after that the best thing to do Is tc tear up and burn the message but If ,yo:l wish you can hand the billet back to the sitter by first opening It up to verify. Here you must excecute the ~ O pene r Effect move from the Tesseract as shown In Fig. 155. The right fingertips take the first fold of the c8 !:" d while the left F i g. fingertips take the third fold at the corners and then flip the card open by a twist of the Io' r {sts. The right hand t wists clockwise wltlle the left counter ciocklo'ise a nd the card fltps open thro ... lng words to the inside of the card . Close the c!lrd and the VI P a5 a remembr a nce . End of Ml!:" acle.
120
~
11::::it 155
hand twists the written give it to
we deal wi th the hei~hth of deviltry . The billets are pre - torn or slit without the sitters knowing anything about it. Dupery by artifice in the grand scale ! pro!lably for the first time in A pre-torn bille;: was used, print, in the billet effect called 'The Os of Oxylus' in the AM-=: release 'The Donovon Papers (1982) . ' It turned out to be 8 winner. \1hat can be more perfect? The '1entalist takes a twice folded billet from the writer and secures it with a paper clip . The billet is held at the fingertips and remains in full sight always . The paper cl ip is never removed or the billet opened , and Yes ! The Mentalist d ivine s the IJritten thought while the billet is still folded and sealed with the paper clip ! THE as OF OX YLUS and EPHPHATHA ths t the greatest billet follows are by far tests this author knous . Due to the Billet Kings have simplicity , nany ignored these. The Os of Oxylus ;.sas performed in a New York City theatre in stage and produced a stunned silence the aud ience . To prepare for the test it is best to use a 3 by 5 inch all white index card. 0\ sr.l.aller card can be used if needed You will also need a pen, preferably a felt tip pen and a two - inch long troabone paper clip. !,ath .the felt - tip pen prepare the index card as shown in Fig. 156. Assuming you are using a 3 by 5 ca rd, measure 2 and S/8th inch fror:l the right side bottom and make a vertical sl it there 3/4 inc, high as indicated by t~~ a rr ow . Over the slit draw a paren thesis mark as shown . The ink fran the pen !:lakes the slit invisible ! Next prefold the card as shoun in Figs . IS7A 03nd B . The card is first folded left to right off-center leaving about 1/4 inch ove rlap. then it is folded into Quarters leaving the overlap exposed.
Fig.
127
156
After the sitter writes the word or name and circles one of the ESP designs , he/she is instructed to turn the card writing-side down . The Mentalist takes up the card without looking at it and openly folds it in half and then into quarters and asks the writer if he/she c ir cled one of the ESP synbols. If so then the performer sec ures the folded card wi th the paper clip . The audience is informed that the card is folded four ways and that it is totally opaque and a challenge can be offered that no one in the audience can see through the folded card . NOTE: With the proper guidance , the sitter can be shown the clipped folded card then the clip is re no ved and the card is opened out for the writing and the sitter is instructed to refold the card after the writing and t o secu r e it again with the paper clip. No matter how the sitter secures the card with the clip, the performer can openly rearrange the clip if necessary. Performer keeps the clipped billet in full sight at all times and holds i t at the very tips of his fingers with both hands always, Fig. 157-D.
A
B
c 0
,, For the handling the performer turns the clippeo bi l l et over and over in his hands in full sight of the audience as he patters always handling the billet with both hands .
•
/,
!
I(
,'
• Ie \~
"-~/'~/
\
\ \'
"
Fig.
157
During the handling , performer inserts the tip of his rieht thumb into the fold of the card and folds up the battol!l e i ghth of the card. The paper clip helps in the folding as it forms a stop -li mit for the fold . The written word and the circled symbol become exposed as shown in Fig. 156 - C . Performer places the billet to his te Qple for the dramatics always holding the billet with both hands to avoid flashing the extra fold. (At a short distance this is not necessary). The \Jriting is re-covered after the glimpse and the word divined! Dral:latically , please, and then the ESP symbol can be duplicated on a slate , dramatically! The paper cl i p is re moved and the card torn in half down the middle and left on the table! Nothing more beyond , Gentlemen ! Those of you wh o are bothered by the slit that you can NOT E: see and you think the sitter can see also, apply a dab of rubber cement to the front of the card along the slit . That will keep the
123
slit together. Even if the writer spots the sIlt, it is usual IT" ignored as it Tfleans nothing to the lay mind. The card can be: torn hy hand and that t.oo 1.1111 be of l i t t l e significance to the
writer. The writer is looking for something more dramatic which he will see as the ~entalist performs .
F:,fiu;t;lr,a,tka. ! (Aramaiall, Let it be opened) Lets us say that the rea d er simply does not like slits in his cards . 4,.l1 is not lost. He simply uses one of the moves frol':'l other AME b i l l e t secrets. He folds the bottom unslitted left-hand corner of the billet to the right to get the condi tion seen in Fig . 158! Here again , the paper
clip assists the performer to make the move .
Fig .
158
The move is made with both hands and both thumbs assistin g if necessary . This billet test is one of the author's favorites . Please note that it is the gem clip that helps the performer to make the correct bend on the card . The beauty of this last test is that after the thoughts are divined, the performer folds the ca rd into eighths or crumples it to disguise the incri.minating creases and then removes the clip and throws the card on the table for anyone's examination!
(o r The Darnnest Thins tiappened The \.Jay To The PEA ~leeting)
On
A folded billet that viII open out by itself to reveal the hidden thought to the wise One can surely be a valueble asset, especially to the private reader and the close - up artist. The technique to be detailed next is such a billet . It opens out like a dralol bridge!
THE CARD : Figs . 159 to 161. A business size card is used and it should be card stock as this is the most common type of card carried. The test can be done with anyone's business card and it works perfectly with either thin or thick cards .
NOTE: THE CARD MUST NOT BE PRE-FOLDED. So do
not
pre - fold
the
card .
1t must be
124
flat
and
Fig.
159
unIJrinkled. THE SLIT : A verti cal sl it (or tear) is made in the car d fror.\ the bottom up to the center point , ~s shown by the a rr ow in Fig. 159, and a bit abo ve. The slit sho uld be about 1/8th inch above the center point. The heighth of the slit is most important as it is this slit that works the mechanism to be used . if the sl i t is too sho rt, it 10'111 i mpede the action. THE COVER : Uith a felt tip pen draIJ tlJO black lines, one going ove r tpe s l i t , as sho wn i n Fig. 159 , and a third blackline on the l ef t. Prepare the card \lith the message and ESP designs as shown .
±-...:::...._A
. .... -. - .. --" "'-
,,~,
c
B
Fig .
160
FOR
THE TEST: Ask the VIP to secretly circle one ESP design to turn the card over. Now the performer picks lip the card - THE NEXT ST EP I S OF VITAL PIPORTANCE SO DO IT CORRECT LY OTHERWISE THE TEST WILl. FAIL ! and
lheu
Fold the card in half very gen tly, BUT DO NOT CREASE THE FOLD . Do not put any pressure on the fold . Just align the corners without c r eas in g the bend . The bend of the ca r d remains sort of r ounded . As shoun in Fig. 16 0 - B , the right half of the card is folded bacl<. behind the left half, uithout pressuring the c r ease so that it remains a hit r ounded. Then fold the top of the folded card back behind the louer quarter as shuon in Fig . 160 - C . You are now holding a folded tent - like hillet that can be shown freely BUT do n o t place it on the table. '1old it at your finger tips as you state that the secret thou ght is well hidden.
so
follo\.ls next should amuse YOll grea tly, \Jha t try the fo l lowing test with the folded b111et:
Place the f olded billet tent-wise on the table and push doun on the Fe corner Jith the tip of your index finger, and r elease your grip on it and, what do you see? The top half of the b i llet has opened o ut like a d r a\J bridge by i t s own resiliance to reveal a ci r cle around the triangle! Fig. 1 61. Card stock has a mem o ry and we are using that fact for our benefit !
\
ri
,
\; '\ \.
I
I', I
"7
O+@D* Fi g .
161
TO PRESENT : Pla ce the folded billet on the table tent fashion BUT do not rel ease your grip on it until you have cove red ~t \Jith an inverted opaque dish like a plastic salad boul o r wh at - have you . .o\t this t i me you have n ot seen the ci r cled design . So you tell the VIP to concent rate on the design he c ir cled . You may pretend to write it do wn o n an othe r card or ta blet , o r you can
125
simply say, "Fine! I got it!" then reach over and lift the bowl from your end only and as soon as you see the circled symbol, reach in with your other hand and refold the billet and bring it o ut. Repeat that the card is totally op aque and then reveal th e thought and tear the card in half and discard it . If the above experiment fails it is because you creased the card excessively. A few practice sessions will tea ch the proper technique . This i s a fabulous secret that should not be taken lightly . In a pinch while do in g a one - an - one presentation, the bi llet is simply held at the fingertips by the loose corne r s on the sitter""s s id e of the head and the b illet is relea sed so that i t o pens out unknown to the sitte r. Or the billet can be placed on the left palm and covered with the right hand as shown in Fig. 162 . No attempt is made to peek at the c ircled symbol until just before the right hand is removed. The right hand is lifted on the o perator""s side , the design is g limpsed and then the right 'lane refolds the billet and brings it into sight.
'\
Your audiene will appreciate the fact tha t no sleight of hand is appa r ent. The card is simply placed on the table and then p icked up and apparently never opened . NOTE: Fig . 162 shows the billet opening out fran the opposite side caused by the mirror image in copying . I..Hth the proper handling the billet always opens out like in Fig . 161. This test can be used in a question answering session by resorting to the one - ahead system . The symbol is gl i mpsed in the handling but a question card is held up instead . The symbol is divined and verified by you as you open up the billet and read the question to you r self which puts you one -a head .
126
THE
TH
8¥"
BREACH
"ed 1::.. tJ.1, m t.' t ~ (.I c: t'1t,
The effects that follow utilize a window card . Window cards are not new. These have been around for decades and are used In noveltie s and mathematical puzzles and in other ways. Ed Mell on devoted an entire issue In Mental 'Wise, ( Jan. 1955) to wind ow card effects for the Mentalist authored by J.G. Thom p so n, Jr. But Thompson's idea s with window cards and other sim ilar effects seemed t? have fallen by the wa yside . The idea s did not 'take.' Ted Karmilovlch came along t o the "13th Invitational" held Ie the Howard Johnson Lodge at the Newark airport ( in Jan. 198_. almost 30 years later) and offe red his \Jlndow card idea and I! became the highlight of the convention . \Jhy? S imply because :~t folded the card in half! The folding in half o f the \olind aI.' ca:-: elevated the prinCiple into a ne\J light that ope ned up an enti:-e new line of thought for the creation of pseudo miracles. THE 13 th BREACH EFFECT: A person I.'rites down a 2 or 3 digit number o r a short word on a business card . The card is then fold~: twice to conceal the \Jritin g and it is placed on the tabl e te~:. fashion. The folded card is never touched again until af ter· t~~ Only O:le secret thought is divined. The card is then destroyed. card is used! HETHOD : A business card with a window is used. Fig. 163 sho\Js the back side of a business card . A small \Jindow has been cut out on the lOl.'er right qUArter AS shown at "A." The card is then folded in half and a square "6" i s traced with a pencil on the corresponding lower left quarter. So whatever is written in square "6" can be seen throught the window "A" when the card is folded in half. NOTE: Instead of tracing the square, a short l i ne is drawn for the VIP to write his thought . FOR that the cu t out for the
•
Fig.
16 3
THE PRE SEN TATI ON : The card is prefolded i nto quarte:-s s: window ends up on the outside. The performer covers ~=e wind o w with his thumb and holds the card behind his bare VIP to jot down his chosen number or word. Holding :'-e
127
card behind his back so that the VIP can see it, the performer tells the VIP that he is folding the ca rd into quarters so that the though t is coul.:ealed and then b rin gs the card forward and places it on the table tent fashion. The folded card remains untouched and in full view of all but the loIindow side, Fig. 16 5, is only visible to the performer! After the message is revealed, the performer can carefully open out the card to sholol to ot her loIitnesses and then tears the card in half, etc. holding back the window piece. An alternative method is to fold the card so that the window ends up on the underside of the tent. That loIay the tented card can be seen from all s i des and all looks normal. To glimpse the thought the performer simply topples the card over so that the underside is facing him, or he can hold the card in his fist and then open out the hand as shown in Fig. 165. Fig • 165
•
That is it! Ge n tlemen. the fancy moves loIith cards outs, etc.
simple and sloleet. You can forget all and your favori te switches and hold
PREDICTION! : For a prediction effect take an ungimmicked bu isness card and pretend to write something on it but write nothing. Fold the card into quarters and place a paper clip to secure it and hand it to someone t o hold telling the person not to op en it. Next do the bit loIith the window card as above and glimpse the number or word. Go back to the person holding the clipped card as you say, "1 have no idea what you have IoIritten on the card as your thoughts are well concealed but I knolol what I wrote down. Open out the card and c a l l o u t the nu mbe r glimpsed . Write the number in with a swami gimmick if you loIish, although that may not be necessary. Pick up the window card open it and sholol the number to everyone . Destroy both cards and discard.
Reading The Minds Of Two Persons. Prefold two business cards exactly alike. One card is ungimmicked and the other is a window card. Pass out the ungimmicked card to a lady and tell he r to sec retl y write down a word and to refold the card and place it on the table. Next do the window-card bi t wi th a Gentleman and refold the card and also place it on the table. Ask the persons to concentrate and pick up the folded ca rds, one in each hand and place them to your temples and then place them together and turn the cards over and over several times as if
128
lookin g for vibs . Be careful not to expose the I.'indol.' and place the cards back on the table . Pick up the ungimmicked card a n d call out the Ge ntleman's thoueht . Keep the ca r d in your hands as you open it to verify but I.'hat you do is to glimpse at the lady's thought. Then pick up the I.'indou ~ard and callout the ladies thought. Unfo ld and tear up both cards .
EFFECT: The Mentalist removes a small stack o f business cards from his pocket which are held ~/II//!¥ together by a trombone paper clip . He removes the top card and gives it to a person wi th the reques t Fi g . 16G to write something on it , a name or word or number . The VIP i s instructed to urite on a small line or rectangle dral111 on the card and then requested to turn the ca rd over and initial the back of it . The 'Ientalist next takes the card and uithout looking at it places it back on top o f the stack of cards message side down under the paper clip . The stack of business cards are next turned over and the VIP is asked to sign his full name on the stacl( of cards for a handwriting analysis . The analysis is given and then the secret thou g ht is divined. Both cards are g iven to the VIP to keep . ~ETH OD : The paper clip is gimr.licked . It i s a g iant Gem trombone clip that measures 2 inches long by 3/8 inch wide . It has a piece of white c ard cemented to it as shown by the diagonal lines in F i g . 166. \Jhen this clip is placed over a white card , the gimmick can not be seen. ~UT it can h i de a window one inch loog by 3/8 inch wide!
All the cards in the stack, say about sIx , have a small window cut o ut , Fig.132 . all in the same exact position so that vheo the cards are stacked neatly , the gimmicked pape r clip viII hide the vindovs . The top and hott_om ('" ards are ungimmlcked and it is these cards that are used for the writing .
Fig.
167
When the top un g i mm i cked card is removed , the I.'indow on the second card can n ot be seen because 1 t is covered by theclip. \lhenthe bottom ung i mmickedca r d is removed , the ~Ientallst can see the written thought through the I.'indow ! When the top card is removed and given to the VIP to keep, the stack a g ain looks no r mal uithout a clue to the mystery .
1 29
by Bob Haines ~
~
F i g . 168 shows a stack of busi n ess cards held together with rubber bands . The top card "A" has been folded exactly in half and has a penciled rectangle on the left half of the card . The right half of the top card has a window cut out but cannot be seen as it is hidding behind a half card ·' S. " The edge of the half card "B" is covered by the rubber band in the center of the stack .
r( -
@J
B
,-
- - -.
/' Fig .
--,
~
168
TO PRESENT: Tell a person to write a word or number i n the rectangle of the top card and then to fold the card in half and tuck the end under the rubber band . The written number or word are now hidden from view . A]l the p€'rforT:'ler has to do now is to pullout the folded card from under the rubber bands and the half card and everythi n g will look normal. The folded card is s1mply pulled out in the folded condition and the window is hidden from sight. The performer next folds the card into qua r ters leaving the window on the outside and places it on t~e table and cops the thought ! NOTE: The second rubber band shown at Fig. 168 - C is very necessary to prevent the VIP from folding over the wrong end of the top card (the half card) . It also helps to keep the half card in place. (The above is a variation of the well known ~ffects "Out to Lunch" and "Out to Tea " originally sold by The Sterling 11agic Co • )
by
~udy
T.
Hunte r
From Toronto , Canada , l1entalist Rudy T . i-1unter sends in this nifty idea that may open up another avenue for further study . Rudy 1s an A'1E subscriber but he also has many ir'lens of his own creation . We will surely hear more fror.l him in days to come . ",S shown in Fig. 169 - A , a window ca r d is used . It has a long rectangular window at top to accof'lodate an average word or name . A cor r esponding line i s drawn on the bottom of the card. "ny wo r d d r awn on the line will show through the window when the card is folded in half .
130
Fig. 165-3 shOJS the business card clippec by a ,las tic bull - dog type clip as sold today at. statione r y co u nters. The jaws o! the clip are 2 inches wide by almost an inch deep . These c l ips COr.!e in different bright colors . The jaws are deep enough to hide the windoy and all looks normal . A stack of cards should be used with the clip as one single card makes the clip unnecessa r y . Prepare the card by writing any message you wish asking the VIP to write on the line and then t o turn the cards over to conceal the writin g .
-
-----,
,
B
Fig.
169
TO PRESENT first fold the card in half and then open it out and place it under the clip over other cards (hiding he window ) . Tell the VIP to write a word or naoe and to turn the clip an~ cards over . You pick up the clip and holding the writin g toward s the VIP fold the card in half, remove the card, glimpse the yard 8S you place it t.o your temple and then proceed as you wish. viz., The card can be folded into quarters or it can be clipped again folded in half or destroyed. \.lith the proper direction and gall , the performer can direct the VIP to fold the card up in half after he writes and then to clip it again. The performer can then proceed as above for the revelation. '10TE: There is no limit to the amount of deviltry you can resort to. For example , the plastic paper clip itself can be prepared by cutting out a window on one side, its back. Three or four business cards can also be prepared with windows so that when the billet is folded in half and tucked into the clip , the writing can be seen by looking at the back of the clip . If prepared this way , the VIP is told not to remove the card fror.! the clip. To write his thought and fold the card in half against the clip and hold his finger on it. You then approach and take the clip holding the card folded , remove II aou tuck it again into the clip still folded in half . So much for deviltry .
I 31
.
~ ~~~ J/(Ca lllLS
Sec" etu.s
W
t manner of man is this that possesses the sec rets of th e ancients and can see through ~alls and divine sealed messages? Oh! But
what
a
wondrous
power!
The
psychic
force
that
breaks
the
chains of secrecy and sees what lurks in the heart to foretell our destiny . Let us pay homage to this man and listen to his words .
*
*
*
Any attempt by the sitter to hide his sec ret thought f r om the Seer by sealing them in an envelope is a step Into futility . The well informed See r has a good one dozen methods on hOIJ to read sealed messages . The methods of old include the switching of envelopes . the transparency method . the window envelope, impression method . the slit envelope and .. ever-a! oth@cs . These are outside the scope of this treatise since \ole are deal in g with C- T methods . The Secret of Heather Mead that follows appeared in the AME (1988) release DHU PIT. It i s a T ,5, R method combined with a spec ially slitted envelope. A priceless geT:l. , no less . Feast your eyes on it, practice it and then thrill the world with it.
1t1,e .s ec ~et 1te~tu,e'"
EFFECT: The si tter writes his thought secretly on a business card while you are far away (about 10 feet or mo re). The sitter i s given an envelope in which to seal the ca rd. The opaque envelope is then placed on the table and the s i tter is asked to place her hand over it while you place your hand over all . You divine the th ought after the r it ual and write it on a card and place it writ in g side down in front of you . The envelope is next torn to bits or burned . For the climax you show what you wrote on your card and it proves to be the same as the s itter's thoughts .
134
You: a~rlleoee of one (or more) after witnessing the demonstration viII be left out on the strange landscape of impossible things. The demonstration leaves no avenue for solution to uninitiates aod will be taken as proof of some strange power.
THE SECRET; You glimpse the written thought as you tear up the envelope! The tools used are most important . First you need coin envelopes size 2-1/2 by 4 - 3/8 inches . These should be total1v opaque. (N OTE: White coin envelopes are usually transparent and the written message can be seen through the envelope especially if a felt - tip pen is used . If such is the case the smart ~entalist can just use the transparency method to read the writing. The sitter does not see the transparency because the card is inserted into the envelope writing-side down , but the ~entalist can see it when he picks up the envelope and pinches it in the act of tearing it up. Unfortunately the trnsparency method ro'jay be too obvious to the sitter. So let's assume that you are going to use opaque brown envelopes instead . ) The business card used must measure 2 by 3-1/2 inches and must be of smooth tearable card stOCk , The envelope used is a specially slitted envelope as seen in Fig . 170. Its bottom is neatly slitted with a sharp knife fror.l the bottom-center at point "A" to the left corner , point "B . " A second slit is made on the left side crease from half-way up the envelope, point "C" to the bottom at point "B," NOTE: The bottom slit is half the width of the envelope and the side slit is half the heighth. What you have is an envelope with a loose detached corner.
c
(I~ D ~A Fig.
170
It is recommended to use an exacto knife. First the knife is stuck into the envelope to make a small cut from the inside in the center of the bottom . Then the knife is taken out and the ~est of the slit is made fror.! the outside of the envelope by inserting the knife into the small slit and cutting along the crease with a dOllOward motion. "little practice is needed to cake an unnoticeable slit. TO PREPARE THE BUSINESS CARD : Place the card on the table printed side down and top up as shown in Fig . 171 , and prepare it as shown. The sitter can only write on the upper right quarter . THE
prepared tell her
PRESENTATION: Hand the card to the sitter and to write down her thought
!35
TOP
f1g.
171
cautioning her to write sec re tly not allowing anyone to see what she has written. Sitter is next instructed to turn the card writing s ide down.
.6~
~ Fig.
172
After the sitter turns the card writing side down , it will either be top side up or the other way from your line of s i ght. If the business card is top-side up as shown in Fig. 172, take out the p re pared envelope and place it to the ' left of the ca rd a s shown so the sitter can push it into the envelope . But if the card is top down then you r.lUst place the envelope to the right o f the card and tell the sitte r to push the card in. To avoid the corner of the card from coming out through the slit , you should hold the envelope and alIa .... the sitte r t o push the card in and then give the enve.lope to the sitter to seal . THE READ : You have allowed the sitter to hold the sealed envelope as you ask her to concentrate . You pretend to write somethin8 on a paper pa9 but actually write nothing and turn your pad over in front of you . Then take the envelope as shown in Fig. 17 3 . Note that the seam side is t o wards you and the slit corner is onthe upper left. The "X" marks the section of the envelope where the message is.
~
TEAR
slit ~
"-
·r
\,
fig .
173
sli t:.l Ask the sitter if she remembers what she IoIrote exactly then say , "Good! We do not need this any more." and tear the envelope in half as indicated by the arrou and dash lines in Fig. 173. Place ·the right hand half of the envelope over the left hand half facing you as shown in Fig. 174, and right away turn the pieces over cady-corner from point " A" to "B" as indicated by the diagonal arrow, Fig . 174 •
Fig .
B
174 TEAR
slit~
You will now be holding the envelope as shown in Fig. 175. Note that the slitted corner is still on the upper left and the bottor.! half of the envelope is facing you . ~ake a second tear as per the arrow and dash lines in Fig . 175. and place the right hand pieces under the left hand pieces as in Fig. 176. Now the vital " X" part of the envelope is facing you and the message is covered only by one loose thickness of pape r. Turn the pieces over clock .... i se one quarter turn as shown by the arrow. The pieces will no .... l o ok like in Fig. 177. UnknoU'n to the sitter the vital secti o n of the envelope is facing you and the message is ready for disclosure . The quarter
1 36
A
X
rn: J.. ! :
Fig .
17 5
s lit
-. ,
" Fig.
17 6
sectl shoul
-;'.::::.ope tha t covered the ~ d and free to move. 177
do now is to pull ,Ieee of envelope \oIi th to reveal the message 1,_ 178" and it always side up. You may find it vet your thumb for moving ece of envelope aside. ~o
back your as 0 co.e. neces.ary the loose
After ,ll.psing the thought continue to tear the wad to tiny pieces .ad discard them. While you patter pick up your tablet and wr 1 te LIl t e aalle or word wi th your swami gimmick and show it to the sitter. have trouble pulling back the piece of envelope that covers the \oIriting, you may resort to wetting the thumb, or using a olece of double-sided scotch tape or a glue dot on your thum~ or dusting the inside of the envelope with talcum powder. HOT£.:
I f you
~ith a pinch more of preparation we can make the miracle happen in the sitter's hands!
We will use the same gimm.icked envelope as In Fig. 170. Fig. 179 shows the address side of the same envelope. The slit corner is on the upper right. The business card after sealing would be top-side and message -side up. The secret thought is on the upper right corner at
"X." The envelope is further prepared by two small dabs of rubber cement as shown by the oblong marks and allowed to dry and then dusting the rubber cement with talcum powder which makes the marks invisible and still allows them to stick.
,_-,T-"O",P_--:::::-S_I.l,t
=X
Fig,
179
<::;'~~:~/~'f ~/~~~~~-:~-~:;; Fig.
TO PRESENT take the sealed envelope as shown i tear it in half down the middle. Place the right ...~ the left hand AND FOLD THE HALVES INTO QUARTERS ANYMORE! In this presentation the sealed enve! once. Fold from top to bottom and pinch the wa hand and then place the wad in the VIP's right his hand at eye-level and take his other cover the wad. By that ttae writing as the wad opened up 8S shown released your grip on it and just before tbe end. 137
R
138
I .
me
~ae
g o no farther, gentlemen, for we have reached an impass. We have reached the end of the line as far as mortals go. For we are now standing on the very threshold of the Gods ! Yes! We can take a peek enter!
and
look
Into
the
infinite
is
the day of
our
carnal
beings
can
not
*
*
* It
but
the sitter.
The
sitters hold sway.
They
can do as they please. He/She may write a message secre tly and fold the paper and then pocket it or sit on it or destroy it by tearing
it
or
by
burning
it.
After
that
the
written
missives
are beyond recovery but all Is not lost. \.Ie just call upon our lesser-God powers of telepathy and read the thought! What
seems
like
ages
ago
back
in
the
early
19 50's,
this
writer, after reading Annemann's Mental Bargain Effects, became obsessed with the ambition of finding the perfect and ultimate C-T swind le. Many p ipe d ream s came to mind. One of the best was to allow three persons to write down their thoughts on a paper pad and tear off the sheets. Then the Mental Marvel would take the fourth sheet which showed blank, fold it and show the persons how to tear up their billets. By stealing a s in gle center piece the MM came into possession of all three thoughts! (The first thing that came to mind was to use an impression method. If the reader is adapt at developing wax impressions in front of his audience than I recommend that the following be done wi th wax which will solve the problem of exposing the carbon paper. I prefer ca rb on paper.) THE SECRET : A piece of carbon paper was glued to the face of the fifth sheet of a paper pad, carbon s ide up. Everybody wrote inside a circle in the center of the top three sheets of the paper pad in a designated area. The first person was told to think of a simple design and to draw it in the circle and then to tear 140
0: f
the sheet and hold it. S ince there \Jere four sheets of pa;>e:- over the carbon, all "e needed "as a faint trace of the design! :he second person urote a word on the bottom half of the circle area of the second sheet and tore off his sheet, and the third person wrote a name on the upper half of the circle of the third sheet and also tore off his sheet. These places were designated by a circle and a line to do the writing on. The performer would then remove the fourth sheet which showed blank being careful not to flash the carbon paper on the fifth sheet or the impression made on the underside of the fourth sheet, and showed the persons how to fold the paper and then to tear it to bits and discard them. The performer stole the Fe piece of the fourth sheet in the process. The carbon impression showed up written backwards but that is of little concern to the adept. BUT there was always the danger of someone flipping through the pages and discovering the carbon paper. So the following idea came to r:Iind: Fig. 181 shows a 3 by 5 inch tablet. The top three sheets are glued together at the top to the fourth sheet. The four th shee t is glued to the table t bu t only at the bottor:l. The fifth sheet has a small square of carbon paper glued to it just large enough to cover the center area where the uriting uill be done. The top three sheets are prepared uith a circle and some lines for the sitters to do the uriting. These lines are indicative of the places where the writing will he done on sheet fl2 and #3 .
Fig.
181
THE PRESENTATION: As each person writes he is instructed to remove the sheet and to fold it twice. The sheets may be partially detached if desired to make the rer:loval easier. "fter all three persons have written and rer:loved their sheets, the performer takes the pad and rer.l.oves the fourth sheet. This he does by tearing off the fourth sheet wit" his right hand so that all the audience sees is the front unmarked side and at the same time the paper pad is turned carbon-s ide to the performer and thrown on the table. The paper is folded by the performer and then says, "Please remember what you have written and lets destroy the papers. The pe rformer steals the center piece and then picks up the pad again and works behind it making marks and divin'ing the thoughts as best as possible. The design can be duplicated with a slate. The performer lastly tears off the fifth sheet off the tablet and tears it to pieces stealing the carbon paper. NOTE: tn Fig. 181, the top four sheets can be attached at the top to the tablet by small dabs of rubber cement at the center top leaving the top corners unglued and easy to peal off.
14 I
The following sketch is from notes dated
Fig.
182 above,
1955 ;
sho\IS a paper pad prepared as follows:
The baclt cardboard of the pad is covered wi th a black thin paper. A similar sheet of black thin paper is attached to the back cardboard but only to the bottom edge . This dummy black sheet has carbon paper behind it carbon - side down . A l oose white sheet of paper is placed behind the dunmy black sheet and carbon paper , for tak i ng impressions . The black sheet and the white sheet behind it are cu t shor t a t the top for abou t 3/4 inch. Then two or three uhite sheets are glued to the top of t he back board so that the paper pad looks normal. There is a moon shape finger slot cut off the top of the black sheet so that the uhite sheet belou it can be taken readily with the tip of the thumb. The loose white sheet has a moonshape blacked out to disguize it. To work the effect, the operator has a second paper pad of the same size or larger . After the sitters write their thoughts , the performer removes the loose white sheet behind the second paper pad which he holds in his hands . These ideas are included here for the sake of cOr.lpleteness . It is up to the performer to decide i f these are practical. Many 11entalists had similar ideas in mind and ma ny of these appeared in print but only the practical ideas survive the test before audiences. Another idea that tJas around in the 1950 .... s that appeared to be practical was a small cardboard clipboard slightly larger than a bridge size playing card . Inside of the clipboard was a sheet of carbon paper and a loose blank - face playing card that took the impressions. The card was held in place by the bulldog clip of the board. After a person wrote on the board , the operator took it and removed the bulldog clip and the loose playing card dropped on top of a deck of cards held in the hand by the performer. This was a dealer iten that is not around today.
142
2
.'lh~ '#~j; e"t ~u.a.d
"71-9 to ()4. t a.,4 iJ,
Here is an impression method that is practical detected as the carbon is well hidden . fig. 183 shows the top three pages of the same tablet . All the sheets have a square drawn on them. In actual practice the tlentalist can just dra"" the squares 101'1 th a pen or pencll and the lines can be pencil thin. In Fig. t83, the top sheet at "C" i s unprepared except for the squa re drawn on It.
~nd
not easily
o
D A
c
B
Fig.
183
Fig . 183 - 8 shous the second sheet of the pad. The inside of th e square has been slitted on three sides as shown by the dash lines. This forms a square tongue of white paper. Fig . 183-A shows the third sheet of the paper pad . It has a slit cut along the in side of the bottor.l of the square as shoun by th e dash lines . Behind this third sheet is a piece of carhon paper the size of the square cemented to the underside of it and the carbon is facing down . The third sheet has a thin strip of rubber cement at the very bottor:l to cement it to the fourth sheet on the pad so that if the pages a re flipped the carbon can not sho\.J. The method should no\.J be obvious . The 'tongue of paper' of the second sheet is inserted into the slit of the third sheet going under the carbon piece to take the carhon ir.lpression of anything \.Jritten inside the square of the first sheet! In the presentat ion when the VIP writes and removes his sheet , he only sees another similar blank sheet left on top of the tablet. But when the performer r emoves that second sheet . he \.Jill have a carbon copy of the written thoughts . And the third sheet left behind shows blank . The performer than shows the VIP how to fold and destroy his she et and steals the cente r portion of the square . NOTE : Here again the thoughts of three different persons can be copped . The performe r can draw lines in s ide the squares to designate the writing a rea s .
143
1iJUtLt
r;~ •
by Ray
Hyman
Linking Ring for Way back in the Hocus Pocus Parade in the concept titled May of 1954, Ray Hyman wrote an amazing "Heraclitus Helps," for use with the cen ter tear whereby the sitter wrote and tore up his own billet . After reading othe r and much later versions of the same concept , I consider Ray's approach the very bes t. Ray used some educated patter about the Greek Philosopher Heraclitus and his theories of change and fire . Heraclitus believed that the only reality was change of which fire was a good example . A person is asked to write something on a square piece of paper secretly. The writ er is instructed to fold the paper exactly in half and then into quarters. ~s can be seen the shape of the paper has not changed. It is still a square. Now says the iHse One tear the pape r exactly in half and then in half again, and again what you have left is a square shaped wad of papers. In order to change that we r.lUst burn it. So the ~1ise One tells the lady to please hold the pape rs in her hand, while the pe rformer strikes a match to burn them, 13UT "I don't want to burn you." Says the WO , "Here . let ;ne hold the pieces and you str ike the match. " Wise One takes the pieces into his left palm and gives the lady the ma tche s . \Jhen the lady strikes a match , WO says, "I better place the pieces in this ash tray . " So saying he drops all the p ieces (except the FC piece that WO holds back with the tip of his thumb) into the ash tray and asks the lady to fire them. The modern ilonde r Worker will no doubt pl~ce a glue dot in the palm of his hand or a piece of double sided scotch tape to hold back the FC piece . There you have it Gentlemen, simple and sweet. The whole line of patter makes sense and gives the audience a good reason for tearine up the billet and for burning it, g ivin g the perfoDer the opportunity to steal the center p ie ce . The effect is most practical. The sitter will remember that she tore up the paper and tha t she burned them .
144
*
*
*
A LETTER FROM RAY HYMAN Following 8r;e exer;ps from a letter received on Nov. frOQ Ray Hyman of Eugene, Oregon :
27 .
1988
Dear AI, Thank you for the "Nag - Eye :love. " I have not tded it yet, but I have no doubt that it is a winner . Like my Eccentric Tear, 1 think it would be most effective yhen it is incorporated in a routine that provides plausabllity for both the writing and the
tearing o f the billet . You asked me some questions about the history of the Center Tear and the history of my own versions of It . Unfortunately, 1 do not have anything new to cont ri hute to the general history of the method . I had always assumed that the method had been
originally devised by spiritualist mediums or private readers. I recall having read an article in the Reader-s Digest on " The Spirit Ember" technique. This appeared, as best I can remembe r, between 1946 and 1950 . The article described the Center Tear and explained how the nove was done . The author talked about how mediums and p rivate readers used it . The reason the art i cle is so vivid in oy r:lemo r y is that it appeared just a month o r so before an interesting incident involving Hyrus , the Mentalist, and the Psychology Department at Boston Un iver sity . Myrus was appearin g at the Coconut Grove in Boston and had challenged Harvard Unive rsity to test his psychic powers. Harvard had refused. So !tyrus asked Boston University to test him. The cha ir man of the Psychology Department , Adrian Pinard, was a "character" who believed in all sorts of wild ideas. He accepted the challenge. r was an undergraduate at Roston Unive rsity at the time
145
asked the volunteer to print a word on the card and fold it. I-Iyrus would then take the folded card, tear it into pieces and s impl y put the pieces into his pocket with the file cards . He then IJould take out the stack of file cards, and seemingly make notes on the top card as he " read" the volunteer's mind . I-le repeated this procedure several more times with other voluteers. To ~e the technique was crude and obvious. He simply opened the torn center piece in his pocket, placed it against the top card of the stack , and read the information when he was apparently making notes. In addition, the Cen ter Tear had been exposed in the Reader's Digest just a short while before thls demonstration . But everyone in the ro om had been taken in. So far as I can tell, everyone, except myself , believed that he had witnessed a truly psychic presentsat ion. ~t this moment of triumph , Myrus conmitted a public relations blunder . He had just conpletly fooled the chairman of the psychological depa rtment in front of a photographer and reporter from the r.lajor newspaper in Boston . The chairman was willing to state that 'tyrus had demonstrated ··Clairvoyance ." But ~yrus insisted that he had demonstrated "telepathy" not clai rvoyan ce . Myrus asserted that he had directly read the minds of the volunteers. Pinard just as stubornly insisted that Myrus had not directly read their mind s but had used clairvoyance to obtain the written thoughts because he had to touch the cards . Pinard became so angry that ;'!yrus dared to contradict him , he suddenly announced that neither he nor any member of the Psychology Depa rt ment could be quoted or cited as endorsin g tlyrus . Pinard then angrily ston ped out of the room . \~ithout being able to quote the psychologists , the reporters had no story. So flyrus lost his free publicity . Now to the history of my own involvement with the Cente r Tear. Ply first publ i shed version of a center tear was my "No Hands " Torn Cente r in my June 1952 Linking Ring Parade. That ver sion was directly inspired by my experience with Myrus. I IJanted a variation that would conv ince the spectators that I never touched the torn pieces . In fly version the spectator tore up his own slip and dropped the pieces int o an envelope held by the performer . The performer immediately sealed the envelope and handed it to the spectator for burning . Of course, the perfo r mer managed to steal the center piece in the action. '1y method was crude and I have long since a~andoned it . But it worked . Howeve r in Mentalism , as you probably know, you can get away with the crudest and most inelegant methods . My method, "Concepts Never Die" carne about as a result of a long d i scuss i on I had with Oai Ve rn on on the Center Tear. I was a graduate student at the John. Hopkins Unive rsit y at Baltimore at the time. 1 would occasionally stop off in New York on my trips between Boston and Baltimore. When I was in New York 1 would always attend the Friday night sodalit ies that Bruce Elliot used to have at his apartment in G reenwich Village. Stanley Jaks introduced me to this weekly gathering . It was at these gathe rings that I got to know ~artin Gardner , Clayton RaIJson, Jay Harshall, l . Vosburgh Lyons , Felix Greenfield and Oa i Vernon, among othe rs.
146
At one of these gather i ngs I found myself discussing the center tea r lJith Dai Ve r non. Da i had just publlshed two interesting variations in the Tarbe ll Course . Ou r discussion focussed on the problems of reading the wr itten material . Our discussion continued after \Je left Bruce's apartment and were having coffee in a restaurant. \Jhen the restaurant closed, Dal and I continued talking on the street corner until dawn. 1 went back to my hotel , determined to devise a wa9' to do the reading without apparently opening or even tearing the slip. 1 used up every scrap of paper including the toilet paper, in my hotel room until 1 suddenly came up with the routine published in the Phoenix . Soon after that , 1 think it was a magic convention or some such affair in Neu York , 1 met Orville Meyer for the first time . He \Jas the very first person I tried my version on . To my surprise and delight , he was completely baffled. When I got equally good results on both nagicians and lay people, 1 sent the routine to Bruce Elliot . He published it soon after.
O.y
.l'jO,I!"I'lt?Jt3
o
. I~~~ THE ROBBER AND THE SHEEP
This chapter on The Day of The Sit - Toars would be incomplete i f 1 dld not mention George Sands'" great billet slJitch which he called "The Chicken Thief SlJitch " and which appeared in his book "Fifty Years in nagic," sold by Micky Hades . George applied the moves that are used in the game - puzzle that can be found in several books on 1Iath - '1agic . The above art cut titled , " The Robber And The Sheep , " uh i ch is another name for the Chicken Thief Switch , i s from Royal Heath . . s excellent boot:let called . . '!ath - E- Hagic . . (1933) and which is now sold by Dover Publlcatlons, Inc ., 31 East 2nd Street , '1ineola, N' . Y. 11501. The booklet is inexpensive and most informative and should be in every magician . . s bookshelf . No nention lJas made by George about applying his Chicken Thief Switch to the Cente r Tear so I am nentioning it here as that is the first thing tha t came to my mind after reading George's excellent article . The Chicken Thief Switch is the perfect solution for allowing the VIP to write, fold a n d tear his own billet. After he has done that tell him to throw t he pieces in the center of the table so that you can get some vibs . Befo r e the show , you have secretly palmed in you r left hand a dum~y FC p i ece . so you reach over with your right hand and p i ck up the VIP " s FC piece and immediately r each over 'olith your le ft hand and pick up any other piece of his sl i p . The right ha n d then picks up a th i rd piece. You place
147
these pieces of paper to your temples as you ask the VIP to concentrate . After some trembling and sweating you replace the three pieces of paper BUT you lead with your left hand putting one piece down and then follow with your right hand and thirdly your left hand drops the supposedly third piece which is the dummy Fe piece. You have copped the VIP"'s FC piece in your right hand so from there you p r oceed accordingly. George Sands has some eye - opening tips for the billet worker in his book and it is recoomended reading .
"lite
'Pu."Z.e~~ued
'l&'~a~at by Al :-lann
AND INTRODUCING THE SATELLITE BILLET.
"Well I may venture so far as to say that the paper gives its holder a certain power in a certain quarter whe re sue h power is immensely valuable,"
THE PURLOINED LETTER EDGAR ALLEN POE The above quotation from Poe fits perfectly the condition that will prevail in the following Purloined Thought. You are about to steal an entire piece of paper that contains all the information jotted down by the VIP. And you will do it right under his nose in a manner that defies detection. You can well imagine the power in the hands of the Billet King after sucl, a coup. You can have the VIP tear or burn or shred his billet. 6"nd most uncanny you can materialize and l or teleport his paper later, through the mail , for example !
1 48
""lite
.-
Stt.tettite !'a(c"t This
Is
the
ultimate,
Gentlemen ,
1n
billet
switching!
you imagine a billet switch without a palmed dummy billet? right, your hanrls are empty and uncumbered and most all, the audience can see that your hands are empty. You work with your hands
you have
nothing
palmed ,
in front of you
you can gesture
and
and
important o f
the VIP .
use
Can
That's
S ince
your hands
openly . No cover is needed J There is no need to turn your back or to hide your hand behind a tablet or anything else . No fast o r suspicious moves . '11 the ~oves are slow and ~; lrecr.
THE PREPARATION : Please refer to Fig. 184 - A It represents a 3 by 5 i nch paper pad. Fig . 184-A . The top sheet o f the pad Is peeled back bu t not detached . The second sheet of the r ad Is 1 eft attached also and Is folded exactly In ha 1 f and tucked in at the top and creased f ir mly at the fold.
to C.
Fig . 184 - B . The top sheet is folded down again and about one third of the sheet is folded up and the fold creased firmly. NOTE : that the top folded sheet is longer than the second folded sheet so that the second sheet is completely covered and out of Sight.
A
Fig. 184-C. The top sheet is extended so that it covers the pad and looks normal. A pencil line can be drawn across the center of the top sheet to disgulze the fold below although that is not necessary. The perfo r me r, can fill out the top page with instructions, dates, etc . so that the VIP must write on the lower third of the sheet . But that is also not necessary as you will draw a line or two on the bottom of the sheet and instruct the VIP to write there and then to fold the bottoCl third up. The paper pad is now ready for the show .
B
-----Have the VIP write his secret TO PRESENT: thoughts, while you stand away, on the lower third of the top page and then fold up the bottom thir d at the crease . You show him how this is to be do::e . He is then to turn the tablet writinp, side .1 0 "- :::' .
149
-
You then approach and tell the VIP to watch carefully as you will not look at his writing . You pick up the pad so that the top page faces the VIP as shown in Fig . 185. The top page must be at right angles to the VIP"s line of sight so tha t he can not see the folded second sheet . You then buckle the pad a bit as shown and insert your right thumb under the folded second sheet and hold the two top sheets as one with your right fingers . NO\! the next move is crucial . Instead of tearing the top two sheets away from the pad , you must do just the opposite. You keep your right hand motionless and -..lith your left hand tear the paper pad away fro~ the two sheets .
Fig.
185
Throw the pad on the table and then fold the two sheets as one into quarters, but you do that by folding the sheets back and forth leaving the two separated . Then fold again into eighths repeating the sane moves of folding the two folded sheets back and forth two or three t i m.es and finally leaving the two folded in eighths but separate . Uhat you have now at your finger tips are two sheets folded into eighths one over the other resembling a single folded sheet . You can show these at the fingertips and to the s itt er everything will look normal. A..ssuming that you are holding the two billets with your left fingers, the satellite billet is next to your left thumb and the VIP"'s bil l et is next to your left fingers . So as you patter turn the billets over and then pull back the VIP " s billet with your left thumb into palm position and the satellite billet is now sticking out big and beautiful at your finger tips . From then on you can proceed as you wish for you now have all the power over the VIP"s thoughts . You can perform a most bizarre test. You tell THE BIZARRE; the VIP to burn his billet totally. Then you say, "I know your thought but I do want to nake a special test of it. 1 will write you a letter with the answer . When the VIP receives the answer you can also include a miniature xerox copy of his written question or ;..rhat-have-you. Reduce the copy several times and insert it somewhere in your lett~r or superimpose it onto a newsaper page so that his thoughts look cloudy and far away. You can also teleport his message paper at another seance !
150
THE PURLOINED THOtX;lfT
'-..._
.
.'J'OLOGIA
I si ncerely hopE: that I have given proper credit Hhere credit is due. This has been a wor~ of love pure and simple anc it ~as taken me a lifetime to gather all the facts as stated. But, I do not believe in "ends." I do not '::elieve there is an enc to anythin;J. No coubt that the marvelous utility ueapon ','e call the Center Tear ,,'ill evolve into even greater thin;s in years to come. ~is treatise is not complete. Nissing are the hundrees of clever routines that have appeared in print through the years cont ributed by the many lovers of our art. A collection of these '.10uld surely make a very large volume . I l-Jave tried to pull all the loose ends toget~er in this treatise anc the reacer may see the effort similar to the chap that wrote a book report on penguins. It gave rrore infonretion on penguins tl-tat anyone care
::"3 :e!":'".3 :: y 5/1/89 .!...:..
"{l~
?=.
....
3::::.
:::_ :>c " .. cc,
II
~:: ~-~-;-;x
.-=
ONE OVERLOOKED DYNAMIC
IDEA
(July 9, 1990) So you take a billet and fold it two ways then open it and perforate \.lith the point of a sharp knife along the crease that wi ll be the top of the 'tent . ' You then have the VIP write a word , etc . Fold the billet and as you hold it at the tips of your fingers in full sight , you simply tear and peal back the top fold of paper secretly with your thumb to reveal the thought!
St an Alexander
AME
INDEX Annemann"s Apologia A Stunner
I\.ds
12 ,
76,
92 151 128
Black Bag , The
32
Cente r mental Center Tear Notes by Sid Lorraine Chain of Thought Concepts Never Die Credits
22
94,
IV
Dai Vernon's Hold - out Day of the S it - tares DedicatLon Double Incidence Two Eccentric Tear Echoeing \;al15 Eye of the Pyramid Ephphatha
7 38 1 13
36 140 III 1 17 94,
Facts about C. - T Billet Work Fire Tongs F1 igh t of the Phoenix
100 73 1 07 1 24 48 31 43
Gem, The Gemme l's Messages
1 29
fleraclLtus lle lps Hold-Outs t"latch Book Hold - out l1atchstick Hold - out Hyper Quad 11ypostasl.s
144 40 40 40 143
Immola ted t"loola Impression ~ jethods lmprovisitor, The In His Hand Invisible Window Jinx, The The New Jinx Kleen Letter Letters Letter Le t te r LLke a
41
70 140 - 143 80 1 37 130 4 - 13 ,
76 3- 4 1 14
from ~Iartln Sunshine 24 from "torris N. Young 25 from 'ay Hyman 145 [ror:l Sid Lorraine 5 Book 57
1 5.c
Living and De ad Test Hag-Eye
~Iove
~lag - Eye
~Iove
8- 1a
6,
95 97 4
Supreme
Hagick Mi racle That 46 , Memory Giant ~Iethods of Forcing. Ad. Mystic \.lord, The Ne Plus Ul tra Nihon Venture Qne Hand Tear Ou t to Brunch Oz of Oxyl us , The Pallbearer's Review Printed !..lord, The Prophesy Purloined Thought, The Py ranid Power Retained Thoughts Robber and the Sheep
3,
50 , 54 68 92 3 15 - 17 63
6 1- 62 ,
65 130 1 22
107 37 52 - 53 14 8 104
4,
36 147
Salem's Bridge 124 Satellite Billet 149 Scattered Thought 95 Science and Invention Magazine 27 - 29 Scorpio's Curve 71 Sealed r"less ages 30-34, 133 Secret o f Heather ~lead 134 Sh - h - h It's a Secret 3 Slav - Motion C- T ~Iethod 94 Snoke Rays 3, 17 Society of AmerLcan '1agicians 11 Sale Cla iman t 22 Sphinx, The 2 - 6 , II, 13 Sting , The 56 Sting Ray 99 Supreme '1ytery, The 33 - 34 Tear Retaxo Tears Without Tears Telephone Scenario The Sec ret The Thirteen Avard Theydoit Thirteenth Breech That Covert
66 94 69 4
1 38
95 1 27
75
1 15 11 6 116 45 84 42
3-" Hi racle One- Ahead 3-" Miracle 2-cent 3-" Miracle Through the Center Through the f-\agic Door Tretology of Dionysus
Wha t \.Jha t
Is It? Is Real?
Y[n and Ulti mate
Ron
30 2 3 , 11 , 22 - 26 30 , 78 - 80 , 112 Bergson, Syd I 15 Bernstein , Bru ce 94 Boarde I C. L. 22 . 30 Bowyer , TOM 3 - 4 , 6 -7, 11, 19 Bagshaw , Edward Baker , Al
Ca ss idy, Bob Cle veland, H. G.
97 3 86 107 28
Co rinda 'lax S ir IJilliam
Davenport Doy le, Arthur Cann on Dun ninger 4,
Dunninger,
28 ,
11,
The
67
146 23 .
Foste r, Cha rl es Fox. Karce! Fulves . K.arl
Gambling, John Gardner, Mar-tin Garr-us, J . T. Go ldston, Will Gr-eenfield, Felix
Hain es, Bob 72 , [ 30 Hamble n, R..oland 3 , 16 Harbin, Itober-t 2 HLllia r-d, John No rthern 1 3 , 30 Houdin i 13 , 27 Houdin i, Mrs. I3 Hu nter-, Rudy T. 95 , 130 Hu t chingso n 2 94 , 100 , 11 3, 144 Hyman , Ray Jo hn son , Geo r ge Jo nes, Bascot:1
2 4
Kahler-, Je rry K. Karmilovich , Ted Ke tch, Ja ck Ki smet (H artin Sunch ine ) Ko ran, Al Ka rt, Milt Kr aus , Joseph Leat , Harry Lorraine, Sid Lyons , L. Vosbur gh
20 1 27
114 24 61 5 27-28
2 2 -7,
11 146
20 - 22
Billle
Al
2 84
26 - 30 20
Elliot, Bruce Flosso .
Yang,
8-10 1 44
PAGE
Alexander , S tan 73 , 9S Annemann 3 -4, 6, 7 , II , 13 1 5 , 17, 20 , 25 26 , 112, 11 7 Armstrong , Geo r ge 60 Arnold, Ted 4, II, 13 , 17
Co rtine, Crookes,
the
5,
86
Cen te r Tear
NAH ES
Baillie ,
79 50
u mbrella '"l ove Universal "11 nd
4,
2,
27 30 95 107
2 14 6 3, 6 2 146
155
Madsen , Bill Mapelli Ma rIo , Ed Ma rshall, Jay May, Leslie Melon, Ed . Meyer, Orville Mo g ul Myrus Orloff, Coun t Os terlind, Richard with Ai Mann Ovette, Joseph
4,
4 30 94 I 46 3 23 3 18-1 9 146 27 94 88 22-23
86 ,
3-1 0 ,
Palladino, Eusapia Pentacle ~Iagic Club Pina rd, Adt"ian Phantini Philyaw , Harshall Poe , Edgar Allen Poole Brothers
28 2. 6 145
96 100 148 33 - 34
Rawson , Clayton Reese, Bert Richmond , Herbert M. Rinn, Joseph Rowland , Edmund Robson, S tuart
146 112 15 27, 29 6 , 45
30,
11,
3 1 47 1 07
Sands , George Schm idt, Joseph K .
Tanner, Don Thayer, Floyd G. Thompson Jr ., J . T.rl.C. Club Ve r beek, Gustave Vernon, Dai
Young ,
N.,
~orris
? A.GE
ANN[MA.I~N
FLOYD G. J .
G.
78 6I 107 84 87
At Chichen -I tza In Thailand \Hth Richard Oste rlind
11,
DA 1 VERNO!-' DUNNINGER.
20,
THAYER
THO~IPSON,
21 ,
112
26 27 14
JR.
22
RINN JOSEPH OVETTE
29
:·IART IN SUNSHINE
22
JOS~PH
5
RA Y HY~A:-i RICHARD OSTEKL IND RUDY T . HUNTER
100 86 13 0
SID LOR~.6,.lNE S YD BERGSON STAN >\LEXA"lT)ER
2 1 15
73 11
TOH BOh'YER
156
95 4,
G.
22 - 23 25 - 27 114 3 -4, 14, 17 22 - 24 3 , 4 , 14
13,
95 13,
36 ,
14 6
2
W'heeler \Hllmarth, Phil \'!ate r s, T . >\ . Wyman , Leland C.
PHOTOGR.A.PHS
AL BAKE9. A.L KORAN AL ~IAN~
20
Slade , Henry Stride , Richard Sunshine , Martin
100 49,
2. ~ . D .
94
6
25 - 27
