POST OFFICE BOX 144 •
FREEHOLD, NEW JERSEY 07728
1Ft
lfKares
Set •
· Set•
An ALMANN
ULTRA ·EXCLUSIVE Release
#
_-3 __
With the secret of The TKares Set, the possesor will create the illusion of great telepathic power! But the creater of this illusion will be the only person who knows that it is an illusion. While every member of your audience will be baffled thinking they are witnessing the real phenomenon. For you see Illusion is everything! THE TKARES SET: Five members of your audience are asked to secretly draw simple designs. They may draw anything they wish. A house, a tree, a boat, bird, triangle, etc. They have a free and secret choice. They are given paper and pencil for the purpose. The finished papers are then folded and the performer collects them and puts them into an envelope. The envelope is given to another member of the audience. This person is invited on stage, and while the performer is standing far away, the person is told to take out of the envelope any slip desired. To open it and concentrate on the drawing. The performer draws a design on a large slate and then instructs the assistant spectator to please draw the design on a black board large enough for the audience to see. The performer shows his drawing to the audience which is a duplicate of the one on the blackboard. Applause! The same is repeated with a second drawing, and finally the performer duplicates all the designs drawn by the five persons and has them acknowledge it. Some applause! Some profound silence! Much amazement! Yet all is illusion! No carbon impressions. No collusion with the audience. NO two-person codes. It is purely a Mental Swindle. Magic of the Mind in its purest form. Let's look behind the scenes. THE SECRETS: The slips of paper you pass out are of different colors: White, Blue, Green, Pink and Yellow. The spectators are chosen widely separated. They draw anything. When the Master Mind collects the slips, he switches them for another loaded envelope which contains similar color slips with drawings, any drawings as it does not matter! The dummy envelope is given to a sixth member of the audience who is told to please come on stage
2
THE TKARES SET
AN AL MANN EXCLUSIVE
and told to stand before a blackboard, to remove any slip from the envelope. To open it and to concentrate Ofi the design. You know the design by the color of the slip, so you draw that on a large slate and then tell the spectator to please draw it also on the blackboard. The designs match! Voila! So, you think, What happens with the person who drew the design on the same color slip2 He will know it is not his design! Wrong! He or she does not know if someone else also got a slip of the same color as this person did not see the slips given to the other four spectators which were far away from him/her! Everyone will applaud including the five persons who drew designs! Each one of the five persons will be thinking the same thing - That the design just drawn was drawn by one of the other four! So you can repeat the test again by telling the spectator on stage to please pick another slip. If you went no further after the second test you would have created the perfect illusion and you could just walk off the stage leaving a very baffled audience, including the five artists! But letis not be so merciful. By this time you have had ample time to have secretly peeked at the five drawings from the siips that were stolen by the envelope switch. These are the five designs that were actually drawn by the five volunteers in the audience. If you can not memorize five drawings, you can draw them with lead pencil on your slate, or on a small card which you palm as a prompter. So, after the second test is over, walk up to the assistant spectator and take the envelope from him/her and thank and dismiss this person as you say, "I am amazed! I am overwhelmed! I AM GETTING A LOT OF IMPRESSIONS from the audience, even from persons that have not drawn anythingl" So now you draw all the designs that are coming to you through the telepathic waves! You draw first the five designs that were actually drawn. And then if no one has thought of it draw also a tree, a triangle or star, etc. THE GAFF IS IN! Point to the five persons and ask, "Did I get your thoughts correctly?" Have the five acknowledge loudly. Then ask, "Who in the audience was thinking of a tree and a triangle?" and etc. You will see some hands go up! NOTE: YOU do your drawings on your own slate or on the blackboard. In the eyes, ears and mind of your audience, you have just performed a miracle! (Entre Nous, you have just done The Tesseract backwards!)
The reader probably has his own pet method for switching one loaded envelope for another. Any good switch will do. I prefer a variation of the Odyssey Envelope Switch from Inner-Space Odyssey. The Odyssey envelope is made by using the business glassine-envelopes as shown in Fig. 1. The beauty about this switch is that any article placed into the Odyssey envelope can be seen instantly through the glassine window! The illusion is perfect. You place, say, a red colored billet into the envelope and hand the envelope immediately to anyone and they can see the red color billet thr~ugh the window! Yet a switch has been made! The switch is direct and undetected! Fig. 1
3
THE TKARES SET THE SWITCH
AN AL MANN EXCLUSIVE CONT.
PREPARING THE ENVELOPES: Two envelopes are gimmicked. Designate one envelope "A" as shown in Fig. 2A. Envelope "A" is prepared by detaching the top edge of the glassine window so that it becomes an invisible slit. Otherwise the envelope is intact. Inside this envelope, place the five dummy multi-color billets with the planted designs. These billets will show plainly through the window! Envelope "B" is prepared firstly by glueing a piece of white paper to the inside of the glassinewindow so that nothing will show through it. If you insert color billets into this envelope, it will appear to be empty as nothing is seen through the window. Next, Detach the center back part of the envelope for only an inch as shown by the dash lines in Fig. 2B. If you then tuck the flap under this center part, the envelope will now look like in Fig. 2C. You may wish to re-enforce this center part by glueing a strip of white paper to the inside, as shown by the vertical dash lines in Fig. 2C. This part will be used like a chute, as will be seen. MOUNT THE ENVELOPES: Now you must mount the envelolopes by inserting the top of the center part of envelope "B" into the glassine window of envelope "A." This is shown in Fig. 2D. Now it is quite plain that you can easily and secretely make a switch, by pretending to place a billet into envelope "A" but actually the billet is pushed through the detached top of the glassine window and into envelope "B" by the help of the 'chute' part.
I~X~
--I (
)
A
A
c
o Another good touch is to slit the bottom of envelope "B" so that after you have given enFig. 2 velope "A" to the spectator in the audience, you can stick your right hand (assuming you are right handed) and push the billets into left hand palm position. You do this when you turn your back to the audience and return back to stage. On stage you place the envelope in your pocket and pick up your slate (or art board) then while giving instructions to the spectator on stage, attach the stolen slips to the slate onto double-sided tape that you placed there before. As you continue, you secretly open out the slips to glimpse the drawings and copy them on the slate in pencil and then remove the slips and pocket. ANOTHER FINE POINT: In covering the window from the inside in envelope liB," it is better to cover the whole inside back of the envelope. This way you will not have any obstructions when inserting the billets. You will be dealing with a smooth surface. These fine points will become apparent to the operator when he handles the Odyssey envelopes.
4
THE TKARES SET
AN AL MANN EXCLUSIVE
Do not insert each individual folded slip into the envelope as you collect them, but place them under your thumb on the outside of the envelope "A". Say that you are holding the envelopes in your left hand as shown in Fig. 2D. Your left thumb is on top while your fingers are underneath. You then pass among the audience and as each person finishes, instruct him/her to fold the slips. You collect the slips one at a time but you are moving fast, and place them all under your left thumb. When you have collected all five, Align them Fig. 3 all neatly and hold them as one in your right hand as shown in Fig. 3. Hold them up in the air as you say, "Five persons have drawn designs or symbols on these pieces of paper. Some of you in the audience may be able to guess perhaps one of the figures drawn. But I will wager a king's ransom that no one in this audience can tell us with certainty all the five drawings." "I will pass these slips of paper to someone in the audience." Here you insert the slips as one into the envelope. The way you are holding the slips makes it quite easy to pass them into envelope "B." Envelope "A" is immediately passed to the volunteer spectator who is told to come on stage (or platform). Having all five slips in a neat bunch, makes the handling and the palming easier. With a little practice you can do the above test using only one envelope! Take envelope "A" in your left hand and then take five billets as one, Fig. 3, and put them into the envelope, through the slit glassine window and into the crotch of your hand. It is easy to do. Your hand covers most of the window from below so that if you flash the glassine window, the dummy billets will not be seen. You must watch the angles, BUT since you are moving about, you have good cover, besides since the audience will see the billets (planted dummies) when you give out the envelope, no one can suspect any trickery. NOTE: The billets used measure
2~
by 3-3/4 inches overall.
THE GRAND FINALE: Since you know what design was drawn by each person due the the color of the slips, remember one design, say from the blue slip of the person on your far right. Do not callout or draw her design. At the end you ask her, "Did I get yours madam?" She will "No!" So you give her a slate or invite her on stage and tell her to draw her design for all to see. You anticipate by drawing her design before!
5
(201) 431-2429 POST OFFICE BOX 144 •
FREEHOLD, NEW JERSEV 07728
cr2ee se's epieees Being some further insights into the art and technique of Bert Reese, billet King, here unto unpublished. The following are excerps from two letters received from Professor DeNel (Barlow J. Wagman) of Hyattsville, Md. dated Nov. 2, 1983 and Nov. 1, 1984. (Notes, by Al Mann)
TI10IJ6HTS ON PAPER:
"Although I never had the privilage of seeing Bert Reese work, I did know someone who did see him. My uncle was a physician in Baltimore-in the 1920's and 30's. Dr. Herman Seidel was his name. His activity in medicine at that time made him well known to the wealthy Baltimorians. He told me that he had been invited to a private party by some very wealthy Baltimorians. At that party, a professor Reese gave a demonstration in which he asked that people write soemthing on papers, fold them, hide them and Reese called out what had been written." NOTE: Reese professed to have the power to read thoughts that had been written down on paper!
"My uncle had a shrewed physician's eye for detail and although he had no magical interests or information, he said that somehow Reese had seen what was on the paper." NOTE: There is one in every audience. But they still do not know how!.
Tllf P'M 1':
"In the 1940' s I was attending Pharmacy school at the George Washington University. I worked after classes in many downtown drug stores. The evening hours tend to bring out the dregs in the downtown area. One such dreg was Charles Rosebery. Charles was a pimp, thief, con man and drug addict. He set up orgies and porno shows for perverted physicians in Virginia and the District of Columbia. In return, among other considerations, the physicians gave Charles and his colleagues some legal narcotic prescriptions. Mr. Rosebery had these prescriptions filled at the store I worked in. When night business was slow, we talked about the past. He must have been in his sixty's then, but he had been a carnival cold reader. HE HAD SEEN REESE IN ACTION! And charles knew about magic and mentalism. Drunk or sober he could do a cold read that could knock your sox off. His hands shook from Booze and drugs, but he did a very neat billet switch. The Demanche change!" NOTE: For the Demange change, see The Modern Conjurer by C. Land Neil.
6
THE TKARES SET REESE'S PIECES
T~t
AN AL MANN EXCLUSIVE cont.
...
S & 1<
"Charlie said that Reese had a thick accent and used the accent as misdirection ••• searching in the air for the word. Charles also said that Reese had a wife and two daughters. They were introduced by a chairman at a meeting of some spiritual nature." ' "Both my uncle and Charles remembered that Reese kept smoking cigars. They were expensive cherroots - - I asked about them and both my informants remembered they were is a sort of case - - a leather cigar case! This was about 4 by 6 inches AND WOULD HAVE MADE A GREAT COVER FOR THE BILLET READ! "Charlie recalled something Reese did that I have not seen described elsewhere. That is 'THE STASH AND READ." Charlie said that Reese would steal a billet or two, open them and leave them open in some 'stash ' - a book or magazine. When Charlie discussed how the 'stash' held the billet he said something about -- In that crowd, you don't take chances- Reese did not use wax, he used some glue from flypaper." NOTE: Reese used a piece of flypaper which was what we call today, double-sided tape. He also used the back of a chair for the stash!
QUlfE.
PELlfoTS:
"On pellets, Reese showed the writer how to roll the pellet, and then unrolled them for the subjects to write their words in. Pre-rolling was not only a demonstration, but also made the final pellet smaller and it wrinkled the paper so it could be opened quitely." "Reese performed in parlours, or sitting rooms, Candles or gaslight and a fireplace made flames available, but there was a place Reese could dispose of billets and paper without burning them, - THE SPITTOON! - The spittoon was present in almost every well-to-do home." "Charles seem to recall Reese used a hand-to-hand passing switch for the one-ahead. He threw the billet at someone after reading it." LOCKED PLACES: Reese had a 'thing' about locked places: lockets, watches, desk drawers. That too added to the misdirection. - More emphasis on the places the billets went, than on the billets or his handling!" NOTE: After Reese read the billet one-ahead, he then switched the billet in the act of throwing it to someone. The swing of the arm made perfect cover for the switch as the palmed billet is thrown instead of the one just read. This is the same move that magicans do when they switch a coin or die in the act of passing it from one hand to the other.
E-XVJ)ATIOHS:
"I do recall that my Uncle "doc" was reluctant to talk about his visit at the gathering where Reese performed. He felt it was very unprofessional for him to accept the invitation. He was the only physician there. He said there was an 'aroma' or strange smell in the room where Reese performed. It was in the late fall or early winter and there was a fire in the fireplace. I had a theary that Reese might have thrown some insence on the fire to cover up the smell of burning paper, but I never could prove it."I did use some insence of my own when I did parlor readings - and it is exce(lent cover for burning the center-tear material."
7
'l'HE TKARES SET REESE'S PIECES
AN AL MANN EXCLUSIVE cont. I
..
-, I
EXUDATIONS: NOTE: Actually the smell of incense or some peculiar perfume was a personal trademark that many famous mediums used including Madam Helena P. Blavatsky. It was inferred that their psychic bodies exuded this 'heavenly' aroma. It became part of their personality and could be smelled on their letter envelopes, clothing and could even be passed on to anyone whom the medium touched. Not a bad publicity stunt even today. The ringing of sweet tiny "fairy bells" in the air invisibly was also a trade mark with some, plus the floating or flashing of Ld gh t s, In closing Professor DeNel gives us one of his secrets of misdirection. "For conversation and misdirection I found a cigarette lighter that looks exactly like a small derringer (gun). It is marketed as the 'Nesor Piezo Electric Gas Lighter.' The lighter looks so much like a real gun, no one seems to remember that I am using a piece of paper. I use it with the Osterlind Ultimate Center-Tear (see The Apodosis). I have also used some watersoluble paper in my billet work,. Sure beats having to turn off the smoke alarm." I
Barlow J. Wagman is a doctor of dentistry. He has been interested in magic and Mentalism most of his life and has a large collection of memorabilia. He did some intensive research into the life of Bert Reese some decades ago, when Annemann publish the Beert Reese secrets. But today he can not find these notes which are lost in his collection. The above information, he related from memory. He also performs shows in Mentalism which he loves. AME salutes Professer DeNel for his lifetime interest in the art and his contirbution as noted here under Reese's Pieces. I
Be careful how you go about removing clouds. Back around 1915, Bert Reese was arrested for 'Cloud Removal' and made the headlines. He had offered to remove a dark cloud hovering over a lady's head for $200 (a small fortune then). The lady was a police detective in disguise! CLOUD REMOVAL THE EASY WAY: Master Mentalist John Smetana, member of the AME think tank, did a show in upstate New York for a group of bankers. After the show, he went to the bar and bought a drink and then sat by a large window. As he looked up to the sky, he noticed that the clouds were slowly vanishing. - A fellow banker came by and said, "John, those things you do. They are' all tricks, aren't they?" "Some are and some are not," answered John. "Keep your eye on that cloud. I am going to make it vanish by my psychic power." The cloud soon vanished'. The fellow banker gave a laugh and walked away. ' John said to me, "He laughed, but later he is going to wonder." ' John confided that he had got the idea from reading Mental-Ettes. (TKares Set spelled backwards is Tesseract!)
f. r/m/fl
