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- Herausgeber: David De Angelis
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Table of Contents
TIME MARCHES ON
BERT REESE SECRETS
BILLET SWITCHING
A QUESTION AND THE ANSWER
THE AL BAKER THREE BILLET TRICE
A DAY OF YOUR LIFE
THE GERMAIN GEM
TERVIL
MENTAL HAT PIN
DEVIL DEVICE
THE OM BILLET SWITCHING BOX
THE GHOST OF A CHANCE
CRYSTAL CLEAR
MINDREADING PUBLICITY EFFECT
NEWS EVENT PREDICTION
THE UNKNOWN SUBJECT
PUBLICITY STUNT
ON THE WIRE
THE IMPRESSION MODERNE
A CUTE PUBLICITY STUNT
DEATH FLIGHT
IMPROMPTU VISION
A NEAT PUBLICITY TRICK
TELEVISION COMPACT
GRAPHOLOGY
FROM BEYOND THE GRAVE
TWO PAPERS AND A SPECTATOR
MORE LIVING THAN DEAD
DEAD OR ALIVE
THE SECRET
DR. DALEY'S DEATH DIVINATION
THE GHOST HAND
DEAD
HADES CALLING!
NYCTALOPIA
ENTITY ALONE
BETWEEN THE LINES
THE YOGI BOOK TEST
THE PERFECT BOOK TEST
WHIM OF TITUBA
DICE AND A BOOK
THE WORD ON THE PAGE
MONKS MYSTERY
THE DOUBLE AD TEST
SYMMYST
BEHIND THAT DOOR!
THE 20th CENTURY NEWSPAPER TEST
THE JAIPUR JINNEE
40,000 WORDS
ANOTHER DICTIONARY EFFECT
POCKET PROPHECIES
CONSTRUCTION OF THE ANNEMANN BILLET INDEX
THE ORIGINAL EFFECT
LADY AND GENTLEMAN
THE OMEGA CARD PROPHECY
ORVILLE MEYER'S TWIN PREDICTION
THE IMPROVED BUCKLEY METHOD
FINAL NOTES
TOMORROW'S CARD
SEFALALJIA
TELETHOT
THE ASTRAL SHIRT
IMPROMPTU FRAME-UPS
TRAVEL THOUGHT
TAPS
FINGER. FINGER
LOCK AND KEY
TELEPATHY ON THE CUFF!
NUMBER THOT
THE NEW HALF AND HALF
HORRORS!
BLACK PIN IDEA
VOODOO
ENCORE VOODOO
THE KRAZY KODE
OPERATOR CALLING
A DIVINATION WITH MATCHES
CALENDAR CONJURING
DATE SENSE
SHADES OF SHERLOCK HOLMES!
TRIUMPH OF THE TRIUMVIRATE
PROPHETIC TISSUE
THE BALL OF FORTUNE
MY OWN SWAMI TEST
TRIPLE COERCION
MODERNIZED READING
PSEUDO-PSYCHOMETRY
MODERNIZING THE "ONE AHEAD" PRINCIPLE
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Veröffentlichungsjahr: 2016
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PRACTICAL MENTAL
MAGIC
Theodore Annemann
Digital edition 2016 by David De Angelis
TIME MARCHES ON
"There was a time, about twenty-five years ago, when the art of crystal gazing was dominant in vaudeville. Audiences of that era sat enthralled while the 'master mind' looked into a glass ball and gave answer after answer, ad nauseum, to queries written by the customers who either were actually troubled or highly interested. Redundant as that may sound, it's true. Magic magazines of that period abounded with advertisements clamoring for $100 to $200 as a reasonable return for a trunk full of gadgets plus a twenty odd paged manuscript, the possession of which would assure the buyer's success in the theatrical field.
Time, like trouble in the hearts of men, marches on! The crystal ball, with handbox reader beneath; the nickle- plated sphere (they didn't have chromium then) with a cog wheel controlled spinning band inside; the pedestal prompter with its pulpit appearance; the Various electrical devices, either direct contact or induction, from carpet to turban; all of these means to an end have had their day. Contemporary with these were the change baskets, the mirror bowls, and the end-for-end ladles with which to secure the information and make it ready for material passage through the first mentioned devices to the omnipotent man on the stage.
As time marched on, audiences became more acute and sensible. While mediums, fortune tellers and psychics still abound in private consultation shelters, the stage seer has had to find honest work. All of which finally brings us to a point. Question answering, plus the revelation of supposedly unknown thoughts, when kept within reasonable limits of time, can be a very important part of the magician's program today! And, we mean the program of the performer who entertains platform, social and club types ofaudiences.
Audiences today 'go for' the mental type of trickery more than ever. It is more of a 'grown up' phase of magic and mystery, and there seems to be a greater element of wonder when the performer can reveal unknown knowledge or something personal about the members of his audience.
I'm not in any way slighting magic as a whole when I say this, but I've found it to be true so far as my own work is concerned."
Reprinted from Theo. Annemann's magazine. "The Jinx". THEODORE ANNEMANN
BERT REESE SECRETS
ANNEMANN
Down through the ages have come but few noted billet readers, and invariably such men have been able to fool Kings, Premiers, Presidents, and scientists. Dr. Lynn, and Foster, the medium, were two of renown, but in the past 30 years one man stood out as a charlatan par excellence at the business of reading the folded slip. The man was Berthold Riess, born in 1841 in Posen, which was then in Prussia. Later he became known universally as Bert Reese and before his death in 1928 had crossed the ocean over 50 times to humbug such people as Charles
M. Schwab, Ignace Jan Paderewski, Premiere Mussolini, Woodrow Wilson, Warren Harding and Thomas Edison.
As I look through my file of articles, clips and stories about the doings of Bert Reese, I marvel at the constantly appearing statements that he never touched the written-on paper. This is a psychological point of importance to all performers who do anything of this nature. Only a trained observer can give an accurate account of every move, even though they may not know the method of trickery. What, to the ordinary spectator, may be the most natural of movements, can be the one detail that would solve the problem in recounting the experience.
Thus Reese's actions, being psychologically different in their entirety from the technique of magic, may seem brazen and bare-faced to a magician not acquainted with this type of deception. These very same actions, blended into a routine by Reese that lead up to a startling revelation, were looked upon by his audiences as phenomena far removed from the realm of sleight-of-hand or trickery. It is important to remember, therefore, that an audience is in a different frame of mind at the time it watches a billet reading exhibition, and that all traditional magical gestures of sleeve rolling or of showing the hands empty are ridiculous, not to mention ruinous. Also keep in mind that the really successful humbugs in this line do not demonstrate from the theatrical stage. Rather they confine their activities to the lecture platform and to the semi-privacy of the home and drawing rooms where theatrical atmosphere is not present, and their demonstrations are cloaked with a scientific or almost religious demeanor.
Reese did not care whether his subjects called it telepathy or spiritism, being content to let people credit him with whatever solution of power they deemed most fitting. Here was a good point as he did not antagonize any particular group but left it to their own individual credulity and gullibility. He ever was ready to demonstrate at any moment or place, another point which emphasized his benign sincerity of purpose in making use of his apparently strange faculty.
Routine with Three Sitters:
Illustrated is one of his routines using three sitters. Reese is sitting at the left. Borrowing a piece of writing paper, he tore it into slips about two by three inches. He would be standing at the time, and did the tearing while the others were sitting down and making ready. Five slips were put on the table, the rest of the sheet being crumpled up and tossed away. However, Reese really would make six slips and retain one, folded once in each direction, as a dummy for his own use. A detail here was that afterwards, the sitters would relate that he had used their own private tinted or watermarked paper rather than any of his own. Now he walked around the room while questions were being written to dead people on the slips and folded once each way. The folded papers were mixed together on the table and Reese would take his seat, the dummy billet being finger-palmed in the right hand.
He then said, "Give one to this lady to hold," pointing to the one farthest away, and the sitter opposite him (a man in this case) would hand her one paper. Reese had not touched it but the pointing was being done to
accustom all to the gesture. "Give one to this lady," he'd say next, pointing as before but to the lady next to him. The gesture was once more planted, and moreso when he repeated it again by having another paper given to the first lady. Now he would tell the gentleman to keep the remaining two, but as an after thought would say, "Perhaps we'd better let this lady have another." This time he would casually take the slip being passed over to the lady next to him, complete the six or eight-inch journey, but in that space make the switch for the dummy which she would get to hold. The stolen slip was dropped into his lap and opened with the left hand while, with his right, he'd make marks on a sheet of paper on the table. He apparently got his answer from these, and his scribbling served to attract the attention of the sitters while he glimpsed and then refolded the slip with his left hand under the table.
Now he would extend his left hand, with finger-palmed billet, towards the lady next to him, and say, "Give me that paper," pointing not to the dummy but the other one. Taking this it was apparently opened and spread on the table. In reality the one taken was drawn back into the finger palm by the thumb, while the paper in hand was pushed out by the fingers from where the right fingers took hold and opened it up. Thus the one opened on the table was the one just glimpsed, and the one finger palmed was a fresh one. Again the "business" would be gone through and new marks made and a new answer given. This time a slip from the second lady would be requested and apparently opened. Following this, the man's paper would be taken, then back to the second lady, and lastly the lady next to him again which would bring the dummy back to him in return for the final slip.
Routine for Single Sitters:
For single sitters Reese had a slightly different routine, although practically everything he ever did was based on the one-ahead idea. Four or five slips would be given a man to write questions on and fold. They would be thrown onto the table as written and Reese would mix them a little with his finger, but in doing so would switch the dummy slip he had palmed for one of the papers. As the gentleman was writing his last paper, Reese would walk away, and in his wandering would open and read the stolen paper. The single fold each way of these papers made them very easy to open with one hand. As the person finished the last question, Reese would return to the table and ask him to put one paper in his left coat pocket, another in his right coat pocket, one in his left shoe, one in his right shoe, and the other perhaps inside his watch. Reese only watched to be certain into which spot went the dummy slip of the five. Knowing the contents of the finger palmed slip in his left hand, he would walk back and forth around the room and give the answer. Then he would point to one of the locations on the spectator's person and ask for that paper. Taking it, he would open and read it aloud, actually reading what was on the slip he knew and memorizing what he now saw. Folding this paper he would finger palm it in the right hand, and left hand would toss the other onto the table. Reese invariably smoked a cigar and the action of taking it from his mouth with thumb and finger of either hand served as an admirable mask for the finger palmed paper.
He would proceed by answering the next question and so on until the last, always leaving the dummy in its resting place until that time. It was a regular procedure of his to have the papers placed about the person in odd places, such as the watch case, for instance, and my theory for this is that such places, being unusual in character, were always remembered by the sitter in preference to the more common spots. Afterwards, in telling about the ordeal, the sitter could be depended upon to swear that he had put the paper there and that Reese had answered it without being near the sitter or having touched the slips.
Another angle that Reese brought into play often was in asking people to write the name of their favorite school teacher when a child; the name of the town or city where they were born; their auto license number; their telephone; their mother's maiden name; and any number of odd but personal bits of information to which he could have no access but which would be vividly personal enough to be remembered and talked about by the sitter. Such items are far better than merely having any number or any word written.
Routine for Telephone Test:
In many cases when Reese was going to work for someone he knew, it was a simple matter to check up on the person's telephone number before starting. In such a case, he would sandwich the request for a telephone number in among the other slips as they were being written. A steal was made of one of the others and read as already described. Watching the telephone number slip on the table and also the dummy, he would have them pocket or conceal the slips as usual. However, when they picked up the telephone slip he would have it placed in a pocketbook, between the pages of a notebook or in some other difficult spot. The rest of the slips would be read as usual but the telephone slip apparently forgotten. Then he would recall that there was another slip out, and merely taking the article which contained the slip and holding it to his forehead he would answer the question and hand it back. The sitter had been told so many things no one else could know that the idea of Reese getting his number would never occur to him.
Not alone can the telephone number be used, but there are many little bits of information about a person that are dropped by others, and of these most anything can be used. Much information about doctors, for instance can be secured from a medical directory and it is possible to have the name of their college on one slip and the name of a professor at that college on another. The first you know, and the second request makes it logical to have the other.
Routine for Groups:
Reese, when before a group of people, also had slips written, folded and collected. He would absently pick them up again, hand them to another person and ask him to put the papers under objects around the room. Of course, the switch had been made, Reese would light his cigar and read the slip in his cupped hands. He would then walk around the room to the various spots, pick up the paper concealed at each point and apparently read it, always leaving the dummy until the last.Inall of these variations, it is to be noticed that the effect was what counted. The stories that are told about these happenings afterwards are unbelievable. Like the famed Dr. Hooker's Rising Cards, there were so many variations of the same thing that after-wards, one had difficulty to remember exactly the procedure on each test, and not get them confused with each other.
Some Final Remarks:
And now I want to give a bit of information which I doubt has ever
seen print. Much has been said about soft paper that will not crackle as it is furtively opened. Invariably it has been left to the reader to search out a soft quality and experiment. Reese used a soft paper but he took it from a most natural spot. At his home, especially, when giving a test for visitors. he would pick up a book, and tear out the blank page at the back. Pulp paper books give you this perfect soft paper, and right in front of people, too, without the necessity of bringing out prepared sheets. This detail alone was one of his most potent secrets.
I haven't exhausted, by far, the many incidents and stories about Reese situations. However, I have given a practical and working knowledge of how he worked, and the fact that this man traveled the world over for years, and in the highest circles, while being looked upon by many as a competent psychic advisor, proves that such work is worth developing and extremely effective on the audience. As far as I know, and I keep a fairly complete file, nothing has been written about the man for magicians, although reams have been printed in the press about his marvels. Of one thing I'm sure. This type of work is more sought after, better liked, and talked about more than any other phase of the mystery game. And last but far from least, the monetary gain of those successful in this line far outdistances that of those successful in other branches of magic. But watch your presentation, and forget about magical movements that immediately class you as a manipulator.
BILLET SWITCHING
ANNEMANN
There are two essential switches of folded paper slips that everyone doing mental work should learn. The first or simple method is not new and is merely an exchange of folded slips. The second method, or folding switch, is my own and consists of reading a paper slip which is then switched for a palmed dummy as you refold it. The dummy is then handed to someone to hold, while the one just read is finger-palmed and retained in your hand.
The size of the paper should be 2 1/2" x 3 1/2''. Hands differ, however, and the individual should try out sizes in proportion with these dimensions until the right size for his own hand is found. A printer will cut up a bunch of these and pad them, about fifty to a pad, for a small sum.
The folding of the slips is important. Fold them once the long way, and then twice the opposite way, i.e.: after the first fold you then fold the left end in to the middle after which the right end is folded over all. This will result in a folded slip a little narrower than the width of your second finger and long enough to be held easily, yet firmly, between the root and first joint of the finger. Thus, with the second finger slightly curled, the slip can be safely held and will be invisible from the front as long as the hand is not turned directly around. It is also invisible from the sides and
from the back, too, providing the hand is not held too far (more than eight or ten inches) from your body.
The First Method:
With the slip in your left hand between second finger and thumb, practice pulling it back with the thumb into the finger-palm position, and keep at it until you can push the slip out and get it back easily and quickly. Then practice this with your right hand as well.
After you have mastered this simple move, you are ready to try the first method of switching. Finger-palm one slip in your left hand and, with the same hand, pick up a second slip and hold it at the finger tips between your second finger and thumb. Slide this second slip back with your thumb until it overlaps the one that is finger- palmed. The thumb continues to pull this second slip even further back till the thumb tip rests on about the center of the finger-palmed slip; then with the help of the finger this finger-palmed slip is pushed forward into view. This will be found to work easily and smoothly, and it leaves the originally palmed slip in view at your finger tips while the second slip is now in position to be palmed.
The right fingers can now take the switched slip which is in view and hand it to someone. Simultaneously, the left thumb holds the newly palmed paper in place against the second finger of the left hand until the fingers curl a little and secure the slip in the proper finger-palmedposition.
I repeat that this must be practiced until the switch can be done without looking at your hand at all. During such a switch, the hand is not held still and you are not doing a trick to switch papers, remember that! Keep the hand in motion, using it to gesture with and the switch will never be seen.
The Second Method:
The second switch is a little harder but quite useful and perfect. Finger-palm a folded billet (paper slip). Now take another folded billet and open it at the finger tips of both hands, just as you would do normally. Read this open slip and refold it. On the last fold let it come right on top of the palmed slip, and your right thumb and forefinger takes the two slips, as one, and holds them in full view for a second. Do not make any obvious move to show your left hand empty. However, you can act freer than before until you reach the party who is to receive the formerly palmed slip instead of the one just read.
At this point the two slips are again taken by the left thumb and second finger, with the back of your hand towards the audience. The slip nearest you, on which your thumb now rests, is drawn back into your palm as you offer the visible (switched) slip to the person who is to hold it. He may be the person who had written on the original slip, so it is important that your switch be clean and perfectly executed so as not to raise any suspicion in his mind that the slip he gets is anything but his original one.
Now you have two methods of switching folded paper slips, and a third method will be found on page 216 under the heading of the "Dollar Bill" Switch." The rest is routine work and showmanship of presentation which all comes under the same heading.
You will never get enough practice on this type of work. You have to do it all without looking at your hands, which are always held in front of you naturally at waist level. When you read a slip and start to refold it, don't look down again at it but rather look at the writer while you refold the slip in a natural manner, switch it and return it. All these points are important and there's nothing theoretical about them. I've learned them all from hard work and application, and I've used them just as described for many years so I know what I'm talking about.
A QUESTION AND THE ANSWER
ANNEMANN
It would be easy to call this a super effect. I have used it continuously and from the audience standpoint the effect is direct and easy to follow.
Effect: The performer asks a spectator to write a question on a slip of paper, some question to which he would like an answer. The spectator does so and then folds the slip. It is initialed by another person and is held in full view. The performer, standing at some distance, picks up another slip of paper and proceeds to write something on it. As soon as he finishes, he crumples up the slip and hands it to a third person to hold for a few seconds.
Returning to the person, who is still holding the first slip, the performeropens it and reads the question aloud. The third spectator now stands and reads what the performer had written, and finds that it is a direct answer to the question asked!
Preparation: Effects as simple as this will always appeal to the practical performer. The only materials needed are a few pieces of paper about 2" x 3" in size, a pencil and a thumb tip. Fold the papers once the long way and then twice the other way. Such a folded slip will fit into the thumb tip nicely. Have one in the tip and keep it in the right, lower vest or trouser pocket. Open out the remaining slips and have them in the left side coat pocket with the pencil.
Routine: Start by selecting someone to write the query. Take the paper slips from your left coat pocket, give him one and replace the remaining slips in your pocket. While he writes the question, your right hand secures the tip on your thumb, with the slip inside of it under the ball of the thumb. When he has finished writing, you step up
to him, hold out your left hand and ask him to refold his slip and lay it on your palm. Now bring your right hand up and place your thumb, with its thumb tip, right on top of the slip. Simultaneously you close the fingers of the left hand over the right thumb. Now pull your right thumb out of the thumb tip and out of the left fist, bringing with it the dummy slip which is clipped between the tips of the right thumb and first finger. The thumb tip and the original slip are still hidden by the closed fingers of the left hand, which casually drops to your left side. Without any hesitation at all, you ask someone to initial the (dummy) slip which you hold in your right hand. After he has done so, you ask him to take the slip and hold it high above his head for a few minutes, so that everyone can keep their eyes on it. This entire switch, when smoothly done, is very natural and should cause no suspicion on the part of anyone.
Now as you walk away you casually put your left hand in your left coat pocket, remarking at the same time about what's been done so far. It only takes a second to drop the thumb tip and to open the original slip against those already in your pocket. Bring them out immediately with the written slip facing you. As you draw off the bottom slip with your right hand you read the first person's question and then return the remaining slips to your pocket. This time when your left hand comes out of your pocket you bring out the pencil and explain that you will attempt some automatic writing.
Changing the slip over from your right hand to your left, and the pencil to
the right, you write an appropriate answer to the person's question. Crumple up the slip and give it to someone to hold.
Now return to the man who is holding the dummy slip, supposedly the original one, take it from him and apparently read the question. Of course, you merely repeat the question you have just read. When you have finished, direct attention to the person holding your slip as you crumple up the dummy and pocket it. Now ask the person with your slip to read aloud what you wrote in answer to the question. The answer is correct, so make the most of your climax!
THE AL BAKER THREE BILLET TRICE
ANNEMANN'S VERSION
Fifteen or sixteen years ago, Al Baker originated an effect using a deck of cards, three pieces of paper, and a borrowed hat. To the audience the procedure was to have three cards selected and thought of while the pack of cards was in their hands. The names of these selections were written on pieces of paper, folded, and collected in
the hat. One by one, the performer would take out the papers, and apparently by divination reveal the selected or thought-of cards. I first obtained the original method in 1924 and later, around 1929, added somewhat to the general effect by using switches so as to be able to return the slips as read. In the meanwhile, Mr. Baker personally had given me three or four variations for the handling of the billets. About the same time I discovered that a stacked deck could actually be shuffled without impairing to any great degree its subsequent use in a trick. Its most common application was in conjunction with a code, and Mrs. Annemann would reveal the chosen card from a distance when to the onlookers there wasn't a chance of my knowing it or finding it. Combining this principle with the three billet trick, I have been doing the trick as given below, ever since.
Effect and Routine: Here is the working of this quite perfect mystery. Three pieces of paper are at hand and a deck of cards arranged in your favorite system. Hand the deck to someone to shuffle overhand. As he starts mixing, you cause him to hurry by asking him to put the deck face down on his left hand. Then as an afterthought, tell him to give the deck a complete cut and square the cards. During this you have turned away. Now request him to look at the top card of the deck, and then insert it any place in the center of the deck and square the cards well. Turning back, you hand him a piece of paper and take the deck. Ask him to write the name of the card he just looked at on the paper slip. Now, as you start towards another person, note the bottom or face card of the deck. By counting one ahead in the system, you know the first man's card which he is writing on his paper slip.
Give the deck a quick riffle leaving the noted bottom card in place, and then an overhand shuffle bringing the bottom card to the top. The second spectator receives the deck, face down, on his left hand; pulls a bunch of cards from the center, notes the face card and drops the packet on top. Squaring the deck, he cuts them once and again you take it and give him a paper for writing. Picking a third person, you ask that he fan through the deck and merely think of any card he sees. For example, you illustrate by fanning through the cards carelessly. However, you watch for the card you first noted,and the one directly behind it is the card the second man chose! The third man then takes the deck, thinks of a card and fans through them to see if his mentally selected card is there. When he locates it, he closes up the deck, lays it down and writes the name of his selection on the third slip ofpaper.
All you have to remember are the first two cards selected. Now collect the folded papers in a borrowed hat, watching them as they are dropped in so you know which is the first, second, and third. Reach in with the right hand and, finger-palming the first slip with the second finger, bring out the third billet openly at fingertips. Look at the first person and little by little name his card. Just as it is acknowledged, open the visible slip, the third one, nod your head as you refold it and apparently return it to the writer. However, you have now found out the identity of the last, or mentally thought-of card; and after refolding the slip, switch it for the first paper you have finger-palmed and return that. (For those who can't master a finger switch the following method is very simple. Do it as above to the point where the third slip is refolded. Holding it in sight at left fingertips, start towards the writer and put it apparently in your right palm. Actually, however, finger-palm it in left hand and open your right hand revealing the substitute paper.)
Return now to the hat and pick it up with the fingers of the hand, holding the palmed billet, inside and drop the slip into the hat. Remark that there may be some suspicion that the handling of the papers enables you to learn the names of the cards. Pass the hat directly to the second person and ask him to reach in and take out one of the two remaining slips. He is to open it and say whether or not it is his slip. If it is his slip you impressively reveal the name of the card while he holds the paper billet himself. If it is not his slip, ask him to hand it to the third person for a few minutes and then to reach into the hat again and take out the last slip which must be his. Thus you are able to leave the actual thought-of card for the last and get a better effect when you reveal its identity. This routine will leave well informed magicians baffled because you not only twist them up on the card selection but also in the handling of the papers as well.
The first thought of many people will be to figure out a way of discovering the name of the third thought-of card without opening the billets. However, there is no way that will compare with having a spectator just think of a card, and that one point alone makes this trick one effect that will be talked about.*
A DAY OF YOUR LIFE
ANNEMANN
Most billet reading routines depend upon the assistance of several spectators, and there is a need for "reading" tricks wherein only one person is the subject throughout. I recall occasions when it would have been to my advantage had I been in a position to do a good, solid test for a single person, such as Bert Reese used to enhance his reputation. It is very essential that a test of this sort be personalized so that the subject can truthfully swear that he was given information absolutely impossible for the performer, or medium,
* (Editor's Note: There is one excellent method of discovering this "Thought-of-card" that has been suggested since this effect was published in 1936. That is to use the "Mental Masterpiece" impression pack, which gives you a carbon-wax impression of the person's writing. When using this pack you will, of course, hare to reverse the process to let the person "just thinking" of a card write his slip first. He uses the card case as a support. The deck can then be dumped out for the other two selections. During this maneuveryounote the carbon impression, and continue with the trick as outlined.)to know. Besides, when you are making someone think of his personal doings, he has to keep his mind on himself which is to your advantage in "working."
Effect: Seat your subject in front of you and tell him that you want to get "impressions" of some of the ordinary happenings in a day of his life. If you are performing in the evening, you may use that day's happenings, otherwise try and make him recall the day before.
Give him a piece of paper and ask him to write on it one single item of food he had for dinner the night before. As he writes this and folds the paper you have secured another. Take the "dinner" slip, giving him a fresh one, and put the folded billet under his right foot. On the second paper he writes one article of food he had for "luncheon." It is folded, exchanged for a third fresh slip, and the "luncheon" billet is placed under the subject's left foot. On the third paper he writes one thing he had for his "breakfast." After being folded, the performer has the subject hold it clenched in his fist. Then, as a last wish, the subject is asked to write down the hour he got up that morning, not exactly, but as close as he can remember. During this last bit of writing, the performer gets an ash tray and matches close at hand.
The folded billet bearing the hour noted is openly burned, and from the smoke the time the subject arose is revealed. The performer next touches the subject's forehead and announces his favorite breakfast food. Then, in turn, he correctly divines the luncheon dish and the dinner course. He may conclude, saying, "And those are only minor details of your day. It probably is just as well that I do not try to get impressions of the important phases of your business."
Preparation: All you need is a pad of paper about 2 1/4 inches by 3 1/2 inches in size. Tear off five or six sheets, folding each once the long way and then twice the opposite way. This makes just the right size billet to finger palm and finger switch with ease. The creased paper billets are opened and with the pad are placed in your side coat pocket. Have the loose papers nearest the body. One paper is left folded, as a dummy, and this is kept in the same pocket.
Routine: Take out the pad and sheaf of papers. Remove the top one and give it to the subject for his "dinner" notation. Put the packet back in your pocket, finger palm the dummy billet, and bring out the next loose paper. When the spectator has refolded his paper, you take it with the hand holding the finger palmed dummy while giving him the fresh paper with your other hand. Then suggest putting the dinner" billet under his right foot, which is done, but the switch has been made and the right foot is placed on the blank dummy. (See "Billet Switching," page 11.)
Now take another paper from your pocket, but keep the first ("dinner") billet finger palmed. Take the "luncheon" paper in exchange for a fresh slip, as before, and, after an exchange, put the "dinner" billet under the subject's left foot, saying that you are placing the "luncheon" paper there. The same routine is followed the third time. The "breakfast" paper is taken (but no fresh slip this time) and finger switched as you ask where this one should be
placed. Then you suggest that he hold it cleanched in his fist. This is important, for afterwards he will always remember that he held his own paper and will not recall that you touched it.
Your hand, with the "breakfast" billet palmed, goes into your pocket and, as you say there is one thing more— the arising hour, the paper is opened against the front of the papers and the pad. The pad and papers are now brought out and one paper is taken from underneath the top one. As you take this paper, you instantly read what is written on the top one which gives you the answer to the "breakfast" problem. Replace the pad and the extra papers in your pocket, which leaves you holding the blank page you had withdrawn.
On the center of this blank piece draw a circle, saying that it will represent a clock face. Give it to the subject asking him to draw in the hands of a clock at the time he arose. During this get an ash tray and matches ready. He folds the paper as before, but, as you take it from him at your fingertips, unfold the first fold to make it a paper folded but once each way. Hold with the four loose corners to the lower right. Tear, from top down, through the paper a little to the right of the center crease. Put the right hand portion in front (towards spectator). Turn paper crosswise before you, the bottom circling towards the right, and tear through again, a little to the right of the center. Put the right hand portion in front. Hold at left fingertip and thumb as your right hand moves the ash tray in place and hands the matches to the subject. The left thumb draws back the rear portion and the right fingers take the pieces that remain and puts them on the tray to be burnt. The left hand drops to your pocket and opens out the stolen piece which, because of the folding and tearing, contains the full clock face you so helpfully drew in the center of the paper!
Bring out the pad and paper while the useless bits burn and smoke, and draw out a blank piece of paper, getting a good look at the clock face and the time. Repocket the packet and then proceed to duplicate the clock face and time being thought about in your best psychic manner!
With this acknowledged as correct, you finger-palm from your pocket the refolded "breakfast" slip as you pace back and forth before the subject. Now name the "breakfast" food he had. Deliberately take the paper he had held clenched in one fist and open it. Nod your head, refold the paper, switch and toss it on the table. Now you know the "luncheon" data and have that billet finger-palmed. Ask which "under foot" paper was the "luncheon" one (as if you can't remember). He gives you what he thinks is right, but really it is the "dinner" slip. You divine the "luncheon" paper, open and read the "dinner" billet, refold and switch so that you can toss the correct "luncheon" billet on to the table. Lastly you pick up the dummy billet and, as you say you are coming to the most important meal of the day, merely finger switch for the "dinner" billet which you have palmed. Then give this directly to the subject and ask him to place it against his forehead and imagine tasting his food. Then finish your effect and he has all the papers in his possession as theyshouldbe.
The routine shouldn't take over eight or nine minutes. Once you've gotten acquainted with the setup of moves you'll have an impromptu stunt that is psychologically perfect.
THE GERMAIN GEM
Effects of Karl Germain's seldom see print. A master of magic, a great showman of several decades ago, this gentleman believed that a trick should only be given to an intimate friend, or learned through apprenticeship. We feel proud, therefore, to be able to present this authentic presentation of a Germain effect.
Effect: "Do you believe in spirits?" "I am not prepared to do a trick for you, but I am conversant with a method wherein we might be able to call forth the spirits to do something for us.
"Now suppose you name some personage who resides in the world beyond, either north or south as the case may be. Kipling? Fine.
"You say that you do believe in spirits? Oh, you're not sure. May I say that when I first saw you I had a very definite impression that there is a certain bond between us. I believe exactly as you do.
"Will you take one of these little cigarette papers, examine it, and roll it into a ball. Put it on the table. Here is a pencil which I'm going to ask you to hold in a certain manner. I want you to take the little pellet and put it right on top of the pencil—stick it on the end of the point. Now hold the pencil up vertically with your very fingertips.
"The reason for this is simple. There are no material things in the spirit world, and, when we are visited by the spirits, we must provide the materials for them. They need them to show their presence.
"You named a person deceased, yes? Custer. General Custer, the man killed by the Indians—Oh, Kipling, I'm sorry. The man whose 'Kim' and Tommy Atkins' are unforgettable. Now it may be that you feel a very slight tremor about the vicinity of the pencil you hold, but please do not let that disturb you—yes—I feel as though Mr. Kipling is trying to get through to us—here, look at the paper and see if he hasn't left visible proof of his presence!"
The action has followed Germain's own patter, and the spectator unravels the ball of paper to find thereon the signature of Kipling. Germain has done this unassuming but potent effect for many people to their belief.
Preparation: The most important secret is to be prepared to write the name in your pocket the very moment it is given. Germain has been known to get the little pellet all written out, rolled up and finger palmed with hands on the table in less than half a minute after the name was given. Like so many well done effects, getting set before you start the trick is the thing that makes it a real miracle.
Writing the name on the paper with a large piece of lead, or a very small stub of pencil, is just something learned by practice. A good plan is to have several well known names, such as Lincoln, Washington, etc., already written, (copying their actual autographs) and hidden in pockets easily accessible should one happen to be called.
The best papers are those that come in an orange colored book called "Riz-La." Two books are needed, one to hand to the spectator when you ask him to take out one and examine it. (During this time you write the name on the book in the pocket, tear off the paper, and ball it up.)
The book in the pocket is prepared as follows: Bend one cover all the way back so that it lays against the other cover. Snap the attached rubber band around it this way, and tear one paper (top) almost loose. It makes it very easy to tear off and wad up the paper after writing on it.
Routine: Follow Germain's routine as outlined in the patter. Hand the spectator the duplicate book of cigarette papers, have him select one, examine it, roll it into a ball and lay it on the table. Then hand him a pencil with your left hand, all the while keeping up your flow of patter. In the meantime, your right hand has been busy writing the chosen name on the cigarette paper in your right coat pocket, crumpling it into a ball and finger palming it. By the time he has laid his paper ball on the table, your right hand is resting on the table edge also. Help him to get the paper ball on the tip of the pencil point and to hold the pencil, as illustrated, between his fingers. You, of course, switch the pellet which the spectator has examined, for the one you have pinched between the tips of the fingers which wadded it up. This should be easy, for you pick up his pellet to show him how to place it on the point of the pencil . . . and at that point the switch is made.
If the moves are fitted to the patter, given here in Germain's words, and presented with evident sincerity, the trick takes on an aura of great significance.
Germain has been known to go into a simulated trance from the time the spectator started to hold the pellet on the pencil point, and otherwise made it evident that his mental faculties were under terrific strain.
In short, the effect is worth cultivating. In Mr. Germain's hands it was a veritable masterpiece.
TERVIL
ORVILLE MEYER
This is "Tervil," a prophetic demon. The effect is one of prophecy, and I shall describe the working along with the effect as presented.
Three paper billets are used. They are about 2 1/2 inches by 3 3/4 inches in size. Fold them once the long way and then twice the opposite way. This makes a billet just right for finger palming. Two of them are opened and dropped on the table. The third is in one trouser pocket as a dummy.
You announce that you will write a prophecy of what someone is going to think about later. Pick up one of the papers and write a three-word prognostication. It doesn't matter what you write. You will understand that in a moment. The prophecy is folded and tossed on the table. You say, "That is what I am sure is going to happen."
The second, unfolded paper is handed to a spectator who is requested to write down any color, any number from 1 to 99, and the name of any city in the world.
During this interval you finger palm the dummy billet from your trouser pocket. The spectator folds his written billet, being guided by the creases of the original fold, and you take the paper from him. Hand it directly to another person to be initialled, and this person hands it back to the first person (the writer) to hold up over his head so that everyone may keep their eyes on it. However, when you took it from the writer you switched it for the dummy, and it was the dummy that was initialled and handed back to the writer.
As the situation stands now, your "prediction" is on the table. The spectator holds what he believes to be a record of his thoughts, and finger palmed you have the billet actually bearing that person's writings.
Pick up your "prediction," saying, "I said I was going to attempt a feat of prophecy, and try to pass beyond that veil which hides the future. All of you must realize that though but a few minutes have passed, I did put down in black and white what I felt sure was going to be thought of." This patter sets your audience and serves as a necessary stall. At its start you have picked up the blank from the table, switched it, and have casually opened the paper upon which are the spectator's choices. As the patter makes the action natural you gesture with and glance at the open paper, all of which suffices to giveyou the information thereon. At once you refold and walk towards another person at some little distance. He stands, you saying, "I want you to take charge of my prophecy. It is only right that my audience check on every detail throughout."
May I get away for a moment? This last person is given the billet you just have read. It actually is that written by the first man now holding a blank. But—don't make it apparent that you have opened, looked at, and closed the paper as you talked. The patter takes care of all angles, the audience is watching and listening to you, and it is perfectly natural for you to glance at your own prophecy anyway, just as long as you don't make it decidedly apparent that you have to or must do it. This half minute procedure can make or break things. And don't worry or be self-conscious. It may seem bold or brazen to you, but after becoming accustomed to its working you'll find out that even magicians won't know or remember that the paper has been opened.
The first person still holds a blank (he's holding it high "for everybody to see" and this subtle maneuver prevents him from opening it) thinking it his own. The person last approached is standing with your prophecy clenched in his hand. It's really the paper belonging to the first man and containing his written thoughts. And you now know what those thoughts are. So far the procedure from the view of the audience has been direct and clean. There has been nothing done to confuse them, and at this point the trick is over except for the unbelievable climax.
You take the paper from the first person. The dummy has been ditched after giving the last person your paper. Your hands are empty. You open this paper, look at it for a split second, and then read aloud his written thoughts. This is pretense for you are naming the items just gleaned from the other paper. You point directly at the man and ask if he believes it possible for you to have known beforehand what he was going to think. Make this definite and outstanding. Then have the other person read what you foretold. Approach him as he reads, take the paper, take a bow, pocket both, and go on with the act.
MENTAL HAT PIN
DR. JAKS
The subtlety involved in this pellet trick offers you a cute method for switching pellets. Any long decorative pin, such as a corsage pin, will do very nicely, and the fact that it may be borrowed on the spot makes everything look very impromptu.
Effect: You pass out several small squares of paper and at the same time borrow a corsage or hat pin from one of the ladies present. Have the person holding the paper pellets select one and write some short question on it. He then crumples the pellet into a small ball which you impale on the pin. With the pellet isolated in this fashion, the pin is given to someone to hold until the completion of the experiment.
You now produce a small pad on which you scribble a note or two in an apparent effort to get an answer to the question through automatic writing. After due deliberation, you interpret the scribbling into a full answer to the question asked by the writer. The pellet is removed from the pin, opened up and the question read to verify that you have given the correct answer.
Preparation: A duplicate pellet is, of course, necessary and this you have crumpled into a small ball and hold it concealed in the crotch of the second and third fingers of your right hand. Have a small pad in your left side coat pocket, as well as several loose pages of the pad. These loose sheets should be torn in half so as to offer but a small writing surface, and also for ease in handling as will be explained later. If you prefer, you can remove several pages from the pad in view of the audience and then tear them in half. However, I like to have them all ready in advance. A pencil should also be handy in a convenient pocket.
Routine: Step forward with the duplicate dummy pellet palmed in your right hand as already described. Announce that you will try an experiment in automatic writing and request the loan of some lady's hat pin. While this is forthcoming, reach into your coat pocket, remove the loose slips and hand them to some gentleman in the audience. Drop your right hand to the side and, as you receive the hat pin with your left hand, the right thumb rolls the dummy pellet from the crotch of the two fingers into a position between the thumb and first finger tip. Instruct the man holding the slips to select one page and write on it some simple question. While you arc explaining just what you want him to do, you apparently grasp the point of the hat pin between the thumb and first finger tip of the right hand, which is held palm upwards, and hold the pin horizontally in front of you with its head retained by the thumb and first finger tips of the left hand. What you actually do, however, is to insert the point of the pin into the paper pellet being held between your right thumb and first finger. Now just give the pin a push which will impale the pellet on the pin as its point comes into view on the right side of your right thumb and first finger. Push the pin through the pellet until this dummy is about half way up on the pin, then release your left hand and hold the pin up in view as illustrated. Your right thumb and first finger will effectively hide the dummy. Time your patter, so that this maneuver appears but an unconscious and unimportant handling of the pin. As you finish your instructions, you should be motioning with your right hand and the pin in an unconcerned manner without causing the least suspicion.
Now tilt your right hand so that the bent fingertips face to your left, which will bring the pin into a vertical position directly in front of you with its point straight up. Ask the person who has written the message to crumple up the paper slip into a small, tight ball and to impale it on the point of the hat pin which you are holding. Either have the person push his pellet down the pin to about half way to where you are holding the pin, or you aid him by pushing it down with your left first finger tip. Now turn your right hand so that the back of the hand is upwards and so that the pin is horizontal with the floor and pointing towards the left. Grasp the pin with your left thumb and forefinger directly over the written pellet; open your right thumb and forefinger slightly so that the dummy is visible and push this dummy along towards the head of the pin. If you do this as one movement, it appears as though you merely shifted the pin to the left hand and moved the pellet up the pin with your right finger tips. Hold it in view for a few seconds and then ask someone to grasp the head of the pin, remove it from your left hand andholdit.Ashedoesthis,theoriginalwrittenpelletremainsbetweenyourleftthumband forefinger, and you immediately drop this hand to your side. So much for the switch, which is a beautiful piece of deception.
Reach into your left coat pocket with the palmed pellet, open it out against the face of the pad and then remove the pad and pretend to mark down the vibrations and impressions you are
