Fig S

The number of pads you require you can best determine for yourself by the size of your audience and your speed of working.

2--Hard lead pencils—Number 4 is suitable.

3--White wax, paraffin, or a white candle.

4--A small box of lamp-black. This can be purchased at a paint store or drug store.

5--Some cotton, or a powder puff.


To Prepare:

Take the tablets of white paper and on the under side of the third sheet down from top, rub over it the white wax or paraffin. Be careful to cover all parts of the sheet except near the edges. It is easiest done by opening pad between third and fourth sheet and placing pad at edge of table with first three sheets on table. Sheet can be easily waxed without mussing.

Do not remove the paper from tablet or pad to do this. If you do it properly, a spectator can run through the pad without detecting any special preparation. The surface of the under side of the third sheet is slightly waxy in texture, but not enough to make it noticeable to spectator. This waxed surface acts as a carbon paper—a white carbon paper.

If you take a hard lead pencil and write something on the first or second sheet of the pad, you will find that the wax will cause an imprint on the upper side of the fourth sheet of what was written. You cannot see it, but it can be brought out by a developing process. Take a bit of cotton, or a powder puff, dip it in the powdered lamp-black and daub lightly on the paper. The lamp-black will adhere to the waxy part on the fourth page. It is then easy to read what has been written.

So you see, you need not have the actual slips on which spectators wrote. You merely collect pads and pencils and then BEHIND THE SCENES develop the fourth pages of the pads. Thus you bring out what was written.

The audience is so much interested in holding on to their written slips that they are not suspicious of the pads. These are casually collected to get them out of the way and then taken back stage.

Hard pencils are used and are furnished to spectators so that they will have to bear down harder in order to write and thus will make the imprint clearer.

To Perform:

Have pads and pencils on table at side of stage or come forward with them in your hands.

You have this writing done early in the performance so that you will have plenty of time to do the developing. Some performers do this at the beginning of their evening's performance, others at the beginning of their mind reading act. Then they do special stunts, like the Chess Knight's Tour, the Yogi's Prediction, X-Ray Cards, or some other stunts to give assistant time to develop the writing.

As you do not have to answer all the questions or tell what everyone wrote, it is sufficient to develop fifteen or twenty slips of paper. Of course, if there is extra time and you think you might get something especially good to answer, more than this may be developed.

Start your work in this way:

"Ladies and gentlemen: Perhaps never in the history of the world have people been so interested in mental communication, telepathic problems, and the occult and psychic as they are today. Recent discoveries and experiences are bringing forth phenomena that have invited careful investigation. With the development of radio and the traveling of vibrations over such great distances—things which have been developed mechanically—one wonders what could be accomplished by such a wonderfully attuned organism as the human brain with its marvellous mental power.

"If people had been told a hundred years ago that without any visible speaking connection it would be possible to listen to a program of music in New York City while in Chicago, they would have regarded the idea as the conception of a crazy man. Just so it is with everything new that is brought forth. What is difficult today, we will understand easily tomorrow. Many of us have had presentiments and hunches that amaze us when we learn how accurate they were. We may sit in Chicago and suddenly feel that there is a big fire in St. Louis, and then pick up a paper the next day and find it to be true.

"How far human thought vibrations travel, we do not know. But if radio vibrations travel, why shouldn't thought? What I am about to present is not due to supernatural power. It is but the working of scientific law. I have developed certain senses in such a way as to understand certain conditions that the ordinary person misses. All of us have this power but all do not know the proper way to use it. As I stand here now, I can sense a number of thoughts—some stronger than others. Some people's thoughts are easy to get vibrations from, others are difficult. And with so many vibrations coming from an audience at the same time, there is often a confusion like you get from a number of stations together on the radio.

"In order that you may concentrate on certain thoughts, I am going to have you write those thoughts on a piece of paper. The writing itself is not important, but seeing a thing written or drawn impresses it on your mind and so makes the vibrations from your mind stronger.

"For your convenience, I shall pass paper and pencils out to you. You may write anything you would like to have me tell you. Perhaps you have some problem you would like to have me help you with. Write any question you choose—but not foolish questions, of course. Or write your telephone number, a date on a coin, a number on a bill, name of a watch your name and address, or draw a picture—any kind of picture or symbol, perhaps a square or a star. Just write anything that comes into your mind. If you prefer you may use your own paper and pencils. The main idea is to write. Now each one of you take your slip of paper, fold it, and place it in your pocket or hold it hidden in your hand. I do not collect any

of the papers. You write your own messages and keep the paper on which you have written them. I never see them. By the way, write your name on the bottom of your slip of paper so that it will help me to locate you. Please return pad and pencil, for use in my next performance, but keep the slip of paper on which you write your question.

Pass down through the audience and distribute pads and pencils, impressing the audience with the idea that they should write telephone numbers, questions, numbers of bills, etc. Explain to them again to tear off the slip they have written on and keep it. Pass pads and pencils around quickly and keep up a line of Patter.

"One woman said to me, 'What you really do is to watch the top of everybody's pencil as they write and see what they have written that way.' Another lady said, "You slip the papers out of people's hands when they are not looking and read all the papers.' Well, I haven't figured out the pencil method yet by looking at the tops, and you certainly hold those papers too tight for me to get them. Telepathic vibration is easier."

After a number of people have written their questions, collect the pads and pencils and take them back to the stage with you and place them back of the scenes.

If you work with an assistant or two, have them collect the pads and pencils and either come up to the stage with them or go out through the entrance of the theater and return to the stage the back way. The assistant immediately develops the sheets under the white wax carbons by means of the lamp-black or powdered charcoal. Then he takes the tablet, 8 1/2 x 11 ins., and writes on the second, third and fourth sheets of it as many of the questions as possible. He should use a hard pencil. He should copy the information or questions exactly. As a rule, not over twenty slips need be copied.

This tablet is now ready for the performer, and as he begins his mental work on his program, he can readily refer to this writing.

If you collect the pads and pencils yourself, as I told you before, it is well to do this in the early part of the show. You can then step back of the scenes with the pads and leave them with an assistant to develop. You then proceed to entertain the audience with Magic until you are ready for your mental work. Just before beginning the mental work, as you leave the stage for preparation, say,

"Do not forget what you want me to tell you. You have the papers you wrote in your own hands or in your pockets so that you can easily refer to them when I enter into mental work."

If you have the writing done and the pads collected at the beginning of your mental work, you must do something to give assistant time to develop the pads and prepare the special tablet with the information. With two assistants, one can develop and one can write.

NOW, BEFORE WE PROCEED WITH THE MIND READING ACT, I shall give you some interesting experiments to use to fill in the time while assistants are preparing information.



Performer shows an envelope and a blank card. He says that though he is not a fortune teller, he can often tell how the human mind will think before it does. For instance, he will write a prediction on the card, place it in the envelope, seal the envelope, and have a spectator initial it so that there will be no exchange of envelopes. Magician then asks one spectator to give him a number between one and one hundred thousand, another to name a city, another to call out a color, and still another to name any day of the week. He tears open the envelope, removes the card—and to everyone's amazement, there written on the card are the number, the city, the color, and the day which spectators called out.


1-An ordinary envelope.

2--A piece of red carbon paper. Get the kind of carbon adapted to pencil work.

3-- A plain card of a size easy to slip into envelope, preferably with soft surface that takes a carbon mark readily.

4-- A sheet of white or yellow paper smaller than the envelope.

6--A red pencil. SECRET AND PATTER:

To prepare: Cut carbon paper down so that it fits into envelope as shown in Figure 6. Have it come to within about one inch from both ends and just below opening of envelope so that when flap is raised it will not be seen. Paste this carbon paper by the corners inside of the front of the envelope. Have the carbon side facing back of envelope so that when card is placed under it in envelope anything written outside will be transferred to card.

Figure 6.

To Perform:

Come forward with envelope thus prepared, with blank card, the piece of white or yellow paper, and pencil. Stand on stairs leading down from stage to audience.

"I am not a fortune teller nor a clairvoyant. I do not see far into the future for you and tell you that you will marry a dark-haired gentleman or a widow with six children. But there are times when I can predict things that a human mind will do in the very next moment. I will work preferably with strangers. First, on this card I am going to write a few words. You will note that it is just a blank card. I will write them in red."

Show both sides of card. Using envelope and yellow paper as a rest, pretend to write down four things on card with the RED pencil. Scan audience as you do so and look straight at four people you will use later on. If you desire, you can have four people stand up for experiment. In reality, you do not make a mark, but you make audience believe that you write a prediction. Be careful of your ANGLE OF VISIBILITY here so that audience cannot see that you are not actually writing. Place red pencil in pocket.

"I have written a prediction. I will now place it in the envelope and seal it."

Open envelope, being careful not to expose carbon. Place the card inside between carbon and back of envelope. Seal envelope.

"Will you, sir, just place your initials on the envelope so that you can identify the envelope later on?"

Give spectator the regular lead pencil and have him initial envelope, then take pencil and envelope from him.

"I want some good spectator to help me. You will do fine, sir. I am a stranger to you, am I not? You have never seen me before. (If playing before a strange audience.) I am going to ask you to give me the first number that comes into your head after I say one--two--three. Any number between one and a hundred thousand. Make it as big as you like or as Complicated as you choose—whether you say 742 or 4, 040 makes no difference. Are you ready? One--two--three. What is the number?"

Let us suppose that spectator says 6, 792. He may call out almost anything.

Hold envelope in left hand with face up. On this place the yellow paper. Take pencil in right hand.

"Just by way of checking up, I'll just write down the number on this piece of paper Six thousand, seven hundred, and ninety-two."

Write this number on the yellow paper. It is transferred through the carbon on to the card inside of the envelope.

"Will you, madam, give me the name of any city that comes to your mind? Any city in the world."

Assume that she says Paris.

"Paris? You must have been thinking of styles for a new dress."

Write down the name, Paris, under the number. This also is transferred to the card.

"Now, sir, how are you on colors? Name any color you happen to think of. Red?"

When a spectator names a color, write it down under the city. "Now--we have seven days in the week. Which day appeals to you most? Thursday?"

A fourth spectator names a day of the week, and you write this down under the color.

You now have the four things written on the piece of paper as shown in Figure 7. Inside of the envelope is the white card with the same things written on it, having been transferred through the carbon paper.

"I shall ask the gentleman here to take the piece of paper and hold it so that we can check up. (Read from paper while in spectator's hands.) The gentleman's number—6,7 92, the city was Paris, the color—red, and the day--Thursday. (To gentleman who initialed envelope.) Do you recognise your initials and writing, sir?"

Show him the envelope. Now tear off end of envelope, being careful to keep above carbon paper so as not to expose it.

Remove the card and show.

"You see that the prediction was correct. I wrote on this card just what the four people called out. Let us check it up. (To gentleman with yellow paper.) The number—6,7 92, the city--Paris, the color--red and the day--Thursday."

Take paper from gentleman and return to stage. Place card, envelope, and paper on table or in an inner pocket.


Show card freely but do not let spectators scrutinize card too closely and they will not discover that it is a carbon copy of what was written on the paper. Writing with a red pencil and using red carbon is a good stunt. Experiment with it.

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