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EL/fsne. 1XPS-'AnACHSX> TO G&RO

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Working: Pick up plaque with front to audience and ask a person to think of one of the designs. You pretend to pick up their thoughts and make a prediction on a slip of paper. Fold it the same as those folded at rear. Pretend to place it in a hat or bowl on the table, really keeping it concealed in the'hand. Cas.ua]lv -olace hand in pocket as vou patter along, leaving the slip in pocket. Pick up plaque again and with front to audience. Hold it between hands at top and bottom, one hand at the top and one at tba bottom.

Have person call out the name of design that they had thought of. As they do you see marking at rear that corresponds with that design. Take a fresh hold on the plaque with one hand only and at point the correct slip is in, holding board and slip at this point, thumb at the rear and fingers at the front. The thumb secretly slides slip out of holder into hand. The free hand pulls the plaque away and places it on table. This leaves slip concealed in other hand. This hand picks up the hat or bowl and as it does so, lets slip secretly fall into same. Hand hat or bowl to person, let them remove slip, open it up and read your apparent prediction. This is the one the person thought of and named.

ZENITH MASTER MENTAL ACT For Radio, Television or Personal Appearances By U. F. Grant

This script reveals HOW to present and how this wonderful act is accomplished. Veritable MIRACLES to any lay audience or ccmrp.ittee.. . An act that will create more talk, mystery and attention than any other type of Magical offering... Appears to border cn the real supernatural. The act consists of apparent real mindreading and several super tests, all of this is so flexible that you may be on the same program week in and week out and work a different test each time.

In the first part you step out and instead of the usual passing papers out and having people write questions or having a person in the audience for them to whisper their questions to, you merely ask people to concentrate and you will read their minds. Then you call people, by names or initials, tell them what they are thinking of and perform mind tests for them, such as telling them how much money they have in their pocket, how many grandchildren they have, Social Security number, if they have a trip in mind and where to, how they happened to attend your show, type of watch they have in their pocket and practically anything along this line.

GET THIS----Every question you answer the actual person in the audience verifies it and is not a plant, is completely mystified and admits they have never seen you in advance or had any conversation with you-

This Master Mind Type of Act had. made thousands of dollars for a chosen few.

SECRET AND WORKING OF THE ZENITH MASTER MENTAL ACT. The part that has fooled the laymen and magicians alike on this type of act is that no apparent questions were written or whispered to anyone, and each person would agree that they had not seen the performer in advance or told anyone what the answer to their question xjas, etc. That secret is what you are buying and that secret can make you hundreds of dollars.

The gimmick used 5n this type of act is known by all Magicians and used by many, but it took a master mentalist to figure out and use it so his act appeared to be out of this world, even to those in the know. This he accomp lished by a very simple switch around. He discontinued the practice of having papers passed out and questions written. The way he asked the person who wrote the question he answered whether they had ever seen him in advance, etc. was a great feature but again shows how a known method used just a shade different can fool those in the know.

The gimmick used in this act is nothing more than our old friend, the question clip board. For those who do not know what a question clip board is, it appears as an ordinary wood clip board that will stand rigid examination. Clipped to it is a piece of paper perforated into sections. The first person writes on bottom section, tears their question off and keeps it. The second person writes on the next one, etc. The standard board will take care of four or five questions. One or more boards may be used. Later, xihen the board is taken back stage, unlocked and opened up, you will have carbon impressions of the writing, unknown to the writers or the audience.

BUT...In the Master Mental Act the way this board is used is the main feature. If working the act on a television show, naturally it is a show that has a studio audience, so you have a man in the lobby to catch the first four or five people who come in. He steps up to a person with a clip board in hand and explains that there is a Mentalist on the program, and wonders if the person would take a bill out of his pocket, write down the serial number of it, sign his name or initials, tear the paper off and keep it, and not to let him (the man who is telling them of this test) or a living soul see what it is. He is told to keep it in his pocket at all times and during the mental act to merely concentrate on this test.to see if the Mentalist can pick up his thoughts and tell him the number of the bill. This is done with three or four more early arrivers. Each person is prepared for a different test, such as asking if they have a trip in mind, where to, the type of watch they have in their pocket, their Social Security Number, etc. Practically any type of test questions you can think of may be used. Then your man leaves and takes the boards back stage. This means that just the first few who enter know of this phase and even to them it appears impossible that the performer will have a chance of knowing their test, since no one saw the test they wrote and they have the paper in their pocket at all times.

Before the appearance the clip board is opened up and the carbon impression of the tests are read and copied down in abbreviated style on a small card that is held in the hand that the crystal is in, or in the cloth that the crystal is held in when the performer steps on stage. The crystal, when looked through will magnify the writing as the mentalist looks into it. Some performers do not use a crystal, but memorize the four or five questions and answers. Others have a pad which they write on during the act and near the top in fine writing is the information they need.

During the act, the studio, as well as the. television audience, is not aware of the fact that any questions were written (the same thing applies to theatre or club dates) and when the mentalist calls out the name or initials and a person raises their hand in response, the mentalist words his conversation with the person in such a manner that the person is NOT asked if he wrote a question. He is merely asked if he has ever seen the performer before or in advance of the show, or if he has told a living soul what the answer to his test is. Naturally, the person will answer ;,no.".

It ¡nay be of interest to the reader to know that this general idea of using clip boards in the lobby in advance of the show was worked out many, many years ago for Paul Kara by TJ. F. Grant, and later on Kara put out the secret on this in a hundred dollar manuscript. Another., idea worked out for Kara by U. F. Grant was this: Besides the few questions that were written in the lobby in advance, papers were passed out to the audience during the act for them to write questions on. Then as these were being collected and before the assistants get to the stage with them, Kara started answering the questions they apparently wrote, but these were really the questions that were written in the lobby in advance. The questions brought to the stage were switched and the originals went off stage to an assistant who opened them to get the information which vas secretly delivered to Kara on stage...BUT in the Master Mental Act, no questions are written during the act and this is the apparent small part that has made the act appear so impossible. From the point of view of the audience, at no time does anyone write a question. They apparently merely think of a question and the performer apparently picks up their very thoughts.

In the answering of the question or thought the performer can build it up into much greater effect in the way the question is answered. Vie will say that a person writes to inquire if he is to take a trip to New York City next week. The performer goes at it in this way. First, he get the impression of initials so and so. The person raises their hand and the performer says: "You have a test in mind in regard to a trip. Is that correct? Please think of the pl?.ce you intend to visit. I get the impression that it is New York City, is that correct? Now please concentrate as to when you expect to take this trip. I get it as pome time next week. Is that correct? It is? I do not predict the future, I merely read thoughts, so I cannot say whether you will take the trip or not. but if you do I merely hope it will be a very happy and successful one.

With answers of this type built up, plus the special test in the second part of your act, it is only necessary to answer four or five questions to fill in the slotted time for an act of this type. Too long an act is not good theatre.

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