## Part

It is possible to present Part II as a portion of a two-person routine. After seating your Medium somewhere to your left with a pair of sizable slates easily accessible to her following completion of a previous test, explain that you are going to give her a rest and that you will prove that you can do something besides looking wise. Hand out the three cards and envelopes and proceed as described in Part II, up to and including the point where you disclose the first digit of the number. Apparently encounter difficulty "getting" the second. Fuss around, blaming the spectator for not concentrating. Then, in a sentence telling him to think, code the number to the Medium who is resting apparently and, therefore, paying no attention to the proceedings. Suddenly she says sweetly, "I don't like to interrupt, but I believe that the number you are trying to get is...::. This usually produces a small sensation when the spectator announces that such is indeed the case.

A bit of amusement can be injected here if you will say resignedly, "Now, Ladies and Gentlemen, you can see for yourself what kind of home life I have. The other night I was sneaking in at rather a late hour when I heard her say, .''So, playing cards again! Lay the \$3.45 you won on the dresser. If you had quit an hour ago, you would be \$6.19 to the good'1.

Proceed successfully with the remaining digits and, when you are ready to return the first card and envelope to the writer, have the Medium approach from the left and hand her the two items in your right hand across your left arm which should be extended slightly towards the. audience, the remaining envelopes being clutched by the left fingers and thumb. This procedure becomes important later.

Continue with the name card. When the time arrives for the Medium to return it, have her approach as before; that is, from the left. This time, however, she should bring with her the pair of slates and two pieces of chalk. As she takes the card and envelope preparatory to returning them, she looks directly at card 3, which is in full view in your left hand (card 2 and envelope are handed across the left arm as previously described) and memorizes the design.

After the Medium has returned the card and envelope, have her hand one of the slates to the person who drew the design and then withdraw to a position about equidistant, from you and the spectator. Reveal by description the type of drawing, after requesting the spectator to reproduce it upon his slate and then instructing the Medium to draw what she thinks it is upon her slate, both without showing the results. This portion can be made more effective by having the Medium handle the entire matter in the audience, so that it will.not be necessary for you to say anything.

For the climax, point to the Medium and have her turn over her slate, whereupon it will be seen that she has drawn a figure exactly as you described it. Then ask the spectator to turn over his slate, which proves that both you and your Medium are correct.

i; A AAAAi

THE !;IMPERATOR" MENTAL TEST By Bryce Chambers

A common shortcoming among many otherwise excellent mental effects is a lack of directness and a content of extraneous actions on part of performer. It than takes ample misdirection to make such an effect convincing and to keep the audience from interpreting such moves as mere trickery. The author believes the following to be very direct and effective, and just the course of action a genuine mentalist might follow,

The effect is somewhat different from the usually presented mental mystery. Three cards are sailed into the audience and the audience members whom the cards touch are invited to arise. The performer calls attention to a sealed envelope standing in full view and says he will mentally convey or transmit what he has therein written to the three standing. The first person calls aloud the first number coming to mind following the performer's deep concentration. Likewise the second person calls out a person's name, and the third person calls out any single word in the English language. As these are called out, the performer writes then on a pad for future reference. Dropping the pad, he walks over and nick" up the sealed envelope and forthwith hands it to anybody in the audience. This person, after verifying that the envelope is tightly sealed, tears it open and removes a card (written in red pencil) and reads aloud the items which check almost exactly with the previously tabulated items.

The materials needed to bring about this startling test are: a pad of paper about 2% x 3h inches; a piece of red carbon paper a little less than pad size; a piece of light flexible cardboard 2h x 1-3cut from the type used for taking notes, etc.; a drug envelope about 6 x 3h inches (one opening at the end); a tube or bottle of rubber cement (Carter's rubber stationery cement is suitable as it lias an attached applying brush). All of the items are obtainable at: a stationery or office supply store. Also used is any fairly thick book which SG1TVSS a s a stand or holder for the envelope.

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To prepare the pad, slip the carbon paper under the first sheet, ar.o with a drop of glue affix it at the top to the second sheet to prevent its dropping out. The piece of cardboard is slipped under the red carbon paper and is centered in the pad. When this card was cut, however, it was cut just slightly wider than the pad - about 1/16 inch, and when it is centered in the pad there is a very slight overlap along either edge (see Fig.l). Take care in subsequent handling to prevent card from shifting.

To prepare the envelope, seal it and snip about 1/16 inch off the opposite end thus opening that end. With thumb and finger push in the folded edges so that the opening remains bowed out or distended about -s inch. With a brush apply rubber cement all around the distended opening to a depth of about 1/8 inch, and allow cement to dry. (Fig. 2). If the opening is pushed closed now, of course the cemented surfaces will stick and seal that end (a similar faked envelope has been used before for magical purposes.)

For carrying purposes, have a paper that fits in the opening to prevent premature sealing. Now snap a rubber band around the book and set it on edge and stick the envelope into the book, about an inch of the ungimmicked end going between the pages. (Fig. 3). The book thus serves as a stand to keep the envelope in audience view at all times. The opening in the top cannot be seen at a short distance away! Stand back a ways and convince yourself of this, but the audience should not be directly to the sides in a line with the envelope.

Ready to perform now. Sail three cards into the audience to select assistants by chance (and it is best to make them give the audience their word that nothing has been prearranged with than). They merely stand in place. After the appropriate buildup, you claim you will mentally transmit what has been beforehand written and sealed in the envelope. Say you will count three and concentrate, and the first person is to call aloud the first number of three figures that comes to his mind. Meanwhile you have picked up the pad, saying that you will record what thoughts are received to make sure they are not forgotten. The pad is placed in left hand (assuming you write right-handed), the palm and fingers circling it naturally. With a pen (or a pencil) write the number called out in the center portion of the pad so that the writing is transferred by the carbon tc the top of the concealed card. However, do not write the exact number given, but instead change the center figure by one digit. Thus if the person called 982 write 972 on the pad, but remember which way the number was altered (nobody but you sees pad's writing). You concentrate again, and likewise ask the second person to call the first man or woman's name which comes to his mind. Write it under the number. The third person likewise calls out any English word which is written under the name. Do the writing openly, holding pad toward audience.

Now comes the first move. As mentioned, the pad is held by the encircling palm and fingers. The concealed card which is a little wider than the pad therefore makes contact on either edge with fingers and palm. After swinging the pad so that it faccs the body, the right hand now lifts the pad straight up, with the result that the card remains behind neatly palmed! (Fig. 4). As the pad clears the left band, the hand's thumb and finger tips take the pen which was being held by the palm and other fingers of the right hand. The left hand now naturally holds the palmed card, the pen also being held affording perfect misdirection. This whole move takes but an instant, and is very smooth and easy even for one not proficient at palming. Drop the pad on table, mentioning you will refer back to it.

Next turn and walk toward the envelope which should be tc the right. During this, the right hand takes the pen back from the left. The left hand reaches toward envelope as the fingers straighten out and the thumb turns in and clips the upper corner of the card which causes the lower edge to separate from the palm. The outstretched hand now reaches the standing envelope and as the hand lowers, the fingers touch the side toward audience and the card slides into the opening, putting the thumb to the rear and the envelope's left edge, in the crotch of the thumb. The thumb releases the card which drops down into the envelope, as the fingers lower assuming a position parallel to the edges as the envelope is picked up and raised high in the air.

During the raising, the thumb at the rear closes shut the opening and as the envelope is held high, it is easy for the thumb to run along at the rear and finish sealing the envelope, with the little finger slipping to envelope rear and assisting. The author pauses just a moment as he reaches the envelope and slips the card in, looks up and addresses the audience with a remark about the envelope having been in full view at all times, etc. This furnishes just enough misdirection to cover any delay in getting the card into the opening. With a little practice it will be found that the entire move goes rapidly and smoothly and excites no suspicion, but don't try to hurry it.

Still holding the envelope high, give it to someone in the audience, saying, "The envelope is tightly sealed, is it not?" After he verifies this, he rips it open and reads aloud what is written in red pencil on the card. He reads the number while you pick up the pad and read (apparently) the original number. Due to your alteration, the number on the card is not quite the same, but say that he came close - a subtle point making it seem more like a mental test. The other items check. Conclude appropriately.

The test should, of course, be conducted as a mental experiment and not as a trick. By changing the presentation, it can obviously be used as a prediction, apparently prognosticating thoughts to come.

It's BIG -- It's NEW — It's BAFFLING — It's DIRECT — It's GOOD. Refer to the illustrations and you will see just how it works. On slips at rear draw or write the correct design and slip it into the correct position as per marking on rear of outfit. (Rear is side with elastic holders and slips).

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