Patter And Presentation

Performance: "Ladies and Gentlemen, for my next demonstration I take pleasure in offering an experiment: in Scientific Mental Phenomena. In order to have the material as simple as possible, I will make use of a page of advertisement taken from the CLASSIFIED SECTION of "The Popular Mechanics Magazine." This issue is the issue of (give date of magazine.)

Run over the pages until you reach the Classified Section where ybtr~have, inserted your extra page. Take the two pages, the one you have inserted and the one directly below it between your thumb and forefinger and TEAR THE PAGE OUT OF THE BOOK. The tearing sound as the genuine page coir.ec free from the magazine will provide the SOUND which makes it appear that you have torn both pages out of the magazine. Separate the two pages, saying, "We will use this page which has the largest number of advertisements on it." Toss the magazine aside and come forward with the single sheet. Hand one of the pairs of scissors to a spectator in the front row of seats, asking this individual to cut the three columns apart, making three strips (column 1, 2 and 3.) Take these columns and distribute them to different persons in the audience handing Column 1 to a person who we v '11 call PARTY NO. 1 - column 2 to a spectator who we will call PARTY NO. 2 and the same with Column No.3. It is suggested that you hand to each of these persons either a small tray on which to cut up the advertisements or a large envelope into which they may drop these clippings as they are cut. Give to each of these persons a pair of the scissors. (By using the small scissors with blunt points, they may be carried conveniently IN THE POCKET without catching on the cloth, and may be distributed right from your pocket without returning to the stage).

"I would like to have each person holding the strips of advertisement cut these carefully apart AT THE BORDER LINE WHICH SEPARATES THE ADS. I believe there are about 20 to 30 ads in each column. I trust that the volunteer assistants will not mind 'cutting up' for a few minutes for the entertainment of the rest of the audience. You do not? Thank you."

"Now it has so often been said that performers in this line employ conr federates, so I would like to remove that unfair suspicion from your mind before going further in this experiment. Therefore, if any of you would like to have me change the ladies and gentlemen who are assisting in this experiment and select others to hold these clippings, I will be very glad to do so. Are these persons satisfactory to you? Very well, then we will leave the experiment safely in their hands. Will you please place the clipping which you have cut from the advertisements in the receptacles which you hold" (this refers to the envelopes and trays which you have handed out with the columns). "Now I would like to have the audience choose one of the three individuals holding these clippings, the RIGHT, the LEFT, or THE CENTER ONE. Will someone please call out which is preferred? The party at the right side? Very well.

"You, sir, have been selected. I want you to realize your responsibility to the audience and to be perfectly fair and unprejudiced in your choice and not try to assist me in any way as against the fairness of this test. Will you therefore please place your hand WITH YOUR EYES SHUT among the clippings and select one leaving the choice entirely to chance. You have one? Thank you. Will you now place the other clippings back into this glass dish so as to get them out of the way (bring forward glass dish - have party pour clippings into it). We will now proceed to have a selection made of the words in the advertisement, which we also have determined entirely by chance. (Here the performer employs whichever of the. numerous methods of "force" he prefers a few of which we have suggested below). We will assume that the third column is the one which is being dealt with here. He will then use the method to force the 10TH WORD. "The number selected by the audience happens to come out as number 10. Will you therefore be so kind as to count down to the 10TH WORD in the advertisement which you hold? Please be quiet as possible, so as to allow the gentleman to do this without confusion. Have you done so Sir? Thank you. Now will you be so kind as to count down once again to be SURE that you really found the 10TH WORD in the advertisement" (pause for a moment as it is necessary to have the gentleman make sure that he has the correct word before going on with the feat).

Effect 2 and 3. Performer may now pick up the slate and piece of chalk and ask the gentleman to show the advertisement to person sitting at his left and both to concentrate upon the words - pretend to receive the correct impression of the word by means of Mental Telepathy. He may then write the word or rather print it in large letters on the slate which he holds. Then ask the gentlemen to announce the word which is the 10th word in the advertisement selected. It then only remains to turn the slate around and show that he has written the IDENTICAL WORD.

This may be repeated with another of the two remaining columns having one of them selected and then forcing the 15th word if column number 2 is to be used. An effective climax is then to bring out a lady assistant, have her blindfolded. State that this time without a word being spoken, she will endeavor to receive the-jLmpression„of the word. This, of course, she can do very successfully because she knows the word in this case will be ,!NEW."

Effect 3. This is generally sufficient, but if the performer wishes to carry it still further, the 3rd or final presentation may be attempted. In this case bring forward the glass bowl and have ALL of the clippings poured into it and stirred up by someone in the audience. From this, ONE advertisement is selected at random - an entirely free choice. The forcing method employed is now used to indicate No. 7. OF COURSE THE 7TH WORD IS THE SAME ON ALL THE ADVERTISEMENTS. The performer may proceed with a 3rd presentation as follows:

Patter: "To go still further in the realm of mental phenomena we shall attempt a feat involving an experiment in prediction. You sir, who have selected the word from the column and the advertisement also, will you kindly announce the word which you have selected?" (The spectator states that the word is MONEY.) The performer remarks with a laugh, "What a POPULAR Selection you have made Sir. That is something we all like - which everyone will approve of, I am sure. I call your attention to the large envelope which you saw placed there (pointing to it) before the start of my performance. It has been in full sight at all times during this exhibition. Involving as it does the possibility of an experiment in prediction, I want to tell you that within that envelope is a card bearing a word. That word was written BEFORE THE PERFORMANCE BEGAN. I will now open the envelope and withdraw this card. On this card you find that the word "MONEY" has been written which is the IDENTICAL word SELECTED FROM THE IDENTICAL ADVERTISEMENT - ALSO SELECTED by the audience. T. remind you again that this was written BEFORE the experiment had begun.'-----1 Thank You I"

Forcing Methods: A pack of forcing cards made up of 7,10,13,15 numbered cards in rotation. A standard "Changing Bag" on handle. Numbered cards all different shown - tossed into bag ~ Switch feature of bag operated and cards all alike in other compartment are all. that spectator can secure when he "selects" a card from the bag.

Each card having TWO numbers on it (one on each side) enables performer to force TWO numbers at a time, so the effect can be worked, say with two words. For other forcing methods secure the Book "ONE HUNDRED AND ONE METHODS OF FORCING" by Annemann.

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THE VOLTA MASTER SLATE WRITING Micky Hades Enterprises

This Method is based on the peculiar characteristics of Figures discovered by "Volta," plus a mystifying routine as worked out in connection with another slate trick using non-mechanical slates but which required preparation of the slates and the erasing of the numbers. The routine of moves has been changed lately and employs now part of a variation suggested by Annemann in a trick using cards in place of slates. The Annemann card effect employs the Volta number idea but in a different way; namely, with small numbers which would be useless on the slate. The Volta method also does not employ an extra number. The moves are also different, as the Annemann idea required hiding one side of card, BEHIND THE HAND which would make the feat impossible with large slates - or anything larger than a calling card. A slate cannot be hidden by the hand.

NOTE: The Volta Slate Writing requires NO TREATMENT OF SLATE WITH PAINT -EMPLOYS NO ERASURE - EMPLOYS NO EXTRA FIGURES. Also, uses LARGE NUMBERS covering the ENTIRE FACE of each side - over one of which the answers appear in writing. It requires NO HIDING OF ONE SIDE OF THE SLATES behind the hand -the moves being FREE AND OPEN.

Directions: This trick may be performed with the usual size small slates such as magicians generally use. Or it may be performed with the Giant Size Slates, such as Volta uses, and of the size which Koran uses and the size which we made up specially for Dr. Harmon and Rajah Raboid. The club performer will probably prefer the medium size (6" x 9") slate. It is better to use slates WITHOUT RIMS for this trick. The slates appear less suspicious this way for it appears that they must necessarily be free from mechanical features. This point should be brought out by the performer in introduceng his slate tricksjl.

Preparation: Mark a large FIGURE !1l!i with the white chalK. - starting at the TOP of the slate and bring the line downward USING THE ENTIRE SPACE OF THE SLATE FOR THE FIGURE. MAKE IT AS HIGH AS POSSIBLE SO THAT THE ENTIRE SURFACE OF THE SLATE IS USED FOR THE NUMBER 1. Now ON TOP of this write the answers that are supposed to come from the spirits - WRITING THEM RIGHT OVER THE NUMBER 1 ON THE SLATE. A good idea "is to use a red chalk or an orange-colored chalk for the answers - so the performer will not be suspected of having written these answers himself with the white chalk Which he has in hand at the time he is marking the NUMBERS. You are now ready to perform. Lay this slate MESSAGE SIDE DOWN - on TOP of the other slate.

Performance: Bring out the two slates. While talking, hold the slates together in the left hand and carelessly turn them to show the UPPER and LOWER SURFACE of the packet of two slates held together - and back again. End with the Slates in front of you as in ILLUSTRATION 2. The top slate (toward audience) we'll call SLATE "A" - on the underside of which is the WRITING.

Next draw the two slates apart as in FIGURE 3 drawing the top SLATE "A" to the right. Put the slates together again with "B" on TOP (Fig. 4) BE SURE TO KEEP THE SLATES HELD DOWN IN THE POSITION SHOWN IN FIGURE 4 BECAUSE THE MESSAGE IS ON THE BOTTOM OF THE PILE, THEREFORE THIS SIDE MUST BE KEPT TOWARDS YOUR BODY AND AWAY FROM THE AUDIENCE.

SWING AROUND toward THE LEFT (.see figure 5) AJJD A LARGE KUKSSg ktlu OH

THE UPPER SURFACE OF "B" - make this figure exactly the same as the FIRST Number 1. Remark, KWe will call this side No. 1. I will mark it to identify it."

NOW RAISE THE LEFT BAND EDGE OF "B" (see Figure 6) - like opening a book -and slide it AROUND BEHIND (Figure 7) the other Slate. This now bccomes the BOTTOM Slate.

Turn facing the audience and hold the slate AS IN FIGURE 8, Write a large number 2 on-this surface - filling up the ENTIRE SPACE on the Slate. Make a half turn to. the left and show this side blank also with exception of NUMBER 2 (Figure 9).' Remark, "We will call this side 2." Then swing back to position Figure, ft.

Take the LEFT HAND EDGE (Figure 10) and open the rear slate bookwise undercover of the front slate - then slide it around IN FRONT of the other slate (as in Figure 11). This presents a new side facing you. Mark a large number 3 on this side (Figure 12) and show it to the audience as in Figure 13 - then back to position 14.

Now here is where a little caution must be observed. Again open Slates bookwise - but this time DO NOT SLIDE IT AROUND IN FRONT of the other slate but just TURN IT AROUND and replace it back against the other Slate. (Figs. 15 and 16). THE ORIGINAL Number 1 is now FACING you. But this is UNKNOWN to anyone but yourself. (Fig. 17 shows performer's view at this point).

Now holding the chalk as before, PRETEND to draw a straight line from the top downward as when starting to write a number 4 -- but keep the chalk AWAY from the surface. Just let your fingernail draw down against the slate which makes a SOUND similar to the chalk. Then draw the two lines which change the

number 1 into a number 4 (as shown in the BACK VIEW Figure 18). Figure 19 shows the view as the audience sees it. Show this as in Figure 20 saying "We will call this side Four.''

Now tie the slates together with a piece of tape remarking "That way we have shown and NUMBERED as I have shown them, EACH OF THE FOUR SIDES.:: Tie them with a piece of tape and hand them to the audience to hold - or hang them in a conspicuous place.

An excellent trick to perform at this point is the "All Fair Want-Ad Trick". Another excellent combination effect may be selected from the book entitled "THE WORLD'S GREATEST BOOK TESTS" which gives 12 excellent methods of tricks suitable to use in combination with Volta slates.

A little practice until the routine becomes automatic and almost second nature and you have mastered the MOST PERFECT SLATE TEST EVER INVENTED, using ORDINARY non-mechanical slates. The principal is DIFFERENT employing principles of optical illusion with the principle of psychology that the mind cannot remember the confusing moves when a slight variation is made on the last turn - combined with this is the fact that the peculiarity of the figure 4 being merely an addition to the figure 1, makes possible this wonderful combination. An excellent example of Modern Scientific Magic Principles -which do away with clumsy mechanical devices, exchanges, undercover work and subterfuges or any QUICK MOVEMENTS.

EVERYONE will ask you to DO IT AGAIN - because no one will be able to BELIEVE their own eyes. But DO NOT REPEAT IT and risk detection. Do it just ONCE, doing it cleanly and showing everything so that all can see it - and let that suffice.

THE MYSTERIOUS DR. C„ SLATE MYSTERY Invented by Dr. Hereward Carrington

This slate Mystery which was the first as well as one of the BEST non-mechanical methods to do away with flaps, etc. I had the honor to introduce at the time I was the magical inventor and technician for Poole Brothers Co., then the headquarters for Mindreading and Spiritualistic Material. It has been the most widely "stolen1', "liftedn, and ''borrowed" effect in this line I have ever seen.

But if anyone wants to know the true origin of this excellent feat, he has only to turn back to his files of "THE SPHINX"' for 1920 and read the advertisements of it and tL_ TESTIMONIALS quoted in the numerous Poole Brothers advertisements month after month plainly on exhibit therein.

Effect: Two perfectly unfaked slates are brought out and shown back and front. As each side is shown, it is lettered respectively: A, B, C and D. The spectators themselves may mark each side as shorn. Slates then tied together and held by audience. A message appears on one of the slates, preferably one giving the answer to a row of figures a word from a dictionary test or the names of two cards selected by the audience.

Among all the purloined samples of this trick I have seen NONE which had the proper kind of ribbon supplied with it. The. slates are to be tied together later. So what is more natural than that they should be brought out tied up with a strip of ribbon as shown in Figure 1? Perfectly natural. The ribbon is tied as shown in Figures 1 and 2, showing back and front. The ribbon is a special kind. It is light colored in the center and GRADUATES OFF INTO A DARK BLUE-BLACK WHICH CLOSELY MATCHES THE COLOR OF THE SLATE. (Fig. 3). Therefore the ribbon really appears about ONE-HALF AS WIDE AS IT ACTUALLY IS because the edges blend off into the slate. An optical illusion in fact. Note Figure 4 to show this BLENDING ILLUSION effect.

Refer to Figure 5 and note that the names of two or three cards can be printed underneath the part where the ribbon passes over the slates.

Working: Show the REAR (message side) first. Mark with chalk in upper corner the letter "A", saying "This we will call the A side." Turn the tied slates around and show the FRONT or TIED side of slates shown in Figure 1. Mark "B" on this side and call it the B side. Pull the end of the single-bow knot and SEPARATE the slates showing the INNER SIDES. As the "message" is now on the side which is AWAY from the audience (on the "A" side) you can show the inner surfaces freely. Mark one of these inner surfaces !:C!" and the other "D".

Put the slates together BUT WITH THE "A" SIDE BETWEEN THE TWO SLATES and retie the slates as before. Hand these to a spectator. Have two cards selected (use my Svengali Forcing Pack or force otherwise) - or use a good dictionary test. Have slates opened and message discovered.

My personal contribution to this effect was the use of (1) the Special OPTICAL ILLUSION type cf ribbon, (2) using TWO LINES, one above the other, for the words -- instead of the single line. This also serves to create a most amazing optical illusion as the two lines made rather short and coming near to edge of the ribbon LOOK WIDER THAN THE RIBBON ITSELF AT THE CONCLUSION OF THE FEAT. White, as we all know, makes anything appear LARGER than a dark color - such as used for the ribbon edges.

"VOLTA" BLINDFOLD STREET DRIVE

To get a clear picture of the subject the reader must first realize that the drive is a PUBLICITY STUNT purely and simply - and not a clever "Trick". It is sometimes hard for a pure MAGICIAN who features the use of extremely baffling principles and strives for indetectable "principles71 to realize that in this present PUBLICITY stunt he is entering T.n entirely DIFFERENT FIELD. Here the TRICK METHOD employed is relatively UNIMPORTANT while the PUBLICITY ANGLES are all IMPORTANT! Many of the greatest and most successful mental performers use extremely CRUDE METHODS, but employ good PUBLICITY results.

Effect, briefly, is that performer advertises (1) his show, or (2) a big charity drive, (3) the opening date of some store, (4) the first showing of a new auto or truck model by an auto dealer or other interests, publicities. By newspaper advertisements - by announcements over Radio, paid for as "spot'! announcements by dealer or theatre, at a cost in most towns of from $1.00 each up to $3.00 and $5.00 in larger towns and by announcements from stage of theatre by performer or manager of theatre and also sometimes by loud speakers driving through town, that on a certain date—

Dr. A, one world-famous mentalist, will drive a late model _

car through the city traffic AFTER BEING BLINDFOLDED. "How does he do it? How can he do it? Will he be able to do it? Come and see him attempt it at _ A.M. starting on the corner of__Ave.

and Street on _(date). You have HEARD about him! NOW COME AND

SEE HIM DO IT with your own eyes."

Arrangements can be made by contacting in person or VIA YOUR MANAGER the local car dealers and explaining the great publicity benefits that will result from (1) the pictures in newspaper showing their car used in the stunts (2) your announcements from stage and radio announcing that you will use "a beautiful new model_furnished by_Co. leading car dealers in

(name of local town). Also the blindfolding will take place on an open model so-and-so truck from the same company parked on the corner of above streets. The public is INVITED FREE.

Arrange with dealer to have signs made advertising that car is furnished by the dealer and have them hung on the sides of cpen truck. Have the truck

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