The Event of fhc year

THE ONE, Oltiy AND ORIGINAL

and HIS

and HIS

DcLuxe Mystery Revue

8AM FRANCISCO STAR: On* of tii» moat itrlkin* peraohali» tiea we bw ever eeett. The »nr*f«n)«fit was «tended to a second week, and now it 1« an-aoaac«« Uat he will remain y«t *-.otter. Truly this 1» * marked trhimob—a real tribute to the remarkable personality of Jhe talk

GEN C BR: The who could not train admission the first. Over »0.000 people have witnessed this remarkable exhibition during this period.

DULUTH HERALD: N^w-

wnenca nas ever Known. that

^WLVOTFIM^ NOR^ WESTER:

Hls'performance '1» th^beTt we

OREAT FALLS TRIBUNE: VewmanrU, un «que« m boTh*?he verv mJucht3soWOn* "AVD PORKS ' ~ ~ " LER: We- hav.

IMPORTANT NOTICE—PROF. NEWMANN has been before the public since 1896. THE MINNEAPOLIS JOURNAL *nd other great dailies style him "THE DEAN OF MENTALISTS." Critics acclaim bis performance as the most wonderful of the kipd ever seen anywhere. Managers of city theaters hail him as the greatest Mentalist the world has ever knows. After a long abscnce as a headline attraction in city theaters, at thelargest salary ever paid a similar attraction, he is returning to familiar territory. His Big City Features are all included in the present performance, making this the most Varied, Sensational, and truly Entertaining show of his long career. In presenting THE GREAT NEWMANN SHOW the local manager feels that he is offering you unusually high class, educational amusement—a Quality Attraction th;:t deserves liberal patronage by all lovers of clcan-cut, up-to-date, worth-while entertainment in this

An Attraction tor the Entire Family A Performante you Cannot Afford to Miss An Entertainment you Will Never Fortfct

Beyond All Question

America's Greatest Wonder Show

NEWSŒMES--NEW COMEDIES -NEW FEATURES Chanâeof Proâram Niâhtly

TONIGHT

(SEE THE OTHER SIDE)

From the J. B. Findlay Collection have vanished, leaving the unwanted ones behind. This flap, paper-covered side showing through the window, is now placed inside the envelope. Also into the envelope is slipped, in front of the flap, the slate and flap, the latter nearest the window side. After dropping the piece of chalk inside the envelope, window side up, is placed on the table. The picture cards with the daffodil at seventh position are placed on a chair. The portfolio is opened, the thin flap withdrawn and the sheet of paper carrying the picture placed drawing side up on the cover not having the magnets. The sheet of thin cardboard is placed on top, and on this is placed the blank sheet; it is placed so that it overlaps the edge of the cover. The '' magnet '' cover is folded over and the tapes tied loosely into a bow. The portfolio is placed on a chair or another table. The opaque handkerchief can be in the performer's pocket.

Presentation.

The envelope is introduced and with a suitable story, the slate is withdrawn, and placed flap side up on the table; the chalk is also removed and the envelope without any comment placed against the back of the chair on which the " flower " cards rest. Taking the slate and keeping the flap side towards himself, the conjurer asks for colours and commences to write—" red, blue, yellow and green "—in response to his request to the audience. The slate is turned round showing the colours written in white chalk. As his audience seem to think little of his magic chalk, the slate is placed momentarily, flap side down, on top of the " flower " cards, whilst the conjurer picks up the envelope. The slate is lifted, leaving the flap on top of the cards, and replaced inside the envelope. Later it is withdrawn showing the colours in " colour." Attention is now drawn to the portfolio; if it has rested on a chair it is taken over to the table and the tapes untied. Becajise of the slight overlap of the blank paper it is easy to lift the " magnet " cover without attracting the flap.

To achieve this the fingers slide in between the paper and the cover. The sheet once removed is handed to a little girl who is asked to assist; she is requested to look at both sides and place it back in the portfolio, close the cover and tie the tapes. Once the cover is closed the flap will be attracted and conceal the blank sheet, leaving the picture sheet free. The pack of cards is picked up and the conjurer leafs through them showing the pictures to the audience; in doing this he takes care of two things. The first is that he does not show the face of the flap on top, and two, that as he approaches the seventh card, he keeps the position with his little finger, and cuts the pack at that point thus bringing the daffodil picture to the top. Holding the packet he removes the opaque handkerchief from his pocket and in placing it over the cards, turns the latter over (this is the usual " under the handkerchief " force). A member of the audience is asked to cut the cards, and in removing the cards he holds from under the handkerchief, they are again reversed, so that the daffodil card is on top. A member of the audience is asked to remove it, look at it and think of -the colours on it. The remaining cards and the handkerchief are taken back. The final stage is nearly reached. Taking the slate, the conjurer replaces it in the envelope once more written side away from window. A few words of Hocus Pocus, and the slate is removed together with the flap. The writing side is not yet exposed, and, in fact, the flap may want positioning. The envelope is accidentally (?) dropped on the floor to prove its emptiness. The spectator with the card is asked to name the flower. " Daffodil," remarks the conjurer, " that would be mainly green and yellow." He turns the slate round. " You see what has (happened, the green and yellow chalk have disappeared." The slate is placed down'and the little girl is asked to open the portfolio. She does so and finds the sheet now has a drawing of the selected flower.

CUt Unde^gmund fowmey,

Effect.

The Operator asks for the assistance of two spectators in order to undertake a mental journey on the Underground Railway of London. Spectator "A" being seated to the left of the operator is asked to think of any place in London that has an Underground Station and any place of interest near it. He is asked to write it on a piece of paper which will eventually be passed to spectator " B." While this is being carried out, " B," seated to the right of the operator, is shown a glass full of pieces of paper on which are typed the name of one underground station on each.

These are checked as such, by a handful being opened and read out. One of these is chosen from the glass, and is used as the departure station. The method of chance is used in order to dispel any idea of collusion between the spectators and the operator. So that both spectators are aware of the departure station and arrival station and the place of interest to which they are going to visit, the two pieces of paper are exchanged and read. The operator shows a large scale map of the Underground Railway system and taking a " window " departure sign asks the spectators to think of the departure station. Their thoughts direct him to place it on the correct station. Then taking an. arrival "window " sign he asks them to think of their journey with changes, and the operator is so controlled that he traces the journey

and places the arrival " window " sign over the correct arrival station. They are then both asked to think why they went to that Station and the operator reads their thoughts and explains the reason for the journey.

Method.

The method is simple. The departure station is forced, and the information of the arrival station and the purpose of the journey is obtained by means of a clip board.

The forcing of the name is achieved by the changing glass principle explained in Peter Warlock's " Patterns for*Psychics."

The clip board I use is a home-made one, which is quite simple to make. Take a piece of thick cardboard 6in. by 4in. and lin. from the top cut out a rectangle of 3in. by 2in. and hinge this at the lower long side by a piece of paper. On the front, that is opposite to the hinge, paste by the edges a piece of good carbon paper, carbon side down. Over this paste a piece of artificial wood paper, place in the press and allow to dry. Trim the edges . On the back, paste a similar piece of artificial wood paper, press and allow to dry. When dry trim the edges, and with a razor blade neatly cut around the three sides of the hinged rectangle. The board will take a piece of paper 3£in. by 2£in. if a small bulldog clip is placed on the top edge and will also hold the trap door at the back. To obtain a carbon copy of the arrival station and place being visited, place a piece of paper on the trap door and close with the aid of the clip. When the board is returned, the clip needs only to be moved near the top edge and the trap door will open and the piece of paper can be palmed. The presentation is the main thing.

Also required is a large scale map of the centre of the Underground Railway system and I use one enlarged four times from the maps that are issued for the pocket.

JL CL dielchex'*

Jmm Minds

Effect.

The performer obtains a volunteer from the audience and explains that he would like to attempt a demonstration of how it is possible for a person to direct another person's subconscious mind. He shows two identical sets of cards, six in each set and each having a different design drawn on it. The volunteer is given one set, while the performer retains the other and proceeds to ask him a short series of questions, such as might be used by a psychologist.

When these have been answered the performer takes one of his own set of cards, keeping the design hidden and wraps it in a piece of paper, which is actually an envelope which has been opened out to make a folder. Now tne volunteer mixes his cards and lays them out face down so that he does not know the order of the designs. He is given an absolutely free choice of any one of the cards, and is asked to hold it against his body. At the same time the performer opens out the folder and removes the card from it. When compared they are identical.

Required.

(1). Three identical sets of cards. One of these is prepared like the index cards in a filing cabinet with small tabs projecting. The performer knows these cards according to a numerical order and the tabs on Nos. 3 and 4 have a piece of match-stick glued on the back to identify them by touch. On No. 3 the stick is vertical, on No. 4 it is horizontal. The spectator's cards are discreetly marked on the back so that the design on each is known.

MaCchst/c/c

MaCchst/c/c index Cards Tabs at7? a// 3t same /eye/.

(2). The Folder. This is made of strong brown paper, and is similar to a business envelope opened out. A reference to diagram will save a great deal of involved explanation. Briefly the folder is in five parts, back, two sides (each the same size as the back), two flaps, top and bottom. One side piece is double to receive and conceal the card inserted by the performer. The back is also double and contains the index cards in the prearranged order.

Routine.

This is essentially the same as given in the effect. The build up and questions asked at the beginning are all intended to create the impression that the performer is, as it were, summing-up the spectator's mind, and preparing to influence it. The folder is closed up with the top and bottom flaps outside, and the card selected by the performer is inserted in the double section of one of the side flaps. This double flap should be folded outside the single one. The folder is laid aside while the spectator makes his choice. The performer knows immediately which design has been chosen. He opens the top flap of the folder, reaches into the double section at the back, and aided by the identifications on Nos. 3 and 4 withdraws the correct design. His finger and thumb hide the tab of course.

Sldi^chic

From a shuffled pack the top card is taken and two small squares of stamp paper are fixed to its back one at each end. On one of these an obliging spectator writes his initials as a safeguard against any subsequent substitution : the other piece of paper is left blank and unsullied. The initialled card is put into an examined envelope and sealed. It is placed in some prominent position, or given to a spectator to hold.

A card is now freely (?) selected by the insertion of a knife in the pack, or by any other " force " method, and on withdrawing the initialled card from the envelope the nanje of the chosen one is found written in letters of blood (red ink !) on the square of gummed paper which was formerly blank.

So much for the effect, now for the preparation. The only requirements are two narrow elastic bands, three small squares of gummed paper, and a pack of fifty-two cards plus the Joker. Cut this latter in half and retain one of the pieces (the other half can be thrown away). Take any other card and on its back at one end fasten the stamp paper, and on it write in red ink the name of the card that you later intend to force. This prepared card is placed on top of the pack with the half Joker over it so as to cover the writing. The pack can now easily be false-shuffled, retaining the card and fake at the top. Having done this the performer says he will place two elastic bands around the pack as a proof that they will not be tampered with after the shuffle. The bands are adjusted in such a way that one of them just covers the cut edge of the half card, and the other is put a little further up so holding it firmly against the pack : so arranged the top card appears to be •quite innocent for the red ink label is covered

Notes.

There is no need to identify all the cards as Nos. 3 and 4 enable the others to be located. The excuse for the folder is that it prevents the spectator from being consciously influenced by the performer's choice.

On the matter of construction : many ideas were tried out before the simple construction of the folder was arrived at. One of these was the idea of having the third set of cards in a kind of card-from-pocket index inside the folder, but it proved too bulky, and necessitated a deep " dive " into the folder to produce the bottom one. The reader of course may hit upon an improvement—but do not force the spectator's choice. A force should never be employed if there is another way out.

Wjuting, and out of sight. The pack can be safely handed to an obliging member of the audience with the request that he affixes the two stamp paper labels one at each end of the top card (N.B.—Take care that he fastens the upper one in the same relative position as the red ink label which is underneath). Having done so he initials the lower label, leaving the other (which is on the half Joker) blank. Attention should now be drawn to the fact that there is absolutely no other writing on che card apart from the spectator's initials. The pack is turned over and the initialled card pulled away from the elastic bands leaving the fake half behind.

" This undoubtedly is your card ? " enquires the performer showing its back to the person who signed it ; he sees his initials and is satisfied, but he little realises that there is any writing at the other end for this is hidden by the conjurer's cunning fingers.

The card is placed in the envelope and given to the assistant to hold. In the meanwhile the left hand which has retained the pack,still encircled by the elastic, has palmed off the half card and the pack is thrown carelessly on the table, and the left hand goes to a pocket on that side in search Of a knife leaving the fake behind. All that remains is to force the necessary card by means of the knife and later find its name printed in " psychic ink " on the initialled card in the envelope.

The knife force referred to is well known, but for the sake of completeness had better be described.

Run through the pack, faces towards the audience, ostensibly to show that the cards are all different but really to spot the force card : in squaring up the little finger is kept above the latter and it can then be brought to the top by the " pass " or by merely cutting the cards. The pack is again cut (or the "pass " made) leaving the force card about sixteen from the top. The little finger of the left hand is kept upon it, and the knife is handed out with the request to insert it anywhere in the middle of the pack the card beneath it to be the chosen one. This done the knife is gripped between the first and middle fingers of the right hand and it will then be found easy to draw off only the packet of cards that is above the left hand little finger. The sleight is indetectable and, from the audience point of view, the pack has been quite fairly separated at the point where the knife entered, whereas, in reality, it has been slipped to the card that has to be forced.

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