It is a little known fact, but the almost legefidary reputation of Dr. Q, as a mindreader was not so much based on trickery as on rather obscure psychological and scientific techniques which the good Doctor utilized with great mastery. Thus, it is with real pleasure that these carefully preserved mental secrets are released to the magical profession. These effects unquestionably come as near to a genuine demonstration in mindreading as any have, as yet, been initiated.
Dr. Q. would always prelude his exhibition in mindreading with the following direct remarks:
"For a man to claim that mindreading does exist as a fact is to leave himself open to challenge and criticism. So, in showing you these demonstrations, I should prefer to make no comment . . . thus allowing you the opportunity to judge as you may choose.
"However, I do believe I would be safe in saying that these experiments certainly would seem to testify in the direction of mindreading, and, as such, I ask your cooperation.
"Naturally, for a person to read the mind of another there must be a bond of cooperation between the two parties. In other words, the individual participating in the experiment will have to put forth as much effort in the transmitting of his thought, as the mindreader, in this case myself, will in the receiving of that thought. With this law of mentalism in mind, who is willing to volunteer to experiment with a few examples of mindreading? "
This we'll thought through, and psychologically acute introduction immediately takes all the challenge away from the spectators, raises your exhibition from trickery to the realm of experiment,and makes it important. Further, it places half of the burden of the demonstration's success upon your subject, and secures a volunteer who is aware of his responsibility, and who will thoroughly cooperate with you.
EFFECT: Dr. Q. while standing facing his volunteer subject would ask the gentleman to extend his hands towards him, whereupon he would immediately grip them — holding the left hand of the subject in his right and the subject's right hand in his left.
He would then ask him to simply THINK of either one of his hands — the right or the left. At once, without a word being spoken, Q would tell him of which hand he was thinking.
Dr. Q would then repeat the test several times, each time seemingly reading the subject's mind, and telling exactly which hand he mentally chose. In every case, the volunteer would testify to the Doctor's correctness. Modus Operandi: To accomplish this remarkable mindreading demonstration exactly as Dr. Q did it, stand facing your volunteer subject and grip his left hand in your right, and his right hand in your left.
Then carefully explain that what you intend to do is to offer him a personal example of mindreading and that for its success he must naturally cooperate by concentrating his thoughts as you direct.
As you talk thus to him, shift your grip on his hands up a bit towards his wrists, so that the forefinger of each of your hands will rest under the thumbs of his hands, directly over his pulses. In other words, your fingers are now in a position to feel the pulse at the wrist of each of his hands.
Now ask him to make his mind as passive as possible, clearing it of any specific thoughts, and to close his eyes. At the same time you close your own eyes, and take tab on his pulse beats. Establishing, as it were, the general feel of their rhythm.
In actual performance all of this pulse checking takes but the work of a moment, and is done entirely unbeknown to your subject or your spectators. To them it appears that you are merely grasping the hands of the person and requesting that he pacify his mind.
Now suddenly request the subject to think of one of his hands — either the right or the left.
Immediately he centers his thoughts in the direction of one of his hands, the rhythm of the pulse beat in that hand changes ... it will tend to slow down, to skip a beat or two, and then speed up rapidly. While the specific change in pulse behavior will vary with different individuals, it will always furnish ample cue for you to detect a change in its beats.
Lift up this hand (the one with the pulse rhythm change) with the remark, "This is the hand of which you were thinkingl " And invariably you will be correct.
If you wish, you may then offer to repeat the experiment several times . . . and each time you will be able to correctly select the hand of which your subject is thinking by secretly noting this change in his pulse beat.
Between each demonstration be sure to ask him to clear his mind, and not to think of either of his hands until you tell him definitely to do so. Keep close check of the rhythm of his pulse, and when they are both beating regularly again — command him suddenly, "Now, think of one of your hands 1 "
Occasionally, both of his pulses may change in their beat-rhythm. If that happens, it simply indicates that he thought first of one hand, and then changed his mind and thought of the other. When this occurs, tell him so . . . and he'll be positively amazed at the accurate tab you seem to be able to keep on his thoughts.
This demonstration of Dr. Q's perfectly simulates genuine mindreading. Indeed, it comes very close to being just that. Notice how in its execution Q has made use of the little known fact, that the mere act of thinking in the direction of a certain part of the body, increases the flow of blood to that part of the body — in direct response to the direction of the thought.
When this principle is applied to the extremities, such as the hands, it becomes even more marked — particularly in being registered on the wrist pulses which lie so close to the surface skin. Of such is the ingenuity of Dr. Q. which made him the master of his craft.
EFFECT: Now using the same subject, or if it seemed more propitious calling for a fresh volunteer, Dr. Q would ask the volunteer to remove any five cards from a shuffled deck. These the subject held in a fan with the faces towards himself.
Next, Q would instruct him to select mentally one of the cards in the fan, to concentrate intently upon it, and to grip his right (Q's) wrist.
At once Dr. Q's hand would shoot out along the tops of the five, farmed cards, his fingers would descend, remove one card . . . and it invariably proved to be the card the subject had mentally chosen.
Q would then offer to repeat the test . . . always with an uncanny certainty, the card merely thought of by the volunteer.
Modus Operandi: It was for the successful performance of this mindreading feat that Dr. Q was always so careful in the handling of his introductory speech as we have described. For in this experiment it is essential that your volunteer be earnest and able to concentrate intently . . . and, more important still, be truthful with you and admit that you are right when you are. Dr. Q seldom had any difficulty in this regard, for as he performed it, the subject always regarded himself as an important half to the experiment (which indeed he is).
Having secured your volunteer, ask him to thoroughly shuffle a deck of cards, and to select freely any five of the cards. These you instruct him to hold in a fan in his left hand, with the faces towards himself (be sure he holds them up high, right before his eyes, so you cannot possibly see what the cards are) and to mentally select any one (just one) of these cards to be used for the "test" in the experiment.
Now instruct him to grip your right wrist firmly with his right hand, to hold it tight at all times, no matter how much your hand moves about, and to concentrate intently on his one particular card.
As you give these instructions, raise your right hand up in front of you (your subject's hand follows right along, gripped tightly to your wrist) level with your eyes. Pause for a few moments, and stress the fact that he must think intently of his card.
While he is thus concentrating, suddenly, and unexpectedly, let your hand drop down to the fanned cards, and the first card your fingers come in contact with — pull that card out of the fan.
If your subject has been concentrating and thinking intently of his mentally selected card, as you have instructed, this card will prove to be the one chosen.
You can repeat the test, using five more freely selected cards . . . and again you locate the mentally selected card in exactly the same manner.
When you lower your fingers to the tops of the five, fanned, cards, you must in no ways attempt to guess at which of the five cards is the one of which he is thinking. Just keep your mind passive, and let your hand descend free, almost as though it were dropping of its own accord. In fact, you may find it advantageous, as your fingers drop, after that moment's pause above the fanned cards, to close your eyes, and let your fingers come down slowly until they rest on one card of the group — every time that will prove to be the one upon which he is concentrating.
This is a very remarkable test, and it is slight wonder that with such material Dr. Q rose to enjoy such an enviable reputation as a mindreader . . . for in the application of these little understood psychological principles lies the true key to great mysteries.
As an example, the experiment under discussion succeeds entirely because of the fact that the spectator (thru the grip of his hand on the performer's wrist) unconsciously guides the performer to the very card of which he is thinking. In this test, the term, unconsciously, is meant literally — the subject being entirely unaware that he is the motivating factor in the locating of his own card.
This principle of "unconscious movement" was theorized, as being based on an underlying cause termed "ideo-motor response" by the distinguished psychologist, William James. Under his premise every idea is cited as tending to realise itself in motor (or muscular) activity. And in direct ratio to the degree of thought upon the idea, and intensity of its center in the field of the mind's attention, is the motor response affected. This is particularly noticeable in relation to ideas of location and motion.
In the present instance, as the principle is applied by Dr. Q when the spectator thinks upon his card in the fan of five, his muscles unconsciously react and lead in the direction of his card. Thus, as the performer remains passive and lowers his fingers above the cards, by following these unconscious impulses he is led directly to the chosen card. It now becomes obvious why he must make himself a passive agent — in order that he may interpret and follow exactly these "impulses" as developed by the subject.
In actual practice, you will find the process largely one of following the route of least resistance. As your fingers hover over the cards; if they descend towards the right one you will meet with no resistance, but if you descend towards the wrong one resistance (very slight, of course, but none-the-less obvious since you are on the alert for it) will be felt. So, as your fingers descend upon the cards, by holding your arm relaxed and passive, it works just as though your fingers were being led by some mysterious force right to the chosen card.
Strange, but the subject will be amazed, indeed, so subtle is the effect, that you, too, may well be astonished by the results.
EFFECT: For this last test in mindreading, Dr. Q would always ask a new spectator to step forward. He would then hand the subject a blank slate and a piece of chalk and instruct him to draw any simple figure or design such as a square, triangle, house, circle, star, etc. , or to write a name or number if preferred.
Q then immediately turned his back, and walked to the far wall of the room while the subject was making his drawing.
The drawing completed, Q would request the spectator to concentrate his attention, for a few moments, on what he had drawn in order to clearly get a visual image of it . . . and then to take a damp sponge and erase his drawing completely from the slate.
At this point, Dr. Q would suddenly turn around and, taking the blank slate, request the subject to go to the very opposite end of the room (as far distant as was possible) or side of the stage as the case happens to be, face him, and strive to project the image of the drawing he had made toward him by sheer power of the will.
Then, slowly, line by line, Q would duplicate exactly the drawing of which the subject was so earnestly thinking.
Modus Operandi: Visualize that effect, it was one of the most striking of Dr. Q's program, and he invariably used it to conclude the mental portion of his entertainment.
In order to duplicate the effect, take a piece of chalk and soak it, for ten seconds or so, in Olive Oil. Then allow it to dry thoroughly, and while it will appear ordinary in every way — it is now ready to assist you in the performing of this experiment.
Hand your subject the chalk and blank slate, and instruct him to draw any figure or design he likes, while your back is turned, and you are standing clear at the opposite end of the room.
You then move away, and he makes his drawing upon the slate in secret. Next you request him to center his attention completely on the drawing he has made, to visualize it, to let his eyes follow around the shape of the design, and, in general, to impress it firmly upon his mind. Having done so, he is to take a wet sponge (have this in readiness on your table beside the slate and chalk previous to its use) and wipe his drawing out of existance, off the slate.
Having done so, you return, casually take the slate from him, and place the damp side down, upon the table. You then ask him to go to the other end of the room, and to project mentally his thoughts of the drawing towards you.
You go on to explain that you will then attempt to receive his thoughts, and will try to reproduce his drawing exactly as he is thinking of it.
Then, you pick up the slate, the damp side facing you. Water on a slate surface evaporates very rapidly, so by this time it will be dry, and you will note that you can see a faint Olive Oil outline of what he drew.
It thus becomes a very easy matter for you to apparently read his mind, and reproduce his drawing line for line.
As you draw, keep the slate's inner surface close to you, so none but yourself can see it, and make your drawing over the Olive Oil outline of his. Hence, you get an exact duplicate of his drawing, which is very impressive from a "telepathic-appearance" standpoint, and further it covers up the modus operandi at the conclusion of the demonstration.
As you make this drawing, keep glancing at your subject, draw slowly and uncertainly, pause often as though striving to catch an "impression. " You must make it appear exactly as if you were actually receiving your "cues to the design" from the thoughts of the spectator.
Having completed your drawing, you can now confidently exhibit the evidence of your successful demonstration.
It is doubtful if any experiment in "drawing-mindreading could be more clean-cut and convincing than this sensational "test" of Dr. Q's. Never has his creative genius been more in evidence than in his clever blending of the scientific principles that water and oil will not mix (and hence the oil outline of the drawing will not be erased by the water when the chalk outline is removed) with the psychological expectancy of mind-reading.
Note the amazingly subtle use of the spectator, himself, innocently performing all of the secret processes necessary to the experimenter's success, in the drawing of the design, and in the erasing the evidence of his work; thereby setting the stage for the mystery, while, at the same time, placing the modus operandi in function — for as long as the slate's surface is moist, the oil outline will not show, and by the time its surface is dry, it is safely out of sight on the table, and is not shown again until it is logically exhibited with the oil lines now again covered by chalk.
Psychologically, this test is perfection. Every phase of its misdirection being perfectly covered by natural moves and presentation. And the whole is so logically consistent, that to the witnesses no explanation can remain — but that they have indeed observed a most outstanding demonstration in telepathy. Here is an unmistakable miracle, thanks to the ingenuity of Dr. Q.
Having completed his demonstration in mindreading, Q would always close with the following unexpected, but mighty thought provoking comments:
"And thus you have seemingly witnessed mindreading. I might even say actually participated in some demonstration in mindreading. However, please don't believe them. Not that I especially wish to arouse question as to the feasibility of mindreading itself as a fact, but merely that I would much prefer to leave you as a group of critical thinkers than as a group of gullible believers. "
That speech knocked his audiences cold in such a nice way. It perfectly "covered" the Doctor, and stilled any possible critics. (There weren't many when Dr. Q applied his Mindreading Secrets, but the worthy Doctor never left anything to chance). Apparently he had commanded respect for it. He'd asked his observers to be critical of what they had seen — the net result of which was that another group went on their way singing the praises of the "miracle master, " Dr. Q . . . despite the Doctor's sage warning about "GULLIBLE BELIEVERS. "
MENTAL SYSTEM WITH CARDS by
EFFECT: The medium is sent out of the room and guarded, searched, or subjected to any other stringency the audience might wish. The performer picks up a borrowed deck of cards, removes them from their case, and has anyone shuffle them thoroughly. The deck is spread face up on the table and any spectator points to any card. The cards are returned to the box and left on the table for all to see. The medium, still in the next room, does not ask any questions, but rather immediately and infallibly reveals the chosen card. THERE HAS BEEN NO TALKING BY ANYONE THROUGHOUT THE ENTIRE PERFORMANCE. All directions were explained to the audience before the cards were removed from their case. There is no guesswork, percentages, earphones, wires, mirrors, vibrators, lights, wax, threads, trick decks, switches, palming, or confederates used. You can perform this virtual miracle twenty minutes after reading the lucid instructions. This system is always ready at a moment's notice. No forcing. Use any deck anywhere. Compare this effect with any you now have and you will see its superiority. Compare this method with any you now use and you will again see its superiority. The conditions under which this telepathy is performed could not be more fair. If the audience believes they can make the conditions fairer you are able to accept their challenge and still have any chosen card revealed. Repeat as often as you like.
METHOD: The entire transmission is executed by the sounds the deck makes as it is being picked up, shuffled, and returned to its box. The code is, therefore, auditory though not verbal. Naturally we cannot remember how to pick up and shuffle a deck of cards fifty-two different ways so we shall have to classify our messages. Said classification follows and is as easy to remember as the fact that the word RED begins with the letter R.
The cards are ribbon spread face up on the table. One has just been pointed to by a spectator. If the card pointed to has the numerical value of 6 or below you must tap the deck's edge on the table immediately after scooping them up as if you were squaring up the deck. If it is a 7 or above in value the little squaring tap is omitted. This can best be remembered by use of association. If the card is a Six Spot or BELOW you tap as if trying to penetrate the table thus getting the cards BELOW the table's surface. This routine contains similar mnemonics to help you remember every signal you are to execute.
The next signal will denote the color. If the selected card were red you should riffle shuffle since the word RED and RIFFLE both begin with the letter R. If the card is black the overhand shuffle is used. BLACK . . . OVERHAND . . . simply remember the initials . . . B. O.
Now we shall transmit the precise numerical value. To do this you merely shuffle (riffle or overhand depending on color) once for an Ace, shuffle twice for a Three Spot, and shuffle three times for a Five Spot. The same holds true for the above 6 value cards, i. e. one shuffle for a Seven Spot, two for a Nine Spot, and three for a Jack. Remember to use the shuffle which denotes the color each time. For the numbers between the ones listed above you add a cut before placing the deck back into the box. The cut is made with a slapping motion so the sound will carry to the next room. Example; if a Two Spot is chosen the performer shuffles once, then cuts. If a Four Spot is selected the deck is shuffled twice, which signaled Three Spot, then the cut adds the extra digit and thus declares the card a Four Spot. Before reading the next paragraph read the chart on the next page. It shows the complete classification of cards and their respective shuffles and cuts. Notice the King is the only card which requires TWO cuts.
Before we discover how the suits are conveyed let us review by way of showing how a definite card is signaled. Let's pretend the TEN OF CLUBS has been selected. As the performer scoops up the cards he does NOT tap their edge on the table. This silence tells the medium the card is over 6 in value. Since the card is a black 10 he will overhand shuffle twice and make one cut. The two overhand shuffles are made by running all the cards off onfce . . . pausing . . . then running all of them off again. There is NO cut between the shuffles. The cut, if necessary, comes after all the shuffling is done. This is true in all cases.
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