For many years it has been the ambition of magicians to present a "one-man mind-reading" act that would give satisfaction and at the same time defy detection, and be an act that would be presented anywhere. Many so-called "one-man" mind-reading acts have been developed at various times, but always something was lacking, it is now released for the first time.
The principle used is not new--but we claim, however, that never before has any performer ever put this principle over in such a baffling and convincing manner. It has been presented frequently before magicians' clubs, whose members knew the principle well, but never did they tumble to the fact that the "one-ahead" principle was being used--not a one of them. Now read:
PROPERTIES NEEDED: There is one unusual property that should be used and, while it is not essential, you will find it advisable. Since this act has been released, I understand that another person has described a similar prop in a mind-reading act, but here is the original.
Procure a pile of monthly magazines so that, when stacked, they stand about 9 or 12 inches high. From each magazine cut out a section right through the magazine at the edge opposite the binding. This applies to all the magazines but one, which is the top one of the pile. The top one is not altered.
Now open the top one half-way. Through the bottom half of this and right through the other magazines, bore a number of holes. Through these holes thread some copper wire and thus wire the magazines into one solid block with the exception of the top one, of which 20 or 30 pages are left as they were (in order to give the appearance of genuineness). You now have a solid stack somewhat like figure 2.
Now in the cavity "A", figure 2, paste two pockets of the type common on letter racks. They should be as in figure 3. You need a good solid table on the stage and on one side of the table there is a glass bowl. Your crystal, standing on an oriental cushion, is off stage and with it is an extra envelope to match those distributed, and a pencil. On the stage is a silver tray.
METHOD OF WORKING: Suppose you wish to answer twenty questions, which will ordinarily be sufficient. Hand out twenty envelopes about three by two inches, with cards to match. Have questions written on the cards and have cards sealed in the envelopes.
Now take the tray into the audience, and also pencil. Approach one of the writers and take sealed envelope and ask his name. Apparently write this on his envelope. Actually, you write nothing.
Now take another sealed envelope, ask the writer's name, and scribble on the envelope, NOT his name, but the name you got previously. Repeat this with all the 20 cards. Thus, B's question is in an envelope marked A and C's question is in an envelope marked B. The last (20th) envelope will bear the name of the 19th writer, so that you have not used the 20th's name, Remember this name, however.
During the process you have had the tray under the left arm. Now place the pile of envelopes on the tray at one edge, and spread them across the tray (figure 4). Now holding tray at arms length, return to stage, and by tilting the tray in a natural manner (but so that back of tray faces audience) dump the questions into the glass bowl. HOWEVER, No. 1 question is retained by the thumb as shown in figure 4. The tray is now dropped to the side in a natural manner, and you walk off stage still holding the envelope to the tray.
Off stage, this written card is removed from the retained envelope, and the message is read. Throw away the envelope. On the extra envelope which you have there (and which should be SEALED with a blank card inside), you write the last name you received. Place this envelope on top of Card #1, and on top of both place the cushion bearing the crystal.
Now walk on stage and, approaching table from the side, leaning over to place the cushion on top of magazines, the card and extra envelope are withdrawn by the hand furthest from the audience and under cover of the body. Leaning forward, the card is deliberately deposited behind the magazines, and the envelope is placed in the bowl.
Straightening up, pick up the bowl and walking forward, request someone in the front row to take charge of the bowl. Now seat yourself behind the table .and after any preliminary remarks, lean forward on the table and, gazing intently into the crystal, you commence your reading. You slowly answer the first question and then give the name of the person who wrote it. Then ask the person holding the bowl to find that question and pass it up to you.
He, of course, finds the envelope bearing that name, and hands it to you. You open it and withdrawing the card you read it aloud, of course, you read the question you have just answered. But the card you hold bears another question. When you have read it, with card in .right hand and envelope in left, glance at the envelope as you say, "Am I correct? Mrs. Smith? " and allow the right hand to momentarily fall below the level of the magazines, where it drops the card into one of the pockets and picks up the #1 card lying there. This is done quite unhurriedly and casually, and is largely a matter of showmanship. The card is now placed in the envelope and handed out to the writer to take and check.
NOW CAREFULLY CONSIDER THIS: The spectator has just had his question answered while it was in the glass bowl and bowl held by one of the audience. And now, before any more questions are read, the question is handed back to the original writer to check up, and he can only admit that it is as performer states, the envelope bears his name, and the question is his own original writing.
Suppose that he was a man who was familiar with the "one-ahead" method--do you think he would associate that idea with the act that he is witnessing? Never. No person yet has ever tumbled to the method employed--therefore our claim that this is the greatest one-man mind-reading act ever presented. I think you will agree with us.
You are now in a position to answer question #2, and thus you proceed until all the questions have been answered. When you have answered the last one and request the envelope, the card you take from this is, of course, blank, and when this is exchanged it is the only card that remains on the table.
ANOTHER BIG FEATURE IS: There is one advantage that you always have before you, viz. , that the card you are answering is always before you, and therefore you do not have to worry about memory or remembering, and you can consequently put your best effort forth to evolving questions, etc. The idea of having two pockets in the magazine pile, is of course, to always have an empty one into which you drop the card your holding, and then extricate the other from the other pocket.
NOTE: When working clubs, I find it an easy matter to get the name of one of those present, and I write his name on the envelope containing the blank card, and place this in the bottom of the bowl. I then see that this person has a card and envelope, and that his is the last collected. This makes the work much simpler. You will find that this act will beat all the wise ones and will go over to a big hand. IT IS A BAFFLER FOR MAGICIANS.
MAN AND WIFE MINDREADING ACT!
Robert A. Nelson
Encouraged by the many scientific experiments conducted by the psychology departments of our leading universities, and scientists, in a quest to determine if mental telepathy can be genuinely produced, or if it is a result of pure coincidence, the writer has devoted much time and thought to a system of secret communication whereby two people can duplicate (fraudulently) these publicly known experiments, and many others, with a minimum of practice and little skill.
In fact, the primary intention in this treatise is to impart such a secret system as to enable any two people to put into actual practice afte fifteen minutes of labor, and to produce such startling results as to astound even the scientific mind, and to convince all spectators that they have witnessed a series of experiments in genuine telepathy.
Effort will be expended only with playing cards, which offer a great variety of possibilities, and easily learned. For years, the author has performed this series of effects, with amazing success. The appeal to two people working, transmitting thoughts from one mind to another -or from the mind of a spectator to one of the performers, is indeed remarkable. It is more intriguing than magic. It fascinates and rivets the interests of the spectators, because they do not know definitely that it is a trick as in magic - or if they have truly witnessed the phenomenon known as 'thought transference. "
The routines herewith given, if presented in a serious vein, and with intention of causing your audience to believe they have participated in true mental telepathy, will not fail to create favorable comment, and win for its operators a reputation as master telepathists.
"Ladies and Gentlemen" - the most of you, no doubt, have read of the thousands of extensive experiments being conducted by our leading universities and scientists to determine if the phenomenon of thought transference or mental telepathy does really exist. These experiments have been going on quietly for the last several years, and now the fruits of their efforts have recently been given much space in our public press.
"The consensus of opinion as a result of tens of thousands of scientific tests is that mental telepathy is a fact - does exist - and may even be controlled to a certain extent. For months I have followed these experiments, and participated privately in them, and to my amazement found great success, working with---------------my partner in this interesting work. "
"The usual plan in these scientific tests is to have one subject concentrate intently on a card or symbol, the other subject at a given time to cause his mind to be passive and in a receptive state, to see if he could not received the mental thought vibrations. In most cases, playing cards were used. "
"To definitely demonstrate these experiments, and to even allow you to participate in them, we will use this ordinary deck of cards. May I request anyone to take one, two, three, four or five cards from the deck ... to allow no one else to see them . . . and if you wish, any other spectator may take a few cards. Thank you. Assuming this to be a strictly scientific demonstration, let us understand ourselves before we proceed further. Two groups of cards are fairly selected and observed by no one, other than these two people who hold the cards. "
"Please concentrate most intently on your cards, and my partner will endeavor to call each card that was selected. Remember, any noise or disturbance in the audience makes it very hard for her to receive the mental vibrations from your mind, and for that reason, please let it be as quiet as possible. "
(Opening lecture and patter for party groups of people, clubs and theatre gatherings. To be varied to suit circumstances. )
Nelson's Man and Wife Mindreading Act employs a wide variety of ways and means, and justly so, because long before your keenest spectator can begin to figure a basis for your performance, you have thrown him entirely off the track by another totally different method. The clever operators are the ones that will vary the presentation, and modus operandi, and thus take advantage of every 'break'.
Each method is entirely independent of another ... or may be used in conjunction. Each step a separate method . . . though blended in one presentation, sensational results may be achieved.
That this system can be learned in less than fifteen minutes is not surprising, when you realize that only 1 1 cue words are necessary, plus a short sentence and very elementary arithmetic.
The basis of the system of secret communication is CHARLEY HAS SOME DIAMONDS
If you learn that sentence, and can add in groups of three, half your work is done already. You need not employ any skill with the cards, or worry over further memorization. Just remember about Charlie -Charlie has some diamonds.
This sentence is so important because it represents the sequence of suits in the deck, and is used in two different manners ... in the stack arrangement, and numerical values for the verbal and silent imaginary KARD-KODE.
CHARLIE HAS SOME DIAMONDS
CLUBS HEARTS SPADES DIAMONDS
As designated by the first letter in each word. Some people find it easy to simply remember the sequence, Clubs, Hearts, Spades and
Diamonds, but Charles Has Some Diamonds will do the same trick, and no need to forget the sequence at any time. As you become familiar with the system, you will forget about Charlie and the sequence of suits will come to you. However, recall that you are to learn the entire act in fifteen minutes.
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