The Magician

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"Ladies and gentlemen, I appreciate the fact that most of you are skeptical with regard to this class of entertainment. Perhaps you have seen so many fraudulent psychics that you cannot conceive of mental phenomena as being anything else but a lot of bunk and unadulterated fraud. I do not blame you. For they are in a class all to themselves. They claim to possess supernatural powers. I do not. And I would not stand on this platform and attempt to offend your intelligence by any statement to that effect. "

"No doubt you will witness many tests this evening, the result of which may seem weird and uncanny, you may even credit me with being in league with his satanic majesty, 'Mephistophe'les, ' but I am only human and do not lay claim to any nonsensical impossibilities. "

"Science has the world beat and it is upon a strictly scientific basis that I am able to obtain these very strange and peculiar results. If you, as I had become interested in things psychic and studied along occult lines from a scientific viewpoint, you yourselves would be able to accomplish these apparent mysteries as easily as I do. "

"Ninety percent of the human family are in possession of their mental facilities, but the great trouble is this, the majority of us through our own carelessness or negligence, do not know how to use them. It is nothing but the lack of confidence in your own ability. You have a brain, then why not use it. Develop it and success is yours. "

"Most of us are right handed because we were never taught to make use of the left hand. Scientists scoff at the mere mention of a sixth sense and yet the blind can distinguish colors by merely touching them. The dog by the aid of this same means can trail or scent a human being, any animal or member of the feathered. I certainly believe we posses a sixth sense, and only through neglect and lack of proper training have we failed to develop it. I could talk all night on this subject, illustrating with proof of the existence of the sixth sense, but my time is limited. "

"Thus I suggest we proceed to an experiment — an experiment in projection. To be specific, an experiment in thought projection. "

PREPARATION: Obtain an ordinary scratch pad, which measures about three by five inches, and carefully remove the sheets from it. Place one of the sheets between the top and second leaves of the pad. Above this sheet place a slightly smaller piece of black carbon paper; carbon side down.

Prepare one of the two remaining sheets by folding it into a small billet and then opening it out again. This creased sheet, along with the last remaining plain sheet, is placed at the back of the pad. A large bulldog paperclip is employed to secure the pad and prevent accidental exposure of the loose sheets.

Two envelopes are also needed. One slips into the other and by carefully unsticking the glued flap. This may be accomplished by carefully rolling a pencil between the flap and the envelope.

A hard lead pencil and a thumb tip complete the necessary apparatus. Lay the envelopes and pad on your table; large envelope, small envelope, and scratch pad with the back up. Obtain the thumb tip and you are ready to create the greatest sensation in the history of thought projection.

PRESENTATION: Step down among the spectators, at the same time removing the top sheet from the back of the scratch pad. Be careful not to tear it. Hand it to spectator with request to sign his name and then fold it in the same way as the one you previously folded and which is still on the back of the pad (the creased one).

Take the folded paper and return to stage, at same time keeping up a rapid-fire talk on the subject of psychic phenomena, etc. , and when you reach the stage, unfold the paper and lay it on top of the pad, OYER THE SHEETS CONTAINING THE CARBON.

Read aloud the name written across the paper, then call to the attention of the audience the fact that you propose to write upon this same piece of paper, something unknown to them. While you are attracting their attention with your talking, you casually TURN OVER THE PAD which brings the bottom of pad with creased sheet to the top. This will never be noticed if it is done in a natural way.

Now, on this sheet of creased paper, you pretend to write something, BUT YOU DON'T. Then fold this paper and apparently place it in the small envelope --what you really do, however, is this: While in the act of opening small envelope, you insert the right thumb, with the thumb tip, grip it from outside with the left hand, and withdraw the right thumb leaving the tip inside.

Place the folded paper in thumb tip and place the right thumb back in tip. Spectators believe you have placed paper in small envelope. Next seal envelope and place in large one which you also seal. Then hand it to someone to ho!d--if a lady, have her place it in her handbag. If a gentleman, have him place it in his inside coat pocket. This prevents holder from feeling envelope.

Return to stage and while on way, run your right hand, (in a natural way) in your trousers pocket, slip off tip and withdraw piece of paper, leaving paper in pocket. This can be done in a few seconds.

Have three spectators selected to assist you and be sure to impress upon their minds, and those of your auditors, that they are not plants or confederates. Satisfy everybody that, beyond a doubt, they are perfect strangers to you.

Hold the pad in your left hand with creased sheet on top (being the signed sheet) over the plain sheet and the loose sheet which is next to the carbon in such a way that it will appear to be the real top sheet of pad.

Request first spectator to call out the first day of the week which enters his mind when you say "Ready. " As spectator does so, you write it on creased sheet, apparently as a memorandum, or reference.

In a like manner the second and third spectators call out the name and a date of the month respectively and performer copies it down.

Performer apparently hands this memorandum to someone to hold. Actually he withdraws THE CARBON IMPRESSION. It is best to fold it double and request party not to let anyone see it and to hold it as a check against what the three spectators called out. On performer's way back, he secretly folds original creased sheet, which lies on top of pad and which is the one on which he made his notes or reference.

Performer secretly obtains thumb tip, pushes folded paper into it and places it on his thumb. Since paper was originally creased, it is quite easy to refold it with one hand.

When you reach stage, you give the audience a resume of what has happened and add, "There is not a living person who knows what I wrote on that paper. Would you say that it is impossible for me to have caused you yourselves to have asserted a correct mental impression of what I have already written upon that piece of paper. Surely you would, but believe it or not that is just what I have accomplished and now let's prove it. " Now for the final rub.

You step down to person holding envelope, take it away with left hand and hold high just for a few seconds so that everybody can see it. Then ask the lady if the envelope has remained in her possession since she first received it. With your right hand tear off the end of the large envelope and immediately insert right thumb with the TIP. At the same time you slightly squeeze envelope with left hand. This will assist in opening the envelopes sufficiently for thumb and tip to enter easily.

After you have pushed tip into envelope, fingers and thumb of left press against the thumb tip from outside, forming a kind of grip, while you withdraw right thumb from tip which brings folded paper with it and drops it INSIDE THE SMALL ENVELOPE.

Immediately slip thumb back into tip and as you withdraw same; also withdraw the small envelope and press the ends of the envelope to keep it from bulging. After you have removed small envelope, hold it up so that everyone can see it. Call attention to the fact that it is still sealed and intact and while their attention is being attracted by your remarks, you take envelope in your left hand and, in a NATURAL manner, run your right hand into your trousers pocket to remove thumb tip.

Tear the end off the small envelope, and have the lady remove the paper. Be sure to have spectator identify the paper as the original one with name signed across it.


Dr. Hereward Carrington

Nothing is more baffling and more interesting to the average audience than a good mind-reading Act. It leaves them spellbound, and they will often talk about it for days and even weeks afterwards. It is one of the greatest attractions, insures tremendous publicity and provides excellent financial return. The "mentalist" is in some respects the apex of the magical profession.

The regular mind-reading Act involves two persons: The performer (in the audience) and his assistant (upon the stage). This assistant is generally a young lady — and the more attractive the better! All such Acts depend upon a CODE of some sort — spoken, silent or involving some electrical connections. The latter are not suitable for Club work, and have a limited application even in regular theatres. When so-called "silent" codes are employed, the assistant must be able to see, and'this detracts greatly from the effect of the Act. A thorough blindfolding of the assistant adds greatly to its effectiveness. We are therefore forced back upon a verbal or spoken Code as being the most generally applicable and generally useful. The present Code is of that nature; but it is so deceptive and ingenius that any audience will be completely "fooled" by it, and would probably be ready to swear that no words were spoken by the performer at all. Nevertheless all Cues are given by these means.

We will assume, then, that the performer has secured the services of a really clever and competent assistant — one who is ingenious and resourceful, can use her imagination, and has a retentive memory. She must also have a good "line of talk, " and be a good "showman. " Many days of solid work will be necessary in thoroughly memorizing the Code; but, this once done, it will be found highly effective and virtually undetectable.

In presenting the Act, the performer walks among the audience and questions are whispered into his ear. (Nothing is written). His assistant is seated, blindfolded, upon the stage. At a word from the performer, she begins her readings — the nature of the "psychic impressions" she receives — and the Act proceeds in this way, as the performer moves from person to person in the audience.

The transference of the necessary information, from performer to assistant, depends primarily upon the initial request, such as "next, tell this lady, " or "now, read this gentleman. " The assistant immediately starts off, and what she says is either denied or confirmed, as she goes along. Needless to say, her "impressions" are almost invariably right.

The Code thus depends upon a series of questions and answers asked quite naturally and casually. These questions and answers form the basis of the Code, and must be thoroughly learned before being presented in public. Nothing is more tragic than a badly presented mind-reading Act, which breaks down and goes to pieces in the middle; or a series of failures which follow one another in rapid succession. This may be avoided by thoroughly mastering the Code before presenting it in public, so that no possible "hitches" occur. Work and work alone will insure this.

By means of this Code practically any question that may arise can be answered quickly and effectively. Well presented, detection of its modus operandi is almost impossi tie.

Both performer and assistant must begin by memorizing throughly the following list:

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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