A new method of reading the cards from the top of a freely shuffled pack. Any pack used and no skill required. SECRET: Have a small polished or nicked disc mounted on a flesh colored band, that will fit the second finger of your right hand, near the first joint. The polished disc faces the inside, and owing to the flesh color of the band it cannot be seen on the finger. After a borrowed pack has been shuffled, take it in the left hand, and slide the top card off to your right just enough so you can see the index pip, or indicator reflected in the silver disc. Apparently "feel" the top card with the right thumb--name it-- remove it-- and show it, and place it at the bottom of the pack. Read as many as you desire in this manner. A little practice will enable you to do this in a perfectly natural way, after you learn just at what angle to have the disc. Of course you are supposed to be reading each card with the thumb of the right hand. This test may also be presented as a mind reading stunt by changing the patter.
18. SLATE AND BLACKBOARD TEST (LIGHTNING)
Request a spectator to write five or six common names on a slate or blackboard; then ask him to write one of them on a smaller slate, and show it to the audience, being careful that you do not see it. He then erases it, and places the slate on a convenient chair. Now you take him by the left hand -- ask him to look you in the eye, and then, turning to the blackboard you cross out the name he wrote, and erased from the slate. This effect may be varied by using numbers, as for instance 25----
70--500, etc. SECRET: A confederate is seated in the center of the theatre who signals to you by means of a code known to both, so as to convey to you the correct number or name. This code must be learned before hand and may be something like this.
JAMES----Right hand to forehead.
THOMAS- - Right hand on Chin.
The same signals are used to cross out separate letters. The blackboard should be extra large, and the slate of common size, and very soft chalk should be used so audience can plainly see the writing. The slate must always be given to someone in front of the confederate. It is best for you to arrange your own code of signals, so that they will be different from codes used by other performers. A little thought and ingenuity is needed.
Nearly everyone knows the old trick in which the name of an article in the room is whispered to the performer whose assistant is outside. Assistant enters and after performer calls the names of several articles, the one named after black or white is the chosen one. The method is now so well known as to be useless, and the better way here suggested will be found mystifying to those who know the old method. EFFECT: In this new method the performer may name the different articles or merely point to them, and when the selected article is named or pointed at, the assistant instantly names the chosen one. SECRET: Before the trick is presented you and your assistant agree that the fourth object indicated will be the correct one or first trial--the fifth on second trial--the eighth on third trial. Those who know the old color method will be at sea when this up to date method is used. Its good! Try it.
It will be found that if in a moderately quiet and carpeted room, several heavy steps are taken, only a trifle heavier than ordinary, the vibration of the room can be easily felt by anyone watching for it. In this case the medium is blindfolded, which adds to the effect. After the article has been chosen, medium is brought into the room, and seated in the center of same. Medium rests her hands against the sides of the chair, which will enable her to feel the vibration with ease. The audience calls out the various objects, and each time the performer walks up to the object named and after touching the object walks back to the center of the room. When the chosen object is mentioned the performer takes two heavy steps on his way to touch it. If it is more than two steps away, he takes the rest of the steps lightly. The object in having the performer walk back to the center of the room each time, is to give him a chance to take several steps before touching the next object, for the audience might call some object immediately beside the one last named, and in case it was the chosen one, he could not give the necessary signal. To do away with suspicion the performer may in walking back, take any number of heavy steps, or in walking toward an object he may take three heavy steps as the assistant will know that two and not three steps is the signal. The principal being new is a very baffling one.
This is good for one message or for a complete 20 minutes, according to the performer's desire. Obtain a packet of ordinary envelopes of the cheap variety, because of the softness of the grade, and prepare the first six in the following manner. (1) Clip an ordinary carbon sheet to fit inside the envelope, and back it with an ordinary sheet of white paper, so that the interior of the envelope can be shown if necessary. Now prepare six more in the following manner; (2) Coat the inside of the envelope with ordinary glycerine soap, or a good grade of cocoa butter and add a slip of paper if you wish, although you can do without it. Use either sort of envelope according to fancy. With six of these prepared envelopes at the top of an unprepared packet--a few sheets of paper--and a hard pencil, step into the audience and request (middle aged people are best) various spectators to write a simple question and to sign their names in full. To facilitate matters you hand pencil and paper to the person before you. Also a couple of envelopes to act as a "writing board, " emphasizing the fact that you want them to ask some pertinent question, and sign their name clearly. When this is done you pick up the envelopes in an off hand way, and replace them on the packet while asking the writer to fold his question in a certain manner. Then take an unprepared envelope from the bottom of the packet and direct the writer to seal his message therein, and to place it in his pocket. Continue this process until you have exhausted the six prepared envelopes then step behind the scenes, and leave the prepared envelopes with your assistant. You step back upon the stage, with the balance of the envelopes and throw them carelessly on the table, at the same time commencing a discussion on telepathy, etc. If using method No. 1, your assistant has only to trim the edges from the six envelopes and extract the slips of paper from under the carbon slips, so that a copy of each question is fully revealed. If method No. 2 is used, he must dust (lead dust) or bronze powder over each slip which causes the copies of the questions to become clearly readable. He then quickly, but neatly, recopies the various questions clearly on one slip of paper, and pins it to the top of a small tablet which he brings in and sets near one of the wings as unobtrusively as possible. The performer, (or Lady Medium if you use one) is then blindfolded, with any method of fake blindfolding known and seated beside the table. Sly peeps at the recopied questions, enables you, (or Lady Medium to read them) and also to answer them after the manner of Anna Eva Fay, Ruth Grey and others.
The old method of having several spectators write a series of figures on a card, and another spectator to add them, after which the medium on the stage announces the total sum, has been so often exposed that it is hardly worth doing. We believe that the new method here suggested is a worthwhile improvement. Step into the audience with only one card in your hand, and politely ask some lady what number she prefers to have you write. When she whispers it to you, pretend to write it or them on the card and for effect ask her to whisper it once more, so you will surely have it right. Then step to a second and third spectator and repeat this maneuver, and finally ask a fourth spectator to add them up, while you make a talk on Thought Transference, etc. As soon as the spectator hands the card to you the medium on the stage "reads your mind" and announces the sum total of the addition. This is simple to perform and goes over big. The secret consists in writing down certain memorized figures instead of those whispered by the spectators, so that the sum total is known to you, before leaving the stage. This eliminates a change of card and other'slight of hand methods, and therefore completely baffles the spectator who may be somewhat acquainted with the older and more antiquated methods.
The effect: a pair of dice are handed to someone with the request that he throw them while you turn your back, or close your eyes or both, so that you cannot see the numbers. Next ask the spectator to take a number on either die and to multiply it by 2--then add 5, and multiply the sum obtained by 5, and to this add the number of the other die, and then to tell you the number he obtained from these operations. From the number he gives you, you mentally subtract 25, and you will get the two figures from the remainder, and these will be the two numbers on the dice. EXAMPLE: Suppose the number given you is 59; then 59 minus 25 equals 34, that is, the number on one die is 3 and the number on the other die is 4. The entire operation is as follows; 3x2 : 6 + 5 : 11 x 5 : 55 plus 4 : 59, minus 25 : 34.
THE MIRACLE LETTER TEST -Ovette -
In general, this effect is similar to other sealed letter tests.
The medium makes use of a secret gimmick. Bend a piece of light tin or other metal, one-quarter inch wide into a semi-circle, so it can be slipped on thumb. Make it narrow enough to slip under thumb nail on either side. A small piece of safety razor blade is soldered to this and the entire gimmick except edge of blade is painted flesh color.
The fake is in medium's right vest pocket. Slip of paper on which a question is written must be folded quite small and placed in an envelope that is LARGER then the slip. Medium obtains fake on right thumb while question is being written and sealed. He takes envelope in left hand. Right hand moves toward envelope and slits envelope near pellet, the location of which as been found with left fingers. Slit is made on side toward medium.
This is of course all accomplished while the medium is pattering and giving a few verbal impressions to take spectators eyes from envelope.
Billet is worked thru slit to back of envelope, unfolded and memorized and returned to envelope.
These moves may seem impossible to the beginner but the professional will realize that they can easily be made with little skill or practice by taking the eyes .off the spectator at the psychological moment.
When re-loading is finished, the medium cuts the envelope in half or wherever the slit is, and this way destroys the tell-tale slit in back of envelope.
EFFECT: Performer draws a square on a paper or blackboard and divides this square into 16 smaller squares. Any number between 40 and 100 is submitted and this number is marked on the sheet beside the square. The object is to divide the given number into 16 parts, placing these parts into the figure so that all horizontal rows of four figures, when added, will total the given number. This is also the case with the four vertical rows of figures in the square. Next the four corner squares are totaled and found to equal the given number. Then the two diagonal rows of figures also equal the given number when totaled. With a perfect magic square practically all sets of four squares will give the selected number. This will be explained later.
MODUS OPERANDI: If you are supplied with the knowledge of how to perform this effect, it is very, very easy and simple to do. However, without the 'key' I sincerely doubt if you would ever be able to work out the solution in your natural life!
FIRST: It is impossible to perform the square with a number less than 35, so the square contains 16 spaces for numbers to start with. In asking for a number, request one from one to one hundred. If a number less than 35 is submitted, then say, "No, give me a larger number --let's make it HARD. Something, say, between 40 and 100. "
As soon as the number is submitted, write the number on your sheet of paper (or blackboard) draw a large square, and divide this square into four squares, then divide the four squares into four equal squares, thus securing a total of 16 squares. It is not necessary that the drawing be a 'piece of art'-- merely a figure in which to place the numbers.
Let us assume for purposes of illustration that the number submitted is 6 3. Here is the key and the mathematical process with which you solve the ' 16 Magic Square Problem. '
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