Torn Billet

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Gerald Kosky

Many worthwhile methods have been described how to read in a subtle unseen way, the stolen torn center . . . One of the best, for some unknown reason, has been by-passed. The method I mean is as follows: When folded slip with the question written on it has been'handed back to you and you have torn it in to the required pieces and have stolen the center-piece that has the question written on it; place the other torn pieces on an ash-tray to be burned . . . When spectator lights the pieces to be burned, you place your hands behind your back, open the stolen center-piece and place it in either your right or left coat sleeve, sticking it on a piece of wax that you have placed and stuck on the inside of your sleeve about two inches up from the opening . . . The wax is stuck in the inside of sleeve, at a spot that when you raise your hand to cover your eyes (to concentrate on the question? ) you can look down your sleeve and see (without the spectators being aware of what you are doing) the center-piece with the question written on it, clearly . . . By using the sleeve method, your hands may be shown empty, you do not have to do your reading of the message with your back turned to the audience and, what is more, you do not have to use the old dodge of reaching into your pocket for a pad of paper in order to write your impressions on it; thereby getting to read the question on the stolen slip in a furtive manner.

The sleeve method has been made foolproof by the use of wax being stuck on the inside of the sleeve, so that the stolen slip may be stuck on it at the proper place so that it may be seen by you easily, without the worry and fear that the slip might fall out of your sleeve when you lower your hand to its normal position. Try it; I'm sure it will become your favorite method.


Gerald Ko'sky

EFFECT: After a deck of cards has been shuffled, and the deck cut in half, performer, before picking up the top card of each half; names them and, when the two cards are tossed out on the table; the spectators see that the performer is correct. This is repeated twice more and, each time, the naming of the two cards, are correct.

METHOD: When shuffling the deck, peek and remember what the top three cards are when the shuffling has been finished.

After the shuffling, request a spectator to cut the deck in half. When this has been done; start to pick up the top card of the lower half and just before your hand reaches that card, miscall it as the known top card of the deck. You look at it and reach to pick up the top card of the top of the deck and, just before you reach that card; you miscall it as the card you just looked at. Toss the two cards out on the table and let spectators see that you are correct.

Lean back in your chair, pause; don't continue till someone, and there is always someone who will ask you to "Do it again". When they do; reach forward and repeat the moves as described above. When finished, lean back in your chair again and, pause.

You more than likely will be asked to "Do it again! " If asked to do it again; fine. If not asked; reach forward to repeat the above moves as you say in a smiling manner; "Of course it is not likely that I'm able to do it a third time" but of course you do, you sly devil.


Gerald Kosky

EFFECT: Several calling or business size blank cards are handed out with a request that each person that is handed a card to write or print their name on it as it is normally written by them.

When this has been done; performer collects the cards, mixes them up a bit, and then places them writing side up, in a scattered sort of way on the table.

A spectator is requested to think of and remember one of the names as it is written or printed on the face up cards. When this has been done, the cards are turned face down so that only the blank sides of the cards can now be seen.

Performer says to the spectator who thought of one of the names, "I'm going to tap each card in a sort of random way and, as I do so, I want you, to spell-out, to yourself, the name you are thinking of. You do this for each card that I tap; one letter at a time, and, stop me when you've reached the last letter of the name you've been spelling. "

Performer taps each card, seemingly at random until told to 'Stop'. When instructed to 'stop'; performer asks spectator what name he (she) had been thinking of. When informed; the last card that was tapped is turned over and it is seen to be the card with a name written or printed on it, that had been thought of.

METHOD: The several cards that you hand out are prepared with secret marks on them so that you may tell by sight or feel which is card #1, 2, 3, 4, 5, 6 and 7.

Before handing out the cards, get to know the names of spectators or friends you will be doing this effect for and, work out in your mind, an arrangement of names, each of which has one letter more than the preceding name. For example: Slydini has 7 letters, in his name. Frackson has 8. Dai Vernon has 9. Bill Larsen has 10. Lloyd E. Jones has 11. Peter Warlock has 12, and Charles Miller has 13 letters. Now card #1 would be given to Slydini. Card #2 would be given to Frackson. Card #3 to Dai Vernon, etc. , etc. Slydini would write or print his name on card #1. Frackson on card #2. Dai Vernon on card #3, etc.

When the cards have been placed written on side, face down on the table so that all the cards are blank side up; they are done so in whatever set-order you want them to be at.

Now, when you start to tap the cards, you do so at random until the 7th tap. On the 7th tap you tap card #1, then card #2, then card #3, etc. etc.

For example: Let us assume that Bill Larsen is the name thought of. That name is written or printed on card that has been secretly marked as card #4. You tap the cards at random until the 7th tap, which will be the card that has a 7 lettered name written on it. Your next tap would be on the secret marked card that has an 8 lettered name on it. Next you'd tap the card that has a 9 lettered name on it and, when told to stop; you'd be stopped when you tapped the card that had a 10 lettered name on it (Bill Larsen). In other words. Your 7th tap would be on the card that you had secretly marked as that for card #1 and, then, your next taps would be on card #2, card #3, etc. , etc. , until instructed to stop.


Stan Lobenstern

EFFECT: Two decks of cards are displayed, one with Red and the other Blue backes. Spectator freely selects a card from one deck and this proves to be the only card missing from the other deck, even to back design.

SECRET: The Blue deck consists of all the odd Blue cards on top of the pack, and all the Even Red cards on bottom. The Red deck consists of 51 odd Red cards.

PRESENTATION: Place both decks on the table. Ask a spectator to select Red or Blue. Using the Magician's Force, give him the Red deck to hold, (re: If he says RED, give him the Red deck. If he says BLUE, say "O.K. I'll use the Blue deck, you hold the Red one. ") '

Remove cards from Blue case, FACE DOWN, spread out about

15 or 20 from the top (all Blue backed), and ask spectator to select one. As soon as he starts to reach over to take one, close the Fan, square up the packet, and say "Wait a minute, let's make it even fairer. I will turn the cards Face Up, and lay them on the table, one by one. When you see a card you want, please stop me. " Do as you have just said, and SLOWLY lay the cards, FACE UP, on the table.

Keep talking to spectator about choosing a card, he will always choose one of the first 20 cards, if you say continuously, "Any one you want, as soon as you see one, stop me. Any card, etc. "

If you go past 15 or so cards, say something like, "TODAY, PLEASEI " This will get a laugh, and usually will make the spectator take one of the next three cards. However, you will have very little, if any difficulty with this part.

As soon as spectator stops you on a card, place his selection, FACE UP, on the table, away from the other cards. Pick up the other cards on table, FACE UP, and place on your face up deck, and replace in BLUE card case. Explain to spectator that you would like him to take the RED deck, out of its case, hold it FACE UP, in his left hand, and to deal the cards, FACE DOWN, on the table, one by one, and to count each card out loud, BUT he is to stop, when he comes to the duplicate of his selection. He will, of course, count all 51 cards and NOT find a duplicate of his card.

Say to him, "Isn't it amazing, that of all the cards, you have to choose from, in this Blue deck, (remove cards from the Blue card case, holding them FACE DOWN), you chose the only one missing from the Red deck, (start spreading a few of the Blue cards), and indeed was the only Red card, in this Blue deck. " (Turn selected card FACE DOWN, so spectator may see it has a RED BACK).

Stan Lobenstern

EFFECT: Performer lays out five ESP type symbol cards on the table. Assistant is blindfolded and may turn their back, or leave the room. Spectator merely points to any design and then says READY, to the assistant, who immediately names the selected symbol. The only word that is said to the assistant is "READY", and that is spoken by the spectator. Performer does not touch, indicate or say anything to the as sistant.

METHOD: If you will look, at the five designs, you will notice that they are made up of a series of numerical lines or points. Re: The Circle has one continuous line to make the circle. The two Wavy Lines are composed of two lines. The Triangle has three lines (sides). The

Square has four sides, and the Star has five points. If you look at the Key Card, you will see that there are five words, one to represent each design in the same numerical order. RE: The word for the Circle, is "A", it has one letter, just like the Circle has one line. The word for Wavy Lines, is "IT". This word has two letters and there are two lines. On the same principle, the word for the Triangle is "SEE", the word for Square is "Let's", and the word for the Star is "THINK".

WORKING: To convey to your assistant which design has been chosen requires a spoken comment to the spectator after he points to the card of his choice, and BEFORE he say's "READY".

The first word you say to him must be a code word. Instruct your assistant to listen for this word, as you do not want your comment to be too obvious.

FOR AN EXAMPLE: If the SQUARE has been selected by the spectator, say something like "LET'S try to fool her". Always direct your comment to the spectator and not to the assistant. This way, when the spectator says "READY", he believes it to be the only thing said to your assistant.

Recommended Coded Sentences

2. WAVY LINES . . . "IT" looks like a stumper.

3. TRIANGLE . . . "SEE" if he (she) gets it.

4. SQUARE . . . "LET'S" concentrate on the card.


Suggested Lecture

"Good evening, friends; please do not regard the demonstration that you are about to witness as anything unusual, strange or of a supernatural nature. It is just that work of this kind is so seldom understood, or practiced. "

"Each and every one of us possesses the faculties of the sixth sense, though in 99 out of one hundred people it lies dormant, asleep, useless for the simple reason that the individual has taken no means or efforts to develop and cultivate it. "

"I shall endeavor to grasp certain vibrations from your mind —

concerning events of the past — the present and the future. I shall further endeavor to give you spiritual advice and guidance, just as I have aided countless thousands in the past. From whence comes this source of remarkable knowledge is irrevelent. Advanced scientists will say that my passive mind tunes in on the Great Universal Mind - a world composite mind of the living and dead - thereby tapping and gaining access to this all-encompassing knowledge of the past - the present- and the trends of the future. "

"Reflect - I do not say the future - but the trends of the future -the most likely-to-occur events, and I shall give them to you just as I receive them. "

"Not as a challenge - to any skeptics present, but merely to satisfy all and to preclude the possibility of any trickery or skullduggery in my demonstration, I shall rob myself momentarily of one of the most important of the six normal senses - that of sight. Over my conscious eyes, I shall place this heavy blindfold, shutting out all natural vision. "

"Just as the loss of sight, hearing or taste in an unfortunate few, other senses become keener to make up for the unnatural loss. Thus, in my case, my intuitional sense or sixth sense is strengthened by the loss of my conscious vision. "

"My assistant will pass among you in the audience, distributing slips of paper, on which you are requested to write your full name, and one important question, fold these and insert in the envelopes furnished you. Do not let your friend or neighbor see the contents of your billet. When you have finished, my assistant will collect the billets in a borrowed hat (glass bowl, or what not), and deposit them on the table before me."

"As I stand before you on this platform, please regard me as your friend - as an agent or messenger of good tidings. Perhaps some of your messages will come from dear ones who have passed into the Great Beyond - and if so, thus be comforted. "

"The billet now held by my assistant bears the initials of J. B. -- the vibration comes from a gentleman - the name is Burrows - where are you, John? (Assistant acknowledges the raised hand). Thank you, John Burrows - I see that you are worried - and I am glad that I could reach your troubled mind. Thru the efforts of your attorney you will be able to save all - though you have despaired. Be of good cheer, all will turn out well in the end - as I visualize the symbol of happiness and security for you. " Etc. , etc. .

Because this method does not involve any apparatus, confederacy or previous preparation, and may be presented under almost any circumstances, working alone or with an assistant, it is truly unique.

Its effectiveness naturally is based upon a very clever routine, several misguiding statements and actions, plus a wealth of showmanship. The principle is not new - and the fact that this principle has been used for a great number of years is proof alone of its merit, and now in the improved form, promises even greater effectiveness.

Added advantage is secured if the performer can work on an elevated platform, so that the level of the stand or table is above the eye level of the audience. This, however, is not necessary, as you will soon learn. The stand or table should be about 36" high, if possible and convenient to obtain. The only other requisites are a spike bill holder, (small metal base, with a wire spike on which to impale the papers, ) slips of paper of uniform size and color, envelopes (if you wish) and pencils. A blindfold is also used and should be made of heavy material, black in color. This is worn across the eyes, apparently shutting out all vision. No other properties are necessary.

Method of presentation and getting of the first question may be greatly varied. Whether or not you have the audience seal the billets in the envelopes is also optional - however, both methods will be covered.

Your lecture is designed to create a state of expectancy among your audience and to prepare them for great things to come. To those who believe your lecture, your battle is almost won. To the remainder of the audience, you must 'prove' your contentions - and in a manner above board and suspicion. Therefore, it is well to allow any spectators to carefully examine the blindfold - as it is fair.

The slips of paper are passed to the audience - names and questions written thereon. The papers should be about 2" square. Pencils should be supplied to those who lack them - this allows the assistant to mingle in the audience - and perhaps to see one billet and learn its contents. If the assistant is successful is so doing, she will mark that particular billet when collecting it, by slightly crumbling the samel This will then be the last billet apparently to be answered, though actually this is the first.

In such event, the blindfold should not be placed on the medium before the questions are collected - as the assistant can whisper the name and contents of the marked billet to the medium while standing behind him - tying and adjusting the blindfold! All the medium need know is the FIRST question.

If the assistant is unsuccessful in seeing a question, or learning the contents of a billet (many spectators will consult with the assistant or have the assistant write questions for them), there are other methods to be employed. The assistant, or the medium may instruct the audience to fold the billets twice, writing inside. Practically all will do as directed.

If the envelopes are not used, the assistant may have one dummy billet of a very slightly different tint of paper folded and palmed in the right hand. As the questions are collected, the spectators drop them in the hat, and occasionally the assistant may take one or two in her hand, and drop into the hat. The object is to switch only ONE QUESTION for the dummy, which goes into the hat!

The assistant returns to the stage or platform, pours the questions to the table top, and while smoothing them out, may deliberately open the palmed question (among the other billets), learn its contents, later whisper them to the medium while placing the blindfold. Attention is directed to the medium at this time, who is displaying the blindfold. Or the question may be smoothed out on the table top, later to be read by the medium!

If the envelopes are to be used, they are passed to the spectators. The assistant shows the audience how to fold the billets, takes one, puts into envelope, seals and drops into the hat. She then permits the balance of the audience to seal and drop their own questions in hat. Pay or coin envelopes should be used with the flap at one end. For the first question, take a pair of sharp scissors,and cut the tip off the bottom of the envelope Have assistant practice dropping billet into envelope, squeezing the sides and permitting the billet to pass thru the envelope into the left hand, concealing billet, and at the same time sealing envelope. The boldness of the operation assures its success, if cleverly performed.

The assistant may then get the information to the medium, as related above, or may leave the platform momentarily to get the BLINDFOLD (Off stage) quickly read the contents of the billet and return to the medium. Any of these dodges may be employed.

If a plant or 'confederate' can be arranged in the audience for the FIRST QUESTION, it is much better. The actual answering of the questions can be started as the blindfold is being placed over the eyes, the medium saying, "As darkness falls across my conscious mind I receive a very strong vibration from Mary G. H. Mary Henderson - please answer Mary - where are you? To assistant - 'Please pick up the billet to your left - it belongs to Mary - hold it high in the air - and all concentrate. " Etc.

This head-start jump carries a lot of punch - and further misdirects your audience.

It is more effective to answer the question first, than to miss upon it. It is always best to start off with the right foot - though not necessary. If you do not employ any of these gags, then you fake the first question, which is also quite effective.

Up to this point, you are concerned in learning only the first question. If the assistant has not given the medium the date or plant used, then proceed like this.

Medium stands before table, slightly to the right. Questions are slightly to the left, on table, and assistant stands near by. The demonstration is ready. Assistant picks up any one of the billets, the medium 'tunes in the Great Universal Mind' and calls a name while the billet is being held by the assistant. Medium to this minute has not touched a single billet, nor will he!

Medium (to a fictitious name and situation) "I get a vibration from a young man who evidently is in great trouble, but his foolish mind causes him very little worry. In my demonstration I will insist that the writer respond by holding his hand high in the air to acknowledge their name and question. However, due to the peculiar nature of this question, I will not ask FJR to hold his hand up, as it is not my intention to embarrass anyone. I will say that to Mr. R. your lady friend's husband is well aware of your identity - that he is in town this very moment, that I fear drastic consequences if he locates you. Need I say more! "

About mid-point in the answer, the assistant opens the billet (if sealed in envelope, tears open envelope, places on table), reads the message and nods her head in affirmative that the medium is giving the correct answer. The now opened slip of paper is placed on the bill-spike, which is on the table before the medium, and slightly to his left. It is so placed that the medium, while talking and moving slightly from side to side can glance down the side of his nose and read the contents. This gives the next question.

The blindfold is of heavy material, and should be slightly stiff-tied tightly across the eyes, it permits a limited visions down the side of the nose.

The assistant, having discarded the first billet by placing on bill spike, now picks up a second one, holding it about shoulder high, and of course, away from the medium. While concentrating, the medium reads the billet just placed on the bill spike, calls that name and answer -though the audience THINKS he is answering the one held by the assistant. It is an application of the old 'one ahead' principle - yet, the medium never touches the billet.

The medium answers the question billet, which is open, silently read by the assistant, who gives the affirmative nod, and places it on the bill-spike, to give the medium his third question. This is continued until you have answered a sufficient number of questions, at which time the medium explains his time is expired, or the strain of continued concentration is too great. If you answer only a small portion of the question, those who were not fortunate enough to have an answer will prove a potential customer for a private consultation.

If you start out with a fake question - a bluff - you will not be able to answer the LAST question - unless your assistant places an extra billet in the hat - one so crumpled or marked that she will note it, and leave it until the last one! This is the cover-up for the last real question answered, which is on the bill spike, but audience thinks it is being held by the as sistant.

However, if you started with a real question - secured by the assistant, that question is so marked as to be known by the assistant, and it is saved for the last one as held by assistant, which is opened and may be returned to the audience. That is important!

As you will note, this improved version is much superior to the one-man method, where the performer 'bluffed' the first question, picked up a second billet (after having checked or read the first one, ) answered it while held to his forehead. In each case, the performer himself would read the question AFTER it apparently had been answered.

In this method and while working with an assistant, the medium never touches a billet, let alone READ one. At least, that is what your audience is led to believe! Thus, the method gains strength, conviction and effectiveness.

If the routine is to be worked alone, I still suggest the blindfold and the bill spike, if the medium has a platform and a high table to work from - where his operations are considerably above the eye level of the audience. Otherwise, resort to the original method of answering a question - opening it briefly after the answer to verify it, which gives you the data for the next one.

Working this way sometimes it is well to further convince your audience - to answer only a portion of the question. Your answer concluded, you then open the billet to verify, and then note (the one you are now reading, of course, is for the next question) that you did not cover it in detail or get the exact relationship, then give a little more answer. That subconsciously proves that you are actually divining the billets as you hold them to your forehead!

One very prominent member of the profession, working in a large tent theatre, passes slips out to the audience and gathers them. A switch is. made going to the stage, and the real questions are placed on a little table. The medium sits down behind the table on a stool and placing the hand to the forehead, appears to go into a trance. The questions are then answered in rotation.

Due to the construction of the tent theatre, the table top was always sufficiently high above the level of the spectator's eyes at all times, that they could not see the questions thereon. The real questions laying on top of the table. A fake blindfold was used to good effect in this test.


When Dantes consented to the publication of his lifelong system of psychological reading, I was overjoyed. For here was a man who knew his business - a successful reader covering a span of more than twenty years. My acquaintance with him will cover almost as many years.

"Dantes" is the fictitious name adapted by this reader-of-fortunes. He has successfully operated in the better hotels, night clubs, radio and private offices, as we'll as having earned the reputation for being top money-getter on mitt-camps. His system of reading is a result of his own development over many years - of trial and error, until perfected. The darn thing is ridiculously simple - yet cleverly conceived.

In my interview with Dantes, I endeavored to discard all my own pet theories, and seek a fresh viewpoint. I knew that I could profit by his wide experience - so, with open mind, I started with him from 'scratch'.

To explain Dantes psychology of life will give you a better insight into the man and his daily work.

Happiness, peace of mind and contentment is the ultimate goal in life of every individual, says Dantes. Around this one outstanding goal, all life revolves. If happiness, peace of mind and contentment are achieved, complete satisfaction with life follows. It does not stand to reason that the richest of the world's people are happy and contented, because contentment cannot be measured in dollars and physical properties.

The realization is something very personal. It has to do with the state of mind. It can only be accomplished when all factors are such that nothing more is desired. To any person, held in high esteem among his fellow men - adored and worshipped by a good man or woman - with family and friends, possessed of good health, their life must be a full one.

The mad scramble for riches - worldly goods is but an emotional outlet to garner the physical things that will later assure us of this mighty peace of mind and contentment. With money, influence, power and education, man accumulates these things not only to satisfy his own ego, but to fortify himself against misfortunate - unhappiness, grief and loneliness. Each of which are the opposite extremes of that which we unconsciously seek.

Being the possessor of a Doctor of Psychology degree, these things sounded basic and logical to me. I began to grasp the impact of his meaning - and guessed that he would eventually tell me that when people fell short of these goals, or their desires are frustrated, then with their emotions at low ebb, they would seek counsel and assistance of a professional advisor or medium.

A logical and scholarly man, Dantes was laying a sound foundation for his revelations to me. He was showing me the 'cause' of the cause and effect equation!

He continued to inform me that happiness is achieved not only by having and doing for oneself, but by making others happy. No one person restricted within the walls of himself can be happy. He must SHARE with others - giving and RECEIVING happiness and mental compensation.

Then, there is the most powerful law in the world that MUST always be considered - for the basis of life itself- the law of attraction - positive or negative - the male for the female. Perhaps this is the strongest force of life, excluding that of self-preservation. It is a law of balance in our lives - man and woman; woman and man. It is this ever present, restless law that creates havoc and the heights of glory in our lives. Because in striving to gain our own salvation, we must share it with others - those of the opposite sex.

We share our love with our children - parents, relatives and friends yet the basic source of this love has been created as a result of this law of attraction - between the sexes. We must not lose sight of this fundamental law - for it guides the destinies of our lives. Our daily struggle to gain a happy and harmonious union with the opposite sex, to build around it and protect it - to further perpetuate it always.

I exclaimed that this was a good theory - and fundamentally true, but just like the true course of love, it did not always run smoothly. My counsellor said wisely - "You have hit the nail upon the head. Life, while it runs a familiar pattern, is always torn by interruptions and frustrations - yet, always remember, the driving force and the goal is the samel "

I fear this discourse might run on into hours - I wanted to get down to the 'system' - then I realized this clever psychologist was preparing a foundation for that which he was about to reveal. In order to read life and predict the probable course of events, one must understand the basic facts of life. Summed up - he was telling me that to achieve our goal - we must seek this goal in communion with others. Those who admire us - who respect us - who love us. Here is a natural rule of the universe.

It is the uneven flow of life - the frustrations, struggles, disappointments and heartbreaks that makes life what it actually is today. It has often been said 'Life is no bed of roses'. It presents a struggle -a continual forward surge for gain and eventual reward. The path is rugged, rough and strewn with obstacles that call upon us for the perseverance of our well being. Sometimes the struggle becomes hopeless and the faltering soldier lets life slip from his grasp.

It is the frustrations - and life is overflowing with them - that have caused man like Dantes to devote their lives to counselling with and advising people. So vast is the demand of frustrated people to seek counsel and an insight into the future that the business of 'reading for people' has become a very highly profitable venture. It is my own observation, as in the case with Dantes, that after years spent in this work, a conclusion is reached that people create their own destinies, and disregard'less of your sincerity of purpose, pay little heed to your advice and counsel.

You get hardened to hearing nothing but trouble - because those without troubles never come within ear shot - troubles that could be solved by the individuals themselves, if they were honest enough to face the real problem, and have the courage of their own convictions!

I am beating around the bush a bit, as Dantes would say. To be more specific, our teacher friend has become quite mercenary. For the past many years, he 'reads fortunes', if you please, at so much per fortune. He has evolved a system of giving a reading - for pleasure - seeking people and those with frustrated emotions that will satisfy them - and enlarge his ever growing bank roll.

It has become a game with himi He sells his wares - a reading or line of mystic chatter to whoever seeks it - capitalizing on his observations of life and long experience. He has charted the probable course of life - made up a more-or-'less stock reading - a reading that will apply to you - to me - and everyonel When you enter his office for a private reading he tel'ls everyone PRACTICALLY the same thing, because we are all motivated by the same forces - our habits are very much alike - and we all proceed down a similar pattern of life in search of our goal.

Darn clever, this fellow, I thought - but he did devote many years of personal contact with the public in arriving at his conclusions, and establishing his system.

Perhaps his most significant observation is how utterly gullible is mankind. Anybody is a sucker for something that he doesn't know anything about, Dantes informed me, and in doubt there is a lack of firmness and conviction, so our human creature is susceptible - wide open for a solution that will create or guarantee his quest. Enter - Mr. Dantes -and a host of thousands of readers, mediums and fortune tellers who await their prey.

If you are going to tell fortunes for pleasure or profit, you must have confidence in yourself. That is an essential requisite. If you will realize that the average person seeking the assistance and help of a paid medium or fortune teller is extremely gullible and susceptible to YOU -surely your confidence in yourself cannot help but magnify many, many times.

To drive home this point; the victim has entered the Lion's cage. They are weakened by frustration - uncertainty - doubt and possibly fear. Their guard is DOWNl They are at your mercy, so to speak. (So treat them kindly. )

The subject is seeking an 'out' (a solution to a perplexing problem) that is beyond his grasp. It is difficult to dominate the strong-of-heart, the confident and ambitious individual, because he has chosen his course -neither wavering or wandering from his path - but the lost, indecisive and frustrated individual is not only susceptible, but SEEKS your influence.

Thus, you have achieved an insight into the average person that patronizes the 'fortune teller'. When you come into physical contact with this person, man or woman, you must radiate the confidence which they lack. You are then creating an equation in balance.

Your subject must be studied - you must try to perceive the problem in their life pattern that you THINK has brought them to your office. Surely, their general appearance, age, sex, manner of approach, dress and grooming will tell you much. It should give you a key to the problems in their mind.

After all, there are only a few basic events in the lives of all of us that might occasion our visit to Mr. Fortune Teller. (Curiosity seekers, are discounted at the moment - reference is made to the average caller. )

Let us outline these prime factors: first and most important is the love life and its satisfactory balance. Many classifications could be made under this general heading - love of the opposite sex, whether before or during marriage - love of children - parents - in harmony and dissatisfaction in love affairs and marriage - or the termination of these things thru separation and divorce.

To further digress, problems concerning health - the fear of losing a long possessed love - financial matters that might bring about a rupture -children interference, in-laws, etc. , all become apart of the love problem. Remember, this is #1 on your life - just as Mr. Dantes tried to point out earlier in the interview. Our ability to create a satisfactory companion-balance brings many problems to the front that we may maintain or create this all-de sired situation.

If the love problem and all its ramifications were touched upon, everything in the reading would be covered - because everything surrounds this one thought. Business is in a slightly different category (yet it reverts back to the ultimate goal). Put business and finance second on your list. For the third factor, health.

In addition, matters of daily routine - travel, communications, education and the like . . . See if you can extend this list - say, friendships, enemies, operations, etc. , all revert back to the love, pleasure, business or health categories!

So, if you walked into Mr. Dantes inner sanctorium for your reading, you would soon discover that he would talk to you about these few things. The story he would reveal would be intriguing - touching into many a personal corner of your life, and upon many facts that you possessed only in your mind - simply, because you would interpret much of his conversation and adapt it to your own set of circumstances.

His reading, unknown to you, would be so general as to hit you in many places - and as revealed, you in your own mind would adapt it to your own circumstances. You couldn't help it - not every word, but the bulk of it. When I made notes of his 'psychological reading', and later analyzed it, I saw how utterly easy I could apply it to myself, especially if he had been reading for me. He wasn't - it was for a fictitious woman about 35 years of age.

You probably wouldn't be aware of it, but he would talk very rapidly, giving you no opportunity to interrupt and pin him down on any specific question. At the conclusion, it would freely admit that he had told you a great deal about yourself - and undoubtedly had contributed to the solution to your problem. But it is doubtful if you would remember many specific problems that he had told you. That is one reason for the fast talk. Further, he doesn't want any interruptions for very specific reasons. He is not then equipped to handle them. Everything in good time.

Dantes says that the biggest trouble with most readers is that they have no set plan of reading. Just reading hit or miss, and often making silly predictions which the subject is not prone to accept, but cramming these down their throats whether or not they like it. In my contacts with many readers, I realize this fault. It does not contribute to a satisfactory reading.

Here is the Dantes reading. It is stock stuff as you read it, yet realize that the reader must sum up his subject by careful analyzation, and naturally fit into it the details that appear logical. Note how the reading unfolds - for length, it contains 'filler' material, variety and the like, which adds to the confusion and at its conclusion, makes it more difficult for the subject to realize what has really been told to them.

It is an unwritten law to read only in the presence of the subject. Witnesses to the reading and conversation are not wanted.

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Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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