Part Three

(Open with semi-dark stage, performer walking to center of stage and relates this true (?) ghost story.)

"Let me relate to you one of the strangest experiences that ever befell a human. In 1918, I was assistant prosecuting attorney in

I was newly out of law school^ amb it ious~and - eager £ cemake - my jiark_in the world. I had settled down to the routine of the work, and with the newneas wearing from this job, I spent a great deal of time in the study of "the infeetigition .of spiritism.

"in fact, I acted as special investigator to our office, and was assigned to the job or investigating mediums I found them all to be fakes, swore out warrants, though most of then had the opportunity of either leaving... or going to jail.

"Fate strikes in peculiar ways, as I was soon to learn. Why had I been intrigued by spiritism, denounced its teachings, and then find myself thrust into the man sized job of prosecuting John Thomas Dollin!! John Thomas Dollin was a murderer, and a cold blooded fiend. He killed his wife in a fit'of jealousy. The scene and details of that crime will ever remain in my mind. As I stand here, I can see that horribly mutilated corpse on the floor. Some peculiar chill grasped me when I witnessed the sight, never realizing the tremendous and profound effect it was later to have on my life.

"Committing this foul crime, Dollin escaped, and was not captured until months later. He was bound over to the Grand Jury for first degree murder - and when his case was called, I was the man who must prosecute. My senior lay seriously ill in the hospital with pneumonia. I did not relish the task - it being the first murder charge with which I had come face to face. That Dollin was guilty was beyond doubt, but it was my duty to convince the' jury that he was guilty and demand his life in return for his crime.

"The case became quite sensational, and may be recalled by many of the press at that time. Fighting tooth and nail, and against odds due to a skilled and unscrupulous defense, I won my case against John Dillon.

"Rage, hate and the very devil shown in that man's face when the jury said "Guilty as charged". Twenty feet from me in that lawabiding courtroom stood the condemned - and then and there did he swear a terrible oath with all the blasphemy and profanity he could muster that he would take my life in revenge. He hurled that vow at me with all the hatred and evil-ness that a Satan might possess. Swore that he would kill me - that he would rise from his very grave, if necessary, and strike me to the same damp earth that I had so earnestly fought to send him.

"To say that I was not afraid as I stood there in that large courtroom, filled with friends and officers of the law, would be an untruth. I did not fear for my life, or bodily harm something strange, supernatural - something or some kind of a fear that I had never experienced almost overwhelmed me. I recall I grew faint, as Dillon was dragged, screaming and cursing from the room. It is true, had I not been so persistent in the performance of my duty that Dillon would have gotten off with a much lesser sentence.

"Dillon, and I am to see his face now, was an evil man. He bred uneasiness in his presence. He Smelled of dark evil: he was the devil in person. The trial was over, the State had won, Dillon was condemned to death.

"Weary months passed^...the memory of him faded as other work and interests' came into'my life. Suddenly I reaJ ezed he was to be executed that night. A chill ran over my body. I s t ay ed_ in. ... ..might, he. not. somehow escape and endeavor to take his vengeance out on me I

"The execution took place as scheduled...Dillon died with a snarl on Jiis surly, twisted lips - and a curse upon my life»...he'd kill me yet, yes he'd come back from the grave and strike me dead.

"About two months after the execution and burial of Dillon, I attended a gay party. During the evening the subject of Dillon came up, and of his strange vow to kill me, even after death. Little now, did Dillon worry me. He had returned to the earth from whence he came...however, I don't know just how the subject came up, but before I realized what had happened, I had made wager with my companions that I was not afraid to go alone to the cemetery at eleven o'clock at night, and sit on the grave of John Thomas Dillon, until the break of day, and dare him to come forth and harm me.

"As it dawned upon me what I had gotten into, I was a little unnerved, and angered at myself, that I had accepted the challenge and a side bet of $100.00. It was then about ten o'clock. Cautiously, and with a feeling of deep regret in my heart, I started for the grave of John Dillon. I felt depressed, strangely excited, and expectant. I had a bottle with me. I took a drink...confidence and steady nerves returned to me. I recall I whistled like the little boy in the dark, as I walked to a spot indicated as the final resting place of my revengeful friend, John Dillon. With an air of bravery, all false, I set down upon the soft mound of damp earth and announced my presence, 'Well, John Dillon, you old here I am. I've come to accept your show you that you are dead...buried and almost forgotten. That you can't hurt me, or any living soul. I defy you...I challenge show your hand.' As I talked I built up a sort of hysterical courage. I tried to believe what I said was true, yet I was scared to death. I knew I was in the presence of the dead...of a murdered one who had sworn to take my life. How long I sat there, talking to myself to keep up my courage, I cannot say.

"I became strangely aware that I was not alone. I was in the presence of something...not someone. I called aloud, hoping I might see some of my friends lurking about to see if I was keeping up my part of the wager...only a hollow echo returned. My own voice sounded strange...I had never heard it like that before. There appeared to be a cool, gentle breeze blowing upon me*, yet the trees and shrubbery did not move...Beads of perspiration stood out on my face and head...tho I know my temperature was subnormal. Chills attacked hair stood on end...I tried valiantly to take hold of my now shattered nerves...the hour of death was at hand. And then I SAW JOHN DILLON! It wasn't the same John Dillon as in life - he appeared shrunken, withered away, yet the same evil eye and snarl held me fascinated like a snake hypnotizes his victim. I wanted to scream for help, and only a rattle came out of my throat...a death rattle? I thought fool, what a fool you have been I saw that form move in slow motion, speed from behind and underneath that tombstone, and approach me with an upheld knife. I tried to( scream..and again the death rattle sounded in my throat. My hands unconsciously approached my throat...I wanted air, heart pounded, hammering, hammering against the sides of my body...alright, if I was to die, let me die...but not this way...I had only done my duty...the phantom body and the upraised knife gleamed in the autumn moonlight. My hands touched the cross around my neck and I uttered up a prayer that my life would be spared.

"I must have fainted. „. for-hours. later, ..I^awoke in-the-xdrtT-^wjspit^^^ and there surrounded with friends good old familiar faces, I first thought I was in heaven. My sanity must have been temporarily unbalanced for it took some lengthy talking to convince me that I had escaped thé awful vengeance of John Dillon. ■ ;

"I relate my experience, not to cause any of you to think that I was frightened out of my wits, or temporarily out of my head, and imagined all this occurred to me, but to tell you these all important facts.

"A careful and-thoroughly scientific investigation of the grave of John Dillon was made the next morning...the heavy tombstone, which weighed over 500 lbs. had been moved a distance of six and a half inches and there on the ground lay the knife that I saw gleaming in the hands of the phantom. It was later identified as the property of Dillon. The only foot prints in the soft earth were MY OWN.'!

"Such facts could not be reputed by any sane person. I am sincerely convinced that the spirit... ghost or soul surely not his soul, visited me that night, coming from underneath that heavy stone, intent on carrying out his threat to take my life.

"What power intervened, I don't know. I am here today, alive and happy. Mews hullatins the world over carried story after story of this strange experience;-yet today it remains unsolved, unless we are to agree that Dillon did come back from his grave, even momentarily.

"So, my friends, when I cause to materialize spirit forms and apparitions of the past, appreciate in some small way my feelings of that night. However, if you feel the touch of some being upon your shoulder, be not. afraid, as■Only friendly spirits will attend here tonight... iffwe are at all successful.

"Be not afraid. Remain in your seats at all times. Let me warn you any noise or unusual disturbance rr.ay cause tragic consequences. At this point, I ask your indulgence and respect... the same as you would insist from me...if I were to enter your church. Disregardless of your beliefs, bear with me the next few minutes."

(Lights slowly fade into darkness, performer sits on stool, or chair in center of stage, and exposes his face to the red light from the flashlight. Floating spirit off., total darkness.)

"This light burning on my face answer to any sceptics^who think I might move about the stage and produce different manifestations you are -.. about to witness. It«also serves a more important purpose - a point of focus for your eyes and thoughts. Please,• everyone - stare into my eyes ànd you will soon behold a sight never before seen - for I will cause-various spirits from the beyond to materialize and present themselves. You may even recognize many of these faces as your own dear loved ones - now -; gone„: Everyone will not see them, depending upon their psychic powers '-stare into my face - hold steady gaze - intent - concentrate - the conditions . are becoming ideal-- stare, stare - steadily-into my face ~ hold- that gaze— for a moment I will extinguish thé light, leaving the theatre in -total darkness, and wherever you look, you will see' the presence of departed spirits hold your gaze a moment longer on my face - be not afraid - and you will see friendly spirits wherever you look. Watch!"

Go into blackout - using trailer film for sound only - no light in projector. Use luminous ghosts, skeletons, etc., on the stage and in the audience. (Out goes the red light, the illusion is produced, -and all will not see it, depending on their own cooperation. During the illusion, patter continues and it is well at this time for the assistants to carefully expose one of the luminous faces to strong, light, and bring it on the totally dark stage, stand beside the performer and away from the light rays - turn the body, slowly expose the face. That permits all to see at least one face - cause it to vanish behind the body - to reappear elsewhere as a second ghost. The luminous gloves an hands can be used at this time if desired, or a member of the audience can be wearing them and exhibit them then. Floating faces only last a few seconds.)

"See them everywhere - faces in the audience, luminated with that heavenly glow - faces of others - a child here - an old man in that corner" (The suggestions have much to do with the imagination with the spectators., now red light on and dim foot lights»)

"How many of you were able to see one or more faces? (The response will be varied.) Fine...yes, conditions are excellent. Again my friends, we will try again, to see if we cannot materialize a full size ghost, and let it walk.among you in the audience - tho be not afraid. The lights are going out - whatever you do - do not leave your seat, and be not afraid." (Total darkness and,if stooges are used in the audience for the luminous make-up effect, one or tw-o large flash light bulbs should be set off - facing audience, or some flash light powder - a fairly heavy charge. This is dangerous, so be fully posted on the procedure before attempting same. This flash instantly lights up the luminous faces in the audience, and they remain that way until the lights are full up.)

(Use, 'There's a Long, Long Trail Awinding' as theme song, softly the assistants bring on the cross, with back to audience, slowly turning to expose it for a few seconds, and on around-. Next the hands appear, a face. In turn they vanish, and next the skeleton is made to appear; it should be attached to a long bamboo pole, (fishing pole, jointed for packing, painted black) and swing the skeleton over the first few rows of the audience. At this, tine have mumbling, talking, about ghosts - friendly spirits, etc. Now for the finale, the ghost is brought on behind a black cloth or covering, exposed by lowering the cloth to the floor, which gives the appearance of a growing ghost. It moves about the stage, and finally disappears behind cloth or shield...lights up and the show is over.)

All luminous effects must be placed under direct rays of very strong light and exposed for several minutes to get the best effect. The stage and theater must be in TOTAL darkness, else your effects will be exposed to the audience. Black uniforms or coverings for the assistants are NOT necessary in total darkness best assistants wear soft slippers to avoid walking sounds.

Size up the stage, approaches, etc. during the time the lights are up, so you won't stumble over articles or fall. Good gag: have stooge in audience with luminous darkness place the hands over and around the lady in seat in front,, and a near, riot will take place. ..

Most ghost shows employ several stooges (local) in the audience. At the conclusion of the last,ghost, up come the. stage lights and performer says,. "My friends, that concludes my performance this evening., I wish to thank you for your- fine spirit of cooperation and interest. Peace be with you.".-. Bows, exit- from stage, curtain..


With the Original London Ghost Show produced by the Nelson Enterprises, an elaborate lobby display was carried. It consisted of an imitation (good) of a tombstone with the name Dillon on aame, with daté of birth and death. This was arranged with grass covering mound to represent a grave. It was especially effective. Full strings of banners were Used on the theatre front and marquee. These are quite inexpensive and make an excellent flash.

One, two and three sheet blowups were used in the lobby, also enlarged photographs of the performer with spirit -faces hovering about him. Especially made film trailers with sound carried the message to the theatre audiences one week in advance, while the special four page heralds were distributed in the theatre and about the city.

Newspaper advertising and stories were started three days in advance. With such a campaign, it was well billed and well received-, on the night of the show, a stooge Xv-as placed on the streets, dressed in a white ghost suit, carrying a card bearing this copy; 'I dare you to attend the London Ghost

Show at the Theatre tonight, at 12 o'clock. Ghost would start work about seven and work up to the opening hour; inexpensive and very effective.

Booking the ghost show is an extremely easy party, unless you run into territory that has played by otli'.r shows that were worthless, and then you have a problem. The public, if not burned up by some previous inferior show, readily responds to the ghost show.

There is a peculiar p1:. cholo^y connected with mid-night ghost shows. The young people like to go, as it offers a late place of entertainment. The house will have many drunks, tho seldom do they prove toublesome.

Theatres are rilling to play good attractions of this kind, because they know the show always does good business. The deal is usually 60/40-60% to the attraction, 40% to the theatre. Or quite often a 50% split on the entire receipts, the attraction furnishing the billings, heralds, the theatre, the newspaper advertising, or entire advertising bill deducted from the gross, and"the balance divided equally. ' •

Such shows, so operated, appeal to theatre-managers. They have practically no expense (adv. and a few dollars in extra salary) and a chance to do some business. However, theatremen are not prone to ask for a lot of extra workj so all the details cf the attractionst'iatlxan-_bo .handled, should be done'by you. This not only gets a quicker contract, but the attraction manager knows if the advertising gets out. •

Get a letter—of recommendation -f rom every-iAeatre-yjou,.play. It helps greatly in future bookings. Build scrapbooks, with these letters, newspaper stories, reviews, adv. and everything pertaining to the show. Present your show and plan to the theatre manager, explain HE CAN'T LOSE, and if the town has not been burned up by a previous rotten show, your chances of a booking and business are excellent.

Now go and Get It.


(Burling "Volta" Hull)'

No Written Names, Data, Questions, Gimmicks, Codes, Conversation or Contacts with any of the SPECTATORS; A "ONE MAN" Routine ! .' .'

Let us analyze what a "Question Answering" type of Act really consists of, that makes it so supremely popular with audiences. A great "Drawing Card" to draw VAST interest and attendance of large audiences. The GREAT APPEAL of the act is, that it is something that is of greatest interest in all the world to each person...about HIM SELF or HER SELF...His life or Her life. The things that concern and surround the person, his family and businss, future plans, hopes and expectations. The probability of the outcome of plans, their progress or success. It is a little like a polite form of fortune telling which is always interesting, because each individual is greatly interested in HIMSELF and HIS FAMILY and HIS PLANS and HIS POSSIBLE PROGRESS or SUCCESS.


My preference is to present some introductory ESP Feats first — then interject; "LADIES AND GENTLEMEN" - we have made some interesting experiments concerning ESP. Now I would like to go a little further in our experiments concerning the possibility of receiving impressions directly from the minds of spectators ------ in mass impressionism of the.entire audience!

"I will not ask you to write anything down concerning yourself, nor your names or other details. So please remember to tell your friends that we did not require, and in fact did not have any time to write anything in this experiment. FIRST, please just sit back and RELAX. Get comfortable in your seat. Please do not TALK for a few minutes. Do not turn around and look at friends. JUST KEEP YOUR THOUGHTS FREE from anything else aiid j usiL-dir eet. yourji nds_oii_JYOURSELF. Your name - yotnriiome-—your business - your family. Also your "plans.,—•your~busines& — and the outcome of your present activities. Close your eyes and rest them if you like. This is not hypnotism - this will be an experiment in your own sixth s msel "If I call out your initials correctly, please confirm that fact. Then think of your first name - because that is the name you most frequently hear every day. Thus it is most strongly impressed on your subconscious mind.

"Should I correctly call out your name when you are thinking of it, please confirm the fact. So I will know, whether or not to proceed further with YOU. If I make an error in your name, I will know that we are not making progress, and therefore I will move on to the next individual. "If I do succeed in getting in touch with your thoughts, then please next think of your last name, next your family or the kind of occupation you are engaged in. Your plans or hopes and expectations in such direction,

"PLEASE do not interrupt me - just confirm me if I am proceeding correctly and accurately in the right direction. If I am in error I will try again with another individual.Don't give me any help or hints - other than to K EE P THINKING — KEEP CONCENTRATING on yourself and matters concerning yourself.

"Remember this is only an EXPERIMENT. It can be made only with your full PERSONAL cooperation. Like a Doctor - I cannot GUARANTEE the outcome. A doctor cannot guarantee that a treatment or an operation will cure you absolutely - and in every case. And I will only have a few seconds time with each of you whom I seem to contact mentally.".(NOW REPEAT the instructions again.) How they are to think of first name, then last name, home, family, business and plans. Now proceed:

"I receive a clear impression of the initials L. and S. If such a person is here will you please raise your hand? Or call out loudly "HERE". Thank you. Are your initials of first and last name L and S (always wait to confirm, as the person may not have heard initials clearly or ACCURATELY ~ so make sure you are RIGHT before continuing. Get the RIGHT PARTY).

"Please think if your FIRST NAME. Keep concentrating on it and I will try to spell it out by letter "L-A-N" - no I am wrong'. I feel you are trying to correct me.; I will start again. "L-A-U-R-A —LAURA! Is that correct Thank you! we have done so well so far, let us try further. Think of your LAST name. Now think of your home and family----I get the name of GEORGE. I see he is often in your thoughts, as I get a strong thought there. Very STRONG! Isn't he your husband? Good! I get the name of (proceed with daughter or son). Think of your"husband's occupation. Good. I see him in an office. Not a business office but a professional office. Is that correct? Fine. Now think of his exact calling. I seem to get the impression it is something to do with (name the law or medicine or art or education, as the case may be).

Before explaining the PROFESSIONAL Method by which you are so easily able to TRUTHFULLY and ACCURATELY and CORRECTLY "Read" and reveal to all. these spectators all the startling correct FACTS about the "Questions" and other matters they are genuinely thinking and concentrating on at the moment, -all without any written questions, names, or other data being :

please note the following: You must first ask your spectator to put his thoughts on or to "concentrate" on the Subject that you are to reveal: First, his initials, next his occupation, (then a matter which is very important in his life at this time) or his Family, etc. All in the CORRECT ORDER in which you are about to deal with and REVEAL your startling (apparent) ability to "Read His Thoughts". These may include (A) Name & Family (B) Business or Occupation (C) street number or address (D) Telephone Number (E) city of residence (if out of town particularly) (F) Car License No. if you plan to "Read this from his mind".

This is important because he will be ACTUALLY THINKING or CONCENTRATING on the exact matter or subject you are about to reveal. This makes it seem to him, and others, that you had apparently plucked the data right out of his iaind — on a matter that he was genuinely thinking of at the very moment.

Now "OUTS" for dealing with an aggressive person: Once in a year you may meet such. You need only explain that the fact or matter in question was in his "subconscious mind" --- should he claim that he was not thinking of his address, etc. at the time you requested him to do so, Explain that all authorities on psychology agree without exception that all extra sensory perception or even common Hunches or "Intuitions" come from the subconscious mind . Refer to any textbook on the subject which is used in our leading colleges.

PROCEDURES on "QUESTIONS": In cases of construction or building trades I speak of a big contract in the person's subconscious mind. One absorbing much of the thoughts now in "back of his ■mind", I see "obstacles" that are confronting this matter and his getting the help of some others to help clean them away. In manufacturers: I see person "sitting about in a conference". A new process or procedure is now "in the person's mind". In doctor's minds; I see "thoughts about too many activities — and thoughts about eliminating some of them. Concentrating on others in place of -them""In printers or similar trades I see thoughts about re-arranging equipment, questions of new equipment, etc." Or "two business deals, one better than the other". Plans "to do something about them in a few weeks". On politicians; use all or any of these ideas. Contracts, conferences, addressing groups, working out plans and negotiations. The point is that EACH ONE OF THESE are TRUE FACTS the individual actually has "on his mind". And it is true in each and every case. From these instructions you can see how to proceed along the same lines in ANY instance, with any individual you get the name, the address or data on. In young folks, go into love and romance. Married folks deal with 'children in the family1 (they may not have any of their own so this covers ALL) - plus FINANCIAL MATTERS. Next one, see discussions on LOCATION of a HOME, moving to new place for job reasons. Middle aged; family worries and HEALTH of members of family, and family problems that are 'in your mind and thoughts at this time'. . Problems on money 'being worked over in the mind new and awaiting certain matters to decide them'

Aged persons; location of home, health of family and 'certain family matters'. "Problems too confidential to mention in public right here." What seems to be so amazing to audiences (and many magicians as well) is that you neither use or need any written questions or names — or anything else to be written down by a single member of the audience. Yet you are able to call out initials, first and last names and give answers to subjects and questions. You deal with"import ant_matters_±hat _axe_-actually in the___t minds or the secret -thoughts of spectators. Persons who have never seen, or heard, or had any contact with you.. A "ONE MAN-MENTAL I ST" Sensational. Presentation.

You can do this because you know the SUBJECTS they are concerned with.

Know the kind of business or profession in which, he or she is engaged----

and matters' in his or her life in which each individual is most intensely interested. You KNOW what "questions" he will have in his subconscious mind. About certain problems he will naturally have in his trade, "HOPES" that he has for progress and improvement of his career. The fact that he is a PROMINENT person in his line (and you use only these TOP persons per instructions above) and hopes'that he will receive added "recognition" or be considered for, talked about for or may be "nominated" or "ELECTED" to some-"office" in his profession, or the concern which he is actually connected with, or considered for election to an office in a trade or professional association in his field. This enables you to give him a sort of "reading" similar to that, which the WRITTEN QUESTION ACT USES. But they have to base their answers or "readings" on the data obtained from written questions./ Here;you use no writing but can describe the fact that the person has- certain problems' or obstacles, how you see he has been 'thinking about;them'. You 'see' that he 'has in mind certain matters he is wondering about',figuring ' hOw to work out certain problems'. Or you see him standing before a group of persons and he seems to be addressing them ----'a sort of talk or speech'. He receives soon a certain recognition (this covers a Promotion, :but do not specify - as his mind will interpret it in its proper form). In ladies and aged folks you deal with family, personal relationships, money, increased income, travel that they are 'thinking about in the back of their .

minds' (this covers it even if they hope to avoid travelling to some point. It still will, be "IN THE BACK OF THEIR MINDS".)

I am CERTAIN that you will be delighted with this PROFESSIONAL METHOD and presentation as I am, and as my booking agents are. And as the public and the NEWSPAPERS are. I use it as the grand finale of each mentalism show I ■ play! ! ! ! You will too.'!

It STUNS the newspaper folks- because they feel that they are "wise" or "hep" to "all this sort of stuff". But.when they see I use no."stooges".-

no assistants, have nothing written down or collected ---- have come right into a strange town COLD (never having been there before) IT SOCKS THEM RIGHT BETWEEN THE EYES- I start calling initials - spelling out names, reading the exact things party, is thinking of (of course I tell them to • direct or concentrate on what I am about to "READ" - name, address, business, etc.) and talk about how their businesses are going; give encouraging thoughts on their progress and business "trends". Discuss names of family, etc., and it SOCKS them.

It STUNS the spectator, to have me tell, him the 'subject' he is thinking of AT THE VERY MOMENT HE IS THINKING OF IT* His name, his business.,., the matters in connection with the past, current and future problems of his business that he is facing and is concerned with and'thinking about' at this very time or current week. Names of his wife or daughter or son in some cases. I only deal: with a very few to this extent of course. Other persons I .just run through lightly due to the time, element..

When leading into a bit more information about a certain person, I

lead into ifijy—saying "I am-receiv±ng-a JaXtie^Trrtrherr~mental impression concerning~you at this^time, Sir ---- would you care to have me say a little.

about them, and see if they may be interesting?" (I read the local papers, get local trends, news of problems of town that everyone is thinking of right now) Parking or road problems affecting trades they "are right now thinking and worrying about a bit".) The work it touches about, local politics and schools, taxes --- and I read the national trends of businesses like furniture, clothing textiles, local real estate. IN OTHER WORDS THIS IS A HIGH POWERED PROFESSIONAL mentalism presentation — which all of us who have gotten to the TOP or near top rating have put in a little 'WORK to achieve success or recognition and reputation.

Top names in Mentalism did not get there by using change bags; pushbutton gimmicks, tx'ick collection boxes, carbon or wax impressions sold in every magic trick store. IN OTHER WORDS THIS IS A STRICTLY TOP PROFESSIONAL MENTALISM METHOD USED BY TOP PROFESSIONAL HEADLINERS TODAY. Put in a little work and you will put it over in top PROFESSIONAL STYLE.

The Incredible Mystery Act has been used by smart professional "Mentalist" performers. Here is the way you can work it also. In THEATRES contact the cashier and ticket taker of a movie or other theatre or auditorium^ also the head usher. Also the manager of the theatre. They KNOW MOST OF THE IMPORTANT or wealthy persons, or others, who are not of these classes but attend the theatre with some degree of regularity. Explain that you want the names of some of the more important regular attendees of the theatre — so that you might ask them to take part in some of your experiments. Explain that it will greatly increase the success and the dramatic effect of the show and be more convincing if some of these well known persons were invited to hold a prediction or serve as a member of a committee on stage to take part in the experiments — so that the audience will know you are not using any stooges or confederates in your experiments in ESP. This is such a logical reason for them to help you that they will never discover your real reason.

In shows for civic clubs, fraternities, conventions, banquets, go to the secretary of organizations, also the treasurer (or president or the entertainment chairman as a last resort). Tha Secretary and Treasurer will KNOW who has bought tickets and -will likely ha attending the event along with his wife or DAUGHTER, Give the saina explanation -- that you may want to use a few persons who will have the full "CONFIDENCE" of the club, and are persons who could not possibly be suspected of being paid "confederates" of your act.

Check some of these better names (12 to 24) through the local city directories which will tell you the full name, ADDRESS and OCCUPATION, important persons, or orsr-iirs. of business or shops, it will tell you his business and BUSINESS ADDRESS, Check these also with the telephone directory Get the telephone numbers of a few and particularly some of the ladies involved.

I play a number of conventions, and as they pay top money I take the trouble in the case of certain TOP PERSONALITIES to learn from the secretary who are very popular personalities or are being talked about as possibilities for election to president or other offices. I go to the LOC^L TELEPHONE OFFICE WHICH HAS DIRECTORIES OF VARIOUS CITIES ON FILE, I look up the home and business address, telephone numbers and nature of business of these personalities—from, out of town.

Two hours of easy work by myself or assistant does it. For a $200 to $500 date (or one paying $1,400 as Dunninger often receives).you should expect .to put forth a little honest effort to earn your fee. Data is noted down. I then make a final check with secretary or cashier registering the attendees at the convention who know who had actually checked in at the affair. I note down particularly those who are with wives or daughters,.

The data from this "Select" list is typed on index cards. Some are then stuck (using "MAGNET-TIZO", the Transparent Magician's Wax, stainless, colorless) on back of a small tilt-table easel device. When tilted upright it holds a sheet of clear lucite at a partially upright angle. I use it to lean envelopes, dollar bills, slates, Jumbo ESP cards and pads and pencils against it. As it is tilted up it reveals the data to my view.. I have other cards stuck on rear or underside of other items used in program, . so I can catch a glimpse of data at any time. I use a "LARGE TYPE" typewriter for typing data and use capital letters well spaced out.

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