To Perform

Have a gentleman come forward to help you and have him stand at your right as you face audience.

"To begin this experiment, I am going to ask you to take this piece of paper and this pencil—or if you prefer, just use your own paper and pencil—and draw anything you choose. It may be just something simple— a symbol of some kind, or an animal, like a pig or horse. Draw anything you want to— the main thing is to draw something. When you do it, however, hold your paper so that I cannot see it under any circumstances."

Give spectator the pencil and paper, then pick up book and place the paper on the front side of jacket, directly above concealed carbon.

"You do not have to make a fine oil painting—just any simple drawing that you can make quickly— anything that comes into your mind. While you do this, I shall turn my back."

Go to other side of stage and turn your back as spectator makes picture.

"After you have drawn the picture, fold up the paper and hold it or place it in your pocket so that I cannot possibly see it."

When he is ready, turn around and pick up cardboard from table. Hold in right hand.

Take book from spectator with left hand, holding front cover upward. Place cardboard on top of book and hold both in left hand. Take pencil from spectator and place in upper coat pocket or vest pocket. Stand a little to left and back of assistant.

Now hold card and book up vertically in left hand with book concealed behind card. Neither assistant nor rest of audience should see book. Figure 14.

"Have you ever had any experience in mental telepathy, sir?"

As you say this, bring card and book farther toward right. Allow book to fall at right angles to cardboard, supporting it on fingers of left hand. With right hand reach under front cover of book and pull jacket free of cover. Let jacket just lie on top of front cover so that when proper time comes it will be easy to lift it and see the drawing reproduced through the carbon paper on the paper on front cover of book, Figure 15.

Fig.

"Have you ever suddenly had a feeling that so and so was doing a certain thing and then found out that exactly what was in your mind has happened? Some people call these feelings presentiments, others just call them hunches. I have asked you to draw a picture of some sort for me. You still have the paper."

Eyes of audience go to spectator. As their attention is MISDIRECTED to assistant, you raise cardboard in front of body to within a few inches below your chin. With right hand lift upper flap of jacket. Glance quickly down and look at the picture transferred to paper above front cover of book.

It takes but a moment to do this. Do it in a flash and let jacket fall back into place. Now allow book to come up into vertical position against cardboard again.

Let cardboard drop toward rear so that book is exposed. Do this as you gesture with left hand toward spectator.

"Now, I want you to concentrate on what you placed on the paper. Keep it well in mind."

Drop book on the table as you say this, and pick up black marking crayon.

"Sometimes it is almost impossible for me to catch certain mental vibrations, but I believe you are going to be a good subject and will concentrate so that I will have no trouble in performing the experiment.

"On this card I shall endeavor to follow your mental thought waves and vibrations so that I can duplicate as nearly as possible your thoughts. You think of the drawing you made and keep your thought moving on the lines of it."

With your right side turned to audience a little, hold card in left hand and pushed against chest for support. Begin to draw, making sure that audience can see you easily as you progress with drawing. Make the drawing as nearly like the spectator's as possible.

"Now, sir, will you please unfold your slip of paper and let us all see whether I have caught your mental vibrations."

Take paper from spectator and show drawing to audience. "I have been pretty successful, have I not?" Spectator nods.

Pass drawing on paper and your cardboard down through audience so that all spectators can see that you have duplicated drawing.

Your next lesson is no less than a whiz of a lesson. It takes you into the business side of Magic; it tells you how actually to get into the real money-making side of Magic; it explains how you can get dates and bookings; and it tells you about the effective ways of advertising yourself.

Furthermore, it gives you more valuable instruction on the Arranging of Programs.

And with all this, you get the Chinese Production Box and many other effects.

Figure 16.

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