World's Greatest Mental Tests By Volta Burling Hull

WORLD’S GREATEST MENTAL TESTS by “VOLTA” (BURLING HULL)

A COLLECTION OF SUPER MENTAL FEATS For MENTALISTS – PSYCHICS – MINDREADERS $40.00 WORTH OF THE BEST MINDREADING FEATS! The World’s Best Mental, Mindreading and Psychic Effects of today some of which sold for as high as $10.00 and $15.00 up to now and contributed by leading professional Mentalists – with many additional effects and pointers added by Volta. Explained in the inimitable style – clear, lucid and explicit directions covering every detail, which enable any reader to understand and duplicate the effects – of America’s leading writer on the technique of Magic; BURLING HULL. This forms the Thirty-Fourth Volume in the Hull Series of American Professional Textbooks on Magic – published for and sold only to the Magical Fraternity through ACCREDITED AND RECOGNIZED Magical Dealers Exclusively. Special Patter – Points on Showmanship – Dramatic Presentation of the effects, form a special feature of this treatise – equally as valuable as the effects themselves.

FOR EIGHTEEN YEARS The publisher of the Hull Series has regarded it as unethical to put effects either now being used by professional performers or which are SOLD TO THE PROFESSIONAL ALLEGEDLY FOR USE IN HIS PUBLIC PROGRAMS – directly into the hands of the public, particularly, young folks, by displaying them on every book counter, in SEVERAL THOUSAND department, book, and young folks stores and circulating libraries where scores of curious passers-by pick up and read the work, in addition to the many purchasers. This is particularly true where the work is allegedly sold AS A BOOK FOR THE PROFESSIONAL MAGICIAN AS CONTAINING MATERIAL FOR HIS PROGRAMS. THE BURLING HULL PROFESSIONAL TEXTBOOKS ARE NEVER PERMITTED TO BE PUBLISHED BY OUTSIDE PUBLISHERS NOR SOLD THRU BOOK STORES, YOUNG FOLKS STORES, CIRCULATING LIBRARIES NOR DEPARTMENT STORES where other “Magical Books” nd their WIDEST CIRCULATION AND SALE.

© Copyright 2011. All rights reserved. eManuscript Version

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W O R L D ’ S G R E AT E S T M E N T A L T E S T S

NUMBER-VISION FLIGHT SEVERAL FIGURES are written by a spectator on a slate which he holds and does not permit to go out of his possession at any time. The performer receives a clear mental vision of the numbers by means of “Thought Vibration.” This feat had puzzled many of the cleverest magicians – repeatedly.

METHOD AND PATTER AND PRESENTATION DETAILS Performer, “My next experiment involves the principle of Mental Telepathy. I would like to have a gentleman assist me by merely THINKING OF three digits – such as 9-6-and 5 – or any three gures. You Sir, will you oblige me? Thank you. All I ask you to do is to HOLD those three FIGURES in YOUR MIND. Please DO NOT CHANGE THEM, whatever you do. Keep thinking of them and NOTHING ELSE.” “Now, Sir, as you probably have had no PREVIOUS PRACTICE in MENTAL CONCENTRATION as employed in Mind Telepathy experiments – I shall ask you to use this slate – and, as an aid to concentration, to write down on it – the three gures you desire to CONCENTRATE on. Write them as LARGE as possible on the slate please. Take up as much space as possible. Write as LARGE as the size of the slate will allow.” “Before writing just step over here, Sir – away from everyone – so that no one else will see what you write. Right about here, Sir (take gentleman by the arm and lead him away from audience placing him to one side – or upon the platform). This is so that even if I had a confederate in the audience for the purpose of assisting me, he or she will be UNABLE TO SEE WHAT YOU WRITE. (Hand party the slate and chalk). Remember to write as LARGE as possible please. And while you are doing it I will TURN MY BACK so there will be no opportunity for me to observe the motions of your hand and thus get any inkling of the gures. (Turn back) Now Sir, please write them down in the order you have decided on (party writes). Ready? Now hold the slate directly in front of you – about 12 inches from the eyes – and gaze at it intently thinking as hard as possible – and think of nothing else. Exclude everything else from your thoughts.” “Mental Telepathy, as you may have heard, operates thru the principle of VIBRATION. By merely placing my nger-tips against the temple of the subject – in this manner – (placing right hand containing the Special Diminishing Mirror against the temple of party). I receive the thought wave vibrations to which I have become extremely sensitive thru long patience.” -2-

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“Keep thinking of it hard, Sir. (Do not glance at the mirror at all at this point, but look away and toward the audience – to distract attention). Try a little harder, Sir, to send your thoughts out toward me.” (Now glance up and read the numbers shown by means of the Special Diminishing Mirror. As the CURVED SURFACE covers a WIDE ANGLE of focus you need not focus the reector—it will catch the entire area of the slate and its gures, condensed to the mirror’s range.) “Perhaps standing close to you confuses you, Sir, as I only seem to receive ONE of the numbers. I will step over here (stepping away about 10 feet or more), Try to PROJECT a picture of the gures toward me. Ah! that is better: One of the numbers seems to be THREE, Sir: Is that correct? Fine, now think of the next number. That is it. Is it Eight, Sir? Excellent: Now try the last or remaining number FIVE. Right, Sir? Thank you.” “Now let me see if I can get the ORDER in which you wrote the numbers dawn. That is; which is FIRST, which is SECOND and which is the LAST. As this is more difcult than getting the numbers – as there is no number to x your mind on – merely an ORDER or ARRANGEMENT – will you kindly show the gures on the slate to the audience WHILE I TURN MY BACK. (Turn back to party – and REMAIN THAT WAY till the conclusion of trick). Have you done so? Thank you – just hold it so the audience can see the numbers – keep it that way – and I will keep my back turned. Now with so many minds in the audience visualizing the gures I will try to give the arrangement. The rst gure is FIVE. Right? Next is the 8 – No wait a moment. That is not right. I felt a strong wave of doubt that time. Some people in the audience are thinking of the wrong number to try and test me! No, I see it better now. The next number is THREE. Correct? And the last number is EIGHT. The full number is FIVE HUNDRED and THIRTY-EIGHT. Right, Sir? Thank you!” These Special Diminishing Mirrors are made up to order with aluminum backs (the only one with the aluminum back) to be light and of just the right size and focus for the purpose. They are esh-colored so that in case they are handled carelessly the article cannot be noticed thru the spaces between ngers. [Mirror was supplied with original manuscript. Use any suitable small reector.]

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VOLTA SPIRO-PREDICTO A startling spirit writing caused to appear on an EXAMINED card on which a spectator’s name has been written for identication. Something so Clean and Effective that you will add it to your program.

PATTER AND PRESENTATION The patter may proceed somewhat like this:- “I am going to attempt an experiment along the lines of Spirit Writing. It been said by believers in Spiritualistic Phenomena that writing can be produced on slates through the aid of the spirits if an examined slate bearing the name for whom the message is to be written be placed within a dark cabinet or receptacle to exclude the light. As I have no spirit cabinet with me this evening, I am going to use this little envelope as the Spirit Cabinet. Therefore, we will place the card, which represents our slate, inside the miniature spirit cabinet, in other words, our envelope, and give it to you, Madame, for safe keeping. We will now proceed to make an experiment in order to test the powers of the spirits which are present this evening. That is – if any of you have HAD ANY this evening!” Proceed with the “Ad Test” or “Book Test” at this point, having a word or sentence selected by the audience. We will presume the word so selected is the word “OPPORTUNITY.” At the conclusion of the selection say, “Now let us see if the experiment has been successful. We will ask the Spirits to look over your shoulder and read the WORD, on the Want Ad which you hold, at the number which has been indicated by your freely selected choice – then to y over to this lady. Ah! don’t be alarmed, Madame! We are all more or less used to MYSTERIOUS SPIRITS in these prohibitive times! Then passing through the walls of Our Spirit Cabinet, as spirits and ghosts are always able to do – to write upon a card THE VERY WORD which the audience has so kindly SELECTED – AND WHICH NO ONE KNOWS except the gentleman holding the Want-Ad Clipping way at the other side of the room. Think of this! NO ONE in the ENTIRE room, EVEN MYSELF knows what the advertisement is that the gentleman holds – NOR WHAT PARTICULAR WORD HAS BEEN INDICATED EXCEPT HIMSELF. As the gentleman is the only one who could possibly do anything deceptive in this experiment, I suggest that you keep one eye fastened ON HIM (this is good for a laugh) – to see that he does not y through the air and climb inside of the envelope held by the lady and write any secret messages thereon. Those who do not want to watch him, and nd the lady more attractive, may watch the LADY!– I am going to look at the LADY MYSELF – Now if any of you are left over, a few you can watch ME! But I assure you that I shall not in any case approach any of the persons concerned, nor any of the objects involved in this experiment.” -4-

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“Do you hear any writing going on in the envelope, Madame. No? Do you feel any VIBRATION in the Vicinity of the envelope? Yes or No? – Well these spirits do their work in a very subtle manner nowadays. They sort of creep up on you unawares – and then all of a sudden – well there you are! (Spreading Hands Apart). “Now will you kindly open the Cabinet – that is; the ENVELOPE, and take out the card and see if there is any writing on the card. Have the spirits written anything on it? Fine! Will you please hold it up so that everyone can see it.” Turning to the man who has the Want-Ad and pointing dramatically at him, “Will you, Sir, kindly read aloud, the word selected on the Want-Ad which you hold.” (He does so). “Thank you! Will you please read it A LITTLE LOUDER this time – so that everyone can hear it?” (Always have the man REPEAT the word in a LOUDER tone, because this repetition impresses the word STRONGLY on the minds of the audience – and thus makes the dramatic climax many times as great as it would be otherwise. The little “stalling” here also increases the EXPECTATION. Now gesturing toward the lady, ask her to, “Please read in as LOUD a tone as possible, the word which the spirits have written upon the card you hold. As loud as possible please!” She then reads from the card”The word which was selected by the audience is OPPORTUNITY. Signed, The Spirits.” Presented in the above manner this feat makes a very astonishing and convincing experiment, which is sure of making a real hit with any type of audience. PREPARATION: The uppermost envelope contains a pocket formed by means of a slit cut cross-wise with a ne razor-blade on the envelope about 1/3 of the way down from the top. Two “braces” of bre are secured so as to hold this pocket slightly OPEN at all times. To conceal this slit an elastic band is placed around the envelope as shown in FIGURE 1. Prepared in this way, the envelopes may be placed anywhere and appear, (as in FIGURE 1.) to be merely an ordinary packet of envelopes secured with an elastic band. Under the elastic band slip a card as in illustration No. 1. in the position indicated by card “A”. On this card (on the side which is against the envelope) is written a prediction to be revealed later. Stand the envelopes upright against some object on your table WITH THE CARD SIDE AWAY FROM THE AUDIENCE – (as they are not to see that you already have a card under the rubber band as yet). Lay FIVE of the blank cards on the table nearby, also a pencil.

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Working: Bring forward the blank cards and show them on all sides saying,”I have here some cards which are blank and unprepared. I would like to have you select one of them which you wish me to use. (Hand the cards to a spectator.) Just hand me one, which you wish me to use.” (Take it at nger-tips BY THE EDGES and show it on both sides). Hold it high above your head so that all can see that there are - NO EXCHANGES MADE – as you step over to the table to pick up the packet of envelopes. Pick them up WITH THE LEFT HAND – keeping the pocket side TOWARD YOUR BODY and away from audience. Bring the right hand down towards the envelopes and slip the card No. “2” in BEHIND CARD NO. “1”, and down into the pocket as shown in FIGURE 1. The ROUND-CORNERS on the card makes this easy of accomplishment. It will slide right in behind the other card. Push the card down so it is DIRECTLY BEHIND THE OTHER CARD – EVEN them up EDGE to EDGE. IT IS NOW IMPOSSIBLE TO TELL THAT THERE IS MORE THAN -6-

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ONE CARD THERE. Turn the envelope around in a natural manner so the audience can see the card under the band and picking up the pencil walk toward the party who selected the card. Say, “May I place your name upon this card as a means of identication?” (To the audience it appears that you have merely slipped the card UNDER THE BAND of the envelope for the mere convenience of writing the name.) “What is your name, Sir? How do you spell it?” (You ask this question and also have the word SPELLED OUT to you and writing it rather laboriously, stalling a bit. This is to provide a natural excuse for the card to be slipped under the band – and to kill a second or two while attention is distracted to the writing. At this point there are two alternative procedures as given below:First Method:Draw off the card by placing the right Forenger on the TOP edge (See Fig. 3) of the cards and pushing DOWNWARD (the TWO CARDS slide down together as one) until the TOP edge is EVEN with the rubber band – and then draw it off clear of the band. This causes the rear card “2” to secretly pass COMPLETELY into the pocket, and out of sight of audience – the INVISIBLE “switch” taking place right before everyone’s eyes. The CARDS SIDE of envelopes must be TOWARD audience so all can see this beautiful move made in such a natural and above-board manner. Hold the card between right nger and thumb – and turn the packet around - and draw off an envelope from the BOTTOM of packet (See FIGURE 4.) Very deliberately – holding the card so that at all times the Spectators may readily see the spectator’s name written on the Card, so they know it is not exchanged—place card in the envelope. Hand this to a lady in the audience and ask her to write her name on envelope for identication—and keep it in her possession. Second Method:Leave the card under the rubber band and TURN THE PACKET OF ENVELOPES AROUND. Take hold of it with one hand (as in FIGURE 4) so the THUMB is around one edge and the SECOND FINGER is around the other edge of packet RESTING RIGHT ON THE ELASTIC BAND. This is to prevent the Rubber Band from SLIDING DOWN on the packet (past the slit) – as you draw the bottom unprepared envelope (No. 8) from the packet. Draw the envelope off as shown in FIGURE 4. and hand out to spectator for examination. Hand this envelope to a spectator (preferably a lady) and ask her to examine it and write her name on the address side of the envelope. While she is doing this, turn the packet of

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envelopes around so the card bearing the name is in view of the audience. In a couple of seconds the spectator will have written her name on the envelope. Take it back saying, “Did you nd it all right, Madame? Thank you! I will now place the card bearing your name, in envelope which also bears your name – and ask you to seal the ap securely. Then place it in your ‘pocket’ or hold it in your possession as you prefer.” Personally the writer ALWAYS hands the envelope to spectator and asks him to open it – and hands the card right out to spectator – who is allowed to place card in envelope himself. This SEEMS daring – but really is perfectly safe. The party having seen BOTH SIDES of card, and seeing the name still on card – and further having his hands busy with opening the envelope never thinks of turning the card around. (It is handed to him with the name side upper most of course.) The inclusion of the directions for this next feat which has been sold regularly to the profession for some time at $10.00 is with the specic permission of Mr. Annemann through arrangement with the author for USE IN THIS BOOK ONLY. This does not release the trick for other publications and others are warned against copying it without permission.

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ANNEMANN’S FOURTH DIMENSIONAL TELEPATHY – (Registered S.A.M.) DIRECTIONS WRITTEN BY ANNEMANN In offering this to mystery workers at large I only ask that it be given a fair trial after the routines have been thoroughly learned. This type of work has proven itself the most lucrative in the mystery eld and everything depends upon the showmanship and presentation used by the performer. Through three years of practically constant use, I have developed this effect from a mere idea into a feature number. It is now as perfect as I can make it, and every move, every phase and every excuse is logical and accounted for. I have removed possible sleights, out of sight moves and suspicious actions. I have given throughout this writing different methods that are possible of being put to use. Conditions (especially with this type of work) are always very strict and are always different and varied. Sometimes one way will be perfect, while the very next performance will need a few changes. Then again some operators like one method better than another and adhere to only that one. I give them for completeness and because I am always ready to use the one that suits me best for the occasion. I shall not go into a detailed effect and waste time and space. It has already been well covered in my Sphinx and Linking Ring ads and the effect will be easily realized through the reading of the methods, The rst method is one which is entirely impromptu with three unprepared drug envelopes and three cards, The choice of writing material may vary. I have used letter envelopes and slips of paper which have been folded alike. This is all borrowed material All of this is handed out to three people. The rst is asked to draw a picture of any type they wish and then seal the card securely in the envelope. If they have a slip of paper, they are told to refold it as it was before and seal securely. The second is asked to write a word of any nature. For the best effect the performer limits them to ten letters and asks that they print the word instead of writing it. Taking the third piece of paper or card, the performer asks the spectator to whisper into his ear any three gures and upon hearing them, the performer writes them on the card before the eyes of that spectator. Passing to another one at a little distance, they are asked to do the same. This time, however, performer starts writing as he moves away and instead of writing the numbers given, writes gures under the rst row of three that will total nine with the

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one above it. The performer returns to party who has envelope and who gave the rst row and asks him for another set. The performer actually writes these down under the rst two rows of gures and hands spectator the card before walking away. He tells him to add up the three rows and to remember the total after sealing the paper or card up. The performer only remembers the last row of three gures that he wrote down. The misdirection of this is perfect and because the rst and third rows have been seen written exactly as given performer, there is no suspicion about the middle row. The starting and nishing of the numbers with the one spectator brings all attention to bear at this point where there is nothing wrong. As matters now stand, three envelopes are sealed and the performer is acquainted with the total of the addition on the one paper, How? Because of a simple bit of rapid mathematics. He has remembered the last row of three gures written. When ready to reveal the numbers of the answer (always four gures) he merely subtracts 1 from the last of the three gures and places it in front, For example, 347 would result in 1346, and likewise 640 would result in 1639. There are two distinctly different methods of procedure from here on. In one method the performer writes the names of the spectators on the envelopes, and in the other the names are written by the spectators themselves. I shall describe the rst to start with. In this case the performer knows the name of a certain person in the audience whom he will use in the test. This is the person to whom the request for a picture is given. We shall term the number as rst, the word as second, and the picture as third and last. The performer knows the contents of the rst and the name of the party holding the third. Stepping to the rst party, the performer asks their name as he takes the sealed envelope. They state it, and with pencil in hand, performer apparently writes it on face of envelope as he moves toward next party. HE REALLY WRITES THOUGH, THE NAME OF THE PERSON (third) THAT HE KNOWS. Taking the second envelope on top of the rst, he asks this person their name and apparently writes it as he goes to the third party. HE WRITES THE NAME OF THE FIRST PERSON WHICH HAS JUST BEEN TOLD HIM. On the third envelope, as before, HE WRITES THE NAME OF THE 2nd PERSON and with the three envelopes in hand steps back to stage or front. There are two methods of procedure from here on. The three envelopes can be tossed upon an empty table in full view to be picked up as desired; or they can be handed a volunteer to hold, he standing six or eight feet to your side. - 10 -

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Starting with the rst person the performer asks his name again. Now the performer either asks the volunteer to hold that particular envelope in full view with name outward or does so himself. The party in particular has seen you sign his envelope with his name when he gave it to you (?) and now sees the volunteer holding it up in full view. HOWEVER, IT IS REALLY THE ENVELOPE AND CONTENTS BELONGING TO SECOND SPECTATOR! With a slate and chalk or pencil and fairly large pad, the performer works up the effect as desired and depending upon his own showmanship. He writes the total of four gures on the pad or slate but does not show them yet. Taking the envelope in hand, the performer tears it open and APPARENTLY READS ALOUD THE TOTAL OF FOUR FIGURES FROM OFF THE CARD OR PAPER, but he is REALLY READING TO HIMSELF THE WORD WHICH SECOND PARTY WROTE* When this has been read the performer immediately calls attention to slate or pad on which he wrote something BEFORE anyone knew what rst party had put down. Turning slate or pad around, the performer SHOWS THAT HE HAD DIVINED THE CORRECT NUMBER WITH THE FIGURES IN THE EXACT ORDER. Every move as given above has its own reason. The reading of the envelope’s contents, and the subsequent showing of what performer had written brings things to a climax correctly and dramatically. Verication of the envelope AFTER the showing of what performer had divined would make an anti-climax and not have any reason. Thus the performer has divulged the rst party’s number and now knows the second man’s secret. When the rst envelope was torn open and the card apparently read from and attention called immediately to the pad or slate, the card was replaced on top of the envelope and both dropped into performer’s side coat pocket on the left with the card nearest body. The following two times that this is done the card and envelope each time is placed in pocket between those already there and body. After last is in place, by moving card my which is next to body to the other end of the stack, the stack may be removed from pocket and the envelopes and cards are now paired up correctly so they can be carelessly tossed out together. It is incidentally obvious to the seasoned performer what the remainder of the routine is. While the second envelope is being held in view, the information is written down and when performer apparently reads the contents of this envelope, he sees the picture drawn by third party. When he has nished the third or the picture, he veries and is now looking at the addition card of the rst man. He, however, describes what the picture is and has the third man verify this description and then the performer’s drawing is revealed. I have another method for this nish which is optional, but more effective. In this method, I do not return any of the envelopes or cards, which same is really not at all necessary because of the various elements of misdirection which do away with all thoughts of trickery

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connected with the material used. In this case two slates are used, or perhaps two pads. When the last envelope is held up the performer apparently changes his mind as to the procedure and states that because a small picture would take too long to hand around so all could see it, he will ask the gentleman to redraw it on a pad or slate. So saying, the performer carelessly takes the envelope from volunteer and tears it to bits and drops same in pocket as he hands out the slates. After the spectator has taken one and starts drawing, the performer takes the other and draws also. When they have nished, both drawings are found to be alike as near as possible! Another point that should be obvious is the fact that any number of envelopes and cards may be used, as the system of signing prevails throughout. However, repetition is useless and boring, and three tests are sufcient to make a really sensational test. If desired, the subject matter may be varied as long as all three are different. The performer may have one write the name of a deceased friend or relative instead of a word, they may write a short test which the performer is to go through with, etc. The following is a complete variation from the above procedures. This, however, is not as impromptu and free from outside preparation. It brings to light, though, what I think a diabolically clever variation of an old time principle which is totally unknown, but to the elite of subtleties. This enables one to have the envelopes signed by the spectators themselves. In this method, however, cards only may be used and it is imperative that the performer pass out the cards only rst. The addition problem is not used, and the rst party merely asked to write any three gures and to remember them. In sealing them, the performer goes to each and holding the envelope asks them to place the card in same with writing side down. This is done so that all of the writing sides are against the face side of the envelope. As soon as the card is in envelope, it is left with spectator to seal and sign across the ap side of same to prevent tampering and to serve as identication. In all of the old methods for using a transparency, there have been clumsy and cumbersome pieces of apparatus or fekes to contain same. There have been extra appliances to hold in one’s hand, such as sponge boxes which had to be palmed and kept out of sight, envelopes containing pads which necessitated having an extra pile left in hand to conceal them. In this rejuvenation of an old principle, the hands are seen empty and there is nothing to palm (or to hold with cramped positions and strained muscles), nothing that can get away and nothing to be afraid of.

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The Magician’s old standby, the thumbtip, is brought into play through an ingenious application and preparation with a few moments work. A round hole about half an inch in diameter is cut through the ball of the thumb tip. The edge is rounded off and smoothed. A piece of pale pink silk or nely woven cloth is folded into a pad of ve or six thicknesses and forced down into the tip with the thumb. After this, is forced in also a not too thick pad of absorbent cotton. One must experiment a little bit to get the correct amount, which depends upon the tting of the thumb into the tip. One cannot have too much of the padding inside. Also at hand is a piece of rubber about three or four inches square and cut from a toy balloon. To prepare this, about half a teaspoonful of the transparency is poured into the mouth of the tip and the sheet of rubber folder over several times and forced in an top of all. The tip is then left in your right vest pocket. Such a prepared tip will be ready for use for the greater part of an hour after being xed at the last moment possible. For a transparency, there are three kinds, all of which are as good as the other in actual use. They are alcohol, Carbon Tetrachloride, and De-odorized Benzene [latter two are now known carcinogens and should be avoided]. When used in great quantity and over a period of fteen or twenty envelopes as in all of the other antiquated methods, the odor becomes very noticeable. But with three or one only, and in such small quantity, there is nothing to be noticed at all. The ease and practicability in handling and using cannot be denied. When on the thumb and handled with due caution as a thumb tip is ever handled, the mere action of running the envelope between the thumb and ngers of the right hand serves to do the work on the face side of same towards performer. It is done when the envelope is rst picked up from the table after collecting and when performer calls the name and shows envelope. It is then laid aside in view while performer writes or goes through test. Within two minutes the transparency has vanished and the envelope is once more opaque. I advise the opening and verication at the nish of each test and then the returning of the envelope and card at once. Use manila quality envelopes as those do not wrinkle as do white ones when drying. For another variation, the tip may be used only to gain the information on the rst envelope when collecting and the one-ahead method adhered to after this. Thus, the performer would write the names, and in returning to the front would gain the necessary information from the rst manes envelope signed with last man’s name. From here on, use the rst routine as given. I have used all of the above methods at different times. Under closest watching, the thumb tip principle has not been seen nor caught and is the most subtle and perfect of the transparency methods ever conceived.

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No matter what your conditions may be, there is a variation and routine to t. The beauty of the various points lies in the fact that they may be inter-changed on an instant’s notice without much thought and with very little or no work, I trust that my reader will put this effect into operation and actually become acquainted with it ‘under re’ as I have, before casting any opinion upon its value and worth.

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MASTER MEMORY FEATS This is a feat which I introduced widely to the profession some years ago by making it up in the form of Pocket Cards easy to carry and use. There are several ways in which this amazing feat may be presented to apparently duplicate the feats of the stage “Memory Experts” for both platform and parlor use.

FOR STAGE OR CLUB WORK The best is to prepare a large piece of “sign painters oil cloth” which has a dull nish by having someone who can letter mark off 100 with ruled lines in black – or rather say rectangles of about 5” high by 7” long. In each space have a number indicating the square number as shown below – and then under it a long six digit number as shown below. This mounted on a round rod at top and bottom can be rolled up for convenience in carrying, and quickly hung up on the wall like a map is hung during lectures in school . Performer should proceed the exhibition by talking on the subject of Giant Memory feats and what it is possible to do with the human mind with training. He should then add that surpassing the usual feat of memorizing from sixty to one hundred different articles which some stage performers feature he has gone a bit further and MEMORIZED OVER SIX HUNDRED DIFFERENT DIGITS in their proper order and relation to each other – and also one hundred other qualifying gures – making really SEVEN HUNDRED DIGITS he has memorized. He now has the above display banner unrolled and placed in position and calls attention to the fact that there are 100 squares – and SIX FIGURES in each square. Also that so as to identity them he has had a smaller gure placed in the upper left corner of each square to indicate the squares from each other – one to the last or one-hundredth square. To prove he had them all memorized, he asks anyone to call out any square, the Square No. 1 or Square No. 28 – or ANY square desired and he will endeavor to give the number immediately from memory. The performer does so repeatedly. He then invites any one to give the rst two gures of any large six digit gures on the board and he will give the balance of the number – and then the number of the square it is located in. This he does equally successfully each time WITHOUT A SINGLE ERROR. The secret is most ingenious and cannot be detected by one who is not in the secret. The six digit gures each have a relation to the number of the square as shown below – but so subtle is the connection that it is impossible to discover it without the key.

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Any number of a square is called out and the performer immediately calls out the six gured numbers in that square. That is a spectator calls for a number by saying “what is number 43” or say “give me number 97” when the performer immediately calls out or writes on a blackboard “number 48 is 257,291.” He can so give any one of the one hundred different numbers. It appears to be a most wonderful feat of memory as performed by celebrated “Master of Mnemonics,” yet anyone can perform it. SECRET: When a number is called, add 9 to the number given then, reverse the gures to the result. Next add the two gures together which gives the third gure. Then add the two last gures each time to get the next gure, until you have 6 gures.

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EXAMPLE: Number 43 with 9 added equals 52; and reversing the gures gives us 25 for the start. Adding these two gures gives us 7 which we place after the 25 — giving us 257. Adding the last two gures together gives 12 and we place the last gure of this (2) after the 257 giving 2572. The sum of these — last two gures (7 & 2) equals 9 — which placed after gives us 25729. Once more adding the two last gures added equals 11 of which the last gure (1) is placed after, giving 257291. There are dozens of other mystifying and amazing feats that can be performed on this system which there is no space to include here but which I may prepare a separate set of directions for later on. The item can also be obtained in the form of ve pocket cards which bear twenty numbers each making the total of one hundred gures. The feat is more effective on the platform however presented as a regular Memory Feat Act.

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W O R L D ’ S G R E AT E S T M E N T A L T E S T S

THOUGHT TRANSFERENCE SUPERB Performer announces that many people ask what the sensation is when a mind reader reads one’s mind – how it occurs. Therefore he will answer that enquiry by reversing the usual feat and having a spectator read the performer’s mind. He does so – and needless to say that this reversed effect leaves the spectator no wiser than before – though he feels convinced he has really read the performer’s mind in fact! Several small envelopes are picked up from table, likewise a blank card, An envelope and a card are passed for examination and found to be ordinary. With a red pencil performer writes something on the card, which he does not show to audience. This card is then placed in envelope and sealed. To preclude the possibility of fraud or existence of assistants among audience, two or three people are picked out by the spectators themselves, to act as volunteer assistants, We will assume that performer is using two people and has secured a man and woman to assist, To this rst spectator the statement is made that written on card in envelope, is written a month of the year (day of the week, color, etc.). He is asked to concentrate his mind and when “Ready” is called out, to speak aloud the FIRST MONTH THAT ENTERS HIS MIND. Supposing “January” to be the response elicited. He is informed by performer, that JANUARY is the month written on card – it was the month the perform was concentrating upon and therefore it was the same one which came into the spectator’s blank and receptive mind PROVING THE TRANSMISSION OF THOUGHT. The same routine is employed with lady assistant using, for instance, a number, Say that sixty was the numeral she called out. Performer calling attention to the fairness of the test involved, opens the envelope up, extracting the card and veries the month and number as the same as called out by audience immediately handing out the card to those seated in his immediate vicinity as proof of the success of the test. The result is not dependent so much on skill as boldness of presentation.

WORKING One envelope is prepared by securing to the inside face (address side) a piece of red carbon paper, Its impression closely resembling a red crayon or drawing pencil will not smudge as easily as black carbon paper. Black carbon paper also does not match up with the ordinary lead pencil in common use. This carbon paper is pasted lightly at the corners, impression side

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down. Writing on the outside face of the envelope will be transmitted to a card therein. The carbon sheet should not extend to within one inch of the right hand end of envelope so it will not be exposed when the message is removed, An ordinary envelope and a blank card is passed out for inspection, Taking them back after examination, the envelope is laid on top of those in hand, then the card, making a natural writing base. With the red pencil in hand performer goes through the actions of writing upon card, On the card WHICH SHOULD BE OF CONSIDERABLE THICKNESS so it will not allow an impression to go thru it and will also provide a hard writing base for the impression later on when used for an impression – he really writes an follows:-

NOTICE the writing starts CLOSE TO THE TOP leaving a space to be lled in with one word to be written in later in LARGE LETTERS. Then another two lines in even lines – leaving another blank space to be lled in with a number – later on. Leave plenty of space to write the number in LARGE. Holding the card up in the RIGHT hand ngers, he quietly drops the other hand to his side, while he asks for a name to be written on the blank side of the card to prevent its exchange. A name is given and performer writes it on the blank side of card BUT AS HE BRINGS HIS LEFT HAND UP WITH THE ENVELOPES IN IT TO AGAIN SERVE AS A WRITING BASE HE SIMPLY BRINGS UP THE PILE OF ENVELOPES REVERSED – THAT IS; SO THAT WHAT WAS FORMERLY THE BOTTOM (PREPARED) ENVELOPE IS NOW ON TOP. He now writes the name on the blank side of envelope doing so lightly so that it will not affect carbon paper. He then places the card inside the prepared envelope in such a way that the writing side (not the name side) is against the red carbon side of the carbon paper. The envelope is sealed and held by performer upright about breast high or a little higher. - 19 -

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As the performer replaces the red pencil in his right hand coat pocket in a natural manner, he secretly secures a device known as a thumb-clip stylus – a esh-colored band which the tip of the thumb may be passed thru somewhat like a band ring -but which only goes down about an inch from the thumb tip, being too small to pass over the thumb joint. This has a small smooth metal point about the size of a pencil point but rounded off very smoothly and highly polished – so it will not out or scratch the paper. The thumb is slipped into this device while in the pocket – and the hand brought out with it in place, while the performer is talking to the audience getting them to name or indicate TWO members of the audience with whom the experiment in thought transmission is to be made. The hand naturally comes up toward the envelope which is held naturally in an UPRIGHT position or at an angle of about 45 degrees – with the address side of envelope toward performer. The thumb naturally goes BEHIND envelope and the ngers in front (toward audience). So soon as the spectator selected has called out a month performer quietly traces the word JANUARY on the back of the envelope about one inch down from the top edge of the envelope – so that the carbon paper within will naturally cause the word so traced to appear IN THE SPACE LEFT BLANK on the card (by means of the red carbon paper). So soon as the NUMBER has been called out by the lady the performer traces with the stylus the number 60 on the envelope so it will be transmitted by the carbon paper on the card in the proper space. The movement of the thumb in writing is concealed behind the envelope perfectly – and as the thumb can be moved INDEPENDENTLY OF THE FINGERS – after very little practice – the ngers on the side toward the audience SHOW NO MOVEMENT and the act, therefore, is easily performed without the audience having any clue to the secret. NO one would expect you could WRITE WITHOUT USING the FINGERS of either hand. In fact even the performer could not without the use of this stylus.

TIPS IN SHOWMANSHIP It now only remains for the performer to ask the spectators how they felt when they were receiving the MENTAL IMPRESSION of the performers thoughts – which they have done so accurately the rst time, etc., etc. – and to congratulate them on being such “excellent subjects.” To thank them for their cooperation – and then to reveal the card by opening up the envelope (being careful to tear off the right hand end where there is no carbon paper near the edges – and hand out the card, Drop the envelopes (including the opened envelope) on your assistant’s tray – or toss them on your table as you come forward to hand the card out, to spectators who called out the Month and Number – for verication. HAVE ONE OF THEM READ THE CONTENTS OF THE CARD OUT LOUD (this is very important) and keep the action at this point going DRAMATICALLY so that it will WORK UP EXCITEMENT and bring applause. – Make it a point to shake hands with the gentlemen who helped you by giving the month and the one who read out loud the writing on card, etc. This leads attention

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away from the envelopes, breaks the audiences chain of thought and observation – and directs it to the DRAMATIC CONCLUSION and SUCCESS of the feat just presented.

ADDITIONAL TIPS FOR WORKING When you are doing this feat for the rst few times the following will aid you. Practice writing out the wording shown above, namely; “The month I will transmit to your mind will be” in TWO EVEN LINES, so as to learn just how to make these UNIFORM. And how much SPACE you will require for the two lines. Then on several cards mark with four dots the space from the top you will require to write the above. Now place the cards in several envelopes one to each and on the outside of the envelope MARK FOUR FINE DOTS so small that no one will notice them except yourself because you know where to look for them – to indicate where the two lines end – and where the word “JANUARY” will be inserted. Now do the same with the words “The number you will think of will be” – which you also write in TWO LINES properly spaced below this. Mark on the card two tiny dots where this writing ends - and then placing in envelope mark the corresponding position on the outside of envelope. In this way you have a perfect guide as to where to write the rst two lines on the card – and how much space to leave for the line “JANUARY” which you should write in LARGE WRITING on a separate line by itself under the two lines at top of card, And then when you are writing or tracing with the stylus on the envelope you have a perfect guide to show you just where to write the word. A small pin prick in place of a pencil dot maybe used if preferred. In time practice will enable you to dispense with these aids. If you do the trick a couple of times a day in the course of regular performance you soon acquire a set way or habit of writing the words in the same SPACE each time, The stylus, after use as above, is neatly discarded with the laying aside of the envelopes on a tray or table, it is hardly necessary to add. But I do so in case some amateur might otherwise write in that I had left the performer with a thumb stylus on his thumb at the nish of my directions. When I was younger I was often tempted to write such inquirers such advice as to “Soak the thumb in vinegar for three days meanwhile fasting religiously and as the body thins down from lack of food the thumb will also, and the ring will drop off of its own accord, Nowadays I have more patience and endeavor to put EVERYTHING in my directions for each feat so as to forestall such omissions, Therefore if my directions often seem TOO COMPLETE (as I have no doubt they often do) – make allowances for the fact that the Burling Hull Books have a pretty wide circulation – being the only books written and

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published ONLY FOR MAGICIANS (never sold to outside publishers nor to department, book or other stores or circulating libraries) which have reached their third fourth and fth printings – and many readers write in to their author if EACH DETAIL is not perfectly covered in full. THOUGHT PROJECTION: Three items are mentally “Projected” into the receptive minds of a person in the audience – or three separate people – as desired. STYLUS METHOD: A stylus is a glass or agate pen, commonly used in former years by railroads when compiling way-bills, through its use being enabled to write the original in ink and at the same time prepare a carbon copy. For this test only the stub is necessary in order to be easily manipulated inside trousers’ pocket, or the pocket of whatever costume is worn. A similar routine is employed as in proceeding method, except that writing on faked envelope is accomplished while same is slightly clipped to a pad in pocket. At conclusion of test it is extracted from pocket, concealed in palm of hand. Placed on top of the few envelopes visible, the top and bottom change is effected, or it is deliberately switched for one held by spectator while en-route to bottom steps leading to platform. Of these two methods the former is recommended, it requiring only a fairly impressive misdirecting talk to entirely divert attention from the hands; in any event movement of thumb is covered from view by the bottom envelope, if held at an angle of about forty-ve degrees.

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DUNNINGER’S “TELEVISION” The CORRECT and ORIGINAL METHODS of presenting with the Original Inventor’s Authorized GENUINE ACCESSORY and Manipulations. In view of the fact that INCOMPLETE copies of the original inventor’s principle with only PART of the correct METHODS of operation have been circulated recently – the inventor has decided to market the CORRECT VERSIONS along -with the CORRECT FORM of accessory which adds so greatly to the EFFICIENCY of the feat. It may also be of interest to magicians to know the facts of the TRUE ORIGIN of the effect and principle. As is well known to a vast number of enlightened professional performers the effect herein described was created by the original inventor several years ago and from then on continuously presented as a favorite press demonstration feature in numerous cities where he appeared as a headline feature of the Keith and other vaudeville circuits. It is described in scores of press notices now on le among the several volumes of press clippings of the writer. In the course of time this excellent effect was sold and given in condence to a limited number of fellow performers, and human nature being what it is, was occasionally resold and “traded” to others, until a couple of years ago it even appeared explained IN PART (though the writer honestly enough did not claim it as his invention) in a British Magical Publication by Jardine Ellis. But the writer of the article did not have all the facts nor the CORRECT METHODS in FULL and even described using the clumsy device of a glass mirror!! He plainly did not know of, nor where to obtain, (or perhaps not even BELIEVING IN) the existence of such a remarkable product as the inventor’s WAFER-LIKE and PAPER-THIN Reector device which by its extreme thinness, lightness, exibility and unbreakable feature, ADDS A THOUSAND FOLD to the ease and subtlety of the operation of the feat. EFFECT-PRESENTATION You offer to present an experiment in “MENTAL TELEVISION.” In order to make the conditions as severe as possible, you state that you will reduce the feat to its last degree of simplicity.

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You hand a member of the audience a card or pocket note-book and pencil, or permit him to use a card or note-book of his own. A member of the audience makes a simple drawing or geometrical design such as Square, Circle, Triangle, etc. or an outline sketch of any article, on an unprepared card which he holds. The gentleman is asked to retain the drawing, not letting it go out of his possession for an instant, and to merely keep his eye focused on the drawing and THINK of it INTENTLY. You now take a position some distance from the subject, and “through the power of Mental Television” mentally visualize the sketch the subject is concentrating on and draw a duplicate of his sketch.

THERE ARE THREE WAYS OF PRESENTING AND WORKING THE EFFECT. 1. With Cards.

2. With pocket-note-book.

3. Back-hand method.

ACCESSORIES This effect uses what appears to be a set of ordinary cards. But again inspect them and you will nd (or it may escape your notice as it is so elusive) a thin WAFER-LIKE unbreakable reector [Silver Mylar?] – thinner than the card itself, thinner than a sheet of paper even. The mysterious material this is made of is UNKNOWN in this country and we have submitted it to the 17 leading metal concerns, none of whom could tell us what it is nor duplicate it. We have, we believe with one other gentleman, the only supply available. Its peculiarities are; that it is UN-TARNISHABLE – is WATER-PROOF – is EVEN MORE FLEXIBLE than card or paper – RUST-PROOF, and of course unbreakable. Having a SPRING to the material it always keeps FLAT and gives a PERFECT REFLECTION. This reector is mounted on a card. Arrange the cards with REFLECTOR CARD 2nd from bottom, facing down. Use about 5 cards to make up a pocket. METHOD 1. WITH CARDS: Have the packet of cards in your vest pocket or conveniently at hand. When requesting gentleman to make a drawing REQUEST that in order to increase the chance of success, he conne his drawing to A SIMPLE OUTLINE, or a simple diagram – USING AS FEW STROKES OR LINES AS POSSIBLE. Explain that as he has probably never made this experiment before he may have difculty in CONCENTRATING COMPLETELY, to the absolute exclusion of all other thoughts and ideas. Therefore, keep the design SIMPLE. Ask party to select his subject mentally – one he can easily draw. - 24 -

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Take the packet of four or more cards from pocket, and spread out in fan. Draw off the bottom card lying against the reector, and hand it to gentleman. Ask him if he would prefer to use his awn card, or note-book. If so allow him to use that. This leaves Reector-Card facing you or lying face down in your hand against your palm so it cannot be seen by audience. Ask the party to now make his drawing. Take the gentleman by the hand and saying that to remove all suspicion in the experiment, you are going to ask him to STEP AWAY FROM THOSE AROUND HIM so that no one will see what he is drawing. Lead him to a position away from the rest of the company. Ask him to stand so the LIGHT will fall DIRECTLY ON THE CARD HE is holding, “So as to get a good strong impression through the visual eye – and thus into the mind itself.” Take up your position in front of him – so you FACE THE LIGHT. All this of course is so that with the two of you standing this way the light cannot later on fall on your reector and reect on the card held by party and thus reveal its presence. When drawing is nished ask gentleman to HOLD THE CARD UP AT ARMS LENGTH IN FRONT OF HIM AND CONCENTRATE ON THE DRAWING STRONGLY. As he follows your suggestion say, “Pardon me! Not that way, but a little higher up,” and TAKING HOLD OF HIS ARMS NEAR WRISTS GUIDE THEM INTO POSITION, “and about 24 inches from the eyes – just as if you were concentrating on a crystal Gazing Ball. Did you ever try crystal gazing Sir? What’s that? You could see your nish without that eh? Well, Well!” While guiding his hands to the proper height, and then into position, you have the packet of cards with the REFLECTOR CARD facing you in your left hand, As your hands come UP from your waist and UNDER gentleman’s extended arms, you take hold of his wrists from UNDERNEATH (standing directly in front of him) with thumb and forenger of either hand. – Guiding his hands on upward and then out at arms length, gives you lots of opportunity to bring the reector in “Focus” so that you see a reection of the party’s drawing in your reector – and notice the object drawn. Ask the party to keep that position – and step away several feet. Take one of the cards out of the packet you hold in your hand - drop the rest into your pocket (including the reector) so that you will have nothing but one card in your hands also. Ask everyone to be quiet for a moment, frown as if concentrating deeply, and then proceed slowly to draw what you saw on the card. Stop a second and ask the party, “Pardon me, but will you just CONCENTRATE a little harder on the LOWER LEFT-HAND CORNER of your drawing a moment Sir? I seem to have a little trouble getting that clearly. Just look hard at that part a moment. Yes, that is a little better! I hope I have something like it now Sir.” - 25 -

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Turning to audience, “You see ladies and gentlemen, I only receive a sort of faint vision of the object the gentleman is THINKING OF. If he thinks of the WRONG thing, I shall be WRONG. If he thinks of the picture of a CHAIR, I will draw a CHAIR also, but MY idea of a chair may be somewhat different from his mental picture. But it still will be a CHAIR just the same, and recognizable as such.” “Now here is my drawing which I will hand to one of the gentlemen. Will you, sir, kindly go over and compare it with the one the gentleman made, which he still holds, and let me have your verdict? – Is it CORRECT sir? – Yes? – Thank your METHOD No, 2 WITH NOTE-BOOK. Use a note-book or two note-books of the sort that OPEN END TO END – that is; the LONG WAY of booklet. Place the card bearing reector inside the cover and fasten securely with an elastic band. Fold cover down over the reector and place in pocket. Proceed exactly as before handing party the other note-book to draw on. While he is doing this: fold back the cover of your note book as if getting ready to draw also -but really to leave the reector ready for use. Ask party to hold up his hands a little higher and closer to eyes as before, and catch the reection as previously described. Step back and with your pencil pretend to start drawing. – Then stop and reverse pencil as if endeavoring to erase drawing – then as if thinking better of it TURN THE COVER DOWN OVER THE PAGE, and REVERSE the book – opening book from other side, start to draw on the page that was formerly the BOTTOM page. When nished simply tear out the page, give the little patter about the fact that your drawing may not be exactly the same but of the same object, and then hand over to some one to compare with the original. ANOTHER FORM of this method is to have the pocket-book with a reector mounted in a POCKET in the OUTSIDE lower half of the TOP COVER, and a little ap folding down over it from the upper half – like a sort of miniature hinged door. This is folded up so reector can be used for a moment, and then ap allowed to drop down over the reector when nished so that nothing can be seen. The trick was formerly made up this way but a capable performer can manipulate the card reector snapped on to inside page of booklet with elastic just as easily, and at the and he can drop the booklet in his side coat pocket and while hand is in there PULL the reector card free and let drop in bottom of pocket. A few minutes later, he can then pull out the booklet which is now ordinary, on pretext that he would like to have party write his name and address therein - and thus let him see that it is unprepared while writing his name in the booklet,

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The note-book version is the one which was explained a few years back in the BRITISH Magical Publication by Jardine Ellis – but incompletely so, as the writer of the article did not have all the points of handling nor knowledge of the CORRECT FORM OF WAFER-LIKE REFLECTOR. METHOD 3. WITH BARE HANDS. In this method the performer has nothing in his hands when approaching party. The method requires a little more skill such as possessed by a professional. In this ease the reector is a piece cut in shape of an egg, It is fastened to the BACK of the hand NEAR BACK OF THUMB-BALL. To fasten use a piece of Physicians adhesive tape two inches long and with ends joined to form a LOOP – with the STICKY SIDE OUT. This is pressed against the back of the WAFER-REFLECTOR – leaving a sticky side out so it can be attached to anything, When ready this is pressed against the back of LEFT hand near the thumb-ball. This is done while the performer turns his back so that he will not be able to see what party is writing. WORKING: Approaching party ask him to hold drawing up in front of him – then ask him to LOOK AT IT WITH ONE EYE ONLY and at same time PLACE YOUR LEFT PALM OR THUMB OVER HIS RIGHT EYE to illustrate what you want him to do – adding, “Like this Sir, Or in fact – just bring your right hand over your right eye, Sir,” (taking his hand and guiding it into position and pressing it in place and incidentally getting a wonderful reection of the party’s drawing from the reector on back of your hand. Step back, reach into your RIGHT INSIDE BREAST POCKET with your LEFT hand, to get your card or note book, and scrape off the reector from hand, on side of pocket. FINISH as described.

CONCLUSION The foregoing are the true and correct versions, as created and presented by the originator of the effect who has the advantage of a long and successful professional career as attested by the records of the leading vaudeville circuits as a headline feature, and by many volumes of press comment and publicity. Not only the METHOD but the ACCESSORY is the CORRECT one (not, obtainable elsewhere) in place of a home-made substitute recently observed – actually a clumsy glass mirror some twenty times heavier and about thirty times as thick as the correct original reector material.

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A N N E M A N N ’ S A D F O R 4 T H D I M E N S I O N A L T E L E P AT H Y

ANNEMANN’S 4th Dimensional Telepathy From my own repertoire of things mysterious; effects and methods that I consider SUPREME TESTS; I am offering one veritable SUPER NUMBER. I have made it a feature for THREE YEARS. I shall continue to use it because the ones that obtain it will realize its value and actually keep it and use it to benet themselves. It is seldom that an effect is placed on the market with as long a time as THREE YEARS OF ACTUAL USE behind it. Some may wonder why I should let go of any real good number. I have my own reasons, all of which are to make money from my ideas that have been proven practical. I don’t think that a limited sale will hurt the use of this number in my performance. If I am wrong, I certainly assure everybody that I shall never sell a feature of my entertainment again. So-to those who desire something real sensational and awe-inspiring; to those who appreciate things subtle and perfect in routine and to those who want an effect wherein little or no apparatus is needed (everything is in one pocket); I offer my 4th Dimensional Telepathy. Effect:- The performer states that he shall attempt a test of telepathy wherein he shall prove beyond a doubt that thoughts of any nature can be read. He passes to three people, a small card and envelope. Standing at a distance, the performer asks one party to write a number of gures, another to write a word, or the name of some relative or friend, and the last to draw a picture of any type. The performer announces that these three people have expressed themselves on paper in every way of communication known to man; gures as from the Arabians, letters as from the Romans, and pictures as from the Egyptians. The spectators seal the cards securely and WRITE THEIR NAMES ACROSS THE ENVELOPES. With his hands seen otherwise perfectly empty, the professor takes the three envelopes and holding one WITH NAME SIDE SHOWING, TELLS THAT PARTY the EXACT FIGURES THEY WROTE, and not only that BUT SUCCEEDS IN TELLING THE EXACT ORDER THAT THEY WERE WRITTEN IN!! At once the card and envelope are returned to them to keep.

A N N E M A N N ’ S A D F O R 4 T H D I M E N S I O N A L T E L E P AT H Y C O N T I N U E D

This same effect is repeated with the envelope containing a word and lastly, THE PERFORMER COMPLETELY DESCRIBES THE DRAWING CORRECTLY AND MAY EVEN REPRODUCE IT ON A SLATE, PAD OR BLACKBOARD IF WISHED. I know that all of this sounds like the wildest of pipe dreams but it is all true. Only three unprepared cares and envelopes are needed. No extras, nothing faked and you do not have to READ ONE AHEAD. The signed envelope and card is returned EACH TIME. Robert L. Ripley’s Believe It or Not cartoons never had an impossibility like this one number. You can work anywhere, in a drawing room for three or a club room for three hundred. I am giving two distinct methods that I have always used. Both are totally different and, knowing one, you cannot work the other. I will gladly answer any questions regarding this test. The complete working routine, necessary instructions and presentation details $10.00 You may obtain this effect in a sealed form from your own dealer.

ANNEMANN

WAVERLY, NEW YORK THAYER in the WEST – BERG in the MIDDLE WEST – HOLDEN in the EAST