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WORLDS 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 Worlds 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 Americas 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 CONCEN-
TRATION 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 reectorit will catch the entire area of the slate and its gures,
condensed to the mirrors 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 difcult 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 reector.]
WORL D S GRE AT E S T ME NTAL T E S T S
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VOLTA SPIRO-PREDICTO
A startling spirit writing caused to appear on an EXAMINED card on which a spectators
name has been written for identication. 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! dont 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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Do you hear any writing going on in the envelope, Madame. No? Do you feel any VIBRA-
TION 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 cardThe word which was selected by the audience is OPPORTU-
NITY. 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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
WORL D S GRE AT E S T ME NTAL T E S T S
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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 identication? (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 Forenger 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 everyones 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
spectators name written on the Card, so they know it is not exchangedplace card in the
envelope. Hand this to a lady in the audience and ask her to write her name on envelope for
identicationand 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
WORL D S GRE AT E S T ME NTAL T E S T S
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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 specic 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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ANNEMANNS
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
WORL D S GRE AT E S T ME NTAL T E S T S
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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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 envelopes contents, and
the subsequent showing of what performer had written brings things to a climax correctly and
dramatically. Verication 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 partys number and now knows the second mans 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 performers 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 veries 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 performers 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
WORL D S GRE AT E S T ME NTAL T E S T S
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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 sufcient 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 identication.
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
ones 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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The Magicians old standby, the thumbtip, is brought into play through an ingenious applica-
tion 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 verication 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 mans 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 instants 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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.
WORL D S GRE AT E S T ME NTAL T E S T S
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THOUGHT TRANSFERENCE SUPERB
Performer announces that many people ask what the sensation is when a mind reader reads
ones mind how it occurs. Therefore he will answer that enquiry by reversing the usual feat
and having a spectator read the performers 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 performers 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 spectators 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 veries 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
WORL D S GRE AT E S T ME NTAL T E S T S
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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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 assistants 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 verication. 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
WORL D S GRE AT E S T ME NTAL T E S T S
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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
WORL D S GRE AT E S T ME NTAL T E S T S
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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.
WORL D S GRE AT E S T ME NTAL T E S T S
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DUNNINGERS TELEVISION
The CORRECT and ORIGINAL METHODS of presenting with the Original Inventors
Authorized GENUINE ACCESSORY and Manipulations.
In view of the fact that INCOMPLETE copies of the original inventors 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 condence 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 inventors WAFER-LIKE and PAPER-THIN Reector 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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
reector [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 reector 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 conne 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 difculty 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 reector, 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 Reector-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 reector and reect 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? Whats 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 gentlemans extended arms, you take hold of his wrists from
UNDERNEATH (standing directly in front of him) with thumb and forenger of either hand.
Guiding his hands on upward and then out at arms length, gives you lots of opportunity
to bring the reector in Focus so that you see a reection of the partys drawing in your
reector 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 reector) 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.
WORL D S GRE AT E S T ME NTAL T E S T S
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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 reector inside the cover and fasten securely with
an elastic band. Fold cover down over the reector 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 reector
ready for use.
Ask party to hold up his hands a little higher and closer to eyes as before, and catch the
reection 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 reector 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 reector can
be used for a moment, and then ap allowed to drop down over the reector when nished so
that nothing can be seen. The trick was formerly made up this way but a capable performer
can manipulate the card reector 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 reector 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,
WORL D S GRE AT E S T ME NTAL T E S T S
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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 reector
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 reection
of the partys drawing from the reector 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 reector 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 COR-
RECT 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 reector material.
ANNEMANNS
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 benet 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 dont 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 ENVE-
LOPES. 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.
ANNE MANN S AD F OR 4 T H DI ME NS I ONAL T E L E PAT HY
This same effect is repeated with the envelope containing a word and lastly, THE PER-
FORMER 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.
Ripleys 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, neces-
sary 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
ANNE MANN S AD F OR 4 T H DI ME NS I ONAL T E L E PAT HY CONT I NUE D