WILL ALMA

M.I.M.C. (LONDON)
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Copyright, 1937, by Theo. Annemann
World Copyright Reserved. ^
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A complete, routined act

of telepathy, mind reading,
and clairvoyance, designed
for two people,and possible
of being presented before a
most critical audience. The
minimum of preparation is
necessary for the maximum
of effect. The program will
run approximately 30 min-
utes.
 The State Library of Victoria
A L M A CONJURING COLLECTION
Before we get into the actual working of this set
of tricks, I want to make clear several points. The
routine as it is given here, has been tested out and
used since 1929. The tests were worked out from the
standpoint of simplicity in method, and maximum in
effect. After witnessing many two person code per-
formances, I came to the conclusion that while audi-
ences were quick to give credit for cleverness, they
invariably knew that Information was being conveyed
by the apeaking of performer to medium.Therefore,the
code given herein was developed to deceive by subtle
arrangement. At two times, after having seen a dem-
onstration of naming cards, I was offered $25 to re-
veal the code alone.

As printed here, the codes are easily learned in

an evening. The routine, as a whole, can be learned
in a second evening, and with a few test programs to
smoothe things out, you are all set.

Another point. Many acts are published and mark-

eted, but nine times out of ten, they are put out to
satisfy the need of stage workers. They require many
weeks of rehersal, and then only become practical by
constant use before large audiences. At least 95$ of
those who buy magic books are those who follow magic
in an amateur or semi-professional manner.Their per-
formances are intermittent, and they seldom,if ever,
have the opportunity (or desire it) for doing large
stage work. Their shows are limited to clubs, homes,
private parties, and audiences of the intimate sort.

It was that last type for which this routine has

been published. The wives and sweethearts, who, for
the most part, will be the ones on the receiving end
of the show, have but a minimum to learn, and yet be
able to present an intimate act of professional cal-
ibre, and one for which the writer has received fees
up to $200 for a single evening in private homes and
clubs.

Therefore, please don't glance through this bro-

chure and say, "It looks pretty good." Read it tho-
roughly (it hasn't been padded) and say, "it really
IS good. It HAS been used a good many times which ia
proof of its practicalness. It IS what I've needed a
long time in order to do such an act."
 Tiie coda to be learned by both participant* fol-
lows. At all times, the performer talks to the spec-
tator and NOT to the medium. No questions are put to
the medium, and it is in a word or two to the spec-
tators that the information is sent*

UNITS TENS

1 Don't 1 Now
2 Think 2 Please
3 Take 3 Just
4 Place 4 All right
5 Give 5 All right now
6 Say 6 All right please
7 Name 7 All right just
8 See 8 Now please
9 Put 9 Now just
0 Try

The above words will take care of all numbers, to

and including 99. The card code, following, is prac-
tically the same, with the exception of a few words
added that are more naturally used with cards.

A Don't - Hold SUITS - C (nothing)

2 Think - D All right
3 Take - S Just
4 Place - H Now
5 Give - Mix
6 Say - Remember Joker - Nothing said
7 Name - Shuffle
8 See - Look
9 Put -
10 Try - Cut
J Tell -
Q Keep -
K Ask - Concentrate

There is but one thing else to memorise. The coin

naming and delivery to owner effect necessitates the
remembering of United States coins in the order giv-
en. In other countries, arrange the coinage in same
order of value, as far as they go.

1 Penny 3 Dime 5 Half-dollar

2 Nickle 4 Quarter 6 Dollar
Page 2
 The secret of this routine depends entirely upon
two things; the subtleness of the code, and the ef-
fects with which it is used. All such acts have de-
pended on a code alone to pass Information secretly.
In this act, the methods of operation are continual-
ly being changed, and the effects presented are tru-
ly different.

In rehersing, the performer is to forget the med-

ium and address ALL of his remarks to the audience.A
watchful observor will never hear the performer give
his remarks to anyone but the spectators, and those
are concealed in instructions and directions,and not
as inane, senseless, and obvious asides.

Here are some examples of the code words in use.

You need never say the same thing twice exactly. As
you become accustomed to it all, you will ramble a-
long to the spectators, and at the right moment, the
key word or words will be used to start a sentence.

It will be noticed that in the card code,the suit

and value are given at one time, the suit words fit-
ting before the value words perfectly. This also ap-
plies to the number code, it being possible to send
any number from 1 to 99 instantly. There is no dan-
» ger of mixing the two codes as they are always used
at different times, and the same applies to the coin
effect. The medium knows what is going on, and it is
only necessary to use the number code words from one
to six when coding the coin value.

Ace of Clubs - "Don't let anyone else see your card1.1

Three of Diamonds - "All right, take the deck your-
self,
Queen of Spades - "Just keep the card in your mind."
Ten of Hearts - "Now try to keep everything off your
mind except your card."

You will readily see how natural this sounds when

addressed to a spectator, and how it ia possible to
change the sentences at random, as long as your key
words start you off.

The same rules of speech apply to the number code

when it is brought into play during the routine. See
how many different things you can say for each card
and number, keeping the code words In place. This is
good practise, and will make you realise much sooner
how varied are the possibilities of what you can say
to the people helping you in the audience.

AND NOW WE GET DOWN TO BUSINESS -

The preparation and apparatus necessary for pre-

senting this routine consists of very little.

Two decks of playing cards

A pad of paper about 2-|x3-| such as sold at Wool-
worth stores in packets as scratch pads
A dollar bill
A package of end opening drug envelopes (manilla)
Two fairly good size slates and chalk
A thumb tip that is a little too large for you
Three or four pencils

Stack the two decks according to your best liked

system. Either the Eight King or Si Stebbins method
is all right, although I prefer the former.

Jot down the number on your dollar bill, and have

the medium memorise It, or better, pencil it on the
border of her handkerchief which she carries.Before-
hand, both you and the medium learn the order that
will be used in disclosing the figures. I had number
revealed, figure by figure, In this order; 6th, 1st,
4th, 7 t h / 2nd, 5th, 8th, 3rd. Starting with the 6th,
you merely keep going to the right, skipping 2 fig-
ures each time, and a3 there are eight numbers on a
bill, this eventually hits them all. Later on, when
we cover the effect itself, with presentation,you'll
see how this builds the effect up greatly. Place the
bill, folded small and flat, in one of the coin en-
velopes, and have it on bottom of stack.

Take three of the envelopes, and get the same

number of different colored crayons. Hold one open
and, reaching inside it to bottom, or the closed end
with one of the colored pencils, mark it with three
or four lines on each side. This Is so that when you
tear off the bottom later on, to open sealed envel-
opes, you can see a part of the colored lines immed-
iately, and know which of the three It is, and which
person's coin is inside. I used crayons colored red,
yellow and green, considering them as one, two, and
three, In that order. It is necessary that both you
and the medium know this color arrangement,especlall
Page 4
the medium. Before the presentation, starts, you and
the medium decide upon three people in the audience
who will be given these envelopes, and the medium is
to consider them as persons one, two, and three.This
previous spotting makes possible a most unusual cli-
max. Put the three marked envelopes in correct order
on the top of the stack.

Put the thumb tip in right trouser pocket, or if

you wish, in the lower right vest pocket.However, it
is more natural to secure it from trouser pocket.

With the pad of paper handy, together with slates

and chalk, pencils, and the stacked decks,you're set
to present the routine.

LADIES AND GENTLEMEN:

"For many, many years, it has been known that two
people's minds can be 'en rapport', that is, to say,
in sympathy and unison with each other. There have
been many to exploit thi3 phase of mentality,and for
the most part, they have resorted to trickery,secret
knowledge, and underhanded practise. In our presen-
tation, this evening, we will try to convince all of
you, that deception has been eliminated to the point
where the teat* we do can be successful only through
the perfect co-ordination of our minds.

However, as ia always the case, many will consid-

er it fakery of some sort, and,rather than take up
valuable time discussing the subject, we trust that
those persons will look upon it all as entertainment
only, and find amusement and novelty in our presen-
tation of what we consider a science."

After this opening, you put a chair in front,with

its back to audience. The medium sits down, and you
pick up one qf the stacked decks. Remove it from the
case, and false shuffle if you can, although one or
two cuts will do. Now go towards some person and ask
them to think of any card. Stand at their sicle,fan-
ning the deck so that both of you can see the faces.
Tell him to watch for his card, and when he sees it,
he is to pull it up half way out of the fan, so you
can look directly at it. You are talking right along
as you do thi3, telling him what to do. The moment
he pulls up a card, you hesitate in your speech for
a second, and then continue, but this time you send
the name of the card across. You can use every card
Page 5
signal except "Mix" and "Shuffle" for 5 and 7,as you
are using a stacked deck in this case. The medium is
now aware of the card, and the spectator asks medium
If she knows it. She names the color, then the suit,
and finally the entire name.

Now explain in a few words that you have the per-

son think of a card, instead of taking one,and thus-
ly prevent any possibility that you may have influ-
enced his choice. Ask someone else to think of one,
and repeat the effect. For the third time,spread the
deck face down on a chair or table, and have a spec-
tator remove any card, not showing it to anyone else
but himself. As he does this, you keep talking, say-
ing that this time even you will not see or know the
card, and that the medium will attempt a direct test
of thought reading. As you talk, you've picked cards
up in two sections, cutting the spread at the point
where selected card was removed. You lay deck on the
table face up, spotting the bottom card, which, be-
cause of the stacking, tells you that the next sys-
tem card is the chosen one, and immediately you send
the selected card to the medium who proceeds to cor-
rectly name it. All of this takes but a minute, and
is convincing because it upsets any Idea that might
have been formed that you had to see the card.

Now you state that the medium has developed great

powers of prophecy. Rather than tell what has hap-
pened, she will attempt telling what is going to oc-
cur. Pick up the pad of paper and openly tear three
sheets off. Hand them to the medium, with a pencil,
and put a hat or deep dish on the floor or a table,
a foot or two to her right. Now step back into aud-
ience with the still stacked deck. Step up to a per-
son and ask him his name. We will suppose the name
is "John Brown." Turning towards medium,you ask her
to "Write something for Mr. Brown."She is seen to be
writing something on a piece of paper, and then she
holds out a crumpled up piece, saying,"Here is some-
thing for Mr. Brown," and proceeds to drop it openly
into the bowl.

Remarking that a prophecy has been made before a

thing has been done, you spread the deck in front of
Mr. Brown, and have him freely select, and keep, any
one of the cards, not showing it to anyone else. You
now pass to another person, ask their name, request
the medium to write something for them,and again she
writes and drops a crumpled paper into the bowl. The
spectator takes a card and keeps It as did the first
subject, and you pass to a third for a repitition of
the same actions. At thi3 time, you lay deck aside a
minute and remind everyone that before each card was
removed, the medium wrote something for that person.

Any spectator is now asked to go forward and take

the papers from bowl. He is to read them one by one.
And each paper says, "Mr. (or whatever name was
given) will select the And as each paper's se-
cret is disclosed, the spectator, for whom prophecy
was written, holds up his card, and shows it as the
right one.

Before detailing the working points of this hair

raising trick, (for it is quite that) I want to say
that originally, this effect was conceived by A1
Baker and told me about 1928. However, after working
it a number of times, it was changed so that the me-
dium could be seated with her back to audience, all
forcing was eliminated, and it was made unnecessary
for the performer and medium to know, in advance,the
name of any person. This not alone has made the ef-
fect easier and cleaner, but a bit more practical in
cases where previous information is difficult to se-
cure.

At the start, the medium has three pieces of pa-

per and a pencil. When the first person's name comes
up, the medium writes on the first paper, "Mr.
will select the ", leaving the name of the
card unfinished. She folds it up, holds out her hand
to plainly show it, remarking that she has something
written for Mr. , and apparently puts it in the
dish, but actually brings it right out again in her
hand, and back to lap. You now have the card chosen
from the face down spread, and kept. Pick up deck in
two sections, cutting at the point from where chosen
card was removed. A glance at the bottom card indi-
cates to you the name of the selected card, and you
immediately code it to medium. You now pass to next
person and ask his name. You tell it to medium. This
time she writes on the second paper, " M r . — will se-
lect the ", leaving name of card unfinished,and
also PILLS OUT THE REST OP PAPER N0.1 WITH THE NAME
OP THE CARD JTJST CODED TO HER. Now she folds up the
paper No. 1 (just completed), shows it and says that
she has written something for person No. 2,and drops
it openly into the bowl. At this time she has paper
No, 2 uncompleted, and paper No. 3 blank. Now person
No. 2 selects a card from the deck as did person No.
1, you learn its identity in the same manner, coding
it immediately. Passing to No. 3 you ask his name as
you have done with the others. Tell it to medium and
she fills out paper No. 3 with "Mr. will select
the ", and completes paper No. 2 by filling in
the name of the card she has just received. Folding
paper No. 2, she holds it out, remarks that she ha3
written something for person No. 3, and drops it in
the bowl. Now No. 3 person selects his card, and a-
gain you send the message across.

At this point you are ready for the climax. You

put deck down, and spend about half a minute or less
recalling that three cards have been chosen, none of
which you could possibly know, and that each time, a
prophecy was made by medium and put in bowl, BEFORE
the selection was made. During this, the medium has
been sitting with hands in lap, and out of sight,but
has filled in the paper No. 3 with the name of card
signalled last. She folds it and holds in her right
fingers. At the moment you ask someone to go forward
and take the papers, she stands up to face audience
for the finish, at the same time picking up the bowl
and holding it. The fingers of right hand go inside
and thumb outside, in the action of picking it up,so
the palmed paper No. 3 is deposited within.The spec-
tator steps forward, takes the papers, and reads one
at a time. After each reading, the person whose name
is given, holds up his card, and it will be correct.

The fact that each person's name is on the paper

with the name of his card; the fact that you haven't
known the name of any person before they tell it to
you; the point that you do not see, at any time, the
cards removed and kept from deck; and the fact that
the medium has written and put each prophecy aside
BEFORE a card* was drawn, makes this an unbelievable
mystery. I have found also that, in private homes,
it is nice to ask the host or hostess for a sheet of
note paper which you tear into three pieces for this
effect. In this way you get a different type of pa-
per than you would have, and it makes obvious that
only three pieces are used, to anyone who might be a
bit suspicious.

Immediately after this problem, you conclude with

cards, by picking up deck, and saying that you will
present the te3t with which you have convinced many
skeptical scientists that the medium can read a mind
directly and correctly. Have a spectator step to the
front. The spectator, the medium, and you, stand in
line, the medium, with her back to the spectatorjthe
spectator, with his back to her back, and you stand
with your back to the spectator. In this position of
the three of you, neither the medium or you can see
each other, and neither of you can see the spectator
between.

Hand him the pack of cards, saying, "First, give

them a bit of a shuffle and put them face down and
squared up on your loft hand." Hurry him up a little
at this point by asking him If he is ready as soon
as you hear him start mixing, and repeating,"Put the
deck on left hand, face down." Now tell him that as
he has shuffled them, he should cut them once. Just
an ordinary square cut. Now tell him to look at and
remember the top card, whatever it may be, and then
push it into the middle of deck somewhere to be sure
It is completely lost.

At this point, you turn, and take deck from spec-

tator, squaring the edges a little more as you do so
and getting a glimpse of the bottom card. Figure one
ahead in the stacking system, and you know the name
of the top card which he looked at and buried in the
center. Code it across to medium who stands with her
back still towards spectator, then motion for quiet
and look intently at the pack. Slowly she names the
color, suit and finally the card.

The principle of shuffling a stacked deck for one

trick is very little known. I fell onto it eight or
nine years ago, and thought It original until I dis-
covered it hidden away in one issue of Stanyon's pa-
per "Magic" over twenty years ago. It makes a good
location for a single person, but used in this man-
ner with two people, it is a knockout. No one under-
stands how you can possibly know the card, let alone
the medium, and the misdirection is perfect, as they
continually watch to see you make some sort of move
when you take the deck. Many times you will be able
to turn around and get a glimpse of the bottom card
while spectator is squaring deck and tapping edges.

When this is possible, you don't take the deck at

all, but code the selected card across at once when
telling him what to do with them, or how to think of
his card.

Now the medium takes her seat again with back to

audience. You ask for a one dollar bill, for you are
now going to work entirely with figures. Pick up the
packet of envelopes and remove the bottom one which
has the folded bill inside. Your right hand drops to
pocket and secures the thumb tip. Hold envelope in
left hand, flap up, and pinch the sides to open. Put
right thumb into mouth of envelope as an aid in op-
ening, leaving the tip behind. In the meantime, the
spectator who has proffered the bill has been asked
to fold it up small. Take with your right hand, and
give it an extra fold if necessary. Put it in mouth
of envelope, into tip, and right thumb follows it in
and comes out behind wearing tip. The flap is folded
down and the envelope handed to someone to hold. The
right hand goes to pocket and comes out with a piece
of chalk, and the tip with bill is left behind.

Pick up the slate, and on it, holding slate with

its side parallel with floor, draw enough vertioal
lines so eight figures can be written between them.

Now ask the medium to concentrate and through her

powers of clairvoyance, divulge what she knows about
the concealed bill. From now on you say nothing else
until she lias finish. You will remember that both of
you have learned an order in which the bill figures
are to be revealed* 6th,1st,4th,7th,2nd,5th,8th,3rd.
Suppose the number on the bill Is 48872710. This has
been memorised or written on her handkerchief.

She hesitates a few seconds and then says, "I see

that the 6th figure is a 7." You mark a 7 in the 6th
space on slate, always holding it so audience sees
just what is being put down. She continues, "In the
first place I see a 4." You mark a 4 In the 1st of
the spaces. She goes on, "There's a figure fading in
now In the 4th position, and it's another 7."In this
way, all of the figures are finally called out,which
fills the slate. After the last one is put down, you
turn towards the person holding the envelope, and to
him you say, "Please open the envelope and take out
the bill from inside. Open out the bill, and look at
the serial number on it. Then read slowly, but loud-
ly, the entire number from left to right."
 The spectator reads the number, and as he does so
you draw a line through each of the figures on slate
until all are marked off. This makes an awfully nice
finish to the effect, and although the whole working
has been nothing but presentation, you'll find that
people will remember it. The method of procedure is
very convincing.

And now we come to the nicest two person coin ef-

fect I've ever run across. I revealed the basis for
it in the June, 1935 issue of my publication, "The
Jinx", but Mr, Audley Walsh developed it into an en-
tirely different effect from the original. I did not
have this in ray original act, but at this point used
a stunt which was based on mnemonic memory. As I am
producing something which is not to require a lot of
study and concentration, I am inserting this effect
In the place of the old.

The medium is still seated with back to audience,

and you announce that this test will be one of com-
bined telepathy and somnolency. Pick up the pack of
envelopes and remove the three marked ones. They are
in order, so you hand them to the three people upon
whom you and medium decided. Ask each of them to put
inside any single coin they may have in their pocket
but first to note the date. Then they are to seal up
envelopes, keeping in mind the denomination and date
of their money.

The envelopes are collected by anyone else. This

person mixes them, and hands them to you, one at a
time. With the remark that this prevents you knowing
which is which, or to whom any of the envelopes be-
long, you tear off the bottom of envelope to open it
and dump coin in hand. In pinching the envelope open
after tearing, you see coin before it is dumped out
and send the denomination as coin is sliding out in-
to hand. To the audience, you are just finishing off
the remarks mentioned above. For Instance,if the en-
velope contained a dime, you might say, "Take your
minds off everything but your coins." Or,for a half-
dollar, "Give all of your thoughts to your coin."You
hold the coin in hand and look intently at it.Medium
says, "The piece of money I see no?/, is a ten cent
piece." As she names the denomination correctly, you
pick coin from palm and hold it up so it can be seen
by all. When you dumped coin Into palm and signalled
the value, you had four or five seconds to yourself
before she finished answering. During that interval
you noted the date, and the moment she revealed the
denomination of coin, and as you hold it up for all
to plainly see, you send across the last two figures
of the date. If the coin's date is 1919, you might
say, "Now put your minds on your dates." For a date
like 1921, you could say, "Please don't think of any
thing else but your dates."

The medium now sees the coin plainly and is sure

that the date is 1919. The moment you have shown the
coin, and sent the date across, you drop the coin in
the envelope again and wait until she finishes. Then
she stands up, and approaching you, takes the envel-
ope and walks Into the•audience. You do not say any-
thing. Just stand still and watch. She may say some-
thing like this, "I want to return this coin to its
owner, and if the person to whom it belongs will on-
ly think of me as coming closer and closer to him, I
think I may be able to do it." As she talks, she op-
ens envelope and dumps coin Into her hand,and In do-
ing so gets a glimpse of the color markings, AND IN
THIS WAY KNOWS WHICH OF THE THREE PEOPLE IS THE ONE
TO WHOM THE COIN SHOULD BE GIVEN.

They acknowledge the correctness of this, and she

returns to her chair, but merely stands with back to
audience, Instead of sitting down again. You are now
handed another envelope, and you repeat the proced-
ure, but this time send both the denomination andthe
date, one after the other. Then, after she calls out
the value, you merely show it, say nothing, and she
continues with the date, and finishes by returning
it to its owner. Now finish with the last envelope
in the same way, but when the medium takes it to re-
turn this time, she doesn't even glance at the en-
velope, but sort of crumples it in hand, with coin
inside, and wanders around a bit before giving it to
the owner. She knows which of the three is left, and
doesn't have to bother with the marking.

This is all very effective, and mostly because it

appears that you, yourself, cannot know to whom the
various coins belong, everything being mixed before
you touched them, and you never seeing who put what
in which envelope.

After this number, the medium returns to her seat

with back to audience, and you pick up pad of paper.
T o r - t l i i s — f ect~a—sofVTelt hat" is "the "b"es'F'"c6htain-"
er for papers, but you will find, many places where a
hat is decidedly out of place In the scheme of sur-
roundings, and a bowl, or deep dish, mu3t be used.In
this routine, such a container is used but twice, so
whichever you use for the first time, use that same
one for the second time.

Tear off three pieces of paper, and fold them the

long way first, then once the opposite way,and last-
ly in the opposite way to the second fold.This makes
a folded slip about lxl-J-. When you fold the last one
up, give it an extra fold to crumple it a bit more
than the other two, so you can readily tell it .from
them. Give this to a person, and ask that they draw
a picture, or diagram. To another you give another
3lip and ask that they write a single word, of not
more than ten letters, and a word that is a noun, so
they can have a picture of what it means in his mind
continually. This detail builds to an opinion that
you are really getting mental pictures. I have heard
people argue afterwards that if it were a trick,they
could have put anything on the paper. The last slip
is handed out with the. request that the spectator is
to write down any three figures in a row, but he is
to take figures that are connected with him In some
way, such as from a license number, box number, add-
ress, telephone number, etc. He may take any three
consecutive figures from any of these personal num-
bers. Again you have made conditions that • are psy-
chologically perfect in throwing minds off track.

At thi3 point you return to front and secure bowl

and at the same time, your right hand drops to pock-
et, removes the bill from tip, and comes out wearing
tip on thumb. You are holding the bowl in left hand
with fingers inside and thumb outside. In going back
to audience for the slips, you change hands with the
bowl for a second, right thumb (with tip) going in-
side and fingers outside. Then, as you reach one of
the slip holders, change back again to left hand,but
this time, the left fingers inside bowl cover right
thumb and tip, and right hand lets go, leaving thumb
tip in bowl under left fingers. Keep the bowl held
just high enough 30 the inside can't be seen.

Collect the three papers with right hand, putting

them in bowl as you turn and pass to the next. Each
time you merely stick the paper into the tip, and on
'"the""last"paper entering tip, the right thumb goes in
with It, and. right hand grasps bowl. The left hand
lets go, and without your showing it so, it is seen
empty by those who may look for It. Carry bowl back
to the front with right hand, and put it down upon a
chair or table, well in front of medium, that is,be-
tween her and audience.

Now remark that for this test she must cater to

her concentrative powers more than usual, and there-
fore a blindfold is in order. Take handkerchief from
your breast pocket with right hand (thumb still has
tip), and as you stand behind her, put right hand a-
round her right side, and left hand reaches around
left side to catch other end of hank, and the right
thumb lets tip with papers fall into her foldedhands
in lap. Now you proceed to blindfold her, but, nat-
urally, she can see down under It Into her lap. Im-
mediately she gets the papers, she starts opening up
and looking at them. In the meantime, you finish the
blindfolding, and then step back and pick u p the one
slate which was used for the bill trick. Rub off the
numbers on it, the blindfolding plus this action be-
ing ample time for her to see and refold all of the
papers. It is no tax on anyone'3 memory to remember
the three bits of data on them, and then she returns
them to tip, and holds it in left fingers with mouth
towards right, and nail side upward.

Approach medium'3 right side with the slate held

between first and second fingers of your right hand,
and thumb on top. As you put slate in her lap,medium
merely puts the tip on your right thumb, and you re-
turn to the bowl. Reach into bowl with right hand,
and push tip off with fingers as you apparently mix
the slips around a bit. The slips, being under ball
of thumb , a little pressure in pulling out thumb
will drag them out of tip, and you pick up either of
the first two, but leave the picture slip until the
last.

Hand this paper to someone close, and ask them to

open it up and tell you whether It is the number, or
the word, or the picture. The medium hears this, of
course. Then you a s k them to concentrate upon number
or word, whichever it may happen to be, and the med-
ium is heard writing on slate. Suddenly she remarks,
"Ready." Then you ask spectator to read aloud what
is on the paper. He does so, you point to the medium
and she raises slate up, with "writing side " towards
audience. On the slate is seen the correct number or
word! Just one detail is in order here. The medium
mu3t do her writing very roughly as though she were
actually blindfolded. I always advised my partner to
close her eyes when she did the writing, and then do
It the best she could. Then it was genuine, and not
faked.

Now you step to bowl again, reach in, and secure

tip on thumb, at the same time picking up the second
piece of paper. Hand this paper to another spectator
to open. Ask him if it is the number or picture, or
word or picture, whichever the case may be. The med-
ium writes again, and the effect repeated as before.
You have pocketed the thumb- tip meanwhile.

For the last slip, explain that while everyone is

able to visualise figures and words when hearing any
of them read, it is next to the impossible to do the
same with a picture, as everyone may draw the same
object a bit differently. Hand the second slate and
chalk to a spectator near the front, and ask him to
go over to the bowl and take out the last, or pic-
ture slip. This is a nice point, as you, apparently
never touch the paper itself. Then have him open it
and look at the picture. Then he Is to duplicate the
sketch, drawing, or diagram very large on the slate
he holds, and the medium,(in the meanwhile she has
cleaned off one side of the slate she holds) will at
the same time, make a drawing on her slate. You then
merely watch the proceedings, and when the spectator
has finished, you step over to medium, remove blind-
fold, and she steps down towards front, holding her
slate close against body. The spectator steps beside
her, shows his drawing to everyone, and as a climax
the medium turns her slate to show the same picture!

Whereupon, you dismiss the spectator with thanks

and both the medium and yourself take well earned
bowa, collect your remuneration, and go your ways.