Thfl

Cj)ane~
of
~hiva

by

Dace
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• "A nd the secret knowlec/ge Wq5 msde known to the believers aE

Shiv. through hi' k4utifi;/ dinc~. •

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n the mysterious realm of the bblet worker. there are but 4 few true
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I ex~rt weapons that glisten with simplistic truth. The: skeletons of
destqns that promised conveyance ofsecret irlormatlon unseen and
unsuspected byan audienceare SGltt~red a10ng the path to ocqJk glory.
Peculiar fQ{c!s and surreptitious \\1ndows cO: in cards and envelopes only
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gave way to mcreased enigmatic procedures.
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• Ttutb is obvious. "Q'c: Center Teat is like a ~I'pent; it is direct and
'WIlt and <l"llvetS a strike th.t I! almost unseen by It, p.ey. Slnva wea rs
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the serpent as a 9O.I. n<l. The Bille! Switch " like. tiger, stealth a .;q
force'ul, unlea,hing power WIth <lea<lly accuracy. With hi, 'little Hnger,
Shiva ,kin, the tige' and wears It like l sil k ,h.w1.
Many soothsayers have [abored to improve the ,wIItnes, oF.Ik
Centet Tear.wtth i1!usionf that reveal the secret ofthe mes~ge during its
destruction. Others have stramed to Glmouflagc the covert dupltcate
btllet for the switch with d ips and contrivances.
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yet, there 15 a greater secret unknown to mortals. A dance 50
•beautiFul that its powe~ is indesoibar.le. A deception that reveals all liFe
as an illusion. A pha ntasm btew;q ofequal parts ofcreation, prcteciion.
desnuctton. and release - The Dance ofsbrvat

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Copyright · 2(X)() - VoceCo - P.O. Box 2193 - stUJri. Fl- 34995

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~. ) qCObU5 X is 4 wonder worker of the highest cal iber. Those
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who com e to him have few doubts of his miraculous powers.
His clients h:we been shown incontrovertible proo f of his
masterY long· be(o~ th~ arrange for a private r~dlng. Dr. Jaco bus X
, U~ The Dance ofShiva TW to attain this exalted status.
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At a restauran . a young woman approached the doctor. sh~ S'tIQ
thatshe had a problem and was 50rry to cHsturh him, hutshe must know

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i( the doctor could help. Dl. Jacobus told her to, ' ...say nothing, 'imply
wrtte your problem on tlus card an<l (0 [<1 it up.' While ,peakin~ to her,
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he'folded a business card. urlolcle<.:\ it and drew a tine across the center
o(the pack o(the card. I '
The young woman wrote the gist: of her problem on the card and
• fO[<le<l it once each way The doctor took the fOl<le<l car~ fi-om her and
ran his thumhover one edqe. tightening t~ crease. He held thePillet In
(ull view and asked to see the woman', palm. The doctor placed the
(~I<le<l card tn her hand. She held the card tlght[y in her fi,t. ••
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"Yo u will soon receive a letter: Dr. Jacobus tolc! her. "A tetter from •
overseas.' The yc',u ng w0"1an gasped. He contln~ ed . "From a country In
AfrIca ; ubena perhaps. It is news (tom your sister. She has qood news tot
you. She will ask you to [ctn het th ere. You need not worry."
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The woman 'lowly opened her han<l and th1: doctor opened the
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folded card. He shewed it to those sitting at the table. On it was the
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question. When wti/I heJt ftom my sister in LJf;.etiJ!

Dr. Jacobus X tote: the card in h\IO •

and held the young woman 's
t ane:ts in his. ~!Ii.l~ an appointment with my secretary and we will ta lk
more. Tha~k yo u:
The woman ~eft the table with the unoerstanoing thai she bad met
with a m~n ofgteat po.... .er and insight. Dr. )<l00"U5 Xhad a~ in used The
Dance of shlVa TW to ccnvmce a client of the unknown fol'Ce5 which
lu,k; forces at the C\?mman<l ofD,. Jacohus X! •

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he Dance ofShiva Tlol is so direct It defies explanation. The <Ire

T ndtnoves, other than quickly running your thumb over one

ofthe crease; and plac,"g t~ blllet at the tipsofyour'fingers.
To understand. you must see what it looks like. Fold a business card
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once each way..l See figure #1J Lay It on the table. Pick it up with your
right hand and tighten the comer crease with your left fingers by
runn,"g tbem overthe long fOld once. ISee figure #21 Place the fOlded
billet in your lelt hand at the fingert,ps. ISee figure #31 Now put the
• billet on the table. ISee figure #41
ThIS IS what The Da nclwilllook like when yo~ do rt. IUakes less than
10 seconds to do. You should practice these simple moves many times •
in Frontof<l mirror befo~ you learn The Dance ofshlva"". Ifyou move
on to the secret ~fote yoo have taught your hands how to move. The
Dance 'm~ be spelled Teach your bands how to make these simple •
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Creation
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n order to perform The Dance of Sh iva

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you will use. Later you may And th<'l t you cah prepa re the card in
(ront of the sitte"t, and beyond that, yo u may learn to 1:\0 The Dance
wtthout any preparation at all. .. •
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Lay, fresh business card lace-up (blank 'i"<l on a table. B""'g the •
right srde over to ~/8 inch (rom ttole left side and folet . [See figure # 51
111is leaves a 1/8 inch lip on the left srde. Bri ng the bottom edges up to.
1/ 8 Inch from the top edqes an" (01". [See Hgu,e #11 This leaves a 1/8
• inch lipalong the top . Noticethe 1/8 inch by 1/8 inch squ"e tab in the
upper left hand corner. (This is the corner opposite the center cotner.)
The tab is single thickness and Is the secret of the speed ofexecution of
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The Dance ofShivaT~ .

Vn(ol" the card ISee Hgu,e #6J an" tum it over. lace-up in (mnt o(
you . [See figure # 7 1 l"he vertical fold is offcenter 1/ 8 inch to t he tight.
The horizontal fold is oFf center 1/8 inch toward the bottom•. Reverse
the vertical Fold so the Hank side is out. Crease it from the top edge iQ
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the center fold only. Crease it hard with your thumb nail on Doth sides,
but only "OWn to the center (01" Fol" the ca rd "ad' so the blankstde is
inside anel run-yom thumb nail along the Folel hom the top edge to the
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center Fold. Do t~ is on .roth sides the fold. You must stress the top
h, l( o( the vertical 1'01" so that it is soft an" easi!¥ npped.

Mo isten the stressed fold twm the top"edqe to the center while it is •

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YI, r.,..
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l Fjg!J~#6

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still Fole!ee! and e! r,g your thumb n'il , long both srdes of the Fole!.
Reverse the: ca-d and rc;peClt this mctstenl nq and creClsing procedure.
ISee figu re #81
The top h,IF of the velotieal (Ole! is now extremely soft and pllable. It
is ine!istinguish,ble
, liom the other (qIe!s. Make, tiny tear ,t the top of •
the stressed (Ole!. The tear sboule! be no morethan 1/16 of an inch. It will •
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disappear within the role! and remain unnctlced.
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You now have a card prepared for The Dance of Shiv'll... Draw a line

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jUst slightly above the horizontal (Ole!. ThIS put> the line in the exact
center of the card. Write any 5enten~ anywhere on or above the'center
line. Fole! the card. rightto left. then bottom to top. ISee figure #91

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Figu~' 8

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, pr{ls{lrvation

The preservation of tbe writer's inform<ltion IS what makes billet

work importa nt. lf~ reader can seewbat is wntten. there is no miracle.

• For the sitter, the writing must be protected flom the eyes o f others. It II
must not De exposed to the light of reason . It is <I problem that remains
withln the darkness of the billet's 1014s.
The t hickness cfthe ca rd preserves the quest tc n. The 4u,1 (014s keep
- the question locked ~fely away. The-position of the writing must be
deep In the centerof the casd where nothing can teach it. The writIn g is
prot~o4 From detection Oy being 1014e4 In the m'441e o(the ca rd. oat
neat the edge. comer or other contrived placement. It has a lcqrc t~t
~nnot be ar9u~. Exposure destroys the secrecy of the questio n. It
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• must l-e preserved by you.

lb mY'tic<lIy unlock the billet's secret you must study the term of
the billet. See th,t it bas a ' (ull' srde where the priotJog From the upper
right quarte' of the card ShOMoISee ~gure # 10 1 The cther slde hasa hp
alonq the long 049'" ThIS S14e bast he comer tal>
There Is a ,hort 101404 o4ge, a Ionq (014eo edqe, a sheet ope" (not
(010e4) edqe. ,00' long open (not 101404) edqe . ISee figure #11'
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OPfw
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Ftgu~ ' 11

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 'Vllstruction

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0lq the !Olqeq billet at your rightfingertips. The Ii, t>=
you, The bng !Olqe<l e<lge Is at your right fingertips. ""''"''''''
to the left. The tab corner (although facing qown ) IS" de
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lower right corner. Grasp the , hort !Olqe<l edqe at the top between tl-",
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lnstde edqes of your Index anq 5eCOnO finge". [See fi.9~re #'0 8< # 12 1
V", the back ofyour right thumb (the nail) to lilt the tab corner ofthe
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fol<leq billet in th·e lower rig ht. Lift only the 'Ingle thlcknes and , Iiq",
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you! thumb under the full stde of the ca rd. Slide l"I"ali the way In and to
the top. left corner 50 it touches thecenter!Olq (upper left). ISee fi gure
• • #131 Tb ts IS do ne while the back of your Nght band facetthe sitter and
• thus shrelds the action of your thumb. Keep the billet In view by
keept nq your right ring and little
finge" pulleq back. The billet ts seen ,
hanging below your right mdex aod
second finge". ISee figure #14 1
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Take the short open e<lge with
your left finge" (at the bottom of •
the billet) anO pinch It bard. Pull the
bottom of the billet to the left with
YOUl" left Rngers and arch ft upward

90'. The billet ""II pivot at your right

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fingertipsanO the in';qe of your ~ht
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Figurt: '14
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gentlytear through t he stressed (01<1. 15« figure #151
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• After the billet bas turne<! 90". continue sli<ling your left fing<" oft
the billet: in one: motion. This action appears to be you simply tighten-
i'!9 the crease o(the long FoI<le<! e<lgo. Your right fing<" brde the tearat
the top o( the billet. The ~illet pow extends From your light fi ngertips
with the long (ol<le<l edqe at the top. The Dance o( Shiva' · has made a
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tea r unbeknownst ta.the sitter. In its 4esttueti ~n . the billet is te4ciy to
release its secret to you. ISo: figu re #161

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FJgu~' IS • Figu~ ' 16

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• he short open edqe of the Hllet rs now pointed to tf>. left. There

T isa Hap. made by the tear. over your right th~mb . The turn has
cleared the billet ITom the gra,p of the rnsrdes of your In<!"" and
second fingers. [See figure #151 Pinch the billet tightly between )'Our
right thumb and second fing<r. leaving t~ Rap loose. The back of your
right baod h14", the Rap ITom the ,itter. however. most oFth. billet i; in
view extending ITom your fingertip> lie<! figure #161 ,
Turn your right hand down a quarter of a turn . pomtlrl9 the short
open «Ige?, well ,,·y.our rfght fingertip> to tbe Roor. Place the Hllet at
the left fingertip>. between the bottom «Ig< of your left Index fi n4er
and the top edge of your left little fing<r. All of the long open «Ig<.
most oFthe short £014«1 and sbort open edqe 15 vrsfble to the Sitter. [See
. Agure #161 It is importa nt to work slowly and smoothly here. The
Dance isa Peautiful thing. Do not ~5h through it.
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At the Instant the long Fo14«1 edqe 15 o"ely brdden by your left
~ fingers. use your right thumb to , II4e the Fol4e4 section of the billet
under yourright thumb and to the left. The nap (created "thete,,) Is •
pushed open oy the fOl4e4 Insides of the "diet. (IF you have problems
pushing the insides against the Rap to open It try moving your right
thumb down a "it.' lie<! figure #171 •

• The open flap lies aga inst your left t1nget5. Your left thumb moves
into place to pr"" against the center Fol4s of the billet hol4ing the Rap
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open . nOthe remainder of the brllet Is . t yo u, fingertips. The billet

remains in view, yet you can secretly read the written m~sage. •
All ofth~ actions are shielded from the sitter's view by'the back of
you, left hand. The ,Iioingacttcn moves th. foloeo .oges of the billet',
intenot out ofsight in case it tries ro creep upWa rd dUrin~ the teat. You',
right band drops away after ,I gives the billet to you r left h.nO. A' It
docs. yOth rtght indexfinger runs overthe to to edge that IS in view. This
• rolls the torn o:tge down, and to you. 5O .. t conti nues to look like a
foloeo edqe. ISee figure #'81
lPe billet rem below the top edqe of your left Index finger and
above the bottom eoge. ~f your little finger. The long foloeo eogc of
the btllet (now the 'pme of. tfny hook) ts on your fingert,ps and the
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message isvtsi lo-Ie to you. By readIng upthe leftsick and down the tight
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skte. the entire message is ~. Gently slide your left thumb do...vn to
the bottom ofthe hillet. It will rernaln he'o fast in your left h.no: hut
the writing is new unobstructed

The Dance of shiv. has released t~nfo,m.tlon of the billet. The

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btllet is In a released state. It is open through the artof-mysticism . look

down ,at something, e.g., a hook, the Sitter', palm, .nythlng. He ld the
• released (open) ~il let In your lirle of sight. It will look as iF yOll ate
looking at the sttter's palm while yo u are .etu.lly ,eaomg the hillet. [See •
figme #19] The sitter suspects nothing_ because she belreves the writtes
question to he protecteowithin the foloeo billet."
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Cornpl ztton
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he billet ca n now be closed using only you, left finger>. Hold
the billet in place with you, left thumb and tum you, left band
palm down. Use the ti~ of you, left Index finge' to dose the
A.p. lSee figure # 20 1 As the A.p closes. you will' «move you, left

• .thumb. The billet 1'1,11 be clipped between the nOiI of you, left Indexand
the: edge of your left second finger, the same position as'm which it
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l!eg<tn In the ' ''lht hand. Press you, left thlJlnb on the center of the full
stde of the billet .riol.y you, left Indexfinget .Iong the tom e<lge. Use
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it to smooth the teara bit. Th is is do ne l'Y exertlll9 pressure and mcvtnq ,
your index f"h,ger slightly a~'IJ4Y £tom you. It Is a very small motion. but
helps mend the tear. ISee fig ure #21 J
Tum you, left h.no palm up. then back down .goin. A.,hing the
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ether sloe of the billet. You may erow ' 00 a paper clip to the tom edqe'
or simpry place the billet anyw here you Wish . {See figure #121

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• F~urt:'21

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Her revealing the Mitt}:n intmmqfion, you can show the
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billet if you choose . Some SOO!hSCIyets prefer to show -that
nothing bas ch,ng«! with.the billet; thi'steJ' fils th,t need.
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01<1 the lOMe<! billP ,t you, I.ft fingertips. The shcrt fol<le<! (noW
torn) edge isat the top. pointing toward the edge of your index finger.
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The longopenedqe is pointed toward yout palm. Heldthe billet ,g,in,t
yout I. ft fingerl.p\ w,th YOUt left thumb. Shde yout thumb back toward
• , yout palm ,n<! wl>en It PO"" t hehp the billet will 'prIng h,lfopen. [See
,figut< #231
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Use y~u, tight han<! to open the billet. It i' still fol<le<!'n h,l(pl,ce
you, 'Ieft rodex fi nger', ,,<I. , long the t.,t-(OI<I. There IS another lip
visible ,t the bottom of the half-Ibl<le<! billet. Slide YOUt tight thumb
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into the billet above tlus bottom lip. Turn your right hand palm down.
and g'''p the top h,lf of the billet between you, Hght thumb .and
fing.". uft the top h, lf up and open the ",llet. A, you open the brllet
all the way. your left thumb movesout ofthe wayan<! repositions Itsel f
so it COn coteh the mslde ofthe teo, [See figut< #241 when the billet i,
completely open. your right thumh and index linger move away, Your
left thumb and indo Anger hold the tear together. (Your thumb is on
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the writing side and your hngers are: on the printing sfde.)

It takes "'ry littl••llQrt to bold the teo' together. You <10 net need
to cover the entire tear with your left thumb. About 1/8 inch held

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Figu~#25
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Nguri!#24

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tightly Is allthat ls requtred to make th~ brlleticck unharmed. Di,pl,y

the car~.with your left hand. ISee figur< *251
Vse yo.r right hand to fol~ the card ,long the horizontal fold.
covering the tear with the untorn halfofthe billet It Is fol~~ length-
WI';'. [See figur< 11'261 Tear.the car~ in two through the ,h6rl crease,
starling at the fol~~ srde. Thts destroys the tear made by The Dance of
Shiva"" arxt leaves a card tom III two pieces, You ate absolutely dean.
ISee figur< 11'271
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Fi!lU!'t:" 25
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ith practice. ,t is possible to prepate the c",d while !<lIking to

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the sitter. She bas no idea wh.t is going to happen and you
do not say anything about writing until aft~t you have
prepared the folds. The vertiCilI fOld can be moistened by wetting your
thumb and covertly .pplying It to the fold. The tiny tear can be done

• undetectably while fOlding the card

You will lind thot a card an be prepared Cilsu.lly In .~bout 20
seconds. So. you can use he sitter's business card. a match book COV et
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or .ny piece ~f bl. nk paper available. \
You will be able to acqcrre moisture From sources other than yo ur
lips: a glass of water. <in ice cube. or rnorntnq dew.
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After you gain experience in The Dance, you will he able to
re\:ognize paper and card stock that is crisp enough not to need
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mcrstentnq. Vou will know which p.wer talks. or makes noise, while
te4Hng and which paper remains rather quiet.
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, With properly placed patter .'1(1 timed misdirection.•ny paper at .n
can l-e used at any time.

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, ThlZ Maga (Illus ions)
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<: A I'!aying ca rd works quite well with The Dance ofShlva N • The
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sitter chooses ~ ca rd. Her cha racteristics are revealed through the
meaning of the card. The ca rd I, fOlded and prepared fo' The Dance of
ShiVCi n l , She""writ~ a question on the chosen card and refolds it . You
answer her question while looking at othercard's.

C· For a impolite sitter do this: Arter writing her question on a

card. ask the sitter to hold out lier left hand. You pass the billet Itom
your tight to your left and secretly read t~ contents. Then take her
'ight hand in your right. She takes you, left fl,t (holding the,hdlet) In
her left ham!. This makes 'a "''MystiC Cross" with your arms. After the
readlnq, you simply dispose of~he (oloed ca rd [ntof long neck bottle.
Thi' keeps you in complete control and does not allow any handling o(
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the hillet hy the Inebriated spectator. (David Alexander) • •
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( . Use a scrap of new'p<\per or a;iece a hook page. A piece the
slze o(a business card ls torn Itom the page and folded (or The Dance.
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Use a highlighter pen to draw a linethrough the center ofthe paper. The
line can l"lC' thick enough to contim two line1 o f type as lon~ as It's
above the horizonta l fold.,Tell the spectator 10. ' ... choose a ward
within the highlighted area.' The sitter CIrcles ,my word WIth <I pen and
you reveal ft.
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C· . A sitter writes a prablem on a prepared business card . After •
giving advice on the solutio~. you tear the card in two. thus destroymg
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th~ problem. This is, good reason lOt opening the ca rd and ,«ring i'
into two pieces. ( Kenton Knepper)

(' A si;'ple <\eslgn can be drawn on a prepa red card and (ol<\e<\.
Because you msttuct the spectator to keep t~e drawing on the
centerline o( ,h. billet, The Da nce of Shlv, N move will reveal 'he
qesigl1 to you. • " '
C· A sitter writes the name of a City she wishes to mentally visit.
You reveal the oty by <\"'wing a well- known landmark. r.e.. the EiFid
Tower lOt Parts or the Colden G,l( Bn~ge lOtSan Francisco.
C· wubes were once written on a coin a"q thrown Into the sea.
Thesitter wm e a wish o n a busi ness card. The\\'Ish \v111reveal the nature
oF, problem. You g,,'e a te<<\ing based on her problem. then open the
ca rd to see the \'Jish. The card is tom to send the wish to the ethereal
world ( Rex Sikes)

C· Combined with a nad writer. yo u have one of the strongest

predtctiorrs cooce!\'abk Tell the sitter to write 'lOy common Engl ish
word on the card open a.c:lietionatyJ'nd secretly Circle the chosen wo rd
with a nail wnter. Ask the sitter's thought <lQd show the Qirl!!let:t word!
C· Vse Drsscivc paper inste<ld of a business card. After The Dance,
the billet will vqmsh,.'" a glass of water. t/se the wates, the see visions o(
her future. •

(' Use h«,y F1"h pa per Instead c( the card. A hard 1« <\ pencil
i n~u r~ that the wtlting fs not seen through the paper. After The Dance
reveals the infotmatlon. the paper vanIshes in a Aas'h. ( Nancy Awood)
C- A spectator selects a book. newspaper or maqazlne. He chooses
any word anet writes It on a busines~ caret (Ot futute vetification. A

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secane! spectatoropens <I difFerent book to any page, closes his eyes. and
puts hi. Hnger on the p'ge. You apparently look ,t the word he selected
and dose the book. Write the first spectator's word on a slate and Cl5k
him to announce his word. Thetwo words match.
c· A store receipt works well as an impromptu billet. The spectator
writes any item be [ust purchased From the store . You don't even look
, t the fTontof the r=ipt. huttell him the item.
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C' You an use The Dance to get ' One Ahead" and misreaq the

• other billets. Have 5 or 6 cards foldeq. Spectators can help. Prepare one
of them for The D-4~. Each has a question written on it and is tossed
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o n t he table. Ptck up t he preparedcard and perform The Dance wlule.,
moving picking up' card in each band and addrnq another fold. Drop , II
the Q rqscxcepto ne. Give a tea,Hng based on whatThe Darxereleases to
you. @pen the card. react it o ne ahead <Ina tear it in two. End with the
gimmic~ Mild and. you ate left dean.
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C· There ate hundreds o f possibilities (or effects <lone with The
Dance of Shtv.f. Almost 'Ill o'-t he 50 tr icks in Keeping the Center (hy
• Doce Hilford) can be apphed t9 The Dance. You 'Ire co nfined o nly by
• what yout mind elf} conceive. Let it tun Wild. You have th e power of
which others hove only dared Ie!dream .
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$> Afterviewi"'l the message , n~ dosing the A,p. Fol ~ the billet In
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h,IF'9<in with your left ~,nge". Thi' step makes the billet h, lf its size.
The billet GI n now be dropped on the table WIthout the A,p coml"'l
open.
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$> You GIn put a paper d tp ,t the tear on the Fol~~ card ,ftc,
viewing it and toss-'t asrde. later you an retrieve it and show the
question .

;9> The,,~ billet GIn be Im m~l~tely put to a Harne ami •

burned. IF you Ioght the tom ecfge ~"t. you GIn gIve the billet to the
srtter to con nue the cremation. •

.j) ~ <1 few prepared busin~5 cards In ypur Gmt case. Remove
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an unprepate<l card, casually FoI~ rt, unFol~ It. and replace it In the case.
As an afterthOught. remove the folded GlI~ .
~~ You ca n remove a prepared card and mime (olding it ifyou ate
cascalm your ~Ol1S. Nobody knows w"'at you are go ing to do with
your business caret. 50 no one is rooking for creases before band.
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~ The FoI~e~ billet can be held under the d ip on a clfpboard.
After the Dance. it is returned to the dip and held open. The clip holds
the tear togethe.. You can anal yze the sitter's handwriting this way.

So After The Dance, you can d ipthe open caret at the secret tea r to
the top of , chartor tick sheet with , paper dip. The tear Is mended and
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the 51tt<t is. Fr« to watch you fill out the chart. .
I ~ Crisp. thin. translucent card stockworks best. look. for this type
of specialty business card. Th~ are popular at hair, salons.
..\50 NonCE; There ate a couple of business cards that must be •
handled mere ca",fUlly than e thers. Cards thot are black with qold
pri nting ate sometimes made by a thin sheet of plastic b<ing apphed
rather thin true printing . These \...,; 11 work. but the force needed to •
secretly tear tbe Rap IS qreater. The second typ< ofcards to watch fot ate
photogtaphic cards. The stt<ssing of the fol~ oft<n becomes more
apparent on the lac< ofth< photo. Both cards will work, but you shoul~ "
know they are different.
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~ Index cards pose a special problem. Th<y a", 'Imply too big to
econceal l-elund yout ling<l>. If you place th< card at the top edqe of

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YOUt han~ rath<t than the fing<t tips, th<y will orotk. Th is lS .. n odd
handling, but ifyou ate worklnq to fool scientists under test conditions",
It will dance. •

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