Andrea Ghisi, Burling Hull, Theodore Annemann, U.F, Grant, Alber’ Sidney, Rddie Joseph, Sid Lorraine, ‘William 8. Houghton, George B. Anderson, Bob Somerfeld, Eddie Clever, Aage Darling, Dr. Spencer ‘Thorton, Tony Corinda, Max Malini, David Hoy, Al Koran, Lee Henneberry, Tan Hock Chuan, Dai Vernon, Karrell Fox, Karl Pulves, Graham Reed, Phil Goldstein, Basil Horwitz, Richard Himber, Ta Waters, Tom Sellers, Al Mann, Dr. Jaks, Val Andrews, Mare Paul, Ty Kralin, Arthur Setterington, Jose PragerCopyright 2025 by e-mentalism All rights reserved under all applicable law, including the Berne Convention. No part of this. publication may be reproduced, distributed, or transmitted in any form or by any means, including, photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other non-commereial uses permitted by copyright law. For permission requests, email to write the publisher at the address below. e-Mentalism, www.e-mentalism.com‘The reader is presumed to have some knowledge of the basic effects and techniques in mentalism; and the material in this collection is not intended for the beginner in this field.CONTENTS 1, 11 Laberinto by Andrea Ghisi 1607 2. The All-Fair Dictionary by Burling Hull 1931 3, Standard Book Test No. 1 by Burling Hull 1931 4. The One-Man “Genuine” Magazine Test by Annemann 1931 8. Premier Book Test by Annemann 1931 6. Between The Lines by Annemann 1937 ‘7. ABook Test by U.F. Grant 1937 8. One Little Word by Albert Sidney 1938 9. The B. Jay Book Test by Eddie Joseph 1940 10. 40,000 Words by Sid Lorraine 1941 11. Blue Pencil William s. Houghton 1945 12, The Perfect Book Test by Annemann 1944 15, Magazine Test Wrinkle by Willian 8. Houghton 1943 14, Do As I Do by George B. Anderson 1949 ‘No Hands by George B. Anderson 1949 16. Night Owl by Bob Somerfeld and Eddie Clever 1952 17. Instanto Book Test by Aage Darling 1953 18, Thorton’s Impossible Book Test by Dr. Spencer Thorton 1988 19. A Classic Swindle by Tony Corinda 1959 20. Impromptu Book ‘Test simplified by Tony Corinda 1969 1. Book Test by Max Malini 1962 £2. The Bold Book Test by David Hoy 1965 3. Book Test by Al Koran 1968 BA. B-Z Book Test by Lee Henneberry 1969 é 8. I'll Die For You by Tan Hock Chuan 1971-1972 26. Magazine Test by Dai Vernon 1975 27. Simplamental by Karrell Fox 1879 8. Think Of a Word by Karl Fulves 1979 ‘89, Winged Thoughts by Karl Fulves 1979 ‘30. Magazine Mentalism by Karl Fulves 1979 81. Bookmark Mentalism by Graham Reed 1980 82. Ahoy There! by Phil Goldstein 1981 ‘35. The Challenge Book Test by Basil Horwitz 1961 ‘84, Transcendental by Richard Himber 1985 38. Rifle 1 Ta Waters 1983 36. Peekquivalent by Ta Waters 1983 87. Dubbook by Tony Corinda, Tom Sellers, Ta Waters 1085 88, Transcendental Phone by Al Mann 1984 ‘39. Random House Mystery by Al Mann 1984 40. The Unbelievable by Dr. Jaks 1984 41. Unfaked by Val Andrews 1985 42. Can't Miss by Karrell Fox 1986 43. AAA Book Test by Marc Paul 1995 44. Cassidy's Flashback 48. Any Dictionary Flashback Author Unknown 46. A'S. Magazine Test by Karrell Fox 1995 47. Whenever Anywhere by Ty Kralin 1996 48. The 8.2.R. Book Test by Arthur Setterington 2010 49. Liebrary by Jose Prager 2010 80. 10-cent Worth by Karl Fulves 2010 81. Perfected Book Test Lite by Jose Prager 2023 ‘88. The Black Notebook by Jose Prager 2017 88. The Telling Touch by Jose Prager 2023 1 13. 15. 16 vv 19 al BB 25 26 28 30 32 34 36 38 40 42 43 46 ar 49 50 52 54 56 87 58 63 66 68 69 m2 cn 76 78 82 83 85 86 88 89 91 93 96 97 99 104 6poUrenepiuoayemanalBASIC EFFECT ‘The Book Test is a classic in any mentalist’s act. The basic effect was described by writers in the early 1900 but it was not until the 1930s that interest in book tests escalated and they became very popular. You'll be surprised to find just how many book tests had been published and marketed in the last 100 years. In the standard effect.a spectator opens a book to a page and concentrates on a word. The mentalist, standing some distance away, is able to reveal the word the spectator is thinking of. SINCE 1607 Although the invention of the book test is most often ascribed to the noted 19th century magician Johan Nepomuk Hofzinser (1806-1876) who is said to have devised at least four such tests, the discovery by Vanni Bossi of the Italian publication Il Laberinto produced by Andrea Ghisi in 1607, and now believed to be the earliest known to be in print, is evidence that, such tests existed some 200 years before Hofzinser. 29 Nepomuk |} Hofzinser 1806-187510 IL|LABERINTO —— ANDREA GHISI ——— IN 1607 LABERINTO DATO NOVAMENTE IN LVCE ANDREA GHISI NOBILE VENETO. er Eaungets Destine. ‘Experience Il Laberinto by Andrea Ghisi re-created by Mariano Tomatis Antoniono in 2012 here: htt /ww.marianotomatis,ivilTHE “‘ALL-FAIR” DICTIONARY BURLING HULL Here is the most convincing of all methods for skeptical audiences. EFFECT: The performer passes out several of the small, dime store dictionaries, which he calls attention to as the same as sold at the loal Woolworth stores, One performer goes so far as to leave the dictionaries with the audience to take home with them to examine at their leisure (to prove their unpreparedness). As each book contains the performer's professional card pasted therein, it makes a good souvenir and ADVERTISEMENT for the performer, who receives lots of additional dates thereby. ‘The performer allows the audience to select, WHICH one of the dictionaries (NO FORCING) shall be used. (All dictionaries are identical, so tt makes no difference to the performer). A page is selected by members of the audience (no switching or exchanging of anything, no number bag force or other clumsy method is employed to influence the choice), by means of figures which they write down on the business card of one of the spectators, These numbers are not switched nor exchanged in ANY WAY but used JUST AS WRITTEN. The same numbers and the same total without any addition of any kind—as produced entirely by the spectators. All spectators are asked to open their dictionaries to the same page, as indicated by the total in order, to follow and confirm the experiment and to CONCENTRATE on the sentence selected. All do so. The performer then spells out, or writes out on a pad or slate, the COMPLETE SENTENCE thus selected, REQUIREMENTS: Provide yourself with four or five (or more) of the ordinary dictionaries as sold in the local Woolworth stores. Also needed are a large card or slate on which to write the numbers and a writing pad about 6 by 8 inches in size, ‘METHOD AND PERFORMANCE: Performer, “I'm going to pass out several copies of a dictionary, such as you might find at your local bookstore. I would like to have you examine them, so that you may see that all the pages are entirely different and that they are not prepared in any manner. At the same time, they will enable several of you to follow the experiment, word by word, as we proceed.” From here on, two methods of procedure are open to the performer. ‘The choice of words is, of course, influenced (in other words, forced) by the performer, in the following manner: As you approach each person, ask him to write a single digit or numeral on the card or slate. Stepping to the next person, ask him to place a single numeral below the previous figure on the card. Proceed this way from person to person and, as you pass from each person who has just written a figure, you have lots of opportunity to notice the figure of the last person while walking to the next,For instance, supposing the first person has written the figure 9. The next person then writes 6. As you direct him where to place his figure, you can glance over and note the figure he has written (6+ 9= 18). ‘Now, as you step to the next person, ask him to write a figure (we'll say this is 8). You do not glance at this figure now. But as you step to the next person, say, “Now sir, will you kindly place some single numeral right below this one, AND AS YOU POINT ON THE CARD TO SHOW HIM WHERE TO PLAOH HIS FIGURE, ‘YOU NATURALLY NOTICE THAT THE LAST FIGURE ‘WAS 8. You add this to the previous total of 16, which makes a new total of 23. Step to the next person and ‘as you direct him where to place his number, you naturally get a glance at the previous figure. While he is writing, you naturally add it to the total AS SOON AS THE TOTAL REACHES 8% OR MORE, YOU STOP. Should the total be exactly 38, you allgw one more figure to be written. AS THIS FIGURE CANNOT BE MORE THAN SOME NUMBER BETWEEN 1 AND 9 inclusive, THE TOTAL CANNOT BE OVER 42! On the other hand, as you stopped requesting that numbers be written as soon as the total reached over 33, the total therefore cannot be anything except a number of or between 34 and 41. This narrows your sélection down to exactly eight PAGES. It makes it very simple for the performer, but inexplicitly bafiling to the most scientifically minded audience. -Pryohlo Book Tests by Burling Hull 1952EFFECT: The performer has a card selected or he, himself, takes one from a. pack of cards and hands it toa spectator, asking her to push it into the closed book at any point— to 5 indicate a choice of page. ‘The performer then places an elastic band around the book to keep the book tightly closed and returns to the stage or platform. He then makes a BURLING HULL prediction, which he writes upon a slate or white: board. A spectator Js brought upon the platform and the book is now opened at the point indicated by the eard, inserted in the book. ‘The frst sentence on that page is read aloud, then the performer asks the one holding the alate to read what he has written. The writing s identical with the frst sentence on the page selected. ‘METHOD: It is necessary to force the card to be selected, or else for the performer to draw the card from the pack himself, to be sure that, say, the Ace of Spades, shall be used. Unknown to the audience, a similar Ace of Spades is inserted part way in the book, at the other end from the one which is held toward the spectator when the latter is asked to insert the card in the book. The book is laid with the card end facing away from the audience. ‘The performer walks forward with the book in the right hand and the card in the left hand, with the elastic band about the book. The spectator is directed to insert the card in the book AS NEAR THE CENTER AS POSSIBLE, (naturally, s0 it will correspond in position to the card inserted at the other end). The performer pushes the card in, so that it protrudes about the same distance in the book as the other card at the other end, that is with about 4 half an inch projecting, On the way back to the platform, the performer manages to push the spectator’s card all the ‘way into the book and reverses the ends of the book as he lays it down on the table. He now writes his prediction on the slate. Then, having a spectator come upon the platform, he assists the spectator to open the book to the page indicated by the card, (the duplicate Ace of Spades) which he himself had previously inserted in the book. This page carries the identical sentence that the performer has written on the slate. ‘the Worle Best Payoh Book Tests hy Burling Hull 195%THE ONE-MAN “GENUINE” MAGAZINE TEST ‘The performer has several copies of a popular magazine such as Collier's at hand, they being Gifferent issues, He wants to attempt a word test and he asks a spectator to pick any of the magazines he cares to use for it. Two other spectators widely separated are asked to stand also, the first being requested to name some number of his own free choice that is not over the limit of the pages which the selected magazine contains. Upon this being done, the second party is asked to name some figure up to ten that may come to mind. The performer now instructs the man with the magazine to open it at the page first. named and then to count to the word at the number named by the second person, He is to keep his finger upon that word and think of it, Picking up a-slate and chalk, the performer writes Little by little and finally asks the man to name the word aloud, Upon that being done, the performer turns the slate, and HE HAS WRITTEN THE VERY SAME WORD! There are no lists, memory of any nature, assistants or confederates and nothing used but the magazines alone. It is extremely subtle. First you get three copies of one week's issue.‘Then you get'a copy each of two different issues. This type of magazine is put together by staples at the center. Remove the staples and exchange covers so that, YOU HAVE THREE COPIES WITH TOTALLY DIFFERENT COVERS OF VARIOUS WEEKS, BUT ALL THREE COPIES ARE ALIKE IN CONTENTS. Don't mention that you have three different magazines. ‘They will see that much and you merely ask them which one of the issues would they like to pick. You return to the front with the remaining two and lay them right beside you. The numbers are named before you tell the spectator just what you want him to do. You carefully and clearly explain that you Want him to Open the magazine at the number first named and to hold it up s0 that no one can see the page but himself. As you start the top and count one, two, three and stop at the word at the second number.” As you talk you are actually doing it. and you generally have the word long before they get to it themselves. This may have read very bold like but it is nothing at all. To the audience you are making it clear what he is to do and you are using the nearest object. In many cases the number is not so large and you can get the ‘word on the page with just a glance and without going into further detail. This should have a little practice to get the handling of it learned well. With the pages marked and a few trials you should never miss and itis all over in a second or two of explaining. And then besides, who would think that you actually were looking it up in front of them? ‘tne Book without a name by Annemann 195116 BY ANNEMann ‘Some preparation is necessary. First remove two aces, then set up all the other cards, regardless of suits, so that any two cards taken together from anywhere in the pack will have values totaling 14 or 15. For ex-ample_-1, 8, 6, 9, 5, 10, 4, J, 3, Q, 2, K, A, K, and so on. The pack of course, can be cut indefinitely without upsetting the arrangement. Put the pack in its case with the two aces on the top. Open the book to be used in the experiment at pages 14-15. On the inside front cover __ of a smalll, end-opening notebook write in two columns the first, 18 words from pages 14 and 15 and put the book in your pocket. ‘To present the feat, remove the cards from the ‘ease and leave the two aces inside, Place the ), deok down beside the book and ask a spectator to step up. Ask him to cut the deck several times, then cut again, take the two cards cut at, and take them and the book to afar corner. Tell him to add ‘the values of the two cards and open the ook at the corresponding page. a second person to take the deck, thoroughly shuffle it, spread the cards face down on the and turn up any one he wishes. He calls out the value of the card to the man with the book who 1s told to count to the word at that number on the selected page and memorize the word. You know the page as soon as he begins counting, the even numbered page being always on the left, odd on the right. Take out your notebook and a glance at the inside cover as you open it gives you the word. Write it on the first page, tear this out, fold it and give it to the second spectator to hold. The first man calls the word, and the second man reads your writing. ‘Tae Word on the Page, The Jinx (iaeue 25) by Annemenn 19567 ‘This is considered to be one of the cleverest ‘book tests with a pack of cards ever devised. It is simple yet effective. An ordinary book novel is used, plus a pack of cards stacked in the Si Stebbins order of Ace, 4, 7, 10, K, 3, 6, 9, @, 2,5, 8,5, A, 4,7 Pk eee Start by giving the deck a false shumle or several straight cuts. Put the deck on the table with the book and walk away. While your back is turned you direct spectator. ‘Tell him to give the deck a complete cut. ‘Then say, "Better give it another" Continue, "Now hold the deck in your hand and deal three cards in a face up row from left to right from the top of the deck. These cards are going to indicate a page and word in the book. By the way, are there any picture cards among the three’ Ifthe spectator says, "YES," you say, "They're too confusing. Push those three cards away an deal three more the same way. Are there any picture cards there now?" Suppose he says "N You go on, “Look at the first two cards. If they are a six and a seven, open the book to page 67. If they are a five and a two, open the book to page 82.’ "You have it? Now look at that last or third card. I want you to start at the top of the page you have and count across on the top line to the word at that number. If it is a 3, count to the third word. Ifan elght, count to the eighth word. Now turn the cards on the table face down go I can't see them, and keep your finger on the ‘word you have located.” At this point you turn around, and proceed to reveal the word. ‘This effect can be gotten only through the use of a Si Stebbins’ stack and no other. There are only four possible combinations of three cards without pictures A-4-7, 4-7-10, 2-8-8, 3-6-9. ‘Therefore you previously have looked up and memorized four words, the seventh word on page 14, the eighth word on page 25, the ninth word on page 36, the tenth word on page 47. A good method is to write the words on the left ‘thumb nail. Two of these page numbers are even and two are odd, When you turn around and note spectator holding book with his finger on a word, you know it is an odd or even page because all even numbered pages of all books are on the left and all odd numbered pages of all books are on the right when book is opened before you. ‘Therefore you are immediately down to two words. Start by giving the first letter of one of the two words. If right, continue. If wrong, say "Well, the last letter ....." And you name the last letter of the OTHER word, and spell out the word backwards. When ever a spectator deals three times on table and has a picture card each time, the fourth or next deal of three will always be A-4-7. In such a case you don't even have to turn around, but can name the word immediately. If you get used to a book you can also judge which of the two worde it is as the odd numbers are 22 pages apart and the evens 22 pages apart too. A book of 60 to 80 pages, will be found perfect for this effect. ‘Tae Jinx (issue 32) by Annemann 1987A BOOK TEST % U. F. GRANT In an ordinary pack reverse the AH somewhere near the middle between two spot cards, say Sand a7. On the bottom of the pack, you have a double-faced card with the AH side showing. Note beforehand and memorise the 7th word on the Sth page of a magazine or book that you have at hand, ‘To present the feat turn the pack over and remove the bottom card face up as the AH. Turn the pack face down and have this AH thrust into it face up, being careful that no one gets a glimpse of the other side. Now spread the pack and show the reversed card, the only back that shows, between the 8 spot and the 7 spot, turn the card and show itis the AH. Say that the 5 spot represents the page and the 7 spot the word which is to be read by psychic Hand out the book or magazine to a spectator and proceed to get the memorized word in the usual hesitating fashion. ncyelopedia ofeard tricks edited by Jean Mugard 195719 Cards, counters, and other foreign appliances have no part in this new conception, ‘The spectators select any page and any line ina Reader's Digest, or similar magazine. They remember the Arst word of the line, end ona blank card write the page number and line number. ‘The writing is sealed in an envelope. The flap is either initialed to prevent opening, or wax may be used with a ring impression to build it, The envelope is slipped under the door of aroom wherein the performer has been concentrating during the entire process. A minute later the envelope is slipped back, but now, written across the face is, *Go to the dictionary and turn to page--. Count down—lines in the—column. That, word is one you selected.” ‘This is all very simple but to onlookers and participants it is unbelievable. For some reason they get a beautifully distorted view, probably because the page and word selection are perfectly fain, and the revealing of it new and novel. The performer simply has 8 items in the other room drawer. A small 26 cent flashlight, a duplicate of the magazine, and a duplicate dictionary completes it. By shining the light through the envelope, the page and line numbers are read. A few seconds later he has the word. And it then requires but a few more to find it in the dictionary. ‘The message is written on the envelope and slipped back under the door. It takes an actual tryout of this realize the feeling of the guests. And there are no forces, mathematics or ‘whatnot to confuse the operations. ‘mae ding (aeue 41) by Annemenn 108820 Vial BOOKG EDDIE JOSEPH Now here's a book test which I have made good use of. It is best done at close quarters and seated at-a table. This is how you proceed: ‘Take a book and open it somewhere around the middle. Take a coin, say a dime, and place it between the pages. The coin must be pushed right up to the spine of the book. Note page number. Add the digits and memorize the line at that point, Example: Page No. 271 .. . total of digits 10. Well note the 10th line. Just remember it. Now also do the same with the opposite page, i.e., page'272... and note Linth line. Now it's your business to force this page and you will find that in actual practice it looks very natural Pick up the book and thumb through the pages. Ask for a small coin - You don't have to ask for dime - ifsomeone gives you e quarter you can say, "Have you something smaller?" As a matter of fact, I mention dime for no particular reason. You can use any coin instead of a dime. Now when the coin is brought forth ask owner to drop it anywhere between the pages. As soon as he drops the coin you snap the book shut. The left hand holds the book. As you talk you bring down the book (by its bottom edge) rather smartly on the table and then lay it down over the edge of table. At this point you will find that he borrowed coin will be flush with the end of book that over last the table edge. You lay the book down for a reason. You want to free your hands so as to get at a scratch pad and pencil which you hand to, subject. AUDIENCE @ ‘Now you merely pick up the book by the end facing front and in the act of raising it the coin automatically slides out and onto your lap. Just toss ‘book to someone around the table and tell him to look for that coin dropped by the other fellow. Since your own coin was placed well in, it stays in position. He can only find that one there. Now ask oRROWED X Pick UP Book him to decide on the page left or right and then total Coin AT -TaIS END BNO the digits Com SLIPS INTO LAP‘The scratch pad and pencil are passed to him, and he writes the sentence. All you need do is to read it off through your psychic powers. ‘This is very clean, in working. The most important thing in such type of work is the force... naturally. The success of the demonstration depends on the naturalness of the force. Once the force is successful the rest is simple. ‘This is really an impromptu type of book test in a way. Visiting friends, you can have ample opportunity to flx your own coin in one of his books in advance. When the time comes use the same book. ‘Try out the coin drop from the book on to your lap for your own benefit first. See how slickly it slips out, Original Tricks by Baie Joseph 1940‘The performer introduces a pocket dictionary. The spectator looks through it --has a free choice of any one of the many printed words. The word is written by him on a card, and itis inserted momentarily in the dictionary. After a moment of concentration, the spectator 9 pockets the card and hands the dictionary to the performer who immediately opens it and reads aloud the word chosen together with its definition, If this were a dealer's item, I might emphasize the following points: SID LORRAINE to alieene 0 ooo pe ise ‘comes complete with a beautiful imitation leather dictionary, twenty-four Imported cards, and the very important gimmick. Avr shucks, it just can't be that good! ‘The working is simple - there is ample misdirection and believe me, the principle is quite old. It is an Ideal pocket effect, and if I should menition that I puzzled such folk as‘T. Nelson Downs and Stewart Judah with this, some ten years ago, maybe you 'll be eager to give ita try, even after reading the almost childish explanation, ‘The secret lies in the use of a second dictionary ~- unknown (let's hope) to the audience. The type used by me is obtainable in fiveénd hall ten cent stores, about 3 x 6 inches, with the cover title "Webster Dictionary - 40,000 words" The duplicate is mutilated by cutting out a, section from every inside page and the back cover ~ in other words, your dictionary has @ complete cover, but the balance of the book has a window through its middle, The first Mlustration will make it clear. Several visiting cards are also required. They should be of such a size that when one inserted in the side of the book, as per the second illustration, about one-quarter of an inch protrudes. ‘The size of the window in the book really is governed by the card's size. ‘The Idea, of course, is that when a card is Inserted, a glance at the window will reveal whatever is written on the card. Have a pencil at hand and, of course, the legitimate dictionary, if you can find a victim to whom you can demonstrate the effect, you should be very happy.Here's the set-up: In the right coat pocket is the gimmicked dictionary ~ in your left coat pocket have the cards. I don't care where you keep the pencil. The presentation should be casual throughout. Start by saying that the average person, when asked on the spur of the moment, or even on a street corner, to think of a word, finds it difficult to think of @ real hard one. They might suggest "house', "rabbit" or, if you've been doing bad magic, they might be smart enough to. quickly produce the word "lousy". But off. hand they cannot come up with "muscovado' or anything like "ethnographic". So ~ in order to make it easier for them, and a headache for you, Mr. Webster's pocket dictionary is introduced. Explain that the spectator is to run through, the pages - - on second thought, seeing it's pocket edition, perhaps' he'd better Just trot, through ~- and freely select. any word he cares to-- and firmly impress that word upon his mind. Then he’s to write it upon a cand which you hand him, Next ask him to turn the card with writing down, and at the same time you retrieve the dictionary. Don’t mention this action -- don't mention the dictionary at all - keep talking about the word he has written. During the talk casually place the dictionary in your coat pocket and instantly come out with the gimmicked one. You are looking at and talking to the spectator, if anyone notices your hand and the book, he should get the impression that you tried to insert the book into your pocket, and, finding it difficult, have placed it aside - which you do. Still talking to the spectator, you walk away from where you have placed the gimmicked book and try to get an impression of the chosen word. You fail, after a couple of attempts. Picking up the book you ask the spectator to insert the card writing side down somewhere between the pages. Be careful not to expose the back of the book during this time. ‘Turn the book on edge and quickly steal a glance at the written word which can be read easily through the book's window as per the third illustration. As you turn the dictionary around, still apparently looking at the edge, you say, "I see you 've inserted the card at about where the letter R starts (or mention whatever other letter the word may begin with). Immediately return the card to spectator and say, "That's a bit of unconscious help you've given me - I know the word begins with that letter, and as there are only 8000 words beginning with R it narrows my field considerably." At this point you open the dictionary, still being careful so as not to flash the back or should be there, then the best presentation 16 to give the name and read the definition. At the conclusion put dictionary in pocket or switch back and leave it around, As you pocket the dictionary, or to cover the exchange, you can say “I'm glad you picked that. word, sir. Last evening a fellow picked the word “nothing”, and when I asked him to concentrate, he had ‘nothing’ on his mind, It made it extremely difficult for me, ‘mno ginx Cs 151) by Annemann 1941William S. —— ‘The Performer requests the loan of a book from the host or hostess. Upon receiving same, he asks a spectator to assist him. When one has offered his services, the performer hands him the book and requests him to hold the book behind his back and open it as near the middle as. he can by sense of touch. Next, the performer takes out his pencil and, handing it to the spectator holding the book, asks him to make a. cross of the middle of the page at which the book is opened, while it is still behind his back. When the spectator has done so, he is asked to@lose the book and hand it to another spectator, who leafes through the pages until he finds the word marked by the first spectator. He then closes the book and concentrates strongly on the word while gazing at the performer who slowly spells out the very word! Any book may be used and the pencil is an ordinary mechanical pencil, except for a very slight bit of preparation which is never noticed, It is necessary to obtain a pencil of the type that will propel only; that is, when the upper end is turned to the right in the regular manner the lead is naturally pushed farther out of the point end; but when the upper end is turned to the left, the lead is not withdrawn into the barrel but is left in the same position, although the wire inside the barrel is retracted farther back into the pencil barrel. This is important. Also, the metal point of the penoil is rounded by means of a fine file and finished with a stone so that itis impossible, when the lead is not protruding from the point of pencil, to tell by sense of touch alone whether the lead is projecting for writing or not, as the smooth, rounded point glides over the surface of the paper just as smoothly, if not more so, than when it is actually writing. ‘The pencil is in pocket with the lead slightly projecting, ready for writing, ‘The other gimmick used is our old friend, the thumb tip writer, or a pencil for seoret writing. ‘This is stolen onto the thumb ready for use and the performer asks for the loan of a book. When he receives it, he rapidly and with apparent carelessness, skims through the pages while asking for someone to assist him in an experiment, During this handling of the book a, cross is quickly and seoretly marked on some word on a page around the middle of the book. ‘This word the performer remembers. The book is then handed to the assisting spectator who holds it behind his back. ‘The performer says, “Now for a pencil. Here, Ihave one” (taking out his own mechanical pencil and leaving the thumb feke in his pocket at the same time), The performer scribbles briefly on a pad or piece of paper lying handy, in a natural and careless manner. This shows the spectators, without particularly calling their attention to it, that it writes blue. Both the pencil and the thumb feke should, of course, have the same color lead.‘The spectator holding the book is asked to open it while behind his back, as near the middle as, possible, and while talking the performer is gesturing with the pencil, holding it about in the position shown in the illustration. It will be seen that the little finger is curled naturally around the top end of pencil, while the thumb and forefinger are holding the barrel near the pointed end which is pointed upward as illustrated. While the performer is gesturing in this manner, the thumb and forefinger, under cover of the hand being in motion slightly, twrist the ‘barrel of the pencil to the right, or in the direction indicated by arrow A in the drawing (Fig. 8). This causes the wire inside to be drawn farther into the barrel of the pencil toward the other end of the pencil, which end is firmly held by the curled little finger. This prevents it from turning with the barrel during this maneuver but leaves the end of the lead in plain sight as though ready for use. ¥IG.S ‘The pencil is handed to the spectator who immediately puts it behind his back and makes a cross mark on the page. He thinks he does; actually, when the point comes into contact with the page the lead is pushed back into the point, making no mark at all, as the rounded point makes it impossible for the spectator to suspect anything by sense of touch. The penell is immediately taken back by the performer and spectator told to close the book and hand it to. another person. Once more, the performer gestures slightly with the pencil while indicating a person to whom the book may be handed, and this time the barrel is twisted in the opposite direction, while holding pencil same as before, in the direction indicated by arrow B in the drawing. This brings the lead back to its former position — projecting slightly from the end ready for writing. ‘The trick is now practically done. The pencil may be laid down for anyone's inspection if they should wish. When the spectator who has received the book finds the word supposedly marked by the first spectator (actually the word secretly marked by performer), all that remains to be done is to reveal the word in a dramatic manner. A little practice with a pencil in your hand will quickly show you just how much to turn the barrel each time. It is really very easy and very effective. ‘rhe Magle 56 by William 8. Houghton 194526 THE PERFECT © BOOK TEST BY ANNEMANN EFFECT: In working, three books are handed to a spectator in the audience, and he selects, one. The medium is blindfolded and is sitting at the front with her back towards the audience. ‘The spectator opens the book at any page, runs his finger along the first line and stops on any word. He shows it to several around him, closes the book, puts it between the other two, and someone else carries them to the medium. She tosses one to the left, one to the right and keeping one, rimes the pages and correctly announces the chosen word. ROUTINE: The performer stands to the left of the spectator. He takes the two unused books back with his left hand and, as he tells the spectator what to do with the chosen book, puts his right hand in his trouser pocket where a waxed business card and pencil stub repose. The moment the book is opened and a page selected, the performer jots it down on the blank oard in his pocket. He tells the spectator to run his finger alang the top line and to stop at a word he likes. This done, the performer jots down the positiofi of the word in the chosen line while the spectator shows it to those close by. As he tells tie spectator to close the book, the performer palms the card from his pocket and transfers thé two books to his right hand, pressing the card against the underside of the bottom hock. He takes off the top book with his left hand, has the spectator put his book on top, and on this drops the book from his right hand, the card being stuck beneath. The three books ate given to someone else to deliver to the medium who removes the card, tosses the outside books away and finds the word. ‘Practical Mental Rtfects by Annemann 1944‘The performer exhibits three current magazines, say, the Saturday Evening Post, Collier's, and Liberty. One is chosen and held by a spectator. The performer now takes a blank card, or a borrowed business card (if the former, it may be initialed for identification) and approaches several spectators who are requested to jot down any numbers between 1 and 10 which may come to their minds. After several have done so, the last spectator is asked to add them up, ‘When this is done, the party holding the magazine turns to the page indicated by the total of the added figures. The two figures in the total are added together and spectator counts down the page to that word. The performer then divines the word. ‘The only preparation necessary is to memorize the following words in one of the magazines: Page 41—8th | Page 43—7th Page 45-9th | Page47— —_| Page 49-15" word ‘word word qth word Page 41~8th | Page 44—8th | Page Page 48~ word ‘word 48-10tn 12th word word ‘This is eastly done in a moment or two. Now, as the spectators put down their figures, the performer mentally keeps track of the total and as soon as the total reaches 41 or over, the performer simply stops asking for figures, and has them added by the last spectator. As the spectators are putting down single digits at the request of the performer, the total must fall between 41 and 49, and as the above list is firmly ‘fixed in the performer's mind, he can tell instantly what the word is, and can reveal it in the manner best suited to his style of performing. Now for the choosing of the magazine. The nine words memorized are, let us say, from the Saturday Evening Post go that it is the one to be forced. The three magazines are held up and a spectator asked to name one. If the Saturday Evening Post is named at once, then it is, immediately handed to a spectator and the effect proceeded with. If one of the others is named, the chosen magazine is laid aside, and a second party is asked to choose one of the two28 remaining magazines. Ifhe chooses the Saturday Evening Post, then that is the one used, but if he chooses the other one, then the latter is laid aside and the Post used anyway, as it 1ooks as if the same procedure is being followed to eliminate all but one of the periodicals, This idea may be well known to many magicians but is given here for the sake of clarity. ‘There is absolutely no force apparent to the spectators at all, as there are no figures visibly added by the performer, and the card bears only the figures jotted down by the spectators, over which the performer has had no apparent control. Instead of forcing the magazine to be used, the performer may, if he desires, allow a perfectly free choice of magazines. In this case, besides having in mind the nine words from the Saturday Evening Post, he has two pieces of chalk about one and a half or two inches long. ‘Two pieces of white gummed paper are cut, each as wide as the pieces of chalk are long, and long enough to wrap around the chalk with a slightly overlapping edge. On one piece, with a very fine pen, is printed a list of the nine required words from the Liberty magazine, with the corresponding page number beside each one, and on the other the list from the Collier's in the same way. These pieces so prepared are fastened around the pieces of chalk by moistening the gummed side. Now, the chalk “prompter” for the Collier’s may be kept in the right trousers pooket and the one for the Liberty in the right coat pocket until the performer is ready for them. ‘The rest should be clear to the reader. If either of the above two magazines are chosen, instead of the Saturday Evening Post, the performer simply takes the correct piece of chalk from the pocket, and as he picks up a slate, deliberately reads the word corresponding to the number he knows the total of the figures on the card will be. He apparently concentrates a second or so and then slowly writes the word on the slate~before it can be found by the spectators! ‘The wording on the chalk is unnoticeable even at fatfly close range as long as the hand is in motion, however slowly, and besides, the chalk can be covered almost entirely by the fingers in writing. Again, ifthe performer wishes, he may iise but one current magazine, the Saturday Evening Post, for example, and immediately repeat the effect which greatly enhances it in the eyes of the spectators. In this event, two sets of words are used from the same magazine. ‘These are either memorized or written ‘on chalk “prompters” as described above. Then, when repeating the effect, the performer allows the jotting down of the figures by the spectators to continue until the total falls within the second group of words. This keeps the total the second time from being too close to the first, ‘The strong points of this test are that the performer does not ask the total of the figures put down, and that he does not need to add secretly to the list of figures — he may not touch the pencil at all, as a matter of fact. To the spectators, it appears as a feat of genuine mindreading or of remarkable memory. It will be seen that this is a very flexible test, permitting different, variations, and is extremely bafiling on that account. The performer may use the variation ‘most practical for the occasion, or the one that suits his own particular fancy. A telephone book may be substituted for the magazine and the effect, repeated in exactly the same way. ‘rhe Magle 56 by William 8. Houghton 1945GEORGE B.ANDERSON Book tests are always effective mind reading, but the variation in effect has been so slight as to be negligible, Here is a "coincidence" effect that never fails to leave an audience talking to himeelf. ‘The one advantage to the effect is that it requires a gimmicked magazine which must be changed every month, but the trick is well worth the effort, Buy three copies of The Reader's Digest, and one copy of Esquire or any large size, bulky monthly magazine. Cut two copies of' Reader's Digest right down the spine and tab each page to the corresponding page of Esquire. Stagger the points at which the small pages are tabbed to the larger ones, to avoid having a suspicious bulge in the big book. ‘The gimmicked copy of Esquire and the fair copy of Reader's Digest are handy. While it would be possible to work a "magician’s choice" force of the Digest, I don't bother. I start to toss the larger magazine out to the subject, hesitate and toss the smaller one. It's just common sense not to toss a big, bulky, awkward magazine out into the audience, and the thing has never been questioned. A spectator calls out a page number" line number and word number to me, first. I piek up my magazine, go through the motions of turning to the proper page and counting to the word. ‘Then I pick up a slate and piece of chalk and WRITE MY NAME ON THE BACK OF THE SLATE, which is then propped up on the table in plain sight. Now I take a second slate to the person in the audience, together with a piece of chalk. Another spectator calls out a page number, line30 number and word number for him. As the page number is called, I say, page first,” doing so with my faked Esquire. ‘Turn to the proper On the line number, I count to the proper, line, and when the ‘word, number is called, I casually close my magazine after, getting the quickest possible glance at the proper word. "Now," I instruct the subject, "while I go back to the stage to get my slate, write your word on your slate and hold it writing side against your body." I pick up my slate and ask a third person to gather the two slates so that, there will be no possible chance for me to see the word my subject has picked. “Oh, just a second," I say. "So thet the audience will know which slate is which, we must both sign our names to our ‘word selections." The subject signs his name, I write the word of his choice above my already-written signature, and the two slates are passed face down to the third party who fj immediately holds them up for the audience to see. With a free, unforced choice of page and word numbers in two entirely different magazines, we've both PICKED THE SAME WORD! 1 Must Be Ming Reading ty George Anderson 1949Ifit isn’t apparent to you that I'm a sucker for book tests, the inclusion of a second one would make it a cinch. They're real mental magic. And here is one that's way above par, because the mentalist doesn't reveal the selected word. He never has his hands on either the book or the dictionary after the start of the trick! A dealer would handle the description of the triok this way: "A spectator, not a confederate, divines the mentally selected word. No help-a one-man triok. ‘The magician never influences or touches anything held by either the spectator selecting the word or the spectator divining it” And that’s the truth! A spectator is handed a book. If you want to be fussy, you give him a magician's choice of three or four books. Another spectator is handed a dictionary. The fact is, established by questioning that neither is a confederate. Now, a third spectator is given a note pad and a pencil and directed to have each of four spectators write five-digit numbers, ie: 29,346, one directly beneath the other. When the four spectators have written their numbers, the assisting member of the audience hands the pad to ‘you. You draw a line beneath the numbers and hand the pad to still another member of the audience who is directed to hand it to another person for addition of the four five-digit, numbers, ‘The ‘adder announces his total. You direct the first spectator, "The first two digits of this total, arrived at by one chance in fourteen billion, nine hundred and seventy-three million, the first two digits represent the page of the book to which you should turn. Open the book to the page. “The third digit of the total represents the line. Hold your finger on the first word of the line, please, and concentrate on that word.”“Now, you've all seen mental telepathists divine a chosen word. It's one of the simplest of telepathic exercises-one of the few which the average performer dares to perform in public, ‘because the percentage of failures is relatively low. But tonight, I propose to go far beyond the usual experiment!” “Ihave given a dictionary to another member of the audience. The six-figure number, arrived at by pure chance, was what, again?" ‘The "adder" repeats it. "Thank you. The last three digits of that number are what?" He repeats the last three digits. ‘To the person holding the dictionary, you say, "Your digits are so and so and so. The first two digits represent your page number. Turn to that page of the dictionary, please. The third digit represents the line in the first column. The first word on that line will be your word. Do you have it? Would you mind calling it out, loud and clear. Thank you. ‘You turn to the person holding the book. "What is the word on which you are holding your finger, the word of which you've been thinking? The same identical word? A remarkable telepathic coincidence. Thank you." Irthis isn't a feature effect, one of the sensational things that send an audience away: soratehing their heads, I'm badly mistaken. ‘There's nothing new about its accomplishment, On thé bottom side of a pad of paper, about two thirds of the way down, you draw a line such as you'd draw beneath a column of fgures. You take a book and select a word at random, the first word on a line. Let's assume that it's the ‘first word on line 6, page 78. Beneath the line on your note pad, you write, 786. Now, look the word up in the dictionary. It should be a word that starts with one of the early letters in the alphabet, so that it will be found within the first 100 pages. Let's assume that it's on Page 79, Line 7. Beside the 786, now write 797. Now, above the line, write four rows of five-digit numbers that will add up to 786,797. Tear the page off the notepad and re-write the four rows of five-digit numbers without the total. Try to make the handwriting look different on each of the four rows. Turn the pad writing side down, ‘When you get ready to do the trick, hand the pad to a. spectator, along with a pencil. Don't worry about his turning it over. He won't, unless you handle it suspiciously. You turn the pad over when you draw the line beneath your own set of figures. The trick works itself from then on out. ‘The one suspicious part of the trick becomes an incidental, a very minor part of the total effect. No hands-but brains! 1eMustBe Mind Reading by George Anderson 1040ERFELD AND EDDIE C EVER A couple of years ago, I put this effect on the market personally, sat back and waited for the gold to flood in. Unfortunately, I lacked the capital to plug it properly, and after a few dying gasps, Night Owl had its wings clipped and dropped out of sight. I still have a soft spot for the stunt, however, which is why I again want to bring it to your attention. I think it's the ideal dark room trick. See if you agree. EFFECT: With the performer's back turned, the subject takes any book from his shelves. The lights are now extinguished. He opens to any page and peeks at a word for a split second with a pocket flashlight, then closes the book. Though the lights are never turned on, the performer calls the word. PREPARATION: Cop a few grains of salt from your host's » saltshaker. Also carry two pocket flashlights, one having its lens covered with red cellophane so as to throw only a dim, red glow. If you're working practically cold with nothing on hand but this prepared flash, use an ordinary match instead of the unprepared light. Borrow a pad and pencil from you? host and you're set. .? ROUTINE: Sit across the table from your subject. Have someone bring any book from ', shelf. Open it and stand it in the center of the table as a sereen. Now turn away and + him to pick another book and lay it before him on the table. Order the lights doused. the tell ‘Tell him to open the book flat at any page. On his doing so, drop a few grains of salt on the page. Keep talking during this, your voice covering the tiny sound produced. The salt will slide into the binding groove between the pages. IF THE BOOK WERE TO BE CLOSED AND THEN RE-OPENED, THE BREAK CREATED BY THE SALT WOULD CAUSE IT TO OPEN AT THAT SPOT. Hand the subject the unprepared flash, telling him to switch it on and note the first word on the left-hand page. At any time, he has the privilege of turning the light on you to ensure your head being turned. After he glimpses the word and flips off the flashlight, tell him to close the book. Also have him pocket the flashlight. ‘Take the book from him and hand him the pad and pencil. Tell him to first concentrate on the word as hard as possible, then to write it. on the pad. While he follows instructions, let the book open at the break. Blow away the salt. Slip the book under the table and flick the prepared light on for a second to get the word. Pocket the flash, close the book and lay it on the table, Now name the word in your best manner. Have the lights turned on and the word verified on the pad.34 Iam indebted to my good friend, Eddie Clever, for streamlining former rough spots from this routine, Eddie also suggests eliminating the pad and pencil by asking the subject to trace the ‘word on the table with his finger as he concentrates. He adds that the person can be allowed to choose the first word on either the left. or right-hand page, you are getting the correct one by one wee bit of pumping, Plecos of Mind by Bob Somerfla 1052. INSTANTO™ BOOK TEST AAGE DARLING ‘The performer distributes four to six small books among the spectators, and calls attention to the fact that they are identical. The reason for their distribution, he explains, is to enable several spectators to take part in the experiment. One of the spectators with a book is, requested to mention a number, which will be used as a page number. All the spectators holding books are then asked to turn to the page indicated and to concentrate upon the first word on the page. The mentalist writes something on a slate. One of the spectators reads aloud the selected word and the slate is immediately turned round to show that the selected word has been written on it. ‘THE REQUIREMENTS: You will require four or six copies of the same book, with about sixty to ninety pages. Also required is a common silicate slate. Divide the slate into two parts with a vertical pencil line on one side only, using a soft lead pencil. This having been done, print the page numbers and the first words of those pages in neat block letters, starting at the top of the left-hand column and finishing at the bottom of the right-hand column. Separate the numbers and words into groups of five, so that it will then be easy to find a word when the page number is known.36 ‘The pencil writing will not be visible even at fairly close quarters, and the spectators will think that the slate is normal, THE METHOD: Distribute the books, explaining that you want more than one person to take part. Then return to the front, take up the slate and chalk and ask a spectator to call a number. When the spectators have turned to the page, ask them all to concentrate on the first, word on the page, while you will attempt to read their minds. Note the word against the page number on the slate and write it in bold chalk letters right across the slate. Then ask someone to read the word aloud and show that you have been successful in discerning their thoughts. Amore simple and direct method could hardly be found, and it follows closely the procedure that would be used if you could really read minds ‘The fact that nothing has to be written down and that no mathematical calculations are made, makes it a very strong effect, despite the simplicity of working.ERECT: A spectator chooses a card and inserts it into a book, opens the book at the card and concentrates on any word on that page. The Mentalist calls attention to the wide choice of ‘words in the book and then, without hesitation, accurately reveals the thought of word! No, the page is not forced. ‘Nothing is written and no questions are asked. ‘THORNTON'S SECRET: The best ‘book to use is one of a technical nature or at least one with 9 ‘many large words. One of ‘You will need a single filament: IMPOSSIBLE 222" out — not one thread — buta. single filament. A strand about six inches long should do. The fine nylon filaments used in hosiery are about one third the thickness of a human hair, but twice as strong. And it is virtually invisible! Attach one end of the nylon filament to the inside of the back cover of the book with scotch tape, about midway out from the binding at the top. The filament is laid loosely across the top of the pages and tucked between the front cover and the first page, ‘The card is forced. The method of choive to force the card is not important — therefore, you should foel free to use a one-way forcing deck or other favorite force. The card is used simply as ameans to choose a page. PRESENTATION: Let us say that your force card is a six of something. The spectator chooses the card, and you ask him to push it face down into the book, anywhere. Hold the book so that he pushes the card between the pages at the top so that it catches on the nylon filament. ‘The nylon strand will be pushed between the pages with the card, Have him push the eard in all the way. Then hand the book to him, instructing him to open the book to the page located by his card. Have him look at the card and count down the number of lines indicated by the value of the card. As he glances at both sides of the page, ask him, “Would you like to use the page on the left or the right?” (If you like, you may omit any question, here, since you can almost always see which side of the page looks at by watching his eyes.)38 As soon as the spectator has counted down to the correct line, tell him to choose a word from. that line, saying, “Look at the longest word in the line . . and remember it, please. Now I want ‘you to place the card in your pocket, without letting me see it, and olose the book. Ina moment, I will ask you to concentrate on the word you have chosen.” ‘You take the book from him as you say this last and hold it so that you can see wheré the nylon filament has been tucked in by the card (see illustration). Then you casually open the ‘book to that page and note the longest word in the sixth line (since that was your forced card value). Then casually continue flipping through the pages, showing them to the audience as. ‘you say, “Notice that he could have chosen any of thousands of words — many of which are not at all common. The word could concern any subject.” Now close the book and direct your remarks to the oné who chose the word. “Will you please concentrate on the word you chose? Picture it in yshit mind." And you then proceed to reveal the word, letter by letter. Finish! ‘You can perform this effect almost on a moment's notice — anywhere — using a borrowed book — by carrying a short length of the filartient with one end attached to a piece of scotch tape. ‘Simply stick it to the inside of the back cover — secretly — before you entertain, tuck the other end inside the front cover and you are ready to perform! ‘mhoraton's Secrets of Mental Magic 198839 For this you will TONY CORINDA magesines the size of “Life” or “Picture Post” ‘They have to be prepared so that, the COVERS are all different and yet the insides are all the same, For best effects, obtain six copies of the same edition of “Life” and five different magazines of the same size. Choose those which have bold covers which are obviously different from a. good distance, Remove five covers from the “Life” Magazines and recover with those takes from the odd five, With this done you are ready to perform, however it would be as well to mention that this effect is best performed on a stage, but a raving room will do as long as you are careful to remove the other magazines afterwards. Lay the six magazines in a pile on the table, Have a spectator come up to help you in an experiment of the mind. Tell him that he must follow your instructions very carefully - in fact show him what to do! “Now sir, on the table here you will see six various magazines. You have a free choice of any one you care to select, don't let me influence you in any way. I want you to take one and stand over there so I cannot see what you do". You allow him to take one - but as you are talking at the start, pick the magazines up and display the front covers to the audience, showing that they are all different. When he has made his choice and moved to the spot you indicate, you deliberately pick up a magazine yourself and turn to him and say. “Now the first thing I want you to dois to think of a number - any number you like say under fifty. What would you like?* (He tells you) “Excellent, number 23, then dos I do, please, turn to page twenty-three like this... (casually run through your copy showing him!) And when you get look at any prominent word, a heading at the top of the page. If there is a picture on that page, remember that also please - and just for good value, have a look at the very last word on that page. (Bach time you say what he is to do, you casually gesticulate with a wave at your open magazine and in doing so, you taken an outright look at the prominent words at the top of his page, any picture and the last word on that pagel! ). Since your copy is the same as his ‘you must be right.40 After that it becomes a better of presentation. Drop the magazine on to the table and pick up a slate. Tell him to commit these facts to memory, close the magazine but keep his finger in the chosen page in case he forgets the words. “The first thing we shall try is to get an impression of a picture... [want you to visualize any pictures you saw. Suppose it was a person’s face, imagine you are looking at that person—try and help me, make the picture strong. You quickly sketch something on your slate—a rough outline of the picture and show it to the spectator saying: — “Say nothing, Get this rather vague shape. It seems like a drawing or a photograph of a building. There is a large square with birds and a statue here”. Point to the slate and the outline drawing as you patter about the scene. Having delivered enough facts to make it certain that they will appreciate you are in the right trail, say to the spectator. “Would you be good enough to tell us all which picture you looked at and what was it?” When he replies “there was a photograph of -St. Peter's Square in Rome” ...you have made ‘your point. “Now let us deal with the headline— you looked at some prominent words...think. Send the words tome~imagine you are drawing the letters on the blackboard”. 115 Steps to Mentanm by Tony Corinda 1080a a lt) el em aad a tb ee tL Ibis always as well to know a couple of good effects that can be done on the spur of the moment. In this effect, a Book Test, I have again resorted to the easiest possible means—and, I might add, the cleanest. When you talk about impromptu effects you fonget about forcing a word with dice, playing cards and what-have-you—nothing is more likely to make the whole thing appear prepared, THE EFFECT AND METHOD: Being a Mentalist, you will anticipate that sooner or later you will be asked to do something! Prepare for this event a few minutes beforehand by finding a good size book. Preferably one from a selection of many that may possible be found on a. ‘bookshelf. In an emergency, you can utilize practically anything, a directory, office invoice OOK, diary, ete. but choose a book if you can. Carry with you at all times a ten-shilling note, the serial number of which you have memorized. Here again, if the trick must be done entirely impromptu, you ean work from scratch using any ten-shilling note, one-pound note or dollar bill. However, you make it easier for yourself if you use the same one each time. Look at your ten-shilling note and note that you have six figures in the serial number. The first two numbers the six—will represent the PAGE number. The next two the LINE number and the last two—the position of the word in the line, Because of this, you would do best to choose a note with the first two figures around the fifty mark, the next two around the twenty, and the last two very low around nine or ten, but not more, as there may not be that many words in the line. A serial number like 472508 would be perfect, With this foreknowledge, choose a book on the premises and on the quiet look up page number Forty-seven, line number Twenty-three and find the Fifth word in that line. Remember this word and then replace the book. Have the ten-shilling note folded to a convenient size for switching, ‘When the time arrives to perform—say that you will try something that: might be of interest. First ask for the loan of ten-shilling note (or one the same as whatever you are using). Next look around for a book and move about a bit before you choose the predetermined one. In moving around the room, obviously, getting ready to do something, you have every chance of switching the two notes, ‘When you get the book hand it to the host and tell them you will try a novel test with their property! Look at the note and say, “we have six figures on the ten shilling note you have given me. Let's take the first two as a page, the next for a line and the last for the word. Look (Show them), the first figures are forty-seven—turn to page forty-seven. Take the note also because I don’t want to be anywhere near you when you see the word”.Guide them carefully with clear instruction (ie., “disregard the title heading on the page if ‘there is one”) until they find the word. From then on it is just a matter of revealing the word ‘ty some dramatic presentation or other. Don’t just tell them the word—build it up—write it backwards with lipstick on the mirror, in ash on your arm, spell t out with matchsticks—anything that leads up to something more than just saying “And the word is Mouse”, to which the host may justifiably retort “So what!"?. Last but not least—looking ahead, you will make a sly effort to recover your ten-shilling note and replace it with another. I suggest that the easlest way to do this is to follow with any trick which uses a ten-shilling note! 116 Steps to Mentaim by Tony Corinda 1089MAX MALIN; BOOK TEST On the same day that Malini made the baseball vanish, he and Charlie were walking down one of the main streets in Los Angeles and they called in at a bookshop. Charlie had in mind the purchase of a book, and while he was asking the assistant about the book, Malini was browsing around the bookshelves. He picked a volume from one of the shelves, glanced through the pages and just before he returned it to the shelf, he had slipped a match between two of the pages. He memorized the first ‘word on the left-hand page. Meanwhile, Charlie continued his conversation with the assistant, and a little later when they were about: to leave, Malini said to the assistant “Hey, I show you something”. He reached over and removed the volume that he had previously prepared. Without opening the book, he secretly inserted his little finger between the two pages (at the inner end of the book) and allowed the match to fall to the floor.rom the front the pages were seen to be all tightly closed as they should be. Turning his head away, ‘Malini riffled the pages and told the assistant to say, “Stop” whenever he wished. It was a simple matter to let the book open at the required page, in almost exactly the same manner as when one riffles a pack of cards and stops at a previously obtained ' break. Malini asked the shop assistant to memorize the first word on the page, then handed him the closed book and told him to concentrate, ‘Malini then simply named the word that he had previously noted. Charlie said that this absolutely bewildered the assistant, who asked in ave who this fellow was who could perform such wonders. ‘Mating and hia Magic by Dal Vernon 1962