Al Mann - Al Baker's Manuscript.pdf

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Mann Exclusive

FOREWORD In 1920 and 1921, Al Baker released some exclusive secrets via manuscript. One of these manuscripts was titled "Al Baker's Mental effects" and also called Al Baker's Billet Reading Extraordinary. Today these manuscripts exist only as collector's items, almost forgotten. Many of the Al Baker original ideas and effects have appeared in print many times and unfortunately some of these ideas have been misunderstood by modern writers. In the pages that follow, "Ai Baker's Mental Effects" is reprinted verbatim, with illustrations and comments under "Notes" by me. Al Baker was known to most of us as a ventriloquist and Circus side show magician who was at his best when entertaining children, yet that same lovable magician could awe an audience with his presentation of Mental Magic. To watch him perform the spirit handkerchief or his 'deck that cuts itself:, was a treat never to be forgotten. As you read the pages that follow, bear in mind that these are Al Baker's own words and that they were written in 1920, years before other writers came out with the same ideas. Why was this manuscript almost forgotten? Probably because it was written at the time when manuscripts for the Mentalist were flooding the market. Those were the years of the Vaudeville Mindreader. 'Mindreading' secret manuscrips were everywhere selling for a high price. Some were written in pencil or pen while others were illegible carbon copies. Some were worthless while some good. A few were exceptional. Al Baker's Manuscript was 'Extraordinary!' It was fabulous!

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(201) 431-2429 POST OFFICE BOX 144 • FREEHOLD. NEW JERSEV 07728

A number of slips of paper are passed out to the company with the request that each write thereon any question they wish and sign their full name. They are requested to fold them well, when they are gathered up in an envelope. The performer selects one and holding it up to his forehead immediately divines the question and answers it. He opens it, reads it and then passes it out for examination. A second slip is answered in the same way and so on. At any time the performer may pass out a slip for examination. It is the answering of the first question and passing it out for examination that bewilders those who know the old method of working the effect. A number of slips of paper about 1%:" X 6" are placed in a large envelope (document size) (4" X 9%:", white). In the same envelope is placed a sheet of double carbon paper with the sensative side outward. This doubled sheet completely fills the envel0r.e. Thus it will be seen that if anyone uses the envelope for a 'pad" for writing, no matter which side is face up, a carbon impression will result on the opposite inside of the envelope. Come forward with envelope and pass out slips. Before last slip is given out, moisten the finger tip as if to help slide out the paper, but in reality to SLIGHTLY moisten the flap. The last slip is taken out and placed on top of envelope (incidentally) (sealing flap a trifle) and both envelope and paper are handed to spectator. Naturally he uses it for a pad. Watch him/her very closely and just as he finishes, say, "Now fold up your slip so that no one may see it." At the same time, casually take the envelope from him and unseal it. Address the audience as follows: "Now, if all have finished writing, fold your slips in four, using a good crease so that they will not open. I will gather them up in this envelope." While you are saying this, casually open the envelope, glance inside and read the carbon copy of the last question, while in the act of inserting the fingers (left hand) to hold it open. Gather up the last party"s slip first and place it in the front portion of envelope. Place all the rest on the other side of the carbon paper. After returning to your place, bring forth any slip from the REAR portion. Hold it up to your forehead and after a little deliberation, give an answer to the question whose carbon copy you have read. WHILE YOU ARE DOING THIS the left hand, with fingers still in the envelope, palms the one slip in the front portion and holds same at back of envelope with the thumb, fingers at

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2 AL BAKER'S MANUSCRIPT AL BAKER'S BILLET READING EXTRAORDINARY

AN AL MANN EXCLUSIVE cont.

front. THE RIGHT HAND WITH THE AID OF THE LEFT (which still holds envelope) opens out the billet to see if he is correct. He memorizes the question and folds it up again. Then as an after thought, says to the audience, "Perhaps you would like to see it." Suiting the action to the words, he takes envelope in right hand and takes the billet with his left hand and passes it out for examination. What he really does is to retain the billet behind the envelope with his right thumb and bring forward the other which he has been holding with his left thumb, and whose answer and question he hAS REALLY GIVEN. The exchange is VERY EASY and absolutely indetectible. The envelope should be passed in a very casual manner. A second billet is selected and the memorized question of the first billet selected is answered. The billet is opened as in the first case (but is not given out for examination)the question memorized and given as the answer to the next billet held up. This is continued until all have been answered. If desired, you may at any time, pass out the billet you have just read by the same method of exchange. In this case it is necessary to have a jar or other object several inches in height, into which you place each billet after you have read (7) it. This gives you the opportunity to apparently place the billet just read, into the jar with the others that have been read. In reality you retain the billet in your palm under cover of the jar. It is also necessary to fold up the billets immediately after opening them to "see if you are correct." It should be understood that the slight sealing of the flap of the envelope before giving it to the last party is merely by way of caution so as to prevent a sudden opening of the envelope by the spectator. if desired, it may be omited. I would be very glad to hear of the results you may have in presenting this excellent effect as also of any possible improvements. NOTE: Al Baker did receive many replies from the readers and many improvements were proposed, yet careful study of the above routine will convince the reader that the routine is perfect as it stands. Here follows an analysis: and some recommendations: THE BILLETS: These are long strips of paper 1~" by 6". These were the type of billets that were in vogue in 1920. They were made famous by Bert Reese and also Charles Foster before him. Originally these billets were simply torn off the top or

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AL BAKER'S MANUSCRIPT AL BAKER'S BILLET READING EXTRAORDINAY

AN AL MANN EXCLUSIVE c on t ,

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bottom margins of a newspaper. This not only portrayed an impromptu aspect to a psychic test but also the paper did not make noise when secretly opened. Please note also that the "Umbrella Move" is not used or mentioned by Al Baker in this manuscript. Primarilly Al Baker did not know the Umbrella move at this time and secondarily, the Umbrella move can not be used with a long strip of paper. Dai Vernon infomed me that magician Arthur Findley learned the Umbrella Move from Bert Reese AND THEN gave it to Al Baker. In his later writings Al Baker switched to using square billets and adopted the Umbrella move. As the reader can see in the above Al Baker routine, the Umbrella move is not necessary and the long strips of paper are excellent. THE ENVELOPES: In order to accomodate the long strips of paper A LONG ENVELOPE must be used, so the business size white letter envelope is employed. This will serve as an impression gimmick and also as a writing pad. The natural thing to do when you offer anyone an envelope or a stack of envelopes to serve as a writing pad, is to give the envelopes to him or her address side up, this is the smooth seamless side AND THE ENVELOPES SHOULD BE UPSIDE DOWN, with the flap on the lower edge as shown in Fig.i. ... This maneuver will place the impression of the spectator's question on the bottom-inside Fig. 1 of the back seamed panel of the envelope. And when you open the envelope to replace the folded billets, the message will appear right side up to your line of sight. (if the envelope is given to the spectator right side up, the message will end up partly on the inside of the flap which will be hard to read and also may expose the secret.) I

THE PALM: In the above instructions, Al Baker has the last billet placed in the front part of the envelope and later, this billet is palmed out and placed on the back of the envelope and held there by the left thumb. In later writings, he modified this by simply pretending to place the billet inside the envelope but actually placing it on the outside. The following proceedure is recommended: The last person to write a question (on the impression envelope) should be one that is sitting on the front row! This question is collected last. After the person writes his question, the envelope is retrieved and he is instructed to fold his question. In the mea time the operater goes into the audience to collect the other slips of paper and then comes to the first row and collects that questions last. The slip is apparently placed inside the envelope but in reality it is placed under the left thumb tip

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AL BAKER'S MANUSCRIPT

AN AL MANN EXCLUSIVE

AL BAKER'S BILLET READING EXTRAORDINARY

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behind the envelope while the other three fingers of the right hand go inside the envelope to create the illussion. THE SWITCH: Al Baker's switch of billets in this routine is perfect! Simple and direct and the easiest in execution. And it can be repeated during the routine. It is a simplified version of the Folding Switch. As shown in Fig. 2 The left thumb is holding under it the folded 'impression' billet, while the right hand holds the opened first billet that was removed from the envelope and "-~ apparently answered. It is opened to verify the question, but in reality Fig. 2 to learn the next question in the one-ahead system. You must make sure that the audience sees the open billet. The open billet is then folded over from right to left BUT IS RETAINED UNDER THE RIGHT THUMB TIP, and at the same time the right hand takes the envelope, while the left hand brings into sight the folded 'impression' billet and passes it out for examination. The illusion is perfect. The audience see you answer a folded question then it is opened and then folded and the left hand passes out the folded billet which contains the same question just read and answered!

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TO CONTINUE: Transfer the envelope to the left hand again and pass the folded hidden billet behind it from under the right thumb to the left thumb and repeat the same maneuvers. . Al Baker recommends that if or when the billets are not passed out to the audience they should be dropped into some glass bottle with a high neck so that the billets cannot be retrieved readily. No emphasis should be placed on the passing out the billets into the audience for verification. This should be done in a quite and casual manner as though it is of little importance. The awesome aspect of the presentation needs no other bonus.

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(201 ) 431-2429 POST OFFICE BOX 144 • FREEHOLD• .,.EWJERSEY 07728

(AL BAKER'S METHOD) (NOTE:

In the following effect, AL BAKER tells

the

MAGIC world how to use the maglcianls thumb-tip gimmick to sWitch a billet! Annemann thought so highly of this technique that he used the method and wrote about i t several times. Unfortunately, Al Baker's and Annemann's instructions were misunderstood by later writers and the technique has been erroneously printed. Here ARE Al Baker's original thoughts on it, in his own words)

Performer has slips passed around. Spectator's write questions and fold them and are gathered up and placed on a small saucer. Performer is handed one slip at a time - which he holds to his head and reads and answers the question and the slip is returned. Same is repeated with all the rest of the billets! THE SECRET: This trick depends upon one move which if practiced for a few hours before a mirror can be done at any place any time. WHAT YOU NEED: One thumb fake, same as used for the torn and restored strip of paper. The fake must be of the kind that goes down to the first joint of the thumb and must be flesh color. The slips should be about 1 X 2~ inches and folded twice. The larger the person's thumb, the larger the slip. Slip must go in tip easy and be drawn out easily by ball of thumb when wanted. A trial will give you the size needed. THE MOVE TO PRATICE: You place a folded slip in thumb tip and then insert right thumb. Paper must lay so ball of thumb is right on top of it so if you withdraw the thumb you can withdraw paper also. If you have thumb tip loaded with a folded slip on right thumb and another slip is handed to you, you hold out left hand flat to receive it. The slip is taken at the fingertips across the first joint of the fingers. Not in palm. You bring the two hands together and as the right thumb gets over slip in left hand, left hand fingers curl up and right thumb is slid right on top of slip in left hand and right thumb is withdrawn from thumb fake bringing out slip from thumb fake. It looks as though you took the slip they handed you with right hand, but the slip they handed you is lying in left hand across the first joints of fingers. The thumb fake is on top of slip and the fingers of left hand are curled around fake and slip to conceal them, AND THE THUMB AND FINGERS OF RIGHT HAND AND THE THUMB AND FINGERS OF LEFT HAND ARE HOLDING THE EXCHANGED SLIP!

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AL BAKER'S MANUSCRIPT THE BILLET TEST

AN AL MANN EXCLUSIVE cont.

This sounds complicated but all blends in one move. No hurry, and magician is of course talking while making change and must not look at hands. The second part is to get slips back in fake. To practice place a slip in thumb fake. Take another slip in left hand and go through with above moves to exchange slip. When exchange is made, fingers of both hands are holding slip, right hand takes slip and holds it to forehead, and left hand with other slip and fake is rested on left hip. After reading question and person says it is his, performer brings up left hand and lowers right hand from his head and the two hands are used in opening slip which performer reads as if to verify. HE IS READING ONE AHEAD! When he apparently reads aloud the message on the slip he just opened, he is actually reading from memory the message on the slip in his left hand. He next refolds slip and secretly pushes it right back into thumb fake and in the same move the fingers bring the other slip to view. This slip is held between the fingers and thumb of both hands and the fingers continue folding the slip as if he were giving the finishing touches to a paper after it is folded. You now have only one slip in sight and this can be handed back to writer and your hands are now apparently empty and as you know what is on the slip in thumb fake, when they hand you the next slip you only take it with the right hand and hold to head and divine the thought. Your right hand is obsolutely empty, without the fake, this is the strong part. If you put on a thumb tip you will understand in a few trials just what is to be done.

Performer has a number of slips, an envelope and thumb tip fake. The thumb tip is in right trousers pocket. Passing out a few slips performer requests spectators to write a short question or number or name and then to fold the slips. Performer puts balance of slips in his right trouser pocket so that he can show those that have slips what to do, etc. He next removes a few more slips from his pocket (and puts on his thumb tip) and hands them out. Some of the spectators are finished writing so the performer picks up the envelope. Opening envelope he requests first person to drop his slip in envelope, and as he does so, performer inserts his thumb in envelope and withdraws it but leaves thumb fake in envelope open end up and held in place by pressure of left hand fingers from outside of envelope. Going to second person he takes slip right out of his hand and says, Please place it in the envelope so." Suiting the action to his words he places the folded slip apparently into the envelope, but it goes into the thumb fake which is there to receive it and thumb goes right in with it being instantly withdrawn, bringing out fake on thumb and his slip inside it.

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AN AL MANN EXCLUSIVE

AL BAKER'S MANUSCRIPT THE BILLET TEST

cont.

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Handing envelope to third person, the performer sar.s, "Drop your slip in the same way and pass it to your neighbor.' As the envelope is being handed, performer has reached into his pocket and brought out a few more slips and handed them out. While spectators are writing, his right hand goes into trousers pocket, removes thumb fake and draws out stolen slip, opens it and brings it out together with three or four more slips. Handding out a blank slip to another person, he says, "Just write one line and then fold it so." Performer IS APPARENTLY TELLING THE FELLOW HOW TO WRITE AND FOLD HIS SLIP, BUT HE IS READING AND FOLD~ ING THE STOLEN SLIP! Say the slips says "John Brown." The performer has read and folded the stolen slip in plain view of the audience! Handing out a couple more slips of the ones he has in hand, he places hand in pocket and puts folded slip back into thumb tip fake and inserts his thumb into it. When he withdraws his hand, both hands look empty, and he is ready to work! A small saucer is on table on platform and behind the edge of the saucer is one blank slip folded, this is necessary for the last slip as you will see later. When all is written, performer asks one of the committee to bring the envelope of slips to the stage and to pur them on the saucer. Performer next requests this person to hand him one slip. Taking the slip in his right hand, performer holds it to his head. Both hands carelessly shown to contain nothing else. Performer divines the message "John Brown!" Opening the slip to check, he a~ain reads "John Brown," (but the slip actually reads 'New York!') (performer is now one-ahead). Performer refolds slip USING BOTH HANDS, and at the last fold slip is in the fingers of the left hand, and thumb fake goes on top of slip, and the real 'John Brown' slip is withdrawn and comes to view, and performer continues pressing it with fingers OF BOTH HANDS and at the same time looking around room for the person who wrote 'John Brown!' Handing slip to his volunteer assistant, performer asks for another slip and on being handed it, receives it with his riiht hand. Left hand is by left hip with thumb fake and 'New York slip under it. As second slip is handed to performer, his hand goes right to head HOLDING SLIP AT TIPS OF THE FINGERS and he reads, 'New York.' (NOTE: The right hand is seen by the audience to be ~mpty , while the left hand is assumed empty.) The slip is opened USING BOTH HANDS and then refolded. On the last fold the slip is inserted into the thumb fake and the thumb goes in behind it and the fake is stolen, leaving the 'New York' slip in full sight. The audience now sees that the left hand is otherwise empty and the slip is passed out to the writer!

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AL BAKER'S MANUSCRIPT THE BILLET TEST

AN AL MANN EXCLUSIVE cant • • •

When all the slips in the saucer are read, performer still has one left in the thumb fake. If person calls for that one as dish is empty, performer looks around and discovers the blank one under the dish. This is read, exchange is made and all is well. If you have a thumb, a thumb fake and a slip of paper, you can learn more about these moves in one minute than you can by reading about it, as the moves blend into one.

NOTE: The reader must agree that the act of doing a full evening mindreading show with nothing more than a magician's thumb tip in your pocket is indeed something to 'conjure' with. So let's take a good look at the method. In Jinx No. 19, last page, Annemann tells us that he first came across the Al Baker Manuscript in 1924. In 1924, Annemann was 17 years of age and primarily intersted in Mental card effects. He became intrigued with the "Mind Reading Card Trick" in the manuscript and which he later adopted and modified it by using a stacked-shuffled deck (see Jinx 19). Annemann called it The Al Baker Three Billet Trick. Four years later, 1929, Annemann apparently became interest in billet work and remembered the AIBaker idea of switching billets by the aid of the magician's thumb tip. He made a note of it in his notebook (see Jinx No.1, page 3, Two Papers and a Spectator). Annemann adopted many of the Al Baker ideas and received personal instructions from Al Baker. Both in Jinx No. 1 and in Jinx No.5, A question and and the Answer, p. 20, Annemann gives us his method of switching billets with the thumb tip. But, unfortunately, Annemann's instructions were inferior to Al Baker's original concept. Annemann received the billet 'in the palm' of his left hand instead of 'on the tips of the fingers' as instructed by Al Baker. And unfortunately, neither ~l Baker or Annemann gave illustrations of how the switch was to be ~ade. All of this gave laTER READERS THE WRONG SLANT ON THE SWITC0 and erroneous methods were printed. The book, Practical Mental Effects, was compiled from the Annemann writings in the Jinx and other Annemann publications, two years after Annemann died. The effect "A Question And The Answer" appears on pages 17 and 18. The illustrations drawn on page 18 describing the method ARE ERRONEOUS. The fact of the matter is that anyone reading the instructions of how to make the switch, by Annemann, would no doubt arrive at the same conclusion. One would have to see Annemann perform this test in order to get the correct slant on the moves. Annemann did a superb job of this effect and baffled many. No doubt those who tried doing the test as illustrated in the

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AL BAKER'S MANUSCRIPT THE BILLET TEST

AN AL MANN EXCLUSIVE c on t ,

above mentioned book, discovered that the method was impractical and gave up on it. C. L. Boarde, in his monumental work on billets, Mainly Mental, Vol. I, thought enough of the idea that he devoted three pages of script to it. and although he added a new vista to the illustrations (the right hand approaching the left hand from above) still the whole concept is erroneous and not at all what Al Baker decribed in his manuscript. But WONDERS NEVER CEASE! The same erroneous handling of the Al Baker concept appears again in print in the year 1980! See the booklet titled "The Magic Pendulum," by George B. Anderson, page 19 in an effect by Bruce Bernstein. Apparently someone out there can do the routine erroneously and still fool people with it. For those readers who prefer to do the test the correct way, here are the correct illustrations appearing in print for the first time. Correct me if this is untrue: In Fig. 3, the right hand is shown with thumb fake in place. It is held about an inch or two above waist level, in a relaxed and natural pose and may be slightly cupped. The thumb fake is never seen by the audience as it hides behind the fingers. A 'dummy' billet is inside the fake and may even stick out about % inch. Fig. 3 The left hand is held about an inch or two below waist level. It received the folded billet from the audience and the billet is held across the ends of the fingers. Fig, 4. THE SWITCH: The right hand approaches the left hand from above as the left hand turns towards the vertical so that the billet is out of sight of the audience for a moment. ~_.r-, The thumb fake is placed over the billet as the left thumb pinches the fake to hold it. Fig. 5 Continued on next page.

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AL BAKER's MANUSCRIPT THE BILLET TEST

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The final move of the secret switch is seen in Fig. 6. The left thumb is pinching the thumb fake and spectator's billet, while the ri?ht hand pulls out the 'dummy billet into view. AND THE DUMMY BILLET IS HELD BY BOTH HANDS. If the dummy billet is the billet stolen from the envelope and the data on it is known, then the Fig. 6 performer, places the billet to his head and divines the thought. The billet is then opened 'to verify' but actually to read the contents of the next question to be answered! The routine continues as per Al Baker's instructions. In the above illustrations, the size of the billet has been exaggerated for clarity. In performing the above sleights, the operator never looks at his hands. In both Figs. 5 and 6, the hands are held vertically, the backs of the hands showing to the audience and held at waist level.

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(AI Baker's way of doing it) Performer has spectator write the names of three dead and one dead person, on slips of paper. Folding the slips, dropped into an envelope. Performer then names the dead person's name or has it on a previously examined slate! What you Need: One envelope, 5 slips of paper about 1 inches and a thumb tip fake.

persons they are appear by 2~ i

The slips of paper you tear by laying a ruler on the sheet or strip of paper and the first one will naturally have a very straight edge, while the other four will look straight but the edges will be s little bit fuzzy. The straight one is the one to keep an eye on. You van tear the strips in front of audience if you prefer. You now ask for a spectator to assist you. The slips and envelope are on the table. It does not make any difference how near audience is to you, they cannot detect anything. Your thumb tip is in right trouser pocket. Pick up the envelope and ask the person assisting you what his name is. Say, "He says his name is John Edwards," as you inform the audience that he is to be the medium.

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11 AL BAKER'S MANUSCRIPT THE LIVING AND DEAD TRICK

AN AL MANN EXCLUSIVE cont.

Push one of the fuzzy edged slips towards the assistant and say, "Will you please write (or print) your name on this slip?" While he is writing watch him closely and count the letters in his name. In this case there are eleven. When he has finished writing his name you ask him to fold it in half, then fold again. This leaves a little package less than an inch square. You now say, "I want you to put your name slip into your pocket, as I do not want it any where near the rest of the papers." After he pockets his name slip you say, "I want you to take one of those slips that is on the tabel." He does so as you are standing away from him but yet watching which one he takes. Suppose he takes the fuzzy edged one, so say to him, "Write down the name of some person who is living. Some one near to you." Then tell him to fold it and drop it on the table. Ask him to take another slip and if he should take another fuzzy edged one, ask him to write the name of another living person, and fold it and drop it upon top of the first one. Ask him to take a third slip and watch him and say that he takes the straight edge one, and say, "I want you to write the name of some friend who has passed away." Ask him to fold it and drop it with the others. Now say, "Take the last slip and write the name of some living person, and fold and drop it with the other three." All these papers are folded twice, same as the one he holds in his pocket. You now stand facing him and say, "You have written the names of three living persons and one dead on these slips and you also have your own name on a slip in your pocket. I am going to show you what effect your own name has on the other slips." You are standing with your hands in 'pockets and while you are talking, your thumb of right hand goes into thumb tip fake and you bring out your hand with the tip on it and take the envelope. Open flap of envelope, at the same time leaving thumb fake in envelope mouth up and hold from falling by pressure from fingers of left hand which is holding envelope. Turning to him you say, "I want you to hand me one of those slips." As he hands you one, take hold of it with finger and thumb of right hand and say, "I want you to think of the dead person." This is only a bluff. While he is thinking, you are looking at the slip he gave you, for the smooth edge. If it happens to be a fuzzy edged one, place it in the envelope and say, "Please give me another one and think of the name of the dead person." If this is a fuzzy edge, place it in the envelope with the number 1 slip and ask him for another one. Say this time he hands you the smooth edge or the straight edge one, which is the dead person's name, take it and place it in the envelope but not with the others but inside the thumb fake which is held there by the left fingers from the outside ready to receive it. As the slip goes into thumb fake, let the right thumb go right in with it and come out carrying the fake on the right thumb with the dead name inside it, under the ball of thumb.

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12 AL BAKER'S MANUSCRIPT THE LIVING AND DEAD TRICK

AN AL MANN EXCLUSIVE cont •••

You now say, "hand me the last one," and you drop that in envelope with other two and set envelope aside. Now the move that everything hinges upon. You "You have your own name on a slip in your pocket." He answers 'Yes!" You say, "Will you hand your name to me?" He does so. You reach for it with your left hand and as he lays it on your outstretched left hand (slip is still folded), you reach with your right hand as if to take it from your left hand, but what you really do is to lay the thumb of right hand on top of folded slip, and at the same time draw out thumb from fake bringing paper from inside of fake to view. His name slip is now under fake thumb and fake is concealed by the fingers of the left hand which are curled around it, while the piece of paper having the name of the dead person is now in view being held by the thumb and first finger of left hand and thumb and first finger of right hand!

sar.,

Looking at your assistant you say, "Do you know how many letters there are in your name?" And as he hesitates you say, "I'll count them." Opening the paper which he thinks is his own name you must use the thumb and first finger of both hands. While doing this you look at, not his name, but the name of the dead person and start to count out loud, "1-2-3-4-5-6-7-8-9-10-11." Turning to him you say, "You have eleven letters in your name, Mr. Edwards, is that right?" At the same time you refold the paper, place it back in thumb fake and right thumb goes in with it AND THE SLIP WITH HIS NAME IS AGAIN IN SIGHT HELD BY THE THUMB AND FIRST FINGER OF LEFT HAND AND THE THUMB AND FIRST FINGER OF RIGHT HAND! You say, ,"You better count them yourself," at the same time dropping the paper in his hand. He opens it and verifies your count. You now know the dead person's name! and they all think you were looking at your assistant's name TO GET SOME CLUE FROM IT, which you encourage them to believe. You can now finish by taking a pencil and have your assistatn take one end of it as you write the dead person's name or you can tell him to say A-B-C-D, etc., to himself and when he comes to the first letter of the dead name to stop. You then say (suppose the dead name was John Jones), "You stopped at the 'J ' right?" He answers "Yes!" This is continued letter for letter until you spell out the name. These moves sound complicated but if you put on a thumb tip and follow the moves, you will be surprissed how you can change the slips right in front of their eyes and you only have one piece of paper showing at any time, the rest of the hand being empty. You can place your hand in pocket and remove the dead name at finish and bring it out in hand and open envelope and let the three in envelope and the one in hand fallon table so in case they look them over they find the four originals . • f.

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AL BAKER'S MANUSCRIPT

AN AL MANN EXCLUSIVE

(NOTE: Here is Ai Baker's method of presenting a Brain Busting Mindreading effect before a large audience. The medium on stage instantly answers a question that is written on a slip of paper that is held by the writer in the audience! Ai Baker devoted much thought and time in creating this type of effect,