Al Mann - Master Slate Secrets III

POST OFFICE BOX 144 •

FREEHOLD, NEW JERSEY 07128

jJ(J4It'l

[fIatt

~eiet4

THE WRITING ON THE WALL

POST OFFICE BOX 144 •

FREEHOLD, NEW JERSEY 07728

MASTER SLATE SECRETS

PART III

FOREWORD The story of Daniel in the Bible was written by a person unlmown but \-1ell versed in Magic. It was written from folklore, accounts handed down by word of mouth through the centuries. It's historical value is uncertain. King Nebuchadnezzar was not the father of Belshazzar but perhaps a distant relative. However, we are not here concerned with the accuracy of history but only with the devastating effect of "messages ll on slates, walls, etc. This treatise has touched upon every type of trick slate extant and with Volume IV, it is hoped that the series will be complete and the reader's curiosity as to 'slate wizardry'will have been satiated. Magicians have done well in developing slate magic. They have surpassed in wizardry and trickery the wildest expectations ot the mediums. The workmanship employed in the manufacture ot trick slates for magicians has been tops so that it becomes a pleasure in the presentation of the art. The original intent of the author to present new ideas in slate magic has been persued. However in order to present these new ideas it has been necessary to air out the older ones. Volume IV will have a chapter on 'Fabulous Trick Slates' which wi~l touch on the 5-in-t slate, The Slate ot Fate, The Sardina ~late, to round off the study on slates.

Happy Slating

b/n/kg

MASTER SLATE SECRE'fS

PAHT III

SLATE \tIIZARDRY

1

CW\,p'l',ca VI

INSrfANT

HE3SAG~

"THE 'vffiITING ON THE T~IALL": "In the same hour carne forth fingers of a man I s hand, end Hrote over a:~ainst the candle stick, upon the plaste::.'" on the Hall of the king I s palace: and the king saw the part of the hand that 1-Irote." Book of Daniel

"And this is the uritins that Has 'Hritten, Jl1El.-JE, HEN:";;, TEKEL, UPHAILiliJ. 11 The visible appearance of messages attributed to su)erno.tural agency are something to reckon uith. In consequence, the cour8e of llorlcl event s have been chan~;ed and kingdoms have to-~)pled. Dulsi.lazzar I s kingdom Has toppled and he 'Has slain the same niGht after' the IHriting on the Hall. t EOVl did t~-Le me 3 saGe appe ar on the Hall of king Belshazzar I s palace B-11.d by Hhat agency? HO't,J' Has the hand that wrote the messQGe made to appear? The anS;-Jor to those two mysteries has been knO'tm from beforo tlle time of D:::miel to the prosent by all the masters of the magic art. The same effect has been produced \mdel'" different guise thrOUGllout history. l·:iessages have appeared on the ceilin~\s of rooms, on the sand, in midair, on paper, on slates, and on tablets of clay 2.!1d bronze, Hith devastating results, ushering force nOH philosophies and ne1'l religions with worlds of converts.

The exact modus operandi used by Daniel and his exclusive magic circle can almost be pinpointed since the same effect has survived to this day. A most uncanny instant-spirit-messao;e effect Has used in a spook film made in Hexico City in the early 130s. A book Hhich 'Has fetched from the dusty and spidcr-'"rebbed shelf of a monastery Has openned and the message, "You shall die" burned itself unto the musty pases. The formula for this effect has appeared in print many times and is as folloHs: Dissolve a small runount (1/2 teaspoon) of gum arabic in a solution of potassium nitrate (2 teaspoon;3 in 1/3 class of Hater). Using the solution as ink Hrite the message on cardboard or paper and set aside to dry. 'fo produce the eff'cct touch a candle or lit match to the start of the message and tho message "rill burn itself on the cardboard or paper letter by letter. Another rl1ethod appeared in Drug Store Hagic, by Ali B. Johnson and is as folloHs: Soak a string in a strong solution of potassium nitrate. Uhen the string is dry, paste on carboard fonning the letters of the message. To produce the effect set fire to the strine.

2 CEAPTEH VI rnSTANT

l1E3;:)AG~S

•••• cont.

l'alcing D. closer look at the Babylonian court of King Belshazzar He find tho follo,dng: Dsnicl, :mn a master magician '.rho had become i'ar:tous as an interprot)r of dreams under king Nebuchadnozzar, father of Belshazzar. Nebuchadnezzar had appointed JJaniel as master of all mac;icians and ruler of the province of Babylon. Daniel had t~..ree othc)r i~em.bers of his irmo:..'" ma::~ic circle, Eananiah, Hishael ~md Azariah Hho Here renamed by tho court, .:)hadrah, Heshach and Abed-nego and 'Hho became famous as tho ones that survived the fiery furnace. All four magicians held high posts in govornment and therefore ill d much influence in court. It can be safely assumed that they also had a number of shills or follo'.J8rs. 1'he Hoyal feast 1':0.:-; corrl.los ud of one tilousand guests plus their Hives and concubines. 'rhere Has much feasting and drinkin,:~ of Hine. The "vrriting on the vTall lJ appeared atter the guests Here a bit tipsy and it appeared "against the candlestick. It 'l'his suggests that a chemical agent similar to the one mentioned above 'Has the method used. One of the candles, after burning a ntoober of set hours, triggered off a fuse Hhich in turn trig8ered off the "Vlriting on the ",all. II This is ofcourse only a theory since Daniel did not tell us Hhat method he used. Hm'I did the hand appear? If the reader has studied the reaction of the spectators in a seance room '\.·There 'tvriting appe ars letter by letter you Hill ImoH that many spectato rs state that they saw the hand that did the vrriting Hhen actually there Has no hand at all in most cases. Hallucinating a hand doing the \-Iriting is a natural reaction since the mind of man thinks in familiar patterns. The phenomena is comparable to picturing a horse pulling the carriage ru1ead of us Hhen actually the horse is not visible yet HO knO'\.·l it is there. In kin~ Balshazzar I s court anyone of the shills could have said that he Sm-I the hand and one hundred others of the feast Hould add fue 1 to the thought by sayinG that" they also Sa1.'I it.

liThe nOlUe of a spirit 'Has then 1'lri tten rapidly in " I' -I'. f"r ---.'~r. L. Ha r ri son, editor of the Spiritualist. 'rhe above quotation is in referronce to an early seance held '.:ith famous mGlis}c mediums Herne and Hilliams in 1871. Corinda gives us thJ method for the Hriting in mid air in his ninth stop of his flThinrteen StEms to Hentalism. II A mL,,::t1)J'e of lUr:1~~n()~lS Daint Hith bees,-:ax: is used to make a ie SlLl,tO in never soen and 1 h_orescen t 1 etters J.n . t 1 argo p_'lOSp no' · aJ.r

MAST1:!:H SLATE SBC~1 :..TS

lAH'i' III

CIL-'l.PTER VI

3

a hand actually does t-h_e c·,ri tinge If the spectators say that they saw the hand doinC the ',Yriting they Hould be telling the truth. Althou~h the hand is not clearly seen in the darkened room, the shadm·] of it can be seen as some of the ,'Jri ting is covered by it. After the effoct, the slate is hidden. Another trick of the mediums wan to paint their ~Jrit­ inc; hand Hith luminous paint. In the dark only the hand was seen doing 1~itinG on a slate. This type of effect became quite popular 1dth the spectators and became an accepted belief. 'rhe statement by the spectators that they had actually seen the hand doing the Hriting became most common whether there Has a hand or not. Chemical Spirits Haking messages ap)ear instantly by chemical methods has been Hell covered by other Hriters. Burling Hull devoted many hours experimenting Hith chemicals to make messages appear letter by letter on slates and developed the art to a high degree. Unfortunately many of the old cherished methods of chemical Hriting are no lonGer feasable or really necessary to the student • .An old favorite is Hriting the message on the slate 't-d th sulfuric acid and then '.r2.shinS it off "Ti th sub-acetate of lead. The effect on t:l.w audience is good since the slate appears blank on both sides and later a message appears is chalk-Hhite color. 'fhe drm-lback is that you are dealing l-Tith dangerous chemicals. Sub-acetate of lead is a poison and sulpi.luric acid is a caustic and corrosive acid. Both chemicals are hard to get Hithout a doctor's proscription. The sulphuric acid also damages the slate surface. Another favorite chemical was Carbon .L:etrachloride 't-1hic~! is no lonGer sold to tho general public in tile USA. Carbon-tet gives off deadly fumes and has already caused a number of deaths. Carbon-tet must be used only in .-Jell ventilated spaces and persons under t::-w influence of liqour must not inhale its fumes. ,1

THE UNPREPARED CHEMICAL CHALK

If you l-:J.ust use the carbon-tet method here is a streamline version of it. You do not have to carry a messy little can to dip your chalk in just before the show. Instead prepare your slate at home by ,·.;rritinc; the message Hith an unprepared piece of chall{ and then spray the slate Hith Fixatif, the fixing solution sold in art-supply stores. Por t.i:lO presentation you must take a small bottle of carbon-tet, the slate and a felt eraser. Saturate your orasor \-lith the chemical and Hash off the slate. The message 'tfill

4 MASTER SLATE S';::;CREI'S

PAaT III

CHAPTER VI

'rEE UlTPREP.ARED Clt!l·nCAL CHALK •••• cont. vanish and then reappear Hhen the chemical evaporates. The message can be disguised by scravTling letters or numbers allover the slate. rrhat Hill give you a good excuse for 1.. in the feke. TEl!: P[L3~NTATION: Place the 5-slate feke all. the table Hith the openning towards you. Give out a slate to be eXillllined or have the spectator furnish his m·m, provided t',~e slate L.; the same size as the i'eke or larger, and have the slate marked. i\rO'l"l;:[i th a piece of chalk are tvri tes on the rrn rked slate. It isn't necessar~)i to write much. Just a feH Hords Hill suffice. The impact of the effect is that Hriting appears under impossible conditions.

NOTES: The X-Ray Rye Slate is not really necessary to l.·lOrk the above ef:"'ect. Over the L~-slate feke an ordinary slate can be placed but must latel' be r-omoved after the mr..rked slate is placed ave::.' it. l'his can be done under the pretext that there are too many slates. To Hark the effect correctly, the bottom slate of the feke must be a regular slate. 'l10 reveal the 1-1riting after tho lights are turn on again, the HIlole stack of slates is turned ovaI' and trw 4-slate feke removed and the message Hill be exposed on t~le marked slate 1 The 5-s1 (:tte feke is bolted at one corner only so that the individual francs of tl'.e feke can move out and give the stack 2, haphazard look. Mothe::- vorsion of this test is that the 4-slate feke does not have a cut-out scction but a~:,e just a stack of empty frrunes that are pJa ced on a table that has a t::.~ap door. The operator sticl::s his hand into the drm'ler of the table, drops the trap door and sticks !1is b.o..nd through the stack to do tho writing. TO A SING1,E SI'l"fER nI L,IULL LImfr: The above test can of course be done in full liC;Jl.t but only to a. single sitter. The performer must engage the siVcer in conversation to misdirect his attention from tl-:e stack of slates after the mark slate is in the middle of the stack. During the conversation the operator does the secret ·Hriting. 1'110 Height of the slates over the marked slate is enoug..1-J. to hold it dm-m Hhile the performer wri tes "Ji th his r.icht hand. DiYa lights, burninc incense and soft music 1>:i11 help.

14 MASTEIl SLATE SSC!1E'fS THE MIND::tEADING

PAd'i'_HII

C~IAP'l'ER

VII

~)L!l.'l'SS

After Dr. ~I(mry ;:)lade retired from the spirit scene, Pierre L.O.A. Keeler becf...me his successor in t~le USA. His fame spread far and Hide and soon became the target for the exposers. Henry l1idgeley :;~va.'1.s, in his book, liThe Spirit \-Jorld Unmasked, 11 (1897, also :printed undor the title of If Hours with tlle Ghosts 11 ) gives the follm,ring account on page 81. A Dr. L.H. 'llaylor, psychic invostigo.tor, ,-rho had already had some sittinr;s with Keeler, arranged for another sitting in I'Jashington D.C. for the purpose of further testing Keeler· s pm-lers. He challenged Keeler to tell him in a spirit slate message the make and serial number of his watch. Dr. Taylor stated that he himself did not know the serial number so that there was no danger of telepathy being used, neither could he be asked to '!.-Trite it on a billet. After some lengthy conversation in '-lhich Keeler stated that the request was unusual, Keeler asked Dr. Taylor to remove his 'VIatch and place it on a stack of slates to expedite the test. The 'Hatch Has placed under a white hanlcerchief that was covering the top slate. Keeler next placed a black cloth covering over the 1:;hole thing. Dr. Taylor felt for his \fatch through the blncle cloth to ascertain that it Has still thore. After marc conversation, the slates i'lOre inspected and a message uo.s found on one telling the ma~ce of the '!.-ratch and the long serial number. rr:ne effect HaD profound. Neither E.'vans or Dr. 'l'aylor had a solution for the mystery and no explanation was attempted althouc;h they surmised that a sHitch of Hatches had been made. F'olloHing is my theor::r as to l:..oH Keeler \'rorl{ed the effect; \ve 1010'.'; that Keeler £"hrays lcept 20 to 30 slates stacked bellind his chair in _'.is o:;"i'ice. These slates Here visible to everyone as the ,- CD.r.le in for a sitting. The sitters assumed the slates to be ordinay. iCeeler of course knew his various slates by secret marl-:s and could put his hand on any desired trick slate. After Dr. Taylor pro:posed the watch test, Keeler engaged him in a lengthy conve:c'sation during which time he took out a stack of felce slates similar to tbe 5-sla te feke referred to previously and placed the felce in front of him at the edge of the table. A HIli te hankerchief l·ras placed over the feke covering the X-ray slate and 1Jr. I:eaylor ,·ras asked to place his i.-latch 'lIDdnr tho hankerchief. i'mother fact He lcnoH about Koeler is that he alvrays sat on a lo'ltl rockine chair which automatically placed his arms

MASTER SLA'l'E SECi~b~S THE

MINDR~ADIHG

K&;Li~ I S

PAliT III

CHAPTER VII

SLA1'Li;S

BA1"PLING SL"\'l'E TEST

• ••• cont.

and hands out of niC;:lt under the tablo. 'rho table had a cloth covc)rin:--: ~Thich hnnc;od 1m! over t- 0 sicks of' tho tablo. Keeler did mo;;t 01""' JJ:L8 slate Hriting on his lap and mnde a habit of constant fidget~_ng and placing his h811ds into his pockets deliber8.tely. Keeler produced Q heavy black velvet cloth covering which contained one or more secret pocl{ets into ,-;ll.ich he had placed his own watch, and covered the stac1-c of slates Hith it. Keeler invi tc;d the iJ-i'. to fool for his ,;atch and at t;~o srune time Keeler ~~)ressed on tile sHinc;in[; ]Janel of the top slate which causecl the Dr. IS \Iatcll to slide dm-m into Keeler I slap silently. Tne rest of the presentation Has child's play for Keeler. :tIe read the nake and serial number of the vlatch and wrote a message on another slate concealed behind the table, replaced the Dr. I S Hatch and lifted the slate panel in the act of 1ll1coverinG the slates. Tho Doctor took back his Hatch and Koeler added the messaGo-slate to t:'le stack in the act of coverin~; the slates again momentarilly. The black cloth covering actually served a number of purposes. Besides the secret pockets to switch items, the cloth completel:I covl-~red t;le slates Hhich prevented anyone from cotmting the slates 'Used. The messaee could have been Hritten on the X-ray slate throug.'rJ. the openning in t>.e feke Hhile the flap viaS down providing the X-ray slate Has not attached to the feke stack and further providing tho slate could be handed out. Keeler could reach behind tl:er ,-:ith the Dr. I S Hatch and hanci the 1-Thole thing to him Hhile t:-'.o black cloth covoring ste.yed behind to hide the f'eke slates.

MASTER SLA'r.c; Si£CHii."rS

PART III

16

TE.2; NIND~1Z.~DING SLATES

'flU S INGIHG BLACKBOARD

In "Hentalistrix ilicore II the Amazing l1aurice (Harris Cohen) describes a bll).ckboo.rd mo.de from a shoet of alum.Lnum 8lld Hood fr3.r.1ing in the effoct co.lled Nova-Hento. 'll11e allJlninum is po.inted dead black and a paper sheet is then tacked on for tho writin~. In the words' of' i·I.I'. Cohon, "- \-.Then the spectator draHs the dosic;n on the pa::1er, it (tho blackboard) fairly sin['~s out thl"'ouC;h the aluxnil111m. It }\mazingly, c. f'clt-t ip inJ: m:1.rkcr mako 3 the man t noise on the 'singing blctckotu.rd.' 'v'f:1O could believe that a felt-tip markor is noisy? All the tests with .&SP designs and numoers are possible. 'l'he Hri tinG can be heard fran an adjacent room if the door is sligll.tly openned. The a:ct of SOlUld :;:-,lOntalism has appeared in print occasionally throu~h the ye[,r~",. I t v[QS touched on in Corinda' s '13 Steps to Mento.llsm and 0.130 in Sam Dalal1s"Sound Hentalism ll published bJ ti:.e Supreme ~~a,;ic Co. of mgland. 'rhe possibli ties of the 'sinc;inc blackboard I are many_ A hearing devise can be c.ttached to it so that the sound is heard at a distC:U1ce. in essence, the performer is able to distinguish tIle various ESP designs as they are drawn on the board by the number of strokes; one stroke for the circle, two for the cross, etc. Sam Dalal in his book Hent a step further and treated on nlUnbers and printed letters. Tim P:\3:.)1~l{Tj:..'rIOl:-r HUS'l' 13.1£ CLO,UG.W so that the method is not obvious to the spectators as they can also 'hear' the trick. 'rhe mentalist can avoid that by his own sho\-rnlanship. The effect cDn, for example,be presented as a prediction. The performer pretends to write something on a card, then tells the spectctor to drmJ' a design sight-1U1seen. The performer after knO\'1inc the design dr'c:t·m by tjlC sound dra-'.!S the same design on his c8.rd ~dth a s1'Iami gir.rrnicl:. 'fne singinC: black board SllOUld measure about 26 by 313 inches and sits on an easel. 'Ill,I.e; SnWDm SLA'l't;

'.L'ha follmdng conc ept has room fOl' furtl:..cr deveL)pement. 'l'hc use of sound in l1wntal magic has not been exploited enOUGh. '1',.'0 uutI-cor hG.3 rw.c;.c a slate that Gives diff·):eent sounds depondin:.::; on Hhat part of tJ"o slate is \"(ritten on. If the rende:" hu" a good sense of l1cfJ.:"ing >e s:'lOuld exp·.::r;mont on t~:e principle. PiG. 61 on the next pco;o, 3::'0'.':s a slate 'H~ich measures 6~ by 14~2 inches. It is made Hitn a Hood fra'l'J1e and

17

MAS'.!.' ER SLAT E S.ECiUiJf S

PAHT III

THE SINGiNG SLA~~ ••••

cont.

ChAP'ri'.ll VII

c

divided into 4 cells. The slate re..-------, sembles a pictUl'e frame and is used / on one side only. t\ } Section "A" behind cell 41 is backed by a piece of alwninum. Next a piece of co~rucnted $ board is used to Cover the entire 1/ ~ back of the slate. A second piece of corru~ated Fig. 61 cardboard is cemonted behind cells 3 and 4, !lB". and finall? aII third piece of corrugated board is cemented behind cell 4, 'C • '111e bacle of tJ:e slate ',:ill resemble a sot of steps. Cell 1f1 and 2 have only one layer of corrugated board. Gell if3 has tvlO layers and cell ;>4 has 3 layers.

/

Z 1> 4-

'rhere are other conbino.tion of .t)ape!; material to experiment vii th such as ,sandpaper ovor the corrugated board or over t~'lf:: aluminum • .I..he fact is that Hhen anyone circles one of the digits a distinct sound is heal"'d, comparable to musical notes. 'r11e cell '\.Jith 3 layerG of corrugated board gives a higher sound than the one lJith only tHO layer-G. The cell with the aluminum backing gives oi'f tll0 hig~est sound. To farther distinguish between the sounds, cell 113 has a piece of fine '-lire cemented in a vertical position. This is SllOi-ffi by the Havy lines in the·3 cell in It'ig. 61. The Hire makes a brealdn[s or tripping s01md when the ink marker is passed ove::::' it. The Hire gimmick is fror:l an idea of Ned Rutledge. Cell ,:'L:. has a piece of rough sand paper rubbercemented roug~,l side down OVGr t.he corrugated board. '1':le "11101e Hritinc su::eface of the slate :L3 then covered Hitl: l,,~l"dte vJTiting po.pe::::' cut to size. 'rhe verticHl lines or drm·m on the paper and then the munbcrs 1 to 4. ivith practice the o')erator con learn to distinguish each individual sound. 1'he corruc;ated-board cells 2 and 3 will develope deeper indento.tio!l:J 1'li t',1 use, or the operator can enlarge t~ . . o indent~'.tions beforo cov·.;rinc the squaros by pressing the lines \'li th a pen cap. 'ro cover the preparedness on tlw back of the slate, COVf)r the entil"'e back Hi th t~1in \'lhi te art board or colored board. #1 square vlill nOH [;i ve a smooth singing sound over the aluminum 'Hhen the spectator draws a circle arott.."1d the 1. square \-1ill give off tlie 'bumpy sound I due to the corrugated board bo.cking. .!.L3 square Hill give out the definite tripping noise 'it and also the bumpy s01md.

18 MASTER SLATE TH.b;

3;~CHl?rS

11INDiL~il..l)ING

PA£{'l' III

CHAPTER VII

SLA'r,1S

• • • • cont • 1:="4 square Hill give out a cracldn[:; noise due to

the sand paper 'I,·rhich '\.-Tas rubber-cemented all around the edces only. THE ANALYI'IGAL BOOK 'l'l£ST

This effect is designed to give the operator several avenues for success. The ef':fect is exellent for the dravdng room or club type presentation. 'rhree spectators take part which makes everything more interesting to the audience and also furnishes the performor ~:i th a number of Heak links, the snaP:9i_nr~ of 81lyone being surficiont to the success of the test. 3pectator )1 is ~iven n book of about 250 pages. :Jpoctator ,;2 is :';i ven tjc sin:~ing slate and an ink marl:cr, ;:)pectc,tor ,:3 is:ivon G. '.T2:'itinr.; pad and an ink marker. Instruct spectatol' ..."2 to 1001:: at:.lis slate ~d to mentally tr:Link of a page number betlJeen 100 and 250 • .Jince the booll: only has 250 the pase number must begin Hi th a 1 or a 2. Unknown to the spectators, they only have the choice of 12 pages: 123 Spectator 712 must use only the 213 digits on the slate to formulate 124 214 132 the !)age number, and t.he digits 231 C~D only be used once. 134 234 11.~2

2L~1

11!-3

243

Performer states to spectator if2, 111 want you to think of tho first digit of tl1e page and when I say I Go I I want you to draw a circle around that digit on the slate. II On ti!.e '/JOrd 1 Go I , the spectator drm'lS the circle around the diC;i t and the performer ;.[ri tes dOvffi his impression on a pad. If tile performer is not surc, al thou.Sh he knoHs it is a 1 or a 2, he ',Trites on hi:") pad 111 or 211. Performer next inst:;,:'ucts sncct tOl~ )3, to vrri te the circled ciigi t on :1is pad. 'J.'his gives tne per-formel" a second cllanco at gettinr; the fiI'st cli;jit. 'l'ho felt-tip marll:er also 1 sin:';s I 1',Then it \'11'i tc s on tilO pe.d and tho::·.~ can be no mL;tuke in d ivi:."ling t:le c1igi t t~,i s t li'::o. 'l';1.u sound 1:ill ei tlL:,' sound liko !3. single stroll:8 for tile '1, ,or scv(;ral strokes for the 2. lL;xt tell spectator' ;/2 to tlJ.inlc of t:.e next digit and to drmoJ a circle around it n.t; tile: '.'::~rd ' GO.' PerfOr!110r also i·:rites his :ix.l~)rossion c,f t;'c cii;it a~1d. then tells spec-

19 HASTE::{ SLA'l.'E; S}':;Cil:;TS 'fnE

HINDR3;'\.:)I:i~G

CF..APTiig~,t side. '.L'he:::'e' s no gil1nnick behinci this liS II so tho audience cl).n see right Fig. 67 tJ:l..rough tl~.e plastic board anci i t a'I~!un.rs totally unproliaj:'ed. 'rhe pel'fo:':'nlcl' cem of course remove all trw i~. caY'as in the 0.1 te:cna to unprepared places and hand then to tile specta~ tor. I'c;,'former then turns the board aro"ll1d fto remove t~10 rest of th'~ cards vlhich .• 'e keep::; and shuffles anC!. places then back on tlle Ii I-unprepax'ed squares. 'rhe sljectator is then tol(.< 0 !--to choose any c[,..1'd sight-uns:Jcn and to call Iout lVhat number to put it in, etc. ." IDue to the gimmicks cemented to the elastic bands the result;, Hill alirays be the sarne as in ,rilig. 69. l·'ig. 68

.

~

1L-

±.

2

"

f-

PAH'l' IiI rl)ll~

ESF

CI! PT i.:.:R IX

SLATl~S

'rEr:; KHAN SLA~.',,~ ••••• cont.

'Ehe boards shmm in i"igs. 67 is made of clear plastic sheet lid th black elastic ribbon riveted to tho bOD.rd. '1'he alphabet cards used must not have any indexes at tho corners. Since the letters S, N, 0, nnd W, alternate on the board, other words can be formed to create n diff0rent reFig. 69 sul t al togethor. l"ig. 70 shows what the performer can do b;/ pl8.cing different letters on t:ne unprepared places. Aftor tho first eff ct has been completed the perfor:ncr can t[Jce out all t:~c G cards and place thom back into the decle and ti-:en give tile spoct:tor four otIlor cards H:dch also spell lIsnoHIl or any of tl:-..'" Horc"s like "stop 11 or II • II ' ane.-I • .Ll- roa 1-.Ly C1oesn I t Yllatte:r' wnat cards the spect~-'.tor gets since his cards Hill all-lays spoIl out the letters represented b:" the Gimmicks. Ho'.:evor it is best to give t e spectator the letters rrsno~,:jJ as he mcty choose b" coincidence t::1e srulle letter for t2,e COl':,~ect place in Hhich case t.",e D~:;rformer '1'1£13110'3' that w card to t::-ce audionce befo:c' plac:i.n:; it behind 'c; LC gir:1!',1i ck Hhi ch it mat che s • '1'~1e perforner choose8 th:.~ lett,:;rs lIatep II and places tl'.em into tile 1L"'1i,)l"epar'ocJ. places. The spectators lett,:!rs go behind the gimrnicks for the final result shown in Pig. 71. 'These two 1'Jord~) the performer has predicted in a s~)al~_ci .onvelope irhich hQS buen given to someone to hold!! ! ! -.L.

s

Ot~H)l" 1.!Ords crm bo formed simply by turninc t~,:ce board u}~sid; dO'.m so that t:le lette . 's s-n-O-"I Hill look like m-o-n-s. If tl~e boaI'd as Sl'1mm in Fig. 68 is turned Ul)sido dm·m, the performer can creato the Hords "mint II and Ittoss. " Other ''lords arc "mend" and I/lots, II etc.

Bear in mind that a prediction of these h'ords is a pOHerful 1,!eapon if the read':r is t~-l,C type of mentalist that predicts ev,:mtc; tJ.:.at '.·dll tnko place during his ShOH. Add the~c pr8dictions to ot~r effcts in your act liku the book test, a nUlub.:;l', etc. for 2.. s:.12..shing finishl

I-lASTER SLATE SECHi?rS T~;E

KHAN SLAT E

... ..

26

.PART III cant •

.l."

ics. 6') to 71 s>m'l lr}ttO :2S t}1at arc vert icle on hori zont al card s. '.r:'es e cards can be made by inkin g the lette rs on blanl e play ing card s. If deal er alpha bet cards are to be used then t~~e board must be ri :r;ed as shm-m in Fig. 72. The handlin;_~ of the boar ds l"ema ins the S DIlle. 'll~',e aste risks in t!.2e 1~'iC;. desi;, !,nate the card s Hi th t!:.e ,·;iF1I 'licks. "jl"

Tl:e

Util- il-h-' op slato

l."ig. 72 'llhis slate is stil l avai lable . It is expe nsive made . It can be usod a~) a slate , a tray and a sldtc and Hell hing devi se. It svlitc hes five cards on disp lay on a stand for fivG force cards there for it can be used for the ESP test . In lil{e f'ashion it can sHitc h f'ive soale d enve lopes for five plan ted ones .

TllO flap Hi th t:lG expo sed co..:c'ds f'alls d01·m to uncove:-.:> .5 othe r card s.

.5

ljlig. 72A lwrr:,-~:

r.rho 5-in- 1 s1 ate Hill bo treat ed in Part IV' tmde r 2o.bu lous 'i.'ric1c Sl;:>, te3.

27 l"'AH'l' III

FOURTH

Dn~ENSIONAL

HATH

Hath has beon used to create baffling effects throughout tho history 0::"" magic anci more especially in mental magic. ~leginald :Jcot ~~n Clla:)ter 14, boo': 13 of his "Discovor:Le of iiitcLlcraft rr sD_id, II _ it 'Hill inc~uc() great adr:1iration to the bollOldors; npocio.llio H11e11 t~"le:r :',_,'0 before amazed and abused by sarno expori1:c.:mts of no. tur8_11 mc.ci1:o, ari tbmoticall conclusi ons, or legierdemaine. II Published, 1 581.~1 :~ brain buntinc; ef:'ect \,Ti th numbers that 'is used by many ra~',giciD.J."ls is the 16-digi t effect 'Thich invol vas the substi tutiun of a S)t 01' pI"c-pecorded nurno,,;rs for tho set of numbers chosen by tho audience. 'rho inventor of this effect is no doubt lost to history. It is an elo.bc'ration of a more simpler addition test. The sarne effect can be created by using only L~ single digits and switchinz the problem. By using 16 digits, or four numbers of Lt digits each, the audience is ha.rd put keeping track of the n'mubors given end the problel'1 is far mOl~e impl"'essive. In 1902, Leon Hermann ''.'pote in the Sphinx, Vol. 1, /;10, in refe1"l'cmce to the 1 6-digi t effect, "This is one of the fincst eXl)erimcnts eVGr performed in the parlor. rrhe combin2.tion is a nC~L_one _apd .h~s., }:!eyeF_,.:!2.09}1.. _€?_)C.p..o.s_e~.l, __ • II 'rhe combination referred to is a sHitch of numbers 'Hri tten on a slip of papor. 'rile porformer IS numoors are on the illlderside of the slip. 'l'h, total of the forc:: nlJln'~)r;rs Has chalked backt.,ards on a shoot of ne1'Tspaner. The slate is shovm blank and then-17:rQJ)ped in tlw no'.;spa:pei~. '.l'lw neHS lapel" is pressed aGainst t~18 slate surface Hhich transfurs the chalk marks to the slate for the prediction of the total. 'rho s':ri tclling of u set of num-oors for 8. force sot is as old as tir:lO in the magic Horld. 'rhe trick of pas2.ing a chalked messaGe from a nGl-rspal)er to a slate 1;as eXl)Oscd by German maC;ician Carl ~-Jil1mann in 1877 in his boo}~ Hod:rn '.lonc1r.

DUNNIUG EH 'S HIRACLE SU'rE In tile early 1920 IS JOSOlJh Dunninc;ur introduced to tlre magic Horlel >is I'P.ro.cle Sla to for t~lC pur~loso of sHi tching numbers for tl~0 1 G-di[;i t or.,'oct i:hich Has c. foature ~Ln his act. D'lY'1~n~n0''''rl", "'l'1te ;'" s',o''''''' ;n 1.';,_, 72 • 'f)'he ~lato·, l,J""" ...L.(.). .L._.. _ , has a 'Hood f'ra:c Hil:'" to gi vc t':c ::-;lc.tc to sono person to 8.dd tho number s. '1'lle p~r',' son adds tilE) force nUl'Tlber s and o.:;:'],'i ves at tho pI'edict8d total. Al 3alrer added an b1!:oro'ler;1:nt to tho Niracle SlD.te by having t':1J; flap lock after it ,·ras droDDed so that t}:c slate could be safely pas'sed out to anyone for adding the force numbers 1'Ji thout eX':IOS :Lnr~ the method. Tl1.e slate is also called tILe; .n Bakor Sla to. Harry Dobrin improv:d the slate furtho:i.' by having tho flap lock in oit:t1.er position up or down. This slate is the mure popular of the number slates sold today called, "Dobrints Double Locldn[~; Slate." 'Tho Dobrin slate comes without lines naintod OD. it so that the performer can either' challc in lines for the 16-digit effect or use the slate for the appe8.l'ance of a Hord massaGe. 'rhe slate is also [;()od to use as prompter' d,.wise or to :1ido [0'.. mirror for t:1.0 lkmtal 'i'elevision effoct or to shl'itch on onvolo~)e.

force numbers cho.sen numbors

Fig. 73 J'i.nothor version of the TI'l..L'nbel" slato is known f18 tIle .3a1{el'l-Dunnin[;sr slate S1101111. in li'iG. 73. T>e botton half of the slate panol is a sli6.inC: flap. '1'ho force numb81's a:ec hidden under t::"is half-flap. l'11e chosen number s 0.1'0 ~;ri tton on t~l(; tOD half of th:; 31[;. te. The performor then turns the [)Lct~e arol)nd, end-for-end and alloHs the flnp to slide to t'.13 ot~lcr end \-Thich c1isclo:.;es the force numbers.i.'ho slate is then giVC~l to any· no to add up the figures for tho predicted toto.l. '.e.~:e correct handling is )lacing the slate undor the arm fu"l.(~, 81io.in" the flap l-1it~l t::l,O tlTl11ilb c.t tIle same thole. 'rhe TI'l.ll':lboj:'s u.-n..de:'.,'l the fl9.}) 0.1"0 upside do~.J:'."l in relntion to tho ex-

U. iiI. GRANT I S i-II.L(ACLE SLA'1'E 'llllt1(:' mo..rc}lOs oni ~Te'\: ideas c.:!."e born maldng tlle old ones obsolete. 00 along conos U. }? Gl"nnt 1-:ith 11is 1-1iro..clo Jla to l1Ild indood it is a :';liPflcle slD,tc. '1'11'-) slate is used for tho 1 (i-di;it of.:"oct e.z.copt 'eili,t ~:i t~, it thel"le Js--.!!.C? exchange of nl)~:lbt?_~. 'rhe l1ll1n',)Ol'S C!lO:;r;:rl by the aUd.ionce are the same numbors that are added by :'nyone and tll.: total of those numbers is t:.'.0 predicted totD.l. Sounds fcmtr.stic? It is! 1 i

29 Cli,A,FT l£:l X FOURT~: DIEji:I~:3IONAL

IL.'rn

••••

cant.

'rhe princi:?le for Gro.nt 1 s Hiracle slate C8...'l'1 be found in "l1a~~ic of tlle Hind" by Lm~is Gr'.11son called "Total Prediction II by Gerald Kosky. imd more precisely in the 'farbell Course in l1agic, Vol 6, j)age 216, called Gerald Kosky I s Prediction. 8 Grant 1 s Hiracle Slate is shO\·m in Fig. 74. rrhe slate has a section cut out from the panel at tho top end, marked "All in th,e ,;,:"ig. This makes a see-through open 'VJindoH. It also has the slJinging half-flap like tho Dunninger slate. However the swinGing flap is used for a different ~)'llrpOSe as ~;ill be seen. A. set of feke numbers ~;ith a total arc chalked in under the flap ~d hidden by it. These numbers are Fig. 74 not force nUmiJ01'S but aro 3 imply dummy nl.uubeI's 'Hl1ich arn later i'lccshod to the audience unside dm-m oncl Hhich D.ro ta!,:en to bo the c.ctua~.- n1Jmbers. Grant1s slate usod ~. p2..ece of thic~~ paper that covor'ocl the 1rind:Y.J on both sides of the slate and hold in ple.ce by l'>uhber bonds. rrhis kept the ':rindo'H hidden fran tho audience and also pl"'etencled to hide tho prodicted . total. If the slato is turnod a:r'ound end-forend it resembles the slate shoHn in li'i[::. 75 The stage presentati on ~~i th Grant I s l."ig. 75 slG.te is extremely clever. First the slate is shm·r,n as in Fig. 71 1, but r,d th tho HindoH covered and shoHinf:; 5 blo.nl[ lined spaces. Next tho performer turns t>e slate OV8I' end-for-ond and shaHS the slate as' in Fig. 75. '..!..'ho perfor:mer states that under the paper is Hri tten his prediction of a total of nUJ'lbeI's to be called by tho audience. The slate is again turned end-far-end as the performer calls for L~-diGit numbcl's. li'our .I:.-di:..;it numb.);:,s arc called for and chalked on the ~31['cte sto.rting on space liB" as shm-m in Fig. 7L~. 'I'~:1e four )'.-dir:it n.e top Hhich ShOHS the feke number 021 tho flo.). (1'l1O p-erf'ormel'l at this time C.rn.:·r::1 a circle arOlL'1l:. the toto.l, or just d:rrnrs cupved lino s avo:' nnd l.Uldol'l it. r1'>e slate in t}:.e~c turnod ilr01md acain to sho:~ tho ~Jl'C­ diction. End of i-liraclo! (* see .foot note on page 34) lT01'Ji:! T~.le slate fel~e sh01,m in."ig. 78, is ~lad:; out of art b--ard, }JD.intod sls,to color Il.'l.cl. c:::cntecl "GO tD.e larger piece of 1}:;:li to art boar::1 • '~'!W foke is just l2.ree enougn to fit into t~e window. A rtpge size v,~:rsion of t~.~c EirQ.cle Slate should :rncas~.;J.'e abl)ut 17 by 2~) it:.cil:::s.:..ny .~;'cd carpentol'l can lnaJ:::e t},.: frr.:'.lne f'C,I' it ·:i th Jche::!.'opcr:yo ;ves. '1:';,e slate ~~)anel can bo mo.c~e out of light m8t;:.'.1 !ll2tOl' :!.fd or plexi[J;lass and pD.inted slc.te color. The D'.rinc;illG flc.'-1 0>0'.1.16. be nad~: out of metal (shc:et) ',:iti.l "tubs of nails Helded to t:.:o to)) sides to il1;):)Z't ::.: 'c:~, 'c>, sL'.te frame o.t the .sides to Qct as pivots.

Hothods for doinG tl:e 16-di,3it effect 1-Ji th lL'l.pro}Jared slates have appeared in pract:Lcally every book on magic. 'vJhen the effect 1ms made popular by Dun:-:!.inger and otDers, mo.gicia..l'ls burned 11 lot of midnig..1'1t oil i'i~~urinG out methods. TJ:.ore are fi ve methods in one book alone, liThe i:-Iagic 36" by ~·lm. S. Houghton. Another half-dozen 8.pi.)ear in Annena!U1 1 s f'Practical I,'rental Effects." Analysin;::; all the methods that have appeared in print, brin:~;~ to li,-'l1t n 1'e;,'I basic Si~ililD.ri tios. 1"L'st, t:.:'O sui tch of m.un·1J 'rs,is the nost yO',)l~:J_ar ::ir:Click, done ,~ith paper slips and pc.els. uccond is tho use of con:f.'ederates, Hhet~ler "lilling or unvilJ.in:: • .Ll~lirdly, tl:.o:c() ar'3 1'o::'ce of nu.Yl1bers or l1lat~'.ema­ tical -:;::,'5.nc i~)le s not too . :011 ~:~10~T:'tl 1)," tf~e audience. ,\.ftc):c' [',. J.ot of th()'l-F:ht the autJlor succeeded in perfectin,~ o. mot:.i.od tl.::,".t is hi:;~ll~~" recor:llTIonded to tl~~e reader. The ef.t"'ect 1:as callod IIAddithots If and i,ras first -orint,:;d in 02.Il1

Dalal' s ";3ITaJ,li II fro;:: Go.lcuttc. india. Thfortunately the original version ~'. ad a flo.1-1 L').:.t. 'j.':le co~'rocted and nuch improved v