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Andrea Ghisi, Burling Hull, Theodore Annemann, U.F. Grant, Albert Sidney, Eddie Joseph, Sid Lorraine,
William S. 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 Fulves, Graham Reed, Phil Goldstein, Basil Horwitz, Richard Himber, Ta Waters, Tom
Sellers, Al Mann, Dr. Jaks, Val Andrews, Marc Paul, Ty Kralin, Arthur Setterington, Jose Prager
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Copyright 2023 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-commercial uses permitted by copyright law. For
permission requests, email to write the publisher at the address below.

e-Mentalism,
www.e-mentalism.com
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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 eld.
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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 nd 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 (1806-1875) 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.
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Experience Il Laberinto by Andrea Ghisi re-created by Mariano Tomatis Antoniono in 2012

here:

https://www.marianotomatis.it/il_laberinto.php
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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 local 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 it 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 in uence the choice), by means of
gures 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 con rm 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 ve (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 nd 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, in uenced (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 gure on the card. Proceed this way from person to person and, as you pass from
each person who has just written a gure, you have lots of opportunity to notice the gure of
the last person while walking to the next.
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For instance, supposing the rst person has written

the gure 9. The next person then writes 6. As you
direct him where to place his gure, you can glance
over and note the gure he has written (6 + 9 = 15).
Now, as you step to the next person, ask him to write a
gure (we’ll say this is 8). You do not glance at this
gure 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 PLACE HIS FIGURE,
YOU NATURALLY NOTICE THAT THE LAST FIGURE
WAS 8. You add this to the previous total of 15, 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 gure. While he
is writing, you naturally add it to the total.

AS SOON AS THE TOTAL REACHES 33 OR MORE, YOU

STOP. Should the total be exactly 33, you allow one
more gure 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 selection down to exactly eight PAGES.
It makes it very simple for the performer, but inexplicitly baf ing to the most scienti cally
minded audience.

The World's Best Psychic Book Tests by Burling Hull 1931

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EFFECT: The performer

has a card selected or he,
himself, takes one from a
pack of cards and hands it
to a spectator, asking her
to push it into the closed
book at any point— to
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
prediction, which he
writes upon a slate or
white- board. A spectator
is brought upon the platform and the book is now opened at the point indicated by the card,
inserted in the book. The rst sentence on that page is read aloud, then the performer asks
the one holding the slate to read what he has written. The writing is identical with the rst
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, so 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 a 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 World's Best Psychic Book Tests by Burling Hull 1931

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The performer has several copies of a popular magazine such as Collier’s at hand, they being
different 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 rst 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 gure up to ten that may come
to mind. The performer now instructs the man with the magazine to open it at the page rst
named and then to count to the word at the number named by the second person. He is to keep
his nger upon that word and think of it. Picking up a slate and chalk, the performer writes
little by little and nally 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.
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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 rst named and to
hold it up so 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 it is 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?

The Book without a name by Annemann 1931

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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 inde nitely 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 small, end-opening notebook write in two columns the rst
13 words from pages 14 and 15 and put the book in your pocket.

To present the feat, remove the cards from the

case and leave the two aces inside. Place the
deck 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 a far corner. Tell him to add
the values of the two cards and open the
book at the corresponding page.

Invite a second person to take the deck, thoroughly

shuf e it, spread the cards face down on the
table and turn up any one he wishes. He calls out the
value of the card to the man with the book who
is 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 rst page, tear this out, fold it and give it to the second
spectator to hold. The rst man calls the word, and the second man reads your writing.

The Word on the Page, The Jinx (issue 25) by Annemann 1936
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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, Q, 2, 5, 8, J, A, 4, 7
etc; with suits rotating.

Start by giving the deck a false shuf e 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?"

If the spectator says, "YES," you say, "They're too confusing. Push those three cards away and
deal three more the same way. Are there any picture cards there now?" Suppose he says "No."

You go on, “Look at the rst two cards. If they are a six and a seven, open the book to page 67.
If they are a ve and a two, open the book to page 52."

"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. If an eight, count to the eighth word.

Now turn the cards on the table face down so I can't see them, and keep your nger 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, 2-5-8, 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 nger 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 rst 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 words 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.

The Jinx (issue 32) by Annemann 1937

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In an ordinary pack reverse the AH somewhere near the middle between two spot cards, say a
5 and a 7. 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 5th 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 5 spot and the 7 spot, turn the card and show
it is the AH.

Say that the 5 spot represents the page and the 7

spot the word which is to be read by psychic
vision.

Hand out the book or magazine to a spectator and

proceed to get the memorized word in the usual
hesitating fashion.

Encyclopedia of card tricks edited by Jean Hugard 1937

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Cards, counters,
and other foreign
appliances have
no part in this
new conception.
The spectators
select any page
and any line in a
Reader’s Digest,
or similar
magazine. They
remember the
rst word of the
line, end on a
blank card write
the page number
and line number.
The writing is
sealed in an
envelope. The
ap 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 a room
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 fair, and the revealing of it new and novel. The performer simply has 3 items in the
other room drawer. A small 25 cent ashlight, 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 nd 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.

The Jinx (issue 41) by Annemann 1938

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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 11nth line.

Now it's your business to force this page and you will nd 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
a dime - if someone gives you a 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 nd that he borrowed coin will be ush 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.

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 nd that one there. Now ask
him to decide on the page left or right and then total
the digits.
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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 x 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 bene t rst. See how slickly it
slips out.

Original Tricks by Eddie Joseph 1940

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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 it is
inserted momentarily in the
dictionary. After a moment of
concentration, the spectator
pockets the card and hands the
dictionary to the performer who
immediately opens it and reads
aloud the word chosen together
with its de nition.

If this were a dealer's item, I

might emphasize the following
points:

Absolutely no force -- no carbons --

no mirrors -- no loose page inserts
-- comes complete with a beautiful
imitation leather dictionary,
twenty-four Imported cards, and the very important gimmick.
Aw 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 mention 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 it a 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 ve and 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 a
complete cover, but the balance of the book has a window through its middle. The rst
Illustration 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 nd a victim to whom you can demonstrate the effect, you should be
very happy.
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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, nds it dif cult to think of a 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 rmly impress that word upon his
mind. Then he's to write it upon a card 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, nding it
dif cult, 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 eld considerably."

At this point you open the dictionary, still being careful so as not to ash the back or should be
there, then the best presentation 16 to give the name and read the de nition. 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 dif cult for me.

The Jinx (issue 131) by Annemann 1941

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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 on 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 close the book and hand it to another spectator,
who leafes through the pages until he nds the word marked by the rst 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 pencil is rounded by means of a ne le and nished with a stone so that it is
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 secret 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 secretly 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, I have one” (taking out his own mechanical pencil
and leaving the thumb feke in his pocket at the same time). The performer scribbles brie y 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.
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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 nger is curled naturally
around the top end of pencil, while the thumb and fore nger 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 fore nger, under cover of the hand being in motion slightly, twist the
barrel of the pencil to the right, or in the direction indicated by arrow A in the drawing (Fig.
5). 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 rmly held by the curled little nger. 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.

FIG. 5

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 pencil 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 nds the word supposedly marked
by the rst 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.

The Magic 36 by William S. Houghton 1943

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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 nger along the rst 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 card
in his pocket. He tells the spectator to run his nger along the top line and to stop at a word he
likes. This done, the performer jots down the position of the word in the chosen line while the
spectator shows it to those close by. As he tells the spectator to close the book, the performer
palms the card from his pocket and transfers the two books to his right hand, pressing the
card against the underside of the bottom book. 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 are given to someone else to deliver to the medium who
removes the card, tosses the outside books away and nds the word.

Practical Mental Effects by Annemann 1944

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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 identi cation) 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 gures. The two gures 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—5th Page 43—7th Page 45—9th Page 47— Page 49- 13th
word word word 11th word

Page 41—5th Page 44—8th Page Page 48—

word word 46-10th 12th word
word

This is easily done in a moment or two.

Now, as the spectators put down their gures, the performer mentally keeps track of the total
and as soon as the total reaches 41 or over, the performer simply stops asking for gures, 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 rmly
xed 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 so 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
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remaining magazines. If he 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 looks
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 gures visibly
added by the performer, and the card bears only the gures 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 ne 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
pocket 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 gures 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 fairly close range as long as the hand is in
motion, however slowly, and besides, the chalk can be covered almost entirely by the ngers in
writing. Again, if the performer wishes, he may use 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 gures 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 rst.

The strong points of this test are that the performer does not ask the total of the gures put
down, and that he does not need to add secretly to the list of gures — 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 exible test, permitting different
variations, and is extremely baf ing 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.

The Magic 36 by William S. Houghton 1943

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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
himself.

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, rst. I pick 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
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number and word number for him. As the page number is called, I say, "Turn to the proper
page rst," doing so with my faked Esquire.

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 that 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
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!

It Must Be Mind Reading by George Anderson 1949

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If it 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 trick this way:

"A spectator, not a confederate, divines the mentally selected word. No help-a one-man trick.
The magician never in uences 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 ve-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 ve-digit
numbers.

The "adder" announces his total. You direct the rst spectator, "The rst two digits of this total,
arrived at by one chance in fourteen billion, nine hundred and seventy-three million, the rst
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 nger on the rst word of the line,
please, and concentrate on that word.”
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“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!”

“I have given a dictionary to another member of the audience. The six- gure 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 rst two
digits represent your page number. Turn to that page of the dictionary, please. The third digit
represents the line in the rst column. The rst 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 nger, the word of which you've been
thinking? The same identical word? A remarkable telepathic coincidence. Thank you."

If this isn't a feature effect, one of the sensational things that send an audience away
scratching their heads, I'm badly mistaken.

There's nothing new about its accomplishment. On the 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 gures. You
take a book and select a word at random, the rst word on a line. Let's assume that it's the
rst 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 rst 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 ve-digit
numbers that will add up to 786,797. Tear the page off the notepad and re-write the four rows
of ve-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 gures. 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!

It Must Be Mind Reading by George Anderson 1949

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A couple of years ago, I put this effect on the market personally, sat back and waited for the
gold to ood 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 ashlight, 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 ashlights, 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 ash, use an ordinary match instead of the unprepared light.
Borrow a pad and pencil from your host and you're set.

ROUTINE: Sit across the table from your subject. Have someone bring any book from
the shelf. Open it and stand it in the center of the table as a screen. Now turn away and
tell him to pick another book and lay it before him on the table. Order the lights doused.

Tell him to open the book at 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 ash, telling him to switch it on and note the rst 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 ips off the ashlight, tell him to close the
book. Also have him pocket the ashlight.

Take the book from him and hand him the pad and pencil. Tell him to rst 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 ick the prepared
light on for a second to get the word. Pocket the ash, 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 veri ed on
the pad.
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I am 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 nger as he concentrates. He adds that the person can be allowed to
choose the rst word on either the left- or right-hand page, you are getting the correct one by
one wee bit of pumping.

Pieces of Mind by Bob Somerfeld 1952

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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 rst
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 rst words of those pages in
neat block letters, starting at the top of the left-hand column and nishing at the bottom of the
right-hand column. Separate the numbers and words into groups of ve, so that it will then be
easy to nd a word when the page number is known.
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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 rst
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.

A more 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.

I’ll Read Your Mind by Aage Darling 1953

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EFFECT: 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
many large words. One of
moderate thickness is desirable.

You will need a single lament

of nylon for this effect. Secure
an old nylon stocking and pull
out — not one thread — but a
single lament. A strand about
six inches long should do. The
ne nylon laments 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 lament to the inside of the back cover of the book with scotch
tape, about midway out from the binding at the top. The lament is laid loosely across the top
of the pages and tucked between the front cover and the rst page.

The card is forced. The method of choice to force the card is not important — therefore, you
should feel free to use a one-way forcing deck or other favorite force. The card is used simply
as a means 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 lament.

The nylon strand will be pushed between the pages with the card. Have him push the card 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.)
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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 close the book. In a
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 where the
nylon lament 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 ipping 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 one who chose the word. “Will you please
concentrate on the word you chose? Picture it in your 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 lament 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!

Thornton’s Secrets of Mental Magic 1958

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For this you will

require six
magazines 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 ve
different
magazines of the
same size.
Choose those
which have bold
covers which are
obviously
different from a
good distance.
Remove ve
covers from the
“Life” Magazines
and recover with those takes from the odd ve. 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
drawing 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 in uence 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 rst thing I want you to do is to think of a number - any number you like say under
fty. What would you like?” (He tells you) “Excellent, number 23, then do as 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. (Each 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 page!!!). Since your copy is the same as his -
you must be right.
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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 nger in the
chosen page in case he forgets the words.
“The rst thing we shall try is to get an impression of a picture… I 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 to me—imagine you are drawing the letters on the blackboard”.

13 Steps to Mentalism by Tony Corinda 1959

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It is 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 forget 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 nding 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, of ce invoice
book, diary, etc. 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 can 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 gures in the serial number. The rst
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 rst two gures around the fty 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 472305 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 nd 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 a 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 gures on the ten shilling note you have
given me. Let’s take the rst two as a page, the next for a line and the last for the word. Look
(show them), the rst gures 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”.
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Guide them carefully with clear instruction (i.e., “disregard the title heading on the page if
there is one”) until they nd the word. From then on it is just a matter of revealing the word
by 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 it out with matchsticks—anything that leads up to something more
than just saying “And the word is Mouse”, to which the host may justi ably 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 easiest way to do this is to follow with any trick
which uses a ten-shilling note!

13 Steps to Mentalism by Tony Corinda 1959

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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 rst 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 nger between the two pages (at the inner end of the book) and
allowed the match to fall to the oor.From the front the pages were seen
to be all tightly closed as they should be. Turning his head away,
Malini rif ed 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 rif es a
pack of cards and stops at a previously obtained break. Malini
asked the shop assistant to memorize the rst 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 awe who this fellow was who could perform such
wonders.

Malini and his Magic by Dai Vernon 1962

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As David Hoy would say, here is a book test so

simple, yet so bold and subtle; you can do it
anyplace, even in "brightly colored boxer-type
swimming trunks!" All you need are a shelf of books
in a home, library, bookstore, etc.

EFFECT: A spectator chooses ANY two books. He

keeps one and you get the other. You turn the pages
in your book until he stops you. You tell him the
page number and ask him to look at the rst word
on that page in his book. He does, and after
concentrating for a moment, you reveal the word he
is gazing at in his book!

HOW IT WORKS: Begin by asking a spectator to pick

any volume from a shelf of books and to hand it to
you. Once he does, ask him to choose another book.
When he turns to get the second book, you open the
one you are holding to somewhere in the middle
and note the page number and rst word on it.

You do this quickly and then, quietly close the book.

When the spectator turns around with the other
book, take it from him and hold out both books at arm's length. Ask him to "point" to one. As
David Hoy would say, "A silent little prayer at this point might help." If the spectator chooses
the rst book - the one in which you've already noted the page number and rst word, simply
hand it to him. If not, say to him, "Good. I'll take this one and that leaves this one for you.”

To the deeply initiated this is the horror of horrors, "magician's force," not to be shunned, and
not even recognized by magicians when performed with con dence and urbanity.

You now begin paging through your book and tell him to say, "Stop," whenever he wishes.

It doesn't matter where he stops you - you simply LIE and say whatever page number you
previously noted in his book.

You should make it a point, not to stand too close to the spectator. Stand at least a few feet
away and tip the book toward him as you repeat the page number. Don't worry; he couldn't see
the page number with "bifocal binoculars" anyway. Just make sure you begin paging through
quickly enough that by the time he stops you, you're somewhere in the middle of the book.
That way, the spectator will not be able to discern any discrepancy between the page number
you're telling him and the actual page number he stopped you at. Remember, you must do this
boldly and with complete con dence. That's what counts most!

Once he looks up the "same" page in his own book, have him concentrate intently on the rst
word on the page. Note, if it's the kind of book that has a repeating chapter heading at the top
of each page, tell him speci cally to concentrate on the rst word of the rst paragraph.

Give him some time to focus on it. You may want to feign some brief dif culty in initially
reading his thoughts. Don't overdo this, though. After a few moments, slowly SPELL the word
and then, say it. This helps build the drama. Whatever you do, don't just blurt it out as if you
knew it all along!

So, you have it, a completely impromptu, yet astonishing book test. And it really can be done
anywhere. Think of all the places that have or sell books - from airports to hotel lobbies or
even a prospective client's own of ce. And no one can ever claim that you prepared for it
ahead of time.
The Bold and Subtle Miracles of Dr. Faust by David Hoy 1963
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This is mind-reading of a very direct order. I use this Book Test often, and it never fails to hit
an audience hard.

You will require four paperback books. Three are identical, the fourth can be any paperback
that has a different-looking cover. Remove the covers from two of the identical books and
attach covers from two different books; thus, you have four paperbacks, three of them
identical, but bearing different covers, and the fourth an 'odd', un-gimmicked book.

Before the performance, memorize one line from the top of one of the pages in the 'odd' book.
Remember the line and page number.

Call on three spectators to help you. Give one the un-gimmicked book and give each of the
others one of the identical books. Keep the fourth book yourself (it is, of course, the third
identical book).

Tell the spectator to look at their books, then say.

“You each have a book. Now, would you put your book down for a moment, Sir, and you, Sir,
please lay your book down for a moment. Now would you hold up your book Sir…”

The man who is asked to hold up his book is the man who was given the "odd' book, the book
that is entirely different from the other three. "That's right,” you say, as he hold sit up,
"Actually that's a very good book, Sir. A good murder story. As a matter of fact, the Butler
didn’t do it..”

Hold up your own book, and say, “Sir, I’m going to turn the pages slowly, and I want you to stop
me, anywhere you like.... Just say 'stop! when- ever you like.” Rif e through the book until he
says 'Stop!: Look at the top of the right hand page and say; "Page 173... You have stopped me at
page 173. Sir, would you turn to page 173 in your book.”

In fact, you have not read the page number all. You have looked at your book, but they bat the
number you have given is the one you memorized from the book he is holding.

He opens his book at page 173, and you tell him to concentrate on that line. After suitable
concentration, you repeat the line which you have memorized. He con rms that this is
correct. Take the book from him and lay in on the table.

Turn to the second spectator and say, "'Now, open your book, Sir, anywhere you like, just look
through it and stop at any page".
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As you say this, you are going through the actions with
the book you hold. When he arrives at a page, ask him
what the number is. As he calls it, take the book from him
and go to the third spectator, showing him the number
eetingly. Now read the top line yourself, as you take the
book away from the gaze of the third spectator and return
with it to the second man, closing it en route. Memorizing
the line should only take a couple of seconds; half the line
is suf cient anyway.

When the man has found the page, tell him to help you by
concentrating on the top line, and after a suitable pause,
reveal it word by word. Take the book from the spectator
and lay it on the table.

Now there is one man left with a book. Go across to the

rst spectator and stand beside him; addressing the
spectator with the book, ask him to call out "stop' as you
rif e through the pages. When he calls out 'stop!, ask the
man beside you to read out the number at which you have
stopped. As he focusses on the page number (you move
the book up towards him, so it takes a moment for him to read the number) you are reading
the top line of the page! This is done in an instant, and as the page number is called out, you
shut the book, dropping it on the table with the others. Tell the man with the last book to turn
to that page. And when he does, go through the concentration procedure and slowly reveal the
line.

You have performed a triple miracle!

This may seem rather daring but make it up and try it. You'll see why, as a professional, I put
great value on this item. Practice memorizing lines quickly, it is easy and is the only practice
needed other than the presentation.

Al Koran Professional Presentations by Al Koran and Hugh Miller 1968

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Ask a person to remove any six books from the bookshelf. Now you lay the books on the oor
in the position as shown in the illustration. Announce that you will leave the room and upon
your return, you will “mind read” the title of the book selected by the spectators, provided all
concentrate on the name of the selected book. You leave the room, a book is then selected and
when you are called back, you instantly announce the name of the book that was selected.

Entertaining Mental Miracles by David Robbins 1969

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EFFECT: The magician hands to a member of his audience a big thick book as, for example, a
dictionary or encyclopedia. A large die is shown and another member of the audience is asked
to throw it, noting the topmost number. This is written by the performer on a pad. The die is
passed to another spectator, who is asked to turn the die to another number. This too is noted
on the pad and then, nally, a third person is asked to turn up another number which is also
noted. Taking these numbers, which we’ll suppose are 542, the person holding the book is
asked to turn to that page. When it is found, the performer points out that the total of the
freely selected number is 11, so will the holder of the book count to the word at that number.
The word being found, the magician reads the person’s mind and announces the chosen word!

REQUIREMENTS: A large die. A large book, the type that has been mentioned above. A pad
and a pen.

SECRET: A ‘key’ or a memorized list of some twenty words, these

words appearing on pages: 654, 653, 652, 651, 643, 642, 641, 632,
631, 621, 543, 542, 541, 532, 531, 521, 432, 431, 421, 321 (all are
in numerical descending order). The easiest method is to write the
words on the back of the pad as explained in other routines in this
book. So you will write the 15th word on page 654, the 14th on page
653, the 13th word on page 652, and so forth.

PERFORMANCE: The book is handed to a spectator and then,

bringing forward the die, the pad and the pen, one member of the
audience is asked to throw the die and note the topmost number.
This number is written by the performer near the center of the page. We will suppose that it is
4.

Another spectator is asked to turn the die so that another number is uppermost. This time
(say) it is a 2 so write this to the RIGHT of the 4, leaving a space between.
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Finally, a third spectator turns the die to a (say)

5 and this is written to the LEFT of the 4. You
now have three gures ALL IN DESCENDING
ORDER, and experience will show you that this
can be easily achieved with the minimum of
effort. The fact that the gures are in descending
order is the means for restricting the number of
words.

Call out the number 542, stressing that the

choice of numbers has been as free as it could be.
Ask the holder of the book to turn to that page in
the book. He is now to nd a word represented by
the total of the chosen number. That total is 11.
Let him count to the eleventh word and you,
have all the time to look on the reverse side of
the pad for that word.

With a certain amount of concentration, write

that word on the pad and reveal it to nish the
effect.

New Pentagram Magazine: 10 Tricks from Volume 3 by Aldo Colombini 1971-1972

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Dai Vernon showed this to me when he was in England so I was particularly interested to nd
it in Faucett's notebook - dated 1932.

It is a very subtle method of knowing at which page a spectator has opened a magazine or
dictionary - particularly as he can open it at any page.

A tiny hole is bored through the magazine or book near the stitching and a hair or very ne
thread passed through and af xed to one cover. When the spectator opens the magazine, the
hair of thread is pushed out and the loose end will indicate the chosen page to the performer.

Magic with Faucett Ross by Lewis Ganson 1975

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This uses any un-gimmicked book or magazine to accomplish a very clean cut effect. It is one
of the cleanest and more direct methods to perform a book test. Anywhere, anytime!

EFFECT: You take a book, rif e through the pages until a spectator says ‘stops’ and hand him
the book. Have him look at the rst three words and you tell him what words he’s thinking!

REQUIREMENTS: Several paper books and magazines on your table or on a chair.

PERFORMANCE: Call a spectator and have him stand to your left. Ask him to select a book or a
magazine among the ones you have on your table.

“I’m sure that the total amount of words in all of these books and magazines would total into
the millions. In fact, the one you selected (read of its title) has three hundred and twenty
pages and probably many thousands of words in it alone.”

As the above is said, you casually ip through the pages to con rm your statement. What
happen is as soon as the book is handed to you, you take it in your left hand and hold it by its
spine. Your right thumb rif es the pages of the book (upper right corner) stop a little over
halfway through the book. Quickly glance at the left- hand page and scan any large ads,
pictures, general layout and if possible, the rst two or three words on the page. Memorize
this information. As soon as you have it, place your little nger on top of the right-hand page
and let the book close ( gure 1). What you now have is known in card magic as a little nger
break in the book, at the lower right corner. We now come to the all-important force.

So, you don’t get confused, positions of hands are as follows. The left hand is holding the spine
of the book, the four ngers are underneath the book, and the thumb is on top. The right-hand
thumb is on top of the book’s cover. The right little nger is holding the break and the other
three ngers are underneath the book. (Figure 2). Still with me?
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The right
thumb starts slowly rif ing the pages ( gure 3). When the spectator says ‘stop,’ both hands
move the book towards him as this happens, move your right thumb completely away from
the book. When you do this, the book will spring open at your little- nger break, and you place
the book into the spectator’s hands as you move away from him ( gure 4).

The entire action of forcing the page must be done with your head turned away (to the right)
from the action.
Say, “I would like you to form an image of this page in your mind. Visualize the pictures, the
headlines, even the rst two or three words of text, if you will. Write these thoughts on the
blackboard of your mind.”

You then proceed to reveal the information in your most showy manner.

Another Book by Karrell Fox 1979

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This is one of the easiest book tests. By performing it several times, you will develop
pro ciency in the presentation of such tests. The trick has a novel presentation angle in that
you do not read the spectator's mind. Instead, you read the mind of a character in the book.

A spectator is given a deck of cards. He cuts the deck and takes the two cards on top after the
cut. Say these two cards are a Nine and an Eight. The mentalist does not know what the cards
are. He is standing some distance away with his back turned.

The mentalist asks the spectator to add together the values of the two cards. Whatever total
he gets, he opens the book to that page. In our example, the spectator got an Eight and a Nine;
he would total them and arrive at 17. Then he would open the book to page 17.

The spectator is asked to look over page 17 and get a general idea of the content of the page.
The mentalist then says, "I won't try to read your mind. Instead, I'll try something much more
dif cult. I'll try to read the mind of the major character on that page."

After a moment of concentration, the mentalist says, "The character's initials are J. R. His
rst name is Jack. He is worried about a problem as he walks into an of ce building. I see him
talking to a woman as he goes up the elevator."

The mentalist continues a bit more, then comes back to the beginning as he concludes by
saying, "His name is clearer. It's John Ryan, and he plans to kill his boss. You can see why I
don't read detective stories. I always know the killer's identity because I can read his mind!"

Of course, the spectator veri es that your description was completely correct.

METHOD: The method used here is basic to a class of book tests in which you use a known
book. Although the spectator appears to have a free choice of any page, his choice is forced.

He will arrive at page 17, no matter which two cards he chooses from the deck.

Before the performance, place the Eight of Hearts and the Nine
of Spades on top of the deck. Decide on a book you want to use.
It should be a book with a dramatic plot so that you can weave
an interesting story into your presentation. Paperback
mysteries or adventure stories are a good bet. Try to pick a
popular book on the chance that many in your audience will
already be familiar with the story.

When you've decided on a book, open it to page 17. Read the

page carefully and remember all the important names and
incidents that occur on the page. If time permits, read the
entire book to nd out what fate awaits the characters who
appear on page 17. You don't have to remember the complete
plot. Just get a general idea of the story. The only thing you
have to remember in detail is the material that appears on page 17.
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You are now ready to perform the trick. Place the deck of cards in front of the spectator. Invite
him to cut the deck. He cuts off about half, as shown in Figure 32.

Now pick up the bottom half and place it on top of the other half, but at right angles, as shown
in Figure 33.

Figure 34
It is important at this point to draw attention away from the deck for a moment. The reason is
that you want the spectator to forget which half of the deck is the top half and which is the
bottom half. You have a natural excuse in introducing the book.

"You all know people who give you a murder mystery to read and, as they hand over the book,
tell you, "You'd never guess that the butler did it.' Mentalists have the same problem. They can
read the minds of the characters in the book, so they know the killer's identity immediately.
This is like being able to read the minds of people in dreams or being able to tell a great deal
about a person from a photo or portrait."

Show the book and hand it to a spectator. Now lift off the top part of the deck and point to the
top of the remaining half, Figure 34. Say, "We'll use two cards to give us a random page
number." Ask a spectator to remove the two cards at the point where he cut the deck. Actually,
the two cards he removes are the Eight of Hearts and Nine of Spades. This move is known as
the Cut Force or X Force and is a standard method used to force cards.

Walk to a distant corner of the room. Ask the spectator to add together the values of the two
cards and open the book to that page. Of course, the total will be 17. Once he opens the book to
page 17, the rest is a question of presentation on your part.

Just remember to follow the golden rule of mental work: don't make the trick look too easy.

Self-Working Mental Magic by Karl Fulves 1979

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The phenomenon known as out-of-body projection allows the mind to leave the body, travel
great distances, and observe events in faraway places. A demonstration of remote viewing
would look like this:

A spectator is given a world atlas. Another spectator calls out any page number. There are no
restrictions. Let's say he calls out page 128.The party with the atlas opens the book to page
128 and scans the page to get a general idea of the map and the area depicted. All of this time
the mentalist stands with his back turned. He never sees the book and never asks a question.

Picking up a slate and piece of chalk, the mentalist begins to draw or sketch a rough map. As
he draws, he says, "I have the impression that I'm walking along a narrow dirt road. There is a
mosque to my left, and beyond that a stone building with an iron balcony. Near the center of
town I see a glimpse of the desert at the horizon. Someone approaches and I ask him the name
of the city. He says something in a language I can't understand, but it sounds like the city is
Cairo."

The spectator is asked to describe the major city depicted on the map he's chosen. The map is
of Egypt and the major city is indeed Cairo.

METHOD: What makes the trick so puzzling is that the spectator can open the book to any
page. You ask no questions, your back is turned, yet you begin to draw a street map
immediately and eventually name the major city on the map.

Pint, you have to have a good atlas. The slate should measure about 9 inches by 12 inches.
Preparation is simple. Open the atlas to page 1 and note the general content. Pick out
prominent city and two or three important features depicted on the map, things like rivers,
mountains, deserts, proximity to an ocean of other large body of water. You do not need a
detailed account. Merely pick out a few important items shown on the map in the vicinity of
the major city.

Note this information down on the slate in pencil, beginning at the upper-left corner. If page 1
did indeed show a map of Egypt, your entry might read something like, "1-Egypt-Cairo.Suez."
If page 2 showed a map of Norway, your penciled entry on the slate would read,"2-Norway-
Oslo-North Sea." Continue this way, listing the page number and the important details on each
page. You will have two or three columns of information on each side of the slate. This
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preparation can be done rapidly, and once completed, you can use it for a number of repeat
performances.

The reason for making the entries in pencil is that the written information on the slate is
invisible to anyone else in the room, but up close you can easily read the entry you want.
Thus, although the slate is lled with writing, it appears to be completely blank to the
audience.

To perform, situate yourself at a table some distance away from the participating spectators.
Have one of them pick up the atlas and look through it. Ask the other spectator to call out a
page number. It can be any number as long as it is a page number in the atlas.

Say the page number is 31. The spectator holding the atlas turns to page 31. Pretend to go into
a trance (there is no standard approach, but the usual procedure is to sit very quietly for a
minute). Then nod your head as if you are zeroing in on the country the spectator has in
mind. Remember, you must act as if you already know the country. Then the slate is a mere
incidental, a convenient way of describing what you see.

Pick up the slate and hold it in front of you. With the free hand, fumble in your pocket for a
piece of chalk. You know exactly where the chalk is, but stall to allow yourself time to nd the
right penciled listing on the slate. You are looking for the listing on the slate next to #31, since
this is the page called out by the spectator. Once you get the proper information from the
penciled listing, take out the chalk.

From here if is a matter of acting. You want to make it appear that you are wandering down
the street in a city far from home. It is dif cult to fake this to make it sound authentic, but
psychics have a useful way of faking the trance. What it comes down to is this. Recall to mind a
trip you took as a child. It can be a trip to the candy store, or the route you took home from
school. Describe this journey. Thus you are drawing from a memory, from something you
already know, and your description will have an authentic ring.

Since you know the country chosen by the spectator, you can alter details to t the chosen
country. By adding features like rivers, lakes and mountains, you build up a convincing
picture of your ability at remote viewing. Then go on to name the major city and have the
spectator verify that you were correct.

Self-Working Mental Magic by Karl Fulves 1979

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The above trick was independently developed by several magicians, among them John Hudak
and Leon Maguire. J. G. Thompson, Jr. devised another trick using the general principle. Here
is his description of the routine.

The next time you are in the home of a friend whom you enjoy baf ing, make a careful mental
note of all the magazines you see lying about. At the rst opportunity, purchase the ones you
do not already have.

Write down the name of each, followed by the number of pages contained in each. Have the
magazines near the phone and call your friend.

When he gets on the line ask him to grab a magazine and bring it to the phone. Say, "Ready?
Now I want you to name a number between 1 and--by the way, how many pages does your
magazine have? 70. Okay, then name a number between 1 and 70."

As soon as the number of pages is known, run your nger down the list until you come to the
listing for a magazine with the same number of pages. Get the magazine from the pile and
open it to the page called out by the spectator.

Now reveal in a general way the content of the chosen page. You can even be speci c about
certain items. For example, you can say, "I seem to get a clear mental picture of one word on
the page. It's the third word in the top line and it looks like 'chair.' Is that correct?"

The advantage of this test is that magazines are published weekly or monthly, so you can buy
a supply of the current week's magazines, and be able to perform the trick for three or four
friends, on different days, using the same magazines.

Self-Working Mental Magic by Karl Fulves 1979

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EFFECT: Using a bookmark with a hole a spectator selects a page and some words. You reveal
them in an inexplicable way!

REQUIREMENTS: Buy two identical paper-backs books and two identical leather bookmarks.

SET-UP: Cut a hole in each bookmark. Tear a page from one of the books and stick a piece of
the page behind one of the bookmarks so the words show through the hole (see gure below).
Memorize the words. We will call this bookmark, the ‘gimmicked bookmark.’ Put the
gimmicked bookmark between the last page of the (undamaged) book, and its back cover.
When you handle the book take care to prevent the gimmicked bookmark slipping into view.

PERFORMANCE: Present the trick by, rstly, showing the ordinary bookmark; point out the
hole and explain it is to enable a spectator to concentrate on words of his choice. Flick through
the pages of the book; let the audience see it is perfectly harmless and above board.

Ask a member of the audience to help you on stage.

Open the book to any page and show him how he can read a limited number of words through
the hole in the bookmark. Keep a tight grip on the back of the book.

Put the bookmark into the book and let it slide, out of sight, into the book. Ask somebody in
the audience to shout out the number of a page. Turn to that page at the same time extracting
the gimmicked bookmark from the back of the book. Keep the hole covered.

Turn the book towards your assistant and ask him to con rm it is the selected page.

Take the gimmicked bookmark and slip it into the book at the chosen page. Close the book but
leave the bookmark sticking out. Ask the spectator to move the bookmark to any position he
likes. When he has decided where to stop you then break out into a cold sweat and tell the
world what words you think he has chosen. Carefully open the book and ask him to read the
words he sees; how can you be wrong?!

Audience Tested Originalities by Graham Reed 1980

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The following is a gimmickless book test, which can occasionally be done under completely
impromptu conditions. Although the routine can be done as a stage demonstration, it lends
itself far better to close-up performance.

The mentalist hands an unprepared paper-back book to a spectator, who is asked to safeguard
same. On a scrap of paper, he writes a prediction, which is also given out.

"We are now going to select a page from the book. In order to keep this fair and out of my
control, I will involve four spectators in making this choice.”

Taking another piece of paper, the performer writes the numbers l through 16, in grid fashion.
See Fig. 1

Spectator A is handed the pen and told to circle any one of the sixteen numbers.
It is explained that once a number has been chosen, the other numbers in that vertical column
and in that horizontal row will be crossed out.

For instance, if the spectator were to encircle the number 11, the chart would appear as in Fig.
2, following the subsequent cross-outs.
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60

From the nine remaining numbers, spectator B is given a choice.

That number is circled, and again the column and row mates are eliminated.

From the remaining group of four numbers, spectator C chooses one, and again the procedure
of circling and crossing out is followed.

The situation now will look something like Fig. 3.

(of course, other numbers may have been chosen.)

Turning to spectator D, the performer says, "There is only one number left for you to choose -
all the others have either been circled or crossed off. That doesn't give you much of a choice.
However, I promised you the opportunity to participate in the decision-making, and here is
your chance. Let's add the four selected numbers together...let's see; they total thirty-four.
Here is your choice - you can decide to go with this selected number or if you wish you may
reverse the number, taking instead the number forty-three. When you've decided on one of
those numbers, please turn to that page in the book.”

Spectator D decides on one of the numbers and turns to that page. He is asked to call off the
rst word on that page. When the prediction is read, it is accurate the performer has correctly
forecast the word arrived at through the spectators' choices.

The matrix force was rst introduced by Maurice Kraitchik in MATHEMATICAL

RECREATIONS1942. Also used by Mel Stover (see his "Days of Force," Phoenix #77, and also
his "The irresistible Force, “New Phoenix #340). By following the procedure outlined above,
the four numbers arrived at MUST total 34.

The book to be used for this test is "Super-Psychic: The Incredible Dr. Hoy," by John Godwin
(Pocket Books, 1974). The rst word on page 34 and on page 43 is “she" and that, of course, is
the word you predict. Because of its subject matter, this book lends itself nicely to a test of this
sort. And, because Dave Hoy is no stranger to the world of magic, copies of the book are often
found in your friends' magic libraries - thus allowing you to perform this test as an impromptu
stunt.
Apocalypse (Vol 4) by Phil Goldstein 1981
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I wanted a Book
Test using a book
that I had never
seen before, in
which a paper-back
book brought by a
newspaper
reporter or
committee member
could be used.

THE EFFECT: The

spectator brings up
the book, which
has not been seen
before by the
performer. He
selects a word,
writes it on a blank
business-card, and
closes the book.
The performer
walks away and
writes down on
another card the
very word
selected.

THE SECRET: You

read the word on
the spectator's
card under cover
of very strong
misdirection.
WHAT YOU NEED

1. A blob of Pritt
Buddies the size of a matchhead, stuck on the eshy ball of the left middle nger (i.e. 2nd
nger).

1
2. A packet of blank visiting cards about 3 /2" x 2"
secured by a rubber band; and a loose matching card in
your right coat pocket.

3. A black felt-tip pen.

WHAT YOU DO:

1. Accept the book from the spectator and ick through the pages.

2. (a) Take the book back from him in the palm-up left hand (with the middle nger bent
slightly inwards so as not to disclose the spot of Buddies).
(b) Transfer the Buddies onto the underside of the outer cover of the book.
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3. With the book cover towards your body (so that he cannot see the Buddies) ip through the
pages and tell him to say: "Stop!" After he has mentally selected his word, close the book.

4. The spectator writes the selected word on the card, and turns it writing-side downwards on
top of the packet of blank cards.

5. (a) Take back the packet of cards with the right hand.
(b) Turn round to face him again.
NOTE: Make sure that only the top card will come off the packet.

6. (a) Press the book heavily down upon the packet of cards held in your hand as you ask
whether he would swear upon the Bible that there was no way that you could know
beforehand what word he would choose.
(b) Then lift the book vertical again. The relevant card is now stuck to the cover of the book.
NOTE: The writing on the card itself is now facing you, stuck on the outside of the cover.
Remember it.

7. (a) Place the book down on the packet of cards again (and the right thumb secretly scrapes
the spot of Buddies off the book or the card).
(b) Pull the book off the packet of cards and give the stack of cards back to him again. You
have returned the card to the top by now.

8. (a) Walk to the other side of the platform or the room, take out a loose card and felt-tip pen
from your coat pocket and ditch the Buddies.
(b) Write the glimpsed word on this card.

9. Compare cards - the words are identical!

WHAT YOU SAY:

"Previous to the show, I asked a committee member

to buy a paper-back book and bring it with him here
tonight. Will you please bring the book up here sir.
Thank you very much.

I want you to assure the audience that this book

has not been used by anybody? Nobody here
tonight has touched it? ("No").
I'd like you to help me in this way. As I ick through
the pages, say to me: "Stop!" whenever you like.
("Stop"). Would you like to change your mind - Yes
or No? ("No"). Right. The book has two pages, left
and right. Decide in your mind which page you'd like to use. O.K.? ("Yes"). On that page are
possibly two or three hundred words.

Will you merely think of any one of the words that you know the meaning of and know how to
spell, without mixing up your concentration. Got it in your mind? ("Yes"). What I'd like you to
do is this. Here's a pen. I'd like you to help me in this way. Will you write in block letters - I've
got my back turned - largely and clearly on that card the word that you've been thinking of.
It's clearly implanted in your mind? It's important to realize that you had the choice of any
page, and had the choice of any word on that page. Please turn over the card with the writing
downwards.
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Now I'm going to ask you this. If I had a Bible here, and I said: "Put your hand on it and swear
upon the Bible that what you're thinking is purely up to chance. Nobody in the audience
(including yourself) is a 'stooge', nothing was arranged, you brought along any book you liked.
Is that right? ("Yes").

In fact, will you pick up the card and now concentrate on the word. Please concentrate on the
number of letters in that word. ("Right"). I get an impression - it's not Nine, I think it's Six. Is
that right? ("Yes"). The word that you are thinking of has a 'P', an 'N' and a 'T' in it. I think the
word that you are thinking of is 'POINTS'. Is that correct? ("Absolutely correct").

Thank you very much".

COMMENTS:

1. It is important that you ask the spectator to choose a

word of which he knows the meaning and spelling, because
by doing that you eliminate any long words (in case he
does NOT carry out the instructions about printing the
word in capital letters).

2. There are very few Book Tests that can be done under
these conditions.

3. You can hand the book back to the Spectator to take

away, as there is nothing to nd.

4. To clarify: You hold the cards out in your hand. You

place the book upon the cards and to emphasize that you
could be swearing on the Bible, you bring your hand down
heavily upon the book. The Buddies on the book
consequently sticks to the card beneath the selected word.
You pick up the card. You pick up the book and glancing at
the cover you can see the chosen word written on the card
now facing you. The slapping of the hand upon the book is the vital key move to the whole
effect.

The Mental Magick of Basil Horwitz Vol. 1 by Martin Breese 1981

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64

An extremely clever method concealed behind an airtight presentation makes this one of the
strongest mind-reading tricks around. There are no gimmicks or confederates, yet you are
able to correctly reveal words chosen from a book in the spectator's possession from the start
of the routine.

As the audience sees it, three books are used. The spectator chooses one for himself and you
choose a book for yourself. The remaining book is isolated in another room.

You choose a page number in your book and have someone jot it down. Then the spectator
chooses a page number and jots it down under yours. The numbers are added and from this
total a random page number is arrived at. Someone goes into the next room, opens the book to
the indicated page number, and concentrates on the words in the top line. Incredibly, you
immediately reveal the words he sees!

Remember that you choose a number rst. You don't in uence the spectator's choice. In fact
you never have to know his chosen number. The book in the next room is an ordinary book
and you never go near it. Without asking a question you reveal the chosen words. These are
impossible test conditions and you can make the most out of them when presenting the trick.

METHOD: Use any three books. Paperback mysteries

are popular and usually available. Get three of them.
Open one to page 43 and note the content of the top
line. That is the only preparation. If you are in
someone's home and want to do the trick, wait until
you are alone in the room, then open a book,
magazine, or newspaper to page 43 and note the top
line. The preparation takes less than a minute.

From this point on, the book with the line you've
memorized will be called the force book. That is
because you will force this book in a subtle way. When
ready to perform the "Transcendental Book Test,"
gather the three books, one of which is the force book.
Place them on the table along with a pad and pencil.
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Ask the assisting spectator to choose any one of the three books. He can change his mind as
often as he likes. Stress that he may select any book. One of two things will happen. Either he
will pick the force book or he won't. If he does, have him hide it in the next room. Then tell him
to come back and choose one of the remaining books for himself.

In the more likely case the spectator will choose one of the other books. When he has done
this, you pick up the other random book, leaving the force book on the table.

Say to the spectator, "You have a book and I have a book. Would someone hide the remaining
book in the next room?"

Either way the force book ends up in the other room. Rif e the pages of your book and have
the spectator say stop. Whatever page he stops you at, say, "We're going to leave the choice of
page numbers entirely to chance. You've stopped me at page 57." Remember that whatever
page he stops you at, tell him he stopped you at page 57. As you ip through the pages try to
stop as close to page 57 as you can When you announce that you were stopped at page 57,
close the book. Have someone jot down your page number.

Tell the spectator, "Since my number is between 50 and 100, would you open your book to any
page between 50 and 100? Don't tell me the page number. Write it down under my number."
Once the numbers have been recorded, have the spectator add them. To this point the
arithmetic is as follows:

Your number 57
His number 71
128

Say to the spectator with the pad and pencil, "Keep the total secret. If the total is over 100,
disregard the rst gure on the left. Take just the last two gures on the right and deduct that
number from your number’

His number. 71
Total. - 28
43

Note in the above example that since the total is 128, the assistant will drop the getting 28. He
deducts this number from the spectator's page number to arrive at the spectator remembers
this result, goes into the next room, and opens the book to this page number. Since page 43 is
the page you looked at before the trick began, you are now able to reveal the wording of the
rst line on that page.

Another example would be this. The spectator calls out page 82. Your page number is always
57. The arithmetic looks like this:

Your number 57
His number 82
139

The 1 at the left is dropped off or crossed out. The resulting number is then subtracted from
the spectator's number:

His number 82
Total - 39
43
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Once again the result is 43, so the spectator would turn to page 43 in the force book and look
at the top line. You then go on to reveal the words he looks at.

Note that the spectator has a free choice of books. He chooses a page number after you do, and
you never know what number he chose. There are no gimmicks or confederates, and you ask
no questions. Play up these points and you will impress the audience with a spectacular mind-
reading trick.

Self-Working Number Magic 101 Foolproof Tricks by Karl Fulves 1983

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67

In this test, which is one of telepathy, we use a standard paperback novel of about two
hundred pages. The only stipulation here-which indeed holds true for all tests to be described
in this section- is that the book does not have running titles, author's name, or chapter heads
at the top of each page. If it did, then when you ask the spectator to think of the rst word at
the top of the page, he might reasonably be confused as to whether you meant the rst word in
that titling or the actual rst word of text.

If you must for some reason use a book with running titles or captions at the top of the page,
handle it this way: tell the spectator to look at the rst paragraph, saying it may be several
sentences or just one-okay? -and then to look at the rst word in that paragraph.

The test as seen by the spectators is as follows:

From your side jacket pocket you remove a paperback book. You hold the book up--have a
spectator come forward- and you rif e the pages of the book. (In doing this you are holding the
book with its back to the audience, and rif ing from the back of the book to the front, i.e.,
toward yourself; as you rif e, the spectator. will see only the left-hand pages of the book.) He
calls stop at some point, you stop the rif e and he looks at the rst word on the page. You drop
the book back in your pocket. You tell the spectator to concentrate on the word; from your
pocket you now remove a business card- you write something on the card-hand it to the
spectator, writing side down-and then have him announce the word that he's thinking of.
He does so, and then at your instruction turns over the card and reads it aloud; of course it
bears the same word.

At this point you remove the book from your pocket and drop it on the table; it is un-gaffed and
can be examined, though of course you do not speci cally suggest this.

That's how the test looks. As to the method-it's a force. The way you do it is as follows:

In your right-hand jacket pocket, you have a few business cards. Another business card is
placed in the book, between pages 74 and 75 if you're working with a two-hundred-page book,
in other words, somewhat less than halfway.

The business card is tucked right against the spine of the book; the long edge of the card
parallels the long edge of the book; the top edge of the card is about one-half inch down from
the top edge of the book.
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68

With the book closed, you will note that if you rif e it, the business card acts as something of a
short card, and you can stop the rif e without any trouble at all at the page where the card
has been inserted.

You note the rst word on page 74; the book thus prepared is placed in your side jacket pocket
along with the cards.

In performance:
You remove the book from your pocket and hold it as
previously indicated.
With your fore nger you rif e the pages and the spectator
calls out stop.

You stop at the force page, of course, and tell him to look at
the rst word on the page facing him, which will be the word
you have previously noted. You replace the book in your
pocket.

You talk for a few moments about how the spectator has to
visualize the word, letter by letter-and then you reach into
your pocket and remove a business card...

... in fact what you do is to remove the business card from

the book. This is very simple; just let your thumb run along
the top edge of the book until you feel the break and then the
thumb goes in and draws out the card. This is best done by
rst sliding the card a bit out from the spine and then
drawing it upward.

You take the card from your pocket and on it you write the force word. You hand it to the
spectator writing side down--you have him name the word-and then he turns the card over
and reads it aloud.

Mind, Myth and Magick by TA Waters1983

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69

In this presentation you hand a prediction envelope to someone to hold. Again, you rif e the
book and again the spectator has a choice as to where you stop, though in this case the word is
not read aloud. When the spectator choosing the page has made a nal decision, she does read
off the word-the spectator holding the prediction opens it; it is, of course, correct.

As you'll note, the major point-aside from the prediction being held by a spectator- is that the
person choosing the word doesn't get to look at the places she stops until she's made a nal
decision.

The reason for that is a simple one; you have a number of breakpoints; in this case, however,
all the words are synonyms.

FOR EXAMPLE: In a book I used for this test several years

ago, I was able to nd in the upper left corner the words
SHIP, BOAT, YACHT, LINER and FREIGHTER. The
prediction itself was simply a line drawing of a boat-and I
talked about it being the picture I'd received in my mind
earlier in the day..."

To facilitate the rif e-force I had ve cut-down pieces of

index card stuck into the book at the appropriate points.

Now I will not pretend to you that it is easy to locate a

book that has a number of synonyms in the upper left corner of the left page as required, It
can be done, however; I have found such books a few times. Your best bet might be a genre
western or combat novel, where a number of synonyms for gun would be likely to appear.

I should mention that the particular book I used was a novel in which the central character
was a sailor; this was not obvious from the title of the book. Similar books may be found where
much of the action is focused on a speci c profession. It does take a good deal of effort to nd
such books, but-who ever told you that mentalism was easy...?

Mind, Myth and Magick by TA Waters 1983

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FOR THIS YOU NEED TWO THINGS: The rst is a Chromatic™ pen. This is a slim ball-point pen
(available at most stationers) which, though it appears to have only one writing
element, actually has two. One of these cartridges is emptied. There
are two ways of doing this: (a) simply scribble with it until it is
written dry or (b) ream out the ink by inserting a
thin wire, and then let the cartridge soak in
alcohol until it can be rinsed clean. In either case you
must make sure that all traces of ink are gone, and the
empty cartridge leaves no mark. Depending on which
cartridge you extend, you can have the pen write or not write, as you wish.

The second item required is a paperback book of one hundred fty to two hundred pages.

Since you are going to deface and destroy a couple of pages in the course of the routine, this
should not be a valuable book, but one you can afford to destroy... a biography of a sports
gure with a drug problem, for example, there are a lot of those available.

TO PREPARE: Extend the writing cartridge of the pen, open the book to about the center, and
make an X which completely lls one page-one line goes from upper left to lower right corner,
the other line vice versa.

Note the word where the two lines intersect at the center and remember it.

In performance you show the book and open it to the back page; using the pen in writing mode,
you make a large X on this page to show the spectator what you want him to do. You then
hand him the book, tell him to place it behind his back and to open it somewhere around the
center. (It may seem odd to make a speci c request like this--but you don't want him to open
the book just a few pages in; if he does, when you show the marked page, he will know that this
is not where he marked it. I have never known any spectator to think there was anything
peculiar about this request.) As he's making this selection you switch the pen into non-writing
mode; this is done by simply twisting the upper part of the pen.

You hand the pen to the spectator; he places it behind his back and makes an X as requested.
You then tell him to return the pen to you so he can do something a little further.

Now you tell him to open the book again, but this time away from the center-so, you say, he
will not choose the same page. Having done this he is to rip this page out of the book, place it
against the front of the book, and bring it out; you point out that in this way you can't even get
a glimpse of the back of the chosen page.
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71

During this you switch the pen back into writing mode.
You hand the pen to him and tell him to again make an X, completely lling the page, as he did
before; then he is to note the word where the two lines intersect.

He does so; turning slightly away for a moment, you tell him to put down the book and fold the
page once each way, writing side (X'd side) inside.

As he does this you point out the difference between telepathy and clairvoyance-that
telepathy is the sensing of a thought in another mind without an object being required-
whereas clairvoyance is the reverse, the sensing of information about an object without
another mind being involved in the process.

Of course, now he has in his mind a particular word -the word represented by the folded page.
You say, 'Since we're going to try telepathy rst, the object has to be destroyed." At this point
you take the folded page from him. (Note: you do not ask for it-you take it.) You tear the folded
page into bits and let them utter to the ground... in doing this, as you'll hardly be surprised to
learn, you execute the torn center.

You now pick up the book and say that if you're successful with the telepathy you will try the
clairvoyance test, which is, of course, much more dif cult.

As you're talking you use the book as a screen, opening up the torn center behind it and noting
the word that has been X'd. You then proceed with the telepathic divination in piecemeal
fashion, during which time you refold the center and nger-palm it.

You hand the book to the spectator, explaining that now you will try to divine the word at the
X'd page still in the book, a word known to no one.

With appropriate acting you announce the force word on the X'd page which you noted during
preparation of the book-the spectator looks through the book, nds the marked page... and of
course you are correct. As you put away the pen you dispose of the palmed center.

You will appreciate that, as long as you carry around the Chromatic pen, you can prepare for
this test in about three seconds at.

It may occur to you that since the clairvoyance part of this routine is brought about by a force,
it can as well be done as a prediction. Indeed, it could... but there are a number of good
prediction effects about, not very many good clairvoyance tests; I think you will nd this to be
most effective presented as indicated.

Mind, Myth and Magick by TA Waters 1983

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EFFECT: Anyone
from your
audience is asked
to call home by
telephone (or
anyone,
anywhere in the
world!) and ask
anyone to give a
number between
50 and 100.

A second person
in the audience is
asked to secretly
write down a
number between
50 and 100.

These two
numbers are
then secretly
added and the
total is used to
turn to a page in
a book and the
rst sentence is
noted.

The psychic, without approaching anyone, tells it all!

He tells the number chosen via the telephone, the number chosen by the person in the
audience and the page of the book and the contents of the rst sentence. Everything can be
left with the audience!

The effect is uncanny and leaves a profound impression on your audience. It is a one-man-
effect.

To produce it you must have and do the following:

1. A novel. Any novel which may be furnished by the host. You must handle the novel before
the show and memorize the rst sentence on page 14 (for this method).

2. You must have a clean way of forcing a number. The book, "The Damned Thing," forces the
number 86. (If you do not have this book, an alternative method will be given later.) So let's
assume that you do have this book (or any other book that forces a number between 50 and
100) and that you are going to force the number 86 (100 minus 86 equals 14, the page
number!)

3. You will need paper pads and pencils.

4. Prepare beforehand a prediction sealed in an envelope, predicting the choice of a phrase

from the rst sentence on page 14 of the novel held by the host.

SHOWTIME: "Ladies and Gentlemen. I am going to attempt a bizarre test! We must call
someone by telephone. Is there anyone here who can reach anyone at home by telephone? Or
anyone anywhere in the world for that matter!"
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Someone, a lady, volunteers to call her daughter, for example.

"Please tell your daughter to give you a two-digit number. Say between 50 and lO0."

While the lady leaves the room to make the phone call, you pass out the prediction envelope
and also force the number 86 on another person, telling that person to keep his choice secret.
Give this person a paper pad to write down his number. He writes 86. But keep in mind that he
and the rest of the audience assume that you DO NOT KNOW THE NUMBER.

When the lady returns you tell her to whisper the secret number to the person that chose the
rst number, 86. This person is instructed to write down the second number (let’s imagine it
was 54), under the rst number and to add them together.

You also instruct the lady that made the phone call to also whisper that number to the host
that is holding the novel.

Ask the host to also write down the 'telephone' chosen number on the paper pad that you
furnished him. He writes down 54. You do not know this number, of course.

Next ask the person that added up the two numbers to callout the last two digits of the new
number. He will callout 40.

You tell the host to subtract 40 from his number. At the same time, you can point to the lady
that made the phone call and say, "The number you received over the telephone was 54!
Correct? (of course. All you did was to add 14 to 40 to get her number!). (You also tell the
second number of 86!)

In the meantime, the host subtracts 40 from 54 and gets 14, tell the host to open the book to
page 14 and to read off the rst sentence. Then have your prediction read. End of Miracle.

Try the above in your next show. It is a brain buster but most important, it convinces your
audience that you are psychic!

NOTES: The effect can also be presented as thought reading by telling the host to please
concentrate on the line of print! If you do not own the book 'The Damned Thing,' then you can
resort to 'The Bold Approach' by ipping the pages of any book and telling the person to stop
you anywhere. Wherever you are stopped, you callout the force number! and close the book. If
you use short pages so that the page, say #86 can be forced then tell the person to look at the
left-hand page and to keep it secret, you do not want to see the number, you say.
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Any other force number between 50 and 100 can be used.

But you must secretly subtract the force number from
100 to arrive at the force page in the book. If your force
number is 63, then the force page is 37, etc.

Do not pass up this effect. It is a killer. It will dumbfound

everyone in your audience since they will assume that
you did not know any of the numbers and yet you
perceived it all through some strange power. The use of
the telephone adds a deep mystery to the presentation.

NOTE: If you wish to work with higher numbers then you

must have a way (a clean one please) of forcing say, 175.
To get the force page, subtract 175 from 1OO which will
give you page 125. The number gotten over the telephone
must be between 150 and 200. Example:

Phantom Voices by Al Mann 1984

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"Hello Joe. Have you got a minute? I want to try to

read your mind over the telephone. Weird you say? I
do it all the time. I am giving a show Saturday night at
the Gigolo Theatre, and I need the practice." "Get
pencil and paper ready. "Ready? Fine. I am going to
dictate a test sentence to you. So write it down. The
Sentence is. 'I am walking down the street to get a
horse and buggy from the carriage house.' Got it? Fine
I Now please circle any word in the sentence but don't
tell me what word it is." "Got a word? Fine I Now get
the big dictionary, you have a Random House
Dictionary? Fine. That will do. Please look up the word
and tell me when you have found it." "Got it? Fine!
Please look at the page where the word is. I see that
there is a picture. drawing like, or map there, Correct?
Of course, I can see it quite well. You are looking at the
lefthand page. Right? and the word you are looking at
is on the rst column on the left. Correct? Of course!
Now look at the left-hand column only. The rst
column where the word is. I see a picture on that
column. Right? Wrong? You say? I know there is a
picture on the page. I thought it was in that column. I see a Map. Right? A map of Thebes.
Right? You are thinking of the word 'the' correct? Of course!"

METHOD: The process-of-elimination is used. And very beautifully. And the reader may use
any sentence he wishes, but the sentence must be studied ahead of time and several charts
prepared. Recommended is the unabridged edition of the Random House Dictionary. You must
rst make certain that the listener has one of these in his home. Both the Random House and
the Unabridged Webster's Dictionaries are very popular today and can be found in most
homes. These dictionaries do not change much through the years and are inexpensive. Both
dictionaries are 4 inches thick and contain over 260,000 entries. And three columns on each
page. Once the hard work of charting the possibilities of choices, is made, the rest is easy. The
odds are all on the side of the operator and he has the facility of making several direct hits, to
the amazement of his listener on the phone. The operator must rst construct a master chart
showing all the words in the sentence. This is shown on page 16. Note that all the words are to
be found on pages which have pictures, maps, etc., except the words 'street' and 'get.' This
means that your statement, "I see that there is a picture on that page," will be correct most of
the time. The odds are all in favor of it. So that if you are correct. YOU HAVE MADE A HIT!
RIGHT FROM THE START! But, if the listener says, "No! There are no pictures on the page.
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“Then you know that he can only be thinking of one of two words, ‘street’ and ‘get.’ And you
proceed accordingly! To the dramatic climax!

(Above chart is applicable to The Random House Dictionary)

But, let’s say that he says, “Yes. There is a picture on the page.” Then your next statement
should be, “You are looking at the left hand page and only 5 words on the right hand page. So
that actually you now only have to deal with 10 words on the left hand page and 4 on the right
hand page.)

The operator should have charts prepared showing the words on the left hand page (10) and
another chart showing the words on the right hand page.

Say that the chosen word is on the left hand page. The 10 words in the left hand page can be
divided into two groups: eight of the words have a page number less than 1000 – and two of
the words have the page number over 1000!

So your next statement should be, “Please look at the page number so that I can get a better
picture ay where you are looking.”
“The page number is under 1000. It has three digits or less. Correct?” If he says NO! then you
know that he is thinking of the words ‘walking’ or ‘the’
In the above example, the person had circled the word ‘the’ so you can easily tell what the
word was by saying that there is a picture in the column! Or the page!

Chances are that he will have chosen a word with the page number 1000. “The page number
contains 3 digits. Right?” If so you have to deal with three words. You can get to the right word
by further ‘pumping’ as to how many letters in the word or the picture on the column page.
Note also, that four of the words appear in the center column, and one in the left hand column
and the other on the right hand column!

The reader my surmise at rst glance that anyone can see through the method, but keep in
mind that the listener assumes that you are doing this on the spur of the moment, impromptu,
and really has no idea all the preparation you have made. You do make a lot of amazing hits.
You are far away. The experience to the listener is new and novel, and weird. And you have
told the listener that you do not have a dictionary!
So much for The Random House Mystery. Try it. It is fun.

Phantom Voices by Al Mann 1984

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Dr. Jaks goes into the audience with a note pad and asks three different persons to write
three-digit numbers secretly on the pad while Dr. Jaks looks away. They must lift up the cover
of the pad to do the writing. Now he gives the pad to another person to add up the digits but as
he does, he turns over the pad which has a similar cover on the other side. He asks the person
to come on the platform to add the numbers. After the numbers are added and double
checked, the person is instructed to tear off the bottom half of the page that has the total and
to take it back to his seat. The person is cautioned to let no one see the total including Dr.
Jaks!

This is just the old switch of numbers using a pad which

is turned over but I believe it is more natural than some
of the complicated mechanical methods that have been
dreamed up.

Next Dr. Jaks points to a woman in the audience and

states that he is getting an impression that she owns or
once owned a pet. She states that he is correct. He asks
her to concentrate upon the name of the pet. He writes
his impression on a slate and rests the slate on a chair
that is on the platform. The woman then states aloud
the name of her pet for the audience to hear.

(The slates used by Jaks were white and he wrote with a black grease crayon.)

He is actually working one-ahead and writes the total of the numbers on the rst slate! Next
he picks up a second slate and pretends to write the total of the numbers but actually writes
the name of the pet! He then asks the person with the total to announce it.
Jaks then picks up both slates and turns them around to show what he had written! and of
course he has written the correct pet's name and correct total!

I might add that in Dr. Jaks handling of the note pad, he has creased the sheet just above
where the total will be written so that the person can easily tear that part off.

Next Dr. Jaks produces a local telephone directory and states that he will attempt an
additional test. He hands the directory to the person holding the 'total' slip and asks him to
take the rst two digits of the total and count to that page in the directory. The last two digits
will indicate the column and name to count to in the column from the top. He now asks the
spectator to concentrate upon the name he has arrived at. Dr. Jaks correctly, names the name
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thought of. Now he asks the spectator to think of the person's address and Dr. Jaks also
correctly divines this.

Next he asks the spectator to note the telephone number of the person. Dr. Jaks draws the
audience attention to a large board that has been sitting in full view on his table all during the
show. The spectator announces the telephone number and Dr. Jaks turns the board around
and written on the other side is the same telephone number! The audience gave Dr. Jaks a
standing ovation at this dramatic conclusion to his show.

The Incredible Dr. Jaks by Leo Behnke and Robert L. Bluemle 1984
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A: AS THE AUDIENCE WILL LATER DESCRIBE IT

The performer shows a paper hack novel of some 200 closely printed pages. This can be
minutely examined and proves to be exactly as claimed: entirely innocent of any sort of
preparation. One spectator holds the book whilst another freely chooses a page and a line. The
performer shows a paper hack novel of some 200 closely printed pages. This can be minutely
examined and proves to he exactly as claimed: entirely innocent of any sort of preparation.
One spectator holds the book whilst another freely chooses a page and a line.

The holder of the book turns to that page and reads the selected line over to himself. The
magician or mentalist announces, aloud what is printed there. He proves to be correct, and
the effect can he immediately repeated!

B. THE EFFECT AS IT ACTUALLY IS!

The performer does indeed show and allow a perfectly innocent 200-page paper back novel to
be minutely examined. He explains that he needs a line and a page freely chosen, and suggests
that he be given a number, from one to twenty. Whatever number is chosen; a zero is added to
designate the chosen page. The original chosen number designates the line. Thus if fteen is
chosen, line 15 of page 150 will be used. The holder of the book turns to that page, counts
down to that line, and reads it over, to himself. The performer repeats, aloud, what is printed
there (or near enough,) and the effect can he repeated.

IT IS TRUE THAT THE PERFORMER MAKES NO USE OF CONFEDERATES, CRIBS OR ANY

ADDITIONAL PROPERTY OR GIMMICK, MOREOVER, THE PERFORMER DOES NOT EVEN
HAVE TO SEE THE BOOK AT ALL, SO THE EFFECT CAN BE PERFORMED BLINDFOLDED, OR
ON RADIO OR T.V WITH A TWO STUDIO SET UP (BOOK AND AUDIENCE IN ONE STUDIO
WHILST THE PERFORMER IS IN ANOTHER.)

REQUIRED: A soft backed book or novel of approx. 200 pages, (200/230). A hard backed book
can be used, but seems more likely to be suspect, in this day and age. Whilst any such book can
be used, the performer needs to own the book for a few hours prior to the performance, for
reasons that will become clear. Nothing else is required.

METHOD: First the principle, the method depends on two

elements. First let us consider the seeming choice any page and
line from a 200-page book. (Seemingly a choice from about
44300 lines!) In fact, (Although, if the presentation is right, the
spectators will never believe it,) the choice is limited to only
twenty lines. The method of selection is smartly worded. (See
under 'Patter and Presentation'.)

Page and line are selected through a number from one to twenty
inclusive. The page is selected by adding a zero. Thus 4 becomes
40 and 15 becomes 150 and so on. The line is decided through
the use of the original number given. (4th line.15th line, and so
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on.) SO, IF YOU CONSIDER THIS CAREFULLY, YOU WILL REALISE THAT THERE ARE ONLY
REALLY TWENTY POSSIBLE LINE CHOICES.
The second element? Well, with twenty choices possible, our only other task is to be able to
commit to memory those twenty lines. DO NOT LET THIS TASK FRIGHTEN YOU. IT IS EASY;
BELIEVE ME! After all, there are memory systems, which allow one to remember
THOUSANDS of names and facts. You only have to remember twenty lines from the book.
Moreover, due to the nature of the effect, and its presentation you do not need to be anywhere
near word perfect: only the sense of each the twenty lines needs to be memorised. HOW?

We rely on the very old parlour trick, the TWENTY MEMORY FEAT. Most magicians and
mentalists will be already familiar with this system, but taking no chances, I will explain.

The most popular use of the system is the performer memorising twenty numbered objects,
names or locations nominated by the audience. One spectator notes down the choices against
the numbers, on a pad or slate. Without seeing the list, the performer is able to name any of
the choices, from being given its number.

The demonstration is based on association of ideas. The performer has a mental code with key
word/s for each number given. For the most part these key words rhyme with the numbers.
(But there are notable exceptions, as the following list will reveal.)

One: Gun Five: Hive Nine: Mine Thirteen: Seventeen:

Unlucky Revelling

Two: Shoe Six: Sticks Ten: Hen Fourteen: Eighteen:

Courting Military Age

Three: Tree Seven: Eleven: Fifteen: Nineteen:

Heaven Double one Lifting Fighting
(a pair, or
twins)

Four: Door Eight: Gate Twelve: Sixteen: Twenty:

Elves Sweet Plenty
sixteen

Thus when a choice is made. For example: Number One. The performer visualises a Gun.

In relation to whatever object or name is chosen. So if she choice for number one is "A Duck-
Billed Platypus", the performer makes a mental picture of himself, shooting such a creature
with a Gun. This is very graphic and will stay in the mind. So later when asked for Number
One, he will have no dif culty in saying "Number one is a Duck-Billed Platypus".

BUT PLEASE REMEMBER THAT THE SIMILARITY BETWEEN THE TWO EFFECTS ENDS
HERE. THE MEMORY FEAT OPENLY FLAUNTS THE FACT THAT THE PERFORMER CAN
MEMORISE A GREAT MANY ITEMS. IN THE BOOK TEST, THIS IS CONCEALED RATHER
THAN FLAUNTED. THE MEMORY IS A HIDDEN AID.

PREPARATION: First obtain a suitable book. Almost any book, which does not interrupt its
text with illustrations or designs, will do, if it has between 200 and 250 pages. (Also check the
book you propose using, for freak pages with only a few lines on them, these could occur in just
the wrong places.) The average newsagent's paperback will invariably prove suitable.

Familiarise yourself with the book you choose, and the applicable twenty lines. You now have
the task of memorising them, or rather their sense. (No self-respecting mentalist would want
to be word perfect.)
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EXAMPLE: Let us suppose that the appropriate line, the fteenth on page 150 is "The sacks
have been only partially lled," Your memory code key word is lifting. So picture yourself
lifting some sacks. You can do this fairly easily, as they have been only partially lled.

At this stage, you can make a list of the numbers, code words and lines, pencilling the mental
picture. Need I say that the chart must never be seen by anyone else? Do not be tempted to
use it as a crib, or you will destroy the beautiful simplicity of the effect.

THE PERFORMANCE: Pick up and ip the pages of the book, describing it to the audience and
passing it to a spectator for examination. Explain that you want a page and a line selected in
the simplest possible manner. (SEE UNDER 'PATTER AND PRESENTATION').

Ask for a number to be chosen, from One to Twenty, inclusive. Let us assume that the chosen
number is twelve. Tell the audience that the addition of a zero will give a fairly freely selected
page number. Ask the spectator holding the book to turn therefore, to page One Hundred and
Twenty. To choose the line, what better to use the original number given, twelve? The book
holder counts down to the twelfth line and is asked to read it over, silently to himself. Explain
that you will try and pick up their thought waves. By this time of course you know the rough
sense of the line, via the rhyming code and mental image.

Speak the line aloud, slowly and not too accurately. Ask the spectator to read aloud the actual
printed line. It will then be obvious to all that you know what is printed on the line.

Repeat the effect just once, having another spectator as holder of the book.

NOTE: DO NOT LOOK THOUGHTFUL UNTIL THE SPECTATOR WITH THE BOOK IS ACTUALLY
READING THE LINE OVER TO HIMSELF. ANY INTIMATION THAT YOU ARE TRYING TO
"REMEMBER" SOMETHING, WILL DESTROY THE EFFECT, WHICH IS SUPPOSED TO BE
ATTAINED BY MIND READING AND NOT THROUGH MEMORY!

PATTER: (OBVIOUSLY WITH A MIND READING EFFECT THERE SHOULD BE NO SLICK LINES
OR HEAVY COMEDY, JUST LIGHT, GOOD HUMOURED COMMENTARY, RATHER ON THE
FOLLOWING LINES.)

"Here is an ordinary paperback, or, as the Americans would call it a dime novel. Unless you
are convinced of its innocence, the demonstration becomes even more pointless than it
already is. Do what you will with it, but no pecking at the page to nd out who dunnit!
You will nd that the book contains some two hundred pages, perhaps a hundred and fty
thousand words, and some four thousand lines. I will have a page chosen in the fairest and
most direct manner possible, Will anyone choose a number from One to Twenty, inclusive?
Sixteen Thank You! If we add a Zero we can arrive at a page number... page one hundred and
sixty. We need to choose a line, so what fairer than to use the original number... Sixteen? Sir, if
you could aim to page one hundred and sixty, and then count down to the sixteenth line, from
the top of the page we will have isolated one line from four thousand. Have you found it? Good!
Please read the line over to yourself, and I'll try and collect your thought waves. Concentrate
on the sense of the line, rather than actual words. I get the impression of a man getting off a
train and into a tram car... does that make sense, it does... then please read the actual printed
line, aloud. In case any of you should think that by coincidence' we have arrived at one line
that I know out of four thousand... we will repeat the experiment. (REPEATS.) Ladies and
Gentlemen, I have presented this experiment before distinguished bodies, of Doctors, Lawyers
and Plumbers, many explanations have been suggested, but in the end one must always
consider the possibility that it might be mind reading!'

PRESENTATION: The presentation should not be rushed, but at the same time needs to be kept
moving. The seemingly free selection of a page and line, need to be smartly paced to be
convincing.
Don't give them too long to consider what you are doing.
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I have already mentioned that care should be taken not to look thoughtful until it is
appropriate. I cannot over stress this point.
Part of the strength of this effect is the complete absence of possible cues or cribs. So, avoid
making any sort of suspicious movement during the presentation. If you handle any object
such as a handkerchief or cigarette case, the audience will grasp at straws. The effect is that
strong!

UNFAKED book test by Val Andrews 1985

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EFFECT: You show a pocket novel. You thumb through the pages. A spectator says stop. You
do... He secretly reads a line from the book. He closes the book and tosses it on your table. You
then tell him the ‘gist’ of what he read and nish by telling him exactly what he read, word for
word!

REQUIREMENTS: A book and some rubber cement.

SET-UP: Brush a thin, I repeat a THIN, strip of good quality, rubber cement on the inside of the
front cover. Brush the strip of cement (thin) from almost the top to almost the bottom and
about two inches in from the open side of the book. Turn the page and brush on another thin
strip of rubber cement, only move this strip in about another half inch towards the spine of
the book. Turn the page and do it again, moving over a bit as before (so the book won’t look
any thicker than it’s supposed to). When you get near the spine, then start at the end again,
don’t forget two inches from the open edge. Keep opening the pages and applying strips of
rubber cement. Repeat, repeat, repeat until you are a little past the center of the book. Don’t
spread any cement there, just skip that page. Then continue sticking the back pages together
just as you did the front ones. When you are nished, put a weight on top of the book and allow
it to dry overnight. When it’s dry, you will have a book that will ONLY OPEN AT THE FORCE
PAGE. See gure below.

WORKING: Hold the book in your left hand. Your right thumb rif es through the top right
corner of ALL the pages. The right thumb then rif es through ALL of the pages from the side
of the book. Rif e through the side pages once more, slowly, until the spectator says stop. The
left hand then assists the right hand in opening the book to the force page. As soon as the book
is open, push it into his hands and walk away.

Ask him to read the top line to himself, then to close the book and toss it on the table. You then
tell him what he read in your best “mentalist manner.” You can’t miss!

NOTE: Karrell used to perform the effect with three different books. They were all gimmicked
the same way. He would then ask the spectator to pick up one book and to eliminate the other
two. Of course, you don’t have to go to all of this extra trouble, unless you want the test to be
three times more effective!

The routine was written in Karrell’s book For My Next Trick published by Supreme Magic Co. in 1986
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I rst came up with the idea for the Anytime, Any place, Any book (AAA) Booktest in the mid
1990’s. I’d been using the Flashback Books by Larry Becker and had the simple idea that the
glimpse from Flashback* could be applied to an ordinary book. I tried it out on a few mentalist
friends and fooled them! I couldn’t believe that such a simple idea was so deceptive. Since then
I have used the AAA Booktest more than any other book test, it has served me well for almost
30 years! During that time it has been performed on UK TV three times, my favourite scenario
is to perform it in a book store getting a spectator to pick any book from anywhere in the
store.

*It should be noted that Danny Tong rst created a booktest called Peek-a-Book, it was
basically a earlier home made version of Flashback. Larry Becker improved Danny’s idea by
printing the peek words within the book making the gimmicked book more examinable.

EFFECT: A spectator hands you ANY paperback book. You do not need to see it before the
effect. You DON’T need to look through and quickly memorise a page and a line. You honestly
don’t know a thing about it. You turn your head away and ick through the pages and ask the
spectator to call stop. You stop exactly where they say. You can even go forward or backwards
a few pages if the spectator wants. There is absolutely no force. When they have decided upon
a page they are handed the book and you never touch it again. They are asked to memorise
the rst word on the rst line OR a few words from the rst line. You can now tell them the
exact words that they are thinking of!

METHOD: Have I built it up enough? Well that is how you must present it. The whole effect is
in the build up. The method is a glimpse. You simply look at the words a split moment before
they do. For it to be deceptive you must emphasise the points above. The spectator knows you
have never seen the book before and they know that you stopped exactly where they asked.
Here is exactly how it works…
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Look at the drawings over the page. The book is held by the spine in your right hand with the
cover of the book facing the spectator. With you left hand rif e from the front cover back
towards yourself and stop somewhere in the middle. If you look straight above your left hand
you will see the rst four or ve words of the top line staring you in the face. This is the exact
position of the glimpse. If you continue to open the book away from you these words form the
top line of the left hand page from the spectators perspective.
As you can see the mechanics of the glimpse are easy, but the action has to ow without any
hesitation.

Start with your head turned away from the spectators when you start rif ing. When they say
stop, do exactly that and ask if they want to go back or forwards a few pages. When they have
nally agreed. Turn round brie y and glimpse the rst few words as the book is opened. You
say at this point…

“Are you sure?”

If they are hand them the book and step away. If they are still not sure offer to start again.

You should nally be in a position where they have an open book in their hands at a page they
know was selected at random. You are standing a few feet away and yet you already know the
rst few words of the rst line of the left hand page they are looking at. Instruct them to read
silently the rst few words on the left hand page. You can now reveal their thoughts as
dramatically as you can.

By Marc Paul 1995

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Bob Cassidy memorized th e word on the opposite side from a regular dictionary. This word
obviously cued him the rst word in the page they were thinking of.

Shared on The Magic Cafe by Bob Cassidy

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Let me blow
your mind.
Any normal
dictionary can
be used for a
variation of
Danny Tong’s
Peek-a-Book
principle or
Larry Becker’s
Flashback.
Just work
with the last
word of the
page.

Start with
your head
turned away
from the
spectators
when you
start rif ing.
When they say
stop, do
exactly that
and ask if they
want to go
back or
forwards a few
pages.

When they
have nally agreed. Turn round brie y and glimpse the rst word as the dictionary is opened.
You say at this point… “Are you sure?”, If they are hand them the book and step away. If they
are still not sure offer to start again.

You should nally be in a position where they have a dictionary in their hands at a page they
know was selected at random. You are standing a few feet away and yet you already know the
last word from the right page. Instruct them to read it silently. Read their minds.
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PEEK THIS WORD

INSTRUCT THEM TO READ SILENTLY THIS WORD

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A current magazine is shown and thumbed through. You stop at any page (no force) selected
by the audience. That page is torn out, rolled into a ball, and tossed into the audience. As they
concentrate on the selected page’s content, you completely describe it!

METHOD: For years magicians have been using a trick deck called the “Mene-Tekel Deck.” It’s
a deck consisting of twenty-six pairs of matching cards.

Karrell adapted this idea to a magazine. Get two of the same magazine. Take the staples out of
the two magazines and put together a magazine with two of the same pages together. Two
magazines will make you two gimmicked magazines. When you stop thumbing through and
tear out a page, you will be looking right at the duplicate still left in the magazine.

Simply.... Describe it!

PS– The A.T. S. in the title stands for Almost Two Simple!

My Latest Book by Karrell Fox 1995

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While attending a social event in a friend’s home, the Mentalist is asked to demonstrate the
mind’s unique abilities. He asks, “Is there a dictionary or other large book in the house that we

might use?” The hostess brings a recent copy of a dictionary.

“In order that we use words with no personal bias involved in choosing them, as the pages are
ipping past, will someone in the audience will call out, ‘stop’?” The Mentalist rif es the pages
slowly from the back toward the front of the dictionary and halts at a page when he hears
someone ask him to stop.

“The index word on this page is ‘xenophobic’,” remarks the performer, showing the entry to a
participant near the front, “Is that how it’s pronounced? Let’s get a few more and when you
hear one which you can both understand and spell, keep it in your mind. Do nothing to
indicate which word might be your choice; we’ll nd a dozen from which you might choose.”

The Mentalist continues to rif e through the dictionary, giving the index word on the page
each time he is stopped, rejecting the occasional word due to its length or de nition. After ten
or twelve selections have been read, he says to the initial participant, “From among that group
of words, you have one of them in mind, yes?”

Handing his helper a pencil and pad, the performer asks, “Please print the word you are
visualizing on the pad in block capital letters. This will enhance your concentration.” The
participant does as instructed while the performer looks away.

“Concentrate,” continues the Mentalist, “not on the word as a whole, but on the letters which
make up the word. As I receive your thoughts, letter by letter but probably not in order, please
cross off each letter that I correctly name.”

The performer names a letter and the participant crosses it off his list. Then another letter is
called out, and another, and another. “Any Scrabble players in the group?” asks the Mentalist.
“Surely we can construct a word with those letters. Wait a minute, is ‘housework’ the word in
your mind?” The participant agrees!

All the words (except the rst one) which you ‘read’ from the dictionary are miscalled, recited
from a memorized list. Ty uses the progressive anagram list from Sam Swartz’s, “The Hidden
Force” book test. (Each time the participant doesn’t cross off a letter is the same as his saying,
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“No.”) Absent a similar source, memorize a list of words with different third letters and pump
for those. To avoid mnemonics, build a bookmark crib, see left.

Time your rif ing to ensure that you are initially stopped in the very last pages of the
dictionary. Asking for help with the word shows that you are, indeed, stopping when
requested and reading the words from the index corner of the dictionary. Remember that
word, just in case your helper wants to be playful.

SYZYGY - (Volume 2) by Lee Earle 1996

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The title given to this

effect comes from the
fact that dice are used
(shake, rattle and roll).
All that Arthur wanted
in this version was a
simple method that was
entertaining.

EFFECT: A book is
handed to a member of
the audience and, to
another, two dice. He is
asked to roll the dice a
few times to show that
there is nothing wrong
with them. When
satis ed, he is asked to
roll them for the last
time. The two face-up
numbers are used to
nd a page of a
book. Turning to that page, the spectator looks at the top line and memorizes the words.
Taking a large pad, the performer writes a few words, crossing some of them out, until nally
he begins to capture some of the thoughts in the mind of the spectator and he is able to reveal
what is written on the page!

SECRET: Using two dice it would appear that sixty-six pages need to be remembered. This is
not so; you will be happy to learn. By this method it is only possible to select 15 pages. You also
need a book. When the dice are rolled you say that for this demonstration two different
numbers are required so this rules out 66-55-44 etc. Dice do not have zeros, so this rules out
10, 20, 30. etc. As two dice are used this rules out all the numbers below ten, but the greatest
eliminator is in always calling rst the higher number of the two. If the person has rolled a 3
and a
5, the performer says, “You have rolled a ve and a three, correct?” The person will have to
agree and immediately the performer turns to the person holding the book and says, “Please
turn to page fty-three but don’t let me see it.” These are the 15 possibilities:

65 54 42 64 53 41 63 52 32 62 51 31 61 43 21

These 15 possibilities are written on a piece of cardstock to be placed behind the sheet on the
pad (see gure 1). The person holding the book is asked to look at the top line. To reveal it, a
cheat sheet is necessary. Against each page number on the card, prominent details are
recorded (some words or the entire rst line of that page). You then reveal accordingly to your
style of presentation, just a few words or the entire line and ask the spectator if the revelation
is correct. He has to say yes!
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Figure 1

To know the line or words, Arthur used a large pad and a felt tipped pen to write. The papers
clipped to the pad are two inches shorter than the pad. Between the pad and the sheets of
paper there is a sheet of card and attached to the pad by a brass paper clip is the cheat sheet.
This card is behind the paper and next to the pad. The cheat sheet should not be too thin as
the left thumb has to push it out of sight behind the paper (it needs to be kind of stiff,
cardstock is just ne) and contains all the page numbers with their words or lines from the
book.

Figure 2. Figure 3

The gures 2 and 3, may help to show how this works. This clever method of using the
cheat sheet, can be used in many other book tests written in these two volumes.

The Book of Book Tests 2 by Rachel Colombini 2010

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Liebrary is an idea from José

Prager, originally released
several years ago... Following
on from it’s initial release; José
has discovered many more tips
and subtleties on this simple
concept, that takes the
devilishly deceptive
“impromptu” mind reading
routine from a quick trick to a
baf ing miracle. Let’s rst delve
into the basic concept, and from
there, we can look at the
additional advice.

WHAT YOU RECEIVE: In your

digital package, you’ll nd a
total of 10 eBooks, 7 of which
were included in the original
2010 LIEbrary release PLUS 3
new eBook with mentalism
applicable themes, which make
them ideal for use when you’re
explaining what you do, be it
mystical or psychological, both
are covered.

(You’ll nd the ebooks on your

digital shelf at www.e-
mentalism.com)

All these eBooks are set up in such a way that the rst word on every page is the same. The
only exception to this rule is the “example” page.

When you open each eBook, you’ll see the total number of pages at the top (or bottom) of your
application, usually next to the eBook’s title.

To nd the example page, you should just reverse the last two digits of the total number of
pages; so, if the total page count is 247, the example page would be 74.

Take a moment to fully understand that; it’s extremely simple and learning that concept is the
total amount of memory work that’s required to perform this effect!

You will need to obtain an application for your phone (or iPad, or other electronic device) that
reads PDF books and has a “go to page” function, this simply means that you can type in which
page of the book you’d like to view. It usually looks something like the below image:
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The application that we recommend is the Adobe PDF Reader, which is available on the Apple
app store or Google play store. Most of the free PDF reader apps have this function though, so
which ever you feel most comfortable is best. This is the only other important thing that you
need to allow the handling to work.

PERFORMANCE: Bold, easy to do and very deceptive.

During your explanation of what it is that you do, (be it that you are a psychological
entertainer, a psychic or a modern mystic) you bring out your smart phone and offer to
demonstrate.

Upon opening your eBook reader, you have a look through the titles and ask the spectator to
just choose one, they do, and you open it. You scroll casually through the pages, but then
decide on a random number.

“Let’s turn to page... 74, for instance, and I’ll show you what I’d like you to do...” You type 74
into the “go to page” option and page 74 is shown.

“OK, the rst word on this page is “Hypnosis” - So if 74 had been your page, that’s the word I’d
like you to remember. I don’t want you to turn to 74 though, I’d like you to come up with your
own number in your mind. Don’t tell me, just focus on it. Now, I’d like you to type that number
in and go to that page, remember the rst word, and lock the phone.”

So, what happens here is that you directly show them what they must do, as you explain to
them what they must do. This ensures that they follow your instructions perfectly. When you
turn to the “example page”, be sure to memorise the LAST word on the rst line, for this is the
force word ( rst word) on every page aside from your example page.

Have a look through the eBooks and you’ll fully understand what I mean - It’s very simple, but
it’s always best to be absolutely certain of what you’re doing before you jump into the eld and
perform it!

So, your participant will follow your instructions, and will now have in mind the word you
have forced upon them, the word that you just memorised.

Now comes the point where you put your acting skills to the test and do your very best
impression of someone who has the powers that you purport to having. Reveal the word in a
fascinating and compelling manner!

And that, ladies and gentlemen of the fold, is the basic methodology of Liebrary. So now, let’s
get into some ner points and additional ideas...

ADDITIONAL THOGHTS: The rst point that José mentioned to me is that he always keeps
these eBooks on an iCloud/ Googledrive - This means that he can perform this any time with
the participant’s phone if he wants to, or on any device. This makes this a truly impromptu
piece, and it makes perfect sense that you’d back up your book collection to the cloud!

Another thing that José does when he performs this effect, is he always keeps control of the
phone; his head is turned, so there is no chance of him peeking, but this ensures that there is
no way that the spectator can sneakily swipe through the pages and notice the consistent
force word. He simply holds the phone in his hand, out in front of him with the screen facing
them, and they can tap the screen.
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In this new 2.0 edition of Liebrary, you also can “Chunnel” to reveal more pieces of
information. In fact, from knowing the word they are thinking, you can reveal four pieces of
information. This also destroys the possibility in the spectator’s mind that you could be using
some kind of “magic app”, as three pieces of information exist only in their mind.

The way this works is simple, it relies on the linguistic force that is employed in tricks like “A
Grey Elephant in Denmark.” You will have the spectator think of a fruit that starts with the
last letter of the word you’ve forced on them, which could be the letter “A”, the fruit in this
case is “Apple” (the most obvious choice), they should then think of an animal that starts with
the last letter of this word, (E) which will of course by “Elephant.”

This concludes the additional ideas, and you now hold all of the information to go out and
perform this direct and effective mind reading routine at any time. Enjoy!

LIEBRARY 2010 by Jose Prager

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The following is an alternate approach to a book test written in Discoverie #6 by Tony

Bartolotta. You only require a minute to scan through the book or magazine. It should be said
that nowadays people are much more likely to have magazines than books in their homes.
This makes the mentalist’s task easier. He need only go to the local library and jot down brief
notes on the latest issues of the most popular magazines. Almost certainly people will have
one or more of these magazines in their homes or of ces.

EFFECT: With a magazine at hand, the magician removes a hand-full of change from his
pocket. He turns his back. The spectator divides the change into two groups and silently
counts the coins in each groups. Say one group has four coins, the other six. He multiplies the
two numbers together, arriving at twenty-four in this case. Turning to page 24, he looks at the
rst line of text. The mentalist reveals the wording or general sense of the top line!

REQUIREMENTS: Ten coins and a magazine.

PERFORMANCE: You remove apparently a ‘random’ number of coins that happens to be

exactly ten in number (but act like you remove a casual amount).

When the spectator separates the coins into two groups he can do as follows:

1-9
2-8
3-7
4-6
5-5

Keeping that in mind, there are ve possible page numbers: 9 - 16 - 21 - 24 - 25. You know the
text at the top of each of these pages. Pick a magazine that has patter possibilities. So easy
and so effective!

The book of Book Tests by Rachel Colombini 2010

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The mentalist has someone chose a book, a page, and a word at random; they can even change
their thought of word. The mentalist never goes near the book. The word exists only in their
mind and on the page, yet the mind reader still knows exactly which word they are thinking
of.

This uses a normal book that is fully examinable and completely un-gimmicked.

A combination of principles is at work to create the illusion of true telepathy.

SECRET: I Take a book from my shelf. I ick through until I nd a page that has just one or two
paragraphs, rather than a full page of text.

Usually, I nd this page at the end of most chapters, so a novel is ideal. I read through this
paragraph and look at all the larger and more interesting words. Do each of these words start
with different letters?

I write them down in a list if so; these are my words to remember.

If not, I nd another page or book where this is the case. As these are smaller pages, the
likelihood of there being larger words that all start with different letters is very high. Once I
have found a book and a page that works, I note it and put all the words on a crib sheet.

There are a few approaches available. The rst and my preferred option is to rif e force those
pages. For this, you simply hold the book with your left hand, the little nger holding a break
between the pages. Your right-hand index nger then runs through the pages. When the
spectator says stop, your left-hand little nger will push back, breaking the book open at the
desired pages. With practice this can be timed to make it look exactly like you're opening the
book on the pages chosen exactly when the spectator called stop.

My second option is to take a book which has been practically unopened and open it on my
force pages. I Open it very widely until I sort of “crack the binding open” until the covers front
and back are brought face to face. This book will now, when- ever it is held loosely in my left
hand, open of its own accord at that particular point when the spectator calls stop.

I hand them the opened book, ask them to select a challenging or interesting word and to keep
it to themselves.
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I pick up my notebook and write a random guess of the rst letter. I then ask them the rst
letter. If I hit, great! I show them the notebook, if not I continue: “Keep in mind I am divining
one of perhaps 40,000 words in a book, really concentrate on the second letter from the word,
imagine it big, bold and bright in your mind”. They’ve just told me the rst letter of their
word, so now I know the entire word.

I reveal the second letter with 100% accuracy.

"Concentrate on the third letter from the word, imagine it big, bold and bright in your mind".

I write it on my notepad and reveal it.

Finally, I reveal the entire word.

By Jose Prager 2023

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When performing
I always carry
with me a black
pocket notebook
which I use to
write and reveal
people's thoughts.
Since it is such a
common object for
me to carry, I
have realized that
I could easily
introduce it as
exactly what it is;
a notebook where
I write people's
random thoughts.
"I want you to
think about
something truly
random,
something even
you didn't know
you were going to
think until now.”

So, I began to use

it in reverse,
instead of
revealing
thoughts obtained
with methods
such as billets and
impression
devices, I also
used it to force a
thought directly
into their brains.

SECRET: I use Dai

Vernon's
Magazine Force to
force a special
page from my
notebook. If you
are not familiar
with this
wonderful force, I will brie y outline it below.

The move is very easy and outlined in the Tarbell Course on Magic as Dai Vernon’s Magazine
Force. The description is convoluted but I will try to simplify it.

You decide which page you would like to force. You then slide your left pinky in between those
pages, essentially holding a pinky break.
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Your spectator then slips a card into the top of the book at any page they would like.

As you open to their page, you grasp the card with the right hand, allowing pages to slip past
it, as you open the book to the pinky break, allowing the card to land on that page.

The action is quick and smooth making it appear as though the card was always on that page.

My force page looks something like this:

As I show them the force pages, I instruct them:

"Please choose any piece of information you can focus your mind on."

I give them a couple of seconds and when ready I close the notebook while removing the card
from it, to lose the page. I hand them my card and place the notebook inside my pocket. Such a
cliche but I have to say it: out of sight out of mind. I now proceed:

"So it could be said that you are now thinking of a truly random thought, something nobody
could know, something not even you knew you were going to think.”

They agree.

"Focus on whatever you are thinking of… Ok... This is a bit confusing... I don’t know why but it
seems like you thought of something and then you changed your mind...
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correct?”

They will agree. If they do not agree I say:

"Maybe you did not made it consciously.”

How could they deny that?

I now continue focusing on their thoughts.

“I am getting the sense of a movie... just focus on the movie... see a scene in your mind... I'm
getting the sense of many objects moving in space... and some color… some lights... you know
what I mean?”

They will agree.

"Just focus on the movie's title... scream it in your head again and again...Star Wars! That was
loud and clear. Thanks so much!”

As the applause goes down, I continue:

"You are also thinking of an image, right?”

They will agree. They will also have the drawing of the cup registered in their mind, even if
they didn't want to.

"Focus on the image please…"

I like to draw the image in my hand, have them name it out loud and slowly open my hand.
Other times I prefer to describe verbally the drawing dramatically.

Finally, as the excitement is getting down:

"Wait... you also have a name in your mind…!

They will agree, since they also just saw a name positioned in a weird position near the cup.

"Just think about it... Monica!”

I reveal a lot of information with no effort at all.

Imagine the power of this as a pre-show tool.

It's never too late to begin recording your participants thoughts.

I promise you it is one of the most interesting things you will realize you can do.

The Man Who Knows How To Amuse and Mystify by Jose PRager 2017
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I also have a completely hands off way of forcing information from my black notebook
(described above).

I rst learned a variation of this number restriction from Max Maven's Nothing, and then
Russ Andrews cleverly modi ed it to reduce the possibilities even more in his e- book
Numbers which I happily helped him publish, since I thought and still do, that it is one of the
best number forces/ restrictions ever created.

This is my handling of the restriction:

I have them place their hands behind their back with their hands open. Then I ask them to
lower any number of ngers from one of their hands as long as it is not all of them. Then I ask
them to lower any other different number of ngers on their other hand.

I make them do this behind their back to keep the number hidden from me, not that it matters
but it obscures the method A LOT.

I now ask them to make a number in their mind, for example if they are holding a 2 and a 3
than could be 23 or 32, I also let them know that it does not matter they get to choose the
order of the digits, giving a bigger feeling of freedom.

The force leaves us with the next 12 possibilities:

12, 13, 14, 21, 23, 24, 31, 32, 34, 41, 42 and 43.
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I have also prepared my notebook by repeating 2 sets of drawings with words. That means
each gets repeated just six times out of hundreds of pages.

I freely hand the notebook after they have chosen a "random" number behind their back and
have turn my back as they nd their "randomly selected page”.

I just sh a bit for the rst letter of the movie, and I can proceed to make 3 or more reveals if I
present it as the original explained just before.

I love it!

The Man Who Knows How to Amuse and Mystify by Jose Prager 2017
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Know the exact word a spectator is thinking of after randomly stopping on any page (they can
even change their mind) of any unprepared book, while you look away the entire time.

The secret will leave you breathless with its simplicity yet astounded by its power.

This may very well be the crown jewel of book tests, a true masterpiece of mind-reading.

It may sound trite, but it's no exaggeration to say that sharing the secret behind this trick was
like tearing a piece of my heart out. It holds a special place in my repertoire and to reveal its
inner workings was not an easy feat.

THE SECRET:

I will explain this exactly as I have been using it. 5 steps.

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1. I instruct my participant to hold their hands as shown on the image below while I hold
the book under my armpit.

2. I instruct my participant to say “Stop” whenever he wants as I rif e thought the pages
of the book while looking away, they can change their mind. Let them know. They will
later remember they had the chance to change their mind.

3. I place the opened book facedown in my participants hands and at the same time I nail
nick the page! That’s the key to the secret! I look away and instruct him to read the
rst word on the page (it can be the last word or why not both). After having a word in
mind they close the book and keep it between their hands.

4. I pretend to read their minds and know their word.

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5. I take the book for a moment as if searching for the word they are thinking of, while
I’m looking for my nail mark. I nd it, I circle the word they are thinking boldly using
pencil, I place the pencil inside the book, so it acts as a book marker and hand the book
back to them.

6. I ask them what the word was they are thinking of, they name it and I ask them to
open the book exactly where I placed the pencil. They read out loud the word I circled.
They reaction I get here is nothing short of amazing. My mindset for having the word
circled is basically so we can have physical evidence of what has just happened
between our minds.

53 Book Test by E-mentalism 2023

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