Uri Geller.

The magnometre measuring Uri Geller’s magnetic field shows that it is close to that of the Earth.  The apparatus comports two pens which permit the notation of the variations in measure onto a graph.  These steel pens have turned over and have largely scratched the graph’s support.  The whole team decides to celebrate this first success by a lunch.  For Uri, the psychokinetic effects which have been produced in the laboratory cannot just cease.  All those seated around the table this day have the privilege of stirring the sugar into their coffee with a completely twisted object, vaguely resembling a spoon.  After what had happened to the “Stop” sign, this is nothing, and Uri wants to go further.  He sees a group of people working in a neighbouring laboratory, near a television set testing visualisation by ultra-sounds.  A system which allows you to see inside bodies, without using dangerous X-rays…  Uri thanks the researchers for his lunch and says that he wants to play a little trick, although he doesn’t know whether or not it will work.

Followed by the whole team, he arrives at about four metres from the television screen and concentrates, while putting himself into a boxer’s guard position.  Before the stunned researchers, he shouts:

“Up!  Down!…  Up!  Down!…”

The researchers are even more stunned to see the image going up and down on the screen, docily obeying the paragnostic’s orders…

So as to leave nothing to chance or… to any possible strategy from Uri, they make him repeat his “number” that afternoon, but this time with an ultra-perfected control dispositive:  he sends the image in all directions, in exactly the same way…  But will he be able to clear the following obstacle, which appears to the scholars to be redoubtable in its simplicity?  He has to try to influence, at a distance, an electric scale, on the plateau of which a weight of one gramme has been placed.  This weight is covered with an aluminium box and the whole is placed under a glass bell, to eliminate the effects of any draughts.  Uri concentrates intensely for a long time.  On the measuring apparatus, there is no doubt:  he has managed to suscitate gains and losses of weight of about one gramme.  But above all, he has emitted sound signals, in the form of vibrations of one fifth of a second, that a magnet was able to receive.  The problem is that, for weeks, they tried by diverse methods, notably charges of static electricity, to imitate the vibrations obtained by Geller.  Not only did they not succeed, but no-one until now, at the Stanford Research Institute or elsewhere, during similar experiments, has been able to explain the exact nature of these signals, nor how Uri is able to produce them…

This emission of waves or signals brings us straight back to telepathy.  Uri does not hold it in very high estime, for “everyone can be telepathic”  he says, which is true in a way.  But those who manage to read complex visual messages are very rare, and our physicists well know that telepathy is the only parapsychological domain where systematic experimentation has led to scientific certitude.  So, just to please him, they propose a few more tests aimed at exorcising his poltergeist.  But with the hope of quickly locking him up in their famous space capsule.  First of all, they affront him with a laser beam, whose position is controlled to the hundredth of a millimetre by photographic detectors.  If he manages to deviate the beam ever so slightly, the result will be inscribed on a graph.  Geller has understood and puts himself in his guard position again.

“I have to move that little pen…  All right, let’s do it!… “

He holds out his fist and after about ten seconds of extraordinary tension, the pen transpierces the graph’s paper and lacerates it over its whole length.  And as, with Uri, a prodigy never comes alone, the amplis of both of the recording canals go up in smoke.

Over the whole of these six weeks, the deregulation and destruction of all kinds of apparatus will be continual.  One day, Uri is filmed making figure eights with rings locked up in a box.  Suddenly, a detonation shakes the camera.  The operator opens it and sees that a cog has disappeared, entangling one hundred metres of film.  The man swears that such an incident is impossible, and in any case, it is the first time in his career that he has seen anything like this…  The following day the cog is found.  It had been projected behind the easel for blowing-up photographs in the dark-room…  While he is at it, Uri manages to deviate the needle of a compass and, at the price of tremendous effort, which exhausts him for several days, he makes a big ball bearing turn…

Before all of these marvels, the scholars are ecstatic…  But they are not forgetting that they are men of science and that, to make sense of these prodigies, they must conform to the austere necessities of experimental method.  For in the so spectacular and poetic manifestations of psychokinesis, the phenomena could also come from a failure of the material, that is to say by coincidence.  As improbable as this may be in the Geller case, this possibility cannot be excluded by a scientist worthy of the name, and for the Targ-Puthoff team, the time of hors-d’oeuvre and recreation is over…

Uri Geller receives by telepathy the image of an object, drawn by an unknown person, and reconstitutes it on a blackboard.

Not without reticence, the Israeli finally consents to enter the “message chamber”, a room with metal walls, garnished with a thick, isolating layer, and a door of the type of those used in recording studios.  In a neighbouring building, a researcher randomly chooses, in a big dictionary, a certain number of target-images which are copied by a sketch artist.  The researcher then “emits” these images toward Uri Geller, locked up in his cabin, under the surveillance of Hall.

The results are impressive.  Uri does not draw well.  But he manages to reproduce the target-images sent to him in a way which leaves absolutely no room for chance.  When it is something simple, like a bird, a horse, he manages perfectly well.  The painter Jean Mayo draws for him a bunch of twenty-six grapes.  Uri reproduces twenty-four…  The images with a symbolic content give particularly interesting results:  as Mayo draws him a little devil, Geller responds by symbolic drawings, where there is the Earth, an apple with a worm in it, a snake and…  the Tables of the Law.  Only the devil’s fork is concretely perceived…  Geller warns seriously:

“Don’t ever do that to me again.  You know very well that, in my country, it is forbidden to draw the devil’s image!”

To be continued.