(201) 431-2429 POST OFFICE BOX 144 • FREEHOLD, NEW JERSEY 01721
101
'(:>AIJclJie
?14r4
(copyright by Al Mann Exclusives,
1983)
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'1~4CA-1. TH~ JRON SCYT~tL$.: Add this effect to your program and you will have a reaction from your audience worth more than the price of this book. This effect, besides being novel and
mysterious, causes much talk and your audience will remember it for years.
EFFECT, While Mentalist dons a steel bucket over his head, anybody shuffles and cuts their own deck of cards and then places the deck on top of the steel bucket. Mentalist then reaches up, cuts the deck, removes a card and names it! while holding the card high over his bucketed headl
The effect can be repeated many timesl
THE GIMMICK is a piece of mirror that is glued
Fig. to the top edge of a card case. This card case
which may be empty is in the MENTalists breast coat
pocket. The method of working is relatively easy. The Mentalist takes the card and holds it next to the bucket on his left side at about the place where his temple is. The card is reflected on the mirror and to the eye as the Mentalist looks down into his coat pocket. The mirror measures about 1/2 inch wide by 2 inches long. Fig. 2
The mirror can be placed in any angle and mirror ~ __ _
it can be covered with a hanckerchief which is
removed to wipe the bucket before the
presen-tation! NOTE. Instead of a round bucket you may Fig. use a square 2-gallon bucket.
2. THE_FINGER TEST I By the same above method. you can have a person stand on your right side and hold his hand on the left side of the bucket, holding up 2 or more fingers or none at all as you divine the number of fingers I
3.
THE DICE TEST. With the bucket over your head have someonethrow three dice on the bucket and to jot down the sum of the three upper number of dots on the three dice.
You then reach over the bucket carefully and pick up one of the dice holding it against the side of the bucket so that you can see the bottom number. Subtract the number, say it is 2, from
7,
to get5. 5
is your key number to remember. ~hen throw the dieT HE DICE TEST cont. ••
away, on the floor or table, or over your shoulder.
Next reach over the bucket carefully and take another die and show the bottom number to the person doing the adding and tell him to add that number to his total. Repeat the same with the third die, throwing away the dice as you did with the first one. You, of course already know the total. Just add 5, your key number, to 14 to get 19, which should be the total.
4. ~ kIl:tJ!1~DIPM • §.l::..BOQK._ ~~ST I
EFFECT I Anyone chooses a playing
[j
C
~~-\
card from a deck and is told to tell no -_".:_-_ ,..,,Y/ ..
'.J~:/ ~ ~
••one his choice. While the medium leaves ~ ~.
the room or turns his back, the card is inserted into anyone of three (or
more) books on the table. The chosen pag@ Fig. J
is then noted and the book is closed.
When medium returns, he names the chosen card, the book it is in and the first sentance of the chosen pagel
MErHODI The card is chosen from a stacked deck like Si Stebbins so that the medium already knows the card when he leaves the room.
The three books, each have a tiny piece of paper on top (or a few grains of salt) so that when the book is opened, the tiny piece of paper or salt falls off. The books used should be some that force a sentance or word, like the Sherlock Holmes books or UNIWORD or your favorite so that no matter where the card is
in-serted, you will know the first sentance or word.
5. ~_!:l~ .§'lI.eP~!~H?1!:D GLASS __ Q~ WAT ~.B I As seen in the circle, a glass is secretly encircled by the loop of a tread with a slip knot.
The glass is then partially fill-ed with water from which the magician drinks. A wooden ruler is then stuck into the glass as it is held about a foot from the body. The hand is then released and the glass is seen to be sus-pended in mid air. (Fig. 4)
This stunt is excellent for the seance room and subdued light.
At the end, the ruler is passed all around the glass to show that there are no strings attached and at the same time, the ruler push-es off the string. (Fig. 7)
The glass is suspended by the pressure of the hand on the ruler.
Fig. 7
Fig.
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
e.
THE SUSPENDED WAND, CANE OR BROOMa By Robert Gysel.Gysel's gimmick is shown in Fig. 8. He fooled many ~
with it. It is clipped between the fingers and the wand or cane is then forced into the metal gimmick.
It can then be tossed from one hand to the other to ~:>
show both hands otherwise empty. Wand or cane is
then suspended in many positions after which it is Fig. 8
placed under the arm and the hands shown empty again
then the wand or cane are removed by a downward pull leaving the gimmick hooked to the coat by the tiny hook on its side.
7. T HE SUSPENDED P ENC I~ I The pencil that suspends by apparent magnetic power is done by a tiny hook as shown in Fig. 9. The tiny hook is made with a sharp knife. The pencil can be laid
on the palm of the hand and Fig. 9 hooked into the skin so that
when the hand is turned over
the pencil remains suspended. In like manner it can be hooked to the clothing or to a drapery. To remove the hook the pencil is rolled on the floor or table. After that try to do the trick shown in the circle. If you can't,
for-get it. In Fig. 10, downward pressure
is applied with the middle fingertips and outward pressure is applied with the first
and little fingers. 4:-- ...
8. THE ANIMATED PENCILa Take a short piece of a metal pin and bend it as
shown in Fig. llA and sharpen it on both ends. Then stick it to the top of the pencil as in Fig.
B
Fig. 11
Fig. 10
llB. Place this pencil into your cupped left palm and stick the end of the bent pin into the flesh of your palm at the base of the
fingers. When you straighten out your fingers, the pencil will
rise upwards to a standing position.
9. PASSJl'!.~L.~_r~Ng.IJ... '.n{B9:tJGH.J\ LOOP OF ?TRING
HALF AS LONG AS THE PENCILa The pencil wi tti the-loop of strIng are shown in Fig. 12.
The magician very easily passes the pencil through a person's coat button hole and
passes the pencil through the loop in the process. But when anyone else tries to do the trick they fail, simply because of the tendency
Pa •• ing a Pencil throuRh a Loop. Much Too Small for It. Is Easv. Once You Learn How the Trick Is Turned
THE PENCIL AND LOOP TRICK cont. ••
to pass the loop through the coat's button hole first, which makes the deed impossible to do. Here is the secret in pictures.
\
\
A B
Wrong way
Correct way Fig. 14
10. THREADING THE NEEDLE. Here is a fabulous effect doneas part-of-'Ths"'Sensative Fingertips' Act or during a blindfold routine. The
per-that can be former can be blindfolded and still
he threads a needle many times. The threading can be done openly without covering the hands, since the hands hide most of the action. Yet the results seem impossible.
To do, the thread is first threaded through the eye of the needle. Then the needle is pushed through a tiny loop at the end of the string. The loop is then pulled over the eye of the needle and free of the needle as s~own in Fig.
15,
1 and 2. The loop is then pulled through the eye of the needle which threads the needle a second time. This move is then repeated as many times as desired.
11. ANOTHER MErHOD.
Take several pieces of thread and bend the top end for about half an inch as shown in Fig.
16.
Pinch and roll hard the bef~t ends between the tips of .tyour 1ngers. Then take a needle with V
"'-G)PUSH NEEDL£ THROUGH LOOP ~ MADE IN THREAD ' ) ' ~ CUT THREADS HERE ,~ ~ ; CUT LOOPS A!i!!!I~ AWAY
®"
PULL LOOP THR~ / -CONTINUE TO PULL THREAD THROUGH UNTIL EYE OF NEEDLE IS WELL FlLL£DFig.
15
a larger-than-average eye and push
it down between your fingertips holding ~==============-==-~
the thread. The eye of the needle will go down and around the wadded threads. This is a very amazing stunt that you can do totally blind-folded. You can feel the thread after the needle is threaded!
101 PSYCHIC TESTS
12. THE SHATTERED CHALICEs An easy method. The photo in Fig.
17
gives the whole secret. The glass is mostly filled with water and some flowers. This will misdirect the thought when theglass breaks and the water and flowers spill out.
5
AN AL MANN ~CLUSIVE
A better set-up is to just bolt the the spring gimmick of the rat trap to the tray and discard the wooden platform and then paint the whole tray in one color to camouflage the gimmick. If possible, it should be painted dead black.
A rat trap riveted to a metal tray break. the
ilia .. vue Uke a shot when a thread i. pulled.
13.
'?ltediulIZi~t,c
StU14tJ:
Fig.
17
This section treats on some fabulous secrets for the medium working the seance. The medium only has to do one simple 'trick' to amaze his sitters, during the interlude between readings. Any 'trick' takes on a veil of deep mystery when done in the seance atmosphere.
VEST TURNINGs As I write this, a medium in New York City is creating a sensation with this effect. The Sitters say that they hold the medium's hands and still he turns up with his vest inside out! (Sept. 1983).
THE ACTs The medium is tied with a two-foot
length of cord and the knots are wax-sealed! Fig.
Another length of rope is then looped 18
over the first cord and this second loop is given to anyone to hold. Medium then steps into his cabinet or behind a cur-tain and within ten minutes, he can walk out with the vest turned inside out and the knots intact!
First, as shown in squares 6 and
7,
Fig. 18, the medium frees himself from the second loop by dipping it under the turn on his wrist.Next, he reaches over his head and pulls his vest (unbuttoned) up and over his head and down between his
hands. The vest is then turned inside .t"'
out by passing it through the armholes ~---~
as it hangs on the cord. (square
9).
All he has to do now is to put it
back on and buttoned it, and reloop the second cord by dipping it under his wrist.
He can turn his vest right side out by reversing the routine!
MEDIUMISTIC STUNTS cont.
14. FIREWORKS. Here is a little known secret. If you squeeze
an
orange peeling over a lit candle, it will produce some amazin~fireworks. This is great in the seance room. The medium passes one hand over the candle and fireworks result. He then passes his other hand and again more fireworks. He can repeat this t~st
over and over by simply palming pieces of the orange peeling and eXchanging them as neededl
15.
Have a person choose a card, from a deck and then control it to the top. Then take five cards, the chosen card included and place them face up on the table. Then pick up one card at a time and pass it over a candle. When the right card is taken. just squeeze the palmed orange peeling and the fireworks tell you that it is the chosen carda16. THE LAND D TEST. Do the same with the Living and Oead test. When you pass the 'dead' name over the candle, the fireworks go offl
17. FIREBALLS. In the darkened seance room, fireballs are seen shooting about. This is done with luminous tissue paper. To pre-pare. Use some dry tissue paper.
Then mix by grinding,
3
parts of gelatine,3
parts pota8~sium bichromate and
37
parts of calsium sulphide. Stir one p.rt of boiling water to the thickly fluid. Apply one or two coats to the paper, using a brush. The balls when dry, can be thrown about in the dark seance.18. GHOST MAKING. Use French Veiling, a very fine silk. Fire-proof it with alum water. Then dip it in phosphorous in a pot of boiling water and olive oil.
By placing a light from beneath of the veil, a ghost form appears!
19. MANY GHOSTSI. Here is a secret that at onetime sold for lots. Place a piece of metallic phosphorous into a bottle and drop
in a few drops of Sulphuric Acid and cork the bottle. During the
dark seance, open the bottle and blow slightly on the mouth of it. Ghosts will then appear in many shapes. One medium had s,ye· ral of these about the seance room and then he went and produced ghosts allover so that in the end there was an army of ghosts floating about. The bottle must be corked after the fumes are blown.
20. FINGERTIPS GHO~. The medium, sitting at his table, rubs his fingertips together and produces ghostsl This is done by using the 'smoke at the fingertips' powder that is sold at magic stores. IT WORKS I GHOSTS ARE SEEN AND RECOGNIZED BY THE SITTERSl So don't pass it up.
101 PSYCHIC TESTS
MEDIUMISTIC STUNTS cont. ••
AN AL MANN EKCLUSIVE
21. DIABOLICAL EYES. Flashes of light shoot from the medium's eyes! This stunt was used by a famous medium in the dark seance room. METHOD. Cut out two tiny pieces of Silver tinsel, this size
(00)
and place one in each eye lid on the outside. When the eye is open, the tinsel can not be seen, but as the medium or magician blinks his eyes as he walks, flashes of light are re-flected creating a weird and uncanny effect. (Try Isinglass also). 22. LUMINOUS EYES. If you have life-size photos of yourself to hang in your den, office or theatre lobby, paint the white of the eyes with luminous paint. They will glow in the dark and cause much talk! 23. STRIKING A MATCH MAGICALLY!,
Fig. 19 gives the method. About an inch square of striking surface from ano-ther box is cemented or glued to the palm of the hand. As the box is tossed in the
air, the match head is turned inward
to-wards the palm and the match is stroke
just as the box is touched with the back of the hand!
How the match box and match are held be-fore the box is tossed Into ~e air with a flip
24. STRIKING A BORROWED MATCH ON THE
PALM OF THE HAND! The same method Is
used here except that the performer
borrows a paper match from anyone. Fig. 19
He takes the match and says, "All I
need is the match. If And he strikes the
match on the piece of striking surface
As the box faUs, the performer a ctua Ily lights the match on a tiny striker stuck to the palm of his hand
glued to his palm, and then flips the gimmick off and the pull vanishes it. (Fig. 20)
It should amaze the onlookers! Fig. 20
250 CAUSING BEUTIFULL EKPLOSIONS IN THE SEANCE
B~' Dissolve a 1-inch s~uare of castile soap in
a p1nt of hot water. Add 1/2 teaspoonful of gum arabic and one teaspoon of glycerine. Then add one pint of cold water. This solution will produce soap bubbles that bounce. Next blow the bubbles with a pipe that contains a wad of cotton saturated with gasoline. Do this in the subdued light of the seance room and let the bubbles bounce around. When a lit candle is touched to the bubbles they
will explode like a bomb. That should give the sitters a thrill. In the dark, the bubbles will bounce around the seance table touching the sitters like 'spirit kissesl' If they break they sound like an eXplosion!
MEDIUMISTIC STUNTS cont. ••
26. CUTTING THE APPLE. The medium places an apple on the palm of his hand and then takes a long sharp knife and wacks the apple and the halves fallon the table, but the medium's hand is intact!
Fig. 21 gives the solution. A steel needle is embedded into the bottom of the apple. The needle stops the blade!
Some stage performer~ place the apple on the head of or on her neck or stomach and use a huge sword for the
This effect must be practiced on a board first!
Fig. 21
a girl cutting! 27. APPARITIONS. A spirit face appears in front of the medium. It grows larger, then smaller and then disappears! This is done with a fountain pen that has both ends cut off to resemble a tube. A ball on that has been treated with luminous paint is attached to one end of the pen and tucked in out of sight. In the dark Seance, the medium simply blows on one end of the fountain pen and the baloon comes into view with the 'spirit' face on it. It is then deflated and the pen put away!
28. A MAGICAL SUBSTITUTION. Fig. 22 shows an easy way of doing a substitu-tion in the seance room or on stage!
The medium first dons a black robe and mask. He then steps into his cabinet and gets a coil of rope. He then calls on two persons to come and tie him. He continues talking all the while. Before the sitters finish tieing the trunk, the medium comes walking in from the outside and through the front door!
A lady or anyone has been substitu-ted for the medium! and that person is found in the trunk I The effect is most uncanny, since everyone hears the
me-dium talking to almost the last minute! Fig. 22
What happens is that the lady is
already behind the curtain with a duplicate black robe and mask. When the medium steps into his cabinet to get the coil of rope, the SUbstitution is made, BUT since the medium's voice can be heard (he is speaking from inside his cabinet), everything appears normal. Once the lady gets into the trunk, the medium runs out a back door, around the outside of the hall and in through the front door!
29. THE SPIRIT SNOOPERSCOPE!. Legend has it that a powerful
medium could never be caught simply because as soon as the lights were turned off, he put on an Aura-scope! These are the goggles with which you can see a person's aura. If anyone came near or moved out of place, the medium could sence it!
The armed forces use a snooperscope with which they can see in total darknessl so look into it! The exposers can eat their hearts outl
101 PSYCHIC TESTS AN AL MANN EKCLUSIVE
30.
'Spirit' Noise Maker. Fig. 2), shows a wooden penny matchbox, rigged with a button and two elastic bands. When the button is wound up and then released, it rotates fast stricking the table top and making a roaring noiselA hole is cut on the bottom of the drawer and also on the bottom of the cover. The two rubber bands are secured by tieing them around the drawer.
The box will make its noise when it is lifted!
31.
THE SPIRIT RAPPER. In Fig.24
the X's represent the four sides of a wooden box.'A' is a small pis-ton rod with two projections, that can be pulled out (arrow) and which will snap back into position, by tension of the spring 'B.'
As rod 'A' is pulled out, the left projection catches the movable ratchet 'C' and in turn, 'C' lifts
x.
Fig.
24
x
A
the hammer
'n'
and then releases it. The spring 'E' then throwsIn'
back into position creating a loud rap on whatever surface it may be. According to F.W. King who first released this se-cret (1904), it is the very best rapper ever made. It attaches to the arm just above the wrist and then it can be placed over any surface. A string runs from the left arm to the right. When the string is pulled, the rod is pulled and raps result.32.
THE MYSTERY OF THE MARKS. Here is an easy to do stunt that always mystifies. Fig.25,
explains it well in pictures.One of several in-dex cards, blank on both sides, is secretly marked with
x.'s
as shown. Magician shows the-:
r'"l1@W~~:ij ~~/
" CD x " ® W.RIIED (fPERFORt.A ER T4I<£5 X ~ PIKES ARE " SEVERAL CARDS
1
@ ~ " PRESSED INTO .. F'ROt.A POCK,E:rJ ONE x THESE PIECES ARE ,'O':ZP-. SPECTATOR'SOF WHICH ~ IUN _ ' .. ' ® HAND i t.AARKED WITH·X· ~ " PIECES ARE DEALT T 8HOREHAND ~ , INTO TWO HEAPS I
r1iSiii.-'
®~
SPKTATOR ... RI(!> X ON THESE PIKES, AFTER
ICH THEY ARE 8URNED
stack of cards which Fig.
25
are apparently all blank.
The marked card is then taken to do the trick. After the pie-ces are dealt into two piles, a good bit is to give the spectator a Magician's choice of any pile!
MEDIUMISTIC STUNTS cont. ••
33.
THE SPIRIT COLLAR. The spirit collar shown in Fig. 26, is gimmicked by removing the pin and cutting off a short piece from the bottom. The pin is polished so that it can then be lifted easily with the finger nails but will not fallout by itself.A bolt head, cut from another bolt, is soldered to the bottoml To present, the
collar is shown and placed on someone else's neck to show how formidable it is. It is then placed on the performer and secured
HINGE
Fig. 26 with a borrowed lock. The collar is removed behind a curtain or in the medium's cabinet. It may also be used to secure the medium by attaching a chain to it and having someone hold the chain.
34.
BLOOD WRITING. A favorite with Master Magician Maskelyne of Egyptian Hall fame. He would roll up his sleeve and show his arm unmarked and roll down his sleeve again. He would then state that he will make a message appear on his arm in blood writing orskin writing. He would again roll up his ~leeve and the messa@9 was seen in blood red letters.
The secret is that the first time he showed his arm, he showed one side of it. The second time, the other side of his arm was shown to the audience which had the message there all along.
35.
REAL BLOOD WRr.rING. Some performers actually pierced their skin with a needle, making small punctures to form letters. To produce the message, the medium goes into his cabinet and swings his pierced arm in wide circles vigorously and then lowers his arm. When he rolls up his sleeve, letters are seen in real blood! Droplets of blood on the outside of the skin are seenl36, STIGMATA!. Like St. Francis of Assisi, can produce stigmata (blood) on the palms of his hands, through mental concentra-tion! He then proves itS He washes his hands and then places his palms on a piece of cardboard or thick paper and leaves an imprint in blood red.
The cardboard is prepared by painting it with a solution of sodium salicylate.
The hands are washed in a solution of iron-ammonium sulphate.
Dry only the backs of the hands and leave the palm side wet. Place your hands on the board and the chemical reaction will do the rest.
Use two boards. One for each hand and then give the boards out as mementos to your admirersl
the medium claims he
",
\;
101 PSYCHIC TESTS MEDIUMISTIC STUNTS
AN AL MANN EXCLUSIVE CONT •
37. THE MYSTERY OF THE COLORS. In Fig. 28 the lady is given several color crayons and is told to secretly wrap them in paper towels. She then hands one
wrapped crayon to the magician behind his back. The magician almost instantly returns the wrapped crayon to the lady telling her the color.
A very simple trick. The magician partly unwraps the crayon and scratches
it stealing a bit of the color on his fingernail. He then brings the rewrapped crayon to the front, glimpses the color and tells the lady the color of the still wrapped crayonl
38. TIME, PREDICTEDI. "WOUld you believe it? I am going to predict exactly what hour you will set on my alarm clockl I have the powerl I am going to write out a number from 1 to 12 on this business card before you do anything." Psychic writes out the prediction. "Now please ta.ke my
alarm clock and set the minute hand to any hour. Forget the hour hand. Just
use the minute handS I will turn
my back as you do that and then place the clock on the table so that I can not see the face." After the spectator sets the hour, the psychic turns around and shows what
Fig. 28
he wrote on the card which proves to be the hour set on the clock!
Fig. 29 shows that the alarm clock is gimmicked
by making a mark on the stem wheel that sets the hour. First the clock is set so that the minute hand points to·12. The mark
is made on the top of the wheel. After the minute_hand is set to
any hour, the mark will indicate the hour but in a reverse fashion. If the mark points to 1, it indicates the hour of 111 etc. For the prediction, the psychic writes nothing. After he turns back and glimpses the back of the clock he writes in the hour on the card with a nail writerl
39. CAGLIOSTRO'S MESSAGEI. Sitter is told to write out his question on a card or piece of paper and then is given a small chest to place his question into and to lock it and keep the key, while the medium is out of the room. When the medium re-turns, he answers the question without
CAGLIOSTRO'S MESSAGE cont. ••
opening the chest! Fig. 30 shows the solution. The psychic is using a magician's watch box that has a secret door that opens out at the touch of the fingers. The photo shows, for clarity, a business card being used. In actual practice, it is better to have the sitter write on a piece of paper and wad it up into a small ball. That makes it easier to handle. The psychic then opens the wad on his lap, reads it, and repalms it back into the chest after he answers the question, to the mystification of the sitter. 40. THE LAPPONE MOVE (with pocket slates). Two pocket slates are minutely examined by a number~.~~~of sitters, and cleaned and
initialed. The slates are then tied together and a
message appears when later the slates are untied!
THE SECRETa Medium has three pocket slates but
shows only two which are passed out. Medium has
the third slate with mes- Fig. sage on outside, pa~med
in his right hand. After 11 the slates are exam1ned
the medium scoops them up, adding th~ palmed slate and lapping the bottom slate of the three. He then has the slates initialed and tied!
41.
THE SPIRIT ARTIST. EFFECT. Two pocket slates are shown to be without marks. A deck of Mental Pictoria cards are then shown and two are chosen. One card is placed face down on one slate and when removed, the picture has transfered itself to the slate and cannot be erased. When the second card is placed on the second slate, the picture is transfered to the bottom side of the slatEI SECRETa The two picture cards ar& forced. The first slate has a magnetic flap with a duplicate card under it and a picture of the card drawn on the slate and fixed with fixatif. The slate is momentarily covered with a writing pad that contains a magnet and which picks up the flap and the top card to reveal the secon~card. When this is removed, the picture is seen.
The second slate has the picture drawn on its underside and covered with a flap that has newspaper on the inside. The slate is placed over a newspaper and when it is picked up it shows the picture drawn on it, on the undersidel
42. ESCAPING FROM A SAFEl. This refers to the old fashioned huge office safes that lock with a combination. You need a good pocket flashlight ( take two in case one fails and check the batteries), a screw driver ( I would take several sizes) and a small mechanics wrench. After you are locked inside, turn on your light and remove with the screw driver, the plate that convers the lock. It is held with screws. Then line up the tumblers so that the bolt can be withdrawn and open the door, Then replace the plate. This is done usually behind curtains. There is enough air inside the safe to sustain you for a long time. B1~ if you fail and panic take the wrench and knock on the walls furiously!
(201 ) 431
-2429
POST OFFICE BOX 144 • FREEHOLD, NEW JERSEY 07728
101 PSYCHIC TESTS
~~f1~~~c'1'''9
""-t./AatA!
Animals can only be 'immobilized' instead of
hypnotised. They can be forced into a state fo relaxa-tion resembling a hypnotic state. This is done by petting stroking and manipulations. Here follows the technique of hypnotising aa
43.
RapbitlTake the rabbit and swing him up and down several times as shown in Fig. 32. Then throw him on its back and hold him down, still for seve-ral seconds, strug-gle will cease and it will go into a hypno-tic sleep as in Fig.33.
".', .' I
.:,;::'~-Fig. 33
44.
A second method with the rabbit, is toon its back and part his ears holding them down flat against the table and pull his legs down flat and stretched and hold him there with your two hands for about half a minute and then re-move the hands, it will remain in a sleep statel
Fig. 32
45.
Chicken and roosterl A chicken can also be hypnotised by the rythmic swinging mentioned above. Apparently, the rythmic swinging throws the animal off balance and therby immobilizing it.Amazingly, the same can be done with a humanl If a person is told to bend at the waist into a 90 degree angle and he is then picked up and swung up and down, he will be also immobilizedl
An easier method and faster, to hypnotise a chicken is to place the fowl on the table with its legs beneath it, and ho~d
down his head and neck with the beak resting on the table. F1g.
34
46.
ANOTHER METHOD. Fig.35
shows the fowlwith its vision focused on a chalk line that is drawn on the table before its eyes while it is held down with its head on the table. The bird remains motionless for a long
timel
Fig.
34
HYPNOTISING ANIMALS cont. ••
47.
LOBSTER AND CRAYFISH, Place the crayfish on his head forming a triangle with his large claws. Stroke his back for a moment or two and he then rests motion-less for some time. There always is a resistance but once motionless, they remain so for a long timel48.
Frog. Hold the frog on its back and hold him there gently, covering it with the palm of the hand until it stops wriggling, will put it in a trancel491 CHAMELEON. Use the same technique here as used with the frog. 50. Snakes are hypnotised by placing them on their backs and gently but firmly ,them down.
Fig. 37
Fig.
35
51.
CRABS. Open the first two Fig.38
fingers of your right hand (or left hand) in the shape of
a "V" and approach the crab from behind and gently rub your fingertips over its eyes. The crab will relax totally and go into a sleep!
52. GUINEA PIG. Roll the animal over and over on the table and then leave it on its back. It will go into a sleep trance!
53.
PIG. Every farmer and his third cousin knows this one. All you do is to tickle or scratch the pig's belly with your finger-tips and it will rollover beautifully relaxed.540
PIGEONS. Pigeons are hypnotised in the same fashion aschickens and roosters. By drawing a chalk line before their eyes~
55.
IN THE ACT. The old time stage hypnotists would hypnotise frogs by holding them down and gently stroking their backs. They would bring on stage several dozen giant frogs and place them all in a 'sleep' state and line them up on the table to the amuse-ment of the ~dience. This proved that hypnotism must be a101 PSYCHIC TESTS
HYPNCYr ISING ANIMALS cont. ••
15
AN AL MANN EX.CLUSIVE
56.
WITH RABBITSI The old Hypnotist did the same thing witha basket full of rabbits. The rabbits were hypnotised in the
same fashion as the chickens, by drawing a chalk line in front
of their eyes and holding them ddwn gently and flat on the table. They filled the stage with sleeping rabbits!
57.
The PRIME SHCREr - in hypnotising animals is to handlethem gently. Love and tender care pays off here. Snake charmers and handlers know that and are able to control the most poiso-nous snakes in that fashion. Lions, tigers. elephants and horses can be 'immobilized' by the expert trainers.
The second most important secret is to know what you are
doing! which brings us tOI
58.
THE COBRA!. How magicians hypnotise alive cobra snake is well covered in liT he Shattered Chalice" an AME release.
Needless to say, only trained handlers should play with cobras or poisonous
snakes.
Magicians do not take chances, Their Cobras have been defanged or have their mouths sewed tight.
The magician's favorite cobra is the
Naja-Naja cobra of India. It has the lar-gest neck span with beautifull bright
color designs on the back and is the best
for show purposes.
A most peculiar characteristic about
the cobra is that once it is picked up
by the head, Fig. 40, (an easy task for the trained snake handler), it collapses totally and resembles a walking stick!
This is not too well known, except to master magicians.
Legend has it that Moses, the spiritual leader of the ancient Israelites used the Egyptian cobra Naja Haje, called the rod serpent, in his magic before the Pharoah. And turned his 'walking stick' into a snake!
Fig.
39
Fig. 40
Both the Naja-Naja and the Naja-Haje cobras must bite their victims to inject the poison. While the
King Cobra (Fig.
39)
and the Black-Neck Cobra ofAfrica shoot a stream of poison into the victim's eyes! So wear a tight pair of goggles if you must play with the King Cobra or the Black Neck Cobra
t
MANN
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In the following incredible feats of the theatrical Strongman, the brain is a bigger asset than the muscle.
59.
T~ STRANGULATION TESTa In Fig.41,
a strong man has a rope around his neck and a dozenstrong sailors trying to strangulate him. "
The secret is thata The rope is of a large diameter (about 2 inch) and quite easy for the strongman to manipulate. This gives him a small amount of slack. The tight grip on the rope with his hands and his chin press against the knot nullifies the efforts of the sailors. 60. THE BRICK TESTa Strongman passes out a brick for examination. He will break the
brick with his bare hands, he says. The brick is found to be an ordinary everyday brick and is solid like a brick. Spectators try to
break the brick but fail, even if they rest
the brick on a sharp solid edge of steel. Fig.
41
MR. Strongman breaks the brick with one chop
of the hand. The SECRET is that Mr. Strongman lifted the brick a few inches above a hard surface or floor and then came down
hard with his hand. The brick breaks when it hits the hard surface or corner of steel or any solid material.
61. .!3end~ng _§:..J>.?Lr __ 9_t_ S~~~lla Pass a bar of steel out for examination. It ~s
5
ft. long and 1/2inch square in stock. Take the bar and lean it against your instep, Fig.
42.
Push at the cen-ter with one hand while you hold the top end with the other. The bar will bend in half. Then press it against the thigh to finish bending it and then offer it to the audience asking them to unbend it!62. TOT EAR A TELEPHONE DIRECT ORY IN HALF a Fold the loose edges of the pages to form a "V." Fig. 43. Then Grip the book firmly and push the sides of the book down to open up the "V." T he page s will tear, one by one!
Fig. 43
Fig.
42
101 PSYCHIC TESTS BRAIN OVER BRAWN
AN AL MANN EXCLUSIVE cont. ••
63.
RIPPING A DECK OF CARDS. Hold the deck in a vertical position in the cupped left hand as in Fig.45.
Then grip the deck with your right hand and place your two hands as close to each other as possible. Take a hard grip and turn your right hand anti-clockwise and your left hand clockwise.64.
THE NAIL ACT. DRIVING A NAIL INTO A WOODENPLANK WrTH YOUR BARE HANDI. Wrap a towel around the head of a large nail and rest it against the back of your palm. Stick your hand straight out over your head and then bring it down with a sweep into the board as shown in Fig.
46.
The momentum gained by the swing of the arm is enough to drive the nail into the board. Start with a one inch plank. Then use thick soft wood for the show.65.
DRIVING_ A NA I1-'J;):{ROUGH T HE WALL.Figs. 47 & 48
This is an easier matter as some doors and wall pa-nels are not that thick. The stunt is done in the same fashion. Note that the nail sticks out between the middle and third fin-gers.
Showmanship is the key word that entertains I
66.
BENDING A LARGE THICK NAIL WrTH YOUR BAREFig.
45
Fig.
46
HANDS!. The nail is placed into a steel pipe- as shown in Fig.
48.
The pipe is held vertically and the nail is inserted into it half way and then bent in half! Easy to do. You must also use a towel to protect your hand.67.
BENDING A NAIL IN HALF WrTH YOUR TEErH!: Again the long steel pipe-rB used. The towel is folded severai~imes and jammed into the mouth. The performer then places his mouth around the top of the nail and then hangs the weight of his body on the nail and it bends. A special set-up must be used so that the pipe remains in a vertical position and so that it will hold the weight of the performer. This is a favorite stunt for side shows.68. ElCTRACTING NAILS FROM A WOODEN BOARD WITH THE FINGERI'IPSI: The audience is gIven one-- ormorewooden boards-- about one inch thick by 10 inches square and some nails. They are told to drive in the nails but to not let the point of the nails come out the back. Performer then extracts the nails on stage, with his fingertips. SECREr The board is exchanged for one with loose
BRAIN OVER BRAWN cont •••
nails, while on the way to the stage. The board is then covered with a hankerchief. Performer takes the nails out one at a time and drops them on a glass dish and passes them out to be examinedl 69. PULLING A BUS WITH YOUR TEETH! I This
is the stunt that strong men and psychics do outside the theatre to bring in the
public. The stunt is not hard to do. The bus (or car or truck) must be on a level ground (or one slightly and inperceptively
inclined in your favor). .
A steady pull causes enough tension to start the vehicle rolling. You only have
to move it a few feet. Make sure the vehi- Fig. 49
cle is free to move in the first place.
Some Indian magicians pull a car by placing fish hooks with ropes attached into their chest muscles!
70. NOTEI If you think that the 'Nail Act' is passe, read this. The writing of this treatise was interrupted to watch the T.V.
show "That's Incredible" on Monday night 9/19/83. West Coast Mentalist called to say he would be on the show and would do
his baffling telephone directory test. He was great!
The first part of the show introduced a Strong Man act! Mr. SM drove a large nail into a railroad tie by pounding it with his open handL The ladies gasped. The nail was repeatedly hit with the palm of the hand driving the nail home. Then Mr. SM took the nail out with his teeth! "That's Incredible" they said!
Three things were obvious to the well versed magicianl 10 The nail was large, about six inches long, and had an extra large head, about
3/4
inch, or one inch in diameter. The top of the nail head was well polished to a smooth finish.2. The railroad tie, was made of soft untreated wood. The tie measured about 6 feet long by 4 by 4 inches square.
3.
The nail was pounded home with the back of the palm! Very few persons know that the muscle on the rear of the palm of the hand can stiffen into a hard solid masslMagician Jerry Fulton of Canada, does a test where he pla-ees a metal pin vertically on the table. He then hardens his palm by stricking the table top a hard blow and thenl he brings his open hand down on the point of the pin. The pin doubles up causing no harm!
71. THE ANVIL TEST I Fig. 50 shows the Strong
man with his back on a bed of nails, a heavy anvil on his chest and a man hitting the anvil with a sledge hammer. The SECRET I First the
per-former must practice laying on a bed of nailso The point of the nails is blunted and the nails
101 PSYCHIC TEST
BRA IN OVER BRAWN cont ••
19
AN AL MANN EXCLUSIVE
harm done to the back of the performer except for some very impressive pock marks that disappear later. The rest is easy, the blows of the sledge hammer are absorbed by the anvil! 72. BREAKING A LARGE STONE ON THE CHEST OF THE STRONGMAN WITH A SLEDGE HAMMER AS HE LAYS ON A BED OF NAILS! This test is si-milar to the above except that a large stone is used. The stone test is very dramatic as the stone breaks in half and falls down on the sta~e with a loud thump. The stone is made of soft sand-stone. Aga1n the stone absorbs the blows of the hammer!
73.
A CAR IS DRIVEN OVER THE BODY OF THE STRONGMAN WIHTOUTINJU-RYl:
Fig. 51 Fig.
52
In Fig. 51, as the car goes over the plank, its center of gravity is shifted, due to the tilt. This also shifts the weight so that most of the weight of the car is over its right side while the performer supports only a minimal harmless amount!
Fig.
52
shows a sensational demonstration that was given at the New York Hippodrome by strongman Lionel Strongfort.Little known is also the fact that the bones of the body can support enormous weight when in a vertical position. In Fig.
52,
the performer only supports a heavy load for a split second until the car tilts the board over to the other side for the descent.99%
of the time the weight on the performer is minimal!74.
BENDING A STEEL BAR Figs.53, 54
WITH THE HEAD! I Place a folded
towel over your forehead, Fig.
53,
then place the bar over it and pullon the extreme ends with both hands. Then bend the bar into a pretzel as
MIND OVER BRAWN cont •••
75.
BREAKING A HEAVY WELDED-LINK CHAIN WITH THE CHEST MUSCLES! IThis sensational stunt has been featured by both Strongman and Mentalists. The strong man breaks the
chain after it is tested by several dozen men pulling on it. He breaks the chain by wrapping it around his chest. He claims that the expanding force of his mighty lung muscles split the links!
The Mentalist breaks the chain by 'Mind Power! '
Both showman use the same gimmick. One of the links of the chain has been sawed apart and then welded with soft solder!
The Strong man gimmicks the last link. When the chain is tested it is usually held by the third or fourth links. A team of horses can not split it!
To demonstrate his technique, the Strong man attaches metal sister hooks to the last link (or an
"s"
hook) and then links the chain into a circle or a figure'9.'
He then wraps the chain around his lungs and inhales and expands his chest to break the chain. Or he can do it as in Fig.55
which is a theatric-cal pose of showman Paul von Boekmann, circa 1931. The Mentalist must use a link thatcollapses at the touch of the fingers! Fig.
55
760 LIFTING A HEAVY MErAL TANK FULL OF WATER! I
Fig.
56·
shows a huge tank inside a special platform with a harness and chains attached to the tank. It looks formidable. It is a metal tank!Members of the audience are invited to climb up to the top platform to inspect the tank. When they get up there they see a tank filled with tons of water. 100 men could probably not be able to lift it. BUT Mr. Strongman lifts it right off the floor all by himself!
What the audience do not see is that as soon as the spectators come down off the tank platform, the water is drained off through a concealed drain on the stage floor! So that Mr. Strongman lifts only an empty tank. OH! Yes! the tank is still
heavy since it is a metal tank. BUT the Strongman Fig. 56 can lift it very easily with the special harness
he uses. And by pressing up with his legs!
This type of test is rarely seen due to the expenditure of the special equipment used. BUT when it is done it creates a seansation!
101 PSYCHIC TESTS BRAIN OVER BRAWN
77.
VERY STRONG LADIES. Fig.57
shows a lady holding her index fin-ger against her fore-head and daring the mancont
to lift it upwards. He fails Fig.
58
shows a lady that is apparently lifting the weight of five men!Amazingly. both ladies depend on the law of leve-rage which makes their task quite easy.
In Fig.
57.
the position of the lady throws the man to a disadvantage. All she has to do is to hold her finger firmly against her forehead and the man can not lift it. The taller the lady the better her leverage!Fig.
58
AN AL MANN EXCLUSIVE
In Fig.
58.
the lady is using a principle that issimilar to the 'Abnormal Lift' used by magicians. This principle is a mystery and hard to explain. But note in Fig.
58
that there's a set of stanchions directly and vertically over the lady's knees and therefor over her lower leg bone. It is these bones that support the weight. BUT that is not all. the two men on the left counterbalance the two men on the right and the center of the cross bar bends slightly upwards thereby throwing most of the weight's stresS upwards into the air. The man standing is of little consequence except that it adds to the effect. He isstanding on a board that lays across the ladies knees. This ac-tually helps in keeping the cross board from warping!
78.
If A YOUNG LADY EXTENDS HER ARMS AND PLACES HER HANDS FLAT AGAINST THE WALL, HALF A DOZEN PER-SONS CANNOT PUSH HER AGAINST THE WALL!Here again is proof that the human bones can stand an enormous amount of pressure. the limits of which is not yet known!
(201) 431-2429
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101 PSYCHIC TESTS
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79. THE UNREACHABLE MATCHBOX. Draw a chalk line on the floor. Then place a
penny matchbox three feet forward of the
·chalk line (or three foot lengths). Then have anyone stand behind the line and try to kick
the matchbox with one foot. Chances are they
cannot. As they will surely loose their balance! Fig. 60.
80. THE MYSTERY OF THE TYPEWRITER. Give a ..
person the list of words shown in Fig.
61 and tell him to secretly choose one of the words -and then to go to
a typewriter and secretly type
out the word.
DtE;p s"Rk sVnk GONe; " ... Mp V£'RY .JUMP TAME; F'E:"R COMt H£Ml
Psychic then goes to the typewri-ter with another piece of paper and duplicates the word!
Fig. 61 gives the secret. before the test is done, the psychic places chalk marks on the first letters of all the words. The first letter of each word is not found in any other word! So when the psychic goes to the type-writer he looks for the typetype-writer key that has been used and which does not show the chalk mark clearly! With a little thought you can make a prediction out of it!
81. THE MYSTERY OF THE ORANGES. Here is an effect that you can do totally impromptu, providing your host has a basket of oranges on the table.and further providing that the oranges have the
pips on the outside that are easily removed.
One person is given an ink marker and told to secretly pick one orange and sign his name on the outside and then to place the orange in a bag together with several oranges. The bag is
then shaken and the psychic sticks his hand in and gets the signed orange. The SECRET is that the psychic places the other oranges into the bag and he flips off the pip ends of each orange. When the signed orange is mixed with the others it is easy to find by touch. The same thing can be done with tomatoes!
101 PSYCHIC TESTS AN AL MANN EKCLUSIVE PSYCHIC MEDLEY cont "
82. THE MALAYAN THUMB TIEl Fig.
Rere is a very simple and 62
practic fast-release thumb tie. Fig. 62 shows what the audience is shown. Fig. 63 shows the secret move that gives the magician enough slack for a fast release. This is great for use in the seance room and also for doing the "Slave Bangle" routine with the metal rings.
83. THE MANGO TREE MYSTERY. Indian magicians baffle their
sidewalk audiences by planting a seed into the bare ground and then watering the plant re-peatedly until a three-foot high ~lant emerges from the spot within minutes.
This trick will baffle anyone, if they do not know the solution.
The Indian magician Fig. 63
prepares the ground du-ring the early morning hours when no one is on the streets. They dig a
hole in the ground and embed a metal tank that contains the full grown mango tree with a floatable cork bottom. So during the show after the seed is planted, it is covered with a tent cloth and then watered freely . Every time the plant is watered, the cork float pushes the plant upwards, an inch at a time in a most ma-gical fashion to the mystification of the observers!
84. EATING GLASS!. Performers that eat glass actually do just that. They eat the glass and there is no trick to it. This is written here for information purposes only as it is a very rare person that will resort to eating glass for a living unless you want the publicity and then there are many other ways of getting publicity. The secret ( I have been told) is that the glass eater must be a master at regurgitating~ Glass eaters claim that they prepare themselves by eating lots of bread, bananas and co-ton wool! The glass, they say, sticks to the bread or bananas or wool and then is easy to regurgitate. (We have a mystic in
the New Jersey area that regurgitates a good ten pounds of je-welry, that is then considered priceless by his devotees-circa 1983!) Anyway, the best glass to eat and the best for the showmanship is light bulbs. Take a lightbulb, a borrowed one, and cover it with a cloth and then break it with a hammer. Then place the pieces in your mouth and grind it to tiny bits and swallow it! Godd luck, braveones.
PSYCHIC MEDLEY cont •••
85. DIRECT MINDREADING. The most direct, easiest and fastest mindreading method was invented by Joseph Ovette. Members of the audience wrote and sealed their own questions. The sealed questions were collected and placed on the table where the psy-chic was sitting. There was no exchange of envelopes or any tri-cky or suspicious apparatus or moves used. Mr. Mindreader then proceeded to answer the sealed questions and return the envelope and question paper to the audience!
The secret was that the Mindreader's table was drapped and an assistant was hiding under it. He took the envelopes, open them and read the question and wrote it on the outside of ano-ther envelope and sealed it. The rest is obvious.
Needless to say, the exposers took the secret and used it on stage as a comedy! The method is a winner today.
86.
THE WHISPERING SEASHELL. Spirits talk through a seashell, you say. Placing the large seashell to the ear of any person they can hear the sound of the ocean and then! they hear a whisper! The psychic then tells the person what the whisper said!The SECRET is that the psychic is using a palpitator gim-mick! The end of the tube, after the bulb is removed, is secretly held in the hand. As the psychic puts the seashell to the ear of the spectator, he allows him to first hear the hissing sound of the ocean (any large shell has a hissing sound due to the air currents) and then he activates the palpitator which does a his-sing noise which resembles a whisper.
87.
X-Ray Vision. Effect. A well Shuffled deck of cards is cut into four piles by a spectator. The psychic then names the bottom card of each pileiSECR~. There is a small mirror attached to the bottom of the card case. Psychic glimpses the bottom card as he picks it up to name the cardl
(nobody ever looks at the bottom of the case) If you are surrounded then you must resort to a reducing mirror held in the palm. This is a
baf-fling effect to the lay mind.
~
?'Fig. 6588. THE CARDS IN THE BOX. Three cards are secretly chosen by one or more persons and inserted into the card box. The Psychic names the cards, one at a time.
THE SECR~I Prepare a double ended card box that opens on either end. The regular flap-end is ungimmicked, but the bottom flap contains some mirror sheet in the inside. After the three cards are secretly chosen, the spectators place them inside the card box and close the box. Psychic then takes the card box and 'feels' it and opens the bottom flap and takes out, partly, the three
cards and names the face card of the three, which obviates the thought of marks, then the next, etc. A card box can be gim-micked so that both ends are alike, but the psychic opens the un-gimmicked end at the start of the presentation so that the mirror is never seen! Place the mirror sheet on the 'dot' Fig. 65
101 PSYCHIC TESTS
PSYCHIC MEDLEY contI ••
AN AL MANN EXCLUSIVE
89. THE TEST OF THE WORDSl. The Medium sits at
his table with one or more sitters across
Q
from him. There are several books on the table. "We must do a test to tryout the vibrations, before we start anything else. So please
secretly choose a word from this book and
write it on this card." says the Medium, as Fig. 66
he takes a book and hands it to the sitters together with white cards and pencils.
Three words are chosen. The medium then collects the three cards face down and places them vertically in front of him with the writing facing the sitters."Please concentrate on this word." he says as he points to the word showing. He then ,names all three words! THE SECRET is that one of the books has a strip of mirror cemented to the edges of the pages as shown by the arrow, Fig. 66. 90. THE NUMBER ON THE BULLEr. The audience is shown a card with a wheel and spokes as in Fig.
67.
The sections madeby the spokes are numbered from 1 to 8. The card is then sealed in an envelope and tacked to a wall. The Magician next takes a 22 caliber bullet and
secretly marks a number on it and informs the au-dience that the number is his prediction. He then has someone from the audience shoot the marked bullet at the envelope with a riffle. Upon opening the
envelope the card with the bullet hole is passed around and found that the bullet has hit one number. The cartridge is then taken out of the riffle and
found to have the same number scratched on it. Fig.
67
SECRET. There are two cards use'd. The card shown is switched via an envelope switch for another duplicate card that has a bullet hole in it through the number to be predicted.To PRESEN~. The first envelope is switched for another that has a slit through the middle and the card sticks half way out of the envelope. The magician takes this envelope and folds it
in half and places it to his temple and/or to the temple of one of the spectators for vibs. Then the envelope is unfolded, but leaving the card folded in place and the envelope is tacked to the wall. A circle is then drawn on the top half of the en-velope and a sharp shooter is told to aim for that half marked by the circle. The card is smaller then the envelope so that no matter where the bullet hits, the mark looks normal. The envelope
is taken off the wall and the card taken out and passed to the
audience and the envelope torn up. The cartridge is then checked for the marks. (The prediction can also be made in a sealed envelope). The flapless envelope switch is recommended.
If guns and bullets are not your cup of tea, then use a nail and a hammer and have the spectator drive the nail through the envelope 1
PSYCHIC MEDLEY cont •••
91. THE TONGUES OF HADES. In an earthen-ware jar with the top opening smaller than the bottom, place 1/2 ounce of sal ammoniac
and 2 ounces of aquavitae. Set fire to the jar in the darkened
seance room and the effect is that each person sees the other enveloped in flames.
Aquavitae is also known as Water of Life and alcohol. Brandy may also be used.
92. THE SECOND HAND MIRACLE. EFFECT. Six paperback books are thrown into a bag. Anybody chooses one secretly, opens to any page and reads the first word and then places the paper back
on the psychic's hand behind his back! By touching the book
the psychic tells the title of the book and the word chosen. THE SECR~.
All six paper back books have the same contents but under different cover. Anyone calls out a page number and another person secretly chooses one book from the bag and opens it to the page and memorizes the first word or two.
Behind the back the psychic, either tears off a corner from the book which contains a secret mark (say 1 to 6) or gets an impression on his finger of a mark written on the back page
in-side the bottom corner, with indelible" pencil.
To tell the front of the book from the back, the upper right hand corner of the front cover of each book is cut off. Stores usually do that to tell that the book is second-handI
The words are gotten from a prompter list after the page is . called. If the reader is rich then he can have paper books bound
all containing the same page repeated over and over but under
different cover.
93.
THE BUG IN THE EAR. (A hypno-Trick) A hypnotised person istold that he has a bug in his ear. The hypnotist has a long hair attached to his index finger and he sticks it into the subjects ear as he points. It never fails.
94.
Delicious soapl. (Another hypno-Trick) A hypnotised personis told that a bar of soap is very delicious and he eats it and
says that it is very delicious. SECRET A piece of Smooth white cheese is cut to the size of a bar of soap and wrapped in the soap paper.
95.
SPIRIT ANTS. Magician opens up a jar of invisible ants andlets them crawl into the audience. Soon the audience starts to
scratch. Magician walks into the audience and points with his pencil saying, "There is one" as he touches someone' s arm and that person starts to scratch. Magician then says, "Sometimes you can see the ants!" And he shows some live ants crawling about. SECRET. Suggestion and some itching powder and some
real ants. Magician dips the erasor of his pencil in some itching powder as he walks towards the audience and touches people with
it. Then he removes the erasor from the pencil secretly and lets out some real ants from his hollowed pencill
101 PSYCHIC TESTS
PSYCHIC MEDLEY CONT. ••
AN AL MANN EXCLUSIVE
96.
THE SPIRIT VIOLIN. Place a violin on a chair in the middle of the room and then dim the lights. The violin will sound if you pass a string treated with resin over the strings. Have your assistants pull the string back and forth. It is spookyl97.
THE SPIRIT HARMONICA. There are several ways of making the harmonica play while the mediums hands are held. One way is that the medium uses a straw and blows into a harmonica that is co-vered with chicken wire. Another way is that the medium has a tiny harmonica in his mouth and plays it. A third method is that one of the assistants plays it.98. THE SPIRIT T'RUMPEl'. An assistant hangs a trumper on a circular wire stand as shown in Fig. 68, while the medium is in her cabinet in a trance. The lights are then dimmed and voi-ces are heard coming from the trumpet in whispers. Questions are answered and message given.
THE SECREr. From inside the cabinet, the medium speaks
through another larger trumpet.
The voice is aimed at the outside Fig. 68
trumpet so that it seems to come
from it. The trumpet rotates on a horizontal arc as it is aimed at different sitters.
99.
THE EAST INDIAN BEAN TRICK. EFFECT. Psychic takes three beans and shows them. He then places one in his mouth, chews it and eats it. His mouth is examined and found empty. He repeats with the other two beans. Then the beans show up, one at a time between his teeth. He takes the beans and places them into his cupped left hand from where they vanish totallylBeans should be prepared by placing them in cold water and boiling them till they are half-cooked.
The three beans are shown openly. The first one is placed into the mouth, chewed up and actually eaten. Same with the se-cond bean. The mouth of course can be thoroughly examined.
The third bean is not eaten or chewed but is hidden under the tongue. The mouth can be shown empty. Then the bean is produced at the teeth and as the psychic pretends to take it out, he ac-tually pushes it back into the mouth and then pretends to put it into his cupped left hand. The same is repeated two more times, after which the third bean is swallowed and the vanish move is made showing the hand empty. If you want to reproduce the beans from your ear you had better prepare three more beans. Or use a finger tip and produce them from your mouth again.
