Al Mann 101 Psychic Tests

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(copyright by Al Mann Exclusives, 1983)
1
Fig.
mirror ---
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 fingersl
J. THE DICE. TEST I With the bucket over your head have someone
thrOW 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 get 5. 5 is your key number to remember. ~hen throw the die
St-{t.tt~< '1~4CA-
1. TH~ JRONSCYT~~~: 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 head!
The effect can be repeated many timesl
Fig.
THE GIMMICK is a piece of mirror that is glued
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
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
use a square 2-gallon bucket.
f. p/nj/fm
2
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
THE DICE TEST corrt , ••
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.
Fig.
5
Fig. 7
5. ~_!:I~ .§.lI.eP~!~H?lm GLASS __Q~ WAT ~.B'
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.
4. ~ kIl:LM~DIPM'§.l::..I30QK._ ~~ST •
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
MErHOD. 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.
)
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
e. THE SUSPENDED WAND, CANE OR BROOM. By Robert Gysel.
~
Fig. 8
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
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.
Fig. 10
B
Fig. 11
Fig. 9
7. THE SUSPENDED PENeI~ 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
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 PENCIL.
Take a short piece of •
a metal pin and bend it as "'A
shown in Fig. llA and sharpen
it on both ends. Then stick it to
the top of the pencil as in Fig.
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.
Fig.
9. PASSJl'!.Q~.£LJ~~R!Q.I1. ~JJB9:UGH.pJ\ LOOP OF ?TRING
HALF AS LONG AS THE PENCIL. The pencil
with the-loopofstrIng 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 through
a Loop, Much Too Small
for It. Is Eaav. Once
You Learn How the
Trick Is Turned
101 P~YCHIC TESTS
THE PENCIL AND LOOP TRICK corrt , ••
4
AN AL MANN EXCLUSIVE
to pass the loop through the coat's button hole first, which
makes the deed impossible to do. Here is the secret in pictures.
®""
PULL LOOP
THR~
/
-
Fig. 14
@
CONTINUE TO PULL
THREAD THROUGH
UNTIL EYE OF NEEDLE
IS WELL FILLED
that can be
Fig. 15
Fig. 1 6
';
' ~ CUT THREADS
HERE
,~
~ " CUT LOOPSAWAY
\
\
A B
Correct way
10. THREADING THE NEEDLE. Here is a fabulous effect
doneas part-of-'Ths"Sensative Fingertips' Act or
during a blindfold routine. The per-
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
needlea second time. This move is then
repeated as many times as desired.
Wrong way
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 _t
your 1ngers. Then take a needle with V
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!
5
Fig.
18
City is
that they
vest inside
Fig. 17
A rat trap ri veted to a metal tray break. the
lI1a.. vue like a .hot when a thread i. puUed.
AN AL MANN EXCLUSIVE101 PSYCHIC TESTS
12. THE SHATTERED CHALICE, 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 the
glass breaks and the water and flowers
spill out.
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.
13. '?ltediulIZi~t,c StU14tJ:
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 TURNING, As I write this, a medium in New York
creating a sensation with this effect. The Sitters say
hold the medium's hands and still he turns up with his
out! (Sept. 1983).
THE ACT, The medium is tied with a two-foot
length of cord and the knots are wax-sealed!
Another length of rope is then looped
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 ~urned inside
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!
101 PSYCHIC TESTS
MEDIUMISTIC STUNTS cont.
6
AN AL MANN EXCLUSIVE
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 needed!
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 card!
16. 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
off!
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 GHOSTS!, 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 seye-
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 ghosts! This is done by using
the 'smoke at the fingertips' powder that is sold at magic stores.
IT WORKS! GHOSTS ARE SEEN AND RECOGNIZED BY THE SITTERS! So don't
pass it up.
101 PSYCHIC TESTS
MEDIUMISTIC STUNTS corrt , ••
7
AN AL MANN EXCLUSIVE
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!
How the match box
and match are held be-
fore the box is tossed
into ~e air with a flip
As the box falls, the
performer a ctua Ily
lights the match on a
tiny striker stuck to
the palm of his hand
Fig. 19
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 strokejust as the box is touched with the back of
the hand!
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.
He takes the match and says, "All I
need is the match." And he strikes the
match on the piece of striking surface
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 EXPLOSIONS 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 kisses!' If they break they
sound like an explosion!
8
Fig. 21
AN AL MANN EXCLUSIVE
cont. ••
101 PSYCHIC TESTS
MEDIUMISTIC STUNTS
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 I
Some stage performer~ placethe apple on the head of a girl
or on her neck or stomach and use a huge sword for the cutting!
This effect must be practiced on a board first!
27. APPARITIONS. A spirit face appears in front of the medium.
It grows larger, then smaller and then disappearsl This is done
with a fountain pen that has both ends cut off to resemble a
tube. A ballon 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 I
28. A MAGICAL SUBSTITUTION. Fig. 22
shows an easy way of doing a substitu-
tion in the seance room or on stagel
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 minutel 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 darkness! so look into it! The exposers can eat their
hearts outl
9
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
JO. '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 noisel
A 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!
A
x
x.
Fig. 24
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
the hammer 'D' and then releases it. The spring 'E' then throws
'D' 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.
Fig. 25
MARKED WITH"X' ~
8UOREHAND~
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
stack of cards which
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!
HINGE
Fig. 26
10
AN AL MANN EXCLUSIVE
corrt , ••
101 PSYCHIC TESTS
MEDIUMISTIC STUNTS
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
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 or
skin 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 bloodl
Droplets of blood on the outside of the skin are seenS
36, STIGMATA!. Like St. Francis of Assisi, the medium claims he
can produce stigmata (blood) on the palms
of his hands, through mental concentra-
tion! He then proves itl 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 Fig. 27
will do the rest.
Use two boards. One for each hand
and then give the boards out as mementos
to your admirersl
11
Fig. 28
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 crayonS
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 take my
alarm clock and set the minute hand to
any hour. Forget the hour hand. Just
use the minute handl 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
he wrote on the card which proves to be the hour
set on the clockS
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
101 PSYCHIC TESTS
MEDIUMISTIC STUNTS
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 A
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 \
Fig. 30
101 PSYCHIC TESTS
CAGLIOSTRO'S MESSAGE corrt , ••
AN AL MANN EXCLUSIVE
12
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 SECRET. Medium has three pocket slates but
shows only two which are passed out. Medium has
the third slate with mes- Fig sage on outside, palmed
in his right hand. After 11· the slates are examined
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 transfe~ed 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
SECRET, 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 underside!
42. ESCAPING FROM A SAFEI. 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!
Fig.
32
(201) 431 -2429
Fig. 33
13
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44. A second method with the rabbit, is to lay him
on 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
43. RahbitaTake 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.
101 PSYCHIC TESTS
~~f1~tJ~c'1'''9 ""i.ma(,A!
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
POSTOFFICE BOX 144 • FREEHOLD, NEW JERSEY 07728
45. Chicken and rooster. 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
Fig. 34
Fig. 35
101 PSYCHIC TESTS
HYPNOT IS ING ANIMALS corrt , ••
14
AN AL MANN EXCLUS IVE
Fig. 35
Fig. 37
~, . . ..~"'~
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 as
chickens 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 a rea-
lity if even frogs could be hypnotised.
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 time!
48. 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 trance!
49. 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.
101 PSYCHIC TESTS
HYPNCYr ISING ANIMALS cont. ••
15
AN AL MANN EXCLUSIVE
Fig.
40
Fig. 39
56. WITH RABBITS. The old Hypnotist did the same thing with
a 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 handle
them 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 to.
58. THE COBRA!. How magicians hypnotise a
live 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
forshow 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!
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 of
Africa 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
POST OFFICE BOX 144 • FREEHOLD. NEW JERSEY 07728
101 PSYCHIC TESTS
(201) 431-2429
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16
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In the following incredible feats of the theatrical
Strongman, the brain is a bigger asset than the muscle.
Fig. 42
62. TOT EAR A TELEPHONE DIRECT ORY IN
HALF a Fold the loose edges of the
pages to form a "V. II Fig. 4;. Then
Grip the book firmly and push the
sides of the book down to open up
the ltV." The page s will tear, one by
one!
59. T~ STRANGULATION TESTa In Fig. 41, a strong
man has a rope around his neck and a dozen
strong 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. S~rongman 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 u9_t_ S~~";lla Pass a bar of steel
out for examination. It 1S 5 ft. long and 1/2
inch 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!
Fig. 4;
Fig. 44
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.
Fig. 45
17
AN AL MANN EXCLUS IVE
corrt , ••
Figs. 47 & 48
101 PSYCHIC TESTS
BRAIN OVER BRAWN
64. THE NAIL ACT. DRIVING A NAIL INTO A WOODEN
PLANK WrTH YOUR BARE HAND!. 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 NAI1-~J:IROUGH THE WALL.
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!
Fig. 4666. BENDING A LARGE THICK NAIL WrTH YOUR BARE
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 TEETH! I 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'IPS!:
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. SECRET The board is exchanged for one with loose
101 PSYCHIC TESTS
BRAIN OVER BRAWN cont •••
18
AN AL MANN EXCLUSIVE
nails J 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 TEETHI. 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 actl 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 teethl "That's Incredible" they said!
Three things were obvious to the well versed magician.
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 palmi
Very few persons know that the muscle on the rear of the
palm of the hand can stiffen into a hard solid mass!
Magician 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 then! he brings
his open hand down on the point of the pin. The pin doubles up
causing no harmI
71. THE ANVIL TEST. Fig. 50 shows the Strong Fig.
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. First the per-
former must practice laying on a bed of nailso
The point of the nails is blunted and the nails
are very close together, so that actually there is
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 ONA 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 WIHTOUT INJU-
RYI ~
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 pull
on the extreme ends with both hands.
Then bend the bar into a pretzel as
shown on Fig. 54.
20
101 PSYCHIC TESTS AN AL MANN EKCLUSIVE
MIND OVER BRAWN cont •••
75. BREAKING A HEAVY WELDED-LINK CHAIN WITH THE CHEST MUSCLES! I
This 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 that
collapses 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!
21
AN AL MANN EXCLUSIVE
Fig.
58
cont ••
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 man
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!
In Fig. 58. the lady is
using a principle that is
similar 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 is
standing 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!
Fig. 59
(201) 431-2429
~etit~:
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 balancel
Fig. 60.
101 PSYCHIC TESTS
22
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.
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 typewriter 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!
POSTOFFICE BOX 144 • FREEHOLD, NEW JERSEY 07728
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!
23
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
PSYCHIC MEDLEY cont "
82. THE MALAYAN THUMB TIE. 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 fullgrown 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 . Everytime 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.
~
?'Fig. 6;
24
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
PSYCHIC MEDLEY cont •••
8;. 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 lar@e 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 SECREr 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 pile!
SECREr. 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 card!
(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.
88. 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 SECREr. 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. 6;
25
AN AL MANN EXCLUSIVE
Fig. 67
101 PSYCHIC TESTS
PSYCHIC MEDLEY cont •••
89. THE TEST OF THE WORDSI. 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
wordsl 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 made
by 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.
SECRET. There are two cards used , 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
26
101 PSYCHIC TESTS AN AL MANN EXCLUSIVE
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 psychic1s hand behind his back! By touching the book
the psychic tells the title of the book and the word chosen.
THE SECREr. 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 bagand 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 is
told 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 soap!. (Another hypno-Trick) A hypnotised person
is 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 and
lets 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
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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 spookyl
97. 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 totallyl
Beans 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.
101 PSYCHIC TESTS
PSYCHIC MEDLEY corrt , ••
28
AN AL MANN EX:CLUSIVE
100. THE GRANDE ENTRANCE, EFFECT, The ushers collect sealed
questions from the audience in ungimmicked baskets and place them
on the stage. Mentalist then makes his entrance and thanks the
audience for writing the questions. He then invites anyone from
the audience to come and choose one sealed question and open it
ans read it. The Mentalist on the other wing of the stage divines
the questions and answers it, and has the writer in the audience
acknowlege itl
A Nelson changing grocery paper bag is used. (see Miracles in
Mentalism by Nelson). The bag contains 10 sealed envelopes all
containing the same message which has been copied before the show
from questions collected from the first customers. Mentalist takes
the bag and opens it and places a bunch of sealed envelopes from
the basket on stage and then invites anyone to stick there hand
into the bag and choose one questions. The effect is profoundl
101. THE AME SPIRIT LOCKs (by Al Mann from notes dated 1/lJ/69)
The AME Spirit Lock can be opened with a key and
it can be open with the bare hands I
The lock is made in two parts, the top half
that contains the shackle and the bottom half }\_\
that contains the key cylinder. ~
In Fig. 69, The top half "A" is a unit in
itself as it contains the shackle and can
actually be opened and locked. This top half
is screwed to the bottom half by threads
and the two half then look normal like a
regular lock, but it can be opened by twis-
ting the bottom half clockwise while holding
the top half and turning it anti-clockwisel
PARTS,
A. The top half (about 1 inch high by 2 wide)
B. The bottom half (1 inch high by 2 wide)
C. The shackle and spring.
D. The threads, made of hard steel and in-
dipendent from the key cylinder
E. The key Cylinder
F. The key Hole
G. The sealing plate with rivets. There are Fig. 69
two of these plates. One seals the bottom
of the top section and the other seals the top of the bottom
section of the lock.
The key cylinder can only turn to the right or clockwise to
open the lock. There is a stop notch of metal that stops the key
from turning to the left. When the bottom half of the lock is
turned clockwise, the stop notch turns the key cylinder also and
opens the lockl The threads "D" are left-hand threads!
The body of the lock is made of many metal plates in the fashion
of corrugated locks, one plate mounted over the other.
Have fun,