Al Mann - 101 Psychic Tests

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(201) 431-2429

POST OFFICE lOX 144 • FREEHOLO. NEWJERSEY 07728

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(201 ) 431-2429 POST OFFICE BOX 144 •

FREEHOLD, NEW JERSEY 01721

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(copyright by Al Mann Exclusives, 1983)

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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 mirror - - it can be covered with a hanckerchief which is removed to wipe the bucket before the presentation! 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 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 f. p/nj/fm

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101 PSYCHIC TESTS THE DICE TEST

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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.

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• EFFECT I Anyone chooses a playing ~~- ~ card fromchoice. a deckWhile and isthetold to tell no -_".:_-_ ,..,,Y/._'.J~.:/. ~~ ~::_ one his 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 inserted, you will know the first sentance or word.

5.

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 filled 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 suspended 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 pushes off the string. (Fig. 7) The glass is suspended by the pressure of the hand on the ruler.

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Fig. 7

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101 PSYCHIC TESTS

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THE SUSPENDED WAND, CANE OR BROOM. 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 Fig. 8 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.

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7. THE SUSPENDED P ENe I~ I

Fig. 10

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, forget 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 B shown in Fig. llA and sharpen Fig. 11 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. PASSJl'!.Q~.£LJ~~R!Q.I1. ~JJB9:UGH.pJ\ LOOP OF ?TRING HALF AS LONG AS THE PENCIL. The pencil with the-loop ofstrIng 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

9.

Pa•• ing a Pencil through a Loop, Much Too Small for It. Is Eaav. Once You Learn How the Trick Is Turned

Fig.

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P~YCHIC

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TESTS

THE PENCIL AND LOOP TRICK

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to pass the loop through the coat's button hole first, which makes the deed impossible to do. Here is the secret in pictures.

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A Wrong way

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Correct way

Fig. 14

10. THREADING THE NEEDLE. Here is a fabulous effect that can be

doneas part-of-'Ths"Sensative Fingertips' Act or during a blindfold routine. The performer 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. ®"" PULL LOOP Yet the results seem impossible. THR~ To do, the thread is first threaded / through the eye of the needle. Then the needle is pushed through a tiny loop at ' ~ CUT THREADS the end of the string. The loop is then HERE ' ; pulled over the eye of the needle and ~ " CUTAWAY LOOPS free of the needle as s~own in Fig. 15. @ CONTINUE TO PULL 1 and 2. The loop is then pulled through THREAD THROUGH UNTIL EYE OF NEEDLE the eye of the needle which threads the IS WELL FILLED needle a second time. This move is then repeated as many times as desired.

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11. ANOTHER MErHOD. Take several pieces of thread and Fig. 15 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 Fig. 1 6 will go down and around the wadded threads. This is a very amazing stunt that you can do totally blindfolded. You can feel the thread after the needle is threaded!

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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.

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A rat trap ri veted to a metal tray break. the

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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 TURNING, 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 ACT, The medium is tied with a two-foot Fig. length of cord and the knots are wax-sealed! 18 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 curtain 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!

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101 PSYCHIC TESTS MEDIUMISTIC STUNTS

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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 prepare, 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. Fireproof 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 seyeral 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.

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AN AL MANN EXCLUSIVE

101 PSYCHIC TESTS MEDIUMISTIC STUNTS

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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 reflected 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 another 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 towards 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 be24. STRIKING A BORROWED MATCH ON THE fore the box is tossed into air with a flip PALM OF THE HAND! The same method Is Fig. 19 used here except that the performer As the box falls, the borrows a paper match from anyone. performer a ctua Ily He takes the match and says, "All I lights the match on a tiny striker stuck to need is the match." And he strikes the the palm of his hand 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 ~e

250 CAUSING BEUTIFULL EXPLOSIONS IN THE SEANCE 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!

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101 PSYCHIC TESTS MEDIUMISTIC STUNTS

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Fig. 21 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~ place the 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 substitution 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 substituted for the medium! and that person is found in the trunk I The effect is most uncanny, since everyone hears the medium 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

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101 PSYCHIC TESTS

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!

x. 31. THE SPIRIT RAPPER. In Fig. 24 A the X's represent the four sides of a wooden box.'A' is a small piston 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 Fig. 24 x 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 secret (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 index cards, blank on both sides, is secretly MARKED WITH"X' marked with x.'s as shown. Magician shows the Fig. 25 stack of cards which are apparently all blank. The marked card is then taken to do the trick. After the pieces are dealt into two piles, a good bit is to give the spectator a Magician's choice of any pile! ~

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101 PSYCHIC TESTS MEDIUMISTIC STUNTS

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33. THE SPIRIT COLLAR. The spirit collar

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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 Fig. 26 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 concentration! 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

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101 PSYCHIC TESTS MEDIUMISTIC STUNTS

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

Fig. 28

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 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 \

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Fig. 30

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101 PSYCHIC TESTS CAGLIOSTRO'S MESSAGE

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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 mesFig 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!

13 (201) 431 -2429 POST OFFICE BOX 144 • FREEHOLD, NEW JERSEY 07728

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 relaxation resembling a hypnotic state. This is done by petting stroking and manipulations. Here follows the technique of hypnotising aa

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 several seconds, struggle will cease and it will go into a hypnotic sleep as in Fig. 33.

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Fig. 33

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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 remove the hands, it will remain in a sleep statel

Fig.

32

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. 35

Fig. 34

14 AN AL MANN EXCLUS IVE

101 PSYCHIC TESTS HYPNOT IS ING ANIMALS

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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 motionless 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.

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Fig. 35

Fig. 37

50. Snakes are hypnotised by placing them on their backs and gently but firmly ,them down.

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 fingertips 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 amusement of the ~dience. This proved that hypnotism must be a reality if even frogs could be hypnotised.

15 AN AL MANN EXCLUSIVE

101 PSYCHIC TESTS HYPNCYr ISING ANIMALS

cont. ••

56. WITH RABBITS. The old Hypnotist did the same thing with a basket full of rabbits. The rabbits were same fashion as the chickens, by drawing a of their eyes and holding them ddwn gently table. They filled the stage with sleeping

hypnotised in the chalk line in front and flat on the 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 poisonous 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 largest 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 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

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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 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 center 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. 42

62. TOT EAR A TELEPHONE DIRECT ORY IN HALF a Fold the loose edges of the pages to form a "V. 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! II

Fig.

4;

Fig. 44

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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 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

Fig. 45

NAI1-~J:IROUGH

Figs. 47 & 48

THE WALL. This is an easier matter as some doors and wall panels are not that thick. The stunt is done in the same fashion. Note that the nail sticks out between the middle and third fingers. Showmanship is the key word that entertains!

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.

66. BENDING A LARGE THICK NAIL WrTH YOUR BARE

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

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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 vehiFig. 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 plaees 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 harm I 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 performer 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

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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 similar 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 sandstone. Aga1n the stone absorbs the blows of the hammer!

73. A CAR IS DRIVEN OVER THE BODY OF THE STRONGMAN WIHTOUT INJURYI ~

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.

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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 theatriccal 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!

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77. VERY STRONG LADIES. Fig. 57 shows a lady

holding her index finger against her forehead 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 leverage which makes their task quite easy. In Fig. 57. the position of the lady throws the man to a disadvantage. All she Fig. has to do is to hold her 58 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 actually 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 PERSONS 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

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~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. 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 typewriter 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 typewriter 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! 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!

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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 repeatedly until a threefoot 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 during 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 . Everytime the plant is watered, the cork float pushes the plant upwards, an inch at a time in a most magical 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 coton 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 jewelry, 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.

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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 psychic was sitting. There was no exchange of envelopes or any tricky 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 another 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 gimmick! 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 hissing 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?'Fig. 6; 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 gimmicked so that both ends are alike, but the psychic opens the ungimmicked end at the start of the presentation so that the mirror is never seen! Place the mirror sheet on the 'dot' Fig. 6;

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89. THE TEST OF THE WORDSI. The Medium sits at his table with one or more sitters across 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 audience 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. Fig. 67 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 envelope 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

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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 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 inside 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

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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 covered 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 voices 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 second 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 actually 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.

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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 twisting 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 indipendent 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,