Nelmar - Twenty Hypnotic Tricks

U 8 / ? /

WILL ALMA

M.I.M.C. (LONDON)

-

WILL

>

173 52

PITT

SWANSTON

ANDRADE STREET, STREET,

SYDNEY MELBOURNE

The State Library of Victoria " A L M A CONJURING C O L L E C T I O N "

HINDU

LEVITATION

OP

AN

IRON

BAR,

This part of the book w i l l describe thg power of suggestion of or human beings OVER PHYSICAL OBJECTS,. demonstrated by a Hadji Yogi adept. This Hindoo Native c a l l e d i t : ' "HINDU INVITATION OP AN IRON BAR". He was a genuine Yogi adept d i r e c t from I n d i a . He convinced at a l l times by h i s super-keen p h y s i c a l senses as: hearing, f e e l i n g , t a s t i n g , and e t c . and he was ready a t a l l times to prove any statement he ;rade. He was calm, diodest, s e l f - r e l i a n t and an honest and upright i n d i v i d u a l and some what s e l f - r e s e r v e d in knowledge but not as much reserved as other East Indians. Meaning: he always gave advice in form of v a l u able h i n t 3 , ideas and suggestions. His sparkling eye, contagious smile, g r a c e f u l manner, keen w i t and readiness t o a 3 3 i s t anyone both in word and deed manifested around him a peculiar s o r t of personal magnetism that f a s c i n a t e d everyone and won the hearts of every single person he met. He claimed h i s magnetism was so strong that he could cause these magnetic waves to move and a t t r a c t physical o b j e c t s at w i l l . And he demonstrated his seemingly remarkable powers by requesting two s p e c t a tors to a s s i s t him. • For i n s t a n c e , in one t e s t - - s t a n d i n g d i r e c t l y behind a t a b l e with a s p e c t a t o r at both sides of him. On the t a b l e l a y a s t r i p of iron h a l f an inch t h i c k , f o u r inches wide and four f e e t long. He asked the spectators on both s i d e s of him to l i f t with both hands t h i s iron bar s l o w l y — e v e n l y , ffihen by humming a weird sound which became louder in tone making mysterious passes over and under the bar and laid a l l ten f i n g e r s f l a t under the bar. While s p e c t a t o r s continued to e l e v a t e the bar the Hindu was seen a s s i s t i n g them. When about two f e e t above the t a b l e he t o l d them to stop and hold s t i l l . His hands could be seen to slowly rub back and f o r t h under the bar, he was heard to make commands, thus: " I am commanding the magnetismto flow from my body l i k e f l u i d t o help and a s s i s t me in l e v i t a t i n g this bar. The magnetism i s becoming more and more t h i c k and dense over and under t h i s bar and i s holding t h i s upI I t is becoming so strong a n d - holding the bar and suspending this bar so powerfully that you two - - cannot bring i t down to the table no matter how hard you t r y ! 1" He then s l i d e s h i s hands o f f from under the bar and comes over i t and makes more long d e l i b e r a t e passes and and keeps performing a p u l l i n g motion f i v e times to maintain the bar in mid-air l i k e connections of s t r i n g s from his hands to the bar. "Now t r y hard—to bring this bar down, t r y harder'. Yes, i t i s b e coming so l i g h t that you cannot bring it down. I t is almoPt going up. Try harder t o push down but i t ' s p o s s i b l e . My magnetism withstands your strength. Your e f f o r t s prove f u t i l e . You cannot bring the bar down. You are trying so hard—so hard but you can bring i t down." "Now--the magnetic waves are leaving the b a r . The bar is g e t t i n g so heavy t h a t you cannot hold i t up. I t i s coming down, f a l l i n g "down and sinks on the t a b l e with a " b a n g " . I t does bang r i g h t down on the f a c e of the t a b l e . " The audience appears bewildered and m y s t i f i e d at ;mch amazing powers being transacted r i g h t b e f o r e t h e i r eyes.

Do you know how s u s c e p t i b l e most.people are to suggestion? No? W e l l , here i s what you can doL Cal'l up some one in the audience who appears i n t e r e s t e d or a t t e n t i v e in your work. Now, stand facing him looking s t r a i g h t i n t o h i s e y e s . Ask him to i n t e r l a c e his f i n g e r s of both hands so he i s gripping h i s hands. Now, t e l l him t o hold his hands t i g h t l y t o g e t h e r . Get him to t h i n k and concentrate on what you are t e l l i n g him. Compliment him, by s a i n g : c e r t a i n l y — h e looks i n t e l l i g e n t and a very quick t h i n k e r . ' ( T e l l him)—Now-thinkI- Think hardl that your hands are s s t i c k i n g together t i g h t l y . Glued t o g e t h e r ! Sticking t i g t h e r and t i g h t e r so t i g h t that t h e y are becoming f a s t e n e d . Now they are s t i c k i n g f a s t — s t u c k f a a t and t i g j i t . They're l o c k e d - t h e y ' r e fastened they(re glued t h e y ' r e frozen t h e y ' r e cemented I YOU CAN'T OPEN TH'EM! TRY! BUT YOU CAN'T! THE MORE YOU TRY THE MORE THEY STICK! YOU ARE TRYING SO HARD BUT YOU CANNOT SEPARATE THEM! TRY HARDER BUT YOU CAN'T!" Snap your f i n g e r s and say; "Slright, the/re alright. Now—you can open them. Reread the above paragraph c a r o f u l l y and you w i l l see and understand that by the power of suggestions through verbal suggestions—by a t t r a c t i n g and holding t h e i r f u l l a t t e n t i o n you can make the subject f o l l o w you and your l i n e of thought. So by having h i s f u l l a t t e n t i o n and you continue a running f i r e of suggestions he w i l l l i s t e n t o you and not be able t o think of any thing e l s e . I f your 3ubjoct i s i n t e l l i g e n t and i n t e r e s t e d and has w i l l i n g n e s s to co-operate with you—he w i l l a b s o l u t e l y fefel ( I mean i t ) - f e e l y o u r suggestions l i k e : - - - y o u r hands are s t i c k i n g l i k e g l u e " he w i l l p o s i tively feel i t . Be b u s i n e s s - l i k e . Do not h e s i t a t e at any t i m e . — but continue r i g h t on through without f a u l t e r i n g - - w i t h o u t a break. Know your b u s i ness and DO IT! When procuring a subject t e l l him he w i l l f e e l i t t e l l him he must. For he cannot r e s i s t . How can he r e s i s t when you know what you are about to do and he does not know what to expect. DO YOU ICNOIY THAT YOU CAN INFLUENCE FORTY OUT OF A HUNDRED PEOPLE as on average proven by my s t a t i s t i c s . THAT ONE HUNDRED OUT A HUNDRED PEOPLE, are c o n s t a n t l y being influenced every day by some form of suggestion l i k e ADVERTISING. (For i n s t a n c e ) - w h i c h i s cn d i r e c t and i n d i r e c t form of suggestion. And why are there slogans to a l l of these products: "Camels" c i g a r e t t e s - - - " " ! : ' d Walk a Mile For A Camel". "Morton*s S a l t " - - "When I t Rains I t Pours". "Palmolive " Soap — "Keep-That S c h o o l g i r l Complexion". " P i l l s b u r y " Flour - - " E v e n t u a l l y Why Not NOW". You remember a s s o c i a t i v e words and products Because they a l l i n fluence you c o n t r o l you and make you BUY! Simply because you are r e - a c t i n g in response caused by the constant r e p i t i t i o n of BILLBOARD • SUGGESTIONS. Now, do you UNDERSTAND? So do t h e s e hypnotic t e s t s with t h e p o s i t i v e n e s s of a Real Hypnotist! A s u c c e s s f u l person i s very confident of h i s powers—his a b i l i t y to do a certain thing. So DO THESE TESTS! TRY THEM WHENEVER YOU CAN! PRACTICE! AND YOU WILL FIND THAT THEY POSITIVELY ACTUALLY V/ORKU

FIVE METHODS OF STOPPING THE PULSE.

FIRST TWO ARE YOGI METHODS.

1 . - A good way i s to l e t a person hold your wrist keep-ing tab on tho pul3e beat. Now while you s eeningly concentrate deeply—YOU ACTUALLY DECREASE THE RATE OF HEART BEATS SO SLOW THAT IT SOON CANNOT BE FELT AT ALLi Then again YOU INCREASE i t s o — s o FAST t o abnormal. SECRET:- Soon a3 thev hold your w r i s t a moment TAKE A DEEP BREATH SLCHV, SO SLOW (audidsnce should not know that you a r e using breathing THEN HOLD YOUR BREATH AS LONG AS YOU POSSIBLY CAN. AFTER A FEW SECONDS. THEY WILL TELL YOU THAT THEY'DO NOT FEEL THE PULSE AT ALL. NOW EXHALE VERY SLOWLY AND BREATHE NORMALLY AGAIN.-"-** THIS WILL TEND TO INCREASE THE HEAETS TO A HIGHER RATE. 2 . - Have spectator s i t down d i r e c t l y behind you. You are standing you with your back to spectator and audience. (No one must be in front of you, because they riust not see what you are doing.) Now have spectator hold wri3t to f e e l the pulse beat* NOW LEFT HAND (unseen by audience or spectator) GOES TO JUGUIAR VEIN OR BLOOD VESSEL IN THE NECK WHICH IS CLOSE TO COLLAR BONE (You can find i t by i t 3 pulaation) AND APPLY A FIRM S TEADY PRESSURE WITH FINGER OR THUMB. SAME RESULTS AS ABOVE. 3 . - G i r l a s s i s t a n t seated on s t a g e - - h e r arm out at f u l l length which i s bare and f r e e of any preparation. Upon word of command by p e r f o r mer her arri is seen slowly to beco.no cold and pale. A f t e r n moment,performer 3laps h i 3 hands and her a m quickly becomes flushed with c o l o r , A tap on her cheek and she i s awake and s m i l i n g , SECRET: - Under cover of dres3 around the 3houlder i s a cord or b e l t . A3 3oon as sho snt down the hook on the opposite end of the top of chair f i t t e d in the loop. A l l ' s well. Now by moving slowly over to right 3ide t i g h t e n s cord around the shoulder producing a contraction of muscles and blood v e s s e l s of r i g h t arm stopping flow of blood. SO PALENESS THE RESULT. Thi3 contraption i 3 so n e a t l y covered that i n spection nay be invited t o doctors without f e a r o f d e t e c t i o n . ANOTHER METHOD:- i s when her arm i s o u t s t r e t c h e d - - y o u hold her arm and by squeezing her arm p r e s s i n g f i r m l y — t h e blood v e s s e l in b i c e p s you can cause palene3s and numbness--with other hand making mysterious passes for m i s d i r e c t i o n . This l a t t e r method is the b e s t method f o r there i s nothing concealed and everything is done above-board. 4 . - Another one of the most r e l i a b l e methods i s by a rubber b a l l thafr f i t s in the armptt. By pressing arm against s i d e - - c a u s e s contraction of blood v e s s e l s and muscles gradually become numb and p a l e . Whert performing under emergency (and you cannot procure rubber b a l l ) just take and use knotted handkerchief and you w i l l obtain the same r e s u l t s , Never g i v e the audience the l e a s t impression that you are u s i n g any form of contraptions or gimmicks". T e l l them y o u ' w i l l perform the t e s t by deop concentration. 5 . ~ I f you hold your arm tensed against the side of tho body, arm a l i t t l e back and applying a steady pressure on the aide of the body for a few minute3 your arm w i l l slowly become p a l e , riunb and paralyzed. Thi3 idea cones in handy for there w i l l be a time when vou w i l l be forced under t e s t c o n d i t i o n s - s t r i o p e d to the waist and y o u ' w i l l be a b l e to use-nothing e x t r a . Practice t h i s a few times when the knack i s obtained you w i l l be a b l e to perform i t with ease. Success i s yours.

WHAT?

TEMPERATURE AT 110 DEGREESI

The e f f e c t : This i s a very l i t t l e known t e s t M e t h o d as used by some of the Great Hindu miracle workers who have t r a v e l e d throughout the United S t a t e s , r e c e i v i n g an unexpected amount of p u b l i c i t y . Before beginning the demonstration the Seer, c a l l s f o r v o l u n t e e r s or doctors with some medical knowledge f o r a committee. They are asked to r e g i s t e r the S e e r ' s temperature which i s found to be*ioi>mal, A few ninutes l a t e r i t i s found to have increased or raised t o the danger point J Evidently t h e miracle man i s l i t e r a l l y "burning ujJ' yet he smiles and shows not the l e a s t discomfort from t h i s f e a r f u l fever. THE SECRET: Unknown to p r a c t i c a l l y a l l medical men and laymen t h i s i s a very e f f e c t i v e t e s t f o r either stage or impromptu work. Before appearance the medium hides a piece of G. I . (Government Issue) soap under l e f t armpit touching skin, The temperature of the body w i l l increase within a few minutes. I f this soap cannot be obtained use a small wad of Bull Durham tobacco, (a longer time is necessary f o r r e sults). Showmanship and a l i t t l e common sense w i l l make this t e s t a complete "KNOCK-OUT", Trv this out. YOU CAN FOOL THEM ALL. STICK TO THE POINTl

or

DO YOU .SEE THE POINT?

Do you know that i f you take a two-inch*needle ( o r smaller) laying i t on the arm lengthwise d i r e c t l y over the elbow (bare arm) and when you c l o s e up and bend your arm a l i the way to the shoulder, then the needl e w i l l disappear out of sight and the i l l u s i o n created i s the needle has been swallowed up, or, has entered d i r e c t l y into t h e f l e s h . E a s y . Be sure the needle i s rounded o f f a l i t t l e so t h e ' p o i n t cannot p i e r c e the f l e s h when u s i n g . Subject with r o l l e d - u b s l e e v e s stands at your s i d e . Show a tray about 40 or 50 ordinary- f l a t - h e a d p i n s , Picking them one at a time with thumba dn f o r e f i n g e r grasping and in hammer fashion lust drive them or slap them against h i s arm. Do t h i s u n t i l a l l pins are used. Arm is now seen to be a f i n e array of pins r e f l e c t i n g t i n y streaks of l i g h t in the s p o t - l i g h t . Subject smiles and seems to endure NO PAIN I (Or the b e s t method is to put subject to s l e e p . Then proceed. SECRET:- When y&u pick a pin between tb,umb and f o r e f i n g e r holding i t at t h e upper part of the pin—-not t i g h t l y but somewhat l o o s e l y so when you "seemingly slap pin right into the f l e s h " thumb anfl f o r e f i n g er s l i d e s along the pin t o the point — so when you s t i c k ' p i n — only the point enters f l e s h s l i g h t l y and enough t o hang on to f l e s h . TRY ID SPIRIT TAPS FROM WHERE? I have so much amusement and success in performing this t e s t . Try t h i s on anybody and everybody. Ask them about S p i r i t Taps. No? W o l l , you have missed sorrsthing. Stand f a c i n g them hands closed and f i r s t f i n g e r of each hand outstretched and cmong forward t o h i s e y e s — t e l l him t o c l o s e h i s e y e s - - - y o u now have one f i n g e r on each e y e l i d . Do t h i s again a nd the second time closes hi3 eyes you s t r e t c h out two f i n g e r s of the right hand and other f r e e l e f t hand tap him on the tack of the head. Now when b r i n g i n g back the two hands c l o s e your second f i n g e r ( r i g h t hand) and have the two f i r s t f i n g e r s of e a c h . h a n d drawing back in your d i r e c t i o n (as the f i r s t t i m e ) . He opens h i s eyes ard sees you bringing back each hand w i t h the f i r s t f i n g e r of each going back. THEN HE WILL WONDER HOW YOU B$NS IT. LET HIM WON DERI J

GLASS

CP./. SIT

During the performance the a s s i s t a n t q u i e t l y comes from wings with a g l a s s of water and hands same to performer. (The impression upon the audience i s - - - t h i s i s ment to t h e perspiring Master H y p n o t i s t . )

a sort of a refrejh-

"Permit mo l a d i e s and gentlemen, fcr t h i s g l a s s of water i s the greatest refreshener and v i t a l i z e r f o r tho brain, o s p e s i a l l y a f t e r an expenditure of brain energy. (Performer drinks and e x p l a i n s : ) "Now I do f e e l a d e l i g h t f u l sensation flowing through my brain and body. (Performer i s about t o hand g l a s s but ho h e s i t a t e s a second changes h i s mind-—retains the empty g l a s s and holds i t up as an example f o r h i s next statement:) " I f e o l that my hypnotic i n f l u e n c e i s stronger f o r my head i s cleared. In f a c t , I f o o l strong enough to blow this g l a s s to thousand of b i t s . I think I W i l l i While I contor my concentration on this g l a s s and pronounce tho word "BREAK" in a true hypnotic t o n e . " "NOT — LOOK; — THIS IS GIASS AND PURE GLASS AT THAT'.' "Now watch I

ONE—TWO —-THREE I

B-R-E-A-K I i "

(Tho ward "BREAK" i s shouted a f t e r snapping the edge of g l a s s with f o r e f i n g e r ) . Tho amazement cannot be subdued. The g l a s s simply f a l l s to p i e c e s in performer's hands and l e t s i t drop to the f l o o r . To the audienco i t seems that there i s no other way of the glass crashing to piecos and f a l l i n g aprt—then to simply look at i t and command i t to f a l l a p a r t . Now l o t mo r e l i e v e you of the suspense and l o t us get down to business. THE SECRET IS: I f you purchase two or three drinking g l a s s es md tumblers of tho f i n e s t and thinnest g l a s s you w i l l be ablo to find j u s t the r i g h t q u a l i t y of g l a s 3 t o use for your purpose. Make this experiment. Hold t h e gLass (or tumbler) on your hand and snapping t h o odgo hard enough causo3 a t i n g l i n g so t h e r e ' s a s e r i e s of v i b r a t i o n s set up that can bo f o l t by your hand and the Singling v i brating gissxxKfci sound i s p l a i n l y nud i b l o . Now i f you bring c l o s e t o t h e glass while i s v i b r a t i n g , arri 3hout "BREAK" in tho oxact tono and sound of the t i n g l e — w h i l o you continuo the sound,long enough i t c e r t a i n l y w i l l f a l l aprtrt. Try the word in other p i t c h of v o i c o . When the vibrations of the glas3 a r c act up by h i t t i n g the edge of tumbler--then a shout of the word which when tho sound doubles and increases tho vibrations or quiverings of tho g l a s s t o tho oxtont that the molecules of p a r t i c l o 3 cannot remain together but simply separato so i n this c a s e , the g l a s s just f a l l s apart ca? shatters to p i c c o s . Experiment for tho b e s t r e s u l t s . Once you get the "knack" thoro is nothing to i t but j u s t uso a dramatic a b i l i t y in presenting t h i s neat l i t t l e e f f e c t - A good showman can make a masterpiece of t h i s tost.

PERSPIRE

AT

WILLI I

The t i t l e should not confuse you. The number of persons in t h i s wide world who can " p e r s p i r e at w i l l " has never been known. History t e l l s us that p e r s p i r a t i o n at w i l l i s very d i f f i c u l t and there is no record except one that has been brought to my a t t e n t i o n r e c e n t l y , A monk in an' European monastery today c o u l d — o r c l a i m s - - h e could "perspire a t w i l l " i - b u t that being probably the only one s u c c e s s f u l l y t e s t that he could perform. Or thoro might have been a b i r t h error or the r e s u l t of an i n j u r y . That I have beeb able t o find o u t , c o u l d be p o s s i b l e . In powers gy and from a

an experiment of t h i s kind—you u t i l i z e your concentrative — you would n a t u r a l l y expend a trjamendous amount of nervous eneralso causing nervous s t r a i n ; t h e r e f o r e , i f you wanted to do i t , physical standpoint I would advise you not to t r y i t .

This fraudolont method that I w i l l rovoal t o you i s a socrot that has never been exposed and i t i s only t i l l r e c e n t l y that I have obtained the permission of the o r i g i n a t o r and i t s performer. Doctors have boon b a f f l e d . S c i e n t i s t s have pronounced t h i s i n c r e d i b l e , and u n b e l i e v a b l e - - b e c a u s e , they say, - the motor area of the brain i s not capable of being controlled by the l a r g e b r a i n — e s p e c i a l l y in t h i s ^ c a r l y age of psychology and we are only beginning t o understand the brain and i t s f u n c t i o n s . In short: The modulla oblongata or the subconscious m i n d - - i s a separate and a d i s t i n c t brain capable of performing a l l the motor a c t ions of the body WITHOUT d i r e c t i o n s or orders of the conscious mind ( c e r e b r a l cortex, the largo b r a i n . ) So the s c i e n t i s t s ' a s s e r t i o n i s : - - How can you t w i s t or reverse the c o r r e l a t i o n of nerve messages from the body t o the medulla oblongata AND TO THE LARGE BRAIN. HOW? * HERE'S THE ACT AND SECRET: A f t e r the nr. a tor hypnotist has been searched he walks around which convinces the audience that he i s a t tached to any t h i n g . A f t e r r e l a t i n g cn i n c i d e n t o f concentration of the control of the f u n c t i o n s by the brain the performer proceeds t o demonstrate " To Perspire At W i l l i " To make i t more convincing and sensational c l o t h i n g of upper body i s removed which loaves body f r e e and bared t o the w a i s t . " I n order to i l l u s t r a t e " ) (manager ac a s s i s t a n t e x p l a i n s : ) ' i n conv p l o t e s i l e n c e or q u i e t . For t h i s requires t h e profoundest arri i n t e n s e of concentration, so i n t e n s e — t o a dogroo—that i s u n b e l i e v a b l e . I t is only a f t e r years of p r a c t i c e and t r a i n i n g of certain d e f i n i t e nerve centers in the brain to accomplish this d e l i c a t e t o s t . TO PERFORM:The performer stands s t i l l with h i s hands t o h i s head something to r e p r e s e n t the deep state or t r a n c e - t h i n k i n g for he should remain a b s o l u t e l y s t i l l and q u i e t . A s s i s t a n t t e l l s audicnce of the l i f e of the performer, saying, "How he has amazed the w o r l d ' s g r e a t e s t minds and g i v i n g food for thought f o r the most i n t e l l i g e n t by these t e s t s . '

continued The performer begins to sweat and beads of perspiration scorn to come out on his forehead while ho i s s t i l l concentrating without moving s t i l l in t h i s t r a n c e — l i k e - - s t a t e . SECRET: Have a s et of soler-platos made with hoating c o i l s in b e tween them that are laid in the shoos j u s t d i r c c t l y next to your skin, which do not impede your walking around and being comfortable. Tho carpet you walk on has concealed und er two long stips of metal ( p o s i t i v e ' and negative) running p a r a l l e l t o the source of current coming f i r c c t from the l i g h t socket. So when you stand on your s o l o plate i s p o s i t i v e — h o e l p l a t e is negative. Each touching t h e i r r e spective points on tho carpot. Tho out3lde contact p l a t e s (of shoes) connected to tho insido heating c o i l and plate by a wire running thru the sole f o r p o s i t i v e which i s connocted with a wire t o that r e s p e c t i v e point of heating pin t e hool plato has wire running -thru rubber h o e l to the n e g a t i v e h o a t i n g p l a t o e a c h s h o e . {Jill unknown to a u d i e n c e — a b o u t t h i s h o o k - u p or t h e a p p a r a t u s you a r e u s i n g . ) The'reason that you must stand on carpot at any point as long as your solos touching p o s i t i v e metal contact of carpet and your h e e l s r e s p e c t i v e l y touch the negative metal p l a t e . (You can move around on the carpet for tho metal p l a t e s under carpet arc as long as t h e carpet ( e l e c t r i c engine on tracks g i v e 3 you a good example f o r explaining t h i s quite c l o a r l y . ) Contact is made by standing s t i l l when concentrate With -the use csf a rheostat you must r e g u l a t e the heat to a degree and maintain i t at that degree of h e a t .

certain

Any o l o c t r i c i a n can e a s i l y make t h i s f o r i f you cannot manufacture y o u r s e l f — a l l you do i s ask o l o c t r i c i a n to make a pair of hoating c o i l s so they f i t on the sole of tho inside of 7;our shoes--connected w i t h a rhoostate to regulate u n t i l you have the r i g h t degree of the most heat you can withstand. SO NOW WHEN YOU FEEL THE HEAT OF HEATING PL/fl? ES IF YOU CONCENTRATE YOU WILL FIND THAT YOU CAN PERSPIRE VEBY QUICKLY AT THE SLIGHTEST THINK -5NG OR RECALLING ANY MEMORIES ASSOCIATED WITH WARMTH OR HEAT. THY ITI YOU CAN ACTUALLY PERSPIRE AT WILL (WITH THE AID OF THIS ARTIFICIAL HEAT) YOU CAN PERSPIRE SLOWLY OR QJICKLY. AS YOU DESIRE. TRY I T . An Hindoo performer on the American stage today s t i l l uses this i following method: I t resembles the above method but instead of shoe; plates, ho uses heating pads d i r e c t l y hold on h i s bare hips under his ; clothing. PRODUCING THE SAME RESULTS. One f a u l t — h e cannot be searched. A magician friend of mine gave rac a routine f o r t h i s same e f f e c t . 'Coming d i r e c t l y , from a HOT BATH he was s t i l l standing in room s t i l l ibared to the waist and by concontrating he was able t o pcrspiro a t will, j When body i s immersed in hot water f o r a s u f f i c i e n t length of time t h i s a c t u a l l y r a i s e s the b o d i l y temperature a few degrees and you— f i n d that heat can be retained in your body f o r many minut03. (This extra h e a t ) .

While your a s s i s t a n t or manager l e c t u r e s along t h i s l i n e (and you are at the same time taking a hot b a t h ) ( m a n y t h e a t e r s f u r n i 3 h showers in connection in # i t h dressing rooms) ( s o you see t h i s can p r a c t i c a l l y bo done) and i f everything done on time you g e t out cf water r i g h t on the minute and hurry in your c l o t h e s . ) In a s n a i l homo you seem c a s u a l l y to s t r o l l l into the room with a book in your hands (or a newspaper or anything) i f on the stage you can bo seen to c a s u a l l y seem t o s t r o l l out so calm so c o o l — a s i f you were w a i t i n g t o come o u t . ) Your manager i s heard to c l a i m — t h a t you can perform this most remarkable under the most s t r i c t e s t of conditions. (Without f e a r of c o n t r a d i c t i o n ) t e l l your audienco that YOU ARE THE ONE OP THE PEW THAT CAN PERSPIRE AT WILL. (While you are performing t h i s e x c e r c i s e , have your manager give a lecture). (BY bending down in a s q u a t t i n g p o s i t i o n on your toes and r i s i n g up slowly, body t e n s e , you w i l l find that the heart w i l l beat more r a p i d l y thereby producing more blood c i r c u l a t i o n and MORE HEAT). Manager explains that t h i s excercise i s c a l l e d by Hindu Adepts, "Sumatra , I t places t h e mind in t h e exact mood f o r deepest concentrations *

Do this two cr t h r e e times. You w i l l then n o t i c e t h a t you can "Perspire At W i l l " Or that your body w i l l perspire upon'the s l i g t k est mental thoughts of heat or warmth.

!

Just think of yourself walking in the hot sands of the Sahara Desert the sun so i n t e n s e l y hot that t h e r a y s h i t t i n g your baro back s e ems l i k e the f i r e s of a h o t , b l a z i n g torch—burning roasting-so—hot,

| Your f a c e and hands are so warm—you f e e l so warm, so h o t , t h a t : beads or drops of p e r s p i r a t i o n are forming upon your forehead, your I hands and f a c e . Your body in general i s becoming so i t c h y always ! the p e r s p i r a t i o n that you are becoming wet soaking wet in the- — sheltering or the flowing of your own sweat. <

THIS TEST WILL AMAZE YOU.

TRY IT!

THE RESULTS OBTAINED IB THE RESULT OF FOLLOWING THE DRERECTIONS | VERY CAREFULLY. THEY SHOULD PROVE GRATIFYING -INDEED!

PSYCHO - SORCERY This i s a s c i e n t i f i c t e s t not w e l l know among the average magicians or mental workers . The r e a l und e r l y i n g s e c r e t w i l l be e x p l a i ned. When you grab the each w r i s t o f spectator with your thumb on pulse Do not t e l l what you are going t o do but just ask him p o i n t blank what hand he is thinking o f . Spectator does think of one hard. Performer immediately knows what hand i s thou g i t o f . Por the pulse of hi3 (thought o f ) wrist w i l l skip a b e a t or two — tiien i t w i l l speed up - - beating almost twice as f a s t as the other hand. There i s a s e c r e t i n a few words so use i t aril guard i t c l o s e l y . Use showmanship and i t w i l l be t e s t that w i l l never f o r g o t t e n . Change i t or vary i t by having a dime in one hand and a penny in the other hand. Then J e l l them t o think of one hand or other hand, You w i l l always win.

HUMAN

LIE

DETECTOR,

Anytime any one r e l a t e s an i n c i d e n t or an experience and i t seems there i s some exaggeration — immediately step end say: "You would be l y i n g i f you did not t e l l the t r u t h , wouldn't t o u ? " And do you know I can t e l l i f you are l y i n g or not? Just by f e e l i n g your pulse? To s t i c k t o h i s story and prove to audience i t i s so he w i l l b o l d l y a s s e r t — t h a t yOu cannot t e l l i f he is l y i n g . You then take hold of h i s w r i s t (be sire and f i n d p u l s e ) and look into h i s e j e s and ask him t o repeat h i s s t o r y t e l l him. " I f you are sincere and a r e t e l l i n g t h e t®uth your heat w i l l beat normal and you can look me - - s t r a i g h t in the e y e l " But i f you l i e , you w i l l not be able to look me s t r a i g h t in the eye~-and— there w i l l be skips in jCxxr p u l s e and your p u l s e - b e a t w i l l go f a s t e r right along. Understand? Sometimes they back out o f the experiment. ( I s i t when they t e l l truth—N01) Sometimes t h e y cannot look you s t r a i g h t in the eye. (Eyes w i l l quiver a l i t t l e . ) Sometimes their pu^3© skips a few beats at i n tervals* The l a s t three denotes some falsehood somewhere. And a g a - i n on the other hand he looks you s t r a i g h t in the eye and does not waver and his pulse b e a t s normally then when you are sure he i s g i v i n g you " s t r a i g h t goods" (For the b e s t e f f e c t have him stand with you b e f o r e audience.) His whole s t o r y may be the truth exepet a c e r t a i n d e t a i l . Watch and keep tab on h i s pulse b e a t , I t might be skip end hurry. I t might j u s t continue t o be normal. I t i s up to you to f i n d i t o u t . So when he f i n i s h e s you cross-examine him. Then when he d i d not t e l l tb© the t r u t h he w i l l g i v e up in despair and say " I d o n ' t want ydu to do this f o r what is t h e s e n s e of i t a l l ? " Try this as per l a s t experiment and use as IN FIRST TEST CF THIS COURSE and you w i l l find underlying a power of suggestion that w i l l work. Like for i n s t a n c e : I f you l i e your heart w i l l skip a beat cr two--and w i l l quicken. And i f you are t e l l i n g the t r u t h w i l l b e a t normal you w i l l be able t o look me s t r a i g h t in the eye without the s l i g h t e s t wavering. Use a l i t t l e suggestion. And then Watch R e s u l t s . Experiment fcr b e s t reults.

HAT

PIN

THROUGH

4iC

•

• •••

1 1 1

ARM 11

-

To perform thia t e a t - - - a l l you need i s - " g u t s " or what I c a l l " c o l d courage". Procure a l o n g , t h i n , slender hat-pin with a v e r y sharp point. When using t h i s type of a pin——you need not "be a f r a i d of any damage or harm—-for when thrusting the pin through t h e ' f l e a h y part of t h e f o r e - a r m or t h e middle between the wrist and elbow, the point being very sharp and the hat-pin i t s e l f being very t h i n — l o n g — a n d — slender does not harm the t i s s u e s very m u « h — f o r a l l i t doe a - — - i a d i v i d e s the c e l l a aa i t goea through the muaclea. This t e a t always proves to be a BIG HIT whenever, wherever shown. Innocent subject {pea through procreaa of b e i n g Hypnotized by you and he must portray dramatic a b i l i t y in going to s l e e p and awakening andwhile he does not even know that his aim waa pierced with a h a t - p i n ( ? ) Never give y o u r s e l f c r e d i t when uaing aubjecta f o r upon their awakening always d i r e c t the audience'a a t t e n t i o n t h a t their mind waa of v e r y high r a t e of i n t e l l i g e n c e ( a u b j e c t a ' ) arri audience w i l l applaud for the s u b j e c t ' s succeaa in the performance of theae experimenta t h e r e - ' f o r e i n d i r e c t l y audience w i l l l i k e you a l l the more f o r b e i n g modest* I f you are performing under any emergency a good idea is to simply pinch the f l e s h where t h e needle i s to e n t e r , (For (this deadens the nerve). Then thrust the needle with a good grip> while you have picked up a good portion of tti e f a t t y t i s s u e s of the fore^arm between or with tho thumb and tho f i r s t f i n g e r . Always us o a good a n t i s e p t i c A l c o h o l or a 5% solution Boric Acid in water so as t o wash a l l art ice Is used in experiment before and a f t e r — - k e e p i n g things s t e r i l e and clean p r e v e n t ing germs getting i n t o the blood stream. The f o l l o w i n g i s the masterpiece of Hypnotic Magic I have been u a ing a long time without anyone y e t becoming aware of the f a c t that a ' " g i m i c " lis being used. Try this and n o t i c e the e f f e c t upon audience. F i r s t , the hand and arm i s shown t o the audience t o be bare and f r e e of anv preparation ufoat soever i Now taking a large bandana (handkerc h i e f ) f r om the t a b l e , waving i t "then throwing it around the wris t so i t i s wrapped around w r i s t t w i c e , having* spectator a s s i a t you in t y i n g a few good knot a. Tako a l s o from t a b l e a l o n g - h a t - p i n having i t p r e v i o u s l y paased f o r any r i g i d amount of inapection. A f t e r i t a return aaking audience to watch you very c l o s e l y for the expreiment requirea s i l e n c e and deep meditation while the e x p e r i ment i s t r a n s p i r i n g . Taking the pin holding i t s point touching t h e center of handkerchief whoro w r i s t i a covered, (gazing u n t i l you are t h i s seeming trance of deep concentration-—whereby you are w i l l i n g your body thinking so i n t e n s e - - u n t i l you are a l o w l y — s l o w l y — g o i n g into a s t a t e of complete anaesthesia without f e e l i n g — n o p a i n — n o f e e l i n g of any kind Strange aa it may Seem ( ? ) , Now alowly surely p o s i t i v e l y — - y o u are seen t o push and f o r c i n g this long, sharp h a t - p i n into your w r i s t slowly—pushing this r i g h t through your 3 s f t w r i s t u n t i l h a t - p i n is about h a l f - w a y t h r o u g h . — ( ? ) Looking at audience s e r i o u s l y and speaking in a low t o n e — e x p l a i n i n g — that only a f t e r tho deepest concentration that can your sense of f e e l ing be disconnected from your b r a i n . A t t e n t i o n is brought to w r i s t showing both s i d e s . A f t e r a few seconds grip end of pin pulling i t out of wrist slowly a n d ' f o i g n a l i t t l e d i f f i c u l t y in t h i s . Use a l i t t i e dramatic expression, (You know,SHOWMANSHIP of a Master of t h e A r t ) ,

Pin i s now out and again f r e e . Have same spectator untie the knots you immediately grab handkerchief and unwind i t from your wrist and shake i t from your hand and throw i t ( I should say - place it on table). So i t seems to audience that there i s nothing in handkerchiefl Now, wrist i s shown on both sides LO AND BEHOLD and there i s a spot of blood on both sid es of w r i s t and exactly at the points where the needle has entered ( ? ) . Where the pin has came out through the opposite s i d e . Performer looks at audience a m i n u t e - — s t a r e s a few seconds t o one 3ide of the theatre and thd other 3 i d e (right and l e f t a i s l e s and then bows his hoad awaiting applause. And if your head i s maintained in this position long enough you are BOUND TO HEAR APPLAUSE. SECRET:- Audience does not know that your bandana kankerchief is prepared. The middle of handkerchief has an extra piece to match-aboit six inches square sewn on. This extra piece hides the "gimmic t u b e " . This tube (ag you w i l l notice in SKETCH POUR) i s made of l / 8 " b r a s s tubing about 3 l / 2 inches long and i t so made that i t f i t s somewhat l i k e an arch with ends turned out s t r a i g h t . An archod tunnel f o r h a t pin t o go through while the " g i m m i c k e d " handkerchief i s wrapped a-bout l e f t wri s+---

Khois

SKETCH FOUR The hat-pin must BE FLEXIBLE AND MUST BE A FOOT OR LONGER FORS BEST RESULTS. While handkerchief bandana i s being tied---unknown to spectator & audience f i x tube (in hanndkerchief) in position so i t adjusts i t s e l f around the w r i s t , as you see in SKETCH FOUR. (Blood spots caused by red crayon wax or red ink in the pretense of looking at wrist while holding i t a f t o r handkerchief.) (Also s e c r e t l y applied in the p r e tense while Holing wrist t o stop f l o w of b l o o d ) . You can£ find the tube-entrance through handkerchief i f you have previously placed there an ink-spot — so you can find i t with" ease just before you thrust pin through. Doing this t r i c k once or twice w i l l make you acquainted with an e f f e c t that in i t s very s i m p l i c i t y l i e s a rastcrpiece of Hypnotic Magic i f r i g h t l y performed and presented w i l l m y s t i f y the b r i g h t e s t audic-nces. I w i l l not s a y , there eyes w i l l bulge in amazement but the response you w i l l receive in the form of applause w i l l convince you that t h i s t r i c k indeed, serves or deserves i t s place in any Hypnotist's repertoire. So my dear reader, received much pleasure now i t i s up to 7/ou to amusemon b and applause the audienco thinks i s

you cannot doubt me, f o r I have performed i t & in the performance of t h i s l i t t l e favorite-and perform this neat l i t t l e t r i c k and receive the always given in return to the performer whom accredited or g i f t e d with'unusual power3.

PHANTOM

EYES

I f you compliment one of your s u b j e c t s saying that he has a ve3?y i n t e l l i g e n t brain that the best thing he p o s s e s s e s i s h i s keen eyesight why-he i s even able to see in the dark. (Speak t o s u b j e c t in t h i s way-) Why, h a v e n ' t you some times seen o b j e c t s in t h e dark, why c e r t a i n l y you have. Let u s t r y ari experiment. W e ' l l put out the lights and I want you to t e l l me' the; honest t r u t h — j u s t the exact truth and nothing e l s e , , Understand? ; The l i g h t s are out you make a few mesmeric passes over his head and temples and t e l l him to keep eye3 c l o s e d for a minute. You then use tho thumb c l o s e to the none. I f you (You ask s u b j e c t i f he has and n o t i c e the b e s t method glow in each corner of the right.

fore-

and f o r e f i n g e r and press into the eyeballs have press somewhat in two successions seen a n y t h i n g . ) Try t h i s stunt on yourself for results. He w i l l see a phosphorescent eye. Very i n t e r e s t i n g experiment i f done

Now a f t e r he has seen something l i k e t h i s 3ay; "Nov/, look in my d i r e c t i o n and you w i l l f i n d I am e x e r t i n g an hypnotic i n f l u e n c e over your body 1 am gazing d i r e c t l y i n t o your e y e b a l l s you w i l l be able to see my eyes shining in the dark you w i l l your eyes are becomirg accustomed to t h e darkne3s you can s e e you w i l l see. e t c . Nov; do you sec my eyes staring at you g a z i n g at y o u — - d o n ' t you? Answer mei You could? T h a t ' s f i n e t Now we w i l l put on the l i g h t s . SECRET:Two small r i n g s about l / 4 inch in diameter-width of r i n g being one-eight of nn inch. (Something t h a t s e l l a -8 in s t a t i o n ery and o f f i c e supply s t o r e s f o r the r e p a i r of torn h o l e s in l o o s e l e a f note books. Paper r i n g s that c o n t a i n s g l u e . ) Using these with luminous paint on i t of any c o l o r . Previous to performing this t o s t you have exposed these luminous painted ring3 to a s t r o n g l i g h t f o r a ' h a l f - m i n u t e or 30. Then place them in your pockot. Or keep them on ahelf in f u l l view of l i g h t , unknown to s p e c t a t o r s . As soon as l i g a t are turned out (while in the dark) you paste one o f oach of these luminou3 r i n g s over your G y o l i ^ j ( i n the dark do those with your back towards f a c i n g spectator Now keep them out of view of spectator and audience u n t i l th2 time i 3 ready for i t . T e l l subject t o cI030 eyes. Then when ready—turn around and f a c e s p e c t a t o r then work tho f i n g e r s t u n t i n t o the e y e b a l l s (as described above). T h e n - t e l l s u b j e c t t o open eyes—THEN STAND BACK A FEW FEET AND LET THE LUMINOUS KENGS (THAT ARE PASTED ON TOP OF EYES) C (ME TO V I M (IN DARK) SO SPECTATOR CAN SEE IT. TO SPECTATOR THIS WHEN WITNESSED WILL PRODIEE A WEIRD EERIE EFFECT. Grasp s u b j e c t ' s hands when coming c l o s e r (th is holding of hands w i l l convince s p e c t a t o r (wihtout c a l l i n g t o the f a c t d i r e c t l y ) t h a t you DO NOT USE YOUR HANDS TO PRODUCE THIS ILLUSION) The s u b j e c t s sees t h i s and you holding your hands w i l l a l s o prevent him from bringing h i s hands t o your eyes aa some s p e c t a t o r s you w i l l f i n d do t h i s . He w i l l not understand how 3uch an e f f e c t can be done. He w i l l f e e l a cold c h i l l t r a v e l up and down-his spine f o r seeing eyes in the dark is something t h a t w i l l convince him that your 07/03 shine or glow. When y o u ' r e through—remove these rings b e f o r e l i g h t s are cn.

WHISTLE

IP

YOU

CAN

Hero i s an e x c e l l o n t t e s t . I t w i l l amazo you. TRY ITI Have some one stand in f r o n t of you f a c i n g you. Distance should "be about a foot. Ask him t o w h i s t l e some popular song, something o f r e c e n t d a t e , (the reason I say recent i s , i t requires a degree of c o n c o n t r a t i o n — which brings about the mind of thinking of the song.) Which i s tho desired r e s u l t , ) Do not inform your s u b j e c t beforehand j u s t what you are to do. Now while ho i s w h i s t l i n g , bring in s i g h t , a h a l f - l c m o n and bogin sucking on i t , and i t between times g i v e suggestions t o the o f f o c t t h a t the lemon i s sour, green and b i t t e r , so a c i d , so green, so b i t t e r that i t would make him " w r i n k l e " up h i s whole f a c e . I f you give him a s u f f i c i e n t amount o f suggostions then WATCH HIM STOP WHIST*LING AND WATCH h i s e f f o r t s — H E BLOWS INSTEAD OP WHISTLE. "13uch to tho amusement o f tho audienco. I have had groat success with t h i s laugh-provoking s t u n t . You R'EALLY DO NOT REQUIRE THE LEMONj but simply stand f a c i n g subject g i v ing him a running f i r o of suggestions about how groon, b i t t e r and sour t h i s lemon i s . Then WATCH BLOW. But when caning across a d i f f i c u l t s u b j e c t and ho continues to w h i s t l e while you arc giving suggostions; woll tho b o s t thing i s to be prepared; i s to tako out (much to h i s s u r p r i s o , unoxpectodly) A REAL HALF-LEMON ANEB EGIN TO DO YOUR DUTY. HE WILL SURELY STOP WHISTLING WHEN HE SEES THE LEMON, (and hearing your suggostions s i m u l t a n eously). Lot me r e l a t e a l i t t l e i n c i d e n t t h a t has soitkj connection with t h i s article. I was c a l l e d upon quite unexpectedly and j u s t whon I was onjoying myself immensely a t a N i t o - c l u b one ouoning. The mastor of ceremonies .bogged me to come t o the center of the f l o o r (whero tho d a z z l e of t h e s p o t l i g h t shone upon many c e l e b r i t i e s who had performed there)—and perform a t e s t or two in HYPNOTISM. When l i s t e n i n g t o the music and keenly watching tho ochestra playihg so w i l d l y and f o v o r i s h l y gave me an e x c e l l e n t idea for an Hypnotic t e s t so I began: "Ladies and Gentlemen:- your gracious master of ceremonies has requested mo to perform for you a few experiments in HYPNOTISM. No doubt, most of you are f a m i l i a r with the news d a i l i e s which - - i f you n o t i c e — a r e p r i n t i n g a l l news concerning Hypnotism and unusua l mental phenomena. Even in t h e comics you w i l l f i n d a r i c h r o l i a h of jokes and humor along the linos sometimes boaring upon Hypnotism. Don't you think a f t e r deducing a l l those f a c t 3 t h a t there must bo something t o i t ? The minds of people at every moment of the day ore r e c e i v i n g suggestions and r e - a c t i n g upon them. When we witness a " t a l k i e p i c t u r o " we f e e l i t , experience i t s every emotion, we even v i b r a t e with tiiis throbbing dramatic and r e a l - l i f e - l i k e s t o r y .

continued

j

-—

; 'Now, j u s t think t h a t you can now f e e l t h i s d e l e c i o u s music coming from your ochestra, your wonderful o c h e s t r a . ' |

"By the way,

that gives me an i d e a . "

i

| ' T o n i t e — I am going t o attempt one of s c i e n c e ' s g r e a t e s t p e r p l e x ities. I w i l l - — w i t h tiie power of suggestion cause everyone in tho ochostra—hero TO STOP PLAYING THEIR INSTRUMENTS. (Suggest t o them that they i f they could kindly play a slow w a l t z . ) Now—watch and l i s t e n ' : (Do not mention to the audience—"but nevertheless you should use only those musicians that p l a y instruments t h a t require b l o w i n g . ) iYou know, c l a r l y tho reason f o r t h i s . ) | I gave tho suggestions while I was standing f a c e the ochostra as a band leader would. I—making wry e x p r e s s i o n s , and t e l l i n g them their mouth and tongue and lips f i r 3 t becoming dry, They cannot blow t h e i r instruments. Now t h e i r mouth—NOW—RIGHT NOW you can f e e l i s becomi n g so watery so wet so watery so overflowing with s a l i v a so watery t h a t thoy cannot p l a y - — s i m p l y cannot and i t && a b s o l u t e l y imp o s s i b l e t o continue playing your l i p s a r e becm&ng so s l i p p e r y on the i n s t r u m o n t s — s l i p p i n g a l l over your mouth ia so w e t - - a o wateryyou cannot play any l o n g e r . " I By keeping up t h i s f i r e running of s u g g e s t i o n s , they at i n t e r v a l s ; ceased blowing t h e i r instruments then t h e y stopped a l t o g e t h e r and j u s t sat there with instruments back on their l a p s and j u s t s t a r i n g blank at mc, in a s t a t e - l i k e - t r a n c e - o f confusion. They could not play THEY HAD STOPPED AND CEASED ALTOGETHER. This scene produced ia one of the most h i l a r i o u s s t u n t s that bring rcaponae and applause and p l e n t y laugha. Try i t .

will

! This went ovor "BIG" and the N i t e - c l u b patrons were for me in - — i "A BIG WAY". The senaation produced upon the audience was at f i r s t , MYSTIFYING—and—-AMAZING—then ROARS OF LAUGHTER—and the thundering ; applause that followed r e a l l y proved t o the management and t o the aud; ience and to myself that t h i s seemingly impossible miracle was a huge ; success. This concludes another t h r i l l i n g and h i g h l y s u c c e s s f u l l y p u b l i c i t y miracle in tiie c o l o r - l i g h t s of my career gaining f o r me a r o c o g n i . tion ard popularity never dreamed o f .

PENETRATION X-RAY TEST. Performer can make h i s skin transparent. Not many h y p n o t i s t s ' are acquainted with t h i s s e c r e t . I f you e x c e r c i s e showmanship you w i l l Completely b a f f l e the b r i g h t e s t -of audiences, doctors, and etc. Medium must have ooncealed i n s h i r t sleeve a small container f o r this solution — so audience w i l l not see i t when he stands f a c i n g them. Container on back side of arm, away from audience palm held open. You w i l l nfct-lce t h i s s i d e o f the arm of the arm has a greater number of blood v e s s e l s under skin. This means b e t t e r r e s u l t s . Medium stands there with his s h i r t sleeves r o l l e d up now h i s l e f t hand s l i d e s over in container quickly and i n d e t e c t a b l y . (That side of arm i s away from t h e audience so they cannot see t h i s move). Whole contents i s emptied i n t o the palm of l e f t hand—now hand rubs b r i s k l y OVER RIGHT ARM. To r i d of container the l e f t hand gives sleeve one extra r o l l and noW everything i s out of sight under f o l d s of sleeve* Now you can f r e e l y show arm back and front f o r there i s nothing to s e e . To do t h i s j u s t r i g h t you must use a l i t t l e d e x t e r i t y and showmanship pattering about t h i s great power you possess. This move is simple and easy i f done natural. Rub a l i t t l e slower and t a k ing your time f o r the skin to become dry and transparent. (Don't f o r g e t t h i s i s an e f f e c t that you must not rush through in a s l i p - s h o d manner but take i t easy and perform i t with the grace and ease of an actor who emphasizes c e r t a i n points with dramatic a b i l i t y . The solution is made up o f : Three parts of s a l i c y l i c menthyl e s t e r and one part cf benzyl benzoate. Order them from the Department of Organic Compounds, Eastman Kodal^ Company of Rochester, New York. HYPNOTISM AND MIND CONTROL,ACT. EFFECT: - Perfoimer causes audience of one,- two or more spectators t a s t e candy and medicine in some strange manner by control of mind. SECRET:- Yes, a b i t of apparatus is used. Procure a novelty from any store that s e l l s r.ia&ic t r i c k s and joke n o v e l t i e s - - c a l l e d " F l a t e L i f t e r " Consists o f a length of rubber tubing attached to rubber bulb with a rubber bladder on the other end. Remove t h e thin rubber bladder. Place in rubber bulb a small amount of "Saccharin Soluble Merch powder U.S. P. which i s 550 times sweeter than sugar. Obtainable from d r u g g i s t s or wholesale drug houses* FOR PRESENTATION: - Attach the thin tubing t o the bare arm by two more rubber bands. The bulb comes d i r e c t l y under the armpit and the . end of tube runs down to the w r i s t . When'the coat replaced on — this apparatus 4-3 hidden. Make mesmeric passes over subject and in act of doing BO—-you press s l i g h t l y on the bulb under armpit whioh causes a b i t of t h i s "Saccharin" t o be sprayed into the atmosphere c l o s e to the face of s u b j e c t . So the s m a l l e s t amount of this-coming M contact with the l i p s of s u b j e o t w i l l cause a n intense t a s t e of sweetness in mouth of the s p e c t a t o r . The Medicine Taste i s worked r i g h t a f t e r the Candy Test so pump out enough Saccharin and s t a l l a l i t t l e time by — p a t t e r i n g by explaining your mind c o n t r o l l i n g the s u b j e c t s mind and Dody, Another p l a t e l i f t e r concealed i n your other arm can contain sneezing powder or itching powder and sprayed out in the same way.

" P A L

MS

U P ! "

F i r s t try t h i s experiment y o u r s e l f . Stand c l o s e to a wall now place the "back of tho r i g h t hand up against the w a l l now the l e f t hand or the back of the l e f t hand should bo i n s i d e the palm of the hand (at the height of your h i p ) . Now place your against these both hands and apply a steady firm p r e s sure f o r a whole minute. I f you have t h i s r i g h t l y done you w i l l f i n d t h a t when you step •back from the wall and l o t your r i g h t hand hang down you w i l l f e e l your r i g h t hand come up automatically as i f there i s some power p u l l i n g i t r i g h t up, ; Now get t h i s s t r a i g h t i f vou want tho best r e s u l t s . You must apJply a very f i r m pressure f o r a f u l l minute b e f o r e you w i l l f e e l that the r i g h t w i l l r a i s e i t s e l f a u t o m a t i c a l l y . Tho cause of this i s : the r o f l e x a c t i o n tension which is produced as described.

as a r e s u l t of norvo

Using the above t e s t method on any spectator while giving suggest i o n s that you can r a i s e h i s hand by tho f o r c o of your hypnotic power?

" H A N D S

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By holding s p e c t a t o r ' s both hahds a g a i n s t h i s , s i d e , s t r a i g h t , g r i p ping (with your second f i n g e r of oach hand) h i s pant3 pockets. (His arms aro s t r a i g h t and s t i f f ) . Same time t e l l i n g him t o use n i l hi3 f a r c e in t r y i n g to r a i s o h i s hands sidewards and upwards for about twenty seconds. (Hecannot do anything but j u s t exert a f o r c e , f o r h i s hands aro grasped by you and you holding h i s s i d e pockets and hands same time ) And that as soon as you l e t go ho should relax and l e t h i s arms hang f r e e TELLING HIM THAT YOUR HYPNOTIC BOWER IS NOW DRAWING UP HIS ARMS — AND HIS ARMS WILL COME WITHOUT THE SLIGHTEST ASSISTANCE ON THE SPECTATOR' S PART. The pressing against h i s sides and you r e s i s t i n g h i s force causes a nerve tension of both of whole arms. Spectator w i l l bo amazed b o caus e he cannot explain why h i s arms do come up so m y s t e r i o u s l y .

THREE HYPNOTIC RIGID TESTS. Subject i s seemingly hypnotized. While in t h i s s t a t e he is seated—his r i g h t arm i s l i f t e d up—sleovos rolled up leaving arm bare and f r e e of any preparation. By mesmeric passes of the performer the arm is made RIGID ( ? ) . The seating posiiije of subject must be as in SKETCH ONE, facing audience. Back of chair i s placed facing r i g h t side (Pacing r i g h t wing) so h i s right arm is placed over the top of t h i s c h a i r topk—elbow r e s t i n g over and on top another c h a i r - t o p (which i s placed a f o o t away. SEE SKETCH ONE), on t h i s r e s t s the w r i s t . (Use chairs with top of them straight so as to cause no d i f f i c u l t y or inoonenience to the s u b j e c t . ) New have a spectator come up upon the s t a g e - - o r use vcrur a s s i s t ant (which i s b e s t ) . Now have your a s s i s t a n t (or y o u r s e l f ) help him t o step (from the standing p o s i t i o n of another chair in back) up onto the am of hypnotized subject. Have a s t o o l on the chair in b a c k - - s o a s s i s t a n t ha3 an even l e v e l to s t e p o f f from—and r i g h t onto arm which i s very e a s i l y done. Sketch #1 shows this complete t e s t . (Minus s t o o l ) . Holding your hand open towards t h i s completed t e s t and bow slight - l y a rri await applause. Now a f t e r t h i s have a s s i s t a n t helped o f f from the standing position on a m - - b a c k onto stool->»on top of chair-~on to floor. Take your time and be careful t o prevent accidents. NOTE:- I t i s b e t t e r to have your a s s i s t a n t - - r a t h e r than a s p e c t a t o r - - f o r t h i s ' i s a very s e n s i t i v e t e s t and his rou$r. shoes may be a l i t t l e too rough* (Your a s s i s t a n t w i l l always know what t o do 'and when to do it and she or he has on s o f t shoes--and l a s t cf all-how to maintain equlibriun. > SECRET:- The supporting of this heavy weight seems a l o t for an arm of this s i z e . A person standing on fti 6 arm i s onlv a pressure on the s o f t muscles of the arm acting as a cushion which absorbs some of the weight and pressure. The two bones of the arm are naturally very — strong. A wdight of 500 pounds placed on the right arm between elbow and wrist was shown t o cause not even the s l i g h t e s t pain-'or discomfort to t h e subject» SKETCH TWO — shows another Very p r a c t i c a l t e s t . Use any subject or a s s i s t a n t or natural strength and you find i f you do this r i g h t he w i l l e a s i l y support the weight of 450 pounds without much d i f f i c u l t y as according to SKETCH TWO, Notice that there is very l i t t l e weight in the middle being only one person, The other two are only standing at above the p o s i t i o n ' o f where the body r e s t s on the chairs. This set up i f l a t e r r e c a l l e d by any member of the audience w i l l give the impression that three persons were standing in the MIDDLE of H y p n o t i z e d subject. This is a clever misdirection even a't the time of the TESTJ SKETCH THREE — How look at this Sketch #3 very c a r e f u l l y . Shoulders r e s t on the top o f one chair a rd back of the ankles on the other chair-T0P t Now be sure when having your a s s i s t a n t (or spectaA t o r ) he has one f o o t placed on chest — j u s t a l i t t l e hi^ier than the abdomen other f o o t placed lower than abdomen. Subject can easily support a person standing on him. I f subject Is a l i t t l e husky fce' can suppufct two persons averaging even 140 to 160 pounds or more/ Even a 200 pound f l a t rock placed on h i s chest can be broken with a sledge-hammer without much d i f f i c u l t y , ffhe f c r c e of the blows of the hammer w i l l be absorbed by the rock before they reach the chest. Challenge anyone i f they can duplicate t h i s f e a t cf strength. You can even f o r f e i t $50 or more i f they could do i t . Don't worry. Y o u ' l l always win for when a stranger cornea up (The bigger they are the b e t t e r i t i s for their f a i l u r e ) When they are as in Sketch #3 you step right up—and when you step off c h a i r - - j u s t step r i g h t into his abdomen (stomach) and watch HIM PALL DOWN LIKE A TON OF BRICKS III YOUR POPULARITY WILL BE INCREASED & PEOPLE WILL NOT DOUBT YCUR WORD PROM THEN ON.

SKETCH on*

SKETCH T H

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BLOOD TELEPATHY TEST. EFFECT: - A u d i e n c e i n m a j o r i t y s e l e c t s a c o l o r . P e r f o r m e r then shows h i s f o r e - a r m t o be bare and f r e e . Rubbing h i s f o r e - a m i n a b r i s k manner, t h e r e a p p e a r s - - m y s t e r i o u s l y - i n b l o o d - c o l o r the e x a c t p r e d i c t i o n of a u d i e n c e * To p r o v e t h e r e a l i t y of t h e word b e i n g m a n i f e s t e d by m e n t a l C o n c e n t r a t i o n , t h e p e r f o r m e r c o n t i n u e s c o n c e n t r a t i n g a n d — WHERE THE WORD IS FINISHED OFF, THERE BEGINS A SPURT OH AN OUTLET OF A FEW DROPS OF REAL BL00D1 1 MUCH TO THE UTTER AMAZEMENT OF THE ASTONISHED AUDIENCE! AWE—INSPIRING INDEEDlI THE HOW OF I T : - S a l t w a t e r s o l u t i o n made s t r o n g and w r i t t e n on wet w i t h a p o i n t e d s t i c k , when I n t e r r u b b e d w i l l produce t h e w r i t t e n word in RED. The b l o o d - s p u r t i s done by p r e v i o u s l y ( t h e spot where the end of the s t r o k e o f tho l a s t l e t t e r of ward) where c o m p l e t e s — i s p r i c k e d with a n e e d l e and I n t e r by t e n s i n g and c o n c e n t r a t i o n , b l o o d w i l l s u r e ly flow. You must experiment f o r r e s u l t s — b y c o n c e n t r a t i n g and t e n s ing o f the arm, p r i c k a l i t t l e d e e p e r . A, l i t t l e p a i n b u t not much. Do t h i s a few m i n u t e s p r e v i o u s t o p e r f o r m a n c e . "Mob-Psychology" t e a c h e s u s t h a t the c o l o r "RED" w i l l bo s e l e c t e d by majority. Or i f t r y i n g f o r a few s p e c t a t o r s have some Red A r t i c l e s l a y i n g around. Do t h i s t e s t and you can prove by u l t r a - c o n c e n t r a t i o n you can do what t h e y c a l l "S2LF*HYPN0SIS".

N E L MA R « S

P R I V A T E

C O U R S E

IN GENUINE HYPNOTISM

$50,

You w i l l be taught f o u r I n s t a n t a n e o u s methods The Hypnotic Gaze. Use of Drugs and t h e i r a p p l i c a t i o n Perfumes and how to u s e them. The i n f l u e n c e w i t h c o l o r e d L i g h t s Using ten Hypnotic I n s t r u m e n t s , Auto-suggestion Power o f S u g g e s t i o n Psycho-Therapeutics — . Hypnotizing Skeptics Post-Hypnotic S u g g e s t i o n — A l l Six Stages a s : Waking Hypnotism-Muscular Hypnosis L i g h t Hypnosis Sonambulistic and C a t a l e p t i c S t a g e How t o H y p n o t i z e , by R a d i o ( and C l a i r v o y a n t . Telegram By Telephone By l e t t e r — H o w to Make Money with. Hypnotism O v e r - F i f t y M e t h o d s - o f How t o H y p n o t i z e Hindoo Methods. You w i l l be Taught some o f NELMAR'3 most Chereisfeed s e c r e t s . and P r i v a t e I n f o r m a t i o n t h a t made him f a m o u s . - - O v e r 6000 P e o p l e H y p n o t i z e d - by NELMAR. You w i l l be t a u g h t e v e r y s i n g l e b i t o f i n f o r m a t i o n as d e s cribed above, A l s o some o f NELMAR'S P r i v a t e S e c r e t s t h a t cannot be mentioned h e r e . E i g h t hours w i l l c o m p l e t e the f u l l c o u r s e o f t e a c h i n g you e v e r y t h i n g f o r F i f t y D o l l a r s . W r i t e or w i r e in a d v a n c e f o r r e s e r v a t i o n and a d d r e s s a l l communications t o t h e Nelmar SYSTEM, 2749 North Monti c e l l o Avenue, C h i c a g o , I l l i n o i s .

HELD DOWNwBUT V/HY? A s k i n g a p e r s o n t o come up on t h e s t a g e and a s s i s t y o u . Have h i n l a y on t h e f l o o r on h i s b a c k and y o u s t a n d d i r e c t l y o v e r h i n j u s t g i v i n g him a r u n n i n g f i r e of s u g g e s t i o n s commanding him t h a t he could t r y t o r a i s e h i s body up from t h e f l o o r and h e w i l l f i n d i t p o s i t i v e l y i m p o s s i b l e f o r you a r e s t a r i n g a t him and h i s m u s c l e s a r e made r i g i d end he c a n n o t n o t e v e n move. He c o u l d t r y but t h e more h e t i e s the nore d i f f i c u l t i t i s . SECRET: - A l l you r e q u i r e f o r t h i s ana z i n g h y p n o t i c t e s t i s a s h o r t l e n g t h o f h o r s e - h a i r and have the end o f t h i s h a i r g l u e d t o a n a i l of f i r s t or s e c o n d f i n g e r ( h a i r s h o u l d b e a b o u t f o u r i n c h e s long) and when you have yoxir f i n g e r s s p r e a d wide a p a r t and d i r e c t l y o v e r h i s face y o u a r e l e t t i n g the end o f h a i r t o u c h h i s b r i d g e of n o s e and maintain this p o s i t i o n s t a n d i n g o v e r him w i t h your arm a t f u l l - l e n g t h g i v i n g hima r u n n i n g f i r e o f s u g g e s t i o n s , He w i l l f i n d t h a t when h e t r i e s t o g e t up a' s l i g h t i t c h and i t w i l l become more i n t e n s e i f h e t r i e s t o r i s e . Keep t h i s h a i r touchi n g the b r i d g e o f h i s n o s e and d i g i t i n a l i t t l e m o r e - - i f he t r i e s t o risg. I f 7/ou p r a c t i c e t h i s t e s t about f o u r t i m e s on t h a t many s u b j e c t s you w i l l f i n d t h a t i t i s not so d i f f i c u l t t o do i t a f t e r a l l .

INSTANTANEOUS HYPNOTIC SLEEP TEST11 T h i s s e c r e t i s w o r t h t h e whole c o u r s e . A l l you h a v e to do i s t r y on some of your f r i e n d s f i r s t t o g e t the k n a c k ' o f i t f i r s t . Then when you h a v e i t down " p a t " t h e n you w i l l h a v e the f u l l c o n f i d e n c e to go ahead and t r y i t i n p u b l i c f o r y o u w i l l know what t o do—how t o do i t and when t o do i t . T h i s i s a c h e s t method t h a t h a s come down from the a n c i e n t J a p a n e s e j i u j i t s u w r e s t l e r s and i t i 3 s t i l l l i t t l e known t o d a y f o r w r e s t l e r s of t o d a y e r e not a c q u a i n t e d w i t h i t . To p r o c e e d : Stand b e h i n d s u b j e c t to be put to 3 l e e p t e l l him t o h o l d h i s b r e a t h and not t o e x h a l e u n t i l you a r e t h r o u g h w i t h t h e test. Put y o u r arms around h i s c h e s t and entwine hands and b r i n g than j u s t a t t h e ^ l o w e r p a r t of t h e r i b s in f r o n t , ^fou know you h a v e t h e right position. Hands g r a s p e d . New a p p l y a s t e a d y even f i r m p r e s s u r e and s q u e e z e and s q u e e z e h a r d . You w i l l n o t i c e i n a h a l f - m i n u t e some slight contraction. P i c k him up i f you have t o to continue your squeezing. And i t w o n ' t be l o n g b e f o r e he w i l l r e l a x and become so l o o s e i n your arm3. J u s t l a y him d own a n y w h e r e , on a c o u c h , or a c h a i r and l e t h i n l a y t h e r e u n t i l he c o r e s t o . T h i s i s c a u s e d by p r e s s u r e of b l o o d ,->nd s t o p p a g e of n e r v e mess a g e s _ on h i s s h o u l d e r s and l o w e r b a c k and when a i r in l u n g s is pushed in t h i 3 a i r i n l u n g s p r e s s e s or f o r c e s i t s e l f a g a i n s t t h e n e r v e s and t h e r e f o r e u n c o n s c i o u s n e s s the r e s u l t . Do not u s e a r o b u s t o r f a t p e r son. A l w a y s u s e a t h i n or p e r s o n t h a t is not so h u s k y . The end