Psycho - Gizmo by Teral Garrett - 1

 

A SERIAL DEVOTED DEVOTED TO GOOD PRACT ICAL MENTAL EFFECTS AND BEST MAGIC

TERAL GARRETT’S

Psycho•Gizmo

Volume 1 ISSUES 1 - 12

© Copyright 2013. All rights reserved.   eB ook Version Version

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CONTENTS Dr. Jaks’ Simple Single Reading ...........................................................................................................................................3 Silk Vision—Rich Vision—Richard ard Weibel ............................................ ........................................................................................... .............................................................................................. ....................................................... ........3 3 G. W. Hunter 3 Predictions Predictions.............................................. ............................................................................................. .............................................................................................. ....................................................... ........4 4 Genovis’ Clock Cards—N. Genovis ..................................................................................................................................... 6 Tel-O-Matic Prelude—Woodrow Carpenter .................................................................................................................... 8 The Mogul Book Test—Mogul............................................................................................................................................. 9 Tom Sellers’ Name Detector.............................................................................................................................................. 10 The Perfect Switch—Nika ...................................................................................................................................................10 Sealed Envelope Act—Stanley Collins .............................................................................................................................12 R. C. Reno Act—Reno ............................................... .............................................................................................. .............................................................................................. .............................................................13 ..............13 Triple Prediction—William S. Houghton ......................................................................................................................... 15 Number Telepathy—William S. Houghton ..................................................................................................................... 16 Total Darkness—Nika...........................................................................................................................................................16 A Mental Feat—Jack LaWain ............................................................................................................................................ 18 Three Envelope Prediction— Prediction—Tom Tom Sellers Sellers .......................................... ......................................................................................... ............................................................................ ............................. 19 Watch Accessory Case..........................................................................................................................................................20 New Idea Card Marking....................................................................................................................................................... 20 Audience Prediction—Chris Charlton ............................................................................................................................. 21 Concentration....................................................................................................................................................................... 22 Identication of Sex—David Roper.................................................................................................................................. 22 I’ve Got Your Card—Walter Card—Walter Simpson Simpson........................................... .......................................................................................... .................................................................................... ..................................... 24 Card Index Again .............................................. .............................................................................................. ............................................................................................... .................................................................... ..................... 24 24 On the Spot Frame Up—Nika ........................................ ....................................................................................... .............................................................................................. ..................................................... ...... 25 Novel Adaptation of “The Memory Act” ......................................................................................................................... 27 Harto’s Slate Test—Teral Garrett..................................................................................................................................... 27 Nika’s Prognostication—Nika............................................................................................................................................ 27 Non Wireless Talking Kettle .............................................................................................................................................. 28 Cold Reading......................................................................................................................................................................... 30 The Human Human Aura—Richard Aura—Richard J. Weibel........................................... Weibel .......................................................................................... .................................................................................... ..................................... 30 Tips for Mindreading—William Chinn.............................................................................................................................. 31 Original Phone Thought Reading ..................................................................................................................................... 31 Four Aces Impromptu.......................................................................................................................................................... 31 Question Answering Answering Act for Two People—Bob People—Bob Brethen ............................................... ............................................................................................ ............................................. 33 Slow Motion Card Vanish—Allan Lambie........................................................................................................................ 34 ESP Cups and Chips—The Chips—The Amazing Maurice ............................................. ............................................................................................ ..................................................................... ...................... 35 Volta Presentation—Burling Hull..................................................................................................................................... 36 The Best Book Test—Nika.................................................................................................................................................. 36 Too Simple To Do—Nika..................................................................................................................................................... 37 The Prompter—The Great Ovette.................................................................................................................................... 37 © Copyright 2013 by Trickshop.com. All rights reserved. -2-

 

Psycho•Gizmo No. 1 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

SIMPLE SINGLE READING Dr. Stanley Jaks   The mentalist asks someone to take a business card from a pile of cards and requests him to write a question on it. The person is told to put the “question card” back into the bunch. The mentalist lays the stack of cards on the table and picks up a small black plastic plate, a little larger than the cards, and places it on the card stack. On this he puts a small ring and sets a crystal ball on the ring. See illustration. Looking into the crystal the mentalist answers the question. You need a number of white business cards. One of these is cut shorter than the others…a short card. A black plastic, metal or wooden plate a little larger than the cards, a small ring and a crystal ball. If you do not have a crystal ball, a large glass marble will serve the purpose well. To the under side of the plastic plate, about the center, place a small piece of wax.

Show the cards, fanning them and hand the spectator the “short” card. When question is written and returned to stack, you mix them and bring the “short” card to the top. Now set the cards on the table and place the plastic plate on top of them. The top card will stick to the wax on the plate. Just by lifting the plate and turning it toward you for a second, the question card comes with it with the message side toward you. As you perform this move patter about “concentration” or something to that eect. You can see the message as it is facing you. Now momentarily put the plate back, then set the ring in the center and crown with the crystal ball; and start the reading. This method is very practical for single reading and can be repeated at once.

SILK VISION Richard Weibel This is an adaptation of Adam’s currently popular Color Vision for a large audience. Obtain a cubical box at least three inches on each side. A plastic, metal or wooden box is satisfactory. Cardboard box is the last resort as it raises too much suspicion. The box lid must t the type. Someone in the audience is allowed to choose a colored silk from a large box containing as many colored silks as you can obtain. Twelve or eighteen inch silks are the best size to use. While your back is turned spectator places his chosen silk in “Silk Vision Box” after thoroughly examining it. If you supply a large enough box for the dierent colored silks, the spectator can cover his action in the box.

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Taking the small box behind your back, you lift the lid from top and place on side of box. Upon bringing the box to front you can see the color of the silk as you place the box on a table. If you intend to hand the box out for examination after you have (mentally) revealed the color, drop the bottom of the box onto left hand while right hand holds onto lid (like the Okito Coin Box move). Don’t put the box behind you to reset the lid…it isn’t necessary and is often a dead give-away. Even well-known magicians have not caught me in the Okito Box move. While it may look obvious to you, it is a perfect psychological ruse.

G. W. HUNTER’S 3 PREDICTIONS   Mr. G. W. Hunter of London, England, used this extensively but I do not know if he is the originator. The key to the whole thing is the number 9. It will be noted after trial that if you deal three equal heaps of not less than four cards to a pile and then take three cards from each outside heap, placing them on the middle pile—next count the number of cards in one of the outside piles and take that number of cards from the middle heap and discard them, you will always have nine cards remaining in the middle pile. Before you commence the trick, shue deck and note the second card from the top. (We will say it is the Two of Diamonds.) Hand the deck to a person and request him to deal from the top of the pack, three equal as piles of cards, in he each pile, but he can deal as many more cards he likes. Tellbut himnot youless willthan turnfour yourcards back in tonumber him while is doing same. Prediction No. 1: “When you have done as I have instructed you, with my back turned and without asking any questions, I will reduce the total number of cards to any small number you may suggest.” Prediction No. 2: “After you have put a number of cards in your pocket or an envelope, I will be able to tell you how many you have in it.” Turn your back and request the spectator to deal out the three equal heaps as you have previously instructed him. When the instructions have been carried out, tell him, “You have quite a number of cards on the table and you will admit, it would be impossible for me to know how many there are. Tell me to what number you would like me to reduce them to.” Suppose he tells you to reduce them to three. Proceed as follows: “Take 3 cards from each of the outer heaps and place them on the middle heap. Count the number of cards remaining in either one of the outside piles and take that number of cards from the center stack and put them back into the deck,” When same, has been accomplished, tell the person to pick up both outside piles and place them on the pack also. Now if the instructions have been carried out the pile remaining on the table will have nine cards. (Note: The pile will always contain nine cards if the mathematical system is followed.) Say, “You now have a bunch of cards left on the table. It would be impossible for me to know how many there are. I want you to ribbon fan the cards out onto the table and put the top half of the cards in your pocket. If there happens to be an odd number, (which will always be nine) take the larger half and put it in your pocket. You said that you wanted me to reduce the number of cards on the table to three, if so, please take one more card from the top and put it into the deck, I will now verify my predictions…You have three (3) cards left on the table and you have ve (5) in your pocket. Correct?”

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“Now for the nal prediction. Take the top card of the three and put it on top of the deck; next take the next card and place it somewhere in the center of the deck, Thank you. One card is now left on the table…and it is the TWO OF DIAMONDS!” It does not matter what number you are requested to work with. It is left up to you to manage the routine after you are left with the one pile of nine cards. If you were asked to reduce them to four, the same is done as when you ask the assistant to take the larger half in his pocket. For the number two, have him take two cards and place them in the pack after the larger number is removed. If a higher number, seven for example, is asked for, request the helper to retake three cards from the deck and add them to the remaining cards. Sometimes it is advisable to have the person take the smaller half in his pocket. This would leave ve cards in the second operation to work with. So vary your routine and manner of working so that it will confuse and confound the audience. In this manner the eect can be immediately repeated. This is ideal for those who like blindfolds. If you use a “short” card blindfold is put on rst and then you get “short” card second from top of deck…then proceed. “Short” card is left on table for your nal prediction.

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Psycho•Gizmo No. 2 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

GENOVIS’ CLOCK CARDS This is an old card eect, but my method of using it is new to my knowledge. You will nd this to be a big thing made from a simple little card trick. The illusion was presented with great success for many years in other countries by El Gran Genovis (The Great Genovis), and is now being released for readers of Psycho. Preparation: You will need an easel, specially made for your height. On the back of the easel you fasten a card changing servant. Next construct a frame from 1” x 1” wood. The frame is 42” square as in “A”, Fig. 1. With the same size wood fasten in the diagonal strips, “B”. Fig. “D” shows spring type clothespins which are either nailed or glued to the frame….12 being placed around the frame and the 13th is axed to the center part, see “D” in center. The whole will resemble a clock face. This contraption is only a frame and can be moved around, shown and replaced on the easel, “F”. Ax a small ledge or a strip of wood to the bottom part of the easel with wood screws as in “E” which acts as a support or holder for the frame just referred to. Now paint the frame and the clothespins any ashy color you choose. I suggest red lacquer….which will make it show up from stage. Two decks of playing cards with the same color and back design are needed. One of the packs is set up or arranged in the following order: 8, K, 3, 10, 7, 2, 9, 5, Q, 4, A, 6, and J. When you are stacking the deck, stagger the colors…for example: 8D, KS, 3H, 10C, etc. Continue operation until all 52 cards are in this position and place the set-up deck in the servant on the back of the easel. Before the show, have the (unprepared) duplicate deck in the card case on your table. Set the frame onto the ledge of the easel and leave it about the center of stage. Presentation: If you open the show with this eect (and it is a good opener) take your bow, pick up the cards, remove them from the box and give them to some me in the audience to shue.

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(Note: Watch that the party does not drop or hide a card as all the cards are required for the eect). When the shued cards are returned, call attention to the frame and say, “This is a skeleton frame mounted on an easel.” As you go behind easel to pick up the frame to exhibit, drop the shued cards into the servant and pick up the arranged deck from same. At the next second pick up the frame, walk to the front and show it to be a skeleton. You have switched the pack in this operation. Place the frame back on the easel and walk away to side and front of stage and fan the deck with the faces to the audience. (Be careful not to disturb the set-up.) You will see by the illustration that the frame resembles a clock face, with 12 holders or pins around the frame and one in the center. Same is used clockwise, 1 to 12 and the 13th position in the center. Now to continue the operation, take the top card (1) from the deck and place it BACK out in No. 1 pin in the frame, the second card goes in No. 2; and the third card in No. 3 position…continue around the clock until 13 cards are disposed of. The 13th card goes in the center section (“D” in Fig. 1). Now repeat this process until the whole deck has been disposed of by being placed in their respective places on the frame. When completed, the whole thing should appear as Figure 1 in the illustration. You must memorize the table shown in the rst part of this text. Note that the cards fastened onto the frame are in the same order as the table quoted. Ask some one in the audience to call for ANY card they wish. For example, a party calls for the Queen of Hearts. You will nd ALL QUEENS at the 9 O’Clock position. Take all the four Queens from this clip, fan them slightly with backs to audience, remove the Queen of Hearts and toss it into a sh bowl or other receptacle. Replace the other three cards (Queens) in the clip. Tell the spectator to remember his card. Continue this procedure with ve or six dierent members from the audience. Now take all the cards from the bowl, walk towards the audience and ask the rst person to name the card he wanted. He does, and you show him his card…Queen of Hearts. Repeat this procedure until all the cards are called for. For climax…ask another spectator to call for a card. This time you remove all four cards, select the right one and immediately show it to him. Some performers will not want to go into the trouble and expense of making up the frame described. For those who would like to accomplish this eect in an easier way, make a “T stand” and fasten 13 envelopes onto it as shown in Fig. 2. The same eect can be obtained but it will not be so elaborate. In placing the cards in the clips (clothespins) or envelopes, do so as quickly as possible; and if you have an assistant, let her assist you by handing you the cards to place in the proper clips. Do not look at the cards while you are doing this. Experience, practice and showmanship puts this little card trick over. When you have acquired the knack, you will like and use this many times. This is the biggest little trick known. It can be used at all times and any where. Try it out. Good Luck—N. Genovis.

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TEL-O-MATIC PRELUDE Woodrow Carpenter No doubt most readers are familiar with the Tel-O-Matic deck which forces a card while the deck is actually in the spectator’s hands. As a build-up to the eect I use a well-known psychological force. From a regular deck remove 8 or 10 cards and hold them fanned in your hand, with the face of the fan towards you. Patter that you are going to attempt an extremely dicult feat, and you will select a suitable subject using a preliminary test. Note the third card from the left end of the fan (assume it is the 10 of H). Hold the fan in front of the spectator and say, “With your right hand remove the 10 of H.” (Remember the backs of the cards are towards the spectator.) If the spectator reaches for a card without too much thought, chances are he will take the correct card. If he hesitates, he may take a dierent one. Tell him he is to try again, but he is not to try helping or hindering this time but to simply reach out and take a card. Tell him, “With your LEFT hand take the ______ of ______.” (Name the third card from the RIGHT end of the fan) If he fails again, tell him that your minds are not in tune and try the eect with another person. When you have succeeded in getting a spectator to take the correct card, you state that your minds are in tune and that you feel certain that the unusual feat to follow will be a success. Hand him the Tel-O-Matic deck and continue with the regular method of working same.

FETAQUE SANDERS WRITES: “I liked the G.W. Hunter 3 Predictions Pre dictions in Psycho 1, but would like to get away from cards in this Psycho stu. I want to use coins instead of cards but the climax is lost for the nal prediction. Why not predict the date on the last coin or the serial number on currency using $1.00 bills…or use ESP cards, Picture Postcards, or Alphabet cards. What other possibilities?” Write.

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Psycho•Gizmo No. 3 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

THE MOGUL BOOK TEST This method of the ever-green book test has been used by me extensively for over ten years. It is dated under June 1940 in my note books, and has been strong enough a feature to close the act with on many occasions since then. In the nal analysis the eect on the audience is the number one consideration, and I oer this as worthy item for any mentalist. The eect, without the by-play, is the as usual…a book, selected from several (if you think it necessary to give a selection) is used. A metal marker is dropped by a spectator into any point of the book. The book is opened at that point, your volunteer assistant reads (to himself) the rst line on either page, after which the mentalist, with due eort, reveals the contents. I seem to get a particular “kick” out of doing this because of the knowledge that, at all times, the spectator is so obligingly holding the gimmick in his own hands. h ands. The book is a cunningly prepared one. Although I have always used just one tome, you may use several, all prepared alike. However, I feel that is laboring the point. Your audience, if given no reason for feeling that anything is amiss, will be  just as stunned if you use one book book or their personal choice from an entire library. There are perfectly valid, and sound reasons for making that statement, but too lengthy to give here. Concealed in the spine of the book is an alnico magnet of the long bar type. A bar ve inches long will add hardly anything to the weight of the book. One side of the magnet is given a coat of cement and put into the book’s spine with the cement side in position so that it will adhere to the far inside pages of the book. You will nd that some books have larger openings than others, permitting easier passage of the bar magnet. Please understand that the bar magnet to which I am referring has a thickness of approximately three-sixteenths of an inch. I’d like to point out an important part of the preparation; be sure to “break the book in!’ before cementing the magnet. Turn the covers back and push back small sections of pages so that any stiness near the seams or actual binding has been nearly eliminated. Once prepared, the book will go through a lot of usage for you. Now for the handling. Of the two markers used, one is of aluminum or brass, the other of the same gauge steel. Mine are in the shape of arrows, and two and three-quarters inches long, although that dimension is not important. If there is any dierence in the outer appearance of the two markers it will be necessary to give them both a coat of aluminum paint to give them uniform appearance. The non-magnetic marker is placed somewhere o-center, in a horizontal position… pointing towards spine and outer edges of the book. A pin-point spot of wax will hold it in place. Don’t be afraid to use the wax as the pointer will rarely be touched by the spectator. The book and magnetic marker are handed to the spectator, who is then told to place the book behind his back, open to a point somewhere about the center, and drop the marker in. If the instructions are correctly given he will do it correctly because HE HAS TO. He hasn’t much control over the marker as he is opening the book with BOTH hands and will drop the marker in the best he can. -9-

 

 The marker will fail into the crotch of the book and be retained by the magnet in the spine. After the build-up he is directed to thumb the pages until he feels the presence of the marker. Opening to that page he reads the rst line of either the left or right page, after which the mentalist reveals the information. I usually use a book having alternating text and full pictures. I can say, “Concentrate on the rst line of either page”, appearing ignorant of the fact that one of the pages is completely illustrated. For me this has been the last word in book tests, and one that the audience remembers.  —Mogul

TOM SELLERS’ NAME DETECTOR EFFECT: You nd a name from a number of others written on a visiting card by a helper. REQUIREMENTS: Make a chart from a sheet of paper containing sixty names from a directory. Number the names at the side, 1 to 60, but see that the names at the even numbers have an even number of LETTERS; and the names at the odd numbers have an ODD number of LETTERS, such as: 6—Houdini and 5—Abbott. Next you will need 6 blank business cards and a pencil. PRESENTATION: Proceed as follows: Ask a helper to think of any number from 1 to 9, then DOUBLE it and write the name shown on the chart at that number on one of the business cards and place it face down on the table. Suppose he chooses number 8—doubled this is 16. He would write the name that appears at 16 on the chart. Proceed in this manner three more times, thus he will have four names written on the cards. Now tell him to ADD all his totals, then subtract ONE from the result, then write the name at that number on the last card and make a special note of it. Instruct the helper to gather up all the cards, mix them, and hand them to you. When you receive them concentrate on the name, pick out the chosen card and hand it to him. This is very easy as it is the ONLY card with an ODD number of letters. The other names will have an even number of letters. For example: 1st—8 plus 8 equals 16; 2nd—7 plus 7 equals 14.; 3rd—6 plus 6 equals 12; 4th—2 plus 2 equals 4. The total of these is 46. Then, 46 minus 1 equals 45 and the 45th name will have an ODD number of letters. I do not claim anything original about this little eect; only it is dierent from other methods. Make your own plot. I hope you will like and use it. —Tom Sellers

THE PERFECT SWITCH This is the perfection for small things such as cards, envelopes, billets, etc. that are common props for the mind reader. It is something that I doubt very many mentalists have used or even thought of…’The Mirror Glass’. A small card and drug-size envelope are examined, the card is inserted into the envelope and sealed. The envelope is then placed into the (Mirror) glass so that it will be in full view all the time. After a moment a ‘spirit message’ appears on the card. Card and envelope are examined. Here’s a clever maneuver to use: After the sealed envelope is placed in the glass the switch is made by turning the glass as you say, “I forgot to tell you to initial the envelope, please put your initials

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on it thank you.” The audience believes the message appeared on initialed and examined card and envelope. The essential idea here is that the ‘switch’ is made in plain sight and, best of all, without and suspicious moves, which is the ‘Real McCoy’ for mindreaders. The glass is not covered or hidden at any time. The duplicate envelope with the message card is behind the mirror fake. The back of the envelope faces out. Place the examined envelope into the (empty) glass with the face towards spectators…now here is the visible-invisible move…TURN the glass around to show other side of envelope and initial but suddenly you remember that the envelope was not initialed. Exchange is easy and safe. Audience will swear you went out of the way to play fair with them. The same idea can be worked with a blank card alone…message appearing on blank card. Use it for other switches too. —Nika

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Psycho•Gizmo No. 4 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

SEALED ENVELOPE ACT Stanley Collins—England The eect is the familiar one of reading the contents of sealed envelopes by means of the much abused “one-ahead” method. On a small table at left of performer are ten small envelopes, a like number of cards cut to t inside the envelopes, and a pair of scissors. Each of the envelopes carries on its address side a gummed label about the size of a half-dollar. The labels are numbered 1 to 10, so that each envelope can be identied by its particular number. Figure 1 shows the arrangement. The deception mainly depends on the gures 6 and 9, which if designed as shown in Figure 2 can each do a service for the other.

The performer explains as he introduces the envelopes that his usual procedure is to present the feat with as many as ten dierent members of his audience; but as on this particular occasion time does not permit the full experiment to be presented, he will perform the reading with three cards only. This talk is necessary as the subtlety in its simplest form, depends on the employment of two specially gured envelopes and one other, which by themselves would arouse suspicion. Three of the ten envelopes are apparently freely selected; but only one is fairly chosen, the two others, numbered 6 and 9 respectively, are forced. Let us suppose the freely chosen envelope has a number 5 on it. The message written on the card which goes into envelope number 6 must, by one or other of the well-known methods, be known to the performer. To make the explanation easier, I will use names of playing cards to illustrate the test. First ask No. 6 to take any card from a stacked deck, emphasizing the perfect freedom of choice. By cutting the deck the bottom card gives the necessary information. We will imagine the card is the 8 of Clubs. This is memorized. Those helpers having envelopes numbers 5 and 9 do whatever they like with the deck of cards before making their selection. These cannot be known to the performer however, we will suppose that No. 9 has taken the Queen of Hearts and No. 5 has the Ace of Spades. Each helper having written the name of the card he selected on the blank card, seals it in the envelope but retains the playing card.

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Now it is of greatest importance that the envelopes be collected in the necessary order and held in the correct way. No. 5 is taken with left hand, gure side up and ap to the left as in Fig. 3. No. 6 is taken and placed on No. 5, gure side down and with ap to the right (opposite to No. 5). No. 9 goes on top of No. 6, number side down and with ap to the right. Standing with table to the left, the performer apparently mixes the three envelopes (casually without calling attention to this) but retains them in the same order. He slides o top envelope, actually No. 9 and shows it so that it appears as No. 6. Addressing the person who actually had No. 6 he says, “You, Sir, freely selected a card from the pack and wrote its name on the card in this envelope. I receive the impression that you wrote the Eight of Clubs.” On receiving a reply in the armative, performer returns envelope to stack, but allows it to project about half its length to the right. From the table on his left he takes a pair of scissors, cuts open the envelope, withdraws the card and says “Yes, I am right; the 8 of Clubs.” Actually this is the Queen of Hearts which the performer notes and commits to memory. The card is then passed under the projecting envelope and both are laid on the table together. No. 6 envelope is then picked up and the same procedure gone through, the card inside being divined as the Queen of Hearts. Now comes another subtlety. Instead of cutting open the envelope shown it is switched to No. 5. This is accomplished by the left ngers altering the grip on the remaining envelope by changing it from thumb and rst nger to rst and second ngers while No. 6 envelope is held to forehead. Envelope No 6 (?) is then placed half-way over the other (face down as before) but, covered by the action of reaching for the scissors, the left thumb goes under both envelopes and turns them completely over. The respective positions of the envelopes are the same but now No. 5 projects over the end instead of the supposed No. 6. The end of No. 5 is cut open and the card is read as the Queen of Hearts but actually the card there is noted (Ace of Spades) and the card is passed under the envelope and laid aside as before. Taking due precaution that the gure on the last envelope is not seen, it is read as the Ace of Spades (although it is really the 8 of Clubs) then placed face down on the numbered side of the envelope. Both are turned over together and laid on the two others on the table. Cards and envelopes are now correctly paired and may be passed out to the helpers as souvenirs. Obviously the gures 6 and 9 must be perfectly reverse.

R. C. RENO ACT (Intimate and close-up) About six small blank cards and envelopes are passed out to spectators to write questions, sign their names and seal the cards in the envelopes. ANY spectator collects envelopes. Envelopes are counted to make sure all questions were collected. Sealed questions are mixed up and placed in a pile. Mentalist removes a card from his pocket and writes an “impression” on it, seals it in an envelope and returns it to his pocket. The mentalist immediately calls a person by name and answers his questions. He states he would be pleased to give him the impression sealed in the envelope for a souvenir. The card in the sealed envelope reads; “I hope the impression I received of your thoughts are correct and thanks for your concentration…Reno” (mentalist’s name).

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The envelopes are prepared by rubbing a cake of paran on the glued ap several times then scraping o the excess paran. In the inside coat pocket have the sealed “impression” card you hand out. Have another sealed envelope with BLANK card in your RIGHT pants pocket. Palm out this envelope and drop it into the pile as you move it around and palm ANY ONE of the real questions and return it to pocket. Open ap with your thumb, remove card and bring it out. Pretend to write something on the card but read question on same, replace in envelope, seal and return to pocket. Do the mindreading part now with the information just received, then hand out the “impression” envelope you had in your pocket. State that you have time to do only one question now and anyone desiring a reading can arrange for one to be done privately. Private readings are from 50¢ to $2.00 or more, depending on class. The Center Tear is a good method for private reading.—Reno  

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Psycho•Gizmo No. 5 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

TRIPLE PREDICTION Wm. S. Houghton Three spectators are asked to assist. One is requested to think of a city, the second the name of any person, and the third is to think of a number between a hundred and a thousand. Performer pretends to write a prediction on a slip of paper, lays pencil aside, and pretends to seal folded “prediction” in an envelope. The envelope is propped up in plain view of everyone, and the performer, with the hand which contains the folded slip, picks up the pencil and puts it in his pocket, thus disposing of the palmed slip also. An assistant o stage has a duplicate slip of paper, a thumb tip, and a letter opener with a fairly wide handle. As spectators are calling out their selections, assistant writes these on the slip, folds it, and inserts it into the thumb tip. The performer also writes them on a large blackboard or slate for all to see. Performer then picks up the envelope and calls for the letter opener. The assistant walks on from the left, handing the opener with handle extending towards performer, with the thumb tip containing the “prediction” held behind the handle—open end towards performer. As performer takes opener from assistant with his right hand, his thumb slides into the thumb tip. Performer begins to insert opener into envelope, nds it dicult to do this so sets the opener on the table and tears the envelope open. He inserts his thumb (with tip) into the envelope which is gripped by the ngers holding the envelope, as the right hand withdraws the slip of paper from the tip and allows it to fall down farther into the envelope. The thumb and forenger are removed (with tip on thumb) as if performer gives up trying to reach the slip at the bottom. A spectator holds out his hands and the slip is dumped out. Spectator reads the “prediction” aloud and it is seen to be the same as the selections previously written on the blackboard. Finis. Here again it is good showmanship to miss the given number by one. The writer uses an articial nail cemented on the thumb tip. These nails are sold at cosmetic counters and should be shaped and attened to t the tip exactly in the indentation. Such a thumb tip can be used right under the spectator’s noses without being detected. This writer has sat for two hours talking and smoking with friends while wearing his prepared tip, and it was NEVER noticed! Instead of using letter type envelope which opens at the long side, an end-opening type is better, about 3 x 5-1/2 inches in size. In this case, it is actually slit open with the letter opener, and the moves above are followed through to bring the prediction to a nish.

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ADDED NOTES: If performer wanted to suggest that the prediction slip was actually (?) placed in the envelope at the start, it could be slid in behind the envelope and then the ap sealed over a small part of the slip. This would enable the performer to handle the envelope freely, even holding the envelope in front of a light to show the slip inside (?) before stealing it away.

WM. S. HOUGHTON’S NUMBER TELEPATHY Required for this Mental Test are: A deck of numbered cards, a card clip, two large slates and a “peek” or convex reducing mirror. Routine: Three numbered cards are fastened in a card clip under the edge of your coat in a known order. The deck (minus the three cards) is given to a spectator to shue. Performer turns his back and has the deck replaced in his hands face down. A spectator is asked to lift o about half the deck, performer turns around, almost facing spectator for an instant, saying, “Let’s see…have you taken about half? Good: Please put them on the table.” Immediately the performer’s back is turned to spectator, but in that brief interval, the performer reached to the card clip, pulls out the cards and adds them to the top of the deck. Turning his back to each spectator, performer requests three spectators to take a card from the top of the deck. Performer then places the remainder of the deck with the cards on the table and picks up a slate and a chalk. Performer asks rst spectator to concentrate on the number on his card, and reproduces same on the slate. This is easy since performer knows order of cards taken. Card is shown and veried. This is repeated with the second party. The third spectator is told to put his card aside or in his pocket for the time being, and to concentrate on any number between a hundred and a thousand. He is given a slate and a chalk and asked to write his number on the slate but not to let anyone see what he has written. Performer picks up another slate and takes the chalk from his pocket, at the same time palming the “peek” mirror in his ngers. He “gets” the number written by the spectator by holding up his hand between the spectator’s eyes and the slate, while illustrating how the slate should be held at eye level. Spectator now concentrates on his number while performer writes the same thing on his slate. Both slates are shown at the nish. It is good showmanship to pretend to miss the last digit by one. Performer may pretend having diculty “getting” the third spectator’s number on the card and suggest that he is a dicult subject, and to forget his number…going into the “peek” routine to success. Later, as the performer goes on to something else, he says, “Oh, yes, by the way, the number you were thinking of is_____.”   In place of slates and chalk, two large pieces of cardboard and heavy black crayons may be used.

TOTAL DARKNESS—NIKO A deck is shued. Lights are turned out and someone comes to the table and selects a card from the deck laying there. He conceals the card and the lights are turned on. Anyone can then hold the deck

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yet the mentalist is able to reveal, in a mysterious manner, the name of the very card taken and in the possession of the spectator. As soon as the card is named the spectator looks at the chosen card himself for the rst time and discovers that the mentalist is correct! This is so simple that almost everybody and his uncle will pass this over as no good. Don’t let the simple secret fool you. This is strong and ecient! You use a one-way force deck and a fair deck. Show regular deck and shue it. Under cover of darkness exchange fair deck for one-way deck and set same on table. Spectator naturally takes one of the force cards. This deck is again switched for the fair deck before the lights are put on again. That is all, except that the wise performer will remove the force card from the regular deck before the stunt. Some performers may like to start out with the force deck instead of the regular deck and exchange  just once before the lights come on. As the fair deck is left at the end, it makes no dierence. Give this a try.

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Psycho•Gizmo No. 6 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

A MENTAL FEAT

Here is an ideamaking that has around through ages. However, some newas ideas incorporated, it been morekicked mystifying. In the olderthe versions the mentalist acted the are sender and the medium as the receiver. In this version only one person appears on the stage, making the act more mystifying. However, an assistant is used. THE EFFECT: Performer announces that due to many requests to read people’s minds, he will present an experiment wherein all the spectators may participate. He asks for three volunteers to blindfold him and to securely tie his hands behind his back. On stage is a blackboard facing the audience, mentalist stands to one side of the stage and asks each volunteer to think of a three-digit number. A committee of people is seated to the other side of the stage and each volunteer is requested to come forward to the blackboard and write down the three-digit number he chose. The mentalist, without even turning his head at any a ny time toward the blackboard announces that if the committee will concentrate along with the audience on the rst number on the blackboard, he will attempt to read it. He does this successfully, then repeats the procedure with the second and third numbers. He now asks the committee to total the three numbers, but just as the line is being drawn, the mentalist calls out the correct total even before the helper has had a chance to write it! TO PERFORM: The working of this presentation is very simple but when performed in the proper manner it is most mystifying and eective. The blackboard is placed so that if faces the audience, but at a slight angle, so that the assistant backstage at the opposite side may also see the gures. I want to stress that the angle is very slight and is not noticeable from the audience. While the mentalist is blindfolded and his hands tied (which are both real and genuine) he assumes a position on the stage from which he knows exactly how many steps it takes to reach his table or the leg of the curtain. There is a nger ring attached either to the table or the curtain leg. To this ring is attached a heavy black thread which runs o stage to the assistant. After his hands are tied, mentalist slips ring on his nger and moves away from the table. The thread runs through an eyelet in the oor which insures easy working. The committee is seated well out front stage as they usually are. As the rst number is written on the blackboard, the assistant back stage gives as many tugs on the string as is indicated by the rst digit of the number, he pauses, then tugs the number of times indicated by the second digit, and nally the third digit. The mentalist may now call out the number written on the blackboard. Continue in this manner until all the numbers have been dealt with. The nice part about this is that one need not stop with three numbers, but have as long a column written down as he feels would be entertaining. As soon as the assistant back stage has totalled the numbers, the mentalist calls out

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the SUM dramatically before the helper has a chance to add up the gures. Then, thread is broken, blindfold removed, hands untied and committee and volunteers given a big hand. —JACK LaWAIN

THREE ENVELOPE DIVINATION Tom Sellers, Scotland The general method of this eect is the same as that given by Stanley Collins in Psycho No. 4. I thought his method was very clever and subtle and that he put the “6 and 9” principle to good use. PREPARATION: To prepare for this method, set up a pack of cards in the “Si Stebbins” stack, then get three end-ap envelopes (pay envelopes) as in Figure 1. Lay these on your table, aps up and to the right The top envelope remains empty, in the center envelope place any playing card with a back matching the cards you are using. In the bottom envelope place a thin white card which is about a quarter of an inch less all around than a playing card. Next, you require two more pieces of cardboard. One the same size as that you placed in the bottom envelope and the other a quarter of an inch smaller all around than this. (See Figs. 2, 3, and 4). METHOD: Have a card selected and determine what it is by cutting at the point where card was taken. Take the card, hold it face down and slip it into top envelope. Wet the ap and stick it down. Put this envelope at bottom. Now hand out larger white card and have someone write a number on it. Take this card face down and slip it into second envelope (now on top), seal it, and place it to the bottom. Hand out the smaller card and have someone write the name of a color on it. Seal this card in the remaining envelope in the same manner but this card is slipped UNDER the blank piece of cardboard already in the envelope. Place this on the bottom of the envelopes. Now take the top envelope, place it to your forehead and “divine” the card within. Ask if this is correct. Cut the envelope open and apparently remove the card inside, but take both cards out together. The spectators see the back of the playing card and presume that it is the selected card. Lay envelope and card(s) on the table and divine the “NUMBER” in the next envelope. (This of course is the number you glimpsed when you removed the playing card. Have this number veried, cut open the envelope and remove the two cards as one, saying, “That is correct”. Note the color on the under card, lay the two cards on the table and lay the envelope on top. Pick up last envelope explaining it contains the color, place it to your forehead and divine the color. When this is conrmed, remark, “That goes to show you what can be done with a little hard thinking.” Then on to your next eect.

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NOTE: Illustrations shows relative sizes of cards and envelopes but is not to scale. The sizes mean that each card is 1/4” shorter and 1/4” narrower.

WATCH ACCESSORY CASE Carry two watches. A wrist watch to tell the time, a pocket watch contains the “works” of art or the “tricks of the trade”. It is attached to the usual watch chain, and here’s what goes into the case: Swami gimmick, small piece of carbon tissue, scotch tape, straight pins, thumb tack, rubber bands, a chart key or clue on face of case and the other face painted with luminous paint so you can read notes in the dark, etc. Also include a small pellet of magician’s wax , etc.,

NEW IDEA CARD MARKING This is similar to the Braille System used by the blind. Set the typewriter lever for stencil cutting and hit the period key (.) at various positions on the back of each card. The result is a little raised dot on the face of the card which can be easily felt with the ngertips. Exact arrangement and system is left to the experimenter but the idea is practical and may help to produce miracles.

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Psycho•Gizmo No. 7 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

AUDIENCE PREDICTION Chris Charlton  A prediction eect invariably gives the performer the opportunity to predict something apparently unknown either to himself or to his audience, at the time of its prediction. This is an eect or series of eects that reverse the usual procedure. The audience is given the opportunity of making the prediction and they are always right. This in my opinion is to the good. Time and long experience has proved to me that the audience neither enjoys being made into suckers or even proved to be wrong. This gives you the opportunity of proving that the audience is always right without the performer apparently taking any part in the procedure. The performer shows a packet of envelopes into which he has placed a piece of paper previously, of which he had a selection of either black or white. He points to a lady near the front row and asks her which color was placed in the envelope, black or white paper. She says black and the envelope is torn open to show that she is correct. He explains that the odds on her being correct are 50-50 as only two papers were used. He now takes a paper bag and explains that there is a handkerchief inside, placed there before the show, and it is one of four colors, Red, White, Blue or Green. Another person is asked if he can name the color of the handkerchief. He says Red and the bag is torn apart to prove that he is right. Performer explains that tonight both the lady with the even odds and the gentleman with the three to one odds were right. Now to make it more dicult he takes a pack of cards and explains that he had previously reversed one card in the deck. A third person is asked to name any card and the deck is immediately fanned and the reversed card removed and shown to be the very card named despite the 51 to 1 odds. A large locket is now shown and performer explains that in it is a number between 1 and 1000 that had been written earlier. A volunteer is selected and told that the odds of his calling out the correct number are 999 to 1. The number is stated, the locket opened and shown to contained the very number just stated, proving some people are NEVER wrong. The methods employed are simple and foolproof. Eect No.1 is a double-sided envelope containing both a black and a white paper and the correct side is opened when spectator calls out a color. The paper bag in the second eect has four handkerchief in smaller bags inside the larger one, with cue marks along the top showing where to tear. The reversed card is the Brainwave Deck. The nal eect is accomplished with a nail writer. The locket has no back and the number is written through the opening on the paper inside the locket during the patter. In the hands of a performer with a little showmanship this is an act that to an audience is most astounding.—Chris Charlton, London, England. - 21 -

 

CONCENTRATION This little eect requires no skill. It will create a profound mystery in mindreading. The Si Stebbins system is made use of. Performer goes into the audience and passes out a deck of cards for thorough shuing. This pack is switched for the Si Stebbins Pack (using any method you are familiar with). When a bunch of cards are drawn, ask the person with the cards to prove his knowledge of cards by calling out the name of the card at the bottom and the card at the top. Repeat the names as he calls them as your assistant must hear these key cards named. Your assistant is behind the screen and has a deck also set up in the Si Stebbins order. When the rst card is called he runs through the deck and cuts it at the card called out. When the second card is called out he fans to the card just named and removes all the cards between the two cards called out in a bunch. Assistant now has a complete duplicate set of the cards held by the spectator. Calling their names requires no eort at all. NOTE: The cards should not be named in the same order but should be mixed up. To elaborate you have assistant blindfolded, either using a trick blindfold or use the method of seeing down the nose. Performer who works without an assistant can use this by having a second deck set up behind a three-fold screen. He retires to the back of the screen and nds the cards drawn by the spectator, and continues as outlined above. No claim of originality is made for this, only a method of presenting the Si Stebbins in the manner of mindreading, which will confound the audience. IDENTIFICATION OF SEX David Roper—Oklahoma Here is the old “one ahead” principle with a new twist by the aid of a change cha nge bag. In one compartment of the bag place a folded slip of paper with a confederates initials and a sentence, question, or something. Have it folded or rolled around a bean or similar small object. That is all the preparation necessary. PERFORMING: Have your assistant pass out slips of paper (like the one in the change bag) and short pencils. Have these equally divided among the men and the women. One slip is also handed to your confederate who disposes of it. Tell them to place their initials and some short sentence on the paper and fold it up. Explain how you want the paper folded so that all slips will be similar. Now the slips are gathered in the bag, with your assistant manipulating the handle so that the men place their slips on one side and the women on the other, Your confederate only pretends to put her slip into the bag. Seat yourself on stage and have assistant hold bag over your head. You have a prearranged sequence in which assistant withdraws either a male or female slip from the proper sides of the bag. Take

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each slip at a time, tell whether it is a man or a woman, tell the initials and nally the message. Of course, you read the confederates message (pretending that you are actually reading message on slip of paper) the rst time. As you “verify” the message you get your information for the next slip, and you continue like this until you reach the confederates slip at the end (actually reading the message  just previously “veried”). I have explained only the bare skeleton of the idea because many dierent variations may be worked with the separation of the men and woman with the aid of the change bag. It helps the presentation very much because when you hold up a piece of paper and call out the initials, asking that person to raise their hand, no one knows if that is the person with the initials called. However, when you say “This was written by a woman…whose initials are M.K.” and have her stand up. It registers because they see that she is a woman. In this manner even the old “one ahead” system is hidden and the eect seems new. I hope you understand what I am trying to bring out and will use the idea as it is good. Thanks.

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Psycho•Gizmo No. 8 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

I’VE GOT YOUR CARD This is aCard combination deck of Berg’s Marvelous you can and use ashow “Brain Wave Deck”, and Grant’s Wallet. I using like toause Berg’s decks as you canCards, countorthe cards them one at a time, proving that one card is missing from the deck. EFFECT: You run the cards from hand to hand and ask a spectator to think of a card he sees in the deck and to remember it. You state that you will cause his card to vanish from the deck. Run through the cards, asking him to stop you after his card has gone by. You count the cards or deal them out one by one on the table. To his surprise, he nds that his (mentally selected) card has really vanished from the deck and that there are only 51 cards left. His selected card has apparently left the deck. Now take the Grant Wallet from your pocket, ask him to name his card and say “I bet you this dollar the card you thought of is here in my wallet”. So you pull the card he thought of right out of the wallet. I use the Berg’s cards as it is one deck that permits you to force a card within a group of cards and the same will not show up when you fan out the cards for display or deal them onto the table one at a time to show there is one missing. I can’t give the working of the Berg’s deck as it is one of his tricks and not mine. Mr. Berg has this deck for sale at a reasonable price. It is worth the money and you can have lots of fun with this deck. The Grant Wallet is really a card index and one that you will like and use very much, if you buy one. Every card is at your ngertips and you don’t have to fumble or stall for time to get the card you need as you are looking at every card in the deck in plain sight…all you have to do is ip it open, reach in and pull out the needed card…very simple. It really is a nice piece of apparatus and looks good too. Before commencing the trick, slip a dollar bill into the wallet so it will be handy when you patter about betting the spectator that the card is in your wallet. This is a ne combination that I have used successfully. Try it.

CARD INDEX AGAIN The performer shows an envelope and a visiting card or a piece of paper. paper . He tells the audience that he will write a prediction on the card and seal it in the envelope. The envelope is placed in performer’s pocket…or if you are using Grant’s Wallet, take it out, slip the envelope in it and snap a rubber band around same, placing wallet back in the pocket or tossing it aside for the moment.

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Someone is handed a deck to shue and to freely select a card while deck is in his hands. Spectator is requested to place card face-up on table where everybody can see it. Performer immediately takes the envelope from his pocket or wallet and hands it to spectator who opens it and nds the prediction inside to be correct. This can be accomplished with either a “Card from Pocket” fake or a “Grant Wallet” containing 52 small envelopes containing names of the playing cards inside. Each envelope is arranged as if you were doing the “Cards from Pocket” with the index. Place the envelope with the false writing in it in back of the fake so that you will not accidentally draw it out again. With a bit of showmanship you have here a nice mental eect. ON THE SPOT FRAME UP By Nika, “Master of Minds” Annemann touched on this subject many times in his “Jinx”. Hereunder I give one that is a bit dierent. The performer takes a clean slate, writes something on it and hands it to a spectator. Another slate is handed to a lady to write a question upon it. When the lady is nished writing the performer asks her to read the question out loud, then turning to the other spectator the performer asks, “And what is my answer?” The spectator then reads a direct answer to the question. It seems that the performer had written the answer to the question before it had been written…in plain sight. Good…read on. The method is simple but you must have nerve and know something about human nature. It depends entirely upon you choosing the right person to help you. When you write on the rst slate, actually PRINT the following message in CLEAR BOLD letters; ANSWER THE LADY’S QUESTION IN YOUR OWN WORDS, PRETENDING TO READ FROM THE SLATE. WE WILL FOOL THEM. Use slates 7 x 11 inches or larger. Erase both slates right after the presentation and proceed with another eect then thank both the lady and the gentleman shake hands with them and say “please don’t tell anyone how we did this”. This serves a double purpose; It will get a laugh and also, it will make the spectators more friendly towards you and keep them silent afterwards. If the spectator holding the slate shows signs of refusing to co-operate, take the slate from him and pretend to read the answer yourself…then turn to him and nod your head as if the answer is correct, Unless you have made a very bad choice he will OK your answer…if not, pretend to make some small adjustment in correcting a spelling mistake, as no person wants to make an ass of himself in front of an audience he will seem to arm a rm your answer by being silent. Be yourself y ourself and have condence…and follow this stunt with another slate eect. For further ideas and tips see Annemann’s Jinx No. 6… ”Impromptu Frame Ups.” Books on Phrenology and Physiognomy may help you to select the right type of persons. Some writer (I don’t recall his name) once wrote in a magic journal that the persons making the best stooges were, men with moustaches. He explains that they have gone through a lot of kidding and will stand up against anything…which may be correct.

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Here are a few hints: Real feelings and thoughts are expressed with gestures. People who gesture outward express faith, fervor and love of life. Pessimism, disgust and dejection is shown by opposite gestures…movements towards the body, which indicates coldness, inhibition, self-protection and introverted personality. A person with arms folded over the chest is likely to be the resistant or combative type. One who cocks his head to one side is quick on the trigger, also quick to repent, whimsical and very imaginative. People who gesture with both hands while talking are warm and intense and are dominated by their feelings rather than by their judgement. Shifty eyes sometimes indicate a guilty conscience. People who stare into space are usually artistic minded and sometimes lacking in vitality, people who stare at the ground are apt to be unbusinesslike or given to abstract rumination. Speakers who raise their arms at shoulder level with hands outstretched are usually devilish and able to project themselves like a magnet to a crowd. Hitler, Mussolini and Huey Long were acquainted with this magnetic gesture. So are ministers and lawyers. Sometimes character can be judged by a handshake. A four-usher will give you a forceful grip; a vigorous pumping of the arm indicates a guileless person; a self-seeker will give you an over-quick handshake; a lingering clasp comes from a gregarious personality. Friendship and aection is told by grasping the arm of the other person while shaking hands. Good Luck—NIKA

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Psycho•Gizmo No. 9 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

NOVEL ADAPTATION OF “THE MEMORY FEAT” You use stage money a packet containing about 100 bills. Each bill has a dierent serial number with 8 digits and 2 letters. The bills are distributed among the audience. Any holder of any of the bills can call out the rst letter on the bill and the performer calls out the entire serial number. This may be repeated as often as desired. First obtain a package of stage money. Next, look up what is known as “Giant Memory” in Blackstone’s Secrets of Magic. Study Mr. Blackstone’s explanation until you understand it fully. Now place a serial number on each bill using a typewriter. Prex the large number on the chart for each serial number to the small key number just above it. When the small number is less than 10, prex a zero to the key number. On most currency, there is one letter before and one letter behind the serial number. Knowing the rst letter, you can devise a system of letters which enables you to know the last or second letter. As an aid to understanding the above, here is the rst serial number as it should appear on the rst bill…A77684268H. Note that H is the 8th letter of the alphabet.

HARTO’S SLATE TEST This was worked out by Harto, according to Joe Ovette, and I understand, puzzled Houdini. Two slates are used, and the message is written on one slate and covered by slate #2. Make chalk marks on the top of the top slate and rub out. Turn both slates over as one slate—the message is now on the underside of the top slate. Place a mark on this slate and rub it out. Slide the top slate o and deliberately place it underneath the other one. (The message is now facing the oor.) Now scribble on the top slate and wipe it o as before. Here comes the important move. Open the top slate with the right hand, book fashion, so that bottom slate lies along left arm. Swing the top slate completely over, as though the two slates were hinged, until it rests at the bottom. The message is now inside the two slates. You now proceed to write on each side of the top and bottom slates and wash it o again. It now appears that you have washed or wiped all four sides. No need to say so, you dramatically open slates and show that the writings have mysteriously materialized.—Teral Garrett

NIKA’S PROGNOSTICATION by Prof. Nika The following is very good, and so simple. I nd it especially good when you are called upon to do an impromptu performance.

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Have any deck of cards shued and turn your back or go into another room. Have someone lay out a number of cards on the table in two rows. Stipulate that the bottom row should have one card less than the top row. For example: If 10 cards are put in the top row, the bottom row should only have 9 cards. Now tell the party to take 8 cards away from the top row (you can use any number you desire) and then to take as many cards away from the bottom row as there are left in the top row, and then take the rest of the top row away. The number of cards left on the table will now be seven. The number of cards left will always be just one card less than the amount of cards rst taken away from the top row. This can be done over the telephone. Call a friend and try it out. This is one of the very few tricks you can perform on radio and TV. You can use post-cards, number cards, coins, currency, etc. This eect is related to G.W. Hunter’s Three Card Prediction, explained in Psycho No. 1. It has many possibilities and the practical man in mentalism should experiment and try it out. I am sure that you will like the above for its simplicity, eect and amazement. (Psycho No. 1 can be obtained by sending 25¢ to the publisher.)

NON-WIRELESS TALKING TEA KETTLE Here is something to have fun with around your house when some one drops in on you or for an actual fake seance. Cut out a disc of cardboard to t into an electric light socket and soak the disc in water. Screw out the bulb, insert the wet paper disc then replace the bulb. The light will burn for a few moments—as long as the paper disc stays wet and acts as a conductor. After a while the paper disc dries out, the lights commences to icker…nally going out. Then the Dark Seance Work. [WARNING: This idea is dangerous with risk of death or serious injury.] Prepare a small wooden table by boring a hole completely through one leg from end to end, making a tube leg. Procure a small rubber tube and have rubber tubing running down the leg and into the basement or another room. You can run it through the walls, the oor and under the carpets. An assistant is in the other room or basement and speaks through tube. A bowl or large vase, or an old tea kettle with a lid is shown and set over hole on the table. Whispers appear to come from the kettle. This is something similar to the Talking T-Kettle invented by Myers of Chicago, Illinois, long ago. The vase can be made to answer questions, apparently inhuman. All this is done right after the lights icker and go out in the room. Other ideas will suggest themselves to the creative performer. Another idea version is to have an old phonograph in the basement and a silk thread or electric e lectric switch sets it in motion. The rubber tubing runs to the amplier on the phonograph. Rubber tubing suitable for this purpose can be obtained at most automotive supply stores. Ask for windshield wiper hose.

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PSYCHO No. 1 to 8 inclusive can be furnished at 25¢ per number. Tricks, eects and manuscripts of good material, routines, illusions, etc., are solicited for future release in forthcoming issues. All contributors will receive full credits for his eects. Send yours in today. (If you are interested in reserving the next copy, send 25¢ for same. T.G.) PSYCHO-GIZMO is published by Teral Garrett, P.O. Box 72, Albany, Kentucky, U.S.A. (No subscriptions accepted—Sold by the copy only.)

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Psycho•Gizmo No. 10 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

COLD READING! This is the legal making methoditofillegal fortune-telling. many of method the States Law” cracks down on most the fortune-tellers, to operate.InThe legal of “John fortune-telling is by far the ecient. Do not use crystal balls or other gadgets, which may be conscated and used in courts as bona de evidence. Learn the “cold reading” system, as it is often called in the profession. No gimmicks, no fake props, except sheer nerve, knowledge of psychology and a good personality is used. A person walks in that you have never seen before, yet you look him over and proceed to draw him out…out of his very mind…his past, his troubles, his hopes and fears. When you do this you really accomplish something. Remember to always say… “Of course you realize, I do not claim any occult knowledge or powers of the future.” If you say this you are pretty safe legally. The Gypsy method is to sell some book or manuscript on Astrology or something in that order. Rather, sell them the book and go ahead with the cold reading. If you are drawn into courts, you always say…”I only sold the book…not fortune-telling.” The secret of cold reading can never be uncovered due to the fact there is nothing to uncover. The smarter they come the easier they are to fool. Get some books on “Answers” and techniques of the prompt, private or cold readers. Here is a list of some books and manuscripts dealing with “cold reading” which can be supplied by the publisher of this serial:

         

The Art of Cold Reading Technique of The Private Reader Psychological Reading Secret Method of Private Readers Dante’s Life Span Readings The Private Medium’s Secret Guide

THE HUMAN AURA by Richard J. Weibel The foregoing is an excellent Spook Show item, or it can be used as a parlour black-out stunt. Purchase a 25-watt bulb which is frosted blue on the inside, from an electrical supply house. Use this BLUE bulb as the only source of light in an otherwise darkened room. The subject’s or operator’s hand should be placed about one foot in front of a DEAD BLACK background and the BLUE bulb lighted and placed about six or seven feet in front, but slightly to one

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side, of the subject. The audience will see a very dim greyish mist surrounding the form. If both of the hands are held about one foot from the black background and parallel with its surface, and the ngers are stretched apart and pointed toward each other with a space of four to six inches between the ends, the “AURA” will appear as a line of force owing from the nger of one hand to the other.

TIPS FOR MIND-READING By William Chinn   Buy yourself one of the many second-hand DEAF AIDS. You can make up a twenty or thirty foot lead, and be ready to work wonders. You leave the aid concealed and hear a conversation at a table while you are in the next room. For mind-reading or alleged muscle-reading tests, this gadget is ideal. The idea and the gadget has many possibilities. So you want a “quickie” with a Ghost? Well, cut out a simple “ghost shape” out of light white silk or nylon. Then, with the lights out and with credit to Albenice’s “Reel Magic”—don’t pass the silk shape through a linking ring, but pass the silk thread through a chair back. Just give them the line that your ghost can glide through doors…even a chair, right in front of their eyes…and do it once only. When they say, “That’s good, but I didn’t quite see it, as it was too quick…”, be clever and let it go at that. Talk about it being wonderful, etc., but don’t YOU be the sucker by repeating it. This is the way to spoil good magic…as well you know.

ORIGINAL TELEPHONE THOUGHT-READING The famous telephone thought-reading eect divested of its eight pages of patter and boiled down to the real secret, amounts to this:    

A---1 Clubs B---2 Hearts C---3 Spades D---4 Diamonds

F---6 G---7 H---8 I---9

E---5

J---10

K---Jack L---Queen M---King N---Joker

A dozen friends carried this list with them. Say my friends name was Harry H. Smith. I would tell the person selecting the card to call a Smith all right, but it might probably by a Mr. D.G. Smith…D for diamonds…and G for 7—so he knows that the selected card was a 7 of Diamonds.

4 ACES IMPROMPTU Have four extra aces in your coat pocket, face out. (It is a good idea to have two sets—one in poker size and the other bridge size.) When ready for the trick, ask for a pack of cards. Let them shue the cards, then place it into the pocket containing the aces of the same size. Tell them that you will nd the four aces by the sense of touch.

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Bring out the duplicates one at a time, face out, so they do not see the back design which will probably be dierent on the four aces. Throw the cards on the table face up. Remove deck from pocket and say you will select four other cards, but remove the four real aces with an extra card on the face. Square cards up and place in spectator’s pocket then, as an afterthought, remove the odd card. Then add the four aces on table to bottom of deck. Cut deck but retain break at aces. Place deck into the pocket again and immediately remove the four aces. Command cards to change places, remove deck from pocket and show aces in pack and spectator nds that his cards are now indierent cards. A miracle!  

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Psycho•Gizmo No. 11 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

QUESTION ANSWERING ACT FOR TWO PEOPLE by Bob Brethen Assistant passes out cards and envelopes and spectators write their questions on cards, place them in envelopes and seal. These are collected by assistant. Performer sits on a chair and a sheet is thrown over him so as to avoid any possibility of him seeing the questions or a signal from the assistant. The envelopes are held to the performer’s head on the outside of the sheet , one at a time, and the performer calls the initials, which the spectator’s were requested to place on cards after questions were written. The assistant writes the initials on envelope for verication later. METHOD: On the back of the chair on which the performer sits, is a dummy set of envelopes. These are placed so that they can easily be exchanged as the assistant brings the chair forward from the rear of the stage. (See the illustration at right.) The questions are collected and a rubber band placed around the packet. Performer makes his appearance and assistant moves to rear to get the chair which she brings to the front of the stage, exchanging the packets of envelopes at the same time. Assistant places the dummy packet on the table, picks up the sheet and proceeds to cover the performer seated on the chair. Under cover of the sheet, the performer takes the packet of questions from the chair back, opens the envelopes and reads the questions with the aid of a penlight, if he needs it. As he reads each question he returns it into an new envelope from a stack upon his person. The performer then calls out the initials of the writer and asks assistant to mark these initials on the envelope. The assistant holds one envelope at a time to performer’s head outside the sheet, at the same time performer, under cover of the sheet, writes the same initials in which he placed the answered question. After all or as many questions as desired have been answered, performer places a rubber band around those he answered and replaces them in the chair servante in position to be exchanged again. Assistant removes sheet from performer and takes chair to rear, eecting the exchange of envelopes. The envelopes are then passed back to the writers or left for them to pick up later. NOTES: If desired, the envelopes need not be renewed, thus avoiding the necessity of performer hiding extra envelopes on himself. This is accomplished by slitting the envelopes cleanly and carefully getting the questions. After answering them, the questions are replaced in the envelopes which are then placed in the servante. After the assistant switches the envelopes , she apparently slits them for convenience (?) of the spectators or she can slit s lit each one as the questions are answered, answere d, thus handing them all out already slit at the end.

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Personally, when my wife and I did this act, she would daub the envelope with a transparency uid such as alcohol or carbon-tetrachloride and get the questions in that manner. Some might prefer to use a ashlight to see through the envelopes. In this case the sheet must be light-proof. This is without doubt, one of the nest mind-reading acts if you work it right. The question cards should be about two by three inches in size, the envelopes should be the drug type to match the cards. Build up each question by giving the initials and have the writer verify same.

SLOW MOTION CARD VANISH Originated by Allan Lambie EFFECT: A card is placed face up in the hand and, when rubbed on the trouser leg, it vanishes into the thin air. No gimmick…nothing in the hand…seemingly a miracle! REQUIREMENTS: A double-faced card. For example, say, the Seven of Spades on one side and the Ace of Hearts on the other. From your deck (same sized cards) take the Seven of Spades and place it on top, face up. On this place the fake card with the Ace of Hearts up. ROUTINE: Hold the dock face up in the left hand. Thumb of left hand slides top card (Ace of Hearts) o into right hand. The Seven of Spades now is seen on top of the face-up pack. Both hands are held fairly close together. Now…practice this move. Turn the right hand so the back is to the audience…you should be bending down a bit so that both hands are about knee level…and as the right hand turns over (GET THIS) the DOUBLE-FACED CARD IS DROPPED RIGHT ON TOP OF THE FACE UP DECK. Owing to the fact that the fake card is now reversed, there appears to be no change as the spectators still see a Seven of Spades on the face of the deck. This is a simple, bold move…so don’t do it quickly…take your time. Just turn the hand over and drop the card on the deck at the same time. It’s all done under cover of simply turning the hand over…get it? Apparently still holding the card in the right hand (?), rub it against the trouser leg and it’s gone. Show Sh ow the hand empty, back and front, with the ngers spread wide apart. IMPROVED VERSION: In this version the card to be vanished is prepared by having the back of a card case, of the same design as you are using, stuck to its back. The moves are the same as above but, instead of holding a deck of cards in the left hand, you hold the card case as you show a card in your right hand. As you make the move of turning your right hand over to rub the card on the trouser leg, the card drops onto the case. Being the same design as the case, the card is not noticed. After the vanish both hands are shown empty, the card case is tossed to one side, or the case is opened and the deck removed…then the case with the fake is placed aside. (PUBLISHER’S NOTE) The above vanish was sold by me about 1940 for 50¢ and I sold many copies of it at that time.)

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Psycho•Gizmo No. 12 A SERIAL DEVOTED TO GOOD PRACTICAL MENTAL EFFECTS AND BEST MAGIC

 ESP CUPS & CHIPS The Amazing Dr. Maurice  Purchase 5 plastic tumblers from the 5 and 10 preferably red in color. Now paint thereon with black paint on each cup, the ESP symbols…the cross, star, wavy lines, circle and the square. (See illustration below.) Place the cups in a row. Get ve white poker chips and on each paint the ESP signs, same as on each cup. In other words, each cup has a matching poker chip. Eect: Have a spectator take the 5 poker chips, decide upon the one he wants, while your back is turned, he takes the chosen poker chip and places it under the corresponding cup. Rest of chips are placed in his pocket. Then he calls your attention. You look at him and tell him to concentrate on the ESP symbol. You immediately pick up the correct cup and show the poker chip underneath that matches. Here’s the know how…When you get the cups, make a small groove at the bottom of each cup, small enough to hold an onion seed (see arrows in illustration. Get onion seeds from seed store at 10¢ a package). Line ‘em up and place a seed on top of each cup in the small well. Now when you hand spectator the chips tell him to pick up the tumbler, show inside to audience, (this causes the seed to drop o), have him place the poker chip on table and cover it with the cup. Rest is showmanship, dramatize it to the ceiling. You look for the cup with the missing seed. Manufacturing and sales rights reserved by The Amazing Dr. Maurice.

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VOLTA PRESENTATION Burling Hull Here is a good way to present the prognostication trick in Psycho 9. Over the phone, radio or TV, tell audience, “Take pack of cards you have and divide it in about half, roughly gured. Put one half in your pocket. Deal balance of cards onto table in two rows, one above the other…but make the bottom row contain one less card than the upper row. If you have a card left over put it in your pocket with the other cards. Now take 8 cards from the top row and put them in your pocket. Finally…notice the number of cards you have left in the top row…don’t tell me how many that is… but take that number of cards from the bottom row and place them in your pocket also. Now take the rest of the top row away. Look at the number of cards remaining on the table…and think of them. Please think hard of the number of cards you see on the table…keep looking at them. Thank you, I think I see the number SEVEN. Correct? You have a really telepathic brain. Congratulations—VOLTA MENTALIST

THE BEST BOOK TEST A book test that is easy to do. This test is accomplished without the aid of faked or prepared books, the forcing of cards, number or confederates. Any book may be used. Performer hands any spectator a book and a ball bearing. Another member of the audience is asked to write any [two-digit] number on a slate or blackboard. The person with the book is asked to open it at the page indicated by the rst number and to count along the words to the second number. He is then asked to place the steel ball on the selected word, remove the ball, close the book and return both the book and the steel ball to the performer. Performer drops the ball into an envelope, places it to his forehead and in a ash names the chosen word. Secret: The steel ball bearing is only for eect and showmanship. Any ball can be used…even a marble. Use any book. Obtain 9 envelopes and prepare them as follows: Envelope No. 1. Write the rst nine words of the rst page of the book on the ap inside. On Envelope 2, write the rst nine words of the second page…and so on with each page until you have nine envelopes thus prepared. I have found it speedier and easier to write the 9 words on the aps in groups as: (example)    

1. Box 2. Find 3. Which

4. Before 5. It 6. Has

7. Humming 8. Also 9. To

Now place the envelopes No. 1, 2 and 3 in left coat pocket, Nos. 4, 5 and 6 in right coat pocket, Nos. 7, 8 and 9 in inside coat pocket. You are now set. Suppose the numbers 5 and 3 are chosen. You tell your assistant open at the 5th page andpocket. to place the ball on place the third You in turn would remove Envelopeto No. 5 from your right coat Then, as you the word. ball inside, you would look for the third word on the inside ap, and immediately name the word. - 36 -

 

More envelopes can be used if you desire. The working is the same. Here you have a simple fool-proof book test. Try it out. You will like it.

TOO SIMPLE TO DO Nika That will be what 99 out of every 100 will say after reading this stunt; but that is alright as the 1% that reads and believes will have something. Get two packs of cards (exactly alike). Shue one then stack the other to correspond with the shued one. Hand one deck to spectator and leave room after requesting him to call out a number count down to this number and show card found there to all in audience. While in other room, you count down to same number, note card, return to room and call out selected card dramatically. Another way is to list the cards from top to bottom in their order on a sheet of paper and use this as a chart.

THE PROMPTER The Great Ovette This is a little gadget that costs nothing to make, is ideal for mindreaders and a worthy prompter for magicians. All you do is cut a piece of gummed paper tape about 1” by 1-1/2” wide. Tape may be round, about the size of a silver dollar. Type or write any numbers or words you wish to remember. Before you go on, lick the label and stick it on your palm. You can handle your props, pencil, etc. easily and still have the necessary dope at your disposal when you need it. (Publisher’s note: Joe sent this idea in to me years before he passed on. It was good so I kept it and now pass it on to you.) Always carry three packs of cards with you. Select all the same design and color. One pack is regular, one is pre-arranged and the third is a forcing deck. Master the Si Stebbins, or other good arrangement you use to perfection. Thus equipped, you have no need for embarrassment when you must work impromptu in response to a request…which is always good publicity. I have found that the best way to get into a “set up” routine…is to use a fair set of cards…letting the audience handle them…use them. Then…switch these for the stacked deck and lay it aside. When ready to do stacked routine…just pick up the cards and go into routine.

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