Teral Garrett - 26 Living and Dead Tests

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TWENTY-SIX LIVING AND DEAD TESTS

TWENTY-SIX LIVING AND DEAD TESTS BY

TERAL GARRETT

PUBLISHED BY

GEORGE ARMSTRONG LONDON, 1948.

F I R S T P U B L I S H E D IN T H E U N I T E D S T A T E S OF AMERICA BY T E R A L G A R R E T T — 1942.

SECOND E D I T I O N C O P Y R I G H T BY GEORGE ARMSTRONG — 1948.

A " MAGIC WAND " PUBLICATION

Printed in Great Britain by The Central Printing Company (Chas. Sowden) Ltd., Burnley. Nineteen hundred and forty-eight.

CONTENTS F O R E W O R D , by George Armstrong

6

I N T R O D U C T I O N , by the Author

7

SECTION ONE: E F F E C T S IN W H I C H T H E DEAD NAME S L I P IS DISCOVERED ...

8

No.

1.

The Watermark Test

8

No.

2.

Flames for the Dead

9

No.

3.

Line Detection

10

No. No. No. No.

4. 5. 6. 7.

Impromptu Black-out Test Spirit Divination Through Thick and Thin Impromptu Envelope Test

11 12 13 14

No.

8.

Another Method

15

<

No. 9. No. 10.

' The Nose Finds It The Clip Test

No. 11.

Feeling the Point

16

No. 12.

With Scotch Tape

16

No. 13.

The Psychometry Test

10

No. 14. No. 15. No. 16.

Another Method Spectator's Discovery Jumping Jupiter

17 18 18

No. 17.

The Dead Name Rises

19

SECTION T W O : . . . E F F E C T S IN W H I C H T H E DEAD NAME S L I P IS DISCOVERED AND T H E NAME IS D I V I N E D

15 15

20

No. 18. No. 19. No. 20.

The Programme Test The Perfect Impromptu Test Dead Name Telepathy

20 22 23

No. 21.

The Diachylon Test

24

No. No. No. No.

The Long Card Test A Cheeky Test The Blindfold Stage Test The Note-hook Test

25 26 26 27

The Ultimate Test

28

22. 23. 24. 25.

No. 26.

FOREWORD jgXPERIENCE

i has shown that Living- and Dead Tests

have an appeal all their own. There is something fascinating- and mysterious in the discovery of the dead name from among the living, especially when the names written are those of friends and relatives whom the performer cannot possibly know. It has been suggested that the use of dead names may cause embarrassment if a recently bereaved person is at the party, dinner or whatever the function may be. Personally I do not agree with this attitude for, having come against this situation myself I can assure the reader that the person concerned—should he, or she, be selected to w'rite the dead name—will be even more mystified and, more often than not, will corner the performer after thva show to discuss the mysteries of mentalism and spiritualism. However, if the reader feels squeamish on this point he may adopt Stewart James'suggestion and use the names of S O U R and S W E E T objects, or he may think up any number of combinations of OPPOSITES, such as MALE and FEMALE, etc., for this purpose. Make no mistake however, once the Dead Name theme is dropped half the fascination of this type of effect is lost, just as it will be lost if these (or any other mental effects) are used in a conjuring programme; in which case they become mere tricks—like all the other tricks in the programme. They should, in my opinion, be used exclusively in programmes of Mental Magic. These twenty-six tests by no means exhaust the methods by which Living and Dead Tests can be accomplished, but in these covers the author has collected a wide variety of methods and effects that should suit any occasion. GEORGE A R M S T R O N G .

INTRODUCTION •JpHIS collection of "Living and Dead Tests" will, I hope, provide the reader with several items for use in his stage or impromptu shows. Let it be clear that I make no claim that this booklet contains original material; on the contrary, it is a collection of practical methods that have long been used for this popular effect. I can only claim to have collected them within one cover for the convenience of the mentalist who may wish to vary his methods at repeat shows, yet retain the same basic effect, and for the reader who is looking for the method that best suits his requirements.

No attempt has been made to give "credit where it is due." Frankly, some are lost in the mists of time, while in other cases there have been conflicts as to who is the originator of the method in question ; and I have no wish to cause further controversy.

A rough idea has been given here and there of the patter and presentation, but no attempt has been made to provide complete patter. I feel sure that the reader will better be able to write patter to suit his own requirements.

I hope that this little booklet will meet with the approval of mental workers at large. Have we not all, at times, wished to include in our programme a certain effect and, having only a vague idea of the working, had to search through our files for days . . . even weeks, in order to find the required item? To you I dedicate this publication . . . it's at your fingertips.

TERAL GARRETT.

SECTION ONE EFFECTS IN WHICH THE DEAD NAME SLIP IS DISCOVERED No. 1

THE W A T E R M A R K TEST

Hp HIS effect is ideally suited to impromptu work. Either carry the five slips of paper with you, or grasp the opportunity to work it when you can borrow a piece of suitably watermarked paper. T H E EFFECT. Five small pieces of paper are placed on a tray or plate; a spectator is asked to pick any piece and to write the name of a dead person thereon. He is now asked to place this, temporarily, in his pocket, so that the performer cannot see it. On the remaining four slips he writes the names of living persons. Then, removing the slip from his pocket, he is to mix all five together so that no-one but himself could tell the dead from the living names. The five slips may be handed to the performer, in a bunch behind, his back, or separately, yet he always succeeds in picking the dead name. THE METHOD. Required are five pieces of paper, each one of four pieces having a different watermark and the fifth having no mark at all. Let us suppose that the paper is watermarked with the word B O N D Each one of the four slips is therefore cut from the paper so that it bears one of these letters, the fifth being cut so that it bears no mark. Place the five slips on the tray or plate so that they spell the word BOND, the fifth being the blank slip. Have

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a slip selected. If the first one is chosen, mentally say to yourself " B . " If the second is chosen, remember " O " and so on. That is all you need remember. Have the dead name written on the chosen slip and the living names on the others. The mixed slips are now handed to you behind your back, or they may be picked up from the plate and handed to you one at a time. As you bring the slips round one at a time, and place ihem to your forehead (to get the psychic vibrations, etc.) you will, of course, be able to see through the paper and note the watermark. All you have to do is to be on the alert for the watermark of the selected slip. Then dramatically announce that you have received a vibration, and that you hold the slip with the dead name The papers may be easily prepared and, of course, any watermark will do, the word BOND having been used only as an example. No. 2.

FLAMES FOR T H E DEAD.

J_J ERE is a most unusual Living and Dead Test, and one that will leave a deep impression if put over well. It is impromptu in that the paper can be borrowed, but the performer who wishes to work it as an impromptu stunt will have to carry .1 small tin, containing a sponge, in his pocket. T H E EFFECT. Several spectators write the names of living persons on slips of paper while one writes the name of a departed spirit. So that the performer shall not touch the slips at all, a spectator collects them and mixes them together. He is told to burn the slips, one at a time, in a small ash-tray or bowl. The performer knows immediately the dead name slip is afire and he shouts to the spectator to blow out the flames as it is the dead name. The mentalist positively does not know the dead name slip until it is alight. METHOD. In your right coat pocket have a tin containing a sponge soaked in a weak solution of Sulphate of Copper and water. 9

When all the slips are written on and folded tell the spectator with the dead name slip to hold it in his closed fist and concentrate on the name. Just prior to giving- this instruction wet the tip of the right forefinger on the sponge, and as the instruction is given grasp the spectator's hand and close it, making sure that the wet forefinger touches the paper pellet. That is all! The slips are collected, mixed and burnt one at a time. When the dead name slip is lit the Sulphate of Copper will cause it to burn with a very slight GREEN LIGHT, which is easily detected if you are looking for it. When you see this greenish flame tell the spectator to smother it out and to verify that it is, in fact, the dead name.

No, 3.

LINE DETECTION.

I ^ N D E R favourable conditions this too, can be an impromptu test. The favourable condition requires the provision of a sheet of ruled note paper and a pair of scissors, not usually very difficult to obtain. It is ideal for a single sitter. T H E EFFECT. The dead name is written on one slip, other slips being completed with living names. These are mixed and handed to the performer one at a time. He divines the dead name slip as soon as he holds it. THE METHOD. For a change, I will describe this as performed for a single sitter. Procure a sheet of note paper with the lines on one side only. With a pair of scissors cut just to the right of each line, commencing with the first line to the left of the paper. The last slip will bear no lines, so discard it. Thus, all the slips that you are going to use will have a line along one edge, on one side only, whilst the other side is blank.

10

Fan out the slips with the plain side uppermost. The spectator is seated at the table with a pencil. Ask him to choose any slip that suits his fancy, and let it be clear (without saying so) that it is a perfectly free choice. When he has indicated which slip he wants, place it on the table in lront of him with the BLANK side up. Tell him to write on it the name of some dead friend and to fold it four times with the writing inside. While he is busy doing this, turn the remaining slips over so that the lines will now be uppermost. When he has finished with the fitfst slip place the remaining ones in front of him, one at a time, for him to write living names thereon. These slips bear the lines uppermost. When all the slips are folded the dead name slip will be the onlv one bearing a line along one side on its outside folds. This is the secret that makes it possible for you to discover the dead name slip as you hold them to your forehead one at a time. Of course, it is just as easy to present this to an audience of as many as you like and you can also discern three or four dead names in this way.

No. 4.

IMPROMPTU BLACK-OUT TEST.

J ^ E R E is a test that would fit beautifully into a fake spirit seance. It is carried out in the dark and is completely impromptu, so long as you carry or can borrow a note book. T H E EFFECT. The performer offers for examination a piece of blank paper. Taking the paper back he tears it into five slips and requests four persons to write on each of their slips the name of a living person; and a fifth person is asked to write the name of a dead friend. After the names are written the spectators are asked to fold their slips and another spectator collects them, mixes them and places them in a heap on the table, or in a hat. The lights are switched off and the performer begins to unfold the slips. He states

11

that, solely by the aid of the psychic vibrations connected with the dead name he will be able to discover the correct slip. Suddenly he calls for the lights. He is seen holding the DEAD NAME slip. THE METHOD. The working is quite simple. A sheet of paper is torn from the performer's note book. This is now creased into five slips and is torn along the creases. The result will be that four slips will have two ragged edges where they have been torn, while one slip, the bottom one, will have one ragged edge,and one smooth edge. This slip, the one with the smooth' edge, is handed to the spectator who writes the dead name. When the lights are turned off, open the slips and feel their edges. When you come to the one with the smooth edge signal for the lights and the effect is finished. No. 5.

SPIRIT DIVINATION.

•"jpHIS one is certainly off the beaten track, for the dead name slip is discovered by the "spirits", and not by the performer. THE EFFECT. The performer passes out ten cards on which spectators write names, one of them being a dead name and the remainder living names. A spectator collects the cards, mixes them and hands them to the performer who drops them in a glass jar. A cloth is thrown over the jar, " s o that the spirits can work in darkness," and the covered jar is held by the spectator. After a short pause, to allow the spirits to get to work, the jar is uncovered, the cap is removed and the cards are dumped out on to a tray. The performer looks through the cards and holds up one on which is seen a "spirit message," which reads, " T h e Spirits wish ro communicate to you that this is the dead name." Sure enough, this message is written across the card bearing the dead name, and it is the only card on which such a message appears

T H E METHOD. You will need ten pieces of cardboard, about two inches wide by three inches long. Prepare one of the cards by writing on it with a very coarse pen the message indicated above. This is written with the following solution: a quantity of BLUE STONE dissolved in a small amount of water until you have a very pale blue liquid. A little experimenting will show the proper amount needed. When this dries it will be invisible In the jar lid there is a small quantity of good grade strong AMMONIA. The prepared card is handed out for the dead name to be written on, while the living names are written on the unprepared cards. When the cards are collected, place the entire bunch in the jar, put on the lid and cover with a small cloth. The ammonia will bring out the writing on the card in a short while, and after an appropriate pause to enable this to take place, the message is revealed as described above

No. 6.

THROUGH THICK AND THIN.

^ N INGENIOUS method is used to discover the dead name in this effect. T H E EFFECT. Five cards are handed out. The dead name is written on one, while living names are written on the others. The cards are sealed in envelopes, by the spectators, and collected and mixed by a spectator who hands them, one at a time, to the performer—who may be blindfolded if he wishes. He knows the dead name envelope as soon as it is handed to him. T H E METHOD. Five cards are needed, four of the same thickness and the fifth being thicker. It must be thick enough to distinguish it from the others by the sense of touch.

13

The thick card is handed out for the dead name, the four remaining' thin cards having living names written thereon. After the cards (which should be about the same size as the envelopes) are sealed in the envelopes and collected and mixed by a spectator, it will be a simple matter for you to discover the dead name envelope as soon as it is handed to you. This is done by holding the envelope between the thumb and fingers Bend the envelope slightly and it will be found that the thin cards will bend much more easily than the thick card. Practice this until you get the hang of it and you will have a winner. This principle was once sold, on its own, for 3.00 dollars (15/-).

No. 7.

INPROMPTU ENVELOPE TEST.

j g VERYTHING may be borrowed for this test, but if this is done care must be taken to ensure that all the. envelopes are alike; otherwise there would be an obvious solution. T H E EFFECT. The performer hands out five or six slips of paper and the same number of envelopes. A dead name is written on one slip and living names are written on the others. (If the envelopes are not borrowed it might be as well to let a spectator examine them, to ensure that they are all alike). The writers are requested to roll their slips into pellets and the performer collects them, dropping each oel)et into an envelope which he seals. The envelopes are mixed by a spectator, yet the performer can immediately detect the envelope containing the DEAD NAME when it is handed to hirr. T H E METHOD. When putting the pellets into the envelopes drop all living names into each envelope so that they will fall to the centre; seal the envelopes. When the dead name is 14

TWENTY-SIX

LIVING AND

DEAD

TESTS

reached it is dropped in so that it falls into the lower righthand corner. After the envelopes are mixed it will be an easy matter for you to locate the envelope containing the dead name for you will be able to feel the pellet in the corner.

No. 8.

ANOTHER

METHOD.

•^pHIS test is similar to the above in effect, and it may also be impromptu if identical envelopes and blank cards or slips of paper can be borrowed. The cards (or slips) are sealed in the envelope as before, but when sealing the envelope containing the dead name the performer only licks one side of the gummed flap, merely pretending to wet the other side. This leaves one side unstuck, a fact that makes it easy to distinguish the envelope from the others.

No. 9.

T H E NOSE FINDS IT.

JOEING the same in effect as the two previous tests I will give only a brief explanation. A novel " c u e " is used for this test, but it is not impromptu. All the envelopes are common envelopes, as are the cards used. However, one envelope is, beforehand, saturated in a colourless perfume. This is the one that is handed out for the dead name. It is obvious that, as the envelope is raised to the forehead, the perfume will be detected; the nose finds it.

No. 10.

T H E CLIP TEST.

£ j N C E again envelopes and cards are used, but the spectators may seal the cards in the envelopes. As the performer collects them and drops them into a hat or bowl he slips a paper clip on to the envelope containing the dead name. It is an easy matter to reach into the hat and find this envelope while blindfolded. The clip is disposed of with the blindfold.

No. 11.

FEELING T H E POINT.

1 " ' H I S effect is the same as the above, envelopes and card^ being employed This time, however, all the envelopes are alike except that the dead name one has the flap pointed while the others have rounded flaps.

No. 12.

W I T H SCOTCH TAPE.

j g O R R O W E D envelopes and slips or cards may be used for this test, so long as the envelopes are identical. THE EFFECT. Cards or slips of paper are handed out for the names to be written, one dead and the remainder living. These are sealed, by the spectators, in envelopes. The sealed envelopes are collected on a tray, and the performer, though blindfolded, is able easily to discover the envelope containing the dead name. THE METHOD. An ingenious principle is made use of in this method. Have a small piece of Scotch Tape (the transparent sticky tape) on a tray, sticky side up. Collect the sealed envelopes and place them on the tray, but when you take the envelope containing the dead name lay it on top of the Scotch Tape. Being transparent, this cannot easily be seen. Having been blindfolded it is an easy matter to discover when you have taken up the envelope containing the dead name; you can find it by the sense of touch.

No. 13.

THE PSYCHOMETRY TEST.

' J ' H I S too is an impromptu test, so long as you have a small bead oi bean available. The slips of paper may be borrowed.

THE

EFFECT.

Several slips of paper are handed out and one person writes the dead name while the others write living names. The slips are relied into pellets, dropped into a borrowed hat and mixed up. The spectator holds the hat high above his head and the performer announces that he will discover the dead name slip by the power of psychometry, dependent upon the peculiar psychic vibrations associated with the dead. He reaches into the hat and removes one pellet. This is opened and proves to be that bearing the dead name.

THE METHOD. Keep the small bead or bean concealed in the hand. Hand out the slips and have the names written. When this is done take the dead name slip and roll it into a pellet as a demonstration to the other spectators of what should be done. Of course, you secretly roll the bead in the slip. Throw it into the hat and have a spectator take the hat and collect the remaining pellets. When you reach into the hat simply feel for the pellet containing the bead. Remove this slip and open it, allowing the bead to slide into the hand. Have the dead name announced, read the name from the slip and hand it out for verification.

No. 14.

ANOTHER M E T H O D .

""pHIS test is the same in effect as No. 13, but this time you roll inside the paper a small steel ball (a ball-bearing is ideal), instead of the bean. When you reach into the hat you have palmed a small but powerful magnet. This will pick up the dead name slip in a flash as you pass your hand lightly over the slips. Needless to say, the magnet is secretly disposed of while the slip is being checked.

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TWENTY-SIX No. 15.

LIVING AND

SPECTATOR'S

DKAB

TESTS

DISCOVERY.

' J ' H I S time rhe spectator discovers the dead name, but he has no idea how he does it. THE EFFECT. Five playing cards with blank faces are handed out with the usual request that a dead name should be written on one and living names on the others. A spectator collects the cards, mixes them (please don't use the word "shuffle" when performing mental effects) and spreads them writing side down in a row on the table. The performer takes the spectator who wrote the dead name by the hand and leads her for him) to the table. (I advise a lady for this effect; at least you get an excuse to hold her hand). The performer moves the spectators hand back and forth over the cards, requesting her to concentrate upon the dead name. Suddenly both hands drop on a card which, when turned over, proves to be the card bearing the dead name. THE

METHOD.

One of the cards is marked beforehand with common red or blue ink (according to the colour of the card back), a small portion being shaded or a mark made that is indetectable to a spectator yet readily seen by the performer who knows where to look for it. The rest should be obvious. The dead name is written on this card, and after the initial build up the performer drops the spectator's hand on to this card

No. 16.

JUMPING JUPITER.

Jj^ GOOD showman can get a great deal out of this test. It is very effective. THE EFFECT. The dead name and living name pellets are dropped into a borrowed hat. Holding the hat by the brim with one hand

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the performer snaps the bottom of the hat with the free hand. One pellet JUMPS up high out of the hat. It is opened and verified as the dead name. T H E METHOD. This will be recognised as an old card discovery. Use a soft creased hat. As you collect the pellets drop all the living names on one side of the crease and the dead name on the other side on its own. Hold the hat from underneath by the crease where the dead name is, thus closing the crease. Have a spectator reach in and mix the pellets; he will only be able to mix the living names. Then hold the hat up by the brim and snap the bottom of the hat on the side containing the dead name pellet; it will jump high in the air. Have it opened and the name verified.

No. 17.

T H E DEAD NAME RISES.