The Dark Circle

This seance is performed with spectators seated away from a table in a circle around the room. In it, I teach you a hold that was popular with some of the old timers.

To Perform:

Have spectators clasp hands and place their feet against each other.

Place tambourine, bell, megaphone, musical instrument, etc., on a chair in front of you so that you can grasp them easily.

Sit down, placing a hand on each knee. Then reach over and clasp right hand of spectator at left with your left hand. Place his hand with yours on your left knee. Have spectator at right grasp your right arm above the wrist with his left hand.

Have light turned out. Then say to spectator at your right:

"Pardon me just a moment until I get my handkerchief."

Have spectator release grip on your right wrist. Reach for your pocket handkerchief, blow your nose, and place handkerchief in pocket again. As you do this, bring your left leg up on your right, crossing your knees. Tell spectator at right to hold your wrist again. In the dark, he grasps your left wrist or forearm, thinking it is the right one. If he should feel your leg accidentally, he will think it is the right one as it is nearer to him.

Figure 9.

Your right hand is now free to carry on the seance. Produce the phenomena as you did in the table seance, jingling the tambourine, ringing the bell, picking up the megaphone and talking through it in "spirit voices." Finally place megaphone on head.

Figure 10.

Now you must get arms back into first position. Ask spectator at your right to hold you lightly. Suddenly jerk your left arm away from right spectator's hand and quickly slip right arm in its place. Uncross legs and replace right hand on right knee.

"Do not let loose. Hold on even though the forces tend to pull away."

Spectator at right grasps your right wrist again. To him it seems as though his hold on the arm was released by accident just for an instant. Your moves here must be done very quickly.

"I feel the spirit forces jerking forcibly at times, so hold tight now. I shall direct the forces on to some object. It is being lifted slowly off the chair, it is floating about the room, it is drawing back a bit again, now up and around high in the room. I shall direct more force into it, then suddenly withdraw it. Watch."

Suddenly throw your head forward or backward. The megaphone goes up into the air and then falls to the floor.

"The forces have left and it has been hurled downward to the floor. Hold tight until the lights are turned on."

Direct a spectator to break the circle and turn on the light, but be sure other spectators remain in place to see that your hands are securely held.

GYSEL'S MYSTERIOUS LIGHTS

This is a simple mystery, but in the hands of Robert Gysel it is very spooky.

EFFECT:

Performer's hands are held by spectators or performer is tied to a chair. Room is darkened and in a few moments mysterious lights appear, floating around.

MODUS OPERANDI:

To Prepare:

Secure two luminous buttons, such as are sold in hardware or electrical stores. These are used for attaching to a wall near an electric button so that it can be found easily in the dark. Glue a button to the bottom of each shoe in the arch so that it will not interfere with walking.

Figure 11.

A bit of luminous paint on each shoe will also answer the purpose for this effect. Before the seance, expose the luminous surface to the light for a few moments.

Buttons can be arranged to be attached or detached easily. Magician's wax will hold them so that they can be placed on shoes and removed at will.

To Perform:

Have two spectators hold your hands, standing to each side of you. Or have them tie your hands behind your back and have yourself tied to a chair.

Have spectators seated about the room. Lights are turned out.

After a few moments when spectators' eyes are accustomed to the dark, raise one foot and move leg around in the air so that light seems to float about.

Figure 12.

By lifting both feet and moving them about, you can get some odd floating light effects. To extinguish lights, merely bring feet down to floor again.

Have electric lights turned on again. Spectators see that you are still tied as in the beginning.

I wish you could see Gysel work a spirit seance and see the way in which he takes advantage of opportunities for Misdirection.

DR. BRIDGES' THOUGHT PROJECTION

This is an interesting effect by Dr. Milton A. Bridges. EFFECT:

Performer shows a card, writes something on it, and places it in an envelope. He seals envelope and says that it is in his power to cause a person to think of what he wants them to think of. He says that he wrote a number on the card which he sealed into the envelope and he will cause a spectator to think of that number. When he counts three, spectator is to call out first number that comes into his head. When number is called, performer opens envelope, removes card, and shows number on it to be the same as number called by spectator.

PARAPHERNALIA:

2 -- A card — a visiting or business card will do.

3 -- A pencil. SECRET AND PATTER: To Prepare:

In center of one side of envelope cut a right-angle slit. This serves as a flap which can be lifted by the corner to expose card inside.

Figure 13.

Have envelope in pocket. Envelope may be regulation size or a pay envelope.

To Perform:

Bring out envelope and card. Show envelope, covering the slit carefully with thumb.

"Most everyone has heard of mental telepathy in which the performer picks up and expresses the thought of another person. In this experiment I am going to reverse matters and have you pick up the thought that I shall project. For instance. I shall just think of a number, say between one and one hundred. I shall write it down on this card."

Pretend to write a number on the card with the pencil. In reality, you write nothing, but keep this side of card from audience.

"Only I myself know the number which has been written. So that we can check up later, I shall place the card in the envelope and seal it in."

Place card in envelope so that center of it comes into

position under the cut flap of envelope. Seal envelope, concealing slit with thumb.

Pick out a spectator in the audience and ask him to stand up.

"You look like a good subject, sir. At this moment, you do not know what the number is which I have written, do you, sir? No. But when I count three, I want you to call out the first number between one and one hundred which enters your mind. Do not think of any number until then. When I say three, you mention the first number that comes into your mind. I shall think of the number, project my will, and I want you to pick it up in true radio style. Are you ready? One - two -three."

Hesitate a moment, looking straight at spectator. "Now name the number that came into your mind."

Spectator names number. Suppose it is 73. Hold envelope in left hand between first and second fingers with flap side away from audience. Raise flap with left thumb, exposing card inside.

Figure 14.

"Seventy-three. Did that number come naturally into your head? It did."

As you talk, write 73 quickly on card through opening in envelope. Let flap fall closed again. Do this in a nervous manner as if you were merely making motions with pencil. Look directly at spectator as you write.

Figure 15.

Now turn envelope so that flap side is toward audience, keeping flap concealed with thumb. Make a few seemingly unconscious movements with pencil on opposite side of envelope also.

"Naturally, you had no chance to see what has been written on the card, sir, nor did I tell you verbally what the number is that I was thinking of."

Tear envelope in two through the slit, thus destroying evidence. To do this, turn slit side toward you and allow card to fall down to bottom of envelope.

Figure 16.

Remove card and show number on it to be 73. Figure 17.

"The number you thought of -- 73 -- is the number I

projected into your mind and caused you to think of. It is the number I originally wrote on the card."

Show card freely and pass it to spectator.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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