The S2irit Whistle

This is a basic description of the effect known as the "Spirit Whistle". The apparatus consists of two whistles, both alike. One whistle, however, is attached to the end of a rubber, flexible tube and attached at the other end to a large soft rubber bulb filled with air. By compressing the bulb, the air is rushed thru the tube, into the whistle causing it to "whistle"

Now remove the coat and place the prepared whistle in the sleeve, and attach about the wrist with a rubber band (to hold same in place) the whistle then being "up the sleeve » All ow it as near the wrist as you dare without detection. The tube runs down the back and to the opposite side of the bo4y, where the bulb is concealed in either the trouser or coat pocket, or same may be placed under the left arm (arm pit) and squeezed by arm to body.

The other whistle is passed for examination, etc. and a string tied to same, the whistle being tied and suspended fron a pencil or stick. This allows the real whistle to be near the concealed one, and it is practically impossible for anyone to say just where the whistling comes from. The whistle hanging from the pencil removes any idea of connection and creates a better mystery than if whistle were held in the fingers.

Explain to your spectators that the whistle will answer any questions (that may be answered with a 'yes' or 'no') by whistling oace for yes, twice for no. Having some one address the ^fristle with a question, direct their attention to the whistle and turn the body slightly (opposite side from them whistle directly before them), and squeeze the bulb and blow the whistle as desired. ************

$35.00 DICTIONARY TEST (Instructions Only)

A Dictionary is tossed out into audience with request that someone open it at "random, note a word or definition at top of page and throw book back to Mentalist. Bool: is gimmicked cleverly with a fine hole drilled through book at point where the binding threads go through the "spine1' or back binding edges.

A special bit of binder's cord or thread is run through this and attached to one end only. It appears just a thread that was sewn a bit more forward than the others. As book is opened the thread is drawn through the holes and a bit of "slack" cord is thus drawn out between those two pages. On closing the book the drawn out loose binder's cord "doubles^ up and lies between the pages at the rear or spin« edge of book. Performer receiving book will find that it will open easily at that point because of the extra bit of doubled up binder's cord between pages.

To "set" book for next time, performer opens cover and taking end of binder's cord draws it tight, ready for next performance.

(See also the Phantom Dictionary).

DEVELOPING A WAX IMPRESSION Larry the Magician

Take an ordinary pencil, sharpen it, then drill out the lead. Put in a small brush. On the other end remove the eraser. Drill a hole as large as you can. Place a spring clip like you use to clip pencil fn pocket. Under the ball part drill a small hole. Fill the larger hole with powdered coffee. Replace the eraser. Use this with wax pads. By pressing on spring clip yoa can drop out some of the powdered coffee. Spread with the brusfc- end and it \fLll develop the wax impression. A perfectly innocent prop and the small lirush look« like pencil lead.

"DECISION CONTROL (Bergson-Nelson-Instructions Only)

Toss 6 ping pong balls to audience. Those catching them invited to step forward. One told to whisper name of card in ear of magician who marks its initial letters (like K D for KING of DIAMONDS) BOLDLY on page of a pad, shows to spectator who verifies it. Torn off, it is placed in glass bowl along with ping pong ball. Same action repeated with 5 other persons •— two whispering a geometrical design, two a two digit figure, another a playing card — each drawn on page of paper of pad. Crumpled up and dropped into bowl along with ball. Pages of pad are marked alternately with bands of red, yellow and blue at top and bottom. RED banded Papers have CARD initials; YELLOW have DESIGNS, BLUE have NUMBERS on them.

Five spectators return to seats, one remains. Told to withdraw one slip of paper of each color marking. Attention called to the ''DECISION CON-TROL,! card, size 1!? x 17t!. Slips of paper opened, placed on it in row and fastened there with clips, in order of left to right; Red, Yellow, Blue. Magician removes from card the part lettered '^DECISION CONTROL:i revealing it bears correct design, number, etc. marked on large card directly above each paper clipped to board. Props furnished are the pads, "Decision Control" sign* Cado broad-tip marking pen; brush; red ink; white powder.

Secure a heavy cardboard 17" x 12*'. Equally spaced across the bottom mark boldly in plain red ink the card initials; design; and two digit.figure you wish to ''force . Place "Decision Control" sign over this. Fasten with clips. Mix some ordinary household ammonia and a little white powder (supplied) until it turns to correct red color, and place in Cado pen. This you use to mark the card initials, number and design, as whispered to you by spectators, on the sheets of paper on the pads. It will therefore disappear shortly from paper and leave only a design, card or number that are marked on the BACK of the paper, unknown to the spectators. These match the FORCE design, etc., that you marked along bottom of the large card.

The tablets have 12 sheets of the red, yellow and blue bordered paper. But the 2nd, 3rd, 4th, 5th and 6th shoots are 1/8'' shorter than the others. On bacii of papers draw with regular red ink the "Force"' design, initials, number — but UPSIDE DOWN to those you will later write — and on upper l/3rd as you reverse the pad. After show the remaining papers on pad will then be unprepared and blank in case later someone picks up pad.

Performing: Hold pad in left hand, casually riffle papers and the shorter cut papers will conceal the marking on the longer papers — same as when you riffle a SVENGALI FORCING PACK. As crumpled sheets of paper are taken from bowl and flattened out the "disappearing ink:; markings have vanished and only the markings on BACK of papers can be seen. These, of course, match those on the large card.

To prepare for next show trim the 2nd, 3rd, 4th, 5th and 6th papers 1/8'' shorter, replacing those used. Mark papers on rear side as before. Wash pen after each use. To add to effectiveness use a "Reversible Number,; like 16, or 91, 31 or 18, 98 to 86, 69 to 96, 58 to 89 for "FORCE" number. Pretend number is wrong when showing it. Then reverse it showing you are correct after all.

You will find this effect easy to present when once ycu get the "knack" of it. It is so impressive to your audience that they usually give you credit for possessing intelligence above the average and some even go so far as to believe you were born with a superhuman brain.

Here is a method that sold for as high as $25.00 and more for the secret, and is very simply to perform. You can use a piano player or an orchestra and the best part of it, neither the orchestra nor the piano player will know how the trick is done.

On a large piece of paper print in groups of 5 names of music selections like :'PEG OF MY KEA.RT:; or any others that are late ones which a piano player or orchestra would know. These are printed on this sheet in groups of 5 each, leaving a space between each group of 5. Now you will need 25 cards about the size of playing cards and on each card, starting from the top of your sheet with music selections on, print plainly the name of each music selection on each card. These cards arc fixed so that they are in rotation with the groups of 5 on the sheet. For instance, say that the first selection on the sheet is ,!Now is the Iiour:' then the cards should be arranged so the first card is "'Now is the Hour''1 and if the 2nd one of the sheet is "Peg of my Heart" then your 2nd card should be "Peg of my Heart11 etc. etc.

Now on 25 other cards the same size, print any selections you so desire for these will be your dummy cards. The 25 dummy cards are placed in an envelope. How take another envelope and cut the flap off and place it behind the envelope with the dummy cards in them. Now place 5 or 6 envelopes on top of these. It will be as if you are holding a pack of envelopes. Now take the cards that have the selections on it and hold them in front of the envelopes. Off stage have a helper with a large sheet with the selections on it. He can be sitting at a table, so it will be easy for him to check when he is ready.

Your talk and introduction is up to you. Tell them that you will try tonight to read the spectators' minds; and we will use anyone in the audience who can play a piano. Or if you so desire I will use the orchestra. The method you use is up to you but build it up big, for if you do this effect right, you will really amaze all that you show it to.

Now you go down thru the audience, with your little finger count off 5 and only 5 cards, handing them to a spectator to select one, while he is making his selection, hand 5 more to another spectator letting him select one, giving each of the spectators an envelope to place the card they selected in which they seal and place into their pocket. When they hand you the remaining 4 cards back, you must keep them in rotation, just the way you took them off, repeat until you have passed out the 25 cards. Of course each one gives you 4 back, so now you have 20 cards and the spectators each have one each in their pocket, which is their selection. BUT PLEASE PLACE THE CARDS BACK ON THE PACK, JUST IN THE SAME ORDER THAT YOU HAVE TAKEN TKEM OFF. ALSO REMEMBER WHERE THE FIRST SPECTATOR IS SITTING, ALSO THE SECOND, THIRD, ETC. Now take the remaining cards and straighten them up, then pull the flap down so they can see it opened, on the envelope next to the one that has the dummy cards in, that has no flap on. Now you place these cards down in the envelope that has no flap on it and at the same instant pull the envelope out of the pack with the.

dusnoy car do In it, and seal it, asking if someone will please hold these surplus ones. NOW YOU HAVE MADE THE SWITCH, FOR THE GOOD CARDS AR? IN- TEE ENVELOPE TlaVT EAS NO FLAP ON IT. While you are getting soiseoae to. hold the envelope with dunssy cards, make it look to the audience as if you are hunting for a place- to lay your surplus enevelopes. Your helper walks out cad relieves you of them. NOW YOUR ASSISTANT HAS THE CARDS AND HE AT OMCE'CHECKS THEM WITH HIS SHEET OFF STAGE. SIMPLE. He counts off 4 cards; the. one that is missing when ha checks'these four against the first group of. 5 i,s the first.selected number,' etc. etc. which only takes him a few minutes to learn which the five selected numWrii are. He writes them down on a piece of paper, and places them on the piano. These are the 5 selections the piano player will play.

If an crclastra is used, then the slip is handed to the orchestra leader. All the time the Magician is selecting a piano player or stalling with hie. patter. If a' piano player does not know number of one cf the pieces selected, then ¿he should say, "I do' not know how to play ,:Feg of my Heart" or whatever the pièce was. Each selection on sheet jf paper for piano player or orchestra should be numbered:- #1 "Peg of my Heart" #2 Now is the Hour, etc. The magician goes >o the spectator that selected the first piece "I will call you #1 for you selected the first piece.'"' So the magician says, "Miss Piano player will yea play #1 selection" which she of course will do.

After sîîs plays a few chord, you say, "Sir, is that; the selection that • you are thinking of" and he will say it was. Then he tak^s the card from the envelope to f.rove you are right. It is not really necessary for the spectator to remove fcha card frcta his pocket, for if you say, "Is that the selection you are thinking of" then the remaining spectators think that the piano player is playing the selection he is thinking cf at that moment.

Tâls la Without dôtiîit à' swell" effect and if you work it right, you will get loto of applause ktid lots of publicity. Read this over carefully and I aia sure' if you will use it you will like it and use it in all of your shows.

MTUTTIC mSTER MUSIC MYSTERY

ti«e e££cct ia that rberein a musician on the stage playa any place of music trxr^ht of by the science. Cards are passed out by the parfor.^ar on which tlv*. spectators write the naaes cf favorite pieces of music. The cards are gathered, the resulting deck handed to a spectator for shuffling, and then that spectator pulls out any card from the deck and concentrates silentlv-cm tbe-'n&se of ths piecc thereon'« .The musician on the stage plays the selection.

The d^ck of cards is then handed to another spectator, who- shuffles it and then withdraws therefrom any card, concentrates on the nam a or the piece of wi'iic '»ritten on it - a ad the "musician'again plays the selected piece. This Is co-n.tir.a3d for the length of the/act''- four or'five demons, tr&tions... being sufficient -

Note these points: Cards are plain white on both sides. A strange pianist may be used and she will positively have no idea afterward as to how the mystery was done, although she did it. Failure impossible. No word spoken by the performer as a code. No signs given by performer as a code. No code whatever is used. (GET THAT). Nothing for anybody to learn. No memory work on the part of anybody. Can be gotten ready within 5 minutes after first meeting the pianist. COULD BE DONE IN THE DARK, with pianist and performer out of hearing distance of each other. NO APPARATUS. Can be done almost immediately after reading these instructions, for it is the simplest method of all. The principal can be applied to question-answering, lightning calculator acts, or other types of mental phenomena.

The Basic Secret: The fundamental secret is this: The small deck of cards are forcing decks. One deck consists of the name of the same piece of music written on every card. There is one such deck for every piece that is going to be played, in addition to the ''honest' deck on which the audience genuinely wrote the names of their selections at the beginning.

The basic trick is merely to switch decks constantly - first, the "honest'' deck for the Forcing Deck No. 1; when piece No. 1 has been played (or during the playing, rather) this deck is switched for Forcing Deck No.2. When the piece thus forced is being played, said deck is switched for Forcing Dec, No. 3, and so on until four or five pieces have been played.

Simple? Of course, but WHY HASN'T SOMEONE THOUGHT OF IT INSTEAD OF MESSING WITH HEAVY CODES TO DO THE SAME STUNT?

The problem is. of course, in the repeated switches but the solution is easy. Each 'deck5, is half playing-card size and hence palming is absurdedly easy. Each deck consist;» of only 15 cards - and if you can't palm 15 cards that are half playing card size, you don't belong in magic. Using plain white (front and back) poker-size cards cut in half, your individual cards are only 2hr' x l-3/4;i - not much bigger than a couple of postage-stamps 1

One of these forcing decks is placed in each of the following pockets; left outer coat pocket; left trousor pocket; right outer coat pocket; right trouser pocket:, and lower left vest pocket. Each pocket could contain 2 packets-, but it is considered best to quit, the act after playing 5 pieces. Do not "wear out your welcome'1.

Preparation: A deck of double-blank cards will cut up into 7 of these smaller decks. One will be 14 cards and the other six will be 15 cards each. Six decks of double-blanks will net you 42 of the smaller ones, which will enable you to present the trick without any last minute preparation of consequence.

Take any popular song book of "old-timers'" and list from it on a piece of paper -the names of 40 of the best-known pieces - pieces which any pianist can ploy at least by ear. Examples (not all popular, though) are: Home, Sweet Home; Jingle Bells*. Old Black Joe; My Old Kentucky Home; Sweet Adeline; When You and I Were Young, Maggie; Long, Long Trail; Three Blind Mice; Dixie; etc.

Arrange -a, list <rf"these- pieces.--alphabetically, Then -write the name-of the first piece on each card in forcing deck No. 1, trying to depict a different handwriting on each card if possible, although not strictly necessary. Then do the same with the name of the second piece on the list, using another deck of cards to create Forcing Deck No. 2. Once you have the 40 forcing decks prepared, they will last indefinitely. In the case of two decks wherein the pieces begin with the same letter (such as America, and Auld Lang Syne), the relative order of the decks is indicated by the first two letters of the song names instead of the first letter only; thus, AM and AU in the illustration.

Put each deck in a coin envelope, and number the coin envelopes consecutively. Thus the first coin envelope (No. 1) will contain Forcing Deck No. 1 which in turn contains cards bearing the name of the piece of music starting with the earliest letter in the alphabet.

The list of all pieces which you have also prepared shows the names in alphabetical order as above stated. Each entry is also numbered consecutively so that the envelope containing the cards for any particular song can be instantly found because the numbers on such envelopes correspond with the numbers given to the songs on the song list.

—So~mich.~for the preparation. After meeting the pianist who will assist you., handjieirnrhe-_saag. .list and ask her to indicate 5 songs listed therein that she can play from memory. When she has so indicated the songs, write a list of them for her on a card, showing them in numerical sequence. Make a note of the song numbers yourself so that you can remove from your collection and place in your pockets the corresponding Forcing Decks after you laave the pianist. Tell the pianist to keep the card on which the 5 songs are listed in her hanky so that she can see the writing but so that the audience will not see it. Said hanky can be placed by her on the music rack of the piano when she takes her place on the bench for the demonstration. Tell her that all she will have to do is to play those 5 pieces in the order in which they are listed, one at a time, as she is asked to do so by various spectators and that you as the performer will not be the one to ask her to play. She will just do as she is asked from the audience, and give also the name of each piece after she has played it, but ONLY after she is asked to name it by you.

When you leave her.» go to your suitcase and get the required Forcing Decks, and also one plain deck and a separate short soft pencil or pencils, for distribution. Place the Forcing decks in the proper pockets so that you will be able to secure them for forcing purposes in exactly the same order as the list of song names in the possession of the pianist. A good order is that in which the pockets are listed on page preceding. The plain deck does not need to be placed in a pocket at the beginning, but may be held in the hands with the pencils.

The forcing is done as follows t Switch from genuine (:'honest") deck to Force No. 1; gather up the individual cards on which the spectators have written song names, having the spectators place them in your right hand. Also gather up pencils in the same hand. Transfer both pencils and cards to left hand (pencils are short, remember). Introduce the pianist, and as you do so, you place your left hand momentarily in the left coat pocket, supposedly to get rid of the pencils.- However, you also get rid of the cards and pick up instead Forcing Deck No. 1 which is in that pocket,

Switch from Forcing Deck No. 1 to No. 2 is done as follows; As soon as the pianist has completed playing piece No. 1 you take the cards from the 'concentrating" spectator who asked her to play his selection, just nonchalantly ask the pianist; !:The name of the piece you have just played, Miss .whereupon she answers. As she answers, all attention will be directed to her instead of the performer down in the audience. You casually in the meantime have palmed out from the trousers pocket (and hold palmed in your left) Forcing Deck Ho. 2. Your right hand holds openly, face down Forcing Deck No. 1.

As the pianist answers your question, your hands come together, arms hanging down, and the two decks are exchanged between the hands. Left hand now has the deck that is to be discarded, and the right hand has the new Forcing Deck No. 2, face down. Left hand keeps its deck palmed but right hand shows its deck openly.

Yr-.u now advance to another spectator and hand him the deck contained in your right hand, with instructions to shuffle thoroughly and then to select a card. As you do this, your left hand casually goes into your left coat pocket and leaves the palmed deck there.

Switch from Forcing Deck No. 2 to 3 is done similarly to switching from No. 1 to No. 2, except that the hands are operated a little differently. Now it is the right hand that palms Forcing Deck No. 3 from the right outer coat pocket. Forcing Deck No. 2 is received back from the 'concentrating' spectator in the left hand instead of in the right hand as was the case with Forcing Deck No. 1. Hands exchange decks just in reverse to the method used in exchanging Ko. 1 to Ko. 2.

There is no problem in obtaining Forcing Deck No, 1 for the first song. In obtaining Deck No. 2 the left hand is used, with a subsequent exchange of decks with right hand. In obtaining Deck No. 3 the right liana is used, and hcnce the left hand is the one that takes back Deck No. 2 from the spectator, after which the two hands exchange decks and the left hand (presumably still holding the same deck, of course) hands Deck' No. 3 to the third spectator. Deck No, 4 is handled in exactly the same way as is Deck No, 3. After the fourth piece has been played you Wind up" with both hands empty as you take back from the spectator Deck No. 4 in your right hand.

You now state that you will have time for only one more test. As you say this, your right hand containing No. 4 teaches under your coat, drops deck in left lower vest pocket and removes therefrom Deck No. 5. Holding Deck No. 5 the right hand continues upward to the upper left vest pocket and removes a pocket watch as though to check on the time. Watch is then returned to the pocket, and the hands are empty except for Deck No. 5 in the right. The presentation with Deck No. 5 is the same as for the previously used Forcing Decks. After the test the performer takes back the deck from the spectator and places it in his right coat pocket. TJse dummy pocket x^atch, if you do not have a real one. The audience never sees its face and is never close to it.

The decks are so thin and small that palming them is no more of a problem than is palming a half dollar.

Instead of having the Forcing Deck No. 5 in the lower left vest pocket the deck can be kept in the outer left coat pocket, a cardboard partition separating the pocket into two sections, with Deck No. 5 in the section next to the Body. This partition prevents any confusion arising with respect to the former switch and the later one made in the same pocket.

At the end of the performance the performer regains from the pianist the card he left with her.

It is always desirable to have several blank decks with you in order that you make up a Forcing Deck in.the rare case that the pianist could not play five (5) pieces from your list. It takes only a few minutess of course, to write up a deck of 15 cards, but it should not be done with the knowledge of the pianist, who does not know the existence of a Forcing Deck of any kind. This special Forcing Deck should be the LAST song to be played.

By having more than forty (4) Forcing Decks prepared in advance, your increased repertoire of decks (and hence, songs) will, of course, give the pianist a correspondixigly greater range of piece's to choose from. However, it will rarely arise that a pianist (particularly if not too young) cannot play at least part of five (5) old-time pieces by c^- out of any forty that may be named.

The presentation should be developed individually, since mental effects of this kind are not for beginners in magic. The presentation must be personalized to a far greater extent than is the case with card tricks for example. And a stereotyped exhibition of advanced mentalist is not to be encouraged. Here, particularly, it is not so much the method (which may ¿be extremely simple, as in this case) as it is the way the mystery is "put across" that counts.

"TELS-PIX': (Syd Bergson)

A sort of easel device is set up holding a small mirror. To this is clipped a sheet of paper. The easel is placed far foward. The little Mspot-light on easel plays on paper, so spectator can see what the volunteer from the audience draws on paper. He is requested to draw upon the paper any single design that he may freely think of or select from his own mind.

Performer takes position some feet further back toward the rear of platform or stage — so that he cannot see the front side ox easel nor the paper oeing drawn- upon,. Performer also faces away from easel; in other words^ his back i& toward the entire thing. Performer draws on a piece of cardboard backed paper- his "mental impression ' of the design that he thinks_the spectator has in nid mind. On each drawing and showing the results- thereof — both their designs are found to be the same.

The secret: The mirror on the easel is of the type known as a 'TWO WAY VISION MIRROR''". While person in FRONT sees his reflection in mirror in normal manner, the person at rear side of mirror can SEE RIGHT THROUGH IT like a plain sheet of glass.

Performer standing a few feet behind mirror holding a clip board or holding a sheet of paper, has a strip of thin glass mirror of type used in square vanity purses, along top edge of his paper. Looking into this strip of mirror he sees a reflection of the rear of spectator's mirror. Due to the SEE THROUGH properties he can see the design drawn by spectator on paper the spotlight making the paper transparent and revealing the design.

The $50,00 price cf the Unit is due to the costliness of the special SEE THROUGH MIRROR which is provided in the trick.. So the price is not out of proportion for the apparatus required.

ORSON WELLES' 3,500 MILE RANGE ELECTION PREDICTION (The Amazing Maurice)

Effect: Orson Welles appeared on the Gary Moore Show at which time he placed a sealed envelope into the hands of Gary Moore, same to be deposited in bank deposit box.,.This sealed envelope contained the winner of the presidential election, plus the exact number of electrol votes that each one would receive.

The following week, two days after the election, Orson Welles was in Hollywood, California, on a telephone talking to Gary Moore in New York, during the show on T.V. The envelope was produced, torn open and contents notedj it predicted the winner of the presidential election plus the exact number of electoral votes that each one received.

Here's How: First of all, picture Orson Welles in California talking and giving, instructions to Gary Moore which was on T.V. First of all it was explained to the audience that. Orson Welles was on his program last week and he left a sealed envelope with prediction. Now, the envelope was produced and held by Gary Moore, ''Orson Welles now talks to Gary Moors;*1 A basket of ping pong balls ware produced, each one lettered with a number from 1 to 30. The balls were tossed out to the audience: all members that held an odd numbered ball were invited upon the stage. Now Orsons speaking, will number 9 take the envelope from Gary Moore and tear it open, then he spoke again -this time he told number 9 to hand the opened envelope to number 15, who inserted his hand into envelope and removed folded slip of paper - this was handed to Gary Moore who read it, and the contents proved beyond all doubt that it was a correct prediction,

In this case number 15 was the plant - he sat in audience with number 15 ping pong ball in his pocket. When the ping pong balls were tossed out into the audience, from 1 to 30, number 15 was missing, so when members were invited upon stage, first one to open letter was indifferent person,. This gave number 15 time to get the message palmed, so when envelope was handed to him, he inserted fingers into envelope with paper cupped in bent fingers, and removed it as if it was there all the time. The crowd of people assembled upon the stage and all around Gary Mocre proved beyond any doubt that number 15 could have done as.he pleased without any effort whatsoever. In fact when this effect was presented on TV, the swarming crowd on stage made it so easy for number 15 to insert the message. The commotion helped considerably.

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