Zella Mind Reading

First Method: For this method you use several slips of paper about 2 x 3 inches in size, these are perforated in the center, which can be done by running them thru a sewing machine. The slips are numbered from 1 up; a corresponding number on each half of the perforated slip. Have a soft hat on the table, mouth up. The type with a crease in the center. In one side of the crease have about 20 slips of paper, the size of one of the above slips torn at the perforation. You are now all set to work.

Pass out the perforated slips with request for persons to write any question on the top half, sign their name on this half, tear at perforation and fold the half with writing on it. Following this, you pick up hat holding same between fingers at creased side with fake slips, in this manner you can casually hold hat u^-side-down. This shows hat is apparently empty. Pass thru audience and collect questions throwing them, on empty side of hat.

On your way back to the front, transfer hat from one hand to other grasping the creased side with real questions and releasing side with fake questions. In this manner the questions are apparently tipped into a glass bowl. Really fake;; going in, originals staying in hat.

Then pass thru audience with hat and collect the other slips with just the numbers on, telling each person to retaercber their number. These are dropped into the empty side of hat. You state your reason for collecting the numbers is that 3'ou will remove th2 numbers from the hat and whatever number is removed, that ic the question you \;ill answer. In this way you will answer questions by number only so-as to eliminate names in the seance.

FIG \ ¿"X^'SUF S o f- PAPf-f^ perforated \H THE C'EWTP.^-

Esmery Caron



You return to platform and apparently remove a numbered slip, really a slip with the number and question on. (Audience believes the question slips are in the glass bowl on the table). Then you call out the number, have person with that number raise their hand and you answer their question. Once in a while really pull out just a numbered slip and accidentally allow the audience to see it is just a number slip, then pretend to see a person at the rear raise their hand and you answer a fake question.

Here is an example of how to answer a question in a convincing manner Say the question is "Will I go to New York next week?" You answer, "This person wants to know if they will take a trip. Kindly think of the time you intend to take this trip. I get the impression it is some time next week. Is that correct? Just think of the place you intend to visit and I will try to name it. Ah, I have it - New York City. Is that correct? From all indications you will make this trip, and it will prove very successful.

Second Method: This is a club or stage method. Before the performance you or your assistant stands in the lobby or front and the first 10 or 12 that come in, write on a pad any question, tear it off and place in their pocket. Third sheet down has carbon under, giving you a carbon impression of what they write.

Those that come in later on do not even know this has happened. When your act comes on you pass out slips and envelopes and have questions written and sealed in envelopes and they place them in their pockets. You never touch then. Pick up a crystal ball and under this in the cloth written in small letters you have the 12 questions that you got from the carbon copies in the lobby. These are the questions you answer along with a few fakes throughout.

Third Method: This is the same as method No. 1 except when working for children, instead of having them write questions on the slips, have them write down any present they desire for Xmas. And call it a guessing game and that you will try to guess what they wrote on the slip, etc. Or have them write on the slips the name of any city and you try to guess it, etc. This goes over much better for the children, rather than trying to make them think it is mind reading. The guessing plan they like and they get right into the spirit of the fun,especially if you make a few mistakes from time to time.

Fourth Method: This is an impromptu method for parlor use and newspaper offices, etc. Have two small folded slips of paper that you show. Place one in the pocket, the other is given to a person with request to write any name on same. While they are doing this, secretly get another duplicate blank slip in the hand. They refold their slip and you apparently wrap it in a handkerchief. Really you are wrapping the blank one and palming the real one. Then reach in pocket for the other slip and really come out with the one palmed. Unfold this and you are apparently going to write the same name on this slip. Pretend to do so, but do not write at all, merely note the name written on same. Then refold and have a second person hold this. Now take one out of handkerchief and open it up and apparently read the name on it, really calling out name noted on other slip. Have second party open slip and on it, they see the same name that the first party wrote.


This method will sound so simple to you that you no doubt will wonder if it will prove effective enough to use in your show. All we ask is for you to try it out and note how well it goes over. The method looks so natural, it is surprising how audience is mystified by it.

In your pocket have about 4 small cards with the name of some song on them, each one different and in an order that is known by the Orchestra in advance. You tell them to play these tunes in this order, every time anyone stands up and requests they play a song.

You have about 30 blank cards this size that you show and pass out with the request for people to write their favorite song on the card, then hold them face down. Anyone collects these and shuffles them up and drops them into a hat. While this is being done, you secretly palm out the 4 small cards from your pocket. Take hat in ofher hand. Step into audience and reach in hat with hand that is palming cards and bring them out of hat at the finger tips, as if you reached in hat and removed a few.

These you hold writing down and pass out to four various people asking them to look at them and concentrate on the name of song written on them. Then have them stand up in order and ask the Orchestra leader to play the song they are thinking of. And of course, this is done correctly by the Orchestra.

It is so simple, sure, direct and innocent, it really fools the audience. TRY IT OUT AND SEE.

The true secret of "Resista The Girl You Can't Lift" has not got around too much. Its best for girl tc weigh from 110 to 118 lbs. Anyone is allowed to step up and try to lift the girl.

First, she lets them lift her high in the air to show how easy it is. Then she keeps increasing her weight until it is impossible for them to budge her from the floor.

In this the real method, the girl does not touch them at any time. She stands with her back to them and the lower part of her arms up as she holds her arms and elbows snug to sides of her body. Person doing lifting stands at back of her and leans down so as to take hold of her elbows to lift, as she holds her elbows stiff at her sides to make that possible. Thus they lift her high as desired and she kind of goes with them same as an acrobatic act would. NOW when she wants to apparently increase her weight, as they go to lift, she tilts back ever so slightly. That pushes them slightly off balance and makes it more difficult for them to lift, and not going with them on the lift makes it more like dead weight. This time she lets arms give a little with the lift instead of holding them stiff. For the final time, so they cannot lift her feet off the floor, she leans back more and this definitely throws them off balance so they lose all lifting power; plus letting her elbows relax slightly.

BUT PLEASE REMEMBER it is not apparent to audience or even the lifter what is taking place as you will see by trial. It does not take too much of a lean backwards to throw a person off balance as they are in a leaning down position to get their hands under her elbows. Right here I should say, insist they lean down to get their hands under her elbows; saying it is necessary for them to do so in order to get a proper hold on girl, etc.

A nice lead-up stunt to this is to have a man stand each side of girl, and as she places lower part of her arms and hands in front of and against her chest with fiager tips touching, have each man take hold of her arms at bent elbow position and pull a steady pull (not a yank) trying to pull her finger tips apart. Try as they may, they cannot do it. As the secret is they would-have to pull her arms off to do it as they are really pulling, against the upper parts of her arms.

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