EFFECT: The subject is first placed under hypnotic control and his arms bared to the shoulders. The performer then causes the blood to leave the subject's arm, starting at the hand, and slowly creep upward until the entire arm has assumed the whiteness of wax. The pulse stops and the hand is cold. Upon command the blood again begins to flow and the hand and arm resume their natural color.
SECRET: A subject especially qualified for this test must first be chosen and trained. The qualifications may be enumerated:
1. Hands fairly plump, soft and pliable.
2. Extraordinary development of biceps and shoulder muscles.
The subject is hypnotized. Both of his arms are bared. The test is performed with the right arm if the subject is right handed and the left arm if he is left handed. With the subjects arms hanging at his sides he is told to close the hand. The clenching of the fist will drive the blood back out of the hand and wrist. When the whiteness creeps along toward the shoulder, raise the subject's arm to a horizontal position with an upward circular motion - as if trying to disjoint the shoulder. When the shoulder has reached its highest point suggest instant and intense rigidity of the shoulder and biceps muscles. This will cause these muscles to cramp and bind together with the muscles under the arm. This causes the blood to leave, and remain away from the arm. The hand is now opened and it appears a lifeless white.
Now let the hand be closed again. Stand a short distance from the subject and command the blood to return. If the subject be properly trained to relax the arm and shoulder muscles slightly the blood will rush back into the arm and hand. This sudden rush of blood will cause the arm and hand to become a brilliant red. This is a startling climax.
The effect in this method is the same. The difference lies in the fact that no special subject is required for the test in this form nor need the performer be a hypnotic expert.
The arm of the subject is bared to the shoulder. (His coat has been previously removed. ) The performer now has the subject clench his fist, as in the former version. The performer strokes the bare arm of the subject and in so doing raises it until the subject's arm is pointing upward at about a 35° angle above the subject's head.
The stroking movement, from wrist to shoulder is- continued for a few moments. This effectually drives the blood from the subject's arm and hand. Now, the subject is seated sideways in a straight back chair. His bare arm is projected, out-stretched over the back of the chair, the hard top of the back pressing against the large artery under the arm pit. In this manner the blood is prevented from returning prematurely.
At the performer's command the assistant raises his arm slightly off the chair back. Thus releasing pressure on the large artery will cause the blood to rush back into the arm and hand.
This is another excellent trick feat along the same lines. It has baffled physicians all over the world and is used with success by Brahm Ghasi, Hindu mystic and medical fakir.
Apparently the performer's pulse beats and stops at command. Delicate instruments cannot detect the s'lightest beat if the performer wills it so. Yet he suffers no injury.
The secret is surprisingly simple. A small, hard rubber ball, wooden egg or any other smooth object ranging from an inch to two inches in diameter is concealed under the coat beneath the left arm pit. The ball, or whatever is used, is pushed well up into the arm pit.
Now if the performer holds his arm in a natural manner slightly away from the body the pulse will beat normally. But if he presses his upper arm slightly against his body, the pressure of the ball upon the large artery under the arm pit will cause the pulse to stop beating. The ball may be palmed into position and palmed away, after the feat under the cover of rolling up the sleeve and rolling it down again. Needless to say, the sleeve is in this case rolled only slightly higher than the elbow.
THE "SEVEN BOOK" TEST
Any book, novel, dictionary or even telephone directory can be used in this clever and simple (much copied) book test.
EFFECT: SEVEN MEMBERS OF THE AUDIENCE SELECT ANY PAGE AND LINE FROM ANY BOOK USED. THEY NOTE THE SELECTION ON A CARD AND PLACE IN ENVELOPE. FROM THESE SEVEN SELECTIONS, ONE IS CHOSEN BY A SPECTATOR AND HE TIPS OUT THE CARD FROM THE ENVELOPE AND FINDS THE PAGE AND LINE IN THE BOOK. HE IS ASKED TO CONCENTRATE ON THE WORDS HE HAS FOUND AND AFTER A MOMENT'S THOUGHT, THE MENTALIST SLOWLY BEGINS TO BUILD UP THE TELEPATIC THOUGHT AND FINALLY SUCCEEDS IN 1MINDREADING' THE SELECTED LINE.
There is no accomplice and the choices offered are quite free.
REQUIREMENTS: Obtain some small manila envelopes, then cut seven pieces of card stock so that the cards just barely fit into the envelope (these are the cards you will hand out to the spectators). Cut seven smaller cards that will easily slide out of the envelopes and you are ready for the final preparation.
SECRET INSTRUCTIONS: Take any novel, dictionary or Telephone book and select a sentence, definition or name and address. Write the page number and line number on each of the seven small cards and insert one in each of the seven envelopes. Memorize the selected words and all is set. First show the book and say how impossible it would be to memorize its contents and say how you will endeavor to perform a thought transmission act based on a freely selected line. Ask that each of seven people will select a line and merely add to a card which is given them the page and line number. All will, of course, choose different lines and when each card is returned it is separately placed in an envelope. The card just fits the envelope and if it is bent slightly it will enter without fuss or bother but the fitting card and envelope is IMPORTANT. . .
Gather the seven envelopes and ask another spectator to select one. He may change his selection but must only select one from the seven. The remainder are pocketed. Take the envelope and, holding between thumb and forefinger, slightly press to open the envelope and tip the contents into the spectator's hand. The large tight fitting card will remain inside but the small card will fall out and this has the performer's pre - selection written upon it. Ask the spectator to look up the line and page written upon the card. This done, the spectator is asked to concentrate on the line and now, with a bit of play acting, pretend to accept the spectator's thought transmission as you slowly spell out the line selected.
Card and envelope replacements are easily obtained. Correct size cards and envelopes are very important . . .
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