Mysterious Crystal

Bar tell

EFFECT: Spectator is shown a regular sized watch crystal which he is requested to hold in his hand.

Performer covers spectator's hand and the crystal with his handkerchief and steps away eight or ten feet.

Instantly he is amazed to hear in his own hand the cracking of glass.

Handkerchief is removed and it is found that the crystal in his hand is cracked.

SECRET AND PREPARATION: Secret of this amazing and ingenious pocket trick lies in the handkerchief. A special metal gimmick is concealed in one of the corners.

By pressing or indenting the gimmick, it will remain in that position for several seconds and then suddenly expand making the sound of cracking glass. This gimmick is available from Edmunds Scientific Corp.


1. Request a spectator to assist you.

2. Hold the crystal in such a manner that the thumb and first finger cover the cracked section and show it to spectator casually asking him to note that it is an ordinary watch crystal.

Spectator is asked to listen carefully.

3. Request him to hold it in his hand.

4. As you place it in his palm with your left hand, reach into your pocket for the handkerchief and press gimmick until it is indented, with right hand.

5. Just as soon as you place the crystal in his hand with left hand, remove handkerchief from pocket and throw it completely over his hand and the crystal.

6. You now walk quickly away and tell him to listen carefully.

7. Within a few seconds the gimmick will crack and you immediately walk forward, removing handkerchief from his hand and ask him to note that the crystal is cracked.

You will find in performing the trick that the spectator will be completely mystified owing to the fact that the sound actually comes from his hand.


Gerald Kosky

If you are at home or at a meeting hall where there is a mirror hanging on the wall that reflects a clear and full view of objects that are on a table; you should take advantage of it as follows . . . Place or have several spectators place objects on the table. You now stand with your back to the table and positioned in such a way that you are facing the mirror which in turn will give you a full view of what is on the table.

You now have a person blind fold you with a blindfold gimmicked in such a way that you will be able to see the mirror on the wall clearly. When you've been blind folded; you request that one spectator at a time come to the table and remove an item which they are to place in their pocket. The item they take should not be one that belongs to them.

When all items have been taken; you request that one of the spectators lead you around the room from person to person and, when you are in front of a person that had taken an object, you stop suddenly and say "Kindly remove the key (or whatever item had been taken) from your pocket that you had removed from the tablel "

This you continue to do until all the persons that had taken an item, has been pointed out by you.

You, of course, by watching the action as seen by you from the mirror, remember each person that comes to the table and, also, what item they had taken.


Gerald Kosky

EFFECT AND PRESENTATION: "Did I ever show you a picture of my beautiful cat Sheba? Besides being beautiful, she's a mindreader too . . . What! you don't believe she can read mindsl Permit me to show you that she can . . . Here is Sheba, doesn't she 'meow' sweetly , . . I'll lean Sheba against this glass that is on the table . . . Now, will you please remove any card you may desire from this pack of cards; do not let me see the card, kindly remember the card you've selected and place it back in the pack . . .Now that you've freely selected a card of your own choice, Sheba will attempt to read your mind. In order for Sheba to do so, you must ask Sheba one question at a time, such as: 'Is it a red card? ' If it is a red card that you selected, Sheba will 'meow' once. If it isn't a red card that you selected, Sheba will 'meow' twice . . . In other words, keep asking Sheba one question at a time and she will answer your question with one 'meow' for 'Yes' and two "meows" for 'No' until she has correctly read your mind. "

SECRET AND HANDLING: At the better Novelty Stores that sell Greeting Cards, you more than likely will see on display novelty postal cards that have a photograph of a kitten or a group of kittens pictured on the postal card . . . That particular group of kitten cards are made so that if you squeeze the cards it broadcasts a "meow" sound . . . You will need two cards. Place one of the cards in your inner breast pocket; that is the card you take out of your pocket to show as the picture of your cat Sheba . . . The other card (never seen) you have in either your right or left hand side coat pocket . . . You will find that by pressing your fingers against the outside of the pocket that contains the hidden card that it will squeeze the card, thereby causes it to "meow".

When showing the picture of Sheba to the spectators, and before placing Sheba against a glass or other upright item, show that Sheba, by squeezing her picture, "meows" . . .When showing that Sheba "meows", do it as follows: Squeeze Sheba at a place on the card where it will not cause it to "Meow", and at the same time in order to create an essential sound illusion, squeeze the card that is in your pocket so that it will "meow" . . . This will give the desired impression that the "meow", sound came from the card being squeezed in your hand.

When Sheba answers the questions with "meows" (one meow for yes and two meows for no) you of course would be standing a few feet away from Sheba but, the "meow" sound coming from your pocket will sound as if it mysteriously comes from the Sheba card that is leaning against a glass that is on the table.

For the effect described you either force a card that you've seen or, get a glimpse of the card (secretly) when it has been placed back in the pack . . . The spectators are not to know that you know the card that has been selected ... If they knew you knew, it would spoil the effect.

Women and children love seeing the "Meow" card being used. With proper presentation you can use the "meow-cards" for many mental effects and comedy gags.

"IS IT POSSIBLE" A mental routine by Elray

This routine may seem just a little complicated at first thought --but it is far from that in actual use. And let me add here that I assure you that once you get the knack of the routine you will like it the more times you present it.

It is placed down in a plain understandable language so the idea will be grasped with more rapidity.

The effect is based on the principle of knowing a certain amount --or stack of cards- -unknown to your audience.

As the effect is worked with a borrowed --well shuffled deck--it would not be logical to openly look at the cards--as this would mean only one of two things--you were looking at them to get an idea of certain ones--or arranging them to suit your fancy.

I have eliminated that procedures, and in doing so have arranged a little gag in the form of a trick to proceed the one I am about to explain.

For lack of a better name we will call it

After the car ds --borrowed --are well shuffled and passed back to you--fan them face up in front of everyone to make sure it is a complete deck of fifty-two cards, etc.

This was done for a purpose as you have already surmised.

While the cards are fanned in front of you--look at--and remember the fourth card from the bottom.

Close the pack up and place it--face down--on the table.

Ask a spectator to step forward and cut the pack as close to the center as possible.

Now tell him to make a selection of one of the heaps of cards. (It makes no difference which heap he selects he is always requested to take the heap with your noted card in it--conjuror's choice). Now to find out how close he really did come to the center he is told to count the cards--face down--on the table.

We will say he counted twenty-three cards. You say--"Very close, as twenty-six is the exact half of the pack. " Now with the remaining half packet you make three piles on the table--face down.

Tell him to take one card at a time from the top of his packet and place one on the three piles on the table--face down.

Now he is told to look at the next card--and show it to all present while your back is turned. Now tell him to place the noted card in any heap he desires, and to pick them all up and shuffle them to his heart's content.

--All this was done while your back was turned. --

As far as this seems--to an audience-- you at once know the name of the noted card. How? Well, it happens to be the one you looked at the beginning of the effect. In other words the fourth card from the bottom becomes the fourth card from the top after the cards are counted as this reverses their order. He placed a card on each heap--making three cards--and looked at the next--or the fourth card.

Now you know the name of the selected card--but- - just keep it in your mind for the time being and we will get along with;-


NOTE: The best results will be accomplished at first if you go thru the actual routine with a pack of cards.

The deck is handed back after the shuffle--in the foregoing effect-- You do not at once look for the selected card--but--you are going to prepare for the next effect--unknown to your audience.

Have you the deck of cards in front of you?

Fan the deck before you--face up. Now the top card of the deck is to your left. We will say this card happens to be the --TEN OF DIAMONDS. (In actual use I always, after the cards are handed back, cut a ten to the top as this gives you a wider range. )

Count ten cards from the ten of Diamonds --and note the card there. (This card is really the eleventh card from the top--not counting the ten as number one--I said to count from the ten).

We will say for example that the card you stopped counting on was the--ACE OF CLUBS. Remember this in your mind as the first card. Now look at the card to the left of the Ace of Clubs. We will say this card happens to be--THE FOUR OF SPADES.

Count back toward the left starting with the card to the left of the four spot--in other words you do not count the four as number one--four cards. We will say this card is the--KING OF HEARTS.

Now you have in your mind--first the ACE OF CLUBS--and second the KING OF HEARTS.

The counting and looking at the cards was not done in silence--but in pattering about the impossibility of finding the selected card under those trying conditions etc. Act as if you really cannot find the selected card.

Now that you have the above two cards in your mind you can now run thru the deck and pick out the selected card--and place it face down on the table. Ask now what the name of the card was. They tell you, and you turn it over and there you are.

BUT--to your audience the effect ends here--BUT--to you its only starting, etc. The cards are all set to pull the main effect--and done right in front of their eyes in the most subtle manner that I have had the good fortune to run across in many a day.

Now in an off hand manner you say you will do another one--and here base your patter around--predictions--fortune telling with cards, etc.

You lay the pack on the table and take from your pocket slips of paper and a pencil. You write on the first slip that Mr. So and So will select the ACE OF CLUBS. Fold this slip up and hand it to said gentleman to hold for the time being.

You do the same thing with another slip. Write that Mr. So and So will select the --KING OF HEARTS. Fold this slip as the first and let him hold it.

Now go back to your table and pick up the cards and run about fifteen off the bottom ready for the dove tail shuffle. Shuffle the cards together in the dove tail manner and it is impossible to disarrange the top stacked cards with the small number of cards run off the bottom, and the noise of the cards coming together is plenty of proof that you actually shuffle them, etc. Here you could introduce a few false cuts--but it is not necessary.

Hand the deck to the first party holding a slip and request him to take the top card off the deck and place it--face up- - on the table. In the above we used the ten spot. Tell him we will use the number of spots on the card to determine the number of cards we are to use from the top of the page. In this case ten. Tell him to count down ten cards one at a time on the table--face down--and to place the tenth card in his pocket without looking at it.

The small pile of cards the first party made are picked up and placed back on the top of the pack again.

The second party steps forward and he is also requested to take the top card off the pack and place it--face up--along side of the ten spot already there. Now when this second person turns over the top card it will be the four spot as the counting of the cards by the first party just reversed the cards order and brought the four of spades to the top.

He is now told to count down four cards and to place the fourth card in his pocket--without looking at it.

Now we are closing in on the climax--and what a climax.

Here you lay stress in your patter about the cards being borrow-ed--well shuffled, etc. , and before anything else was done you wrote on two slips of paper something that will happen in a few moments, etc.

Now tell the first person to read aloud what is written on his slip. He reads--YOU WILL SELECT THE ACE OF CLUBS. When he takes the card from his pocket--watch his face and the faces of your audience, for remember he did not know the name of the card he had in his pocket, nor did anyone else.

Do the same thing with the other gentleman.

The false dove tail shuffle, and the few false cuts at the start of this effect is what throws them off their track as to the modus operandi, and leaves them for a solution--hard to find.

This seems rather drawn out--but in actual use you can get the names of the cards in your mind in less than twenty seconds. Go over the moves and details as I have placed them down--as everything is here that is necessary for the complete effect--that will fool plenty.

Here's wishing you every success with it.

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Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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