GEMS OF MENTAL
MAGIC
Gems of Mental Magic
by JOHN BROWN COOK and ARTHUR BUCKLEY
C H I C A G O
1947
•
Privately
Printed
Copyright, 1947, by John Brown Coock
Introduction When the magician apparently can read a secret locked in the mind of a spectator, it becomes an astounding and impressive mystery. Such an effect has an especial appeal because a spectator, or one of his friends, takes a major part in the performance. Not only is such an effect impressive, but it will be talked about for days and weeks. Not every magician has the natural aptitude to allow him to do an entire act made up solely of mental magic. However, adding a good mindreading, or prediction, effect will enhance most conjuring shows. In this book there are many extraordinarily fine and novel mental effects to be used singly or combined into an act. The authors have avoided the boring and involved tests, and have denounced appeals to the credulous, for it is their belief, as it is mine, that the entire purpose of any type of magic is to entertain. All their mental mysteries have the quality of being good entertainment. June 7, 1947
JOHN MULHOLLAND
V
Table of Contents Preface Devious Digits It's A Small World Astral Addition Projection '; Pennies, Nickels and Dimes Memory Plus Miracles Psychic Vision . Psychometry Date Divination Baseball Prophecy Tests In A Gold Fish Bowl A Chance in A Billion New Bills For Old The Telepathic Band Leader Dictionary Test Second Sight At First Glance As Far As You Like The Crystal Ball Astrological Mentalism Behind The Eight Ball The Crime Doctor Gaze Into My Eyes The Spirit Telepathy With Your Favorite Stars Birthday Telepathy The Great Book Test The Open Window Written Messages Better Than Rabbits Holding The Bag Impressions That Stick No Privacy In A Gold Fish Bowl The Answering Of Questions
1 5 9 12 15 18 21 27 29 32 35 38 41 44 46 49 54 57 59 62 66 69 71 74 77 80 83 90 92 94 96 98 101 107
Preface While this work is designed to appeal to the experienced magician or performer of mental miracles, a review of some fundamentals may not be out of place. Like many platitudes, we sometimes hear them so often that we forget their importance. The prospective performer must remember that practice is necessary for smooth presentation, that without smoothness the effect is lost because lack of assurance arouses suspicion. Each routine is a playlet in which the performer appears to do a number of natural things, but seems to achieve a supernatural result. And this depends upon the fact that there are small points in the performance which are not exactly what they seem. If the performer has not that ease which is only bred of practice, the play does not ring true and the outcome does not amaze. Naturally it is best to adapt the presentation of the trick to your own personality—your natural movements, mannerisms and speech. Real artistry in the performance of mental mysteries lies not in imitation of another's presentation, but in making the trick an original expression—humorous or serious, snappy or leisurely, pretentious or modest—fitting the performer. But first he must practice each of the entertainments to be performed, exactly as described, in order to fix all the movements well in mind. While the smooth performance of these mysteries will surely amaze an audience, it naturally takes more than that to make a first class entertainer. Such an undertaking is considered outside of the scope of this book, but the reader who wants to present his performance with as much finish as possible is referred to works or tutoring on voice, delivery and stage deportment. In all the realm of supposed telepathy, the answering of
questions which are apparently unseen and unheard by the performer is probably the most satisfying. The last six routines present ways of performing this miracle under varying conditions. They are described in simplified form—the spectators are asked to write a phrase or a song title or the name of a city. When the performer gains confidence, and the problem of what to do next becomes second nature, he is ready to get a great deal more out of the performance by requesting spectators to write questions instead of merely names or phrases. The answering of questions with good showmanship is the most appealing effect in mental magic, and when the questioners are properly instructed, and the information on the questions is released bit by bit, the questioner is amazed that the written information is known to the performer, and the other spectators are convinced that the performer has revealed much more than was written. The final chapter, which explains how to make this information seem so extensive, describes types of questions that are likely to be asked and explains how they should be answered. It is the fruit of many years' experience in this field. Many performers of magic are feeling a need for some mental miracles to add variety to their programs. We have performed a few of these for some outstanding professionals and received flattering offers for their exclusive use. We hope you, too, will feel that one or more of these routines deserves a place in your act.
GEMS OF MENTAL
MAGIC