i^ ' K f f ^ Ke: r , <■- OLIN GV 1547 .L882X 1921 l^u-deviUe DATE DUE nrr - d- pani ■"■^ "it:lr-*^ tuUI i ! 1 QAYIORD PRINTED IN U.SA CORNELL UNIVERSITY LIBRARY 3 1924 084 451 024 .VaUbEVILLi;|niND READ1/^G OufplTS ; til iW'-^ FIESt'cLASS OUTFITS SUITABLE FOE - -^ '■/ ''' i '■- ' STAGE OK CLUB PERFORMERS.'- " -^1 " ' SJ"-i-- "' ."!"-•.,;' - Special Mindreading Tests ' , - ' -.■ •■■' '■ i ?ff|;" .''.■-. ,^ :.-', Complete Acts Arranged'^ ; , -\ - i, _ 1 « "v"! ^; lniiiiuiinii|iuiirainuiiiii]iii[DiiiimuiiiniiNmiiinc Prices Within Reason. 'I'uuiiniiiiimiiiiniiiiiiiiuiiiiiiiiiiiiiiiinmiiiiiiinai ^^^§ Due to the many orders and regnests received for luiBd- reading apparatus after ' - the pubUcation of VAUDEVILLE MIND READLNG, I'have placed under con- .^ ; J| tract an'eiectrical expert,.Vhb\manufactures the finest .accessories ever made, ^-, up for.prOfessional mind reading and crystal gazing acts'.', " ■S^^;'' ■m:^-' The Apparatus Supplied Works Perfectly j:GetrXnyTouchWmMeJ: \ ■'■.DAViD'7:';-L"usTiGr [l^a\^llma j Care of 1207 Main Street i 'V ';_ 173 Catherine Street j BRIDGEPORT, CONNECTICUT J jNOTE — Wanted at an times, MInd-ReadIng Systems, New Ideas, One Man Mind Pearling it Methods, Etc., Etc., for.my scrap book. Correspondence Solicited. I can also be reached n through my publisher, R. W. Doldge, 16 Elm Street, Somerville, Mass. The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924084451024 LaVcUma's Vaudeville Budget For Magicians, Mind Readers and Ventriloquists By DAVID J. LUSTIQ ("LA VELLMA") Author of " Vaudeville Mind Reading," " Vaudeville Magic" {two editions), "Vaudeville Ventrilo- quism," "Magic and Mind Reading Tricks You Can Do," etc. Cover Design by WILLIAM B. CROCKER PUBLISHED BY ROBERT W. DOIDGE SOMER.VILLE, MASS. U. S. A. ..••.••■••••■•••••■•••■••■••••••••■ "•.•♦..•■••"•'••■•••••••••••"••••"•"••■' WRINKLE FOR CRYSTAL GAZING ACTS ,,..., „ .v,. n^r Many wrinkles have been doped out for acts of tbis kind. Here is one tne per- former can use to good advantage. PIJRI ICITY TF^T A test, used for some years by La Vellma, which can be worked to good efifect anywhere and can be depended upon to fool the wise ones BLACKSTONE'S PENNY AND DIME EFFECT THE EGG BAG (La Vellma Method) , .„ r . ii, ^ 1 A method, complete with patter, for the vaudeville performer, and one that makes an old trick new and more popular " THE ENIGMA CARD EFFECT An experiment in Cardistry by the late W. D. Leroy *>» A ONE MAN CRYSTAL GAZING ACT . Complete modus operandi and suggested answers to questions ]or an act ot this type in which questions are NOT collected from spectators and all in all an act that has unlimited possibilities in the hands of a clever entertainer. ii ANOTHER CARD FROM THE POCKET , • t A neat stunt with a pack of playing cards. Can be added to the routine of your card work ■••••■ •■•■ THE MYSTERIOUS ENCHANTED CLOCK Vaudeville patter for the Hindoo Clock trick. It's diflfereni *>» THE HINDOO ROPE TRICK "There ain't no sich animal!" claims Bob Sherman, the writer of this article •• 4U A TRIPLE SECOND SIGHT TEST Wherein three tests are written by members of the audience and after the third is performed the medium turns to the writer of the test and calling that party by name (read that again) asks if test was satisfactorily performed. A baffler that the entertainer can use as a feature in his show IT'S A CRUEL, CRUEL WORLD A real comedy vaudeville skit for three people, in which magical effects or crystal gazing may be introduced, unfolding the trials and tribulations of a professor of second sight and his assistant. A real comedy hit of genuine vaudeville material, 44 BY THE WAY— Just rambling a bit 51 BREAKING INTO THE VAUDEVILLE GAME Inside dope, tips and hints which will aid the aspiring amateur to become a vaude- ville artist. This is practical dope that each and every advanced amateur will appreciate — •■ 53 PATTER ODDS AND ENDS Material ejrtertainers can use as a sort of tonic to liven up their chatter. This i' real vaudeville material for magical entertainers which seldom appears in print. 57 A VERBAL CODE FOR MIND READERS One of the best known of verbal, second sight codes for vaudeville or club enter- tainers ••— ■ 59 AN ILLUSTRATED FAIRY TALE In reality a monologue illustrated with a deck of playing cards 64 JUST IN FUN A twelve-minute vaudeville ventriloquial act for ventriloquist and single figure. 65 SUPPLEMENT TWENTY MINUTES WITH THE SPIRITS Complete modus operandi, stage directions, patter and presentation of this modern so-called spiritualistic vaudeville feature specialty. A mystery act of an unusual sort that can be worked and which is sure to win the approval of any audience fO MAGICAL DIVERSIONS A movie script in continuity form which can be photographed and used for the opening of a magic show or act g2 HARRY KELLAR Dean of the Magical Profession in America. I take this opportunity to thank the many magical enthusiasts, both among professionals and amateurs in this country and abroad for their kind words of commendation on "VAUDEVILLE MIND READING," "VAUDEVILLE MAGIC" (first and second editions), "VAUDEVILLE VENTRILOQUISM," and "MAGIC AND MIND READING TRICKS YOU CAN DO." The idea of a budget of magical, mind reading and kindred sub- jects is something new and I trust will prove of some value to enter- 1 ainers. Purchasers of magical literature will agree that it isn't always the finely gotten up book that contains the most "meat," and when I purchase a book I want "meat" and not fine paper and a handsome binding. Hence the value of this Budget is not in it's makeup but in the contents. Again thanking you for your (may we not call it) kind applause I am, Sincerely and fraternally, David J. Lustig^ "La Vellma." s Crystal (lazmg Acts A clever Crystal Gazing act still holds the attention of audiences. Jrom all indications acts of this sort will coiitinue to meet with public favor for some time to come. Of course there are acts and acts. In the near future there will 1)P less acts of this sort, if any, working in oriental costume. New methods will see light and performers will be presenting a crystal gazing act in a full dress suit or tuxedo. Ttuth is an act of this kind working in full dress or tuxedo will entertain and mystify a modern iiudience more than the customary turkish cigarette costume with all the familiar regalia, turban, etc., which arouses suspicion. An entertainer presenting a crystal gazing act should avoid re- peating a query as it was written by spectator. If the questions are repeated it is sure to arouse suspicion. Get right to the point gife the spectator an answer to his question and if it is answered well that will convince the one who wrote it as well as those around him. He'll be a booster for your act. Inject some comedy into your answers whenever the opportunity offers itself. Cut and dried answers grow tiresome and then again someone might come into the theatre another day to see your act. If you "plant" a question at every show be sure if you are doing three shows a day that at the two evening shows you use two entirely different queries and two different "plants." If J'ou wish to "plant" questions use different "plants" at every performance. A clever worker can dispense with "boosters" out froht. Should you be using a "contact" or "induction" method after answering a number of questions take a small card {upon ivhich your assistant has written the gist of from three to sioo ques- lions together with the names or initials of the writers) and "palm" it in hand holding crystal ball. Throwing a^ide your turban [which will make the "loise" ones out front tcoiider'), answer the last query transmitted to you via the electrical method, then as you walk about the stage, every time you wipe the crystal with a large silk flouard, upon which ball rests in your hand, glance at a question and answer them as you go along. With care you can walk to and stand on run- down and also walk into aisle. While in aisle you are above (i'l height) the audiences' heads and this gives you an opportunity of see- ing what they are supposed not to see, namely what is written on card you hold in hand. Be careful if you are working this in audience as It isnt quite as easy as it sounds, but a clever performer can do '.''i'l'r., It''^!" ='"'1 S^-t 'i^'=V with it. If yon are capable of working tills bit ot business in your routine von will find it heightens the etfi^cf of act a great deal. ^^^ 10 Another method which may be employed for a change from elec- trical methods is that in which some of the envelopes handed out by the attendants are about an inch and a half to two inches longer than the cards upon which the questions are written. When envelopes are "switched" and the genuine ones placed into the hands of your as- sistant he takes the larger sized envelopes and opening them reads the gist of the question on each and writes the important part together with the name and initials of the writer on the outside of another en- velope of the same size. Gist of question and name is written on end so that when question is answered, after performer has read what is vvritten in envelope, he tears off writing end on envelope and instructs assistant to allow someone in audience to see that question has been answered properly. Performer may allow the assistant to tear end of envelope this doing away with the entertainer bothering with it himself. This method is excellent for club workers who may entirely dispense with electrical methods. A further tip on the last mentioned method is that the last two questions may be written on the third last envelope together with gist of question and name contained in that envelope. Thus the third last query in envelope is answered and the last two are quickly memorized and the performer goes on answering the last two questions and while he is doing so the attendant hands back these last two en- velopes still sealed to the original writers. This adds much to the gen- eral effect. Envelopes can be numbered and as they are answered the per- former calls the number first and then gives the answer and the as- sistant picking that number from the pile hands it back still in a sealed condition. Assistant as he collects the envelopes writes a number on each and shows it to the writers, telling them to kindly remember their numbers. After envelopes are replaced and re-num- bered assistant switches them back in place of the "dummy questions" and when performer calls the numbers they are handed back. This can be done by "palmed" cards with numbers opposite the gist of queries and names or in any way the performer desires. One can do away with tearing open envelopes and putting cards in duplicate envelopes by having the assistant hold envelopes con- taining cards with queries written on them against an electric light bufb (a strong one) and thus the assistant gets the gist of the query and turns it over to the performer. Good showmanship is the most important aid in Crystal Gazing, or Mind Reading acts. What may seem simple to those "in on the know" are deep problems to an audience. Always make it a point to surround your act with mystery. ...... .leave them guessing and tliey will appreciate your efforts. Re-"Switching" messages : — If you are working theatres with bal- conies you can get away from using a changing basket by having another member of act meeting the assistants on the landings between balconies and "steal" top questions. The assistants who have col- lected the messages can keep on with their work and the other at- tendant can make his or her way back stage witli the messages to be answered. 11 This method is the safest bet for the professional who does not care to bother with some of the new style changing baskets that seldom work. SUGGESTED ANSWERS TO QUESTIONS FOR CRYSTAL GAZING ACTS. Here's a few questions and answers which might aid a bit : QUERY: Will I be successful in my new undertaking? — "Thomas Walling." ■' ANSWER : Success, they tell us, is a matter of hard, consci- entious work. Keep working, Thomas, and eventually success will be yours. Does that answer your question Mr. Walling? QUERY: Can my medicine be refilled without a prescription? — "Roland N. Newell." ANSWER: I get the initials R. N. N. Is that right? Is there f. gentleman present with those initials? There is? Thank you. You wish to know the answer to your query? Very well. The medi- cine you are after is very expensive and scarce today. Most people try to make it themselves. I personally wouldn't advise the home- made stufE and even the crystal refuses to divulge where you can buy it. QUERY: (PLANTED QUESTION.) Where is my Pierce Ar- row ? — "Arthur Marvin." ANSWER: — -Mr. Marvin. .. .Arthur Marvin .... are you pres- ent? Thank you. You are worried over the loss of an automobile. Isn't that right? The car was stolen from (localize) street about 8 o'clock on a Thursday evening about a week or ten davs ago. Not long ago your sweetheart left for parts unknown. A former good friend of yours also left the city on a long trip presumably to go abroad. I see a connection between the lost car and your friend. If you were to put the matter into the hands of the police in a town, I 'will give you it's name after the performance, I believe you will locate three birds with one stone, namely, the car, the friend and your sweetheart. Q. When will I obtain a position? A. It all depends on how hard vou are trying. Things are at present, a bit dark looking but before long things will pick ud and there will, I hope, be plenty of employment. Q. My sweetheart wants to marrv me but we have verv little money. What shall I do? •' A. When two people love one another and are sincere thev should marry. Put up with the present liardships in life and light th. battle of existence together, shoulder to shoulder. Money never T wi, r/ ^^''•PP"^^^-^ ^""^^ remember that happiness conies first I am^so woSir "^"^^ "'^^ *« ""'^-^^ «- «l--^tion about which A. If your doctor has advised it I believe his advice is far better than mine. He has comnletely di.,nosed your case and inderstanS it. Operations may not be the most pleasant of things in life but there are times when they are very necessary. Q. Should I divorce my husband and marry the man I care for ? A. That is a difficult question to answer. Don't be too hasty in your decision for there are times in every woman's life that she may make a mistake unintentionally but which may in time to come prove most unpleasant. I might say look before you leap. Q. Shall I ask, Edith B. to marry me? A. If she is deserving of a good home and if you are sure you will make her the right sort of husband I advise you to go ahead and propose but on the other hand if you are not sure of the lady or your- self hesitate. Q. Is my wife true to me? A. She sure is but should you still have doubts about it and do not believe me .... ask her. Q. Will my mother be cured of her aliment ? A. Would advise that you consult another physician or better still have another doctor called in for a consultation. Two heads are always better than one. I can see no reason that she cannot, in time, overcome her illness. With proper care and treatment your mother will soon be well on the road to recovery. Q. When will working conditions be better ? A. Things were on the boom during the war and now we are going through a period of reconstruction. Within a few months things will be picking up I trust. Q. Should I sell the bonds I now have ? A. Look up the market value of them or better still consult some reliable broker. As you fail to mention the kind of bonds I can give you no further particulars. Q. I have quarreled with ]i)y sweetheart. What can I do? A. If you are I'espousible for the misunderstanding and really care for the party in question would advise that you write him a letter and admit to him that you now realize you were wrong. Q. Will I realize my ambition? A. In your path there will come several setbacks but do not lose heart. Almost anything can be done when ope sets their mind to do it but it is up to you to make up your mind not to allow outside influences to interfere with your ambition. Q. I know a young lady for some time and I would like to make her my wife yet I cannot get up nerve enough to propose. What can I do? A. Eemember that faint heart ne'er won fair lady. Call on the lady, throw out your chest after taking a deep breath, and pro- pose. The worse that can happen is that she may say "no." Q. Shall I accept a position offered in New York? A. There are any number of good reasons why you should not hesitate in accepting that New York position. I believe the change will be of benefit to yourself. If your present attach- ments are not of a serious nature in town by all means go to the big town and with sincere effort yon will make a success of yonrself. Best of luck. 13 Q. Is it right to love one man, who is far away, and accept the 'it+pntions and gifts of another? attentions ana g ^^^^ ^^^^^ ^^^ ^^^ ^^^^ ^.^^^ ^^ ^^^^ ^^p^ days ■ If you really love the man who is far away, continue to do so She is continually thinking of you and some day he will return and both you and he will be able to understand the real meaning of hap- ^™^Q.' I am lonely and gradually becoming melancholy. What can ^*^°A Go out more. Mix with the right sort of people. Before long you will meet a young man whom you will learn to love and he will think you are the greatest ever. Make him happy when you meet him and whatever you do don't let a young girl like yourself become melancholic. , ^ t i *„«<> Q Why is it I cannot get a raise from the firm I work tor i- A My dear sir, you are not, at the present time, entitled to a raise from your firm. You should consider yourself lucky you have a, position. You will find, if you take the time to consider it, that you are in a position where you have every chance of advancement. Spend some time in fitting yourself for a better position and when you do fit yourself for something better you will find that that is the time you will receive advancement as well as the raise you so desire. Q. My sweetheart refuses to marry me. What am I to do? A. She perhaps has some very good reason. Best thing I can iuhise is to look at yourself from her standpoint. Correct, as well as you can, any faults you or she may find. Then start all over again. If you can look yourself in the face literally and find you have but few faults pop the question again and then if she refuses you better get a new sweetheart ! Q. Shall I start action for a divorce? A. I do not advise that. You may think you are very uphappy. Did it ever occur to you that possibly you have not done everything in your power to create happiness for yourself? Look at your life and that of your husband from every angle. He thought enough of you to make you his wife, didn't he? Then why not talk matters over with him and both you and he start things all over again ? Q. Shall I leave my present position to better my salary? A. That all depends on you. Would advise that you take no chances. I have known folks who changed positions to obtain more salary and after a few weeks would have gladly taken many dollars off of there salary if they could have obtained their old place back again. Q. What will the verdict be of my trial ? A. It would be impossible to predict the verdict. It seems to me that you are not entirely at fault and the outcome of the trial will be more in your favor than you think. Are you sure your attorney knows your side of it thoroughly ? Talk it over with him again and don't worry, everything will come out right. Q. Why do all tlie boys look at me and laugh ? A. Because you are addicted to the use of rougue, eyebrow pencil and are veiy fond of wearing clothes that are the very extreme. Bet- 14 ter get rid of your makeup. Use but little powder and dress more quietly. I am sure if you heed this advice your friends will like you better and the boys will substitute admiring glances for their laugh- ter. Q. Shall I break my engagement? Although I have been en- gaged a year I have recently met another whom I like vei-y much. What shall I do? A. Do as your heart dictates. Don't be hasty though. First .... think matters over w6ll ..... then decide. Q. I met a man recently. He seems to admire me. I love him. Is it a case of love at first sight ? A. Admiration is not love. You are anxious to marry, have a liome and settle down- Avoid marrying in haste and repenting in a furnished room. Time must take its course. If the young man really cares for you or loves you he will make it known to you before long. In the meantime have patience. Q. What has become of my signet ring? A. You have lost the ring. You are thinking that someone took the ring but such is not the case. The party you suspect is en- tirely innocent and is as grieved over your loss as you are. I seem to see a country road, an automobile and there occurs that which take the joy out of autoraobilirig. . . .a blow out. You are busy trying to ;i(ljust a slioe and as the ring was too large for your finger it got wedged in a spoke between the wheel and slipped from your finger. Q. Does the young lady I take out care for me? A. She does .... but only as a friend. She is far from being wild about you. You are thinking about settling down and asking the lady to become your wife. That all sounds so nice and lovely but as far as the lady becoming your wife don't waste your time. In that sense you don't even exist. Take her out if you care to but don't build any hopes that may be shattered when you spring the vital question. Better luck next time. Q. When I got married did I give the preacher enough money ? A. That's an odd question. It all depends. I have heard some men say that the next time they get married they will hand the preacher man some cigarette coupons and then consider themselves getting the worse of the bargain but the truth is, all jokes aside, I)reachers are not money mad and whatever sum you gave him he thanks you for and wishes you well. The niore questions you answer, during your act, the more familiar you will become in giving appropriate answers. Unless you use a "planted" question avoid predictions. Bear in mind you are giving readings NOT predicting forthcoming events or telling. for- tunes. Be very careful of this sort of thing. Laws are strict. Will be glad to advise further along these lines. If you do a crystal gazing act and have been puzzled by some of the queries shoot me a line and let me help you out and the next time a question of that sort is given you you will not be at a loss as to how to give an appropriate answer. D. J. L. 15 A CARD WRINKLE. A "Different" Way of Locating a Selected Card. A good stunt for locating a selected card and can be used as an impromptu effect. Hand deck to be shuffled and have a card selected. Take pack and have selected card replaced, pass made and card brought to the top of the deck. Take carton (cardboard case cards come in) and place deck m it with selected card (top of deck) at end where flap is inserted into carton. Take flap of case and insert it under selected card. Keep thumb, which has been slightly moistened, on selected card. Make an upward throwing motion, then throw pack into air at same time slip- ping selected card from case when tossing pack in carton upward. Catch case and ask spectator who drew cards it's name. Show card you hold to be selected one. . A little care and you have an excellent effect. MIND READING ACT ROUTINE. Introductory lecture. Messages collected and 'phoned to medium. Six tests written on ends of envelopes. Memorizing two queries and answering them in aisle. Naming a number of articles by prearrangement. The Book Test. Two or three "planted" tests. The above routine can be used for either a vaudeville or club Mind Reading or Crystal Gazing act. INTRODUCTORY LECTURE FOR A VAUDEVILLE CRYSTAL GAZING ACT. Ladies and Gentlemen : ■ — I shall this evening present for yoiu- approval a series of psychic experiments. Psychic phenomena has been written of, and lectured on time and agam but my i(h-a, is to present for you experiments which I will leave to your own imagination to explain Just how they are accom- plished. My attendants will pass in the aisles and hand you some en- velopes and cards upon which you may write any questions you wish uie (or Madame) to answer. (Assistants jmss down aisles and pass out cards and eiiwdopes.) 1 lay no claim to supernatiirnl aids but I do ask that no mat- 16 ter what means you think accomplish what you will see don't forget that "There are far more wonderful things in life than that which you know." Upon receiving a card and an envelope I wish you to carefully examine them and then write Mth your own pencil or fountain pen, any question within reason. .. .you wish answered. Sign the query with your full name. Be sure and sign the complete name as should initials only be used it will become confusing while the questions are being answered for there may be more than one among you this evening with either the same initials or with initials so nearly alike that this would cause confusion. After signing the card with the full name place it in the envelope and seal it. The attendant will collect it. Ask any question relating to financial affairs, love affairs, ques- tions concerning affairs of the family, business matters and the like. Foolish questions will not be answered, neither wUl unsigned questions. I shall (or Madame, if a lady plays the part of the medium) en- deavor to answer as many questions as time will permit. Should any of you people prefer to write your questions on your own paper or business card, do so by all means and if you have the query already sealed in your own envelope. . . .fine. . . .that convinces you and saves me an envelope. If j'our question is written on your own paper and you luiven't an envelope ask the attendant when he passes to hand you one. During my engagement at this theatre you may bring me your questions in any shape or form you desire. If you wish your question to receive attention and be answered be sure and sign your name as unsigned queries will not be bothered witli. No matter what question you aslc, so long as it is a logical one, I shall answer. For I know ! No matter how doubtful you may be on some sort of pi'oposition ....ask me, I KNOW! Is your sweetheart true to you ? I know ! ! If you are anxious to know whether or not you will be successful in a business deal .... ask me ! I KNOW ! ! If you wish to know if the girl you have picked out to ask to become your wife is the right lady. . . .ask me — but don't expect too much. Don't waste time asking me to predict what the future holds for you. I do not predict! I am not a fortune teller. I give only read- ings, the answers which I obtain in the crystal ball .... the sphere of a million hidden mysteries. When all the questions have been written and sealed they will be brought on the stage and placed on the pedestal in full view where they will remain. I shall not pass near them, nor after they are deposited in this glass bowl, be approached by either myself or any of my attendants. I shall request you all to kindly remain quiet in order that the best psychic conditions may be obtained. 17 Perfect quiet aids concentration thus enabling the thought waves to become thorouglily synchronized. When I (or Madame) call the name of a party who has wished a cjiiery answered the parly whose name is called will kindly raise their hand. The crystal ball is used only to aid concentration and no matter what query uiay be answered no claim is laid to supernatural aids or power. We do not claim all readings are correct. The most able minds today readily admit that it has been proven to their satisfactions that future events and coming changes can be foretold. The parties making inquiries, this evening, will kindly concen- trate on the questions they have written and I (or Mada,me) shall endeavor to answer them as carefully as possible. Thank you. (The messages having been collected are placed in globe which should stand on pedestal in full view of spectators throughout the performance.) Note: — For various methods of presenting a modern Vaudeville Ci-ys(al Gazing act the reader is referred to VAUDEVILLE MiXU BEADING. THE BOOK TEST. An Effect Which Mag Be Worked Into the Routine Of a Mind Heading Act. The Book Test can be introduced in a Mind Reading act or used as a feature effect for club work. The effect while not exactly new is worthy of a place on any pro- gramme. EFFECT : — Performer hands a book to a spectator and asks that It be opened to any page. This is done and the performer con- tinues, "I liave in no way influenced your choice of a page. Now count down any number of lines on the selected page. Thank you, sir." "Will you, sir, kindly follow closely the reading matter from the beginning of the line which you have selected." Entertainer then re(iuests the medium to atune her thoughts with those of the gentleman assisting and to read the line which the thought waves suggest to her. ^^t'^ ""nfrf P^"t of tlie chapter starting at the selected line, ine MOW Ot It: — Under cover, the medium has a dunlinte book concealed It should be a small volume of^oems. ^ with^??nZld^«^' ''^* li^^ ''^'^ *« ^^'li^^'^e a^l is blindfolded rtrJo^^TooM^TfoVn^^^^^^^^ Z^lZ^^^U.^^ -'-' '^'- --^ ea^ tSTsStorf ^^ ith ciiretul working the customary sheet to cover madame oa,i '- .lone away with. Later day methods in mind reading entirely d" 18 away with the former methods of throwing a sheet over the medium. The test hinges on a verbal code so introduced as to avoid sus- picion in the minds of the spectators. When medium hears the performer say, "I have in no way influ- enced your choice of a page," she listens carefully as she knows soon after this the number of the page will be transmitted to her. For example, say the page selected is 54. Performer has to "shoot" the "5" and the "4" to medium and he knowing by the fol- lowing chart, which is studied by both entertainer and his assistant (medium), that "T" is "5" and "A" is "4" he must start the first word of the first sentence with a "T" and the first word of the second sentence with an "A" thus : — "Think well." "All right." In this way medium is informed that the selected page is 54. After the page is made known to the lady on the stage the per- former requests the spectator who is assisting him to count down any number of lines. Performer watches this carefully and says the 2(st line on the page is selected. Performer to transmit "21" to medium may do so by either talk- ing directly to her or "shoots" it to her in his talk to voluntary assist- ant in this manner: — "Very well. ("V" is "2") "Don't read it aloud, sir." ("D" is "1") Medium counts down from top of page to 21st line and when performer tells her to "Begin" she reads on haltingly much to the surprise of the spectator who selected the page and number as well as the audience. As soon as test is over medium gets duplicate book under cover and no one is any the wiser as to how it is done. In following chart performer can use whatever words he cares to bearing in mind that it is the first letter of every sentence that conveys the numbers to the medium. The Chart : — (With suggested words) 1 D "Don't read it aloud." 2 V "Very well." 3 .... S ... . "See what is written there." 4. . . .A. . . ."Are you ready?" 5 T "Thought waves are everywhere." 6 I. . . ."In perfect accord with your thoughts." 7 G. . . ."Give madame no inkling, etc." 8 J "Just read along that chapter." 9 .... L ... . "Let your mind concentrate." U "Useless to conceal your thoughts." Repeat Last Number M. . . ."Marvelous mind!" NOTE : — Should someone select contents page of book performer says to madame, "Concentrate on the subject." "C" meaning con- tents have been selected. Then performer "shoots" to the lady the line of contents selected. 19 AN IMPROMPTU STUNT. A Mind Beading Stunt To Work On Tour Friends. After a few impromptu stunts ask a spectator to think of tlie first name of some friend. Tell him to spell out the name slowly to liimself and for every letter tap your forefinger with his fore- finger. Suppose the name he is thinking of is "William," he slowly spells out that name and for every letter taps your forefinger. You then work tlie eft'ect up by asking if it is the name of a man or woman. Tlien you tell him the name he has been thinking. With practice this experiment can be worked up into a mysti- fying impromptu eft'ect. Modus Operandi : — Requires careful work for, at times, you may fail but should you make a miss you can get out of it by asking tlie spectator to think of some other name and to be sure and con- centrate on the name as he spells it. AVlien you do work it right the members of the gathering before whom you are working will spread your fame abroad.... at least, among their friends. Each name has a certain number of letters, i. e., John has four ; James has five; Joseph six; William 7; Ernestine 9; Minnie 6 and so on. Should you receive five taps and are told it is a man's name, you can guess two or three names for instance, James and Fi-ank have both five letters in each, and you can say in an off hand manner, "I get the impression that 'J' is the first letter, am I right?" Spec- tator says, "No." Then asks the performer, "What is the first let- ter?" "F", replies the interested one. Then the entertainer says, "Frank", and if it is right they ponder if you are wrong they figure test out as a most difficult one. At times this test is based on guess work but well worked up, with a certain percentage of showmanship, this stunt will fool them. Try it. 20 AXD — THAT'S NOT ALL. . . . ! ■ — or ■ — PURE JENNIE, THE MOONSHINER'S EEAU. (An OverhaJced Serial Play in Patter Form) CAST ELDELBERTUS GREEN, who loves Jennie and afterward marries Iier (A Green Silk) . JENNIE RED, the cause of it all and who changes her color (A Red Silk). HANDSOME DAN YELLOW, a Heleva Guy ... (A Yellow Silk). Action hy Typewriter. Conceived 'by Hashish. Art Titles by Coke. Photography hy Mail. Staged Under Direction of Noah Account. SCENES. Are Laid AnywJiere, Now, Later or Never WJicnever That Is. NOTE : — Introducing Our Old Friend The Twentieth Century Handkerchief Eifect (with Yellow Silk in place of flag) and the new style handkerchief tube (Pe'trieJ. iPATTER) The pictui*e fades in on Eldelbertus Green (Performer shoics green silk) while summering in that lively town of (Localize some small dead place) rescues Jennie Red (show red silk) from a watery grave and finds she being a brave, young miss who don't run. . . . proposes to her exactly I'^y^ minutes after he pulls her out of tlie Avater .... but she being a wise miss and having read Boccaccio puts him off, telling him she loves him but they must avoid marrying in haste and repenting in a furnished room. And that's not all Handsome Dan who has followed Jennie from Oakosh to (localize) is yellow thru and thru (shoiv yelloio silk) and a villain with "willainess" intent .... whatever that may mean. 21 We see Edelbertus and Jennie together a lot and this v^ns Hanlme Dan who, after all, is a modern villain and owns not onl, eight limousines and four harems. . . .but '^l/o a heart ^ Time nasses and as their names are not coupled m the scanaai slieettLyTcideio start something. Edelbertus coaxes Jennie to "^"T\e'j^avef?o^t^n=S•and the knot is tied. (Tie re, an, yreenMlis togetUer). (Orcnestra plays softly the ^^/^^^^f -^^ Art title: — Tlie Wedding Mourn (Spell it out aloud ^"^^" A?t«'tte ceremony they start out to put to test the foolish say- ing that two can live as cheaply as one. You and I know it can't be done! , ^ , ,, ^ , , , . Anywav ...they move to the city, and Edelbertus leads his l)lushing bride into the home he has furnished from Sears and Roe- bucks catalogue. (Place silks in glass). Now let's continue on with the scenario Leaving the happy couple to bask in the sunshine of one an- other's smile (Place large handkerchief over glass). Orchestra plays few lurs of Hoof chic Coochic). What's going on in there brings to my mind the same answer as when I see a chorus girl stepping into her new limousine wearing a new sealskin coat it's none of my business. And that's not all The scene cuts-back to (Localize). Handsome Dan misses the hero and the heroine and after mak- ing inquiries wliich inform him of their marriage and departure. . . . he decides he is the original Dumbbell and grabbing a suit case just makes the express bound for New York. (Whistle and train effect as yellow silk is vanished.) Art Title : — Father Times' beard has grown longer and whiter .... indicating the lapse of time. Time brings many changes and additions. Edelbertus after reading Mrs. Banger's stuff ... .is the proud possessor of triplets. (Large handkerchief lifted and three little silks, one red and two (jreen, taken from glass,) which are considered by the happy couple a blessing although others loolc upon them as an accident. Then tilings start to look black and trouble is sighted ahead. Handsome Dan after minutes .... I mean moiitli^ of seeking dis- covers where Elderbertus and his wife reside. Watcliing his chance he comes between the husband and wife which can spell but one thing .... TROUBLE ! (Performer takes from glass green, and red silk ivifli yelloio silk tied heticecn thrni.) (Tremclo Music.) And that's not all .... This part is serious. Eldelbei-tus is at liis wits end but believes in his wife. "She is the most pure woman alive," he cries. "She has been placed under the power of home brew 1 mean, hypnotic power and that villian Haiulsome Dan controls her," he yells. But Dan, who overhears this laughs and then laughs some more. 22 Foi* as Dan figures, lie can afford to lanoii for lie lias the woman, whetker she scorns his love or not, in his possession and possession is nine-tenths of the law. Episode Eight. (Use handkerchief tube and mirror glass.) Art Title : — The Passing Years Bring Changes .... an' everv- thin'. Now the scene shifts to Gay Paree .... or where you will. . And that's not all The "willian" with the heroine by his side (untie green siUc, place it on- table.) Starts on a journey to Asia. Of course, Asia sounds good so we'll use it. (Place yellow and red silks in mirror (jlass.) (Take up green silk (the '•hubby".) The hero, laying aside his knitting, starts thinking where Handsome Dan has taken his wife. He sits deep in debt .... I mean thought. So careless of me ! Flashback, reads the scenario, to the villian's activities in Asia. The villian sets a trap for the hero. How he knows this bird is in Asia .... that's for you to guess but they can do anything and get away with it in the movies, you know. (Place paper on tube, after showing it to be empty.) Villian hopes hero will happen along in the dark and mistake the trap (indicate tube) for a cave, go in for the night and when morning comes hero will find himself trap- ped, as one can go into the cave but when making an entrance one, unless in on the secret, starts certain concealed machinery in oper- ation and front of cave automatically closes hemming the unfortun- ate in where he is left to die. Curses! (Chord from orchestra.) And that's not all The villian tells heroine all about this trap he has laid and gloats over her anquish .... whatever that means it sounds good, don't it ? .... it does .... heroine becomes overcome by the hot air .... the fumes .... the thoughts of the dire peril of her dear, beloved husband .... and faints. -Villian throws her into cabin which stands on nearby edge of a convenient wood. (Indicates glass on table.) Let me explain the scenery. The trap (point to tube), the hut or cabin (point to glass), the sorrowing hero (point to green silk). Hero (pick up green silk) who has by now given up knitting and taken up tatting. .. .wanders on his way.... hops freights, plays Poli time and finally gets enough money to reach the coast .... where he runs into the captain of a ship leaving for Asia. Distracted .... from grief .... and without a thought to his lily white hands and well manicured nails.... he dashes aboard and is signed on as a deckhand. On the way over he tells his troubles to the Marines. . . .and several of them strike up a friendship with him. Ropes are cast overboard, a whistle toots (steamboat effect by drummer) and hero has landed in Asia. . . .Baxter street, New York . . . .it's all one. . . .and he wanders aimlessly near the border of the jungle. Suddenly. .. .from out of the night which was dark and clear ....he hears a woman's voice shrieking, "Never! Never!!" Forget- ting, for the moment where he is, he rushes toward a little cabin ....he sees the rooms all lit up. Prohibition is off in Asia. He cries, "In these parts even the rooms are all lit up ! I am lonely and 23 all alone. . . .1 shall force au entrance and swallow my pride. . . .and beg for lodgings for the night." His main thoughts are to save the woman whose shrill cries he has overheard. An' that's not all , j. +i,„ „;„ He cautiously, like a federal agent, creeps up closer to the win- dow and sees . . . .red (hold up red silk). "My wife !" he madly ye Us. (Hurry music iy orchestra). And then things start happening! The curtains are quickly drawn. (Put handkerchief over glass). The villian is now pursued. The hero rushes wildly into the house, thru the window. The plot thickens! Night has reached the hour of twelve. (Oong sounded twelve time rapidly). Villian rushes from house the temperature is growing too warm there for him. He stumbles blindly on and on. (Heavy noises off). The marines wonder what has become of their friend and start investigating. On and on goes the frightened villian. He shows yellow at last. Suddenly there appears before him the cave. .. .shelter at last! The scene shifts to the interior of the cabin. Hero rushes in, clasps his wife in his arms and cries, "My own ! My own little dumbbell queen I'' (PuU out red and green silks tied together, from mirror glass). And that's not all Fade out on hubby and friend wife locked in tight embrace. Fade into. . . .the dawn of a new day. But the villian? Oh, yes .... on that new day the marines find him in the cave .... he has fallen into the trap of his own setting. Villian is pinched (pinch yellow silk) and led off to prison (place silk in pocket) . . . .but can he escape? Does the hero and heroine live happily forever after ? To answer those questions. . . .as this is a serial. . . .all I can say is, "Continued next week." So that's not all! I thank you. (Exit Performer R. 1st. E.) 24 EVERYBODY'S CHOICE. Which Brings A Laugh. While pattering about the strange pranks a pack of cards can do, shuffle the deck and continue on as follows: — "Will you, sir, kindly select a card, remember it, and place it anywhere in the deck. Thank you. "]S'ow. .. .after shuffling the deck to everyone's, as well as my own satisfaction .... I shall ask this charming young lady down there to also select a card, memorize it and return it to the deck. Thank you. "And you sir. . . .1 see you are longing to have me ask you to also take a card .... I'll please you sir .... won't you take a card ? Anywhere at all, sir. Thank you. Now return it to the fold. . . .so .... be sure you don't forget the name of the card." Pack is now shuffled and performer informs spectators that he will produce all the cards selected by the three customers who so kindly drew them. The parties who selected the cards are asked to kindly call out "Eight" when their cards are produced. When say the six of diamonds is produced, the audience are forced into a gale of laughter, as the three people choosing cards claim that card as theirs. Card is handed to lady as a souvenir and performer runs through the pack proving it contains no duplicates. I have made use of this effect while in vaudeville and also used it many times as an impromptu effect and know it is well worth working if you can "force" cards properly. How It Is Done : — Pack is shuffled by entertainer and while shuffling is going on he "sights" a card at bottom of pack. Pass is made bringing "sighted" card to center and it is forced on a spec- tator. Card is replaced, pass again made and card is brought to the top of deck, then slipped to the bottom. Cards are now "riffled" and deck squared up. This same card is again brought to center and forced on a lady ; again slip is made after pass and card is once more on top of pack. Another victim is asked to take a card and the same card is forced on him also. 25 Instruct the three assisting parties to call "Right" as their cards make their appearance. Now produce the card in any way your fancy may dictate. I produce the card through a borrowed handkerchief. The patter ex- plains the rest. Properly worked this is a clever bit of diversion which may be worked into any programme when cards are used. THE STORY OF THE KIXG AND QUEEN. (Harry Blackstone) Three cards namely, Queen, King and Duece are shown and this little storj^ is unfolded: — Many years ago lived a King and Queen on the Isle of Bong. She was very fond of him but one day she became rather peeved and gave him the Duece (1) for no other reason than that he came home with his hair hennaed (red) (2), her thots were of another Queen who had told him to do this. So the King in turn became peeved and leaving her with her Duece went away .... never to return. Operation: — (1) Point to Duece. (2) Cards are turned over with the action of the thumb toward the little finger which spreads the cards showing their backs, showing three cards on the back. . . .back of King is red . . . .which conveys the thot of henna. The red backed card is then drawn out and placed face down on the table.... in reality this card is the blank one. Like all good effects this one is very simple. In reality there are only three cards, queen, blank card and duece. The blank card (with red back) is placed under the duece and both are held as one card. The queen card has a slice of a king pasted on it's side (with cards facing you the slice is pasted on right hand side) . This feked card is held in left hand with the duece (blank card under duece) overlapping the feked card so it looks as if there are three cards, queen, king and duece. As the story unfolds, the blank card (spectators believe that card is the Icing) is taken away and placed on table to one side. The feked card and the duece are shown as two cards. The blank card is now turned face up and the king card has, to all ap- pearances, disappeared never to return. Editor's Note : — This is a most interesting little impromptu eflfect nnd has mystified and entertained nianv when shown them bv the inimitable Blackstone. 26 A MIND BEADING WRINKLE. Mind Readers employing a verbal code and asking medium to locate various articles, answering questions, giving advice, etc., can make use of the following cues : — "Madame" Marriage (Forthcoming). "Please" Divorce "Think" Lost Brother "Concentrate" Lost Sister "Tell" Journey (!>>nap fingers once and say,) "Now". . . .Lost ring. (Snap fingers once and say,) "Ready" .... Lost brooch. (Snap fingers once and say,) "Oblige" .... Lost i^ocketbook. (Snap fingers twice (Xo talk) Lost watch. This method would eliminate long sentences. The performer will quickly grasp the idea and make use of it. So the above code words doesn't conflict with these words (or some of them) which might be used in the code employed the per- former in audience could preface this question answering, etc., by this remark : "Madame will now answer any question you care to put to her." WINEOLOGY A Down-To-The-Minute LIQUOR-0-LOGUE. (Being vaudeville patter for the well known Wine and Water E-r- periment. The arrangement as it stands can he used as a ten-minute monologue during which the Wine and Water trick is featured. Parts of the patter can be lilue penciled, according to the Perform- er's individual taste, and used as straight patter for the trick itself. With proper business, etc., this monologue can he lengthened into a fifteen minute act in "one.) (Note — The changes suggested iy the following patter are wine, water, loine of a darker shade, milk, whiskey and hack to ivatcr. Formula for various changes are not given. They are too ivell known among Magis for repetition here. Laugh and the world laughs with you treat and you treat alone. That was all right to say about some folks before the pure "angels that are" took away our old friend Johnny Barleycorn. If things don't soon change, there are men who if they can't get the necessarj'- refreshments soon. . . .will go off their lids and try to squeeze cider out of their Adam's Apples. It was up to a magician. .. .the greatest wizard and wonder worker in the world my name appears on the program, .er. . to conjure wet goods. Yet they do say Spiritualists are better when it comes to getting in touch with spirits. If that is the case. . . .1 have some friends who will soon start cultivating a large acquaintance among Spirit Mediums. The best Spirit Medium I ever met had a saloon in (localize) street .... but .... you couldn't get into his saloon on Sunday no, siree it was too crowded! But those days are gone and as I don't believe in speaking ill of the dead I will say but little against 2.75 beer but a lot against those who make it. Now the beer we get nowadays and the whiskey they hand out is enough to drive any man to drink water ! The whiskey is what is known as aeroplane poison; just one drop and your expenses cease. And the beer reminds a friend of mine, an undertaker. . . .one of those forward chaps who isn't a bit particular who he lays out .... of a corpse ; the body remains but the soul hath departed. And while I'm at it ... . I'll bet two drinks that Noah's Ark landed in (name town you are playing), because don't the bible say the Ark landed in a dry place? And when I think of the stuff that cheers .... I can't help think- ing of that old saying. .. .that Life starts with a bottle and ends with a bier. This also proves that Life is but a long or short drink, it is said that man is 90% water. Look at me. . . .who would think it? And thirst is something that may leave us for a while but is never entirely forgotten. Now kind cash customers 1 will let you into a little secret (takes pitcher in hand). Chemists claim that home brew you know raisins soaked in water is poisonous. I have no doubt of it because a friend of mine recently drank a number of glasses and they carried him home dead .... drunk ! Your friends will tell you there are all kinds of drinks con- cocted nowadays and along came a fellow just before I came out here who claims he knows a former bartender who makes his o#n beer and calls it Male beer and why? Because this bar- tender's name is Cohensky and the beer is Hebrew (he-brew). Mr. (names theatre) close this act he's all wet! (aside) No such luck. Can't get enough of it nowadays. They told me in the last town I played that my act was "schrecklich" which means great in Italian. Now frankly 1 have a four-burner gas jet home which when It grows dark outside, makes me jealous. Why that gas iet everv night gets all lit up! ! j » j j Let me earn some money now and show you my stunt. It was taught me by my sweetheart whose father was discovered to be a moonshiner but no matter, I love her "still." One evening I was at her home and we became dry.'. . .mavbe she didn't but I did and I can drink enough for two anytime. . .Vto be sociable. She asked her dad to give me a drink. He looked me over and said . I think you'll keep a secret. Then he told me he was from Kentucky and loved horses. All Kentuckians love horses Because you know the old "saw", 'You can lead a horse to water but you cannot make him drink'? Can you blame the Kentuckians or the horses ? No, sir. 28 And here is what he showed me and how you fellows who are wearing your hearts away for that bird called Old Crow can satisfy that inner craving. . . .if you'll watch me closer than thai. He told his daughter to bring a pitcher and a number of glasses. From the pump .... there are no spigots or taps here to deceive you .... he filled the pitcher full of water. (Points to each as he names them.) Pitcher. Water. Glasses. I want you to be sure to see them. How do I know where some of you fellows were before you came here. Making sure no one was about .... but we three .... the old Moonshiner poured a glass of water so and asked me to prove it was water by taking a swallow .... which I did. The swallow was a small one and I'm glad he didn't call it an eagle. Liquor, he said, wears out the overcoats of the stomach. That was very true. But my stomach don't care, because when all the overcoats are worn out Mr. Stomach can go 'round in it's shirt- sleeves. Now for a miracle .... a real drink ! Pouring another glass out of the pitcher, lo and behold .... we saw it was a glass of wine. "Well", said I . . . . "that looks interesting. "Sh!" cautioned he, "not so loud." And poured still another. Then he said, "Suppose tlie lady present doesn't indulge. . . .all one lias to do, wlien lie knows the secret, is to take the i)itclier from the right hand and transfer it to the left. Then pour another glass and we have water. Confidentially .... let me add .... that to do this stunt success- fully be sure and use a left-handed pitcher. To accommodate another guest who walkeil in then with several moonshiner friends. .. .the old timer again switched the pitclier from his left hand to his right.... and conjured up some more spirits. Suddenly a knock was heard outside the door and fearing a visit from a revenue officer. . . .he quickly poured all the glasses but the one containing water. .. .back into the pitcher .... and then looked innocent. Everything was all right .... the wine became water once more .... no incriminating evidence at hand. It wasn't a revenue officer at all ... . only one of the wiseacres who acted as cook for the moonshine camp. So the old man got busy and filled up all the glasses again .... and all had real wine with a "kick", .... a somewhat unknown quantity. The wiseacre insisted upon having an eggnog. My sweetheart &aid she had no milk in the house. But her Dad's a wonder .... whenever you are in doubt about anything ask Dad .... he knows. That's the little white slave stuff get me? By the way. . . .1 would ask several of you gentlemen down there to step up here and sample this booze. . . .but I fear a number would get hurt in the rush. So I won't. So we saw the old gent pour another glass out and there was a glass of not water, or wine but milk! 29 Into the milk he unrolled an egg and the wiseacre was non- plussed He took a drink and then begged dad's pardon and said wassofry he spoke out of his turn and that he'd rather have whilkey S old man is a good mixer iu a fight or with drinks then he performed another miracle back into the pitcher went Mr Bggnog. .... .and then the pitcher went to the well Stied its contents and behold Shades of real Champagne . .whiskey, in all its glory, made its appearance. ■■■ Dad who knows then asked his daughter to touch the pitcher with the wedding ring she wore. She wore a wedding ring but wasn't married. . . . .then. Say, by the way, professor (To orchestra leader) What's a wedding ring for anyway? LEADER: — A wedding ring signifies that the wearer is mar- ^^^ Is that so? I guess you're wrong, Phillip. You may see a lot of empty bottles but that doesn't signify there's some real gm around, does it? 1,^,1 After she touched the ring to the pitcher. all the glasses, iiccording to Hoyle were poured back so, one after the otlier. One or two with the left hand, pinching the glasses a bit rather if you pinch glasses you're apt to do a bit and then taking up the others with the sixth and eighth fingers of the right hand, glasses held 221/2 degrees north latitude by 8I14 degrees south longitude the man is mad! D. T.'s! Quite an unknown ailiment, by the way, nowadays. At any rate the glasses were all poured back as before and turning the knob to the left to 41 and to the right to 75 twice the safe is open the liquor disappears and in it's place is that unnecessarj' substance which rusts tin we have what is universally known, after all, as the greatest of all thirst quenchers Adam's Ale Yep after all! Don't wear out pitchers and glasses practicing this stunt when you get home. I thank you. (Bows, and exits. Music, "How Dry I Am.") WRINKLE FOR CRYSTAL GAZING ACT. Some entertainers make use of the following wrinkle in their Crystal Gazing act. ■ Large numbers are written on envelopes by assistant as he col- lects them. Writers of the questions are told their numbers. After the envelopes are opened by assistant to obtain gist of the questions written which is telephoned to the performer, the envelopes are again sealed or questions are put into another envelope and the same number is marked on the outside. These questions may be given back after the readings. To give them back again to the writers they must be "switched" for "dummy lot" and held by assistant who takes his i^tand either in aisle or on rundown. When question is answered by performer lie calls the number, assistant gets the envelope with tliiit number and liaiids it back to the original writer. 30 When questions are being answered performer calls the numbers as he goes along and iiie questions held by assistant should be well mixed so it will look more "on the level" to spectators when assistant fishes among other envelopes to find the numbers as called. PUBLICITY TEST. Performer explains to a party of friends, a gathering at the club or in a newspaper office the wonders of mental telepathy. Finally performer explains that he will put his medium to a severe test. He borrows a pack of cards, shuffles them and has three or four cards drawn. Cards are retained by those drawing them. Performer now requests one of the gathering to call his assist- ant on the telephone. This is done and without performer speaking a word, to assistant, but upon the spectators, one at a time, asking her what the names of their cards is she tells them. This is a test I have used for some time and is sure, if worked carefully, make the spectators wonder and is also sure to spread the I'utertainer's fame as a performer. Like manv good effects the modus operandi is simplicitv itself. Frame it up with your assistant (medium) what three or four cards will be selected. Take for example the following persons will have the following cards : — 1st person King of Clubs 2n(l " Heven of Diamonds .3r(l " Three of Spades 4th " Queen of Hearts CUES: — Mrs. So-and-So signifies that 4 cards are to he named. Miss So-and-So signals that 3 cards are to he named. To begin with you borrow a deck of playing cards wherever you are and shuffle them well while pattering on telepathy you get the four cards, in proper rotation, to top of the pack and force them, one at a time, on four of the spectators. To tlie party holding the first card to be named (according to what has been prearranged with medium) in this case. King of Clubs, .you ask him the name of the card he holds and tell him to go either into another room where there is a telephone or out of the building to a 'phone booth and call the hotel where your assistant is and ask her in any way he wishes to name the card he holds. This is repeated until all the cards drawn are named. If only three cards are drawn you say to the spectator, "Kindly call Noble 185 (or whatever the telephone number is) on the phone and ask Miss LaVellma to name your card." (This informs medium how many cards have been drawn.) Be sure and have the spectators tell you the names of the cards they have drawn before they do any telephoning as you want to (un- known to them, of course) be sure and have the persons holding the cards telephone in the same order as you have agreed upon with your assistant so she will be able to name cards in rotation correctly. 31 The, same stunt can be worked with coins in this way : — You have four quarters in your pocket. The dates .are all different. Your assistant and yourself know the dates on these coins in a certain order. When you borrow four quarters, you change them for the coins in your pocket on which the dates are already known. Same procedure, as with cards and telephone, is carried out. BLACKSTONE'S PENNY AND DIME TRICK. Here is a pocket trick worked for some years by Blackstone as an impromptu effect. With the apparatus a number of nifty com- bination effects can me worked. APPARATUS : — A penny is drilled (head side forming the out- side of shell) cut on one side so that it resembles a shell coin. A dime is filed down to one-half its original thickness, another penny (tail side remaining) is also filed down to less than half its original thick- ness. The dime (filed surface) and the penny (filed surfaice) are soldered together. The feked coin should just fit into penny shell and fit snugly. When this feked coin is in shell same should look like a penny with head on one side and tail on the other. Now for a little wrinkle ala Blackstone : — Before commencing have a tiny bit of good "magician's wax" stuck to the first fingernail. Borrow a dime take either a playing card or a business card and place the feked dime (spectator thinks it is the borrowed dime) on the table next to shell penny. Manage to get the wax from fingernail to one side of bottomside of card and stick the borrowed dime on card and immediately place card on glass. Of course the business with wax and dime are done unbeknown to those watching. Now place the feked dime on card with shell penny overlapping the dime. Now calling attention to the dime and the penny place forefinger of right hand on shell penny and slowly cover feked dime with shell when shell covers dime press same and at the same time, with left hand, pull card a bit to side, causing dime attached to underside of card to strike against side of tumbler and coin becoming loosened falls into glass thus looking as if the dime has penetrated through the card. If shell penny and feked dime are well made and shell fits snugly over feked coin, you could pass penny for examination better still causually show penny, both sides, then switch it for a real penny and toss it carelessly onto table. Get rid of wax on card. Numerous other combinations will suggest themselves to the capa- ble performer. 32 S. WILLSON BAILEY, Twenty-Five Years a Dealer in Magic. THE EGG BAG. (LaVcUiaa Metliod) Evcrji Mmjl recogiii~cs the Egg Bug as an old Friend. Many I.augh When an Entertainer sai/s he inclnde.s Thin Old Time Effect In His Routine^ But I Hare Fonnd This Method To Fool Even the Man Who Knows All About the Trick. EFFECT : — Egg is placed in bag, bag turned inside out. Egg has vanished. Again bag is turned over and someone is requested to place hand inside but there is no sign of the egg. Performer now holds bag by his teeth, claps hands and placing his right hand in the bag and produces the egg. A few sleights with the egg and finally performer requests music to stop. He then goes on in this manner : — "I wish all those in the audience to let me have a dollar beg par- don it's a habit I meant to say, let me have your attention. 33 "I wish to borrow a gentleman who has good eyesight and a .strong pair of arms." (A spcciator steps upon stage to assist.) Performer then calls attention to the fact that his sleeves are rollc;] np and arms are well away from liis body. Spectator is handed tlie egg and told to hold it carefully as he (pcrforiiicr) isn't fond of scrand)led eggs. "A'ery well," contiunes the performer, "we are now among friends, so fear not. In fact where not those folks out there friends I wouldn't dare to try this 'eggsperiment.' " Entertainer holds bag, after turning it inside out. "You can leadily see that I wouldn't deceive you for many worlds in fact not even for untold wealth but for ten dollars, American money, IM eat the bag but let's get down to business. "On my left (or right, wherever assistant stands) I have this gentleman who is gifted with a pair of good eyes and who, I can see by his facial expression, admires mj- colossal nerve. In his hand he holds one legitimate bit of hen fruit. He is one of you folks, I assure you, for I can see by his eyes that he distrusts me why I don't know. "By the way, sir, did yon ever loan me any money? No? I wasn't sure. (Felloir is told in stage whisper to place his hand quick- til in his pocket). You don't have to do that, sir. If I wanted what- ever money yon have in your pocket I assure you I would have it already. "^'•'w if y".) There, sir "5". Was that what you rolled? I thought so. So did the clock. Thank you. And now for the final test. fBUS : — Takes hand off clock, lays it on tabic at same time set- ting it at irhatcvvr nnmhcr card is yoti c.rpcct to force. For ex- ample say the card yon. arc abotit to force is a "«/./•'" spot.) Some folks say I am a card they are all wrong. I insist on being the whole deck. In fact one lady told me, the other evening, the card manufacturers had honored me by placing my photograph in every pack of cards they put out the Knave ! At any rate sir, I wish to borrow no money strange as it may seem only wish to ask you to please select a card. Have you one, sir? No .don't let me see it but show it to the folks sitting around you. (Upon stage. Takes up clock hand.) Now, Hand of the Mys- terious Ego whatever that might mean shimmie a little for the customers out front and tell us how many spots are on the card the gentleman in the third row, fifth seat, has selected and now holds in his hand. (Clock stops at "six.") Six spots on the card you selected, sir. Is that right? Thank you kindly. And by the way the management would like to see jon all here every week in the same seats but if vou can't come send the money anyway. I thank you. (Ron-s and exits.) (Chard by orchestra.) THE HINDOO ROPE TUICK. (8he)-man.) Oft repeated tales of Hindoo miracles, exaggerated, and distorted reach us and the gullible public have come to accept them as true 40 facts. So much so that it is nothing unusual for a disciple of Hindoo lore — (who has never traveled any further than Hoboken, ]Sf. J. — but read up on a lot of the miracle dope) repeat these tales — adding a few more embellishments of their own for a good measure. These tales of Hindoo miracles are somewhat similar to the tale of the amateur fisherman, who came near catching a Small minnow. On his way home he stopped into a refreshment parlor and partook of the cup that cheers. In telling of his luck — he described his catch as a mackerel. Wending his way home he made several such stops, at each stop adding a little to the size of his fish. By the time he got liome he really believed he had caught a whale. So grew these Miracles (?), the most repeated tale being the H iudoo Rope Trick. Writers have described this miracle as follows : The Hindoo Yogi, after repeating various incantations, throws an end of a large coil of rope into the air. The rope remains suspended in the air, held upright and taut, by invisible means. The Yogi then commands his assistant, a slim boy, to climb up the rope. The boy obeys, pulling the end of the rope up after him. Half way up the rope he stops. Another incantation from the Yogi, and the boy, rope, and iill vanishes. So is the story told! But there "ain't" no sich animal! Those who claim to have seen it, present conflicting testimony. If it has been done in India, there is no reason why one of the Yogi miracle workers couldn't be transplanted to foreign soil to give an exhibition of this far-famed Miracle. Up to present writing it hasn't been done. And still these students and investigators of Spiritual and Jliracle Phenomena have spent tidy sums of money upon just such in- vestigations. Hypnotism is an ancient story to the Hindoo Yogi. That is the answer to the Rope fable. The Yogi — usually performs a few minor magic tricks, (not requiring an over abundance of dexterity, as a rule) for the benefit of the onlookers, the performance taking place out in the open or sometimes in a court yard ; dark, diSmal and weird enough to give the creeps to the onlookers, let alone the few white mystery-loving sight- seers. The Yogi during his performance endeavors to gain the eyes of his audience. Whether they all fall susceptible to his gaze matters not . . . . two out of three white onlookers might succumb. Yet this too, is doubtful. Then nothing remains but suggestion! The Yogi does then the motions and actions of the fable, suggesting the effect. His little performance finishes, the Yogi packs his few bits of paraphernalia into his ever ready little bag, more shekels to his gain and moves on .... to the next stand. Later the onlookers compare notes. The few whites who have succumbed to his gaze describe the miracle. The third positively denies seeing any such happenings." He did do it." "No, he didn't !" And so the story spreads on and on. India, travellers, tell us is the land of many mysteries yet the 41 .vender worker of days gone by, Alexandre Herrmann once wrote :- 'Tlie nuDil in Magic could learn nothing by a visit to India. Ihe journey would be time wasted. The East Indian juggler never ad- vnnfps never originates.' .ances, ne.er ^^^^^^^^ SECOND SIGHT TEST. A Baffler That the Clever Performer Can Use As a Feature In His Madame is introduced, blindfolded and seats herself. A number of small cards and envelopes are passed among audi- ence by either the performer or an assistant. Performer requests that those holding cards shall write a test on their cards which the lady on the stage may carry out such as ruffle the hair of a spectator, pull out his necktie, borrow his watch, etc etc. These actions are not forced on spectators. 'cards are now sealed in envelopes and collected. Three enve- lopes are chosen. One of the selected envelopes is handed to a spectator seated at right side of auditorium and another to spectator seated on left side. "Begin!" commands the performer, and the medium goes down rundown into aisle and performs two of the tests written on cards sealed in envelopes. Envelopes are torn open and cards extracted and read aloud by either performer or one of the spectators. Tests have been carried out successfully. Attention is now called to the third envelope (irhieh has been placed in the keeping of anothei spectator irho has held same throughout the other tests). Tesl^^itten on card in this envelope is now carried out and to cap the climax Madame calls the name of the party who wrote that test. METHOD : — Our good old friend the velvet changing bag is used. A number of envelopes (8 or 10) are collected in the bag. In secret compartment of bag are eight or ten envelopes in which are as many cards and on all are written the same test say : — • 'Disarrange necktie of the gentleman seated in the fourth seat in the fifth row on left aisle.' A spectator is asked to take one of the envelopes from the bag and after marking it with his own initials to hold it up high so all can see it during the experiment. Performer now collects a number of other envelopes and while going around he will And an opportunity to add another envelope, which is already prepared from his pocket and "force" this envelope (;n some lady. Lady is requested to hold envelope anil not to allow imyone to touch it. Card in this envelope contains a prearranged test. Remember now two spectators have in their keeping two envelopes each containing a test which Madame already knows. Now comes the part which has to be worked very carefully by the performer. Performer makes it his business before the entertainment inences to make friends with someone i^resent who knows ever com- 'erybody 42 of importance. This obliging person points out to the entertainer and tells him the name of one of the most prominent spectators present. This is all done so no one else, of course, knows about it. Several more cards and envelopes are now handed out and per- lormer, doing this himself, sees that the "prominent party" gets a card and writes a test. ^OTE: — The party's name is given Madame before the sliow opens and thru the peekhole in the curtain she is shown ivhere he sits. While this "prominent party'' is writing test — performer who has a small pad of paper and a small piece of pencil in his right hand trouser pocket, stands idly by watching what is being written. At same time entertainer writes on pad in pocket the gist of the test. Performer instructs those who are now writing to seal their cards up in envelopes and place them in their pocket and not allow tliem to leave their possessions. Performer goes upon stage and unties blindfold on medium and at same time slips her piece of paper he has torn from pad in pocket and holds rolled up in hand palmed. She quickly opens it, reads and memorizes test. Medium already knows the other two prearranged tests as well as name of "prominent party" and his location in audience. Performer works the efifect up and finally commands the medium to concentrate and carry out the tests which are on the cards in en- velopes now held by membea's of the audience. When first two tests are successfully carried out, performer and medium go back onto stage, performer asks spectators to, one at a time, open their tests and read them aloud. This is done and audi- ence believe Madame to be endowed with the gift of second sight. Performer explains it is all accomplished by aid of thought waves. He continues pattering, calling attention to the fact that he will further convince them as to the. wonderful power Madame possesses. Performer goes among audience and in an off-hand manner ex- plains he will choose someone to assist him in the final part of their experiment. He picks out (as if at random) the "prominent party" to assist him. "Kindly hold onto your envelope, sir, and concentrate on what vou have written. Thank you." "Eeady INladame," he goes on, "Carry out, if you can, the ic-it >his gentleman has written." Music starts and continues playing a soft, dreamy waltz. Madame goes into audience, once more, and carries out test which selectecl party has written and finally winds up by turning to "prominent party" and asking, "Was the test I just perfonned the one you had written, Mr. So-and-So? (Calling him by name.) Properly worked up and in the hands of two capable perform- ers this test will bring forth round after round of ai)preciative ap- plause. 43 IT'S A CRUEL, CRUEL WORLD. A comedy skit in irhich marjical cffrctf< arc introduced. — CAST — Miss Lady Ella Billion With a boodle of Dough. I'rofessor Great Beyond A Telepathist and Seer. Dnmbbell A Simp His New Assistant Townsman • SCENE — A Large Field. TLACE — Anywliere Jixst For Fun. Before curtain rises, two crashes are heard, followed by tlie noise of an aeroplane motor which gradually dies away in distance. Music (Softly played) "Goodbye Forever," takes up curtain. Discovered: (At rise) Two heaps, centre, which turn out to be tlie professor and his new assistant. Several old suitcases and bags surround them. The whole effect to look to audience as if the two were dropped from an aeroplane. (Thia is e.rplaiiied, in the dialogue.) Rooster crows oft' right. Music continues until cue to stop. PROF: — (Regains eonaciousnefifi) My word....suc]i beastly treatment. To think of my being subjected to the indignity of being bodily hurled together with bag, baggage and my new assistant from the Aeroplane Express. SIMP : — (Who has also regained consciousness) If you had the price of our fares we'd never had been dumped here. PROF : — (Rising) Be thankful young man and not ungrateful for the place we landed. They could have thrown us onto pavement, hard and merciless. SIMP : — (Tries to rise, finally does) Do you call this place soft? Why man alive I'll have to take my meals standing for the next three months. PROF: — We still have chances for fame, success and untold quantities of gold. SIMP : — I'll take a dime for my chances right now. (Angrily) You're to blame for all this. (Music stops.) PROF : — My lad treat me with respect. Look upon me as your father. It is not I who am to blame. SIMP: —(Moans) Gee why did I ever leave my job. PROF : — Job ? What is a mere job compared to ' being with me. .me. .Professor Great Beyond, the world famous Mental Telepa- thist, Seer and Crystal Gazer? SIMP: — But I ate three squares a day when I had my job. PROF : — Let not a mere thing like eating aftect vour love for uiy art. SIMP: — But man alive I can't continue to let my love for vour art grow on an empty stomach! PROF: — You are a species of fool. SIMP: — But I wish I held my job. PROF: — We are in dire straights now but mavbe if von were to search your pockets you would perchance find a few coppers i!>lMI>:~^ (Bus. of looking thru pockets. Takes out piece of 44 jiaper and throws it from him.) Not even a thin dime. Say where are we anyhow? PKOP: — Here let me gaze into the crystal ball from it's depths I shall learn the name of this place. SIMP : — (Gets from bag crystal, hands it to him.) Go ahead. Let's know the worse. PROF : — (Bus. with ball.) The clouds gather, behold they grow faint .... now they are clearing .... I see letter? yes, yes, I can Laake out some of the letters. Oh, crystal ball, in whose depths one sees the answers to many hidden mysteries. . . .tell me the name of this burgh. Ah 1 have it. This town is HELPUS. SIMP : — I hope it will. PROF: — (Puts hall down.) See what a wonderful art is mine? SIMP : — Guess you're right, professor but. . . .Oh, don't I wish I never left my job. PROP : — Pick up our traps and I'll hie myself to yonder vil- lage and maybe we can with dignity secure food. SIMP: — Right you are. Profess. I'm with you there. (Starts [/athcriiK/ hag(ja(/e.) PROF : — ('P/eA-.s- up note.) What's this? SIMP : — A note I forgot to give you that came to the theatre yesterday. PROF: — ("Reads^ and I will be most liappy to pay yon any sum you miglit ask if you will hold a seance for uie anywhere yoTi may choose. (To Hi nip) See. .. .that would mean real money if it were given me before we left this morning. But wait. .. .this envelope is postmarked HELPUS. .. .Helpus? Where did I heal- th at before? SIMP : — I don't know but if someone doesn't we'll starve to death. PROF : — I have it. The crystal gave me the name of this place. The name was HELPUS. This letter is from some lady in this town. The gods have smiled down upon us once more. SIMP : — I've got you. This is the town and all we have to do to get hold of some dough is to look up this "jane" and hold a rse- ance, eh? PROF: — You have far more brains than I ever gave you credit for. SIMP : — Maybe she'll come here. We can hold the seance right here and get some money and then we can eat an' everythin'. PROF: — Here. . .take this note. . .the address is on it. Hasten thou to the lady's domicile .... tell her we will hold a seance here and bring her along. Tell her we will work in this place as we would not care to come to her house until after dark. Get thou me- est? (Wise wink.) SIMP : — I have thouest, most noble sire. (Mock how, takes let- ter and exits.) PROF : — (Takes from old dilapidated grip, paraphernalia for seance.) MAX: — (Enters and watches for a second.) PROF : — (Hecs him) Well, my friend ? 45 jjjAN : Don't mind me. I was just a-wonderin' what you v. are up to? „ . , , nr i ■ X>R0F: — -Bws. of Mvdling curd, with a flourish) My card, sir. I nuiv stay here? , . , i a- itjAN : — You don't look wihl enough to take along, los you fin camp here as long as vou like. This here piece of ground is town property and bums and 'nutts' must have some place to stay. PROP: — But I assure you I am a perfectly sane, respectable citizen of the United States. I am a professor of mental telepathy, crystal gazing and kindred subjects ' MAN: — Wait a minute I'll take your word for it. But what do you do? . ^,^ -, , PROF : — Let me see what size hat you wear, sir. (Man hands him hat and professor takes a number of articles from it (Hat load.) (Finally three handkerchiefs are taken from hat and handed to man, who is about to grasp them when they chavge into a snake, man be- side himself with fright rushes off, with snake foUoiving him.) This is the silks to snake trick and on .wake is a piece of thread with a hook. Man hooks thread onto his trouser leg and when he rushes off the snake seems to be folloiving him.) PEOF : — (Laughs.) SIMP : — (Re-enters.) I've found her, old timer. PROF : — Good. And what is she like ? SLMP: — Oh, sweet papa! Some doll! One look at licv face and I forgot all about being hungry and sorry about my job! PROF : — 'Tis indeed a miracle ! SIMP: ^Miracle? Nix. Some chicken! ! PROF: — Now when she arrives. You behave yourself and tieat me with respect. Sh! I believe that's her now. LADY (Enters) Is tliis Professor Great-Beyond, the famous Telepathist? PROF: — I liave that honor, Miss.... no, don't tell me I Isave it Miss Billon. I am charmed to see you. . . .indeed charmed. LADY : — Tliis was indeed a surprise to me to hear j'ou Were in town. Yon see I have heard so much about you. PROF: — You nmst pardon our quarters here. Nothing but fields and more fields. You see a secluded place of this sort is the best place for spirits to work. LADY: — A few demonstrations and you must make your quar- fi'i-s at my home. PROF : — You are too kind. SIMP: — Are you married, lady? LADY : — Why certainly. Why do you ask ? SIMP : — I was trying to read your husband's mind if he saw me and the professor in your house. PROF : — Let me convince you of my ability. I have time and aj>ain been asked to give a clear explanation of how I accomplish iiiy astonishing and sensational experiments in psychic telepathy al- so how I manage to control the thought waves. ' I can simply say that file est'fcric fhaumatui-gy that is co-ordinate with dynamic niMifalify has a Udepathic connection regarding and alluding to the 46 synchronoinous interpretations of synomonous psychological thesis. LADY: — I see. SIMP : — I'd swap all that junk for a piece of custard pie. LADY: — AVliy, my dear fellow, are you hungry? PROP: — (lHtvrrii[)ts fvUoir idio is ahouf to xiicakj Hungry? Why that fellow is completely under my hypnotic control and tMcii tho' you, my dear lady, were to place before him a roast turkey, ami all that goes with it ... . would you believe it .... he would laugh and push it awav untasted. SIMP : — (Falls down.) PROF : — Come Simpitis .... let us prepare for a few experi- ments. SIMP : — (Gets up, ties hliiidfold around eyes.) I am ready. PROF: — "What sort of a ring does this married lady wear? SIMP: — That's a difficult question. I get the impression of a plain band of gold. The lady wears a wedding ring. PROF : — See .... he never fails ! LADY : — Wonderful ! PROF: — (f^hou-s ladij a cheap watch) I shall place this time- keeper in my vest pocket, so ... . now .... Kindly tell me what I have in my pocket? Quickly! He never fails! SIMP : — Five pawn tickets and a bunch of keys. PROF : — Correct .... no, no. What do I tell the time by morn- ings SIMP: — The kuu. PROF: — The thouglit waves are uneven. SIMP: — And my appetite is on edge. PROF : — (To lady) Would you mind letting me take a fifty dollar bill? SXMP : — (Aside to Professor) Look out man, don't flash any real dough I have a weak heart. LADY: — (flaiids Professor a luaidred dollar hill) Tliis is ihe smallest I have. PROF: — (Staggers as he takes it) What is the color of this bill ? SIMP : — The spirits are tongue-tied ! PROF : — And to further prove what a wonderful mind he has I will ask him to atune himself to the surroundings and to tell me what I am thinking. SIMP: — I can't do that. PROF: — And why not? (Pockets hill.) SIMP: — She'd call a cop. PROF : — Xow if I held a half dollar in my hand SIMP : — (aside) Stick to bills. PROF : — Would a half dollar have any words on it ? SIMP : — Yes. PROF: — What would it say? SIMP : — The waves are becoming a bit thick, Professor, and as it is so long since I've seen a real half dollar I've forgotten. LADY : — What does he mean ? PROF : — He means that he is so used to handling bills of large '47 denomination tliat he doesn't care to exert any strength on a mere half dollar. SIMP : — Exert strength ? Why man I'd kill an army for two bits. LADY: — Army? Why my husband was an army man and a hero. PEOF: — So was Simpitis. Wasn't you? (Aside) Say yes. SIMP : — Yes. PROF : — And do you know this young man was decorated for bravery too. LADY : — How wonderful. PROF : — Simpitis .... tell the lady what the captain of your regiment said to you after you had shot down three hundred and twelve of the enemy? SIMP : — He said : "You may go home. You have killed enough for today. LADY: — What a wonderful man. I could worship a man like you. (to Simp.) SIMP : — Go ahead I'm agreeable. LADY: — You will make the study of spirits your life work, no doubt? PROF : — No, madame. Some day I'm going to retire from this business and live like a gentleman. SIMP : — That'll be a great change for you, won't it? LADY: — (To Simp) And do the spirits not guide him? SIMP: — T^Jix. When he gets to communing with the spirits good night! When he gets thru with spirits he can't walk. Tliey have to carry him. LADY : — It must be trying work. (Sighs.) PROP: — Have you ever studied mental telepathv? (To lady.) LADY : — Indeed I have. i . i j y PROF: — And can you tell me what I am thinking ? LADY : — I believe I could. SIMP: — Then why don't you slap his face? LADY: — May I experiment on your assistant? SIMP : — Lady .... be careful. PROF : — Go as far as you like. (Exits) LADY : — (to Simp) Do you mind ? T 1^"^ ■ ~ ^^^^ ^^ *^®^^ ^^ "°°^ ^® ^^'^ borrpw from I am yours LADY : — First I want to know how intelligent vou are What IS a foreigner? T ?i-?; ~ ^"® ^"^^ ^^ eligible to the police force. LADY : — What is thirst ? ? A^v" ~ ^tT®*""'"^ *^^* ^^ ^'°'^*^ ''"t not forgotten. you do? ^^''^ *"* ^^""^ ^""^ ^ ^^"^ '^•'"'^^' ^^11 ^^'^'^ ^^o"W SIMP : — Drop dead. «™t^'~J^'''^!:,^''''^'^ y^'" ^^y to a twenty dollar bill? telMP: — Something very nice. dolla^'f.^^;^^"''^''^'' ^ '^*''"*' ^'^ ™''^''' y°" ^ P^'^^*^"t o=f "^ hundred 48 SIMP: — Lady, are you sure you don't want your husband killed? LADY : — Why the idea ! I meant if I were to give you a hun- dred dollars for a present SIMP: — (Interrupts) (Dramatic music) Lady lady please back home I have a dear old mother who loves her way- ward son as only a mother can. Do you wish to deprive her of her only son? LADY: — ni'eepsj My dear, dear boy you must come and live with me SIMP : — Never. . . .would I take money from a woman LADY : — I thought you wouldn't. But tell me how old are you ? SIMP: — Twenty-eight. And you? LAT)Y: — (SJiijltj) Twenty-one. SIMP:^ — What detained you? (Music stops.) PROF : — (Enters) (Starts looking thru hag) Where's the cork- screw ? SIMP : — It went to sleep as there was nothing for it to do. LADY: — I'm deeplv in love. Isn't (to Professor) love a won- derful thing? PROF : — It IS the most wonderful thing in all the world. LADY: — Were you ever in love? PKOF: — Aye.... I was introduced and was taken up with her SIMP: — In an elevator. LADY : — And is she clever ? PROF: — Clever? I should say so. She is highly educate! .... speaks four languages, Spanish, French, Swedish and SIMP: — (littrrrupting) Through her nose. LADY : ■ — And were you deeply infatuated ? PROF : — From the very first time I laid eyes on her I lost my heart SIMP: — -Then your watch and you blamed me for it. PROF : — She's a dear girl. . . .she plays the piano and SIMP : — (Interrupts) Eats onions ! PROF : — And her execution SIMP : — All in favor say "Aye". LADY : — And was she an actress ? PROF : — A wonderful one. In fact I might say without fear of contradiction that she is a finished actress SIMP : — The first night audience attended to that. PROF : — And she's musical SIMP : — Otherwise her health is O. K. LADY: — In the last town you played was your performance appreciated? PROF : — Intensely so. It was summed up in one word SIMP : — Schrecklich ! PROF : — Which means SIMP : — Splendid in Italian. Show the lady some tricks, pro- fessor. (Professor introduces several magic tricks.) (After tricks.) 49 LADY : — Didn't you two have some trouble in the last town jou played? TROF: — Well, that was nothing at all. SIMP: — Yet we almost dil six months a piece. LADY : — Tell me about it. PROF : — You see the people thought we were a couple of ... . SIMP : — Crooks. PROF : — Witch doctors. We could conjure all sorts of spir- its SIMP : — And they thought we had a still somewhere. PROF : — We were hailed into court and the judge, a harsh stern man, asked my assistant here .... Dumbbell .... how we started in life and he said SIMP: — On a bottle and that we would end on a bier. . . . iind at the present time due to short skirts and prohibition we were all sitting in mourning for the spirits that hath departed. PROF: — The judge said: "I'll discharge you two this time but don't expect to see you here again", and what did you say? (To ^imp.) SIMP : — I asked the judge if he was going to resign his job. PROF : — And thru his impudence we were requested to leave the town. SIMP:^ — And here we are. LADY': — 1 am so sorry. Maybe T can arrange a number of p] i\ate seances lor .yon here iu Helijus. PROF: — I am sure vou are too kind. SIMP: — And Miss..' PROF : — Do not address the lady as Miss when you know she is married. SIMP: — I couldn't be i)0sitive. PROF: — AVhy not. Don't you see lier wedding ring wliich sig- uilies slie is married? SIMP: — A wedding ring don't say she's married. LADY : — But I am. My husband is a fine looking, tall, strap- ping fellow who used to be our heavyweight champion SIMP : — Why did I ever leave my job back home ! PROF: — Is that so? SIMP : — (To Professor) Better give her back that 100 dollar note you so carelessly placed in your vest pocket. PROF : — My dear ladj^, allow me to return this century. LADY: — Xo indeed. Keep that for temporary expenses. As you may be m this town for a long time, to .^^•—'■^'^^^^^^^yJ I^ady. . . .you ain't going to have us sent fl ^^^^'a^^^^ *^^"y- ^^^® ^y good man (To Simp) Here is five tundred dollars for your expenses. I'll go along now. I'll see ^'""^ ppAi^ ""^ ™ ^^^ morning. Goodbye, Professor. (Exits) «TMT3 '' —^'^y^ould you like to buy my wonderful crystal ball? telMP: — Could I really see anything in it? .,.. ^^^u^''~^V'^' ^^'^l] ^^'"^ (^'''^^^ ''P crystal) crystal ball vou can see anythmg and everything. ,50 T,A , ®I^^P : — (^-Sms- of looking at money and then at ball) Maybe 1 d buy it if I knew what you say is true. PROP: — Try me. SIMP:— Where is my brother? Can you tell me that? PROP: — Sure he ain't in jail? SIMP: — Nope. He's dead. PROP : — That's simple. But first you must let me have a little money. SIMP: — I thought so. (Hands him hill.) PROP : — (Gases into crystal) Your brother has departed from this earth. SIMP : — Wonderful ! But what I want to know is where is he up or down ? PROF : — I can see him near the gates of Heaven. SIMP : — How did he get up so high ? PROP: — Plu. (Flew.) SIMP: — Marvelous. Just where is Alphonso that is how far is he from the gates of Heaven? PROF : — I can see him plainly. He is thirtv-two feet from tlie gate. SIMP: — Can you bring him any closer? I'ROP : — :\Iore money so I can fix it up with the spirits. SIMP : — (Hands lain another hill) Going going. . . . ! PROF: — (Gaziny into hall) Xow he is lour and a half Icct nearer. SIMP : — (Jee that bird 1 ravels slow. PEOF : — Xow he is eighteen feet from Heaven. SIMP: — (E.rcitfdly) Can you bring him any nearer? PROF : — (Hand out) More money, please. SIMP: — (Hands another hill) Now where is he? PROF : — He is three feet from Heaven. . SIMP: — (Very e.r-cited) Can you bring him any closer? PROF:^ — More spondulicks, please. (Hand out.) SIMP: — You really mean he is only three feet from Heaven? PROP : — That's it. Only three feet. SIMP : — Then if he can't jump that far let him go to hell ! PROP : — How dare you swear .... and before me too ! SIMP: — How did I know you wanted to swear first? PROF : — So you don't want to buy my mystic crystal sphere ? SIMP: — Nix. (Thinks aloud) Gee.... I'm hungry again. With this dough I can get 5,000 orders of ham and eggs, 12,000 squash pies PROF : — Now that you have that much money left what is the first thing you're going to do with it? SIMP: — Count it! (Starts count iiig money.) CURTAIN BY THE WAY. In this budget I do not necessarily aim for original effects. j\fa ny of the effects contained herein are original or have been given 1 original treatment, others liave been contributed and the verbal mind reading code talien from one of my scrap books. Xo matter liow old an effect may be if it is given a new "dress" and woi'ked up differently it is well worth looking into and given ;i trial. I'rofessional entertainers appreciate this but tliere are some pcisous, claiming to be magicians, who belong to the "wiseacre" class who never could nor ever will be able to do even the most sim- ])]e magic tricks correctly. This type usually bother magicians by paying them visits "back stage" at the theatres where the profes- sional is playing. This nuisance fishes around for information. Should they get any, they store it up for no practical purpose but use it to explain to their friends how this and that trick or illusion is worked. This type even go further. . . .they belittle a real performer's ef- forts and are always first in a rush to tell their friends "just how ''ertain effects are worked." All professionals have jiict this type of undesirable who does all lie can to floor Magic for the count. Books are not written for this sort but are written and pub- lished for those who are or some day will become our ilrofessional (iitertainers. kSliould you meet in your travels, an earnest student. . . .earnest in his desire to ]>e taught the rudiments of our Art.... help him along, give him the benertt of your own experience. If he is the right sort he will appreciate your efforts and be thankful for the aid given him. AVielders of the Magic Wand, whether professional or amateurs, band together and eliminate the undesirable type of magic "informa- tion leeches".Aid at all times in boosting Magic and in this way the art of the conjurer will go on more appreciated, more interesting, more entertaining, and more mysterious than ever. Jiore power to it ! T. NELSON DOWNS, "King of Koins" Whose beautiful act is - "poetic In conception and enchanting in its performance.' 52 BREAKING INTO THE VAUDEVILLE (iAiME. h'noirledgr a)id Inside Dope WJiich Will Aid flic Aiiifitcin- To Bc- < oiHc a VdiidcciUe Arti.stc. 1 have received numerous letters from people in all walks ol' life asking me how one goes about it when they wish to adopt the \audeville stage as a means of livlihood. Many I have answered personally but not having the time to write all who I have received inquiries from, my publisher has re- quested me to write something that may prove of value to the clever auuiteur who has decided to "break into vaudeville" with an act. No matter whether you wish to become a professional magical entertainer, ventriloquist or present a sketch, playlet or monologue on the vaudeville stage there are certain things you should know before you start out ti'ying to get a vaudeville agent to handle (book) your act. First it is advisable for you to have an act arranged by someone who makes a specialty of this sort of thing as he. witli plenty of experience in back of him, knows about what a vaudeville manager, agent and audience wishes. There are magic acts in vaudeville who struggle along from year to year and then again the same applies to many other variety acts now appearing on the vaudeville stage, some delighting, others tir- ing vaudeville audiences who as a general run are the most exact- ing audiences of today. This is due to the fact that patrons of vaudeville theatres see so many different acts a year that they soon learn to appreciate good work and have little, if any, sympathy with mediocre turns. True .... in many theatres we see acts which are termed by "gallery gods" putrid. When you see an act you think is very bad look at things from their standpoint a bit and figure out whether it is the performers themselves, their vehicle or conditions under whicli the are working. The layman cannot appreciate the many difficul- ties under which at times vaudevillians work. V^e have all seen acts with clever performers who have a worth- less sketch or playlet and thus their efforts are completely "left in the shade." The first thing the amateur must consider when he wishes to become a vaudevillian is he must have the proper act .... no matter of what sort. . . .to enable himself to do that which you can do tlu' best. No matter what kind of an act you wish to offer. . . .be it a frys- tal oa/,ing, magical, comedy or dramatic playlet, monologue or pat- ter act. . . .consult someone who understands this sort of work. It will pay you better in the end to have an act prepared to suit your individual talent. Some actors think they can write their own material and that it is far better than a script they may have written by a specialist in this line. This may be true at times but very seldom. " Actors sometimes think they know it all and the writer of stage material finds this type to be so charged with "temperament" that 53 tliey sidetrack them whenever they can. And who can blame them ? There is few ailments known to the human body that can be classed mnch worse than "artistic temperament" and "swellheaditis." Suppose you are convinced you have marked ability along cer- tain lines of entertaining the first thing to do is to "frame" up ;ui act that runs from say twelve to twenty minutes. Your act, specialty or turn, must be entertainment full of life and be able to hold the attention of a blase vaudevUle audience all the time you are on the stage. It is certain to bore an audience and slangly speaking "get their goats" if you insist on stalling or posing. If you have twenty- two minutes of material cut out some ol' your stuff and leave only the "meat" of the act in. Should it be a magic act cut the "stalling" and posing of yourself or your assist- ants and work fast and aim to work every trick you do up to a cli- max which will leave them guessing and this will bring forth the ap- plause. Should you have ten tricks on your program, after you break iu the act, watch closely and cut out two or three effects keeping in only the effects that seem to you, judging from the appreciation of the audiences, worth while. AA^hatever you do, iu a magic act, don't try to convince an audi- ence you are clever. I have seen a bungling magician who was a clever comedian, go over far better than a clever sleight of hand artiste. Managers and agents will tell you the same thing. An audience wants to be entertained and if the performer shows them he is an entertainer they are satisfied and vote the act, by their appreciative applause, a hit. To become a success in the vaudeville field one must have an act that is just a little better than what audiences have always accepted as the best. Get it? Unlimited rehearsing is necessary before an act is even tried out before an agent. Agents, at times, are a fussy lot and seldom, if ever, admit to a performer his act is good. Most agents are self- styled judges of acts. Some really are real judges others should be plumbers! And the same thing, in a different light, applies to performers who appear in vaudeville. The vaudeville stage is infested and over- llooded by third rate, mediocre acts of every description. Careful managers try to book recognized turns or acts they have seen them- selves for their theatres but recognized turns and really good new acts are kept busy and their salaries are, most times, far beyond the pocketbook of the average vaudeville theatre manager. After you have your act well rehearsed and fitted up to please the eye (a "flash or sight act," as well dressed acts are called that is acts with appropriate scenery and other paraphernalia) a'ou will have to "try-out" the turn before an audience aiul several agents. The agents will pass judgment on the turn and will see if the act can be used by them. Many acts never go beyond the trv-ont stage. Should your act receive a few weeks booking or routing over a circuit at a price. .. .consider yourself in luck and do all jou can .^4 while plajing to further improve vour act so other time or bookings will be forthcoming. Uet all the agents, representing the different vaudeville book- ing agencies, you can to witness your act when trying out and in the larger cities where agencies are located, where you mav be plav- mg. Get your act known. Advertise a bit publicity will do you a lot of good never any harm. Some agents will want you to go over their "time" at a small salary. Watch your step. It is allwell and good to work your act for a couple of weeks to break in at a salarv about covering expenses but after the "break-in" period don't ask a million dollars for an act you know very well is worth a couple of hundred but make a reason- able price and hold out for that price. What has hurt the business is acts who needed money and work for almost anything so long as they keep working. This sort of thing may look fairly well on the face of the stories highly colored which are told by so-called per- formers but when a man's pocketbook becomes strained his diges- tion and liver as well as disposition become badly out of tune. If you meet a vaudevillian and he tells you he "knocks 'em dead" or "off tlieir seats" wherever he plays and then tells you he has a four year route don't hesitate but GIVE HIM THE AIR! ! To secure a try-out either call personally (which is best if you can be ushered into the presence of His Highness the Agent) on the man you think is best suited to handle your act or write him re- ((uesting an interview and if the interview is not forthcoming later follow up by requesting a chance to show him your act. Your stationary (letterhead and circulars) must be attractive and well printed otherwise they will receive little, if any, consider- ation. And don't get the idea that the life of an actor is all roses. Acting, in no matter what line you choose, is hard work and to get a real foothold on the ladder of success in anj- line you must be prepared to work hard, industriously and with the aim of becoming a real success, in view. Don't lose courage and don't lay down at the first disappointment you receive. Up and at it will win the game. Rome wasn't built overnight and our foremost vaudeville stars battled continually along the hard road to success which is not lined with roses but heartaches. The game is worth while once you get a good foothold and to attain that foothold is all up to you. To successfully present and "put across" a magic act you must be both a clever showman and a clever exponent of conjuring. To (piote an old, ver^- much useou don't need talent to put a richly fltted-up act across. You need ability at all times and the more ability and business knowledge yon Itave in show business the more chance of success you will have. Don't copy the other fellow's chatter or his tricks. If you work a sketch don't plagarize the other fellow's lines or bits of business. "\^^lat he may put (>\-er to big returns you may fall down hard on. It isn't what the other fellow "pulls" in his patter but the man- ner in which he says it. What is one man's bread is the other fellow's l/oison. Avoid being a "hammer artist" (knocker). If you think the other fellow isn't any good and his efforts are nil forget it. You may not think he is good and a thousand others may vote him the clever- est ever. In a magic turn for vaudeville rapid fire stuff is what the public demand. They want something doing every minute. A vaudeville audience loses interest when a performer walks off to "load" up for another trick. If you must make an exit after an effect to obtain a "load" rehearse your act so your assistant can arrange tables or some- thing of this sort to kill the wait. The best magical entertainers re- main on the stage from the rise to the fall of the curtain. After your act is ready to show an agent go to some reliable photographer and have some photographs taken of your complete act (if you have a stage setting) and §ome of yourself and your assist- ants. While in vaudeville I used only photographs of my hands doing various stunts. Whatever you do don't have photos taken of vour hands exposing a palmed coin or billiard ball. The public as a 'gen- eral run have become too familiar with "palms" and "passes" thanks to the mediocre so-called magician who bungles his sleights so fre- (juently that his efforts may fool himself but not his audience Dress well on and off the stage and act the part of a gentleman at all times Two-thirds of the stories told of the profession are of the cock-and-bull variety and you will find just as many ladies and gentle- men behind the footlights as before them. Say you have all the scenery and properties needed in vour act your assistants properly rehearsed, and your own end to your satis- 1 action.. obtain a number of engagements to get vourself and ^our people userit]i Gash Ctifitomcrs: — ) I am not here this evening to sell you oil stock or chewing gum. My intention is to endeavor to entertain you with a few feats of digital dexterity (or: — e-rpci'imcrits in pure sleight of hand). I shall try to prove that the well known saying : "the closer you watch, the less you see," is not true and should be "the closer you Avatch, the more you think." Your attention, please. (Into first trick.) (BITS 0' CHATTER FOE COIX WORE.) (Note: — These remarks should he introduced as the pcrlonner sees fit.) Xot real money but it goes quick enough I My wife refused to allow me to have her picture on these coin;^. She said she wouldn't be thrown around by anyone. (Just hefore last coin is made to ranish) Time, tide and money await no man. Time flies. Tide rises and falls. And money, the curse of all evil. .... .(piickly vanishes leaving no trace behind. Awful simple. Simply awful ! If dreams would only come ti'ue I wouldn't have to do this for a living. N(t. siree. I could sliine shoes or run cities. Any seven year old child, after twenty-two years of practice can accomplish these effects. I'he closer you watch the more yon think. TTp my sleeve? ("orrect I If you don't belie\e it watch the next one. 57 The last town I played in they said my act was "Schrecklich" which means GREAT in Italian. There is a lady's head on every coin. That's hecanse money talks All it ever says to me is "goodbye" ! I haven't been doing this trick all my life no, not yet. This is contagious. It's a catching trick ! These coins belong to me. I got them Iionestly. Honesty is a lost policy. Yet the law never sleeps unless it's out on it's beat. , , ^ i ^ -^ i Speaking of honestv. If everybody was honest we wouldn t need policemen Wouldn't that be a terrible blow to Ireland? I learnt this trick while cashiering in a bank. Tlie boss was sure the way I'd wind up so he put up some bars before my window. He wanted me to get used to them. But I fooled him. In- stead of breaking into his bank I broke out. And that's wliy I'm here. (For A'ecdJe Trick.) My wife likes this trick. She says I talk less when I do this one. i told her I'd like to have her learn it. A sure cure for indigestion. I had a plank steak last night. It was hard as a brick. I told the waitress I couldn't swallow planks. She said, "Go on Sure you can. I've seen you swallow needles." I'm a driver by trade. I used to drive a truck down the main thoroughfares Now I drive needles down my stomach. I keep alive doing this. Xow and then 1 stick a needle into my tongue I know I'm alive ! (Points to leader (violinist) (Points toith needle) Deep joke. See the point ? (To audience) He sits down there and fiddles", , , , f or ■?75.00 a week. My union demands that I get $500 a week. Truth is it's a weak 500. To do this stunt you have to have, a package of needles and a ion of nerve. (Coin gag) He fiddles (Indicating violinist) for a living so do I. Fiddling with coins makes me feel like a millionaire. I'd be a millionaire if these coins were real money. (Thimile trick) 1 used to do this trick very well when I was a kid and got spanked. Now I do it much worse. . . .and get paid. Thimbles are like rabbits. They multiply quickly. I used to vanish all my wife's thimbles. She needed them back. So she taught me to make them reappear. A thimble in time cancells a sore finger. These are silver thimbles. If you doubt it ask Woolworlh. 1 got this trick out of tlie Birth Control magazine. Life is what we make it and thimbles are as we buy them. When I grow angry I see red. (Produce red silk.) Bo you feel tlie bill in the handkerchief? Xo? Oh, I see what tlie trouble is You are using your left hand, tliat's wliy you can't feel right. Stand still. (To assistant on stage) Don't get nervous. There's no "still" around here. Look out. You'll break that glass. I don't care if vou break 5S tlie Eigliteentli Amendment but not the glass. Can you see thru it? The glass, of course. ^'i>w I shall sing. Xo, (to assistant) don't get ready to run. Il's not a.s bad as all that worse! JHy wife is also musical otherwise her health is o. k. She's a kitchen Tettrizini. Sings while she washes dishes. In fact music comes natural in my family. My brother started vocalizing wlien in his cradle and he is a finished musician the neighbors attended to it. Xow as I have told you some of my family history let's go on with the trick. (VoiitiiiHe u-llh trh'l-.) (As you go along) I might say T performed this experiment before rrcsident Harding was elected. You might call this an experiment in spiritualism, hypnotism, rheumatism or any other "ism." 1 could explain how this effect is accomplished but I haven't time. I could explain how this effect is brought about but you wouldn't understand it, if I did explain, any better than I do. I did this trick before Sarah Bernhardt ever thought of making farewell tours. Xot having the least idea as to just what I am aboul lo do I trust you will aid me to the best of your ability. When a magician marries he has to add the 'Catching ^loney from the Air' to his repertoire. (After catching a few coins) They say money talks true, but all it ever says to me is "goodbye." (Almost misses catching a coin) Mistakes will happen. That's the coin's fault. I never make a mistake. There's no eraser on the end of my pencil. I miss them once in a while to prove they are not tied together. There goes another. I'm all right the world's all wrong ! Before they call the wagon let's go. (Exit) . A VERBAL CODE FOR MIND READING ACTS. AVhile looking thru my scrapbooks I came across tlie following A'ERBAL MIXD READINC. CODE. This is one of tlie best verbal codes that has ever appeared in print. I have placed it in this budget f'S manv Performers and students may And it useful. Tlie code is not bv any means new and has been used by mind reading acts for manv veai's but is well worth the time and trouble it takes to ac- quire it. This svstem of ^liudreading or transmission of messages by questions is based upon the following set of words, wliich form, — THE SYSTEM — 59- I Means — 1. PLEASE Means — 0. GO Means — 2. WILL Means — 7. C -IN * j\Ieaus — 3. NOW Means — 8. LOOK Means — 4. NOW THEN Means — 9. QUICK Means — 5. FAVOR ME Means — or 10. NEXT .... Means to Repeat Previous Figure. EXAMPLE : To tell a person's age. Performer asks a person their age, and Medium answers. Supposing the question was put to a hoy and he answered l;! years old. The performer addresses Medium as follows,- "I (1) want this boy's age, QUICK (5)" ANS\YER - 15. ANOTHER: "WILL (7) von FAVOR ME (0) by telling this man's age. "ANSWER — 70. NOW THEN" (9) — ANSWER — 9. COINS. If a coin is handed the operator and of the 18th century, give the code words for the LAST TWO FIGURES ONLY. If the 19th century, use the word "COME" in addressing Medium. EXAMPLES : "NOW THEN (S) WILL (7) you tell tlie date on tiiis coin." ANSWER — 1897. "I (1) want you to tell this date." ANSWER — 1801. "COME (1900) tell me this, I (1) want von to iVVVOR ME (0)." ANSWER — 1910. Learn these two codes first. They are the simplest and best to first commit to memory. HIGHER NUMBERS, BANKNOTES, RAILWAY TICKETS, ETC.: — EXAMPLES: "CAN (3) you PLEASE (6) FAVOR ME (0) with the first three numbers on this ticket." ANSWER — 360. "NOAVTHEN (9) NEXT (9) PLEASE (6) the last three." AN- SWER — 996. TOTAL — 360996. COLOR CODE : I. means Red, the 1st color. GO means White, the 2nd color. CAN means Blue, the 3rd color. LOOK .... means Black, the 4th color. QUICK . . means Green, the 5th color. PLEASE means Brown, the 6th color. EXAMPLES: "I (red) want to know the color of this gentle- man's tie." ANSWER — "RED." "LOOK (black) at this, what is the color?" ANSWER — "BLACK." "GO (white) on, tell me the color of this," ANSWER — "WHITE." DAY^ CODE — Is the same using the first seven words of the code and calling them as numbers — Sunday — first day; Monday — second day; etc., etc. EXAMPLE: "LOOK (4) at this and tell me what day it was published," ANSWER: "WEDNESDAY"' (because tlie word "Look" is the only code word used in the sentence and it is tl:e fourth code word and Wednesday is the fourth day of the week.) MONTH CODE — Use the same as Day Coile, but their are twelve months, in the code the words "FAA'OR ME" would be used for the tentli month — October, then add the words to the code — "JUST" — for 11th month ; "HURRY"' for 12th month. EXAMPLES : "LOOK (4) the month'' ANSWER — "APRIL." Because April is the fourth month and "LOOK" the fourth code word. "COME (12) answer." ANSWER — "DECFJIBER " METAL CODE : — Gold — 1 ; Silver — 2 ; t^>i)i)er — :! ; Brass — 4 ; Iron — 5 ; Tin — G ; Aluminum — T ; EXAMPLE : "GO (2) on, the 60 metal" ANSWER — "SILVER" because "GO" is the second code word, and SILVER the second metal. PIPE CODE : — Amber —1 ; Meerchaum — 2 ; Briar — 3 ; Clav — 4 ; Bone — 5 ; Clieriy — 6 : Composition — 7 ; Horn — 8. EX- AMPLES : "CAN (3) you tell what this pipe is made of?" ANSWER — "BRIAR." (CAN being third code word, and BRIAR third article.) "I 1 want to know the mouthpiece." ANSWER — "AMBER." COINS : — Pennj^ — 1 ; Nickle — 2 ; Dime — 3 ; Quarter — 4 ; I'ifty cent piece — .-j ; Dollar — 6 ; Two dollar and half gold piece — 7 ; Five dollar gold piece — 8 ; Ten dollar gold piece — 9 ; Twenty dollar gold piece — 10. PLAYING CARDS: — SUITS: Spades — 1; Clubs — 2; Hearts — 3 ; Diamonds — 4. VALUES : To be used with the same codp words as the months, and for the KING, or thirteenth card, use the word "KINDLY." Use the 11th code word for JACK, and the 12th code word for a QUEEN. EXAMPLE: "LOOK (4) at this card, CAN (3) von tell me the value," etc. ANSWER : "1 of Hearts." FA:MILY CODE : — Father — 1 ; Mother — 2 ; Brother — 3 ; Sis- ter — 4 ; Son — .5 ; Dauj;hter — (! ; Uncle — 7 ; Aunt — 8 ; Nephew — 9 ; Niece — 10 ; Grandfather — 11 ; Grandmother — 12 ; Step Father — 13; Step Mother — U ("I CAN'T"); Father-in-law ("I WILL"); Mother-in-law ("I NOW"). EXAMPLE: "I CAN'T (14) understand why you hesitate, the rehitive "ANSWER;" "STEP-MOTHER." It will be noted that this gives us by easy stages a set of code words for si.xteeu articles, etc. COUNTRIES : — America — 1; Canada — 2; England — 3; Germany — 4 ; Italy — .") ; France — 6 ; Russia — 7 ; Ireland • — S ; etc., etc., make up A'our own code of countries. NAME CODE:'— William — 1; Albert — 2; (leorge — 3; Ed- ward — 4 ; Harry — ;") ; Claud — G ; Stanley — 7 ; Jim — 8 ; etc., etc., run list out to suit yourself, using code words of alphabet which will be explained later on. It is advisable to memorize this far before proceeding further. A lady is best for these tests as a woman seems to be able to read the questions better than a man, who is naturally able to ask them. NAME CODE (Ladies) : — Arrange as for gentlemen's names. ('.SVy' )wte near nid of chaiitcr.) ALPHABET : — Use the letters of the alphabet in conjuction with the code, we now have si.xteen code words, and the sixteenth let- ter of the alphabet being "P" we commence at "Q" using the code words from here on as follows "Q" — "I WISH" ; "R" — "I WON- DER" • "S" — "I THINK" ; "T" — "I BELIEVE" ; "U" — "THIS IS HARD"- "V" — "THIS IS EASY"; "W" — "DON'T HESITATE"; '■X" — "DON'T DELAY"; "Y" — "COME NOW"; "Z" — "COME HURRY." . , , This o'ives vou a code word for the entire alphabet, and if yon liave memorized each section as you came to them the mastering of this will be easy. This is generally used in sentences, or better still tor telling initials on cards, liats, umbrellas, signate rings, etc. EXAMPLE: "I WONDER (R) if I (A) CAN (C) get you to 61 read this." ANSWEE — "R. A. C." "Yes that is the initials, but CAN (C) I (A) get the man's name in full. I WONDER (S). I BE- LIEVE (T) you are perplexed. HURRY (L) QUICK (E)." AN- SWER : "The man's name is R. A. CASTLE." Thus it will be seen that this is the most perfect code of sig- nals yet devised for this purpose. The next thing to memorize will be a series of article codes, when using these codes, supposing the performer is in the audience, the Medium on the stage. He can give her the signal for which code he intends using, then touch them in the isame order as they are memorized, this can be quickly done and gives a great effect. He codes the group to use — then number in group. ARTICLE CODE GROUPS. Group No. 1 Group No. 2 Group No. 3 Group No. 4 1. Coin. 1. Pen 1. Key. 1. Hat. 2. AVatch. 2. Pencil. 2. Ring. 2. Tie. 3. Chain. 3. Letter. 3. Pawnticket. 3. Purse. 4. Medal. 4. Post Card. 4. Railway 4. Cap. 5. Charm. 5. Stamp. ticket 5. Handkerchief 6. SJatchbox 6. Program. 5. Streetcar G. Book. 7. Cigarette. 7. Newspaper. Ticket 7. Purse. S. Pocket Book S. TTiiibrella. G. Money Order. 8. Broocli. !t. I'ciieh. !i. Gloves. 7. Bank Book. S. Comb. I). Spectacles. 9. Cigar, etc., etc. Thus you see you have almost forty articles divided up in groups which worked by the questioner, by the first ten words of the code (or on up — according to length of each list of articles prepared) enables the jNledium to answer. The following code is now brought into play for classing the various groups and articles. If jumping from Coins or anj^thing else direct to Playing Cards, the Medium must know therefore the follow- ing code is used. CHANGING CODE. Going into FAMILY CODE, '■ LADIES' NAMES, " GENTLEMEN'S NAMES, " PLAYING CARDS, " ARTICLE CODE - GROUP No. 1, " 2, " 3, " 4, use the words — "COMMENCING" ' —"PROM HERE" .. .. „ _ ..THE LIGHT IS BAD" " " " — "EXCUSE ME" .. " .. _ "VERY MYSTIFYING" ' — "STRANGE" ' — "WONDERFUL" .. .. ., _ "THAT'S RIGHT" The sets of words and sentences can best be laid down by the actual performers, whom may have mannerisms and sentences pecu- ]i;n- to themselves, and as it is better to act natural in every way. The above code would be used as follows : Suppose you had been 62 working readiug a card, and wanted to go into the article codes. You would simply walk up the aisle of the theatre a little and make the remark "STEANGE isn't it." This gives the Medium the cue — then proceed as before, the cue meaning that you are going to work the article code Group No. 2. Then proceed as before, desiring to chanoe TO Group No. 3, use the word "WONDERFUL" something like this — '•Everyone admits this is WONDERFUL." Or again — "You are cor- rect, THAT'S RIGHT," which is the code sentence for Group No. 4. FIGURE READING. Figure reading is accomplished in the same manner, and is the easiest of all, tho combination tricks may be indulged in. All that is necessary to do is to have a blackboard on the stage, have one of a committee write a sum and the Medium adds it up one column at a time. The performer giving her the cue in the questions asked. Then have a figure crossed off the board, the Medium can answer. This also applies to writing down figures — writing down words. Numbers on paper money (bills), etc., can be transmitted to Jladame in this way. Note; — To transmit names of people Performer can transmit the pi'oper name.s such as Smith, Jones, etc., by spelling out the name with code to madame and for first names make a list of a nundier of luinies, say .")(), and have the naiiics numbered. Shoot tlie code word which means a certain mimber for the name and for a lady's iiainc use, "The name," and for a gentleman's, "Tell the name, etc." AMien starting on names of people let madame know what you are about to do by using say, "Your attention, please, Madame" which informs the medium you are going to transmit names. Silent cues come in handy at times. Here are ten silent cues : ■ — (1) Tap with foot on floor; (2) Shift left foot toward front; (3) riace right hand in pocket; (4) Place left hand in pocket; (5) Cough slightly; (0) take out handkerchief; (7) Slightly pull up left sleeve; (8) Glance at watch; (9) smooth hair; (10) Drop right or left hand to side. To repeat last number snap fingers in a nervous manner. There are a number of acts using a verbal code but only a few who are so proficient that they can transmit anything. It takes a lot of practise to perfect a verbal code but when well worked it is a great deal better than some electrical methods now on the market. It all depends on the performer and his medium. 63 AN ILLUSTRATED FAIRY TALE. Id Rnilliy a Monologue With, a Pack of Playivfj Cards. The King (K. 0.) is n mighty man and a Princess fair (QH) gives her heart (AH) to him. The King pledges himself to her, as lovers do, and tells her that had he many hearts (lOH) he'd give tliem all to lier. A cousin of the King, n Knave of the deei)est dye (.T. S.), aided by his boon companions (">(', L\S, 4(y), plans to get tlie I'rincess fair into Ids power. The brotlier of the mighty monarch (KS) overhears the villians at the clnb (AC) discussing their plans to kidnap the Princess. In this fiendish plot they will be aided bj' two serving maids (QD, QS ) of the royal household. At the stroke of 4 (48) the procession of blackguards move off for tlie palace. Creeping up to the castle the villianous band, armed with clubs (70, 8C), move cautiously. Suddenly the Captain (KD) of the castle guard appears but is quickly overcome. One trusted guardian of the castle gate (KH) proves himself a Imave (JH) and allows the band to pass after things seem at sixes and sevens (6S,,7S). Overhearing a noise the inner Diamond Guards (3, 5, 7, S, 9D) investigate and discover the intruders. Tliey are overpowered by the Diamoud (iuards wlio prove their true worth. The captives are brought into the presence of the King. "(Jo forth and prepare their graves," commands tlie Monarch of the Land," iUKl in the meantime lock the conspirators in the darkest of tlie dungeons." Several men (JD, JC) are detailed, with spades (3S, 5S), to go grave digging. The King realizing what ]»eril tlie Princess has been in proposes to her and presents her with a necklace of six beautifid (6D) dia- monds. She consents to liecome his queen. Wedding bells peal foi'tli tlieir joyous tune and the King and 64 Princess undergo that magical feat wherein two are made one. Shortly after the ceremony couriers (9S, 6C, 3H) appear before his majesty with ill news the knaves on the eve of their execu- tion have made their escape. Then there is the deuce (20) to pay. The King orders his men to recapture them ..... .he will lead his troops. While the King is away two strange messengers (IOC, 9C) ap- pear before the new made Queen bearing a message on a tray (30) and before (4H) she opens the message she becomes suspicious of these men, both of whom are of dark (lOS) complexion as there are but few dark complexioned men employed about the palace. The King and his men have been gone five (5H) days. The Queen becoming very lonely for her lord and master finds time lianging rather heavily on her hands. She decides she- will read the note which she does and finds it is from some other Queen ^QC) who lives on the Isle of Love. This arouses her jealousy and of course there is a tendencv aOD) to (2D) quarrel. But luckily when the King returns his Queen is so happy to see liim that slie fori;ets her anger but asks him for an explanation of the note. He denies all knowledge of another Queen. Someone from Holland has been trying to get him in Dutch! Says the King, "Yresence the audience should never be let in on, makes her entrance into cabinet in this manner :- - Back sides and top pieces, are already tied securely into place when pushed out on platform by assistants. The assistant (lady) is at- tired in black velvet suit and bloomers. She is crouched on platform with back piece or wall on top of her and other parts of cabinet ar- ranged so spectators will not get suspicious. The amber flood cov- ers up the shape on platform but great care should be taken. The back wall, after curtain in bottom of platform is pulled down, is first put into place and during the setting of this wall into place the lady gets down onto stage floor. This is a touchy bit of business and great care should be exercised while putting it over. A slip would ruin the entire act. Be careful those in the boxes can't see too much. This may sound a bit hazy or complicated but by careful working this part during rehearsals the performer will get the correct idea. When possible have the lady assistant working this part of your show of small stature. Tall people are seldom used to good advant- age as assistants in illusions, etc. Now comes some more touchy work and needs plenty of rehears- ing. As soon as cabinet is erected the lady assistant still laying on floor, back of the roller curtain, performer asks some one of the men on the stage to step into the cabinet. This gentleman is your "plant", hired in the city where you are playing. He must be well i-ehearsed as to just what and what NOT to do. He should be instructed to examine cabinet carefully. After examining interior of cabinet he is asked by performer to "kindly examine the sides and rear of cabi- net as well. The platform is large enough that assistant or "plant" may walk around it. "Plant" does this and while he is doing so the perforiner draws the front curtains together. The "plant" moves the draperies at sides and back of cabinet and then returns to the front and examines the top, etc. During this the lady gets up from the stage floor and carefully gets into cabinet. Your assistant or a well rehearsed stage hand immediately looks around cabinet at bottom and ties the tapes to the standards or side piping. The lady now having made her way into the cabinet, takes from her bosom a curtain of the same dark material as the sides and in- terior of cabinet. This curtain has two hooks attached to ends and is hooked into place on bars forming top of cabinet. This is put up into place about a foot or two from cabinet back. This is hung in- to place quickly and the lady must remain very quiet while behind it ks when front curtains of cabinet are thrown open the least little movrement might be discovered by some person with good siglit. (Lights are full up now.) Assistant gets back of cabinet and, while plant is examining it well, raises curtain under platform into place. Now the plant or any of the other members of the committee are allowed back of cabi- net, etc., but not near it. Now cabinet front is thrown open by magician and the specta- tors think they can see the back wall drapery but as you, Mr. Magi- cian, know audiences, many times, don't really see one-half of what they believe they do. The "plant" is asked again to enter cabinet, which he does. Per- former taking care he doesn't monkey witli rear fake w;ill. Asist- ant now returns to where other committeemen stand. 75 Cabinet front is now closed. Performer now groups committeemen around cabinet. Stage hand or assistant brings on a small table on which is a tambourine, a large bell and a revolver, which the performer loads with blank cartridges which you carry in your pocket thus avoid mishaps or worse. PERFORMER I shall place these articles in the cabinet. (He does so and they are heard to fall onto floor of platform.) I^fow gentlemen .... I know you don't believe in spirits .... unless they come well corked up in glass bottles. Am I right? I am. But maybe you will change j'our minds when you hear the syncopated jazz band direct from the Great Beyond (names small nearhy ttiwn.J, It is a bit dry here. In fact the whole country is dry. . . .unless it has recently rained and I want you men to have lots of courage. It's my buy. (Hand shoots out from caiinet front holding hottle and a glass. This hottle the assistant has had on her irheu^ making her entrance unseen into cabinet.) There is but one glass but perhaps the spirits in the cabinet .... not the bottle .... will send up a few more from the spirit pan- try. (Hand shoots out several more glasses.) Thank you. So kind and thoughtful of you. (Pours drink for the men who want it.) Pretty good stuff even for these times, what? (Assistant takes glasses and bottle off.) Now as we have had some refreshments let us now have a little music. (Lady assistant in cabinet has picked up the bell, tambourine and revolver. Upon ivord of command sie violently rings bell, thumps tambourine, then fires revolver. Quick as a shot she drops the articles onto floor of platfm-m and geti back behind the false flap or curtain.) (Performer throws open curtains at front of cabinet and the various articles are seen lying on floor.) (Plenty of rehearsing will enabU assistant to do all the stage business rapidly and in a clean cut manner.) PEREORMER ..-/ , Xice and quiet now, what? Sure thing. The spirits belong to a union of their own. So much music and then intermission. ]s\(inv let us once more close the curtains as the spirits only work in the dark like second story workers and other aristocrats! (To one of the men) You, sir, stand here. (Performer buttons strip of velvet across front flap to keep it from opening une.rpectedly.) Now for some more spirit manifestations ! Lady assistant, in cabinet, again gets to front of cabinet and waves her hands up and down at top, centre and bottom of flap (out- side). (She manages to hit the man standinq in front of cabinet on the head or check. This gets a laugh. PERFORMER (Speaks in an inipressire manner.) Spotlight! (Light is thrown 76 on upper part of front flap.) (A hand is seen to wave ivildly from top of flap.) Hark ye! You of the Spirit World! You who have passed over the line of living things into the Great Beyond ! I com- mand you to rest! (Makes hypnotic passes in direction of hand.) You are becoming tired .... your hand begins to grow heavy .... rest ! (Hand, thru flap, hangs in midair.) (To men) Gentlemen. ...here is your chance to hold a hand. Step up, gentlemen! Be brave! Grasp the hand ! Mabe it's the hand of someone you love dearly. You, sir! Grasp it! Fondle it! (Performer "kidds" the committeemen as they, headed iy ''plant" are afraid to take the hand.) PERFORMER O spirit hand .... point to the one you like best ! (Hand points to one of the men on stage.) . .You, sir. Kindly step up and shake hands with the spirit. Don't be afraid. The hand hasn't any teeth. II won't bite you. Etc., etc. (One of the men shakes the hand. If no one else won't the ''plant" does. He holds it, cuddles it, etc.) PERFORMER Here you ! Let go ! Too much of a good thing isn't enough for you ! (Hand shoots in cabinet, 'but a wooden, hand which appears to audi- enrc to he the real thing is again shored, out.) Do you tliink yon are in the parlor with no one around watching you? You have madG many a man here this evening, jealous. Then again, sliame on you! Look at all those people out there watching you. Now take hold of it ngSim. ("Plant" grabs it, hand hits him lightly in face. Comedy business.) ("Phint" iraJks away. Performer takes hand and goes to "plant".) Here you are so fond of it hold onto it. The spirit says yoii may be nice but you sure do tieat 'em rough! Is that true? (Hands hand to "plant" who takes it, examines it, looks sheepish and hands it to someone who lays it onto table.) (Performer goes toward cabinet, jerks quickly the front curtain aside, spotlight plays into cabinet and it is seen to still contain the bell, ta))ibourine and revolver.) Stagehands are now ordered by performer to close front draper- ies and wheel the platform around in spotlight (this is done very '■(irefully) and finally it is left standing on other side of stage. Front, of course, toward spectators. The performer can explain that this is done to prove the absence of any traps, etc. White spot, which has followed cabinet, now changes to green. Performer now closes the front curtains of the cabinet. MUSIC ^^^" PERFORMER Select one of the articles on the floor of the platform. The bell? (Or whichever it is) Very well. You wish the revolver? And you the tambourine? Very well. Now do as I tell you. I want you three one after the other .... to each call the article selected when I count "three". Now ready! One two! Two and a half! ! /'Comedy business here as men will call the articles when, two and S'. A. THE LATE W. D. LEROY DANIEL SILVEY Successful Magical Dealer of Boston. S C E X A R I O 3IAGICAL DIYEBSIONS. By The Haiulfi of La Yell ma. A aifivie Script in contimiity form — could be photographed and nsed to open an act or show. LEADER HANDS OF MYSTERY. SCENE NO. 1. SHORT "SHOT" OF PAIR OF HANDS. (Fade out and into Scene 2.) SCENE NO. 2. HAND SHOWlsr EMPTY, FRONT AND BACK; SUDDENLY PART OP A PACK OF CARDS APPEARS IN FAN FORM, THEN ANOTHER FAN OF CARDS IS PRODUCED. SCENE NO. 3. LEADER EASY ^YHEN YOTJ KNOW HOW. Scene. IJACK AND FRONT PALM WITH A CARD; THE SEVERAL CJARDS ARE PICKED UP AND VANISHED IN MIDAIR. HANDS ARE SHOWN BACK AND FRONT, EMPTY. CARDS ARE NOW CAUGHT EITHER SEPARATELY OR IN FAN LEADER WOULDXT DECEIVE YOU FOB WORLDS. ^CENE NO. If. \'ARIOUS FANCY FLOURISHES AND COLOR CHANGES WITH PACK OF CARDS. LEADER "FIVE OF HEARTS!" SCENE NO. 5. CARDS SHUFFLED, ONE SELECTED AND SHOWN, RE- I'LACED, PACK WELL SHUFFLED, CUT, A HAND TAKES OFF TOP CARD OF PACK CUT, CARD SHOWN AND PROVES TO BE CARD ORIGINALLY SELECTED. (No stop camera ■work.) LEADER A SIMPLE BIT OF BYE PLAY. SCENE NO. 6. SELECTED CARD SHOWN, BACK AND FRONT, THEN STOOD UPRIGHT ON ENDS OF FINGERS. LEADER AN EXPERIMENT ANY SIX YEAR OLD CHILD CAN ACCOM- PLISH AFTER TWELVE YEARS OF PRACTISE. SCENE NO. 7. COMPLETE REVERSING OF SELECTED CARD IN DECK AFTER SHUFFLING VIA SLEIGHT OF HAND. ALL THE EF- FECTS IN THIS SCENARIO ARE ACCOMPLISHED BY PURE SLEIGHT OF HAND. LEADER THE MYSTERIOUS THIMBLE. SCENE NO. 8. THIMBLE APPEARS ON FINGER OF RIGHT HAND. VAN- ISHES AND APPEARS ON FINGER OF LEFT. THEN VANISH- ]'^S AND APPEARS ON DIFFERENT FINGERS OF RIGHT. THIS CAN BE WORKED SO THIMBLES APPEAR ON EIGHT FIN(}ERS. LEADER COIN MANIPULATING. SCENE NO. 9. VARIOUS COIN VANISHES AND REAPPEARANCES. FIN- \LLY 4 FEW COINS COJIPLETELY VANISH. LEADER LA VELLMA COINS AND LEMON TRICK. The closer you ivatch, the more you .think. SCENE NO. 10. T^\^0 BORROWED, MARKED HALF DOLLARS ARE AVRAPPED IN A PIECE OF PAPER, AND VANISHED AT FIN- (JER TIPS. THESE ARE FOUND INSIDE OF A SELECTED LEMON WHEN FRUIT IS CUT OPEN. LEMON REMAINS IN FULL VIEW THROU(!IIOUT THE EXPERIMENT. L E A D E R KEiri' YOiR EYEK ON THIH ONE. SCENE NO. 11. FOFTR ACES ARE VANISHED FROM PILES ON STAND AND ARE FOUND IN PILE SELECTED BY A SPECTATOR. SUBTITLE. (Try This Over On Your Piano!) SCENE NO. 12. HANDS PICK UP A PACK OF CARDS, SHUFFLE THE^tr, I'ACK IS SQUARED UP. PACK IS TORN IN HALF, THEN INTO QT'ARTERS. SUBTITLE. LA VELLMA : — ••Any card called for will be located at any mmiber called." CAMERAMAN : — "Four of diamonds ! At number 15." SCENE NO. 13. FOUR PILES OF TORN CARDS ARE ON TABLE. (ALL THESE SCENES ARE SHOT '•Closeup." ) HANDS PICK UP, ONE AT A TIME, EACH OF THE FOUR PILES AND COUNTINJt DOWN EVERY PILE LAYS ASIDE THE 15TH PIECE IN EACH PILE. SUBTITLE. AND THAT'S NOT ALL .' SCENE NO. U. PIECES OF CARD ARE TAKEN AND HELD UP SHOWING IT IS THE SELECTED CARD, THE FOITR (^F DIAMONDS. SCKNE NO. 15. Same as Scene 1. (Dissolcr. Out.) 84 FREDERICK EUGENE POWELL World Famed Magician and illusionist. 85 "The Only Magic House!" 1. The ONLY Magic House with ACTS OF THEIR OWN ON THE ROAD! ! (One 5-people act and one 7-people act, United & Patanges SOLID). 2. ONLY Magic House conducted by ACTIVE PROFES- SIONAL PERFORMERS. (Members of tlie National Vaudeville Ar- tists, Inc., stage union). With ACTS of their OWN on the road POOLE BROTHERS feel qualified to supply NEW ORIGINAL MA(;IC that is PRAC- TICAL and will MAKE COOD. They create, build and stage Features or Complete Acts and equip them in a PROFESSIONAL MANNER. Let them advise YOU. "WHEN YOU WANT ORIGINA.L MATERIAL — PROFESSIONAL QUALITY, GO TO POOLE'S" Some Recent Features. "POOLE'S PROHIBITION PHEAT" A RIOT! Any liquor poured from one bottle $10. "MIRACLE OF THE EAST." At last a perfect fabled flower growth. Done on the "Rundown" or even in the audience, without body loads, table, or assistant. Ask Harry Rouclere. $20. Two for $35. "NYMEX PRODUCTION CHIMNIES." Bought the rights to this, the greatest production for flags, silks, ribbons, etc., ever conceived and the ONLY ONE that can be performed with audience completely surrounding performer, at three feet. Protected. $25. "DR. C'S PSYCHIC SLATE WRITING." Fooling all the clarvoyants, mediums and mystics. Positively no fakes or flaps, yet two slates actually shown. ALL SIDES (each side marked by spectator with his initial after inspection, writ- ing produced in genuine chalk. Performed on stage or parlor with people on ALL SIDES. An invention of Dr. Carrlngton and guaranteed to be ABSOLUTE-' LY NEW or MONEY BACK. $2.50. "HEADQUARTERS IN U. S. A. FOR MIND READING AND SPIRIT SUPPLIES." THE "MASTER MIND ACT." The only practical method yet devised by which ONE MAN without any assistant can walk into any hall or theatre and give a mind, reading act with sealed messages, without any preparation of hall theatre, no switching and without any delay or intermission. Possible only with Poole's Protected Device (infringements legally prosecuted). Guaranteed to be NEW, or your MONEY BACK. Over 50 sold and not one returned. $10. No pads. Im- pressions of any kind, alcohol, turbans or ANYTHING EVER USED BEFORE. "GREATEST THOUGHT TRANSMISSION ACT." Using true wireless tele- phones (not Induction coils) on the body of the performers. Anything spoken to one in audience is heard by other. Nothing on floor. Everything carried on body. SPIRIT WRITING and SPIRIT PICTURES. Cardboard or canvases submitted to audience and one selected and marked are placed between two sheets of glass and Secured by thumb-buttons. Shown both sides, identification marks plainly seen. WTHOUT COVERING either spirit writing or a GENUINE PAINTING IN OILS appears in 15 seconds. It is presented to club, etc. — a lasting ad for you. NO CHEMICALS. 11 x 14, $14. Size, 18 x 20, $20. SEND FOR LIST OF "SPIRIT WONDERS," 5c. CATALOG OF 55 STA.GE ILLUSIONS, 50c. We have supplied the majority of the successful acts of this type in the business today.- Ask them. We will forfeit $1,000.00 if we fail to show to your representative in New York that we have sup- plied our spirit effects and outfits of this type alone to over 80 per- formers here and abroad. Poole Bros. Store 1893 Broadway New York, N. Y. S6 '^Vaudeville Mind=Reading'* CONTENTS. INTRODUCTION (by Henry Hatton). PORBWORD. VAUDEVILLE MUSICAL SILENT THOUGHT TRANSFERENCE ACT In which members of the audience whisper to the performer the titles of any musical se- lection, and upon spectator requesting- the lady at the piano to "Please plav mv selection," she not only plays it, but names the selected piece. This is a method of performing the most baffling- Silent Thought Transference act that has ever appeared upon the vaudeville stage. VAUDEVILLE SECOND SIGHT ACT. Involving a new method of signaling to the medium, which enables her to go into audience, and, while apparently under the hypnotic control of the performer, ac- complishes some difficult and complicated tests. Medium writes initials of specta- tors and the names of selected cards A'AUDEVILLE CRYSTAL - GAZING ACT. Complete method' in which the performer, working in Oriental garb, walks freely about stage, reading answers to queries, also liames, etc., written by members of the audience. This sort of act has mystified audiences throughout the world. Per- former consults crystal sphere, wherein he professes to read the various answers to questions put to him. I'HONETIC SYSTEM FOR SILIENT THOUGHT TR.-VNSMISSION ACTS. "Some- thing new under the sun." In this chapter this new and novel system is worked around the most baffling silent transmission act of them all; in which any se- lection whispered to the performer, in audience, is plaj'ed by the blindfolded pianist on the stage. VAUDEVILLE FEATURE MIND READING ACT: Complete modus operandi of a mind reading act, the kind which always wins favor with an audience. WINGED MYSTERY. An unusual and baffling mind reading experiment with a sure-fire sensational finale. A feature specialty of just the sort to bring a big mind-reading show to ON ANSW^BRING QUESTIONS. Treating how to answer "catch" questions as well as many others. METHOD OP OBTAINING SEALED MESSAGES V/RJTTEN AT HOME BY MEM- BERS OF THE AUDIENCE. THE BLINDFOLD DRIVE. Various methods of staging and performing this great publicity getting stunt. A SENSATIONAL PUBLICITY TEST. This is a stunt staged by the performer in the city or town where he is playing, and is sure to bring forth columns of news stories that is far better "than the usual news stuff. i A VAUDEVILLE MIND READING ACT. Complete from introductory speech to the transmitting of articles; with various tests for the medium, introducing a short fortune telling by cards, effect and all in all an act that can run from twenty minutes in vaudeville to an hour and a half in a theatre as the feature part of a road show. PUBLICITY STUNTS FOR MIND READERS. Six tests that can be performed in clubs, newspaper offices or hotels and will gain prestige for a clever entertainer. SILENT' THOUGHT TRANSFERENCE. A method that has puzzled audiences in this country and abroad. A LATER DAY MIRACLE. A different sort of test after which an audience is left too dazed to even applaud until several minutes after the curtain has descended. _ MIN™ READING ACT FOR CLUB ENTERTAINERS. , A non-electrical method of reading and answering questions, using the crystal ball feature. This is a new method and will be appreciated by the club and coclety entertainer. „-„^ttx, t-RTT: CHESS KNIGHT TOUR. Two methods of performing this entertaining feat, which can be introduced as a mind-reading experiment. MBNTO^^^ effect which enables the club entertainer to name every card in an entire deck, in order drawn without memorizing. VOICE C^^^^^ chapter that should not be skimmed over, but carefully read by all mental telepathists and conjurors. '^^^F]iYi?e.ra] "vvind-up, touching on mind reading and kindred phenomena. A geneiai wu f, SUPPLEMENT. (-iiwRni,'? OF THE GHOSTS. 4 two hour entertainment, introducing demonstrations in Mysticism, Mental T Ipnathv Occultism and kindred weird and startling so-called Psychic Pheno- 1.na winding up with a novel Crystal Gazing performance. This entertainment ™-ii meet the approval of all advanced entertainers, especially the performer who wishes to carry a limited amount of paraphernalia. $2.00 Postpaid Complete ROBERT W. DOJDGE 16Elm St., Somerville, Mass. 87 Real Vaudeville Patter Written to Order. Are you getting together a IVIagi- cal Library? written and staged. Prices within reason. Novelty Aets Arranged and Staged. Are you in search of a certain rare work? Hundreds of genuine unsolicited testi- monials If so get in touch with me. DAVID J. LUSTIG A pink stamp brings my latest LA VELLMA revised lists. Permanent Mail Address Care of 1207 Main Street Bridgeport, Connecticut U. S. A. ROBERT W. DOIDGE 16 Elm Street Patter that IS "different" for tricl■ -i the fronL You c:; n entire acl in magic niC NIITY DEfK This deck h c-ipcciallv suited for loni These di-^Unce icadio!.'. The diitilions b.KU n UN jnit htiw to nccHniplifth some pi-ilnr SFcmiiigl.v iinpussibie feala. their aid. Every one of these, decks is different. Exclusive triclts can be performed with each. Special directions containing the secret "Icey" are furnished with every deck. With these cards YOU can accomplish feats in magic, equal to any performed by professional magicians. PRICE PER DECK - . . . ONE DOLLAR Send a 2c. stamp for our lllu^rated Catalogue S. S. ADAMS, Asbury Park, IN. J. 92 Silvey & Bugden Oldest Magic Supply House iu America. Silvey & Bugdex, Successors to W. D. Leroy. Conductors of tke Boston School of Magic. Teachers, Inventors, Importers and Dealers in everything in Magical Apparatus. Always exclusive features to be had of us. If its Silvey & Bugdex, it's the best. The latest European and Amer ican books always in stock. Magic papers, etc., hundreds of rare books ■ and papers always on hand. We pay a good price for second hand Standard Magical Apparatus. Home made stuff not wanted at any price. BOOKS. Higher Magic (Oscar Teele) $5.00 The Art of Magic Nelson Downs) 5.00 Tricl