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 INDEX

INTRODUCTION – Bob Nelson...........................................3

COMEDY SKITS, BLACK-OUTS AND LINES – Bob Nelson.....................5

JEST THOUGHTS – Gerald Kosky........................................9

FOXY COMEDY CONTRIBUTIONS – Karrell Fox............................11

FOUR COMEDY BITS — George Johnstone................................14

THINK OF ANY CARD – Sid Lorraine...................................17

COMEDY MENTAL EFFECTS – The Amazing Maurice........................20

LOVE CHAIN — North Bigbee..........................................26

HILARIOUS HEADLINES – North Bigbee.................................28

COMEDY MENTALISM ROUTINES – Alan Milan.............................30

HAPPY THOUGHTS ON SKULL RAPPING – Alan Milan.......................34

MEET BASIL SKULLBONE – George McAthy...............................36

COMEDY MINDREADING ACT – Bob Nelson................................40

COMEDY ANSWERS TO QUESTIONS – Bob Nelson...........................52

COMMERCIAL MENTAL COMEDY EFFECTS...................................54

YOUR BONUS.........................................................56

MENTAL TRIPP – Robert Tripp........................................57

GEO-PHOTO MENTALISM – The Amazing Maurice..........................59

PERFECTED TELEPATHY – Benjamin Franklin IV.........................61

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2
 INTRODUCTION

For many years I have been a disciple of serious mentalism. But like
the changing times, I, too, have changed my thinking.

Whether in Mentalism or serious drama, even tragedy, there must be a

small element of ‘comedy relief’. The seriousness of the situations
portrayed must be given occasional relief, least they become depressed
or morbid. While everyone likes to enjoy the full spectrum of emo-
tions, a sense of balance is imperative!

It has always been conceded, even in the most serious presentations of

mentalism, minor comedy relief was a necessary ingredient at regular
intervals. Modern drama or any portrayal in the world of entertainment
must possess occasional comedy relief – the rule being that not more
than twenty minutes of serious business be presented without comedy
relief or a comedy situation.

Any after dinner speaker – worthy of his victuals – employs related or

unrelated jokes and humorous situations to liven and pep up what oth-
erwise might be a lengthy and dry dissertation. The need of humor and
comedy is a specific requirement in the theatre and world of enter-
tainment.

Living in a world of continual crisis and uncertainty, fraught with a

certain amount of personal anxiety, everyone enjoys an escape, even
momentarily, from these serious problems. Seeking this escape at the
other end of the pendulum in laughter and carefree thoughts.

There has long been an acute need for such a book as COMEDY MENTAL-
ISM, wherein the proponents of serious mentalism can be ‘kidded’. The
lay public, being of uncertain opinion about mentalism, find emotion-
al outlet in seeing the subject ‘buffooned’ or even ridiculed, if you
will permit this word. The burlesquing of mentalism is good human in-
terest entertainment. Everyone loves to see the ‘funny aspects’ of any
situation – and laugh.

COMEDY MENTALISM is a book designed to produce humorous, always

in-demand entertainment. The material contained herein, can be used
to excellent advantage on practically any occasion, and with very

3
little apparatus and a minimum of practice. All is not new. Some of
the time-proven comedy situations are repeated here for their intri-
cate worth. But whatever the occasion, COMEDY MENTALISM will open new
vistas of entertainment.

This book could not have been possible without the assistance and co-
operation of a number of my good friends and (favorite) funny men who
have graciously contributed ‘comedy lines and situations’, so that
others may smile and even LAUGH.

My sincere appreciation to those lovable funny men, whose imprint will

be found in these pages and in future Comedy Mentalism – Karrell Fox,
George Johnstone, The Amazing Maurice, Alan Milan, North Bigbee, Ger-
ald Kosky, Sid Lorraine and George McAthy.

- BOB NELSON

4
 COMEDY SKITS, BLACK-OUTS AND LINES
By Bob Nelson

Straight Man to Comic, Palmist or Mindreader: “Read my palm.”

“Oh, you want your palm READ. Hold but your hand.”

With a large brush and red paint; the comic wipes the Straight Man’s
hand and says, “YOUR HAND IS RED.” Blackout.

********

Mindreader asks pretty girl assistant to read HIS mind – girl assis-
tant SLAPS his face, says, “FRESH.” Exit.

********

Mindreader addresses pretty girl in the audience – “I’d ask you for –
your phone number IF I WERE NOT A MINDREADER. Please concentrate on it
– I know you don’t mind – THANK YOU.” (Takes out notebook and pencil
and makes notation in same.) “I’ll call you sometime soon.”

********

Turbaned fortune teller seated at table with crystal. Lady client op-
posite.

F. T. “I’m sorry to have to tell you this, but you will be a WIDOW
soon. Your husband is going to die a very VIOLENT DEATH.”

L. C. “WILL I BE ACQUITTED?” (Eagerly) Blackout.

********

Turbaned fortune teller seated at table, as above. Lady client seated

opposite.

L. C. “Oh, I ask two questions, is that right?”

F. T. “Yes, madam, NOW WHAT IS YOUR OTHER QUESTION?” Blackout.

********
5
Mentalist obtains male assistant from the audience – forces card.

M. to assistants: “Do you believe in mindreading? OH, you’re a MARRIED

MAN! But seriously, do you think it possible for another person – a
total stranger – to read your mind – to tell the name of the card you
selected, which is known only to you? Point to any person or PERSONS –
unknown to you – and ask them to name the selected card.”

At this point, performer slips a large reproduction of the selected

card from under his coat (unknown to spectator) and holds it up be-
hind the assistant’s head so the entire audience can learn the identi-
ty of the card. Whoever is selected in the audience sees the card, and
loudly reveals its identity. Many times, the bulk of the audience will
yell out the card’s name. Assistant is naturally puzzled as the audi-
ence laughs and this makes for a very funny situation.

********

Seated behind a draped table – center stage – is a scholarly looking

man. Sign announces ‘Professor George’s SURE-FIRE MEMORY COURSE – only
$5.00.’ Straight man enters, and is greeted by the Professor and sits
at the table.

S. M. “You are Professor George, the author of the SURE-FIRE MEMORY

COURSE? (Prof. nods) I have a terrible memory and want to improve it.
I understand that your course for $5.00, guarantees to give me a MAS-
TER memory. Is that right?”

Prof. “Er, yes, sir, my course is the greatest. Once you have studied
it, you will NEVER forget. I guarantee it and it’s only $5.00.”

S. M. “OK, I’m sold. Here’s TEN dollars.” (Hands ten dollar bill,
which the Professor pockets.) S. M. waits for change, but nothing hap-
pens. Pardon me, Professor, but I gave you TEN dollars. What about my
change?”

Prof. “Oh, sorry, it slipped my mind.” (Gives change). Prof. arises

to shake hands with S. M. and bid good-bye. Best investment you ever
made, my friend, great memory training. Prof. moves from behind table
SANS PANTS (in shorts). S.M. exits, while Professor looks befuddled by
laughter – Blackout.
********
6
Using a clicking skull in the hand, introduce skull with fancy name,
like, Archibald – “He was an old time Morse Code operator, who refused
to RETIRE – Right, Archibald?” (Click jaw several times) “He said...”

The skull can be used as a LIE-DETECTOR, clicking the jaws ONCE for
YES and TWICE for NO. “Archibald has been found to be infallible as a
lie detector. Never fails. Right, Archibald? (Jaws click once) Now, I
am the world’s greatest mentalist.” (Jaws click twice) Performer looks
startled and embarrassed. Performer chastises skull. Skull runs off a
series of clicks. “Archibald just said that he is like George Washing-
ton – he cannot tell a lie,” etc.

A clever comedy bit can be presented using a skull or VENT figure as

the MINDREADER. The ventriloquist talks for the skull or figure, pre-
senting the Comedy Mindreading Act – with a few variations – as later
described. A good gag is to blindfold the figure, with one section cut
out over one eye. Figure is held so that it is not apparent to the au-
dience at first, until the climax. This is good bit for closing.

GAG LINES

Good gag lines for mentalist working blindfolded in audience – “Please

sir, would you mind taking your suitcase out of the aisle – OOPS, sor-
ry, I mean your FEET.”

“I believe in fortune telling – I knew a man who told my uncle the ex-
act day, and how he was going to die – he was the WARDEN.” (Or Judge)

“I once had a request from a lady to contact her dear, DEPARTED HUS-
BAND, it didn’t work, being a SCOTCHMAN, he insisted the CHARGES BE
REVERSED.”

“Reading a woman’s mind is just like reading the pages of an OPEN BOOK
– a BLANK book!”

“Tonight, I would like to demonstrate MIND over MATTER. If you don’t

MIND, I am sure it won’t MATTER.”

“Two mindreaders passed on the street. One said ‘Good evening, you’re
fine, how am I?’”

7
When introducing performer – “Incidentally, the Madame or Professor,
was born in the theatre – his (or her) parents couldn’t afford a hos-
pital.”

Doing X-Ray or Code Act – “I see a diamond ring – too bad it isn’t a
real one.”

“The Professor used to kill ‘em on Broadway – until they took away his
driver’s license.”

“The Professor is very popular – you should see the fan mail he gets –
only yesterday, one letter POURED in.”

“Oh, those love questions – the Professor is quite an authority on

LOVE. He formerly worked as a bellboy in a hotel at Niagara Falls.”

8
 JEST THOUGHTS
By Gerald Kosky

Hold a gimmicked light-bulb in your hand and have a spectator hold

your other hand. Force a card, word, pictures, etc., on a specta-
tor and have the selectee stand by your side in order to try and get
the ‘Thought Impressions’ from them. You tell selectee that in order
to receive their thoughts you want the selectee to hold your hand and
to think “Yes” or “No”, in answer to the questions you will ask them.
When your hand is being held, you pick up a gimmicked light bulb (the
kind that you can light up in your hand) and tell selectee that the
bulb is sensitive to thoughts and, when they mentally think ‘Yes’ to
your question, the bulb will light up, which will – give you the in-
formation you need in order to read their thoughts.

The bulb lighting up in your hand will be a very humorous bit of busi-
ness, and at the same time will add to the mystery as to how you knew
when to light up the bulb when the selectee has mentally thought “yes”
to your question.

The light bulb can also be used as a ‘Lie-Detector’. You tell select-
ee – that every time they ‘lie’ to a question, the bulb will light up
in quick on and off flashes. When the truth is told, it will have a
steady light. The questions of course, are to be answered by the se-
lectee verbally, not mentally, as in the above test. The idea is to
get the selectee to ‘lie’ to your questions, and to admit it when the
light flashes on and off rapidly.

********

In doing a two-person mindreading act, and during your asking your

blindfolded partner (The Princess Know-All) to name the various objects
– shown to you by the members of the audience, remove from your pock-
et a color changing handkerchief and ask, “What do I have in my hand?”
Partner will say, “Handkerchief,” you then ask, “What color?” Partner
will say, “Red.” Hold the handkerchief up so that all may see that it
is a blue colored one; (look at it for a moment as if at a loss for
words and then ask, “Did you say red?” Your partner says, “Yes, I said
red.” You then change the color (so all may see) of the handkerchief
to red, and say, “Right, the Princess is never wrong.”

********
9
Why not use a moving Pip card (Jumbo size) in your mental-type act?
Force a card on a spectator and show him and the audience the Jumbo
(moving pip) card. Selectee tells you it is not the card he selected.
You ask what was the card selected and when told you move the pips on
the Jumbo card, so that it becomes the same in value as the one that
had been selected. This bit of business is always good for a laugh.

********

The following is an old gag, but in my working of it, it is used di-

rect instead of having another person holding the so-called predic-
tion. Here goes: “I want you to think of anything that comes to your
mind; take your time about it, don’t rush. Do you have your thought in
mind already? You have? Thank you.” “Now, without your seeing what I
am about to write, I am going to write on this blackboard (or slate)
THE VERY SAME THING.”

You write on the blackboard the words, ‘THE VERY SAME THING’. When you
have finished writing these words, ask the spectator what he or she
had thought of. When it is told to you, you comment on their thought
as being a thought that you sensed they might think of. Do it in such
a way that the audience will be led to believe that you have written,
on the blackboard the thought that the spectator had in mind. You then
finish what you have been talking about by saying, “Remember, I said
that I would write on this blackboard THE VERY SAME THING? Is that
right?” Turn the board around so that all may see the writing on it,
and say, “You see I have not lied to you. I wrote on this board, as I
said I would, the words, ‘THE VERY SAME THING’.”

10
 THE PROPHECY OF POO YEE
By Karrell Fox

Our mentalist has two cards selected, and shuffled back into the pack,
which is placed aside as he displays a large manila envelope, ad-
dressed to himself. “I have a Chinese friend who is a marvelous min-
dreader, and I received this letter from him this morning. There was
a small note attached to the flap which said, “Do not open this until
you have had two cards selected on your show tonight. After you have
the cards selected, open the envelope and you will find my prediction,
proving that I knew which cards would be selected even though an ocean
separates us.”

“So now, let us check the prophecy of Poo Yee.”

Mentalist removes the slate from the envelope and displays Chinese
characters on same, saying, “Here, sir, is the name of your card.
What’s that? You say, you can’t read Chinese? Very well, we will re-
place the slate in the envelope and see if Poo Yee’s spirit will
translate the message for us.” Mentalist removes slate from the enve-
lope, and it now reads, two of clubs, (or whatever card you force to
begin with) on one side, and the 6 of hearts on the other.

Method: All that is needed is one manila envelope large enough to hold
a very clever slate which allows the writing to change on both sides.
This slate you can get from your favorite magic dealer. Just ask for
MASSEY’S DUPLEX SLATE.

NELSON’S NOTES: The Dr. Q Slates would be an ideal means of accom-

plishing this stellar comedy effect.

FOXY PREDICTION
By Karrell Fox

Effect: Without letting the audience see it, the magician writes a
prediction on a slate and leans it against something on his table. He
then has a member of the audience stand, and states, now that he has
made his prediction, he would like this person to call aloud any card
in the entire deck.

11
Picking up the slate, the performer says to the spectator, “Do you
have any idea of what I have written on this slate?” We hope at this
point the spectator will answer “NO!” “You are absolutely right, says
the magician, as he turns the slate around to display the word “NO” in
very large letters.

FOR MENTALISTS WHO READ MINDS ON FRIDAY

By Karrell Fox

Mentalist shows a stack of business cards with different words print-

ed on them, such as TURTLES – WORMS – FLIES – BEES – BIRDS – GOLDFISH,
etc., and one is selected by a member of the audience.

Mentalist states that he shall gaze into his crystal ball to find out
which word the spectator is concentrating on. Mentalist points to
crystal ball on the table, which is covered with a small opaque silk
handkerchief. As he removes the silk, he remarks, “You, sir, are ob-
viously concentrating on GOLDFISH!” He holds up the crystal ball, so
the audience can see that it is full of water with goldfish swimming
around inside it.

Method: I use a simple force. The top half of the stack of cards all
say GOLDFISH. Bottom half are all different. It is this half which is,
of course, shown to the audience. For the crystal ball, go to your lo-
cal florist and ask him for a floral bowl. This is an item which has
been on the market for several years, which the florist fills with
distilled water and places a flower inside. Remove the flower and re-
place with several plastic goldfish.

THREE BITS WORTH OF COMEDY

By Karrell Fox

When my pal MILTON KORT and I used to do the popular burlesque min-
dreading act we used three sure-fire laugh getters in rapid succession
for the finish. They were:

I held up a borrowed finger ring, and asked Milt if he could tell me

what I was holding. He appeared stuck. At this point, I swung back my
coat, and rang one of the push type bicycle bells, which I had fas-
tened to my belt, “Ah-ha,” said Milt, “IT’S A RING!”

12
A little later on, he got stuck again and couldn’t name the object
I was touching. I tried to help him by removing a toy telegraph key
from my pocket (complete with batteries and a loud buzzing noise), and
pressed off a few dots and dashes to him. He said, “I’m sorry, Kar-
rell, I still don’t get it.” I then jumped upon a chair in the middle
of the audience and removed TWO BOY SCOUT SIGNAL FLAGS from my pocket
and sent him SEMAPHORE signals for the finish!

13
 FOUR COMEDY BITS
By George Johnstone

(1) Mentalist announces that he is going to call on the spirits for a

message. He puts two blank slates together. (Flap) Then all the usual
jazz about calling on the spirits for the message, etc. He takes the
slates apart...and acts befuddled and embarrassed at the message...

DON’T WE’LL
CALL CALL
US YOU

(2) This one I can’t take credit for. It’s an old burly bit that I saw
as a kid and put into the act when I first moved into comedy...later
dropped it to make room for other gags. About a year ago, Okito told
me he had a good piece of business for my act. He had seen two Europe-
an clowns perform it when he was a boy...and it was the same gag, so
that will give you an idea how old the thing must be.

The assistant is blindfolded and given a large oriental gong and mal-
let. (We have done it impromptu with a plate and spoon.) Mentalist now
tells anybody in the audience to mentally think of a number, and just
hold up the amount with their fingers. (The number must be between
one and ten). He now asks assistant to hit off the amount the specta-
tor is thinking of on the gong...(and held up fingers for). Assistant
hits gong slowly as magi counts aloud. When assistant hits the select-
ed number the arm goes up to hit it again, but the magi casually puts
his hand on the arm to stop it and shouts, “Correct, now let us have
another number.” The satire is so broad, as he very obviously cut the
assistant off at the correct number. They do it once more...it is
still good for a laugh, but don’t do it more than twice...it has been
milked for laughs enough.

(3) I have done many times – both in the act and at magic functions. I
guess it would come under the title of mental effects, as it is sup-
posed to be rapid mental calculation. Mentalist comes on with large art

14
pad and black crayon. He calls for a five digit number, and lists it
on the pad. He now announces that he will perform the incredible feat
of rapid calculation, in less than two seconds. He looks at the row of
numbers, wrinkles brow (showmanship here) and immediately scrawls an
answer under the line. He holds it up for all to see, displays it from
one side of the audience to the other, moving fast. He tosses the pad
aside...“and now for my next experiment.”

It is very obvious again that the audience must take his word for it,
as they have no chance to check his addition. Very broad humor that I
can vouch for in the Laughs Department.

(4) A spectator is brought up to select a card...then put it back the

deck. Another spectator is brought up. Mentalist says he will be able
to have the spectator name the card previously selected. He places him-
self between the two spectators, and puts his fingers on their fore-
heads...the thoughts to travel thru his arms, down his fingers into
the 2nd spectator’s head. He takes his arms down, and asks spectator
if he got the message. He did...what was the card? Spectator name it.

The mentalist forces the 7 of Diamonds on the spectator...and calls

the second spectator up. As he is coming up, the mentalist casually
moistens his fingers and riffles the deck which he now lays aside on
the table. His two moistened fingers touch and lift a little seven and
a diamond cut from self-adhesive black tape (this comes in many col-
ors, select your own. I use black for visibility.) Bring your hand over
the spectator’s head to his forehead. This prevents him from getting
a glimpse of your fingers which he would get, if brought up in front
of his face. Press against his head. Take your fingers away leaving
self-adhering tape to his forehead.

Ask the second spectator if he got the message. As soon as he spots

the other fellow’s forehead, your problem here will be to prevent him
from laughing aloud and lousing the gag up. Since it is only a gag,
send the spectator back to his seat with the tape still on his fore-
head. I once did this at a party and nobody cued the girl in, so she
wore the seven of diamonds on her head for the rest of the evening.

At one time I did this impromptu with only a minute’s preparation. Took
the flap of an envelope and cut the figures out of the gummed section.

15
The moist forehead caused the glue to hold. Use a fellow for this, so
you won’t run into a powder dry forehead.

Sketches by George Johnstone

16
 THINK OF ANY CARD
By Sid Lorraine

This is an amusing comedy bit for M. C. work, or as an interlude in

a regular act. You can make it up in less than an hour and the total
cost will be under two dollars. Once you’ve made it, you are set for
all time and – as it packs flat – you can carry it in your bag without
inconvenience and it is ready for any occasion.

EFFECT: The performer holds a super-giant card, back towards the audi-
ence. A spectator names any card in the deck – free choice – the large
card is turned around, and believe it or not, there is the card named
by the spectator. Perhaps I should also mention that all the other
cards in the deck are also held...being displayed on this giant card.
In this way, no matter what card is named, the performer is holding
it, including the Joker.

This gag is good for a laugh, with any group, and it makes a nice break
during your regular serious sorcery with tubes, doves, rope, rings and
card-injoggery.

It is an old gag. It circulated among close-up card gagsters, seven-

teen or eighteen years ago. In those days, a sheet of tiny cards were
pasted to the face of a regular card. This adaption with the super-gi-
ant card and presented as outlined in the patter routine, makes much
more of it for public presentation and will provide an added laugh to
your program.

HOW TO MAKE IT: Get some white card board (show card board) fairly
stiff and cut out the card, complete with round corners, 7-3/8" x 10-
3/8". Now, take a deck of those small (half-size playing cards) called
‘Playmate’, and other fanciful names. They are obtainable at most
stores selling the regular size cards. The only requirement is a piece
of the patterned plastic self-adhesive material called ‘Con-Tact’ and
sold in department stores. Select a small pattern design. The one I
used was a small repeated pattern in gold on a black background. This
patterned material is cut about an inch and a half less in width and
height of the card. It is pressed into position in the center of the
card, and the result is a white-bordered card back.

17
On the other side of this card, glue down the complete deck of small
cards. Arrange the cards in suits and in four rows, from Ace to King.
My arrangement of suits follows the old Deland system, Diamonds, Clubs,
Hearts and Spades. The Joker is stuck at the bottom, on its side.

With the suits in a known order, it is a simple matter of locate the

named card, with your finger, while the face of the large card is still
toward you. In this way, when you turn the card around, your finger is
pointing to the card named.

I use a 9" x 12" clasp envelope to conceal the card, until it is time
to bring it forth. When removing the card from the envelope, make sure
you don’t reveal the face, as I am sure you realize the entire effect
depends upon the surprise revelation at the finish.

PATTER “It has always been a secret desire of mine to perform feats of
mindreading and demonstrate positive proof of psychic phenomena, or,
as they say in show biz ‘Do a mental act’.”

“I feel that I am fully qualified. As a matter of fact, I have the word

and evidence of two distinguished medical men. They both announced,
definitely, that I am, without a doubt, a mental type.”

“To give them further evidence, I should like to try an experiment,

which I call Extra Sensory Deception. This evening, before I left home,
I removed a card from a deck, and placed it in an envelope. I have it
here. It is my intention to transmit my thought to the mind of a mem-
ber of this audience. Preferably, someone I do not know. Will you help
me, sir? Thank you! Would you please stand up. Thank you! I could do
it with you sitting down, but if you stand everyone knows with whom I
am dealing. Then again, it infuriates many of my friends who maintain
that no one will stand for my nonsense.”

“Now, sir, will you please think of any card...any card at all...per-
haps I should clarify that request. The other night I asked a lady to
name any card at all, and when I asked her to name it aloud, she said,
‘HOUSE FOR RENT’. I am talking about playing cards.”

“Now, before, you name the card you are thinking of, here is the card
I selected at home (remove giant card from envelope and display it

18
with the back to the audience.) Rather large, isn’t it? It’s from
one of those large economy decks; The kind you use to play for large
stakes...like Texas and Alaska. The reason I use such a large card is
to assure you that I don’t exchange it by pushing it up my sleeve or
between my fingers.

“Now, for the first time, will you name aloud, so everyone can hear,
the name of the card you merely thought of. The King of Spades! I
couldn’t possibly have known you were going to think of that card;
when I left home, could I? As a matter of fact, I don’t suppose you
thought – about any card until I asked you. Right?”

“Will you think I am a pretty good mindreader if, when I turn this
card around I am holding the King of Spades? Alright, better get ready
to applaud and be amazed because, believe it or not, I am actually
holding your card (turn card around and point to the named card) the
King of Spades!”

19
 COMEDY MENTAL EFFECTS
By The Amazing Maurice

EFFECT #1. Lady spectator selects a card from a midget deck of cards,
notes same and returns it to the deck. Deck is now shuffled and per-
former tries to locate the card – but with no success. At this point,
he whistles and shouts, “Here, Charlie, come and help me,” and he looks
under the table and about the floor for ‘Charlie’. He removes a small
catnip mouse from his pocket. This cloth covered mouse can be obtained
at the five and dime or pet stores. He reaches down to the floor, near
a woman’s feet, and produces the mouse.

He tells Charlie that his job is to locate the selected card. Specta-
tor is asked to close her eyes and please concentrate on the card that
she selected. Performer picks up mouse, and whispers in its ear. Spread
out the cards on the table top. “You don’t have to worry about Char-
lie, because he will find the card as his 5th sense will enable him to
perform this amazing feat. Push him over the cards, one at a time, and
sure enough the mouse will locate the card. The selected card will ad-
here to Charlie’s nose – which is displayed. Thank Charlie and put him
back into your pocket.

HERE’S HOW: The card to be used (forced) has a thin piece of met-
al glued in its back. Split card, insert metal and re-glue back. Into
Charlie’s mouth, wedge a small Alinco round magnet...now you are in
business and ready for the squeaky effect.

NELSON’S NOTES: You can patter on Dr. Rhine’s recent discoveries that
animals do possess extra sensory perception.

********

Effect #2. Spectator is given an ordinary deck of cards – requested

to shuffle, then remove any one card – to hold this card in front of
their face and concentrate. Performer runs thru deck, selects one card
and hands to spectator – who confirms it as the selected card.

HERE’S HOW: As you hand the card to the spectator, wink at them. On
this originally blank card you have lettered – “Don’t laugh – just
read this – ‘YES, THAT’S MY CARD’ – Please keep this a secret.”

20
[Ed. Note: For an even more powerful and seemingly impossible feat, do
away with the deck altogether and come out with just the single card
in your hand (the one with the writing as previously described), hold-
ing its back to audience. Now, bring up a helper from the audience and
ask the person to think of ANY card in the deck. Build it up, and then
have the person read the card. If you have chosen your helper well,
you will have performed a miracle! If not, and they expose the gag,
nothing lost, play it for the laughs.]

********

EFFECT #3. Show a paper bag, and into it are placed a number of ob-
jects collected from the audience. Or, you can use index cards with
names printed boldly on same. Spectators are asked to print their names
on cards. Cards or objects are collected and placed in paper bag. Se-
lect some spectator from the audience, telling them that they are now
a full-fledged member of the Secret Magical Society and that secrecy
is the key word. Individual is seated at a table, with bag directly in
front. Members of the audience are asked to call out their objects or
names, and assistant immediately reaches into hag and produces same. A
nice round of applause for the assistant as she retires from the plat-
form.

HERE’S HOW: Using an 18 or 20 lb. Kraft paper bag,

cut a large window from one side and cover the
opening with heavy cellophane or transparent plas-
tic. This gimmicked side is away from the audience.
The assistant can see the contents of the bag from
the back, thru the window, reaches into bag and CUT OUT
withdraws the desired card or objects. A duplicate,
unprepared bag is handy and the gimmicked bag is
exchanged for same as the assistant is dismissed.
Blow it up and strike with hand, exploding same
with a loud noise.

In lieu of this, and for a laugh, the performer can inadvertently (?)
turn the gimmicked bag around exposing the trick.

********

21
EFFECT #4. Hand spectator a deck of cards, request them to remove any
card, look at it, and project the mental picture to your mind. Card is
returned to the deck, and mentalist brings same to top of the deck.
Hold the deck up, revealing the bottom card. Mentalist asks, “Is this
the card you are thinking of?” “NO,” is the reply.

Mentalist p1aces the entire deck to his forehead, asking spectator

to concentrate on the selected card. Getting nothing, performer asks
the name of the card. Raise the head and lower the deck in your hand,
leaving the selected card stuck to your forehead.

HERE’S HOW: Secretly apply a little saliva to the top of the deck,
which will cause the card to adhere to your forehead. Performer can
say, “I had it on my mind all the time.”

********

EFFECT #5. Couple (man and wife) are invited on the stage the lady se-
lects the card from the deck and is asked to remember same and return
it to the deck. The couple is requested to concentrate on the name of
the card. Mentalist names a card – but wrong card. Tries again and
again – without success. In desperation, performer gets the husband
into the act – handing him a piece of rope; and asking him to hold it
high. While the wife concentrates again on the card, performer picks up
a pair scissors to cut the rope, but inadvertently (?) cuts the gen-
tleman’s necktie in half. Apology...while proceeding to cut tie into
bits – the main purpose is to divine the selected card! The pieces of
necktie are vanished, the tie restored, and as the mentalist goes to
tie it around the gentleman’s neck, HE PULLS OFF HIS SHIRT. Open the
jacket and reveal the selected card painted on the undershirt! Swing
the husband around, so the wife can see the card on hubby’s under-
shirt.

HERE’S HOW: The man, of course, is a stooge. Best to not let the wife
in on the secret, as the natural element of surprise is hard to dupli-
cate.

Card to be forced is painted under the undershirt in bright red (if

card to be forced is a heart or diamond), or in black, if a black card
is to be used. Duplicate neck-ties are used and a switch is made in a

22
change bag. The removal of the shirt from under the jacket is the old
shirt pulling gag, and for those not familiar it is prepared in this
fashion. Stooge puts shirt on, but NOT the arms in the sleeves. Cuffs
are fastened around the wrists, collar buttoned. Coat covers this se-
cret preparation. It is necessary to unfasten both cuffs, unfasten
collar, remove tie, and unbutton the first two or three top shirt but-
tons. By getting a good grasp on the shirt collar, it is pulled off
over the head.

********

EFFECT #6. From a Playboy or other magazines, cut out five differ-
ent color pictures of exotic women. Paste each on a card 7 x 11 in.
size. Glue another card of the same size (white glossy show card) to
the back of each. Leave unglued a small area in the upper right hand
corner (see sketch) on the backs of each card. Write or print boldly
the name of each girl under the picture. Using slips of paper about 4”
square, write the name of each girl on flaps and fold, placing respec-
tive slips in the slot on the back of each picture.

Exhibit all five pictures – any gentleman volunteers to assist. Men-

talist states that you will cause him to think of one particular girl
and try as he may, he will wind up with the young lady you predict-
ed. On your table is an open small Kraft paper bag, in which you state
you have placed your prediction. Tell the spectator to designate one
of the girls he did NOT select – discard that picture. Continue this
(which affords an opportunity for a lot of wise cracks and comedy as
you eye each discarded lovely lady.) One photo remains – the specta-
tor’s selection.

(Sketches by Maurice)

23
Holding the selected picture; the thumb and fingers of the right hand
secretly remove the concealed slip from the back of the card, and as
you pick up the bag, drop the slip into same, proceed to another mem-
ber of the audience; and allow them to remove the slip – discarding
the bag – spectator reads slip, which verifies your prediction!

********

EFFECT #7. Spectator selects card from deck (forced) and is told to
look at it, then place it face down in the center of a chair and sit
on it. Mentalist attempts to divine the name of the card – without
success. Several attempts are made. Now straighten the spectator, tilt
their head back a trifle, ask them to open their mouth and say, “Ahhh-
hh....” Mentalist looks down spectator’s throat and finally names the
card.

NELSON’S NOTE: For years, I have had fun with a variation of this ef-
fect. Forcing an ACE on the spectator, go thru the business of the
spectator sitting on the card – their weight and the fact that you
couldn’t possibly know the card UNLESS you were a MINDREADER.

Finally, look down the throat and exclaim, “Oh yes, you HAVE AN ACE IN
THE HOLE...THE ACE OF CLUBS.” (Or whatever suit is being used). Recom-
mended only for stags and sophisticated groups.

********

EFFECT #8. Insert a blank face card in the deck. Explain to the audi-
ence that you will have a number of cards selected from the deck, the
results which will act as an INTELLIGENCE TEST. Explain that the per-
son taking a high value card, such as an ACE indicates a HIGH degree
of intelligence, a lower valued card, such as a SEVEN or less, an AV-
ERAGE degree of intelligence, and so on.

Approach the first spectator and force an ACE – tell spectator to hold
it high so all may see it. This card, you state, indicates superior
intelligence. Next force a seven on the second spectator, it is re-
vealed and indicates average intelligence. Approach third person and
force the BLANK card – ask spectator to hold the card facing the audi-
ence – which is revealed as a BLANK card. Nothing is said in the way

24
of explanation – audience naturally draws their own conclusion. Men-
talist then retrieves the blank card which denotes...“Oh well, we’ll
proceed to the next test.”

25
 LOVE CHAIN
By North Bigbee

LOVE CHAIN was deliberately designed to create some hilarious situa-

tion-comedy which would lighten a serious mental program, yet be en-
tirely appropriate for such. Furthermore, it utilizes the audience ap-
peal of youthful romantic comedy, long the most popular staple of the
‘slick magazines’ and movies, but entirely neglected by magic. Lastly,
it can be made up for a few dollars or even less, as you probably al-
ready have its principal prop.

Performer invites to the stage a young couple who are engaged or go-
ing steady for an experiment in choice-control. Opening a lock with
one key, he shows four other keys which WILL NOT open it, and has the
couple seal all five in identical envelopes. He proposes to force the
couple to pick the four keys which will NOT work, leaving him only one
which will. To make the test more challenging, he brings out a chain.
Asking if they are familiar with the expression ‘Bonds of Matrimony’,
he explains this is a preview, known as ‘Bonds of Romance’, or LOVE
CHAIN. After their wrists are chained, the young man or woman stage a
laughable contest to show which sex is more deft, each opening his or
her two envelopes and trying the keys therein.

When all four fail, the performer searches for his, only to report
regretfully he has lost it. After some ‘helpful’ suggestions which
milk further comedy from their situation, the performer finally finds
the fifth key which indeed opens the lock!

The inexpensive props are a SIBERIAN TRANSPORT CHAIN, or length of

chain, its lock, one key which will open this, five similar looking
keys which will NOT, and six small coin-envelopes.

Before performing, seal the real key in a pay envelope and insert this
in fold of handkerchief in breast-pocket of your coat or dinner jack-
et. Thread a red ribbon through one fake key and insert this key in
the already opened lock.

After getting on stage an engaged or going steady couple, explain this

is an experiment in controlling choices; not one but four, NOT of one
mind, but two. However, to simplify it, you have chosen a couple in

26
love, or ‘two minds with but a single thought’. For the test, you will
use this lock, which only this key of the five will open. Hold left in-
dex finger over space between hasp and its hole, pressing hasp slight-
ly down into hole, then turn key, and let hasp fly up with a click and
turn it sideways. (This fools even lock experts among magicians)

Have couple seal keys in envelopes BEFORE bringing out the chain, as
by then they’re too deeply involved to demur. Explain that the chain
is used to make the test more dramatic and ask if they have heard of
the Holy Bonds of Matrimony. Note that ‘this is a sort of a preview’
(which will get a laugh). Chain left wrist of man (who can more easi-
ly remove wrist-watch and pocket it, than girl) to the wrist (right)
of the girl, using the second or escape-proof method given in the in-
structions for the transport chain. Ring at the BOTTOM of man’s wrist,
chain brought UNDER and then over the girl’s wrist and through the
second ring. (Have each select two envelopes and plainly put the fifth
in your outside right coat pocket.

Patter that it has often been argued whether a man or woman is more
deft with his or her hands, and this will prove it by showing which
can first open the two envelopes and try the two keys. Suggest that
men in the audience cheer the young man on, and the ladies, the girl.
This adds to the natural comedy resulting from the couple’s frantic
fumbling with envelopes and keys, with one hand of each chained to the
other.

Pick up each envelope they drop. After putting two in the same pocket
with your own envelope, where they get mixed up, hurriedly but plainly
place your envelope in your breast-pocket BEHIND the handkerchief al-
ready enveloping the envelope with the real key. When the couple fail
with their four keys, start looking for your key, pocket-by-pocket,
changing your expression from bright confidence to regretful failure.
When you announce, “I’ve lost the key!” It stops the show.

Playing it dead-pan, you then alibi, “It’s just one of those things.
After all, there are five keys, and I have lost only one. Percent-
age-wise, this is NOT bad.” (laughter) “In your sympathetic reaction
to the young couple’s plight”...(laughter)... “Do not overlook the
important thing, the experiment was a success!” (This gets a howl of
laughter)

27
“I promised to make the young couple choose the four keys that would
NOT open the lock. This I have done.” Then changing from a triumphant
expression to one of obvious disgust, “And, now for the couple. I have
a helpful suggestion to make. After the performance, go to a tele-
phone booth, together that is.”...(Laughter)...“Of course, a phone
booth is built for only one...but trying it together should be fun.
Find a locksmith that is still open and have him cut you apart. Or, if
that fails, go down to the police station. In fact, young man, if you
brought your girl home like this, her father would probably take you
there anyway. And, now we must get on with the next experiment.” Begin
showing the couple towards their seats for further laughter.

At the last moment remember one pocket which you did NOT search, al-
though you only keep a handkerchief there, and NOT even ‘a blow-
er’, but just ‘a show-er’.” From the folds of the handkerchief in
breast-pocket bring out the envelope with the real key, and triumphant-
ly open the padlock and release the couple. Ask the audience to give
them the biggest hand of the evening for being such good sports, which
sets you right with them, and also brings additional applause for you.

HILARIOUS HEAD LINES

By North Bigbee

HILARIOUS HEADLINES Is a laughable headline ‘prediction’ for club per-

formers, especially for smoker or other stag dates.

Performer gets onstage a popular club member to aid in the ‘predic-

tion’ of the headline of the forthcoming edition of the local news-
paper. Onto a strip of adding machine tape (or the wider paper that
comes around dime-store ribbon) the performer secretly letters pre-
diction wording and rolls paper, and inserts roll into suitable con-
tainer. He has barely finished when a ‘newsboy’ (club secretary or a
tipped youngster) rushes in yelling, “Extra! Extra! Read all about the
big scandal!” But hiding the paper’s headline. Performer then removes
prediction and unrolls it, with his victim holding the other end. Pre-
diction turns out to be some derogatory news about the spectator him-
self, which the newsboy then reveals as the large-type headline of the
newspaper!

This comedy effect makes a new use of the gag headlines (with an in-
dividual’s name printed in huge type) which are available at novelty

28
shops, at fairs, etc. From the club secretary or a friend, perform-
er gets the name and habits of one of the best known members who will
be at the upcoming performance, and has his name printed on the fake
newspaper.

On the day of the performance, get a copy of your local newspaper, and
on to its front-page rubber cement the fake headline and story, un-
derneath the real paper’s name and date. Also clip the words, “Extra”
from the fake and cement at either side of the real paper’s name. Mem-
orize the member’s name and the headline, or print it on a small card
which you can refer to while lettering the prediction.

In performing, letter this as large as possible with a blue-ink show

card marking pen (from any art supply store). Roll the prediction from
right to left, so the first word of the prediction will be the first
word seen when you later unroll it. Get your victim onstage to ‘help’
you, and mask your printing from him as well as the audience.

Place the prediction in a container appropriate to the headline. For

example, a stein, if the headliner is supposed to have won a beer-guz-
zling contest, a small noose if he’s reportedly been arrested as a
hoss-thief, etc., (NO noose is good-noose!)

Novelty shops usually have several different versions of “Your Name in

Headlines” over which they print the victim’s name.

29
 42 – 24 – 42
By Alan Milan

The following effect should follow a part of the program wherein a

spectator has been made into a mindreader. As in all comedy situations
almost everything depends on your own ability to milk the laughs, and
in this case upon being able to pick a suitable assistant, either from
your own personal knowledge, or on the advice of someone in the group
for whom you are working.

To commence you have to force a number. To do this simply have a pack-

et of number cards well mixed, and then add your six cards to the top
by palming or any method you prefer. Now, ask someone to deal off the
top six cards into groups of two, the result should read:

4 2
2 4
4 2

Ask the person doing this to keep the result concealed, but to think
of the final combination of numbers.

Now, we are ready with the assistant whom you have chosen for the big
spot in the effect. Haul out your crystal ball and expound a few words
about your assistant’s natural affinity for numbers, being able to get
the right intuition, etc., and get the most you can get out of this...
Then explain you want him to look in the crystal and see if he re-
ceives any impressions, he looks in...a blank...and says, “NO.”

Ask him to relax, clear his mind and think pleasant thoughts. Now, what
does he see...he looks again and this time sees a very charming young
lady, in full color and very scantily dressed. However, what he will
say, and what you want him to say at this point, is ‘a girl’. Shake
your head and pretend surprise. Ask him if he thinks she is good look-
ing and now, if you have the right assistant, the laughs will start.
Ask him to describe the young lady...the idea being to get him to use
his hands in a classical manner for the description. Finally, have him
admit the fact that the lady is “good looking, largely disrobed,” and
then snap, “That’s enough”...look at the audience for a while.

30
Depending on your helper you can have him duplicate the position the
girl is standing in, etc. Ask him if the girl is anyone he knows, and
get a ‘No’ answer. Point out that this is a long way from the gentle-
man thinking of a number, but since we have gone this far, let’s try
to find out who the girl is. Back to the crystal, and the gentleman
informs the breathless throng that it is none other than Mamie Van
Doren. “That explains it,” you exclaim with a triumphant smile (All
good mentalists should practice until they are really proficient with
the triumphant smile), “but the numbers the other gentleman is think-
ing of must be reading from top to bottom (wow!) 42 – 24 – 42! Finis.

Now let me be the first to admit that this is not too long on mystery,
but following a legitimate effect of a similar nature, it will play
extremely well and with a good helper, you will get more than your
fair share of laughs.

The picture for the crystal is obtained from one of the small novelty
viewers that are found attached to key chains, etc. These pictures are
in a color transparency, round and about a half inch in diameter. You
will find a large card of them on display at any novelty store, and at
the risk of being mistaken for a dirty old man, you can spend a minute
or two looking thru them until you find a suitable pose, etc., for the
way you work. Needless to say, the girl is unknown, so you have to have
a name written out for his last peek into the crystal...try to local-
ize this with any girl with well developed mammary glands that may be
in the news in your neck of the woods...e.g., when Candy Bar (that’s
a well stacked stripper, son) was making headlines in the fair State
of Texas, and points west, anyone that could not get a laugh with her
billing was dead...she was known on the marquee as Candy Bar...Good
Enough to Eat!

You can, of course, use a glass in place of the crystal, but I have
always thought that you loose something when you do this. Also, I had
a few cards made up with different combinations of numbers on them,
so the spectator would only have one card to handle. Needless to say,
this is for an intimate party, where everyone more or less knows ev-
eryone else. Have fun!

31
 AN INTERESTING OUT
By Alan Milan

The following is a little idea that has served me well over the years.
It is for shows that are proceeded by and followed (mainly followed,
we hope) by very fair numbers of cocktails. Intelligent people after
a relaxing meal, a good show and enough liquor are highly entertained
by many of the same things that would please a six year old child,
soooo...

While standing around with a drink clutched to your breast and grace-
fully receiving all the compliments the assembled throng are shower-
ing on you, look over to the left, the lady who is bearing down upon
you with her best smile, is about to ask you if you tell fortunes,
read teacups or any other similar noteworthy occupation. Strongly sub-
duing the desire to say ‘yes’, and see if you can’t take the old dear
for all she owns, you smilingly decline in words that leave no doubt
as to what a sterling character you really are. BUT you say you happen
to have something with you from your last trip to the darkest backwa-
ters of your agent’s office. The something is a small bullet shaped
piece of metal suspended (point end down) from a length of hand woven
crovus (that’s string, son) and legend has it that these mysterious
little objects can tell the past, the present and the future...much to
the amazement of the world of science. Explain that you hold one end of
the cord, let the bullet swing free, or let one spectator hold it over
the hand of another, explain that the bullet will swing in a circular
motion for yes, and in a straight line for no. To prove the point,
ask a couple of obvious questions, get the yes or no answer, and then
give it to them to play with, and by the Great God Zeus, it works.

The comedy part of this will come with the questions the women think
to ask each other. Believe me, you will have to do no prompting on
this one. You can now leave them with the toy and repair to the bar,
and replenish that drink...only be sure that you have another half
dozen or so bullets in your pocket for the other people who want them.

Now, in the case anyone does not recognize our old friend, the ‘Sex
Detector’, as it used to be called, here is the dope. This will work
100 times out of 100...the secret involuntary muscular reaction...the
answer will be what the person holding the cord thinks it should be,
but they cannot detect the fact that they are causing it to move.

32
It is, older than the hills, but most people have forgotten them if
they are old enough to have ever seen one. I understand that years ago
they were sold to determine the sex of eggs!!!

This is not an effect, but is a good give-away item that will cause a
lot of fun, and help you to be remembered. Almost any weight on the
end of a string will do the job...years ago I bought a close out of
some of these in Europe at less than a cent a piece, so I don’t know
if anyone has them on the market at the present time. However, a lead
weight with a hole for the cord should be cheap enough to put togeth-
er...happy swinging.

MENTAL FLASHES FOR MENTALISTS

By Alan Milan

FLASH: If you do the want ad test in your act, you can introduce more
novelty and build a much better patter line by using the movie ads.
Depending on the film and the stars that you force, a good comedy el-
ement be introduced, and as a strong finale a pair of passes for the
selected show are given to the assistant...making an unusual predic-
tion. Most movie houses will be happy to furnish you with the passes
for some week night in return for the plug they get in your show.

FLASH: For a non-force force in a smaller group, use Heath’s Num-

ber Dice. You will have the total before your helper can start to add
them...very good in any one-ahead system.

FLASH: Good give-away novelties for mentalists are not too easy to
come by, but most people are fascinated by magic squares. A fifteen
square on the back of your cards will be well received.

FLASH: For some magical reason entertainers are as a general rule,

always backwards in the giving of gifts to the people who book their
shows privately. A prediction that is always well received at house
parties, is to read the hostess’ mind to the extent of a bouquet of
her favorite posies or a box of candies...her husband is always help
here. The chairman of the club will always appreciate you divining his
favorite brand of whiskey, and it is really remarkable how effects of
this nature help repeat bookings.

33
 HAPPY THOUGHTS ON SKULL RAPPING
By Alan Milan

“I have here two skulls...the skull of Napoleon as a boy, and the

skull of Napoleon as a man.”

“A living testimonial to Metracal.”

“The composer of that famous song...‘I Ain’t Got Nobody’.”

A large black box, similar in shape to a hat box, sits on the table,
the lid slowly raises and slowly the skull rises up. It is wearing a
metallic party hat on its head, and a party blower in its mouth...this
is so incongruous, as to always raise a laugh.

About the best laugh I got on the clicking skull was to produce a rath-
er evil looking skull that was smoking a cigarette. Put down the skull
(less the cigarette) on the edge of the table. A scantily dressed cho-
rus girl enters and inadvertently (?) backs up to the table. Skull
makes a half turn (snaps jaws), apparently taking a bite from the girls
(?)...girl screams, and exits holding her behind...all clean fun, you
know. But not too suitable for your COMEDY MENTALISM, I am afraid.

NELSON’S NOTES: This is a funny piece of business, which I am sure

will bring a smile to the face of each reader as you visualize the
action. Whether or not you use it, at least it should provide a laugh
RIGHT HERE.

********

George Blake of England published an idea some years ago, on a small

box that flew open and you had about a half size skeleton there. His
idea was to work the skeleton as a vent figure with various magic ef-
fects thrown in...the body being constructed along black art lines.
Have never actually seen this work, but it seems to be a very good ba-
sic idea.

The idea of having the skull talk actual words instead of rapping is,
of course, not new...many Ghost Shows, etc., have used this as a M. C.
gag during a semi-blackout. The following idea is an elaboration of
this.

34
Let the skull rise out of a box, it should be mounted on a center post,
so it will come up smoothly without any jerking. Sitting on front of
the table is a dummy mike running to a loud speaker on a chair next
to the table. The skull then introduces himself, apparently speaking
into the mike, as Prof. Yerrick or any similar highly original name
you wish. He explains that he is going to conduct and experiment in
telepathy, but as his locomotive powers are somewhat limited, his as-
sistant will do the leg work...cue for your entrance. We are now in a
position to work a similar idea as the record bit, which tells you how
to perform the effect.

The skull gives the instructions...corrects your mistakes, tells you

when you drop something, etc., and finally triumphantly announces the
mentally selected word or what have you, and slowly sinks back into
his happy home. The mystery part of a talking skull is not very strong
in this age of electronics, but the entertainment value of this rou-
tine has always been high. In this day of the $25.00 tape recorder,
everyone should have one of these indispensable aids. The routine is
on tape and carefully rehearsed for timing. The speaker is a dummy,
too, containing the recorder, just make sure that it sits close to the
skull as the sound coming from the same location, makes for a better
illusion of speech. The mental routine can be any in which the skull
will have a chance to talk to both the performer and a member of the
audience.

BLACKOUT BIT

A medium, man or woman, is discovered sitting at the table with a

crystal ball and wearing turban. etc. He is laughing up a storm, keeps
on laughing. Second person enters and belts medium over the head with
a prop hammer, breakaway umbrella...or what have you. Medium looks up
and says, “Why did you do that?” Reply, “My father always told me to
TRY AND STRIKE A HAPPY MEDIUM.” Blackout.

35
 MEET BASIL SKULLBONE
By George McAthy

The following vent routine is for use with a Talking Skull.

Performer: “Good evening, my friends, I’d like to introduce a friend

of mine. Meet Basil Skullbone.”

Basil: (deep voice) “Good evening, wasn’t it?”

P: “Wasn’t it?”

B: “Well, there is no present for me, you know. I’ve had it.”

P: “Oh, I wouldn’t say that.”

B: “Well, it’s true nevertheless. My future has passed. But I’m not
complaining.”

P: “Well, I’m Glad to hear that.”

B: (Looks around) “Say, you haven’t by chance, seen that Headless

Horseman, have you?”

P: “The Headless Horseman? No, I haven't. Why did you want him?”

B: “Well, I was reading about this togetherness...and I thought per-

haps he and I could make it work.”

P: “Yes, I see what you mean. By the way, you were late this evening.”

B: I know, I had a terrible time getting here.”

P: “What happened?”

B: “On the way over here, I met a drunk, and he thought I was his
missing bowling ball.”

P: “He thought you were a bowling ball?”

36
B: “Yes, he kept rolling me down an alley.”

P: “My goodness.”

B: “That wasn’t so bad, but those garbage cans are murder.”

P: “Did you finally convince him you weren’t a bowling ball.”

B: “Yes, but then he thought I was a talking fish bowl.”

P: “A fish bowl?”

B: “Yes, he kept filling me with water and dropping in fish.”

P: “How awful.”

B: “You said it. Did you ever have water on the brain and worms at the
same time?”

P: “I hate to think about it, Basil. There is one thing I would like
to ask you.”

B: “Ask away, pal.”

P: “Do you mind telling us – just how did you get into this condi-
tion?”

B: “Well, to get down to the bare bones of it – what am I saying? Ac-

tually it happened many years ago, during an Indian attack.”

P: “Wait a minute. I’ve heard of scalping, but this is ridiculous.”

B: “No, I wasn’t scalped. It was because the Indian couldn’t scalp me

that it happened.”

P: “He wouldn't scalp you?”

B: “Yes, you see, I was bald.”

P: “I see, the Indian got so mad, he lost his head.”

37
B: “Aren’t you mixing up the facts a bit?”

P: “Yes, I guess I am. Tell us what happened.”

B: “Well, it happened during an Indian attack as I said. I was the

wagon master.”

P: “The wagon master?”

B: “Yes, I tried to get a part on TV, but they said I couldn’t put
enough of myself into it.”

P: “So you do TV acting?”

B: “A little. I was on ‘Twilight Zone’ in a story called, ‘Boy Meets

Skull’.”

P: “You don’t get many parts, do you?”

B: “Naw, it’s because of jealousy. Yul Brynner, you know.”

P: “Well, that’s the way it goes in the jungle called Hollywood.”

B: “Please – don’t mention that word.”

P: “What word – Hollywood?”

B: “No – Jungle.”

P: “Why not?”

B: “It reminds me of my greatest fear.” (looks around)

P: “What’s that?”

B: (whispers) “HEADHUNTERS.”

P: (yells) HEADHUNTERS.”

B: “Shhh, for heaven’s sake, not so loud. You make me nervous. (looks
around) Let’s get out of here.”

38
P: “A good idea. Good nite, folks.”

NELSON’S NOTES: This is an excellent and humorous routine. If you’re

NOT a ventriloquist and feel you must pass it by, why not refer to
Alan Milan’s suggestion of a tape recorder. Tape Basil’s voice on
the tape recorder, allowing proper timing of your own remarks. Mount
speaker near your working area, and you can still use this very fine
presentation.

39
 COMEDY MINDREADING ACT
By Bob Nelson

This act is a burlesque or comedy presentation on the standard min-

dreading code act, employing verbal cues that are so poorly (?) dis-
guised that the audience readily grasps the significance of the cues
before the mindreader can name them. It’s total purpose is comedy. The
effectiveness of the act lies not only in the patter lines, but in the
proper presentation.

This comedy act utilizes two people, the mindreader or comic and the
assistant or straight man. The assistant should be dressed in smart
attire, while the male playing the role of the mindreader should be
dressed in an outlandish, comical attire, with large turban, dark
makeup, etc. The more ridiculous the costume, the better. If a lady
plays the role, she should be heavily be-jeweled, big busted and with
an outlandish wig. She should be addressed as MADAME, and given a
suitable name, while the male mindreader should always be addressed as
PROFESSOR.

- OPENING -

Assistant: “Ladies and Gentlemen – it is my pleasure this evening to

introduce to you a most remarkable man. A man who has attained a world
wide reputation – a man of recognized ability to accurately foretell
future events and to read the innermost thoughts in your minds. La-
dies and Gentlemen, it gives me great pleasure to present to you the
World’s Greatest Mindreader – Professor Bohunki!” (Professor makes
entrance – trips – regains balance, bows and is seated in chair center
stage. Chord from orchestra on entrance.)

“Professor Bohunki is the sixth son of a sixth father – er, pardon

me, my mistake, I mean the sixth son of a sixth son. That makes him a
‘son of a gun’. The professor has appeared before all the crown and
BONE heads of Europe. Seriously, the Professor appeared before Presi-
dent Kennedy – WAS ELECTED. In presenting this unique demonstration in
mental telepathy and extra sensory perception (Professor perks up on
hearing these words), I am going to request that you whisper questions
to me – offer any articles for sacrifice – no, no – to test the Pro-
fessor’s unusual psychic powers. As the professor doesn’t understand a

40
‘word’ of ENGLISH, I must first address him in his native tongue. Pro-
fessor...injoga...gillamba...jpopla...insing.”

Mindreader: “Would you mind repeating that – I didn’t get the last
word?” (Grins)

Note: Henceforth, the Assistant will be referred as “A” and the min-
dreader or Professor as “M”.

A to M: “Talu...swingogue...I shall proceed to place the Professor in

a deep hypnotic trance...Gilia...unscray. (A stands behind M, swinging
an object back and forth, pendulum style. M’s eyes move back and forth
following the pendulum)...SLEEP, YOU IDIOT.” (A hits M on the head
with prop balsa wood or rubber hammer...eyes stop movement, staring
straight ahead.)

A: “Junta...obgee...are you hypnotized yet?”

M: “I’m paralyzed.”

A: “I am now going to gag – that is, pardon me, BLINDFOLD the profes-
sor. This is done for the sole purpose of preventing any of the la-
dies in the front row from being overcome by the Hypnotic influence
projected from the Professor’s eyes.” (Business of placing blindfold,
etc. Assistant enters the audience, requesting articles, questions,
etc.)

ALTERNATE PIECE OF BUSINESS: A starts to blindfold the Professor, but

blindfold (apparently) inadvertently slips down to the professor’s
mouth and actually GAGS him. Pretending not to notice, A starts the
act while M struggles, but is unable to communicate his predicament to
his assistant. Getting no response, A discovers why, apologizes and
adjusts blindfold over the EYES.

A: “Can you see this?” (Touches white handkerchief.)

M: “Hell no, IT’S DARK HERE!” M. reaches in pocket, removes a pair
of glasses and puts them on, OVER THE BLINDFOLD, and exclaims – “AH,
THAT’S BETTER, it’s a handkerchief.”

A: “What is the color of the white handkerchief?”

M: “It’s white.”

41
A: “KEY-RECT. This article?”
M: “A Key.”

A: “If you can see the point, also name this piece of jewelry.”
M: “Ha ha – you can’t stick me – it is a pin.”

A: “Are you positive?”

M: “ONLY fools are positive.”
A: “Are you sure?”
M: “Yes, I’m positive.”

A: “Stop acting like a FOOL.”

M: “HELL, I’M NOT ACTING.”

A: “Name this piece of jewelry. WATCH OUT.”

M: “A watch.”

A: “Now, take your time – this article.”

M: “Another Watch.”
A: “What time is it?”
M: “Time to EAT.”

A: “What has this young lady on her mind.”

M: “A guilty conscience.”

A: “Man, you are sharp tonight – this.”

M: “A knife.”

A: “Don’t reach for a sweet but name this cigarette.”

M: “A Lucky Strike.”

A: “Get a HUMP on – answer this one.”

M: “A Camel.”

A: “A man from VEST Virginia – what is he wearing.”

M: “A vest.”

A: “Name this piece of jewelry.” (Takes a bell from his pocket and
rings same...no answer, rings again.)
M: “AH – a – a – RING, and I would venture to say it is WOOL-WORTH the
money.”

42
A: “You should be able to see thru this one.”
M: “Glasses.”

A: (to someone in the audience) “You can’t hear the Professor? Well,
what ARE YOU COMPLAINING ABOUT?”

A: “This gentleman wants to know how many people work in his office.
Can you tell him?”
M: “About HALF of them, including the BOSS.”

A: “This gentleman’s name...you know me.”

M: “Al.”

A: “Can you name the lady here who has lost a little weight?”
M: “LENA.”

A: “Now, here is a difficult test. Professor, don’t over TAX your-

self.”
M: “I won’t, the government takes care of THAT for me.”

A: “Is the gentleman’s suit BLUE or red, or BLUE or green, or BLUE?”

M: “It’s blue.”

A: (M appears to go to sleep, starts snoring.) “COIN-centrate,

COIN-centrate, Professor! What do I have in my hand. Oh, oh, the Pro-
fessor has goofed off – the mental strain must be too much for him. I
must stimulate his nerve centers.” (Returns to stage and socks M on
the head with balsa wood hammer.) M straightens up and says – “Hmmmm.”

A: “COIN-centrate – COIN-CENTRATE, Professor, I said to – COIN-cen-

trate.”
M: “Ah, I’ve got it – no, wait a minute. (in deep thoughts).
A: “The professor is in deep thought, he’s COIN-centrating.”
M: “Oh, yes, yes, well, well, well. It’s a coin – and who would have
thought it possible in THIS AUDIENCE.”

A: “What is the denomination of the coin?”

M: “The WHAT?”
A: “The denomination?”
M: “Presbyterian.”

43
A: “Professor, why are you such an IMBECILE?”
M: “The hours are good and the work easy.”

A: “I’ll give you just TEN seconds to tell the value of this coin.”
M: “Counting – one, two, three, four, five, six, seven, eight, nine –
“TEN (eagerly) – It’s a NICKEL.”
A: “No, no, said TEN SECONDS was the limit.”
M: “Oh, sure a quarter.”
A: “Ladies and gentlemen, I ask your indulgence and that you overlook
this minor error. The Professor does not claim to be 100 percent accu-
rate. Only 99 44/100 percent accurate.”

A: “Now, what is the value of this half dollar?”

M: “Fifty cents.”

A: “This gentleman would like to know what his fortune consists of.”
M: “Hum – er -about SIXTY FIVE CENTS.”

A: “How old is this man?”

M: Well, he certainly DOESN’T LOOK IT.”

A: “What kind of a cigarette is this?”

M: “A military cigarette”
A: “A military cigarette? What kind is that?”
M: “One of the RANK.” (M holds nose.)

A: “This gentleman wants,to know how many children he will have.”

M: “Haw – he won’t have ANY children, but his WIFE will have five.”

A: “Look at this and see if you can find anything FUNNY.”

M: You can’t fool me – it’s a mirror.”

A: “What is this lady wearing?”

M: “A dress. I hope. (pause) Is that dress TORN or am I seeing THINGS?”

A: “COIN-centrate, Professor.”
M: (quick answer) “COIN.”

A: “The Professor is improving. If you can tell us the value of the

coin, you will have us completely buffaloed.”
M: “A nickel.”

44
A: “Can you tell how many children this woman has?”
M: “Oh yes, she now has three, and in JULY she will be celebrating the
FOURTH.”

A: What are the two objects in the aisle?”

M: (appears to look) “Suitcases.”
A:”Sorry Professor, you are not concentrating – just another minor er-
ror – you know the Professor is not infallible.” (to the spectator on
the aisle) “Will you please take your FEET out of the aisle.”

A: “Cut loose and tell this one.”

M: “A knife.”

A: “And what is this young lady and gentleman doing?”

M: “Holding HANDS – naughty – naughty, BOY, it’s a good thing I don’t
read minds.”

A: “Now, Gus, I mean – PROFESSOR, what does this gentleman have on his
necktie?”
M: “Gravy.”

A: “This young lady wants to know if I can tell her what she is think-
ing of?”
M: “WHAT DOES SHE THINK I AM – A MINDREADER?”

A: “Is this gentleman bald?”

M: “I don’t know if he is bald or not – look under his toupée and see
for yourself.”

A: “Right, now this article. Right. RIGHT, I said.”

M: “A pencil.”
A: “No, silly, it’s a pen.”
M: “Well, HOW was I to know.”

A: “What do I have in my hand now. (no answer). I’m calling on you.

Professor, I’m calling on you. (M dozing) What is it?”
M: “Oh, I know, calling card. ANY DAMN FOOL would know that.”

A: (makes grabbing motion in air as though catching something in

clenched fist.) “What do I have in my hand now?”

45
M: “A jet airliner.”
A: “How many engines?”
M: “Four.”
A: (angrily) “You can SEE thru that blindfold.”
M: “Just a wee bit.”

A: “You don’t have to be crazy to do this...”

M: “But it sure helps.”

A: “Name this cigarette.” (coughs)

M: “AH – an Old Gold.”

A: “Name this cigarette and we’ll all be satisfied that you are a real
mindreader.”
M: “A Chesterfield.”

A: “Not a CALF in a carload.”

M: “BULL DURHAM.”

A: “Tell this gentleman’s future. (indicating elderly man)

M: “Sorry, I can’t.”
A: “Why Professor?”
M: “Well, you see, it’s this way. He hasn’t any – it’s all behind him.”

A: “Alright, what in lady sitting on?”

M: (pause)’”Next, question, please.”

A: “What city is this gentleman from?” (no answer) “What city?” (no
answer – professor appears to be sleeping again. A draws cap pistol
from pocket and begins shooting.)
M: (awakens with a start and hollers) “Chicago, Chicago.”

A: “Sorry, lady I didn’t mean to awaken you. Now Professor, don’t slip
on this one.”
M: “A banana.”

A: “SPEAK-EASY and name this man’s occupation.”

M: (in low voice) “A BOOTLEGGER.”

46
A: “What has this gentleman on his feet?” (no answer, Professor doz-
ing.) “Professor, wake up and answer my question. Are you getting my
vibrations now?”
M: “You are coming in loud and clear – Roger – fortunately, he is
wearing shoes.”

A: “What is the color of the lady’s hair?”

M: “What roots, or tips.”
A: “Well, don’t let him kid you, lady, only the young die young.”

A: “This gentleman’s name. Cut it short.”

M: “Bob.”

A: “It’s about time to tell this article.”

M: “A watch.”

A: “You will have to look up to tell this one.”

M: (tilts head forward) “A hat.”

A: “Where is this person from?” (COUGH) “What city?” (cough)

“Sorry. I’m having trouble with DE THROAT – with de throat.”
M: “Detroit.”

A: “This cigarette, please. RAWLEY, it should be easy.”

M: “It’s a RALEIGH.”

A: “A lady just handed me an object. Can you LET HER know what it is?”
M: “Why, a LETTER.”
A: “Can you tell me what is on the corner of it?” (stamps foot)
M: “A stamp.”

A: “Gentleman wants to know the score of the Army/Navy game before the
game starts?”
M: “The score BEFORE the game starts.”
A: “Yes.”
M: “That’s easy – NOTHING TO NOTHING.”
A: “Marvelous – I don’t see how he does it.”

A: “What’s the value of this coin? A penny for your thoughts.”

M: “One cent.”

47
A: “What’s under this man’s feet?”
M: “The floor. SILLY.”

A: “This gentleman wants to know if he will lose any money in the Gil-
liham Gold Mine Stock?”
M: “Tell him he won’t lose a cent IF HE DOESN’T BUY IT.”

(If a piano is handy. A thumps a piano)

A: “What was that?”
M: “A noise.”
A: “Concentrate – try again.” (thumps piano a second time)
M: “Ah, a piano.”

A: (touches person’s ear) “What is this? Can you HEAR me?”

M: “Ear.”

A: “Now this (touches hair) can you HAIR ME?”

M: “Hair.”

A: “Now this (touches nose) can you HAIR ME?”

M: “Nose.”

A: (indicates own mouth) “Don’t give me any LIP on this one.”

M: “A mouth – and boy, what a BIG one.”

A: “Do you know what this man has around his neck?
M: “A NOOSE.”
A: “No, no, Professor. I didn’t say what he SHOULD be wearing around
his neck at the present time? I said what IS he wearing now.”
M: “Sorry, my error (giggles) – a COLLAR.”

A: “Give this lady’s name (whistles a chord from ‘Oh, What a Girl was
Mary’)?”
M: “Mary.”

A: “If you have ever been in Italy, you will know this lady’s name.”
M: (pause) “I’ve never been to Italy!”
A: “Well, then guess.”
M: “Rome.”
A: “No, it’s Florence!”

48
A: “This gentleman wants to know who wears the biggest shoes.”
M: “Ah, that’s easy – the MAN WITH THE BIGGEST FEET.”

A: “Gentleman wants to know who will win the Kentucky Derby.”

M: “Hah – everyone knows that one – a HORSE.”

A: “This lady is thinking of a number between one and three. Can you
name this number?”
M: “TWO.”
A: “No, Professor, I’m sorry, but you are wrong. Try again.”
M: (concentrates) “I have it – 2 1/2.”

A: “This young man would like to know if he will win the hand of the
girl he is now going with.”
M: “Why should I take my valuable time to answer such a silly question
– WHAT GOOD IS A HAND?”

A: “An engineer in our audience wants to know why a locomotive can’t

sit down.”
M: “Why a locomotive can’t sit down?”
A: “That’s right.”
M: “That’s easy – because it has a TENDER BEHIND.”

A: “And now for the special test.” (A removes deck of cards from pock-
et and requests spectator to take a card, but NOT to look at it. Card
is replaced on top of the deck.) “What card did the gentleman select?”
M: (Names ANY card.)
A: (Takes guarded peek at the card and shouts) “RIGHT!”

A: “This gentleman wants to know where his father is?”

M: “That’s easy – California” (spectator, a plant, denies this.)
A: “No, Professor, the gentleman says you are wrong – that his father
is in Chicago. He claims he had a letter from him only this morning,
postmarked Chicago. What do you say to that?”
M: “Try to fool me, eh? Well, I still insist his father is in Califor-
nia.”
A: “Spectator, says no he isn’t.”
M: “Well, young man, listen carefully – the man your Mother said WAS
YOUR FATHER may he in Chicago, but YOUR REAL FATHER IS IN CALIFORNIA.
The Professor knows!” (M rubs NOSE.)

49
A: “And now for the final test – then we must close, as the Profes-
sor is sinking rapidly. In fact, he is getting dizzier by the minute.
In fact, I note he has lots of company. Will some spectator oblige by
removing ANY coin from his pocket and note the exact date? Thank you,
sir. Please note the date carefully – and concentrate. Have you got
it?” (turns toward professor) “Professor, this should be your crowning
achievement of the evening. Please state the EXACT DATE.”
M: “This is Friday, January 5th, 1962!” (or whatever the current date
may be.)
A: “Right – marvelous!”

A: “And now for the final, FINAL TEST. (A indicates the chair on which
M reposes) here is an opportunity to present your SUPER ability –
that’s a good word – and I am sure if you name this article correctly,
it will prove a BIG ASSET to your reputation.”
M: “A chair.”

(A removes blindfold and glasses from M. M Stands and takes a bow)

As the applause begins, A holds up hand, stopping applause and remarks

– “NO applause, please. It will only place the Professor in a HIGHER
INCOME BRACKET. He’s already OVER-TAXED.”

ALTERNATE CLOSING I

A: “Before I remove the Professor’s gag – er, blindfold, he would like

to address you in his native language.”
M: “Slim slopa...emyo...gibbemoy... holelze, etc.” (and continues rap-
idly talking gibberish for about THIRTY SECONDS.)
A: “Roughly translated – that means – THANK YOU – GOOD NIGHT.”

(A removes blindfold, both take bow and exit.)

ALTERNATE CLOSING II

This old burlesque bit can he used for a suitable close. A plant in
the audience challenges the Professor to a special test, comes on the
stage and a wager is made. A blackboard or large slate is exhibited,
with numbers from NINE thru zero marked thereon.

50
Plant wagers that the blindfolded Professor can’t name the differ-
ent digits he will indicate on the slate. The money is placed on the
floor, and the bet is on. Holding the slate towards the audience,
plant touches a number. The assistant with a rolled up newspaper notes
the number, and hits the professor on the head that number of times. M
correctly states the number. The plant appears mystified, and several
numbers are communicated in this manner.

Finally, the plant touches the ZERO. A is at a loss to know how to

communicate the cipher, and he and the Professor are about to lose the
wager. After a little stalling, M, says, “I’m not getting anything – I
DON’T FEELA THING.”

The assistant, in utter exasperation KICKS the Professor in the seat

of the pants – the Professor yells “OH.” Realizing that they have won
the wager, they grab the money and exit. Plant scratching his head in
utter bewilderment. Blackout.

********

This comedy presentation can be used ‘as is’, enlarged or shortened

to suit the requirements of the occasion, and the performers. The se-
quence, of course, can be changed to fit various articles, as they
are submitted, or the assistant can merely fake various articles, by
carrying a varied assortment himself. For instance, if a cigarette is
offered, the assistant can cue ANY brand he desires – as it makes lit-
tle difference. The audience’s attention will be divided between the
assistant and the mindreader – though the principle attention will be
focused on the stage performer.

51
 COMEDY ANSWERS TO QUESTIONS
By Bob Nelson

These ‘comedy answers’ can be used advantageously in the Comedy Min-

dreading Code Act, or used as comedy relief in a serious program of
mindreading. They should be directed to a stooge or imaginary person
to avoid embarrassment.

Question: “Will we ever have any children? What can we do?”

Answer: “Either adopt a child or – just keep on trying.”

(Stooge or imaginary person)

To a Drunk – “Party here asking me where he can get a drink. Don’t

slide down in to your seat – that’s not a disgrace. BUT from close
observation, it seems like you have had enough for your natural life –
best try the drinking fountain in the lobby.”

Answer: “Don’t believe your boy friend. I believe he is just pulling

your leg (looks into the crystal or down the aisle at the girl) which
incidentally, isn’t a bad idea?”

Answer: “A gentleman asking if Floyd Patterson (give name of prominent

boxer) will ever fight again. Yes, as long as he is married.”

Answer: “The question in your mind is – will I get my wish? Is that

correct? Yes, you will get your wish – in fact, you will get MORE than
your wish. It will be TWINS.”

Answer: “Here is a gentleman (bald-headed) seeking something which he

has lost. Sir, I am afraid that which you seek is gone forever, but
you might try hair tonic!”

Question: “What does my wife do with all the money?”

Answer: “That is the question you have in mind – what does your wife
do with all the money? Well sir, it would be interesting to know the
answer to this question. Why don’t you try giving her some (money) and
find out.”

Question: “Will my husband ever quit drinking?”

Answer: “I’m afraid not – that is, as long as they make the stuff.”

52
Question: “I love Joe and Tom. Which will be the lucky man?”
Answer: “Tom will be the lucky man – you will marry Joe.”

Answer: “T.D.R. asks if it is alright to go out with a married man.

Yes, but only as long as you are married to HIM.”

To person seeking lost ring: “Sorry, the only ring I see (gazing into
crystal) is in your BATH TUB.”

Answer: “Lady asks a rather personal question – Am I a fake?” Madame,

the answer is NO, but your engagement ring is.”

Question: “Will I marry again?”

Answer: “Yes, I see you marry again, again and again.”

Question: “Is my friend true to me?”

Answer: “No, Sarah, he’s not true to you OR his wife. He’s just a
charming prevaricator.”

Question: “Will I get the divorce?”

Answer: “What! Again?”

Question: “Will I get the job as a waitress?”

Answer: “The answer is YES – which would certainly be good training
for you if you marry the man you are now going with – because then you
can wait on him the rest of your life.”

Question: “What is my girl friend doing this minute?”

Answer: (gazing into crystal) “Taking a BATH – I can see her just as
plain (whistle) – WOW!”

Answer: “And, Harry, about that stolen automobile tire – it was taken
from your spare tire rack the other night in Lover’s Lane, while you
and your girl friend were parked there – so preoccupied that you were
never aware of the theft at the time.”

Answer: “Just concentrate on your question. Now (gazing into the crys-
tal) you want to know what boy friend, Henry, thinks of you.” (gazing
into crystal) “I see – I see – Hum, absolutely NOTHING.”

53
 COMEDY MENTAL EFFECTS
By Bob Nelson

GLOB is the title of a new comedy mental effect by Dr. W. E. Belenger,

and should be available at most magic dealers.

Briefly, a card is selected (forced) from the deck, and placed face
down in spectator’s hand without seeing it – the spectator is asked
to concentrate. “Hold the card a little higher – concentrate harder –
imagine that your optic nerve is no longer running from your brain to
your eye, but is running from your brain, down your left arm into the
palm of your left hand. Sir, did you know that the palm of your left
hand needs glasses? I cannot get a very clear impression, only a sort
of glob – ARE YOU HOLDING THE ACE OF GLOBS?”

Card is revealed, which IS the Ace of Globs – a large black glob

printed on the card. Cards are specially printed and match your Avia-
tor backs.

********

X-RAY SCOPE – marketed by Abbott’s. Spectator in the audience selects

card (forced) while second spectator on the stage looks thru the X-Ray
Scope and reveals the name of the card. The usual method may be ex-
posed for a good laugh – varied presentations including any members in
the audience, revealing the card selected by the person on the stage,
and while they hold the X-Ray Scope. Large specially printed card, 9"
x 13", hole in the center and the special comedy gimmick.

********

LIQUOR CARDS (Sid Lorraine) – marketed by Abbott’s and other dealers.

Nine cards – each with the name of a different drink printed on one
side, a design on the opposite. One card is freely chosen. Performer
touches the back of selected card with finger tip, puts it to mouth,
and names the drink chosen. Can be repeated again and again, end with
cards held behind your back. Cards may be examined minutely. Special
patter by Sid Lorraine. A clever presentation will afford a lot of
fun.

********

54
MIKO – marketed by Gene Devoe and other dealers. An oldie, but GOOD.
Performer foretells number of spots on selected card. Comedy climax
that never fails to bring a laugh.

********

PSYCHIATRIX BY Syd Bergson is an excellent humorous interlude for the

serious mental program and highly recommended. This fine effect is not
marketed, but explained in detail in ‘Mentalism and Its Presentation’
by Robert Nelson and Syd Bergson, and published by Nelson Enterprises.
Psychiatrix can easily be made in a few minutes and at a cost of less
than one dollar.

********

SPIRIT SEANCE IN LIGHT – A pseudo Spiritualistic effect affords con-

siderable comedy if exposed. Performer exhibits a number of articles
on a table top, such as pistol, bell, hammer and nails, slate, etc. A
cloth is held in front of these items, and all kinds of manifestations
take place behind the cloth. Performer’s hands are visible, it is ap-
parent that something or some one other than the performer is respon-
sible for these strange manifestations.

Pistol shoots, hammer pounds nails, bell rings and come flying from
behind the curtain, messages appear on the slate. As bell and tambou-
rine come flying from beyond the curtain, performer ducks his head.
This is good for a laugh.

In the top of the cloth is a rigid rod and dummy fingers of one hand.
Performer appears to be holding curtain, but in reality has free use
of one hand. At the conclusion, performer drops cloth down and reveals
the modus operandi and the fake hand. Available at most magic dealers.

THIS IS NOT THE END!

TURN THE PAGE FOR YOUR BONUS!

55
 YOUR BONUS
THREE PSYCHIC GEMS AS A BONUS to the purchasers of this book. All are
excellent effects, not in the comedy vein, but of serious purport.

BONUS #1. MENTAL TRIPP By Robert Tripp.

A close-up or impromptu presentation, but suitable for larger audienc-
es.

BONUS #2. GEO-PHOTO MENTALISM By the Amazing Maurice.

A cute stage or platform effect, involving a spectator who becomes the
mindreader.

BONUS #3. PERFECTED TELEPATHY By Benjamin Franklin IV.

A triple presentation, extremely effective for large or small audienc-
es.

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 MENTAL TRIPP
By Robert Tripp

The plot of this effect is simple. Mentalist asks a spectator to think
of any playing card, then write the thought on a slip of paper, and
retain the written thought for future reference. Mentalist divines the
thought-of-card.

PRESENTATION: A spectator is selected at random – then proceed as fol-

lows:

“I want you to simply THINK of the name of any playing card. Now,
please record your thought on this slip of paper (hand spectator a
slip of paper, pencil, and offer the card case as a writing surface.
Please fold your written thought and place it in your pocket.”

Mentalist retrieves the card case (with cards still inside). Opens
the case and removes the cards, faces to spectator. Cards are fanned.
“Now, sir, do you see the card you were merely THINKING OF. Good, your
selection, of course, is one of fifty two cards. Since that precludes
the Joker, I will remove it.” (Place same in shirt pocket.) “You have
not informed a single soul of the identity of your THOUGHT-OF-CARD –
most important, you have not told me – Correct? As I run my fingers
over the cards, I want you to concentrate on your card.”

Performer now turns the face of the cards toward himself, and slow-
ly and deliberately selects one card. “I am reasonably certain this
is the card you are thinking of. Should I be wrong, you may think I
have been bluffing right along. If I am correct, and I am reasonably
certain that I am, you may think it is a lucky guess. Now, if this is
the card you merely THOUGHT OF, I am sure you must concede that I was
able to READ YOUR MIND...Please state aloud the name of the THOUGHT of
card...” As the spectator names the card, the mentalist turns the face
of the card to the audience, which verifies his ability as a mindread-
er.

METHOD: Secure two duplicate card cases. Unglue carefully one of the
cases, and with a piece of fine sand paper, sand down the inside of
the FRONT of the case (the side opposite the side with the index cut-
out) until you have sanded away all the cardboard thickness, leav-
ing only the thin paper side of the case. Affix a piece of sensitive

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PENCIL carbon paper to this thin surface, writing side to the inside
of the case. Re-glue the case.

On the back of the Joker, affix with glue or magic tape, a plain piece
of white paper NO larger than the card. Insert in the case, the regu-
lar deck of cards with the JOKER on the top of the deck, the white pa-
per resting against the carbon paper. Have handy a slip of paper about
the same size of the playing card, and a pencil.

In your side coat pocket, place the duplicate unprepared card case, a
duplicate unprepared Joker in your shirt pocket. You are now ready to
present the ‘Mental Tripp’.

Select a spectator not near a table. Have him approach you. I have him
mentally think of any card in the deck. He is then asked to record his
THOUGHT – hand him a pencil and a slip of paper, and at the same time
– noticing he does not have a suitable writing platform, reach into
your pocket, remove case with cards. Offer the case as a writing sur-
face. When the writing is finished, ask him to fold the slip and place
it in his pocket. Taking the cards and pencil from him.

Cards are now removed from the deck, the faces toward the spectator,
Joker on top of the deck. As you fan out the cards, you have ample op-
portunity to learn the identity of the THOUGHT-OF card, by reading the
carbon copy on the BACK of the Joker. As you did not expose the Jok-
er in the deck, state, “Well, that precludes the Joker,” and remove
and place in your shirt pocket. In the meantime, you have replaced the
gimmicked case in your pocket.

Go about the business of reading the spectator’s mind, and revealing

the THOUGHT-OF card. Remove the unprepared duplicate card case from
the pocket, replace the cards, plus unprepared Joker from your shirt
pocket, and you have conclusively protected your secret. Toss the
cards out on the table for further experiments of card tricks.

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 GEO-PHOTO MENTALISM
By The Great Maurice

MAURICE SAYS – “I use this effect only when I have an assistant or

when I use some great personality, like a judge, governor, or movie
star. A few years ago at a banquet, I used Grace Kelly.”

EFFECT: Eight cards (size 7" x ll") are shown, each bearing a differ-
ent design. In this case, I am using geometric and ESP designs. At
times, I use photos of exotic girls. Each card bears a single number,
from one to eight. See illustration. Have handy one large brown manila
envelope, size 8" x 10", a heavy crayon and pad.

A spectator is asked to select any one the designs mentally, and re-
produce this design on the scratch pad, tear off the sheet, and pocket
same.

The spectator is now asked to shuffle or mix the cards thoroughly, and
place all in the envelope. The spectator is asked to take the enve-
lope, with cards to the guest assistant at the far side of the stage.
Performer does not even approach the assistant – YET, the assistant
opens the envelope and removes ONE design card, and when checked with
the folded slip that reposes in the pocket of the spectator, BOTH DE-
SIGNS MATCH.

HERE’S HOW: Explain to your GUEST assistant that all they have to do
is LOOK at the bottom part of the envelope when it is handed to them
for a NUMBER. This number is the clue to the selected design! After
noting the number of the envelope, the assistant merely selects the
design card bearing the corresponding number – and immediately they
have assumed the stature of a great mentalist!

Little heed is paid to the guest assistant, who should be seated on

the far side of the stage, with back to the proceedings. As specta-
tor draws the design on scratch pad, I note the selection, and using

59
a NAIL WRITER, mark the number of the card at the bottom of the large
brown envelope as I insert the cards – spectator mixes the cards, af-
ter placing the slip in his pocket – then delivers the cards in the
envelope to the guest assistant.

Assistant merely notes the NAIL WRITER number clue on the brown enve-
lope, withdraws the design cards and picks the card with the corre-
sponding number.

And don’t worry about your assistant revealing the secret – everyone
loves to be in the limelight, and they will he so pleased with the re-
ception accorded their successful performance that they won’t tell!

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 PERFECTED TELEPATHY
By Benjamin Franklin IV

Ted Annemann in THE SPHINX, March, 1930, offered for sale his 4th Di-
mensional Telepathy, an almost perfect method of reading sealed bil-
lets. Questions sealed in opaque and marked envelopes were answered
and returned in an impossible manner.

Stewart Judah in Bob Nelson’s excellent MIRACLES IN MENTALISM, page 8,

under the title, “Sealed Billet Reading Deluxe,” presents the Annemann
effect. In both versions, however, it is necessary to apparently
write the questioner’s initials on his envelope, while actually writ-
ing those of another person. In fact, to present this effect properly
it is necessary to know the initials of a member of the audience, and
write these on an envelope at the beginning of the trick.

Presenting a full-evening performance and often being pressed for

time, and not seeing the audience until the rise of the curtain, the
matter of mis-writing the initials was not practicable for me, and I
have devised and successfully used the following ruse which removes
memory from the effect.

EFFECT: Performer, fanning deck of cards face out, approaches first

spectator and asks that he remove any card and put it in his pocket.
Second spectator is handed the deck, asked to shuffle and remove any
card he likes. Third spectator is merely asked to think of any card in
the deck, and remove it or not, as he likes. Each spectator writes the
name of his selection on a business card which he seals in a numbered
envelope. The first spectator puts his card in envelope marked #1.
Second spectator puts his in envelope #2, and the third in #3. Tossing
envelopes to disinterested spectator, performer asks that marked enve-
lope #1 be held up, and the performer, while a distance away, divines
correctly – the name of the card selected by the first spectator. The
envelope is opened and the information verified; the same procedure is
infallibly repeated with the two remaining envelopes.

Actually, of course, you are ‘reading one-ahead’, and the unique num-
bering of the envelopes makes this automatic. They are marked boldly
in crayon as follows (see next page).

61
 1 2 3

FRONT

3 1 2

BACK

At the beginning, the flaps are folded over on the front of the enve-
lopes, thus concealing the second number. In sealing, the second num-
ber is concealed by the forefinger and when sealed, the numbers have
been re-arranged – the original covered and the new one (that on back
of flap) very much in evidence.

It is merely necessary to know the card chosen by the first spectator

and this is determined either by a force or by the Si Stebbins Stack.
When envelope #1, really containing #2’s information, is held up, the
performer announces the forced card of man #1. Opening the envelope he
apparently verifies but really gets #2 information. This is repeated,
and #2 envelope is opened revealing #3’s information. Then while at a
great distance away, #3 envelope is held up by the assistant, and the
performer dramatically reveals the name of the merely thought-of-card.

62
THIS IS THE END!

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