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The chair test, illustration No. 7, is accomplished on the same principles, only the positions in holding the chair are a bit different. The subject is told to hold the chair against his body firmly, grasoing it at A and B. He is to maintain his position and keep himself steadily on his feet when the performer places her hands upon the chair at C and D. The modus operandi of overcoming the subject and keeping the process going, is exactly the same as detailed in the last two experiments.

In making these tests, the performer exerts what little pressure is needed in first getting the subject off his balance so gradually and slowly that it becomes imperceptible. To prove this, Kiss Hurst used to place her hands over those of the experimenters, and they always reported that they felt no appreciable pressure. Doctors who felt her arms said that muscles did nol; seem contracted during the tests. In her biography, The Georgia Wonder included an important paragraph, to wits "Then also I got- to be an excellent judge of human nature. I could discern the temperaments, idiosyncrasies, delusions and superstitions of a man almost as soon as he came on the stage. I could tell skeptics from the rank believers at a glance. I learned how to adapt fiyself to them. Practice produces experience and experience perfects practice, and I had an abundance of both."

And that's as clear an explanation of Lulu Hurst's "Unknown Power" as these pages can afford. To our knowledge it is the first attempt to correlate, for magicians, the possible effects and WHY they work. Only through such understanding can the profession develop new and other entertainment forms from the principles herein laid down.

It will be necessary for the performer to evolve an introductory talk for the demonstration and this should necessarily be serious in its request for audience assistance and a sincere attention to the strange powers of the lady. If there is any appreciable demand for- it we'11 be glad to lay out such a beginning from the authentic material we have collected about this type of mystery.

It is very much more effective when a small lady shows so much mysterious force, but it is very mysterious also, when a magus demonstrates several of the stunts during his performance, especially the one-foot balance test (1), the downward thrust effect (2), and the umbrella test (5). Some magi might even go to the length of explaining (?) that they suffered a severe-electrical shock when very small. It would make logical this odd emanation of power from their bodies, even if it didn't make quite evident the reason for their becoming magicians.

There are several natural tricks of magic that would lend themselves to this kind of act, and it wouldn't be at all difficult to build a routine which should be a distinct novelty in modern nite clubs. The "Magnetic Girl" billing hasn't been used since 1900. At any rate, good luck, and, don't lose your balance.

FOURTH DIMENSIONAL SEWING ~l

When Jinx No. 69 appeared, Stewart James1 "Sefal-aljia" spirit cabinet routine became an outstanding hit. I have taken one part of that effect and made It into a trick which can be done by night club performers who entertain at tables, a trick which is impromptu requiring no underhanded fixing of the materials used, and one which is far different from any heretofore shown in that field. The only requisites are a needle and thread, a two foot length of soft half Inch ribbon, and a ring borrowed on the spot.

The performer shows the ribbon and drapes it over his fingers of the left hand. He borrows a ring whioh he places against the first finger to be held there by the thumb. Taking a needle and thread from his right lapel he proceedsto do a bit of "fourth dimensional sewing". He especially asks everyone to note that the ends of the ribbon never leave his sight.

The sewing finished and thread broken (or merely left hanging) the performer deliberately hands the ends of the ribbon to the spectator. As he takes hold of them the performer lets go the ring. IT HAS POUND ITS WAY ONTO THE RIBBON AND IN SECURELY SEWN THERE! The spectator keeps everything as a souvenir.

The ribbon is first placed over the outstretched left fingers as Illustrated. The borrowed ring Is placed directly over the ribbon against the first finger. With needle and thread in right hand, the performer speaks of doing a bit of occult sewing, and with the point of the needle he hooks the ribbon THROUGH the ring, pulling It through in a loop into which the left thumb goes. The needle point now pushes the ring down a bit which brings the thumb to the point shown in the third drawing. The ring, at this stage, is hidden behind the 2nd,3rd and 4th fingers which have been deleted by the artist for the sake of clarity.

The sketch also shows where the sewing Is done. This finished there Is little, If any, hesitation before the climax. The right fingers are now free of the needle. The thumb and forefinger grasp the ring at the point marked "A". The left hand moves forward, never letting the thumb slip out of the loop, AND THE RIBBON SLIPS THROUGH THE RING SOFTLY AND INVISIBLY, DUE TO THE FORWARD MOTION OP THE HAND. The spectator takes the ends and the right hand releases the ring which proceeds to swing at the bottom. You never have to couch it again, for the watchers find the ring, not alone ON the ribbon, but securely sewn there; sewn there, to all logical reasoners, while both ends of the ribbon remained In full viewI

Those who put in a half hour's time perfecting this effect will have a trick far beyond the ordinary. My thought was to take the place of Stewart James' hook in the cabinet with my thumb, and make the item possible of being doing anywhere at any time. An Intimate table worker might have a bundle of ribbon lengths printed up with his name and ad. Inside his coat he would have to have a number of threaded needles. He could approach anyone, at any time, and, showing a ribbon, request the loan of a wedding ring or signet bauble.

The sewing Is done and the ribbon handed to the ring's owner. They keep it, or at least look at it, during the time they struggle to release the circulet from Its threaded prison spot.

When threading the needles, leave one end somewhat shorter than the other. You can check this by trial. The ribbon Is thus sewn with a single thread, and at the finish, the needle can be pulled free of the thread and pocketed before the finale. Some nite clubbers can stab themselves easily. Page 611

hold In his or her hand at the time death struck.

How does the medium learn all these things? First of all, he or she discovers the "victim" and the "murderer" because the performer has dropped a short length of thread, less than 3/4 in. long, on each of their shoulders, when he escorts them to the center of the room to enact the "killing*. The thread appearing on the "killer's" shoulder will always be white in color, while the other length may be any one of several colors for it denotes, not only the "victim" but also the type of violent death suffered.

To conform with the story of the "victim* playing solitaire at the time of death, there are only four methods of murdering that could be employed, namely shooting, stabbing, choking end beating. The performer, therefore, will need four different colored threads easily accessible. He can prepare by taking a long length of each thread in turn, placing a needle on it, piercing the outside of one of the vest pockets, tying several knots loverlapping) in the end remaining outside and, with the knotted end pulled tight against the pocket, clipping off the thread inside pocket to the desired length. Arranged thus, any one of the four threads can be quickly procured by grasping the knotted end between the forefinger «id thumb and pulling slightly, rhe white thread, which will always be needed, may be arranged in a similar fashion on the other pocket, if desired.

Hie actual presentation is simple. After explaining what is to be done, the spectators select the manner in which the "victim" shall meet his or her death, ©lis gives the performer ample time to secure the correct thread for conveying the information, thread being held between thumb and forefinger of right hand. As soon as the "victim" is chosen, performer asks him or • her to come to the center of the room, grasping the person's shoulder in a friendly fashion and dropping the thread with sort of a slight rubbing motion which makes it adhere to the cloth. The same procedure follows with the "murderer". After enactment of the crime, the performer forces a card, the name of which was previously agreed upon by the performer and medium. Now the performer goes to the "murderer", locates the Ace of Spades and brings it to the face of the pack Just above the chosen card. Two means of switching the cards are available. The performer can either do «i two card lift, turning both pack and double card and laying the latter momentarily on the face down pack, after which it is placed in the ■murderer's" pocket or he can execute the "glide" which seems to be the cleaner of the two methods.

After that, it is largely up to the showmanship of the medium. *hen he or she returns, a circle of the room is made, with much peering into faces, feeling of pulses, etc, which gives plenty of opportunity to locate the two necessary persons and determine cause of death. The rest of the factors are known as easily.

a.3 an alternative and possibly better place to keep the threads until needed, may I suggest edge of coat sleeve on the side nearest body. All that would be visible from any ang],e would be the small knots, the balance of the threads being between outside cloth and lining. The opposite finger and thumb could, without ostentation, remove those desired.

The medium could return effectively wearing a typical Holnies' cap, bulldog pipe and umbrella.

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