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rest of the demonstration and It Is well that you do not exhaust the supply now.

One charge of the "fluid" will last for a long time, but if you ever feel it weakening rub your fingers on the exact spot on your sleeve...which already has the surplus fluid left over when you started the demonstration.

At times I vary the opening and instead of the cigar I use a pencil. After lifting the pencil once or twice I remark..."Of course, some of you are thinking whether it is possible to magnetise "the pencil and use that as a magnet. ■ X rub the pencil end on my sleeve and ask a lady to hold a small piece of tissue paper or a hair from my head on her palm. X bring the pencil near the object and without touching it the piece of paper or the hair will shoot up and cling to the pencil.

Prepare the pencil by getting an amber bead. Either you or your jeweller (the effect is well worth It) cuts the bead to the same circumference as the pencil and it is stuck to the end. It appears as one of the common decorated pencils. Amber will attract light things like a tiny piece of tissue, hair, etc., when rubbed briskly on any material. The harder you rub the amber the better becomes the drawing force. This part of the demonstration is very effective and a little experimentation with objects will give you perfect confidence.

For impromptu work I take the "fluid* from off the flap of an envelope. Carry it in your inside breast pocket with the flap folded back. The middle fingers must be moistened before demonstrating so I resort to this dodge. With the four fingers close together reach for your nose and casually stroke it with the forefinger and thumb. It's something like the natural move of scratching your nose, stick out your tongue sideways and touch the two middle fingers. Try It before a mirror and you'll see nothing that you don't want the audience to see. The hand goes to the pocket for the cigar and at the same time collects the gum from off the envelope there. Just be sure that it is a good quality of envelope. In short you have more scope with "The Human Magnet" than with any other version of the same effect.

I do not know what goes into anybody elses preparation, neither does it bother me. I have worked out a receipt which gives me satisfaction and since In all of my work I am very exacting, It must be good. Get some "collodion" from your druggist. I believe this Is used medically to seal up wounds as it leaves a film on any surface to which it is applied. Mow buy some "rosin." Get the very best and powder it down, nit some "rosin" into the "collodion" and shake until it dissolves. This is your magnetic fluid.

To tests its efficacy put some on your fingers. It dries quickly. Try it out even after several hours...washing your hands In between if you like. I have yet to come across another preparation that will beat this. I give no proportions but you'll soon learn to get the right consistency for your needs. Don't make it too thick.

Some people may object to rubbing the fingers on the sleeve after stealing the fluid from the reservoir, or dispenser, but I assure you that a little petrol or gasoline will later clean off any surplus, otill, if you don't agree, rub the surplus onto the palm of your opposite hand or use a handkerchief to generate the power instead of the sleeve.

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This Is a terribly old principle but the disguise In the present case makes it quite serviceable. The personal "angle" of using names of people known to the spectators is what gives it "flavor" and takes away entirely any thought of mathematics.

Hand the pack to a speotatoij telling him to count off a small number of cartas « "less than a dozen" — and put them into his pocket. This done, ask him to again count off the same number, note the bottom card of the little paoket, and replace on pack.

Taking the deck, the performer asks three other persons to each give you a name. Examplest "George","Richard","Margaret". State that each person is to spell his selected name, a card for each letter. To demonstrate this, you casually spell the names in the order given.

In doing this, draw off cards with the right thumb, letting each fall upon the card before it, thus REVERSING the order of the cards. Replace those cards upon the pack, but before handing the pack to the first name giver, return It to the original party, and ask him to replaoe the cards he still has in his pocket.

That done, you do not have to touch the cards. The pack is passed to the person who spells George; then to the Richard speller; and finally to the person who spells Margaret. The pack then is placed on the table, the spelled cards being laid aside.

At this point, remind the spectators that: (1) The pack was shuffled before the trick. (2) That you do not know the chosen number. (3) That you have no way of learning the selected card. (4) That spectators chose random names of their personal friends and spelled them individually.

Reach to the pack and lift the top card. Ask for the name of the card selected. Turn It face up. It will be the chosen card. It can't miss, if you proceed with each step, In the exact order described.

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KDITRIVIA (continued from page 448)

took an awful lot of $8 and flO dates to buy.

If this issue 13 a day late it's simply because one of the cats had a beautiful case of phlegmonous tonsillitis. And we're hoping that the various reviewers will be rather non-comit-tal this month but wait until we've muddled through 8 Issues. There will be 36 pages to mull over and not less than 20 separate tricks to criticise. It's taking a bit of "doing" to get "in the groove'1 or, as the cat might say, "well seated on the fence."

Here's a real cute dodge that fooled us into thinking Stuart Robson was a master at the old blowing up one sleeve to extinguish a match in the opposite hand. He used safety matches of the trick novelty type that go out after the initial flare-up. Stage perfortner's who use the gag take notice. This can't fail, v/1 S)

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