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a magnetic personality george deeàney

For publicity or close-up purposes the following series of three effects will impress those who see them as being produced by a magnetic quality belonging only to the magician. While extremely simóle, the appearance of the ideas from thé audience view makes for quite a bit of wonderment.

The performer does some simple magnetic feat such as the mesmerised cards. Then he offers to explain everything and credits it to "eleo-trlcity." He rubs his finger briskly up and down his coat, across the carpet, or through his hair. Touching Its tip to a metal surface or object a faint but distinct buzz is heard.

Offering to demonstrate this "power" further the performer has someone turn out the lights and hold his (the performer's) wrists. Next he places his forefingers together with an admonition to watch what happens when he separates them. He moves his fingers apart slightly and a spark is seen between them accompanied by an audible "snap."

"Electricity," confides the perforuer as the lights are being turned on. "Why, practically everything I have on Is charged."

One of the best methods for the mesmerised, one that I have never seen used, utilizes the new cellophane mending tape sold in stationery stores — "scotch tissue" — that sticks to anythlns but peels off without a trace. An inch long piece is attached to the center of one card. One half inch of the tape is pressed down and the other half inch left loose to be clipped between the second and third fingers of the hand. This card is on top of the deck to start. About half the deck is cut off and after fanning to show, squared and placed face up on the right palm. The half inch of tissue goes between the second and third fingers and Is clipped tightly. The left hand now takes the face up loose cards one at a time and Inserts them in a circle around the clipped card at the bottom of the pile against hand. The circle of cards overlap and are built out as far as practise will admit. When all loose cards are thus secured, the right hand is slowly turned over and the circle of cards is seen to be adhering to the hand. By closing the fingers of the hand steadily the tape can be forced from the key card and all drop to the table or floor where they can be minutely examined. Or the tape may be released from between the fingers arvd in picking up the cards pressed against the back where it is practically invisible.

The buzzing sound when finger tips are put against metal is caused by one of the novelty "practical joke" Joy Buzzers. This is wound, not tightly, but only a few turns to give a "light" instead of a "heavy" buzz. It is carried in the coat or vest pocket and pressed with the arm at the moment when the finger of the opposite hand touches metal.

Required for the spark effect is a Necco candy wafer -- a white one — no other color works. This Is taken from the pocket while the lights are being turned off. It is held between the fingers and broken at the proper moment In your patter theme, producing a "snap", and strangely enough, a bluish spark. The reason for spectator holding the wrists Is so that he

can focus his attention at the proper spot and not miss the flash. The center of the wafer should be pressed out towards the reason. Before the 11 puts the pieces of wa the evidence literally melts away trick.

a Tor for the same '3*0 oS the performer r into Sis mouth and

It's a sweet

Page 438

RED AMD BLUE FUTURAMA (continued from page 437)

Bring out the blue card case and remove the cards therefrcm with their baoks up. To all appearances the deck is blue. To heighten the effect hold the cards face up in the right hand by the edges and with the left hand (palm up underneath and thumb and fingers around the sides of the deck) draw off cards to drop into the left palm in little bunches, the cards being removed from the face of the deck. At every third or fourth draw-off the right hand packet is turned over for a second and a flash given of the back (blue* card. The Illusion Is quite perfect and convincing that all the deck Is blue. At the last draw off put the right hand remaining cards on the bottom (or back) of the left hand pile. This is really the Hindu Shuffle technique, all of which was described fully with effects in Jinx No. 56.

Now the deck is fanned face up behind your back and the spectator locates and removes his thought of card. While he initials It on the table so.as not to get a glimpse of the back at this time, you bring the deck around In front of you and slip it into the right vest pocket while the other hand removes the unprepared blue deck from the left vest pocket. The spectator's card having been marked, this is the deck fanned face up behind the back for the return of that pasteboard.

Now, as you turn around to fan the deck and show that a peculiar thing has happened, be sure that the writing end of the red card is nearest your body so that it won't be visible when you fan the deck and show the odd colored card. Take hold of it by the outer end and turn it over end for end towards you. It is his initialed card!

As soon as he has identified it the performer mentions that he made a notation when the spectator first thought of his card. Using the face up card in hand as a lever, the Mexican Turnover sleight is executed with the face up card on the table, and the spectator allowed to read on its back what you wrote. The name of his card while he was but thinking of ltl Of course, the exchange and turnover Is made, and the spectator reads the writing on the back of hi« own card - that he took from the deck himself.

Presented smartly, this effect can be a nice item for drawing room and club audiences of from 1 to 50. The first part with the showing of the thought of card changed to a red back can be seen by all. At the finish,when the performer's writing la read, another person can be asked to step up and read aloud what the performer put down on the back of the card that was laid aside.

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