Editor’s note: Effects of Karl Germain seldom see print. A master of magic, a great showman of several decades ago, this gentleman believes, as do we to a certain extent, that there should be no magical organizations or publications. A trick is given only to an intimate friend – or learned through apprenticeship. We are very lucky to be able to present this authentic presentation of an effect a la Germain.
“Do you believe in spirits? I am not prepared to do a trick for you, but I am conversant with a method wherein we might be able to call forth the spirits to do something for us.”
“Now suppose you name some personage who resides in the world beyond, either north or south as the case may be. Kipling? Fine.”
“You say that you do believe in spirits? Oh, you’re not sure. May I say that when I first saw you I had a very definite impression that there is a certain bond between us. I believe exactly as you do.”
“Will you take one of these little cigarette papers, examine it, and roll it into a ball. Put it on the table. Here is a pencil which I’m going to ask you to hold in a certain manner. I want you to take the little pellet and put it right on top of the pencil – stick it on the end of the point. Now hold the pencil up vertically with your very fingertips.”
“The reason for this is simple. There are no material things in the spirit world, and, when we are visited by the spirits, we must provide the materials for them. They need them to show their presence.”
“You named a person deceased, yes? Custer. General Custer, the man killed by the Indians – Oh, Kipling, I’m sorry. The man whose ‘Kim’ and ‘Tommy Atkins’ are unforgettable. Now it may be that you feel a very slight tremor about the vicinity of the pencil you hold, but please do not let that disturb you — yes — I feel as though Mr. Kipling is trying to get through to us — here, look at the paper and see if he hasn’t left visible proof of his presence!”
The action has followed Germain’s own patter, and the spectator unravels the ball of paper to find thereon the signature of Kipling. Germain had done this unassuming but potent effect for many people to their belief. It is the same effect being done today by Jacques Romano, a N.Y. “nature enthusiast” and “natural wonder” who manages to put this theories and tricks before some of the “very best” people.
The most important secret is to be prepared to write the name in your pocket the very moment it is given. Germain has been known to get the little pellet all written out, rolled up and finger palmed with hands on the table in less than half a minute after the name was given. Like so many well done effects, getting set before you start the trick is the thing that makes it a real miracle.
Writing the name on the paper with a large piece of lead, or a very small stub of pencil, is just something learned by practice. A good plan is to have several well-known names, such as Lincoln, Washington, etc., already written, (copying their actual autographs) and hidden in pockets easily accessible should one happen to be called.
The best papers are those that come in an orange colored book, (5 cents) “Riz-La”. Two books are needed, one to hand to the spectator when you ask him to take out one and examine it. (during this time you write the name on the book in the pocket, tear off the paper, and ball it up)
The book in the pocket is prepared as follows; Bend one cover all the way back so that it lays against the other cover. Snap the attached rubber band around it, this way, and tear one paper (top) almost loose. It makes it very easy to tear off, and wad up, the paper after writing on it.
Switching the pellet which the spectator has examined, for the one you have pinched between the tips of the fingers which wadded it up, can easily be accomplished when you pick up his ball to show the subject how to place it on the point of the pencil.
If the moves are fitted to the patter, given here in Germain’s words, and presented with evident sincerity, the trick takes on an aura of high import. He has been seen to go into a simulated trance between the time when the spectator has started to hold the pellet on the pencil point, and otherwise make it evident that the mental faculties were under terrific strain.
In short, the effect is worth cultivating. Germain made it a veritable masterpiece. Romano does it today for Southampton and Newport socialites as genuine psychic power. All of that means, to readers of this sheet, that presentation and the performer’s frame of mind are the answer.
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