EQUINOX Book One
By Liam Montier
Copyright © 2004 by Liam Montier All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system known or to be invented, without permission. If you do, I reserve the right to put put your head on a stick.
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DEDICATION
For Denise. We miss you. All our love, Rob Rob and Liam xxx
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INTRODUCTION Firstly, I must thank the magicians who have inspired and helped me to create this little little book. Morley Budden, who proof read this manuscript when I thought it was finished, and found enough mistakes to make me blush, Andi Gladwin for constant support and quality control, Caleb Strange for generously sharing his endless inspiration, Luke Jermay for bouncing around ideas with me in the early days, Shane for the words of encouragement and finally the hugely talented Sean Coverton, as it was his skills you admired when you looked at the cover of this book. Hopefully, you’ll you’ll find the effects effects inside interesting. They wait, a little little nervously, for your attention and consideration. Unsure of what purpose they can serve, they are eager to please – as performance pieces, as inspiration, or as bodies that can be taken apart, leaving you free to do as you will with the pieces. As a writer, I have assumed that you have the luxury of time to read these effects, and I have taken my luxury of space to describe them in as much detail as I can. This way, reading them is most beneficial… If you don’t like the effect, there may be something in the method you can use, and vice versa.
There is only one way to find out…
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THE CONTENTS Dedication Contents Introduction Fate
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V
Facing Death
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IX
The Crystal
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XII
Angel
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XVI
Automatic Writings
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XX
Pain
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XXII
Voodoo
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XXVI
Circles of Stone
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XXVII
The Tarot
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XXXI
Aura
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XXXIV
Dead Man’s Hand
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XXXVII
Mark of the Devil
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XXXIX
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Fate “Do you believe in fate, or destiny? Is everything everything preordained? preordained? Or do you have a choice? Control?” As the spectator answers, the performer jots something down on a sheet of paper and tucks it into the spectator’s pocket. The cards from the major arcana are removed from a tarot deck, and shuffled by the spectator. “I’m going to to prove that everything is preordained. preordained. By giving you choice. Not just one, because perhaps I could influence one choice. Exposing more of the back of one of the cards, or whatever.” “So you are going to get many choices.” The tarot cards are split into two piles. “Which pile? The one you you choose is the one that we keep – every time. Which one? It’s already preordained, but but for now, you believe you have a choice.” The spectator eliminates piles of cards until she gets down to a single card. As she goes through, she sees that all the other tarot cards are different, as they are discarded face up. “You had choice right? You believe that? The tarot has given you the Fool – a card that indicates that in your future there’s a choice… one of utmost importance. And that isn’t a random card, or a random future… future… It’s preordained. Take a look in your pocket.” The prediction is removed and shown, and is absolutely correct.
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Discussion
This effect belongs here on the first pages for two reasons. Firstly, it is one of the first pieces of bizarre magick that I created, and secondly, it is my most used. To perform it, you need the the following. The Major Arcana from a deck of Tarot. A black silk to keep the Tarot wrapped in. (Whilst strictly speaking this is optional, I cannot recommend this this highly enough. It is customary to keep Tarot wrapped in black silk amongst fortune tellers, so this one little touch makes you seem all the more genuine to those in the know).
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A prediction that reads (for example) “Ahead of you lies a very important choice… concluding in in complete happiness happiness or destruction. The Fool.” As the routine is essentially a force, I choose a tarot card that isn’t a particularly positive one. Whilst I’m not a fan of giving spectators the Death card, giving them a more negative one can make what you are doing appear more genuine… having good fortunes pop up repeatedly from a deck that is so scary about half your audience will refuse to touch it seems a little false to me. But, do as you will. Having gathered your items, we move on.
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Performance
Begin by handing out the Tarot, and allow a spectator to un-wrap them and shuffle them. As this is being done, write your prediction (in our case, The Fool) and place it into into their pocket. I make a grand gesture of this, but I don’t don’t say a word. The idea is that they remember you putting it there, but hopefully will forget about it in in the following events. events. That way, when you bring their attention attention back to it, the revelation is stronger. It also prevents them (to a degree) from reconstructing the method. If they don’t think “I bet they match” all the way through, they won’t be looking out for any sneaky play. Take back the cards and spread through them, finding The Fool card and cutting it to the back of the packet. To cover this action, I explain that all of the Tarot cards have a meaning, and I stop on a few as I spread through to give examples. I might stop on the the Death card, for example, and comment that whilst it looks pretty bleak, it actually represents change. With the force card on top of the face down packet, begin your presentation about how you are going to give g ive your spectator plenty of choices, and how they won’t change a thing. Then separate the packet into two piles as follows… follows… Holding the cards face down, spread through them, and up jog every second card for three quarters of its length. Explain to the spectator that they can touch any packet, and stress that the packet they touch is ALWAYS the packet that will be used. Now, if they touch the packet that is furthest from your body, you need to do the following move.
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Move the left hand so that the faces of the tarot are facing your spectators. With the right hand, you apparently pull out the out jogged cards (the selected ones) from the top short edge. As this happens, you do something else as well… your right thumb contacts the back of the card nearest your body (the force card on the lower packet), and drags it up, so that it is secretly added onto the back of the uppermost packet. You then strip out this packet, and ditch the one remaining in your left hand. Remember to stress how fair you are being with each action… and don’t worry about the fact that you are not being fair. It just makes everything everything a little more interesting! Of course, if your spectator selects the inner packet, then you don’t need to do the move. However, you DO need to make sure that your actions actions are identical… so take the outer packet, and then ditch it, instead of the inner one. Repeat these actions again, remembering to stress how free the choices are. Finally, repeat these actions once more, but this time, you need to end up with three cards, regardless of the packet that they select. Half the time it works out that you are left with three and if that happens, perfect. However, other times you are left with four cards. (This is when their last selection is your your outer packet) packet) To get around this, simply perform the strip out, and then place the packet that you’ve stripped out back onto the cards in your left hand before dealing the top three cards in a row. If you don’t draw attention to numbers, nor will your spectators, and the odd card that you are missing will not be noticed. Okay, now for the the crafty bit. Lay out the final three cards however you like, as long as you keep track of the force card. You are now going to force this card with the classic magician’s force, but because you have made m ade a big deal of everything ever ything being so fair, your actions will not be questioned. So… Ask the spectator to pick up any two cards. If the one they leave is the selection, just direct them to place the two that they’re holding onto the discard pile. If they pick up the selection and one of the other cards, ask them to hand you one. If you are handed the force card, tell them to put their one on the discard pile, together with the one on the table. Finally, if they hand you the other indifferent card, take it and tell them that they are left holding a single card… their fate. fate. Pick up the the tabled card and discard it, together with the one you are holding. VIII
Having done this, now have the force card turned over, and give a little reading… then remind your spectator that you had a prediction earlier… Finish as described in the effect, by showing that the prediction matches perfectly.
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Thoughts
The only move used in this routine is taken from a Paul Harris routine, called The Perfectionist. Perfectionist. It is deceptive, simple, natural and very direct. The Harris routine comes from his book Close Up Kinda Guy . The two main pieces of this effect to concentrate on are firstly, making it clear that every choice is is a fair one. This strengthens the effect, and also makes the force at the end more deceptive. Secondly, ensure that you handle the cards consistently consistently all the way through. It is important to maintain uniformity of action. Do not hurry hurry your actions. actions. Fast moves will make your spectators believe you’ve switched packets or something… so make it slow. This effect has been constructed to to appear as fair as possible. A nice idea, if you plan on using the same card as a prediction every time, is to mark the back of the the force card. When you get down to the final three, you can have the spectator mix them, and then go into the magician’s force, making it seem all the more fair. Another variation is to allow your spectator to select a card, and then give a reading on it. Then explain how some people think that tarot tarot is just chance, chance, and that your future is random. All you have to do then is to control the selection to the top of the deck and then continue as above, with a patter about their fate being unavoidable. Finally an idea that you might like to apply would be to experiment with having a duplicate force card… that way you can go all the way through the effect, get it down to two cards and really make a dramatic scene as to the card that they choose representing their fate. This could build a wonderful “What if I had picked the other card?” finish to the effect…
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Facing Death Removing a deck of tarot from its wrapping of black silk, the magician begins talking about the meanings of the cards. “Some of the cards have positive meanings, or interpretations. Cards like The Lovers, The Sun, The World, and The Wheel of Fortune are generally good cards, bringing good news or meanings.” “Others are less positive.” The magician removes about half a dozen of the more positive cards, together with the Death card. “Whilst the Death card isn’t as negative as a lot of people assume (it actually means change, in the form of the death of one era, and therefore, the birth of another), it’s still not a favourite if it crops up in their readings…” “Let us try a little something. Jack, would you mind mixing our death card into these happy cards? Thank you. Whilst you’re you’re doing that, can I ask for your help Rachael? Could you take my pulse for me? I’d like you to move your arm up and down in time with it… that’s perfect.” “Now, Jack, you’re happy with those? I’m going to look away, and I want you to put the the cards into my hand, one at a time. You can look at the one you’re going to give me, or or you can keep it a surprise, it doesn’t matter. I’ll keep looking away.” One of the cards is placed into the magicians’ palm. “No, that’s a happy one. Another?” The magician discards the first first few cards. Another is placed on his palm. “Hmmmm…” Rachael suddenly looks concerned, as she can’t find the magicians magicians pulse! The magician smiles. “Really? What would you say to someone who doesn’t have a pulse?” pulse?” As she answers, the magician flips the card that is in his hand over. It is, of course, the Death card.
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Discussion
This is a favourite routine of mine that features several strong points, the most important of which doesn’t shine through in the description above, but certainly does in live performance. That is the fact that once Jack has the cards, you look away, and never look back. The cards car ds are not marked, or one way, and so simply finding the death card is impressive in itself, even without our good old pulse stop. So, collect yourself some odd tarot cards, a can of roughing spray and a rubber ball, or similar gimmick, and set up as follows… Firstly, spray the face of the Death card with the roughing spray, and let it do its thing. Then, position the the ball under your left arm, as in the classic pulse stop. You can fix it in position however you like, but I find a pin and a piece piece of string stuck onto the ball with some tape works wonders. You are now ready.
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Performance
Begin your presentation, and bring out the tarot cards, removing Death, together with a handful of the the more positive cards. Exactly how many you you use is up to you, but I recommend no more than eight cards in total. Now, you position one spectator on your left hand side to take your pulse on your left wrist (ensure that she doesn’t take it with her thumb, as she’ll feel her own pulse instead of yours). The tarot cards are passed to another spectator who you position to your right, and they mix the cards, and then deal them one at a time onto your right hand. During all of this, ensure that your your head remains turned to the left. As your spectator deals the cards into your hand, it is a simple matter to feel the surface of the card with your finger tips, thus identifying the cards identity. Show the positive cards as you get them, and table them them as you go. When you get to the Death card, pause for a few seconds. This alerts everyone that something is happening, and this encourages the spectator on your left to check your pulse, and notice that your pulse has stopped (caused, as you know, by putting pressure on the ball that lies in your armpit). She reacts, and you ask her the question “What would you normally say about someone without a pulse?”
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This classic David Berglas line will get an answer of “They’d be dead”, which is a perfect cue for you to pause, smile, and turn over the death card in your hand with a flourish.
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Thoughts
Depending on the finish that your tarot cards have, you may or may not find that the roughing spray takes to them well. If this is the case, there are other methods you can incorporate. You may like to use use a visual mark, or one way back design. Failing that, marking the death card with some pinholes in the centre is a good method, especially if you have a deck with a particularly busy back design. On occasion, you will find that the spectator will deal you the death card first of all, which could cut your effect very short. The thing to do is to pause, pause, and stop your pulse, and then have the spectator on your left react. Then, have the spectator with the remaining cards to show the others he has in his hand, one at a time. time. This kills a little time. Once he has finished showing them, it is a simple matter to close with the David Berglas line. Finally, it is worth mentioning that you don’t have to use the ball for the pulse stop… Fans of Luke Jermay will like to experiment with using his more organic method from Seven Deceptions.
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The Crystal “The Discoverie of Witchcraft is a fascinating book. Written in 1584, all manner of wonderful spells fill its pages – one of my personal favourites appearing in book 14, chapter 12 – How to enclose a spirit in a christall stone.” “According to the book, once the spell is complete, the book states that Thou shalt see the christall made blacke”. After this opening dialogue, the magician produces a small leather pouch, and tosses its contents to to one of the guests. It is a small, dark stone. “What do you make of that? Probably not much. What if I was to swear to you that it was clear when I started?” The guests contemplate this question as the mysterious little stone is passed back and forth. “Personally though, I hardly think it’s fair. Here, pass it back. Let us see if we can help the poor fellow.” The lights are turned off, and the room is barely lit by the two candles upon the table top. A curious sheet of paper is unfolded, and seen to bear strange symbols and runes. The stone is removed from the glass bottle and wrapped carefully in the paper, which is then set onto a large piece of parchment paper that bears equally as strange symbols. “Sirraelx, Malanthan, Thamaor, Falaur, Sitrami.” A candle c andle is waved as the spell is cast, c ast, and suddenly, there is a violent flash of fire from the wrapped crystal. The lights are turned on, and, lying in the centre of the large piece of parchment, is the crystal. Having shed its ghostly prisoner, it is crystal clear.
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Discussion
I probably don’t have to tell you that the method is a simple switch, and that the small piece of “curious” paper is indeed our old friend, flash paper. Indeed, that may well have been enough of an explanation for some of you, in which case, we’ll meet again later in the book. However, for those of you interested, I have detailed the full workings of the effect below, including the
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switch and its motivation, and a novel idea of ditching the duplicate that will leave you clean. If you are interested, please read on… Start off by assembling your props. In a new age shop, pick up two crystals, one clear quartz and one smoky quartz. quartz. Try to find two stones that that match each other in size and shape. Mine are crystal points, and and no bigger than an inch (2.5 cm). Find also some parchment paper, or make your own using a sheet of white paper and some cold tea. PLEASE do not use a standard paper size – it’s it’s too recognisable. Buy a large pad, and cut a sheet to suit. Once you have that, decorate it however you see fit. fit. I like to draw around the edge of a glass to give a circle in the centre of paper, as it creates an emphasis on where the magic is happening. Around the circle, I’ve sketched symbols that look suspiciously like the ones that appear on my set of Rune Stones. Then, find two pieces of flash paper, cut to a size that will comfortably cover either of your your crystals. It should be decorated in a similar fashion to your parchment, but do not colour the flash paper. The contrast makes the effect clearer. Finally, for sneaky reasons, find yourself a candle and a holder, ensuring that the holder has a recess that will conceal one of the crystals. To set up for your performance, wrap the clear stone in a sheet of the flash paper, and place this in your left hand pocket, and the dark stone (preferably in a leather pouch) in your right pocket. The candle should be lit, and on your right hand side, and the remaining piece of flash paper and your parchment somewhere on the table in front of you.
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Performance
Introduce the effect via the presentation detailed above, and remove the pouch containing the dark stone, secretly getting the clear crystal (covered in flash paper) into your left hand. I do this by putting both of my hands into my my pockets. The left hand apparently finds finds nothing, so comes out at the same time as my right hand, which emerges from its pocket with the pouch. All of my attention is focused there, so the left hand goes unnoticed. Remove the dark stone from the pouch, and pass it around, allowing your guests to look at it. When it’s handed back, wrap the dark crystal in the flash paper, using both hands. Be careful not to expose the packet in your left hand, and ensure that both hands mirror each other.
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Once the dark crystal is wrapped, leave it on the right hand fingers for a moment, as you continue your tale. Then look at the candle. This is to provide misdirection for the only move in this effect. To make the switch, simply place your right thumb onto the packet, and apparently dump it into the left hand. In reality, your thumb holds it into place, and the left hand brings its duplicate packet into view. In a continuing (but not hurried) action, the right hand picks up the candle, providing motivation for the crystal to change hands. Lay the packet in the left hand in the centre of the parchment paper, and chant your spell, touching the candle to the paper at the necessary time. If you took the opportunity to have the lights dimmed, the flash will be quite dazzling. This we use as cover, as the right hand places the candle onto the table, having manoeuvred the duplicate packet under the holder (not unlike a load in a cups and balls routine). Now, simply stand back from everything, and have the lights turned back on, to reveal the clear crystal, sitting proudly on the now gently toasted parchment. This is is an attractive image to finish on. Allow your your guests to absorb it.
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Thoughts
Of course, you can present this routine the opposite way, by starting with a clear crystal, and apparently catching a spirit in it, turning it black. This allows you to follow the spell from the book a little more closely (although it’s a time consuming one to perform properly!) Some time ago, I sent this routine to Caleb Strange, who in a few lines detailed a simply wonderful variation. variation. I asked his permission to include it within within these pages, and being the gentleman he is, he graciously agreed. agreed. It is included below, in his own words. I had an idea for an alternative presentation which you might like. Maybe the stone could start clear and the routine is about ‘dark thoughts’ - things that concern us or worry us (nothing too serious, but something on our mind), The spectator writes down just such a shadowy thought on a piece of paper, and it is wrapped round a clear stone. Then you tarot read three cards, and look at solutions to the spectator’s problem. Then you complete the ritual by touching the stone to the flame. The packet bursts into flame, but appears undamaged. Yet there are two surprises - when the paper is unwrapped it is blank, the problem is gone. And the stone now is black - it has absorbed the dark thoughts. You leave the
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stone and the paper with the spectator, to remind her that problems can be overcome and controlled. (Peek the problem when you wrap the stone by the candle flame, and tailor your tarot reading accordingly. Switch the original bundle for the black stone one, and leave with the spectator - maybe she can place it on ribbon spread tarot pack as she chooses her cards? This helps her forget that you held her stone. This switch packet consists of a black stone wrapped in a blank non-flash parchment, and on the outside, a layer of flash paper. When the flash paper burns, it leaves the blank piece untouched. Her problem has left the paper, and is now contained/controlled inside the stone.) Following along these lines, it might be nice to perform a variation of Luke Jermay’s Seventh Deception. This way, you don’t need to peek the problem, and the tarot section can be eliminated. eliminated. Then the paper is wrapped around the crystal, and you switch as you drop the package into the spectator’s hand. Then, using Luke’s routine, she feels the package draining the energy from her arm, and it gets heavier. Finally, you trap the phobia in the stone for her, and allow her to keep it, as a reminder of what she can do. This makes a much more flattering souvenir than a blank piece of tissue paper. For the details of Luke Jermay’s routine, check out his book 7 Deceptions, published by Kenton Knepper.
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The Angel Back in 2002, I came up with the idea of using an old school boy prank to reveal a thought of card. The effect was that a spectator spectator removed a thought of card from a deck and left it on the table. I then touched my fingers fingers to their (obviously closed) eyes, and read their mind for the name of the card. In spite of the absurdly simple method (when they close their eyes, you touch their eyes with the first and second finger of the same hand. Then, your other hand was used to pick up the selection so you could see it), and the fact that it is obviously only a one on one effect, this got a good reaction… presumably because of the intimate nature nature of the effect. However, at a later date, I found that Doc Hilford had come across a very similar (and better) better) idea that predated my own. This inspired me to rework the effect completely, making it “my own”, so to speak. speak. I’m very pleased with with the results.
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The Effect
A spectator thinks of any word and writes it on the back of the magicians’ business card. This card is trapped firmly between her palms, and the performer has her close her eyes, before touching them gently, with the forefinger of each hand. The magician asks her to imagine the word, slowly fading, the ink slowly vanishing, travelling up through his arms, to his head. head. The spectator opens her eyes, and finds that the writing from her card really has vanished! And ended up in the performers mind, as he now partially reveals the word! To finish, the card is set on fire, and the ash rubbed on the performers forearm. Spelt out in in the ash, looking the spectator spectator right in the eyes, is the spectators freely selected word.
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Discussion
Assemble the following bits and pieces. You need a tube of Chap Stick, a candle or lighter, a stack of business cards, and a marker pen. You also need to be wearing short sleeves, or have long sleeves rolled up.
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To prepare, place the business cards and the marker pen and the lighter all in the left hand pocket, and the Chap Stick in the right hand pocket. You are ready to perform.
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Performance
“Hey Rachael, we’ll try something special, just for you. you. Just think of of any word, preferably one that is personal personal to you. you. Keep it to yourself, though, we’ll write it down in a minute.” Remove the business cards and the marker pen from your right hand pocket. Table the pen, and hold the stack of cards face up (that is, blank side down) in your left hand. Perform a double turnover, and turn your head, as you ask the spectator to write the word onto the card. “Actually, could you write it down for me? It makes it easier for you to visualise in a moment. You’ve done that? Excellent.” Flip the double face down before you turn your head back to face the spectator. Hand her the top top card (really blank) and direct her to hold it tight between her palms, as you table the stack of business business cards off to your RIGHT. Now, you are ready for the “Touched by an Angel” ruse, as follows… “I’m going to help you visualise something Rachael. I want you to close your eyes for me, and I’m going to just rest my fingers gently on your eyes, to help you visualise something.” Hold the forefingers of each hand up to the spectator’s eye level as you say the last part of the script. This is going to condition her, help her believe that both of your hands are going to be occupied. The script is also purposely purposely vague, so that its meaning takes the spectators initial thoughts, so they won’t worry about your hands for the time being. When the spectator closes her eyes, gently touch them with your left first and second finger, leaving your right hand completely free. “Ok Rachael, picture your word, right in front of you, exactly as you wrote it. Imagine the ink slowly fading, slowly leaving the card, coming from your mind, though though my hands, hands, and into my head. Actually see it happen. Can you imagine it happening? You can? That’s excellent, I’m getting something… Ok, open your eyes in three seconds… one, two, three.” During the above talk, you have been very busy indeed. Your right hand takes the top card of the stack, and reads it, revealing the spectators thought of word. Put this into your yo ur right hand pocket, and leave it there, taking out the Chap Stick. Use the Chap Chap Stick to write the the word on your left forearm. XVIII
Finally, you put the Chap Stick away, and then remove your fingers so the spectator can open her eyes. Be sure to be in a position exactly as before Rachael closed her eyes, that is, with the forefinger of each hand out stretched. This conditions the spectator to believe that both your hands were occupied, as does the wording of the script above. The talk of the thought thought travelling through your arms, means that that she visualises in her mind what she believes is true, that both hands are covering her eyes. Once her eyes are open, allow her to see that her word really has vanished, and then reveal the general meaning of the word, but not the word itself… this is to give the ashes on arm a reason to be there, and it also implies that you haven’t seen the card… if you had, wouldn’t you know the word? “During your visualisation, I did get close to it. It was a flower, flower, wasn’t it? The name of a flower? flower? I couldn’t get the word exactly, but but I think I know a way that will spell it out.” Silently take the card from the spectator, and set fire to it, letting it burn. Then to finish, take the ashes and rub them on your left arm, muttering an incoherent spell as you do so, revealing the thought of word spelt out on your arm.
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Thoughts
Whilst already a powerful routine, here are some additional thoughts from Caleb Strange. The other presentation that springs to mind - though one on one this might be too strong - would be a séance type thing. Talk about test séances (cross referencing etc.), and how it is important that what is chosen, no one can possibly know. A secret from the past (which only the client and a dead person might know) is written down. You use your powers to get close to this secret, demonstrating your empathy/telepathy - but you‘re only close to the secret. Then ask the client if she wants to try something - if she says yes, contact your guides and do the ash reveal. As I say, this is working very strong, and won’t be to everyone‘s taste. One final thought, if the message on the arm is private and a nd intimate, why not avert your eyes as you reveal it, so that only the spectator sees it, then you wipe it off? This way her secret is safe, and this also suggests that you didn’t write the message yourself, and so helps a little with the misdirection. Then, as part of the ritual, you put your fingers over her eyes, secretly getting the peek. Once you’ve got the peek, move your hands down both both of your spectators’ arms, and then guide their hands so that they cover the card with the question on. XIX
The theory being that they close their eyes (perhaps to picture who they want to contact), and then you place their hands on their question to keep it safe. As they felt you move both of your hands down their arms, there won’t be anytime when they can’t account for both your hands, and what they are doing. You can then proceed to reveal the information however you wish. But that’s not all you can do with the Angel principle. principle. The following effect is even cheekier!
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Automatic Writings Introducing a piece of card (about the size of a postcard) with the word “Prediction” printed on one side, the magician talks talks of automatic writing. The prediction is placed under a glass, and a pad of paper and felt tip pen is handed to your spectator. You state that you are going to influence her thoughts, and close her eyes. You touch your finger tips to her closed eyes, in an attempt to influence what she is about to draw. The spectator now draws whatever she feels. Her pen rides freely over the paper, producing a completely unique picture. She opens her eyes, and signs her picture. Your prediction is shown, and is a near identical match for your spectators automatic writing!
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Discussion
I’m sure that you recognised the use of the same ruse (Touched by an Angel) as in the last effect. This is a very useful principle, but not always practical (especially if your spectator wears glasses). Therefore, I will chat about a couple of different methods that you could use. Firstly, we’ll discuss the angel method. Its beauty lies in its simplicity, simplicity, well, its cheek at least. Basically, the prediction that you table is blank. You do the angel, freeing one of your hands to take a duplicate marker, and copy the image as it is being drawn by the spectator. Hence the glass, which serves to hold your writing surface in place. Needless to say, if you don’t like the idea of trying to copy random scribbles upside down, you can easily use this as a design duplication, having them draw a picture that comes to mind. So that is perhaps a somewhat risky method, only for the daring. Another idea may be to have the spectator draw on a piece of A4 card. In preparation, you drew a random design on one side of it, which matches your prediction. You then give your your spectator a dry marker, close their their eyes doing the angel ruse, and then simply flip the card over, and let them scribble away.
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Needless to say, this only works with the automatic writing presentation. On a similar trail of thought, you could hand them a regular pen, have them really scribble on it, and then simply flip the card over bringing your prepared side to view. This then allows for the lovely touch of having them sign their name with the pen, proving (without saying so) that it works, adding to the illusion that that the picture in front of them is what they drew. Playing with the Angel ruse will uncover other other avenues, equally strong. It’s worthy of your consideration.
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Pain “Pain is a very strange feeling. Although you would think of it as a physical feeling, it is actually over 80% fear. If you are afraid of something hurting you, when it happens, it seems much worse.” “Allow me to demonstrate. Danielle, can I borrow you for a moment? moment? I promise you won’t feel any pain or discomfort in the slightest; slightest; I just need you to trust trust me. You can do that? Thank you.” “I need you to just close your eyes, and keep your mind as clear as possible. Don’t do, say, or think anything, just just keep your mind peaceful and calm.” “In a moment, I’m going to give you something that feels like a tube, so can you close your hand into a fist, like this? Perfect.” “Okay Danielle, just keep thinking about nothing. peaceful. Perfect.”
Everything is calm,
To the amazement of your friends, you close Danielle’s hand into a fist and slowly, calmly, drop a lit burning cigarette into it, where it stays for several moments. The smoke rising out of the fist of an an unsuspecting friend really is a powerful image for your crowd to view. “You’re doing doing so well. You feel ok? You’re not asleep, are you?” Danielle’s very calm reply comes in complete contrast to what is expected of her. “Perfect. Okay, I think that’s that’s enough for now, now, I’m going to take your tube from you in just a moment. That’s it, show your hand to everyone, and open your eyes, thank you you for helping Danielle. You were amazing.” “Suiting actions to the words, you have removed the cigarette and Danielle’s hands are shown around to be perfectly ok.”
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Discussion
This is certainly one of my favourite pieces, as it uses a gimmick you already own and a lot of cheek. When magicians see this piece, their their guess is usually a thumb tip and a stooge… They are half right. Below is a full script, minus the presentation so that you can concentrate on what you are reading, and to cut down on the explanation. Yes, it is long, and XXIII
particularly boring to read, but hopefully, any effort you put into reading it will be amply rewarded. Good things come to those who wait. So assemble the following items, together with a friend to practise on. A cigarette A cigarette lighter A thumb tip For this effect, you ideally want your spectator sitting with you, facing the audience, with you sitting at her left hand side, if you are right handed, and vice versa. Get the thumb tip onto your left forefinger before you begin the effect (this c an be done as the spectator is coming from the audience to help you). you). I like to make sure that the cigarette and lighter are in an easily accessible pocket… leaving them on display might make the spectator nervous.
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Performance
“Hi Danielle, you don’t don’t mind helping do you? Thank you. We are going to try something, and I’ve I’ve got to ask you to to concentrate. Could you close your eyes for me? Nothing’s going to happen, I promise” As you make the above comments, and Danielle has closed her eyes, bring out the cigarette and lighter. lighter. Light the cigarette and start smoking it, if that fits your style. “Now hold your hand out for me” Gently touch Danielle’s left hand, so she knows which one you mean. When she holds out her hand, place your left forefinger (with thumb tip) onto her palm, and then close her hand around the tip as you say the following line. “Thank you Danielle, I’m going to give you something that feels like a tube – ok?” This sentence is important… To Danielle, it says “I’ve says “I’ve given you the thumb tip, is that ok?” whereas ok?” whereas to the rest of the audience, it says “I’m about to give you a lit cigarette, if that’s ok?” Take the cigarette out of your mouth mouth and take it into your right hand. You are going to drop this into the thumb tip in the spectators hand, so please be
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careful. That’s why you’re using using your right hand, so that there is no chance of slipping. This is a wonderful moment, so play it for all it’s worth. Slowly take the the cigarette, look at it, and then then at Danielle’s fist. Then smile and slowly move the cigarette towards Danielle’s hand. Pause when you reach her hand, and then slowly lower it, hot bit down, straight into her thumb tip that she’s borrowed from you. Leave it there for a little. Silence is a powerful thing. thing. Then begin your patter, giving the cigarette plenty of time to build some drama for you as you continue with the presentation (which appeared above). “In a moment, moment, I’m going to take the tube from you Danielle, ok? You feel okay so far?” She will answer positively, adding to the already very deep mystery. Whilst this banter is going on, remove the cigarette from the thumb tip, and then steal the thumb tip tip from Danielle’s fist. Do it exactly as you would if the thumb tip was in your hand. You do this as you hold up her hand, apparently so that everyone can see it. Make off with the thumb tip as you direct her to open her fist, revealing a big bunch of nothing.
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Thoughts
You may like to add a nice little touch by adding a tiny amount of ash to Danielle’s hand via the old ashes on the palm routine. routine. That way, you stub stub a cigarette out in their fist, and then they open it to reveal nothing more than a little ash. At first when you perform this routine, you may think that the spectator is going to tip off the audience about something… this seems to be a common area of fear for other magicians when I explain this routine. I can assure you that you’ll be fine. Your participant has her eyes closed, and is never given a chance to really speak… she is busy concentrating. concentrating. Also, (and this is what a lot of people forget) she has no way of knowing what the rest of the audience have already seen. Therefore, you should find that this effect is pretty much fool-proof.
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The Big Finish
Ok, I can’t believe that I’m tipping tipping this. I wasn’t going to, but having read the explanation, it seems that this kicker that I’ve used for a while is an obvious one, and would occur to most other magicians. To the presentation of fear causing pain, and so having no fear means that you can’t be hurt, a cigarette (which has been smouldering away in a spectator’s hand for some time) time) utterly, utterly utterly vanishes. Please, think about that for a second. The handling, and indeed the the script, remains unchanged. The only thing to be aware of is that the cigarette needs to be burned down, allowing you to comfortably steal the tip away. “Ok Danielle, I’m going to take the tube from you in a second. second. Could you hold your hand up like this for me?” Use your right hand to raise Danielle’s fist, and take this opportunity to put your right thumb straight into the tip. Once you’ve guided her hand to where you want it, smoothly move the right hand away, taking the tip with it. Danielle won’t say a word… she’s just heard you say that you are going to take it. You may like to casually flash your right hand empty to the crowd. Do this by flashing your hand so that the thumb tip is facing them head on. Don’t make a deal of it, this is supposed to be a casual casual gesture. Keep it that way. “Finally, imagine it fading away. You can feel it, but it’s it’s going, going, going, gone. Open your hand for us Danielle, slowly if you you don’t mind”. Watch the faces of the spectators, as her hand is shown empty. empty.
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Voodoo Jenny offers to help the magician, and is directed to close her hand into a tight fist, in plain view of everybody. The magician then draws a hand on a sheet of paper, and signs the bottom with the spectators’ name. A cigarette is then borrowed, and a dab of ash touched to the palm of the drawing. However, when Jenny opens her hand, she finds an identical mark of ash! Taking the voodoo one step further, the drawing is bundled up and dropped into a glass. Jenny closes her eyes, and the magician stubs the the cigarette out in Jenny’s palm! She doesn’t feel feel a thing. thing. However, when the drawing is opened, the drawn hand is burnt to a crisp!
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Discussion
This is a bonus presentation presentation for Pain. As much as I liked the above effect, I did feel that it lacked something… it didn’t seem to have the presentation that most of the other effects I use have. Briefly then, you will recognise the use of the old Ashes on Palms. The voodoo presentation of it comes from Eugene Burger. The second phase is of course Pain, the previous effect, And finally, of course, a simple switch accounts for the paper developing burn marks. The duplicate paper is also marked with your spectators name, and on concluding the Ashes on Palm phase, you casually screw the ball up and apparently drop it into into a wine glass. Obviously, it is here that that you switch the papers, using a shuttle pass switch or similar. I content myself with that somewhat brief description, so that we can move on.
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Circles of Stone Around a large flat stone, the magician lays out some smaller stones in a square formation. “In Cornwall, there lies a stone, or rock that possessed great evil power, and for hundreds of years it brought disease, famine and curses upon the people near it.” “However, sometime around 1550 ad, several mages, or wizards, met with the intention of containing the power of the stone. stone. Spells were cast, and eventually, they had succeeded in trapping the rock, provided that exactly 10 stones blocked it from each side.” “Of course, that was nearly 500 years ago. Since then, storms have blown the stones around, and and eroded some of them. Others simply vanished… presumably stolen.” As he speaks, the stones are moved around, and several are completely removed from the square. “Inexplicably, the residents of Cornwall have remained in good fortune.” The stones in the square are again counted, and there are still 10 stones in each row! “Could you place your hand on top of the rock? eventually, the square will have to break…”
Keep it safe, because
The spectator takes a single stone, leaving one of the rows with just nine. “And when it does, that rock is going to have something to say…” The spectator lifts her hand, and finds that blood has leaked from the stone, all over the stone, and over the spectators’ palm.
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Discussion
This routine was unashamedly inspired by Caleb Strange, and his routine Ever Decreasing Stone Circles. In this routine, Caleb used photos of stones (like Stonehenge) as a fascinating presentation for cards across. Although Caleb also has variations using actual stones, none of them used this method… although J Warrens on the Magic Café forum independently came up with the same approach as I have here.
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Obviously, the first method is an old mathematical puzzle that I read from Art of Astonishment (see the Secrets of the Astonishing Executive) by Paul Harris. The bleeding stone is my own twist, providing a logical finish to what is otherwise, at best, a puzzle. To begin with, you need to find find a number of stones or pebbles. I use thirty little chalk stones, bought from a shop where they are sold as decorations for vases or what have you. Let us first deal with the counting of the the stones. Lay out your your stones in a configuration that looks like the table below. o
ooo
oo
oooo
ooo
oo
oo
ooo
Oooo
oo
ooo
o
In performance, your larger pebble would sit in the centre of the square, but for now, leave that blank. Ok, so you have the above configuration. If you count the stones stones in each row, you’ll find that each row adds up to 10. Now you’ve done that, remove one of the stones from the top row. It must come from the middle somewhere, as opposed to the corners. Now, move one stone from the middle of either side rows up to its corner. When you count all of the rows again, they will still all add up to 10! This is the basis of the first phase. The reason that this works is that each stone in the centre of the rows is only counted once, where as the corner stones are counted twice (ie in two rows). Therefore, removing a middle stone, and adding another to the corner of the same row leaves each row still adding up to ten. So this accounts for phase 1, all you do is remove four or five stones, move the necessary, and then have the sides added back up. Although you can remove the stones one at a time, and count, I suggest that you don’t in this case. You’ll reduce the effect to a puzzle, and add lots of dead time whilst your audience has to count 40 stones to appreciate the effect. So, that leaves us with the bleeding stone. This I added to the effect as a finish, something else for the spectators to wonder about as opposed to them concentrating all their energies on solving the puzzle.
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Although there are other methods for making a stone bleed in print, this one is suited for close up. Other methods are better for larger groups (for example, David Parr’s superb routine from the Mystery School book). However, for this variation, find yourself a pebble, and a small dish of stage blood or o r red r ed food colour. Carefully dip only the bottom half of the stone into the dye. By bottom half, I mean, the underside of the stone, so that the blood will not be visible when the stone is on the table. table. In performance, you need this pebble, and a film canister with some stage blood in it, within easy reach. Although you can use a pocket, I don’t risk it. I work the routine from a small box, and as I return the spectators stone (that eventually breaks the square) to the box, I dip my second finger in the blood. With your other hand, pick up the the blood stone, and ask for a spectator’s hand. Add the blood onto his palm via the old ashes on palm effect, and as you place the stone onto the table and immediately cover it with his hand, you allow the stone to flip over. The result of this little juggling sequence is that the stone is stained side up, with the spectators hand on top. You added the blood to his palm to give the impression that the stone actually bled, and that all of the stain appeared at the same time as the little that found its way onto the palm. Finish the effect as you wish.
XXX
The Tarot On the table rests a wine glass holding two different markers, some scraps of paper and the major arcana of a tarot deck. Just beside it, it, sits a person, person, someone seeking the knowledge of the tarot. With the cards spread, the magician jots something som ething on a scrap of paper, using the black pen. The prediction is crumpled up up and dropped into the glass, before the seeker decides on a card. The Hanged Man. “This card represents your present, and the hanged man represents your career. It suggests that you are unhappy at work… and suggests that perhaps you need to see things from a new perspective, and perhaps make a substantial sacrifice”. Another prediction is made, this time using the red pen. It joins the first one in the glass. “Now take a face down card, to represent your unknown future.” The selected card is The Fool “In the near future… you are expected to make a serious decision… one that leads to happiness or disaster. Don’t be a fool by by letting your heart rule your head… you have to have the faith to cast aside fear.” “But then, you knew all that. It was all written written in the stars… and everywhere else.” The predictions are spilt onto the table… the seekers cue to open them. Needless to say, they are both correct.
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Discussion
Assemble the following… Two different colour pens… ideally with just different colour caps - if you manage this, simply switch caps so each pen writes the opposite colour of the cap, otherwise, you need to switch the ink inside. Two scraps of paper or blank cards. The major arcana from a tarot deck, wrapped in black silk. A glass
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Simply drop the markers into the glass, and have all the other props on the table within reach.
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Performance
Begin by laying out the the tarot cards for one to be thought of. Personally, I limit the first choice and just lay out eight cards – this means that the spectator will remember which card he needs to think of, and also saves having cards spread all over the table. However, whilst I lay out these eight cards, I also note and remember the card at the top of the deck… let let us say it happens to be The Tower. Remember this card for later, as you lay out the following cards. The Fool The Hanged Man The World The Hermit The Devil Justice The Wheel of Fortune The Lovers
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Fear Career Travel Health Conflict Legal Matters Wealth Love
I find these cards to be perfect, as they cover all the major issues, and represent them simply in picture form, so your spectator will not have a problem choosing one that relates to an issue that they’ve had on their mind. These are also the eight cards used for the Arcane Approach, by Peter Arcane, which is also a fine effect that can lead into into this one nicely. Anyhow, whilst your spectator is deciding on a tarot card, take one of the papers (or business cards) and both markers from the glass, and write “The Tower” (or whatever card you happened to glimpse earlier) on it, shielding it from view. I use the (apparently) red pen first. Fold the prediction, and drop it into the glass, so that it remains in full view. Now have the selection named, and set it off to one side as you gather up all the cards, ensuring that The Tower remains on the top of the deck. Give a short reading on the card selected, explaining what it represents, and then suggest that you now do a reading for the future. Write the second prediction, using the black (?) pen, and write the name of the selection that the spectator has just revealed onto it. This is identically folded, and dropped into the glass, with the first one. To finish up, you simply need need to force The Tower on the spectator. Personally, I ask for a number, perhaps a lucky one, and then second deal to that number. XXXII
The Glide is another alternative, if your force card began at the bottom of the deck. Either way, give a reading on The Tower, and how it relates to their first selection, and then simply allow them to open your two predictions, to find that they match.
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Thoughts
This trick is a simple reworking of a playing card prediction that I read in an issue of Magick Magazine by Jules Lenier. The effect was called “Share of Mind”. This is only a minor variation – the handling is cleaner, the use use of tarot cards, the presentation of using their present and future, and the dodge of the different colour pens. Based on the one ahead principle, this effect is very strong… in fact, sometimes a little too strong, and it can fall into the “Too Perfect” theory. When testing this effect originally, using playing cards and a pencil, a couple of spectators kind of worked out the principle. “You wrote the first card second, and then, somehow did the first one” was a typical comment. Therefore, the different coloured pens were a ploy to eliminate the one ahead method in the mind of your audience, should they consider it. However, you may like to justify the use of two pens, as there is no reason for using two colours aside from convincing the spectators that you are not cheating. One ploy would be to have one of the markers running out… so you write a prediction, comment that the pen is running out, and bring out a new one – that “just happens” to be a different colour. Usually though, I use the red pen first, and comment “Red represents the present, issues you need to be aware of” and then for black, “Black represents the unknown… your unknown future”. A final idea for the effect is to use a little invisible thread to topple the glass over. Normally, once you’ve you’ve given the the readings, the spectators’ forget about the predictions. Nodding at the glass and then having it tip tip over and spill the predictions in front of them might be a nice way of reminding them.
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Aura Several cards from the major arcane of the tarot are removed, and a spectator selects one by cutting cutting the cards with her left hand three times. She remembers the card, and loses it back into the packet, by cutting it three times with her left hand (a ritual usually usually used in readings). Taking the packet, the magician senses the aura of the cards, and begins discarding the ones that the the spectator did not choose. Suddenly, the magician lays one card aside. It is this card. The magician lays the card face down on the table, and holds his hand over it, still sensing the aura. It’s a very positive card… one signifying travel, a desire or need to get out, and to see some of the world. You selected the world. The card on the table is turned over, and, of course, it is.
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Discussion
This effect is a subtle combination of two methods. The first is simply simply a one way back design on the tarot, whilst the second being perhaps the sneakiest glimpse ever known, created by Len Belcher. For his routine, check out “Turn in your Grave”, which appeared in Magic of the Mind, by Lewis Ganson. Personally, I find “Living and Dead” tests exceptionally distasteful, and I’m sure that I’m not the only one. Anyway, your first step is to pick up a tarot deck that has a one way back design. Mine isn’t particularly particularly subtle, subtle, but but that that does not matter. During the the effect, there is a subtle moment where they see a reversed card that isn’t the selection. This throws the clever ones onto the wrong track. The tarot that I use has a single rose in the centre of each card, and thus are one way. Otherwise, you could always simply mark them on the the top edge with a pin or what have you. Now, you can use as many tarot cards as you like, but I like to limit this effect to about eight, so that the effect doesn’t go on forever. So remove the ones you want to use, and ensure that the one way design d esign faces the same way on them all. With this preparation complete, you are ready to perform.
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Performance
Begin by introducing the the tarot, and casually shuffling them. Because only cuts are used in performance, there will be people (magicians) who might suspect a key card. Shuffling them at at the beginning disproves this this theory. Now, instead of having a card selected, and having to reverse the deck so that the card goes back correctly, we are going to use a devious ploy belonging to Tony Shiels… Table the cards so that the writing on the faces are towards your spectator. This is so that when she cuts to a card, and you direct her to look at it, she will see it upside down! Naturally, she’ll reverse it herself to read the cards title! Do not giggle at this point. She then returns the selection as it is, and then cuts the deck three times with her left hand. Once this is done, spread the packet face down between your hands, as you make a comment on the cards. This is so that you can locate the selection, and cut it so that it is somewhere between third and seventh from the top of the the deck. Now, hold the packet square in your left hand, and hold your right hand above the cards, apparently feeling for its aura. Comment that there there isn’t an aura, aura, and so this probably isn’t the card, before turning the card face up onto the packet, end for end. Then deal this card face up onto the table, tilting the left wrist up, bringing the top of the packet out of the spectators view temporarily. This serves two functions. Firstly, it helps hide the one way feature feature of the backs, and secondly, it sets you up for the glimpse in a moment. Repeat these steps, until you get to the reversed card, which is the selection. Again, wave your hand over it, and comment that it has no aura, and then double turnover (end for end) bringing an indifferent card into view. Deal this card face up onto the pile on the table, but tilt the wrist up as you do so. This leaves the selected tarot card looking straight at you. you. However, your spectators can not see this, so DO NOT RUSH THE FOLLOWING ACTIONS or you’ll give it all away. Calmly wave your right hand over again, commenting that this card is also not the selection, and again double turnover, end for end, bringing an indifferent card into view. The angle of your wrist prevents the selection from ever being seen.
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Table the indifferent card with the others, and then wave the right hand over the packet, commenting that the next card certainly feels like the selection. Deal it off to one side, and then reveal its identity in a dramatic fashion.
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The Dead Mans Hand A tale is told about an old gambler called Mr Andrews, who won several fortunes playing cards. Despite much research, it is still unknown whether he was a fantastic card cheat, or just damn lucky… he certainly carried a good luck charm in the form of an old English penny with him whenever he played… An old English penny that you have on loan from a friend. But whether he was lucky or not became irrelevant on 8th of December 1920, when he was shot in the back of the head during a card game. The hand that he still held, which would have won his game, became known as the dead mans hand. To test it out, the deck is shuffled and five hands of poker are dealt, and all shown to be pretty unspectacular. unspectacular. The spectator gathers up the hands, hands, and deals them out again, this time holding onto Mr Andrews good luck charm. The spectator deals himself a winning hand… two pair, aces over o ver eights. “If you’d been Mr Andrews, that’d have been a dead mans hand…” The magician does a double take. “In fact, it’s THE dead man’s hand!” The envelope that contained the good luck charm is opened, and from inside fall five very old cards, the dead man’s hand… Aces over eights!
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Discussion
Find yourself an old English penny, five old playing cards (the ace of hearts, the ace of spades, the eight of clubs, the eight of diamonds and the queen of hearts) an envelope, and a deck of cards, from which you have removed the dead mans hand. The envelope begins on the table, containing containing the old cards and penny. The deck is also on the table, with the exception of the cards you removed, which begin palmed in the right hand, backs towards the palm.
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Performance
Have the deck shuffled by the spectator, and take it back, adding on the palmed cards to the top.
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Following the presentation, deal out five hands of cards, showing them all to be nothing spectacular. If you find that one of them is a good hand, it’s nice to use an Elmsley count count or what have you, you, but this rarely happens anyway. In either case, you must ensure that the first dealt card of each hand does NOT change position. They remain at the bottom of the face down hands. Now, you simply gather up the hands by dropping them one at a time, as packets, onto the top of the deck. A false cut here is is optional. Now remove the lucky charm from the envelope, and have a spectator deal out five hands, his one being last. Because of the way we stacked them, he’ll deal himself the dead mans hand. Turn the other hands face up up first, showing that they are all indifferent. Then, turn his hand over to show that, thanks to the lucky penny, he has won. Then reveal the prediction in the envelope to finish.
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The Mark of the Devil The magician talks about how, in legend, many people have sold their soul to the devil in exchange for powers or wealth in this world. A willing spectator is found and they write what they would like to trade their soul for on a small sheet of paper. Once this is completed, the magician performs the ceremony. The paper is screwed up into a ball and impaled onto a long needle, and then a black candle is lit. The magus explains that if the devil wants to trade, then there will be some sort of sign. The magus chants a spell as he waves the needle over the candle, and for a long time, nothing nothing happens. The silence is so long and uncomfortable that a couple of the spectators feel embarrassed for the mage. Suddenly, there is a bright flash of fire. The paper is examined and now bears the mark of Satan… a sign that the deal that has been accepted. Strangely enough, not many people accept the offer of the marked paper as a souvenir…
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Discussion
For what is unquestionably the darkest effect in the book, you will need to assemble a packet of cigarette papers, some flash paper cut to a similar size, a black marker pen, a needle (the longer the better) and a black candle. Using the marker pen, draw a satanic symbol on the cigarette paper – you can use an inverted pentagram, or just the number of the beast – whatever you prefer. Begin with the cigarette paper balled up in your left hand pocket, together with the packet of flash paper and a marker pen. The needle, black candle and lighter are on the table.
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Performance
“In history, many people have allegedly exchanged their soul for mortal wealth or pleasures…” “Usually with the Devil, of course.” XXXIX
Light the candle, and then bring out the cigarette paper packet and hand it to a spectator. “I don’t have the parchment paper on me, me, but this should do. do. Just write anything you want, I mean, really want, on the paper.” “Let me find you a pen. It’s a little less messy than the virgins blood used in mythology.” Take the pen out of your pocket and hand it to your spectator, allowing your hands to be seen clearly empty. “Perfect.” You take back the pen, and drop it back into your pocket, taking this opportunity to steal the crumpled ball of cigarette paper that has your devil symbol on it. Take your spectators paper, and crumple it into a little ball, ensuring that the cigarette paper ends up in the middle of the bundle. bundle. Once you have finished, again make it clear (without saying so) that your hands are completely empty. “Again, in legend, the wish was impaled on a broadsword… and it just so happens that I forgot forgot mine. Instead this needle needle will be perfect.” perfect.” “Now, in legend, the spell is chanted whilst the paper is held over the flame of a candle. If the devil is interested, there will be a sign.” Now chant a spell as you wave the the paper over the candle. Wave it very gently, and do NOT allow the flash paper to touch the flame. This is much more eerie if you just allow the heat to set the paper off. “I think this is for you.” Allow the spectator to remove r emove the cigarette paper and look at its contents, and then take it back and display it to everyone else so they all get to see the symbol of the devil. “I’m not sure what you wanted… but I hope it was important enough. Perhaps you’d better keep this.” Hand the paper to them, and then move into your next piece.
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Final Thoughts
Obviously, credit must go to John Bannon, as the method for this effect comes from Shriek of the Mutilated effect that I saw on his Impossibilia video.
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Do experiment with the cigarette papers as well. I don’t remember the name of the first brand that I tried, but it went up in flames together with the flash paper. Yes, this is dark, and needs to be presented correctly, in my opinion, or you will come across as either lame or just plain evil. Therefore, the patter that I use use is detailed above. It is somewhat witty, in the hope that people will realise that this is not a real spell or ceremony. Anabelle prefers to use a somewhat lighter approach, making a story about a witch that grants wishes – something less intimidating, intimidating, I think you’ll agree. Whilst I personally prefer the darker presentation above, there is another option that is much more direct… and perhaps, a little little too powerful. Instead of having the spectator write something that they want, just write out “I hereby give my soul to Satan” or similar, and have them sign it. At the end, the flash of fire leaves the paper blank. If you don’t get a scream out of this… Maybe it’s time you bought a sponge ding dong.
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Final Words So, here we are, at the the end of my first collection of effects. I hope that you enjoyed them, and would like to think that they prove to be of some use to you, in one way or another. If you do perform them, I hope that you find them to be all that I wanted them to when I created them… Strong, simple and (mostly) practical pieces of meaningful magic. Please get in contact with me if you have any thoughts, comments or questions on the effects. Contact details can be found on www.liammontier.com on www.liammontier.com Finally, I have to say thank you to Ben… ;o)
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