Liam Montier - Equinox

EQUINOX Book One

By Liam Montier

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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















DEDICATION

For Denise. We miss you. All our love, Rob Rob and Liam xxx















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…















THE CONTENTS Dedication Contents Introduction Fate

-

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

-

XXII

Voodoo

-

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















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.

•

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

keep the

wrapped in. (Whilst strictly speaking this is

















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.

•

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.

















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…

















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.

•

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

















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.

















•

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.

•

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.



















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.

•

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.



















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.



















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



















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.

•

Thoughts



















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.





















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



















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.

•

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.



















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.”



















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!



















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





















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.



















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



















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



















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.



















•

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





















Voodoo



















Circles of Stone



















Obviously, the first method is an old mathematical puzzle that I read from Art



















Although there are other methods for making a stone bleed in print, this one is



















The Tarot











































































































































Liam Montier - Equinox

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