ORACLE MAGIC MAGAZINE

THE MEMBERS ONLY WEBSITE

ISSUE #5 Sept/Oct
Volume 3 Pages 2 - 5 2008
PAULO - PRIEST AND SCIENTIST - Roni Shachnaey

Pages 6 - 8
THE NAME OF THE DEAD ILLUSTRATIONS

Pages 9 - 12
WATERING - Bob Neale

Page 13
BLACK ART PREDICTION - Don Drake

Page 14
SEA FEVER - Larry White

Pages 15 - 16
SIGNED & SEALED - Chuck “Stylesmith” Smith

Pages 17 - 21
WOOSH - Larry White & Bob Neale

Pages 22 - 23
THE TEARS OF OUR CHILDREN - Odes Odhner

Pages 24 - 27
ORACLEʼS WORKSHOP - HOW TO MAKE RUPERTʼS TEARS - Larry White

Pages 28 -30
IN THE ORACLEʼS EAR

Pages 31 - 33
DEATH BECOMES US - Peter Marucci

Pages 34 - 37
THE SANITARY VAMPIRE From THE TRAVELERʼS JOURNAL - Lary Kuehn

Page 38
THE ALPHABET BLOCK - Ron Dayton/KOTAH

Pages 39 - 43
SEANCE FOR THE UNKNOWN SPIRIT- Roni Shachnaey

Pages 44 - 45
TWO PRESENTATIONS FOR THE HAUNTED KEY - Stefan Fisher

Pages 46 - 47
DARWINʼS SEANCE TABLE GIMMICK - Don Drake & Gary Darwin

Pages 48 - 49
PORTAL ROUGE - Ed Solomon
 PAULO
PRIEST AND SCIENTIST
By Roni Shachnaey

Paulo was a well-known priest but firmly believed in science. Apart from religion he
taught his students Numerology. This was something the Church did not approve of and Paulo was
investigated a few times by the courts but, alas, he would not change his views.
In his last court appearance before the Inquisition he managed to anger his judges by
refusing to apologise to the church court for his scientific beliefs.
A rope was put before him and he was told that unless he accepted the Almighty, and His
teachings alone, his life might be cut short.
Paulo replied, “ The Almighty gave us brains to think with and to investigate the universe
and its secrets. I follow his ways by using my investigative brain to answer questions and explore
the secrets of the universe. With those granted powers I believe I can part the thin veil between
this world and the next world and perhaps communicate with the world beyond”.
One of the three judges invited Paulo to prove his claim, but if he failed the rope would be
used to end his life.
Paulo showed a chart divided into sixteen squares and asked the judge to name a dearly
departed friend or relative.
The name given was Isabella. This Paulo duly noted.
Next Paulo asked the judge how old Isabella was when she crossed to the other side and the
judge replied: “76”.
Paulo also duly noted this.
“Now”, said Paulo, “watch this.” Paulo proceeded to write numbers upon the empty squares in
quick succession.
When the sixteen squares occupied numbers, Paulo announced that if the addition of any
one line from side to side, from left to right, up or down, any four squares in any area and so forth,
will total 76 without any error. This, he said, will be the proof that he had managed to communicate
with Isabella’s spirit.
Paulo succeeded, to the amazements of all present.
Next Paulo gave the court a brief message from Isabella by adding 7+6=13, reducing the two
figures further as 1+3 added to a total of 4.
Paulo then explained to the court what and who Isabella was by deciphering the number 4 in
Numerology.
The judge agreed that it appeared as if Paulo had managed to somehow connect Isabella’s
spirit, but after a brief consultation the three judges decided that it was not proof enough and that
Paulo should face death by the rope.
At this point Paulo brought out a small cross from his pocket and asked for one last rite
before his execution.
Paulo said, “As you place the rope around my neck I would like you to tie the cross on the
rope and after this has been done you may pull the ends”
The judges looked at one another and granted Paulo his last rite.
First, the rope was placed around his neck.
Next, the cross was tied on the rope and then the rope around Paulo’s neck was tied with a
single knot.
Paulo looked toward the judges and said, “I believe in the Almighty and this is why I chose
to have the cross tied to the noose around my neck. But, I also believe in science and when you
believe and challenge your mind this makes you a gifted person.”
As he finished his sentence, the judge rapped his hammer once, twice and on the third rap
the rope was pulled sharply by the executioners.
Paulo staggered as the rope tightened around his neck, but then the unbelievable took place.
The rope went through Paulo’s neck and tied itself around the cross!
The judges gasped as Paulo quietly said, “You see, we must believe in God, but also embrace
science in order to be saved!”
The judges looked toward one another in utter disbelief as Paulo slowly stepped out of the
courtroom.
To this day, no one can explain exactly what took place in that courtroom. Was it the
Almighty? Was it science? Or, perhaps it was a bit of both?

METHOD:
The first part is the well-known Magic Squares presented as “Numerology” using the age of the
deceased individual as the number to create the 16 Magic Squares:

X-20=K
X being the age, say 76 minus 20 = 56.

56 1 12 7 56 1 12 7

11 8 k-1 2 11 8 55 2

5 10 3 k+2 5 10 3 58

4 k+1 6 9 4 57 6 9
When I prepare the chart, this is how it looks:

I use the four elements to illustrate the four forces of the universe to strengthen the
Numerology explanation.
I put the age in the “All seeing eye” and the name of the deceased individual at the
bottom of the page.
The best numbers are between 34-99. If the number is under 34 or above 99 the
numbers will repeat themselves within the squares. However, it is usually higher than 34 and
under 99 when using the age of a deceased individual.

The Rope effect is the well-known “Rope Through Neck” with the addition of the cross.
After you have arranged the rope around your neck, simply lace the cross on one of the
hanging ends and tie a knot. Once you pull the two ends the rope will “penetrate” your neck and a
knot will automatically form around the cross.

SHORT HISTORY OF THE

INQUISITION
(Obtained from the Internet)

It was under this threat that the Pope Sixtus IV authorized

the Spanish Inquisition in 1478. The kings of Spain, Isabella
and Ferdinand, instituted it two years later. The specific
threat that the Inquisition faced was the “conversos.”
Spain had been freed from Islamic control for only a
few generations, after 800 years of oppression... and not
completely, because Islam still ruled in Granada up to 1492.
The Spanish Inquisition was independent of the Medieval
Inquisition. Ferdinand and Isabella established it with the
reluctant approval of Sixtus IV. It was entirely controlled
by the Spanish kings and the kings, in naming the inquisitor
general, chose the pope’s only hold over it. The popes were
never reconciled to the institution, which they regarded as
usurping a church prerogative.

The Spanish Inquisition had no authority over practicing

Muslims and Jews, only over professed Christians suspected of being fakes and a threat to the
country... it remained operative in Spain into the nineteenth century. Originally called into being
against secret Islam and secret Judaism, it served also to repel Protestantism in the sixteenth
century, but was unable to expel French Rationalism and immorality of the eighteenth... it also
took some action against witchcraft though it was very limited compared with the 30,000
witches burned in England and the 100,000 in Germany.

It was a state institution used to identify conversos, mainly Muslims (Moors, Moros), and
Jews (Marranos), who falsely “converted” to Christianity and secretly practiced their former
religion. Its job was also, and more importantly, to clear the good name of many people who were
falsely accused.

The judges were to be at least forty years old, of unimpeachable reputation, distinguished
for virtue and wisdom, masters of theology, or doctors or licentiates of canon law, and they
must follow the usual ecclesiastical rules and regulations.

On 17 September 1480, Ferdinand and Isabella appointed, at first for Seville, two Dominicans
as inquisitors, with two of the secular clergy assistants. Fray Tomás Torquemada (at Valladolid
in 1420, at Avila, in 1498) was the true organizer of the Spanish Inquisition. The institution
speedily ramified from Seville to Cordova, Jaen, Valladolid, Villareal, and Toledo, about 1538
there were nineteen courts, to which three were afterwards added in Spanish America
(Mexico, Lima, and Cartagena). The Spanish government tried to establish the Inquisition in
all its dominions; but in the Spanish Netherlands the local officials did not cooperate, and the
inquisitors were chased (1510) out of Naples, apparently with the pope’s connivance.
 Photos for
“The Name of the Dead”

Isaac

Ida
Henry
Martha

Maude

The Name of the Dead page 1

Wormwood
Cemetery

The Name of the Dead page 2

 Folder Design for
“The Name of the Dead”
Print the next page on card stock. Cut on the heavy lines and
fold on the light lines, as shown below. Glue the flap against
the inside of the back of the folder.

Open on this edge

Open on this edge

Wormwood
Cemetery
Final folder

Fold along these glue here

two edges

The Name of the Dead page 3

 N G
T E eale RI
A
W Bob N
Watering. It is a good word. We water plants to help
SOURCES
them survive and grow. We water ourselves to wash
and bathe. Watering is what we do when we open
My second presentation is a consequence of the current
fire hydrants in the city streets for children to refresh
concern about the seemingly ever-present practice of
themselves on sweltering days. It is what we do when
water boarding. Research into this led to a reminder
we encourage children to run back and forth under the
about the trail by drowning practiced as a part of the
spray when we sprinkle our suburban lawns. What
witchcraft trials. The idea of using a vanishing paper
could be more refreshing after long hours of work than
doll in both these presentations is my own, but I assume
washing our faces or diving into a pool? And do not
that bizarre magicians have used Dissolvo paper for
forget about the ancient custom of hot baths. Some
drowning witches way before I came up with the idea.
of us cannot even fully wake up without a morning
It is so natural an idea for such folk as us.
hot shower. We remember also spiritual traditions
of bathing and baptism by sprinkling or ducking
SWIMMING
or immersion. Basically, we maintain our lives by
watering ourselves, by drinking water. So watering is
“Swimming” brings to mind wonderful
a good word.
experiences as a child at play at the river’s edge
or as adult in a heated pool or warm ocean. With
But there is watering that is not so good. It can be a
different strokes for different folks, we learned by
dilution that is a degrading of value. And, we cannot
using the dog paddle, then advanced perhaps to
forget, there is drowning. Watering can destroy.
the sidestroke, crawl or breaststroke. And how
Nature does it. People do it.
about the cannonball dive and the dead man’s
float? Wonderful experiences at play in water.
MATERIAL
We even use the term “swimmingly” to define
an event as easy, smooth and successful. But
What follows are two presentations reminding us
if we go back to an earlier time in our country,
about people watering other people in order to destroy
“Swimming” could mean something just a little
them. There is one effect—a paper doll dissolving
different. We referred to “swimming” also as the
in water. For either presentation, therefore, only one
“Old English Test” of water.
special material is required. Obtain from a magic store
or the Internet, a pack of Dissolvo sheets. My pack of
Imagine this paper doll to be a woman. (The doll is
24 sheets is size 2 ¾” by 4 ¼” and cost about $3.50.
held up.) I will give her a face. (The performer draws
Packets of larger sheets, 8 ½” by 11” can b e obtained
a simple face—eyes and mouth.) Will you please give
as well for about $12.00. I have used the paper from
her a name? Mary. (The name is written on the body
KlearGear.com.
of the doll.) Imagine further now that Mary is young,
good looking, widowed and wealthier than most other the doll to sink completely to the bottom. For
members of her village. Even worse, she is quite out- informal use, a glass tumbler will serve. Try a
spoken. So she is tried for witchcraft in a most classic Double Old-Fashioned bar glass holding eight
manner. Her neighbors accuse her of withering crops or more ounces. For more formal occasions, use
and depriving men of their potency. She protests her a plastic canister with a top that is leak proof so
innocence. So we bind her right thumb to her left toe. water can be transported securely. For a small
There. She is under control. We will toss her into the informal audience, a wide bowl works better
pool. (A glass tumbler is shown filled with water.) than a glass because the surface allows an easier
If Mary floats, she is a witch and will be dealt with view.
severely. If she sinks, she is innocent and we will try
to rescue her. In the past, those on both sides of the In addition to the doll and container of water,
issue have found ways to insure their desired result. have a pen at hand.
But we make sure that no cheating occurs, that the
trial is absolutely fair so justice will prevail. ROUTINE

Mary floats (the doll is placed on the surface of In performance, draw in the eyes (with both
the water) . . . then she sinks. (The doll sinks pupils to the left or the right), and an open
to the bottom of the container.) Will she rise . mouth that might well be protesting. Ask for
. .? We try to find her body, but fail. (A fork is and write her name on the body.
inserted into the glass and the water stirred. The
paper dissolves.) Make a crease to bend the upper half of the
body forward to a sitting position. Bend in
Mary was innocent. Now she is free. So we both arms at the shoulder. Bend up the left
rejoice that she has gone to meet her Maker. leg at the bottom of the dress. Bring the right
hand and left foot together at an angle, the tips
The water does become a little cloudy, but that is overlapping a little. Fold the hand over the leg
what dead bodies achieve. (The glass is held up and the foot over the arm to lock them together.
and moved toward the audience.) Drinking such Rest the doll in a sitting position, the left arm
water from a pool polluted by drowned witches nesting in the lap. Let her be observed for a
could have been unhealthy. Drinking such moment. (If desired, you may make the sitting
memories from the pool of our history could be doll in advance before performance and then
healing. return the paper to a flat condition. This makes
the creation in performance fast and surefire.
PROPS AND PREPARATION Also, you may find it best to link the arm and leg
first and then make the other creases so that the
Use a sheet 2 ¾” by 4 ¼”. Fold it in half and cut doll sits upright.)
out a paper doll with a normal size head, two
arms, and wearing a dress with legs protruding Move the doll to sit on the surface of the water.
at the bottom. Watch it sink to the bottom. Wait to see if it
will rise. Dip the pen to the bottom of the glass
The size of the doll determines the size of the and stir the water just a little as if probing for
container required. It should be transparent so the body, making the paper dissolve. Pick up
the doll can be seen when it sinks into the water. the glass, look into it and move it toward the
It should be large enough for the doll to float for audience.
a moment on the surface and deep enough for
(Afterward, leave a utensil or something else torture. Perhaps we will never know. Why? Because
visible in the glass to assure that no one will take so many who are water boarded seem to disappear.
a drink from it!) (Uncover to reveal no doll, just a little pulp.) What
is left of Richard? If anything? This little mess? Or
WATER BOARDING does it represent our denial that it happened or our
hope that it never happened? After the officials clean
There is a classic technique hundred of years old it up, are we are left with nothing to see or hear . . . or
employed for uncovering truth. (A packet of white even remember? (The mess is wrapped up with the
tissue, small squeeze bottle and pen are at hand). It is small sheet and all is wrapped into the large Kleenex
used by one or more official human beings to discover that formed the original packet.)
the truth from another human being. It is widespread,
having occurred or occurring now in Europe, Asia, PROPS
Africa and America. Allow me to demonstrate. (The
packet is opened to disclose a white paper doll, brown Required are five items. (1) Use a squeeze bottle
cardboard rectangle, and another small piece of white to carry and squirt water. I use a ½ oz bottle from
paper.) the product TheraTears. (2) For a water board, any
small board is feasible. I use a piece of double blank
Lets make a human being. This is the shape. (The poker wide playing card stock. Color it brown with a
doll is held up.) Here is a face. (The performer marker. Laminate it for waterproofing. (3) My small
draws a simple face—eyes, nostrils, and open mouth.) Dissolvo sheets are 2 ¾” by 4 ¼”. Crease and tear
What shall we name this person? Richard. Ok, this (or cut) each sheet into four pieces. Fold each piece
is Richard. (The name is written on the body of the in half. Cut out a paper doll from one of these pieces.
doll.) As if in a child’s version, make the head extremely
large, using the upper third of the folded paper. (4)
He has been located, captured and questioned, but One tissue of white Kleenex and a quarter of a tissue
with no worthwhile results. So our interrogation as well. (5) Have a pen available too.
technique must be enhanced. Richard is placed on
a board. (The doll is placed on the board.) Tied PREPARATION
down. Gagged. He is covered with a sheet. (The
doll is covered by the small piece of tissue.) He is Open up the large tissue. Place the card in the center
sprayed with water. For best results, it is lukewarm. of it. Place the completed doll on the center of the
(The bottle is given several squeezes at the head area card and facing the audience. Fold the edges of the
of the doll.) The focus in on the nostrils and mouth. large tissue inward over the card starting with the near
(The tissue is sprayed several times.) He speaks, edge and working clockwise. (6) Carry the packet
but not sufficiently. (The sheet is lifted a bit and then as it is in a pocket or in small envelope or bag or box
lowered.) He is sprayed again. It helps to soak the along with the bottle and pen. By all means color the
entire body. (The rest of the small tissue piece is carrier black.
sprayed.) He talks, saying so very much. (The sheet
is lifted a bit and then lowered.) But is it what needs ROUTINE
to be said?
Place the materials between yourself and the
Water boarding. (The soaked sheet is rubbed all over audience. Unwrap the packet so that the doll is right
with the fingertips up until the sheet is lifted again.) It side up (feet toward) for the audience. Lift up the
may or may not be drowning. It may or may not be doll so all can see and focus on it. Place it back down
effective. It may or may not be legal. It may or may beside the card, still right side up for the audience.
not be ethical. And, oh yes, it may or may not be Draw a pair of eyes (with both pupils to the left or the
right), two solid dots for nostrils, and an open mouth.
Do not forget the nostrils! Write the name given to
the doll on the torso.

Place the doll on the card with the head toward

the audience. Cover the doll with the small tissue.
Spray the head area several times with the squeeze
bottle. Lift up the near edge of the small tissue, look
underneath and recover the doll. Spray again and
again. Look underneath the tissue again. Spray the
entire body. Look underneath the tissue again. Use
the fingers of both hands to rub the tissue thoroughly
in order to leave just a scattered mess underneath.

Remove the small tissue with one hand to expose the

mess on the board. Wipe off the board with the small
tissue. Wad it up and wrap the board and small wad
into the large tissue. Remove the tissue, bottle and
pen from sight.
 Oracle subscriber, Don Drake, is a modern master of Black Art. He has dedicated many
years to investigating this neglected field, which has enormous possibilities for modern
performers. Don lectures on the subject, sells kits and materials for using Black Art both on
stage and close-up. He has written two books on Black Art, which should be read by very
thinking magician.
Don has kindly allowed ORACLE to reprint an item from each of his books for this issue.
We have selected one for the Mentalist and one for a Spirit Theater. These are examples of
what can be accomplished with Black Art. Readers will learn how to vanish in a shower of
confetti, make a ghost appear, float and disappear, show a Lota Bowl that never runs dry, pull
their fingers off one-by-one and stick them back on, how to clone a lady, and so many more
unbelievable tricks.
Interested? Contact Don through his website:
http://www.blackartsecrets.com/

D
o
n

D
r
a
k
e
 SEA FEVER
Occasionally a routine is handed to you if you just keep your eyes and mind open. Poking around I recently ran
across a perfect example in a poem called “Sea-Fever” by John Masefield 1878-1967 (English Poet Laureate,
1930-1967).

All that is required is an empty bucket and a Lota Bowl. Here’s the
poem. Just pour water out of the “empty” Lota Bowl at each asterisk
I’ve added. There is ample time between pourings for the bowl to
refill..

I must down to the seas again*, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel’s kick and the wind’s song and the white sail’s
shaking,
And a grey mist on the sea’s face and a grey dawn breaking.

I must down to the seas again*, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls
crying.

I must down to the seas again* to the vagrant gypsy life.

To the gull’s way and the whale’s way where the wind’s like a
whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick’s over.*
 Signed, SEALED and...
By
Chuck “Stylesmith” Smith

EFFECT

The mentalist deposits a sealed envelope a

week before hand with a dignitary who is
to be at the performance. When the magi
is ready to perform this experiment in
numerical prediction, he asks the holder of
the sealed envelope to come forward. The
mentalist recapitulates that he has made a
prediction and sealed it in this envelope a
week before the performance and that it has been under guard by the holder during this time and
no one has tampered with it. He asks that the envelope be held in full view of the audience.

At this point, he asks if someone would be kind enough to loan a dollar bill to help in the
demonstration. As the person with the bill comes forward the mentalist brings forth a red pencil,
an envelope and a clipboard with a small tablet of paper. The spectator is requested to place his
signature on the back of the bill so that it may be later identified. After this, he is requested to
place it in the envelope.

The performer then takes the sealed envelope, with the bill, holds it at arm’s length and reveals
the serial number. During this, the bill owner writes the digits revealed onto the tablet and
clipboard for later verification.

The telepathist tears open the envelope, shows the signature on the back of the bill signed in
red pencil and matches the number. After the applause has subsided, he asks the other envelope
holder to open his envelope and take out the paper. On it is printed in large digits the number of
the bill revealed... written a week earlier!

SECRET:

A switch of the bill is, of course,

the secret to this effect... but the
signature in red is what throws the
spectators.

The number of your own bill is

printed in large digits on a piece
of paper and placed into the
envelope for deposit with a reputable person.

Next, an envelope is prepared with a hidden pocket so as to conceal your bill. Also pasted in
the hidden pocket of the envelope is a piece of red carbon paper so that when the spectator
writes his signature on the bill it is traced through in red to the hidden bill. Care, of course,
must be taken in maneuvering the spectator so that he uses the fake envelope as a backing
for his writing. (The borrowed bill can be clipped to the board so that it matches the hidden
bill almost perfectly!) When be sees the duplicate bill with his signature in red, he concludes
the inevitable. After revealing the number, you tear the end of the envelope and remove your
own bill. Then, request the man holding the prediction to read it aloud. Applause or amazed
silence!!!

After Notes

Red carbon paper has all but disappeared in stationary stores but I have seen it in fabric stores
bundled with other colored carbon paper. Joanne’s Fabrics around the country carries this. There’s a
company called McClain’s Printmaking Supplies that has double sided red carbon paper. They can be
reached at www.imcclains.com.

In January 1967, at the end of my original article, Bill Madsen, the editor of the New Jinx added the
words “Felis Minuta.” For years! had no idea what that meant. One day someone told me its meaning...
and I took it as Bill’s appreciative comment as to the effect in a “kind of’ Sinatra Rat Pack speech
idiom. “Felis Minuta” translates as “Wild Cat.”

EDITOR NOTE: Stylesmith’s original routine was published in The January 1967 issue of The
New Jinx. It was an excellent routine so we were delighted when he offered his updated version to
ORACLE. Thanks, Chuck.

Here’s another source for inexpensive red carbon paper:

http://www.imcclains.com/catalog/blocks/redcarbonpaper.html
 . . .
S H
O O By Larry White

W ... brainstorming with Bob Neale

Often the “story” in a storytelling magic routine is overly long and, unless the teller is extremely skilful, becomes boring.
Wise storytellers trim their tales to bare bones so each line becomes both interesting and important.

So, a question Bob and I have often discussed is, how SHORT can a story routine be and still include a bit of magic and
touch an emotion? How about one with 6 sentences, 74 words, one clever magic trick and the emotion -- laughter.

“A man and his wife in their 60’s were celebrating their 40th wedding anniversary.

A good fairy came to them and said that because they had been so good each of them
would be granted one wish.

The wife wished for a trip around the world with her husband.

WHOOSH! Immediately she had airline and cruise tickets in her hands.

The man wished his wife were 30 years younger...

WHOOSH! Immediately he turned ninety!”

I found this joke on the Internet. It was a bit longer so after I trimmed it and sent it to Bob Neale who enjoys both a good
joke and creating magic tricks around them. After telling me his wife, Gail, laughed “all too strongly” (as did mine) we
brainstormed ideas for having something magical happen as we told the joke. This is the end product of our thinking -- a
simple to make-and-do card trick using picture cards. First, here’s what happens --- I will explain how afterwards.

THE ROUTINE

You are holding a packet of two cards, backs toward the audience...

A man...
(Turn first card around to show picture of mid-aged man)
...and his wife...
(Turn second card around to show picture of mid-age woman)

...in their 60’s were celebrating their 40th wedding anniversary.

(The man card is placed face-down against the woman card as you continue the story.)

A good fairy came to them and said that because they had been so good each
of them would be granted one wish.

The wife wished for a trip around the world with her husband.

WHOOSH! Immediately she had airline and cruise tickets in

her hands.

(The man card is moved aside revealing that the woman card now
shows a picture of the world, a cruise ship and an airplane. This
card is tossed causally onto the table.)

The man wished his wife were 30 years younger...

WHOOSH! Immediately he turned ninety!

(The man card is turned over to show it is now a pictureof a 90 year old man. After the
chuckle this card is also tossed casually onto the table.)

THE METHOD

Three cards are used but the audience is aware of only two. The cards are:

* One card showing a mid-age woman (blank back)

* One card showing a picture of an old 90-year old man (blank back)

* One double-face card. One side shows picture of a mid-age man and the other side shows picture of
cruise ship and airplane.

The cards are set up in the following order:

Place the double-face card on top of the old man card with the mid-age man side facing up. Place the woman card on top
of the mid-age man card, face up.

To prepare for a convincing ending put a few dabs of magician’s wax on the face of the woman card.

HANDLING

Begin by holding the packet with the backs (blank-side) facing the audience. Have the woman card fanned slightly the
side so you can grasp both of the other cards to show them as one.

As you begin your story, remove the old man card and double-facer as a single card and turn it around to show the mid-
age man (The audience has now seen both sides -- blank on back, mid-age man on front.)

When you say “and his wife” turn the woman card over to show her picture. (The audience has now seen both sides of
both cards -- one side blank the other side with a picture)

Turn the mid-age man card (double card) over and set it face-down against the woman card. Squeeze the cards so the
wax on the woman card adheres to the card showing the mid-age man.

Keeping the back of the top card toward the audience, remove the lower card (which the audience assumes is the
woman). Thanks to the wax, this card (now a double card) now shows the airplane and ship. Toss this card casually on
the table while still holding the last card in your hand with its back facing the audience.

As you deliver the punch line turn the card you are holding over to show it now is a picture of the 90 year old man.

Once the audience hears the punch line and sees how the picture has changed casually toss the card onto the table with
the other.

CONSIDERATIONS

The method is an old one, but still very effective. It has a quick reset -- simply separate the waxed cards and restack the
three cards as they were originally.

Do not neglect the seemingly casual the tossing of the cards onto the table. Bob pointed out that this is an important
psychological convincer that only two cards are in play -- after all, if you were using an extra card you would have to be
more careful how you handled them, right?

Here’s a tip from Bob...

If you have trouble finding Magician’s

Wax, or yours has dried hard, go to a
Candle Store and buy a tin of CANDLE
ADHESIVE -- this is soft wax that is put
in candle holders to anchor candles. It is
a PERFECT substitute for Magicians’s
Wax and it doesn’t dry out.
 BOB NEALE’S HANDLING FOR WOOSH
Set up from the top:

The woman, middle-age man and old man all being face up: woman
(blank); middle-age man (airplane); old man (blank).
Easy to remember: all face up and in the order of woman, middle-age
man, old man. Wax is on the face of the woman.

PERFORMANCE

For stand up performance, a very clear and easy handling option.

Hold packet in dealing grip in left hand. The images are right side up from
your own perspective. Thumb the top card only, receiving it in the right
hand with the palm below the card, thumb at the near short edge and
fingers at the far short edge. Raise both hands chest high and outward to
the left and right of the body to show the woman in your right hand and
man in your left hand.

Bring your left hand back chest high in front of your body so the man
faces you. Bring your right hand back chest high so the woman faces
away from you and lay it face to face with the man.

Grasp all three cards with the right hand, maintaining the grip you had on
the single card and letting go with the left hand. Pause.

Return the left hand to the cards, grasping them with the thumb at the
center of the back toward the audience and the fingers at the center of the
card nearest you.

Squeeze to affix the wax to the two cards, and instantly slide the card
nearest the audience away to the left with the left hand fingers, holding
it with the thumb on the face so the audience sees only the back. This
reveals the double card with the airplane, etc. facing the audience. Drop it
to the table or floor.

Swing the left arm to the left to reveal the face of the card, showing the
old man. Drop it to the surface near the previous card(s).
 The Tears of Our Children
by Odes Odhner

screaming, out of the store. Oh, but I’ve seen

As a full-time father and it…
stay-at-home-dad…or house- Still though, mine is not to judge; no more
husband, if you like; it gives than I wish to be judged…
some a good laugh, and It’s the crying and the tears I’m talking
hey, go right ahead—I’m about. And, more importantly, what happens
a good sport…[SAID to those tears we hold back, the tears we
WITH A SMILE WHICH, learn—one way or the other—to keep inside.
TO THE CAREFUL What becomes of them?
OBSERVER, BELIES THAT
STATEMENT, AT LEAST [DISPLAYING A SMALL OLD FASHIONED
ON THIS ACCOUNT.]…As BOTTLE FILLED WITH CLEAR LIQUID.
“primary caregiver” of my four- FILLING AN EYEDROPPER FROM IT.]
year-old daughter, I’ve had ample
occasion and cause to ponder…a child’s A child’s tears…
tears… Where do they go, once the child has learned
Tears of pain, and of loneliness and to hold them inside?
separation; of anger and so, so often of
simple balked frustration. Tears at the [SQUEEZING A FEW DROPS INTO
unfairness of the world. Sometimes they A CLOSED FIST; TIGHTENING AND
cry because they’re just too tired to deal. I LOOSENING THE FIST SLIGHTLY,
think we can all relate to that…Their tears “PUMPING” IT LIKE A HEARTBEAT.]
come and go like summer storms, and we
shelter them best we can. Do they pour down into the chambers of our
As we grow older we come to accept hearts instead, crystallizing there under the
these things as just the unfairness of it all. pressure of expectations and mores?
That’s just the way it is, and we’re too
damn old to cry about it, right? Right… [OPENING FIST TO REVEAL A SINGLE
With our eyes, anyway… CRYSTALLINE TEARDROP.]
Yet still, the lessons must be learned,
and eventually we learn to hold those Do these tears then harden us and inure us to
tears inside. Some are taught by the back the numerous hammer blows that life holds in
of the hand. ‘Keep it up, kid, and I’ll store?
give ya something to cry about!’ [A SAD
SHAKE OF THE HEAD.] Me? I prefer [HITTING THE TEARDROP WITH A
a different way: a sympathetic hug and a MALLET, IN TIME WITH THE WORDS.
firm assurance that it’s just the way it is. THE TEAR REMAINS UNBROKEN.]
Other parents at the grocery store look at
me strange…well, just in general…but …Leaving our hearts diamond-strong, so that
especially when they hear me tell my we can teach our children the lessons that must
daughter things like: ‘You can’t have be learned, despite the tears those lessons bring
everything. If you did, you’d need to those who—if only we could—would never
everywhere to put it. And since you can’t know a moment’s grief?
be everywhere at once, there’s really no Yes…I believe that this is true.
use in trying.’ …But what about those tears that are dried
…What? It’s only simple truth. But they not with empathy, but because they fall only
look at me strange…That’s alright. I’ve into a void…Or are wiped away by the slap of a
never had to pull my kid, kicking and trusted hand?
[HOLDING UP THE TEARDROP,
DISPLAYING IT.]

These too, I think, settle and harden in the

heart.
Yet these are fragile, and oh so brittle.
Until one day, under the pressure of the
unfairness of it ALL…

[AT THE WORDS “…UNDER THE

PRESSURE…” COVERING THE
TEARDROP WITH A CLEAR DOME-
SHAPED GLASS.]
ally
…they simply explode… o c a ssion
n c
P e a rls ca om magi e
rt’s df r ak
Rupe purchase wish to m d
[ACTION SUITS THE WORD, AS THE
be ou n
. If y ou will fi CLE’S
TEARDROP SUDDENLY SHATTERS,
SPRAYING SAFELY AGAINST THE INSIDE l e r s y
dea r own ORA
you s in THE is issue.
OF THE GLASS. YOU WANT EYES TO
h
ction HOP in t
WATER HERE, JUST NOT FROM GLASS
in s t r u
PARTICLES!]
KS
WOR
…when another child takes another gun to
school…
This is a routine that I wrote a
Thaumaturgy: Rupert’s Pearls. ‘Nuff said. little over a year ago. I’ve had three
The Pearl is clipped between the middle occasions to perform it for a lay
fingers of the left hand, and kept Palmed during
the discourse; gestures are made, etc. and when
audience and, though only three times,
displaying the bottle, it is held in the left hand it played hard. This past spring, I
(making sure the Pearl doesn’t “talk” against had the opportunity to perform during
the bottle), even while the right hand draws a BACA motorcycle rally. BACA
some out with the eyedropper—this further stands for Bikers Against Child Abuse
implies that the hand is empty before dripping
the drops and pumping the fist like heart, etc.
and this was the perfect opportunity to
The reaction I’ve gotten from this simple take “Tears” to the public. In a proud
“production” of the Pearl is just as satisfying moment for me, “The Tears of Our
as any “finger flinging” could get from making Children” brought one hardened “biker
a great display of the hand being empty—least mama” to tears herself; and I could
ways for me.
As a side note, the liquid I keep in the bottle
see more than a few lumps in the throats
is simple rubbing alcohol. It dries quickly— of others -- men and women alike -
visibly even, as the Pearl is first shown on the - in that audience of bikers. Once the
palm, and I’ve yet to be called on account of woman composed herself she told me I
its smell; nobody seems to notice—and, more had made a beautiful statement ... but
importantly, leaves the Pearl dry so you can get
a good grip on it when the time comes.
for those of us who perform this type of
material, you’ll realize that so did she.
So, I offer to ORACLE, “The
Tears of Our Children.”

From The Imagitorium,

--Odes Odhner
 How to make RUPERT’S TEARS
By Larry White

Also known as Prince Rupertʼs Pearls, Prince Rupertʼs Drops

or Prince Rupertʼs Tears, these small globs of glass can be
pounded with a hammer without breaking, but if the delicate
tail is broken the entire glob instantly shatters into a harmless
T powder.
H They were invented in the Netherlands and the original French term for them was
E Larme Batavique (Batavian tears). Magic Dealers list them as “Rupertʼs Pearls,”
however, I prefer the name, “Rupertʼs Tears” because that is their final shape...
teardrop.

O Because they are only sporadically available from dealers I have seen
recommendations to contact a glass blower to have Prince Rupertʼs Tears made.
R You can, of course, but there is no need to. Anyone who is even slightly handy, and a
A bit daring, can make them successfully at home. And the feeling of accomplishment
is marvelous.
C
Over many years I have enjoyed the challenge (to say the least, as you will discover)
L of making Rupert Tears. I have been successful and am happy to share my
experience.
E’
First though, a warning --- using the method that follows I succeed in making one
S good “Rupertʼs Tear” in perhaps every 3 or 4 attempts at first. But the attempts are
accomplished quickly and the failures are easy to recognize (they disintegrate!). And
you DO improve with experience.
W
To make these “tears” ordinary glass must be annealed on the surface. Annealed
O glass is HARD glass, which is created by a combination of heat and cold. When
glass is heated it becomes viscous, like thick molasses, and it can be blown, rolled,
R or formed into many shapes. These glass objects, if they are to be stable, are then
placed in a warm oven while they are still hot and are cooled slowly.
K
S If molten glass cools too quickly the surface cools more rapidly than the interior.
This produces an annealed surface and an internal strain, which will cause the
H object to shatter if the surface is broken. This is undesirable for most glass objects,
however, in our case, this is just what we WANT!
O
Our goal is to manufacture is a glob of glass with a very tough (annealed) outer skin
P that resists even hammer blows, but contains a softer center that is under internal
stress. The hard outer skin holds the insides from “exploding” until the “tail” is
broken, (thereby fracturing the outer skin.) Think of an egg … if the hard shell is
broken the insides spill out. So, this is the trick ... and herein lies your challenge!
 MATERIALS REQUIRED

GLASS
Obtain some ordinary glass tubing or rod from a laboratory supply house (see end of
article). This is the common type used in every High School science lab. Either rod or
tubing can be used, however in my description I will refer to it as “rod.” You can also
use glass cocktail stirring rods from a home goods store. In a pinch you can even smash
a piece of window glass or from a broken bottle and use the shards. In fact, because of
the variety of colored bottles you might consider making some fancy COLORED Rupertʼs
Pearls.
T HEAT
H A very hot flame is required to melt glass. A candle wonʼt do it. Purchase a Propane torch
from the hardware store.
E
COLD
You will require a container filled with cold water. The container should be fairly deep and
made of metal. An empty Soup Can, or something similar, will work perfectly.
O
R SAFETY
Preparing the Pearls should be done on a fireproof surface that you donʼt mind getting
A burn marks on. You WILL occasionally drip hot molten glass on it. A scrap piece of
plywood that has been soaked in water will be perfect, or do it outdoors on the ground.
C
Also, as with any experiment involving fire, you should wear safety goggles and have a fire
L extinguisher at handy
E’ PROCEDURE
S Fill the container with water. What temperature? Ah, here is our first variable! If the water
is too warm the annealed skin will be too thin and the
tear will shatter too easily. And the opposite ... if the
W water is too cold the Tear will break as the hot glass
drops into the water. Start with water that is “room
O temperature” and adjust and experiment. Some have
suggested spreading oil on the surface of the water to
R “quench.” Iʼve tried that and noticed no difference so,
K donʼt bother, use plain tap water.

S Light the torch and position it so the flame is about 6

inches above the container of water. Hold one end of
H a piece of your glass rod in the flame. Position the
end of the rod just at the point of the inner cone of the
O flame, where it is hottest. (Glass is a poor conductor of
heat, so you can hold the opposite end of the rod safely
P with your bare hand. If you prefer, hold it with pliers.
The end of the rod will heat, begin to glow, then melt.
Finally a glob of molten glass will ooze down from the
end of the tube/rod. THIS IS THE CRITICAL MOMENT.
Continue heating the rod until the glob drools down and
into the water. A filament of glass will still connect the
rod and the Tear, but this will break off when the Tear
enters the water.
T
H
At this point one of two things will happen:
E
Either the tear will shatter (harmlessly) immediately as it enters
the water, or, you will have produced a perfect, intact, “Prince
O Rupertʼs Tear.” You probably (undoubtedly!) will not succeed
the first time. Fortunately it only takes a minute to make these so just try
R again.

A Three things are success/failure variables:

C 1. The temperature of the water.
L 2. The height the tear falls from.
E’
3. The temperature of the glass when it enters the water.
S
Obviously 2 & 3 are related because the height will determine the
“cooling time” before it strikes the water, but the Propane flame varies in
temperature too. WHERE you hold the end of the glass rod in the flame is
W important.
O Once you make a tear successfully and take it out of the water it will have
R a sharp-pointed “tail”. Simply hold the tear with pliers and just pass the
TAIL (only) through the flame quickly and it will melt and seal.
K
Set your finished tear on the plywood and let it cool. You now have one
S genuine, ready-to-shatter, Prince Rupertʼs Tear.” Congratulations!
H There is a definite challenge to producing Rupertʼs Tears, but there is
O also enormous satisfaction when you succeed. When you can find them
for sale on the magic market they cost between at two to three dollars
P
 EACH. Now you know why. So, when you “catch on” to making them you can make one
in about two minutes and you will save a lot of money and receive a lot of personal
satisfaction.

Finally, as you work remember the sign that hung in my chemistry lab:

“NEVER LET YOUR FINGERS FORGET THAT HOT GLASS LOOKS JUST LIKE COLD GLASS!”

If you donʼt remember which end of the rod you heated before you pick it up to make
your next try or you may find another reason to call these TEARS!

T USEFUL INFORMATION
H
Glass rods and tubing are easily ordered on-line from one of the science hobbyist
E supply companies. Here are three to consider:

San Jose Science Shop

http://store01.prostores.com/servlet/thescienceshop/Categories
O
R The Lab Depot
http://www.labdepotinc.com/Category_Details~id~372.aspx
A
American Science & Surplus
C http://www.sciplus.com/search.cfm

L Wards Natural Science

http://wardsci.com/search.asp?t=ss&ss=glass+rod&x=24&y=6
E’
S An excellent reference to Prince Rupertʼs Drops is found in Wikipedia, the free
Internet encyclopedia:

W http://en.wikipedia.org/wiki/Prince_Rupertʼs_Drop

O
YouTube has a few videos showing Prince Rupertʼs Tears being made and
R shattered.
K http://youtube.com/watch?v=Pdy2_vi0FfM
S
H http://youtube.com/watch?v=plKnSwfid0g&feature=related

O
P
 IN THE ORACLE’S EAR

SIMON CARMEL sent along

a source for the shim steel used in
Jim Kleefeld’s Certainment clipboard
described in the last issue.

“I finally received two shim sheets

from Small Parts in Miramar, Florida.
Each 6” x 18” Sheet (Steel Shim) costs
$3.75. (Part No. SHSS-010; thickness:
0.001”) . The website address is:
http://www.smallparts.com/s?se
archNodeID=16310161%7C468
240&searchKeywords=shim+sto
ck&x=6&y=12&Action=submit
You might want to mention it in the next issue for those readers looking for thin shim steel. “

ED SOLOMON sent us the following, saying, “Here is an interesting short story for doing a
bill switch or other money magic.” We thought so too, so we asked Ed if we could share with our
readers. Ed replied, “Sure. DeNomolos is not planning to use it. Much to short a dialog for him.
<G>
--------------------------------------
THE TWENTY AND THE ONE

A well-worn one-dollar bill and a similarly distressed twenty-dollar bill arrived at a Federal
Reserve Bank to be retired. As they moved along the conveyor belt to be burned, they struck up a
conversation. The twenty-dollar bill reminisced about its travels all over the country.

“I’ve had a pretty good life,” the twenty proclaimed. “Why I’ve been to Las Vegas and Atlantic
City, the finest restaurants in New York, performances on Broadway, and even a cruise to the
Caribbean.”

“Wow!” said the one-dollar bill. “You’ve really had an exciting life!”

“So tell me,” says the twenty, “where have you been throughout your lifetime?”

The one dollar bill replies, “Oh, I’ve been to the Methodist Church, the Baptist Church, the
Lutheran Church, the Episcopalian church, the Presbyterian church, the Catholic Church ...”

The twenty-dollar bill interrupts, “What’s a church?”

DOVER PUBLICATIONS has an
Antique Playing Card Designs CD-ROM
and Book that may be of interest to
you. The illustrations are copyright
free.
$19.95 (Sale price $14.96}
ISBN: 0486996476
From a rare volume on the history
of playing cards: nearly 500 elegant
illustrations that once graced European
regular and tarot card decks. On
display are face cards, musical
instruments, fantasy figures, and other
motifs — all ideal for adding a period
flair to almost any graphic project.
251 black-and-white illustrations, 245
designs in color. 48 Pages. 8 1/4 x
11inches
http://store.doverpublications.
com/0486996476.html

LESLIE MELVILLE sent along a few of his fliers advertising his “William Warlock” act and
his latest endeavor, “The Spirit Cabinet.” The brochures are so well done; attention grabbing and
striking to look at we asked Leslie if we could show them to our readers. Thanks, Leslie.
 Death Becomes Us
By Peter Marucci
To the modern, Western mind, ancient Egypt is a place of monument,
mystery and magic.

We tend to believe the ancient Egyptians were obsessed with death.

And yet they weren’t. In fact, they were highly focused on living and
life; they too great pains to ensure that the body would survive after
death; and they believed that, if a person’s name was mentioned once
a year after his or her death, then that person was immortal.

However, our philosophy insists on focusing on death and, by

extension, we insist the Egyptians focused on it, too.

Let me give you an example:

(The wizard brings out four Tarot-type cards and shows the four backs to be all the same; the then
turns the cards over and shows the faces to have a mummy case on each card, all four the same. The
then turns the cards face down and lays them in a row of four.)

These cards are all plain on the back and each has a mummy case on the front, which was the
ultimate symbol of the Egyptian way of preserving life.

Each of these four face-down cards has a mummy case on the front. Would you tap the backs of
any two cards, to represent the present and the future; the past is already behind us and cannot be
changed.

(Say, for example, that the spectator taps the two on the left; the wizard
eliminates them, turning them face up and showing the mummy cases.)

Now, please tap one of the two remaining cards for me.

(Say, for example, the spectator taps te one on the right; the wizard eliminates it,
saying that the spectator has picked it for him as requested. He turns it over to
show a third mummy case.)

You have eliminated these three card, leaving just one for yourself. You could
have left any one but you left that one. I shall not touch it; I ask you to turn it
face up.

(The spectator turns over the card and it has a picture of the Tarot card Death on
the face.)

So, as we can see, even in such a simple demonstration, we are unable to connect
with the Egyptians’ love of life and oversome our own obsession with death.
 WORKING:

Have four blank-faced Tarot cards, three with pictures of

mummy cases (all alike) and one with a picture of Death. With
the four-card packet face up, the Death card is second from the
top.

Turn the packet face down and show all the backs the same; do
not alter the order of the cards (with the cards face down, the
Death card is now third from the top).

Turn the packet face up and do an Elmsley Count, showing all

four cards to have mummy cases on their faces.

Turn the packet face down again and spread the cards in a
horizontal row (the Death card is in the third spot).

The choosing of the cards is simply the Magician’s Choice.

Ask the spectator to pick two. It one of the two is the death card, eliminate the other two.
Otherwise, eliminate the two that were picked.

With two (death and mummy) remaining, ask the spectator to “tap one, picking it for me”. If
the spectator picks the mummy case, claim it as yours, the spectator having “picked it for you”.
Turn it up to show the mummy case. If the spectator picks the Death card, take the mummy
card, saying that is is left and will be eliminated; turn it up to show the mummy case.

The lone card left with the spectator will be the Death card.

SECOND THOUGHTS:

If you prefer, you can get around the magician’s choice by having the four cards in a row and
asking the spectator to pick a number between one and four.

The word “between” rules out one and four, leaving only two and three. Depending on the
number chosen, you country from left or right so the you end up on the Death cards.

Turn up the unchosen three to show they are mummy cards, then reveal the chosen card to be
the Death card.

Peter Marucci

[email protected]

See next page for full size

cards for copying
 Lary Kuehnʼs greatly anticipated new book, THE TRAVELERʼS
JOURNAL, has just hit the market and it is excellent. With
Laryʼs permission we offer you a “Halloween appropriate”
sample chapter below. I had a pre-publication peek and Lary
asked me to comment. Here is what I wrote him:
“Imagine you are traveling around the globe. To Brasil,
Scotland, Wales, London, Mexico, Sri Lanka, The Dinè Nation,
Louisiana, Luzern, Germany, Hawaii, Tokio, Singapore, Cumbria,
Bucharest and Brussels.
Imagine you are a magician in quest of magic, mysticism and
mystery in these places. And you find it.
Crystals that change color, a blank card becomes bloody, a
wax seal suddenly appears, warm becomes cold, something “jumps”
in an empty bag, a vampireʼs tooth mark appears on a ladyʼs neck,
a finger ring becomes mysteriously hot, a spirit inhabits a whiskey
bottle, a photo portrait ages, a rock bleeds, the soul within a gemstone
becomes visible and more.
Wouldnʼt that be an adventure of a lifetime?
Lary Kuehnʼs, TRAVELER, is this magician who lives these adventures, and he has related
them to his friend, T. Everett Bookings III, who recorded them in detail and now shares them with
us in this book.
So, sit back in your easy chair, sip a fine cognac, and prepare yourself for a real treat. The
Travelerʼs wonder-filled and magic-filled stories are as much fun to read as any best-selling
novel.”

I believe this book will be enjoyed and appreciated by all

storytelling and bizarre magicians. It has my
highest recommendation.
Larry White

Sri Lanka
The Sanitary Vampire
 Finally the weather turned a little cooler out here in the forest. The summer had been mild
meaning that it hovered in the 90’s most of the time instead of over 100. But, it was still hot.
Duncan was out protecting his place on the steps of my little shed and office. He seemed
a little jumpy because he kept having to move since I was trying to sweep all of the acorns off the
porch.
Suddenly, as usual, he let out with one of his “Traveler’s here” howls. And right on cue
Traveler stepped out of the trees.
“ Good morning Everett. Looks like you’re finally doing something useful around here.”
I just kept my mouth shut on that comment.
“Did you get the letter I sent you from Sri Lanka? I thought you’d be thrilled to know
what was going on over there.”
The letter had arrived and like always didn’t say a thing about his quest or much of
anything else. It did mention that he was going to meet Wasana down in Dela for a few beers.
And something about Megaderma Spasma Ceylonense. That was one even I had to look up. It’s
the Ceylon False Vampire Bat!
Traveler leaned back in his chair and started one of his stories that seemed non-stop.
“Obviously I followed the advice I’d picked up in Mexico and headed to Sri Lanka. After
I got to Colombo I got a message from Wasana to come down to the family place at Dela. I guess
you could call it a suburb of Ratnapura. Regardless, it takes about six hours to get there.”
“He’s got a nice little guest house for visitors and it sure is quite out there unless you
aren’t used to hearing a Mongoose go after a Cobra at 2 am. One night he said as long as I was
chasing this gemstone thing we might as well go into town the next day and listen around to see
what the rumors were. After all Ratnapura is the City of Gems in that part of the world.”
“Well, I did pick up a couple of hints but nothing that I could really use to track the stone
I’m seeking. However, it did turn into an interesting day.”
“We stopped in a small restaurant and bar to have a few cold adult beverages, its damn
hot there remember. Anyway after a couple of bottles of Three Coins, another fellow joined us. I
think you remember Narooz from some of your trips.”
“Now he started to talk about how some of the miners out at one of the gem pits were
really getting spooked by Vampires. That perked my ears up because they really believe in them,
even in the cities.”
“All the people that study mammals will tell you that the only ones over there are either
the Ceylon or the Indian false vampire bats. But the people, really do believe in the Dracula kind
of vampire.”
“I told him I’d be interested in meeting one. He said he didn’t think he could set that one
up but he would tell me what he’d seen happen about a month back.”
“It seems that one evening in the same place we were visiting that a complete stranger
walked in. Remember, everyone seems to know everyone else in that town. No one knew this
fellow.”
“Over at one of the tables was a family having dinner. Among them was evidently a real
beauty of a daughter. You know how friendly everyone over there is even to strangers so when
this guy starts looking for a table to sit down at, the people waved him over to join them.”
“Narooz just happened to be sitting close by so he got a good view of what happened. He
also heard the tale this guy told.”
“His line was that he was conducting a study for one of the governmental departments in
Colombo about vampires. Since they only have about sixty-four different departments, I’m sure
they have one for vampires.”
“According to Narooz, the man told them the basic Stoker type story about vampires
stalking to get blood and whoever got nailed became a vampire too. To illustrate what he was
saying he took a straw laying on the table. Next he took a napkin and wet it with a little water
and asked the young lady to wipe a spot on her neck. The explanation was he wanted to assure
everyone that this was a sanitary illustration. Then he pulled the paper cover off and placed one
end against the young lady’s neck. He put his lips to the other end and suddenly drew back.
Pretty good way to show the story without violating any local morals, don’t you think?”
“Well, you can imagine the reaction when all of the other people at the table noticed
the young lady had a bloody wound on her neck. Plus the guy stuck out his tongue and it was
covered in blood. Everyone was so shocked that he just stood up and walked out the door. The
guy escaped clean.”
“Unfortunately, the young lady is now considered unmarriageable because everyone
knows that she’s now a Vampire.”
And like always, Traveler stood up and went back into the woods in the direction of his
house.
ARCANUM
This is one of those things that you can play “heavy” or even as twisted comedy bizarre.
The original concept first appeared as Les Vampeurs Font Pire in No.44, page 538 of
New Invocation. Look it up because this version is completely different other than using a soda
straw to play Vampire. However, it was the germ of the idea that got Traveler thinking about
how to pull something like this off.
First, the needed materials are about as simple as you can imagine as well as being
cheap. And, like most of this stuff, since people don’t know what you’re going to do, you don’t
have to finger fling. As Leslie Melville and Ed Solomon would say paraphrased, “It’s the story
stupid!”
Your shopping list includes some soda straws, preferably with paper wrappers. You can
do this with bare straws if that’s all your local supermarket stocks. However the wrapper adds to
the sanitary idea.
Next, a small plastic bottle to carry water in and a couple of cotton pads like women use
to take off their makeup.
Oh yes, you need “blood”. Cherry Kool-Aid® is my preferred stuff.
Assuming you have a paper covered straw, slit one end open and push up the paper to
expose the end of the straw. Now, open your packet of Cherry Kool-Aid® and dip the exposed
tip of the straw in the powder. A minute amount will cling to the straw on both the inside and
outside. It’s such a tiny amount you’ll think there’s nothing there but it is.
Pull the paper back down to cover the tip of the straw and fold it over. Said straw now
goes blood end down in your inside jacket pocket.
The little bottle of water and the cotton pads go in one of your outside pockets.
And finally, just before you perform this excuse yourself for a few moments. This is
when you put some of the Cherry Kool-Aid® on your tongue. Gosh, this sounds like children
scaring Mommy! Anyway, you now have a very nice bloody tongue. Remember, just keep your
tongue in your mouth when you talk.
At this point, it should be fairly obvious what happens. You pick a nice young female to
assist you. You begin your tale of vampires and do they really exists or whatever.
To illustrate, you are going to show those present what it perhaps looked like. The big
difference is that because of modern health concerns, your demonstration will follow rules of
sanitation. It also keeps the lady’s husband or boyfriend from punching you out.
Take out the bottle of water (you can use alcohol if you wish) and dampen one of the
cotton pads. Gently wipe a spot on the girl’s neck.
Next, take out the straw and strip the paper off. They will NEVER notice the “blood”
on the end. Place the blood end against her neck on the damp spot and gently blow through the
straw. Pull back with the straw and zounds, she has a bloody mark on her neck.
This is now the point at which you thank her for assisting you in your own search for
immortality – and stick your tongue out.
You might even consider this for table-hopping bizarre. Just not at Mickey D’s!
©2007 Lary Kuehn – All rights reserved

124 pages
$34.95 plus shipping

For details:

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 THE
ALPHABET
BLOCK
Ron Dayton/KOTAH

I cannot say how long it has been since sleep has been a part of my nights.
Lights off, awake I stay, as nightmares play within my mind.
How can this be that horrific visions come to me?
Small animals suffer first.
Sacrificial trials to slake a demented thirst.
Fresh blood seeps, creeps out onto the ground.
A crimson blotch, a Rorschach test perhaps.
I relapse int0 depression and paranoia.
They have me trapped.
Have mapped out my downward spiral.
How long before I walk to stalk in shadows?
The size of my prey has grown with my hunger.
Stray pets defiled hold a waning thrill.
Perhaps something more innocent and mild.
The creature I’ve become would likely harm a child.
I know he would, he could, he has.
This night too, something once warm grows only colder.
Something young will grow not one day older.
The voices will my hands to kill.

Reaching in your jacket pocket, you

remove and table a wooden alphabet block.
Cover it for just a moment with your hand. As
your hand lifts and moves aside the block is
stained with blood.
Your right hand closes into a loose fist
and your thumb bends to act as a mouth of a
hand puppet. In an eerie vent voice the hand
says; “Oh see what Iʼve done now!”
Only three sides of a wood block can be
seen at one time. Three sides are clean the other
three are blood stained. Turning the block under
the cover of your hand causes the blood stained
sides to appear.
The hand puppet speaking is the clincher
for this routine.
 This excellent routine from Roni was too long for our printed pages
of Oracle and his idea with the Frixion pen had been used a few months
back on our web pages. We elected to teach his center tear in our
printed pages and place this excellent routine here. Enjoy! – drg

SÉANCE FOR THE

UNKNOWN SPIRIT
by Roni

I was called to do something for Magicians. As they know me quite

well, I thought of a method of doing the classic “Dead or Alive Test”
that they had not yet seen. What I came up with is this:
You tell one of the persons present that you are going to try and
communicate with the “Other Side.” You fold up a slip of paper into four
quarters and ask her to open the paper and write a name of a deceased
individual on the said piece of paper, refold it, and put it back on the
table. Of course you turn away from her whilst she is writing the name
down.
When she has finished you turn back towards her, pick up the folded
piece of paper and put it inside a black velvet bag.
You now ask her to think of four names of living individuals as you
fold up additional slips of paper into four quarters and put them in front
of her. You ask her to write the names of a living individuals on those
slips of paper whilst your back is turned, refold the slips of paper into
four quarters and leave them on the table. You now turn around, pick up
the slips of paper and drop them into the black velvet bag.

Once the five slips are in the bag, you ask her to put her hand inside
the bag and mix the papers thoroughly.
You now light a candle and ask for the lights to be dimmed. You
explain that you will try and contact the spirit of the dead individual
by touch alone. You further explaine that Psychics are also called
“Sensitives.” Being one yourself, you will try and locate the folded piece
of paper bearing the name of the deceased merely because to you as a
sensitive one piece of paper will feel colder to the touch then the other
four bearing the names of living individuals.

Seance for the Unknown Spirit page 1

 Roni at the Gathering
(Thatʼs John Henry Flood in
three-quarter profiele.)

You put your hand into

the bag and, after a few
seconds, you bring your
hand out with one piece of
paper.
Keeping hold of this
piece of paper you now
give the bag to the lady
and ask her to bring out
the remaining four pieces
of paper and verify that each one of them bears the name of a living
individual.
She opens them and verifies that each one has the name of a living
individual written upon it.
You now tell the lady that you will try and get some more information
out of the piece of paper you are holding and, again, you will do that by
touch alone.
You begin to feel the piece of paper with your fingers and slowly you
start tearing it into very small pieces, as you are concentrating with your
eyes closed most time.
You now ask her to open her hand and as she does you put all the torn
pieces in her hand close her hand to a fist whilst you remain holding her
fist and concentrating. Slowly you begin to say “I feel as if I am in a place
with many people, a party perhaps. I can see someone walking towards
me. He stops and smiles as he is asks me my name. I look at him and say:
‘Roni.’ ‘Oh, and my name is Charles,’ he says. ‘Pleased to meet you.’”
Of course you have just told the lady the very name of the deceased
individual she wrote down on the first piece of paper, which is now in
small pieces inside her closed fist!
You carry on and show her a small piece of card with many names
written upon it and explain: “ I usually write down the first names of
people I have done a séance for, as you can see from the card. It is full
of names.” She inspects the card and agrees.
You carry on: “Would you like me to give you a personal message from
Charles?” She accepts. “Please write Charles’ name on the card amongst
the rest of the names.”

Seance for the Unknown Spirit page 2

 She does.
“Now what we need to do is to separate our world from the world
beyond.” As you say this you put a piece of tissue paper over the card on
top of the names.
“Let us absorb the moment,” you say as you ignite the tissue paper.
Once the flame has gone you ask her to take the card and look at it
to see if there is a message from the deceased.
As she looks, she can see that all the names that were previously on
the card have vanished. All that remains is the name CHARLES with a
message: “I am here.”
The lady is allowed to keep the card with the message on it as a
reminder of a very emotional moment.

Method:

You will need five slips of paper, a bag and a pen (A candle will be a
bonus).
Very little need be prepared. So how is it achieved?
This is simplicity itself and this is what makes this effect so good.
Show the five slips of paper. Explain what you are about to do and

Seance for the Unknown Spirit page 3

fold the first piece of paper into quarters. Ask the Lady to unfold the
slip of paper whilst your back is turned and write the name of a deceased
person on the slip of paper.
Once she has finished you turn to face her. You pick up the slip of
paper and put it in the bag. As your hand is inside the bag you fold over
one of the four corners. By doing so you have just secretly marked this
particular piece of paper so you can FEEL THE FOLDED CORNER when
the other four slips are in the bag.
The lady can put her hand in the bag and mix the slips around as
much as she likes. She will not notice the difference (The folded corner)
because she does not know that you have folded a corner and to her all
the slips just feel like slips of paper.
My magician friends came up with all sort of different explanations.
NOT ONE OF THEM GOT IT RIGHT!

I hope you like it

See the printed Oracle for instructions for doing my center tear.

THE MESSAGE:
For this you will need:
Frixion pen
Ordinary black pen that writes very similar to the Frixion pen.
Flash paper pad.

Preparations:
First cut your visiting card to the size of the flash paper (Or cut a
piece of a flash paper to fit the size visiting card you have).

Next using an ordinary black pen write these

letters in different places on your card:
I M H E R E
Next complete the letters to form first names
by adding other letters to them with your Frixion
pen.
For I use Ivy. For M use Morris.
For H use Heather. For E use Eddie.
For R use Rachel. For E use Edward.

Seance for the Unknown Spirit page 4

 Enter few more names on the card leaving a gap for the
volunteer to write the first name of the person they are thinking
of. (Ben is the name in this example.)

Once this has been done put the flash paper on the writing side
of the card and ignite it.
The heat of the burning flash paper will erase all the names and
letters written with the Frixion pen leaving behind the name of
their loved one plus the letters I M HERE, thus proving that you
have contacted the Spirit world………………….

Be afraid…be very afraid…

Roni

Seance for the Unknown Spirit page 5

 TWO PRESENTATIONS FOR THE HAUNTED KEY
By Stefan Fisher
These two presentations for Haunted Key grew out of two distinct needs. A few years ago I decided to
begin work on a séance show for use at a Halloween party. I decide that I wanted to use the haunted key as
my opening effect and first sign of contact with the spirit world. In Online Visions I found Peter Marucci’s “The
Key to Borley Rectory” which heavily inspired the following presentation.

Clara’s Key (Presentation for the Haunted Key) by Stefan Fisher

Adapted from The Key to Borley Rectory by Peter Marucci

Have you ever raised the dead? It’s kind of a hobby of mine. I’m practicing to be a medium. Of course, every
medium needs a control spirit to act as his intermediary between this world and the other side. Mine is the
ghost of a young lady named Clara Fox. In life she was a maid to the last owner of Borley Rectory, the “most
haunted place in England.”

Borley Rectory was built in 1863 against the advice of the locals as the site was already reputed to be haunted.
And, in fact, the occupants were repeatedly disturbed by ghostly apparitions: a headless man, a girl in white,
and the spectral figure of a nun drifting restlessly through the house and garden, her head bent in sorrow.

Then in 1930, the Reverend Lionel Foyster and his young wife Marianne moved in and the supernatural
disturbances intensified. The couple fled in terror and the rectory was abandoned as a pastoral residence.

It was in 1939 that Captain W. H. Gregson – Clara’s employer – took possession of the rectory. A short time
later a mysterious fire broke out, and the rectory burned. Witnesses watching the blaze reported seeing ghosts
in the windows.

Clara awoke that night to the acrid smell of smoke. Finding her door locked she hurriedly retrieved the key from
the dressing table. However the lock was old and frequently demanded a great deal of jiggling to work.

(The magus takes out a blackened key.)

This is the key that was found clutched in Clara’s charred and lifeless hand.

And, it is said, that even to this day, an unseen hand still tries to turn the key to open the door to safety outside
the walls of Borley Rectory.

Clara are you here?

(As the magus talks, the key is laid across his palm and, without any movement on his part, it slowly turns, as if
an unseen hand is unlocking an invisible lock.)

We have established contact with the other side.

Don’t worry, she always goes home with me.

(I skip the final line if I am using the routine to lead into other séance effects)

Then there came the day when I wanted to include the Haunted Key in a show for children. This
next presentation is what I came up with.

KEY TO IMAGINATION

In order to truly experience the magic, we have to open our imaginations. But before we can
open our imaginations we have to unlock them. Luckily, I brought the key. Together we are go-
ing to imagine this key turning over all by itself. Have you ever had the experience that you were
imagining something so strongly that it really seemed to have happened? Some people even say that
if enough people imagine something strongly enough it really will happen. Of course that would be
magic. Shall we give it a try? I’m going to need your help to do this because as people get bigger,
their imaginations get smaller. So your imaginations are much bigger than mine. Let’s see if we can
do it. Imagine the key turning all by itself. Turning as if unlocking our imaginations. I think it’s
starting to turn. Good job. Someone must be really imagining hard. You did it! Good job!
 This is the second article that Don Drake has given us permission to include in this issue of
ORACLE. It is a sample from his most recent book, DON DRAKE PRESENTS MORE BLACK
ART BREAKTHROUGHS.” As well as a number of striking tricks and routines, this book also
provides in-depth instructions for building and lighting Black Art “Wizard’s Curtains,” “Fantasy
Tables” and a very practical Wizard’s Close-Up Board.
Black Art in some form should be incorporated in any Spirit Theater production. If you are doing
a theatrical séance, or plan to, we HIGHLY recommend reading Don Drake’s books. The uses of
Black Art in a semi-darkened séance chamber are limited only by your imagination. For example,
how would you use an invisible gimmick that can cause cards, candles, books, or whatever to eerily
move across the séance tabletop? This sample article shows you how it’s done. What it does is up
to you.
For information, equipment or advice on Black Art contact Don through his website. Don’s a really
nice guy and a good friend of ours. Tell him ORACLE sent you.
http://www.blackartsecrets.com/

D
o
n

D
r
a
k
e
 E
D

S
O
L
O
M
O
N
It sat in grandmother’s attic for fifty door and took it home to refurbish
years. It had belonged to Sarah Jean, it. It cleaned up very well and a coat
one of her daughters, who had been of paint made it look new again. It
seriously injured in an accident on her has been sitting on top of a cabinet
thirteenth birthday. It was stored in my library ever since I brought
away after her passing along with her it home. An interesting conversation
clothes, dolls, and keepsakes. No one piece that goes so well with the
went into the attic in all those years. family history, the door has given
When grandmother passed and the me much pleasure. When I tell about
old homestead was to be put on the Sarah Jean there is a feeling of
market, it was our responsibility to nostalgia even though no one is left
clean out the closets, do away with that knew her, or grandmother,
the furniture, and of course, clean out for that matter. No one knew the
the attic. grandmother’s anguish and sorrow. No
one knew the grief and longing. No
Fifty years of dust covered everything one knew the denial, the anger and
in the attic. The paint had faded on the ultimate depths of despair.
the dollhouse long ago and dry rot had
destroyed most of the things stored Often the energy given to things
there. When we moved the dollhouse emotional somehow permeates places
it crumbled, and with the exception or objects. Violent deaths are said
of the entrance door, was a total to embed the tragedy in the very
loss, as were her school papers and walls of former dwelling places. Are
the rest of her special things that we talking about ghosts? I would
Grandmother had so lovingly save all say perhaps. That seems to be one
those years ago. of the general explanations given for
haunting and paranormal happenings.
I, being a sentimentalist, saved the
Grandmother’s house is gone now and
an office building stands where the old
homestead stood from the early 1900s. All
remembrances of that lifetime no longer
exist except in my own memories. I am the
last of my own generation and there are but
few now who are even interested in family
history.

But the doorway into that old dollhouse still

holds special memories for me. Every time
I look at it I remember my grandmother
and her long lost daughter, who would be a
second or third cousin, or perhaps, a great
aunt. I could never really figure out all the
connections.

When I reminisce about the past, and

I gaze upon the red door to a long gone
dollhouse, there arise strange feelings that
well up from my very soul. I do not know of
any connection other than being a long lost
relative. Is that alone enough to evoke a
restless spirit? Perhaps?

WORKING:

With the final sentence, the red door mysteriously swings open with no one in the
vicinity. With the story told well, this simple effect is awesome.

The door is a ‘former’ photo album designed to look like a door to the past. The plastic
sleeves that were in both sections of the box like door and frame were removed and
the interior lined with self-adhesive black felt. A wider section of wood at the base
provides the stability to let the door stand upright. At the back of the base, round-
headed tacks have been inserted so that the door actually tilts forward just enough that
when the catch is undone, the door slowly swings open, do to the force of gravity. The
small brass-catch at the top of the door, is maneuvered open by means of a piece of
invisible thread. It is attached to the catch and strung to a card that is slipped under
the belt to provide an anchor. To undo the catch all that is necessary is to slowly back
away from the door and the catch is opened and the rest is created by gravity.

Not being satisfied with the chances of the door not opening, I embedded two small
rare earth magnets in the inside of the door where it closed against what would be
the bottom of the box were it a box. Set so they would repel each other, it was an
easy task to drill two small holes to accommodate the magnets and glue them into their
respective openings. Small disks of red tape covered the magnets to hide them, even
though they probably would never have been seen.

Now the door has both gravity and the two repelling forces to give security to the
opening of the mysterious red door.