Steve Drury -spirit Water

Spirit Water

Written & Edited by Steve Drury Cover Design by Steve Drury All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical now known or hereinafter invented, without express written permission from the author.

Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

The following is an expanded version of a presentation that combines a number of clever principles, which I first summarised in a section of my book ‘Dice Mysteries’. Combined they achieve predicted revelations of simply ‘thought-of’ shapes and numbers in a novel way.

I have performed this many times and assure you that whilst the methods are simple, the presentation is the key to the strength of this demonstration. This is not aimed at the magician looking for ‘ta-ta’ moments, but for discerning mystery entertainers whose preference is to provide an inclusive experience for their spectators, and are able to adapt and work with ideas, suiting to their own style.

This was exclusively first published in PSYCRECY (PSYCRETS British Society of Mystery Entertainers member’s private publication) in 2019 and is scheduled to be included in the forthcoming Mysteriosophy Vol III.

Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

Presentation Picture a small gathering around a table, an ideal setting for some storytelling and incidental miracles.

The performer lays out some old writing slates with a piece of chalk, a pencil and a small amount of water is then poured into a glass. These are placed among other personal items of those seated. After a sociable pre-amble the performer proceeds:

“I’d like open by asking everyone here, who wishes to participate, to take a little trip back into their own childhood memories. There’s no need to close your eyes as we begin, but do so if you wish ...”

[Following a few guided, calming, intakes and exhalations of breath ...]

“... and picture yourself at your old primary school ... so at an early age ... that’s right .... and when you have achieved a feeling associated with that memory, no matter how small, I would like you to rest your hands in your lap, and if you have closed your eyes, please open them now”

[All do so, at similar times]

“I see your teachers taught you well! Seriously though, I only asked that of you, as it is with the child’s mindset that magic can come to us the easiest. Through a child’s

eyes, wonder can appear in so many more ways than it does to us as adults, because whilst you are growing or discovering and taking in new information and images, the mind is creating new connections, and so expanding your creative capabilty.

Sadly, adults seem to want to question wonder - but children instead react, often with feelings of excitement, or maybe curiousity. Also, it is our discoveries and experiences in later life that changes our perception and expectations of wonder. Even the innocent word mystery, often extends to including darker connotations too - maybe involving more ethereal, strange or taboo ideas.

So, for the next 15 minutes or so I would simply like you to suspend your developed disbelief and just enjoy a few short experiments with me, and be open to where your minds take you.”

The performer leaves a longer than might be expected to pause - which psychologically leaves the participants wondering what will come next. He continues ...

“You probably wondered why such a long pause – well, it is said that creativity also comes from silence .... and we will need a little imaginative creativity now ... so having had some silence, your minds should be active and primed for a little more visualisation beyond just imagining being in your old school classroom.

So, I’d like you now to revisit that old school classroom in your mind. Today, you are having a lesson about shapes ... I’d simply like you now to think of a simple shape, such as a square – oh, but not a square, because I have just mentioned it, and I don’t Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

want to manipulate your thinking. Picture that vividly in your mind and now imagine another different simple shape, then put one inside the other. Don’t change your mind like an adult would – just simply think of two very simple shapes, just one inside the other ...”

The performer casually draws in the air with his index finger, the outline of a triangle with a circle inside it. This is done under the guise of reiterating his request.

“That’s great. Now I would like everybody to keep their imagined simple shapes to themselves ... but I would like you just to look at each other for a moment, eye contact helps great minds to think alike, and more of you may even think of the same shapes ... then when I snap my fingers look back at me!”

After a beat, the performer snaps his fingers.

“And with that, your shapely thoughts are now embedded in your subconscious. We will revisit this later.

So next, I would like you to imagine yourself a little older than you were a moment ago and moving on in experience a few more years now – but don’t worry we’re not going to move onto anything advanced. I’ll continue to keep things creative, but just a little more involved this time. We are continuing with our learning theme and have a small writing exercise in our class”.

The performer picks up one of the two old school slates from the table, plus a small stick of chalk.

“I know none of us here are old enough to remember writing with chalk on slates, but there is something quite enchanting about these. This next step is to involve just two people, one acting more in an assistant capacity”.

The performer next reaches into his pocket, withdraws a fist and then extends it across to the participant ‘couple’ with the slate.

“Ready, now here are two special dice that we’re going to use”. The performer goes to hand the dice over ...

“Oh, I forgot to say, they are special, because they are imaginary” Then continues …

“Now I’d like you to follow my instruction carefully. Firstly, can you please roll the two dice ... and just check they are not ‘loaded dice’! Are we happy with those! Now, I’d like you to just pretend, and imagine, in your mind right now, the numbers on top of the dice before you pick them up. When you have, please pick them up”.

[They do so] “Great. Now that was just a warm up, you can let that image go. Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

So, next I’d like one of you to draw a dividing line down the slate, this is to create two columns, one for each die. It is important that you do not show me what you write in a moment too. OK – now we’re set.

Please roll the dice again ... but this time I need you to really imagine and visualise the numbers on the top of each die ... OK, now please write the topmost number from one die in one column – and the topmost number from the other die in the other column. You are welcome to show others here – but do not show me. Could your helper, please return the dice to me now, I may need them later”.

[The return of the dice to the performer is mimed, and he places ‘them’ back into his pocket]

“So, you have now randomly created, through the throw of two imaginary dice, two random numbers. Just have a quick think - are any of those numbers on the slate of any coincidence or significance to you?” [These last words are simply an opportunity for a free ‘hit, it’s irrelevant whether they are or not, but the participant does not know that. I have had some respond with amazement before. I will simply be subjective to the spectators, but often as they don’t know where you are going, some will ‘look’ for coincidences]

“Now, here’s a little maths exercise using those numbers ... The performer relays the next sentence sequence slowly

I’d like you to select either one of the die numbers you have written, and we will work with that. Whatever that number is - I’d like you to first multiply it by two – and write the answer beneath it.

Next add five to that second number – again write the answer beneath.

Now whatever that total is - multiply it by five - again write the answer beneath.

Then finally add the top number from the other die to that total.

Write the complete total beneath ... and have your helper just double-check”.

The performer next asks for the slate to be handed to him face-down, and this is placed on top of the other slate. Both slates are then picked up together, under the guise of rearranging the table setting. In passing whilst this is being done, the total of the two dice is asked for, however this seems inconsequential to the performer and he continues with moving the slates. In a natural (but unnoticeable action) both slates are turned over as they are placed back down on the table.

“Earlier I mentioned that as we develop, our concepts of magic, and even the word mystery, can start to take on different meanings. I’d like you to now, move forward in your thinking maturity again, in fact, forward to the present ... and to become present in this moment - so that you can experience what is next about to happen, that is a mystery as you might now perceive it.

Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

Up until now I have asked you to imagine only with your minds, these are thoughts that I could not have known, but now I would like to demonstrate the ethereal, revealing those thoughts!”

[This strange turn in the act is intentionally meant to unsettle, so as to create focus in the room.]

The glass, partly filled with water, and pencil that have been on the table in full view all along, are then placed on top of the slates.

“The water in this glass holds some kind of spirit ... and I don’t mean alcoholic!”

The performer continues by removing a piece of thread from his pocket. To one end is tied a loop (you could maybe mutter some incantation whilst you do so) and the glass is then slipped into the loop. The glass should be tapered in shape, but no so much that it slides completely through the loop. The other end of the thread is then firmly tied around one end of the pencil. Another mutterance is made, and then the pencil is raised and the glass is suspended by the thread over the top of the slates. (Everyone will be focused at this point)

The performer addresses the participant, and spectators who had seen the writing on the slate:

“I would like you now to picture in your mind the image of both dice how they landed, and the numbers facing topmost ...”

The performer waits until all is quiet, and after a short while a single soft ringing sound is heard! The performer draws attention to this and quietens everyone.

“It is said that mystery is the most stimulating force in releasing the imagination, let’s now put that to the test. This time could you all concentrate harder ... “

Then, after a while, a stunted number of rings are heard that correlate to one of the die numbers rolled. This number of rings is verified, and acknowledged as true by the spectators that one die did land with the same number. The spectators are asked to concentrate one last time, and the same number from the second die is heard softly rung too. Again, the number of rings is verified to the amazement of the audience.

“So, it seems that mystery was with us in this room all along, we just needed to activate our minds. Incidentally, did you know that these old school slates used to be known as ’talking slates’ to some? I’d like you all to cast your mind back to where your first thoughts went earlier ...”

The slates are subsequently lifted, and the performer shows a circle drawn within a triangle, and the writing from the imaginary dice exercise, now vanished!

Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

Required … A set of slates. One with a magnetic flap … A piece of chalk … A small glass, filled with a small amount of water, … A pencil … Some thread.

Arcanum SLATE Invariably the spectator is handed the ‘non-flap’ magnetic slate. The one with the ‘magnetic flap’, has a ‘circle within a triangle’ pre-drawn in chalk behind the flap. This one is left on the table. Once the spectators have rolled their dice (real or imaginary) and written their numbers, and any workings-out on the slate, this is handed to you face-down and placed on top of the ‘magnetic flap’ slate. Whilst the slates are being picked up together, in the guise of rearranging the table setting, you ask for the total. You acknowledge in passing the answer however continue with handling the slates non-chalantly and naturally turn them both over as you place them back down (thus releasing the flap for the concluding revelation and hiding the ‘dice exercise’ writing).

SHAPES Many pass on presenting the ‘Triangle-Circle’ force because they perceive as too simple, but I assure you it continues to get baffling reactions from the laity. I’m not sure of the originator but certainly Banachek's ‘Psychological Subtleties’ needs a credit, as does Luke Jermay for his brilliant observations in ‘Building Blocks’ (read ‘The Strange Garden’) on this concept.

No psychological forces are sure-fire but set some strict, limited parameters – in this case, to think like a child and emphasise the word ‘simple’ and not to think of a square, then they really shouldn’t come up with a hexagon or anything awkward (but if they later mention a pentagram, then they are fair game!)

As a mystery entertainer you should have an out anyway. I have not written mine in as it remains guarded – but you should have at least one person in agreement that they were their ‘thought-of’ shapes, however the main revelation has already taken place, so the slates can even be routined as a segue into the next routine. To cite Banachek (in PS), “they will often say, that the Triangle-Circle is what they thought of first. I can then tell them that they should always stay with their first intuitive thought, as that is usually the 'psychic' one!”

MATHEMATICAL PRINCIPLE This is just one of many baffling number formulas you will find across books by brilliant ‘mathemagic’ expert, Martin Gardner. In this variation:

Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

Two dice are rolled (imaginary, real, loaded or electronic it’s up to you). The number on top of each needs to be noted by the participant, as does the working out need to be written down, so that it can be verified by another. If you have a way of glimpsing (or prefer electronics) great, but ensure any writing appears unseen by you. Next, any one of the topmost die numbers can be chosen (free-choice). Whatever the number – ask spectator to multiply x 2, then add 5. Whatever that total – multiply by 5, then add the top number from the other die. You now casually ask for the total: Then by subtracting 25 away from their answer - you can reveal both numbers rolled! (e, g. if it is 56, they rolled a 5 and a 6, or on the basis of opposites adding to seven you can say the lowermost numbers were a 2 and a 1)

The number information can be used in so many other ways than a simple revelation. Maybe they could correlate to a date, a time, a house number, a book page and/or sentence. Or equate to letters (look on a phone keypad) or someone’s initials (a way to mystically determine someone in the audience?) or symbols or pictures on a chart, which you predict. How about a ‘magic square’ ... numbers are everywhere and can be used so many ways. Evidently, if you use some kind of impression method you need not even ask for the total.

GLASS, PENCIL & THREAD The pencil used is standard hexagonal shape. The loop needs to be tied firmly. When the pencil is revolved very slowly, the thread begins to climb, however due to the weight of the glass, will slip and then drop back with a slight jerk. This is scarcely noticeable, especially as the glass will be naturally swaying slightly –

However, each time the string drops, the tension and vibration cause the glass to ‘ring’. The sound coming from the glass, heightens the deception.

A thin rim glass is suggested however the type of thread and quantity of water can only be discovered by experimenting. I use red heavy-duty polyester sewing machine thread (‘Güterman - M36’), which is quite visual. The right quantity of water (or other drink) is moreso to weight the glass (so the glass can be drunk from, however the level should not be too low). With the right quantity, the sound can be quite clear.

The method for the ringing sound obviously requires some experimentation. With the right framing and quiet environment however, it can sound quite haunting!

The pencil and glass idea is credited to Houdini; written in some private notes and published by Walter B. Gibson in ‘Houdini’s Magic’ Bantam Press.

As an aside, personally, I think it would ruin the routine by incorporating a ‘glass levitation’. However, for those interested it has been marketed under many guises such as ‘Airborne Glass’. If you want to read more too: look up Al Baker’s ‘Floating Glass of Milk’, (thread method), published originally in ‘Secret Ways of Al Baker’ 1951 (Issue ‘Pet Secrets’) or ‘The Secret Ways of Al Baker’, Miracle Factory / Todd Karr publishing 2003. Alternatively, Laurie Ireland published a ‘Floating Glass’ version with a tube and smoke method in ‘Irelands Yearbook 1946’ - which actually sounds great, but again not really in keeping with this act.

Copyright 2020 © Steve Drury / Inner Rapport Publications www.mysteryentertainerproducts.com

As explained in the introduction this routine is an expansion on some concepts presented in my book Dice Mysteries – which is a study into the world of dice aimed as a resource for the mystery and psychic entertainer. It is a hardbound, dust-jacket covered book which runs at over 580 pages!

It initially delves into the journey of the die, from the shaman to the layman, then through history into its roles in society, religion and science, including various cultural and indigenous perspectives. Many types of dice are reviewed, alongside their varied uses, from reading systems to gambling and cheating plus performance applications and routines. My own ideas are included throughout, plus there are varied supporting contributions from:

Les Cross, Richard

Webster, Stephen Ball, David Berglas, Lior Manor, Mark Chandaue, Richard Osterlind, Ronald J. Dayton, Pablo Amira, Docc Hilford, T.C.Tahoe, Seamus Maguire, Dale Hildebrandt, Danny Proctor, Kenton Knepper, Craig Conley, Steve Cook, Scott St Clair, Neal Scryer, Jackie McClements, Cara Hamilton, Vito Gattullo and Sudo Nimh. Foreword is by Ronald J. Dayton

The book can be purchased either via www.mysteryentertainerproducts.com or Stevens Magic Emporium