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.

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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.

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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

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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.

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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.

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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!

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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:

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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.

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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