BIZARRE MAGICK aCe Orica acme ata era eettlaiaRizarre Magick THE COLLECTOR'S EDITION Larry Raukin Published by Pro Shop EnterprisesBizarre Magick Copyright © 2010, 2015 Larry Baukin All rights reserved. Reproduction or utilization of this work in any form, by any means now known or hereinafter invented, including, but not limited to, xerography, photocopying and recording, and in any information and storage system, is forbidden without written permission from the copyright holder. For more information, please contact Pro Shop Enterprises www.ProShopEnterprises.com Cover painting: The Nightmare by Henty Fuseli, 1781 Original arework by Andrea Fullmontis The author and publisher recommend that you understand the risks involved in the performance of the material contained in this book. Do not use the information provided in this book unless you ate prepared co assume personal responsibility and understand that the author and publisher assume no liability oF responsibility for your actions.CONTENTS Laughing Souls And Other Bizarre Visitation: Umbanda. Crossroads Pentagram, The Noose... The Civil War Duet: Twins, ‘The Civil War Duet: Knock On Wood. Laughing Souls I: Days of ‘The Dead Laughing Souls Il: Aztec... Laughing Souls HII: Skull The Wizard Oil Medicine Show. Palace of the Occult I. Palace of the Occult IL Palace of the Occult HI Afterword. Dr. Fathom’s Amusement: Attraction 1: Pickled Punks.. Actraction 2: Kootch Show. Attraction 3: Spider Lady... Attraction 4: Jokerman. Attraction 5: Freak Show... Attraction 6: The Grabjoint. Attraction 7: Three-Shell Operator...» Atraction 8: Abdul, The Card Playing Turk “Attraction 9: Hokkani Bato.... : Attraction 10: Dr. Fathom's Amusements.. The Book of Aleister Crowley. ‘The Invocation. journey to Boleskinne ‘erpent’s Kiss (Part 1). ‘The Serpent's Kiss (Part ID) Hell House Revisite Bacwoman, ‘The Book of Thoth. The Perfect Match. Break On Through.. Hymn to Pan...Collected Writings. ‘The Call of Lovecraft. Devil’s Triangl Knot Spirits. Witch Test. Witchfinder General. ‘Come Back, Mary Todd. Rubbings.. “The Reluctant Revenant... Cast Iron Coffin. The Evil Eye... Foreshadows, Star Dazing. Bendulum. ‘The Marriage. Partners. “The Doorway. ‘Tarot Touch. Penultimate. License to PS... Anthology Afterword.PUBLISHER'S FOREWORD Ic has been many years since I first encountered Tony Andruzzi's publication, The New Invocation, a singular periodical that many have tried to duplicate, but none have succeeded in filling the vacancy left by its departure from the scene. Despite the passage of time, I still remember the fervor with which I devoured each issue, reveling in the realization that there were kindred spirits out there, that I wasn’t alone in the feeling that there was a rich vein of mysterious theater to be explored for those willing to delve a litte deeper than the average performer. It was difficult ro not be in awe of the pantheon of highly-regarded contributors that appeared in the pages of The New Invocation, a veritable Who's Who of the mentalism and bizarre magick communities. OF special interest were the issues that were devoted ¢o a single creator, which left one with the sense that something very special was being shared with the reader. Such was certainly the case with the four Larry Baukin issues, each filled with a wide variety of creative themes and engaging story lines. This was, in fact, what drew me to The New Invocation, and Latry’s contributions in particular - the writing never failed ro entertain, and in many cases was downright inspirational. Ie came as little surprise when Larry told me years later that he had honed his writing skills in the pages of science fiction magazines. Perhaps the most influential publication during the six months following my initial discovery of mentalism was Bascom Jones’ legendary MAGICK, and in those pre-Intemnet days it. was invaluable not only for its mind-boggling parade of top-shelf creators, but for Bascom's editorials as well which usually included what was happening in the world of mystery entertainment. No Lary Baukin anthology would be complete without his creations that appeated within those ages, of course, and iris interesting to see how he was able to tailor his writing to fit seamlessly into the contemporary style favored by Bascom. Fast forward several years: while working on a project with Ron Martin, he happened to mention that he was collaborating on a few ideas with Larry, and pethaps they'd be interested in publishing them through The Pro Shop. The upshot was a series of publications (Quick Commercial Card Readings, Casual Little Miracles, At the Crossroads, and By the Eye of Our Spirit by Ron and Larry's alter ego, Martin Baukin). Larry and I were talking one day, and the subject of his New Invocation contributions came up. We both agreed that it would be great if they were all available in one volumeIc-was a short step from that kernel of an idea to the visualization of an anthology which would include not only Larry's numerous contributions to The New Invocation, Altar Flame, SEANCE, and MAGICK, but also his three books - Dr. Fathom's Amusements, The Book of Aleister Crowley and Laughing Souls ~ all of which have been out of print for several years. One of the unexpected benefits of editing this anthology was that I was finally able to read these three books, which had somehow escaped my attention when they first came out. Dr. Fathom's Amusements is special to me for two reasons, the frst being that it perfectly captures both che dialog and feeling of the classic noir novel (a genre that is especially close to my own heart) and the alternative subculture atmosphere of the carnival. The second reason lies in the backstory to the original publication: it was one of the last projects Tony Andruzzi published, and being something of a cartoon artist at one time, Tony wanted to include a carny banner for each effect in Dr. Fathom’s Amusements. Unfortunately, the tragic fire prevented this objective from ever happening, and the fact that the book was published at all truly speaks to the face that it was ultimately a labor of love on his part. Ic is that same love of the Art that shines through each of the publications produced by Mary ‘Tomich’s Thaumysta Publishing, including Laughing Souls, The Book of Aleister Crowley and every issue of the sorely-missed Altar Flame, Even if you were able to ignore the top-notch production values established by Mary's work (which would be a difficult task), you would be hard-pressed to find a more impressive combination of the eerie and the erudite ~ witness the juxtaposition in Laughing Souls of the varied elements of voodoo, Aztecs, medicine shows, Nazi occultism and 20ch century poet e.e. cummings. For the same reason that Lamar Keene's Pychic Mafia should be required reading for every mentalist and bizarre aficionado, so too should one gain a familiarization with the life and times of Aleister Crowley. Larry has made this easy for the casual enthusiast with The Book of Aleister Crowley, which captures the essence of The Great Beast 666 in a highly entertaining manner. Incidentally, one of the fascinating side discussions with Larry during the preparation of this anthology brought to light Crowley's encounter with legendary billet worker Bert Reese. Documented in Crowley's autobiography, it is interesting to note that Crowley surmised that Reese was using a variation on the one-ahead technique, a strong indication that Crowley himself was familiar with at least one aspect of mentalism. ‘What you now have in your hands is truly an embarrassment of bizarre riches, by one of the acknowledged masters of the genre. As I noted earlier, I have always found Larry's writing to be decidedly inspirational, and it is my hope that you, (00, will find it so. While the documentation of Larry's writings for posterity was certainly one of our objectives, it may only, in fact, be of secondary importance. BIZARRE Macick 8 Larry BAUKIN‘The old chestnut of "if you find one routine in this book that you use, it was worth the price” is surely true with respect to this anthology, but I think there's an even more valuable treasure within these pages. Not only has Larry shared with us his many ingenious presentations and ideas, he has shown us by example how to craft a compelling experience for our audiences. This may be the true legacy being transmitted to you here, and it is supremely important that you consider yout own role in the passing of this timeless information to subsequent generations. A weighty thought, to be sure, so perhaps ie is best if you set it aside for the moment and ‘concentrate instead on the wealth of material contained in this anthology. If you are new to the world of Larry Baukin, I am envious. You have many hours of enjoyment and creative introspection before you, preferably sequestered in your own candle-lit tower room, with several logs on the fire and a snifter of your favorite beverage on the table beside you. Loren G. Tindall Colchester, Vermont June 2015 BIZARRE Macick 9 Larry BAUKINLarry BAUKIN 10 BIZARRE MAGICKLaughing Souls And Other Bizarre Visitations by Larry Baukin, 1990 Griginally published by Thaurmysta Publishing Company 1995LARRY BAUKIN, 12 BIZARRE MacicKACKNOWLEDGMENTS ‘Welcome to the continuing saga of the BIZARRE, Thi 13 routines that you can use and enjoy. cention of this collection is to give you I cannot miss this opportunity to thank Washington, D.C. magician/mentalist Doc Dougherty for his invaluable advice and support. Doc is a generous and humble force behind many magic and mental performers. We know who we are because of Doc. Larry Baukin Fairfax, Virginia Bizarre Macick 13 Larry BaUxinES Lary BAUKIN BIZARRE MacickPREFACE Earlier this year Larry Baukin approached me about the idea of publishing a collection of his effects. I was honored that Latry had considered me because I had long admired his storytelling style and creativity. It was Larry's stories, in part, that had sparked my interest in bizarre magick in the first place. I will never forget that day when I first had a chance to look at copies of THE New Invoamoan, I was hooked. Within those first issues, it was Larry Baukin’s stories 1 most remember. Over the years, his originality and ability to affect his audience have distinguished him as a creative force in the field of bizarre magick. So sit back and enjoy Lauain Sous AND Onsen Bizaite Vista1ss a collection of weird and macabre tales sure to spark your imagination. And when you're done, be thankful that you have been visited by the creativity of Larry Baukin. Mary Tomich Minneapolis, Minnesota April 195 BIZARRE MacIck 15 Larry BAUKINLaney BAUKIN 16 BIZARRE MacIcxINTRODUCTION I have found the following trio of effects Umbanpa, Crosroips and PENTAGYM to be a fun introduction to bizarre magick. The three routines are easy, practical and versatile. ‘Us banoa and Cacssoans were first presented at the Psychic Entertainers Association's Mecting of the Minds in Washington, D.C. in June of 1989. Usdanba has since brought me some interesting reactions, ranging from mystification to guarded mirth. I always play Crosmoans as a kind of bizarre mentalism routine, rather than bizarre magick. You may agree when you read it. Pextagum I do as an excuse to give out my business card. The first time I ever performed the effect was at my printer's shop when I picked up my business cards! After the effect, the printer asked if he could keep a dozen of the cards to give out to his special customers. And now... BIZARRE Macick 17 Larry BAUKINPresi 18 Larry BAuKIN BIZARRE MAGICKUmbanda EFFECT Several years ago my wife and became acquainted with a young lady ftom Brazil. I shall call her Maria," the Mage begins. "Maria was an attractive young woman of Portuguese descent.” He pauses. “She was also versed in the mysterious ways of Umbanda, ot Spirit Mediumship. Included in her ‘mediumistic skills was the ability to draw out emotional, ot mental discomfort, of pain, from a person, and receive the evil spirit into herself. And then, most importantly, she knew how to «expel this same pain from her own body — or at least transform it into something positive. Now, Spiritism is a major religion in Brazil, and this theme of transferring pain, or discomfort, from a client to a medium is a very old theme in the occult. Let me show you an example of swhat Maria used to do.” ‘The Mage takes a book of matches out of his pocket. He addresses a female spectator. "Iam going to strike a match. I want you to stare at the flame, and project into the fire an emotional ot mental discomfort that has been bothering you. We all have them. Think of something relatively minor, since I don't possess the fully-developed psychic power of a spitit medium.” The performer holds a book of matches at the tips of his left fingers, He removes and strikes a ‘match with his right hand and holds it aloft for a brief moment. "Stare at the flame, Place your pain, mentally, into the fire, now," the Mage commands. Bizarre Macicx 19 Larry BAUKIN‘The performer makes a fist with his left hand. The matchbook is still at the tips of his left fingers. He places the matchbook between his lips, but just for a few moments. He inserts the fiery match into his left fist. He does not wince. As soon as this is done, with his righ hand, the Mage cakes the matchbook from his mouth and begins fanning his closed left fist. Maria would feel the pain of her client. And, as I said before, she would draw it into herself, as T have just done for you. Or she would simply transform the evil discomfort into something positive .. even beautiful.” ‘As the Mage speaks this final phrase, he slowly turns his left hand, palm-up, opening his fist co reveal a small, bright red silk scarf, unfolding like a flower out of the palm of his hand. The fiery match has, of course, vanished. METHOD “The technique for the effect is the “Match in the Fist”, using a thumb tip. The addition of a pre- loaded scarf in the left fist was the idea of the ingenious Al Cohen. Simply pre-load your thumb tip and red scarf in the left fist. Hold the matchbook with your lee fingers. Strike the match with your right hand. Then, with your left hand, place the marchbook between your lips, and with your right, insert the match into the tip. AAs you steal out the tip and match from your left fist, you hold only the silk in your fist. The hand with the tip takes the matchbook out of your mouth. The thumb tip is hidden behind the matchbook. You turn your left hand, palm-up, as you fan the hand with the matchbook. Then ‘open the left fist to reveal the transformation. BIZARRE MAGICK 20 LARRY BAUKINEFFECT “T have here," the performer begins, "a pack of ESP symbols used in parapsychology laboratories for the testing of psychic ability.” He displays the deck of 35 cards and lays out five cards, each representing an ESP emblem. “Yer these symbols are much older than contemporary ESP tests. Centuries ago, they were often employed by medieval mountebanks to offer readings for a few coins. However, some believed that these performers may have had a touch of the charlatan in their hearts.” ‘The mentalisc smiles at a female spectator. "1 will play the pare of the mountebank. And you will be the client. Enjoy and believe what you will.” He pauses. "Remember, each symbol carries a series of psychic interpretations, For instance, the Circle represents femininity. A sense of continuity, rebirth, completeness. The Square, masculinity. The four lines come together to form an image of physical strength, health, determination — a sense of building, solidity. ‘And here, we have the Three Wavy Lines. They point toward the spiritual — a person guided by religious conviction and faith. Mankind, Earth, and God are often associated with this trinity, as is the traditional Father, Son, and The Holy Ghost. The Three Wavy Lines also connote intuition, art, and creativiey Bizarre MAGICK 21 Larry BAUKINAnd here, we have the Star. A symbol of beauty, of quiet knowledge, for the Star gives us life. It gives us the light of eruth and shines as a beacon of hope. And finally, I come to a symbol that attracts me in an odd, eerie way, It is the image of the Plus Sign. A symbol of the Crossroads.” He pauses. ‘rom antiquity, the Crossroads were regarded as a meeting place for witches, ghosts, and the spirits of pagan gods. And let us not forget che Celts, o Druids, who lit bonfires at the Crossroads to drive away the dark forces of trolls and other demons who gathered there during the ancient festivals of Samhain and Halloween.” “Well," che performer sighs, "Shall we attempt our psychic experiment?” He pauses. “Why not?" He addresses the female spectator. "Please cut the cards.” The spectator does. "I shall mark your cut,” the mentalist explains. "I would like you to concentrate on the five ESP symbols spread out before you. Let their shapes and images move like soft fingers across your mind.” ‘After pausing, the performer points at the pack of ESP cards, “You have cut to this Symbol,” he says, turning over the card. "The plus sign... the Crossroads.” ‘The mentalist turns the card face-down, and very slowly, deals it face-down on the table. "Place the palm of your hand on the back of the Crossroads,” he instructs the spectator. "L believe you chose the emblem of the Crossroads because it represents for you a turning point. A change. A new direction for an important aspect of your life.” ‘The mentalist seems momentarily lost in thought. “Yet, I have seen others cut to this symbol on occasion, and be disturbed at its occult implications. But do not be upset, for I feel that you have a latent psychic talent, I want you to imagine the Crosstoads under your palm, the turning point beneath your hand, Draw the image up into your mind, and as you turn ie over. ‘The performer indicates for the spectator to turn the card face-up. BIZARRE MacicK, 22 Laray BAUKIN hudba, ei pense"..You will feel a psychic transformation. For the Crossroads, now in the palm of your hand, blossoms into the Star. The most positive and glowing symbol of them all, a symbol of ‘expanding brightness. And now; I feel a period of good luck will soon accompany you in your life's journey." The mentalist smiles. "Perhaps this would be a good week to buy a lottery ticker?" ‘The performer pauses for a few seconds and then says, "In any case, this is how the old medieval mountebanks used to offer readings of these symbols for a few coins. Thank you.” METHOD The cards are not gaffed. You pre-load a Star and Cross card on top of the pack. As you display the cards at the beginning, remove five different ESP symbols and line them up in a display. A simple, cross-cut force is used to bring the force cards back to the top of the deck. You then doubleclft to the Cross card. Then follow by dealing on the table, the real top card, the Star. The rest, of course, is the reading given in the body of the effect. Bizarre Macick 23 Larry BAUKINp entagram EFFECT “People rend to think of the ancient ritualistic symbol of the pentagram as being associated with the Black Arts," the bizarrist begins. "This is a sad mistake. Because the pentagram is not only a time-honored, Cabalistic symbol of occult power, but a very practical emblem to be used by anyone who understands its secret.” The performer removes a small business card wallet and a blue pen from his pocket. Next to these items, he sets a packet of bridge-size ESP cards, Drawing a pentagram on the back of one of his business cards, the bizartist says, "Many centuries ago it was said that the best way to achieve a material gain was by translating the wish into symbols, and placing the symbols on the pentagram. If psychic conditions were good, the star- shaped symbol would grant your material desire. In other words, if you wanted a new cat, you would ask the pentagram. Of course, if you were living in ancient times, you'd be wishing for a new ass, Or maybe a new chariot.” He pauses. "The question is, does the power of the pentagram still work? Let's test it." The bizarrist displays the pack of ESP cards, explaining what they are used for. He requests that a female spectator assist him. “Let's try our own ESP experiment, I believe that if you possess psychic talent, you will be able to harness the energy of the pentagram to aid you in the successful gaining of a material wish.” ‘The bizarrist shuffles the cards. The spectator selects an ESP symbol, Bizarre Macick 24 Larry BAUKIN oat"I see you selected the image of the Plus sign. It is a positive indication of new directions, challenges, and change coming into your life. A good sign.” ‘The bizarrist seems momentarily lost in thought, Forgive my pensive silence,” he tells the spectator. "But I have a sense that the pentagram is alive, and is somehow communicating with your unconscious mind, your mysterious side.” The performer indicates his business card wallet. "Please tke another business card, and with this pen, write your selected symbol on the back of the card." The bizarrist then hands the spectator a book of matches. He instructs her to crumple up the business card on which she just wrote, He tells her to set the card in an ashtray, strike a match, and burn the card. When this action is completed, the performer dips his index finger into the ashes. He shows the ashes on his fingertip as he addresses the spectator, "I feel chat you ate in ‘psychic sympathy’ with the pentagram. Make a wish if you will. A material wish, that is.” ‘The bizarrist rubs his finger lightly across the center of the pentagram. Slowly, a distinct image of a Plus sign appears on the pentagram, as if burned into the card. It is very eerie looking, "Behold!" the bizarrist exclaims. "The psychic manifestation of the symbol you chose!” ‘The performer smiles, "May all your wishes come true. Thank you." The bizarrist gives the pentagram card to the spectator to keep as a souvenit, METHOD ‘The business card you give the spectator at the beginning is gaffed with a clever dealer item that sells under the name “Astral Ashes.” As an alternative, a waxed, Easter egg crayon can be used. You simply write a plus sign in the center of che back of che card, Later, when you write the pentagram on the card, make the star shape big enough so it will surround the invisible plus sign. Very litele wax is used from the device. Also, very few ashes are used. ‘The ESP symbol card is forced. Any force will do, as long as it doesn’t appear like finger flinging. T have good luck with the “Rollover Force”; a full description of this variation of the Henry J. Christ force can be found in Mark Wilson's Com pigte Cours In Mac Bizarre MaGIck 25 Larry BAUKINI love the concept of Spirit Theatre (thank you, Eugene Burger), and the following routine is played in a dramatic way. Yes, you will need to do your best Vincent Price! Much of the inspiration for “The Noose” came pouring out of Colin Wilson's delightful book, Wiross The Noose EFFECT In the year, 1692,” the medium begins, "Ninetcen people were executed for the serious crime of ‘Witchcraft. These people are known today as the Witches of Salem.” ‘The performer removes a length of soft magician’s rope and begins fashioning a crude loop of knotted rope as he speaks. "As you are aware, the Salem witchcraft hysteria is believed by historians to have been caused by a group of neurotic, bored children, stimulated by the voodoo tales of a black slave from Barbados named Tituba, Of course, had it not been for the superstitious paranoia of the colonists, plus a number of over- zealous ministers, the trials might have been avoided.” BIzarre Macick 26 Laay BAUKINThe medium takes a seat at his host or hostess’ dining room table, He asks a spectator to tie the rope noose on any spot of the suspended light or chandelier. The chandelier is presumed to be situated over the center of the dining room table. The performer continues, "These children pretended that chey were bewitched. In fact, when questioned by the local magistrate, John Hathorne, the girls went into what appeared to be violent, painful convulsions. They declared that certain members of the colony were tormenting them, And soon, the afflicted children were giving the authorities the actual names of their tormentors ~ names which included many of their own neighbors. Within several months many of the local people were imprisoned as suspected witches, and nineteen were hanged. It is interesting to nore that the method of execution was not burning at the stake, as is so often associated with witch hunts, but rather the hangman's noose prevailed on Salem's Gallows Hill during thac dark year.” The medium points to the noose in front of his eyes. "The noose in style at the time was a simple knotted rope, unlike the more sophisticated knots developed in the 19th century American West. On Gallows Hill in Salem, the victims had this primitive noose placed around their necks. They were pushed off a ladder or wagon and deliberately permitted to strangle to death slowly." The medium seems momentarily lost in thought. "Ob, by the way, you may be interested to know that Judge John Hathorne of the court of Salem. ‘was the ancestor of Nathaniel ‘Scarlet Letter’ Hawthorne. The 'w' was added by Nathaniel.” The performer orders that the chandelier lights be extinguished. However, several other background lamps remain on in the room. "Before we proceed," he begins, "there is something I must tell you.” With a knowing look, the medium continues. "Tam not going to conduct a séance experiment in the classic tradition, In other words, I do not intend to cal forth any spirits from the ‘Other Side’. Let me explain.” ‘The medium carefully lights a small candle. "As I said before, it was a very dark time in the year 1692 in Salem, Massachusetts. And one of the victims of the witchcraft persecutions was a minister named George Burroughs.” BIZARRE Macick 27 Lay BauknyAfter a brief pause, che medium continues, "I believe, and am firmly convinced, that I am the reincarnated soul of this man." “The medium allows the startling revelation to sink in. "To test my belief, I will attempt to bring forward or channel the surviving personality of this unfortunate soul. I will request that all sitters and participants be very quiet as I begin my journey into the trance state." The performer slowly settles into a demeanor of calmness. His body appears «o be perfectly relaxed. His eyes fluscer between half-open and shut. The trance is visibly achieved. Suddenly, a voice issues from the lips of the medium. The voice is soft, almost peaceful. Ic is still the medium's voice, but of a softer timbre. "My name is George Burroughs,” the voice begins. "And I forgive them their horrible mistake, For even though it is true that I, and the beautiful Bridget Bishop, did so enter into a coven, it was a union for the goodness of God's creation and the glory of the earth and nature, I did not confess this at my trial, But I tell you now, we had nothing to do with the bewitching of the misguided and confused children." “The medium seems to be in pain. He starts to move about in his chair, as if trying to free himself from an invisible grip. All at once, his voice takes on an agitated, anxious tone. "Bridget is dead. Hanged on Gallows Hill, June 10.” “The medium's sentences are more rapid, fragmented. And his voice becomes more excited as he speaks. "Ie is August 19. Five of us are waiting. As I climb the ladder to the hangman, I speak the Lord's Prayer for those assembled to witness our executions. The people press forward, demanding that the High Sheriff, George Corwin, free me. But no, it is the mad, Reverend Cotton Mather, sitting on a white horse, who shouts to the crowd that it was the Devil who recited my prayer. Yet all people know that Satan is unable to speak the Lord's Prayer.” ‘The medium begins to struggle. He describes the feeling of the hangman's noose as it is placed around his neck. BIzarRE Macick 28 Larry BauKiN"I is too late! The people do not listen to me. Mather's words have frozen all who watch. ‘Oh my God. I fel the choking of my throat.” ‘The medium grasps his own throat as if in terrible pain and horror. As he speaks, the hangman's noose, suspended from the chandelier over the dining room table, starts to slowly sway in the shadows of the room. Ic is an eerie sight. However, the medium does not call attention to this strange occurrence. “Lam kicking, struggling now! I feel myself writhing and cwisting to be free of my horrible fate. God save me. God save us all.” ‘The medium slowly calms down as the long moments pass. His eyes open fully once again. He takes a deep breath and appears spent, exhausted ‘The hangman's noose, once again, remains motionless. "I wish to thank everyone present this evening," the medium says addressing the sitters. "You have been most kind in allowing me co bring to the surface the reincarnated soul of the tormented George Burroughs.” ‘The medium grasps the noose for emphasis. "And may his spirit and the spirits ofall the Salem witches finally resin peace.” METHOD ‘Most homes nowadays have a suspended lamp or chandelier in either the kitchen or dining room. It is on this chandelier that the rope is affixed. It isa simple knotted rope, since the more common-looking hangman's noose one sees in the Hollywood movies was really not invented until the 19th century when the “drop” or “trapdoor” gallows came into wide use. To cause a swaying motion in the noose, I attach an invisible thread, with transparent tape on ‘one end, through the top button hole of my shirt. On the other end of my thread, I have a small ball of magician's wax. The wax is hooked to the bottom of the loop in the noose as I assist the spectator in attaching the rope to the chandelier. The wax is the same color as the rope, so there is no worry of having it spotted. As I struggle, twist my head, and grasp my neck during the action, my hands have plenty of opportunity to manipulate the thread. When the noose sways slightly, the vibration will even cause a heavy brass light fixture to move back and forth. Very cetie. Bizarre MacIck 29 Larry BAUKIN‘The thread is unhooked from the noose, at the end, as you grasp the rope for emphasis. At this time, you merely scrape off the wax with your fingernail. ‘The spectator removes the noose from the chandelier and all is examinable. Some acting, of course, is necessary to accomplish this routine. But since it is, by nature, a melodrama, alittle understatement is all you need. For the spectator's imagination will see, through your power of suggestion, the figure of George Burroughs dancing in the noose, Ie occurred to me that itis possible to create fake rope burns on the neck of the medium at the conclusion of the routine. However, I feel this would be too melodramatic, and in this case, I prefer the concept of less is more BIZARRE Macick 30 Larry BAUKINThave always had a deep interest in the American Civil Was, particularly in the odd bits and pieces of gothic lore and eerie ironies that surface in the fiction of Ambrose Bierce. Twins was inspired by the tales and legends of that strange and dangerous time. Knock on Wood came from a story I had heard years ago in a tavern not too far from the famed Chickamauga Battlefield. The suicide poem incident included in Knock on Wood actually happened in a somewhat different context during my high school years in Virginia. The e. e, cummings vetse has haunted me ever since. The Civil War Duet: Twins EFFECT “Many ironies occurred during the American Civil War, otherwise known as The War of the Rebellion, or The Cause, depending on which side you were on,” the bizarrist explains. "Let me demonstrate one of the more ghastly ironies. The performer displays a tattered pack of Steamboat playing cards, and what looks to be a 4- to 5-inch section of an antique bayonet. "When soldiers of this period were not running each other through with their bayonets, they often whiled away the hours smoking tobacco and playing card games.” ‘The bizattist asks to borrow his host's deck of ordinary playing cards. He places the deck next to the pack of Steamboats "Twin brothers from my mother's side of the family, James and Ambrose Thomas, certainly engaged in such activities, However, the activities were in opposite camps. For one was a Union soldier and the other chose the side of the Confederacy.” BIZARRE Macick 31 LARRY BAUKIN‘The performer picks up the spectator’s pack of cards, and begins Hindu-shuflling the cards, faces up. cards, faces up. [As the images of the cards pass, he says, "Imagine the faces on these playing cards to be the faces of the war-weary soldiers marching slowly by.” ‘The performer instructs his host to call out stop at any time. The spectator does so, and the performer stops the shuffle, setting the pack on the table. The cards are turned face-down to mark a cut where the shuffling stopped. “The bizartist picks up the bayonet fragment, handing it to the spectator. Many times in battle, the terror of the fighting, the smoke of the cannon, and the noise of the killing ground, created great confusion, sometimes literally blinding the soldiers as they drove forward in their frenzied assault.” ‘The bizartist explains that he will “blind” his own pack of playing cards by wrapping them carefully in a paper napkin, "In fact," he continues, “on the day of September 20th, 1863, at Chickamauga, Georgia, as Longstreet’s Southerners broke through the Union line, two young men were killed instantly as their bayonets heatedly pierced one another's chests. These two soldiers were my ancestors, James and Ambrose Thomas.” ‘The performer instructs the spectator to take the bayonet, and stab, very carefully, into the long side of the napkin-wrapped Steamboats. [As the bizarrist holds the cards face-down in his right hand, che spectator pushes the blade all the way through to the opposite side of the deck. The performer asks if the spectator would like to change his mind, remove the blade, and insert it either higher ot lower into the side of the pack. The spectator elects to keep the bayonet at his original thrust. “As you bayonet these ancient cards, belonging to that long ago era, I can’t help but think of the tragic waste of my ancestors’ young lives. Let's see what you have stabbed.” “The bizarrist slowly tears the paper away from the pack of Steamboats. "You have literally ‘cut to! the Two of Hearts," the performer points out. "Let's see at which card you stopped in your own pack.” BIZARRE MAGICK 32 Larry BAUKINThe spectator turns over the card, cut to in their own deck, and it turns out to be a matching Two of Hearts! "The twin cards that you selected are the Two of Hearts,” the bizarrist announces, "Certainly symbolic with their blood-red colors and images of the heart, images that evoke the terrible loss of other twins, Of other times." METHOD ‘The bayonet fragment can be any old knife blade. Just make sure that it's not sharp enough to ccut yourself or the spectator. Nothing like a little civil war-cra tetanus! We want to remain historically accurate, but not that accurate, ‘The force employed with the spectator's borrowed cards isthe face-up Hindu Shuffle Force. The force card, the Two of Hearts, is brought to the cop of the pack as you examine the spectator’s cards. Turn the deck face-up. Hindu shuffle until the spectator calls stop. Ar this time, simply outjog the bottom face-up packet against the top face-up packet. Now, turn the two packets face down, setting them on the table. Later, you lift the top, fice-down packet, and have the spectator turn over the top card of the second, face-down packet. This is the card where they supposedly called out stop. But the card is really the original top, face-down card of the deck, the Two of Hearts. For the card stab, I use a Svengali pack. Every other card is, of course, the Two of Hearts However, I have used a method seen on a Frank Garcia teaching tape, where a regular deck is used. Place your force card on top of the pack. Wrap the deck in a paper napkin. ‘The spectator inserts the knife through the long side of the cards, As you teat away the paper, insert the thumbs of both hands in the crevice made by the blade. Then rip the cards apart, turning both packets outward and over at the same time. This will cause the face-down packet to be the original top card of the deck, the force card, the Two of Hearts. Oh, yes — when doing the ripping, hold the deck so the handle of the knife points straight up. Bizarre Macick 33 Larry BavkinThe Civil War Duet: Knock On Wood EEFECT “Lhave, among other things,” the bizarrist states, "an acquaintance who is a psychic investigator His initials are D.D. Here is a letter he sent me recently concerning a deceased friend of his.” The bizarrist lays a small oblong block of wood on a table. "He also has given me this. Now, allow me to read you his letter.” ‘The performer reads aloud: "Dear Larry, 1 was recently asked by a good friend of mine, a young professor of folklore by the name of Roy Ashland, to look into a series of weird events surrounding a certain legendary tree located on the Chickamauga Battlefield just outside of Chattanooga, Tennessee. But I never had a chance to visit my southern friend. It seems that Roy Ashland was killed, mysteriously, in an accident soon after his reque this block of wood from him the day of the so-called accident. to me. I received ‘The performer regards the block of wood with a look of discomfort. He continues to read. BIZARRE Macick 34 Lary BAukIN"According ro Roy, local legend referred to the strange old oak as ‘Dead Man's Tree’. Apparently, over the last one hundred years, a number of people have met quite unexpected deaths under its huge limbs. ‘Two lovers were struck by lightning while using the tree as a shelter from a storm. Another rather young man, died ofa heart attack near the same spot. I was soon to find out, much to my own shock, that Roy's own father had committed suicide by hanging himself from a branch on the hideous oak! ‘Tacked to the withered trunk was a piece of paper on which were handwritten several lines from a poem by e. e. cummings: Buffalo Bill's defunct who used to ride a watersmooth-slver stallion and break onetwothreefourfive pigconsjustlikethat Jesus he was a handsome man and what i want to know is how do you like your bluceyed boy Mister Death ‘There seemed to be some type of malevolent power associated with the spot. As Roy dug deeper into the eerie history surrounding this section of the battlefield, he discovered that slave executions had even taken place at the tree. Soon after Roy began investigating the legends, the Park Service ordered the oak cut down. A large chunk of the wood was given to my friend, He became obsessed with the wood. Always fascinated by che supernatural, the folklorist took the remains of the tree and buile a kind of haunted doll's house for his daughter! A house complete with tiny trap doors and hidden passages. Yes, Roy could be slightly weird, on occasion. This block I have sent you was a leftover piece of wood cut from that same oak. 1 suppose Roy hoped I might pick up some vibrations.” BIZARRE Macick 35 Larry BAUKINThe bizartist leans the block of wood against an empty bottle on the table. “But ic was the bones, the skeleton found inside the ancient tree when the Parke Service cut it down, that intrigued Roy the most. Ie appeared as if a Union soldier, wounded during the horrifying Battle of Chickamauga, probably suffering immensely at the hands of a Confederate bayonet, crawled into a large crevice in between the bark of the tree's trunk and died. i ‘Was it the soldier's vengeful spirie that brought chaos and death to so many innocent victims these hundred years gone? Or something even darker, festering in the secret roots. Something poisonous?” As the bizartist reads, the block of wood mysteriously tips over on its own, startling the spectators. The performer turns back to the letter. ia "Perhaps we shall never know. For after a long century, the tree had finally closed its own gaping wound — a wound large enough to accommodate even a dying soldier. And maybe, in its own way, many others.” “The bizartist picks up the block of wood, staring at it as if it were alive, He goes on with the letter: "This block of wood is all that is left. Because, according to Roy Ashland’s wife and daughter, one night, for some unexplained reason the dolls house burst into flame. The wife and daughter escaped the conflagration that followed, But Roy did not. They told me lacer that he seemed transfixed by the dancing fire as the flames crawled like snakes over the frame of the doll's house. They remembered sounds, terrible cries of pain coming up out of the swirling smoke. Yet Roy Ashland remained, trance-like, as if he recognized one of the sounds, pethaps his father, in a cry for help that drew Roy to his own fiery death.” ‘The bizarrist seems lost in thought as he concludes his reading, "Ido not know what co do with this block of wood. Perhaps you do, Larry? Sincerely, D. D." BizARRE MaGick 36 Larry BAUKINMETHOD OF course, all you use is the dealer item known as the Telekinetic Timber, or Poltergeist Block. To avoid having to memorize the rather lengthy weird tale, I would suggest reading the ‘letter’ as if itwere sent directly to you. Just substitute your own name after the word ‘Dear’ at the opening, BIZARRE Macick 37 Laary BAUKIN‘Welcome to the Laughing Souls. Each effect can be done as a separate routine, or as part of a larger trilogy concept. I think you'll find that the trio goes from the eerie to the absurd, to an uncanny mixture of both, making for a surreal tour of one of the more arcane celebrations south of the border. Laughing Se Days of The Dead EFFECT “I have recently returned from a rather bizarre and exciting experience,” the performer begins. “Perhaps you have heard of the famed Days of the Dead, held the first and second of November in certain regions of Old Mexico." ‘The bizarrist displays a large, wooden cigar box. He opens the box, bringing out a single cigar and a deck of Tarot cards. As you know, during the Days of the Dead celebration, or what the Catholic Church likes to think of as All Saints and All Souls Day, people are in a festive mood. On Halloween, or the evening of October 31st, preparations are made to receive the spirits of departed loved ones. The children especially look forward to these activities. Graves are decorated with ceramic skulls, wreaths of marigolds and colored ribbons. “Tables are laid for the returning ghosts. Favorite foods are prepared. This way, at least, the dead can inhale the delicious aromas. Skulls, skeletons, and coffins are the major motifs of this supernatural holiday. Street vendors sell macabre toys of clay skeletons, dancing grotesquely, or lice jack-in-the-box coffins from which a puppet skeleton jumps when a string is pulled. Great fun for all the living and the dead. Many of the skulls are made of candy and pastry. Of course, when the ceremonies are over, the Mexican children eagerly gobble down these sugary heads." The bizarrist grins, "Wouldn't you?" BIZARRE MAGICK 38 LARRY BAUKINPicking up the unlie cigar, the performer points to the pack of Tarot cards. "As I strolled through the ancient streets of Mexico on the eve of these honored days, I noticed that a large number of local mediums, mystics, and healers crowded the various cafes, giving advice and readings. While I was smoking one of these fine cigars, a young man I encountered with dark, intense eyes, offered to read my cards. He produced this pack of Tarot cards and began." Setting the cigar aside, the bizartist asks a spectator to assist him in recreating the scene. "The young Mexican psychic told me he was part Indian, and that his mother had been a famous local healer. Anyway, he instructed me to cut the cards in traditional divining fashion. Like this." The performer cuts the cards. He then asks the spectator to give the deck a second cut. The bizarrist has the spectator remove the first face-down card to which he just cut, placing the selection face down on the table. Very slowly, the performer rubs his cigar across the back of the card. “You have selected this particular Tarot,” the young diviner told me. Then he had me turn it over. ‘The spectator turns over her card to reveal chat the chosen Tarot card is the Death card! The bizartist stares at the eerie picture on the face of the selected card. “But do not despair’ the psychic told me, 'for during The Days of the Dead, all images of the Grim Reaper portend happiness and life. The ceremony is a celebration of life!” ‘The bizarrist places his cigar back into the wooden box. He smiles, speaking quietly, "And I say to you, do not despais, for in drawing the Death card, you have undoubtedly drawn to yourself the good wishes of the laughing souls of Old Mexico.” As the performer shuts the box, suddenly, a peal of hideous laughter emanates from the closed box. The laughter is strange, mocking, A look of disturbance washes like cold rain over the face of the bizarrist. BIZARRE Macick 39 Larry BAUKINMETHOD ‘The cigar and cigar box are not gaffed. I use a large and deep wooden box, easily obtainable from any tobacconist. For the laugh, I use a small, plastic gimmick, known as a laughing box. These are purchased from your magic shop. Some novelty stores also catry them. |As I place the cigar back into the box, I merely hit the button on the gimmick. The echo of the recorded laugh inside the cigar box makes a very weird and unsettling sound. [Any time a spectator draws the Death card, it’s going to be eerie, no matter how light the routine, As a result, this effect carries both elements of light and dark. ‘Now for the card force. If you fee! like taking the time, the well-known Double-Deal Force may be employed. In this case, have the Death card and a duplicate Death card loaded on top of the deck at the opening of the effect. The spectator will deal the cards, face-down, from the pack until they fee! like stopping. Then have them deal the stack into two face-down piles. This will bring the two Death cards to the top of each pile. The spectator may select the card on either pile, using the cigar as a pointer. ‘Most of the time, I merely utilize the Rollover Force. It is easy, quick, and baffling. Have the Death card on top of the Tarot pack. By way of demonstrating how you want to have the cards cut, you simply cut a small packet of cards off the top of the deck, turning the stack face up. Place the packet, face-up, back on top of the deck. The spectator cuts deeper into the deck, past your packet. The spectator then turns their larger packet face up. Now about half of the deck is face-up. When you come to the first face-down card, the card you claim to which the spectator just cut will be the Death card. BIZARRE Macick 40 Larry BAUKINLaughing Souls II; Aztec EFFECT “Let us go back," the bizartist begins, "to the world that held sway over the people of Mexico before the Christian missionaries artived. The world of the Azcecs, also known as The Children of the Sun, By taking this brief journey into the past, we will perhaps understand a bie better the beginnings of the Cult of the Dead. Where did it come from? And why was it practiced? We are talking, of course, about human sacrifice.” The performer smiles, his eyes ablaze. "The Aztecs were a war-like people, conquerors. There is a folk tale, told among the Mexican Indians, of a zealous leader name Tlacaelel. He was said to have been the half-brother of Moctezuma the Elder. Tlacaelel was a powerful man who, scholars claim, originated the idea that the life of the Sun God depended on being nourished with human blood.” The bizarrise stares at his spectators as if they were potential victims. "Sacrificial victims were needed. And the Aztec empie soon expanded across Mexico. Bizarre Macick 41 LARRY BAUKIN‘Tlacaelel was said to have been a strange man. He ordered many ancient Aztec manuscripts, burned to rewrite history, thereby justifying his mission of capturing victims for the Sun God. This mission soon became the supreme goal of the Children of the Sun, Tlacaclel referred to his victims as maize cakes hor from the griddle ready for Him who wishes to cat.” “The performer rubs his own stomach, making a mock gesture of eating, “Who was Tlacaelel speaking of when using the word, ‘Him'? The Sun God? Perhaps. Yet there are still, o this day, beliefs that Tlacaclel was referring to himself, and his priest clas. For according to the whispered legends, Tlacaclel rewrote Aztec history to disguise the suspicion that he was not the half-brother of Moctezuma. But, rather, an outsider. A stranger who had. come to the Aztec nation from the cold north, ‘Within the space of a few years, Tlacaelel controlled the priests. And they, in turn, controlled the people ~ people who brought them blood. Who was this mysterious stranger then? And why was he so obsessed with ritual human sacrifice?” ‘The bizartise seems momentarily lost in thought, as he rolls up his left shirt sleeve. “"L-can only tell you this. While doing my research in Central Mexico, an ancient Indian shaman told me that, for some reason, soon after the arrival of Tlacaelel the priests were able to perform an astounding feat.” ‘The performer slowly removes an open, straight razor from his pocket. “The priests would take a sharp object, and cut themselves across their wrist” Suddenly the bizartist slashes the razor into his left forearm. Blood flows freely actoss his quivering skin. [As the performer wipes up the blood with a small towel he says, "The priests would then drink cach other's blood, wiping away the excess. It was all done for the glory of the Sun God. Or was ie Now, here's the odd pare, According to the elderly shaman, the cuts on the arms of the priests, indeed, the gashes on the arm of Tlacaelel himself, would heal instantly.” BIZARRE Macick 42 Lary BAUKINThe cut across the bizarrist’s arm seems to have disappeared. He replaces the razor into his pocket. The performer muses out loud, "I've often wondered if the Children of the Sun God were not held in bondage by a priesthood of vampires ~ vampires created by the eetie stranger from the North.” ‘The bizarrist regards his ‘healed arm,’ smiling, "Anyway, that's whar the old Indian priest, I mean, shaman, told me." He stares atthe spectator's forearm. “Interesting theory, wouldn't you say?" METHOD ‘The straight razor is obtained from a barber's supply house. Do NOT insert a razor blade, but rather file down the edge along the instrument where the razor would be inserted. This open trough along the edge of the straight razor is where you will load the fake blood. Plug the open end of the straight razor with magician's wax. Due to the stain left on the skin from common stage blood, Tony Andruzzi, in his video, BIZARRE! recommends Spangler's Crystal Blood. ‘Tony loads the blood several hours before the show. He carries the instrument, edge up, in a comb case inside of his coat. BIZARRE Macick 43 Larry BAUKINEFFECT “As I strolled through the market of Oaxaca City the day before the celebrations,” che bizarrist says, “I couldn't help but notice the animated activity of the shoppers. Skeleton puppets were the rage of the day. But one stall in particular caught my attention. Sugar eyes glittered from the booth. The eerie heads seemed to draw me and ceramic skulls with tin deeper into the marketplace BIZARRE MacIcK 44 Largy BAUKINI noticed a Zapotec Indian woman bargaining for several loaves of gaily decorated bread, known as the Bread of the Dead ~ food to be offered first to the ghostly visitors.” ‘The bizarrist displays a life-size ceramic skull, along with an unlit candle. The skull contains a hole in the top for the candle. The bottom of the skull is open. He places the objects on a table. “OF course, if a person were to partake of the culinary delights prior to che end of the two-day festivities, evil fortune would befall them. It is said that the angry spirits may come for revenge during the hours of slumber. But not all of the ghosts are serious. Some are even playful. I recently bought this inexpensive ceramic skull to show you what you mean.” ‘The performer produces a small vial of com kernels, "Corn is a major source of food for many people in this part of Mexico, and the ghosts are well aware of this,” the bizartist explains, “Let us offer these kernels to the spirits of the dead.” The performer sprinkles the corn out of the vial. He drops them through the hole in the top of the skull. He places the unlit candle into the hole. He asks a spectator to light the candle. Look at the flame," the bizarrist commands,"And you will sce in the dancing fire the images of those who have come and gone before us. Look!” Suddenly, the performer blows out the candle. He asks the spectator to lift the skull, slowly. The kernels of corn are now gone. In their place is a small portion of popcorn. The bizarrist regards the noutishing transformation, "As I said before, some of the spirits are playful.” And then as an afterthought, he adds, "Don't forget, however, that the dead must dine first, in spirie.” ‘The performer picks up the popcorn, offering it to a spectator. "Care to test your luck?" ‘An odd chuckle escapes through the teeth of the grinning bizartist. BIZARRE Macick 45 Larry BAUKINMETHOD ‘The skull is obtainable around Halloween from most ordinary gift shops. If anyone remarks on the origin of the head, which they invariably do, simply remind them, "I told you it was an inexpensive ceramic skull. My original was a Mexican skull made of sugar. And customs ate Anyway, you display the inside of the skull. As you curn the head back on the table, palm a few kernels of popcorn underneath. The move is the same that you would use in loading a sponge ball under a bowl. Now you bring out your vial of ghostly corn kernels. ‘As you go for the candle hole in the top of the skull, perform a standard coin vanish, ostensibly dropping the kernels into che skull. However, make sure the face of the skull is at an angle, making it difficult for the spectators to notice that nothing drops past the eyes and mouth. This angle is set when you load the popcorn. When you go for the matches in your pocket, simply ditch the kernels. ‘Ac this point, it's perfectly natural for you to readjust, slightly, the position of the head, aiming the face at your spectators, as you ewist the candle into the top hole of the skull. BIZARRE Macick 46 Larry BAUKIN sg tecttcnisacincsMuch of the idea for The Wizard Oil Medicine Show came ditectly from the original advertisements and handbills of various medicine showmen. This is a fascinating chapter in the American experience. The routine is nor necessarily a bizarre routine. It can also be played as an entertaining and unusual pitch, The Wizard Oi] Medicine Show EFFECT “Allow me, for a moment,” the bizartist begins, "to step into the character of a long-forgotten 19th century medicine show pitchman, Dr. Charles Bigelow.” The performer produces a length of rope from his pocket. ‘Tying the rope into a complex series of knots, he goes on to say, "The good doctor would take this rope, which had been coiled around his huge sombrero, and proceed to explain how his special medicinal remedy could uncoil any disease, ailment, or physical complaint.” ‘The bizarrist blows on the knots, causing them to disappeat. He proudly displays the restored rope. "And like a breath of fresh ais, the illness would vanish!" ‘The bizarrist cosses the rope away. He holds up an invisible, make-believe bottle of “tonic”. “You all are dying!” the performer shouts. "Every man, woman, and child is dying, From the moment you are born, you begin to die and the calendar is your executioner!” TThe bizartis leers at his spectators. An eerie smile cracks actoss his face. Is there some way you can delay, perhaps for years that final moment before your name is written down by a bony hand in the cold diary of death?” Bizarre Macick 47 Larry BAUKrNThe bizartist pauses to let the significance of his words sink in. "OF course, there is, ladies and gentlemen! And that is why I am here. But first, allow me to introduce myself. I am Dr. Charles Bigelow, the world-renowned Indian fighter, scout, and ‘medicine man. But perhaps you guessed all that, when you saw the ten-dollar gold pieces serving. as buttons on my velvet and corduroy jackets, or my solid gold watch, weighing over a pound. ‘And le me not forget to mention my two gold-mounted .44s." “The performer, in a broad stroke, waves his right hand toward the empty space to his side. And now may | introduce a true leader of the famed Kickapoo Indians, Chief Sheet Lightning!” ‘The bizarrist takes a bow, playing both roles of Dr. Bigelow and Chief Sheet Lightning. “ewas in the sunburnt hills of the West, that I saved the life of our Chief here, and in grateful appreciation, he gave me the secret of a miraculous medicine composed of life-giving roots and herbs!” ‘The performer turns as if addressing the Indian. "Say a few words to the people, Chief.” ‘The performer mutters a short stream of nonsense syllables. The bizarrist grins at his spectators. "Even though this may sound like a bad Vedic hymn, the Chief says, "Did you ever hear of a Kickapoo Indian having a cold? Or theumatism?”" “The performer waits a second for an answer, then blurts out, "No, ladies and gentlemen! A thousand times no!" ‘The bizartist waves a pack of cards in the ais, as he goes on to say, "The chief would now like to entertain a member of the gathering with this authentic pack of Native American divining cards!" The bizattist displays a packet of the Major Arcana from a deck of American Indian Tarot cards. He then borrows, from a spectator, a glass of wine or beer, setting it on a table. He turns over the top card of the Tarot pack, showing the Death card. He replaces the card, face- down, back on the top of the pack in his left hand. With his free, right hand, the bizarrist lifts the spectators glass of wine, holding the glass aloft as he speaks. BIZARRE MAGICK 48 Larry BAUKIN eminently i i i |Suddenly another line of babble issues forth from the bizarrist, As if to translate, the bizarrist cleats his throat, explaining, "The Chief says, "You will live a long and healthy life if you drink the famed Kickapoo Indian Wizard Oil!" He sets the borrowed drink back on the table. As an aside to the spectator, the bizarrist winks, "Your glass of wine, of course, symbolizes the powerful Wizard Oil. After all, since the real tonic was 90% fire water, anyway, I'm sure you'll understand.” ‘The bizarrise displays the Death card once again. Turning the card face-down, he lays the card across the top of the spectator's beverage. "Chief Sheet Lightning will set this card, an image of Death, The End, The Grim Reaper, on your glass of authentic Kickapoo Indian Wizard Oil. You will observe how the curative ingredients of the Chief's oil touches the insides of the card, cransforming the deadly disease of Death ... wait!" The bizarrist halts in his pitch. Very slowly, he curns over The Death card to show that it has mysteriously become the Tarot card of The Sun, "Behold ladies and gentlemen! ‘This veRy glass of authentic Wizard Oil mixed personally by the great Chief Sheet Lightning, and sold exclusively by me, Dr. Charles Bigelow, has transformed, metamorphosized, and otherwise changed the horror of the Death symbol into an image of the Sun, che day, the shining light of health!" ‘The bizarrist waves his hand over his spectators, fading away with his final pitch. "So, my friends, neighbors, and countrymen, drink up! For this remedy cures a cough in one day, Relieves a backache, neck ache, and headache in two hours... ." BIZARRE MAGICK 49 Larey BAUKINMETHOD Much of the medicine show pitch included in this routine, can be found collected in a wonderful book, entitled Step Right Up, by Brooks McNamara. All you need, other than a piece of rope, for performing this show, is a deck of Native American Tarot cards, available from U.S. Games Systems, Inc. You've already notived that there is not much of a magic routine going on here, just a simple and direct card change, plus a quick rope ttick. I prefer to focus on the fantasy recreation of an actual 1880s medicine show instead. I feel that the card change and the rope trick add to the medicine show atmosphere, rather than taking attention away from it In any case, add the Sun card on top of the pack of Tarot cards. The Death card is loaded second down from the top. Merely double-life to display the Death card, twice. Then deal off the Sun card, face down on the wine or beer glass of the spectator. Last, but not least, is the rope tie. I hate to put it this way folks, but use your favorite false knot to illustrate the opening of the effect. BizarRE Macick 50 LARRY BAUKIN -setanabecttataoteacceeteitanee canoer estaesseasssssscsacsseses LLAMA AALS passantYou are about to enter the MAGICK THEATRE: ENTRANCE NOT FOR EVERYBODY. Like many fictionists before me, I am about to offer a bizarre journey into the dark séance parlour of Nazi Germany. Ic is not The Keep, nor is it Raiders of the Lost Ark. Ik is a doorway leading down another path altogether ... FOR MADMEN ONLY! Palace of the Occult t EFFECT “1931 Germany," the bizarrist begins, "a stage mind reader calling himself Erik Jan Hanussen joined the Nazi Party. In 1933, Hanussen opened his Palace of the Occult. He held midnight séances attended by prominent Nazis. These fashionable gatherings were taken quite seriously by Hitler, Hess, and especially Himmler. I was at one such séance that Hanussen predicted the burning of the Reichstag, Several weeks after the fire, che mind reader was plucked from his palace and murdered in the woods near Berlin BIZARRE Macick sl Lanny BAUKIN[A litle known fact about Erik Jan Hanussen was that his father was Jewish. Was this the reason for his mysterious murder? No one really knows. But what we do know is that many of the Nazi officials were obsessed with the occult, A number of these leaders, notably Himmler, even feared the supernatural.” “The bizattist removes a drawstring bag from his case. “Ie is believed that the Nazis chose a number of symbols to represent their cause — symbols reputed to possess occult power.” “The bizarrist removes from his bag a set of 24 rune stones. He explains that the runes are the remnants of a long-dead European alphaber, and that the divinatory properties of the stones go back several thousand years. "Let us ery an experiment to see if these runic emblems truly do have an ancient power ~ a power that stil lives.” “The bizarrist removes fout of the runes from the collection. He places them in a row on a table. Addressing his siecers, he describes the four stones as the most powerfull symbols in the lot. He suggests to one of his spectators that they will find themselves drawn to one of the stones. The sitter picks up and holds one rune. “You are clutching a very strong symbol, indeed,” the bizarrist points out. "Let me show you what I mean." “The bizartise brings out of his case, a small wooden box. The box is sealed with a padlock. On the top of the lid, painted in red, is a symbol: cad "This emblem," the performer states, often associated with the dreaded $8, worn on the collars of its officers. Himmler, known as “The Black Jesuit, chose this runic symbol because it was the sign of victory.” The spectator gazes at her selected stone. It is the runic letter 4, sign of victory! The bizartist smiles at the weird “coincidence”. BIZARRE Macick 32 Lay BAUKIN -—eseonnnneoeeeimmitnecg | | pp seitorseeseneecccesserantn“Reichsflihrer Himmler was so taken by the strange coincidences engendered by the rune stones that even during the final days of the war, when he met with the Swedish Count, Folke Berndadotte, to negotiate a possible surrender, the obsessed Nazi put aside the urgent talk of peace to lecture for an hour on the supernatural properties of runes. An occult-intoxicated man, to say the least.” METHOD ‘The rune stones are nor gaffed, nor is the bag a change bag, However, a change bag could be employed to force the rune 4. 1 simply apply the equally-ancient technique of Equivoque. If asked why I chose four stones as the most powerful runes, I always explain that they represent the North, South, East, and West. The rune of 4 or Victory, would symbolize the East, since it was to the East that many of the more philosophical Nazis, such as Karl Haushofer, looked for their intellectual inspiration and religious attitudes, BIZARRE MacIcK 353 Larry BAUKIN,Palace of the Occult IL EFFECT “The influence of the mind reader, Erik Jan Hanussen, reached like a Spider-King deep into the twisted web of the Nazi unconscious,” the bizarrist begins. "For in a refurbished monastery in Wevelsburg, Westphalia, top-ranking SS officers met for a ‘week once each year for secret spiritual exercises. For some, out of these meditations and sittings came actual communications from the dead — spirits who would give invaluable counsel.” ‘The performer reaches into his case, producing an antique key, affixed to a long golden chain ~ a pendulum. He also lays out six modern keys on the table. “Legend has it that Hanussen, the dark magician, would act as a ‘spirit guide’ or ‘control’ during these secret séances. This ancient key belonged to him." “The bizartist goes on to demonstrate the workings of the pendulum. "In 1942, the Nazis created a strange company of mediums, mystics, astrologers, and pendulum diviners, who gatheted under the direction of a Navy captain to exploit their occule talents for military purposes. In fact, one team of dowsers held their pendulums for hours and days, over maps, attempting to locate allied ships. Oddly enough, some of the practitioners were highly successful!” “The performer picks a female spectator to assist. "Let us see if the pendulum can awaken a latent psychic capability within you.” As the bizarrist lines up the six keys in a row, he says, "I will ask the spitit of our murdered mind reader, Erik Jan Hanussen, to act as your guide.” BIZARRE MAGICK 34 Lary BAUKIN sis icesss cu ceusaauaa cet ii i ' 'A second spectator is instructed to try the six keys in the padlock affixed to the wooden box. None of the keys work. A seventh key is produced by the bizarrist, who mentions the power of the occult number Seven — seven days in a week, seventh son of a seventh son, etc. Taking the seventh key, the second spectator opens the lock. The second spectator then re-locks the padlock. The bizarrist displays an antique goblet reputed to have been used at the dark monastery of the SS. The bizatrist claims to have borrowed the goblet from an anonymous collector of Nazi ‘memorabilia, The seven keys are mixed together in the empty goblet. "Only one will fic the lock,” the performer says, as he lays out the seven mixed keys in a row. The first spectator, chosen for her psychic potential, is instructed to hold the pendulum over each of the seven keys in turn. She is informed that she will soon feel drawn to one particular key. At this time, she is told, the pendulum shall start to move on its own, Soon, the pendulum moves over the fourth key. It slowly swings to and fro, as if under the influence of unseen powers. "Let's see,” the bizattist says, “if the spirit of our long-dead mind reader is guiding you now. Please try your key in the lock.” ‘The spectator picks up the fourth key. She carefully inserts her key into the padlock, snapping it open. "My goodness,” che bizarrist smiles, "you really are psychic.” He opens the box, reaching inside. METHOD The working, of course, is the age-old pendulum effect. I use an antique key on the end of a gold watch chain, The rest of the routine, as you already know, is none other than the very practical Key-R-Rect. (Editor's note: Far those of you who don't own Key-R-Rect, the same resule can be accomplished with Annemann's "Seven Keys To Baldpate” which, as of this writing, is available for $6.95 on the Internet.| BIZARRE Macick 55 Lary BAUKINPalace of the Occult IIL ErFECT “Of the Nazi high command,” the bizarrist states, "Adolph Hitler, Rudolf Hess, and Heinrich Himmler were the most heavily influenced by Eastern religion and occult ideas, particularly those philosophies of spiritualism, or communication with the dead. Iv is said that Hitler's own wet nurse was a spirit medium, And, indeed, many witnesses claim to have seen the Fubrer in states of almost hypn trance, as if he possessed mediumistic powers." “The bizarrist removes from the wooden box four index cards. He casually displays both sides of the cards, showing them to be blank. The box is now empty. He takes a pencil and on each card writes a name — Hitles, Hess, Himmler, and Hanussen. “We now have a kind of demonic 4-H club,” the bizarrist deadpans. He stares intently at his sivters. T want you to imagine yourselves sitting in Erik Jan Hanussen's Palace of the Occult. Our midnight séance begins. As the lights dim, you sce the phantom shadows moving over the garish splendor of the Palace. Gilded zodiac symbols adorn the walls." The bizartist picks up the card with Hanussen’s name on it. He places the card into che box, Dropping the pencil into the box, he quietly shuts the lid. The performer instructs his sitters to place several fingers on the top edges of the box. BIZARRE MaGIck 36 Larry BAUKIN“We will attempt to contact the lost spirit of the Nazi mind reader, Erik Jan Hanussen. He will act as our guide to the others. I hope he is a good control. Afterall, the spirits of Hitler, Hess, and Himmler could be quite unmanageable . . . even dangerous.” The box appears to move, but only slightly. “It moved!" the bizarrist exclaims. "Did you hear it? The pencil moved." ‘The performer instructs a sitter to open the box and remove the card bearing the name Hanussen. Writren on the back of the card is a penciled message. It reads, “HELP ME". "My God," the performer murmurs. "How can this tormented soul guide us? Or anyone? He must be burning in the fires of... " Suddenly the performers line of sight whirls toward the three remaining catds on the table. "Burning, burning,” the bizarrist mutters. ‘He requests that a sitter turn the Hitler card over. On the back of the card is a large H, burned into the card, "H," the bizarrise muses. "H for Hitler, or Hanussen? Perhaps the Evil One has silenced our spirit guide with a threat? Or maybe H is for Hess... or Himmler? ‘The bizarrist shakes his head. “No, H is certainly for Hell.” ‘The bizarrist moves his hand away from the burned card, as if it were contaminated with evil. “Icis better if we say good night ro our psychic guide, Erik Jan Hanussen, For he will never rest in peace. Good night.” Bizarre Macick 37 Larry BAUKINMETHOD ‘The effect is achieved by using four thick, white cards, cut from mounting board. They are all blank on one side. The two to be used for Hanussen and Hitler are lightly dotted with a pencil [As you display them, place the four cards in a stack as follows. The message of "Help Mi the back of the second card in the stack. The burned H is on the front or top of the fourth card in the stack. Later, you will know to write the name Hanussen on the second card down and Hitler on the last card down. As I mentioned, each is pencil dotted. ‘The way I display the four cards as blank is to casually show both sides of the first card, dropping it to the table, Then turn the stack of three end for end, dropping the fourth (the pencil-dotted Hitler card) on the table. Turn the stack end for end again, dropping the second card (the pencil- dotted Hanussen card) on the table. Then, to keep the rhythm consistent, turn the last card end for end, dropping it. You are ready to write the four names, placing Hitler and Hanussen on the proper cards. ‘The box can be moved, just a bit, by the bizarrist or a confederate. Using a stencil, the H is easily bumed into the back of the Hitler card. OF course, be sure to use handwriting other than your own for the words, "HELP ME". BIZARRE MAGICK 58 Larry BaukIN i | i ee ieetsiescoaacisaasseaantasscssaneseAAFTERWORD T must say I had an exciting time losing myself down the shape-shifting hallways of this book. T felt like a visitor, invited in by the ghostly host ‘of an ancient haunted mansion. I had fun, laughed a few times, and even gor scared once o twice, So, there you have it. Something for everyone. Something for no one. I will let you decide which is WITCH. Larry Baukin Fairfax, Virginia BIZARRE Macick 59 Larry BAUKINermcrscssiisescmssinsaitnannammnnamitiitisnen Lay BAUKIN 60 BizARRE MacickDr. Fathom’s Amusements by Larry Raukin Griginally published by Tony Andruzzi, 1990 BIZARRE Macick 61 LARRY BAUKINBIZARRE Macick Larry BAUKIN i i‘A Few Worps FROM YE MAGE HURRY! HURRY! HURRY! Step right this way, Boys and Girls, Ladies and Gentlemen . . . Children of all ages. Move right in close here . .. Don’t shove, Sonny! Ina moment you will be afforded this once in a lifetime opportunity to witness Dr. Eathom's Amusements . . . an amassment of mind-boggling contradictions of natural science and human logic . . . a veritable confrontation of the incongruities of the Universe that have ever been excogitared . .. a plethora of perverse pleasures, conundrums and inconceivable marvels!!! You will laugh . .. you will gasp... you will wonder... you will never be the same again!! See the Invisible Devil Child ... fall prey to the charm of our dancing Succubus ... match your wits with our Card Playing Turk... and more... much morel For this show only... the paltry expense is only your suspension of disbelief! This show is due to stare right after the pomposities from the Mage! Hurry! The Ringmaster for this excursion into a unique blend of The Tivilight Zone and Greater Magic s its author, Larry Baukin . . . a dedicated researcher of the bizarre; an apt and creative mortal (ity?) who has obviously been led astray by an over-exposure to Bascom Jones’ MAGICK and my publication, The New Invocation . . . as well as the obligatory magic set during his formative chrysalis. Larry's prodigious contributions to magical journals (four One-Man issues of The New Invocation as well as numerous individual effects) signal him as both a generous devotee of weird ‘magicks and a consummate showman, as he blends truths with fantasy to confound the plebeians as well as the dilettantes. A true shanachie of Grand Guignol! In the ensuing pages you will discover a cornucopia of weird delights and bizarre japes poised against the afterglow of the tanbark of the ‘carny' . . . an eerie thought in and of itself So, tread the straw, taste the sugar candy, smell the Red Hots, and prepare to enter the main tent Hurry! Hurry! The Midway is far to your left. Caveat! Tony Andruzzi Chicago, Illinois 1990 Bizarre MAGICK 63 Larry BAUKINLarry BAUKIN BIZARRE MaGICckACKNOWLEDGMENTS Special thanks go to Washington magician, Hal Diamond, for his valuable assistance in the editing of this manuscript. In magic, just like the main character in the following story, we all go through various Rites of Passage. One of my initiation rites was the writing of this volume, This creative journey was made all the more enjoyable by fellow magician mentalist, Doc Dougherty. Doc's past experience with carnival ‘Ten-In-Ones provided a wealth of detail that I eagerly added to the atmosphere of the book. 1 appreciate Doc's generous willingness to share his rich background in the authentic world of Spider Ladies, Carny Talkers, and Pickled Punks. ‘This book is dedicated to Doc and Tony and Meghean. BIZARRE Macick 65 Lay BAUKINLarry BAUKIN 66 BizARRE MAGICKINTRODUCTION The idea for this book came to me originally as an inspiration for a series of interconnected short stoties. As the idea grew, I discovered the tale of Dx Fathom's Amusements began taking on a life ofits own. Faces, images, and unknown voices began moving across and out of that bloody-skied land of shadows that I think of as the unconscious mind. The creative taskmaster of that dark region did nor present me with my usual and familiar grist for a short story. Nor did the Demon give me my usual and familiar fire for a bizarre routine No. Instead, a curious but no less strange hybrid of the Weird Tale and the Bizarre Magick effect started taking form, like an eerie shape at midnight. I didn't know what to do about this turn of events, except write the book, As the present volume took its own shape, early memories of carnival Ten-In-Ones began to surface. I had always been attracted, and at the same time, uncomfortable, maybe even a bit frightened, by the odd world of Freaks, Sword Swallowers, and Carnival Talkers. There seemed to be something uncanny surrounding this world. As the book grew, I found that others shared my interest. There were, of course, novels, stich as Ray Bradbury's Something Wicked This Way Comes, Charles G. Finney's Circus of Dr. Lao, and, obviously, William Lindsay Gresham's unforgetable Nightmare Alley all of these tales being excursions into the night world of the carny. A close friend of mine who had lived in this mysterious habitat as a child was Doc Dougherty. He proved to be a very entertaining and generous informant. Soon, Dr. Fathom's Amusements was born. It can be read as a series of interrelated magick effects. Or weitd tales. Or both. The strange, even surreal atmosphere is the true key to the book. And now, the Talker is finished with his spiel. It's time to step into the Ten-In-One. The show. has already begun. Lary Baukin, Fairfax, Virginia 1990 BIZARRE Macick 67 Larry BAUKINBIZARRE Macick 68 Lay BAUKINAttraction 1: Pickled Punks My name is Larry Baukin. I would like you to hear a most unusual tape. It's an old reel-to-reel tape given to me long ago by my uncle, Mr. H. P. Crowley. Uncle C. was a psychic detective, a fact that intrigues me now, but as a child, I simply took for granted. His strange, exotic stories, and weird adventures, were a regular part of my youthful memories. BIZARRE Macick 69 Larry BAUKINHow he acquired this psychic talent, I do not know. To my knowledge, he was never shocked by a sewing machine, nor did he ever receive a concussion from falling off a ladder. Ler me hook up this antique tape recorder so you can hear the whole story directly from Uncle c. "Ye all started, Larry, when I was asked by a police friend to investigate the disappearance of an attractive woman with the initials, B.E. And also, the possible murder of a Spider Lady. I'll tell you more about her later. My investigations took me on a psychic journey into the world of the most bizarre carnival I'd ever encountered ~ Dr. Fathom's Amusements. But I'm getting ahead of myself again. Let me begin at the beginning. When I first stepped onto the carnival lot, the ‘Ten-In-One was in full swing, The Flat Joints vwere flashed with plush, pulling in the rubes and marks, who happily handed over their money like ic was worthless papet. Thrills and chills filed the air with an electric excitement. The ragged canvas tents were scattered about like a gang of muddy orphans. Oddly enough, there were no rides. As a result, no children seemed to be present. I walked along the midway past the Hanky Panks, feeling like a kid again ~ my curiosity drawing me toward the rent shows. But the smell of popcorn and the taste of cotton candy were soon overwhelmed in me by a psychic vibration, a surreal sense of the weird, the uncanny. [As I approached the first attraction, I could hear the grinding voice of the Outside Talker. His pockmarked face cracked an eerie grin as he spoke. "Step right up! Ie's all on the inside! See it here! The Devil Baby! Born alive! A freak of nature! See it here! I's all on the inside! The Devil Baby! Born alive! A South American horror! Born of a human mother and a Demon father! See it here. All on the inside. Fifty cents. But today only, 25 cents. Only one quarter ofa dollar. And you will see..." The Talker’s voice trailed off. I entered the tent. My eyes slowly adjusted co the dim light. A huge ‘man stood at one end of the tent on a high bally platform leering at the onlookers. His head looked like a gargoyle sitting atop a massive mountain. A cheap, folding table rested in front of him, BIZARRE MAGICK 70 ‘Larry BAUKIN |‘The carny carefully placed a large empty jar onto the table. “Inside this container," he began in a raspy voice, "is the Devil Baby." He paused. "Take a close look!” the carny growled,"And you will see its horns.” I didn't see anything but an empty jar. Yer a cold finger seemed to dip into my chest as I listened to the bizarre man. "See it in your mind's eye,” he instructed. He smiled, a mad giggle spitting from his lips. He was a strange figure in this surreal dreamscape ofa carnival. “In this jan,” he went on ro say, “is the spirie of che Devil Baby. A shadow of a creature that was ‘once manufactured out of wax, for sideshows, by a little company in Chicago — fine craftsmen of Pickled Punks.” His tone became quiet, serious. The unusual spiel of che man disturbed me. Why was he tipping the secret? “Some of the Devil Babies," he said, "were made in South America. And it was there, in some tropical hell, chat the strange tales surrounding the Devil Baby were born. Some said the babies weren't gaffed. Some said that according to the whispered legends, the Devil Babies had been real!” ‘The carny's eyes grew wide. He almost seemed frightened when he spoke. "It is believed by the faithfal that a real Devil Baby can influence your fortune, divine the future, and even serve as a medium for the dead. Let us see if our little horned one can demonstrate a simple manifestation of the supernatural.” The carny removed from his pocket a pack of the Major Arcana of the ancient Tarot He displayed the cards, face-up. BIZARRE Macick n Larry BAUKIN"We will use these symbols of the occult to act as a medium between us and the spitit of the legendary oddity.” ‘The man spread the Tarot cards face-down in front of me, ordering me to select any one of the symbol cards. I freely chose the Tarot that depicted The Sun. I cut the pack, replacing my card back into the center of the Major Arcana. “The carny carefully picked up the deck, as if che cards were delicate, even holy. "Iwill use the jar to divine your chosen Tarot,” he announced, his eyes burning with the zeal of a fanatic. "Behold!" he shouted. '"Your Tarot has risen to the top of the pack." Indeed, he turned the top card over to reveal my selection, The Sun! He then turned the card, face-down and set it inside the jar, its back staring at me, He requested that I place the palm of my left hand onto the top of the container. "Stare at the jars" he commanded in a soft voice. "Imagine your card, ‘The Sun, as it draws itself into the oddity of the jar ~ into the image of the Pickled Punk. It is the Spirit of the Devil Baby itself that now influences your chosen card.” [As my hand continued ro rest on top of the container, the carny slowly twisted the jar around on its base, as he said “And the image becomes transformed into the Tarot of the Evil One! The symbol of the Devil Buby!” ‘While the man turned the jan, and the face of the card inside was revealed, I saw that my selection, The Sun, truly had transformed itself into none other than the Tarot card of The Devil! The cary stared through me as if I too were nothing but an empry, glass jar BIZARRE Macick RD LARRY BAUKIN 5. i oy si TMETHOD ‘The jar is not gaffed. To prepare, place the Devil card on top of the pack. In performance, display the cards, face-up. Casually overhand shuflle the Devil to the bottom of the pack. Spread the deck, face-down, on the table. The spectator selects their card. Have them show it to the other spectators, but not to you. ‘The spectator cuts the cards, and places their selection into the pack, completing the cut. Fan the cards, faces toward you. Spot the Devil card as a key. Cut the Devil card to the top of the pack. Double-lift, showing the spectator's selection, Turn the two cards, face-down, and then deal the top card, the Devil into the jar with its back toward the spectators. The spectator places their left hand on top of the jar as they imagine their card being influenced by the spitic of the Pickled Punk, 1 slowly turn the jar around until they see that their card has been transformed into The Devil — a symbol card for the Devil Baby. You may want to palm off, or using a switch bag, ditch the chosen card. But this is usually not necessary. BIZARRE Macicx 2B Larry BauxinAttraction 2: Kootch Show Out on the midway, I watched a couple of marks, a young man and woman, as they stood in front of a Hanky Pank. They picked up a few plastic ducks from a trough of moving water. On the bottom of each duck was a number. The woman got excited, shouting that she'd hit a lucky one. All the operator gave her, as a prize, was a piece of “slum” ~ a cheap trinket, Just then, I heard the unmistakable drum roll of the Kootch Show. Within moments, I found myself inside the tent, for purely investigative reasons, of which you understand. Afiet all, even watching a strip show was part of what I was asked to do. As a psychic detective, I might be able to pick up a clue, however minor, as co the disappearance of the woman with the initials B.E. and the alleged murder of this particular carnival's own Spider Lady. The stripper I was now watching was definitely a lady. My psychic intuition told me that? ‘The Talker said her name was China Lee. I forget the snake's name. After the serpent showed its appreciation of this Asian beauty's curvaceous form, she removed a long wooden pin, about the size of a chop stick, from her hair. The oriental grind music became quieter, just loud enough to accompany the slow rhythmic movement of her supple body. Oddly enough, I suddenly found myself alone in the tent, except for China Lee. The rubes simply didn’t appreciate high culture, I decided. She kept up her subtle dance as she swayed and talked "You stare at my jewel2" she asked me. BIZARRE MaGick 4 Larry BAUKIN1 was fascinated by a large blue diamond fixed on her belly. “It has a curse on it," she went on to say. “An ancient legend tells of a jewel that was stolen from the garden of a wizard. And thereafter, whoever becomes captivated by this diamond, like you are now, will experience much bad fortune.” "Wonderful," I replied, laughing. Just then, I felc it. A stabbing pain, like an open wound, hit the back of my neck. I winced. "You see,” the girl smiled. I stared at her, and a vague sense of dread washed over me "But I know that you are possessed of a gift of your own," she said, "I will help you remove the curse." She invited me onto the platform. She instructed me to hold the hair pin out in front of my face, a thumb and forefinger at each end of the stick. My eyes were captivated as she carefully erotically, removed a two-foot long ribbon from the top of her costume, and another ribbon from the bottom of the scant outfit. Her costume floated to the floor of the bally platform like the feathers of a tiny bird. The girl hung che two ribbons over the stick that I held, ‘Tying the ribbons together, she took the hairpin from me, and told me to hold the two ends of the joined ribbons with the fingers of each hand. Very gently, she rook off my ting and tied it onto the ribbons, keeping it to one side of the stick. Her body seemed to still sway, almost imperceptibly in front of me. She then took off her own ring, placing it onto the ribbons, located at the other side of the stick. Now she was completely undressed, except for the Blue Diamond. BIZARRE Macick 15 Larry BAUKIN‘As she smiled, my gaze nealy fell into the swirling pools of her eyes, the depths of which I could only guess. China Lee put her small, delicate fist around the knotted rings as she removed the pin. With a darkly intense expression, she thrust the pin back in between the fingers of her fist “One of these rings,” she said, softly, “will draw the curse of the diamond into it, and the other ring will be free of the curse." She paused, her face rigid, serious. “Which do you choose, your jewel, or mine?” she asked. For a moment, I didn’t know what to say. But, as always, I followed my intuition "Mine," I replied. Pall on the ribbons,” the gir! ordered. I complied. She slowly opened her fist to reveal that the knots had vanished. ‘My ring alone, encircled her hairpin. "The curse on you has been removed,” she sighed. "Magically untangled, like the ribbons from the ring on this pin. You are fice from it noticed that her ring was still on the ribbons, as I held them out between us. She catefully took her ring, and the ribbons, from the grasp of my fingers. "Good luck will soon touch you,” she smiled. And then, the tent seemed darker, even misty, as she appeared to fold into herself like the wings ofa sleeping bid. She disappeared into the dreamy shadows, taking the curse of the Blue Diamond with her. Bizarre Macick 16 Larry BaUKIN | dotsonanaameneneNN oeMeTHOD ‘The trick, as it were, is the ancient, “Grandmother's Necklace”, You may find a description of this effect in many books on magic, including The Blackstone Book of Magic and Iltsion. As you tell the tale, simply time your actions of displaying the props with the cues provided in the story. Doc Dougherty suggests “The Magician's Choice” to be employed in focusing on the spectator's ring as a vehicle for the removal of the curse. The trick is also known as Ottokar Fisher's famous “Cords of Phantasia.” a description of which can be found in Karl Fulves' Self: Working Handkerchief Magic. For the purposes of this effect, have the spectator hold a long hair pin (I use a chopstick) horizoncally, out in front of their face. A chumb and forefinger are grasping cach end of the stick. Hang two ribbons (or even shoelaces) over the stick. The middle point of each string rests on the stick itself. Tie the two strings together, bringing the knot up against the stick. As the knot appears, the spectator lets go of the stick. You are now holding both ends of the two strings, one in each hand. The stick is suspended in the middle. ‘The spectator then takes the two ends of the strings, one in each hand. The spectator is actually holding two lengths of cord in each hand. You place a ring on the strings at either side of the stick. You instruct the spectator to hold only one string in each hand, dropping the other two. Using the loose ends of the two strings, tie the ring onto the cord. This ring will be on one side of the stick, cither right or left side. Give the two loose ends back to the spectator to hold. Again, one in each hand. Apply a second ring onto both strings in the spectator's opposite hand. In other words, the other side of the stick. Do not tie the ring on, merely slide it to the center, against the suspended stick. BIZARRE MacIcK 7 Lary BAUKIN‘The spectator is still holding two ends of cord — I won't say it, one in each hand. Place your hand over the two rings. The stick will protrude between your fingers. Remove the stick, waving it magically over your closed hand. Keeping your fist more or less closed, insert the stick through the first ring ~ the ting chat was actually tied to the cords ‘The spectator pulls on both ends of the cords. This pull releases che firs ring from its knot. [And now since the first ring has the stick poking through it, the ring will automatically come to rest on the stick — magically removed! BIZARRE MacIck 8 Larry BAUKIN I | | /Attraction 3: Spider Lady I was enjoying the familiar and entertaining sight of a Punch and Judy show. The puppets had gathered quite a nice crowd. And the Bottler, passing the hat, was already weeding out the cheapskates, Off to the right of the show, I noticed the open rear end of an old step-van. As my line of sight came into focus, I saw something rather odd, Nestled in the back of that van, was none other than the Spider Lady Illusion. Within seconds, I found myself staring into the cool darkness of the trailer. A small set of ornate, Victorian-like steps seemed to fill the space, like an image from a hallucination. In front of the steps, a huge web covered the air like a black, silky screen. In the center of the web was the head ofa woman, The face looked to be in its early thirties. Above her face, stretched the grotesque body of a huge spider. Its furry legs appeared to move as she talked. 1, a person who gets nauscous looking at dead spiders, let alone live ones, was looking at the head of a woman, growing out of the body of a giant spider! ‘To say that icy fingers were dancing up and down my spine was an understatement. “You're looking for the other head,” the Face told me. "I beg your pardon?" I choked. BIZARRE Macick 19 Larry Baukin“The woman you're looking for." she went on to say, "The one whose head was supposedly found in this illusion — you know, the head that was found without the body." The Spider Lady sneered, "Without a human body, that i.” She laughed, sarcastically. Just then, the Talker, a handsome young man of about twenty-five, walked up and addressed me. "You haven't been plagued by your usual nightmares over this alleged murder, have you? Oh, I'm not psychic," he smiled "I read about your unusual-talent in the local newspaper.” His penetrating eyes disturbed me. “No, I haven't experienced my usual nightmare over this alleged murden." I replied. "Why do you ask?" “Well,” he said, lighting a cigarette, "The newspaper claimed that after one of our shows, several days ago, a human head was discovered in the illusion.” “With no body," added. “Yes,” the Talker grinned. "But no one in the carny recognized her face.” She wasn’t as pretty as me," the Spider Lady piped in. "So what are you saying?" asked. Perhaps,” he mused out loud, "Even the murdered head was an illusion.” "Something to draw you to us?" “The Talker's tone of voice startled me, What did he mean? "The graveyards are full of usable heads,” the Spider Lady announced. "You mean,” I-said, "the murder of the other Spider Lady is a hoax?" “Not entirely,” the Talker said, cryptically. BIZARRE Macick 80 Larry BAUKIN, aang sbi i i | | | | |I was not to discover an answer to this mysterious response until I met Dr. Fathom later. "But for now;" the Talker said, "let me show you this.” He removed from his pocket pencil and a blank sheet of paper Across the paper, he drew a crude image of the Spider Lady Illusion. "You will, Mr. Crowley,” he began, "soon be haunted by the mystery of this alleged murder. Your fiery mind will start to burn with a desire to know what really happened. Let us exorcise, of at least, cool this demon, for now.” ‘The Talker handed me a box of matches. "Cool your psychic curiosity, chat is, by the traditional means of fire.” He very carefully held the drawing of the Spider Lady Illusion with the fingers of his left hand. "This illusion, this picture," the young man pointed out, "Indeed, even this alleged murder, and beheading, will curl like a spider, singed with flame." ‘The Talker stared at the drawing and then lifted his fry eyes to me. “Strike a match,” he ordered did. “Touch it to the picture of the Spider Lady." As T touched the burning match to the paper, held in the man's left hand, I heard a scream. My line of sight shifted to che cringing face of the real Spider Lady. Her head twisted in pain, and the body of the awful spider dangling in the web above her brow began writhing in a horrible frenzy. ‘The crude drawing of the illusion, resting in the ‘Talker's hand, burst into a fireball. The man's long fingers curled inward like che legs of an actual spider. In a matter of seconds, the sheet of paper had disintegrated, leaving not even an ash on the skin of the young man. Then I saw it. Bizarre Macick 81 Larry BAUKINCouched in the left palm of the eerie Talker, was a large, black spider. A jolt of terror jerked me back. ‘What manner of game were they playing now? “The image of the illusion has vanished,” the man said. “But T suppose something always remains.” ‘The hideous spider moved in his hand. [And the sardonic laughter of the real Spider Lady, once again, filled my ears ~ her web, stirring in the back of the old van. METHOD ‘The picture of the Spider Lady Illusion is drawn onto flash paper. Simply pre-load the fake spider in your left palm, Hold the flash paper at the tips of your left fingers. Light it, and let it go at the appropriate moment. Don’t burn yourself. ‘You will give the illusion that the flames have engulfed your hand. Then produce the spider. [Analtemnative to this method is to pre-load a fake spider, and a thumb tip in your left fist. Vanish the drawing in the tip, and then open your fist to reveal the production of the spider. A subtle twitch of your hand muscles will cause the spider to move slightly. Bizarre Macick 82 Lary BAUKIN