Docc Hilford - The Sealed Tome #1, Ultimate Magic eBooks Collection
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//-->The SealedTome#1This is copyof alimitededitionof100copies.e1991Weerd PublishingAll rights reserved.. . TheSealedTomeN1,Page 1The Sealed Torne#1Docc Hilfordnot written for collectors. Itwaswritten for the sole use of new sub-...'~-... scribers toThe New Invocationmagazine,'f- .... ..Itwillnot .be sold to the magickal public·<~.'i;~for any l?r1ce, though I know It~worth.: .many coins of gold to the working per-former who desires a reputation.I can take no credit for any of the effects here..,.'Some of them are so old that no one knows with1:,'certainty who invented them. I have simply taken/ I:'six very strong effects that have, over the years,'/Ibeen tempered by millions ofperformances,andbuilt a routine for them around a central prop. Some of theeffects have been modified to accommodate the prop, but themethods areallvery old, most of them over a liundred yearsold.At this point I'd like to remind you that one of the greatestmethods in mentalism, the center tear,isalso an antique, andlook how miraculous it can be in the right hands! Some mayread this book, say that they already knew some of these tricks,and put it on the shelf unused.To themIwish the best, because they haven't learned that itisnot the trick that matters to a layman, itisthe presentation,andthis presentationisguaranteed to involve ana please anyaudience. The cups and balls illusion had been around for fivethousand years when Dai Vernon routined it so that everymagician began to add it tohisrepertoire. I'm sure that thosewho perform this piece, as it's designed,willuse it over andwas." _-c=i;-hisbook~TheSealed TomeII, P0ge2over again. I believe that itwillgo down as one of the classicsof bizarre magick.Many of the individual effects have been used by workingprofessionals in packed theaters. You can perform the routineinthis book in front of thousands, because it can be seen, or ina home for only a fewpeopl~Jbecause itisvery personal. Thevenueisup to you. Thefullroutinewillrun about twentyminutes, dependin on your style, so it can be the feature ofyour act.Itdoesnft require any special[rops, save a piece ofthread, yet the stage areaisalwaysfull.love to use people asprops, andthisroutine does just that.Thisisa demonstration of real magick, with a common itemfound in everyone's home. It makes the audience think aboutyour performance every time they see the item at their house.The hosts of a homepa~willshow off the item to theirfriends as the one you usedIna miracle. People in a theaterwillg,et home, and think about the item that they own, wonderingiftheirs also has the same strange qualities possessed by the onein the theater..The everyday itemisjust a chair.Itcan be a beautiful, twohundred year old, hand carved, oak throne, or a simple folding,metal chair. It won't matter. The chair won't be remembered,youwill.This routine makes miracles happen in everyday sur-roundings, with everyday items.The events that take place are inexplicable, except than to say itwas magick. Thatis,afterall,what the true bizarrist strives forin his presentations. He wants the audience to go away with anexplanation for what they have just witnessed, notwonderin~how itwasdone. Bizarre magickisnot puzzling, it15miraculous.A dozen people can be used as assistants, so the audience feelsthat they have been involved No cards are selected No onehas to think of anything, to be subsequently (yawn) revealedNo oneishumiliated On the contrary, the helpers feelhonored that they were part of something extraordinary. Theyleave feeling less ordinary themselves. They feel like stars, be-cause they were in the spotlight for a moment. Since theaudience's collected thoughts cause the miracles, the actcouldn't happen without their help. They are an essential partof the demonstration.----------------------------------" - TheSealedTome II, P",lI have performed this routine, commercially, in various formsfor many years. Performing it hasal~aysgiven me great satis-faction. Since I have combined the different effects into oneroutine, I have had even greater success with it. It is a reputa-tion builder. Of all the routines that I perform, it is one of themost requested - not by magicians, but by laymen.I have mentioned that there are nopropsotherthana piece ofthread. Whilethisis true, I have added some window dressingin the form of several small candles, a black cloth with a pen-tagram on it, and a tattered sheet of parchment. These items arenot essential, but they doaddto the ambiance of the routine.Everthing is carriedilla shoe-box sized chest, so I'm not bur-denedwithanything large.Inan impromptu setting, I eitherborrow similar items, or do the routine without them.Remember that the story _is the most important part of anybizarre presentation. In this routine, it is more important thanthe tricks themselves. Read this book carefully. Take the wordsof patter that fit you, write some of your own, and put themtogether in a scnpt. Then memorize your script. The tricksyou free to con-themselves take very little skill, so it leaves _centrate on the tale. Your rehearsal timewillnot be on thetricks, but on the patter.Ifyou believe the story you are tell-ing, the audienceWillbelieve it too. Fix the story in your mindasifit really happened, and belief is sure to follow.Wait for the right time to perform this routine. Don't do it atthe drop of a hat. Remember, this is a miracle, and you can'tdo miracles on request. Many times, evenifI have seen that allthe conditions are correct, I have baited the audience byprotesting that I really don't want to attempt it. I ask the hostto do something, such as adjust the lights, or move some of theguests around. Still, I'm not sure itwillsucceed. Then, justwhen the host is ready to give up, I agree to give it a try.The routine should be done indoors, in subdued lighting. Theroom should be completely quiet, without even soft music.Remember, this is not a magic trick! It is real magick. Thereshould not be any skeptics among the viewers.(Thisis hardlypossible in a theater setting, so a few well chosen words abouthow we must all work together for the demonstration to besuccessful,willput them in their place. I mention that I don'texpect them to believe, I just ask them not to disbelieve, toiThoSealedTome II, P'lI" •keep an openmind.Ifthe attempt fails, it is most likelybe-cause someone is causing interference with their mind set.) Thespectators must want the demonstration to be successful.You mustwalkthe fine line between demonstrating a miracle,and attempting an experiment. You appear quite confident ofthe intended outcome, yet you can't guarantee that itwillwork this particular time.Ifyou are in a room full of loud, ob-noxious people, stick to the You Do VooDoo needle,andsavethisroutinefor when conditions are right. One effect requiresa bare floor, without a carpet.Ifthis is not possible, you maywish to cut that particular effect out of the routine. It is ob-viously better, however, to wait for the right flooring and dothe entire routine.The order of the effects has been carefully thought out. Eacheffect leads into the next. Please do not rearrange them. Thecorrect timing, environment, and mood, are essential. Youmust wait for every condition, the lighting, the audience, thetime and place,et cetera,to be exactly right, or the routinewillbeai~ta collection of good tricks, ana not a miracle. MaxM . .was once asked how he miraculously caused a brick toappear under his hat. He said that he put a brick on his head,covered it with his hat, and waited until someone asked to seesome magic. "But, how longdoyou wait?" he was then askedHe replied, "Sometimes, I vait a veekl"Ifyouwillgivethissimple routine the consideration it deser-ves, itwillreturn to you fame, fortune, and a personal satisfac-tion that few other routines in magick can give. Guard it well,and most ofall...havefun!
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