CONFUNDAMUS

A multiple-part bizarre performance

Strongly inspired by Dave ‘Slim King’ Koenig’s ROSHAMBO
By Professor BC

BACKGROUND
At the inaugural meeting of the East Coast Spirit Session, held at Myrtle Beach, SC
in 2015, I had the great pleasure of setting up shop beside Dave Koenig, who is
probably best known in this community by his nom de guerre, Slim King.

Slim King
Dave kindly gave me his lecture notes at that time, and I was immediately impressed
by his mentalism routine, Roshambo, a radio performance of ‘rock, scissors, paper’
in which the mentalist defeats a listener time and again despite the fact that they are
hundreds or even thousands of miles apart.

The setup has all of the marks of a genuine classic: simple to understand, easy to
perform, and extremely puzzling to witness. I immediately contacted Dave with a
request that he allow me to adapt his Roshambo into a bizarre piece that could be
performed live for close-up, table hopping, parlour, or stage, and he was gracious
enough to give his consent.

For that generosity, I dedicate Confundamus to Dave “Slim King” Koenig, with
grateful thanks.
WHAT HAS CHANGED?
Besides not performing it over the radio, Confundamus is no longer a mentalist
routine. The performer does not win. Rather, the spec, who is placed into the role of
a Faustian necromancer, is asked to perform the ancient rite preparatory to creating
the ‘protective magic circle’; to do so she must (with faith alone, blindly groping
forward) thrice ‘beat the devil’ (even when the odds are stacked very heavily in
favour of the infernal powers).

. . . or . . .

Confundamus reenacts the Medieval priest’s demonstration of the power of Satan in

the world as the spec (parishioner?) repeatedly loses to the devil in a simple game of
free choice.

Confundamus also adds atmospheric props to the routine: ancient brass artefacts of
a medieval rite (as reimagined during the nineteenth century).

Additionally, Confundamus can add an extra layer of impossibility by having the

spec contend against three ‘devil’s advocates’ (other spectators whose job it is to
offer up the devil’s selections). This feature creates the illusion that all is done by
chance, and yet the neophyte necromancer succeeds (quite impossibly) to ‘beat the
devil’ three times (while the devil had to win only once)—at which point the
demonstration concludes or else acts as a chilling prelude to an evening of
necromancy effects, such as the AES GOETIA, Vade Retro Satana or DarkSpell.

OTHER FEATURES
Like Dave “Slim King” Koenig’s ROSHAMBO, Confundamus is almost entirely
self-working. You never handle the ‘Entities’ that decide life or death. The spec’s
selections are all entirely free, no control is exerted at all over which of the ‘Entities’
she switches about. Whether the spec is deciding which ‘devil’s advocate’ she will
struggle against or selecting her own numbers and making every choice
independently, the effect features a natural ‘build’ from start to finish.

In short, Confundamus appears to work entirely without interference from you. The
‘new necromancer’s’ skill seems to flow entirely from having found ‘a genuinely
pure and radiant soul,’ who can, indeed, confound the devil himself (or else the
parishioner’s choices lead the devil to defeat her time and again no matter what she
does).

This is Confundamus.
THE TOKENS
There are three brass tokens in play for Confundamus. They represent
Humankind/Earth/Man Salvation/Water-Air/Angel Damnation/Fire/Devil

The images, drawn from authentic Medieval woodcuts, are simple to identify and
easy to understand. These brass plates represent a 19th-century reproduction of the
so-called Faustian Rite that has been connected to the revels of the infamous Hellfire
Club of the 18th century (this is the Irish Hellfire Club, or Club Thine Ifrinn, just
outside of Dublin: http://en.wikipedia.org/wiki/Montpelier_Hill).

They may be called ‘Entities’ because they are believed to contain the actual essence
of the represented image: the Man is of Earth, the Angel is of Air but the Font more
forcefully represents Water, and the Devil is of Fire. And thus these were ‘Entities’
used in both necromancy and alchemy during the Middle Ages.

These ‘Entities’ also represent the Cyclum Officium as it was understood in the
medieval world:
Fire consumes Man;
Man consumes Water & Air;
Water consumes Fire . . .
This was the Cycle of Universal Compulsion, which the major religions and pagan
beliefs all reverenced, and it is not difficult to see in this the Christian idea of Man
being at the mercy of Satan if he does not bathe himself in the Waters of Life.
THE COUNTER
You also have a brass ‘counter’ included in your kit.

This counter is intentionally difficult to read. Indeed, all of the tokens should have
an aged, well-handled appearance requiring some dedicated scrutiny in order to see
the images. The idea is that they have been used for decades, possibly well over a
century, and are worn down as a consequence.
If your particular counter is impossible to make out, use that. The spec is to see
that it once read 1-9 in a grid as you see pictured above. She can point to or say the
number she desires. (Please, please do not contact Vic or me to grumble that the
counter looks rubbed almost blank—it is quite intentional . . . because . . .)
You will notice, when you turn the counter over, that you have an additional Devil
image there. As you will discover later in this manual, you have the option of
counting through the tokens, and the ‘counter’ side must appear blank if
accidentally ‘flashed’ during this handling. Consequently, the ‘counter’ has been
especially lightly etched.
Your kit also comes with three glass beads (or flattened marbles). These are
included for use in the ‘original’ handling (covered in the second half of this
manual). It is helpful to distinguish the original Man (blue), Angel (yellow), and
Devil (red) routines visually, and so these marbles are included in case you wish to
employ them thus (the colour coding is part of the descriptions, as you will see).
Additionally, you might use these marbles for your spec to select among before
placing on the ‘counter’ brass as her choice of number. The performer is invited to
pretend that her selection (whatever the colour) is in some way the ‘wrong’ or
‘most worrying’ choice that she could have made. (An equivoque to lead her to the
colour you wish is also an idea, provided you have a good story for that colour.)
THE EFFECT
By way of an illustrative example, imagine my giving you a simple coin and telling
you that it is cursed. Look at it carefully. It is just a normal coin. You probably do
not believe that it is cursed.
I now ask you to flip that coin and call heads or tails. It comes down, and you lose.
You still do not believe that this is anything more than a 50/50 chance (though
something at the back of your soul twitches uncomfortably).
You flip and call again. Again you lose. Time and again, no matter how you call it,
the coin comes down against you. Soon you believe.
This is the basic effect of Confundamus.
Except it is not a coin. It is not a mere 50/50 chance. You have three brass tokens
rather than a heads-or-tails choice. The odds, therefore, appear to be even more in
your favour.
You do not flip a coin but rather mix the tokens about, but you are still in complete
control.
Without any outside influence, you decide which of the tokens will be yours and
which will be the devil’s.
No matter how many times you try, however, and no matter which token you take,
the token that the devil gets is always the one that defeats you (or, in the alternate
presentation, always the one that loses to you).
Always.

NOTE: This is like playing Rock, Scissors, Paper

with the devil. He will not always get the token with
the devil/hell/fire on it, but he will always get the
token that beats the spec’s token.
THE PERFORMANCE
The performer tips out three brass tokens, one each depicting Heaven, Man, and
Hell. (A fourth token is actually an optional counter that you may use instead of
other counting options to be noted below.)

‘During the Middle Ages,’ the performer intones, ‘monks and priests would visit
people with this simple kit to illustrate conclusively the nature of evil in the world.
They would demonstrate through a series of simple tests that humankind was
clearly not in control of the demonic forces prevalent on earth since Man’s
expulsion from the Garden of Eden.’

The spectator is then allowed completely free choice (truly) in turning the brass
tokens face-down, arranging and rearranging them until they are quite well mixed,
and then selecting both her own and the devil’s token. In every attempt, the devil
wins.

PRESENTATION
The method is simplicity itself. The ‘move’ is so logical and casual, indeed it is so
necessary, that it hardly qualifies as a ‘move’.
The three brass tokens (and counter) are tipped out and allowed to be examined.
The performer meanwhile takes a dinner plate (or a bit of poster board, a place
mat, stiff paper, a Lazy Susan, a length of craft wood or indeed anything at all
approximately the 21cm (8”) that the 3 tokens may be arranged upon and that can
be easily turned with the pieces in place) and lays it on the table between the spec
and himself. The performer lays out the pieces demonstrating the hierarchy of
Salvation and Damnation thus:
SPEC

PERFORMER
Notice that ‘hell’ is nearest the spec, heaven nearest the performer, with Man in the
middle. (This arrangement is illustrative of the simple form for this presentation,
variations will be covered later. Note: it does not matter if the images are right-side
up to the performer as pictured or upside down or even sideways so long as they
begin in this hierarchic order.)
The spec is now to choose either side of the grouping, left or right, thus:
SPEC

X X

PERFORMER
Upon this freely chosen side—what we will now call the ‘Devil’s Side’—the spec
is invited to do any one of the following (depending upon your personal choice for
presentation):
a) Place and use the (supplied) counter to select a number
b) Place a single die with one number up
c) Place her hand and indicate a number from 1 to 5 with her fingers
d) Place a bit of paper and write any single-digit number on it
The goal in each instance is to make a choice ahead of time as to which side will
be the Devil’s Side and what will be the controlling number. These are completely
free choices and suggest (with your aid) a sense of predestination or the Fate that
is already set in motion.
Now the spectator turns the tokens face-down, one by one, and the performer turns
the plate a quarter turn (right or left) thus (for this illustration, let us assume she
has chosen your right as the Devil’s Side, note odd-numbered die or counter or
paper in this instance):
SPEC

or
or

PERFORMER
The spec next switches the tokens as many times as she has previously indicated
on the die, the counter, her fingers, or the paper: switching any token for any other
(free choice) however many times she has freely chosen. (Example: left & right
switch = 1; center & left switch = 2; &c.)
She is next invited to ‘step upon the Wheel of Fortune’ by sliding the central token
forward (and the outer tokens back a bit), thereby creating an equilateral triangle
upon the plate, thus:

SPEC

PERFORMER
I like to have the outer tokens slid in to form an actual triangle. This is just an
added touch that helps to clean up the look, but you might like to do this as well:
SPEC

PERFORMER
The performer now begins to ‘spin’ the Wheel of Fortune, either clockwise or anti-
clockwise (it does not matter which; the spec may decide, if you wish). He pauses
the plate briefly each time a token comes close to the spec:
SPEC

PERFORMER
The performer turns and pauses, turns and pauses, inviting the spec to say ‘stop’ at
any time. This, too, is a completely free choice.
When she at last says stop, she is to turn over the token closest to/’pointing at’ her.
She is then to turn over the token on the previously selected (predestined) Devil’s
Side (closest to the counter/die/&c.) But look! (oh dear!) The devil wins.
This process is then repeated a number of times, with variations to ensure complete
freedom of choice, but the devil always wins (no matter the number chosen, the
Devil’s Side selected, the token rearrangements made, or the token ultimately
picked).
At last the spec has a final winner-take-all chance. She again mixes the tokens and
places the die/counter/finger/paper on one token and selects any of the remaining
tokens only to lose one final time.
(A bonus surprise revelation is also available for your finale/second finale, but we
will cover that later. I also have a superior opener for you, but let’s keep things
focused on the Main Effect for the moment.)
METHOD
Simplicity itself, but so very simple as to be utterly invisible. This truly allows the
performer to concentrate on the presentation because the effect literally works
itself once the preliminaries are out of the way.
Begin by understanding this seemingly illogical fact: although there are three
tokens in play, it really is a 50/50 chance, the same as any coin toss. Why? Because
once you select your token (let us say Man), you can either win (choosing the
Angel) or lose (choosing the Devil): 50/50. Check?
Of course, if you could predict a coin toss three, four or even five times in a row
you would startle anyone, but when you do so with three tokens—and the spec
does all the choosing and handling—it is all the more wonderful.
This is how you maintain complete control throughout the routine:
POINT HELL TO THE ODD SIDE.
That is all you need remember. Point Hell to the Odd Side and everything works
itself. So, what in blazes does that mean?
As you begin, the Devil (hell) is closest to the spec with Man next and the Angel
(heaven) farthest away/closest to you. Therefore the side of the plate closest to the
spec is ‘hell’.
The spec will nominate either the left or right side of the plate to be the ‘Devil’s
Side’ and assign a number to that side (anything from 1 to 9 depending upon your
method of number selection: counter, finger, die, or paper and pencil).
If she selects an odd number, then the ‘Devil’s Side’ is odd: give the plate a turn to
move the spec’s edge (hell) towards the (odd) ‘Devil’s Side’.
If, however, she selects an even number, then the ‘Devil’s Side’ is even: give the
plate a quarter turn to move the spec’s edge (hell) away from the (even) ‘Devil’s
Side’ because in this instance the side opposite is odd.
There will always be one Even and one Odd side. The spec
determines which is which by her free choice.
After that, the trick is self-working: She will make the number of switches that she
freely selected, and when she pushes the central token forward (towards you) to
create the triangle of tokens within the Wheel of Fortune, the Devil’s Side will
always be the winning token over the one that will point at the spec as you turn the
plate.
Okay, but what if she suggests that it was just dumb luck? Oh, you inform her, you
are far from finished. Let us try yet again.
You may, if you wish, repeat the routine exactly as described above. The fact that
the spec does all of the choosing (and that the choices may vary) guarantees that
you will not be ‘caught’ if you present the routine in the same way multiple times.
However, you need not go through the same moves at all. Once you are
comfortable with the concept & process, any number of highly deceptive,
alternative handlings are available to you.
Following are a number of variations that seem to ‘mix it up’ and create a wholly
arbitrary feeling to the free-choice proceedings. You are free to employ these (all
or some) in any order you like, remembering that you need only Point Hell to the
Odd Side.
Variation One
After the first routine, simply have the spec turn the tokens face down again and
slide them back into their most recent positions on the plate, thus:
SPEC

PERFORMER
It does not matter what their actual order might be, they are still in the orientation
from before (with hell pointing to the (most recently) selected Odd Side).
The spec is now invited to select a Devil’s Side anew, right or left—same side or
the other side. Free choice again.
The spec is next invited to select the same or a new number. Free choice again.
If her selections (whatever they be) just happen to retain the same Odd side from
before, you are ready to repeat everything as before without variation because hell
is already pointing to the Odd side. She mixes, creates the triangle, &c.
If, however, her selection happens to reverse the orientation of Odd and Even, you
have a choice of one of the following ‘silent corrections’:
a) Have everything proceed as before except when it comes time to slide the
central token to create the triangle, slide it (or have her slide it) towards the
spec rather than away (towards you). This will automatically reverse the
rotation of the tokens and make all work out as required, with the devil
winning. (This is my personal preferred method because it instantaneously
replicates the last setup she saw on the plate,a triangle pointing towards
her, and is therefore quite innocent-appearing.) OR ELSE
b) Before she begins mixing the tokens, you offer a quick demonstration of
how to make the switches more ‘economically’: you place your index finger
on the middle token and your middle finger on the token beside it and, with
a twist of the wrist, exchange their positions. This automatically adds one
switch to her chosen number and changes the orientation so that hell now
points towards the Odd side again (do not worry about how, it really does).
OR EVEN
c) Do the same as in b, above, but continue on by placing your index finger
now on the untouched token and your middle finger on the central token
and, with a twist, exchange their positions; then finish up by putting your
fingers on the two outside tokens, left and right, and twisting them around
the stationary central token to exchange their positions. You have now made
a total of three exchanges (importantly: an odd number) and again achieved
the same goal as in b, above.
Variation Two
You may remember that you began the routine by laying out the three tokens
yourself, face up, on the plate (with hell closest to the spec and heaven closest to
you). I called this the simple form and promised an elaboration later. This is that
elaboration.
Perhaps the spec thinks that you are ‘controlling’ the start somehow. Very well,
you say, and proceed to allow her to lay out the face-up tokens however she likes.
She places them in a line between the two of you as illustrated before but in any
order she pleases.
No problem. It is always a simple matter to identify your necessary ‘hell’ edge.
You need only notice the path that Man must follow to reach Hell (without passing
Heaven), thus:

Another way to think of it is this: which direction leads Man away from Heaven?
Whichever direction that your imaginary arrow points (even if it ultimately crosses
over the Angel as seen in the fourth image above), that is the Hell edge of the plate
(denoted by the ) that you will want to point towards the Odd side.
Therefore, it does not matter in which order she lays the face-up tokens. You need
only take a quick glance, determine the Hell edge of the plate, and proceed as
usual, pointing Hell to the Odd side.
Variation Three
Ah, but what if she should object to you doing the turning of the plate when you
are trying to point hell towards the odd side and wants to turn it herself? Or,
similarly, what if she wants to tell you which way to turn it? No problem.
You have a 50/50 chance that she will tell you to turn it the right way. If so,
proceed as normal.
If, however, she has you turn it wrong way around, simply proceed as normal up to
the pushing forward of the central token (to make the triangle) and have her instead
pull it towards her. This is the ‘other’ way of reversing the direction (the same
handling that we learned in Variation One (a), above).
Variation Four
This is handy when you are performing for a couple.
Put the counter away. Have one person be the devil and seat her at a 90-degree
angle to your ‘spec’. Now the ‘devil’ spec gets to call the number of switches
ahead of time (one-to-nine) and becomes the ‘Devil’s Side’ for you.
Everything else is the same. The ‘performing’ spec makes that number of switches
and turns over her token. The ‘devil’ spec then turns over her token to discover that
she has won.
Repeat until they sense the amazement.
This works particularly well for dating couples—be sure the woman always wins.
She loves it, and he cannot really object because he is trying to make a favourable
impression.
My favourite war story here was performing this variation for a gay
couple. The ‘winner’ (devil) wanted to buy the set from me—not to
perform but rather to put up on permanent display in their flat as a
reminder to his lover of who was really in charge! He was determined
to dress up as Satan for every Hallowe’en, too.
Variation Five
Use this for a finale. After every conceivable variation of number choice, plate
turn, and choice of Devil’s Side is exhausted, offer her an everything-or-nothing
chance. This is a very different handling that has nothing to do with numbers,
turning the plate or pointing hell to the Odd side.
Except it looks the same to your spec.
Instead, you secretly play a game of three-card monte with the spec in which you
take on the part of the ‘mark’. Of course, because she does not realize that she has
been cast as the grifter, you have all of the advantage in this game.
This time around, you need only ‘keep your eye on the lady’ (very secretly). I
generally like to notice where the devil is and keep track of that token.
She turns the tokens face down and switches them as many times as she likes
without indicating a number or a Devil’s Side beforehand. She merely mixes
them up while you casually keep track of the devil token.
When she is satisfied, she is to take up the die (the counter, paper or else use her
finger to point) and places it on any one of the face-down tokens she likes.
Completely free choice.
What follows is a subtly modified equivoque that is so natural that it
does not even feel like an equivoque.
If the selected token is NOT the devil (which you are tracking), you have her turn
her selection over immediately. That becomes her chosen token.
As this token is revealed, you immediately know how you are going to guide her
next choice because you now know two of the three tokens (which means you
really know all three).
If she has chosen Man, you will lead her to select Hell as the devil’s choice. If,
however, she has chosen the Angel, you will lead her to select Man as the devil’s
choice.
How? Any of the two-object equivoques will work, and you should employ your
favourite one. If you do not have a favourite, this one is easiest and most logical:
Have her pick up the two remaining face-down tokens and hand you either one.
Ask her if she is sure or would she like to change her mind (if you like), and then
  If she hands you the wrong one, you call it her ‘discard’, put it aside and ask
her to turn over the one that she has kept. The devil wins.
 If she hands you the right one, you call it her ‘choice’, turn it over and lay it
beside her token to demonstrate that the devil wins.
. . . but what if she selects the devil token that you have been secretly
tracking? That is perhaps best of all.
You tell her that this selected token is the one ‘in the hole’ or ‘pinned’ or some
other description that actually fails to give anything away about its actual nature.
‘We will leave it where it is.’
You now have her turn over ‘her choice’ of any one of the other two tokens.
If she turns over Man, you have her look under the token to see which one she
‘pinned’ or ‘put in the hole’ for the devil. The devil wins (and it actually is the
devil).
If she turns over the Angel, you have her look at the only remaining token to see
what the devil must have as his ‘leftovers’. It will be the Man, and the devil wins
again. You can then turn over her ‘pinned’ token that she initially put ‘in the hole’
to demonstrate that the devil has been calling this dance all along.
Variation Six
If you are interested in unnerving your spec very thoroughly, turn your
presentation into a prediction each time. Here are just a few ideas:
1. Have her name a colour, animal, city, plant—anything—and, when she does,
inform her very earnestly that she has played into the devil’s hands with her
answer and that she absolutely cannot win the next try (this may be timed at
any point in the effect before the tokens are turned over).
2. Have an index of three slips of paper reading thus: ‘You lose to Man’s
Earth’; ‘You lose to Heavenly Water’; ‘You lose to Hell’s fires’ and index
them in a pocket. Begin the effect by writing a prediction on a slip of blank
paper, fold it in the same manner as the indexed slips, and put it into the
same pocket. After the tokens are turned over and you see which token has
beaten her, reach into your pocket and remove the indexed slip that reflects
the winning token. (Better still, have two of the slips indexed and actually
write out the third prediction, fold it, and index it as you slip it into your
pocket. When you ultimately pull out the ‘right’ prediction, you show it, toss
it away, and yet can ‘do it again’ by rewriting that prediction on the next
slip, re-indexing it as you slip it in your pocket, and then ultimately pulling
out the ‘correct’ slip when the tokens are turned. You can continue in this
manner indefinitely because you always have only the indexed slips in your
pocket.)
3. If you are not planning to use the double-faced counter as indicated in the
bonus effects (below), you may end the routine by demonstrating that the
spec was under the influence of satanic forces because (turning the counter
over) the devil has been watching all along.
Bonus effect: Beat the Devil
I have used this effect as an opener and a ‘grand finale’ and honestly do not know
which way I like better. It works as an introduction to the ‘inescapability’ of evil. It
works as a ‘final attempt’ in which the spec may choose any of the four tokens only
to be drawn (yet again) to the devil. The handling is so fine, in fact, that you can
actually perform it twice—both as the intro and grand finale (but I do suggest this
as your finale after opening with the Prof BC favourite, detailed below).
In this effect you offer the spec a chance to Beat the Devil. You take up the four
tokens (including the counter) and thumb through them to both mix them and
casually to show that the backs are (as she already knows) blank.
You then split the four tokens into two piles of two each.
‘Here is an easy one to win,’ you claim. ‘You need only select one stack or the
other. If the Devil is not in the stack, you win. Furthermore, if the Devil is on top
of the stack, you win. The Devil wins only if he is on the bottom of the stack you
select. Therefore, the odds are actually three-to-one in your favour. Choose.’
She selects a stack, free choice. You turn over both tokens to reveal that the Devil
is indeed at the bottom of that stack, and the Devil beats her yet again.
Method
You will remember that the counter is actually a two-faced token with an extra
Devil on its reverse side.
As you are picking up the tokens preparatory to presenting this effect, secretly hold
the counter so the numbers remain up whilst the Devil remains face down.
Turn the other tokens face down with their blank sides up. Pick up the face-down
Angel or Man token and place it on top of the face-up counter in your hand
(causally, so this is not noticed) and then place the face-down Devil token on top
of that pair. Finish by dropping the stack of three on the remaining face-down
(Angel or Man) token.
You now have the face-down Devil on the top with the ‘second’ (also face-down)
Devil feke third down (second from the bottom) with the Angel and Man (in any
order) at the second and bottom positions.
The tokens now lend themselves well to an Ansley Count, thus:
Holding the face-down stack between the tips of your thumb and fingers (faces
pointing towards the floor) slip your other fingers under the stack with your other
thumb coming in on top of the stack.
Use that thumb to slide off the top (face-down Devil) token into that opposite
palm, keeping the ‘stack’ hand stationary while moving the ‘opposite’ hand away
to show the first face-down token. One.
Now repeat the action of sliding the fingers under the stack, thumb above, carrying
the first token under the stack until the stack completely covers the first (Devil)
token.
Steal that Devil token with the tips of the fingers-and-thumb of your ‘stack’ hand,
taking it back as your ‘opposite’ thumb catches the next two face-down tokens
(either the Angel or Man with the gaffed counter/Devil hidden below it) and drags
them both simultaneously onto your ‘opposite’ palm.
You again move that ‘opposite’ hand away to show the (expected) two face-down
tokens. Two.
Repeat the action (without a steal) and thumb off the third face-down token (Angel
or Man), three, and place the final face-down token (Devil) on top of the tokens
now on your ‘opposite’ palm. Four.
You now have the feke counter/Devil on the bottom and the Devil on the top.
Deal the first two tokens face-down onto the table, one then two, thus changing
their orientation so the Devil ends up on the bottom. Then lift the two remaining
tokens together and place them on the table beside the first stack of two.
Now, no matter which stack she may choose, when you turn over both tokens as
one (to reveal the bottom token) it will be the Devil.
You may now safely slide that Devil (which ever it may be) off the token beneath
it, as it will by necessity be either Man or the Angel.
You may now collect the four tokens together (without showing the other two
because there is an extra devil there) and put them away . . . OR ELSE
You may ‘clean up’, thus:
If she chooses the stack with the actual Devil in it, show it and the other token
openly. Then pick up the other two and perform an Okito toss, pretending to flip
the counter but actually leaving it in its orientation to fall on top of the other two
and then turn over the final token thus to show them all one last time.
If she chooses the stack with the feke counter/Devil token in it, reveal the Devil
with the usual double lift, turn over. Slide the feke aside to reveal the token
beneath it as you pick up the other stack of two with the other hand. Now place that
face-down stack directly on top of the face-up feke as you are picking up the
indifferent face-up Angel or Man and display it for only a moment before turning it
face-down and placing it on top of the face-down stack.
Now perform a Jordan Count (with the counter-face-down feke at the bottom),
thus:
Holding the stack as before, thumb off the first face-down token onto your
‘opposite’ palm. Now thumb off the second token on top of that. Now steal back
that second token as you thumb off both the third token and the feke beneath it.
Now thumb off the ‘new’ bottom token (formerly the second token) on top of that.
Having shown ‘all’ the backs again, turn the whole stack face up and spread them
out to display the four different faces, including the counter.
Pack them up and put them away . . . OR ELSE
You could actually begin the routine with this handling to demonstrate the power
of the Devil to attract the spec. Now that the tokens are all face-up, you may carry
on as outlined above with the first Confundamus routine and proceed down
through the finale outlined as Variation Four, above.
Prof. BC’s favourite opening: Another Joran-Ansley Variation
Using the same handlings taught in the effect above, I enjoy performing this next
handling very much indeed.
Begin with the tokens stacked face-up in their box as follows:
Devil-up feke
Angel
Man
Devil
The feke is on top with the Devil side showing, the other tokens are face-up below
that as indicated.
Open the box and display the devil.
“This is the only chap you need to watch out for,” you say.
Now tip the tokens out on your palm, automatically turning the stack face down.
Set the box aside and take the tokens between your fingertips and thumb as
described previously.
Perform a Jordan count as follows.
“I am going to count through these four brass tokens like so: One,”
Use your opposite thumb to pull off the top face-down token into your opposite
palm.
“And as I count through them, you are going to tell me to stop anywhere. I will
count like this: Two,”
and you steal back the first token as you thumb off the second. (You now have
only one token on your opposite palm, but do not fret. It will appear as if it is
simply covering the first completely. No one ever catches this.) Maintain a steady
counting pace and say,
“Three,”
as you thumb off the next two tokens together (this is a very simple move as you
are raking the remaining two tokens off of the stolen one at the bottom of your
fingertip grip). And then,
“Four,”
as you add the final (stolen) token to the top of the stack in your other palm.
“I will do this again. You will stop me whenever you wish, at one, two, three, or
wait for the fourth one—your choice. I will go very slowly to offer you plenty of
opportunity to make up your mind where you wish to stop. Ready?”
Here you pick up the stack between your finger’s ends and thumb as before, but
this time you will perform an Ansley count. You begin.
“One.”
And you thumb off the first token onto your opposite palm as before. This time
you hold that token slightly out to the spec expectantly, offering her ample
opportunity to say stop if she wishes.
If she says stop here, you merely turn that token face up to show
that she has stopped on the Devil. Game over.
If she does not stop you yet, you move to thumb off the next token, but you
actually steal back the first token and thumb off the next two simultaneously.
“Two.”
Again you hold the tokens slightly out to the spec expectantly, offering her ample
opportunity to say stop here if she so desires.
If she says stop here: you now have a Devil at the bottom of each
stack, left and right. Place the stacks down, side by side, and now
you allow her the ‘additional’ choice of the left or right stack—
telling her (as in the previous handling) that she can only lose if the
Devil is at the bottom of the stack she picks . . . of course, she cannot
help but choose wrongly.
If she again does not stop you here, you thumb off the next token.
“Three.”
Once more, you hold the stack of tokens slightly out to the spec expectantly,
offering her ample opportunity to say stop here if that is her choice.
If she stops you here, you have (to my mind) the best choice of
revelations (because it builds most theatrically): you still have a
Devil at the bottom of the stack and a Devil alone in your dominant
hand. Similar to before, place the stack down and the single token
beside it to allow her the ‘additional’ choice of the three or the
one—
“This might be more difficult than you imagine,” you tell her. “The
stack of three could represent the Trinity, where the Devil will not be
found. Or it could represent the Devil’s Tritone. By the same
reasoning, the single token could represent the One True God, and
you are safe, but it might also indicate isolation and selfishness,
which are tools of the Devil. You must be wise now and select.”
If she chooses the 3-stack, you say, “We need only worry about this
group if the Devil is in his hell—at the very bottom of the group.”
You turn over the whole stack to show the Devil is indeed there.
Then ribbon spread the three to reveal the Angel and Man.
If she chooses the single token, begin by picking up the 3-stack (still
face-down) and offer another false count (these tokens offer a much
easier false-count handling than playing cards, and with very little
practice you will be fooling even yourself). Thus:
Thumb off the top token, saying, “You could have stopped me on
this one, but you did not.”
Now steal that token back as you thumb off the next two, saying (as
though you thumbed off only one), “You might have stopped me
here, you had your chance, but you did not take it. Were you right or
wrong? We cannot yet know.”
Now hold out the token remaining in your dominant hand (the one
you actually stole back), saying, “You had two chances at this one,
though. You could have stopped me on it when we began. You could
have chosen it now, but you did not choose it either time. Did you
avoid the Devil both times or pass up an opportunity for salvation?”
You turn it over to reveal it is either the Angel or Man. “Never mind,
all’s not lost.”
Now, as you are showing that token, casually turn the other two over
in your opposite hand (secretly moving the feke Devil face-up on the
stack of two) and put the Angel/Man face-down on top (face-to-face
with the feke Devil) and immediately and openly take up the first two
 tokens (the top and feke) open the stack like a book, with a slight
flourish of your opposite hand you will give the impression of
turning over the bottom token (the Angel or Man, whichever you did
not reveal before) as you ribbon-spread the other two on your
dominant palm (the Angel/Man you revealed previously with the
counter showing on top of it).
You have thus shown all three of those tokens, leaving only the
single, selected Devil to turn over still on the table. She has lost
again.
If she still does not stop you here, you thumb off the last token.
“Four.”
And now you say, “Do you mean to stop here, or did you miss your chance?”
If she smiles weakly (don’t you hate specs who smile weakly?), you
nod your understanding. “I will explain again.” Go through the Jordan
count as before (Thumb one, One; Steal it as you thumb the next one,
Two; thumb off two, Three place the last one on top, Four. You are
set to repeat the Ansley count and have her make her selection.)
If, however, she indicates that she wants to stop on the last token
(#4), well and good, you have another superior revelation
opportunity. You now have a Devil at the bottom and another at the
top of your stack.
“I want to give you every chance to choose well. We have a full
stack again, and the Devil could well be in the middle—in which
case you are safe because he is insulated from you. But he could be
at the top or bottom. If I turn over this top token, and it is the
Devil—well—the prospect is not very good for you. I will give you
the opportunity, however, of choosing the opposite token—all the
way on the bottom of the stack. Of course, that might be the wrong
choice to make. Still, your odds are pretty good, four-to-one in
favour of you. Do you want the bottom or top token?”
Of course, whichever she chooses, you either turn over the top to
reveal the Devil or turn over the whole stack to reveal the Devil.
 [OPTIONAL] CLEAN-UP
If you wish to finish cleanly, here are two (optional) moves to end
with the diverse four tokens openly displayed:
Top revealation move: If she has you turn over the top (#4) token,
take it off the stack and turn it over to reveal the Devil. Secretly turn
the 3-stack over as you return the devil to it, placing it face-to-face
with the face-up Devil feke. Immediately open the stack like a book
between the second and third tokens (taking two tokens in each
hand. Carry away the Devil and feke, turning them both face-up to
display them as you secretly turn the 2-stack face-down again.
Return the two to the top and take off the third token, carry it away
with the first two, turn them, and display it. Repeat for the fourth.
Ribbon-spread all four across your palm.
Bottom revealation move: If she has called for the bottom token, you
turn the entire stack to reveal that she has selected the Devil (feke).
Remove the feke and table it, face up. Observing that ‘you could
have chosen any of these three’ casually count/thumb through the
face-down 3-stack, reversing its order to move the face-down Devil
to the bottom. Pick up the feke (devil remaining face-up), and as you
are talking (telling her the significance of choosing the devil, for
example) place the feke face-up (devil showing) on the face-down
stack. Casually let her notice that the devil is face-up on the stack.
On the pretext of reaching for the ‘turning’ plate that you will use,
casually turn the whole stack over in your hand, bringing the real
Devil face-up to the top. At the appropriate moment, set the whole
stack down and, in describing how the next phase will work,
casually pick up the tokens one-by-one until all four have been seen
to be different (very casual, with no attention drawn to the fact).
This is an effective opening presentation because it
1. forces a Devil choice from apparently a free selection of the four tokens,
2. casually demonstrates that the four tokens are blank on one side and have
four different images on their faces, and
3. finishes up at a perfect point to move into the Main Confundamus Routine.
Additionally, if this opening might appear a bit too ‘magical’ (with the performer
doing all of the counting/handling) it moves very quickly into the wholly hands-off
presentation described initially—and the spec is left remembering that she had
complete control throughout the whole routine.
Finally, if you then finish with the ‘Beat the Devil’ finale handling (described
above), you will show the spec a number of variations that will keep her mystified
at how the Devil can keep intruding into her life (no matter what she may do!)
Taken together, the Prof BC opening followed by the Confundamus routine
(repeated as often as the spec remains interested, employing the variations as
needed or desired) and ending with the Beat the Devil finale gives you a full
presentation in a single box.

FINAL THOUGHT
If you are table-hopping, or otherwise performing this for groups (small or large), I
have found it rather diverting, when the opportunity arises, of allowing one of the
other specs (usually a loud one who thinks he can pick better) to give it a go and,
indeed, allow him to avoid the devil. This not only demonstrates that the tokens are
not rigged (they can be beaten) but more importantly that the main spec is the one
that the Devil has his eye on. Only she loses time after time, even when an
‘interloper’ intrudes and ‘gets one right’. You go straight back to the main spec,
and she continues to lose.
If the loud one is particularly obnoxious (you know the type), you could even
‘remove’ the ‘curse’ from the first spec (do this openly, intentionally, by giving her
a holy medal or the like) and letting her win one against the devil before turning to
the loud spec and letting him try his luck/soul against the newly enraged demon
who has just been beaten.
Your point, of course, is that medieval priests used this exercise to convince
parishioners of the need to get into church. The devil has his eye upon them, and
these specs in particular require salvation and protection from evil.
The Heavenly Variation
What if you are doing a church date or simply do not want to play it dark? You
may easily have the spec win every match against the devil (with the aid of angelic
protectors/a holy medal?) by the simple expedient of changing your story* and
remembering to turn Heaven towards the Odd side each time. Done.

*In 1589, Queen Elizabeth I challenged (some say ordered) her spiritual advisor,
John Dee, to prove categorically the existence of God. Dee spent the next four
years seeking an answer to his monarch’s demand and ultimately devised this test,
which placed the Almighty in a position He could not avoid: to save God’s chosen
soul from Satan. Time and again Elizabeth was given the chance to trip into hell,
but each time, unaccountably (except for the direct intervention of God Himself),
she won the contest and beat the devil.
Before us is an exact replica of Dee’s God Test, and through it we can glimpse
evidence of The Eternal.
. . . it is an interesting psychology to observe, but you will discover that specs who
win at each try tend to take all of the credit for it to themselves whilst those who
lose will nearly always attempt to ‘figure it out’. We are an arrogant species.
 ORIGINAL HANDLING
Before streamlining the presentation, as outlined above, my Confundamus
presentation was a bit more involved. I include the following routines because they
offer additional alternative handlings that you may wish to employ; they are also
substantially showier for a larger-group, parlour or stage presentation.

You might also want to mix and match stories and/or handlings from the new (above)
and original (below) presentations. The original follows:

Before the routines commence, you select a spectator who appears to possess a ‘pure
and radiant soul.’ The spectator, who is now to become a sort of Faustus, or
necromancer, will attempt to confound the devil and gain control over fate.

You tell the tale of Faustus, and/or other such necromancers,

who attempted to control their fate by controlling the powers of
Hell itself. This required the use of a ‘magic circle’, and to create
the circle a series of rites had to be performed. The
Confundamus in which the devil was beaten at his own game
and ‘cast out’ of the circle was the most important rite of all . . .

The spectator is asked to select one or three other person(s) to be the ‘devil’s
advocate(s).’

Each of the ‘devil’s advocates’ is now asked to make an entirely free choice of one
of three ‘instructions from the devil’ that you lay before him. There are a total of
three bags. Each contains a single ‘Entity’ representing either MAN (Earth/Soul);
ANGEL (Water/Salvation); or DEVIL (FIRE/Damnation). The ‘Entities’ are shown
and described whilst the ‘devil’s advocates’ give their ‘Entities’ to the necromancer.

Each bag also contains a rolled scroll representing the Instructions of the Devil.
These are left in their bags for the time being.

There is no control, no force; all is just as described and entirely transparent. It is

now time for the routines to commence.

The spec sets about to create the necromancer’s protective circle. She calls on any
one of the ‘devil’s advocates’ (the one who presented to her either the MAN,
ANGEL, or DEVIL ‘entity’) and asks him—acting on the devil’s behalf—to
challenge her and attempt to thwart her ‘pure and radiant soul’ and penetrate the
necromancer’s protective circle.

But you have one word of warning yet to impart: unlike fair games where ‘best two
out of three’ wins, this is a devil’s game, and the devil is never fair and always
cunning. The necromancer must realize that every challenge, each bout, is an all-or-
nothing contest. The devil may win only once, and, if he wins, he wins all; yet the
necromancer must win every time in order to cast out the devil.

And so the contest begins . . .

THE ROUTINES
(in no particular order)
 MAN

Everyman: a Medieval Play of Morality

HEAVEN HELL

This is a struggle for the SOUL OF MAN. In particular, the

necromancer/spectator’s soul is at stake. The spectator is now asked to take up
the three ‘Entities’ and lay them out in a particular configuration before her but only
so that she alone can see. You ask her to place the Man between the Angel and the
Devil, for we are now in a struggle for the very soul of Man.

Now the spec is asked to place one hand covering the Angel and the other covering
the Devil, for we are to begin the contest.

“Switch them,” you instruct. “Place whichever is on the right on the left and vice
versa. The struggle for the soul of Man has begun. Do you see? Man can never know
if the devil is on his right or left—only the pure soul will be guided to salvation, and
that now is your task. You must confound the devil, who is now amongst us: for he
is here by attorney” (indicating the devil’s advocate).

“His instructions from his Dark Master are sealed and in his hand. Can you confound
the Master Deceiver? You must make a choice and answer for the soul of Man, for
you are gambling now with your own soul! Think of any number you desire so long
as it remains under ten. Any number at all. Do not speak the number aloud. It must
remain locked in your mind, for that is the only possible place safe from the Dark
One. Do you have a number firmly in mind?”

“I have.”

“Good. Remember it. Do not lose track of it, for we are at the crossroads now. You
are now to mix the three ‘Entities’, once for every number up to and including the
one you have chosen. You may choose left, right, or center. Place one hand on one
and the other on a second and switch them: that is one. Now select two again, any
two at all, and switch their positions: that is two. Now continue doing this for three,
four, five, whatever the number is that you have secretly selected. Do you
understand?”

“Yes.”

“Please do this in complete silence.”

She completes her task.

“The ‘Entities,’” you say, “are now in an arrangement that no one but yourself can
see, is that right?”

“It is.”

“And it is an arrangement that you could not have predicted yourself even twenty
seconds ago. Is that true?”

“That is true.”
“We are in the hands of pure chance, then. Yet you must now make a choice. Do not
point. Do not speak. Do not even look at the ‘Entity’ you will now select. Merely
think Water, Man, or Fire.* Just one. Be clever and remember that you are trying
now to outsmart the Devil himself. Choose the one that will confound him.
Remember that you are struggling for the soul of Humankind—your own soul.
Choose wisely. When you have one of those in your mind, Water, Man, or Fire,
indicate by nodding your head.”
*or Right, Left, or Center if you are performing this ‘blind’—see the instructions
under ‘Close Up’ at the end of this manual for the ‘blind’ handling.

She does so.

“It is not too late to change your mind. This is a roulette wheel, but a pure and radiant
soul can use her will to beat the very devil. Are you ready?”

“I am.”

“We turn now to the ‘devil’s advocate.’ You have in your hand the instructions from
the Infernal One. It is a fixed choice. It has been in your hand from the start. The
only question now is whether the soul of Man is to be lost to the Devil or saved by
a pure and radiant soul. Please open your scroll and read the Dark Master’s
selection.”

The ‘devil’s advocate’ opens the scroll and reads:

Clockwise go around to right~

And take the next that comes to sight!
[Note: if your audience does not speak English, you will want to
translate this instruction into their most comfortable language. You
need not make it rhyme. It merely needs to say something like ‘take the
closest one to your choice except the one to the immediate right.’]**
**See the special note on wording this instruction at the end of this manual.

You now say: “Not the one immediately to the right. Very well. Place your finger
on your selection . . . if one is immediately to its right, turn it face down and now
tell us what ‘Entity’ is nearest to your selection, ignoring that one immediately to
its right?”
The spec/necromancer will reply with Water, Man, or Fire.

“And what ‘Entity’ did you select?”

She will respond with Man, Fire, or Water, and it will be discovered that, because
Man consumes Water; Fire consumes Man; and Water consumes Fire, that the
pure and radiant soul has beaten the devil.

Now the necromancer is asked to select one of the two remaining ‘devil’s advocates’
to stand with his scroll, the Master’s instructions, in his hands.

[METHOD comes at the end of all 3 routine descriptions]

ANGEL

NODH AND YHOD

This is a struggle for the HEART OF
MAN. In particular, the hearts of all who
help the necromancer. The
necromancer/spectator is now asked to
take up the three ‘Entities’ and mix them
secretly and thoroughly before laying
them out before her in a manner that she
alone can see.

You ask her to be careful not to mention

where any of the ‘Entities’ may be but
only to indicate, yes or no, whether the
‘Entity’ to the extreme left would
consume the one to the extreme right—
just yes or no, nothing more.

Her answer (whatever it may be) unnerves you, and you respond, “Then we must
proceed very carefully indeed. The devil has begun with the upper hand. It might be
better for you to deflect the mixing of the ‘Entities’ and try to confound the devil.
Please select one or up to five persons here with us to act as your assistants. Please
do not include any of the ‘devil’s advocates’ because, as you might guess, they are
not working for us tonight.”

She makes her selection of 1, 2, 3, 4, or 5 participants, and they stand. [or she can
choose one who will give her several instructions for switching the ‘Entities’.] You
now instruct them:

“You have been chosen to assist in this struggle against the devil. You will help mix
the ‘Entities’ so no one can possibly predict how they will end up. You will each
offer a unique mingling of elements. You will choose left, right, or center, any two,
and ask her to switch those. So, for example, you might say, ‘Switch the left with
the center’ or ‘Switch the right with the left’ or any other combination you like. But
I will ask you now to decide silently what you are going to say. Fix that in your mind
and do not change it because we cannot allow you to be influenced by outside forces
[glaring at the devil’s advocate]—you will now see what I mean by that. Have you
each made your selection and fixed in your mind what you will tell her to do? Good.
In order to add an even greater element of random chance to this, the necromancer
will now call on you in any order she pleases. When she calls you, tell her which
switch it is that you wish her to perform, and then sit down. Do you understand?
Excellent.”

You turn the control back to the necromancer. She calls on her assistants one-by-one
in any order. They tell her what switches to make, and she follows their instructions.
At last, you say the following:

“The ‘Entities’ are now thoroughly and randomly mixed. You could in no way have
predicted the current pattern even a few moments ago. Is that correct?”

“It is.”

“You must now make your selection. Please remember that you are trying to beat
the devil. What I have failed to mention is that everyone who has assisted you is in
mortal danger of discovery, for those that attempt to thwart the devil become the
devil’s prey. Your only hope for them is to succeed: beat the devil and keep them
hidden from his sight. Please choose carefully. Place your hand over the ‘Entity’ that
you believe will beat the devil. Do you have it? Good.”
You continue: “We turn now to the ‘devil’s advocate.’ You have in your hand the
instructions from the Infernal One. It is a fixed choice. It has been in your hand from
the start. The only question now is whether these fine people are to be exposed to
the Devil’s Unblinking Glare or else kept safely hidden from him by a pure and
radiant soul. Please open your scroll and read the Dark Master’s selection.”

The ‘devil’s advocate’ opens the scroll and reads:

Anti-clockwise I bid thee go

And take the first that there doth show!
[Note: if your audience does not speak English, you will want to
translate this instruction into their most comfortable language. You
need not make it rhyme. It merely needs to say something like ‘take the
closest one to your choice except the one to the immediate left.’]
**See the special note on wording this instruction at the end of this manual.

You now ask: “If there is one immediately to the left of your selection, turn it face
down, if not, turn the one farthest away from your selection face down. Now, what
was your choice?” The spec/necromancer will reply with Water, Man, or Fire.

“And which ‘Entity’ of the devil’s choosing remains face up?”

She will say Fire, Water, or Man, and it will be discovered that, because Water
consumes Fire; Man consumes Water; Fire consumes Man, the pure and radiant
soul has beaten the devil.

Whenever the MAN and ANGEL Routines have been completed,

in whatever order they come, you point out that, had the first
instructions been read now, selecting the left rather than right or
right rather than left, the devil would surely have won both times!

Now the necromancer is asked to have the remaining ‘devil’s advocate’ stand with
his scroll, the Master’s instructions, in his hands.

[METHOD comes at the end of all 3 routine descriptions]

 DEVIL

CÆCUS: The Blind Selection

This is a struggle for the MIND OF MAN. In particular the minds of everyone
watching the proceedings. The spectator is now asked to take up the three ‘Entities’
and mix them secretly and thoroughly before laying them out before her in a manner
that she alone can see. You now wish to engage in some of the switching yourself.

“Please switch Water with whatever lies to its right. If nothing is there, leave it where
it is . . .
“Now let’s have you switch, oh, let’s see, Fire with whatever is on its left. If nothing
is there, leave it where it is . . .

“And, finally, please switch, what’s left now, Man? Okay, switch him with whatever
is on his right, and again if nothing is there, just leave him where it is.

“I have done the mixing this one time because it is important for you to be out of all
control of what happens next. Turn each ‘Entity’ face down so you cannot see which
is which. Turn the center one first. Now the left. And finally turn the right. Each is
now face down, yes?

“And now select someone to help you, avoiding the ‘devil’s advocates’ because, of
course, they aren’t going to be of any help to us.”

She chooses her first helper, and you instruct that person thus:

“Have our necromancer make as many moves as you like. Tell her to switch the left
with the right, the center for the left, the right for the center, whatever you like, up
to as many as three moves. One move, two or three. It is entirely up to you. And then
we will proceed.”

The first helper then tells the necromancer to make some moves and allows her time
to perform each. This helper may say something like ‘switch the left for the right,
now switch the left for the center, and now switch the right for the left. Okay, I’m
done.”

The helper is thanked and sits. You now address the necromancer.

“It is up to you. Will you have another helper, or are we finished?”

If she elects to have another helper, the process is repeated as many times as the
necromancer wishes until she finally says we are finished. You then say the
following:

“You are convinced that the ‘Entities’ are well lost?”

“Yes.”
“And even you do not know which is which? You are in the dark?”

“That’s right.”

“That is well, for this must be a completely blind attempt. It is then time for the first
selection. Say right, left, or center.”

The spec does so and picks up her selection, reading it out, let us say it is Water.

“And so now we are ready for our ‘devil’s advocate.’ You have in your hand the
instructions from the Infernal One. It is a fixed choice. It has been in your hand from
the start. The necromancer’s choice has been blind and not even she could not know
what it would be. Please open your scroll and read the Dark Master’s selection.”

The ‘devil’s advocate’ opens the scroll and reads:

Portents of dark night agree~

Select the one to left for me!
[Note: if your audience does not speak English, you will want to
translate this instruction into their most comfortable language. You
need not make it rhyme. It merely needs to say something like ‘take the
one to the left for me.’]
**See the special note on wording this instruction at the end of this manual.

You then say, “If he is right, all of us in this room will fall under the control of Hell’s
dark forces. Which has he chosen? The Devil’s selection is the one on the left. Turn
it over and read it out.”

The spec turns over Fire.

“And your Water consumes his Fire! The Devil has lost. You are the pure and radiant
soul, and you have beaten the devil three times.”
METHODS:

The routines are labeled by colour: Blue, Yellow, and Red. This is to avoid placing
them in any hierarchy and to indicate that they may be performed in any order and
yet still build to a fitting climax.

The MAN Routine (Everyman) is a struggle over the spectator’s soul.

The ANGEL Routine (NODH and YHOD) is a struggle to save the souls of those
who have assisted.
The DEVIL Routine (CÆCUS) is a struggle to save the souls of all who witness
the event.

You may approach the routines in any order you please, and yet the stakes remain
high and can be played as increasingly important.

Furthermore, by freeing yourself from having to begin with one and end with
another, you allow an additional illusion of free choice into the proceedings. You
simply hand out the scrolls. The spectator may point to any one of the ‘devil’s
advocates’ she wishes, and you move into the performance of that routine.

Each routine requires very little on your part besides keeping the proceedings
moving along at an interesting pace and unfolding the stories as they appear.
You may, in fact, merely memorize (or write down in a small Grimoire that you refer
to during the presentation) the following very simple, automatic steps, and each
presentation performs itself.

Begin by drawing the Necromancer’s circle, thus:

“The Line”

The Brass ‘Entities’ are lined up along ‘The Line’, side by side, so this line must be
at least 6 inches (15.25cm). The middle tag/‘Entity’ will always be centered on the
vertical line thus:

After the tags/‘Entities’ are switched about, the final move will be to slide the center
tag/‘Entity’ down the vertical line to the lower end of the circle.
This configuration not only underscores the goal of ‘clearing’ the Necromancer’s
Circle but also creates a clear image from which to fulfil the orders from ‘the Dark
One’ when he calls for movements clockwise or anti-clockwise.

The Routine Methods:

The MAN Routine (Everyman) Ask the spectator to look at the three brasses. You
are far away and cannot possibly tell which is which. Have her examine the Angel
first and put it down in front of her, face up. Next she is to look at the Man and place
it beside the Angel. Finally, she regards the Devil and places it down on the other
side of Man. You then tell the tale of the struggle of good and evil over the soul of
Man, and thereby mask your real reason for having the pieces laid out in that
particular order.

In fact, you only need to ensure that she is looking at the brasses in the proper order.
From the spec’s perspective, the order is precisely the way she laid the brasses down:
ANGEL MAN DEVIL
This is actually the true order that Heaven and Hell are presented on the
Medieval Mansion Stage, with Heaven on the left and Hell on the right
as viewed by the spectators.
HEAVEN MAN HELL

Provided the brasses begin in that order, she may switch their positions as often as
she likes provided she does so an EVEN number of times, and the presentation will
work without a hitch.

Do note that the script calls for you to ask for the first switch:

Now the spec is asked to place one hand covering the Angel and the other
covering the Devil, for we are to begin the contest.

“Switch them,” you instruct. “Place whichever is on the right on the left and
vice versa. The struggle for the soul of Man has begun. Do you see? Man can
never know if the devil is on his right or left—only the pure soul will be guided
to salvation, and that now is your task. You must confound the devil, who is
here by attorney.”

This of course COUNTS as switch #1 and is an ODD switch. The next called (#2)
switch will be the first EVEN switch. You ask her to make any secret switch she
desires, and you are back to EVEN and ready to proceed.

This ‘place one hand on the Angel’ then ‘the other on the Devil’ also allows you to
double check that the Angel is indeed on the spec’s left and the Devil on her right.
Just a quick check before you begin. If they are reversed, switching them starts you
correctly and consequently does not count as the first switch.

How do you have her switch the pieces an EVEN number of times?
1. Dave Koenig, in his ROSHAMBO has the brilliant idea of having her
silently choose a number from one to seven, telling no one, and make that
 many switches. Then, to ensure they are well shuffled, she is to repeat that
number of switches a second time. It does not matter what number she is
thinking of, doing the switches twice ensures that they have been switched
the requisite EVEN number of times.

2. You might instead ask a member of the audience to call out a number of
times for her to make switches. If he calls out an EVEN number, have that
be all. If he calls out an ODD number, have her switch that many times and
then, as before, repeat that number of switches a second time—or else ask
the spec/necromancer to make ‘one more secret switch’ that she alone can
know.

3. My favourite way of assuring an EVEN number of switches is this: I ask her

to make the first switch (the right for the left). Now I ask her to secretly
make another switch, any she likes. Now I have her play directly against the
devil’s advocates. One tells her to make a particular switch, then the second
tells her, then the third. Finally, the necromancer is allowed to make the final
switch secretly, so only she may know. This is a total of six switches (mine,
hers, the 3 devil’s advocates’, and then hers again). Ready to go!

a. You may also have her make a switch after each of the devil’s
advocates makes a switch for a total of eight switches (mine, hers,
DA#1, hers, DA#2, hers, DA#3, hers). You may ask ‘what stops her
just undoing what the others call?’ The answer is ‘nothing’—and so
she beats the devil! You see, anything works.

So long as she makes an EVEN number of switches, no matter which two she
chooses for each switch, the routine will work.

Remember, after all the switching is complete, to have the central brass tag moved
down to the circle to create a triangle of Entities.

The ANGEL Routine (NODH and YHOD) This time the spectator shuffles up the
brasses however she likes and lays them out in any order that suits her. All this is
very fair. Now you ask a very simple, direct question:
“Tell me, without revealing the names of the ‘Entities’ before you,
would the one on the extreme left consume the one to the extreme
 right? Remember that Fire consumes Man; Man consumes Water;
Water consumes Fire. Does the extreme left consume the extreme
right—yes or no?”
She will answer either “yes” or “no”, and you reply:
“Then we must be very careful. You have inadvertently laid the brasses
down in what is known as the devil’s delight, and the Dark One has
begun this hand with all of the advantage.”
It seems a bit of harmless window dressing, but it is in fact everything you need to
know in order to make the routine work.

If she says “yes”, you think YHOD because YES = YES, MAKE THIS ONE ODD;
If she says “no”, you think NODH because NO = NO, DO NOT MAKE THIS ODD.
Therefore, “yes” = ODD while “no” = EVEN (or NOT ODD)

You have her make an ODD or EVEN number of switches depending upon her
answer, and the routine will work flawlessly.

For this presentation, you have her select ‘helpers’ from the audience. These helpers
each have her make between one and three switches, which they call out to her. You
will need to keep track of whether all of them have in total made an EVEN or ODD
number of calls.

If they finish on the wrong foot (EVEN when you need ODD or else ODD when you
need EVEN) simply as the spec to make one more secret switch without saying
which two she is switching, and you are all set. The routine will work itself from
there.

Remember, after all the switching is complete, to have the central brass tag moved
down to the circle to form that triangle of Entities.

A feature of Confundamus is, if you notice, the MAN Routine has

the devil call for the ‘clockwise’ brass while the ANGEL Routine
shows him calling for the ‘anti-clockwise’ brass. You should call
attention to this fact because it will appear to the audience that, if
this request was made for the previous mix, or else the previous
request had been applied to this mix, the devil would have won.
The DEVIL Routine (CÆCUS) again you ask the spec to shuffle and lay out the
brasses in any manner she desires, again looking very fair. Now you ask for some
shuffling, which looks entirely like the shuffling that has been done all along.

You ask for one brass to be switched with the one to its right, the next to be switched
for the one to its left, and the third to be switched with the one to its right. If in any
of these cases there isn’t a brass on that side of the ‘Entity’ the spec will simply leave
that brass alone.

It looks entirely random, but in fact you are creating a Target brass. The second one
you call for (the one that goes to the left) will, by action of the request, end up all
the way to the left of the group after all the switching is done.

It does not matter if you ask for Man or Water to go right first or last so long as you
request Fire second and ask that it go to the left. Then finish off with either Man or
Water, whichever you did not call for first, and ask for it to go right.

Now you must keep track of your Target.

This is not nearly as difficult as it sounds.

Have the spectator choose a member from the audience.

This helper may ask for up to three switches. He will say ‘switch left for center’ or
else ‘left for right’ or ‘right for center’ (those are all of the moves possible, though
there seem to be more because you can reverse the order of the request while still
asking for the same thing).

You begin with your Target (FIRE) on the left, where you had it ‘innocently’ moved.
On your right hand (or left if you prefer) you make a loose L with your thumb and
index finger. A very casual version of the hand sign for L:

This stands as a silent reminder of where your Target is.

Now let us say that the helper calls for a left-for-center

switch. As Left is your target, you follow it to Center by
changing your hand sign to C:
Again, you hold this very casually and loosely at your side.

You may gesture or gesticulate with this hand as you talk.

Just be certain that it returns to the Target reminder position each time it falls to your
side.

Let us say that the next switch is right-for-left. As this does not affect the Center
brass, you may safely ignore it. You are only listening for someone to call for your
Target (now Center) to move.

When someone requests a right-for-center switch, you need only change the
orientation of your hand again to make a loose R:

The crossed fingers I find difficult to maintain in

a casual manner and therefore opt for the two fingers side by side (or in fact any
gesture that is not the L or C will work now).

Continue to pay attention to the movements of your Target, keeping it plotted on

your hand, until all the moves are exhausted and the spec is convinced everything is
well shuffled and not even she knows which is which.

The spec must now select any brass EXCEPT the Target.

Ask her to name any location: left, right, or center.

If she names a non-Target location, have her pick that one up and read it out.

If she instead chooses the Target location, have her place her hand on that one and
name one of the other locations and switch those two. This will appear to be more of
the same, only now the spec is allowed to make a few switches. Just repeat this until
she (finally) names a non-Target location and have her pick that one up and read it
out (‘Now that you will agree they are well and truly lost to all human knowledge.’)
 Said another way: A one-in-three chance exists that the spec will
inadvertently select the target brass. If it occurs that she says ‘right’
when the target is on the right, you calmly respond with “and now also
select the center or the left, which?” When she names the center or the
left, you ask her to switch the right with that one. It now appears that
the spec is merely continuing the mixing that was begun in the
audience. You continue keeping secret track of the target location and
simply cycle back to the scripted question “it is now time for the second
selection.” In this way you can keep up the mixing until the spec names
one of the two non-target locations. When she does, have her lay her
hand upon that brass as you say, ‘and do you believe the ‘entities’ are
well scrambled, and you cannot be certain of which is which?’ when
she replies in the affirmative, you continue to the end of the routine.

When she reads out her selection, it will by necessity be either Man or Water, and
you then know which other brass must be the devil’s:
If she picks Man, the devil must have Water.
If she picks Water, the devil must have Fire.

Because you now know where everything is (the Target you have kept track of, the
brass in her hand, and the ‘other’ one still on the table, which you know by process
of elimination) you may guide the final revelation without fear.

The ‘devil’s advocate’ reads out that the devil elects to have the ‘one to left for
me’.

If the desired brass is on the left, have the spec pick that one up and read it out: she
wins.

If the desired brass is on the right, point out that the devil wants the brass that is on
his left (the devil’s advocate who is facing the spec: the one to left for me), which
would be the one on the spec’s right.

And everything looks very clean with no apparent equivoque even for a savvy
magician who might be watching the proceedings.
Note: if the target fire ends up on the right or left, it will remain to the
right or left no matter which of the other brasses the spec elects to pick
up and read.
If, however, fire ends up in the center, it will simply replace the right
or left selection that the spec makes. Thus, if she chooses left, fire
automatically becomes the left brass after she picks up her selection;
likewise, if she chooses the right brass, fire becomes the right-hand
brass as soon as she picks up the far right one, so it is a simple matter
to keep track of the final revelation.
 CLOSE UP
THE ‘BLIND’ CONFUNDAMUS

The above handlings work very nicely in parlour or stage presentations, and although
they work equally well close-up at a table (say, when you are table hopping at a
restaurant), here is a little twist that I have discovered adds greatly to the sense of
mystery at the close-up table.
Turn the plates face-down.
That’s it. Have the spec begin by laying the three plates
out face-up for all to see (they are very attractive, after
all). Tell your tale. She may now arrange them in any
order she likes, any order at all, it really does not matter.
Next have her turn each plate face-down, one after the
other.
Once they are face-down, have the devil’s advocates
begin asking her to switch the left for the center, right
for left, and so forth.
The effect still works like a charm.
The effect of the switches and choices being ‘blind’ enhances the presentation and
creates a natural build as the spec turns over her selection (say, it is Man) and then
the ‘devil’s advocate’ calls for Satan’s choice only to discover, after appropriate
build-up that the Dark One has chosen Water and failed.
So long as the plates are turned face-down one-by-one (and kept in their same
relative position, only face-down) nothing changes. The routines work exactly
as before.
One distinct advantage to playing this routine close-up is you never have to ask
anything at all of the spec. You have no reason to ask her in Nodh and Yhod whether
the plate on her extreme left would consume the one to her extreme right. You can
see the set up before she turns the plates face-down and know yes or no without
anything being asked.
Likewise, for CÆCUS, you need not have the spec work Fire to the left, nor do you
need to keep track of it with the subtle hand cues described above. You need only
notice where Fire is as you ask her to turn the plates face down and then keep visual
track of it as the switches are being made.
Furthermore, because all of the routines are done with face-down plates, you need
not explain why you are having them turned down for CÆCUS.
Indeed, if you like this idea of the ‘blind’ routine, you may perform it this way in all
venues, whether close-up, parlour, or stage.
 A Note on the Devil’s Notes
I have given you some lovely rhyming epigrams for your
‘instructions to the ‘devil’s advocates.’’ You very well
might like them.
Conversely, you might find them a bit ‘precious’ or
possibly confusing to your spec. That is also quite
reasonable. You may always change them so the MAN
instruction reads ‘the next one clockwise’, the ANGEL
read ‘the next one anti-clockwise’, and DEVIL reads ‘the one on the left for me.’ It
very much depends upon your intended audience and your personal performance
style.
DISCUSSION
You always know which routine is ‘in play’ because the ‘devil’s advocate’ tells you.
The three bags each contain one ‘Entity’ as well as the ‘devil’s instruction’ that will
guarantee a successful outcome to that relevant routine, whether MAN, ANGEL, or
DEVIL. The necromancer has only to announce that she will compete against the
one who gave her ‘the Angel’, and you immediately know you are in NODH and
YHOD, and so forth.

Be certain to drive home the Cycle of Universal Compulsion in your opening

remarks:
Fire consumes Man; Man consumes Water; Water consumes Fire . . .
It makes perfect sense, and has the appealing construction of ‘rock, scissors, paper’,
but for the routines to have the most powerful effect, everyone must know what the
rules are so they can anticipate the conclusion and immediately recognize the winner
of each bout. Therefore, be sure you repeat the cycle as often as possible until you
are certain the audience understands.

Naturally, if your performance requires the devil to win all three tries, you need only
perform the routines exactly as written except make EVEN
switches for ODD and vice versa. The routines will automatically
reverse, and the spec will never win. In this way, you can have the
devil play three different necromancers, defeating each one in turn
to establish supremacy over the evening’s proceedings.