Luca Volpe - Horus

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Luca Volpe

HORUS Dedicated to my family and to the love of my life, Rebecca...

Copyright Luca Volpe and Titanas Magic Productions 2009 All right reserved worldwide. No part of this manuscript may be transmitted or reproduced in any way, including but not limited to digital copying and printing, without the written permission of Luca Volpe and Titanas Magic Productions.

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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I WOULD LIKE TO GIVE MY THANKS TO THE FOLLOWING PEOPLE FOR THEIR HELP AND INSPIRATION :

TITANAS : My good friend and producer. He is THE MAN! REBECCA : For the corrections in this book (I forced her to be infront of the computer for hours...I hope she still wants to marry me now!) KENTON KNEPPER : The GURU...I keep learning so much from him! NEFESH : For being the best El salvador Mentalist/Magician...but then I don't know any other magician from El salvador! DERREN BROWN : He stresses me...he is too clever! JAMES BISS : My 'extremely mental friend' MAURIZIO DI MARTINO 'MARTIN' : My brother in magic.and great consultant. TONY BINARELLI : The Magic Made in Italy...in the world! SILVAN : The Master...it is his fault that I became a magician! ANTHONY JACQUIN : For his great tools...Im still hypnotized! PAOLO CAVALLI : He scares me, I think he really can read my mind! DAN "LEBANON CIRCLE" : Great friend and creator of mystical beauty! PATRICK REDFORD : A great thinker. PAUL BROOK : Another great thinker. JOSHUA QUINN : Thinking "out of the box"! RICHARD OSTERLIND : He inspires me! BANACHEK : Just one word...THANKS! PHILL SMIFF : The new wave of mental magic. CORINDA : The classic. BOB CASSIDY : He is "fundamental"!

...and all of my friends at the Magic Cafè Forum and The Magic Circle, London.

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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PUBLISHER'S NOTE

Luca Volpe is an amazing performer and a very clever creator. His "Impossible Prediction" ebook has been praised by so many people in various forums because this guy is just so darn clever. For one more time, Luca makes me really proud to produce a small collection of his brain cells and I hope you enjoy it.

Titanas

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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HORUS INTRODUCTION... I really hope that I pleased all of the purchasers with this book. Included are some of the effects from my professional act that I am sure you will use and add to your own repertoire. I have tried to combine well know methods to create something different. All of the routines are 'audience tested', which means that once you have mastered the effects you will get great reactions from the people. You will also find my "Impossible Prediction" which was a limited release manuscript, given free to the members of the Magic Cafè forum, so if you didn't get the chance to receive the manuscript you will find it here! I have also tried to insert as many bonus tips as possible for each effect, just to make more options available to you, trying to cover any "nuance" ... What I share here is a list of effects straight from my act and I can barely claim any originality on them since its almost impossible to know every little, or big book, that has been written in the past. This is my little contribution to the world of mentalism, so once again, thanks for the purchase and good luck!! Luca Volpe 2009 . Luca Volpe ...feel the real magic...

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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Luca Volpe

DOUBLE CONTROL Professional routine for the stage mentalist

I have tried to combine different methods to create a simple and direct mental routine so that the final result is that the spectators will believe to have 'mind reading powers'. A 'packs small...play big' performance that is suitable for any kind of environment.

EFFECT : You ask two spectators to come on stage. A deck of five ESP symbol cards are shown to the first spectator, who is then asked to choose one, to remember the symbol and to keep in his pocket. Now you take a blank card and draw the five ESP symbols in a random order on the card. Tell the first spectator to concentrate on the position of the card where his chosen symbol is. Turn to the second spectator and give him the card with the five symbols written on it and a pencil. Ask him to draw an 'X' at a random point on the card behind his back. The first spectator needs to look the second spectator in the eyes and visualize the position of his chosen symbol on the card. Once the second spectator has drawn the 'X', tell him to put the card face down on the table. Ask the first spectator to reveal his previously chosen symbol card, for example lets say his chosen symbol was the SQUARE. Now tell the second spectator to reveal his card. He shows the card with the 'X' near to the SQUARE symbol! Show both spectators three numbered chairs that are on the stage and ask the first spectator to choose another ESP symbol from the deck. This time tell the second spectator to close his eyes while you show the chosen symbol to everyone else. Now the first spectator must decide where the second spectator is to sit. For example, let's say he chooses chair number 3. You turn the cards numbered 1 and 2 on the corresponding chairs and reveal the cards to be blank...but when you reveal the card number 3, on it will be printed the chosen symbol!

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WHAT YOU WILL NEED : To perform this effect you will need: -A deck of five ESP symbol cards (circle, square, wavy lines, cross and star). You can also use five blank business cards that you draw the symbols on. -A nail pencil writer. -Two pencils, one that writes and one that does not write (to do this paint a little glue on the tip on the pencil and it won't write). -A couple of blank business cards. -Three folding chairs. -Three cards with printed numbers '1', '2', '3' (on the back of card number 3 there will be the STAR symbol printed on it, the other two will remain blank) these are to be stuck with Blue Tack on the front side of the back of the chairs (PHOTO 1). -Three cards, one of which has a STAR symbol printed on it which corresponds to chair number 2 (the other two are completely blank) stuck with glue or selotape to the back side of the back of the chairs (PHOTO 2). -Three A4 sheets of paper, one with a STAR symbol printed on it which corresponds to chair number 1 (the other two are completely blank) stuck with glue or selotape to the bottom of the chairs (PHOTO 3).

THE CHAIRS ON STAGE : The following list is to clarify how each chair is prepared on stage: CHAIR NUMBER 1: The back of card number 1 (position: front side) is BLANK. The card on the back (position: back side) is BLANK. The A4 paper (position: bottom of the chair) has a STAR symbol printed on it.

CHAIR NUMBER 2: The back of card number 2 (position: front side) is BLANK. The card on the back (position: back side) has a STAR symbol printed on it. The A4 paper (position: bottom of the chair) is BLANK.

CHAIR NUMBER 3: The back of card number 3 (position: front side) has a STAR symbol printed on it. The card on the back (position: back side) is BLANK. The A4 paper (position: bottom of the chair) is BLANK.

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THE PREPARATION : Place in your shirt pocket, the five ESP cards in stack order (circle 1 - cross 2 - wavy lines 3- square 4 - star 5). Place a blank card in your left pocket and in your right pocket the two pencils and nail writer. The chairs are prepared on the stage.

THE ROUTINE : Call two spectators on stage and explain that you will try a mind reading experiment between them. Take the five ESP cards from your shirt pocket, show them the symbols and ask the first spectator (that you will name the TRANSMITTER) to cut the deck as many times as he wants (the stack order will not change). Spread the cards face down and ask him to choose one, but not to look at it yet. Once they have a card, move your hands apart so you have the top half in the right hand and the bottom half in the left hand, bring your hands back together replacing the left hand cards on top of the right hands cards. Ask him to look at his card BUT without showing it to anybody. As you ask him to look at his card put the cards back in your shirt pocket and use the excuse to look at your shirt pocket to peek at the bottom card. Now you know the card that is after the one that you peeked at is the spectator's card! Ask him to put this card in his pocket and you take from your left pocket one blank card. Take the REAL pencil from your right pocket and start to draw the five ESP symbols in a random order (PHOTO 4) paying attention to draw the chosen symbol to the middle right side of the card. Put the pencil in your RIGHT POCKET and put the nail writer on. Ask him to look at the card and to remember in which position his symbol is. After he looks at the card and while you are speaking with the second spectator, DRAW a 'X' with the nail writer, near to the chosen symbol (PHOTO 5). Do not draw the 'X' precisely on the symbol because it needs to look like a random drawing! Give the second spectator the card in his left hand and immediately take his hand behind him, so that he does not have time to look at the card. At the same time, leave the nail writer in your right pocket and take the FAKE pencil (if you find it helpful, you could put a cardboard devide in the pocket to seperate the two sides) give this to the spectator in his right hand that remains behind him (PHOTO 6). Ask the first spectator to look into the eyes of the second spectator and to visualize the position of his symbol on the card. Tell the second spectator that on the count of three he is to draw a little 'X' on the card in a random position. After a few seconds of 'concentration' between them, snap your fingers and ask the second spectator to draw the 'X' (he will not mark the card because the pencil can not write). Ask him to put the card face down on the table (or between his hands), take the pencil from him and put it in your right pocket. Taking your time explaining to them what they have just done (use some "wrong words"). Ask the first spectator for the first time, to name the symbol that he chose before. Turn the card and show to the audience that the second spectator received a MIND COMMAND from the first spectator, he drew a X near to the chosen symbol!

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Take the ESP cards from your shirt pocket, put the spectators ESP card back inside the deck, shuffle the cards and control the STAR symbol to the top. Fan the cards face down and ask the first spectator only to touch one of the cards, take this card, put on top of the deck and make a double lift showing the STAR symbol (PHOTO 7). Use the excuse (to have the deck in your hand) to show everybody the STAR symbol, raising your hand with palm to the audience. Turn your hand palm to you (face the STAR card to you) and with your right hand (or left, if you are left handed with the cards like me!) use your thumb and index finger to take the top card from the bottom corner and lift to show the face to the audience (the left hand will not move from this position) (PHOTO 8). At the same time, put the cards back in your shirt pocket. Now most of the work is done, it is only presentation and showmanship from here! Tell the first spectator to give this card to the second spectator and ask him to choose where he must sit (let him concentrate!). Wherever he is to sit, you will have three OUTS! If he chooses chair number 1, fold the chairs numbered 2 and 3 and show that under these chairs there are blank sheets of paper and under chair number 1 there is the paper with a STAR symbol. If he chooses chair number 2, turn the chairs numbered 1 and 3 to show that on the back there are two blank cards and on the back of chair number 2 there is a card with a STAR symbol. If he chooses chair number 3, remove the cards numbered 1 and 2 to show that on the back they are blank but on the back of card number 3 there is a STAR symbol. Thank both your spectators and give them a big round of applause!

ALTERNATIVE ENDING : It has often happened to me that the spectator chooses the STAR symbol in the first phase, which obviously corresponds to the second phase of the effect (the chair test). In this case, after the spectator draws the 'X' on the card, ask him to keep this in his hands. DO NOT reveal this result but go straight to the second phase and ask the first spectator to choose the chair for the second spectator. Only after this will you ask the first spectator to show his card. This card will be the STAR, the second spectator will show the 'X' mark near to the STAR and when he reveals the card on the chair, this symbol will also be the STAR!

BONUS TIP 1 : If you don't want to use the ESP cards for the second phase you can simply use the chairs test. In this case you can print on the chairs, instead of symbols, 'YES' and 'NO' cards (the preparation for the chairs is the same as described above).

BONUS TIP 2 : If you really like the alternative ending, you can force the STAR symbol from the start!

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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FINAL THOUGHTS : I always perform this routine in my mind show and everytime it works great! It is important to create the right atmosphere during the effect, which is that the two spectators can connect together. Sometimes I have used a married couple to show the connection between them, it works very well. I hope you enjoy this routine! Luca Volpe

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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Luca Volpe H- ACAAN Hallucination Any Card At Any Number

This is my contribution to the famous ACAAN effect, I have tried to create a double effect with a hallucination plot. The method requires a little bit of practice but I can guarantee that once you have mastered the handling, it will be an effect that you will ALWAYS use!

EFFECT : Call two spectators on stage. Ask the spectator on your left to name a card and ask the spectator on your right to name a number between 1 and 52. For example, let's say they choose the 3 of hearts and number 10. You start to deal the cards on the table face down and stop on the 10th card. The spectator will turn this card over to reveal the 3 of hearts. But it is not finished yet, you spread all of the cards to show that they are all blank and tell them that this was just a hallucination. The 3 of hearts is turned over once more but now also this card is blank! Reality or hallucination?

THE METHOD : To do this effect you need a normal deck of cards (blue or red back is irrelevant) and they will need to be prepared in this way: From top to bottom, put in order all the cards of Hearts (Ace to King), followed by Spades (Ace to King), Diamonds (Ace to King) and Clubs (Ace to King). So the first card on the top of the deck is the Ace of Hearts and the last card on the bottom is the King of Clubs. Take the 14th, 27th and 40th cards and make them short cards (just trim a few millimeters). This is so that when you riffle the deck with your thumb you are able to cut to the 14th (Ace of Spades), 27th (Ace of Diamonds) and 40th (Ace of Clubs). Put this deck in the case and leave it on the table. You will also need a deck of cards the same colour as the other deck but with a blank face. Divide your left pocket in to two sections (I use a postcard as I find it fits perfectly) and put the blank deck of cards in the side furthest from your body.

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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THE ROUTINE (1st HANDLING OF THE DECK) : Call two spectators on stage, stand one on your left and one on your right and have a table in front of you. Ask the spectator on your left to name a card, let's say that he chooses the 3 of hearts, ask the spectator on your right to name a number, let's say he chooses number 10. You know that counting from the top, the 3rd card is the 3 of hearts. Start to deal the cards face down on the table and when you arrive at the 3rd card put this in 'out jog', continue to deal the cards until the 10th. Put the 10th card to the side and then place the dealt cards that are on top of the 'out jog' card back on to the deck that is in your hand. On the table you now have the 3 of hearts in 'out jog' and another two cards underneath, take all of these cards and place them on top of the deck. Now the 3 of hearts is the first card on top of the deck that is in your hand. For the spectator it looks like you have just taken the cards from the table and put them back on top of the deck, when really you have cut your 'out jog' card to the top (PHOTOS 1 - 2). Take the deck of cards in your right hand and the card from the table with your left hand. Turn to the spectator on your left and ask him to open his hand, at the same time 'Top Change' the indifferent card swapping it with the 3 of hearts. Put this card in the spectator's hand and explain what has happened up until now. Ask the spectator to turn the card and meanwhile, with your left hand, swap the normal deck with the blank face deck in your left pocket (your body is still turned to the left, only the right side of your body is facing the audience). Pause for a moment and put the deck on the table. Put the 3 of hearts on the table face down and show that all of the cards in the deck are blank (second climax!). Everyone will be thinking that the effect is over, so this is the right moment to do the last move. Take the 3 of hearts, that is face down, from the table and tell them that this was just a hallucination and in reality what they have just seen never existed. Whilst you are speaking, do another 'Top Change', swapping the 3 of hearts with a blank card and place this on the table. Show one more time the blank deck of cards (paying attention not to show the 3 of hearts that is on top of the deck) and ask the spectator to turn the 3 of hearts on the table and they will see that this card is also blank.

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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2nd HANDLING OF THE DECK : The handling of the deck is quite simple if the chosen card is BEFORE the chosen number. For instance, in the example above, the 3 of hearts is the 3rd card from the top and the number 10 card will come AFTER this. However, if they choose, for example, the 3 of clubs (that is in the 43rd position from the top of the deck) and number 10 (which is BEFORE), what can you do? Well in this case, you need to use the short cards. You know that the 40th card is the Ace of Clubs, so you will need to count another 3 cards in order to arrive at the chosen card. The problem is that after you count to the 10th card (and the people think that the 10th card is the 3 of clubs) the audience will think that there is something strange if you count another 33 cards! So what do you need to do? Start to count 10 cards and put the 10th card to the side. Now riffle with your thumb the cards and cut to the last short card (from the top of the deck) and put this section of the deck on top of the cards dealt out on the table. You now have, on top of the remaining cards in your hands, the Ace of Clubs (your short card). Count another three cards (the Ace, 2 and 3 of Clubs) onto the rest of the deck that is on the table whilst telling the spectator that they can stop at any point in the deck. It is important to speak during this to justify your handling. Take all of the deck from the table and put on top of the remaining cards in your hand. If you have followed the handling, you will now have the 3 of clubs on top. You can now proceed with the regular routine.

BONUS TIP 1 : If you want to avoid complicating the handling, you can do it this way : Ask the first spectator to name a card, if the card is far from the top of the deck (like in the example above) ask the second spectator to name a number between 20 and 50 (this depends from the chosen card, remember that until the King of Spades you are in the 26th position). Like this, you will have less cards to cut at the key card and the procedure will look faster. For example, if they choose the 4 of diamonds (30th position from the top) you can ask for a number between 20 and 50 (or 52 if you want). If they choose 25, you deal 25 cards on the table, put the 25th card aside and you will now need to count just five more cards to arrive at the chosen card. Also you won’t need to cut the deck at the key card. If they choose a number AFTER the chosen card, it is easier, just follow the FIRST HANDLING that is explained in the routine. If they choose the number 30 (where the chosen card is) then you have a MIRACLE! BONUS TIP 2 : Sometimes if the chosen card is not so far from the bottom, I don’t cut to the key card, I just count the cards in groups of five. This requires practice but it is not impossible (only when the chosen number is higher than the position of the chosen card).

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BONUS TIP 3 : The important thing is to memorize the short/key cards so that you can move through the deck easily: From top : 14th (Ace of Spades) 27th (Ace of Diamonds) 40th (Ace of Clubs)

FINAL THOUGHTS : To do this effect you will need to practice it. You need to be as comfortable as possible so that you don't show to your audience that you are counting cards in your head! Try all of the different combinations so that you will know what you need to do in every different situation (It is not possible to write all of the combinations here, I would need a book just for this effect!) You will probably find some handlings more suitable than others and also different ways for memorizing and counting. I gave you my tools...so that you can create yours! I hope you enjoy.

LUCA VOLPE

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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Luca Volpe P. D. R. Psychometry Drawing

Like many of my effects, I try to combine different methods together in order to achieve a particular effect that comes into my mind! I created this effect (along with the Peek Envelope, which you will also find in this book) a few years ago, when I needed to create a 20 minute show but with no props. This is the kind of performance that involves all of the audience, plays really big and at a cost of 2 euro!

EFFECT / ROUTINE : Call five members of the audience on stage and ask each of them to sit on one of the five chairs prepared on the stage. Explain that they will be part of an experiment of 'personality draw reading'. Hand the first spectator a note pad, tell him to draw a simple image, rip off the page and fold the paper, then hand the note pad to the next person to do the same. This continues for all five spectators (you have your back to the spectators, so you can't look, during this process). Tell the final spectator to take all of the folded papers, to mix them and hand them to you. You select one of the papers, study the image and begin to read the meaning of the drawing (for this you can use any type of Cold Reading technique you prefer. I suggest the book 'Symbol Reading and Programming by Kenton Knepper' which also includes a contribution from myself, the 'Three Square System'). After a brief description of the personality that comes out of the drawing, you will be able to hand this to the respective person. You will do this for 3 drawings/ spectators and when you have only the last two spectators left, ask them to stand either side of you. Start to read both of the drawings at the same time and hand them to the corresponding spectators at the same time!

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WHAT YOU NEED : A spiral note pad of any size (personally, I use a note pad of approximatly 10 x 6 cm but you can use a A5 format for stage performances). It is important that the notepad is ruled (has lines), for the reason I will explain later. A pencil. A marker pen. And a lot of showmanship!

THE METHOD : For sure you have understood the first five pages of the pad are marked. The mark is invisible and in all of the years that I have been performing this, not one person has found anything! Open the pad and use the pencil to mark a small line that corresponds to the first space where the spiral of the notepad is. Do the same for the next four pages, each time marking the next spiral space to correspond with 2,3,4 and 5 (PHOTO 1). So now it will be easy to understand which drawing belongs to which spectator.

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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THE HANDLING : Give the note pad and marker (use one where the ink will not go through the paper) to the first spectator and ask him to open the pad to the first page and draw a simple image. Tell him to rip the page from the note pad, to fold the paper and to put it in his pocket. Obviously he will not have time to look at anything because as soon as the page is ripped from the pad, it will be folded and the mark will be concealed (PHOTO 2). Tell him to pass the pad to the second spectator and repeat the process, continue this until all five have their drawings folded up. Now when you take the shuffled drawings, it will be very easy to see which spectator has drawn which image. The first line will correpsond to the first spectator, the second line to the second spectator and so on... The thing that sells the effect is the cold reading because it looks like you are really trying to understand the meaning that comes from the drawing.

BONUS TIP 1 : The notepad needs to be ruled (with lines) because for the spectator, this will take away any possible attention from the mark, on a plain white page even a little dot will be visible (from my point of view!)

BONUS TIP 2 : I have also used a different type of routine in which you can create a different effect for each drawing you read. This is the idea: I take the first drawing, do a cold reading and I hand to the spectator. I take the second drawing and pass this in front of the eyes of each spectator, trying to understand who is the owner of the drawing. I take the third drawing, I ask each spectator to answer me "yes" when I ask who the owner of the drawing is and I need to understand who the liar is. I take the two remaining drawings and I hand to the remaining spectators at the same time.

BONUS TIP 3 : You can also ask the spectators to put each of their drawings into an envelope. Before you hand them the note pad, you can give them five manilla envelopes, ask them to shuffle and to take an envelope each. This will reinforce the effect just in case someone tries to recap the effect or the handling! They can also shuffle the envelopes before handing to you and nobody will think that the mark is inside!

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BONUS TIP 4 : You can also use a different method of marking the page by drawing a faint line along the lines of the paper. For example, if you mark the first line from the bottom this corresponds to the spectator number one and so on...

FINAL THOUGHT : Many times I have performed this effect over the last couple of years, as it is a very reliable and simple routine but always gets a great reaction from the spectators and audience.

Luca Volpe

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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Luca Volpe THE HORUS EYE A mystical journey into the spectator's mind

This is one of my favourite effects because the end result is that both the spectator and the audience will start to believe in 'real magic'! I have tried a different use of a classic mentalist gimmick, mixed with a dual reality. This demonstration requires a good spectator management but it is suitable for both stage and close up. I have also included the script, which is the 'core', that will really sell the effect.

EFFECT : Give an envelope containing a playing card to one spectator. Tell her (or him) that the playing card is contained in a piece of foil paper, as to avoid any chance of being able to see through the envelope. Put the envelope into the hand of the spectator, tell her to take a seat and place her into a hypnotic state. When she opens her eyes, show her and the audience a laminated image of the HORUS EYE and a pouch containing some salt and talk about the historical meanings of both. Put some salt on the laminated image and ask her to concentrate on the centre of the HORUS EYE. After a few moments she will be able to name a playing card. The spectator will open the envelope and see that the card she imagined corresponds to the card that is in the envelope. Both the envelope and the drawing can be examined.

WHAT YOU NEED : In this book you will find a page with the image of a HORUS EYE. This card will need to be laminated for this effect, you should be able to do this in most good stationary shops and office supplies. A playing card size manilla envelope, a playing card (that you will force) and a piece of foil paper. You will also need an 'ash pen', 'lip balm', 'wax stick' or something similar that will leave a sticky, but invisible, trace on the surface of the laminated card.

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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THE PREPARATION : Prepare a playing card in the piece of foil paper, possibly one that is easily recognizable for the spectator. For example, the 3 of hearts, put this in the foil paper and then into the envelope. With the wax pen (or similar) draw a number 3 and the hearts symbol on the laminated card, in the centre of the HORUS EYE. Pay attention not to touch this area, I suggest that you draw this shortly before performing the effect. Now you are ready to go!

THE ROUTINE : Here I have explained the routine which describes in detail all the actions you need to do to perform this effect. Following this I have included 'the script' that you should use during the performance. Ask a spectator to come on stage and hand her the envelope. Explain that there is a playing card inside and ask her to check if there is a possibility of seeing through the envelope. Tell her to sit on a chair and place her into a hypnotic state, using whichever induction you prefer. Personally, I ask her to look straight between my eyes (I suggest reading 'Reality is Plastic by Anthony Jacquin' in which you will find many methods). Now is the time to start the script. Show the HORUS EYE card to the audience and then to the spectator. Tell her to place the salt onto the centre of the eye. Start to move the image parallel to the floor and ask her to concentrate on the symbol. The salt will begin to stick to the wax and take the shape of the 3 of hearts (PHOTO 1). Now lift the image to just in front on her eyes, leaving the remaining salt to fall on the floor and continue to move the image. Gradually stop moving and ask her to tell you what she visualizes in the centre of the eye, she will see the 3 of hearts. Tell her to open the envelope and whilst she is doing this, erase the sticky salt from the image by rubbing the laminated card on your body. Reveal the playing card to the audience and show the laminated card, where there will be nothing to find!

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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THE SCRIPT : Tonight one of you will be able to see the invisible, with the use of the 'Third Eye'! Please, this beautiful lady, can you come on stage? Thank you. As you can see I have an envelope here and inside there is a playng card. This playing card is wrapped inside a piece of foil paper and in fact you can't see through it. Please take a seat and look here between my eyes, now you will feel your eyes getting heavier...slowly...slowly let your eyes close. Perfect, now you are relaxed and you can hear me perfectly. Here with me I have an image that represents the HORUS EYE (show this to the audience), this became an important Egyption symbol that represented the power and the capacity to see the invisible. I also have a pouch that contains pure salt, which in the magical rituals represents the connection between the real life and the mystical life. Now please open your eyes. I would like that you take a handful of salt and put this in the centre of the eye. I will start to move the image and I want you to pay attention to the centre of the eye...in a few moments you will be able to see the invisible through the HORUS EYE that now represents your third eye. I will stop moving the image and you will be able to visualize something in the centre of the eye. Please tell me what you see in the eye (she will say the number 3 and a heart). Good, now please open the envelope and take out what is inside. As you can see there is just one card and it is the 3 of hearts! You were really great, thank you! (give her a hand shake induction). Please take a seat and relax. Now you will stop the connection with your third eye and you will not be able to see through your third eye. You will remember to forget what has just happened and when you open your eyes you will feel better than before and completely relaxed...please open your eyes now. Did you see something on this drawing other than the HORUS EYE? (she will say NO). Thank you very much and let's give her a big round of applause!

BONUS TIP 1 : In this book I have also included a 'mini version' of the Horus Eye card that can be used for close up performances. Before you write on the laminated card, try the 'wax gimmick' and check how long it will stay sticky for (some will become dry sooner than others and will not stick). You can also force an ESP symbol or a short word depending on your preference.

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BONUS TIP 2 : Pay attention to how the lights of your performing environment could possibly expose the wax writting. When showing the HORUS EYE image, try to avoid a static position and keep the card moving. Also I would suggest holding the card slightly tilted to the floor, so as not to catch the light. Before handing the image card to the spectator for inspection, check for remaining salt or wax marks. After removing the salt by rubbing the card on your body, lick your thumb and run over the area to remove any final traces of salt and wax. As the image card is laminated, it is possible to clean with a wet cloth.

FINAL THOUGHT : This is an effect which everytime I perform leaves both the audience and the spectator speechless! (and also the reason I gave this particular title to the booklet). It is the kind of 'dual reality' that I like, because the effect is strong both for the person on stage and for the audience. As you can see, the script is perfect in order to leave the spectators confused, especially as after they will again see the image with nothing in the centre. Please give it a try and I can guarantee that the people will speak of this effect for a long time...

Luca Volpe

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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Luca Volpe THE PEEK ENVELOPE Utility device

This is an utility device that I created one day, over four years ago. The story goes that I was in Venice for a close up gig and my manager had booked my 'Mind Show' for the following day. Usually, when I am to perform the mind stage show, I would take with me all the necessary props however, on that particular day, I had nothing with me as the agreement was to do just the close up show. My manager explained that this was a very important spot of 20 minutes, for a corporate party and that they were expecting a Mind Performance. So I went to a stationary shop and started to buy lots of things. Note pads (for the Drawing Reading), clips, paper and pens but my necessity was to have a good peek device to arrange pre show work with someone at the event. I brought a packet of manilla envelopes and I started to think how to transform these in to a utility device. After a few hours of thinking and playing with the envelopes...the PEEK ENVELOPE was BORN! From that day on, I have used this device often, especially in pre show work for my TV specials. Here you will find one of the effects that you can achieve with this peek device.

EFFECT : I ask a spectator to come on stage and I explain that before the show I had asked her (or him) to draw a simple image onto a piece of paper and to sign and date the paper. Also to seal the paper in an envelope and then to seal this inside another envelope. I ask her to keep this envelope between her hands and try to transmit the image that she drew to me. I begin to draw something on a piece of paper and once I have finished, I leave this piece of paper on the table. I tell her to open the envelopes and to reveal the piece of paper inside with her drawing. When I turn my paper, the audience will see how I have duplicated the spectator's drawing!

WHAT YOU NEED : A manilla envelope (6x10cm) Another envelope, bigger than the manilla envelope A blank business card A ruler Scissors Rubber Cement

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HOW TO PREPARE THE BLANK BUSINESS CARD AND ENVELOPE : Take a blank business card and use the ruler to draw a line along the length of the card down the centre. Then draw another line that divides the bottom half of the card in to two seperate squares (PHOTO 1). In the top half (the larger section) will be the spectator's signature, in the left bottom square the date and in the right bottom square the image (or number, or word, as it depends on your preference). Take the manilla envelope and unglue the middle section of the underside (PHOTO 2). With the scissors, trim along the inside flap, making the left side thinner. Put the business card inside and check if the inside flap is trimmed enough to allow you to see the image on the right bottom square (PHOTO 3). If it is not big enough, cut a few millimeters more until you have a good 'peek', but be careful not to trim too much otherwise you will leave a gap between the two flaps and the spectator will see the card inside. Put on the left flap, a little Rubber Cement (this tip comes from the mind of my friend Titanas!) so that you now have an envelope that you can open and close anytime you want. Close the envelope but do not seal it yet.

HOW TO USE THE PEEK ENVELOPE : Give the business card, that is prepared with the drawn on sections, to the spectator. Ask her to put her signature in the larger section on the card and the date in the left bottom square. Now you turn your back and ask her to draw a simple image in the right bottom square (it will be the last remaining space on the card). Once she has completed this, tell her to place this card face down on the table. Take the peek envelope and keeping the card face down, insert the spectator's card into the envelope. Show the envelope with the flap open and tell her that you are going to seal the envelope. While you are speaking, use your right thumb to open the centre flap (PHOTO 4) and you will be able to peek at the right bottom square, where the spectator's image is. As you can see from PHOTO 5, when looking from the front nothing is visible, in fact the open flap is under the cover of your right hand. With the excuse to lick the upper flap, you can peek at the image. Once you have seen the image, close the gimmicked flap with your thumb and thanks to the rubber cement this will stick. Before you seal the upper flap, flash the envelope again to the spectator (this is a psychological move) and then close the upper flap. This action takes just a few seconds and from the spectator's point of view, you have only put her card in the envelope and sealed it. Take the other envelope (PHOTO 6) and put the peek envelope inside and then seal this also (this is to prevent the spectator 'playing' or tampering with the gimmicked envelope). Now the hard work is done and all you need to do is theatrically read her mind!

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IMPORTANT NOTE : Obviously, when it is the moment to open the envelope YOU WILL DO. I suggest ripping the envelope open and throwing it away afterwards. You can give the business card to the spectator as a souvenir.

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WHEN AND WHERE YOU CAN USE THE PEEK ENVELOPE : Personally I use the peek envelope in my pre show work, especially when I am working on my TV show. Also I use a special script that I have included here, which makes the audience believe that I haven't touched anything. Here is the script :

(Once you have called the specator on stage) Before the show, I asked ANNA to draw a simple image on a piece of paper, right Anna? I also asked her to put her signature and todays date on the paper so that it couldn't possibly be swapped, right? She sealed this piece of paper in not one, but TWO envelopes, this envelope remained with her for all of the time and NOBODY has touched it, right? I will also ask you to confirm that I never told you to draw something in particular but that what you chose to draw was a free choice, can you confirm this? Good! Now I would like that you concentrate on your drawing...please keep the envelope between your hands and look into my eyes. Imagine that between me and you there is a screen, I would like that you project this image on the screen and I will be able to see your image from the other side of the screen... Ok...I am getting something...I don't know if it is right (I leave the pad on the table). Let's open the envelopes and let me see what you drew! oh nice a STICK MAN... well done, you are very good. I received one image in my mind from you...(I turn the pad around to show that I have duplicated her drawing!) Let's give Anna a big round of applause...you can keep this as a souvenir!

BONUS TIP 1 : When I was in the emergency situation that I described earlier, I used the peek envelope without the Rubber Cement. In this case, when you put the card inside the gimmicked envelope, keep pressing down with your thumb to keep the flap closed. The peek handling is the same as above, however when you flash the envelope to the audience keep holding the flap down with your thumb. Once you seal the upper flap, the envelope will be easier to handle. Anyway I can guarantee you, that the spectator will notice nothing at all. Remember, when you open the gimmicked envelope to keep it face down. All of the actions take just a few seconds!

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BONUS TIP 2 : Try to use cards that are only a fraction smaller than the manilla envelope because when you put the card inside the envelope, if it moves around you could loose time to peek at the image.

FINAL THOUGHT : The key to the peek envelope is to be natural with the movements. Please give it a try and you will see just how easy it is. The more you do, the faster you will be able to peek at the image and close the envelope. It is very important to use a script with a couple of "wrong words" to fix in the minds of the audience that you NEVER had contact with the envelope and the card.

Luca Volpe

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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Luca Volpe IMPOSSIBLE PREDICTION

Is it possible to predict what a randomly chosen spectator will be wearing and how much money he will have in his pocket? … The answer is YES! This is a routine that I have developed for my show many years ago and now I have decided to share it with you! In this manuscript you will find the detailed routine that I perform in my live show, plus some bonus tips for extra handlings and presentation. I hope you enjoy and please DO NOT copy or share!

EFFECT: At one point during the show, you randomly select a spectator that will be your helper on stage. Give him (or her) an envelope sealed with a clip, that you explain contains a prediction. Tell the audience that before the show, each member received one half of a RAFFLE TICKET with a number on top and ask everyone to have their tickets ready. Show your helper a raffle ticket pad that contains the other halves of the tickets that correspond to the tickets that the spectators have received and show that they are all different. You now give him a playing card, ask him to insert this card at any point he wants into the raffle pad and look which ticket is chosen under the card. Let’s say he chooses the number 50… Call the audience member that has the number 50, ask him to come on stage. When he comes on stage ask him to count how much money he has in his pocket, let’s say he has 20 euro…NOW START THE INCREDIBLE…. Ask your helper to open the envelope and he will find two other envelopes that are marked with the numbers 1 and 2. Tell him to open the envelope number 1 and to read what is written on the piece of paper. He will read: “I predict that one spectator, randomly chosen tonight, will be wearing BLUE JEANS, GYM NIKE SHOES, RED T-SHIRT, a WHITE HOODIE and a necklace with a kind of TRIANGLE SYMBOL!” (Here the audience are already going crazy!) Now ask your helper to open the envelope number 2 and to read what is written. He will read: “Oh I forgot…the spectator will have, in his pocket, 20 euro!“ Say thanks to your helper and to the spectator and give them a big round of applause!

METHOD: Like most mental effects this is based on a very easy principle and combines many methods that are already well know. But the strong part is HOW these methods are mixed together, to create a strong reaction from the audience.

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BEFORE THE SHOW: One of your assistants will be at the entrance of the theatre, at the box office, and he (or she) will give each person, that buys a show ticket, half a raffle ticket. When he reaches the number 50 (or any number you choose) he has to remember what this person is wearing. He can also write down some special characteristics, like strange shoes, a necklace, a colourful tie, etc. IT IS IMPORTANT that the description is as accurate as possible because it is easy to find a lot of people that wear jeans and gym shoes! If you want, instead of giving out tickets at the entrance to the theatre, your assistant can give the tickets out to the audience members, AFTER they sit on their chairs (this to avoid people swapping tickets). It is IMPORTANT that your assistant tells the people to KEEP the ticket for themselves and to NOT give it to anyone else, because this ticket will be part of an important experiment during the show! After your assistant has concluded his 'mission', he will tell you what the spectator is wearing and you can write your prediction on a piece of paper (this needs to be heavy paper or light cardboard).

THE ENVELOPES: You need 3 envelopes, one big (A5 size) and two 'Manilla' envelopes (easy to find at STAPLES) of approximate size 9 x 8 cm (a little bigger than a playing card). Mark the two manilla envelopes, with a black marker, numbers 1 and 2. Insert into envelope 1, the spectator 'wears' prediction and close this envelope (DO NOT SEAL). Take envelope number 2 and cut a little window into the bottom right side on the back (PHOTO 1) and insert into this envelope another piece of light cardboard (the same size as the other one, about the size of a playing card). On this you will write : “ Oh I forgot...the spectator will have in his pocket… Euro! “ As you can see there is a space before the word “EURO” and this space has to be in the same position where you cut the little window on the back of the envelope. Close this envelope (DO NOT SEAL). Put these two envelopes in the big one (1 on top of 2) and seal this envelope with a big clip. (It is obvious that the envelope number 2 is already prepared before. In fact, before the actual show, you will have time just to write the prediction about what the spectator will be wearing)

THE RAFFLE PAD AND THE GIMMICK: You need two identical raffle pads (the ones that they use for lottery or charity tickets, which you can find in any stationery shop). Take from one raffle pad, the ticket number 50 (or any number you prefer) and glue the left edge of the ticket to the bottom left, on the back of the playing card (you can use any kind of card you like, it can also be a business card). If you can see that the ticket edge overlaps the card, the ticket can be trimmed so that it can't be seen (PHOTO 2 - PHOTO 3). The other raffle pad (the one that was used for the audience) at the moment of the performance, will have just half of the tickets inside.

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THE EXTRAS: You need to have in your right pocket a Nail Writer (personally, I use the Vernet Thumb Writer). It is obvious that the prediction has to be written with the same pencil as your nail writer (or big pencil if you use the Grease Marker Nail Writer, anyway the prediction will only be seen and read by the helper on stage). Prepare on your table the gimmicked playing card and the half raffle ticket pad and take your prediction!

THE ROUTINE: Choose your helper in a random way (one that you like best!) and ask him to come on stage. Give him the prediction to hold and also show the half raffle ticket pad. Tell him to insert the playing card where he wants. IN REALITY YOU will hold the card (back face down on the table) and you will say: “Here I have the other halves of the tickets that correspond to those of the audience members. Now you have to choose randomly one of these tickets, please insert this card at any point of the raffle pad just to mark the cut (the card is in your hand!) …tell me where you want...here? Are you sure? Up… Or down? You choose!” As soon as the spectator stops you, insert the card (face up) in the pad and make sure that the glued forcing ticket, on the back of the card, is aligned with the other tickets along the bottom.

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Lift the card (still keeping the card inside) from the right side and show to your helper the ticket underneath. He will think he is seeing the ticket where he has marked the cut, in reality he will see the ticket that is glued on the back of the playing card! He will say the number… Ask to the spectator that has the number 50 (or any number you force!) to come on stage and ask him to count the money that he has in his pocket. Take the prediction, remove the clip, put the clip in your right pocket and put on the Writer! Tell your helper to open the envelope, YOU reach inside (with your left hand) and take the two manilla envelopes, explaining that there are two prediction. Give the envelope number 1, to your helper and ask him to read the prediction. NOW, meanwhile he is reading, you will have all the time to thumb write the amount of money in the little window on the back of the envelope! After he has read the first prediction, take the paper and the envelope from him (with your right hand) and put this in your right pocket (leaving the writer inside your pocket). Now YOU open envelope number 2 and ask your helper to take the piece of paper from inside (hold the envelope face down, number up, and leave the piece of paper to fall out a few millimetres )…he will read the other prediction! After that, put both the paper and the envelope in your pocket and you are clean! If you want, you can also put in your pocket the gimmicked playing card, after your helper has read the number. Personally, I leave on the table, both the card and the raffle pad, as the people forget. IMPORTANT NOTE: The raffle ticket pad has to be a single line book, so that no other numbers are visible (PHOTO 4).

BONUS TIP 1: If you want, instead of the gimmicked playing card, you can use a transparent forcing bag to force the ticket. You will need to prepare it in this way: In the front pocket, put the other halves of the tickets that are folded in half. In the back pocket, put about 20 tickets, ALL with the number 50 on top, also folded in half. (In this case, you need to buy 20 more raffle pads!) When your helper comes on stage, ask him to reach in the bag and to take two or three tickets, just to check that they are all different. When it is the moment to force the number, tell him to turn away and without looking, ask him to put his hand in the bag and to choose just ONE ticket (in this case, you let him put his hand in the back pocket!). This method is also more visual and in someways can be more 'clean'! (I have used both forcing method)

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BONUS TIP 2: If you don’t want to use a window on the back of the manilla envelope, you can put a piece of carbon paper inside the back of the envelope, on the same side where you will write the amount of money. In this case you need just a nail writer without pencil or you can write with your nail.

BONUS TIP 3: There is also an option to use SEAT numbers, if this is appropriate for your theatre or event room. In this case, you will have all the numbers written down on a square of paper to use in the plastic transparent forcing bag. This would be a nice effect for a party, you just need to give out tickets before your performance, taking note of what the person is wearing that has taken the forced number.

BONUS TIP 4: I know, probably some of you will smile when you read the following idea…in this bonus tip you will use a STOOGE! (Yes, you will arrange before what he is to be wearing and how much money he will get!) I did this once for a TV Show and it worked GREAT!!! I had to do it like this because I didn’t have the time to arrange the tickets before the show, so in this case my assistant went, during a break, through the people giving out tickets that where in a bowl (the bowl didn’t contain the number to be forced!). The stooge was already in the audience and when he took his ticket from the bowl, he swapped this for the forced one. For this routine you don’t need to use a gimmicked window envelope because you don’t need to thumb write anything. The effect is strong because it looks like the stooge is chosen randomly from another spectator! The effect went really well and was so clean, give it a think!

FINAL THOUGHTS: I have worked with this routine for several years and everytime I had a great reaction from the people. I’m sure that you will get the same reaction...maybe more! Just one final thought… what happens if the spectator swaps the ticket with someone else? (Anyway it has never happened to me in the last 8 years…DON’T WORRY!). it is not a problem because anyway you have the money prediction that will work...a good 'real' mentalist can fail sometimes. Thanks again. Luca Volpe

Copyright Luca Volpe - Titanas Magic Production 2009

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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REVIEW FROM PROFESSIONAL MENTALISTS ( THE MAGIC CAFE FORUM )

Luca, Thank you for the ebook. The presentation is different from the effects I gravitate toward, but I appreciate you giving me a glimpse of your creativity. This holiday season has been my busiest one with shows, and as I head into a slow time in January and February, your book is motivating me to focus on being creative and producing something instead of just being a sponge and absorbing what others conjure up. Thanks again for the ideas, I wish you well in the new year. -Bobby

Thank you again for the wonderful routine. God bless, -Harish

Hello Luca, I'd enjoy reading your eBook on Mentalism. Thanks for the kind offer. I've watched a few of your routines on YouTube and I like your style. -David Swoboda

It is simple and it is effective. There is little to say. The methods are good. They are doable, any performer that knows his mentalism 101 will be able to accomplish this. ... But aside from personal choice, there is nothing that makes the methodology cumbersome and none of it requires expensive gimmicks or apparatus. ...I am very glad you decided to include the bonus tips at the end. The presentational tips of the performer are always more interesting than just plain, cold methodology. They were insightful and I'm sure readers will appreciate them. All in all, I think this is a great thing you've put together here Luca. I'm glad you've decided to share it with the rest of the community. ... Cheers, -Chris

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Hey Luca! Thanks for the manuscript, very good! It's also very flexible, I can imagine all types of variations for this effect. Regards -Dan Lebanon Circle

Thanks a lot Luca for sharing your manuscript! I have read it, and it is exactly the sort of thing that I would use in my shows. I already have some thoughts on how to adapt the routine (and methods) to fit into my show. Practical, and could be a real kiler! Thanks again -Alexander May

Luca's stage prediction involves the whole audience, a 'setup' that preps the audience for some later excitement, and will seem perfectly clean to the audience. It is off-the-beaten-path and seems perfect for moving from tight 1-1 effects to opening up an effect to the whole audience. He has added tips to help, and the TV tip is a clever and 'clean' method to instantly perform this one. The method of 'forcing' (wrong word) is great. If you do Stage presentations, try to get ahold of this one. It sure seems like it would be a valuable worker to many performers. Many thanks for your generosity, this one is strong and easy. -Tom Jorgenson

In my limited experience, it seems that the key to amazing mentalism is not the creation of new principles, but the effective use of previously develop devices to create something new. In this ebook Luca has done an excellent job of creating a wonderful routine. Using deceptively simple techniques, Luca has created an awesome routine that has the potential to start any show off with a bang. Luca, thanks again for sharing this with us. -Myrsolon

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So I've just finished reading this and I must say, I ABSOLUTELY LOVE IT! I'm tempted to put it in my New Year's Eve show.... but best to stick with the stuff I've tried and tested. You are correct Luca that it does seem that very few people on here perform on stage, but I often do. The main method behind this routine (the selection of the spectator) is a very clever use of an old principle (as is the secondary method/effect). There are other options open to use instead of Luca's suggested method but the one provided does more than just make the effect work, well one part of the effect, but also creates intrigue and excitement in the audience, regarding your performance. This is a GREAT thing to have when working on stage, esp. if you are not the only act performing. -Alexander Marsh

Thank you Luca. Your presentation and explanation were well written covering every last detail. Very well done -CAROLINI

Old principles up to date are wonderful as this effect is. I have with it a possibility for coming shows. Thank you!! -Dario Piera

Very nice stuff Luca... very kind of you to share your idea. I like the thinking behind it, especially the force. -Andy Stephenson

Thank you Luca. Your Impossible Prediction is definately food for thought, and I will most definately work on adapting this, or a version thereof for my own performances. Sneaky and diabolical. I love it! -Micke Askernäs

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Luca, I have read the routine and think that it totally kills! This will play VERY well for any audience. The effect seems impossible to the spectators and this is WHAT you WANT! LOL As others have said, you have used known ideas, (we all do) and created a smashing routine. Heck, I really do LIKE it! Best -Ray Noble

Its great! Very very cool indeed! I would use the initial phase to get my favourite person to join me I love idea of forcing a s****** seems so clean! Do the routine and continue to work with him. ....Really Really cool! Thanks very much for sharing.Really simple but really really clever.If you use the non-st**** idea then its really just as strong.... Sweet! Thanks! -Pete Carrol

A very clear, easy to understand, effect from the audience's point of view. I can imagine this playing really strong. I too, am looking forward to your dvd. Thank you very much for sharing this routine! -Barry Wood

First let me thank you for sending me this pdf. Second I really enjoy your routine! What a great routine and I can see myself doing this. Very very cool and you structure this very well with a lot of bonus tips. Thank you once again for sharing it. All the best, -Elcio (chiquinato)

Luca, I just read your manuscript and enjoyed it very much. Thank you for sending it my way. -Elliott J. Bresler ( author of SWITCHCRAFT )

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Hi Luca, Thanks for the pdf. I loved it! I immediately can see this being used in my show.... -Scott Burton

Hi Luca Great stuff for the working professional. Many Thanks -Andy kean

Luca, thanks for your generosity. Great thinking expressed in your PDF. -Anthony Jaquin ( Author of "Reality is Plastic" )

Thanks very much for your ebook Luca. I think it’s a good effect and I will use it. Very nice of you, thanks again. Lost Poet

Hi Luca, Thanks for the PDF. I have read it and I think it is a great idea! I will definately give it some thought and add my own touches to it. Thanks for spreading the mentalism love! ;-) -ORAL ROBERTS

Great ideas Luca, really love the raffle concept, very entertaining for specs. I'll definitely be using it. Thanks again. -Mauricio Jaramillo

Luca, The routine is brilliant - it looks so fantastic and so fair, and gives a lot of opportunities to extend it in a load of different directions. I've yet to try this out, but I really like the idea of it. Thanks for your generosity, Luca! Best wishes, -Sean

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Awesome!! I love the routine, very sneaky method(s) and a great presentation. Luca has combined some clever methods to create an impossible looking routine that plays very strong!!! The only bad side (and the only reason I am putting this is that I like to give a blanced review) is that it is more of a stage effect and idnt suitable for close up. (then again if that is the only bad point then its a bloody great effect!!) 9/10 overall. (Not 10/10 because there is no naked lady with the free ebook - maybe something to think about Luca!!!) Peace & Love Matthew Shepherd

I finally took some time to really go over this and put some thought into it. I love the simplicity in method and the strength of the effect. I can confidently say that this is a routine I can see being part of my show. Thanks again! There is more value here that most of the things I have purchased over the last while. Scott Burton

Luca, I finally had a chance to read your routine. I love your thinking. You've taken some fundamental techniques and combined them to create a routine that is far more powerful and entertaining than if they were used seperately. Great work! Thanks again. Steve Suss

HORUS Copyright 2009 Luca Volpe - Titanas Magic Productions

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HORUS Copyright Luca Volpe and Titanas Magic Productions 2009 All right reserved worldwide. No part of this manuscript may be transmitted or reproduced in any way, including but not limited to digital copying and printing, without the written permission of Luca Volpe and Titanas Magic Productions.