Finally, after an admittedly amusing routine that involved a message written by a member of the audience appearing inside a sealed envelope, Angier came to the closing illusion. He began with a serious speech, which I scribbled down quickly into a notebook. Here is what he said:
Ladies and Gentlemen! As the new century moves apace we see around us on every side the miracles of science. These wonders multiply almost every day. By the end of the new century, which few here tonight shall live to see, what marvels will prevail? Men might fly, men might speak across oceans, men might travel across the firmament. Yet no miracle which science may produce can compare with the greatest wonders of all… the human mind and the human body.
Tonight, ladies and gentlemen, I will attempt a magical feat that brings together the wonders of science and the wonders of the human mind. No other stage performer in the world can reproduce what you are about to witness for yourself!
With this he raised his good arm theatrically, and the curtains were swept apart. There, waiting in the limelight, was the apparatus I had come to see.
It was substantially larger than I had expected. Magicians normally prefer to work with compactly built apparatus so as to heighten the mystery of the uses to which they are put. Angier's equipment practically filled the stage area.
In the centre of the stage was an arrangement of three long metal legs, joined tripodally at the apex and supporting a shining metal globe about a foot and a half in diameter. There was just room beneath the apex of the tripod for a man to stand. Immediately above the apex, and below the globe, was a cylindrical wooden and metal contraption firmly attached to the joint. This cylinder was made of wooden slats with distinct gaps between them, and wound around hundreds of times with thin filaments of wires. From where I was sitting, I judged the cylinder to be at least four feet in height, and perhaps as many in diameter. It was slowly rotating, and catching and reflecting the stage lights into our eyes. Shards of light prowled the walls of the auditorium.
Surrounding the contraption, at a radial distance of about ten feet was a second circle of eight metal slats, again much wound around with wires. These were standing on the surface of the stage and concentric to the tripod. The slats were widely and evenly spaced, with a large gap between each one. The audience could see clearly into the main part of the apparatus.
I was totally unprepared for this, as I had been expecting some kind of magical cabinet of the same general size as the ones I used. Angier's apparatus was so immense that there was no room anywhere on the stage for a second concealing cabinet.
My magician's brain started racing, trying to anticipate what the illusion was to be, how it might differ from my own, and where the secret might lie. First impression — surprise at the sheer size of it. Second impression — the remarkable workaday quality of the apparatus. With the exception of the rotating cylinder just above the apex, there was no use of bright colours, distracting lights or areas of deliberate black. Most of the contraption appeared to be made of unvarnished wood or unbrightened metal. There were cords and wires running off in several directions. Third impression — no hint of what was to come. I have no idea what the apparatus was intended to look like. Magical apparatus often assumes commonplace shapes, to misdirect the audience. It will look like an ordinary table, for example, or a flight of steps, or a cabin trunk, but Angier's equipment made no concessions to familiarity.
Angier began his performance of the trick.
There appeared to be no mirrors on stage. Every part of the apparatus could be seen directly, and as Angier went through his preparations he roamed about the stage, walking through each of the gaps, passing momentarily behind the slats, always visible, always moving. I watched his legs, often a part of an illusionist's anatomy to observe closely when he moves around and particularly behind his apparatus (an inexplicable movement can indicate the presence of a mirror or some other device) but Angier's walk was relaxed and normal. There appeared to be no trapdoors that he could use. The stage was covered in a single large rubber sheet, making access to the mezzanine floor beneath the stage difficult.
Most curious of all, there was no apparent rationale to the illusion. Magical apparatus normally serves to set up or misdirect audience expectations. It consists of the box that is obviously too small to contain a human being (yet will turn out to do so), or the sheet of steel that apparently cannot be penetrated, or the locked trunk from which it would be impossible to escape. In every case, the illusionist confounds the exact assumptions that his audience has made from their own assessment of what they see before them. Angier's equipment looked like nothing ever seen before, and it was impossible to guess what it might be intended to do from simply looking at it.
Meanwhile, Angier strode around his stage set, still invoking the mysteries of science and life.
He resumed centre stage, and faced his audience.
"Good sirs, mesdames, I request of one of you, a volunteer. You need not fear for what might happen. I require you for a simple act of verification only."
He stood in the glare of the footlights, leaning invitingly towards the members of the audience in the first rows of the fauteuils . I suppressed a sudden mad urge to rush forward and volunteer myself, so that I might have a closer look at his machinery, but I knew that if I should do so Angier would instantly recognize me, and probably bring his performance to a premature close.
After the usual nervous hesitation a man stepped forward and mounted the stage by the side ramp. As he did so, one of Angier's assistants walked on to the stage, carrying a tray laden with several articles, the purpose of which soon became apparent, as each one offered a means of marking or identifying. There were two or three wells filled with different coloured inks; there was a bowl of flour; there were some chalks; there were sticks of charcoal. Angier invited the volunteer to choose one, and when the man selected the bowl of flour, Angier turned his back on him and invited him to tip it across the back of his jacket. This the man did, with a cloud of white that drifted spectacularly in the stage lights.
Angier turned again to face the audience, and asked the volunteer to select one of the inks. The man chose the red. Angier held out his floury hands so that red ink might be poured across them.
Now distinctively marked, Angier requested the man to return to his seat. The stage lights dimmed, but for one brilliant shaft of light from a spot.
There was an unearthly crackling noise, as if the air itself were being split asunder, and to my amazement a bolt of blue-white electrical discharge abruptly curled out and away from the shining globe. The arc moved with a horrid suddenness and arbitrariness, dashing about inside the arena enclosed by the outer slats, into which Angier himself now walked. The crackling and snapping of the bolt seemed blessed with a vicious life of its own.
The electrical discharge abruptly doubled, then tripled, with the extra bolts snaking around, as if searching the enclosed space. One inevitably found Angier, and instantly wrapped itself around him, seeming to illumine him with cyanic light that glowed not only around his body but also from within. He welcomed the shot of electricity, raising his good arm, turning about, allowing the snaking, hissing fire to encircle him and surround him.
More bolts of electricity appeared, fizzing malignantly around him. He disregarded these as he had disregarded the others. Each seemed to attack him in turn; one would snap back away from him like a raised whip, allowing another, or two others, to blaze across him and lash his body with ever-contorting fire.