greatest attention.” Then to his assistant: “Get him out of
here!”
Moments later I was sprawling in the street. Mustering as much dignity as I could, and
ignoring the gawping passers-by, I straightened my clothes and walked quickly away down
the street.
For a few days afterwards I was sustained by the righteousness of my cause, the knowledge
that the family were being robbed of their money, that the skills of the stage magician
were being put to warped uses. Then, inevitably, I began to be assailed by doubts.
The comfort that Angier's clients gained from the séances seemed genuine enough, no matter
how derived. I remembered the faces of those children, who for a few minutes had been led
to believe that their lost mother was sending consoling messages from the other side. I
had seen their innocent expressions, their smiles, their happy glances at each other.
Was any of this so different from the pleasurable mystification a magician gives to his
music hall audience? Indeed, was it not rather more? Was expecting payment for this any
more reprehensible than expecting payment for a performance at a music hall?
Full of regrets I brooded unhappily for nearly a month, until my conscience reached such
depths of guilty feelings that I had to act. I penned an abject note to Angier, begging
forgiveness, apologizing unconditionally.
His response was immediate. He returned my note in shreds, with a note of his own
challenging me sarcastically to restore the paper with my own superior form of magic.
Two nights later, while I was performing at the Lewisham Empire, he stood up from the
front row of the circle and shouted for all to hear, “His female assistant is concealed
behind the curtain at the left-hand side of the cabinet!”
It was of course true. Other than bringing down the main curtain and abandoning my act I
had no alternative but to continue with the trick, produce my assistant with as much
theatrical brio as possible, then wilt before the trickle of embarrassed applause. In the
centre of the circle's front row an empty seat gaped like a missing tooth.
So was begun the feud that has continued over the years.
I can plead only youth and inexperience for starting the feud, a misguided professional
zeal, an unfamiliarity with the ways of the world. Angier should shoulder some of the
blame; my apology, although not swift enough, was sincerely meant and its rejection was
mean-spirited. But then, Angier too was young. It is difficult to think back to that time,
because the dispute between us has gone on so long, and has taken so many different forms.
If I committed both wrong and right at the outset, Angier must accept the blame for
keeping the feud alive. Many times, sick of the whole thing, I have tried to get on with
my life and career, only to find that some new attack was being mounted against me. Angier
would often find a way of sabotaging my magical equipment, so that a production I was
attempting on stage went subtly wrong; one night the water I was turning into red wine
remained water; another time the string of flags I pulled flamboyantly from an opera hat
appeared as string alone; at another performance the lady assistant who was supposed to
levitate remained unmovably and mortifyingly on her bed.
On yet another occasion the placards announcing my act outside the theatre were defaced
with “The sword he uses is a fake”, “The card you will choose is the Queen of Spades’,
”Watch his left hand during the mirror trick", and so on. All these graffiti were clearly
visible to the audience as they trooped in.
I suppose these attacks might be dismissed as practical jokes, but they could damage my
reputation as a magician, as Angier well knew.
How did I know he was behind them? Well, in some cases he clearly declared his
involvement; if one of my productions had been sabotaged, he would be there in the