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Over the past few years, we have seen countless watches specifically

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designed for magicians and mentalists.

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It is a fascinating tool, discreet, modern, powerful, but

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also limited. A watch displays a time, nothing more.

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And very quickly, a question arises: what can I really do

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with it? This book was born from that question.

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I have gathered here all the ideas that I've been using for the past 10 years in

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close-up, walk-around, and on stage.

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Each effect is independent. I do not recommend performing

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several watch effects in a row in order to avoid making the watch the central

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object, and therefore potentially suspicious.

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It is up to you to choose the right effect for the right situation.

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All of them rely on the same prop, a gimmicked watch

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equipped with a remote control. If you own this prop, you will be

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able to use all the material in this book.

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No watch is provided. All effects use any

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magic wristwatch equipped with a remote.

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For example, Pitata, iarvel, or SB.

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Some effects are quick and light, others are longer, more

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personal, more emotionally engaging.

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They all share one thing in common: they use the same prop to

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create different experiences. Among other things, I offer

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an adaptation of the classic invisible deck in close-up and on stage.

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I share for the first time a personal Christmas tale that I performed

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more than 200 times in my show, The Wish, a sequence where borrowed

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objects reveal an impossible free choice, a divination connected

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to historical events, an interactive routine for multiple participants, and

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much more. The bonus section also deserves a few words.

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It contains two routines that require a slightly more

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specific setup. I first provide a simple version compatible

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with your gimmicked watch, followed by an additional approach

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for those who wish to go further. Beyond the effects

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themselves, you will also find ideas about presentation, writing,

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and structure, ways to involve participants, manage their

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attention, justify your actions, and take advantage of simple

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technical constraints. These are tools you can reuse elsewhere

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within your own repertoire. In the appendix, I analyze the

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specific characteristics of the three most popular gimmicked watch

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models. I explain my preferences, my everyday use, and

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my way of using this prop invisibly, both on stage and in

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close-up. Finally, you will notice that I do not try to make

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things unnecessarily complicated.

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The method is often simple and direct.

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What interests me is building a magical, impossible, and memorable

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moment around this tool and the theme of time.

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If this book can help you transform a simple prop into a genuine

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moment of magic for your audience, then it will have fulfilled its purpose.