Look for another great selection of effects from my stand-up crew of world class magicians. Paul Lelekis, Mick Ayres, David John O Connor, Jeff Hobson, and Werner Miller, and our first timers, Dr. David Hanselman, Donavon Powell, and a special contribution from Peter Stammers (Alcar) and Michael Lyth. I can’t express enough Thanks to these gentlemen who have made a serious donation of time and effort to entertain Roadshow readers.
Remember, I am ALWAYS looking for articles and effects by you guys. The more the merrier. And never worry about spelling and proper English and all those mundane things. I have a staff of transient elves who help with the editing.
Anything related to the Roadshow, or, if you aren’t going to confession regularly, but you wish you were.. but your ledger has grown a little thick.. and you’re embarrassed.. and you really want to get a thing or two off your chest.. EMAIL ME
PDF Version.. Roadshow 165
Table of Contents:
– CAAN TU TWO – A Two Card Miracle
– COMMON CENTS – A Mental Effect
– Taking the Heat Out of Close Up – A Special PDF for Roadshow Readers
– BALLOON / BANG GUN SURPRISE – A Treat for Children..
– Five Thoughts on Children’s Shows – Donavon Powell
– Dime Store Salt Pour – A Classic, as Rendered by Jeff
– Tricks Without Names – Another Medley of Semi-Automatic Tricks
– VIBE – A Special Deck from Bob Solari
– Pat Page Memorial Workshop – Coincidence Effects (PDF)
– Amazing Interactive Mentalism Card Trick Revealed
– Suggestions for Making Gem Sticks – A Working Tutorial
– Build a Kabuki Drop for $50 .. Download a Blueprint
– Over One Hundred Card Tricks You Can Do! – Free PDF
– Four Ace Card Trick – Video Tutorial
– The Thirteen Paths – A PDF from R.Paul Wilson
– Hospital Clown Newsletter Archives
– The Magic of Magic – Shobi Dobi
– From the Red Carpet to the Sky.. A Magical Collage
– Ellen Degeneres and Magic – Get on the Ellen Show
– Writing Tips from Writers Who Know.. – A PDF for Anyone Who Writes
– 10 Stunning Images Show the Beauty Hidden in Pi..
– My Two Favorite 5 Letter Words….. Magic and Music
-3 great items, including a free album download & a free 2 hour concert.
– Free eBooks For Subscribers….
“We all want progress, but if you’re on the wrong road, progress means doing an about-turn”
C. S. Lewis
“A great magician is not more magical than other magicians; he is just more magical in his presentation.” Amit Kalantri
“Satisfaction lies in the effort, not in the attainment.” Mahatma Gandhi
CAAN TU TWO – A Two Card Miracle
Devised by J.K. Hartman, rendered by Paul Lelekis
EFFECT: A double revelation by the spectator! The spectator actually finds BOTH cards at the numbers given!
METHOD: Have a deck of cards shuffled by the spectator. The magician then relates a story of how his father did an ESP trick for him when he was only 7 years old.
The magician then pretends to look through the deck as if he is trying to concentrate on one single card. Actually he does nothing! Then he lays the deck down on the table.
The performer says, “I’ll show you a trick that my father played for me when I was just a kid. I will play the role of my father and you will play me as a boy of only 7 years of age!”
The performer “transmits his thoughts” of the card to the spectator so that she may “read” his mind! The spectator thinks of a card and says, “…the Queen of Hearts!”
The magician bursts out, “Yes you’re right! I don’t believe it! You’re ESP is amazing! Well…it was a just a couple of years later when I realized that my father was just messing with me!”
“But, you actually got the right card! I really was thinking of the Queen of Hearts – that’s amazing!”
“I think you’ve really got ESP! Let’s test your ESP…now I want to try a demonstration of ‘where’- instead of ‘what’!”
As you mention ‘where’ – instead of ‘what’, turn the deck to face you only, and look for the QH. Cut the deck so that the QH is now, secretly on the bottom of the face up deck (top of the deck!).
Whatever card happens to be cut to the face of the deck is the card that you will use for the ‘where’ part of this trick. However, I normally cull or arrange a contrasting card to be at the face of the deck, being sure that the QH is at the back (top of face-down deck).
Suppose you’ve cut the Two of Spades to the face of the deck. Take the 2S into your RH and the deck in the LH, placing the 2S, unseen, face down on the table.
“Since this is not a ‘what’ trick, but a ‘where’ trick, I’m going to show you this card. It is the Two of Spades. I’m going to place the deck behind my back and place the 2S somewhere into the deck.”
Place the deck behind your back and place the 2S, secretly, on TOP of the face-down deck! Now use your right middle finger to pull any card out from the middle of deck, about 1/4”. This “dodge” is to imply that the slightly out-jogged card, in the middle of the deck, is in fact, the 2S! Very strong!
Bring the deck out from behind your back and immediately use your fingers to push the projecting indifferent card, flush with the deck.
“Since you saw ‘about’ where the 2S lies, I’m going to give the deck two riffle shuffles to ‘lose’ the 2S. Remember – you need to remember the 2S and forget about the QH! Make the QH leave your mind, remember the 2S but forget the QH!”
The above reference to “forget” QH will become very humorous! You keep telling the spectator throughout the effect to ‘forget the QH – only remember the 2S!’ The very reason you’re saying to ‘forget the QH’ is what will make her remember it! The spectators will become very ‘tickled” by this. Play it up!
After two deliberate, controlled riffle shuffles (keep the top two cards intact!), pick up the deck into your LH.
“I’m going to show the top three cards and the bottom three cards to you, so that you know that the 2S is NOT near the bottom or the top.”
“By the way, please keep the other card, the QH, out of your head – O.K.? This part only concerns the 2S! So please forget the QH!”
As you say the patter above, “…the top three cards…” openly push over the top three cards and procure a left pinkie break under those three cards. You will now show that the 2S is NOT near the top or bottom of the deck! Begin with the three cards on the bottom of the deck.
Turn the face of the deck toward the spectators then spread the bottom two cards to show that the 2S is not one of the bottom three cards.
Next, lower the deck and pick up the top three cards above the break in RH Biddle grip, as only one card!
Display the top card (a triple!), then pick up the next card from the deck with your RH, fanned to the left of the triple.
Finally pick up a “third” card from the top of the deck with the RH also fanned to the left in Biddle grip. This 3 card fan is actually 5 cards – but no one will be the wiser!
As you show the bottom and top cards, keep mentioning, “Do you see the 2S? No? Good…but NOT the QH! Please keep the QH out of your mind!”
You are essentially showing everyone that the 2S (and QH) is not one of the top three or bottom three cards! Replace the three (actually 5 cards) back on top of the deck.
NOTE: My reasoning for displaying the top three(?) and bottom three cards is to keep the selection within the “meaty” part of the deck. This will thwart the “overly exuberant” spectator from choosing one of the top 3 or bottom 3 cards, which could prove to be trouble. It’s rare but I’ve seen spectators do this before!
“Now the idea is to use your impressive powers of ESP to tell me at what number the 2S now lies. I have narrowed your choice of numbers down, from between 4 and 49, inclusive.”
“However it is still a very large spread! I’ll tell you what – instead of giving me only one number – give me TWO numbers between 4 and 49!”
“First give me the lower number and then the higher number. Now – your two numbers can be far apart from each other or close together – or somewhere in between – it’s up to you!”
“Now I want you to concentrate only on the 2S – NOT the QH, O.K.?! I need you to keep your mind clear of the QH – concentrate only on the 2S! Please forget the QH!” (At this point do NOT yet let her name the two numbers! Here’s where you have a little fun!)
“O.K. ma’am (or sir!), please keep the QH out of your mind! Now what card are you supposed to remember?” She’ll say, “…the 2S…” “And what are you supposed to forget?” She’ll always mention the card, “…the QH…”
“NO!! You’re supposed to forget the QH!” This always gets laughs!
By continuing to mention the QH, it will stand out in everyone’s mind – and it can be very humorous! Repeat the, “…forget the QH!” line over and over!
“O.K., you want the numbers 17 and 23? Are you sure? You can change your mind if you want or stay with your first two impressions! O.K., you’re staying with 17 and 23.”
Now you will, very deliberately, count off 17 cards (without reversing their orders!) from the top of the deck in your LH, into your RH.
Place the 17th card on TOP of the cards in your RH! The top card of the packet in your RH will be (from the top, down) an indifferent card, 2S then QH.
Pause then continue your count from “18” placing each card on the bottom of the packet in your RH, until you reach the second number, 23. Place the 23rd card on top of the cards in your RH.
Before you begin the patter below, openly push over the top two cards (indifferent) and procure a break under the third card which is the 2S!
Turn up a triple as you recite the patter below.
“O.K. – you called for these two cards, the 17th and 23rd, right? Let’s look at your second choice, first…number 23. Now I’m sure you remember that the card to remember is the 2S, right ma’am? NOT the QH! Ma’am – please stop fighting me on this – forget the QH!”
Make the above patter humorous, as if you’re scolding her! “Alright – let’s take a look at the 23rd card.”
Turn up a triple to show the 2S – BIG reaction here! “I don’t believe it! It is the 2S! Congratulations!”
Turn the triple, face down. Do so by performing a stud turnover of the triple as described in J.K. Hartman’s book, CAAN CRAFT. Immediately place the triple on the bottom of the deck! Show the card one last time by holding the deck so that everyone can see the 2S. This appears to be the finale!
“But that was your first choice of numbers, 17? Let’s take a look at the 17th card just for the heck of it!” (Turn the top card of the deck, face up, to display the QH!)
“I don’t believe it! It’s the QH again! Ma’am, I told you to keep the QH out of your mind! No one ever listens to me!”
In the event that the spectator gives you her two numbers in reverse, for example, “…23 and 17…” continue exactly as above and no one will know the difference! Congratulate her on her amazing ESP abilities – but “tease her” about her inability to keep the QH (or whatever card) out of her mind!
This effect will keep everyone in “stitches”! There is so much emphasis placed on the spectator that you (the performer) will be free to perform without any scrutiny – a nice place to be!
*I would like to thank J.K. Hartman for allowing me to include this variation on his effect. He is not only a brilliant magician, but also a great friend! Thanks Jerry!
You can view ALL of Paul’s ebooks, all 20, at Lybrary.com .. They are, undoubtebly, one of the best values in all of magic.. Many are now considered underground classics…
Be sure to check out Paul’s definitive work on the Business of Table Hopping. Maybe my favorite of all his many ebooks. If you want to earn a steady income with your magic, this is the ebook for you…. http://www.lybrary.com/the-business-of-table-hopping-p-408936.html
COMMON CENTS – A Mental Effect
A guest is asked to imagine he has coins of different denominations in his pockets. You turn your back as he pretends to remove one of the coins, holds it in one hand and decides whether it is showing heads or tails. You turn around and immediately reveal which coins remain in the pockets—which coin was removed—which hand is holding that coin—and whether it is showing heads or tails. Then, to prove it wasn’t just a series of lucky guesses, you do it again.
Once you have acquired the cooperation of a willing guest, here is the script that follows. Smile broadly and, in an excited voice, say, “When the sun is high, the moon is full, the tide is slack and the planets line up—my senses tweak my imagination until it stretches out and I…feel…so…dang…perceptive. Like right now. It’s like I’m connected to everything around me—even you!
Here…I’ll show you what I mean.
“Use your imagination and pretend there are four different coins in your pockets. There’s a quarter here [point to his right pocket], a dime here [point to his left pocket], a nickel here [point back at his right pocket], and a penny here [point back at his left pocket]. Since we’ve never worked together before, we’ll keep things simple and just use two of the coins for now: the nickel [point at the right pocket again] and the dime [point at the left pocket again]. Of the nickel or dime, please focus your mind upon one…make your choice now. Got one? Good.”
Turn your back to the guest and say, “While I look away, please reach your hand into your pocket and pretend to remove the coin you have chosen. Close your fist tightly upon that imaginary coin and do not open it.
“Now, if you don’t mind, I’d like you to do a couple of things to help focus the mind. First, think about the value of the coin in your hand and multiply it by, say…fourteen.” The guest will immediately nod his head or say, “Done”. If so, you know he is thinking of the dime. However, if you sense the slightest hesitation you know the guest is thinking about the nickel. Once you know the identity of the coin it is a safe bet you can declare which hand is holding it as well. Remember how you pointed to the location of each coin earlier? By using the nickel and dime in this phase of the presentation, you have subtly forced the guest to use one pocket or the other and, by default, one hand or the other. So if the guest is thinking of the dime, it is in his left hand. The nickel will be in his right hand.
Keep talking and say, “There are different exercises like this that help a person concentrate better. Here’s another one that’s effective: Choose for yourself whether your coin will later show up heads or tails. If you choose Heads then hold the coin up by your own head and repeat the word ‘head’ five times to yourself. Do it slowly. Likewise, if you choose Tails then just hold the coin down by, well…your own tail and repeat the word ‘tail’ silently five times. When you are finished please hold both hands in front of you with your fists closed and say, ‘Done’.”
Turn around and face the guest. Look at his hands. Specifically, study the skin tone briefly. If the guest chose Heads and held his hand high for a slow count of five beats, then that hand will appear slightly paler than the hand that remained down by the side. Therefore, a difference in coloration tells you he chose Heads—and further confirms which hand holds the coin. If the coloration of both hands is identical then the guest chose Tails.
Once you have visually gained this last bit of information, you could just blurt out, “You chose the nickel and it is heads up.” But where’s the drama, the tension, the conflict, the theater in that? Delivering the revelation in a more detailed and progressive fashion is better. Make the following declarations: “I sense the quarter, the penny and the…dime…are still burning holes in your pockets. You decided to take out the nickel that is now in one of your hands. Specifically, it is held tight in your right hand. Finally, when you open that hand you have decided that nickel will be…tails up.” This approach gives the impression you have discerned four different pieces of information successfully.
Say, “If you think about it, these revelations are fifty/fifty propositions—just by taking a wild guess anyone can be right half the time. However, I think nailing ‘em down one after another like that puts this stuff in a different category.”
Now take this presentation a step further by saying, “Even though I’ve never been able to do this twice in a row, I feel like I’m still in the zone and wouldn’t mind giving it another shot. Are you game? All right! This time let’s use those two other coins, the quarter and the penny.” Make a gesture toward his right and left pockets respectively.
Turn away and say, “Think of the quarter or the penny. Now pretend to reach into your pocket and remove that coin. Again, hold it securely in your hand. Have you done so?” Wait for his answer. You want him to feel comfortable and responding freely this time.
Say, “Because we have done this before the pathways are open and the mental exercises are easier. This time, think of your coin and tell me when you have multiplied it by, say…nine.” This time, the slightest hesitation tells you he is thinking of the quarter in his right hand. An immediate response tells you he is holding the penny in his left hand.
Proceed with the same dialog provided earlier to determine if his coin will later show heads or tails. The dramatic final revelation is the same as well—with one small addition. Twice now, you have successfully named the three coins left behind, the coin he chose, which hand holds the coin and, finally, which side of the imaginary coin is showing.
Step back and smile broadly at your guest just like you did at the beginning of this presentation. Say, “You gotta admit—we’re not bad for a couple of people with no cents at all.”
CREDITS AND VARIATIONS
Royal Vale Heath’s 1933 book ‘Mathemagic’ proposed a method for determining a chosen coin based on the length of time it took to answer a simple math question. For the record, in 1998 David Harkey used a similar method in his still unpublished routine MindNumber which allows a performer to accurately determine the locations of three different coins—over the telephone.
Using skin coloration to determine which hand holds an object is a clever idea that dates back centuries (possibly to the time of Reginald Scot). However, using that same dodge to determine a heads or tails status is my own variation.
When performing Common Cents for children avoid the math by using four imaginary crayons—red and purple the first time, blue and orange the second time. Have the child think of a word that rhymes with the chosen color. Since nothing rhymes with purple or orange, you can easily obtain your answer. Finally, in lieu of heads or tails, discern whether the crayon is pointing up or down in the child’s closed hand.
Copyright 2012 by Mick Ayres. – Previously published in The High Road column ‘On The Importance of Character’, M.U.M. magazine; May 2013
Mick enjoys an eclectic career as a conjurer, tunesmith and taleswapper for the Walt Disney Resort on Hilton Head Island. He welcomes input and dialogue and can be reached athttp://www.mickayreswares.com/.
Taking the Heat Out of Close Up – A Special PDF for Roadshow Readers
Peter Stammers (Alcar) has been performing magic for well over sixty years. He has been part of the birth of modern day close up magic. As a youth, Peter spent Saturday mornings at Davenport’s magic shop in London witnessing three giants of magic; Alex Elmsley, Jack Avis and Bobby Bernard, ultimately inspiring his interest in magic. His close up skills has entertained Presidents of countries and International companies alike in varying venues from eastern Souks to Western Malls. The last Twenty years Peter has lived in Cyprus and was a founding board member of the Cyprus Magical Society. He also donated a trophy called the Alcar for the best close up performer in the close up competition.
To quote from Peter’s work…
“I’m English and live in Cyprus, which for those who don’t know is a small island located south of Turkey, west of Syria and Lebanon, northwest of Israel, north of Egypt and east of Greece. It is now a republic but it had been a British colony which is the reason why there are four British military Sovereign bases situated in the country. Whilst Cyprus largest group of tourists are from the UK at least 40% tourist will be from other countries. Out of that amount only about 15% will speak English fluently, the remainder will speak, little, or no English at all. These days the visitors will include people from: Russia, Poland and other Baltic countries and of course Greece and some Scandinavian and other West European countries as well as China.”
“In the course of this e-book I will write about performing for the British army (including RAF), United Nations, Hotels and working for international companies that visit the island. You will realize that there is a vast difference performing for these types of venues than say, restaurants and private parties. Alcar was kind enough to detail for Roadshow readers HOW he performs for various groups, the do’s and don’ts, and what constitutes a great performance..”
BALLOON / BANG GUN SURPRISE – A Treat for Children..
David John O Connor
EFFECT: Two youngsters are invited to join the performer on stage. A pair of ‘goofy spectacles’ are placed on each boy as ‘safety glasses’. Handing a bang gun to one child with the instructions that he must not pull the trigger till you count 3.
The performer takes a round balloon and informs everyone that he will inflate the balloon, place it on the other boys head and on the count of 3, the boy with the bang gun will pull the trigger and there will be a Big Bang.
Placing the inflated balloon on the boys head, he begins to count, “One – Two” when suddenly the balloon bursts. The boy with the gun is kiddingly asked why he made the balloon burst too early.
Another balloon is inflated and placed on the other boys head and again, after instructing the boy holding the gun not to pull the trigger till you count 3. The performer starts to count again, “One – Two”, and again the balloon bursts. Again you ask the boy with the gun why he made the balloon burst before you counted to 3.
Blow up the third balloon then accidentally (?) let it fly off. Blow it up again instructing the gun lad to take aim again and only pull the trigger on the count of 3 and there will be Big Bang. Holding the inflated balloon on the other boys head at the count of three while shouting, “Pull the trigger, Pull the trigger,” you release the balloon (that was not tied off like the first 2) This balloon should scream off, while the boy pulls the trigger, releasing the banner that falls down that reads, “BANG”.
This routine can be filled with balloon gags and antics, like accidentally tying the balloon to your thumb then trying to shake it off. Blowing the balloon from the wrong end, stretching a balloon and allowing it to snap against the hand as though it was painful. Emphasize kiddingly with the boy that he is likely the cause of all the problems by causing the balloon to burst before you say 3.
REQUIRED: An assortment of round balloons. A Vernet thumb tip with a thumb tack or small pin protruding on the outside (to burst the balloons) A large size Bang Gun prop available inexpensively from magic dealers. The bang Gun has a drop down ‘Bang’ banner.
ROUTINE: Once your two assistants have joined you on stage; place the funny glasses on them.
One boy is given the gun with strict instructions not to pull the trigger before you count 3. . If he points it down, tell him not to shoot his foot, then lift the child’s arm up.
With the thumb tip pricker in place unseen, blow your balloon up clowning around by blowing it the wrong way up, making funny noises etc.
Finally place the tied balloon on the other boys head with him facing away from the shooter. Instruct the boy with the gun to take aim and only pull the trigger on the count of 3. Burst the balloon using the thumb tip pricker on count 2 and immediately ask the boy pulling the trigger why he fired too soon, and he will probably disagree with you.
Goof around with the 2nd balloon tying it to your finger and shaking it to release it etc. Once the 2nd balloon is placed on the other boy’s head, start counting again, “One – Two”, and again burst the balloon. Kiddingly question the boy with the gun once again.
Finally blow up the 3rd balloon but don’t tie it off and hold it on the boy’s head, after telling the gun boy to “Take careful aim and only pull the trigger on the count of three and there will be a Big Bang”. Invite the audience to put their hands over their ears. Counting “One – Two – Three,” shouting, “Pull the trigger”, and release the untied balloon that flies off. The bang gun banner will drop down displaying the word BANG!
Thank your two assistants and remove the funny spectacles. I present each boy with a pre made balloon animal each, as you lead them back off the stage, asking for a round of applause for your two fine assistants. It really is a riot of fun routine with lots of built in laughter from the spectators.