TWISTEDRAINPRODUCTIONS
two
Deception | Subterfuge | Street Magic by DanielMadison
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INTRODUCTION TO two ECCENTRIC TOURIST BLAZE 1 BLAZE 1.1 BLAZE 1.2 BLAZE 1.3 BLAZE 2 BLAZE 3 GRAFFITI 2 SOME BAD HAT HENRY FUKINACES ONE THROUGH PROPHECY STIGMATA 2 BREAKOUT REPOCKET EXECUTION ANGLE ZERO RE-MATCH
A Machiavellian sting appearance An intense single-card voodoo effect A variation of Blaze 1 A variation of Blaze 1 A variation of Blaze 1 Another intense single-card voodoo effect A voodoo revelation A crap revelation followed by a bewildering surprise A deck vanish in some bad hat A marvel of a 4-ace revelation A single card switch Card thru anything A mentalism effect with a twist An eerie revelation A reputation making coin effect Card to participants’ pocket A torn & vanished & restored card effect Corner Torn to anywhere Corner Torn Transposition
WWW.DANIELMADISON.CO.UK
An introduction to TWO Magic anywhere can be life changing; it burns deeper than any story or weekly experience. In my practice, in the street, in its nature, magic breathes lifelong memories for daily folk; here is where magic births legends, and here I write for you, some of the hardhitting techniques I use throughout my street performances in hope that you can find inspiration, within an idea, within a concept, without care for judgment, or for what magic is. A stranger with a deck of cards will leave one of two memories with his victims… 1. 2.
That was some good magic That guy was F’ing incredible
I know which I prefer. Anybody with money can be a magician: logon, browse for a shop, buy some cards and a ‘you can do magic!’ book. Hey F’ing presto, another boy with a deck of cards. In street magic, the rules change, you can have 10 years or 10 days experience, without the showmanship skills, you’ll fall into category 1, and that’s not to say that it takes 10 years to sharpen one’s skills in showmanship. A performer in magic will practice forever a single technique yet never achieve its desired impact, simply because that practice time should be equally divided between the method, and the performance. Your performance can’t be learnt through any book, only from within you. When you learn a trick, black out the patter and create your own. I’m sure the following effects have been explored before, but none in my way, and that’s the key, you can perform the same effect 3 times in different ways and the spectator will be none the wiser. How many copies of Blaine have you seen in the industry? The fact that we remember them as Blaine duplicates is why we fail to recall their actual names and the same reason they fall into category 1. Be remembered for your name. Not for what you do. I’ve been to every corner of magic only to settle back where I began. You can’t run from who you are Let’s do some street magic
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WARNING: These notes contain effects which require self-made gimmicks.
Some of these gimmicks require the use of fire through the medium of a lighter or matches. I do not advise anybody below the age of 16 to create such gimmicks by the suggested means and do advise all who wish to create such gimmicks to do so with absolute care. Those below the age of 16 who wish to create these gimmicks in such a suggested method must ask a responsible adult to do so for them. I do not take any responsibility for any damage caused whatsoever as a result of attempting to create such a gimmick. Fire kills and is a dangerous element, please use your knowledge and take absolute care if you do chose to create these gimmicks. For those who choose to create these gimmicks, please do so in an open and wellaired area where no flammable substances are, i advise that these gimmicks are created above a bucket or container full of water and that a fire extinguisher is close by. After creating the gimmicks, please ensure for your own safety that the lighter or matches have been fully extinguished before concluding the creation. Check out www.FireSafety.com for further helpful fire regulations.
Eccentric Tourist: A Machiavellian sting appearance The Performer dribbles the playing cards to a surface until the participant calls STOP The lower card is shown as the selected card The cards are shuffled and dribbled again, the participant is asked to call stop The stopped at card (4D) is not the selected card, this packet is placed aside (faceup (4D showing.)) The remaining cards are dribbled to the surface, once again until the participant calls stop… The stopped at card is not the selected card Attention is drawn to the face up packet, where the 4H has now become the selected card. IMAGE 01
THIS EFFECT IS BASED ON THE OLD CLASSIC ‘A CARD FURTHER’ OR ‘TRAVELLING STRANGER.’ THIS EFFECT IS ABSOLUTELY IMPROMPTU AND CAN BE PERFORMED WITH ANY DECK OF CARDS. 1 2
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After shuffling the cards, dribble them to a table or surface in a messy fashion, asking the participant to call STOP. Show the card stopped at (the lower card of the remaining held cards.) Once the card has been shown, dribble the remaining cards, once again, in a messy fashion. As you do so, inch the selected card closer to you leaving it protruding further causing a much bigger gap in the deck. As you dribbled in a messy fashion from the set, it will be much acceptable that you do so after a card has been selected. The messy cards will insinuate a more tricky situation for one to locate a specific card. Image 01 exposes the style you should leave the cards in. (the lower half has been turned face up for the exposed example only – to illuminate the break.) Gather the cards lifting at the convenient break instantly cutting the upper half to the table positioning the selected card at the bottom of the deck, cut the remaining cards once again suggesting that all in play is a further mix of the cards. Take the whole deck and shuffle retaining the selected card at the bottom of the deck. For further clarity you can cop the card away and offer the deck to the participant for a shuffle returning the card afterwards. You could also crimp the card and offer the whole deck for shuffling if you wish to do so. Dribble the cards to the surface asking the participant to call STOP. The selected card will now be the first card to land on the surface. Show the card stopped at. As the participant claims that this is not their card, take the remaining packet (in hand) and place on the surface to the left of the dribbled cards at an offset angle as in Image 02. Draw attention to the wrong card i.e. The 4D isn’t your card? Take the dribbled cards and square up, as you do so, cop away the bottom card; Image 03 exposes this. With the cophand, straighten up the faceup deck dumping the selected card on top, faceup… Image 04. At the same time as doing this, begin to dribble the remaining cards asking the participant to call STOP. Is this one your card? As the participant says no, stay silent and still, if they do not discover their card in their own time, simply still, and point to the card. End.
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Blaze 1: An intense single-card voodoo effect The participant selects any playing card; the rest of the deck is put aside The participant is asked to inspect the playing card. The card is then placed in the participants’ palm The performer holds his hand over the card (not touching.) The participant begins to feel a burning in their hand as if the card is on fire The performer moves his hand away to reveal a hole burnt through the playing card
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THIS EFFECT REQUIRES GREAT SLEIGHT OF HAND AND EVEN BETTER SKILLS OF MISDIRECTION, A GIMMICK CARD IS REQUIRED, HERE’S HOW TO MAKE IT…
Making the Gimmick 1 2 3
Take serious not of the warning on page 2. Take a plying card and cut a hole in the middle (approx 1cm x 1cm.) Using a lighter or a match, burn the edges of the cut out hole, once done, the playing card will be warped. Leave the playing card trapped between two books or inside one under a heave weight overnight or at least a few hours. This will iron the warp. Image 05 shows the final product THIS EFFECT, ALTHOUGH CLASSED (BY ME) AS A STREET MAGIC EFFECT, RELIES ON METHODS USED BY MENTALISTS, IN THAT THE MISDIRECTION MUST BE PURELY NATURAL ALONGSIDE THE USE OF PARTICIPANT CONDITIONING SO THAT THE CARD IS SIMPLY NOT LOOKED AT. A STRONG LEVEL OF TRUST AND RAPPORT IS IMPERATIVE; DUE TO THE NATURE OF THE EFFECT, THIS ONE IS BEST PERFORMED ONEONONE.
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Place the burnt card to the bottom of the deck and it’s duplicate from the deck in your best forcing position… Force the card using a method in which the participant removes the card from the deck – as opposed to leaving it in the deck as with a dribble force. As the forced card is removed, cop the burnt card from the deck and you place the deck aside or in your pocket. Take the selected card from the participant with your free hand and ask them to hold out their hand (palmup,) at this point, bring the two cards together so that the selected card covers the burnt card. Images 06 & 07 show this action. Flip both cards facedown and hold them from above. Cop away the lower card leaving the burnt card in hand. As the card is held from above, the participant will not see the bunt hole. Images 08 & 09 show the cop and how the gimmick card should be held Place the burnt card in the participants’ hand keeping your hand above it blocking the view of the burnt hole. At this point, I usually keep the copped card in my hand and hold onto the participants arm with it. If I am surrounded, I will reach into my pocket to dump the card and retrieve a lighter as part of the patter; I would recommend this method regardless of surroundings for obvious reasons. Use the power of suggestion…
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I need your full attention, stand straight, look right into my eyes and feel every word I say… Providing you have their full attention, you can momentarily move your hand from the card with a gesture before returning it back to shade the card; you need to get them comfortable with you moving away from the card implying that you are not hiding anything. I want you to imagine a burning sensation in your hand, imagine that you have the power to generate a strong heat in your hand… Even if you think this is rubbish you’ll still feel some heat in your hand simply because of the suggestion, but even that alone is quite weird… But lets take this as far as we can… Imagine the card is on fire! You can feel the heat under the card becoming more and more intense… 90% of the time the participant will react to this in some way, as soon as you notice the smallest impulse of a reaction move away your hand and imply the exaggerated reaction yourself… Oh my gosh! It worked! (this phrase is merely a languagefriendly suggestion, of course.)
Blaze 1.1: A variation of Blaze 1 The participant selects any playing card and shuffles it back into the deck The participant squeezes the deck whilst thinking about their playing card The participant begins to feel a burning in their hand… The participant searches through the deck to find a hole burnt through their selected playing card …UTILISING THE BLAZE 1 GIMMICK IN A MUCH EASIER AND NONCHALANT WAY… THIS IS ONE OF MY PERSONAL FAVOURITES… 1 2
Simply leave the gimmick in the deck, preferable 2 nd from the bottom. Force the duplicate and have the participant return it to the deck, as they do so, you need to control it to the bottom as you shuffle the deck. Cop away the bottom (selected | force card) as you hand the deck to the participant to shuffle. As they do so, dump the copped card as you casually place both hands in your back pockets, do this naturally as you step back to watch the shuffle. Don’t worry about the gimmick showing up, don’t let them shuffle too much… Okay, that’s enough… Just hold the deck in both hands and squeeze it tightly… I want you to concentrate on your card, imagine you know where it is in the deck. Take that thought and that energy coming from your hands as you squeeze the deck tighter… Feel the heat in your hands and focus on using that energy to affect the card in some way… Only you know the card so only you can effect it… Can you feel that? Can you feel that? A question which will always be followed by ‘Yes!’ Reveal.
Blaze 1.2: Another variation of Blaze 1 The participant selects any playing card, two kings are used to sandwich the card The performer holds the three cards between his forefinger and thumb slowly rubbing them together to create a friction. The cards are thrown to the surface as the performer pulls away holding his burnt finger and thumb The selected playing card is shown to have a hole burnt clean through it. ANOTHER PERSONAL FAVOURITE… 1 2
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Place the gimmick card on top of the deck, facedown. Place a pair on top, i.e. King of Spades & King of Clubs. Force the duplicate on the participant. As they look at the card, turn the two Kings faceup ensuring that gimmick is not seen. Spread the cards and grip the gimmick flushbehind the lower King placing the deck aside as you do so. Obviously make sure that the gimmick remains hidden. Ask the participant to insert their selected card between the kings – facedown. Time for the sleight…
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Blaze 1.2 Pass-Sleight Image 10 shows the current position, Image 11 shows the exposed position from below. As you flush the cards together, hide a break directly between the 4 cards (two above, two below) as in Image 12. The bottom two cards need to be passed above the top two, Images 13 & 14 show this in motion. Cop away the bottom card as exposed in Image 15 as you reach toward the participant with the other three cards. The copped card will remain palmed and unseen until the revelation. 4
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Momentarily and silently begin to rub the three cards slowly between your finger and thumb (Image 16,) at this point you can slightly expose the corners of the selected card to reassure the participant that the middle card is actually still their card. Sharply throw the cards to a surface and shake your hand as if burnt, then simply IMAGE 15 point to the three cards – unless they separated on impact revealing the burnt out card. At this point you can dump the copped card (if you didn’t manage to do so meanwhile.)
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Afterthoughts It’s often a good idea to use this… I’m not sure this is working, you do the same… Take the three cards and slowly rub them between your finger and thumb until you feel a distinctive heat… When you feel the heat, it’s important to let go, you don’t want to burn yourself. Most folk will feel the heat or the fear of it and want to let go of the cards, if they do not react in any way, simply take the cards back, and continue with the acting.
Blaze 1.3: A further variation of Blaze 1 The performer removes a card from the deck and holds it between his closed palms After a few moments of concentration, the performer throws the card down holding his burnt hands in pain The card is seen to have a hole burnt through it.
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YET ANOTHER PERSONAL AND VERYEASYTOPERFORM FAVOURITE… Place the duplicate card on top of the deck. Place the gimmick card on top of that. Place any other car on top of that. Perform a triple lift to show the duplicate card, turn back the cards and glide the top card as you remove the 2 nd card down (gimmick card) in a manner that conceals the hole in the card. Image 17 exposes the glide and the removal of the card. Image 18 shows how this should look to the spectators and Image 19 is how the card should be held, concealing the hole yet exposing the value and clean edges of the gimmicked card. Side the deck and hold the gimmick card between your hands in prayer position… A look of serious concentration before a shriek…Throw the cards to the surface… Hold your hands as if burnt and allow your participant to react.
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Blaze 2: Another intense single-card voodoo effect The participant selects any playing card; the rest of the deck is put aside The participant is asked to inspect the playing card. The card is then placed in the participants’ palm The participant begins to feel a burning in their hand as if the card is on fire The card is turned over to reveal burn marks on it THIS EFFECT IS A SIMPLE OUT FOR THOSE EITHER NOT READY FOR BLAZE ONE OR NEVER IN A SITUATION TO TAKE SUCH A RISK. ONCE AGAIN, A GIMMICK CARD IS REQUIRED, HERE’S HOW TO MAKE IT…
Making the Gimmick 1 2
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Take serious not of the warning on page 2. Take a plying card and hold a lighter or a match to the face of it for a few seconds, this will warp the playing card. Leave the playing card trapped between two books or inside one under a heave weight overnight or at least a few hours. This will iron the warp.
Place the burnt card on top of the deck and it’s duplicate from the deck in your best forcing position… Force the card using a method in which the participant removes the card from the deck – as opposed to leaving it in the deck as with a dribble force. Take the card from the participant casually turning it over… It doesn’t matter that I know the card; this isn’t one of those tricks Perform a top change so that you now hold the gimmick, place the gimmick on top of the deck and perform a double lift to show the card. Turn the card back facedown whilst asking the participant to hold out their hand (palmup of course.) Take the top card (gimmick) and place it in their palm (facedown of course.) Use similar patter and revelation as in Blaze 1 as a build up to the final revelation; it’s always an idea to dump the duplicate card from the deck so that the deck can be checked afterwards.
Afterthoughts The Blaze Two gimmick can be used for many other effects, including many that have already been published by other performers that I feel I need not mention.
Blaze 3: A voodoo revelation A card is selected by the participant and lost in the deck; the performer reveals the incorrect card The incorrect card is removed and used as a medium to find the selected card The wrong card is shown both sides before being placed faceup in the participants’ hand The performer asks that the participant focus on the value of their selected card The card is turned over to reveal the selected card burnt into the back THIS EFFECT REQUIRES A GIMMICKED CARD, HERE’S HOW TO MAKE IT…
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Making the Gimmick 1 2 3 4
Take a playing card; with a marker pen write the value of any of the following playing cards on it… 2, 3, 5, 7, J, K (any suit) (Image 20) Cut out the marks with a pair of scissors. (Image 21) Clip this card to the back of another playing card (in this example – JS) (Image 22) Using a lighter or match… burn the back of the complete card through the gaps of the cut out card. This will leave burn marks in the shape of the cut out card. This will warp the gimmicked card; leave the playing card trapped between two books or inside one under a heave weight overnight or at least a few hours. This will iron the warp. Image 23 shows the final product
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FOR THIS EXAMPLE, WE SHALL USE THE JS WITH THE 7D BURNT INTO THE BACK OF IT. 1 Place the gimmicked card on top of the deck with the real JS on top of itH on top of it, place the 7D in your favourite forcing position and force the card. 2 Lose the 7D anywhere in the deck. After a few false shuffles, perform a double lift to reveal the JS, turn this back face down and point to it… this isn’t your card? 3 Perform another double, as you turn the card back facedown, glide the top card and slide the gimmick card out from the deck whilst turning it face up at the same time so that the burn mark remains unseen. Place the deck aside. The gimmicked card is now placed faceup in the participants’ hand. 5 Use the power of suggestion… I want you think about your card, burn the image of your card onto this one, imagine that though is on fire, you can feel the heat under the card becoming more and more intense… etc 6
Reveal.
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Graffiti Two: A crap revelation followed by a bewildering surprise The performer writes down a prediction on a playing card and places it facedown on the surface A card is selected by the participant and left protruding the deck The prediction is turned over and revealed to be correct The participant is then invited to take the protruding card from the deck, upon which they find their name written on the card THIS EFFECT WAS INSPIRED BY JAY SANKY’S ‘GRAFFITI.’ AFTER LEARNING HIS METHOD, I FOUND THAT THIS NEW METHOD ALLOWS YOU TO PERFORM EVEN CLEANER WITHOUT THE NEED TO DO A POCKET SWITCH AS WELL AS PLAY ON A MUCH BETTER STEPONE REVELATION THAN A SIMPLE YOUR CARD WILL BE RED! FANTASTIC IT IS QUITE IMPORTANT THAT YOU DO NOT KNOW THE SELECTED PARTICIPANT… 1 2 3
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Get a duplicate playing card e.g. 4D, on this card, write a prediction card… e.g. 3C The bottom of the deck should have the marked 4D, then the 3C, then the unmarked 4D showing (Image 24) Ready? Introduce yourself to the participant, after learning their name, show the unmarked 4D and claim that here you will write your prediction. As you move the deck up to write the prediction, glide the unmarked 4D as in Image 25 before pulling away half of the deck (Image 26) into the middle of the deck before closing the cut (Image 27.) This is done so casually and smoothly in one action as you raise the deck. The bottom card is now the 3C. On the bottom half of the 3C, write down the participants’ name (Image 28,) this cannot be seen by anybody at this point… Glide this card back and take out the premarked 4D (Image29) You can show this prediction to any other spectators before placing it facedown to confirm that you did actually mark the 4D and not another card. Force the 3C on the spectator disallowing them to remove it from the deck, the Slip Force will suffice which allows you to out jog the card so that the bottom & marked half remains in the deck and unseen as Image 30 shows. Show the protruding selection and invite your participant to turn over the prediction. Allow the reactions to set and fade as you place the deck down (faceup.) Invite the participant to take out the card for the double impact revelation. (Image 31)
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Some Bad Hat Henry: A deck vanish in some bad hat A card is selected, signed and shuffled back into the deck The performed places the deck into his hat and begins to shake the deck around inside it As the deck bounces around in the hat, the cards can be seen to slowly vanish leaving only one card… THIS EFFECT WAS BORN FROM MY FAVOURITE CARDTO POCKET EFFECT WHICH ENDS WITH THE DECK IN THE POCKET AND THE SINGLE CARD LEFT IN HAND, I’M VERY RARELY SEEN WITHOUT A HAT AND THOUGHT IT ONLY NATURAL THAT I CREATE A FEW EFFECT TO ABIDE IT. ASIDE THE OBVIOUS CARDTOHAT / CARDTHRUHAT AND THAT ONE WHERE YOU FLICK THE HAT FROM UNDERNETH AND THE SELECTED CARD SHOOTS OUT; THIS IS MY FAVOUTITE… 1 2 3 4 5
Control the selected and signed card to the top of the deck Take off your hat placing it to a table or close surface; it helps to slightly tilt the hat toward you Cop the deck leaving the top card in hand posing as the deck; Image 32 shows an exposed view of this. Instantly take the single card to the hat, placing (not dropping) inside. As you do this, turn your body to the hat and dump the deck in your back pocket. Pick up the hat with both hands and shake it quickly so that people can see what appears to be the deck bouncing around inside. The time it takes for their minds to adjust to see that there is only one card in there is the perfect timing for the revelation. It will appear that the deck somehow vanished inside the hat.
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FukinAces: A marvel of a 4-ace revelation 4 Aces are mixed into the deck… Ace 1: Shoots out of the deck to be caught by the spectator Ace 2: Found in the performers pocket Ace 3: The deck vanishes leaving only one card in hand Ace 4: Held by the spectator the whole time EVERY MAGICIAN HAS ONE. THIS IS MY MOST FAVOURITE 4ACE REVELATION, IF THIS HAS BEEN PUBLISHED BEFORE I OFFER MY APOLOGIES 1
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Remove all Aces and pose a shuffle of them into the deck secretly retaining them to the top of the deck. I usually use a method by Brother John Hammond whereas the aces are separated in the deck, yet when flushed, they are actually pushed right through the deck to protrude at the back where they are retained to the top. Any controlling method will suffice as long as the impression that they have been shuffled into the deck has been placed. Perform ‘Popsyble’ or SnapD (from the LETHAL DVD) or any other top card revelation. If performing Popsyble or SnapD, ask the participant to catch the card as it comes out, otherwise, pass the revealed ace to the participant to hold. Grip a double from above as you prepare to cop away the deck… Cop the deck to your back pocket leaving the double in hand posing as the full deck… bring back the top card from the deck in your pocket… Ace 2… Pass to the participant to hold. Slam the 2 remaining cards into your hand as if to make the deck vanish, turn over as one card and carefully pass to the spectator to hold instantly drawing their attention to your other open hand… The last ace was so fast that you didn’t even see it… Point to the aces in their hand where the last ace has now appeared.
ONE: A single card switch A single playing card is removed from the deck and shown to everybody The card is dropped into the participants palm facedown The participant is asked to name out loud the card they are holding Upon turning the card, it has become a different card THIS IS BARNON MY FAVOURITE EFFECT OF ALL TIME, SO SIMPLE, SO EFFECTIVE AND STRAIGHT TO THE POINT. THIS WAS BREIFLY MENTIONED IN MY PREVIOUS NOTES (ONE) AND UNDERESTIMATED AS A POWERFUL EFFECT TO PAY CREDIT TO. ALTHOUGH A CERTAIN KNACK IS REQUIRED TO HIT THIS ONE, IT’S DEFFINATTELY WORTH THE PRACTICE… 1 2 3 4 5
Hold 2 cards as 1 as in Image 33 (exposed) Lower the cards to the position shown in Image 34 Ask the participant to hold out their hand (faceup) gesturing the same motion with your right hand (holding the two cards with your left.) As they do so, with your right hand, break away the top card as you cop away the other (Image 35.) Lower the palmed card to your side as you raise your left hand to drop the switched card into their awaiting palm. As you ask them to name the card before turning it over, dump the palmed card into your back pocket and await the reactions.
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Through: Card through anything A card is taken from the deck and a corner torn from it, the corner is held by the participant The card is taken by the performer and slammed onto a closed book, vanishing from the hand, penetrating through to the middle of the book The corner is checked to prove that the card is not a prearranged duplicate The corner is then taken from the participant and slammed on top of the book, the corner vanishes, this time penetrating the entire book THIS PRINCIPLE HAS ENDLESS VARIATIONS OF WHICH I’M SURE YOU’LL DISCOVER YOUR OWN PERSONAL FAVOURITE. THIS VERSION OF THIS EFFECT IS MY MOST REGULARLY PERFORMED VERSION. YOU WILL NEED TWO PAIR OF DUPLICATES FOR THIS EFFECT
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Place the first KD on top of the deck and the duplicate KD on the bottom. Hold two duplicates together and tear the corner of both of them simultaneously creating a duplicate tear, leave one corner attached by a few millimetres and tear one completely off as shown in Image 36. Place the fully torn card into a nearby book and the corner of it underneath the book. Place the torn\attached card to the bottom of the deck. Take the actual card from the deck and place this to the bottom of the deck hiding the torn duplicate. You can either force this card, or simply show it, then as you raise the deck, glide the card aside and remove the torn duplicate hiding the torn corner. Fake the tear on the card before offering the participant to complete the tear to keep hold of the corner. Place the torn card to the bottom of the deck so that it can be seen by all. Classic palm the card (KD) from the top of the deck, Image 37 shows an exposed view of this. The KD can be seen behind the torn card. Drop the KD on top of the torn card as you pretend to lift in a palming manner the torn card; the illusion being that the KH covers the torn card and the shape of the hand insinuates that the torn card is palmed in hand… Instantly slam your hand onto the book whilst opening your fingers, the torn card will appear to have vanished and once revealed inside the book will appear to have penetrated it. Invite the participant to check the matching corner. Take the torn corner and fake pass it to the other hand where you will make it appear to have vanished, once again by slamming your hand into the book… Show your hand empty and invite the participant to lift the entire book, where the preplanted corner can be found… Meanwhile you can dump the other corner either in your pocket or in position for yet another vanish or to go right into either of the upcoming effects… IMAGE 36 Execution, or Angle Zero.
Afterthoughts Occasionally I’ll be able to sneak a duplicate into somebody’s bag, pocket, briefcase etc, the limits are near endless. If using the book method with any named page number, use your favourite book force method.
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Prophecy: A mentalism effect with a twist The performer asks the participant to think of any word, the performer writes this word down and claims that from a thought of word, he can tell which playing card the participant will pick, to which he also writes down a prediction A card is selected by the participant The performers’ prediction is shown to be correct The performer then removes a sealed envelope from his pocket The participant then opens the envelope and removes the predicted card with the thought of word written on it BEFORE PERFORMING THIS EFFECT YOU WILL NEED TO PREWRITE YOUR PREDICTION CARD, EG 4C. YOU WILL ALSO NEED A DUPLICATE 4C TO PUT IN A SMALL ENVELOPE UPON WHICH YOU WILL WRITE A PARTICIPANTS WORD. IMAGE 38 SHOWS THE SETUP NEEDED FOR THE EFFECT (THE PARTICIPANT DOES NOT SEE THE PAD AT THIS POINT FOR OBVIOUS REASONS.)
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Once the participant has named their word, write it down on the top half of the pad as shown in Image 39. If you thought of that word… Write down the word as you say this. …that means your playing card will be… IMAGE 40
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As the 4C is already written, fake write a playing card prediction as you rewrite the thought of word once again, this time on the top of the exposed playing card as in Image 40. Once done, manoeuvre the card fully into the envelope and seal it all with the thumb and forefinger holding the pad as in Image 41. Slide the envelope to the end of the pad as in Image 42 and cop into your palm as in Images 43 and 44 at the same time as placing the paper pad face down. Take the envelope to your pocket and dump as you retrieve the deck of cards Force the 4C on the participant and invite them to turn over the pad of paper Reveal the twist as you remove the envelope from your pocket, place it on the table and invite them to open it.
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Stigmata Two: An eerie revelation A card is thought of by the participant, the participant is asked to grip the performer by the wrist and think of their card, when they let go, an image of the thought of playing card slowly appears on the performers skin. THIS IS A METHOD THAT I HAVE BEEN USING FOR MANY YEARS NOW AND WAS QUITE SURPRISED TO SEE IT RELEASED IN THE US USING A METHOD THAT SOME MAY FIND BETTER THAN THIS ONE, NONETHELESS, THE PERFORMERS I HAVE PERFORMED THIS FOR HAVE ALL USED IT AT LEAST ONCE, AND MOST HAVE KEPT IT IN THEIR REPERTOIRE AS A BACKUP EFFECT. MOST MAY FIND THIS METHOD POOR, BUT THE SHARING OF IT IS WORTH THE READ AT LEAST. 1
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This effect uses fakesuntan. Any will do. Squirt a dollop onto a piece of paper and use a matchstickend to dip into it and write a forcecard on your wrist. Leave it there for a good 20 minutes or however long the product advises and then rinse. Don’t completely clean it or try to rub away at it. I usually leave it a good 24 hour before performing Force the card and perform…
Breakout: A reputation making coin-effect A £2 coin is borrowed from a spectator, before a closeup crowd, the middle (silver) of the coin is pushed out of the outer ring (gold.) Both hands are shown clean THIS IS JUST A SIMPLE SWITCH WITH A PREBROKEN COIN. MOST OF YOU SHOULD ALREADY HAVE A DECENT SWITCH AND DITCH, APOLOGIES FOR THOSE IN COUNTRIES THAT DO NOT STOCK SUCH A BREAKABLE NOMINATION OF COIN. Here’s how to break the coin… 1 2 3
Set 3 or 4 coins so that a £2 coin can sit comfortably on top so that only the golden edges of the £2 are touching the base coins as in Image 45 Take a 5p and sit it on top of the £2 coin in dead centre. (Image 46) Using a hammer, whack the 5p causing the inner part of the £2 to pop out. (Image 47) With enough force, with ridges of the silver of the coin will warp enabling it to slot back into the gold ring, if they don’t, you will find that the inner part of the coin sits comfortably protruding the centre, held correctly, the inner will remain there and upon performance, this will only go noticed once the effect kicks in.
IMAGE 45
IMAGE 46
IMAGE 47
Repocket: Card to participants pocket The performer lets his spectators in on a few sleights, he shows them how he palms a card to his pocket, he then shows how he would get a card to their shirtpocket using a similar method. After revealing the method, they watch the card vanish before them where it appears in the participants’ shirt pocket without them seeing. SHOWING YOUR SPECTATORS ONE OF THE METHODS YOU USE TO ACHIEVE YOUR MAGIC WILL GUARANTEE YOU THEIR FULL ATTENTION, THIS EFFECT DRAWS THEM IN AS YOU EXPOSE A METHOD OF GETTING A CARD TO THEIR POCKET, WHILST AT THE SAME TIME COMPLETELY OWNING THEM BY ACTUALLY GETTING THE CARD TO THEIR POCKET WITHOUT THEM SEEING YOU DO IT. The best performance method for this effect works with a front shirt pocket or similar chestpocket on a coat. You will need a duplicate card for this effect, keep both duplicates on top of the deck. 1 2 3 4
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Take the top card and show the spectators how you would ‘classic palm’ a card (Image 48) Show them how you would pat somebody on the shoulder with this hand, as you move your hand back away from them you drop/manoeuvre the card into the open pocket (Image 49) Remove the card from their pocket and show them the sleight again in real time, but this time… palm both dupes and pose them as one card Once both dupes are safely in the participants’ pocket, remove only one of them with which you take to the deck of cards to perform your favourite vanish. It’s easy enough to just snap your fingers over the card and lift a double, I’m sure you have your own adequate vanish technique. Stand and point to the participants pocket. IMAGE 48
IMAGE 49
Execution: A torn & vanished & restored card effect The corner is torn from the participants selected card The corner instantly vanishes The performer slowly lifts his necklace from under his shirt to reveal the corner attached to it The corner is taken from the necklace and instantly attached back to the torn card 1 2 3 4 5 6 7 8 9 10
Tear the corner off of a duplicate card and punch a small hole close to the edge of it. Attach this corner to your necklace. (Image 50) Place the torn card on the bottom of the deck and place it’s duplicate in your favourite forcing position… force the card. Once returned to the deck, control the selected card to the top of the deck whilst retaining the bottom torn card. Reveal their card by pulling it from the bottom of the deck keeping the torn corner covered. Pretend to tear off the corner that has already gone. As you pretend to hold onto the torn off corner, perform any kind of pass to reveal the vanish of the corner. With open and clean hands, slowly pull your necklace from under your shirt to reveal the attached corner. Take the torn card and hold it to the corner to show that it is the exact corner, place the torn card to the top of the deck and you put your necklace back under your shirt Under your shirt (out of sight) pretend to break the corner off of the necklace and bring it out As you go to take the top card, turn the deck face up and pull out the 2 nd card down, once again covering up the corner as in Image 51 As you open the hand that apparently holds the corner, blow into your palm to reveal the vanish, at the same time, perform a cardspin with the restored card.
IMAGE 50
IMAGE 51
Angle Zero: Corner Torn to anywhere The corner is torn from a playing card and instantly vanished; the corner is found anywhere the performer desires. THIS EFFECT IS THE EXACT PRINCIPLE USED FOR ‘EXECUTION.’ IN THIS CASE, THE CORNER IS PLACED SOMEWHERE AWAY FROM THE PERFORMER BEFORE THE EFFECT IS PERFORMED, I LIKE NOTHING BETTER TO PLANT IT ON A SPECTATOR EARLY IN A PERFORMANCE OR EVEN BEFORE I INTRODUCE MYSELF, WITH PRACTICE, YOU CAN DUMP THE CORNER IN THEIR SHIRT POCKET WHILST PERFORMING ‘REPOCKET.’ YOU ARE ONLY LIMITED BY YOURSELF ON THIS ONE.
Re-match: Corner Torn Transposition The corner of a playing card is placed on the surface – facedown The torn card is shown to be the 7H and is also placed facedown on the surface The corner is shown to be a perfect match but turned over to be a different card… 2S The performer explains that he will change the 2S corner to the 7H to match the card… He fails to do so However, upon turning over the 7H, the card has now changed to the 2S matching the corner. THIS IS A REAL GEM, AND AN UNEXPECTED ONE AT THAT, I SINCERELY LOVE THE MACHIAVELLIAN APPROACH TO SUCH EFFECTS. THIS IS SO SIMPLE TO PERFORM AND GOES WITH ME EVERYWHERE. PLEASE BEAR IN MIND THAT THE FOLOWING DIALOGUE IS MERELY GUILDANCE. 1
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Take two cards and hold them together, tear them simultaneously thus creating an exact tear, you can save one of the corners for another effect, but for this one you will only need one of the corners. In this example, the 2S corner is used. It is vital that the value of the corner is not yet revealed. Place both torn cards on top of the deck; in this case, the 2S is hidden behind the torn 7H. Once the corner has been positioned, perform a double with the torn cards to show the 7H. I have a torn 7H and a torn corner…
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Turn back down the double and place the 2S on the surface, facedown as you turn the deck faceup to conceal the top torn card. Place the deck aside. The corner is a perfect match, but unfortunately… Not the same card.
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Reveal the corner as the 2S And so, I will attempt to change the 2S corner, into the 7H, to match the card…
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Make a magical gesture and turn over the corner, shocked at your failure. Try once more, failing again Oh, hold on… That’s strange…
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Turn the card to reveal the twist.
I’M WELL AWARE THAT SOME OF THE METHODS THAT I HAVE WRITTEN MAY HAVE BEEN PRODUCED BEFORE, NOT BEING A BIG FAN OF MAGIC I WOULDN’T REALLY KNOW AND ALTHOUGH RESEARCHED THOROUGHLY, I HAVE BEEN UNABLE TO FIND SUCH SIMILAR EFFECTS IN PUBLICATION, ALTHOUGH I DO ADHERE TO STEP DOWN AND CREDIT ACCORDINGLY ANY WHO CLAIM TO HAVE DISCOVERED AND PUBLISHED (UNDER SUFFICIENT COPY WRITE) SUCH CLAIMS. PLEASE NOTE THAT THIS WORK IS FULLY COPYRIGHTED TO DANIEL MADISON 2006 FOR TWISTED RAIN. ANY REPRODUCTION OR USE WITHOUT PERMISSION WILL BE DEALT WITH LEGALLY. PLEASE CONTACT DANIEL MADISON FOR MORE INFORMATION REGARDING USE OR AMENDMENTS. SPECIAL THANKS GO OUT TO R FOR BECOMING SOMETHING YOU’LL NEVER KNOW YOU ARE, DAVE AT WWW.MOLOGO.CO.UK FOR LOVING MY CHOPS, RAD FOR BEING HONEST AND EVERYONE WHO’S HELPED OUT AT TWISTED RAIN. SPECIAL THANKS TO THE USPCC FOR THE USE OF THEIR PLAYING CARDS IN THE PHOTOGRAPHS, THOSE CARDS WERE – BICYCLE (VINTAGE) SAFETY BACK (1892 – 1943) TALLYHO (FAN BACK DESIGN) BICYCLE (LEAGUE BACK DESIGN) THE UPPERMOST RESPECT FOR ALL WHO WITHOUT KNOWING IT HAVE BECOME THE UNDERGROUND GENERATION OF SHOWMEN, YOUR SUPPORT IS EVERYTHING AND THE REASON FOR ALL MY WORK; THANK YOU REBECCA
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Deception | Subterfuge | Street Magic by DanielMadison
TWISTEDRAINPRODUCTIONS
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