Various effects

The David Acer Effect! David Acer Coke-Induced by David Acer Don’t you dare call him “ace”-er, David Acer (pronounced...

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The David Acer Effect!

David Acer

Coke-Induced by David Acer

Don’t you dare call him “ace”-er, David Acer (pronounced “ack-er”) is a recognizable figure in the world of magic, having written dozens of articles, interviews, and effects for just about every single presto-publication out there, including MAGIC magazine, The Magic Menu, Genii, Channel One, and many more! He is also the author of Natural Selections (currently out of print) and Natural Selections II, which both showcase the brand of magic that is unique to Acer. Beyond all this, he is an incomparably talented performer, devoting his time equally to performing close-up magic and stand-up comedy. Along with his unpredictable style of comedy, David has an uncanny ability to make you feel like a child. Not in terms of how you are treated, but in terms of what you think you know about magic when watching him perform! Unapologetic, true to himself and his views on magic, comedy, and life in general, David Acer is the breath of fresh air for which magic has been waiting a long time. He enjoys long walks on the beach, cold Chinese food, and he played the part of Cindy in The Brady Bunch Movie. Ha, made you look! And now, heeeeeeeeeeeere's DAVID!

http://www.magicalmayhem.com/Acer.html (1 of 5) [6/19/2003 8:43:21 AM]


~ While glass-bottle Coca Cola was never entirely off the market, it has recently made a pervasive comeback here in North America (5 years ago, it was difficult to find anything other than cans or plastic bottles). This is particularly good news for those of us who had reservations about using the Nielsen Coke Bottle, for fear that the prop may appear obsolete (throughout the nineties, I likened it to doing tricks with an 8-track tape). Fortunately, this is now a non-issue, and thankfully so, since the Nielsen Bottles are among the most beautiful and deceptive accessories in magic. EFFECT: The magician places a small paper bag on the table before him with a glassy “thunk!” He opens the bag and pulls out a bottle of Coke. He removes the cap from the bottle, then puts the bottle back in the bag. With a wave of his hand, the Coke cap changes visibly into a Budweiser cap! The magician then reaches into the bag and withdraws a bottle of Budweiser! The bag is crumpled and tossed aside. REQUIRED: • An empty beer bottle (let’s say it’s Budweiser), along with a matching cap. Naturally, it’s best if the cap is unbent. • A Nielsen Vanishing Coke Bottle. These are available at (or through) your local dealer, and come in two formats – one which appears to be full (i.e. the inside has been painted black), and one which appears to be empty. I use the “empty” style, though, if you wish, you can add the dynamic of liquid to this effect, producing a triple climax (see Comments). • A small paper bag. The bag must be large enough to comfortably house both the rubber Coke bottle and the real Budweiser bottle without revealing either, though not so large that a Siberian husky might be napping inside with them. PREPARATION: Stand both the rubber Coke bottle and the regular Budweiser bottle upright in the bag, then fold the top of the bag down just enough to conceal its contents. Have the Budweiser cap in your right jacket pocket. PERFORMANCE: Just before you present this, with your right hand, steal the Budweiser cap out from your pocket and hold it in finger palm, with the top of the cap against your fingers. Introduce the bag and place it upright on the table with an audible, glassy “thunk!” Unfold the top of the bag and remove the rubber Coke bottle.



With your right hand, pop the cap off the Coke bottle, taking care not to reveal the bottle’s elasticity in the process (this would surely put the very nature of the universe into question for an uncomfortable moment). With your left hand, place the Coke bottle back in the bag. Take the cap at your left fingertips, holding it in Spellbound position, with the Coke logo outermost (fig. 1).

Execute a Vernon’s Spellbound Change #1, apparently transforming the Coke cap into a Budweiser cap. That is to say, your left hand tilts forward such that the top of the cap is facing the audience. Your right hand approaches and effectively surrounds the Coke cap, fingers in front, thumb behind (fig. 2).

In a continuing action, grip the Coke cap firmly in the crotch of your right thumb, then draw your right hand back just enough that your left fingers can take hold of the finger palmed Budweiser cap (fig. 3).



With the Coke cap still in thumb palm, continue to draw your right hand away in the direction from which it approached, revealing the Budweiser cap at your left fingertips (fig. 4). This entire action should take place in one, smooth motion. From the front, it should appear as if you simply brushed your fingers across the cap, causing it to change.

Table the Budweiser cap in front of the bag. Then, with your right hand, take hold of the bag by its mouth, thumb behind, fingers inside (fig. 5).

At the same time, your left hand reaches into the bag and withdraws the Budweiser bottle, the noise from which (specifically, the crinkling of the paper) will give you ample cover to release the cap from right-hand finger palm, allowing it to drop into the bag. Take care not to drop it in such http://www.magicalmayhem.com/Acer.html (4 of 5) [6/19/2003 8:43:21 AM]


a way that it strikes the bottle. Table the Budweiser bottle next to its cap. Pause a beat, then crumple the bag and toss it aside. COMMENTS: • Other techniques can be applied to change the cap from Coke to Budweiser, including Vernon’s second Spellbound change (the one described here is his first – see Stars Of Magic, Starke/Karger, 1975), and/or The Bobo Switch (New Modern Coin Magic, J.B. Bobo, 1952). • If you wish, you can have the appropriate liquid in each bottle, thereby giving the effect a perceived triple climax. A method for gimmicking the Nielsen Bottle such that it can hold liquid is included in The New Bottle Book (Jorgensen/Nielsen, 1992), though you may find it looks better with the rubber beer bottle (thus the effect must be reversed). If you choose to present the routine this way, I also recommend making a “fsst” sound with your mouth as you remove the cap from the Nielsen bottle. • This routine has precedent in George Murray’s “Quickie #3,” from The New Bottle Book, wherein a Nielsen ketchup bottle is placed in a paper bag, then removed once more, showing the ketchup inside the bottle to have changed into mustard. The bag is then crumpled and tossed aside. The mechanics are identical to those described here, though the effect is quite different.

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The Tony Blanco Effect!

Tony Blanco

The Happy Birthday Paper Tear by Tony Blanco Copyright 2002 Tony Blanco - Manufacturing rights reserved.

You could not ask for a better friend and all around great magician than Tony Blanco. Probably one of the most eclectic performers in the Las Vegas area, Tony is consistently booked for many hotels, casinos, and private events. The Happy Birthday Paper Tear is based on the old "Fresh Fish Sold Here" paper tear effect. Tony says, "When I first started doing this effect, computers and home publishing programs were not as easily accessible as they are today. I hope you like the trick as it lends itself to many different events or messages for shows or parties." EFFECT: The performer tears a banner into small pieces and magically restores it as quick as a wink! PREPARATION: You need to make a banner which says, "Happy Birthday (and the person's name)." I recommend http://www.magicalmayhem.com/Blanco.html (1 of 3) [6/19/2003 8:43:22 AM]


doing this on an 8 1/2" X 14" piece of paper or larger; it's your choice. There is actually banner paper for the home computer available at most office supply stores. The actual size for each banner (when cut down) is about 4" X 14". You will need two banners and a bottle of rubber cement. Now the steps to make this work (follow illustrations below): The Happy Birthday banner is turned around so the letter "H" is on the right-hand side (see figure 1). Fold this in half into a smaller packet (Figure 2) and in half again (Figure 3) and in half again one last time (Figure 4). Now fold the banner from left to right (Figure 5). Now fold this thin strip further into thirds. Start from the bottom to 2/3 from the top. This last piece (the top of the banner) is tucked into the bottom piece and locked together. Rubber cement this packet as is to the back of the other banner in the back of the last letter of the person's name. You're done. PERFORMANCE: Begin by showing the Birthday Banner (keeping the secret gimmick on the back from being seen, of course) and explain that today is someone's birthday, and "We need a birthday banner to add to the celebration." Ask everyone, "Whose birthday is it, anyway?" which will get a laugh as the banner shows the person's name clearly for all to see (we'll use the name John as an example). Everyone will then yell out that it's John's birthday. "OK, since we all KNOW it's John's birthday, we don't really need his name on the banner." Tear out John's name and place it in back of the banner behind the word "birthday." "Now, we're here to celebrate John's wedding anniversary, right?" Everyone will yell out in the negative, wherein you can respond, "Oh, we must be here to celebrate John winning the state lottery..." Use this biplay with them a couple more times and finally say, "Well, I guess we don't need the word 'birthday' on the sign." Tear off the word "birthday," and place it in back of the banner on top of the first torn piece. "Now, all we have is the word 'Happy.' When you wish someone a birthday, do you wish them a SAD birthday? Do you wish them a ROTTEN birthday? No? Well, what do you wish them? Of course, we wish them a HAPPY birthday! Well, I guess we don't need this sign anymore..." At this point, begin to fold over the torn pieces into a bundle exactly the size of the secret packet. Turn down the ends and tuck them into each other. Now turn over the bundle with the secret packet facing the audience and ask, "But what if someone came into the room who DIDN'T know it was John's birthday, wouldn't it be great if we had a sign to let them know? Well, indeed we do!" At this point, unfold the paper to show that it has magicall restored itself and say, "Happy birthday, John!" Don't let the simplicity of the effect keep you from performing it. It's great for "Welcome Home," "Sweet 16," "Happy Anniversary," etc. With your imagination and your computer, you can create endless variations. Enjoy!

http://www.magicalmayhem.com/Blanco.html (2 of 3) [6/19/2003 8:43:22 AM]


Click here to learn more about Tony Blanco CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Blanco.html (3 of 3) [6/19/2003 8:43:22 AM]

The Steve Brooks Effect!

Steve Brooks

The Classic Bill in Lemon by Steve Brooks Copyright 1990, 2002 Steve Brooks -All publishing & marketing rights reserved.

For years magicians have been vanishing items and making them reappear elsewhere, or destroying something, only to have it magically fixed, and totally restored. The famous Card in orange is one such example, and the now classic Bill in lemon is yet another. Both effects are true magical gems, and deserve your consideration. It is really a shame that many performers pass these two effects by, due to the amount of time and preparation needed to present the effect correctly. But just let me add that as in life, you get whatever you put into it. Magic is no exception. With that said, I present for your consideration, my own version of The bill in lemon. This is an effect with which I've closed my stand-up act for many years, and it always plays well. Indeed, many a time I have received a standing ovation from a lay audience upon conclusion of this little gem. There are many versions of the Bill in Lemon, both on the market and in print. The handling I present here relies on subtlety and misdirection, rather than on hard-core evidence, as it were. Presented correctly, you will have your audience shouting such provocative suggestions as, "He's a witch! Burn him!" Remember, the effect is what matters, and presentation is everything! Please give this a try. You'll be glad you did. http://www.magicalmayhem.com/Brooks.html (1 of 8) [6/19/2003 8:43:23 AM]


EFFECT: From a bowl of lemons, one is selected, and placed inside a sealed bag, which in turn is kept safe by a member of the audience. The performer then borrows a dollar bill and explains it will be returned shortly. The serial number of the bill is noted, then boldly written down on a tablet, which is used for identification purposes later. The performer tears about a quarter of the bill apart, giving the torn piece to the loaner of the bill for safe-keeping. Suddenly, the remaining section of the bill visually vanishes before the eyes of the audience! The magician then recaps the events that led up to the vanish. The performer has the lemon removed from the bag, then hands a knife to another spectator, who is asked to cut the lemon open. When the lemon is cut, a bill is seen protruding from its center! Another audience member is asked to remove the bill, and verify the serial number, which had been written down beforehand...they match! The spectator who originally loaned out the bill, is asked to identify the bill, using the torn section he has had in his possession. Again they match! A modern miracle! ITEMS NEEDED:

1) One pencil 2) One notepad 3) One Krazy Glue 4) One black Sharpie pen 5) One steak knife 6) One drawstring bag 7) Several medium size lemons w/stems 8) Two large bowls

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9) One thumb tip PREPARATION: Begin by taking a one dollar bill and copying the serial number down onto the first or top page of the writing tablet. Do this using the pencil, writing very lightly! The writing should be barely visible only at a very close range (i.e. six or seven inches at the most). Make sure the numbers are big enough for you to see, and are spaced evenly apart.

The reason you're using a dollar bill as opposed to a five or ten is this: It's much easier to find someone in your audience carrying a one than it would be to find a one hundred! Once you have copied the serial number, put the tablet aside, and get one of the lemons. Choosing the right type of lemon is very important, and you should take your time in doing so. I myself have often found it necessary to travel to more than one market, looking for just the right fruit. The lemon you select should be about a medium sized fruit, and long enough to allow the insertion of a bill. If you're not sure, while in the market bring out a bill and hold it in a horizontal position. With your other hand, hold the lemon in question, in a vertical position. The lemon should be slightly taller than the bill. It is also important that the lemon you choose have a good size stem. Many lemons do not, so be careful. The reason for the stem is two-fold: First, you'll need something to help hide the hole you're going to put into the lemon! And secondly, it just makes the lemon look more natural and innocent. Now, carefully using your fingers, remove the stem and place it in a safe place. Do not lose it! Remember, you'll make use of it later. Take your pencil, bring its point to the end of the lemon (where you removed the stem), and slowly apply pressure. The pencil will begin to pierce the lemon. A little twisting motion often helps here. Now push until you reach the end, but be careful not to come out the other side! Remove the pencil, then quickly run some water over it, and wipe it dry with a towel. This will keep the pencil from becoming sticky.



Next, carefully tear about quarter of the bill, making sure at least two or more of the the serial numbers are on the torn piece. Now, take your pencil, and use it to roll the remaining section of the bill into a small tube. The tighter you roll the bill, the better! After you've done this a few years, it will become very easy, I assure you.

Once the bill is rolled into this very tiny tube, carefully slide it off the pencil, and slowly insert it into the lemon. Make sure it goes all the way in, using the end of the pencil to finish the job if necessary. Remember, the stem won't go back into place, if the bill is sticking out! Believe it or not, this next phase of prep work can be a bit tricky. You'll want to use a good liberal amount of the Krazy Glue in and around the hole of the lemon. Be extremely careful though; this glue can be nasty. You'll want to glue the stem to the end of the lemon, not your fingers! Now place the stem back into place, and hold it for a few seconds, giving the glue a chance to set in. When this has been accomplished, go ahead and place the fruit aside for now.

If you have made it this far, the hard part is over. You now have the prepared lemon, a feat http://www.magicalmayhem.com/Brooks.html (4 of 8) [6/19/2003 8:43:23 AM]


which far too many magicians are too lazy to achieve. Though all this preparation may seem like a lot of work, in the end you will reap great rewards because of your hard work. As a thought, it might interest you to know that a lot of the strong effects in magic require a good amount of preparation and planning. This may not seem like much, but it really can mean the difference between a good show, and a great show! In my humble opinion, it is also what oftentimes separates the pros from the neophytes. With that in mind, clean your work area up, and prepare to perform the impossible! SET UP: Since each performer has different environments that he must contend with, it would be rather difficult to cover every possible situation. With that in mind, and for explanation purposes, I will assume you are performing standing in a parlor or living room, with at least one table. I usually have three or more lemons in my possession. Two or more normal, one pre-gaffed. Place the lemons inside one of the bowls, making certain you know where the gaffed lemon is resting. The easiest way to accomplish this task is to remove the stems from the un-gaffed fruit prior to your arriving. Your audience will never notice the difference, and you will have a sure-fire way of avoiding a potentially very embarrassing moment later on in the show. Another method is to make sure the loaded lemon carries a brand name stamped on its side, while the regular lemons have no such identifying writing. In your right trousers pocket have the piece of torn bill along with a thumb tip, and your Sharpie pen. Have the second bowl nearby the first, the tablet and bag alongside these items as well. PRESENTATION: As stated previously, I always use this effect as my closer, and I would highly recommend that you do the same. This is just one trick that is so strong, it's almost impossible to follow it with anything else. Begin by requesting the loan of a $1.00 bill from the audience. This should be no problem, but just to be safe, always carry one yourself; it just makes sense. Remember, professionals are always prepared! As your audience member searches for the bill, casually pick up the tablet with your left hand, making sure the page you have written onto previously is visible. Without drawing attention to your actions, keep the top page facing the audience. This will insure in your spectators' minds later that the paper was indeed blank at the beginning of the trick... very important! Little nuances such as showing the tablet page being blank will have your audience making a lot of assumptions. And believe me, a person never challenges their own assumption of reality. Invite another person from the audience to come up front, instructing them to select one of the lemons. Use any type of magician's force to insure that he/she selects the proper lemon. You do not want a mistake here! As a side note, if I'm performing in a bar, I'll often openly request the bartender to bring me a bowl of lemons just before the show. When the moment is right, I



add the loaded lemon to the mix. When doing this, I just grab a lemon from the bowl, and the audience never blinks an eye. After all, they saw the bartender bring the lemons to me. Once the lemon is selected, ask the spectator to place the lemon into the bag and hold onto both as they return to their seat. So far, so good. Your other volunteer will have produced a bill by now, so take it from him, holding the bill along with the tablet in your left hand. Remark that you will need to identify this bill later, then use your right hand to retrieve your Sharpie pen. This next phase of the routine, when played correctly, works like a charm. Believe me, I've done it hundreds of times with great success. Pretend to copy down the serial number with the pen, while in reality you are tracing the serial number that was written on the tablet previously. This is where your acting skills will really come in handy. I often trace over one or two numbers, pause, then casually drop my left arm down (tablet facing the audience) for a second or two, while I make small talk with the audience members. I beg you, do not rush this portion of the routine...let it sink in. Later, when the spectators backtrack the effect, they will recall watching you copy down the actual serial number.

Return the pen to your pocket and as you do so, secretly obtain the torn bill piece into a finger palm and also retrieve the thumb tip. Returning the pen seems very logical to your audience as it gives you the opportunity to secretly obtain the items needed. Address the person who loaned you the bill, and ask him if it's an important item. As you are doing this, casually begin ripping the bill into several strips. Seeing someone tear apart actual currency is not a everyday occurrence, and it will have a big impact on the spectators. While the audience is chuckling over the bill they just saw you destroy, and while you keep eye contact with the spectator who loaned you the bill, hand him the strip of bill you have kept finger-palmed all this time. Place the remaining pieces into the thumb tip, and do a magical vanish. You now need to get rid of the thumb tip. First, make sure in a subtle way, that the audience's perception is that your hands are totally empty. At this point, there are several options open to you, depending on your style of performing and your experience. As an example, one might reach into your pocket (supposedly to fetch the Sharpie pen) leaving the thumb tip behind, and bringing the pen back into view. If you choose to use this method, justify your actions by writing an IOU on another page from the tablet, and giving it to the spectator who originally loaned you the bill. The dirty work is now finished.



The rest, as they say, is all an easy ride from here: Ask for another volunteer from the audience and hand them the steak knife. Please be very careful (no children) as you don't want a lawsuit. At any rate, once the spectator returns to his seat, recap to your audience all the events that have taken place thus far. This is very important I feel, as it refreshes the memories of your audience members, and helps to build the suspense to the finale that is about to take place. Now the real fun begins! Everything is set and ready to go, all you need do is play the part correctly. Ask the spectator holding the bag, to remove the lemon and join you on stage. While he/she is doing this, pick up the empty bowl from the table, and address the spectator holding the steak knife. Ask him to join the person holding the lemon. Have the first spectator hand the second spectator the lemon. Now pass the empty bowl to the first spectator. This, you explain, will catch all the juice and seeds. At this point, it is very obvious to the audience that the lemon will be cut open. The empty bowl will keep you from getting a dry cleaning bill, and it provides more interaction with the spectators. Now, motion to the person with the knife to go ahead and cut open the mysterious fruit. If you feel nervous about allowing an audience member to handle the knife, you can cut open the lemon yourself, but the effect is not near as strong. Explain that he must cut slowly and accurately. After all, you wouldn't want him to destroy government currency, which may be a federal offense!

As the lemon is cut open, and the two halves separated, the reaction from the audience will be very strong. Have the bill removed, and while this is taking place, ask the spectator holding the torn piece of bill to stand. Now hold the tablet up high for all to see! Have the bill loaner compare his torn piece with the now wet and soggy bill, they fit together! Now instruct that the serial number be read allowed. Again, it's a match! A miracle! The audience goes crazy, and you're a hero. It doesn't get much better then this! COMMENTS: Once the lemon is cut, and the bill is verified, always offer the loaner of the bill a clean and dry replacement. Most of the time they will let you keep the bill, but this is just a nice bit of courtesy on your part. I did not supply any so-called patter lines, as I feel each person will adapt this handling to fit their own specific style anyway, or at least they should.



In closing, I realize that a lot of performers prefer to have the bill signed, as final proof of the effect. I respect that view, but have found that convincing laymen is quite different than convincing a magician in the know. Just my opinion. In the end, one must do what you're most comfortable with. I do hope this helps someone add a great classic effect to their act, and am flattered that Mike Giusti has asked me to contribute something to this site. Take care and God bless.

Click here to learn more about Steve Brooks CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem


The John Zander Effect!

John Zander

Your Card! John Zander has been a professional magician for many years working corporate shows, cruise ships, retirement homes, private parties and restaurants. John is also the only magician to ever win Orange County's "Magician of the Year" two years in a row. Below is John's personal standup adaptation for Martin Lewis' "Spec Deck" routine. Thanks, John! "This is an effect with which I have always had a great success. The effect is adapted from the effect 'SpecDeck" by Martin Lewis. Martin shared this effect with me some time ago, and I loved it right away. Not only is it strong magic, but it also has built in comedy in the routine -- a big plus in stand-up work. "The only change that I made to the routine was to change the gaffed card to a printed 'Your Card.' Martin had the 2 of Spades printed on the back of the gaff. The reason for the change was because it was not practical for strolling magic, which was the majority of my work at the time. By changing the gaffed card to 'Your Card' to eliminate using a force, it enabled an easy reset that could be done in front of your spectator before pocketing the deck so it could be instantly repeated. The selection could also be signed and given to the spectator at the end of the routine if so desired. "Along came the stand-up version. I liked the effect so much and had such great success with it that I wanted to use it in my stand-up shows. Well, the obvious answer was a jumbo deck. The http://www.magicalmayhem.com/Zander.html (1 of 4) [6/19/2003 8:43:24 AM]


handling is similar, which I will explain, and the effect is just as strong! Martin has seen me do this in my stand-up act and said that he liked it very much. My version of Martin Lewis’ 'SpecDeck' is written out here with the full permission and blessing of my dear friend Martin Lewis." EFFECT: Showing a jumbo deck to the audience, you have a spectator make a free selection and show it around to the audience. The selection is then returned to the deck, and you explain that you are able to find the selection because the cards are “marked” on the back. However, in order to see the mark you need the special glasses. You place a really goofy pair of glasses on and once again explain that with the glasses on you are able to see “Your Card.” Spreading through the deck, the audience notices the back of one of the cards is marked with a giant ”Your Card” printed on the back. The spectator is asked to name their card out loud and the “Your Card” is turned over to show that it is indeed the selection! For a nice kicker, you explain that without the glasses you cannot see the mark and you prove this by removing the glasses and turning the card over to show that the mark has indeed vanished! SET-UP: You will need a jumbo deck and a gaff, which you can easily make up yourself. I use the jumbo Bicycle deck. They are quite thick and will last for many performances. Begin by making a double back card by gluing two cards face to face. Use either a good glue stick or rubber cement. You will then need to label one side of the double backer “Your Card.” My first “Your Card” was a red-backed card that I ran through my laser printer with a big and bold “Your Card” in black print on it. This worked fine for parlor situations with a smaller audience. However, when doing bigger shows with 300 plus people in the audience, it couldn't be seen very well. I got some sticker paper from my local office supply store and printed a large “Your Card” on it. I also use about half of the entire jumbo deck for the routine, which aids in the ease of handling. Place the gaffed card second from the bottom in the face down deck with the “Your Card” printing face up. PRESENTATION: Fan the deck face down pushing the cards over to the right looking for the last two cards. Square the last two cards (gaff on top of an indifferent card) as one and display the fan with the http://www.magicalmayhem.com/Zander.html (2 of 4) [6/19/2003 8:43:24 AM]


faces toward your audience. Explain that you have a jumbo deck of cards (there are many jokes to use here), and that you would like to have someone choose a card. Holding the fan with the faces down, have someone select a card, being careful not to spread to the bottom so that they do not have the option of selecting, or seeing the gaffed card. This is a good start because it is a totally free selection. As your spectator is looking at their selection and showing it around, casually take the indifferent card from the bottom of the deck and place it on top. It is not a “move,” just do it casually as if you were cutting cards. Holding the deck in your palm-up left hand, thumb on the left side, index finger in front and your other three fingers on the right side. Bring your right hand over the top of the deck with your thumb in the back and riffle up to about half of the cards. Slide the top half forward about two inches or so and re-grip the deck with your left hand. Grip the injogged (bottom) section with your right hand and slide the top half off with your left telling the spectator to place their selection on top. Place the right hands cards on top thus burying the selection. This places the gaffed printed card on top of the selection in the middle of the deck. Explain that your job as a magician is to find that card. Use whatever bit you would like about the deck being marked and the use of the glasses. The wording is rather important here to sell the marking on the card. I say at least three times in the explanation the words “To see your card.” You really want the audience to hear that phrase a few times for the comedy to register. Place the glasses on your face, hold the deck with the backs to the audience, and begin to spread through them as you tell the spectator, “I will know your card when I see it, because of the special glasses." When you come to the marked card, cut the deck at that point moving the top half of the deck to the bottom, leaving the “Your Card” gaff on top of the deck and on top of the selection. Let your audience get a good look at the labeled card and give it a few seconds to register. Spread the top few cards slightly in order to get a break under the top two cards with your pinky. Because of the size of the cards the break will be in the center of the card but will work just as well. Ask the spectator to name their selection out loud, then grab the doubled card at the break with your right hand and flip all over and square with the deck showing the marked card to be the selection. Thumb off the selection being careful not to expose the back and table the deck. Explain that without the special gasses you cannot see the mark. Take off the glasses, turn the card over, and show that the “Your Card” mark is gone! ADDITIONAL THOUGHTS:

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Get the goofiest glasses that you can find. When the audience sees you with them, it's a guaranteed laugh. To reset, simply place the selection on top of the deck face-up. Remove the top two cards, turn them over, and place them on the bottom. You are now ready to go again. I have never done it twice in a row, with the exception of a strolling job for a different group of people. However, if you were to instantly repeat it, the selection would now be a different card.

Click here to learn more about the magic of John Zander CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Zander.html (4 of 4) [6/19/2003 8:43:24 AM]

The Dan Garrett Effect!

Dan Garrett

The Un-Cut Rope One of the hottest, most in demand performers working today, Dan Garrett has charmed hundreds of companies and thousands of children and adults with his incomparable Close-Up and Cabaret Connivery. Sick to death of me harassing him, Dan finally agreed to relinquish this great effect for you to enjoy. Thanks, Dan! This is a ROUTINE with a length of rope, a spectator, and a pair of "Cut/No Cut" Scissors (magic scissors which can lock closed or open, and cut rope when the magician wields them). Other types of trick scissors may be substituted. You can make a pair of scissors by cutting off one of the blades and gluing it to the other blade with superglue. This allows the handles to open and close freely, but the blades won't open. In this case you will also need an extra working pair of scissors. EFFECT: The magician offers to teach a spectator (Dan prefers a child, ages 5 to 10) a magic trick. The spectator tries to cut a rope into two equal pieces and fails. The magicians cuts the rope, but the two pieces are unequal. The ropes are magically stretched to be two ropes of equal length, then the magician restores the rope in a flash. Now it's the spectator's turn. The magician ties the rope into a large loop, and the spectator now cuts the rope in the center, using his fingers http://www.magicalmayhem.com/Garrett.html (1 of 3) [6/19/2003 8:43:26 AM]


as magic scissors! The magician ties the two pieces of rope together, then slides the knot from the center of the rope to one end. The magician bundles the rope into one fist and hands some "magic dust" to the assistant, who sprinkles it over the bundled rope. The rope is shaken out, fully restored. The knot has vanished (apparently also by the power of the spectator) and the rope is given away as a souvenir. THE ROUTINE: Display a length of rope approximately five feet long. Have your volunteer examine the rope for any trickery or "bugs." Let him or her give the rope a good working over. Pretend to give the volunteer some of your "magical powers" using some sort of comedy ritual. Fold the rope in half, then hold out the middle loop for cutting. Hand the assistant the trick scissors, and the attempts to cut the rope will fail. Open the scissors for the spectator and again offer the center of the rope for cutting. The blades lock open and again the spectator fails. Finally, in slight exasperation, you take the scissors from the spectator (secretly "unlock" them) and cut the rope, using the standard "fake cut" that is used in standard cut-and-restored rope routines. I prefer the method which uses the blade of the scissors to accomplish the "move" which was invented by Shigeo Futagawa of Japan. You no longer need the scissors, so ditch them. You apparently have two pieces of rope (which you do), but you actually have the short piece looped around the center of the long piece. Now you notice that you cut the rope slightly off center, and the ropes are not precisely equal. Grab the bottom ends of the rope and "stretch" them to equal length. (This is similar to Bob Carver's 3 Unequal Ropes routine, aka Professor's Nightmare, but with two ropes.) Perform a "flash" restoration of the rope by bringing the ends up from the bottom. The right hand secretly holds one end of the short rope and one end of the long rope in its fingers. The rope is shaken out, apparently restored, but the right hand secretly holds one end of the short rope and one end of the long rope in its fingers. Now tie the ends of the rope together, secretly switching the ends in the right hand so as to tie the short piece of rope around the long. As you appear to "turn" the loop of rope in your hands, the right hand secretly holds the ends of the long rope, while the rope knot slides along the "loop." Offer the "middle" of this "loop" to the spectator, who pretends to cut the rope with his/her fingers. You drop one end of the loop from your hand as this happens, then gape in surprise that the spectator's fingers have actually cut the rope! (So it appears.) To restore the rope, accordion pleat the rope into your left hand. As your right hand covers the fake knot, it secretly slides it to the end of the rope as you continue pleating the rope into the left hand. However, do not slide the "knot" off the rope. It is secretly placed in the left hand, about 6 inches from the end. Keep the right hand closed as if you were holding the fake knot, and give the contents of your (empty) hand to the spectator, closing her/his fingers around the "magic dust." Have her sprinkle the "dust" over the rope in your left fist. Grab the lower end of the rope with your right hand and shake it out, hiding the knot in your right fingers. If you have http://www.magicalmayhem.com/Garrett.html (2 of 3) [6/19/2003 8:43:26 AM]


magicians in the audience, they will think you handed the fake knot to the spectator, and will be taken in when the spectator "vanishes" the "fake." (:}D) It is an easy manner to steal off the fake knot a moment later, as you give away the rope and put away your scissors. Don't be in a hurry, because to the audience, the trick is over. FINAL THOUGHTS: Dan explains, "I never like routines where you go for laughs by embarrassing your volunteer. This routine is constructed to the spectator to fail at first, but then she/he becomes the hero by succeeding in cutting the rope by magic, as well as restoring the rope and vanishing the knot in the end!" This routine was first published in 1976 in Dan's first set of lecture notes, "Teasers and Ticklers" (still in reprint), and is on his second video entitled "KidShow Konnivery." These are available direct from Dan Garrett Magic, 4929 Salem Road, Lithonia, GA 30038 USA or email [email protected].

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The Jerry Camaro Effect!

Jerry Camaro

LEFT POCKET, RIGHT POCKET! The late Jerry Camaro worked in many venues all over the United States, including Magic Island in Newport Beach, and the same bar in Atlanta that formerly hosted the name "Tom Foolery" with Tom Mullica. He eventually settled down in Santa Rosa, California but still performed magic when our paths crossed. He was kind and gentle to every person who crossed his path. He could always be counted on for providing critique in a smooth and loving fashion, making you believe that you were the most talented individual on earth. His beautiful personality will be remembered long after memories of his rendition of "Fechter's Aces." Jerry was and will always be my best friend.

Jerry said of this effect, "This is a nice little piece that is very easy to do and gets a lot of response from the audience. This is perfect for the bar and can be very funny if you deliver the lines as stated." EFFECT: Three spectators (one on the left, one in the center, and one on the right) each select a card and replace them into the deck. The magician cuts the deck in half and puts one half in his left pocket and the other half in his right pocket. After some humorous by-play, he removes a card for the spectator on the left from his left pocket, then one for the spectator on the right from his right pocket. Finally, he is forced to resort to finding the center spectator's card in a most humorous and peculiar way.

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METHOD: Have 3 cards selected as outlined in the effect. When the cards are returned to the deck, they must be picked up from right to left. All of the cards are controlled to the top of the deck. From the top down the cards are: left spectator, middle spectator, right spectator. Double cut the top card to the bottom of the deck. Put the top half of the deck in the right pocket and the bottom half in the left pocket. Look at the spectators and say, "You are sitting on my left, your card will be in my left pocket. You are in the middle... I'll get back to you, and you're on my right so your card will be in my right pocket." Reach into the left pocket and remove the bottom card of the packet, bring out the card and say, "Your card was the...(spectator names card). Sometimes I miss, but not this time. You're in the center... I'll get back to you. You're on my right, your card will be in my right pocket." Reach into the right pocket and palm the top card, bringing out the next card as you say to the person on the right, "Your card was..." When the spectator names the card, you turn it over and reveal it to be the same. Look at the spectator in the middle as you reach for your fly and say, "You're in the middle. Your card was..." Unzip your fly and reach in, remove the card and as the spectator names it, turn it over to reveal it and say, "You even got the size right." This line is really funny if the card has a low value. If it does, say, "Unfortunately, you even got the size right!"

**DISCLAIMER** This is NOT for every magician. It is funny in the right circles and at the right times. You have to read your spectators to make sure you won't offend them. CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS



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The Magic of Dexter

Magic of Dexter

Dexter presents an original Routine:

The San Mateo Jacks © 2000 Magic of Dexter

EFFECT:

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The Magic of Dexter

The magician tells the story of the famous San Mateo Jacks. All four jacks are removed from the deck and shown to the spectators. In a bet against the devil, the San Mateo Jacks are challenged to perform their metamorphosis illusion in a trunk of the Devil's construction. A spectator examines the card box (used as the Devil's trunk) to make sure that it is empty. Two of the jacks of the same color are put inside the trunk while the other two are put on top. In three seconds flat, the top two cards are flipped over to reveal that they are the two jacks that were put inside the trunk. When the spectator opens the card box to pull out supposedly the other two jacks, they instead find the two jokers. The deck of cards which has been sitting aside the entire time is then fanned out to reveal the other two jacks face up in the center of the deck.

PROPS: The only thing needed for this effect is an ordinary deck of cards, the card box, and the two jokers that come with the deck.

MODUS OPERANDI: Before starting this trick, throw the empty card box on the table and ask a spectator to examine it to make sure it is empty. During this time place the two jokers on top of the deck of cards. Now go through the deck to find the four jacks and outjog them so they stick out of the deck. The only thing you need to worry about is that they are in pairs, two reds and two blacks. Place the deck back face down and pull out the outjogged jacks, handing them to a spectator for their examination. During this time there's absolutely no heat on you whatsoever, so you have all the time in the world to reverse the top two jokers on top of the deck and maintain a pinkie break under them. Remember to keep the deck slightly angled back towards you so as not to flash the two face up jokers. Take the four jacks back from the spectator and set them face up on top of the deck. Here's the position you are now in from top-down: two jacks of the same color (hearts, diamonds), the other jacks of the same color (clubs, spades), and the two jokers, all face up with a pinkie break underneath the entire stack. Grab the stack from the break and turn the entire packet of six cards face down on top of the deck. Now count off the top four cards face down into the right hand, without reversing their order. They should be from top-down: joker, joker, jack, jack (jacks are of the same color). Set the packet face down on the table. Holding the deck with the right hand, run off the top two cards as singles into the waiting left hand, establish a pinkie break, then run off the rest of the deck in packets on top of the two jacks. Now you'll need to reverse the two jacks on the bottom of the deck. In the action of squaring up the cards you just jog shuffled, casually flip over the bottom two cards so they are now face up. They're really isn't any heat at this moment, so lots of misdirection is unnecessary. This being done, cut the deck in half and complete the cut. You have now placed the two face up jacks in the center of the deck. This entire sequence should be done during the http://www.magicalmayhem.com/Dexter.html (2 of 4) [6/19/2003 8:43:28 AM]

The Magic of Dexter

telling of the story. Now set the deck of cards down and pick up your packet of four cards. You now need to execute a Gemini count. With the packet of four cards in your left hand, use your thumb to push the top card forward slightly and use your index finger on the bottom card to slightly buckle it back. Now with your right thumb and index finger reach into the center of the packet and grab the second and third cards as a double. Pull them out and turn them face up as one, showing one of the jacks. Now turn the double face down on top of the packet of cards and thumb off the top card (the first joker) onto the table. Now with the packet of three cards, use your left thumb again as in the first move to push the top card slightly forward while your left index finger squares up the second and third cards as a double. Now your right thumb and index finger takes the double it turns it face up to show the second jack. Again, turn the double face down on top of the packet and thumb off the top card (the second joker) onto the first that now lies on the table. Set the two remaining cards you still have in your hands down on the table in front of you. Take the two tabled jokers without letting anyone see their faces and slide them into the card box and close it. Now pick up the stack of two in front of you (the jacks) and set them face down on top of the card box as in the metamorphosis illusion. Count out loud to three and then flip the two cards face up on top of the box showing the jacks. Allow a spectator to open the card box to remove the other two "jacks," and at the moment they remove the two cards and turn them over to see the jokers, deliver the line, "That's when the joke was on the Devil." Then fan out the deck of cards to reveal the other two jacks face up in the center of the deck.

STORY: I would like to tell you the story of the famous San Mateo Jacks. The Jacks were a team of illusionists who were known for their escape tricks, like Houdini. They were four brothers, two redheads and two brunettes [hand jacks to a spectator, reverse two jokers on top, maintain a break]. The one trick they were known around the world for, was their metamorphosis illusion. This is the trick where two of the brothers of the same hair color, let's say the redheads, would be put into the trunk while the two brunettes would stand on top of it. In three seconds flat the brothers would exchange places, the redheads would be on top and the brunettes would be inside. One night after doing a show in San Mateo, the brothers were met backstage by a tall dark gentleman. Now they didn't know it at the time but this gentleman was actually the Devil. He challenged the San Mateo Jacks to perform their metamorphosis illusion in a trunk of his construction [turn stack over, count off top four cards without reversing order and place them on table, continue with story as you go through the process of reversing the two jacks in the center of the deck]. The Devil said, "Now the rules of this challenge are the same. You'll have only three seconds to perform the trick. If you succeed you'll receive all the money in the world and you'll never have to work again. If you do not succeed you will all lose your souls." The San Mateo Jacks accepted his challenge. Two of the brothers got into the trunk, the jack of hearts, and the jack of diamonds, the two redheads [execute the Gemini count, apparently putting two of the jacks into the box]. The other two brothers, the brunettes, got on top of the box. The Devil waited the three seconds [count one, two, three, then flip the two cards over face up on top of the


The Magic of Dexter

box], and to his surprise the brothers had changed places, the redheads were now out of the box. The devil went to the box to unlock it and to congratulate the brunette brothers inside [motion to the box and have a spectator open it and take out the two cards]. But that's when the joke was on the Devil, because not only had they gotten out of the box, but they were already backstage on the phone with their agent canceling the rest of their shows, for they never had to work again [fan out the deck of cards to show the two face up jacks in the center].

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"Metamorphic Melt" by Brad Wiley

Metamorphic Melt © 1999 Brad Wiley and Colin Wayne Brad Wiley is a part time professional magician who currently resides in Oklahoma. In addition to performing and teaching magic to his students, Brad's mind is constantly at work constructing new twists on classic ideas of card magic. He has teamed up with colleague, Colin Wayne, to bring you Metamorphic Melt. Thanks, Brad and Colin!

The effect: A blue backed deck is fanned and is shown front and back. A card is freely selected by the spectator and is placed face up between two face down cards. The selected card then magically and visibly "melts" http://www.magicalmayhem.com/Wiley.html (1 of 3) [6/19/2003 8:43:29 AM]


through one of the cards and ends up on the bottom of the two red backed cards. The spectators card is then turned over to reveal that it's back has changed colors, it is now a red backed card!

The secret: You will notice that the deck comprises of 26 blue backed cards and 26 red backed cards. The FACES of the blue backed cards are roughed and the BACKS of the red backed cards are roughed. With the roughed sides paired together, fanning or overhand shuffling will NOT reveal the secret of this set-up. Also needed for this effect are two red backed cards, one of which has a slit 4/5 of the way through it from it's long edge.

The performance: Show the two red backed cards freely, front and back, hiding the slit with your thumb and first finger. Now place these two cards on the table to one side, allowing the ungaffed card to cover the back of the card with the slit (face down). Take out the blue backed deck of cards from their box. Give them an overhand shuffle or two. Fan them, showing both sides. With the deck FACE UP ask the spectator to TOUCH any one of the 52 cards, and if she is happy with it, cut the deck so that the chosen card is now FACE UP on top of the deck Remove the TOP CARD ONLY (it is actually a red backer) and place it on the table FACE UP-do not show the back at this time. Now return the rest of the pack to the box, saying the rest of the cards are no longer needed. (optional) Pick up the FACE UP card and place it between the two FACE DOWN cards on the table, making sure to get it into position 'between' the slit. Draw attention to the fact that the card is now sandwiched between the two FACE DOWN red backed cards. With the thumb on the top card, rotate it quickly so that it is now positioned horizontally and covering the ends of the other two cards. Push the horizontal card up, or away from you slowly. As you do this, the spectator will see the middle card "melt" through to the bottom. Say that because the heat generated by the rubbing of the cards has caused it to actually melt through, but the heat has also caused something else 'strange' to happen... The ink on the blue backed card has changed and taken on the color of the two red backed cards. At this point, turn the specs card over to reveal the back has magically changed from blue to red!

Click here to learn more about the magic of Brad Wiley CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS

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"Bunny Force" by David Groves

Bunny Finds Volunteer’s Card David Groves Nearly everybody loves a cute bunny. As a result, this trick is a real crowd pleaser, drawing exclamations of delight—not to mention gasps of disbelief—from the audience. David has quite generously contributed this trick which is a highlight of his current street magic repertoire. I thank him http://www.magicalmayhem.com/Groves.html (1 of 11) [6/19/2003 8:43:30 AM]


for doing so, as it is one of the most incredible audience-pleasers around.

The effect A card is chosen, signed, and then returned to the deck, where it is shuffled in and lost. “This is a magic bunny,” you say. “Before the show, I asked him whether he wanted to do the Chinese Linking Rings or a card trick. He said, ‘Whatever takes the least work.’ So I guess it’s a card trick. Bunny is going to find your card.” You spread out the cards in front of the bunny’s mouth. The bunny seems to lunge at one of the cards, pulling it out with his teeth. To everyone’s amazement and delight, it is the spectator’s chosen card.

The secret The magician controls the card and simply uses the classic force on the bunny.

Props required °

1 deck of cards

°

1 Sharpie permanent marker

°

1 rabbit

About the

rabbit.

Many animals will nip at paper when provoked, especially rabbits. They love http://www.magicalmayhem.com/Groves.html (2 of 11) [6/19/2003 8:43:30 AM]


to chew on paper. With some, it seems to be their primary method of exploring the world. Unfortunately, others won't nip at all, especially when they’re nervous. You'll just have to experiment with your own animal and see if it has that particular instinct.

Phase 1: spectator chooses card First, the spectator chooses a card. This is a free choice, so there’s nothing fancy here. However, for consistency, I do like to mimic the classic force that comes later in the routine—that is, make both card selections look exactly the same. That helps convince the spectator that both times, you were offering a free choice of cards.

To mimic the classic force, simply pass the cards from hand to hand at a moderate pace. “Just touch a card,” you say. Once a card is touched, bring out your Sharpie permanent marker. “Pull that card out and sign it with your name,” you say. I like to add a few words that emphasizes the unique nature of signing a card. “Have you ever signed a playing card?” I may ask. “No,” they may say. “So maybe in the entire country, maybe in the entire world, maybe in the entire universe, there’s only one Ace of Clubs [or whatever card was chosen] that looks exactly like that. With your signature. I mean, what you've done to that card makes it unique.” “Yeah, I guess so,” they may say. http://www.magicalmayhem.com/Groves.html (3 of 11) [6/19/2003 8:43:30 AM]


controlling the card to the bottom I return the card to the deck and then control the card to the bottom. To do this, you may use your favorite method. Personally, this is the sequence I like to use: 1. A diagonal shift 2. Catch a break with my pinky 3. A double undercut 4. An overhand shuffle Now here’s a more detailed description of the above sequence.

The

diagonal shift

Hold the deck in your left hand in mechanic’s grip—that is, the normal grip for dealing cards, but with the thumb extended along the sides of the deck instead of over the top of it. Insert the chosen card into the middle of the deck, but leave half of the card extending halfway out of the deck. Place your right index finger on the left outer edge of the chosen card. Using that index finger, push the chosen card into the deck, but not straight in. You want the chosen card not to be flush with the rest of the deck, but instead, on a diagonal. To accomplish this, you want your index finger to end up just below the left outer corner of the deck. Each of the chosen card’s four corners should protrude slightly out of the side of the deck.

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Use your left pinky to pull down the end that protrudes from the long right end of the deck and catch a break on the right near edge. Once you've done this, immediately straighten out the chosen card so that it’s no longer at a diagonal. Shift the break from the left pinky to the right thumb. This frees up your left hand to perform the double undercut.

The

double undercut

With your left hand, grab half the stack below the break and place it on top of the deck. Then grab the remaining stack below the break and place it on top of the deck, as well. That will leave the chosen card on top of the deck.

The

overhand shuffle

Using the overhand shuffle, run off the chosen card into the left hand. Shuffle the remainder of the cards in a fair manner on top of the chosen card. This will leave the chosen card on the bottom of the deck.

Performing the

classic force on a bunny

Next, you're going to classic-force a card onto the bunny. If you haven't learned the classic force yet, this is an excellent opportunity to get it into your repertoire. It’s the most natural and therefore most undetectable of all forces, and having it in your arsenal of tricks will make your magic much stronger. http://www.magicalmayhem.com/Groves.html (5 of 11) [6/19/2003 8:43:30 AM]


how tough is it? In some ways, the classic force is easier to execute on a rabbit; in other ways, it’s more difficult. It’s easier because it’s a bunny, and if you shove the chosen card into his mouth, he won't squeal, “Hey, you're pushing that card off on me, aren't you?” On the other hand, animal behavior is often harder to predict, and a predictable card selection makes the classic force easier.

the grip Hold the deck in the left hand in the mechanic’s grip, as described above. Transfer the deck lightly to the right hand, holding it from above between your middle and ring fingers on the outer edge and the thumb on the inner edge. The index finger should be lightly curled on top of the deck. Using your right index finger, swing half of the deck over to the left. Take that half in mechanic’s grip in your left hand. Place the remaining half of the deck on top of the first half, keeping a break with your left pinky between the two halves. Obviously, this isn't an ordinary pinky break, because the pinky holds the break by resting against the face of the card above the break. That’s also the card you're going to force.

forcing the card Spread the cards from the left to the right hands at a leisurely pace. When http://www.magicalmayhem.com/Groves.html (6 of 11) [6/19/2003 8:43:30 AM]


you begin spreading them, you must hold the cards far enough away from the bunny so that he won't nip, but close enough so that it looks like he has a free choice. If your bunny is like mine, he won't lunge or nip until he absolutely must. Let a second or two pass, for that helps create the impression of a choice rather than a force. Once you reach the force card, simply move it into the bunny’s mouth. If you can keep the spread moving while you're doing it, all the better. If the bunny lunges on his own accord, even better. Sometimes, I can actually time when my bunny is going to lunge at the card, and don't have to shove it into his mouth. At other times, I have to resort to shoving. It all depends on my bunny’s mood. You will have to gauge your own animal’s lunging behavior. My bunny chomps onto the card, lifting it up and away, as if annoyed. Well, he probably is annoyed. After all, I’m shoving something into his mouth. How would you feel is somebody shoved something into your mouth? The audience reaction is always loud and surprised. They squeal with delight. They think the bunny is highly trained (actually, he’s not even properly potty trained).

Sometimes, after biting the card, the bunny will throw his head and toss the card to the side. In the process, he may turn the card face-up all by himself. At other times, the card falls face-down onto the table and I have to turn it face-up. At the moment that the card is revealed, the audience has another strong reaction: shock. “What the—?!” they think. “How did a bunny do that?” It’s an astounding concept, a bunny who can do magic. (Sleight of paw, one might say.) It’s astounding enough for a human to find your card. But a bunny? Strangely, I’ve never had anybody accuse me of shoving the card into the bunny’s mouth. I guess it’s because the human spectators aren't the one who was forced, and thus cannot feel the subtle psychological cues that might tip them off that a card has been forced. Nevertheless, it is astounding that



I’ve never been chased, and it adds to the seamless untrackability of the trick.

what happens if… If the bunny gets his teeth on the wrong card, don't panic. Just don't let him pull out that card. Instead, pull that card away and shove the chosen card into his mouth. The audience will simply think that the bunny didn't even try to pull the card out. If the bunny doesn't nip: Shove it into his mouth until he does. Sometimes, you have ° to annoy the bunny into nipping. The nipping becomes a kind of defensive move, as if they’re saying, “Get that piece of paper out of here, dammit!” ° Maybe your bunny isn't the type of breed that nips at paper. If not, the trick just isn't for you. Maybe it’s nervous. Bunnies sometimes act differently when ° they’re nervous than when they’re calm. Some bunnies freeze up, and that will stop them from nipping. If a human repeatedly chooses another card. Sometimes, a spectator will know the concept of the classic force—these days, it’s not entirely a topsecret idea—and will therefore choose the least likely card. They may dig for a hidden card. They may choose the top card. They may start giving orders, such as “Stop [spreading the cards],” and from that point, choose the least likely card. If this happens, give up on that spectator; it’s a lost cause. Often, however, I simply switch volunteers and perform the classic force to another member of that group, and no one’s the wiser. http://www.magicalmayhem.com/Groves.html (8 of 11) [6/19/2003 8:43:30 AM]


the

classic force with other animals

I haven't tried the classic force with other animals, but I hear that other people have. a chinese variation

When I visited Hong Kong in March, 1999, I heard of a force method that Chinese fortunetellers use with birds. The fortune telling method is zim bok, in which a small bird tells your fortune. I saw it performed at Temple Street, an outdoor bazaar in which the streets are lined with fortunetellers’ tables. On the day that I came, I sat at a table and thought of a question. Then the zim bok practitioner laid out a stack of about 30 envelopes and raised the door of a birdcage. A small bird jumped out, pulled one of the envelopes out of the stack, and was rewarded with a bit of seed, then returned to his cage. The forcing method was used when the fortuneteller repeated the procedure. He let the bird out a second time and, amazingly, the bird pulled out the exact same envelope.

“Confirmation,” said an English-speaking Chinese woman who was standing behind me. “The bird is insistent.” The fortuneteller opened the envelope and found a sheet of paper filled with Chinese characters.

“Story of Mulan,” he said. “It bode well for future.” The repeat, of course, is used to enhance the fortuneteller’s credibility. Later, another fortuneteller told me about the fraudulent zim bok methods. http://www.magicalmayhem.com/Groves.html (9 of 11) [6/19/2003 8:43:30 AM]


“They secretly put a little bit of food paste on the envelope,” said Hau Yat Keung, a fortuneteller at the Hyatt Regency Hotel in Kowloon. “That way, they return to same envelope to confirm the original choice.” It’s not a classic force, but I’ve thought that this method might be used to force a card on a bird, dog, or other animal that might be more reluctant to nip at a card. Go ahead and experiment. Try it with your parakeet, beagle, or white tiger. Maybe you'll develop a variation..

Credit where credit is due I came up with this trick independent of the magic literature. However, in the years since I’ve developed it, I’ve found that some other magicians have come up with similar tricks. Dana Daniels (the fine comedy magician who has played The Horseshoe Revue in Disneyland for the past several years) has used his parakeet’s tendency to nip to comic effect in his show. The Los Angeles magician Whitey X used to spread out the cards before his dog, who would pick a card with his teeth, as well. As for the classic force, this is explained in all the basic literature of magic, and its genesis is lost in magic history. Personally, however, I must thank Johnny Ace Palmer for teaching me the subtleties of the classic force. He’s the best I’ve ever seen in performing this sleight. This is partly because of his consummate skill, but also because he http://www.magicalmayhem.com/Groves.html (10 of 11) [6/19/2003 8:43:30 AM]


cultivates a performing personality that is ultragracious and absolutely noncoercive, giving the overall impression that he couldn't possibly be forcing your choice of card. When Johnny says, “Touch a card, any card,” you believe that he’s giving you a choice of any card. You'll believe anything this wonderful man says. Click here to learn more about the magic of David Groves CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem


"Fly, Phoenix Bird, Fly" by Gene Poinc

"FLY, PHOENIX BIRD, FLY!" © Gene Poinc Gene Poinc was perhaps the most inventive mentalist and magician I ever knew. His brain held millions of ideas, some of which could even harm Gene himself. Gene had generously contributed this incredible funny routine for both the magician and mentalist. "Digging in the dusty crud of my junk closet brought forth... Ahhhh, patience, my dears, patience. You'll know soon enough. I thought of this [not long] ago, but I'm still giggling. Cracks me up. It must be presented ever so seriously. It's a fun routine for any performer -- and for the bizarrist who has done a few spooky routines but wants to conclude the performance with a laugh rather than a shiver, this is a strong possibility." Thanks, Gene. I miss your creativity and sense of humor...

http://www.magicalmayhem.com/Poinc.html (1 of 3) [6/19/2003 8:43:31 AM]


Effect: A paper phoenix is burned and magically rises from its ashes. Well, sort of... On the Performer's table there is a stone altar. Three votive candles are burning. One in front of the altar, the others at each side. There is also a slim taper beside one of the candles. A silver sacrificial receptacle is on the altar. Indicating the votive candles one by one, the performer says quietly, "The flame of the past. Flame of the present, and finally, flame of the future. These fires of history illuminating what was, what is, what shall be. Time. That awesome enigma -- Time." Picking up a fairly large sheet of red paper the performer begins folding it. "Time -- folding in upon itself...a complex concept. Past, present and future all an omnipresent now. Perhaps Egypt of ancient yore ever present here and now," continuing folding the paper, "and the paradoxical truth of its mythology." The performer displays the paper. He has made a rather large origami bird. "The Phoenix Bird! In ancient myth, it consumed itself in flames for five hundred blazing years in fires perhaps brighter than those of the Sun God, Ra." Placing the bird in the sacrificial receptacle the performer picks up the taper and ignites it from the first votive candle, "Flame of the past," touches it to the second candle, "flame of the present," and to the third candle, "the future." The performer slowly extends the burning taper toward the origami bird, saying with hushed reverence, "Five hundred years afire. Five hundred years of flame." He sets the bird on fire and somberly watches it burning. "Only to..." When the paper bird is at peak blaze, the performer rapidly puts a lid on the sacrificial receptacle while simultaneously saying to his assistant, "Quickly, the http://www.magicalmayhem.com/Poinc.html (2 of 3) [6/19/2003 8:43:31 AM]


cage." Enthralled, the performer shouts joyously, "Only to rise from the ashes!" He jerks off the lid, "The cage -- quickly, lest it fly away!" It's a rubber chicken with some badly burned feathers. The performer grabs it by the neck, jubilantly holds it up to the heavens, he's thrilled to the extreme, "You will fly again, oh immortal Phoenix Bird! In the great outdoors you will fly up and up and up to outshine the Great Sun God Ra!" Ever so reverently, the performer puts the rubber chicken into the cage, whispering with awe, "From ashes to the sun..."

Partially burn large feathers. Glue them to a rubber chicken. The ideal adhesive is flexible and incredibly strong, called Marine Goop. Cover a box with stone or marble adhesive back wall or shelving paper for the altar. Most large markets have votive candles in red glass holders. As for the bird cage, the larger the better. Any large bookstore will have a book on Origami paper folding. Dover Publications has inexpensive ones available by mail order. Also try your local library. Use glossy red paper for the bird. Just about everyone knows what to expect when a Dove Pan is used. Here, along with the birdcage, the expectation contributes to the surprise comedic effect of the absurd looking chicken with burned feathers -- along with the performer being so serious throughout the presentation and, this is important, even after the chicken appears. See the advantage of crawling around in a dusty, stale aired, spider infested junk closet? Oh? You actually clean yours? How peculiar. Have fun.


http://www.magicalmayhem.com/Poinc.html (3 of 3) [6/19/2003 8:43:31 AM]

Whatever It Takes by Diamond Jim Tyler

Whatever It Takes © Diamond Jim Tyler Jim Tyler is an extremely versatile magician hailing from Texas, who is most recently known for his invention, the "Diamond Deck," marketed by Meir Yedid Magic. Jim has contributed this comical routine, which has not appeared anywhere in print before. This trick will be published in Jim's book, "Pockets Full of Miracles," to be released in late April. Congrats and thanks, Jim!

Effect: A number, letter and card are selected by audience members and revealed by the magician in a comical and mystical manner. In October 1995, Bill Goldman published his first in a series of articles entitled "Bill Goldman’s Magic Bar and Grill." Each of these articles is about six pages http://www.magicalmayhem.com/Tyler.html (1 of 7) [6/19/2003 8:43:33 AM]


long and packed full of good, solid working material. The first issue included an effect titled "Whatever," which accomplished the same effect as described here. However, the effect did not fit into a jacket pocket or reset as quickly as my own adaptation of it. I refined the handling, keeping the effect’s strong points intact, and created a sure-fire stunner for the walk-around magician. After reading this, I think that Mr. Goldman would agree that I have taken a different road altogether to get to the same end. Required Items: ● ● ● ● ●

A pen At least six of your own business cards A small knife or razor blade. I use an Exacto® knife. A pack of high-quality cards such as Poker Bicycle®, with their box A square pack of Post-It Notes® (3" x 3"), preferably a dark color such as red, orange or blue.

Preparation: (The Gaffed Cardbox) Remove the cards from their box and set them aside. You are going to cut a slit into the back of the cardbox (the side with the back of a card printed on it). Using the razor blade or knife, cut the slit half an inch from the bottom of the box. The slit should run the length of the printed card design and stop at the white border (FIG. 1). Cut only one layer of the cardbox. Now you are going to make another slit. Cut the next slit 1/16 inch above the first slit and exactly the same length. Join the two slits by cutting the ends of the strip you’ve made. Discard this piece, creating a small window in the cardbox (FIG. 2). Place the Seven of Diamonds into force position and put all of the cards back into the box.

http://www.magicalmayhem.com/Tyler.html (2 of 7) [6/19/2003 8:43:33 AM]

Figure 1


On the back of several of your business cards, draw a stick figure as I have done in FIG. 3. The reason for the boxes and position of the stick figure on the business card will become apparent shortly. The force card, drawn in the center box, could obviously be replaced with the card of your choice. Place one of the prepared business cards into the cardbox’s slit as far as it will go. Be sure that the stick figure is upright and facing outward (FIG. 3). Remove three Post-It Notes from their pack. On the first PostIt Note write the abbreviation of your force card (ex: 7D or 7t). Use the same pen type and color when preparing and performing the effect, for the sake of continuity. Place the "7t Post-It Note" behind the business card protruding from the slit in the cardbox (FIG. 4). The top sticky edge of this Post-It Note should be stuck to the cardbox, closest to the end that opens. The bottom edge of the Post-It Note, which bears the name of the force card, should be as close to the slit as possible (FIG. 5). The remaining two blank Post-It Notes should be placed on top of the business card protruding from the slit in the cardbox. These two blank Post-It Notes should be squared with the Post-It Note behind the business card (FIG. 6). Of course you should press the Post-It Notes down to adhere them. It should appear that you have a few Post-It Notes stuck to the back of a cardbox. Place the prepared pack and the same pen into your jacket pocket, and you will be ready to blow your spectators’ minds. Routine: Remove the prepared pack from your pocket. Place the pack on the table, with the Post-It Notes’ side showing. This visually reinforces the fact that the Post-It Notes are blank. Explain that you will have three people think of three http://www.magicalmayhem.com/Tyler.html (3 of 7) [6/19/2003 8:43:33 AM]

Figure 2

Figure 3

Figure 4


different items. Further explain that you have already made a prediction about these items. Ask a spectator to name a letter of the alphabet aloud. Let’s assume that he or she says "J." Write the letter "J" on the outermost Post-It Note, large enough for all to see. Have someone close hold up his or her right hand. Peel off and adhere the "J Post-It Note" to the volunteer’s right hand.

Figure 5

After peeling off the first Post-It Note, hold the prepared pack close to your body about chest high. The side of the pack with the Post-It Notes should be facing you. With only one Post-It Note covering the business card, there is a chance that your secret stick figure might become visible to the audience. After removing the next Post-It Note, the business card will not be covered at all, so watch your angles. Figure 6

Next, ask someone different to name aloud a number between one and one hundred. Let’s assume that he or she says "44." Write the number "44" on the outermost Post-It Note. Now have your human message board hold up his or her left hand. Peel off and adhere the "44 Post-it Note" to your volunteer’s left hand. Remove the playing cards from their box. Be careful not to expose the business card protruding from the slit in the cardbox. Place the cardbox on the table, business card side down, and act as if the box is unimportant. Force the Seven of Diamonds on a different spectator and have him show the card to the rest of the audience. Place the cards aside, but not in their box. Ask this spectator, "What card are you thinking of?" The spectator will respond with the name of the force card.



Notice the previous question’s particular wording. Since the letter "J" and number "44" were thought of, it is important that the audience believes that the card could have been thought of as well. If you imply that the card was thought of, then likely your audience will remember it this way. You would be amazed what people will remember and how they might embellish an effect when telling a friend about it. Once the spectator responds with the name of the force card, pick up the pack with the business card facing you. Write the letter "J" in the box to the left of the stick figure. Write the number "44" in the box to the right of the stick figure. Your audience will assume that you are writing the name of the card on the last Post-It Note (FIG. 7).

Figure 7

With whichever hand you are using to hold the cardbox chest high, gently use its thumb to press the business card against the back side of the box. Use your other hand to peel off the last Post-It Note, with the Seven of Diamonds abbreviated on it, and pull it free from the cardbox. The audience should not suspect anything. Look at your Post-It Note pal, with his or her hands in the air, and act as if you don’t know where to adhere the last Post-It Note. Stick the "7t Post-It Note" just under your pal’s neck on his or her chest. Recap for the audience all that has been "freely chosen" as you prepare for the last bit of business. You must now convincingly remove the business card from inside the cardbox. There are two methods of removing the business card from the cardbox. There is my preferred method, and then there is the sure-fire method.



Preferred Method: With your right hand’s fingers, hold the cardbox by its narrow sides near the card-flap opening. Place your left hand on top of the business card, covering it completely. Allow the end of the business card closest to the stick figure’s head to touch your left hand where your fingers meet the palm. With your left hand, pull the business card until it flips completely over toward you (FIG. 8). The business card should remain in the slit at all times. With your left hand, push the business card into the slit as far as it will go (FIG. 9). It should appear as if you’ve flipped the box over in your hands. Use the fingers of your right hand to open the box. Slowly remove the business card from within the cardbox, with your right hand, and show the prediction to your audience. Sure-Fire Method: With the gimmicked side of the pack facing you, open the cardbox. Place your right hand’s index finger inside the cardbox and your right hand’s thumb outside the cardbox. Pinch your right hand’s index finger and thumb together through the layers of the cardbox and business card stock (FIG. 10). Pretend to remove the business card from inside the cardbox and show the prediction to your audience. Watch your angles, of course. This should look convincing from your audience’s perspective. Both methods should convince your audience that the prediction was in the cardbox the entire time. The preferred method is visually more convincing but obviously more difficult to execute. The preferred method may appear cumbersome in writing, but it is silent and takes only a second to perform when executed correctly. The preferred method also allows a spectator to remove the business card from the box. http://www.magicalmayhem.com/Tyler.html (6 of 7) [6/19/2003 8:43:33 AM]

Figure 8

Figure 9

Figure 10


Once the prediction is removed from the cardbox, your audience will be stunned and amused by what it sees. Toss the cardbox aside or place it into your pocket, being careful not to call much attention to it. Give the business card as a souvenir to your sticky Post-It Note volunteer. For obvious reasons this effect makes a great closer; for one, mind-reading effects are hard to top, and two, the end of a routine is an excellent time to present someone with your calling card.

Bill Goldman also suggested adding personal touches to the stick figure drawing. For example, if the volunteer who is wearing the Post-It Notes is also wearing glasses, then draw glasses on the stick figure. Perhaps you could date the card afterward, so your volunteer would be able to tell friends exactly when this miracle took place. If it is the volunteer’s birthday, then write "Happy Birthday" on the card. You get the idea. Make your business card something special that the volunteer would never want to lose.

All rights reserved. No part of this book or website may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without permission from the author, except for the inclusion of brief quotations in a review.

Click here to learn more about Diamond Jim's new book Pockets Full of Miracles Click here to visit Diamond Jim's Home Page CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS



Method behind the Effect

"KICK BACK!" ©1999, Ryan Swigert Ryan Swigert has been involved in magic since the age of five. Now 21 years old and the current President of IBM Ring 71 in Cincinnati, for the past 5 years, he has been studying under a former student of Cellini. Kick Back is an effect of Ryan's that has impressed many professional magicians, including Steve Bedwell who said upon seeing it, "Very nice visuals!" Kick Back has recently been praised by the likes of R. Paul Wilson and has seen recent publication in MAGIC Magazine. Here's why: EFFECT: The magician goes through the deck and removes the AC and AS. He states that these will come into play later. Two people select cards, say for example the 7S and 4H. The people return their cards to the deck. The magician takes the AC and AS and places those face-up together in the middle of the deck. He then picks up the deck and drops it in his hands. He spreads through the cards and now there are two cards between the AC and AS. The magician removes this 4 card packet and asks the spectators to remove the two face down cards that are between the AC and AS. When the spectators look at the cards they removed, they are, surprisingly, the AC and AS. They look up at the magician and he is holding the 7S and 4H in his hands! SET UP: You will require a deck of cards and 2 double-faced cards (the AC/7S and the AS/4H). From the top of the face down deck, place the normal 4H, the normal 7S, the normal AS, and the normal AC. Anywhere else in the middle of a face up deck, place the double backed cards such that when you spread through the cards the AS and AC sides show. WORKING: Turn the deck face up as you state how you need the two black Aces. Go through the deck and remove the double faced cards with their Ace side showing so it looks legitimate. Place these cards on the table Ace side up. Turn the deck face down and force the top two cards (the 4H and 7S) via a slip force, or your favorite method. Have the spectators return their cards into the deck. It doesn't matter where they put them because you are not going to control them. Retain a break under the top two cards (the normal AS and AC). Pick up the double faced cards on the table and place them on the deck Ace side up. Pick up all the cards above the break in Biddle http://www.magicalmayhem.com/Swigert.html (1 of 2) [6/19/2003 8:43:34 AM]

Method behind the Effect

grip and table the deck. Slide the top double faced card off the packet and place it on the bottom as you say "The Ace of Spades and the Ace of Clubs go in the middle of the deck." Place the four card packet into the middle of the deck, such that the double face cards are still Ace side up. Pick up the face down deck with your right hand and drop it into your left hand. Spread through the cards until you come across the face up Aces with two cards between them. Remove this four card packet and table the deck. Hold the packet out to the spectators and tell them to remove the two face down cards that are between the black Aces. In reality, they will remove the normal two black Aces. Left in your hand are the double face cards. As the spectators remove the face down cards, let your hands dip down to about waist level and then turn your hands over and raise them up to your chest. When the spectators look back at you, they will see you with their two selected cards in your hands. Click here if you'd like more information on the Magic of Ryan Swigert CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Swigert.html (2 of 2) [6/19/2003 8:43:34 AM]

Terry Lunceford Effect

TERRY LUNCEFORD

"WORLD'S MOST STUPIDEST CARD TRICK!" Terry Lunceford is a breath of fresh air within the magic community. He is the brand of performer you could watch over and over again without tiring. His creative mind coupled with his outrageously hysterical personality has made Terry one of the busiest magical entertainers around. This effect is just a sample of how Terry's mind works. Thanks, Terry! EFFECT: A card is selected (ho hum), memorized by the spectator, returned, and shuffled back into the deck. Wrong card is located and mutilated to simulate the selected card. In the process, it is turned into the correct card. As an afterthought, card is restored but, alas, it is restored as the incorrect card. It is mutilated once more, instantaneously turning back into the selected card so the spectator has a souvenir to keep. SET UP: A deck of cards with a two on the top and a three of a matching suit below the two.

http://www.magicalmayhem.com/Lunceford.html (1 of 3) [6/19/2003 8:43:35 AM]


WORKING: Ask the spectator if he'd like to see the most stupid card trick in the entire world. No matter what he says, you say, "How did I know you were ready for this?" Again tell him, "I think this is the most stupid magic trick in the whole world, but I'll let you judge for yourself." Force the two, using the slip force, and have the spectator memorize the card. Next, swing cut the top half of the deck into your left hand and have the spectator replace the selection on top of that. Set the right-hand portion of the deck on top of the left, holding a break above the two. Double cut to control the two to the top of the deck. Incidentally, at this point, the three is still under the two. Tell the spectator that you've controlled the card to the top of the deck. Perform a doubleturnover, showing the three, and ask him if that is his card. When he says no, look dumbfounded and mutter, "Well, I told you it was a stupid trick." Wait a beat for this to sink in and then say, "Well, it's gotta be close. What was the name of your card?" When he reveals it to be the two of the same suit say, "Oh, that's easy," and perform another double-turnover. Say, "All I have to do is tear a little spot out of the middle and when I open it up... Look! The two of ______! Waddaya think? David Copperfield, eat your heart out, eh?" As you are saying this, take the two face- down, off the top of the deck. He will think you are holding the three. Fold it lengthwise once, hiding the face the entire time. At this point you actually begin to tear a hole out of the center of the card, about the size of the pip. Don't tear off the piece completely; leave it hanging onto the card. As you open the card to show it to the audience, make sure your thumbs cover both of the pips. The center torn piece will automatically remain folded so that the audience cannot see it. What they think they see is the three with the pip torn out of it, until you remove your thumbs from the numbers to reveal it really is the deuce. They jump in their seats! Go on to state that many people ask you about the spot. Open the folded center of the card to show that there never was a spot! Give them time to assimilate what has happened. As far as everyone is concerned, the trick is over. Acting as though it is regular conversation say, "A lot of people also mention that I've just torn up a deck of cards." Perform a top change, using the previous line as misdirection for this move. Keep the card center covered and slightly moving as you say, "All I have to do is rub it and it restores itself!" Show them that, in fact, the card is completely restored. Continue with, "The problem is, the non- existent spot comes back!" Turn the card over to reveal it is the three again. You can have them look at the card or not at this point, whichever they choose. This definately tells them the trick is over. When you get the card back, immediately perform another top change. This leaves your thumb in http://www.magicalmayhem.com/Lunceford.html (2 of 3) [6/19/2003 8:43:35 AM]


a position on the back of the two to just push it right through the already-torn center, telling them you prefer it this way so that they can have a little souvenir to take with them. AFTERTHOUGHTS: Don't worry about top-changing with the mutilated card. A couple of practice tries should be all you need... Click here if you'd like more information on the Magic of Terry Lunceford CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Lunceford.html (3 of 3) [6/19/2003 8:43:35 AM]

Wayne Rogers Effect

WAYNE ROGERS

"ONLY ONE CARD IN THE WORLD!" Wayne Rogers is an incredibly fresh and original magician from New Zealand who is perhaps best known for his creations such as Appearing Ladder From Briefcase and Missing Spade. Wayne says of this effect: "This is my favorite strolling card effect using a regular deck and a signed card. The signing of the card gives the routine maximum impact and makes it more memorable. The moves are not difficult but the routine flows and you ample opportunity to 'play' with an audience. The spectator's hands are the only working surface needed." EFFECT: A spectator signs a card, which is then lost in the deck. After several failed attempts to magically bring the card to the top of the pack, the signed card is found reversed in the center of the deck. The card is then placed face down between the spectator's hands. The spectator is found holding a different card, and the signed card is again discovered reversed in the deck. For the climax, the card is discovered folded inside the cap of the pen used to sign the spectator's name. PROPS: A regular pack of cards and a felt-tip marker pen. The pen cap should look large enough to take a folded card. My pen cannot actually hold a card but it looks as though it could. This is important for the climax in phase 3.

http://www.magicalmayhem.com/Rogers.html (1 of 6) [6/19/2003 8:43:36 AM]

Wayne Rogers Effect

ROUTINE PHASE 1: Have a spectator shuffle the deck and remove a card. Take out the marker and request they write their first name in large letters "Right across the face of the card." After the signing, take the pen back and hand it to another person to hold. The signed card is returned to the deck and controlled to the top. I use a variation of FLIP-FLOPPLOP from THE MAGIC OF PAUL HARRIS, published by Jerry Mentzer. Paul based his moves on the false throw move used in Three Card Monte, but uses the whole deck. I have altered the order of throwing the cards down. Here is my handling: Hold the cards in the left-hand dealing position. Left thumb riffles down the L.H. corner of the cards. Cut off the top third of the deck. Extend the left hand to the spectator for the signed card to be returned face down on the deck. As you reassemble the deck the right-hand finger positions are important. Thumb and first finger must be right of center. As the left hand brings the bottom section of the deck to meet the righthand cards, the right hand grips the bottom section with thumb and third finger. The third finger should be slightly to the left of the right corner. Hold open the break between the two sections of the deck. There is no need to hide it. Casually lower the right hand as you look the spectator straight in the eye and say, "Don't forget the name of your card." Now comes the move: Second finger of the right hand takes a grip on the top half of the bottom section of the deck. Third finger of the right hand releases its grip, and with a circular tossing motion of the right hand, the bottom third of the deck is dropped into the left hand. Next drop the top third of the deck (held with thumb and first finger) in the same way into the left hand. To assist this action, the first finger pivots the packet of cards around the right thumb. Finally, toss the remaining section of cards from the right hand into the left to complete the deck. The spectator's signed card is on top of the deck. The whole sequence of events takes but a moment as you say, "There is only one card in the whole world with your name on it, and it's somewhere in this deck." Immediately give the deck a false cut to complete the mixing sequence. My method is this: The left thumb riffles the comer of the deck and stops half way down holding a break. Right hand comes across making the cut but instead of taking the top portion, the right fingers grasp the lower half of the deck with the right first finger entering the break. You perform what is in effect a pass, but as soon as the lower portion of the deck has been brought to the top, the right hand retains its grip and without hesitating, continues with a circular movement right around the cards held by the left hand, and places the lower portion back on the bottom. Performed casually, it appears you have cut the cards fairly, but the deck is back where you started with the signed card on top. http://www.magicalmayhem.com/Rogers.html (2 of 6) [6/19/2003 8:43:36 AM]

Wayne Rogers Effect

Tell the spectator, "Because you signed your card it is very special. It will travel up through the deck and come to the top. Watch!" Riffle the end of the deck with your thumb. Double-lift the top two cards as one and turn them face up on top of the deck. Announce, "Here is your card!" Realize your mistake and quickly follow with, "No it's not." Turn the deck over as if to hide your mistake. Slide out the 'wrong' card and turn its face towards the audience. "Your card has your name on it." The deck is face up in the left hand, and the signed card is reversed on the bottom (really the top). Replace the 'wrong' card under the deck next to the signed card, taking care it goes face up. Turn the deck over again and all appears normal. Backs of the cards are seen but the signed card is now reversed second from the top. "Your card must still be making it's way to the top, I'll try again." Genuinely cut the cards and complete the cut. The signed card is now reversed in the center of the deck but do not reveal this situation yet. Riffle the end of the deck again and turn over the top card. It is still not the signed card. Act puzzled and say, "The trouble is, from the back the cards all look the same. I will have to do something to your card to make it stand out from the others." Again riffle the end of the deck and slowly spread the cards to reveal that the signed card is the only face up card in the face down deck. Pause to let the effect register, then use the cards in the right hand to flip the face up card over. Place the cards in the right hand under those in the left and square the deck. (Later you will use a similar looking action when you perform a fan drop switch.) A Note on the double-lift: I use a simple beveling back of the deck to allow the thumb to count two cards and hold them as one. In this routine, I riffle the deck with my thumb to create a noise just for effect, and the doublelift follows the action by drawing the top card back slightly before turning it over. There are many ways to execute a multiple lift. Find one that you can perform quickly and naturally, then always use the same action when lifting single cards. PHASE 2. The next series of actions should appear quite normal and casual to the onlookers. You will show them how to hold their hands out and in doing so, execute a top-change of cards. Hold the signed card in the right hand, its face to the audience. Address the person who chose the card and say, "I will make your card turn over again. Could you please hold out your left hand?" Lower your left hand casually to your side and get a break under the top card. I hold the deck with my fingers against the long edge and thumb the top card to the right about quarter of an inch (5mm) causing it to ride over the fingers and forming a break. Having gotten the break, I pull the card back and retain the break with the fourth finger. When the spectator extends their hand, you make an excuse http://www.magicalmayhem.com/Rogers.html (3 of 6) [6/19/2003 8:43:36 AM]

Wayne Rogers Effect

for adjusting their position, and this gives a natural reason for replacing their card back on the deck for a moment. The fingers of the left hand square the signed card with the card held above the break. Extend an empty right hand to the spectator as you say, "Could you please hold it a little bit lower, that's good." The right hand now appears to take back the signed card. In reality the right fingers grip the ends of the second card. The left thumb holds the top signed card as the left hand gestures towards the spectator. "Now could I have your right hand as well?" The right hand, holding the switched-in card does not move. The left hand gesture does all the work. The signed card is back on top of the deck. Note: For an alternative handling see the modified Hofzinser top-change on page 44 of ULTRA CERVON by Bruce Cervon. The spectator thinks they are holding their signed card on their outstretched left hand. Ask them to place their right hand, with fingers spread, on top of the card. Say, "I'm going to turn your card over again, watch!" Hold the deck over their hands and riffle the ends of them loudly. "Did it work?" Of course, nothing has happened. As all eyes go to the spectator's hands you make your next move. Secretly transfer the signed card from the top of the deck to the bottom and reverse it in the process. There are several good ways to achieve this. Ben Harris in his book "OUT OF HIS MIND" explains one titled B.H. Reverse. Here is my handling: Hold the deck, back up with all right-hand fingers along the top short edge, and the thumb at the bottom edge. The left fingers, under cover of the right hand, pull the top card around the long end of the deck until it lies reversed underneath. A slight lifting of the deck with the right third and fourth fingers assist the movement. As soon as the card is aligned on the bottom of the deck, cut the deck and wave the two halves above and below the spectator's hands. Say, "I forgot to make the magic wave." Reassemble the deck with the signed card once again reversed in the center. Ask, "Has anything happened yet?" The answer is no. The spectator checks the card on their hand and discovers it is not the signed card. "That's not your card. I said I would turn vour card over." Spread the deck to discover the signed card is once again face up in the center of the deck. Separate the spread at the face-up card. You now flip the card over and perform a fan drop switch (Henry Christ's variation on the Jack Merlin tip-over switch). In my handling, I alter the righthand finger grip slightly at this point, with the first finger below and the thumb on top holding the main bulk of the packet. The bottom card is held in place only by the second and third fingers. Use the right-hand cards to flip the signed card over on the left packet. In the same movement the righthand cards momentarily cover the left-hand packet. The right-hand fingers release the bottom card and drop it on top of the signed card. Immediately separate the hands. The top card (supposedly the signed card) is inserted into the center of the right-hand packet of cards. Half of the left hand's cards are placed onto the right-hand packet, and the other half go underneath. To the spectators


Wayne Rogers Effect

you have just buried the signed card in the deck once more. In fact the card is back on top. Turn the cards face up and square the deck. PHASE 3. To climax the routine, the spectator's card appears inside the cap of the pen used to sign the card. The signed card is lying against the left palm. Left-hand first finger rests along the top end of the card. Right hand comes over and grips the deck from above, fingers along the front short end of the deck, thumb at the rear extending down. The left first finger drags the signed card down so it bends in fully half, then wraps around the thumb and folds in quarters. The action is masked by the left fingers and the body, and takes just a couple of seconds. Note: The moves are described in EXPERT CARD TECHNIQUE by Hugard and Braue, page 303305. Tommy Wonder in WONDER MATERIAL also has an excellent "Two Second Card Fold." With the card safely folded and held under the deck ask, "Did anyone notice something unusual about the pen when the card was signed?" Whatever the answer continue with, "They all have names." As you speak, take the folded card in a finger palm and pocket the deck. Have the pen returned, and as you reach for it, give the card one more fold by squeezing it tightly within the fingers. Using thumb and first finger, of the same hand, remove the cap from the pen. Display the pen. "This pen is called..." Name the person who signed the card. Tap the open end of the pen cap sharply against the palm of your hand as if trying to dislodge "something." Give the cap another couple of taps and then with one final hard tap, release the folded card from the fingers. The card appears to shoot out of the cap and into the hand. "That's what I was after." Because the deck was face up when the card was folded, only the back shows. Its identity is hidden. Now comes an important subtlety. Take the still folded card and push it into the pen cap opening. Just a little way is sufficient. Hold out the cap to the spectator and allow them to remove the card. I've often heard people comment about this point later. The card was folded up inside a pen cap and they actually removed it themselves! As the spectator unfolds the card, the expression on their face will be priceless. They just won't believe it. Replace the cap on the pen and deliver the final line. "There is only one card in the whole world that has your name on it . . . and that's your card!" Note: "Card in Pen Cap" is from Richard Osterlind's "MIRACLE FLYING SIGNED CARDS" routine. My handling is slightly different and more suited for performing close-up and surrounded. Wayne Rogers' routine was first published in "Commercial Chicanery" 1992. Click here if you'd like more information on the Magic of Wayne Rogers http://www.magicalmayhem.com/Rogers.html (5 of 6) [6/19/2003 8:43:36 AM]

Wayne Rogers Effect



The Mike Giusti Effect

MIKE GIUSTI

"DEMOLISHED!" This is a routine that has developed throughout my years as a close-up restaurant magician. I have had much success and fun with it. Hope you do, too. EFFECT: Magician borrows a bill from a spectator. Making comments about properties of money, the magician then penetrates the bill with a pen, proving it was a real bill! After penetrating and accidentally ripping it with the pen, the spectator is asked to hold onto their folded, now trashed bill. Magician makes a magical gesture and the bill is found to be completely restored in the hands of the spectator. The magician proceeds to draw a mustache on the bill. Taking the bill back, the magician completely rips it in half, and then into quarters. The pieces of the bill are folded and slowly fused back together. The spectator verifies that the bill is the same (noting the mustache drawn earlier) and the performer bows to thunderous applause. PREPARATION: 1) You will need a "Pen Through Anything" or "Sharpie We Use" (I prefer the SWU as I am constantly using Sharpies in my act).

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2) Knowledge of any bill switch utilizing the thumb tip. 3) Take a dollar bill and draw a mustache on Washington's face. Fold the bill inside a thumb tip in preparation for the bill switch. This goes into the right pant's pocket (if wearing jeans, the inner pouch-pocket is preferable). 4) Place the real Sharpie inside the right outer jacket pocket. THE GAS: Keeping the gimmicked pen in your left hand, ask to borrow a dollar bill from a spectator. Take the bill in your left hand such that the bill partially covers the pen. Control the tip of the pen under cover of the bill, while "breaking" away the top potion of the pen in your right hand (making sure to cover the missing part of the pen). Connect the two ends of the pen together with the bill inbetween. The illusion created is such that the bill looks like the pen has penetrated it. Pause, let the effect sink in, and display the penetration by only holding onto the uppermost part of the pen. Turn and twist it a few times and say, "You know what that means, don't you? It means that was a real dollar bill. What a bummer! Oh well, I've got a great card trick for all you... I need to borrow a one hundred-dollar bill for this trick. Just a joke..." At this point, the left fingers grab the upper and lower portions of the pen simultaneously and yank it through the bill lengthwise. This done very quickly, a ripping sound is created. Immediately begin to fold the bill with both hands and give it to the spectator to hold tightly. Make a magical gesture, say a few magical words, and have the spectator open their hands and slowly open the bill. This gives you plenty of time and misdirection to switch out the gimmicked pen for the real one. Once the bill has been "restored," take the real Sharpie and without calling undue attention to the fact that it is real, draw a mustache on Washington's face. Relax as if the effect is finished, put your hands inside your pockets, and steal the thumb tip. Take the bill back from the spectator and tear it in half along its vertical midpoint. The spectator's reaction will be one of shock, but reassure them that it is all just illusion taking place. Bring the pieces together and tear them once again along their vertical midpoints. Show the four pieces and say to the audience, "Now doesn't this all look REAL?" As you say this, let one piece of the bill fall to the floor. This will inevitably get a laugh from the audience. Pick up the piece, line it up with the others, and fold them along their horizontal midpoint. At this stage, you are set to perform the bill switch. Switch out the demolished bill for the one inside the thumb tip, and pretend to slowly meld the pieces together one at a time, as there is no need to rush to open the bill. Once the spectators see the mustache on Washington's face, they will assume it is the exact same bill. After all, who in their right mind would take the time to pre-mark http://www.magicalmayhem.com/Giusti.html (2 of 3) [6/19/2003 8:43:37 AM]


a bill?


http://www.magicalmayhem.com/Giusti.html (3 of 3) [6/19/2003 8:43:37 AM]

Guy Bavli Effect

GUY BAVLI

"INCREDIBLY CLEAN!" This effect comes from an effect for Aldo Colombini's new book contributed by a good buddy, Guy Bavli. Guy says, "This routine can be done for both lay people as well as magicians. I have fooled magicians with this trick many times -- not because this is a new principle or new secret -- the secret is very old. This is because of the presentation I am using. The effect here will describe the presentation I am using when I perform this trick for magicians. I will emphasize also the differences in the presentation between performing it to the public and magicians. Have fun!" EFFECT: The performer shows a deck of cards and gives it out to a spectator to shuffle and mix as much as he wants. The performer then takes the cards and deals them face down into the spectator's hand saying, "Please stop me when you feel it is the right time and the right card." The performer's face is turned away as she deals the cards into the spectators hand. As she continues she says, "You may stop me whenever you wish. Take your time and play as hard to get as you want. It's a free choice." When the spectator says "Stop," the performer then gives the choice of two cards; "The one I am holding or the one that I just put in your hand?" Whatever the choice is, the performer lifts the card in her fingertips (her head still completely turned http://www.magicalmayhem.com/Bavli.html (1 of 4) [6/19/2003 8:43:38 AM]

Guy Bavli Effect

away), and shows the card to the spectator. The card is put on top of the pile in the spectator's hand, covering it with the performer's own hand. "I will cover the card so I will not have the chance to see it even with the eyes in the back of my head..." The performer then asks another spectator to cut or quickly shuffle the remaining pile and put it on top of the pile with the selected card. While the second spectator is completing the above task, the performer states, "The reason I asked you to cut the rest of the cards is that you will not think I have a key card in the bottom of the deck which could help me locate the selected card." After the rest of the cards are cut, the performer asks the second spectator to put them on top of the selected card pile, and then shuffle the rest of the cards as much as he wants (at this point only, the performer's face is turned back to face the spectator, who is now shuffling the complete deck of cards). The performer then takes the shuffled deck and asks the spectator to name a number between one and five. Whatever number is chosen, the performer counts the cards down to that number and the card is the selected one!!! METHOD: This card trick is based on a simple and old method. The reason this is an incredible and clean trick is the presentation and your words. The idea of this effect is to create a regular kind of trick (a selected card is taken and then the performer finds the card) but in a way that will eliminate all potential solutions that is known or may be known to the spectator and audience. The secret of this trick is the famous Crimp move! Let's go step-by-step and learn the routine. I will add the words used in my presentation and the thinking behind those words as we start from the beginning: 1. Begin by giving the spectator the deck of card to be shuffled (by this, you eliminate the possibility of a stacked deck!) 2. Ask for the spectator's hand and begin by slowly dealing the cards one by one into his hand face down. As you do so, turn your head away such that you will not be able to see the cards as they are being dealt (by this, you eliminate the possibility of seeing or peeking the card -- even if they were marked cards -which you prove they are not). 3. Say to the spectator, "Stop me wherever and whenever you like -- it is your free choice." If it is magicians you are performing for, say, "Please don't stop me at the seventh or eighth card, as usually magicians want you to stop there..." (By this, you are eliminating the possibility of a force!) 4. When the spectator stops at the selected card, you show him his card by holding it in your fingertips (between your first finger and thumb), in the bottom corner of the card. This is the moment for making the secret move, the crimp. http://www.magicalmayhem.com/Bavli.html (2 of 4) [6/19/2003 8:43:38 AM]

Guy Bavli Effect

When holding the selected card in your fingertips, use your middle finger to crimp the corner of card. Simply bend the little corner that is left under your fingertips at the same time you are showing the card to the spectator. This crimp will put a mark on the selected card and will help you finding it later on! When putting the selected card down on top of the pile in the spectators hand, cover it with your hand. This will cover the crimped corner from the audience's and your spectator's eyes. Say, "I will cover the card with my hand so I will not have the chance of seeing it with the eyes in the back of my head..." This will get a good laugh and also create another valid reason for covering the card, creating the illusion that you are working very clean! 5. Give the rest of the deck left in your hand to another spectator, and ask him to cut it or shuffle it saying, "I want you to shuffle the deck so you will be sure that I cannot remember the order of the cards... If you do it for magicians say (as I described in the effect), "Please cut the deck or shuffle so you will not think that I have a key card at the bottom of the deck. (We don't want to give our secretes to the general public, do we?) This, of course, will eliminate the key card from spectators potential thoughts. 6. Ask the second spectator to put the rest of the cards on top of the selected card pile. Lift your hand above the selected card (in which you are covering) at the same time the spectator puts his cards on top. The cards will cover the crimped card (doing the same job as your hand did before). 7. Ask the spectator to shuffle the complete deck. As you do so, move your hand like you are miming the move of the overhand shuffle. The spectator will shuffle in the same way. This shuffle is very messy and will prevent him from seeing the crimp, although he will never look for it... Put the spectator under pressure of time and don't let him stop shuffling until you say "Stop." When he stops shuffling, take the deck from his hand and square it. This last shuffle of the complete deck will eliminate the thought of a key card as well as a finger break or any other kind of location. 8. As you take the deck to square it, you will see the crimp of the card very easily. Cut the card to the top, and bring another three cards above it, making it the fourth card from the top. You can achieve this by double-undercutting 3 cards, or just by simply overhand shufflling 3 cards on top of the crimped card. Now riffle the corners of the cards as you say, "Give me a number between one to five." By riffling the corners of the cards, you will straighten out the crimped card to its normal shape. You won't need the crimp anymore because you now know the location of the selected card... 9. Now you have a few choices to reveal the card and get to the climax: 1st. If he names number four, you give him the deck to count to the fourth card! 2nd. If he names number three, you do the same. Have him count three cards from the top and have him http://www.magicalmayhem.com/Bavli.html (3 of 4) [6/19/2003 8:43:38 AM]

Guy Bavli Effect

turn over the next card to reveal the selected card (most of the time they will name three of four). 3rd. If he names number one or two, spell the number (it will be the same as number 3 as both have 3 letters. 4th. If he names number five, spell five and it will bring you to the selected card (4 letters). *Another way is to obtain a break under a few cards and execute the pass to add or remove cards from the top\bottom (while you give them the cards to count) to bring the fourth card to the chosen position... *Mike Giusti utilizes questions in order to count down to the chosen card. For instance, he will ask, "How many Aunts/Uncles do you have?" Most will name a number between one and five -- a perfect way to derive at the spectator's selection. It also adds another dimension to the magic performed. Spectators come away with questions such as, "How did he know I had 3 uncles?!" Click here if you'd like more information on the Magic of Guy Bavli CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Bavli.html (4 of 4) [6/19/2003 8:43:38 AM]

Martin Lewis Effect

MARTIN LEWIS

"AFTER TENKAI!" While browsing through my file of Genii magazine, I came across an interesting card effect by Tenkai in the July 1965 issue but was baffled upon studying it because the effect seemed illogical and incomplete. Four cards were shown, but only three used and then a fifth card (a Joker) appeared for no reason at all. Also, an awful lot of sleights were necessary. Shortly after, I developed a more modern and logical version which turned it into a virtually new trick. It still needed a good number of sleights to accomplish it, but not so many as in the original. So in respect of that Japanese master of magic, I called this version "After Tenkai." EFFECT: Five cards are shown, four Jokers and a King. The King is removed and placed aside face down on the table and the remaining four cards checked to see that they are just four Jokers. Suddenly the Jokers change to the four Kings, and the King which had been placed aside becomes a Joker. METHOD: http://www.magicalmayhem.com/Lewis.html (1 of 3) [6/19/2003 8:43:39 AM]

Martin Lewis Effect

The sleights used are now common ones in the armory of the modern card worker and so will not be explained in full detail. Before proceeding I will summarize these sleights so we do not clutter up the description of the effect with comments on them. They are (a) The Glide, (b) The Buckle Count, (c) the Bro. John Hammon Count, and (d) the Marlo / Hammon Flushtration count. The last named is not so well known and was described in "LookÑAn Illusion" in the May 1970 Genii, and is also used in my "Sidewalk Shuffle." Since the two handlings vary slightly, a brief description is included here. It consists of showing the same card over and over while seemingly showing all the cards in a small packet. Hold the packet of cards face down in a dealing position, and in the present case a Joker will be at the face. Use the right hand to pick up the whole packet with the hand palm down, the thumb at the near narrow edge and the fingers at the far edge. Turn the packet to show the audience the face of the Joker and lower the hand again. Now with the left thumb draw off the top card of the packet into the left hand, and immediately raise the right hand to show the face of the packet again. This is repeated each time, showing the face card of the packet then drawing off the top. When you are doing this slowly for practice, the move appears stupid, but long experience has shown that it gives the audience the perfect illusion of seeing all the cards as Jokers. There are six cards in the set-up and they consist of the four Kings in any order with two Jokers at the face. These cards can be taken already set up from a wallet or they can be culled from a normal deck so long as the audience does not see you are taking six cards. The packet of cards should be introduced with their faces down and if you culled them from a deck the audience should not yet be aware of their values. ROUTINE: (1) Buckle count the six cards as five, face down without altering their order. To do this, push three single cards over on the count of "One, two, three," then two cards as one on the count of "four" and the final card on the count of "five." (2) Turn the packet face up so a Joker is seen at the face, and execute the Hammon Count so they appear to be four Jokers with one King in the middle. (3) Remove the King and place it on the face of the packet, taking care not to expose the other Kings. To do this neatly, hold the packet squared in the left hand while the right fingers slide down the top two Jokers in a spread. Then push the King forward with the right fingers while the thumb pushes back the two Jokers at the same time. This leaves the packet squared with the King protruding. Pull out the King and put it on the face of the packet. (4) Turn the packet face down, execute the glide and apparently put the King on the table face down, but actually it is one of the Jokers. Leave the jogged card under the packet in place while doing this, then glide off the second Joker. Use this to point to the card on the table, letting the audience glimpse the face. Then return this Joker to the face of the packet. (5) Now do the Flushtration move. This gives the impression that you are now holding just four duplicate Jokers. In doing this move, the last Joker is really two cards held as one. Place this on top of the packet, all cards being face down. (6) Now comes the denouement. Turn the packet face up to show a King. Do a Buckle count as before, and this will show four Kings and no Joker. While doing the count this time, form a fan with the cards as they are counted so at the end of the count a fan of four Kings is seen. It is important that when making the count this time the order of the cards should be reversed. Finally pick up the card which was first dealt, http://www.magicalmayhem.com/Lewis.html (2 of 3) [6/19/2003 8:43:39 AM]

Martin Lewis Effect

show it is a Joker, and insert it in the center of the fan so the set-up is the same as at the beginning, but the values of the cards have been reversed. (7) You can reset the cards before putting them away if you wish, without the audience knowing. You appear to just square them up, give them a casual shuffle and put them away. To do this, hold the squared packet in the right hand with the backs out as for an overhand shuffle. Run off two cards one at a time and throw the stock on top. Repeat this exactly and the cards are reset. If you do not need to reset the cards, there is no need to reverse the order of the cards during the count in Phase 6. Click here for more information on the Magic of Martin Lewis CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Lewis.html (3 of 3) [6/19/2003 8:43:39 AM]

The Aldo Colombini Effect

ALDO COLOMBINI

"COIN WRAP!" Aldo Colombini moved to the United States from Italy in 1993 and has taken the country by storm! He has performed for over 30 years as a professional magician and comedian in every European country, the United States, Canada and South America for both children and adults. He performed often on Italian television (RAI UNO) where he had a show for children. He has appeared many times on television in Portugal, Spain, Japan and Sweden. He is also one of the most innovative magical thinkers in the magic community. Aldo says of "Coin Wrap": "This simple but very effective routine combines a zany idea by my friend Stephen Tucker and a brilliant move by the late Rick Johnson which was written in PALLBEARER'S REVIEW." EFFECT: The magician cannot find a selected card so he performs a coin trick instead. After a couple of effects with two coins, a coin ends up wrapped in the selected card! REQUIREMENTS:

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A deck with a duplicate card (say the 9 of Diamonds - 9D); two English copper coins and a copper/silver coin. SET-UP: Place an English copper coin in the middle of the duplicate and fold the long side over and onto the coin with one end of the lengthwise end folded slightly more than the other. Fold the other long side over the coin the same way. Fold the wider end over the coin. Fold the other side towards the center but tuck this narrower side into the wider one, sealing the coin inside the card. Place this "package" into the right jacket pocket and the other two coins in any other pocket. PERFORMANCE: From the deck, force the 9D to a spectator, then shuffle it into the deck towards the bottom. Try to produce the selected card a couple of times and fail. Then say, "Have I ever told you that I am really good with coin magic?" Leave the deck aside. Remove the two coins and place them onto the left hand at the base of the fingers, copper coin onto the silver side of the gimmick. Close the left hand into a fist and turn it over palm down. With the right fingers, reach into the left fist and remove the uppermost gimmicked coin showing the copper side. Place the coin onto the left fist. Place the right hand fingers flat onto the coin. Keeping the right fingers pressed onto the coin, turn the left fist over ending up with the right hand palm up. Move the hands apart showing the silver coin in the right fingers and then open the left hand showing the copper coin. Place the two coins in the left hand as before. Close the left hand into a fist and turn it palm down. The right hand fingers remove the gimmicked coin showing it as the copper coin. Place the coin into the right side pocket. When inside the pocket, the right hand simply turns the coin over. After a pause, open the left hand to show the copper coin and remove the right hand to show the silver one. The right hand enters the right pocket again (to emphasize the transposition), leaves the coin, and grips the "package." Remove the right hand from the pocket and show the "coin" ala Slydini. Drop the "package" into the left hand which closes while the right hand removes the copper coin from the left hand. Place the copper coin into the right pocket and leave it there. After a pause, remove the gimmicked coin with the silver side showing. Immediately open the left hand to show the "package." SURPRISE! Drop the gimmicked coin into another pocket and begin to unfold the "package" revealing the copper coin inside (still keeping the card back to the audience). After some by-play, ask for the name of the previously selected card and triumphantly turn it face towards the audience for a great http://www.magicalmayhem.com/Colombini.html (2 of 3) [6/19/2003 8:43:40 AM]


finale! Click here if you'd like more information on the Magic of Aldo Colombini CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Colombini.html (3 of 3) [6/19/2003 8:43:40 AM]

The Danny Archer Effect!

DANNY ARCHER

"PLAY IT BY EAR!" Danny Archer is one of the most talented and versatile performers in the world of magic. I am proud that he has decided to share this reputation-maker. Danny says of this, his effect: "This is one of my favorite impromptu routines to do. The props are borrowed, you start with a funny gag, and then amaze them with a startling trick. This is not a trick for large audiences and works best if the performer and the audience are both standing. When you are starting the effect, make a big deal about the fact that the quarter will vanish on the count of three. Properly done, it will focus all the attention on the coin and they will miss the vanish of the pen. As you turn around to reveal where the pen is, the RH points to the pen as you look at them and keep talking. As the LH is ditching the coin, it helps to lean slightly back on your heels, as this backward lean will help keep the left elbow from poking out (which could tip where the quarter really goes). The LH does not enter the pocket. It stops at the pocket's edge and sort of tosses the quarter in. I came up with the idea of reproducing the quarter from my shoe, because after they see their quarter is gone, they will ask for it back. When you get dressed in the morning, drop a quarter in each shoe and you're ready to do the trick twice! If you reach in your pocket and give them a quarter (even if you explain that this is NOT their quarter but another quarter you just happen to have, it kills the effect). If I don't have a quarter loaded in my shoe and I do this effect, I DO NOT return their coin. So if you choose to do this trick, be careful about the size and temperament of the person from whom you borrow the coin." METHOD: The trick is easy to do, but will require some practice to get the timing and misdirection down. Borrow a quarter and a pen. You must stand with your left side facing the spectators. The quarter is held in the LH between the thumb and first two fingers and the pen is in the RH. You call attention to the quarter by tapping it a few times with the pen as you state "This quarter will disappear right before your eyes on the count of three..."

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The Danny Archer Effect!

Hold the quarter about waist high, and bend slightly at the waist which will force the spectator's attention downward. Raise your RH so that the pen is behind your ear (if you were to let go of the pen at this point, it would stay in place). Bring your hand downward and as the pen hits the coin you say "ONE." The count of two is the same. As your arm raises to start the count of "THREE," leave the pen behind the ear, and as your hand comes down on the count of "THREE," your hand is seen empty. If you are slightly bent at the waist, straighten up and turn your head so that the pen is not seen prematurely. They may not notice that the pen has vanished, (remember you told them the coin would disappear). Now, turn your entire body 180 degrees, so that your right side is facing the audience, look them right in the eye, and with you RH, point to the pen behind your ear. As you are pointing with the RH, your LH moves to the opening of your pants pocket, and drops the quarter in. Hold your LH as if it still held the quarter (fingers pointing to the ceiling), and with the RH, tap the pen against the LH thumbnail as you say, "No, the coin did not disappear, it's still right here." Take the pen in the RH, and as you go to hit the quarter, let the pen strike the tip of the thumbnail as you open your LH to show that the quarter really has disappeared! When they ask where the quarter is and can they have it back (and they will ask), show your hands empty, stamp- your foot, untie your shoe and let them see for themselves as the quarter drops from the show into your hand. Hand quarter back to spectator (they may not want it back) to finish. NOTE: If possible borrow the props. If these items are not available, you can use a straw, pencil, or cigarette in place of the pen. Any small flat object can be used for the quarter. Click here if you'd like more information on the Magic of Danny Archer CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

http://www.magicalmayhem.com/Archer.html (2 of 2) [6/19/2003 8:43:41 AM]

The Steve Beam Effect

STEVE BEAM

"KILLOCATION!" Steve Beam performing (I hope) at the FFFF 2000 Convention. Copyright 1993 Steven L. Beam BEWARE! I am not responsible for the possible insanity that may occur when attempting Steve's effect. Proceed at your own risk. Steve says of this, his effect: "Effects in which a volunteer merely thinks of a card and the magician subsequently locates the selection are among my favorites. This effect is an impossible location which leaves very little of what auditors refer to as an audit trail. This is truly an impossible location. However, since the method description is long, you may think of this as the impossible description. Stick with me and you will have a miracle in your hands. In this miracle, the spectator merely thinks of a card. The magician locates it in a fair and direct manner. http://www.magicalmayhem.com/Beam.html (1 of 5) [6/19/2003 8:43:42 AM]


EFFECT: The magician takes a borrowed and shuffled deck from the shuffler. Turning it face up and holding it from above in his right hand, he cuts about a third of the pack into the left hand. He begins thumbing cards off from the face of the right packet with his left thumb. One by one he peels about a third of the pack onto the left hand's packet, asking a spectator to mentally select one of the cards he sees. The cardician instructs the spectator not to give any sign that he has selected a card. Closing up the pack and giving it a quick shuffle, the magician turns the pack face up. "I am going to make your card turn invisible. Can you see your card now?" Of course the answer is in the negative since the selection is in the middle of the pack. "Then I guess I have succeeded since you cannot see your card. It must be invisible. I'll take my applause now if you wish." The audience realizes that the magician is probably bluffing. "Oh, you don't believe me. Allow me to show you." The magician fans the pack toward the spectator. The selection is still in the pack and clearly visible. "Okay, well I guess you'll believe me next time, wont you? Otherwise, there won't be any trick...kinda' like now." The magician is appears to be stalling for time trying to figure out what to do. "Well, I still don't know the identity of your card because you are the only person in the world who knows it. But I don't have to know what your card is, only where it is." The magician removes a card from the pack and places it face down on the table. "This card is the key to the mystery. What is the name of your card?" The spectator names his card. "Please turn the card over." It is not the selection. "As I said earlier, nobody but you knew the identity of your card. But I knew the location as indicated by the card." The magician deals down a number of cards equal to the value of the tabled card. The selected card is at that location. "I have many different handlings for this. I will start with one which is surefire. After that, I will explore those which have varying elements of risk. Do not overlook those with risk. The impossibility factor heightens in direct proportion to the increase in risk." METHOD: Take a face up shuffled pack in your right hand, holding it from above. Use your right forefinger to swivel cut the top third of the pack into the palm up left hand. Tell the spectator that you want him to merely think of one of the cards he sees but not to let you know when he has chosen a card. Use your left thumb to peel cards into your left hand on top of the left hand's packet. Peel the cards singly, counting them to yourself as you go. Injog the sixth card slightly and remember it; but do not change the pace as you deal through the pack. The remaining cards, up to a count of fifteen, http://www.magicalmayhem.com/Beam.html (2 of 5) [6/19/2003 8:43:42 AM]


should be pulled onto the left packet so that they disguise the injogged condition of the sixth card. After you transfer the fifteenth card, ask, "Did you think of one of the cards?" This is asked as you drop the right packet on top of the left. If the spectator says he didn't select a card, simply square up and start again. If he did think of one, you are ready to proceed. Lift up on the injogged card with your right thumb. Lift of all the cards above and including the injogged card. As your right hand picks up the upper half, the left thumb rotates the left hand's packet face down. You are now in position for an overhand shuffle. Run five cards from the right packet to the top of the left and throw the balance of the right packet on top of the left. Here is your current situation. The spectator had a choice from a bank of fifteen cards. Five of these are on top and five are on bottom. The remaining five are in the middle, the lowermost of these being the key card you are remembering (the sixth card from the bank of fifteen). You must now narrow the possible locations for the selected card to one of the three groups of five. You will do this through patter and action. Turn the pack face up and hold it in the left hand in the dealing position. "Is this your card?" There is a one in fifteen chance that the card on the face is the selection. If it is, you have located the selection. End the trick here as a miracle. If the card on the face is not the selection, tell the audience that you will make the selected card turn invisible. Riffle the pack magically. "Can you see your card? No? Then it must be invisible." Pause for the response and then, "Here, I'll show you." Turn the deck face down in your left hand. Lift up the deck so that the faces of the cards are toward the spectators and the backs are toward you as you spread the pack from your left hand to your right. If the spectator's card is among the top five, you will want him to see it. Usually, he will let you know. If he tells you that he saw his card, quickly spread through the pack and act surprised. "You saw your card?" The idea here is to convince the spectator that he didn't impart any useable information to you. It should appear that you only know that the card is somewhere in the pack. By spreading through the pack and then asking him to confirm what he told you, the effect on him is that he saw his card somewhere in the middle of the pack. If he doesn't say anything during the top five cards, continue until you have spread about a third of the pack. This will mean that you will not yet have exposed the middle five possible selections. Ask the spectator, "Have you seen your card?" If he says yes, repeat the question from the last paragraph to convine him that he hasn't imparted any thing to you and then square up the pack. You know his card is one of the top five. If he says no, say, "That's because your card is invisible." Spread until you spread the middle five card bank. Continue slowly past these until you have spread a total of about two thirds of the pack. "Have you seen your card?" If he says yes, continue http://www.magicalmayhem.com/Beam.html (3 of 5) [6/19/2003 8:43:42 AM]


spreading quickly through the pack. Act surprised again that he has seen his card and square the pack. You know his card is one of the middle five card bank. If he says no, you know his card is one of the bottom five cards. You can spread through to the five to confirm. I prefer to lower the spread as I get to the bottom ten or so cards. I continue spreading until I have spread through the complete pack, but he can't see the faces of the last few cards. "As I said, your card is now invisible. I don't know what your card is. You are the only one who knows. But I do know its location." Cut the deck so that there are two cards of the five possible on top and three on the bottom. If his card is among the top five, simply cut three to the bottom. If it is one of the bottom cards, cut two to the top. If it is one of the middle stack, spread through the faces of the cards as if you are trying to locate the selection. Cut the pack behind the first card to the rear (left) of the key card. The selection will be one of the three face cards of the left half or one of the two rear cards of the right half. Place the halves on the table and riffle shuffle them together, ensuring the left half drops its bottom three cards first and the right half drops its top two cards last. No matter which situation originally occurred, the selection is now one of the top two or bottom three cards of the pack. From here, you have simply to proceed into an overhand shuffle as explained below: Briefly, note the bottom card of the pack. Subtract one from its value to arrive at a key number. If the bottom card is a five, for example, subtract one for your key, four. If it is a larger number than a seven, subtract one number from the number of letters there are in the value. For example, if the bottom card is a queen, your key would be five letters (q-u-e-e-n) minus one, or four. Hold the deck in the left hand in position for an overhand shuffle. Undercut half the pack, run your key number. Outjog the next card as you count one again. Run your key number again starting with this count of one. When you finish running your key number, drop the remainder of the pack on top of the cards in your left hand. Undercut beneath the outjog and throw these cards on top of the pack. Square the pack. Assume the bottom card was a five. You have set it up so that the original top two cards are in positions five and six from the top. The bottom three cards are set up in the positions five, six, and seven from the bottom. Spread through the pack to remove the card which you will place on the table. Spread from the face and remove the card which was originally on the bottom before you started the shuffle (a five in our example). There is a twenty percent chance (one in five) that this is the selection. Just in case it isn't, note the two cards immediately to the left of the five as you remove it. Confidently table the five face down and ask for the name of the selected card. Regardless of what card the spectator names, ask him to turn over the tabled card. If it is the selection, take your bows and act as if that is how you intended to end the trick. If it is not the selection, proceed confidently. "As I said, I didn't know what your card was, but I did know where http://www.magicalmayhem.com/Beam.html (4 of 5) [6/19/2003 8:43:42 AM]


it was located. This card tells us where." If he named one of the two cards which was to the left of the five when you removed it, hold the pack face up and count five cards to the table. Either hand him the fifth or the sixth card, whichever is his selection. If he named a different card (one you did not note) his card is either fifth or sixth from the top of the pack. Hold the pack face down and deal five cards face up on the table. If the fifth card is his, hand it to him dramatically. If it is not, turn over the sixth card with a flair and hand it to him for the climax. Click here if you'd like more information on the Magic of Steve Beam CLICK HERE TO VIEW PREVIOUSLY POSTED EFFECTS Click here to return to Magical Mayhem

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The Ken Garr Effect!

KEN GARR

"A LA KIGA" Comedy Magician, Ken Garr (middle). Ken Garr is a witty and hilarious magician from California's Bay Area. Ken has been a professional comedian and magician most of his life. He says of this effect, "I developed this routine while experimenting with A La Kiga, as described in 'The Complete Works of Derek Dingle.' A La Kiga is based on an effect invented by Yatsua Kiga. The effect differs from Dingle's in presentation. The method remains the same to 'protect the innocent.'" EFFECT: Magician deals him/herself the 4 kings and places an indifferent card in front of a spectator. The magician then turns over the indifferent card, reveals it to be a low spot card, and openly places it on top of the deck. The magi takes the 4 kings, presses them together, and melds them into one card. When the hands are opened, the 4 kings have magically changed into the spectator's indifferent card while the 4 kings are shown, one at a time, from the top of the deck. PREPARATION: As you may have guessed, this effect uses a duplicate low spot card. For this explanation, we will use the three of hearts (3H). The deck is set up in the following manner: The 4 kings are on the top of the deck, and on top of them are the two 3H. This said, you are ready to go. METHOD: Ken suggests the use of a close-up mat, since the placement of the cards and deck are critical. Deal the 3H to the http://www.magicalmayhem.com/Garr.html (1 of 2) [6/19/2003 8:43:43 AM]

The Ken Garr Effect!

top center of the mat (the edge closest to the spectator). Tell them you will be generous by selecting a card for them. From the top left-hand corner of the deck, thumb-count two cards and push them off into the right-hand thumb crotch. Deal the next three single cards, one at a time, onto the double cards. Using your left hand, place the deck onto the center of the mat. At this point, you have a face-down card at the edge of the mat, the face-down deck directly below this card in the center of the mat, and five face-down cards in the right hand in the following order: King, King, King, duplicate 3H, King. Flip the face-down packet (containing the kings and 3H) face-up into the left hand. Grasp the packet with the right hand in Biddle grip position. With the left hand, pull the back card to the left. When it is about halfway out, drag the next card to the left and do the same with the third king. You now have a fan of kings, one of which covers the duplicate 3H. Now, release the Biddle grip, turn your right hand palm up and reverse-count the cards into your right hand. Be careful with the first face-up king such that the duplicate is not revealed. Turn the packet face-down and, once again, hold the cards in Biddle grip. Now comes the critical move. The left hand moves to pick up the single face-down card, while at the same time, the right hand moves two inches directly above the deck. The left hand grasps the left side of the card, thumb on top and forefinger underneath. Keeping it in this grip, turn the card over, the right hand lets all the cards but the top one drop onto the deck. Bring the face-up single card in the left hand towards the deck. At the same instant, with a smooth flowing movement, let the right hand with the single face-down card (still in Biddle grip) drift towards the right side of the mat. Your patter and actions should keep the spectator's attention focused on the 3H. Turn the 3H face down and square it onto the deck. Now for the magic! Bring both of your hands together at the top edge of the mat, drawing the spectator's attention from the top of the deck to the card in your clasped hands. Pretend to squeeze the cards (which the spectator believes to be the four kings) together. Lift your right hand away, then turn over the single, revealing that the four kings have magically changed into the 3H. Show your hands empty. Pick up the deck and second-deal the kings face-up onto the table. If you like, at this point, you can top-palm the duplicate card off the deck.

If you'd like to get your hands on the Magic of Ken Garr, just send Click here to return to Magical Mayhem

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THE MAGICAL MAYHEM OF MIKE GIUSTI

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Hats off to Tom Ogden, Robert Baxt, Paul Gross, Linda Bertrand, Jeff Hobson, Chad Long, Jerry Camaro, Ken Garr, Jason London, Dexter, Jay Crosby, David Acer, Richard Sanders, Brian Brushwood, Dan Garrett, Mike Rogers, Tony Blanco, John Zander, Brad Wiley, David Groves, Steve Brooks, Gene Poinc, Terry Lunceford, Guy Bavli, Martin Lewis, Aldo Colombini, Danny Archer, Wayne Rogers, Steve Beam, Jon E. King, Ryan Swigert, Diamond Jim Tyler, Frank Balzerak, Paul Chosse, & John Tenney. Last modified 4/1/03 for your sad entertainment and sick viewing pleasure! © 1995 - 2003 The Magical Mayhem of Mike Giusti


THE MAGICAL MAYHEM OF MIKE GIUSTI: Contact Information!

UH-OH! You've just been handed the time-honored tradition of coordinating your company's entertainment, and everyone has seen everything under the sun, right? Not so; Mike Giusti is unlike any entertainer on the planet! If you want to captivate your audience and have them rolling off their seats and in the aisles, the insured success of your event is only a telephone call away! Stand-Up MagiComedy Show Your guests have had their share of food, beverages, and speeches, but now they're ready to end the evening with a bang! As featured on cruise lines, comedy clubs, television, and countless corporate events, Mike Giusti's Stand-Up MagiComedy Show is a virtual roller coaster ride of comedy, audience interaction and participation, and mind-blowing magic that everyone will talk about for years to come! Depending on your needs, show times range from fifteen minutes to one full hour. All of Mike's performances feature his fast-paced, one-of-a-kind, and unique routines combined with zany madcap antics which will leave your audience clutching their sides and gasping for air! What a perfect way to end the evening! Close-Up MagiComedy Show Need the absolute perfect ice-breaker for your cocktail party or hospitality suite? Well look no further! You won't know whether to guffaw out loud or gasp in amazement when Mike Giusti's Close-Up MagiComedy Show comes your way! As Mike strolls from group to group, the heightened energy and spontaneous laughter emitted from each table and group will captivate the attention of everyone in attendance! As with all of Mike's performances, each features his fast-paced, one-of-a-kind, and unique routines combined with zany madcap antics which will leave your audience clutching their sides and gasping for air!

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THE MAGICAL MAYHEM OF MIKE GIUSTI: Contact Information! What a perfect way to begin your evening!

For rates, availability, & information, please contact:

Kelly Allred c/o Top Notch Talent

Chuck Carson c/o Phoenix Producers Group

P.O. Box 7814 Fresno, CA. 93747

4332 W. Yale Avenue Fresno, CA. 93722

1-800-4-TALENT

559-289-0887

559-252-5252 (FAX)

Email

Email

Official Web Site

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comedy.com: Mike Giusti

The Magical Mayhem of Mike Giusti

Chuck Carson c/o Phoenix Producers Group 4332 W. Yale Avenue Fresno, CA. 93722 559-289-0887 Email Web Page Kelly Allred c/o Top Notch Talent P.O. Box 7814 Fresno, CA. 93747 800-4-TALENT 559-252-5252 (FAX) Email

Mike Giusti is one of the zaniest, most entertaining comic magicians in the world today, providing awardwinning, unique, and hysterical entertainment for cruise lines, concerts, casinos, corporate & private events, variety shows, restaurants, and television. Unlike most magicians, Mike developed a love for the art of magic at the late age of 42, which is rather odd, considering he's still in his 30s! Affectionately dubbed by his peers as the "Rubberface of Magic" due to his highly unusual yet hysterical facial expressions, Mike is a globetrotting comedian/magician with a reputation for the unexpected and unexplainable! As if performing weren't enough, Mike is also a lecturer, writer, author, and creative consultant, whose work has been published in the prestigious MAGIC, Genii, MUM, Linking Ring, Mr. Gadfly magazines, and other magical publications. He has performed magic and comedy internationally and throughout the United States for countless venues. Whether you are seeking stand-up or close-up entertainment, you'll see why it is Mike's rare brand of comedy magic that makes him one of the most sought-after performers working today! Just a few of the clients charmed by the Magical Mayhem of Mike Giusti:

For a more comprehensive list of clients, click here By Golly, Take Me Home

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The Magical Mayhem of Mike Giusti

Chuck Carson c/o Phoenix Producers Group 4332 W. Yale Avenue Fresno, CA. 93722 559-289-0887 Email Web Page Kelly Allred c/o Top Notch Talent P.O. Box 7814 Fresno, CA. 93747 800-4-TALENT 559-252-5252 (FAX) Email

Clients *ABC Television *Addy Awards, 1998 *Adobe *Allstate Insurance *American Cancer Society *Applebee’s Restaurant *AT&T *Barn Comedy Club *Borba Agribusiness *California Highway Patrol *California State University @ Fresno *Carnival Cruise Lines *Carnival 1998 *Catholic Youth Organization *CBS Television *Centex *Central Valley Trucking *Charles Schwab *Charlie’s Comedy Club *Chevy’s Mexican Restaurant *Children's Hospitals of California *Clovis Unified School District *Concord Unified School District *Ducey's Comedy Club *Elbow Room Restaurant *Enns/Wes Pak Sales *Falcon Cable *Fat Paulie’s Restaurant *FOX Network Television http://www.magicalmayhem.com/clients2.html (1 of 3) [6/19/2003 8:43:53 AM]


*Fresno Art Museum *Fresno Firefighters Association *Fresno Metropolitan Museum *Fresno Police Department *Fresno Unified School District *Fujitsu *Hewlett Packard *Hinds Hospice of Central California *House of Blues *IMAX Corp *Intuit Corp *Janzen Idea Corp *Kingsburg Fire Department *Kingsburg Police Department *KLA-Tencor *Last Laugh Comedy Club *Laughing Matters *Linking Ring Magazine *Lucy's Airport Holiday Inn *MAGIC Magazine *Mandalay Bay Resort & Casino *McClatchy Newspapers *MediaOne *Merle Haggard (Opening Act) *Merrill Lynch *Mimi's Cafe *Modoc District Fair *Moen Faucet *Mr. Gadfly Magazine *MUM Magazine *Muscular Dystrophy Association *Oakland Unified School District *Pacific Bell *Pea Soup Anderson Restaurant *Pelco *Pepsi *Phillip Morris, Inc. *Pirate's Cove Comedy Club *Profit Specialties *Richmond Unified School District *Riverside Art Museum *RJ Reynolds, Inc. *Royal Caribbean International *Sal’s Mexican Restaurant *San Carlos Police Department *San Francisco Unified School District *San Jose Unified School District *San Joaquin River Parkway Trust *San Mateo Unified School District *Satterstrom's *Softech *Spike & Rail Restaurant *St. Agnes Hospital *Stanley Bostitch *Starline Comedy Club *Sutro & Co. *Tanya Tucker (Opening Act) *Ulead *United States Air National Guard *University of California @ Riverside

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*Wathen-Castanos Group *Mike’s Mom *And more...

Take Me Home

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THE MAGICAL MAYHEM OF MIKE GIUSTI: Where in the World is Mike Giusti?

Once they let him out, there's no telling what could happen! Date May 2

City Fresno, California

May 3

Selma, California

May 4

Selma, California

May 6

May 9 May 10

Fresno, California Fresno, California Fresno, California

May 11

Selma, California

May 13

Fresno, California

May 16

Fresno, California

May 17

Santa Barbara, California

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Venue Sal's Mexican Restaurant (5:30 PM - 8:30 PM) Sal's Mexican Restaurant (5:30 PM - 8:30 PM) Sal's Mexican Restaurant (10:00 AM - 1:00 PM) Chevy's Mexican Restaurant (5:30 PM - 7:30 PM) Sal's Mexican Restaurant (5:30 PM - 8:30 PM) Private Event (12:30 PM - 1:15 PM)*** Mother's Day Show (10:30 PM - 1:30 PM) Chevy's Mexican Restaurant (5:30 PM - 7:30 PM) Sal's Mexican Restaurant (5:30 PM - 8:30 PM) Private Event (12:30 PM - 1:15 PM)***


May 18

Santa Barbara, California

Private Event (1:30 PM - 2:15 PM)***

May 20

Fresno, California

Chevy's Mexican Restaurant (5:30 PM - 7:30 PM)

May 23

Fresno, California

May 25

Selma, California

May 27

Fresno, California

May 30

Fresno, California

May 31

Reedley, California


Sal's Mexican Restaurant (5:30 PM - 8:30 PM) Sal's Mexican Restaurant (10:00 AM - 1:00 PM) Chevy's Mexican Restaurant (5:30 PM - 7:30 PM) Sal's Mexican Restaurant (5:30 PM - 8:30 PM) Reedley Opera House (5:30 PM - 8:00 PM)***


*** indicates private function


THE MAGICAL MAYHEM OF MIKE GIUSTI: Clients & Quotes

What are people saying about The Magical Mayhem of Mike Giusti?

"Mike blends the perfect combination of comedy with his magic. Or was it magic with his comedy...? My guests all wanted desperately to know who he was! I will definitely be calling on Mike for my next function!" -- Greg Ashford, Moen Faucet "Mike has that rare ability to dazzle you with his magic and make you laugh at the same time. I don't know which I enjoyed more, the magic or the humor. Fortunately, I didn't have to choose." -- Bob Mazmanian, Wathen-Castanos Group "Unbelievably funny and the most outstanding of all the acts at the Stars of Magic! Mike is rapidly becoming one of the most popular magicians in the industry!" -- Ken Hatfield, McCLatchy Newspapers http://www.magicalmayhem.com/clients.html (1 of 3) [6/19/2003 8:43:56 AM]


"Mike Giusti is NOT the person to see if you're recovering from a triple-bypass..." -- Paul Gross, Magician, Owner/Hocus Pocus Magic "This guy is good! He is GOO-OOO-OOD!" -- John Wallace, CBS News "Finally, a magician who is as much an entertainer as he is a trickster! We love him!" -- Kirk Harris, General Manager, Chevy's Mexican Restaurant "He magically changed the whole evening. The magic that Mike does keeps people laughing." -- Ernest Boden, Allstate Insurance "This guy makes you laugh and ask, 'How in the wide, wide, wide world of sports did he do that?' But then you don't care because you are laughing so hard!" -- Kenny Crumpton, ABC News "We drive 2 hours almost every week for the close-up magic and comedy Mike provides!" -- Jennifer & Dan Gonzales, Guests at Sal's Mexican Restaurant "One of the most hilarious magical entertainers you'll ever meet." -- Jason Slodow, Hewlett Packard "Mike is unbelievably talented! He has broken all the laws of physics. He also has the greatest personality. We love him; he's the master!" -- Don and Carol McCain, Guests at Sal's Mexican Restaurant "Mike's magic is so maniacal and funny, he kills me!" -- Guy Bavli, World-Renown Magician & Mentalist, Israel http://www.magicalmayhem.com/clients.html (2 of 3) [6/19/2003 8:43:56 AM]


"Mike Giusti is a very talented performer with a lot of style. Best of all, he’s a sincere and genuine young man." -- The late Jerry Camaro, World-Renown Bar Magician "We don't even like the food; we come here for the trick of the week!" -- Mike Enns, Wes Pak Sales / Enns Packing, Guest at Restaurant "Who?" -- Steven Spielberg

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THE MAGICAL MAYHEM OF MIKE GIUSTI: Mike's Links, Baby!

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The Hulk Movie Trailer Click the link above to see the most spectacular movie finally unleashed June 20, 2003.

The Hulk Movie International Trailer Click the link above to see the most spectacular movie finally unleashed June 20, 2003.

The Official Hulk Movie Site The most anticipated movie from Marvel Mania coming Summer, 2003.

The Unofficial Hulk Movie Site A noble fan's effort to bring you the latest on the Hulk Movie!

Snopes.com: Urban Legend Reference Pages Best bullcrap detector on the web. Check out your favorite rumor.

Quatloos The Cyber-Museum of Scams and Frauds

VideoETA The most comprehensive DVD release dates and movie news!

The Official R. Lee Ermey Web Site GET ON YOUR FACE AND GIVE ME 25!

The Magic Round Table Wanna talk magic? This is THE place to do it!

The Magic Radio Show Andrew Mayne's & Jeff Rutenberg's radio show devoted to all facets of magic!

Allan Holdsworth Hands down, the best guitarist on the planet!

The World's Best Ventriloquist 'Nuff said!

The Smoking Gun Say Cheeese! Mug shots of the rich & famous!

BalloonHQ.com http://www.magicalmayhem.com/links.html (2 of 3) [6/19/2003 8:43:58 AM]


Join the Pop Culture!

Check out some of Mike's favorite links on the web. Some are educational, some are fun, and some are just plain stupid! (You were expecting something different?)

http://www.magicalmayhem.com/links.html (3 of 3) [6/19/2003 8:43:58 AM]


COMING SOON TO A GARBAGE CAN NEAR YOU!

So, you want some of Mike's stuff, eh? Due to overwhelming and ever-increasing demand (ok, three people to be exact), Mike has decided to release some of his material to the magic fraternity after all these many years! But, you're gonna have to wait just a bit longer! Due to Mike's schedule and his 5th revision of his soon-to-be-released book "Check, Please! A Guide to Successful Restaurant Magic," which is still not up to his exacting specifications, you can't get it yet. However, very shortly you'll be able to buy it all here in printed form! You'll also be able to purchase effects and routines Mike has carried in his repertoire for the last twenty or so minutes, er, years! None of them are pipedreams (don't you hate dreams involving pipes?); each effect and routine has existed in Mike's show at one time or another, and now you can steal them away from him AND IT'S ALL LEGAL! So, what are you waiting for? Get off your ever-widening can and purchase these great items and expand your thinking without the use of illegal substances and add some terrific effects and routines to your show today! After all, everyone wants to be like Mike, right? Yeah, right!

http://www.magicalmayhem.com/products.html (1 of 2) [6/19/2003 8:43:59 AM]


http://www.magicalmayhem.com/products.html (2 of 2) [6/19/2003 8:43:59 AM]

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Various effects

Various

Various Positions

Various Positions

Various Works

Various Works

Various Essays in Critical Thomism

The Various Haunts of Men

Yucca & Agave. Various articles

The Various Haunts of Men

Side Effects

Side Effects

Side Effects

Side Effects

Side Effects

Colonial Effects

Side Effects

Side Effects

Side Effects

Side Effects

Side Effects

Side Effects

System Effects

Side Effects

Side Effects

Side Effects

Proximity Effects

Recipes Using Various Grains and Cereals

Various Positions: A Life of Leonard Cohen

Poems on Various Subjects, Religious and Moral

Various Positions: A Life of Leonard Cohen

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