I have to be completely honest about this effect. I first saw The Amazing Kreskin do this on stage many years ago! This was long before I even knew who Chan Canasta was. I have always admired Kreskin and he certainly has influenced my work more than any other living mentalist. He has the ability to take a marketed effect and perform it right off the shelf and make it look like a miracle, but he also can come up with original ideas that knock me right off my feet for their ingenuity! Most importantly, Kreskin demonstrates that what is important is the effect on the audience and not where the material comes from. In this case, he showed me how he constantly searches the archives of mentalism for gems and then presents them in a flawless fashion.

I try to create effects when I feel there is a need for a change and not just to do something different. I also have found that taking any effect and working on it as though it were your own will cause it to evolve into something that can truly be called your own. When I first saw Two Cards in Pocket performed, I knew it was tailor-made to use in conjunction with the Breakthrough Card System. I immediately put it into my act and started working on the presentation. Although what I demonstrate on Mind Mysteries is not very much different from the Chan Canasta version or what I saw Kreskin do many years ago, there are quite a number of presentation angles I have developed which might very well change your whole idea about how certain things should be done. These principles can apply to all card magic and not just mental material. This particular effect will also demonstrate, to the very letter, what I said earlier is so important about the Breakthrough Card System! I believe you will understand when we get there.

I also want to relate out a funny story that happened to me a couple of years ago in Las Vegas. I was out there working with Criss Angel for his new television series. It had been years since I last saw my friend Johnny Thompson and it was such a treat to spend time with him again. We somehow got to talking about this effect and he told me a story. He was a friend of Canasta's and told me how he watched him perform the Two Cards in Pocket night after night and he always hit on the correct pockets. He constantly wondered what Canasta would do if the spectator got it wrong! Then Johnny asked me what I do if that happens. Frankly, I was reluctant to say because, try as I might, the best response I could ever come up with was, "Well that shows why you shouldn't play cards!"I personally thought this was a bit lame and didn't want to tell that to Johnny so I beat around the bush and didn't really answer. Finally, he told me what Canasta said when he finally got it wrong one night. It was almost word for word what I say! I couldn't believe it, but of course, I couldn't tell Johnny then because I would sound like a fool! So I had to bite my tongue and shut up.

Let me add that I sometimes do a variation of what you see on the video. Although the idea of allowing the spectator to guess what pocket each card is in is a very strong and entertaining idea, I sometimes vary that just to be different or if I am not feeling lucky that night! What I will sometimes do instead is to let the person remove three cards, one at a time, and put them in three different pockets. I turn away as he does this, but not enough so that I can't see what pocket each card goes into. Then I turn back and put the deck away (doing the work). After I have computed the cards in my head, I ask the person to touch any pocket that has a card in it. I then hold my hand near that pocket (as I do with the cards in the Corinda Effect) and then name the card. I repeat the same thing with the other two cards.

Yes, you do loose that added element of the spectator choosing the card and pocket, but you gain the advantage of the "3"

factor in effect and never have to worry about missing.

Another variation I sometimes use, similar to the above, is the Tarbell/Annemann idea of having a spectator remove three cards and place them into his inside jacket pocket. If he reaches in quickly, he will almost always remove the cards in order! Much can be made of that and this is another effect I have seen Kreskin use with great result.

So, as you see, there are all kinds of variations on this basic idea. Those I have mentioned use just one spectator. Other variations with multiple spectators work well with smaller audiences in the parlor setting if you want to get many people involved. Hopefully all of this, and what follows, will get your creative juices flowing!

Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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