Rollover Revisited

John Riggs

Back in issue number two I described a four king production called "Rollover Kings". It started with two kings on top and two kings on bottom, both pairs face to face. I also stated that I was looking for a way to arrive at this position other than just placing the kings there.

In Atlanta, John shewed me his solution which is one I have already incorporated into ny routine. I will describe everything thoroughly except the "rollover" portion which will be brief. For more details consult issue #2. (If you don't have it, write and I'll send you a copy of that particular trick.)

John uses a Triumph to set up for the revelation and in ny opinion, each effect enhances the other. Start with two kings on top and two on bottom. Do one riffle shuffle to get an extra card on the face of the deck covering the aces. Other than that card, you should retain the top and bottom stock.

Place the deck on the table. Pull out the bottom half to the right and turn it face up. This is the reason for the first shuffle —- so you don't show an ace at this point. You are new going to do a bluff shuffle. It is a version of Mario's Perfect False Riffle Shuffle from Expert Cud Conjuring which is combined with a stock shuffle.

Hie right thumb lifts up its inner corner in preparation for the dovetail. The left thumb lifts up only the top two cards. Hie front long end of the deck is aimed straight at the spectators so they can't see that your left thumb is only holding two cards.Riffle the right hand's cards onto the top card of the left hand's tabled cards (i.e. into the break). The sound imitates almost perfectly the sound of two halves being interlaced. The right hand riffles off all but the top three cards.

Now let the last five cards interlace starting with the right hand's cards. That is, release the third card from the right half, the second card from the left, the second from the right , the top card from the left, and finally the top card from the right hand. Square the deck.

The status now from the top is as follows: Face up indifferent card, the four aces face down, face up, face down, face up, half the deck face up, and half the deck face down.

Get a break below the top three cards and triple cut them to the bottom. A little attention paid to this cut will help to cement the supposed face up / face down condition of the deck.

The top card of the deck is face up. Your first cut from the bottom should come from the bottom half, the second from the top half. The third cut will be everything below the break. You can accompany this with, "As you can see, the cards are face up, face down, face up, and face down." The original "face up" refers to the top card of the deck when you start.When you are finished cutting, take the deck in the right hand from above. Locate the natural break with your right forefinger and use this finger to swivel cut the top half of the deck into the left hand. Bring the right hand half directly over the left half but injogged for about 3/4ths of an inch. As you push the top half square with the bottom half, use the tips of your right fingers to push out the top card of the lower half. The deck is now square with the exception of the one card protruding from the middle. You are now set up for the original revelation.Use your left forefinger to pull down on the outjogged card. This will lever this card over and around to the bottom of the deck while sending the top half forward end over end where it lands in the waiting right hand. You are displaying two kings in your left hand while your right hand holds the other half. As soon as your right hand has control of its cards, the right thumb pushes the top card of the right half forward for a half of an inch. Use your right forefinger to pull the outjogged card over the far end of the half and down onto the face. You are now displaying four kings as in the illustration.

Deal the four kings to the table without spreading either of the two halves. You are new holding two halves face up in dealing position, the right half with a face down card on top of it. Remember, these cards are supposed to be thoroughly mixed from the original shuffle. The reinforce this, either mesh or pinky riffle the two halves together.

You have three choices at this point. If you shuffle the face down card to second from the top, you can merely snap your fingers and fan or table spread the pack showing that all of the cards have turned face up. If you retain the face down card on top at the end of the shuffle, you can do your favorite color change for a visible "righting" of the deck. Finally, if you want to be left totally clean and without any sleights, shuffle the cards retaining the face down card on top. Then, take in the right hand and gesture with it as you say that some of the cards are face down and some are face up. Then replace it on top of the deck face up and riffle the deck. Spread them on the table to show the cards all facing the same way.

Regurgitations. John uses the original patter for the slop shuffle, that of a drunk who is trying to mess up the magician. He takes the cards and shuffles them face up and face down and then challenges the magician to find the aces. The magician then performs the revelation locating the kings. "That surprised the drunk, but you should have seen his face when I spread the cards out on the table and showed him that they were now all straightened out."

(The Centerfold Deal page 211)

continued from let them respond to your center dealing demonstration. Then finish fcy showing them you dealt the four aces to yourself.

THE CENTERFOLD DEAL

John Riggs

This is a fake demonstration of center dealing. I like it because it is simple and direct. The only sleights involved are a second deal and a Lepaul spread pass (in addition to an easy add-on at the beginning). The method appears far more complicated than it is because of the strange initial add-on at the beginning. The effect is simple and direct.

The magician shows the four kings and an indifferent card. These are openly cut face up to the center of the face down deck. The magician deals the face up kings from the center of the deck to the spectator while he deals himself four face down cards. He then spreads the deck to show the one face up indifferent card still in the center. He closes up the spread and deals it to the spectator while he deals another face down card to himself. The spectator is amazed at the magician's ability. "Of course, I would only deal you the four kings... if I dealt myself the four aces." The magician turns over his cards and shows that he indeed dealt himself the four aces.

The Work. Both John and I like the idea of having the spectator shuffle at the beginning so I will briefly touch on that. You can skip this if you want to start with five cards already set-up. Palm off the four aces as you remove the four kings and place them on the table face up. Hand the deck to be shuffled. They may notice that the deck is light but the tabled kings would account for that.

When the deck is returned, replace the palmed cards on top and cut one to the bottom as you discuss false dealing. Reverse the bottom card fcy your favorite method. Now riffle shuffle an indifferent card onto the face of the deck. This is the opening set-up from the top of the deck. Three face down aces, the deck, one face up ace, one face down indifferent card.

Pick up the kings from above in the right hand as you secure a break beneath the top ace with the left hand. Drop the kings face up onto the deck where the broken ace is added to the bottom of the packet. Retake the five card packet in the right hand. As you do, use your right thumb to secretly add the new top card to the bottom of the packet, retaining a break between the two.

While talking, the left hand secures a pinky break beneath the new top card — the last ace remaining on top. While this get ready for the add-on is complicated to explain, it takes less than five seconds to accomplish. You are apparently holding four kings face up in your right hand and a shuffled deck face down in your left. Actually, the status is as follows. The deck in your left hand has a face up ace second from the bottom. There is an ace on top with a break beneath it. The right hand holds (from above) four face up kings, a face down ace, a break, and the other face down ace.

You are now apparently going to pull the face up kings one at a time onto the top of the deck. Actually, you are also going to secretly load in the aces at every other card. Bring the kings over to the top of the deck. As your left thumb pulls the top king onto the top of the deck, the right thumb steals the top card of the deck back underneath the king packet, holding a break above it.

As your left thumb drags the second king onto the deck, the left little finger steals the bottom card of the packet, the ace you just stole. This is easy to take since there is a break above it.

As your left thumb drags the third king onto the deck, the left little finger steals the bottom card of the packet again, another face down ace. You are now holding two cards in your right hand as one. You have a face up king on top of a face down ace. Place this card on top of the deck. You have just placed four kings on top of the deck. While doing this, you loaded an ace between each of them. Square the deck.

Use your right thumb to riffle off the bottom two cards so that your left little finger can secure a break above them. When your left hand has control of these two cards, execute a wrist turn while apparently just turning the bottom card face up. This is a double lift from the bottom which will set up the last ace. "Poker is played with five cards so we will let this be the extra card." Place this card(s) on top of the deck face up with the hidden face down ace below it. You are now completely stacked.

Place the deck on the table. "I will cut the kings into the middle of the deck." At this, slip cut the top card into the middle of the deck. It will appear that you have made a simple cut.

All that is necessary now is for you to deal from the top as follows: second, top, second, top, second, top, second, and top. He has the four kings and unknown to him, you have the four aces.

You are now set for the final "proof". Spread through the deck showing the indifferent card still face up in the center of the deck. As you square the cards, execute the Spread Pass (which can be found in, among other places, in The Card Magic Of Lepaul tnder the title "A Flourish And A Pass") bringing the face up card second from the top. You are "passing" above the card which is above the face up indifferent card. (Any pass will do but you are already in position for this one. If worse comes to worse, I guess you could double cut the face up card to second from the top.)

Square the deck. Second deal the face up card to the spectator and deal the top card to yourself. Pause and

LEFTOVERS

nineteen pages which preceded this one, this is a special John Riggs issue. John resides in Rnoxville, Tennessee and creates some of the best magic around. The best compliment I can pay to a performer with published material is that I use some of his material. (The ones with unpublished material frown on this comment.) With John i can honestly say that I use most of the material he has in print. He has brightened up these pages with his cartoons and his contributions. He was coming up with great material much faster than I could publish it so I decided a special issue was needed. (The fact that I had long since run out of ity own original naterial didn't enter into the picture.)

Nothing published under his name could be classified as a pipe dream. You can ask him for a demonstration of any trick he has in print and he will immediately oblige. This sets him apart from a lot of nagicians who print their latest effects. For those of you who are not already familiar with John or who desire more than this issue provides, go back and check his Cold Fold, Five Coin Star, Sandwich Spread, and Thumb Print from earlier issues.

I just got back from The Atlanta Harvest of Magic. This was my first convention since publishing my convention secrets in issue #10.Our room consisted of Wayne Kyzer from Columbia, Don Morris from Asheville, Fhillip Young from New York, and yours truly representing metropolitan Williston. Phillip didn't receive issue #10 of The Trapdoor due to his change of address. On the second day, cries of, "What happened to the towels?" rang out through the hotel. And, an otherwise honest Wayne, resorted to swiping towels off the housekeeper's cart. It's amazing the depths the human animal will sink to in order to pursue his art.

Jim and Diane Maney put on the convention annually and this was the eleventh big event. These guys (Diane is one of the guys) are nuts. I thought our bunch was crazy. Th^y had a large plaque made up with souvineers of Atlanta to take home to your wife "recommended by Steve Beam." This was located at the registration desk for three days and then presented to me as a deluxe souvineer for Dawn at the aid of the convention. This was great as it allowed me to save the Rubiks Cube I had originally planned to give her for the Winter Carnival in March.

In addition to Jim & Diane, I got to see the usual Southeastern bunch which consists of Frank & Geri Furkey, Doty?, Morris Herzberg, John Miller, Glenn Strange, John Riggs, Steve Conner, Dan & Carol Garrett.

Wayne drove. I should have known better. On the way home Sunday he suggested that we go by and see the Atlanta Stadium. I told him that if he would forego the Atlanta Stadium, I would show him the film of Pittsburgh's six stadiums. He agreed that six stadiums on film were more exciting than one in person, so we proceeded on our merry way.

Technology is slowly working its way into my magic practice. I am trying John Miller's idea using a pocket tape recorder for recording ideas for new nagic tricks and gags. I can't get used to not being able to look at the ideas on paper but I hope to soon. I have already taped over some real beauties. If you like the material which appears in future issue of He Trapdoor, just imagine what you would think of the material which has been lost forever. Thanks, John.

Henry Looper, the man responsible for getting me interested in sleight of hand seventeen years ago, died December 2, 1985. He made a definite impact on my life and he will be sorely missed. He was truly one of a kind.

I have more to say but John's stuff has edged out Leftovers. I'll be back in charge of the magazine in Issue number 13 after having lost control during #'s 11 & 12. Merry Christmas!

Steve Beam, Dec. 6, 1985

TRARvDOOR

Written,

Copyrighted ^

by Steven L. Beam

JINXED

Steve Beam

Steve Beam

This is my handling of an idea by Stewart Cramer which originally appeared in print in the 1936 Winter Extra of Armenian's Jinx, page 182. In addition to simplifying the finish, this version works as published. The original instructions were incorrect. I will start by telling you that this is a puzzle trick, one which is for audiences who are really card trick enthusiasts. All of you have your favorite laymen (or magicians) who like to watch tricks to try to figure them out (as opposed to the paying public).

In effect, the spectator shuffles a borrowed deck of cards. He then fans through the cards and remembers a card "near the middle." He cuts the deck a couple of times and deals it out into five piles. The magician fans the various piles out so the spectator can tell him in which pile his card resides. That pile is shuffled and the deck is reassembled and shuffled. The magician removes one card and places it face down on the table. He asks the name of the selection. The tabled card is turned over. It is a five. The spectator is instructed to deal down to the fifth card and he will find his selection.

All right. There is some estimation involved. But, you only have to make sure the spectator notes one of the the middle twenty-five cards. First I will explain the easy method where he can chose one of the middle twenty. Then I will give the slight addition which allows you to increase your cushion.

Have the deck shuffled by the spectator. Have him fan through the cards and remember a card "near the middle", one of the middle twenty to be specific.

At this point I have another spectator (simple) cut the cards and return it to the original spectator and ask him to cut them again "to make sure the card is really lost". The first cut sends his card away from the middle and the second cut sends it right back to the middle. This cutting part is optional but is very strong for this type of trick and audience. Besides, if they are way off, you can always reach over and cut the deck yourself, compensating for their variance.

He deals the cards onto the table in five piles. (Five piles gives you an extra four card leeway that the original four pile handling didn't have. Also, this handling centralizes the stack. In the original, you had to have them choose a card between the 9 th and 24th card. This handling gives them the option of any card between the 16th and 35th card inclusive. Later you can change the parameters of this range from the 11th to the 35th or from the 16 th to the 40th.)

Pick up each pile and ask the spectator if his selection is contained within. If the answer is "no", cut the packet and return it to its position on the table. Repeat until you come to the packet with the chosen card.If the answer is "yes" cut the bottom five cards to the top of the packet. Execute any quick false shuffle which retains the top two and bottom two cards of the packet. An overhand shuffle where the first and last two are run singly will do nicely as will a controlled riffle shuffle. Table the packet.

Pick up the cards in the following manner which retains the selection either as one of the two top cards or two bottom cards. Cut one of the indifferent piles and place one of the other indifferent piles in the middle of it. This combined pile is placed in the middle of another indifferent pile. This combined pile is placed in the middle of the last indifferent pile. Finally, this large pile (4/5ths of the deck) is placed in the middle of the chosen pile.

Pick up the deck and hold it in position for the overhand shuffle. Note the bottom card. Let's assume it is a five. Subtract one from five to give you your key number - four.

Undercut half the deck and run four cards. Injog (or outjog if you prefer) the next card as you start your count over again at one. Run three more cards (up to the count of four) and then throw the remaining cards on top. Hie count runs "1, 2, 3, 4, injog-1, 2, 3, 4, throw." Be sure to injog the first card of the second count.

The deck is now stacked for the revelation. Run through the cards and remove the card you originally noted on the bottom of the pack. It will be the fifth card (key +1) from the bottom. As you remove it and place it face down on the table, note and remember the card immediately to the left of it. Square the deck and place it face up on the table.

Ask them for the name of their card. If it is the one on the table you have a miracle. If it is not, you have merely to count from the face or the back of the deck to arrive at their card. If it is the card which was next to the tabled card, it is five cards down in the face up deck. Use the tabled card as an indicator. Count down and reveal the chosen card.

If they call out a card which is not on the table and it is not the card you are remembering, hand the spectator the deck, FACE DOWN. Their card will either be at the fifth or sixth position from the top of the deck. Instruct them to deal five cards (per the value of the tabled card) face up onto the table. If the fifth card is the card they called out, their selection is new staring them in the face. If that is not their card, instruct them to turn over the next card. It is theirs.

Regurgitations. If you want to enlarge the spectator's selection pool from twenty cards to twenty-five, you can have them select any card from (for example) the 16th card to the 40th card. Deal the deck into five piles and cut the bottom five to the top in the chosen pile. False shuffle retaining the bottom THREE cards and the top two. Assemble the packets as before and execute the shuffle stack exactly as before. When you remove the card to place it on the table, you must note and remember the TWO cards immediately to the left of it. The order is not important but the suit and value are.You only have to remember the cards for thirty seconds so it's not much of a chore. Table the pack face up. You would now work the revelation from the face the same way you work the revelation from the back. Assuming a five on the bottom as before, their card is either:

On the table face down (a five) Five cards fran the face Six cards from the face Five cards from the back Six cards from the back

If they call out the tabled card you have your miracle. If they call out a card you are remembering you know to deal from the face. If they call out a card you aren't remembering, pick up the deck face down and deal.

One point on finesse. I prefer to do the dealing at the end. I use the five-out as explained above and belcw. If their card is one I remembered I pick up the deck face up. In the above example, if it's the fifth card, I deal four cards down in a pile, hand them the fifth, and drop the deck on the tabled pile. If their card is at the sixth position, I deal five cards down to the table and drop the remainder of the deck on top of the pile. Their card is staring them in the face.

If the card on the bottom when you start your shuffle is larger than a seven, I would spell to it rather than count to it. For example, if it were a king, "king" has four letters. Four minus one is three which would be ny key. Run three, injog, run two and throw- ("1-2-3.1.2-3".) If their card is not the tabled card, tell them immediately (before revealing the tabled card) that you are going to spell to their card using the tabled card. Their card is fourth or fifth from the top or bottom-

If you want a lot of freedom in the selection, start fcy having the spectator shuffle the deck. He is then to cut off the top half and shuffle it. Don't say so, but he is to cut off the top 25 or less cards. If you don't trust him, have him cut the deck into two piles and point to the smaller for him to shuffle. He is to think of any card in that half and shuffle it again. Finally- he is to cut the half remaining on the table and bury his half inside. Assuming a reasonable cut of the tabled half (which you moniter and adjust if necessary) his card is within the parameters outlined above.

I have given you several options for how to have the card selected. Since the revelation isn't a killer but twenty-five percent of the time, you have to make the fact that you were able to locate the card in the first place seem impossible. The last option I will explain does require some estimation. In effect, they shuffle a deck, cut it to peek at a card, then shuffle & cut it before handing it back to you. You start dealing and finish the trick as above.

You have to guage where they make their cut for the selection. You only have to group the cut into one of the next three classes: (1) one fourth or three fourths (2) one half or (3) one third or two thirds. Again, you are classifying the stack they cut into fourths, halves, or thirds.

If they cut the deck in the middle, have them replace the top half. Tell them to give the deck a riffle shuffle and a (simple) cut. Assuming a reasonable shuffle, their card will be very near the middle. You can proceed with the dealing procedure.

If they cut the deck in fourths (either one fourth or three fourths

- it makes no difference) have them riffle shuffle the deck once and return the deck to you. Their card should be very near the middle.

If they cut the deck in thirds (either one third or two thirds — it makes no difference) have them riffle shuffle the deck once and return the deck to you. Before dealing the deck into piles, make repeat the exact same cut they used. That is, if they cut 1/3 of the deck for their selection, you cut 1/3 of the deck from the top to the bottom. If they cut 2/3 of the deck, you cut 2/3 of the deck. Again, their card should be very near the middle.

You will now take a borrowed deck which was spectator-shuffled before and after the selection and bring the trick to a definite conclusion without any fishing whatsoever. This is strong stuff for those of you who (like me) like this kind of trick.

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