Daley Double

Effect: One black ace, say the ace of clubs, is shown and placed in the performer's pocket. The second black ace, the ace of spades, is positioned face-up in the center of the face-down deck. The faceup ace of spades is pushed flush with the pack and the cards are immediately fanned to reveal that the face-up ace has changed to the ace of clubs, which was a moment ago in the performer's pocket. The ace of spades is immediately brought from the pocket.

The performer offers to repeat the transposition in an even more astonishing fashion: both aces will remain In sight at all times. He perches the ace of spades, back out, In the top of his outer breast pocket; and lays the ace of clubs face-down onto the table. With a magical snap of his fingers he turns over the aces—but instead of transposing, the two cards have transformed into red aces; and the black aces are neatly produced, each from a different pocket.

Method: The first phase of this routine is founded on Dr. Jacob Daley's "Reverse Transfer" (ref. Hugard's More Card Manipulations, Series 3, pp. 35-37). Mr. Elmsley has modified the handling slightly for economy of action, then appended the surprising second phase in which the red aces unexpectedly take the places of the black, while the black aces fly to the pockets. All this is succinctly accomplished without the use of gimmicks or duplicates.

Begin with one red ace on top of the pack, the other at the bottom; and the two black aces directly under the top red ace, second and third from the top. You do not wish the audience to know the locations of the red aces, but these can be secretly positioned as you openly search for the black aces and apparently move them to the top of the pack.

While holding the deck face-down in left-hand dealing position, perform a double turnover and display the first black ace. Perform a second double turnover, revolving the ace face-down, and immediately remove the top card (a red ace). Ask the spectators to remember the identity of the black ace and that it is in your right pocket. Without exposing the face of the card in your right hand, slip it into the right-front trousers pocket.

Perform another double turnover, displaying the second black ace face-up on the pack. As you make the turnover, let the double card settle into an outjogged position on the deck, projecting forward about half an inch.

Now, with the palm-down right hand, grip the lower half of the pack at its inner corners, draw it inward, stripping it from beneath the top half, and slap it on top, flush with the other packet. This leaves the face-up double card protruding from the outer end of the pack, near center. At this point the locations of the aces are: one red ace in your right pocket; the second red ace lies in the center of the deck; and directly below it rests the outjogged double card, which consists of the face-up black aces, the ace first displayed lying hidden beneath the second.

You now perform the push-in change as you adjust the position of the visible black ace: With your right hand, grip the double card by its outer right corner—thumb above, second fingertip below— and slide the upper ace forward, making it possible for the left forefinger to engage the outer end of the lower ace and secretly push it flush with the pack. In the same action, pull the upper ace out of the pack for approximately half its length.

Name this ace and remind the audience that the other black ace is in your pocket. You now push the projecting ace into the pack, snap your fingers and immediately fan the deck. However, as you do this you execute Mr. Elmsley's center-card rear palm {Volume I, pp. 130-133). That is, you first perform Bill Simon's card control to push the ace apparently flush. Then, while the palm-down right hand continues to hold the pack by its ends, snap the fingers of the free left hand for effect, and immediately fan the deck in the left hand, completing the Elmsley fan steal.

The perceived effect is that one black ace changes instantly into the other as the deck is fanned. With your right forefinger, point to the transformed ace in the fan, using this motion to conceal the smaller one of adjusting the stolen ace into rear palm with the tip of the right third finger.

Now, with your right hand, reach into your right-front trousers pocket and come out with the palmed black ace at the fingertips (see Volume I, p. 135). This concludes the first phase, but you are already well prepared for the second.

After displaying the right hand's ace, return it to your trousers pocket and execute the "Homing Card" pocket dodge, quickly exchanging the black ace for the red one already there as you offer to repeat the effect. Immediately bring the hand from the pocket again, as you seem to have a fresh idea: "No, this time I'll leave both cards in view." Taking care not to expose the face of the red ace, set it in the top of your left outer breast pocket with most of the card in view.

Close the fanned pack, which the left hand has held throughout the previous actions, and hold it face-down in dealing grip. Bring the right hand palm-down over the pack and cut at the face-up black ace, lifting away all the cards above it. If there is a bridge in the cards, this task is simplified. Otherwise, you can use the left thumb to riffle down to the face-up ace.

Name the face-up black ace, focusing full attention on it, while the right hand forms a thumb break above the bottom card of its packet, in preparation for a tip-over change (see Volume /, pp. 7273, for a description of this maneuver, as well as an explanation of the tip-over change). Then flip the black ace face-down on the left hand's packet, secretly loading the red ace from the right hand's portion onto it. Immediately thumb the top card of the left hand's packet onto the table, and slip the right hand's cards under the left's.

At this point the audience believes that the card on the table and that in your breast pocket are the black aces. In reality these are red aces. One black ace now lies on top of the deck, the other in your right pocket.

"Now, do you remember which black ace is on the table, and which is in my pocket?" Pause a moment, to build some suspense. Then dramatically reveal the two cards to be the red aces.

"As for the black aces, one has gone back to this pocket." Turn to your left, presenting your right side to the audience; and, with an obviously empty right hand, reach into the right trousers pocket and bring out the first black ace. As all attention is on this action, thumb the top card of the deck (the second black ace) into your leftside coat pocket. This load may seem bold, but the misdirection at this point is very strong.

Turn to face the audience again, and set the right hand's black ace face-up on the face-down deck while transferring the deck to the right hand.

"And the other is over here." With an empty left hand, go to your left pocket and produce the second black ace. Set it face-up onto the deck, displaying it there with its mate, and conclude.

Note that Mr. Elmsley deliberately displays the black aces on the deck, rather than dropping them onto the table. In doing so he subtly distracts from the fact that the deck is also still in the hands. It is a valuable psychological point that should not be overlooked, a last bit of burnishing to a cleverly constructed mystery.

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