Effect: The performer removes the four kings from the deck and divides them between two spectators, who mix them. He then takes back any one of the kings, say the king of clubs, and cuts it faceup into the face-down deck. When he next spreads the cards, the queen of clubs has magically appeared face-up beside her mate. The two car ds are set aside and another of the kings, perhaps the king of hearts, is cut face-up into the face-down pack. On spreading the deck, the queen of hearts is found face-up beside her king.
Two kings have not yet located their mates. The performer proposes a change in procedure. He has a spectator Insert the king of spades and the king of diamonds anywhere in the deck, reversed and separated. The deck is immediately spread and the matching queen to each of the two kings now lies face-up beside her mate, consummating four magical reunions.
Method: This offbeat variant of the Royal Marriages plot is accomplished with only a four-card setup. The four queens, in a known suit order, must be managed secretly to the top of the deck. For this explanation standard CHaSeD order (clubs-hearts-spades-diamonds) is assumed.
Begin the presentation by casually shuffling the pack while retaining the queens on top. Following this, run through the deck and toss the four kings face-up onto the table as you come to them. After locating the last king, quickly spread to the queens and, while squaring the face-up pack, secure a left fourth-finger break above the lower two queens. As you square the deck into left-hand dealing position, move it inward a bit, until the two queens below the break lie "deep" in the hand, almost in gambler's cop.
"This trick is based on the sex appeal of the kings," you say, directing everyone's gaze to those four cards. While attention is focused on the tabled kings, raise the outer end of the pack slightly and, with the palm-down right hand, turn the deck sidewise and face-down in the left hand, while leaving the two queens behind, as
shown in Figures 97 and 98. (This method for reversing cards secretly under the pack was first published by Neal Elias and Bert Fenn in Elias' At the Table, p. 3. An earlier handling of this reverse appears in Hatton and Plate's Magicians' Tricks: How They are Done, pp. 70-71.) The queen of spades is now on top of the face-down deck, followed by the queen of diamonds. The queen of clubs lies face-up under the pack, with the face-up queen of hearts resting directly above it.
With your right hand, casually gather the kings, picking them up in the same suit order applied to the queens (the club at the back, then the heart, the spade and the diamond). Display the kings briefly, before you turn them face-down onto the deck. Do this slowly, so that the fairness of the action is evident, though not overstated. As you square the kings on the pack, catch a left fourth-finger break under the top two cards; i.e., below the king of hearts.
"For this trick, neitheryou nor I must know the order of the kings, I'll mix them face-down," Begin the mixing by slipping the tips of the right first and second fingers into the break at the inner right corner of the pack, and bringing the right thumb down on top. Having securely gripped the double card by its corner in this fashion, immediately draw it to the right and away from the pack. With your left thumb, push over the next card of the deck and take it onto the right hand's double card. Thumb over the next card and take It under the right hand's cards. Finally, deal another card onto the previous ones. In appearance you have dealt the four kings into your right hand, mixing them in the process. In reality you have dealt off five cards, which from top to face read: queen of spades, king of spades, king of clubs, king of hearts, king of diamonds. If this sequence of actions is done casually and without hesitation, it looks entirely unpremeditated.
Set the right hand's cards back on the deck as you say, "Better still, you mix them. Will you mix these?" Address this request to someone on your right and hand him the top two cards, the queen and king of spades. "And you mix these." Turn to someone on your left and hand him the next two cards from the deck, the kings of clubs and hearts. "Don't let me or anyone else see the faces."
While the spectators mix their cards, you casually give the deck a cut, setting it for the next phase. This cut, however, is not without guile: Bring the right hand palm-down over the pack and grasp it by its ends. Under cover of the hand quickly pull down the bottom card of the pack (the face-up queen of clubs) at the inner right corner, using just the tip of the left fourth finger (Figure 99). Then, with the right hand, cut off the top half of the deck and, while you pull down with the left fourth finger to widen the break, smoothly slip the top half into it and above the separated queen (Figure 100). The maneuvering of the bottom card during the cut should not be apparent to the audience. (This combination of the pull-down with the cutting of the pack is an Edward Mario idea.)
As you square the halves, form a flesh break between them on the heel of the left thumb (Figure 101). This break lies below the face-up queen of hearts and above the face-down king and queen of diamonds. The face-up queen of clubs still rests under the pack.
Ask the spectator on your left, "Are you satisfied that neither of us knows which of your cards is which? Then give me either one you like." With your right hand, take the card he offers you and turn it face-up as you set it on top of the face-down deck, outjogged for roughly half its length. You now cut the king into the pack, but the precise method of doing so hinges on the king you are given.
If you are handed the king of clubs, bring your right hand, palm-down, to the rear of the deck, grasp all the cards beneath the break by the inner corners, pull this packet toward you, drawing it from under the deck (Figure 102), and place it on top, sandwiching the outjogged king between the halves. This positions the face-up queen of clubs directly above the corresponding king. With your left forefinger, slowly push the king flush.
If you are handed the king of hearts, perform an open slip cut, drawing the half pack above the break inward while your left thumb holds the king of hearts stationary (Figure 103). Let the king settle onto the lower half; then place the right hand's packet onto the left's, cutting the face-up king of hearts to center. The face-up queen of hearts is now Just above it. With your left forefinger, slowly push the king flush.
Whichever method of cutting is necessary, it should be done swiftly and casually. Seem to pay no attention to the cards as you cut them. Don't look directly at the deck. Instead, catch only a glimpse of the king as you place it on the pack, and immediately make the proper cut.
Snap your right fingers over the pack, then spread it between your hands, revealing the appearance of the king's mate, the matching face-up queen, lying with him in the middle of the deck. Separate the spread at the queen and king and drop them together onto the table.
You will now repeat this procedure with the king remaining to the spectator on your left. The necessary actions are again governed by the suit of that king.
If the second king is the heart, reunite the spread and square the cards into your left hand. The king and queen of diamonds are now on top of the deck, and the face-up queen of hear ts is on the bottom. With your right hand, take the second king from the spectator. Turn it face-up and place it outjogged on the deck. Then undercut half the pack, in the same fashion employed above, and place the undercut portion on top, positioning the king of hearts next to the face-up queen of hearts. With your left forefinger, push the king flush. Then snap your right fingers over the pack and spread it between the hands to expose the face-up queen of hearts beside her mate. Drop the mated pair onto the table, beside the pair of club cards, and reassemble the spread, forming a break under the top two cards of the lower half—the king and queen of diamonds—as you square the deck into the left hand. Then casually cut at the break, bringing the diamond mates to the bottom of the pack.
If the second king Is the club, reunite the spread—but as you do so, form a break under the top two cards of the lower half; that is, below the queen and king of diamonds (the two cards that rested directly below the reversed king and queen of hearts before you tabled them). Square the deck and transfer the break to the heel of the left thumb. With your right hand, take the king of clubs from the spectator. Place the king face-up and outjogged on the deck and, with the palm-down right hand, undercut the pack at the break.
Complete the cut, uniting the face-up queen and king of clubs in the middle, while sending the king and queen of diamonds to the bottom. Push the projecting king flush, snap your right fingers over the deck and spread the cards to reveal the face-up mates. Drop them onto the table and square the deck into your left hand.
While these handling contingences may seem a bit confusing at first, they are easily summarized and learned:
1) If the king of hearts is the first card handed you, you must execute a slip cut when burying it. All other cuts required are straight undercuts.
2) No matter whether the king of hearts is used first or second, when you spread the pack to produce the mated heart pair, you must form a break two cards below these face-up cards and eventually cut at that break to send the king and queen of diamonds to the bottom.
At this point the mated club and heart pairs he face-up on the table, the diamond mates rest at the face of the pack and the spectator on your right holds the king and queen of spades. Casually spread the deck between your hands, showing that all cards are facedown. Then square the deck, forming a left fourth-finger break above the bottom two cards.
Turn to the spectator on your right and say to him, "Will you mix your cards a bit more. Don't let anybody see them." As attention is drawn to his actions, perform a half pass, secretly reversing the bottom two cards of the pack (see Volume 7, p. 70, for a description of this sleight). As you complete the half pass, let the left side of the pack drop, bringing the deck into position for an overhand shuffle. This adjustment of the pack provides excellent cover as you conclude the sleight. Also note that, by turning to the right while addressing the spectator there, you have compensated for the weak angle on that side.
Immediately give the cards a brief shuffle to this pattern: shuffle off to the last few cards and throw them beneath the rest, retaining the reversed pair at the bottom of the deck: then, without hesitation, run one or two cards from the top and throw the balance of the pack onto them. This short run should be treated as an extension of the first shuffle, rather than as a second, separate shuffle. The shuffle places one or two Indifferent cards on the face of the pack, beneath the reversed king and queen of diamonds.
Turn the deck face-up and form a fan in your left hand, keeping the first few cards at the face of the fan bunched together to hide the two reversed cards there.
"Keep your kings face-down and put them wherever you like, but separated in the face-up pack." Let the spectator do this, guiding him to leave the two cards projecting from the fan for about half their length. Then neatly close the fan, retaining the two cards in their outjogged positions.
"Do you know which king is which?" As you ask this question, look up at the spectator, misdirecting away from the pack for a moment as you make a small adjustment of the cards: With your right hand, grip the projecting cards at their outer ends, thumb above and fingers below. Then, as you pinch the two cards together, push them about half an inch farther into the pack. If you ease the left hand's pressure on the sides of the deck, the block of cards that lies between the outjogged pair will be forced a short distance from the rear of the pack (Figure 104). This is the plunger principle at work. Now move your right hand, palm-down, to the near end of the deck, grasp the protruding block by its inner corners and draw it toward you, stripping it from the pack. Then place it square onto the face-up deck, (Note that all cutting actions in this trick, though they may differ in function, have been given a consistent appearance.) Do not let the upper portion of the deck drop as you make this cut. Instead, maintain a separation between the outjogged cards. Immediately following this cut use the left forefinger to push the outjogged pair of cards flush and subtly let the upper packet settle onto the lower portion. This completes a simplified multiple shift in the Vernon fashion, uniting the two Inserted cards (the king and queen of spades) near the center of the pack.
Slowly turn the deck face-down in the left hand and snap your fingers twice over it. Conclude by spreading the cards to display the face-up mates magically paired in the pack.
It is entirely possible to perform "Jubilee" impromptu, without first arranging the queens on top of the deck. To do this, you would cull the queens to the top as you run through the deck in search of the kings. It is, however, difficult to cull the queens in a particular suit order. Instead, memorize the random order of suits after the queens
have been culled, and arrange the kings In that same order. Once that is done you can forget the suit order, but you must remember the suit of the king second from the top. You then treat this king just as the king of hearts was treated above, applying the rules of handling summarized for that card. That is, if the first king handed you is the one you have memorized, you must buiy it with a slip cut. Otherwise, an undercut is performed. And when the king and queen of the memorized suit are produced in the center of the pack, a break must be formed two cards below them, and the cards above this break must be cut to the bottom of the deck.
Several trials will clarify for you the simple system used to guide the handling. The reader is urged to make those trials, to appreciate fully the cleverness and baffling effect afforded by the design of this trick.
We now proceed to another tale of royal romance, but this time, love is tinged with infidelity.
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