The history of this piece is strange. Pabular contained an effect, the name of which I cannot recall. After reading it, I wondered why it had been published. In playing with it, however, I came up with this effect. The two have little similarity, save the fact that they both use playing cards, but I will consider the Pabular effect inspirational anyway. (Who knows how the mind works?) At the time I came up with this I was not at home but rather at Tannen's Magic emporium in New York with a friend, Geoff Latta, who saw it through its development. A short while after the idea was born Mark Scudiery, a former student, came into the store and I showed it to him. I made the mistake of writing only the sketchiest of notes at the time. Thus later, in October 1975, while in Los Angeles, I was forced to reconstruct the handling. On October 23rd—during a late-night session with Steve Draun of Chicago, at the Arlington Park Hilton, at which Peter Samelson was present—I performed the piece. Steve suggested that the effect was a bit confusing and contained too little proving. Still in Arlington, a few nights later, on October 27th, I wrote some fresh notes containing this version, which addresses some of Steve's objections. The method herein is the best to date, so I'll waive all prior claims for methods except for those of Geoff Latta, Mark Scudiery, A1 Cooper, Peter Samelson or Steve Draun. Methods developed by these individuals may have been influenced by mine.
EFFECT: An apparent sandwich effect becomes a transportation-transmogrification and sandwich effect.
SET-UP: Remove the four Queens, openly laying them in a face-down pile on the table in Diamond-Club-Heart-Spade order from the top down. (The suit order isn't critical but alternating the colors has aesthetic appeal and makes this description easier to follow.) Also bring the black Aces to the face of the deck, making no particular secret of it. As you accomplish these two open actions secretly obtain a fourth-finger break under the four cards at the face of the deck (two black Aces and two indifferent cards).
1 Using a Hit-style Multiple Lift, —-r--— \____14
shift the four cards above the ;. :< : break (represented as only the two black Aces) to the right for half their width. With the i;'. right thumb pull the upper jf: Ace further to the right for half
its width (Figure 14).
i. As you move the cards into position say, "This effect involves the two black Aces..." Flip the four cards face down on the deck, as though they were two. Continue, "...which I'll place here." Deal the top two cards face down into a ■Js pile. (These are believed to be the two black Aces.) Use a left-hand wrist-turn to hide the face-down cards (black Aces) that remain on the face of the deck.
Have a spectator place one hand onto the two supposedly black Aces and get him to repeat the names of the cards.
4 Reach forward with your right hand and spread the four face-down Queens. Pick them up and fan them face up in your right hand. Bring them to the apparently face-down deck. Actually, when you again turn the left hand palm up with the deck, it appears to be face down, but is face up, its true condition covered by the two face-down Aces. You make this turn of the hand behind the right arm, which has been screening the left hand by spreading and picking up the Queens. This sequence is discrepant but the audience will assume you turned the deck over while your hand was out of sight. The arm obscures the left hand and deck, further concealing the ruse. Next, rest the fan of face-up Queens on top of the apparently face-down deck.
NOTE: You could perform a Fake Reverse Reverse (see my Pasteboard Perpensions, 1990, page 52) as the deck is coming back into sight, to help convince the audience that you turned the deck over. I feel it unnecessary, but as a reminder (and because you'll need it later) I'll briefly describe the Fake Reverse Reverse.
You are about to perform a "Carlyle" Turnover Move. (See The Phoenix, No. 48, November 19, 1943, page 196. My learned publisher informs me that the sleight actually dates back further, citing Douglas Dexter's
"The Mystic Star," published in Goldston's Great Magicians Tricks, 1931, page 203. We are probably forever saddled with the Carlyle attribution, but the correct history is useful and proper to detail.) However, rather than the usual application, apparently showing both sides of a card while actually showing one side twice, here it will be used to simulate the reversing of a deck. For those unfamiliar with the technique (or who don't recognize the name) it is performed as follows: The left hand performs two actions simultaneously. While the left thumb slips under the left side of the deck (Figure 1 5) and flips it over, side for side, the hand turns palm down, turning the deck face down (Figure 16). The result, when properly coordinated, is that it appears the deck has been turned over. Try it with a deck in your hand and you may fool yourself.
You might also try laying the deck on the table behind the screening right arm. Once the deck has been tabled the audience will lose track of which way the deck is oriented. Although not the ideal way to construct an effect, this move happens early on and does not clutter the effect in any significant way.
While continuing to show the faces of the fan of Queens, have the spectator name one. Leave it face up on top of the deck while openly transferring the remaining three face-up Queens under the deck. Contrive to have the Queen of Hearts third from the face of the spread (unless it is selected, in which case the Queen of Spades should be third). This arrangement will improve the deceptive-ness of a mis-show that occurs later.
Turn the selected Queen face down and remember its suit. Also remind the spectator of his selection.
Do a Fake Reverse Reverse of the deck. It will appear you have turned the deck over; that is, face up but with the Queens face down, covering the face of the deck. Say, "You didn't want the Queens of..." (Name the unselected Queens.) Reverse the order of the first two cards as you take off all three. This sandwiches the selected Queen between the black Aces. Square these cards and place them face down on the table. You needn't point it out but, when the three cards are taken off, the spectators are left looking at the same indifferent card they previously saw on the face of the deck.
NOTE: You may be tempted to have the spectator place his other hand on these cards. This is illogical as supposedly they are irrelevant. Simply place them off to the side.
8 Turn the deck over, this time honestly, but with an action that simulates that of the Fake Reverse Reverse (for consistency), and push the top card forward and to the right on the deck. Place your right fingers over the index corner of the card (Figure 17). Lift both hands flashing the face of the card but not the index (Figure 18) and say, "This is your card, the Queen of [name]. Place it under your other hand." (The other hand is the one not covering the supposed Black Aces.)
9 "Now if you'll take the deck in your two frontal bicuspids and shuffle. Forget it, I'll do it myself." Give the deck a Double Cut to the table, bringing the bottom card to the top, as follows: Squaring the deck, form a break above the bottom card and perform a Swing Cut into the left hand. Complete the cut while maintaining the break, which transfers the original bottom card to the top of the lower packet. Now cut the deck at the break, carrying the top portion to the table and place the lower portion on top of the tabled one. When I'm in a playful mood, I'll cut the upper half into a series of very small packets, three or four cards each, restacking the upper packet on the table. After cutting a seemingly absurd number of small packets, I'll have exhausted the cards of the upper portion, and myself. I then take all the remaining cards and slap them onto the tabled pile with a note of finality. Whether you give the deck a simple cut or this elaborate one, as you complete it say, "Enough, why wear out a good thing?" You could actually shuffle the cards at this point but the gag adds a bit of fun to an otherwise dry sequence. Continue, "Lift your hand and I'll take the black Aces."
10 Pick up the two cards and insert them into the deck, face down, at two different, widely separated, spots. Point out to the spectators what you are doing and push the two cards flush.
11 Table the deck and lift off" half, or dribble the cards and have the spectator call "Stop" somewhere near the middle. Say, "Let me have the Queen of [spectator's card]. Notice the black Aces are neither above [lift your hand to show the card at the face of the upper portion] or below [show the card on top of the lower section]. That's important, because instandy the two black Aces will come together trapping your card between them." Place the card remaining under the spectator's hand onto the lower half of the deck, drop the upper half on top and square the cards. "But it doesn't happen in the deck, it happens here." Point to the discarded Queens you placed aside earlier.
12 Pick up the supposedly discarded Queen packet and take it into Dealing Grip. Turn the top card face up and deal it to the table as you pull down the bottom card of the remaining two with your left fourth finger. Deal the next card (the Queen) face down onto the face-up Ace, overlapping it to the right. As you deal the Queen, pull down firmly with your left fourth finger to cause the third card to flip face up in your left hand. Figure 19 exposes this action, but in practice it occurs under cover of the Queen as it is dealt. The idea you wish to create here is that the Queen is sandwiched face down between two face-up Aces. You have openly turned up the first Ace but in the end the picture you desire is left in the minds of the spectators.
13 "There is one face-down card between the Aces. Name your Queen." As the spectator names his Queen turn the face-down card over, revealing that it has been trapped by the Aces as promised.
NOTES: The most difficult part of this effect is making the conditions of it clear. It is for that reason that the cards are placed under the spectator's hands. It helps everyone keep track of where all the components of the effect are at all times. It is, therefore, imperative that you have the spectator name the cards as you place them under his hands. This reiteration process is a notion that I learned from Francis Carlyle, who used the practice in all his transposition effects. He was astute in recognizing that the strength of such effects is directly proportional to the degree to which the spectators are convinced of the positions of the cards. I believe this could be a near miracle if properly sold.
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