Sympathetic blacks

September 10,1971 BETA

IN Vol. 8, No. 12, September 1908, of Ellis Stanyon's Magic (page 90) he discusses the use of a glass with a tinfoil-backed card. This special card effectively converts a normal glass into a mirror glass. Applying this method to accomplishing a packet switch, I believe it possible that a method was developed for the effect known as "Sympathetic Clubs." I have not, however, been able to determine where this method may have seen print. The trick, accomplished with double-faced cards, has, through association, occasionally been attributed to Nate Leipzig (see Hilliard's Greater Magic, 1938, page 562; and Dai Vernon's Tribute to Nate Leipzigby Lewis Ganson, 1963, page 176). However, in response to the appearance of the trick under Leipzig's name in Greater Magic, Ted Annemann, in The Jinx (No. 53, February 1939, page 380), published a full description of the trick while firmly asserting that it was the invention of British professional Herbert Milton. While Milton never published or authorized publication of the trick, he is on record as having performed it at a Magic Circle club meeting on October 6, 1920 (see The Magic Wand, Vol. EX, No. 9, November 1920, page 149); and during Leipzig's 1922 British tour the two men met and traded ideas, as attested by Peter Warlock, who was present at Milton's 1920 performance of the effect and remained friendly with him throughout his life. Warlock, in reminiscing about Milton in the Magic Circular (No. 604, April 1960, page 118), wrote, "To Leipzig, permission was given for the use of 'Sympathetic Clubs', and it proved to be one of the most popular items in this great artiste's repertoire." Thus, shortly after his meetings with Milton in 1922, we find Leipzig ordering a set of the necessary double-faced cards from Will

Goldston (see Dai Vernon's Tribute to Nate Leipzig, page 177). Clear attributions of the effect to Milton by Dr. Jacob Daley (see Phoenix, No. 218, December 15, 1950, page 870) and Ted Annemann, two of Leipzig's acquaintances in the U.S., leave little room for further argument, especially in the absence of any claim of origination by Leipzig himself. This brings us to the present effort.

EFFECT: The thirteen Clubs are removed from a deck that has been shuffled by both the performer and a spectator. They are openly arranged in numerical sequence, shown, dealt into a face-down pile and placed aside. The thirteen Spades are also removed, in whatever order they happen to fall in the deck. They may be mixed. The spectator is permitted to chose one of the Spades, which is openly reversed in its packet. After the appropriate magical gestures and incantations, the Clubs are revealed to match the arrangement of the Spades in all particulars, including the value and position of the reversed card.

SET-UP: Separate the black cards from the reds and place the Spades in the following order: 8-King-3-Ace-6-5-7-4-2-9-Jack-10-Queen. The Clubs, in no particular order, should be intermixed with the Spades. Thus, from top to face, the order is Spades (in the listed order, the Eight is the top card of the deck) with Clubs intermixed, then the red balance.

Give the deck a few Zarrow Shuffles. (See the discussion of ideal shuffle combinations on page 294.) Split the deck for one last shuffle, dividing it so one packet contains all the blacks, the other all the reds. Change your mind and push the halves of the deck toward a spectator and let him riffle them into each other. This simply disperses the Spades and Clubs throughout the deck without altering their order. This is the Jordan-Finley Shuffle Principle.

HISTORICAL NOTE: While Karl Fulves discusses this subject in far greater detail in Charles T. Jordan: Collected Tricks (1975, page 119), and seems to reach another conclusion, Henry Hardin who shared a friendship with both Jordan and Arthur Finley (a fact attested to in The Jinx, No. 97, page 596; also see No. 119, page 701, which offers a Hardin trick that displays his interest in simulated shuffles) would seem to provide the path through which Jordan exchanged ideas with Finley. While it was Rufiis Steele who first raised questions about the source of some of the Jordan material, it was well known, through Vernon, Sam Schwartz and other New York magicians, that Finley freely shared his work on the C. O. Williams idea that appeared in Stanyon's Magic (Vol. XIII, No. 12, September 1913, page 100, item 14), which was the forerunner of Jordan's work, as he fully acknowledged in his introduction to Thirty Card Mysteries. Finley's desire to keep his name out of print provides motive for Finley allowing Jordan's uncontested claim to the principle.

Openly go through the deck and remove the entire Club suit, laying them in a face-down pile on the table. Be careful not to disturb the order of the Spades. When you're done, square the talon and place it aside.

Pick up the face-down Club pile and openly arrange it in numeric sequence without revealing that sequence. The Ace should be at the face of the packet, followed by the Two, etc. Make it seem a bit difficult to arrange the order of the cards, perhaps making a mistake and then correcting it. You might also wish to comment that the Ace can be either high or low.

Explain that you will show the cards in order. Take the packet face up into your right hand in Deep Overhand Grip. You are going to go through the cards quickly and nonchalantly, showing their order. In the process, you are going to rearrange the order in a definite way without the spectators realizing it. The following list, which must be memorized, represents the sequence you will execute:

You will note that the Seven and Jack are underlined twice to indicate that two cards are dropped onto them. The Six is underlined only once, indicating that only one card is dropped onto it. The sequence should be performed at a brisk pace, as follows: Peel off the Ace fairly. Peel off the Two but steal it back under the right-hand packet and hold a right thumb break; this is done as you peel off the Three legitimately. Peel off the Four but take it under the packet adding it below the Two, still maintaining the break, as you peel off the Five. Steal the Five back under the packet but hold a separate right thumb break as you peel off the Six. Release the Five onto the Six as you peel off the Seven. Drop the Two and Four onto the Seven as you peel off the Eight. Steal the Eight under the packet as you peel off the Nine legitimately onto the Two, forming a right thumb break between the Eight and the right-hand packet. Peel off the Ten but steal it back under the packet, adding it below the Eight as you peel off the Jack. Drop the Eight and Ten onto the Jack as you peel off the Queen. Peel off the King fairly onto the Queen. The order of the packet, unbeknownst to the audience is, from the face: King-Queen-8-10-Jack-9-2-4-7-5-6-3-Ace.

Turn the packet face down in your hands as you comment, "That's it, all the Clubs, in order." Begin to deal them face down rapidly onto the table counting them out loud, one through thirteen, but to this pattern: The first card is dealt with a Bottom Deal. Because it is the first card, Mario's "Immediate Bottom Deal" (Pallbearer's Review, Second Folio, Winter 1968, page 219) works well here, if you are comfortable with the move, but almost any Bottom will serve. The second card is dealt with a Second Deal. The third through eleventh cards

• are dealt normally. The twelfth card you deal is a Bottom, but you have only two cards in your left hand. The last card is counted as thirteen, snapped and ;fff$ used as a scoop to pick up all the cards on the table. The following notation

1|S will act as a reminder:

-hche

* DEAL: Bottom- Second lop 3-11-Bottom-Scoop

The scoop is logically acceptable but the card that is being used as the scoop should be miscalled as the Ace. I start to deal the last card, stop, apparently change my mind, and comment, "And the Ace can be high or low." This miscall of what should be the King (but is actually the Eight) as the Ace is sort of subtle. . You don't actually say the card is the Ace. If you did, someone might question it. Jg Stated as a proposition, your statement is true, so people will accept, unevalu-fiffi ated, that the card you're using is the Ace. I have never been challenged on this • ruse. The order of the packet, from the face, is now: 8-King-3-Ace-6-5-7-4-2-9-Jack-10-Queen. This is the opposite or mirror order to the Spades.

6 The tabled cards, having been scooped up, are in general disarray in your hands, fi ? Spread them further and obtain a break under the seventh card from either

• end of the spread, the Seven of Clubs, as you say, "All thirteen Clubs in perfect numerical sequence." Set up for Mario's Future Reverse as follows:

Wt f % You begin by side-jogging the card, using the dynamics of the Side Steal. I've described these in detail on page 182, so I'll not redescribe them here. The card should be extracted far enough to allow you to clip the front right corner between your right third and fourth fingers at the point where the middle knuckle of the fourth finger contacts the side of the third finger. Do this as rapidly as you can, but don't yet do the reverse. When you reach that position, |;J| stop the steal and transfer your hold on the packet to your right hand alone.

With your left hand pick up the deck and give it face up to a spectator, asking ffjf him to "Deal through the deck and remove the Spades as you come to them." fffS Don't make any comment about the order of the Spades unless the spectator m m mi IS

shows a sign of trying to put them into order or to take them out in groups as they are removed. They should be removed in the order in which they occur but if this is conveyed it will arouse suspicion. As the spectator is removing the Spades, he will also be reversing their order. You must engage in light banter with your other spectators. Do not insult the individual who is removing the Spades or disturb him in any way unless you must. (Men are a preferable choice for this task, so I use the masculine pronoun. I have found that women tend to be slower and more meticulous about the removal, which slows the effect unnecessarily.) During this period it is fairly easy to perform the Future Reverse. (See Mario's Future Reverse pamphlet, 1945.) Since the timing of the move in this piece is non-standard, I'll briefly review the technique here.

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