The Krenzel Square Reverse

While holding a break under the card you wish to reverse, turn your left side toward your audience. Adjusting the packet to a position a bit deeper in the hand then usual, straighten your left thumb along the left side of the packet. The thumb should completely screen the left edge. Your right hand, from above, grips the packet, the second finger resting at the front end, and the thumb at the rear, near the left corners. The other right fingers should be straight but relaxed.

In a light, quick, smooth action the left hand hinges opens the packet at the break and the wrist rotates a little past vertical, pivoting at the left side of the packet (Figure 182). This hand ]g2

is holding the lower packet ;

upper one. The left edges of both packets remain in contact. / Jp^V—

Move the left hand upward I Jfc|f x smoothly while the left edge of 'JW'wP)

the right-hand packet remains \

the left-hand packet. At the top of the left hand's upward movement, the bottom card of the right-hand packet will come into contact with the pads of the left fingertips (Figure 183). When it does, apply inward pressure, dragging the card off the face of the packet and onto the lower packet (Figure 184) as the left hand returns to its original position. The bottom card of the right-hand packet is thus reversed on top of the lower, left-hand packet. Turn the left hand back under the right and square the cards very briefly.

It should appear that the left hand turned the entire packet on edge and ran it lightly up and down between the right second finger and thumb in a somewhat exaggerated squaring action. Your left hand will do almost all the work as your right hand simulates squaring. The complete sequence takes almost no time and can be covered with a single line of patter as you turn your body to place the packet to your right on the table. The key to making the move deceptive is lightness. If there is any tension conveyed during the action, the audience may conclude that something untoward has occurred. This suspicion would be the undoing of the move. The technique is not difficult; but if you can't do it well you probably shouldn't do it at all.

However you've elected to get the Spades out of the deck, the Clubs packet should now be on the table. Pick up the Spades from the table and spread them face up between your hands. They should be in order but check to make sure as you show them to the assembled multitude. If there are cards out of order, try, as casually as possible, to correct the error. Remember, at this point the spectators are not aware that the order of this packet is of significance. You may have to improvise patter to cover any card shifting and you can use moves like the Wedge, from Vernon's "Oil and Water" (Dai Vernon's More Inner Secrets of Card Magic, 1960, page 22) and Slipduc (Ibidem, No. 9, March 1957, page 22), to assist you.

NOTE: I originally toyed with the idea of false shuffling the Spade packet to deal with occasions when, in one way or another, the spectator gets them out of order. After, as subtly as possible, rearranging them, a simple false

Overhand Shuffle would handle it, but the impact of the effect was weakened because the question of order had been brought to the fore. This forces the shuffle to carry the burden of convincing the audience that the cards are in random order. Any time order becomes an issue, it is better if you can allow a spectator to mix the cards. Short of switching the packet after the shuffle, that isn't readily accomplished. Paul Curry provides us with a solution in the form of his Swindle Switch (Paul Curry Presents, 1974, page 8). The process is simple but persuasive. After explaining what you will do, start to deal cards from your left hand into a pile on the table. As you deal, ask the spectator to call "Swap" anytime he likes, as often as he likes. Take off each card, one by one, and ask, "Deal or Swap?" Each time he says, "Swap," comply by pushing the top card of the left-hand packet onto the card you're holding in your right hand, then set both cards onto the tabled pile. When you've gone through the entire packet, pick up the pile and repeat the process. Go through the packet twice this way and any audience should be convinced that the order is random. If you do this, you may actually find you've fooled yourself. While some will be inclined to use this technique all the time, you should be aware that although this Curry idea is quite effective, it is also a time-consuming process in what is already a long effect. If you find the idea appealing, you might be advised to reverse the order of the initial Spade stack, use a brief false Overhand Shuffle and one run-through with the Curry Swindle Count. I leave it to each performer to decide.

Once the cards are in proper order, spread them face down between your hands and say to a spectator, "I'm going to take cards one at a time, like this. At some point call out the word Stop" As you say this, marry action to words. Take cards from the left hand's loosely spread dealing position into the right hand, which holds the cards from above in an unsquared pile. You should already have taken three cards before you reach the end of your explanation. If you time it correctly, the spectator will say "Stop" as you reach the seventh card. If he does, hand him the face-down card and let him look at it and show it to the others.

If he stops you too soon, sight the seventh card in the left-hand spread and, as you square the left hand's cards, obtain a break above it. Square the right hand's cards lightly against the left thumb and take all the cards above the break under the right hand's cards. Don't let the packets come together; rather, lift the cards above the break up to the right-hand packet (Figure 185). If you use a light touch you will find the action looks innocent because of the unsquared state of the cards.

Should the spectator fail to stop you soon enough, you'll need to form a thumb break above the seventh card, at the rear of the right-hand packet. When the spectator finally does stop you, perform the same kind of secret transfer just described, but drop the cards below the right-thumb break onto the left-hand packet.

Regardless of what the spectator does, he gets the Seven of Spades. While he is showing the card around, employ the Tenkai-Marlo Pivot-Step (page 75) to retain a break at the point where the Seven was removed, as you turn the packet face up. Lift off the cards above the break, exposing the Four of Spades. Have the spectator replace his card face down onto the Four. Close the spread and turn the packet face down.

Place the two packets side by side on the table before you and make mystic gestures over them as you announce the miracle of sympathetic response. You can talk about the empathy between twins, the Corsican brothers and the like. Push the Spade packet toward a spectator and have him turn the cards over one pair at a time, as dramatically as possible. The first five pairs will be in the same order. Take back all the cards from the spectator and arrange them aesthetically in two rows before you. Turn both packets face up and remove cards one by one, simultaneously from both piles, continuing to reveal their sympathetic order, until you get to the two face-down cards. Comment on how not only the order but even the face-up and face-down condition has responded in sympathy. Reveal the face-down cards to be the same values. The last cards will be sitting as the final set of matching cards. Complete the display by placing them on the end of each face-up row.

You may wish to pick up one packet in each hand. Make a One-handed Fan with the right-hand packet and a One-handed Reverse Fan with the left-hand packet. Fan yourself with both fans and take a bow.

NOTE: This effect has gone through a number of changes over the years but always plays very strongly. It was briefly used as a closing effect—that's how strong it is. I later moved it to the middle of some of my hospitality-suite sets, where it serves as a powerful interlude. This brings me to the subject of routining—the magician's parlance for organizing. One must be almost as careful in the order of effects as in their selection. I have seen strong effects play very badly because they were placed in the wrong part of the act. An extreme example is "Out of This World." As an opening effect it would probably die. It's not that the effect is bad; it's simply that it takes too long to establish itself. "Sympathetic Blacks" is similar. You must establish that you are worth watching and that the attention the audience gives you will be rewarded. If you do so, "Sympathetic Blacks" is a blockbuster they'll talk about long after the show is over.

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