## The Tamariz Ambitious Double

Described by Fred Robinson

When the following effect was shown to me during my last meeting with Juan Tamariz I tentatively suggested it would be a good item for Pabular. He was rather hesitant on the grounds that it was rather short and gave the impression that he did not regard it too highly as a trick which would have general appeal to our readers. I think he was wrong, so here goes.

You will require a pack of cards and a minimum of two spectators. Give the pack to" spectator 'A', which he shuffles, and ask him to remove any card and retain it, and afterwards give the pack to spectator 'B'. He is also requested to take a card, note its value, and then place it face downwards on top of the pack which he then hands back to spectator 'A'. The latter, after noting his card is asked to put it face down on top of the pack.

Take back the pack and holding in the left hand raise the inner ends of the top two cards (the selections) with the right thumb in readiness for the Tilt move, (see 1) noting how the fingers of the left hand mask the gap on the right hand side and the thumb^and that part of the hand just below it masks it on the left side.

Ask spectator 'A' if he remembers the name of his card, and as he names it pull it outwards with the right hand, thumb on the back of the card as in (2). Turn it face up by turning it end for end and put it square on top of the other selection. Congratulate him on his good memory as you turn the card face down, turning it'end for end in the same way as you turned it face up, and apparently push it into the centre of the pack. Actually you push it below the top card sliding it along the top card of the pack proper creating the illusion that it goes somewhere into the middle of the pack. It is of the utmost importance that the left hand remains stationary throughout the above actions. On no account should it appear to the spectators that you are in any way trying to 'prove' that the card goes into the middle of the pack. Do this casually as you look directly at the spectator — glancing down only momentarily as you push the card into the centre? of the pack.

You now turn to spectator 'B' and as you ask the name of his card life the second card ('A's selection) with the right thumb up to the top card. The cards are again in the position shown in (1).

Show the face of the top card to 'B' for his confirmation and push it into the middle? of the pack repeating the moves used for 'A's card.

After a suitable magical gesture show that both cards have returned to the top of the pack.

When taking details of this effect there was no third person present, which prevented me from having the opportunity of being a spectator and is possibly the reason why the finer points of the presentation leading up to the climax now escape me. However, the following procedure occurred to me and I trust that Tamariz will approve their inclusion. It is not offered as an improvement, but as a substitute for the part I cannot recall.

Instead of making the magical gesture and keeping the pack in your own hands, hand the pack to 'A' face downwards saying "You did shuffle the cards before we started?" When he replies, request him to take the top card again, but this time not to look at it. This done, he is then asked to pass the pack to 'B' who is asked to do likewise.

Both are now asked to name the cards they chose in the first instance and then turn the cards they are holding face upwards. They prove to be the very same cards.

The advantage obtained by the spectators being allowed to handle the cards establishes a rapport with them which makes it possible to

increase the entertainment potential of the effect on account of their involvement in the proceedings. In close-up work this spectator participation activity is more effective from the point of view of entertainment value than if they are confined to the role of being merely onlookers. Singers who encourage their audiences to 'join in the chorus' are aware of the increased appreciation of their efforts such a procedure brings. In this particular routine, not only are the cards in the hands of the spectators for most of the time the climax occurs when they are actually in possession of the cards which considerably enhances the impact of the effect.

The only line of patter given in the explanation is of considerable importance. It is designed to misdirect the spectator's mind after the effect is over.

Remember that when handing the pack to 'A' at the commencement of the trick he was asked to shuffle it. When it was given to him the second time you said "You did shuffle the cards before we started?" What follows in each case is that 'A' removes the top card of the pack making both sets of actions appear substantially the same. When the effort is over and the spectators are reconstructing in general what took place they will, due to the one line of patter, falsely conclude that the pack was shuffled immediately prior to it being handed to 'A' the second time making the trick into a miracle.

Both allowing the audience to be in possession of the cards as much as possible and using delayed misdirection in which spectators deceive themselves when reflecting on the effect they have just seen are a regular feature of the card work of Tamariz so if I have trespassed too far into someone else's field I have kept strictly to the path.

Credit for the handling of the Tilt Move is riven to Ascanio.

Credit for the handling of the Tilt Move is riven to Ascanio.