Methods of magically producing four-of-a-kind from a shuffled pack are always useful to a working performer. It was with this in mind, that the following effect was brought about.
FOUR CARD SURPRISE!
You will require a pack of cards, that contains two jokers. For the best effect this should be borrowed. Secretly get both jokers to the top and reverse the second one. One good cover for doing this is to remove the jokers before showing a trick, then to apparently replace them on top at the finish. Done casually, without looking at your hands and giving the impression that you have finished your performance, this will pass unnoticed.
Spread the cards face down and invite a spectator to choose one. Take care to keep the top few cards bunched, so that the face up one is not seen. While the spectator is looking at the card and showing it around, square the pack and undercut the lower half. Extend the original top half towards the spectator for the card to be replaced. It goes on top of the two jokers. Replace the original bottom half on top, keeping a break above the chosen card. Double cut to the break bringing this card to the top.
Turn the whole pack face up and place in the left hand in a dealing position. Buckle the chosen card sufficiently to enable its value to be glimpsed. This is a good method of peeking, provided that you do not look down until the card is actually buckled and ready to be peeked. A common mistake in peeking is looking at the hands, while the move is being made. It is usually best to make the move without looking and just glimpse down only when the card has actually been exposed.
Now comes the secret cull of the three matching cards. This is done under cover of removing four random cards. These cards will be
removed in such a manner that at the finish they can be magically exchanged for the four of a kind. Here is the method.
Suppose that the card you have just glimpsed is the six of clubs. State that you cannot always find the card the first time, sometimes you need four chances. Begin to spread the cards, faces towards yourself, from the left hand into the right, until you spot a six. Take the six into the right and break the pack at i that point. Insert the top card of the left hand portion between the six and the rest of the cards in the right hand, upjogging it for about half its length. See Fig.l. Left hand now moves away with all the cards to the left of the upjogged card and the right hand tilts enabling the spectators to see the face of the upjogged card which is hiding the index corner of the six but leaving the inner left non-index corner in view.
Call attention to the upjogged card saying that it may or may not be the chosen card. The assistant will deny that it is the right one.
"Never mind," you continue, "I still have three chances left!"
Tilt the cards back towards yourself, leaving the projecting one as it is. Start to spread the left hand cards into the right once more. How you commence the spread is important. The first card from the left hand goes between the upjogged card and the six below it. The position of the upjogged card is such that it will act as a guide enabling the left hand cards to be slipped in cleanly and easily. Continue spreading the cards from the left hand into the right, with the six sliding underneath them. Keep going until you arrive at another six.
Repeat exactly what you did with the previous one. That is, push off the six into the right hand pushing the next card between it and the rest of the spread, upjogging it as befoe. This will give you two upjogged cards and cause the second six to slide below the spread but above the first one.
Tilt the right hand once more and allow the audience to see the second upjogged card. Ask if this is the one. When told no, start the spreading process again. That is push the left hand cards below the upjogged one, but above the sixes, thereby taking them to the rear.
Continue until you reach a third six, and repeat the business exactly as before, giving you three upjogged cards and taking the third six to the rear of the spread. Ask if this is the card chosen. When told no, appear a little disconcerted as you have only one more chance left.
Continue the spread as before, inserting the cards below the third upjogged card and above the three sixes. Keep going until you come to the face down card. As soon as you spot it, upjog the card immediately in front of it, then square up the pack in the left hand leaving the four upjogged cards protruding. As the pack is squared, the three sixes will slide to the rear, making them the top cards, when the pack is face down. For the time being, however, the pack is held face up in the left hand. Spread the four jogged cards into a wide fan as in Fig.2.
Tilt the cards, faces towards the audience and ask if you have managed to find the card. When told no, appear somewhat disappointed.
During this business the left forefinger presses lightly against the lowermost projecting card. This will cause a small gap to form, below the lowermost projecting card. Convert this gap into a left hand little finger break, which will be immediately above the reversed joker.
The right hand seizes the pack at the inner end and pulls all the cards above the break backwards through the left hand, in the direction of the arrow in Fig.2. This has the effect of stripping out the jogged cards, simultaneously closing the fan and at the same time adding the six cards below the break secretly to the rear of them.
Turn the pack face down. Drop the left hand packet face up on top of the pack, stepped to the rear. Transfer the pack to the left hand, getting a little finger break below the step. Then square the cards.
Look at the spectator and say, "Are you sure that your card is not there?" Spread the top four cards to give him another look. Appear somewhat crestfallen when he says no. Square up all the cards above the break and turn them all face down. Deal the top four cards onto the table in a haphazard manner. The last card dealt will be the chosen one.
Have the spectator point to a card, if he points to the chosen one all well and good, if not force it by magician's choice. Have the spectator name his card. Turn over the "chosen" one and show that it is the correct card. Wait for a moment to allow the effect to register then say, "I thought it might be that one because it wasn't the six of hearts, six of diamonds or six of spades. As you say this quickly turn over the other three cards. 630
When culling the sixes, the angle at which the pack is held is important. If you tip the pack too much towards yourself, the audience will see the sixes sliding beneath the spread. If you do not tilt the cards sufficiently, they may spot what is happening. Tilt the pack just enough to prevent the audience seeing the faces of the cards but no more. Also go through the cards as rapidly and casually as possible.
Once in a while, the card immediately in front of the reversed joker may be one of the required ones. When this happens, upjog the card immediately in front of it, then push off the desired card under the spread until it clears the spread and joins the other two below, then insert the remainder of the left hand's cards below the jogged card and square up. This will rectify the situation.
Sometimes, during the culling, you may find two of the cards that you are looking for together in the pack. When this happens, just treat them as one card. Insert the upjogged card above them and take them to the rear together, then upjog a random card later to make up the numbers.
The culling system is based on an idea in Harry Lorrayne's book Reputation Makers. The stripping out/adding on move is by Dai Vernon. A good description of the magician's choice force will be found in The Royal Road to Card Magic by Hugard and Braue.
TRIK-A-TAPES, LECTURES, IN DEPTH INTERVIEWS
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