Construction Management and Saipt

You will| nxjum a dec k of cards containing two identical Jokers. Also needed is die case for njmow th r a 10 your extrenie ^ on the table. Spread through the deck and allv h i 1 WhK h you place fruxi UP onto the table as vou come to them. Eventu-it mu7,S Thl,rh UP on die table, but to your right, explaining tluU

these five ,-m k V'^"'you Promii* shortly to fell them why. As vou ;rre taking out deck. The 2 Z fPt ,,U1 other Joker sem>dy to a position diiixl from the top of die l^asycuSSS1 nR'thfXl 0fd0in8^the spread cull (Mu™ IP^ running through tli ■ I w I > ^ 'h° 0,herJoker- Alteniativelv, for ease you might start by l.-n of it to bZit lfl, ZZ you come to tliP iirst Joker, and casually cut two canls to the out ,h.. A . . UK '^"tn'd])ositioaThen nm thrr,..rri. »1«,Hmpandtake

l you wish to IK'rfomUks as an integrated piece in an ail, as I do. you might want in produce du^ ^v mc^ans of Thompson^ Aces« (page 1Iffl), which would allow you tope ¿¡on tl >e Joker tlurd from the top as a part of the initial setup required for die Ace production

So let's assume you've just produced the Aces and they are resting face up on die table in a diagonally overlapping row, as suggested in 'Thompson's Aces", die lowermost Ace being the Ace of Spades.

As die audience is still reacting, obtain a break under the top diree cards of the deck. Then, with your right hand, pick up die Aces and casually add die three cards abox'e die break behind tlieni by means of die toss switch (Volume 4, page 840). The illustration shows die last moment of this action.

Place the Aces widi the hidck^n cards beneath them in an unsquared faceup heap on die table, so that several of die Ace indices are visible. However, don't draw attention to them

are doser to the Arv¡kicket. Reft how to use them

' ,n'° rr SÎ SSZ necessaiy for die Joker-there are no other Acc. ', ssSi 55S«- 11,6 îr your ^

n,e situation at litis point is shown m the illustration. Note how the Atxs ÏÏ j rants an- situated closer to you, on your right, while the spread and the jokp, , tiie audience and command attention, (has affording "inceptive covei" f0r t],e Refer back to "A Study for Four Aces" for more information on table sector ai t(J

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are doser to the Arv¡kicket. Reft how to use them

Gfilherthe spread and hold (he deck in face-down dealing position as you say, ,lA deck with fifty-two (xnxis. Hesitate a moment and look at die Aces placed aside. "Ahem, I meanfoily-eight (vnlsuiulfour Aces. "This reinforces the spectat« >rs' assumption dial there are only four Acts on the table and none in die deck, but avoids drawing explicit attention to it, because it is embedded in an amusing incident, in which you pretend to be a little distracted.

The right hand takis up die Ace packet in end grip and briefly places it onto die deck, as an iThtraasit action; and the left little finger maintaias a break behveea tiiis seveimird packet and the balance^ Treeing die riglit liand, wliich now points to the Joker, as the main action Awl iheJcfa^ qf course, Butwedonl want the Joker in this k! * T'"' ^ lmmii ,hem m ¡nfomiation about the Joker, a fact dial will mem cunous and later will help affoal the misdinx •don necessary for a top change.

The right hand conies back to die deck and the left thumb draws the right liand's center Ace onto the Ace of Spades, which lias remained on the deck.

Immediately move the right hand again to the right and briefly display die Aces, two in each hancI. Kivp diis pose for a second.

Then place the right liand's two Aits on top of diose in the left lianrL Simultaneously, slip the end of your right ring finger into the bn*ak and pull all die caixls above it slightly upwanl.

Four for the Aces

While the left little finger maintains its break below the. face-up seven-can! packet, per-form die following actions: With your left thumb, push the top three Aces one at the time into your right hand, where you take them without clianging their order.

The right hand conies back to die deck and the left thumb draws the right liand's center Ace onto the Ace of Spades, which lias remained on the deck.

Immediately move the right hand again to the right and briefly display die Aces, two in each hancI. Kivp diis pose for a second.

Then place the right liand's two Aits on top of diose in the left lianrL Simultaneously, slip the end of your right ring finger into the bn*ak and pull all die caixls above it slightly upwanl.

Four for the Aces

CARD COLLEGE

Hirow Uie bottom can! of the right handfc two face down to your left (Position A), throw die left liand's top card to your riglit (Position C), then drop die riglit hand's remaining card between these two (Position B). Widi the now empty riglit hand, take the card still diagonally oflset on the deck (die Ace of Spades) and deal it face up, stud iasliion, in front of the three-carclnm. 'JhAwnfSpade-is the mast important Aoe."

Tliis allows die riglit hand to grip all the cards above die break and move them to the riglit. Your left thumb follows die left side of the packet as it moves to the riglit, creating die impression dial it is pushing these canls. The central Aces are still outjogged a hit, affording cover for the thickness of die Ace of Spades and making die whole picture appear more natural.

Flip ¿ill the riglit hand's cards sidewise and face down onto die balance of die deck Then, widi your left thumb, immediately push die top four cards one alter the other into the riglit hand, which takes them and then smoothly replaces the bottom two cards onto the deck while keeping the top two. You now hold the cards in a configuration almost identical to the display shown dime illustrations previous, except the Aces are now face dowa This makes it easy for the spectator to believe these cards are still the Aces, because dieir minds imj)ose die previous face-up display onto diis similar lace-down one.

CARD COLLEGE

flowing rhythm. When done «meet*, there is an element of retention of vision that is ver, convincing, n addition, the whole sequence is very pleasing to watch, and^heticaDy plel ing actions do not raise suspicion (see "/Esdietics and Deception; Wume2, page449).

I will briefly mention that die same situation can be readied by simply adding the three cards from die deck to die Aces by means of the secret addition (Volume 7, page 203) followed by die Braue addition (Voium* 7, page 204), in aise you haven't mastered the to® switch.

Start to take die top two cards of the deck into your right, hand, as if about to deal diem onto the Ace of Spades. 'Tm going to jAace three cards onto..."Suddenly intemipt your sentence and look at the Joker, resting face up on die table. Replace the right liands two amis onto the deck, then grasp die Joker widi diat hand and hold it in readiness for a top change (WHume 7, page 231). Look at the audience and explain, it's very important to ¡Ance the Joker far away. He always likes to cause trouble Wheiv is the cant case?" Since you placed the case to your extreme right at the beginning of die routine, turning toward your right and reaching with your left hand for die case affords excellent cover for the top change, which occurs at die instant die left hand crosses the right. The illustration shows diis moment.

Additional psychological misdirection is provided by the spectators looking for die case and pointing it out to yoa This is admittedly strong nusdirectioa Those who like a more subtle approach might simply add- "Because^ you see, the Joker is a diakka. Never mind what that means—but its twuMe."Using an unusual temi will occupy the audiences thoughts enough to afford cover for die top change. Eidier way, the left hand lifts the case as die right hand places die apparent Joker (actually the exchanged Ace) onto the table. The case is then dropped onto it. y ""-i

Hun your attention back to the cards on the table: die visible Ace of Sparles and die three face-down cards behind it, assumed to be the odier three Aces. Uyok at the deck and start to deal the top two ouxls into your right hand, without reversing their onier, as you siy, 7 in qoimj to itlace any thtve cards onto our of these Aces-actually the Ace of Spodes. As you are about to push off the third card, look up at die audience. This splits then attention. However, instead of pushing off the third card singly, you push off two canls; ( toferm,I. page 211) and take them below die right hands hvo ami. 'Hie push-oft dam.r^ to be done with precise alignment, as the cards immediately merge with the two already In you right hand The JSi thing is diat dieaudiena^*^

nothing more.

Briefly replace the right kind's caixb onto the deck in an in-transit action, to free the right hand, which turns the Ace of Spades face dovva "Sam rights Jbr all the Arc*. "Whatever wonting vou use here and before, be aware Uuit die Ace of Spades is a part of die whole, standing for the odier Aces as well. Having left it face up reminds and reassures the audience that ¿ill four cants on the table an- Aces. This is reinforced by making two implicit references to them. And die reason die Ace of Spades was left face up Is that it is "die most important Ace"

As die right hand turns over the Ace of Spades, die left liquid casually squares die packet just deposited on the deck Your left thumb immediately pushes over the top tliree cards and holds tliis position Then your right hand conies back to retake the packet it apparently left just seconds ago, and droj>s it onto die Ace of Spades. This handling is very convincing. Everyone will believe you have placed three indifferent cards onto die Ace of Spades.

Squan* the left side of the right liand's c-airLs against the» top of the deck, which is briefly turned to a perpendicular position for the purpose, and then start the action of plating tlient onto die Ace of Spades. As you move your right band forward, hold the packet so that eveiyone can clearly see the indifferent card on its face. Stop this movement for a second, as you notice that the Ace of Spades is still face up, while the other "Aces" are face down. (The illustration shows an audience view of diis moment.)

Explain dial the three lesser Aces will be lost in the deck. Proceed with diis by taking die canl from Position A and inserting it into the deck. Care should be taken not to flash the face of tliis indifferent canl, which issupposed to be an Ace. Do the same with the card at Position B. As you next insert die canl al Position C, die Joker, obtain a break above it by means of a diagonal insertion (Volume 1% page 69). To make all diree insertions look die same, I suggest you actually do a diagonal insertion with each card, but keep the break only with die Joker, wliile squaring up the other cards. In diis way you will acliieve enhanced uniformity of action, wliich is one principle of successful deception.

(Visually double cut die Joker to the top as you comment, "The Aces a iv last someielwiv in the <fccfc" Since you are not able to show die faces of die cards, you want to perform this phase at a faster pace, albeit always keeping the movements clean and unburn«!, so diat the audience doesn't feel you are covering up something. As always, you must recognize Uttjjmbiem. then find the most elegant manner of dealing with it A good way of adding inLsamxiion ls to say, Vtn going to insert the Aces al stifle spots in the dak: at forty-

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