Tire performer cuts the deck several times to die table and produces an Ace in die process. This is repeated three more times, and in each instance another Ace nuikes its inexplicable appearance at die tips of the conjurer's innocent fingers.

Constmction> Management and Sciipt rrhe four Aces rest secretly on top of die face-down deck and remain there as you proceed to shuffle and cut while you introduce the effect. Since the cuts about to be used to pitxtucethe Aces are of the in-the-hands variety, I Uiink it makes sense to use an overhand shuffle, rMher than a riffle shuffle and a running cut


Immediately drop die rigjit liands packet on top to complete the ait. Since the break has already been established below one card the packet from tiie right hand can Tall veiy neatly flush onto the Ace; no cozy handing (as is usually associated with the retaining of a break) is necessary. Three Aces am now on top, and the fourth Ace rests above the break held by your left litde finger.

.At this point vou may, if you wish, briefly raise the deck to elevated dealing position, gently riffle the outer end and then lower die deck back to normal dealing position, all die while maintaining die break, of couree. This not only makes for neat liandling, it also allays any suspicion of a break and creates a positive insertion (Volume 2, page 427) between the slip cut, vrtüdi has set the Ace for production, and die actions to follow. However, care must be taken not to make a contrived mannerism out of such actions.

Grasp the deck in right-hand end grip as your right thumb takes over the break. Immediately stait a swivel ait (Volume page 173) by placing the pad of your left index finger against tlie inner end of tin1 packet above die break, near die inner left comer, and dien swivel tills packet forwanl where it will eventually drop into left-hand dealing positioa

Smoothly follow up by swing cutting (Volume /, page 27) the top halfofthe remaining cants onto the left handfe packet, but keep a break between these two packets.

Tap the lell side of die packet in your right liand against the top of Uie left liand's cards, which are briefly brought to a perpendicular position fordiis.

Drop die packet in your right hand onto die table from a height of a few inches, so diat an audible plop occurs. With your right hand, immediately cut off die packet above the break and drop it onto the tallied one.

Act Overtures

Tb produce the Ace, transfer die remaining packet from your left liani I to righUiand end grip. As this occurs, use the pads of your left middle and ring fingers to contact the face of die bottom can! and drag it to the left, free of die right liand's packet

Act Overtures

As the right hand drops its packet onto the n tabled ones, the Ion fingers close and open again, revolving die card sidewfee to 1 an Ace. In the illustration w«, two

» «me wise to reveal an Ace. In the illustration you ^

notice dial the packets are left unsquai«]]

Each time, before you pick up the deck to nroduce die next Ace, square the ömte on

Earn uinc, uciuic yuu iJii.iv up me aeck to produce die next Ace, square the canis as you would after a riffle shuffle (Volume 1 page 107). Tliis is an excellent little visual convincer. Nobody will suspect diat the top stock Ls now again on top, not even alter having repeatedly watched your actions; everyone will wonder how you can keep control of the cards after they have seemingly been so obviously cut

Pic* ud the deck and repeat three times die actions just described-starting with die initial ¡¿ cut and ending with the dragging of die card from the bottom of die third packet-to produce the other three Aces.

This is a nice canl production, which can seive various purposes: to reveal any four-of-a-kind; to dfceover several chosen cards, or just one, in a multiple selection routine; to cut to a card, apparent^ by chance, which will be used for any other purpose, such as counting down in the deck to find a selection Tliink along these lines and you can come up with unusual applications that will then carry your toudi of originality.

Another hidden characteristic oi tliis apparently simple quickie is—and you might want to verify tliis immediately, since dils information will certainly surprise most of you—that the order of the deck Ls retained throughout die production of the Aces. How this amazing feature can be used to advantage is the subject of the next few paragraphs.

Using "Sign ofFcnii" to Close an Act

In the introduction 1 mentioned that diis short production sequence could be* used to finish an act Here is how I would make the most of it

Let's assume you have just performed a routine with several four-Ace effects, or that you lj^ concluded agamblmg demonstration that lias left the four Aces face up on the table. As JJJ™* rcsP°n^ aid relaxes, take advantage of die moment to switch die balance of , ^ f()r another ^ gamhleis' deck switch (Volume 4, page 865) is an excellent dioice u-re. Jhe deck pitched in Is set from the top down widi all die spades in onler from TWo tOKinft followed by all the hearts from T\vo to King then all the diamonds and all the dubs,

Wl,;r No,i(tl «*» Aces ™ missing. Hie switched*! deck now rests

2 r, ?: ^the row °r Aces. Such a switch Ls especially deceptive ^^^^^^ d0nt 8lLspe<,t a SNvitch when 801116 ofUie C

would be to place the Aces on top and seemingly cut them into die deck Actually, as you complete the first cut, you hold a I >reak alxwe the Aces. Uien bring them secretly back to the top with a double cut (Volumr ,>age 95). Immediately follow with Ci. W. Hunter's shuffle (VrAume 2t page 259). More advanced practitioners may wish to use a mon- sophisticated liandling, like a multiple shift, to eventually arrive at. die same result ( Volume |>age W\).

Now jxoform die pnxluction of die four Aces, exartly as described above. At the end, the Aces rest face up on the table, and the balance of the deck Is in new-deck aider, with just live Aces missing Give the deck one or two false riffle shuffles. A pull-thmugji shuffle (lb/«m< • 3, page 637) or a Zanrow shuffle (VrAume l page 632) will do nicely. Follow dus with a false running cut and you're ready for an amazing finale.

Spread die deck in a long ribbon behind the Aces. Take each Ace and tap it lightly on die l>ack of the spread in die area where its twelve mates rest, dien place the Ao^s again face up in front of the spread, so tliat each one is in front of its suit. Now use die ribbon spread turnover (Volume 1, i>age 183) to flip die spread face up. Tb their amazement the spectators will see dial the deck, though previously crut and shuffled over and over again, lias segregate! into its suits to follow the Aces in front of them.

Handled in this way, a quick production, thought only good enough to introduce a more important sequence of effects, lias been transformed into a show-stopping item that can close a card act. They say there are no bad tricks, just bail magicians. Fin not so sun? of dm

I iowever, it is certain tf lat all tricks are much lx»tter if performed in the proper place within a routine.

• uh, rather the club suit, which will be on die face of die spread, ami hands, ^My gatn^u ^ ^^ froni righ( to ^ you enf)

With both tun®, Jg^j Ace orciuhs. Working no

Four for. the Aces

Vie hand is the aliens i on of the wind

Karl Jaspers was

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