Edward Marlo

Effect: A card held in your hand changes places with a card sandwiched between two face-up cards. The underlying method for this transposition makes it visual, direct and startling. The technique of the card exchange can also be applied to other effects.

Set-up: Begin by getting two red Queens to the face of the deck and the AS to the top of the deck. Square up the two red Queens, placing them face up onto the table as apparently one card. (This is important and prepares psychologically for aspects occurring later in the routine.)

Method: Ribbon spread the deck face down and have a spectator remove any card without looking at it and place it face down between the tabled Queens. As you give him these instructions, your right hand spreads the two red Queens.

After the spectator has inserted his unknown card between the Queens, say, "I'll show you my card, the Ace of Spades!" As you turn the top card face up, cleanly show it as one card. Turn the AS face down onto the deck and retain a left pinky break beneath it.

Your right hand now scoops up the tabled Queen-sandwich as you say, "You don't know which card you took. I don't want to know it, but I'd like you to look at it." Spread the sandwich with both cards above the deck so that the spectator can note the sandwiched selection. Square the cards against the top of the deck to apparently square them. In reality, only the single face-up Queen is removed by your right hand, which holds it from above and by the ends and carefully places face up on the table.

You now have a pinky break under the top three cards of the deck in this order: selection (facedown), a red Queen (face-up), and the AS (face-down). As soon as your right hand leaves the single Queen on the table, immediately direct the spectator's attention to the deck.

Your right hand grasps the deck from above and by the ends, moving to the left and dropping all the cards (the majority of the deck) below the break. This leaves the three top cards in your right hand. As this is accomplished, look directly at the spectator, holding his attention as you remark: "Now we both know the name of my card."

As you utter the words "my card," the three cards, held as one, are quickly turned so that the face card of the "triple" is towards the spectator. (Fig. 1) The card(s) are positioned so that your left thumb grasps the inner left corner, placing it on top. Your first and second fingers contact the card(s) from below. In this position, your left hand pivots the card(s) face outwards. The pivot point is the outer left corner, which is held and steadied between the tips of your right first and second fingers. The entire action should be casual as though you were simply flashing the supposed AS.

The next action is to pivots the card(s) face down and parallel to the table top, with the outer right corner coming against the base of your palm between your right third and fourth fingers. The card(s) are firmly clipped between your right first finger and the base of the palm, with your first finger at the side of the outer left corner and the base of your palm at the inner right corner.

When the card(s) is moved face down, your left thumb and fingers, still holding the inner left corner, slides or peels only the top card forward in a pivot-action. (Fig. 4- the performer's view) The spectator sees another view. Notice that your right thumb is touching the cards.

The forward card is now moved out far enough to enable your right thumb to move under the card. Your left thumb simultaneously moves under the card, then the card can be pivoted upwards so that its back is toward the spectator. From your view, you are now holding a card as shown in Figure . Both hands should be holding onto the inner corners of the card at this stage.

Your right hand now moves toward the tabled Queen, leaving your left hand retaining the single card by its corner. Your right hand is apparently moving down to spread the tabled sandwich. (Fig. 5) In reality, your right hand adds its palmed cards on top of a single Queen. As soon as your right hand touches the tabled Queen, all three cards are immediately spread by your right thumb and fingers. (Fig. 6)

Nobody will notice that the face of the top Queen is different. In fact, the spectator's attention is diffused at this point. He will be aware of the supposed AS being held by your left hand, which is the primary subject at this stage, but he is also aware and is reassured about the nature of the tabled sandwich. He will not linger on the sandwich with any scrutiny.

As you perform these coordinated actions, say: "We both know my card is the Ace of Spades, but only you know the card between these red Queens!" There should be a momentary pause, then ask, "Will you please tell me the name of the card between the Queens?" When the spectator names his card, add: "Watch!"

Slowly and dramatically turn the left-hand card to reveal the spectator's selection, continuing: "Your card is now here!" Let this fact register, then add, "And the Ace of Spades is now between the Queens!" Your right hand removes the face-down card from between the Queens and shows the Ace of Spades to cap the effect.

July 30, 1970

Accompanying these original notes were other variations, which were slated to appear in Breaking The Circle, along other sandwich ideas by Marlo and Elias. The sandwich approach is by no means exhausted, but cardmen have made an exhaustive practice of re-inventing established ideas, the worst kind of rechauffe, or have proposed methods and handlings that do not advance the effect. "Have Another Sandwich" does not fall into this category and perhaps you will be inspired to approach this problem without the usual preconceptions, misconceptions, and misbegotten lore?

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