Effect: This is similar to most conventional Deuce Sandwich effects, except that the handling of the spectator's selection is noticeable fair. The spectator inserts both Deuces face up into different places in the deck. The magician immediately ribbon-spreads the pack face down and both Deuces have come together except for the selection between them.
Preparation: Duplicate Black Deuces are required, which are placed on top of the deck. The regular Black Deuces are placed face up, second and third from the bottom and the deck is placed in its card case.
Method: The deck is removed from the card case and the two top cards (Black Deuces) are placed face-down on the table. Their placement is forward, alongside each other, with their longitudinal sides towards the spectator across the table. (Fig. 1)
The performer says, "We'll use these cards later on," as he Faro splits the pack at 26-26 and sets up for an Incomplete Faro. The lower half, which contains the face-up Deuces, must be taken by your right hand and In-weaved into the upper half. Also, the bottom card of the upper half must be glimpsed and remembered. This is easily accomplished during the initial Faro split.
The performer holds the elongated pack with his left hand gripping the lower half, faces toward the spectator. The right first fingertip riffles the upper corner of the upper half as the spectator is instructed to call "stop" whenever he wishes. Upon his command, the corner is pulled back sufficiently to permit the spectator to peek at a card.
The tip of the left pinky is inserted into the separation which is created in the lower half by the pull-back. The first fingertip now releases the upper half as the left pinky maintains the break in the lower half. The upper half is stripped out, pulled free, and is handed to the spectator.
The performer says, "Please cut your packet a couple of times to lose your selection!" As a visual aid while pattering, the performer cuts his half as follows: The right hand comes over and the left pinky break is transferred to the right thumb, which maintains it. The left pinky moves out and performs a Pull Down on the bottom three cards or above the uppermost face-up Deuce near the bottom. Then the right hand lifts all the cards above the thumb break and slides them beneath the lower packet but slightly in-jogged and between the three pulled-down cards. These pulled-down cards are released and they will snap flush with the in-jogged packet. The right thumb instantly pushes in and down on the in-jogged packet and cuts the cards at this point.
The face-up Deuces are now set for a final weave, which will pre-set the sandwich. The preliminary, coordinated actions may seem complicated and arduous, but with a modicum of practice the double-cutting action becomes clear, smooth, and easy. Do not look at the cards when you perform the cutting. Look at the spectator as you utter appropriate patter.
The performer tables his half and takes the spectator's half, saying: "You have seen feats where the magician looks through the cards and finds the chosen one?" The performer then turns the spectator's half face up, spreads the cards until he spots the card he glimpsed and remembered earlier (which is the original bottom card of that packet), and cuts this remembered key back to the bottom.
The performer flips over the top card, adding: "This isn't your selected card by any chance, is it?" The spectator will deny it. The performer flips the top card face down and places the spectator's packet next to his on the table, remembering which packet is his.
The performer asks the spectator to assemble the two packets in any order. Naturally, the performer watches which half goes on top. If the performer's half is placed on top, the deck is given an Out Faro Shuffle. If the spectator's half is placed on top, the deck is given an In Faro Shuffle. At this stage, the magician is ahead of the game.
With the pack held face up in the hands, the cards are quickly spread. This spreading action is special. The pack remains relatively squared in the left hand as the cards are quickly thumbed over into the right hand. This spreading action is continued until a face-down card is reached. This face-down card must remain flush on the left-hand packet so that it does not flash its face to the spectator. The right-hand spread of cards are cut beneath the left-hand portion. The cards are squared and turned face down (end-over-end) into a left-hand dealing position. Be careful not to expose the reversed card on the bottom.
The above actions are covered by saying: "Your card is somewhere in here...exactly where...is anybody's guess!" The pre-set sandwich is now on the bottom of the deck. Now the performer moves toward the two tabled cards. The left hand, still holding the deck, reaches for the facedown card on the left as the right hand reaches for the card on the right.
Both hands simultaneously turn their respective cards face up. Say, "Remember the Black Deuces? They have an uncanny instinct for finding chosen cards. This simultaneous turnover emulates the same techniques used in Al Koran's "Perfection Do As I Do" in Routined Manipulation Finale, pp. 165-169) and Harry Lorayne's "Prediction Extraordinaire" in Close-up Card Magic, pp. 229-230, where the Curry Turnover Change is actually used. The action in this effect is legitimate, although magicians will think you are performing a Curry Turnover.
The purpose of this throw-off action to the secretly turn over the deck. The misdirection is ideal. Attention is directed to the Deuces being turned face up. The turnover movement passes completely unnoticed. The deck is taken from the left hand, which will be holding it palm down in a Glide position, by the right hand and placed on the table.
Situation Check: The top card is a face-down Black Deuce. The second card is the face-up selection and the third card is the other face-down Black Deuce. The rest of the deck is face up below this pre-set sandwich.
The face-up Deuces are picked up and openly placed face up on top of the deck. The deck is handed to the spectator as the performer says, "Please place the Deuces face up in the deck, but place them apart and at different positions. I do not want to see where you place them. Therefore, perform the insertions under the table. You can feel where you put them but you will not see them either. Just insert the Deuces...anywhere... anywhere at all!"
After the spectator carries out the instructions beneath the table, the magician reaches under the table and takes back the deck. When he receives the cards and while they are still beneath the table, he performs a Charlier Cut, turns the deck over again, and brings it out. The entire action must be flow and eye-contact should be fixed on the spectator. Once the deck is tabled, the performer says, "At this point, we cannot know the exact location of the Black Deuces and your selection. If we press the top of the deck, watch what happens!"
The performer presses the top of the deck with his forefinger, a droll, magical gesture, and immediately ribbon-spreads the deck face down in front of the spectator. A Black Deuce Sandwich will appear in the spread. The performer asks the spectator to remove the card between the deuces, which is his chosen card.
This effect should be performed at a table and the spectator should be seated across from the performer. If these conditions are not possible, have the insertions and hidden actions take place behind the spectator's back. Any spreading actions are done in the hands or on the floor. These Marlo effects are part of becoming aware of new limits. As our imaginations are stimulated, we will see other directions. Roy Walton's "Card Case" and Alex Elmsley's "Between Your Palms" are ground-breaking Sandwich effects. Jack Posetary's "Last Aces" which appeared in the Pallbearers Review, September-1969, is also in the Sandwich category. Alex Elmsley's "Point of Departure" and Marlo's impromptu version of the same effect, "Card Vanish Supreme," are other good examples.
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