37
1 SYNERGISTIC SANDWICHES 2.0 Jon Racherbaumer

Jon Racherbaumer - Synergistic Sandwiches 2.0

  • Upload
    kike

  • View
    175

  • Download
    41

Embed Size (px)

DESCRIPTION

sandwiches

Citation preview

  • 1

    SYNERGISTIC SANDWICHES

    2.0

    Jon Racherbaumer

  • 2

    2006 by Jon Racherbaumer

    The E-BOOK was written, edited, and laid out in the United States of America for a select cabal of serious students and practitioners of magic. Once this media is selectively disseminated, its knowledge and substance is immediately democratized and this largesse, which some may call intellectual property, is then share-warememes to be individually protected and prudently passed on to those who will treat it with the same trust and regard motivating its provider.

  • 3

    ORIGINAL INTRODUCTION

    Sandwich tricks, long popular with cardmen, are nothing more than glorified locations. What makes them a little different is that the selections are found at specific places: between two other cards. From a commercial point of view, this is not an incredible feat, but if you add a bit of juggling and derring-do (like Daryl or Comte), it can be eye-arresting stunt. Otherwise, the effect is merely a puzzling, mechanical problem.

    Perhaps the best way to present these stunts is to perform a few in a rapid-fire, successive wayeach phase following the preceding one in a logical, progressive way. Also, each phase should be stronger than the preceding one. When such phases unfold in this manner, the overall impression will likely have more impact and be memorable.

    Geoff Latta and Dave Solomon have published synergistic sandwich routines and both are interesting and challenging to learn. Solomon presented his combinatorial effort at the Abbott's Close-up Convention (1991). My own synergistic effort was introduced at the same convention.

    There are seven sandwich effects, but the last three are based on the Hull Version or time-dislocation effect. Eric Eicher sent me this three-phase routine with its potent climax.

    If you learn this combinatorial routine, you will have something lay people will talk about and remember.

    Jon Racherbaumer March -1991

  • 4

    EXORDIUM

    Since this is a synergistic routine of successive sandwich-effects, it begins with the simplest version and progresses to stronger, more sophisticated variations. The goal is to create momentum and culminating interest.

    Twenty years ago I wrote about sandwich-effects in The Hierophant, pointing out that Louis E. Christianer published an effect in The Magic Wand in 1917 where a pair of red Aces is tossed in the air, returns to the deck, and traps a selected card. Much later, I discussed the classic card-catch in Cardfixes (1990) and cited its originator, Louis Christian Emanuel Appollinaire Comte (b. 1788). I also pointed out that the effect was more manipulative than magical.

    It may be fair to assume that the sandwich-effect evolved from a simple location effect where a selection ends up next to a face-up locator-card. The notion of using two face-up cards to trap the selection between them cancels out any ambiguity. That is, the magician cannot use either face-down card straddling a face-up locator-card.

  • 5

    ONE

    This initial sandwich is unabashedly manipulative. The audience knows that you are maneuvering their selection between two face-up Jacks. However, they do not see exactly how this is possible considering the speed and conditions. 1

    Begin by openly removing the red Kings. Table them face up and then have the first spectator select a card. Control it to the top. One of the most efficient methods is to use a Spectator Peek and control it via a Side Steal.

    Openly place the red Kings face up on top of the deck. Hold the deck in your left hand for a Spectator Peek. Approach a second spectator. Riffle back the outer right comer with your right forefinger for the stop-utterance.

    When the second spectator says stop, maintain a separation at that point and say, Please look at the card you stopped at...Remember it.

    Lower the deck for a moment, release the peeked selection to the lower section and then raise or tilt the deck back to its original Peek Position. Riffle off the rest of the upper section, but retain a left pinky break above the selection.

    Perform Marlo's Cover-Up Cut. Briefly: Thumb over the top face-up Jack to momentarily show the Kings on top. Pull it back flush and get a left third fingertip break below it. Transfer this break to your right thumb at the back end as your right hand grasps the deck from above and by the ends. Both hands are holding the deck and retain two breaks at this stage. (Photo 1)

    1 This is Marlo's Second Method of More Deuce Sandwiches, published in The New

    Tops: May, 1968.

  • 6

    1

    2 Undercut all the cards below your pinky break with your left hand and transfer this section to the top. (Photo 2)

    3

    Almost immediately do a Straight Cut; however, make it a Marlo Slip Cut as your left thumb holds back the top card. (Photo 3)

  • 7

    This top card covers the face-up King that otherwise would be exposed during this cut. (Tilt back the deck during the Slip Cut to provide additional cover.)

    4

    Perform another Straight Cut and table the deck. The peeked selection is now between the two face-up red Kings in the center of the deck.

    Ribbon-spread the deck to reveal the first sandwich. (Photo 4)

    TWO

    This applies Marlo's Bluff Sandwich from The Last Hierophant (June - 1980).

    Take the first selection from between the face-up Kings and place it into the deck. Quickly shuffle the deck and then place the Kings face up on top of the deck. In the process, get a left pinky break under the top card of the deck. Say, The Kings will stay on top of the deck.

    As you utter this innocuous line, secretly load the top X-card between the Kings via Marlo's First Method in More Deuce Sandwiches. Briefly: Grasp the top three cards from above and by the ends with your right hand. Peel the top face-up King onto the deck so that it is slightly side-jogged. (Photo 5)

    Then place the right-hand card(s) onto the other face-up King and square up. Hold the deck face down in a left-hand dealing position. Riffle down the

  • 8

    outer left comer of the deck with your left thumb. Say, I want someone to select another card by stopping me during this riffling action.

    5

    6

    Stop about midpoint by way of demonstration. (Photo 6)

    7 Lift the upper section with your right hand, then raise both hands and tilt

  • 9

    each section backwards until they are perpendicular to the floor. The right-hand section, held in Biddle Grip, is directly above the left-hand portion. Point to the face (bottom) card of the right-hand portion with your extended left forefinger, saying, If you had stopped me here, you will note and remember this card... (Photo 7)

    8

    These actions set the stage for the Bluff Action.

    Next, simultaneously lower both hands to reassemble the deck. Secure a secret break under the top two cards with your left pinky. Repeat the riffling action with your left thumb, making it as open and fair as possible. Once the spectator says stop, look at him and ask, Right here? When he affirms, raise both hands again as you did earlier. This broader movement lets you alter the conditions.

    Instead of lifting off the entire upper section, remove only the two cards above the break. (Photo 8, an exposed side view)

    Since the left-hand cards (almost the entire deck) and the right-hand pair are held in perpendicular positions, the spectator cannot see the relative thicknesses of the cards. He sees only surfaces and his attention will focus on the face of the supposed selection. Only a portion of the deck's bottom card is exposed in your gesturing left hand.

    Unbeknown to the spectator, he is selecting a card already between the face-up Kings. Say,Please remember this card. Reverse the actions of your

  • 10

    hands as you simultaneously lower them to reassemble the deck.

    As soon as the cards conjoin, lift about half the deck with your right hand and casually dribble them back onto the lower half as you say, Your card is obviously somewhere in the middle of the deckexactly where is anybody's guess.

    9

    Immediately table the deck and then press on the center of the top face-up King with your right forefinger. Say, ''This turns the trick! Delicately spread the top three cards with the same forefinger. (Photo 9)

    Ask the spectator to name and check the face-down card between the face-up Kings.

    THREE

    This method was shown to me by Marlo in 1970. 2

    It is a refreshing, off-beat departure from conventional sandwich effects and at this point in this synergistic routine, adds a strong, visual aspect.

    Remove the third selection from between the Kings and add it to the deck.

    2 In my notes it is dubbed The Submarine Sandwich and was slated to appear in my M-

    U-M column, At the Table. Before it was published, however, Frank Simon independently devised a similar method and published it in his book. Consequently, Marlo conceded credit to Frank Simon.

  • 11

    Say, This time the red Kings are placed face up near the bottom of the dec.. Insert both Kings together about twelve cards from the bottom (face).

    Momentarily square the deck and slowly begin spreading cards face down between your hands. Say, Please touch the back of any card. Time the utterance of this patter as you spread so that the spectator touches a card in the center section (positions 20-40).

    10

    11 Get ready to execute Marlo's Convincing Control as you raise the spread to reveal the selection. 3

    3 This technique is an easy, convincing method for controlling a selected card to the

    bottom of the deck. It is a technical variation of a bottom control that appeared in The New Tops (June - 1966) in the article titled, The Prayer Cull. It also uses some basic ideas from The Moveable Card Pass. It was published in Hierophant #3.

  • 12

    Your left hand is Straddle Gripping its cards and suppose that the selection is the Ace of Spades. Your left thumb should be directly on top of it. (Photo 10)

    A single card from the right-hand spread is pushed over and onto the selection, completely covering it. (Photo 11)

    Your left second and third fingertips should be pressing against the face of the Ace of Spades from underneath. (Photo 12)

    12

    Your left thumb contacts the card above or to the right of the selection. This card is the first card of the right-hand spread. Your extended right fingers also support the spread from underneath.

    The next action is important. As your hands lower, your left thumb pulls back on the card above or to the right of the selection and your left fingers (below) simultaneously press and drag the selection to the right. If the top or right-hand section was moved away, you would see that the selection is held in place by the top card, which as far as the audience is concerned is ostensibly the selection.

    Next you will outjog the supposed selection by pulling the left-hand section of the spread, along with the supposed selection, outwards. As soon as this section is outjogged relative to the right-hand section, leave the supposed selection outjogged as you move the left-hand section back in alignment with the right-hand section. (Photo 13)

  • 13

    13

    In the process, the actual selection is maneuvered far enough to the right so that it can be maneuvered under the left-hand section is you resume spreading cards.

    14

    Keep spreading until you come to the face-up red Kings and then pause. (Photo 14)

    Say, Here are the Kings that I did not want you to choose. When you reach this stage, your right fingers underneath the spread can feed the selection (Ace of Spades) between the red Kings. (Photo 15, an exposed bottom view)

    Once the selection is securely between the Kings, you can upjog the two Kings in succession.

  • 14

    15

    16

    The selection remains aligned with the deck. That is, only the red Kings are outjogged. At this stage, however, the outer end of the selection is partially between the Kings and all three principal cards are outjogged in full view. (Photo 16)

    Close the spread, square the sides, and hold the deck by the sides with your left hand. Tap the lower end to neatly square the deck. Then spread only the three principal cards to show their relative positions. (Photo 17)

  • 15

    17

    Straighten the three principal cards until they are once again aligned with the deck but still outjogged. Make sure they protrude for about half of their length. At this stage, the selection in set for the Plunger disclosure.

    Holding the deck in your left hand, again point out that the out jogged selection (?) and Kings are iat different positions. Then extend your left forefinger and move its tip to the top ends of all three cards. (Photo 18)

    18

    Simultaneously push these cards downward and flush with the deck. Because of the plunger principle, the Kings will push the actual selection out of the lower end of the deck. (Photo 19)

  • 16

    19

    20

    21

    As soon as the selection comes into view, spread the cards face down between your hands to reveal the injogged sandwich. (Photo 21)

    Separate the spread at that point and let the three cards drop to the table. (Photo 22)

  • 17

    Finally, reveal the selection between the Kings.

    FOUR 4

    Explain that you can also use red Jacks. Place the red Kings into the deck and cull the two red Jacks and place them face up on top of the deck with the JH uppermost.

    Explain that you will use the red Jacks. Spread the top three cards to show the face-up Jacks and then square them, retaining a break under the third card. Lift all three cards in a right-hand Biddle Grip and quickly peel and duck the JH below the other right-hand cards to secretly sandwich a face-down indifferent card. Place the Jacks on the table to your right as a squared unit.

    Direct the spectators attention to the deck, spread the cards face down between your hands, and ask the spectator to remove a card. Suppose it is the AD. As he takes it, close the spread and momentarily hold the squared deck face down in your left hand.

    As the spectator notes and remembers his card, lift about half the deck with your right hand and move it forward about an inch. Engage the top card of the lower half with your right thumb and then slide the top half backward until it is aligned with the lower half. As it's slid in this manner, press down with your right thumb, which results in moving the card to an injogged position.

    Once the center card is secretly injogged, grasp the deck from above and by the ends with your right hand. Engage the back end of the top three cards with your right thumb and then lower the deck until it is about a half-inch lower than the top card.

    Take the selection face down in your right hand and insert it at the back end under the tilted top card but flush with the deck proper. From the spectator's view, it looks like the selection is inserted into the center of the deck.

    (The Depth Illusion is a useful term, but the illusion is not about depth per se. It doesn't create depth, but conceals a slanted plane. Depth is a

    4 This method appeared on my Website under the title of Isolated Repeat Sandwich.

  • 18

    dimension taken through an object (deck), usually downward or horizontally inward. The deck doesn't appear any deeper. Its vertical dimension or thickness isn't increased, but looks the same.)

    Say, Let's put your card in the center... Push the selection (AD) flush and then bend your left wrist and move your left arm to the left. This broader action moves the right side of the deck towards the spectator, giving him an unobstructed side view. During this larger action, let the top card drop onto the deck.

    The spectator sees the jogged card protruding from the center as you finish your patter: ...It looks like your card is about twenty-four cards down from the top. What do you think? Cleanly and visibly have the spectator push the jogged card flush. The spectator should then be convinced that his card is in the center of the deck. In reality, it is second from the top.

    Hold the deck in front of your chest and ask, Did this deck, which has your card in the center, come anywhere near the two Jacks on the table? The spectator will agree with your assertion.

    Retain the deck in your left hand and show your right hand clearly empty. Using only your right forefinger, spread the tabled Jacks to reveal a face-down card between them. At this stage, the spectator is not quite sure what has just transpired.

    Say, I know, I know. Its difficult to believe! However, dont say anything! Dont utter a word! Pick up the sandwich with your right hand as your left pinky obtains a break below the top two cards. Square the right-hand cards against the deck and immediately lift all the cards (5) above the break. Hold this five-card packet face up in a Biddle Grip with your right hand.

    Peel the face-up JD flush with the deck, retaining a left pinky break beneath it. (Photo 22)

  • 19

    22

    Say, I have a face-up Jack Turn your right hand palm up to show the AD at the face, continuing: the Ace of Diamonds (Photo 23)

    23

  • 20

    Turn your right hand palm down again and peel off the top face-down card onto the deck with your left thumb so that it is outjogged for half its length. (Photo 24)

    24

    25

  • 21

    Finally place the right-hand card(s) flush with the deck and retain a left pinky break below all four cards as you conclude the ongoing patter line: and the other red Jack! In reality, you have placed the face-up JH, plus the actual selection and another indifferent card onto the deck as a single card. (Photo 25)

    At this stage, the spectator will be shocked that he saw his selection during the sequential display. Take the outjogged card, which the spectator thinks is his selection, face down into your right hand and tilt it toward you so that only you can see its face. Ask, Is the Ace of Diamonds your card? (This is a convincing miscall.)

    26

    When the amazed spectator agrees, add: I knew it!

    Place the right-hand card face down in the center of the deck and cant it to the left so that its angle-jogged. Your right hand then lifts and moves the top four cards (as two Jacks) to the right. (Photo 26)

  • 22

    27

    Place the supposed Jacks on the table to the right and immediately direct attention to the outjogged card. Say, How far down in the deck do you think the AD is? As the spectator replies, slowly push the angle-jogged card flush with the deck.

    Table the deck face down to your left. Ask, Did the deck and your card come near the Jacks? Regardless of the answer, pick up the Jack-packet and place it into your left hand. Continue: Look! Its back!

    Grasp the packet in a right-hand Biddle Grip and move the packet to the right as your left fingertips contact and spread the lowermost two cards to the left. (Photo 27)

  • 23

    28

    Grasp only the top two cards with your right hand, holding them squared, and use the card(s) to flip the face-down AD face up. (Photo 28)

    Flip the AD face down again and place the right-hand card(s) on top and square up in readiness for the Christ-Annemann Alignment Adjustment.

    CHRIST-ANNEMANN ALIGNMENT ADJUSTMENT

    Place your right hand above the packet and slide back the top face-up Jack with your right forefinger, dragging it to an injogged position.

    Contact the exposed center card with your right second finger. Maintain contact on the top card with your right forefinger and push the top and center cards outward. The bottom cards remain stationary. This results in aligning the top Jack and bottom cards (Jack and AD), while the indifferent card moves to an outjogged position. (Photo 29)

    Pivot out the indifferent card with your right hand. (Photo 30)

    Place it face down on top of the deck and ask the spectator to cut the deck and bury the AD.

  • 24

    29

    Hold the Jacks and the hidden AD between your right thumb and fingers at the center of the packets right side.

    30

  • 25

    Wave the right-hand packet over the deck as your right thumb pushes over the top two cards as one to show two face-up Jacks. Keep waving the packet and then slide the top Jack to the right to suddenly expose a face-down card between the Jacks.

    Turn the sandwich over to reveal the AD, having jumped back between the Jacks for a third time.

    FIVE

    Eric Eicher sent me a three-phase sandwich routine in March of 1989. The beguiling feature of his combinatorial routine is its integration of the Hull Version. 5

    The narrative hook here is the subject of speed. Each time you trap the signed selection, the expediency factor is increased until the sandwich-cards find the selection before it was selected!

    Place the red Jacks into the deck and then contrive to get the red Sixes and the 7H to the face of the deck in this order from the face: 6H - 6D 7H. (Photo 31)

    31

    Explain that you will show them something strange and wonderful with the

    5 Eicher was initially inspired by Peter Duffie's Signus X n from Close-Up To The

    Point (1984), but everything came together when he learned Olram Catches A Card which uses a technique from Marlo's Jumping Jacks. So much for history, except to add that Eicher calls his routine Fast/Faster/Fastest.

  • 26

    red Sixes, the fastest cards in the deck.

    Grasp all three cards from above and by the ends with your right hand. Rotate the deck face down in your left hand. (Photo 32)

    32 Obtain a left pinky break under the top card. Show the red Sixes and perform Marlo's Atfus technique, which will place the 6H face up under the top card of the deck, leaving you with two face-up cards (6D 7H) in your right hand. To wit:

    Say, The Sixes are unusual cards... Hold the right-hand packet directly above the deck, close enough to engage the back end of the top card of the deck with your right thumb. Add it underneath the right-hand packet and retain a thumb-break between it and the deck.

    33

    Peel the top 6H onto the deck with your left thumb and slide it to a side-jogged position for half its width. (Photo 33)

  • 27

    Next, peel the 6D onto the 6H, but side-jog it further to the right to form a two-card spread.

    The next move unloads the 6H and the face-down X card in a subtle way. Strictly speaking, they remain on the deck. From the audience's view, you appear to execute a logical, side-squaring action as follows:

    Move your right pinky to the upper right side of the packet near the corner and move your left thumb alongside the left side of the deck. Then move your right hand to the left until the Sixes (and the X card) coalesce to the left and are aligned with the deck.

    Your left thumb acts as backstop as the left sides of the cards jam against it. Your right pinky serves to stabilize the right sides of the cards and the entire action is justified as a side-squaring maneuver.

    When you reach this stage, release the bottom face-down X card by relaxing your right thumb. Then immediately raise the right-hand cards above and away from the deck. (Photo 34)

    34

    Situation Check: The 6H is face up under a covering face-down card on top of the deck. Your right hand holds two cards in a Biddle Grip. Their order from the top is 6D and 7H.

    You have switched out one card, yet your right hand holds the correct number (2) of cards and the audience does not suspect anything.

  • 28

    Turn the supposed Sixes face down and spread them slightly, holding them at their outer right corners with your right thumb (top) and fingers (underneath). Say, Remember: These are the magic Sixes. (Photo 35)

    Momentarily transfer them to your left thumb and fingers, which holds them by the sides and above the deck. This allows you to change the right-hand grip. Grasp the inner right comer between your right thumb (below) and first/second fingers (above).

    Rotate your right hand palm down to flash the faces and show red Sixes. Your right first and second fingers cover the 7H index. (Photo 36)

    35

    36

    After this flash drop the pair face down to your right. Get a left pinky break under the top card of the deck and then undercut about half the deck. Immediately start spreading the cards and say, I want you to select a card. (Photo 37)

  • 29

    Stop spreading just before you reach your break. Then move all of the spread cards above the break as you turn your left hand palm down to kill the face-up 6H and say, This card we will need later on...

    Casually thumb off the reversed 6H, now face down so that it drops onto the table. (Photo 38)

    This is discrepant, but it looks copacetic. The audience will focus on the dealt card.

    37

    38

    As soon as the 6H drops to the table, turn your left hand palm up and reassemble the deck.

    Re-spread the cards face down between your hands and ask someone to take a card. Say, Please note, remember, and sign the face of that card. Hand the spectator a marking pen. (Note: In the photographs the selection is not

  • 30

    signed.)

    Suppose that the selection is the AH. While the spectator is busy signing it, hold the deck face down and squared in your left hand. Grasp it from above and by the ends with your right hand. Slightly lift about half the deck and slide it forward about a half inch.

    Contact the top card of the lower half with your right thumb tip and then slide the upper half back until it is aligned with the lower half. In the process, your right thumb injogs an X card.

    Reach for the signed selection with your right hand as your left hand performs a One-hand Tilt; the misdirection is perfect.

    Apparently insert the selection into the middle of the deck from the back end. Push the selection flush with the deck and immediately turn your left hand to disclose a side-view. This broader action lets you release the Tilted top card without being detected. The spectators will see the injogged X card and assume it is the selection. Say,Your signed selection goes into the center of the deck.

    Cleanly push the X card flush. Then turn the deck face up in your left hand. Pick up the lowermost card (6D) of the tabled pair with your right hand. Flash its face, place it face down onto the face-up deck, a retain a left pinky break below it.

    Perform a Double Undercut, maneuvering the 6H to the bottom of the deck. Say, We lose one of the red Sixes into the deck. The remaining red Six goes at the face. Secure a left pinky break above the bottom three cardsthe 6H X card selection (AH). Use Marlo's Kick-Count or Buckle-Break to obtain this break.

    Place the 7D face down on top of the face-up deck without showing it. Momentarily transfer the deck to your right hand, which holds it from above and by the ends. Transfer the break to your right thumb at the back end.

    Show your left hand empty and replace the deck in your left hand, regaining the break on the bottom three cards. You are now set to perform the sudden sandwich of Marlo's Jumping Jacks. This is the action:

  • 31

    39

    Using the same one-hand action used in Marlo's Ace-Cutting, hold the deck in your left hand. (Photo 39)

    Then jerk your left hand to the left and slightly turn your wrist. Retain the three bottom cards as you simultaneously hold back the top card with your left thumb. The rest of the deck drops onto the table and your left hand retains a squared, four-card packet. (Photo 40)

    40

    The order of these four cards from the top should be: 7H (face down) - selection (face up) - X card (face up) 6D (face down). Turn the tabled deck face down with your right hand.

    You can now perform a Single Buckle Spread to show the sandwich, but the following spread is better. Push over the top card to the right with your left thumb, sliding it to a side-jogged position. Then grasp the cards from above and by the ends with your right hand. Slide out the bottom card (6D) with

  • 32

    your left fingers. The ends of the cards are aligned. The audience sees the face-up AH (selection) between two face-down cards. (Photo 41)

    41

    As your left fingers slide out the bottom card, simultaneously slide the selection to the left about an eighth of an inch with your left thumb. This creates a single edge on the selections exposed left side.

    Once you have revealed the selection, you can flash the other side of the sandwich by using your right pinky to kill the 7H index. Place your right pinky under the outer right corner as though clipping this corner between your right third and pinky fingers. When you raise your right hand to show the underside of the sandwich the 7H index is hidden from view. (Photo 42)

    42

    Say, That was fairly quick! The red Sixes caught the Ace of Hearts, your selection! Square the cards and turn them over and into your left hand. The

  • 33

    audience will see the 6D at the face.

    SIX

    Slide the 6D backward to an injogged position and then perform the Christ-Annemann Alignment Move to outjog the supposed selection. (Photo 43)

    In reality, the X card is out jogged and the selection (AH) remains between the 6D and 7H.

    43

    44

    Remove the face-down X card with your right hand and place it on top of the face-down deck. (Photo 44)

    Ask the spectator to give the deck a straight cut, saying, Once again, bury your card in the middle of the deck!

    As the spectator cuts the deck, turn the sandwich-cards face down and

  • 34

    transfer them to your right hand. Hold the cards at their right side between your right thumb (top) and first/second fingers (underneath). (Photo 45)

    You are set to perform Marlo's Pinchers Move. Say, Watch closely... Move your right hand toward the tabled deck. In the process, push over the top two cards as one. This action is identical to Victor's Eye-Count for the double push-off of the Elmsley Count. (Photo 46)

    45

    45

    Wave the packet back and forth over the deck and slide the top card to the right with your right thumb. (Photo 46)

  • 35

    46

    This instantly exposes the face-up Ace of Hearts. If done properly, the selection seems to magically pop into view. Say, The first time was fast, but this is even faster!

    SEVEN

    At this stage there are several ways to go. For example, a KM. Switch is workable and not discrepant. However, the following handling features a convincing switch (a double-lift), and at this point the audience must be convinced that you are placing the selection back into the deck.

    Casually turn the selection face-down in situ. Then quickly reverse-count the three cards, saying, Not bad, considering only three cards are used. Reverse-count the cards again. The selection remains in the center, but the casually mixing confuses the audience about the selection's position.

    Perform your best Double Turnover to show the Ace of Hearts and say, Watch your card closely. Once again its placed into the deck. Perform another Double Turnover and immediately deal the top card (7H) face down onto the deck. Give the deck a Straight Cut with your right hand.

    Grasp the remaining two cards from above and by the ends with your right hand. Turn your right hand palm up as you tap the top of the deck with the back of your right fingers. This flashes the 6D as you say, Place your hands over the deck.

    Turn your right hand palm down and take the lowermost card of the pair face down into your left hand.

  • 36

    The tabled (unknown) card is the 6H. Your right hand holds the selection (AH) and your left hand holds the 6D. The spectators think that you are holding the red Sixes in your hands.

    Say, Remember the card we placed aside before we started? As you say this, slide the left-hand card under the tabled card and place the right-hand card above the tabled card. The two supposed Sixes are slightly injogged at this stage. (Photo 47)

    47

    Scoop up the tabled card and say, I really dont want to touch the card we previously tabled. Align all three cards, more or less keeping them spread. Momentarily hold them in your right hand as you left hand turns palm down and grasps the left side of the lowermost card. (Photo 48)

    48

  • 37

    Slide out and turn the lowermost card (6H) face up with your left hand. Attention will be focused on this turnover. At the same instant, push the uppermost card of the right-hand pair to the left.

    Place the uppermost card of the right-hand pair onto the face-up 6H so that it is outjogged to the right. Then place the remaining right-hand card further to the right so that it is aligned with the face-up 6H.

    All that remains is to turn the 6D face up and replace it. The audience will see the red Sixes straddling a face-down card.

    Because the spectators see the two red Sixes straddling a face-down card, everything looks normal. However, unbeknown to them, the selection (AH) is between them.

    Say, Here's the strange part. You can't get any faster than this! Your selection was between the Sixes before we began. Confusing, isn't it? It's like the man who left on the following day.

    Turn your left hand palm down to reveal the face-up Ace of Hearts. (Photo 49)

    49