CLASSICAL FOURSOME

3.0

Edward Marlo

Jon Racherbaumer

THIRD EDITION
© 2002 by Jon William Racherbaumer

All rights reserved. No part of this e-publication may be reproduced or transmitted in any form or
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This e-book is made in the United States.

CONTENTS

Original Foreword

Introduction

TOOLS

D'Amico Spread

Marlo's Pivot Spread

Variation One

Racherbaumer Spread

Rhod Spread

Third-Card Spread

Marlo-Curry Change

Break-Less Curry Change

Open Reverse

APPLICATIONS

Classical Quickie

Eight Methods

Chameleon Queens

Doubly Ambitious

Two-Card Transpositions

ORIGINAL FOREWORD

The effects, methods, and ideas you're about to read were tested under all sorts of

performing conditions. The results were exceptional with cardicians and lay persons

alike.

We titled this manuscript because the effects are based on a classical theme or plot.

Classical Quickie transforms a "wrong" card to a "right" one, but the speed and visibility

of the methods make it different. It's quick, interesting, and mysterious. You have several

methods to choose.

Doubly Ambitious takes the Ambitious plot out of the humdrum class, and mastery of

the Double Transposition effects will give you a sense of happy accomplishment. The

Chameleon Queens inevitably intrigue audiences fascinated by repeated

transformations.

We haven't ignored cardicians on the lookout for new and different techniques. The

Marlo-Curry Change, Open Reverse, D'Amico Spread, and Marlo Pivot-Spread are

destined for future applications. The D'Amico Spread was kept close to the vest for a

decade. Until now it was taught to only a few top cardmen; it has enormous utility for

thinking cardicians.

Our goal is to inspire and inform. Creative magicians will study and use these effects

and moves. They will also ferret out important details that further lead to fresh ideas,

effects, and methods. This is why we're so enthused.

Yours for the best in visual card magic,

Edward Marlo

Carmen D'amico

INTRODUCTION

This reprint is the third edition, revamped along the lines of Full Tilt and Complete
Devilish Miracle. The spirit of the original manuscript is preserved, but the original text
has been revised, reorganized, amended, and emended. We added two more Pivot
Spreads, the Break-Less Curry Change, another version of "Classical Quickie,” and
Schwarzman's "Double Ambitious Kicker” for good measure.

The original, twenty-six-page manuscript was written in 1955-1956 and copyrighted in
1956. Marlo drew the twenty-six drawings that accompanied the text. The booklet has
been out-of-print since the early 70s, although copies occasionally appear on used-book
lists.

Original Manuscript

There were fewer hardcover books published in the 50s. Therefore, when magicians wanted to
publish new material, they either produced small manuscripts or contributed individual items to
existing magic magazines. Because Frances Ireland Marshall supported local magicians and
published their works, Ed Marlo was often tapped to contribute. And over the years, Frances and
Ed enjoyed a symbiotic relationship that was mutually beneficial, starting with Marlo in Spades
(1947) and The Cardician (1953). Earlier, Ireland Magic Company had published Future Classic
(1953) and The Magic Seven (1954). Classical Foursome, in part, was derived from a
presentation Marlo gave the 1954 I.B.M. Convention. He also performed routines from these
books at the same convention.

Close-up Program from 1954 Convention

Most of the effects in the original manuscript have held up surprisingly well. The sleights,
which were not widely known or used in 1954, are now well established. Some of the
routines, such as "Doubly Ambitious,” have been revised and elevated by Juan Tamariz
and Howie Schwarzman. "Classical Quickie” is exactly that—a quick, classic trick.
Cardmen continue to apply D'Amico Spreads to their work, whereas the Curry
Turnover Change is in a special category. In the proper context, it is a useful sleight.
Harry Lorayne wrote:” The move, to my mind, is one of the most underestimated
sleights in card magic. It should be a classic...” Lorayne explained twenty-four
applications in Close-Up Card Magic. If you add Marlo's technical variation, you have a
potent technique to add to your arsenal of sleights. The original manuscript is almost fifty
years old; however, students can celebrate the material that has endured while
appreciating its place in history.

-Jon Racherbaumer

Cover of the limited Second Edition

TOOLS

D'AMICO SPREAD

This technique permits you to spread three, four, or five cards as apparently two cards,
using only one hand. In this explanation, four cards are spread as two.

Method: Spread the top four cards of the deck. Re-square them and obtain a left pinky
break below them.

Lift them with your right hand to a Square-up Position. Grip the sides near the outer end
with your left thumb, second, and third fingers. Place your forefinger at the outer right
corner. Grasp the left side of the cards between your right thumb (below) and first finger
(above). (Photo 1)

Photo 1

Photo 2

The tip of your forefinger actually presses against the edge of the cards. Turn your right
hand to the right in a clockwise direction as your thumb and second fingers move in
opposite directions. This spreading maneuver is firm but delicate. Your forefinger
maintains alignment of a three-card block in a pushing action as your thumb lightly pulls
the single card. (Photo 2)

Roots: Carmen D’Amico developed this technique around 1945 and between 1948-
1956, he showed it to a few top cardmen such as Dai Vernon, Arthur Buckley, Dr.
Jacob Daley, Bill Simon, and Neal Elias.

This maneuver requires practice to develop the exacting and simultaneous push-pull
mechanics of the spread. Do not get discouraged; keep practicing. It's a knack move that
demands persistent effort.

MARLO'S PIVOT SPREAD

These variations are derived from the D'Amico Spread, but are easier to master and
execute.

Set-up: Suppose that you have three cards face down in your left hand in this order from
the face: Queen of Diamonds - Queen of Hearts - indifferent card.

Method: Grasp the inner end of the cards with your right hand by placing your thumb
underneath, your fingers on top. Pull the bottom Queen of Diamonds inward about a
quarter of an inch with your thumb. (Photo 1)

Photo 1

Next turn your right hand palm up and contact the outer left corner of the top card(s) with
your left second finger and pivot it to the right. The audience will see two Red Queens.
The lowermost indifferent card remains aligned and concealed. (Photo 2)

Your goal is to perform the turnover and spread in a fluid manner, making engagement
of your (left) thumb incidental and inconspicuous. It should look like a one-hand action;

however, this variation provides strict control and overcomes the "splitting" that
sometimes fetters the D'Amico Spread.

Photo 2

VARIATION ONE

Suppose that the order of the cards from the face is: Queen of Diamonds – indifferent
card – Queen of Hearts.

With the cards held face down, injog the top Queen of Hearts. (Photo 1)

Photo 1

The tip of your left forefinger contacts the outer right corner of the lowermost card(s).
As your right hand turns the cards over, your left forefinger pivots its card(s)—
supposedly a single Queen of Diamonds. (Photo 2)

Photo 2

This is useful when an effect requires that the center card must be concealed.

RACHERBAUMER PIVOT SPREAD

Hold three cards face down in your left hand. Injog the bottom card for half the width of
its white border. Grasp them at the lower end as in Photo 1. The tip of your right second
finger contacts the injogged card and "double" midpoint where they overlap. Your thumb
is underneath.

Photo 1

Turn your right hand palm up and move your thumb and second fingers in opposite
directions. The cards will spread as in Photo 2. The "double" stays aligned, even though
you're barely holding the cards between a thumb and finger.

Photo 2

RHOD SHOW

Marlo introduced me to the ideas of Daniel Rhod in 1978 by lending me Rhod's first set
of lecture notes, "Revelations,” where his variation of the D'Amico Spread and Table
Spread are explained. Since then Rhod has improved and varied his techniques.

Method: Remove three cards and place them face down in your left hand. Suppose
they're the Queen of Diamonds – Eight of Spades – Ace of Hearts, arranged in that

order from the face (bottom). Grasp the ends of this packet between your right thumb
and second finger. (Photo 1)

Photo 1

Place your second finger against the outer right corner. Your thumb grips the inner end,
near the lower right corner. Notice that the lower left corner contacts the crease of your
thumb heel. This is the pivot-point.

Photo 2

Move your right second finger down and momentarily lift your right thumb, thus pivoting
the three-card packet downwards about ninety degrees. Simultaneously flatten your left
hand. The packet remains squared because of the mutual pressure exerted at the
diagonal corners.

Just before the packet reaches a longitudinal position, contact the right side/edge near
the outer right corner with your right thumb. Rotate the packet face up, using your right

thumb and second finger, which more or less grip the outer right corner. Your second
finger pushes down. Your thumb pushes up until it rests on the face of the lower index.

Photo 3

The opposite, diagonal corner is still pressed against your left thumb-heel as shown.
This stabilizes the packet and keeps everything intact. Once the cards reach this stage,
press against the index-corner of the Queen of Diamonds with your right thumb and
pivot it to the right. Do not press down too firmly with your thumb. Use a light touch—just
enough to move the Queen of Diamonds. (Photo 3)

Extend your left hand palm up and rest the spread on your flattened left hand. The Ace
of Hearts remains concealed. Once you understand the pivot-turnover mechanics, you
can experiment with different pivot-points. Rhod often uses the tip of your left thumb.
(Photo 4)

Use your right thumb to lever the packet up and over as it simultaneously pivots the
Queen of Diamonds to the right. The action should be quick and delicate as you casually
spread and flash the faces of the two (?) cards. The nice features are its positive control
and immediacy. It's a Pivot Spread without the get-ready jog.

THREE-CARD PIVOT-SPREAD

Suppose you want to spread six cards as three. Hold them face down and squared in
your left hand. Obtain a left pinky break above the bottom two cards. Use a Pull Down,
Buckle-Break, or Kick-Count to get the break.

Move the top four cards forward with your right hand, thus leaving the bottom pair
injogged. Grasp them at the lower end as in other Pivot Spreads.

Your left forefinger will keep the four-card block squared when your right hand turns
palm up. Spread the injogged cards with your right thumb. The audience sees three
cards with single edges at the top. By varying the number of cards jogged (in- or out-),
you can change the nature of the display.

MARLO-CURRY TURNOVER

This is a technical variation of the Curry Turnover Change that was developed by
Marlo soon after Curry published his switching technique. It has several aspects in its
favor. First, it is easier for your left hand, which holds the deck, to move into position.
Second, your left fingers will not flutter or visibly move during the exchange. Third, the
maneuver occurs close to the table top, providing superior cover. Fourth, the tabled card
can be in any position and several cards can be exchanged as easily as one. If you like,
you can switch a playing card for a business card.

The Curry Change is difficult to perform smoothly and many cardmen avoid learning it
because of this awkwardness and its limited utility. A primary objection is that it’s an
unnatural way to turn over a tabled card. Why have the hand holding a deck flip it over?
Wouldn’t normal people use the other hand?

BASIC EXCHANGE

The top card of the deck will be exchanged for a face-down tabled card.

Set-up: Place the tabled card face down and lengthwise and hold the deck face down in
a Mechanic's Grip.

Photo 1

Get a left pinky break under the top card by pushing it to the right with your left thumb.
As you pull it back and flush with the deck, obtain the break. This should be a delicate
break—insert only the fleshy tip of your pinky. Although the deck is held in a Mechanic's
Grip, it is held a bit lower or deeper. Curl your left forefinger over the top end.

Reach for the tabled card with your palm-down left hand. Dig your forefinger under the
outer right corner to lift it off the table and place your thumb on top of the card, near the
same outer corner. Lift or raise the outer side of the tabled card so that it is slightly bent
backwards; the inner side remains flush against the table. (Photo 1)

Marlo wrote, "...the action is similar to swinging open a hinged trap-door."

Photo 2

Continue turning the card as your left hand moves backward. (Photo 2)

Your hand remains close to the table and your forefinger pushes inward so that the
topside of the turning card moves just past the left side of the deck. This is important.
The tabled card, which at this stage should be past the perpendicular position, must
clear the top of the deck.

Photo 3

Once it clears, it momentarily stays in this hinged-position, held in place by your thumb.
The top card of the deck is now free to drop and slide away. Continue to move your left
hand slightly backwards as it flattens out. (Photo 3)

Straighten your forefinger and clip the deck in the crotch of your thumb.

Slightly relax your left second, third, and pinky fingers and let the top card fall. As your
left hand continues its backward movement, the top card will fall face up to the table.

Your left thumb actually touches and drags across the table. As soon as the top card
drops onto the table, your left thumb pushes the other card flush onto the deck. Notice
the close proximity of your left hand to the table.

This entire action is a delicate, coordinated one. The key aspect is getting the tabled
card into by-pass position so that the top card is not trapped and can smoothly slide out
and away.

Once you understand the step-by-step mechanics, the knack of making the exchange
look smooth and illusory is merely a matter of practice.

This technical variation inevitably led to the Break-less Curry Turnover published in
Hierophant #7 (1975).

BREAK-LESS CURRY CHANGE

This technique does not require a get-ready or break and the change can be executed
slowly and deliberately.

Method: Place a card face down on the table and hold the deck in a left-hand
Mechanic's Grip. As your left hand reaches for the tabled card, push over the top card
with your left thumb. (Photo 1)

Photo 1

Drop your second and third fingers below the top edge of the deck. This permits the top

card to slide over their tips. Keep your left pinky in place at the side of the deck.

Your forefinger and pinky keeps the angled top card in place. The back of your hand is
to your left. Grasp the tabled card in the conventional way.

Continue to move your left hand downwards until the card's outer left corner is past the
deck's upper left side.

As this by-pass action is made, move your left hand closer to the table. Your hand is
practically palm down and against the table. Your forefinger is still between the card and
deck. As soon as you reach the stage, move your forefinger from between the card and
deck. Simultaneously move your thumb to the extreme outer left corner of the deck to
keep the card in place as your hand continues moving to the right.

The top card of the deck is released by moving your pinky upwards (very slightly). Your
left fingers should not move or extend outwards during the exchange. The only
moving parts are your thumb and pinky; the rest are immobile.

The path of your moving left hand is to the right and then inwards towards yourself once
the top card is released. Needless to say, you can exchange more than one card. This
requires a break and a Block Pushoff. Otherwise, the technique is the same.

This technique was originally published in Hierophant #7 (1975). The angling technique used in
this technique can be applied to Marlo's "Visual Retention Change."

OPEN REVERSE

This is the first time a Tilt Cover has been applied to conceal a maneuver. In this case,
the maneuver is a Reverse or Half Pass. The same ruse can be applied to a Top Card
Cover Pass.

Method: Hold the deck face down in your left hand and also hold it from above and by
the ends with your right hand.

Photo 1

Curl your left forefinger under the deck. Riffle up the back end until you feel the top two
cards and then lower the rest of the deck. Maintain a slight separation at the back end.
Grasp only these two cards in a right-hand Biddle Grip and tilt them forward. (Photo 1)

This is done to ostensibly peek at the face of the top card. Say, "I'll look at the top card
of the deck."

Photo 2

The top card(s) provide cover as your left second, third, and fourth fingers flatten as your
forefinger straightens and pivots the deck face up. (Photo 2)

Photo 3

Lower the tilted card(s) as your left forefinger slides forward and out of the way. The
card(s) are then replaced onto the face-up deck. (Photo 3)

The instant all of the cards coalesce, grasp the deck in a right-hand Biddle Grip and
move it forward in a gesture. If you prefer, raise the deck to Square-up Position above
your left palm.

APPLICATIONS

CLASSICAL QUICKIE

Effect: A card is placed face up in the center of the deck and then changes to a
previously selected card.

Marlo wrote: “The idea for this effect came to us in 1945, but a satisfactory method
wasn't devised until 1947.

1

It was shown to Russell Barnhardt a year later. A few years

passed and it was demonstrated to Del Ray and Bill Simon at a Chicago Convention.
But for the most part, it was kept under wraps. In 1953 we originated several other
methods, which were successfully tested for practicality and effectiveness. There are
seven methods to learn, try, and think about. Our favorite approach uses the side-jog
subtlety.

2

However, each method may have its own time, situation, and practitioner to

confirm its superiority. There may be ‘best methods’ in magic, but considering the
variables at work when and where a trick is performed—not to mention the types of
audiences— it's a brave theorist who posits one method over another. Personal tastes
aren't necessarily proven facts.”

FIRST METHOD

Set-up: Secretly apply some saliva to the bottom card of the deck.

Method: Have a card selected and returned to the deck. Obtain a left pinky break above
the selection. Start cutting off small packets from the top of the deck with your right
hand. Hold each packet from above and by the ends and then drop them face down to
the table, saying: “As I cut cards to the table, say stop any time you like.”

As soon as the spectator says, “stop,” immediately cut off the remaining cards above the
break.

3

Momentarily hold them in your right hand and ask, "Did you say stop here?”

Casually place the right-hand cards onto the tabled cards.

1

The use of the pronoun “us” refers to Marlo and D’Amico, who collaborated on several things in

the 40s.

2

Marlo never specifically claimed what he called the Side-jog Subtlety. The basic idea was

established by Charles Nyquist, who published it in Hugard’s Magic Monthly (Vol. VI, No. 3:
August, 1948). He was also later credited in Darwin Ortiz’s Cardshark (1995), pp. 46-47. There is
was dubbed the “Ribbonspread Hideout.” Because Marlo and D’Amico were experimenting with
all the methods eventually published prior to 1948, it’s fair to assume that they independently
came up with the Side-jog Subtlety. Nevertheless, although Marlo never claimed the idea, he did
not mention Nyquist, which is an oversight and omission.

3

This is a method of forcing devised by Hofzinser.

While writing Prime Moves, we included a detailed explanation of this forcing technique,
calling it the Hofzinser Drop-Cut Force. Here are the details:

Hold the deck face down in your left hand with a left pinky break above the force-card.
The force-card—say, the Ace of Hearts—should be about thirty cards from the top. Use
one of the methods already explained to get set. Say, "When I cut cards onto the table,
please say 'stop.'"

Take about ten five or six cards from the top with your right hand. Hold the packet in an
Open Biddle Grip and place it face down on the table. Repeat this process with another
small packet; only begin to accelerate the speed of the procedure. The spectator will be
induced to say, "stop" after the third or fourth packet is tabled. Form a single pile.

This requires the same sensitivity to spectator's behavior as the Classic Force. You
must be able to anticipate when the spectator is going to say, "stop;" however, you have
greater leeway because the action is segmented. You will be stopped in the act of
tabling a packet or in the act of moving back to the packet to get another small packet.
This is the reason for hastening the tempo. You want to be stopped just after you've
tabled a packet and you are on the way back to the talon. Spectators will allow for [your]
reaction time. If this happens, take all the cards up to the break.

It is better to watch the spectator's mouth. When his lips start to move, cut all the cards
up to the break. If there is a slight delay or stutter, simply cut another small packet onto
the others. The AH will be the top card of the tabled portion. Ask the spectator to take
and look at it. Otherwise, use the top card of the remaining, left-hand talon. This either-
or conditional provides two opportunities to force the AH.

Roots: J.N. Hofzinser's Card Conjuring (1931) - Ottokar Fischer and S.S. Sharpe -
"The Sympathetic Numbers," pp. 23-24

Photo 1

After performing the force, direct attention to the top card of the left-hand portion.
Perform a Hit Double Lift Turnover to reveal an indifferent card and say, “You stopped
me on the____!” Perform a Straight Cut to bury the face-up card(s) and add, “Let's cut
this card to the center of the deck.” The cut puts the moistened card onto the uppermost
face-up card.

Pick up and place the tabled cards on the top and bottom of the deck, keeping the face-
up card(s) centralized. Hold the deck tightly between your left thumb (top) and fingers
(underneath). (Photo 1)

The cards are held perfectly squared and squeezed together, which ensures that the
saliva-card adheres to the face-up indifferent card, forming a temporary “double.” Ask
the spectator to name his selection and then ribbon-spread the deck face down from left
to right to reveal the face-up selection.

The face-to-face “double” is just above the selection and the indifferent card remains
concealed. Slide out the selection with your right hand or take it out with a Spin Toss.

Scoop up the spread with your left hand, starting at the “double” to maneuver it to the
bottom of these cards. Leave the rest of the spread on the table. Grasp the left-hand
cards from above and by the ends with your right hand. Move your left hand underneath
as you momentarily square the cards. Pull down on the inner left corner of the bottom
(reversed) card with your left pinky.

Curl your left forefinger under the packet. As your right hand moves to the right,
simultaneously move your left hand to the left and down to scoop up the rest of the
cards. In the process, turn the reversed card face down by straightening your forefinger.
The card ends up more or less clipped as your thumb quickly moves alongside your
forefinger.

Continue moving the card downward towards the left end of the tabled spread and use it
to scoop up the cards. Immediately move them up and under the right-hand cards to
assemble the deck. This "righting" action takes place immediately after the magical
moment as the audience's attention relaxes. The clean up, because it appears natural
and casual, inconspicuously whizzes past.

SECOND METHOD

If using saliva puts you off, you can substitute a waxed Joker, which can be added to the
deck at an opportune moment. After the trick is over, it can be copped or palmed off.

You can also rough the faces of the entire deck. Then any card turned face up with
adhere to the face-down card above it.

THIRD METHOD

Hold the deck face down in your left hand. Secretly reverse the lower half of the deck
and obtain a left pinky break two cards above the face-up section. Spread the upper
section of cards between your Control the selection to the top. Peform a Double

Turnover to reveal an X card. Obtain a left pinky break under the top face-up card and
then perform a straight cut.

Retain the break and perform Marlo's Center Reverse to secretly turn the X card face
down. Ribbon-spread the deck to reveal the face-up selection in the center.

FOURTH METHOD

This is identical to the Third Method except that the X card is stolen into your right hand
by perform a Side Steal. The deck is then handed to the spectator to spread. Then the
X card is sleeved, vested, or placed in a pocket.

FIFTH METHOD

This is identical to the Third Method, only this time side-jog the X card to the right for
half its width. Ribbon-spread the deck face down to disclose the face-up selection. The
X card remains hidden under the spread due to the Jog Concealment Subtlety. Perform
the clean up of the First Method.

SIXTH METHOD

This is aimed at other cardmen.

Invite the spectator to select a card. After the card is noted, lift all of the cards above the
break with your right hand. Have the selection dropped onto the left-hand section.

Situation Check: The order of the cards in the left-hand section from the top should be:
selection (face down) - X card (face down) - X card (face down) - about twenty face-up
cards.

Place the right-hand cards on top and retain a left pinky break. Pretend to perform the
Pass, but actually swivel the section above the break so that it moves down and around.
Now all of the cards are face up except for the top three.

Cardmen will think that you performed the Pass. Say, "Did you see that?" Show him the
top card and openly insert it into the center of the deck. Turn the top X card face up and
add, "Let's use this card!"

Perform a Marlo Slip Cut and square the cards. As you move the deck to the table to
ribbon-spread the cards, reverse all of the cards under the top one. You are now clean
and only the selection is face up in the center.

SEVENTH METHOD

Spread the cards face down between your hands and have one selected. Say, "I'll look
at the top card of the deck." Perform the Open Reverse by taking the top two cards and
tilting them as per the mechanics explained elsewhere in this treatise. This reverses the
rest of the deck.

Take the selection and insert it face down into the center of the deck. Turn the top card
face up and say, "My card is on top and your card is in the center of the deck." Riffle the
back end of the deck upwards with your right thumb. Sight the face-down selection and
retain a left pinky break above it.

Perform the Marlo Slip Cut and perform a Half Pass under the top card as your hands
move to the table to ribbon-spread the cards.

CHAMELEON QUEENS

Effect: Two Red Queens change into black Queens and vice-versa. This is followed by
a series of bewildering transformations, capped by a transposition.

Set-up: Distribute the red Queens in the deck and place the black Queens face-to-face
on top of the deck.

FIRST PHASE

Spread the deck face up between your hands and remove the red Queens. Place them
face up onto the table. Close the spread and hold the deck face down in your left hand.
Pick up the red Queens and place them face up on top of the deck and say, "These royal
redheads are special."

As you square them, lift the top four cards, and hold them in a right-hand Biddle Grip.
Turn your left hand palm down and table the deck face up to your left. Place the four-
card packet into a left-hand dealing position.

The red Queens are still face up. Push over the Queen at the face with your left thumb
and flip it face down and injogged with your right hand.

Grasp the cards at the right side with your right hand and display both sides to show
face-to-face red Queens.

Square the cards and perform a magic gesture. Perform a Triple Turnover to show two
(?) black Queens. Use a Single Buckle or Block Pushoff to effect the multiple-card
turnover. Continue: "Now the redheads are brunettes!"

Repeat the Triple Turnover and immediately push over the top red Queen and flip it face
up. The audience once again sees red Queens. Patter: "But you know how fickle women
are about their hair? These ladies are redheads again!"

SECOND PHASE

Transfer the red Queen from the face to the bottom and injogged position, which places
the face-to-face black Queens to the center. Square the cards and make a magic pass.
Quickly push over the face Queen with your left thumb and take it into your right hand.
Use it to tap the face-down card seen in your left hand as you say, "Now the other
redhead is face down!"

Place the right-hand red Queen face up under the left-hand card(s) to apparently place
the red Queens face-to-face again. Say, "The other redhead decides it's time for some
face-to-face conversation." Keep the jogged cards in a dealing position and turn your
left hand palm-down and palm-up to apparently show both sides. The other back is
concealed by your left hand.

THIRD PHASE

Square the cards and make another magical pass over the packet. Push over the top
card and turn it face up with your right hand. Show a two-card (?) spread.

The black Queens have returned.

Firmly grip the spread cards with your right hand as your left hand turns palm down and
picks up the tabled deck. Flip the cards face down onto the deck and square up. Take
the top two cards into your right hand and hold them in a spread condition.

Tap them against the top of the deck and show their faces. Again, the Queens have
changed from black to red. As you display the red Queens, obtain a left pinky break
below the two black Queens.

FOURTH PHASE

Flip the red Queens face down onto the deck, snap your right fingers, and say, "This is
getting monotonous!" Lift the top four cards and perform a D'Amico Spread to show
black Queens.

Flip the right-hand cards face down onto the deck and quickly deal the top two cards
face down to the table. Say, "I'll place the black Queens on the table and locate the red
Queens in the deck."

Get a left pinky break under the top black Queen and perform a Double Undercut. This
maneuvers a black Queen to the bottom, leaving the other black Queen on top. Hold the
deck face down between your left thumb (on top) and fingers (underneath) in preparation
for the Hofzinser Toss.

Quickly jerk your left hand to the right and then jerk it back again. The deck will slide out
from between the top and bottom Queens, dropping face down to the table.

If you prefer, catch the deck in your right hand and table it.

Hold a Queen in each hand and slowly disclose them. Act surprised and say, "These are
the black Queens!" Toss them face up to the table and disclose the tabled red Queens to
cap the routine.

Roots: Marlo introduced this routine at the I.B.M. Convention in Louisville, Kentucky (June-1954)

DOUBLY AMBITIOUS

Effect: Two cards are buried in separate parts of the deck and repeatedly rise to the
top.

Set-Up: Arrange these cards in this order from the top of the deck: 7D-8H-X-X-X-
Seven of Hearts-Eight of Diamonds-rest of deck. Crimp the inner left corner of the
bottom card of the deck.

Method: Hold the deck in your left hand in the position used for performing in-the-hands
Faro Shuffle. Curl your right forefinger against the top of the deck. Riffle the inner right
corner of the deck with your right thumb.

As you riffle off cards in this manner, the outer end, especially the visible top corner,
does not separate, split, or open. Your left thumb, bearing down on the left side of the
deck prevents this from happening. Continue riffling until you reach the top two cards
and then retain a break on them with your right thumb.

Take these cards with your right hand, gripping them in the same manner used to
perform the D'Amico Spread. In this instance, spread the cards fairly.

Hold the cards face-up against the top of the deck and say, "Two cards." Flip them face
down onto the deck without clarifying their suits and values. Take the top card and insert
it into the center of the deck from the front end. Say, "The Seven of Hearts goes here!"
Take the next card, insert it a few cards below the protruding Seven of Diamonds and
add: "The Eight of Diamonds goes here!"

You have just miscalled the two cards, inverting the suits. Cleanly push the cards flush.
Say, "If I riffle the deck like this...” Riffle the lower corner of the deck with your right
thumb until you sight the Eight of Diamonds. Take the top five cards into position for a
D'Amico Spread.

Perform the D'Amico Spread to show the Seven of Hearts and Eight of Diamonds. Keep
the cards moving as you display them and then flip all five cards face down onto the
deck.

Take the top two X cards and insert them face down into the middle of the deck. Riffle
the lower corner again until you sight the Eight of Diamonds. This time take the top
three cards and perform another D'Amico Spread to show the Seven of Hearts and Eight
of Diamonds back on top.

Flip the cards face down onto the deck and say, "This time I'll do it differently." Deal the
top X card face down to the table and miscall it as the Eight of Diamonds. (This "plays"
because of the Buffalo'd Subtlety.) Take the next card, flash its face, and add, "The
Seven of Hearts goes into the center..."

Place the Seven of Hearts on top of the deck and perform a Straight Cut. The Seven of
Hearts is now below the crimped card. Pick up the supposed Eight of Diamonds and
place it face down on top without showing it. Say, "The Eight of Diamonds is also cut into
the deck." Cut the crimped card back to the bottom.

Table and riffle the deck, then lift off the top two cards and spread them as per the
D'Amico Spread to show the Seven of Hearts and Eight of Diamonds. Toss them face-
up to the table to cap the routine.

DOUBLY AMBITIOUS KICKER

(Howie Schwarzman)

Bill Simon’s “Double Rise” inspires this from Effective Card Magic (1952).

Effect: The magician shows the black Queens and deals them onto the table, side-by-
side. He cuts the deck and places half of the deck onto one of the Queens and the
remaining half onto the other Queen. The black Queens rise to the top of their respective
half. Each half is then turned face up to reveal red Queens at the face of each half.

Set-up: Place the four Queens in this order from the top: Queen of Hearts - Queen of
Diamonds - Queen of Spades - Queen of Clubs - rest of the deck.

Method: Hold the deck face down in your left hand. Obtain a left pinky break under the
top four Queens. Use a Pinky Count or spread them and obtain the break as the cards
are re-squared.

Lift off the top four cards and perform a D'Amico Spread with your right hand to
ostensibly show two black Queens.

Flip the cards face down onto the deck and deal the top two cards face down to the
table. Deal them side-by-side and say, "The black Queens go on the table!"

Grasp the deck from above and by the ends with your right hand, lift about half of the
deck a fraction of an inch and perform a Marlo Slip Cut as you tilt the deck backwards
and hold back the top card with your left thumb. Carry the top half of the deck to the right
with your right hand.

Turn your right hand palm up and flash the bottom (face) card but do not say anything
about this card—just show it.

Place the right-hand half face down onto the tabled card to the right. Take the remaining
half from your left hand with your right hand, turn your right hand palm up again and
flash the bottom (face) card.

Place this half face down onto the other tabled card and say, "Let's cover each black
Queen with packets."

BELIEF STATE: The audience thinks that the black Queens were dealt to the table and
each has been covered by packets.

REALITY STATE: A red Queen is at the bottom of its respective half and a black Queen
is on top of its respective half.

Snap your fingers and show that the black Queens have apparently arisen to the top.

Using both hands, turn them face up and toss them in front of the spectator.

Simultaneously grasp each half with your right and left hands, holding them from above
and by the ends (Biddle Grip). Turn your hands palm up to reveal the red Queens at the
face of each half.

The appearance of the red Queens is surprising, especially since the audience
remembers that you flashed the face of each half earlier. The displayed X cards were
subconsciously remembered. Then each half was placed onto a card supposedly a black
Queen. Everything seems copacetic. When you show that the black Queens are on top,
they incorrectly assume that the tabled cards had to actually move from bottom to top
and are no longer on the bottom. When you reveal the red Queens at the face (bottom),
it’s confusing.

Peter Duffie also used this principle of “spatial confusion” in an effect called "That
Sinking Feeling" (Obsession -1992). Further applications are likely to be devised in the
future.

TWO-CARD TRANSPOSITIONS

This material was aimed at knowledgeable cardmen and presupposes knowledge and
mastery of a Multiple Shift, the Marlo-Curry Change, and D'Amico Spread.

Effect: The Red and Black Aces transpose in a bewildering way.

Method: Cull and show the four Aces and then insert them at evenly spaced intervals in
the deck in preparation for a Multiple Shift. Marlo preferred to use the Simple Shift from
The Cardician (1953). Place the Aces so that the Red ones end up on top of the Black
ones and control them to the top.

SIMPLE SHIFT

The object of this technique is to control two, three, or four cards to the top or bottom of
the deck as they are ostensibly pushed into the deck at different positions.

Set-up: Start with the four Aces face up on the table and the deck face up in your left
hand.

Method: Pick up one of the Aces in your right hand and hold it face up by its non-index
corner with your thumb (top), first, and second fingers (underneath). Riffle down the
outer left corner of the deck with your left thumb. Release about thirty-six cards and
maintain a wide separation.

Insert the Ace into the opening and as you hold the separation open and insert the first
Ace, sight the index of the card just below the opening. Suppose it is the King of Hearts
(KH). Remember it.

Leave the Ace protruding for half its length and then move your left thumb away, losing
the break-separation.

Pick up and insert the other three Aces in the same way, only progressively space them
about eight or nine cards apart. Permit the audience to clearly see the separate
insertions and then push the Aces farther into the deck. The small pip of the Ace's
indices serve as a gauge.

Hold the deck with only your left hand. Place your forefinger onto the top end of the
outjogged Aces and press against the outer left corner with your left. This presses all
the cards of the deck together. The degree of downward pressure will be determined by
experimentation.

As the deck is gripped accordingly, push the jogged Aces into the deck. They will slide
flush with the deck, but all of the cards between them will slide out of the inner end of the
deck as an intact block.

The Plunger Principle permits this to occur. Notice that the spaces between the Aces are
visible because the cards between them have been pushed down

Grasp the deck with your right hand. Your left thumb rests against the outer left side of
the deck. Your second finger rests against the outer right side. This thumb and finger
press against the side/edges of the two center Aces and hold them in place.

Grasp the inner end of the injogged block with your right hand and then pull down and
strip the cards out to the left.

This strip-out should be quick and clean. Place the block onto the face of the left-hand
deck.

The whole sequence looks like a straight cut.

Turn the deck face down. The Aces are together below the glimpsed KH. Say, "Even
though the cards are cut, the Aces remain separated in the deck. However, sometimes
an Ace ends up near the top or bottom." Spread about six cards off of the top with your
left thumb. Take them into your right hand and show the faces to the spectator.

Take the next cards one at a time under the other right-hand cards and flash them. Stop
when you take the KH. Place the right-hand cards underneath the deck or placer them
on top, retain a break, and then perform a Double Undercut to the break. This
maneuvers the Aces to the top.

Ed Marlo finessed his Simple Shift in the following way:

Start with the Aces face down on the table with the deck held face down in a dealing
position. Pick up the first Ace and insert it as already explained. Make the insertion
about twenty cards from the bottom, but leave the Ace protruding only a quarter of an
inch. Hold the deck with the bottom (face) of the deck toward the audience.

Insert the others Aces above the first Ace, spacing them as usual. When you move the
fourth Ace into position, contact the block of cards above it with your right thumbnail.
Slide this block of about ten cards back about an eighth of an inch.

Perform the actions of the Simple Shift to push the Aces flush with the deck. Move your
right fingers back and forth across the outer end in a squaring action and then grasp the
outer end with your palm-down right hand.

Table the deck longitudinally as when getting set to perform a Riffle Shuffle. Position
your hands in readiness for a Strip-Out Cut. Hold the extreme ends. Your left thumb and
second finger grasps the "plunger-block" and your thumb and second finger grasp the
deck. The small step is negligible and unnoticed.

Strip out the Aces and the lower block with your right hand. Place the right-hand section
on top to complete the cut. The Aces are now on top.

If you like, the final cut can be a two-step, up-the-ladder cut.

Perform an in-the-hands False Cut and say, "I'll cut to the Black Aces!" Obtain a left
pinky break under the top four cards and lift them with your right hand. Perform a
D'Amico Spread to show the Black Aces.

Flip the cards face down onto the deck and deal the top two cards face down to the
table. Say, "Now I'll cut to the Red Aces!" Perform another False Cut, retaining the
Black Aces on top.

Lift them with your right hand and perform the D'Amico Spread to show the Black Aces.
Do not look at the cards as you say, "Here they are!" Once the audience reacts, look at
the Aces and add, "That's interesting! The Red Aces must be on the table!"

Reveal the Red Aces by turning them face up with your left hand, which holds the deck.
This is somewhat awkward or unnatural, but it sets up the next phase. Besides, your
right hand is holding the Black Aces. From that standpoint, it makes sense.

REPEAT PHASE

Once again insert the Aces into different parts of the deck. Contrive matters so that the
Black Aces precede the Red ones. Perform the Simple Shift and control them third,
fourth, fifth, and sixth from the top. In other words, contrive to get two indifferent cards
above them.

Perform a False Cut and say, "Again, I've cut the Black Aces to the top." Lift and spread
the top four cards by performing the D'Amico Spread to show the Black Aces. Flip the
cards face down onto the deck and deal the top two cards face down to the table.
Position them for the Marlo-Curry Change.

The Aces are still on top of the deck. Position the deck for an Overhand Shuffle. Run
the top four Aces, reversing their order, and then perform the Pick-Up Shuffle as you
shuffle off. That is, as you start the next run, secretly pick up the Aces behind the right-

hand section. Continue shuffling until you throw the Aces as a four-card block back on
top. If this approach is too daunting, perform a False Cut.

Next openly reverse the Aces on top and retain a left pinky break below them as you
say, "I sense that the Red Aces are on top!"

Lift and D'Amico Spread the top four cards to show Black Aces. Say, "Not again!" Flip
the cards face down onto the deck and immediately take the top two cards face down in
your right hand.

Move your left hand toward the tabled indifferent cards and perform the Marlo-Curry
Change as you say, "These must be the Red Aces!" The appearance of the Red Aces
will surprise magicians. Marlo suggests paying close attention to what you say and
when you say it. Transpositions become muddled if the audience is unclear about
identities and relative positions of the principal cards.

STRAIGHT PRESENTATION

Start with the cards in this order from the top: indifferent card – indifferent card - Red
Ace - Red Ace - Black Ace - Black Ace - rest of deck.

Lift and spread the top four cards to show two Red Aces by performing a D'Amico
Spread. Flip them face down and deal the two top indifferent cards face down to the
table.

Repeat the initial step to show two Black Aces, only take the top two cards of the deck
(Red Aces) face down into your right hand and say, "I'll cause the Black and Red Aces
to change places!"

Stroke the right-hand pair with your left thumb and then show that the right-hand cards
are the Red Aces. Perform the Marlo-Curry Turnover on the tabled cards to reveal the
Black Aces.

COMBINATION

This combines "Doubly Ambitious" with "Two-Card Transposition" to create a potent
synergism and surprise blow-off.

Set-up: Arrange the deck so that the Black Aces are fourth and fifth from the top and
the Red Aces are on the bottom. The indifferent card third from the bottom (face) is
crimped. The set-up is easily made as you check over the cards or apparently look for
the Black Aces.

Method: Hold the deck face down in your left hand and say, "Let me show you
something with the Black Aces!" Lift and D'Amico Spread the top five cards to show
Black Aces.

Flip the cards face down onto the deck. Take and bury the top two indifferent cards into
the center of the deck. Riffle the deck as in "Doubly Ambitious" and show the Black
Aces back on top by performing the D'Amico Spread.

Flip the cards face down and deal the top card face down and the next one (Black Ace)
face up. Drop the deck face down to the table and then place the tabled Black Ace face
down on top. Perform a Straight Cut.

Place the tabled indifferent card, supposedly the other Black Ace, face down on top of
the deck. Perform another Straight Cut and cut the crimped card to the bottom. All four
Aces are now on top.

Pick up the deck and riffle to the Black Aces. Lift and D'Amico Spread the top four cards
to show the Black Aces. Flip the cards face down on top of the deck. Deal the top two
Red Aces face down to the table. The audience thinks these that these two cards are the
Black Aces.

Say, "I'll try to locate the Red Aces." Perform a couple of False Cuts to retain the top
cards. Riffle to the Black Aces and perform a D'Amico Spread with just the top two
cards.

Act surprised when you see the Black Aces again. Reach down with your left hand and
turn the Red Aces face up as you add, "These must be the Red ones!"

Marlo advised to consistently use the hand holding the deck to turn over tabled cards.
Sometimes you perform the Marlo-Curry Change. Other times you legitimately turn cards
face up. It is important to familiarize the audience with the action and let them become
accustomed to seeing it. If you master the Change, astute observers will not be able to
distinguish the real from the fake.