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SYNERGISTIC SANDWICHES: Six Sandwiches In A Single Sitting by

Jon Racherbaumer

copyright 1991 by Jon Racherbaumer and Louis Falanga

SYNERGISTIC SANDWICHES: Six Sandwiches In A Single Sitting by

Jon Racherbaumer

copyright 1991 by Jon Racherbaumer and Louis Falanga

INTRODUCTION Sandwich tricks are popular with cardmen, but they are nothing more than glorified locations. A selection is not only found, it's found at a specific place: between two other cards. From a commercial point of view, this is not stunning effect. If you add some juggling and derring-do (like Daryl or Comte), it can be eye-arresting. Otherwise, the effect is a puzzling, mechanical problem. The best way to present these stunts to the public is in a rapid-fire, successive way. One should follow the other in a logical, progressive way. Each phase should be stronger, and the overall impression should have impact and memorableness. Recently, Geoff Latta and Dave Solomon published synergistic sandwich routines. Both are interesting and challenging to learn. Solomon presented his combinatorial effort at the Abbott's Close-up Convention (1991), and Harry Levine (trade-show virtuoso) personally demonstrated Latta's routine for me. It's patter approach is praiseworthy. My own synergistic effort was introduced at the same Abbott's convention. There are six sandwiches, but the last phase is a ftboggler.M It's based on the Hull Version or time-dislocation effect. Eric Eicher, a fine cardman, sent me his three-phase sandwich routine which features this powerful blow-off. If you learn this routine, you have something to show the laity - something they'll talk about and remember.

Jon Racherbaumer March -1991

• 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 F. 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). (Note the similiarity between names. Coincidence?) I also pointed out that the effect was more MANIPULATIVE than magical. Furthermore, we can assume that the sandwich-effect evolved from a simple location effect where a selection ends up NEXT to a face-up locator-card. The sandwich notion of using TWO face-up cards cancels the contingency option. That is, the magician cannot take either face-down card straddling a face-up locator-card. The location in a sandwich is SPECIFIC and UNAMBIGUOUS. This initial sandwich is blatantly manipulative. The audience knows that you're maneuvering their selection between two faceup Jacks. However, they don't see exactly how it's possible considering the speed and conditions. It is Mario's Second Method of "More Deuce Sandwiches" (THE NEW TOPS: May, 1968). WORK: Begin by openly removing the Black Jacks. Table them face-up. Then have the FIRST SPECTATOR select a card. Control it to the top. The most efficient method is to use a Spectator Peek and control it via a Side Steal.

FIRST SANDWICH

1) Openly place the Black Jacks 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 corner with your right forefinger for the stop-utterance. 2) 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, 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. 3) Perform Mario's Cover-Up Cut. Briefly: Thumb over the top face-up Jack to momentarily show the Jacks 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. 4) Undercut all the cards below your pinky break with your left hand and transfer this section to the TOP. Almost immediately do a Straight Cut; however, make it a Mario Slip Cut as your left thumb holds back the top card. This top card COVERS the face-up Jack that otherwise would be exposed during this cut. (Tilt back the deck during the Slip Cut to provide additional cover.) 5) Do another Straight Cut and table the deck. The peeked selection is BETWEEN the two face-up Black Jacks in the center of the deck. Ribbon-spread the deck to reveal the first sandwich. The FIRST SELECTION is just below the lowermost face-up Jack, perfectly positioned for the Marlo-Kosky Change.

• SECOND SANDWICH This is Mario's "Bluff Sandwich" from THE LAST HIEROPHANT (June -1980). 1) Take the FIRST SELECTION from between the face-up Jacks and place it into the deck. Quickly shuffle the deck, then place the Jacks face-up on top. In the process, get a left pinky break under the top card of the deck. Say, "The Jacks will stay on top of the deck..." 2) As you utter this innocuous line, load the top X-card between the Jacks via Mario'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 Jack into your left hand and place it under the right-hand card(s). Replace the right-hand cards on top of the deck. 3) Hold the deck face-down in a left-hand dealing position. Riffle down the outer left corner of the deck with your left thumb. Say, "I want someone to select another card by stopping me during this riffling action." 4) Stop about midpoint by way of demonstration. Lift off the upper section with your right hand, then RAISE BOTH HANDS and tilt each section backwards so that they're PERPENDICULAR to the floor. The right-hand section, held in Biddle Grip, is directly above the left-hand portion. 5) Point to the face (bottom) card of the right-hand portion with your extended left forefinger. Say, "If you had stopped me here, you will note and remember THIS card..." These actions set the stage for the Mock Action. 6) Lower both hands and assemble 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 in Step 4. This broader movement lets you alter the conditions.

7) Instead of lifting off the entire upper section, remove only the two cards above the break. Since the left-hand cards (almost an entire deck) and the right-hand pair are held in perpendicular positions, the spectator does not see thicknesses. He sees surfaces. His attention will be on the face of the supposed selection. Only a portion of the deck's bottom card is exposed in your gesturing left hand. 8) Unbeknownst to the spectator, he is selecting a card ALREADY between the face-up Jacks. Patter: "Please remember this card..." REVERSE the actions of Step 7 as you simultaneously lower both hands 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 deck...exactly where is anybody's guess." 9) Immediately table the deck and press on the center of the top face-up Jack with your right forefinger. Say, "This turns the trick!" Delicately spread the top three cards with the same forefinger and ask the spectator to name and check the face-down card between the face-up Jacks.

• THIRD SANDWICH

This method was shown to me by Mario in 1970. In my notes it's dubbed "The Submarine Sandwich" and is was slated to appear in my M-U-M column, "At The Table." Before it was published, however, Frank Simon independently devised a similiar method and published it in his book. Consequently, Mario concedes credit to Frank Simon. It provides a refreshing departure from conventional sandwich effects. At this point in the routine, it adds a novel, visual aspect. WORK: 1) Remove the THIRD SELECTION from between the Jacks and add it to the deck. Say, "This time the Black Jacks are placed face-up near the bottom of the deck..." Insert both Jacks together about twelve cards from the bottom (face). 2) Momentarily square the deck, then slowly begin spreading cards face-down between your hands. Say, "Please touch the back of any card." Time your patter and spreading so that the spectator touches a card in the center section (positions 20-40). 3) Execute Mario's "Convincing Control" as you raise the spread to reveal the selection, then lower the spread and apparently outjog it (in situ). In reality, you outjog an X-card and run the selection UNDER THE SPREAD. 4) With your hands lowered and the backs showing, continue spreading cards until you reach the face-up Jacks. Upjog the first Jack, then the next. In the process, load the selection between the Jacks. (The selection remains aligned with the deck. Only the

Black Jacks are jogged; however, the upper end of the selection is betweenthc Jacks.) 5) Close the spread and square the sides. Hold the deck by the sides with your left hand and tap the lower end to neatly square the deck. Then push the three outjogged cards inward until about half their length remains protruding. Also, square the outer ends of all three cards until they're perfectly aligned. 6) At this stage, the selection in set for a PLUNGER disclosure. Hold the deck face-down in your left hand. Point out that the outjogged selection(?) and Jacks are in different positions. 7) Extend your left forefinger and move its tip to the top ends of all three cards. Simultaneously push these cards downward and flush with the deck. Because of the plunger "condition," the Jacks will push out selection down and out of the lower endoi the deck. 8) As soon as the selection comes into view, spread the deck face-down between your hands to reveal the IN-JOGGED SANDWICH. Let the three-cards drop to the table, then reveal the selection between the Jacks.

• ROAD-RUNNER SEVENS ( Racherbaumer - Eicher)

Eric Eicher sent me a three-phase sandwich routine in March of 1989. The beguiling feature of his combinatorial routine is its integration of what's now called the Hull Version. Eicher was initially inspired by Peter Duffie's "Signus XII" from CLOSE-UP TO THE POINT (1984), but everything came together when he learned "Olram Catches A Card" which uses a technique from Mario's "Jumping Jacks." So much for history, except to add that Eicher calls his routine "Fast/Faster/Fastest." The narrative hook is the subject of "speed." Each time you trap the same signed selection, the expediency factor is increased until (as Eicher says) the sandwich-cards "find the selection before it was even your card\" This really whacks them! THE WORK: 1) Contrive to get the Red Sevens and the 6D to the face of the deck in the following order (from the face): 7D - 7H - 6D. Explain that you're going to show them something strange and wonderful with the Red Sevens or the Roadrunner Sevens - the fastest cards in the deck. 2) Grasp all three cards from above and by the ends with your right hand. Get the deck face-down in your left hand and get a left pinky break under the top card. Show the Red Sevens and do the switch-out technique of Mario's Atfus. This puts the 7D face-up under the top card of the deck and leaves you with two face-up cards (7H - 6D) in your right hand. 3) 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 corner between your right thumb (below) and first/second fingers (above).

4) Rotate your right hand palm up and spread the cards slightly. The cards are now face-down. However, if you tilt them to flash the faces, the spectators apparently see the Red Sevens. After this "flash" drop the pair face-down to your right. 5) Get a left pinky break under the top card of the deck. Then undercut about half the deck and immediately start spreading them as you say, "I want you to select a card..." Stop spreading and quickly close the spread (as though you had forgotten something). Retain the break throughout this interlude. 6) Reach over with your right hand and grasp all the cards above the break as you say, "Oh, I forgot....I need to take out a card for later on..." As you lift off the right-hand section, turn your left hand palm down and casually thumb off the reversed 7D. It drops face-down onto the table. This is discrepant, but it looks copacetic. The audience will focus on the dealt card. As soon as the 7D drops to the table, turn your left hand palm up and reassemble the deck. 7) 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. 8) While the spectator is busy signing the card, 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. 9) Contact the top card of the lower half with your right thumb tip as shown. Then slide the upper halfback until it's aligned with the lower half. In the process, your right thumb injogs an X card. 10) Reach for the signed selection with your right hand as your left hand does a One-hand Tilt (KABBALA THREE). The misdirection is perfect. 11) Apparently insert the selection into the middle of the deck. Push the selection flush with the deck, then 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 see the injogged X card and think it's the selection. Patter: "Your

signed selection goes into the center of the deck..." Cleanly push the X card flush. 12) Turn the deck face-up in your left hand. Pick up the lowermost card (7H) of the tabled pair with your right hand. Flash its face and place it face-down onto the face-up deck. Retain a left pinky break below it, then Double-Cut it to the back. 13) Say, "We lose one of the Red Sevens into the deck. The remaining Red Seven goes on the face." Secure a left pinky break above the bottom three cards (7H - X - selection). Use Mario's Kick-Count or Buckle-Break. Place the 6D face-down on top (face) of the deck without showing it. 14) 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. 15) Show your left hand empty and replace the deck in your left hand, regaining the preliminary condition of Step 13. You're set to immediately do the "sudden sandwich" of Mario's "Jumping Jacks." (This is a precursor of the 3-Card Catch and its ancestors.) Briefly, this is the action: Using the same one-hand action used in Mario's Ace-Cutting, jerk your left hand to the left. Retain the three bottom cards, plus hold back the top card with your left thumb. The rest of the deck drops onto the table and your left hand holds a squared, four-card packet. The order of these four cards from the top is: 6D (face-down) - selection (face-up) - X card (face-up) - 7H (face-down). Turn the tabled deckface-down with your right hand. 16) You can do a Single Buckle Spread to show the sandwich, but the following spread is better. Push over the top card 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 (7H) with your left fingers. The ends of the cards are aligned. The audience sees the face-up selection between two face-down cards. (Finesse: 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 side. This is another Mario handling.) 17) Once you've exposed and revealed the selection, you can flash the other side of the sandwich by using this finesse to "kill" the 6D index. Place your right pinky under the outer right corner (as though clipping this corner between your right third and pinky fingers). When you rotate your right hand palm up, the 6D index is hidden from view. Everything looks copacetic. 18) Say, 'That was fairly quick! The Red Sevens caught your _!" Square the cards and turn them over and into your left hand. The audience sees the 7H. Slide it back to an injogged position, then do the Christ-Annemann Alignment Move to outjog the supposed selection. In reality, the X card is outjogged. The selection remains between the 7H and 6D. 19) Remove the face-down X card with your right hand and place it on top of the face-down deck. Ask the spectator to give the deck a Straight Cut. Say, "Once again, bury your card in the middle of the deck!" 20) As the spectator cuts the deck, transfer the sandwich-cards to your right hand. Hold the packet at its right side between your right thumb (top) and first/second fingers (underneath). Now you're set to do Mario's Pinchers Move. 21) 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 pushoff of the Elmsley Count. 22) Wave the packet over the deck, then slide the top card to the right with your right thumb. This instantly exposes the face-up selection. If done properly, the selection magically pops into view. Say, "The first time was fast, but this time it's even/aster/!" (Eicher approach) 23) At this stage there are several ways to go. For example, a K.M. 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're placing the selection back into the deck. You cannot afford to be cheeky. 24) Casually turn the selection face-down in situ. Casually reverse-count the three cards. Say, "Not bad, considering only three cards are used..." Reverse-count them again. The selection remains in the center, but the casually mixing confuses the audience about the selection's position. 25) Do your best Double Turnover to show the selection. Say, "Watch your card closely. Once again its placed into the deck." Do another Double Turnover and immediately deal the top card (6D) face-down onto the deck. Give the deck a Straight Cut with your right hand. 26) Hold 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 7H as you say, "Place your hands over the deck..." 27) Turn your right hand palm down and take the lowermost card of the pair face-down into your left hand. You're now set to do the Hamman, Mario, Racherbaumer, or (Trevor) Lewis Sandwich Card Switches. That is, you take a single card between two other cards. Then you switch the center card for one of the outside cards. In this case, the tabled (unknown) card is the 7D, whereas your right hand holds the SELECTION and your left hand holds the 7H. The spectators think you're holding the Red Sevens in your hands. 28) To keep this brief, the following switch is mine from "This Sandwich Has No Future." Replace the right-hand card (selection) onto the left-hand card and keep them spread. Say, "Remember the card we placed aside before we started?" Slowly pick up the unknown-card with your right hand and fairly insert it between the left-hand pair. 29) Say, "This is called 'making a Poor Man's sandwich.' It's done openly and without fanfare." At this stage, you need a little distraction to cover a secret displacement. Hold the three-card spread with your right hand - thumb on top, fingers below.

30) Slide out the lowermost card (7H) with your left hand, move it forward and turn it face-up. Attention will be focussed on this turnover. At this instant, push the uppermost card of the righthand pair to the left. 31) Replace theface-up 7H onto the uppermost right-hand card, side-jogging it to the left. Grip the three-card spread with your left hand, then slide out the lowermost card (7D) with your right hand, turn it face-up and replace it. Everything looks copacetic, even though the spread is reversed and the cards overlap in an opposite direction. Because the spectators see the two Red Sevens straddling a face-down card, everything looks normal. However, unbeknownst to them, the selection is already between the Sevens. 32) Say, "Now here's the strange part. You can't get any faster than this! Your selection is between the Sevens before we begin. Confusing, isn't it? It's like the man who left on the following day." This is a good example of synergistic routine-making.