Double Sandwich

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Postby stevebo » Jan 20th, '06, 01:26



Mahoney wrote:I just wonder how the spectator perceives it though; isn't there a danger of looking a bit cocky?


Never happens to me. Just makes me look like I'm showing off, which I am lol. I just say, I like to do a bit of fancy shuffles between.

Also, I've got replies like "I'm impressed by this already" when I do flourishes.

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Postby ace of kev » Jan 20th, '06, 09:20

Nice video Kati!

I didn't see anything wrong with it, except I didn't have a clue what was going on in the last section :lol:

Well done :D

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Postby katrielalex » Jan 20th, '06, 09:26

Thanks all for the compliments on the flourishes - to be honest I wasn't expecting much about them as they seem pretty normal to me 8).

I think a bit of well-placed patter might be in order on the second phase just to clarify it a bit...e.g. the selection will jump between the kings, well, I got a few more cards too!

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Postby ace of kev » Jan 20th, '06, 09:33

:lol: Yeah

Or how about their chosen card appears face up in the deck, with all the other cards sandwiched???

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Postby seige » Jan 20th, '06, 11:47

I've been thinking about phase one of the routine, and how I mentioned that I thought the card was revealed too soon... (sorry!)

Well, hows about the Kings are shown—and instead of being tabled—they are squared and given to the spectator (obviously, with the selection inside).

The speccy holds them tightly and after the flourishes, you could mention how the deck feels lighter (or some such nonsesense ;)). Voila—in their hands, the Kings have found the card!

Phase 2...

I agree with Kev—the Bannon routine could be changed slightly to make more sense to the spectator... the Bannon routine relies on patter, but a more visual version could easily be performed...

If the card were turned over (could be done with a pass, etc) and cut to the CENTRE of the deck, rather than to the bottom, then when the final spread is done, 3 cards remain face-up.

Just thoughts ;)

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Postby katrielalex » Jan 20th, '06, 16:18

Phase 1: I like your idea - I will have to try it tomorrow ;).

Phase 2: Actually, that makes it quite easy. If I used the LePaul Centre Reverse (very obvious from the front but that's what misdirection's for, right?) then I wouldn't have to control the selection at all. I will definitely try that.

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Postby matt27689 » Jan 27th, '06, 00:14

Can I ask what DVD teaches this cut, and other cuts like this?

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Postby katrielalex » Jan 27th, '06, 00:19

The cuts I used (didn't I say this already) were:

  1. Trinary Cut - taught on Born to Perform
  2. Charlier Cut - taught everywhere
  3. KatiKut - not taught anywhere because I invented it! There is a video tutorial in the works - give me a week or so...
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Postby matt27689 » Jan 27th, '06, 00:39

What other DVDs teach cuts like this?

Butterfly cut.. other passes and other false cuts.

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Postby katrielalex » Jan 27th, '06, 09:17

You mean just flourishes in general?

Although I don't have it, XB (Xtreme Beginnerz) has got consistenly good reviews and opinions from members of this forum. It's available from Ellusionist.

If you just want a few useful flourishes have a look at Born to Perform if you haven't already. It's a beginners DVD that starts with the very basics (breaks, grips) and goes on to some great flourishes and some brilliant effects.

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Postby matt27689 » Jan 27th, '06, 16:00

I got XB a couple of weeks ago. Guess I'll buy it. :) Is it another US only DVD?

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Postby seige » Jan 31st, '06, 13:19

I've just had another thought about sandwich effects, and how to 'finish' or 'start' them, to make sense...

Paul Harris has a fantastic illusion called 'air of mystery', in which an entire deck of cards vanishes from between the two jokers, and re-appears inside the box.

I am wondering if this effect could be the prelude to an ambitious card routine... here's the description from his book:

Paul Harris wrote:You comment that, Just like the heads of Las Vegas women, a pack of cards consists of ninety percent air. The entire deck is still seen in your hands as you squash your hands around it. The deck, still visible as the hands squash together, instantly disappear . . . leaving behind only an air of mystery. There is no palming, lapping, or pitting. The raw nerve impact of the vanish transcends sleight-of-hand and borders on the seriously weird.


But, with a little adaption, the effect plays as I described.

It's a bold introduction to the sandwich effects, and truly would get the spectator's interest. Plus, the entire deck which re-appears in the box is ungimmicked, so you could go straight into something else!

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