The Quick-change Artists

The following short routine may stand alone or be used as a lead-in to a more elaborate four Ace
sequence. I conceived this effect as an introduction to a great card classic, Dai Vernon's
''Travelers" which together with a few other items formed my winning card act at the F1SM
World Congress in 1988. The techniques and theme used produce a very visual effect that
appeals to both the eye and the mind. As the effects take place on a vertical plane, this routine
is also suitable for formal close-up performances in front of larger audiences.
Effect
Four quick-change artists, represented by the four Queens, slowly and visibly change into
what they really are, the four Aces!
Preparation
A setup of only four cards is needed. I use this routine as the second segment of an opening
sequence, so the deck is already set when I take it from its case. From the top down the setup
reads: Ace of Spades-red Ace-face-up red Ace-balance of deck-Ace of Clubs.
This arrangement can be easily achieved right in front of the spectators. An efficient way
to reach this position in an impromptu setting would be to bring the Aces to the top-perhaps
with a spread cull in order from the top of the deck down:
Clubs-Spades-red-red. This can be done during the performance of a previous effect or in
a moment of relaxation.
Obtain a break below the four top cards and, using the K M. move secretly tum the lowermost red Ace of the
packet face up on the deck and immediately replace the other three Aces face down on top. Cut the top Ace to
the bottom using the bluff cut or a double or triple cut.
Construction, Management and Script
Either use the four Queens in the previous effect or take them from the deck They should
rest face up on the table in a row from left to right The deck, with the Aces in place as just
described, is held in left-hand dealing position.
Introduce the theme along these lines: ''You probably think these cards resting here are
Queens. Actually they are not Queens, but quick-change artists. They seem to be Queens,
but-for instance, this card ... “With your right hand, pick up the Queen of Spades. As this
hand moves forward, the left little finger obtains a break below the top card of the deck, the
Ace of Spades. Turn the face-up Queen of Spades face down as follows: Place the four fingers of the right
hand onto the face of the card as the thumb lifts up the left
side. Now simply continue the natural movement of turning the card face down sidewise.
Snap the back of the card against your left thumb as you continue: " ... does look like the
Queen of Spades and the back, and it looks like the Queen of Spades on the face." Flip the
Queen of Spades face up onto the deck The left little finger now holds a break below two
back-to-back cards (the Queen and Ace of Spaces) in readiness for the flip-flop change.

Grasp the double card, the right thumb

above and the first two fingers below Immediately draw the double to the right as
you say, ''It takes the Queen exactly-three seconds ... "
. Simultaneously tum the left hand palm
down and catch the right hand's double card
square beneath the deck while releasing
the right hand's grip on it This is the same
movement you would make when looking
at your wrist watch, and that is exactly
what you do. With your right index finger,
point to your watch, providing the outward
motivation for the right hand to release its
card. You have been looking at your hands while doing this.

. Now raise your eyes, following the right hand

as it stretches out three fingers, and look
at the audience through the three spread
fingers, saying, '~ .. to turn into what it really
is-the Ace of Spades!" As you make this
surprising claim, tum your left hand back
up to normal dealing position, exposing the
Ace of Spades-but you are still looking
into the audience. It is only after finishing the
sentence that you look down at the changed
card, drawing everyone's attention to the
magical change that has occurred.

The most important factor in the execution of this change is the gaze. If correctly managed,
the transformation is quite surprising.
 With your right hand, deal the Ace of Spades
onto the table. After the strong moment
created by the effect, a few seconds of
relaxation occurs. Use this time to side slip
the bottom Ace of Clubs quietly to the top
of the deck. However, rather than taking the Ace into classic palm
for the transfer, I grip it between the base of
the right little finger at the outer right comer
and the thumb at the inner left comer.
The illustration shows a dead man's view.

. The Ace is then brought to the top in a casual

squaring action. If anyone is watching you at
this moment, it appears as if you are casually
squaring the ends of the deck.
With your right hand, pick up the Queen of Clubs and hold it at its inner right comer, thumb
on the back, second and third fingers on the face, face toward the audience. As you say, "The
Queen of clubs even faster. It changes in mid-air!" execute the fadeaway card change
After effecting the transformation of the Queen of Clubs to the Ace, you display the Ace and
then deposit it face up on the table.
In the interval of relaxation that naturally follows this change, casually transfer the top two
cards of the deck to the bottom, using a bluff cut or a double undercut This leaves the two
red Aces face to face on top of the deck, ready to be used for the paintbrush color change.
With the right hand, pick up the remaining two red Queens and hold them face up. Using this
action as misdirection, obtain a left little-finger break below the two face-to-face cards on top
of the deck Because of the natural bow in the cards this is easily done by pressing your left
thumb lightly on the outer left edge of the deck.

You are now going to load these two cards below the red Queens. "The red Queens that
is, the Queen of Hearts and the Queen
of Diamonds ... “As you say this, the right
hand thumbs the upper Queen-assume it
to be the Queen of Hearts-onto the deck,
so that the right hand can tap the Queen
of Hearts with the remaining Queen of Diamonds in a pointing gesture.

Immediately place the Queen of Diamonds

onto the Queen of Hearts, jogged slightly
to the right, so that the right forefinger can
point to the Queen of Diamonds.

It is vital to observe the timing and the importance given to these actions. Do not put the
Queens square on the deck, as this always gives the impression that they are being placed
there for a purpose. It is like saying, "Ready-set-go!" Each placement of the Queen on the
deck happens as an in-transit action (Volume 2, page 457) and has been given an apparent reason by simply
pointing at them, using the correct timing.
 Look up at the audience as you bring
your right hand over the deck in end
grip
position...

... and pick up all four cards above the

break,
squaring them against the left thumb in a
smooth and natural action.

Show the packet, which supposedly consists just of the two red Queens, casually on both
sides. With your left thumb, draw the upper Queen (the Queen of Diamonds) squarely onto
the deck Then slide the right thumb along the face of the triple card, changing your grasp from end grip to a pinch
grip.
 Immediately start to brush the face of the
Queen of Diamonds with the outer end
of the right hands triple card. Make the
strokes diagonally, from outer right to inner
left, rather than square over the deck Your
narrative continues: " ... They need special
treatment. They like to be caressed."

After a couple of these brushing actions

you perform the color change: As the right
hand brings its triple card momentarily
over the deck, the right thumb pushes
off the lower two cards and leaves them
square on the deck It is only now that the
Queen of Diamonds, which was resting in
an unsquared condition on top of the deck,
is squared together with the cards received
from the right hand. Study these actions very
carefully. It is difficult to explain, but this
handling adds tremendously to the visual
impact of the change.

The right hand immediately turns its card face toward the audience, revealing a red Ace,
as the left thumb pushes the top card of the deck (the other red Ace) into a position that
should resemble as closely as possible that the Queen of Diamonds occupied just before
the transformation. Hold this position for at least three seconds, to give the audience time to
notice and appreciate the change. Then deal both cards face up onto the table.
The reason you make several brushing actions is to focus all attention on the cards when the
transformation occurs. If the change were done on the first brush, the audience's attention
would be less focused on the cards, and consequently the effect would be diminished.
All that remains is to clean up the deck You can use the K M. move for this, or cut the top two
cards to the bottom, then right the reversed one with a Christ twist or
some other technique that achieves the same purpose. The best thing, of course, is to make
clever use of the faced card in a subsequent effect Choose an approach that best suits the
circumstances.

Final Notes
1. To produce the Aces at the beginning 2. The order of the Queens in the setup
of this routine, I suggest you use an does not matter on a technical level. It
opener in which the order of the is used purely for visual and dramatic
deck, or at least the order of the top reasons. It is good to have the Ace of
stock, is not disturbed. In this way the Spades appear first, because it has the
implementation of the setup is delayed greatest visual impact. At the end it is
and therefore more deceptive. For this good to have two Queens of the same
purpose I favor "Thompson's Aces" color, as this focuses the visual impact
rather than blurring it
 Enjoy!
From The Magic Man