Entourage: A Card Trick: Magic Tricks

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ENTOURAGE th upper on rnakcs that situation known to y u. Ji r t h e sake of this explana ti n, th /QC double-facer starts on t p, a nd th QH/QD double­ facer starts on th b tt m.

EFFECT

After naming any one of the queens, a spectator mysteriously divines its position among four face-down cards. As an additional clímax, all the other cards are shown to be jokers.

going to prepare for your upcoming revelation of the named queen. First, transfer the packet from hand to hand so that the suit chosen by the spectator is at the outer end of the packet though obviously still hidden (Fig. 3).

PERFORMANCE

Spread the packet (Fig. 1).

PROPERTIES: You are supplied with

doubled-faced QH-QD/Joker and QS­ QC/Joker cards, as well as with four regular jokers. On the double-facers, note that the upper ends of the jokers are oriented with the heart and spade ends of the queens on the other side, helping you keep track of which suits are where. You will also notice that as an additional visual check, both the wheels of the bicycle on the QS­ QC/Joker are missing a spoke. If you end up revealing the wrong suit, there's really no out, so these checks will help you be certain you're ready with the right card in the right position.

This is called Entourage... Close the packet and hold it with one of its long sides facing out (Fig. 2). (Notice that in the case of our QS example the packet will end up with the jokers oriented so they're upside clown for the spectators.)

FIGURE 2

In a moment this will allow your other hand to take it with either of its short ends facing out. Make sure you know which joker is on top.

SET-UP:

The four jokers are face clown between the two double-faced cards, which are joker-side up (Fig. 1).

FIGURE 6

Under the guise of fairly showing each card, this will bring the top joker to the bottom.

Now that you've adjusted the orienta­ tion of the packet, you're going to make sure that the double-faced card showing the selection is on the bottom. If it's there already simply spread the packet from left to right and pull out the middle face-down cards about three inches (Fig. 4).

Once rehearsed, both sequences are actually rather simple, and the appro­ priate one should be over as soon as you finish saying:

Right now, she could be anywhere between these two royal guards... Once you've extended the four face­ down cards, continue:

... and the most important part of it happens right now. [Look at a spectator.] Would you mind helping out? [The spectator replies.] Thanlcs.

... but-without looking-we're going to remove three of the Jace-down cards so that she 's the only one left.

You 're going to name any one of the queens-hearts, spades, diamonds, or clubs-and to rnake sure it 's real/y your own choice, you should /:ake your time, and even cha.nge you r mind if you want. So, go ahead... na.m.e any one of the queens.

FIGURE 1

[For thi explanati n, w '11 assume that the qu n f spad s is named.]

The heads of all the jokers, both the face-up ones and the face-down ones, should be oriented in the same direc­ tion. It makes no difference which double-faced card starts at the top and which starts on the bottom, as long as the presence or absence of spokes on

Is l:ha.t your final d cision? All right, by choosing he1� yo u 'v now made the queen of spa.des the mosl: irnportant one of all. As you say th 1

line to follow, you're

Look at the spectator.

So, if you would, put one out hand lilce a table. Thanks. [To facilitate the upcoming sequence, gently move the spectator's hand clown as low as seems comfortable. If it's already reasonably low, do nothing.]

FIGURE 4

But if-as in our example-it's on top, count each card in the packet from right to left, reversing their order while positioning the face-down cards about three inches out from the others (Figs.

With your other hand, touch the first one we 're going to remove. Withdraw the first choice onto the

5-6). 2

ENTOURAGE th upper on rnakcs that situation known to y u. Ji r t h e sake of this explana ti n, th /QC double-facer starts on t p, a nd th QH/QD double­ facer starts on th b tt m.

EFFECT

After naming any one of the queens, a spectator mysteriously divines its position among four face-down cards. As an additional clímax, all the other cards are shown to be jokers.

going to prepare for your upcoming revelation of the named queen. First, transfer the packet from hand to hand so that the suit chosen by the spectator is at the outer end of the packet though obviously still hidden (Fig. 3).

PERFORMANCE

Spread the packet (Fig. 1).

PROPERTIES: You are supplied with

doubled-faced QH-QD/Joker and QS­ QC/Joker cards, as well as with four regular jokers. On the double-facers, note that the upper ends of the jokers are oriented with the heart and spade ends of the queens on the other side, helping you keep track of which suits are where. You will also notice that as an additional visual check, both the wheels of the bicycle on the QS­ QC/Joker are missing a spoke. If you end up revealing the wrong suit, there's really no out, so these checks will help you be certain you're ready with the right card in the right position.

This is called Entourage... Close the packet and hold it with one of its long sides facing out (Fig. 2). (Notice that in the case of our QS example the packet will end up with the jokers oriented so they're upside clown for the spectators.)

FIGURE 2

In a moment this will allow your other hand to take it with either of its short ends facing out. Make sure you know which joker is on top.

SET-UP:

The four jokers are face clown between the two double-faced cards, which are joker-side up (Fig. 1).

FIGURE 6

Under the guise of fairly showing each card, this will bring the top joker to the bottom.

Now that you've adjusted the orienta­ tion of the packet, you're going to make sure that the double-faced card showing the selection is on the bottom. If it's there already simply spread the packet from left to right and pull out the middle face-down cards about three inches (Fig. 4).

Once rehearsed, both sequences are actually rather simple, and the appro­ priate one should be over as soon as you finish saying:

Right now, she could be anywhere between these two royal guards... Once you've extended the four face­ down cards, continue:

... and the most important part of it happens right now. [Look at a spectator.] Would you mind helping out? [The spectator replies.] Thanlcs.

... but-without looking-we're going to remove three of the Jace-down cards so that she 's the only one left.

You 're going to name any one of the queens-hearts, spades, diamonds, or clubs-and to rnake sure it 's real/y your own choice, you should /:ake your time, and even cha.nge you r mind if you want. So, go ahead... na.m.e any one of the queens.

FIGURE 1

[For thi explanati n, w '11 assume that the qu n f spad s is named.]

The heads of all the jokers, both the face-up ones and the face-down ones, should be oriented in the same direc­ tion. It makes no difference which double-faced card starts at the top and which starts on the bottom, as long as the presence or absence of spokes on

Is l:ha.t your final d cision? All right, by choosing he1� yo u 'v now made the queen of spa.des the mosl: irnportant one of all. As you say th 1

line to follow, you're

Look at the spectator.

So, if you would, put one out hand lilce a table. Thanks. [To facilitate the upcoming sequence, gently move the spectator's hand clown as low as seems comfortable. If it's already reasonably low, do nothing.]

FIGURE 4

But if-as in our example-it's on top, count each card in the packet from right to left, reversing their order while positioning the face-down cards about three inches out from the others (Figs.

With your other hand, touch the first one we 're going to remove. Withdraw the first choice onto the

5-6). 2

spectator's hand (Fig. 7).

card.) From my own experience, I can promise that if you perform these checks too quickly-or not at all-you will end up making mistakes.

So now we 're down to only one card­ which, as promised, ... While apparen tly flipping the remain­ ing face-down card face up, you will actually turn over the apparent joker b neatb i.t at the same time, bringing the chosen gueen into view. Though deceptive, this move works best with as much misdirection as possible.

FIGURE 7

Now touch the second one we're going to remove.

sideration is to not exhibit tension or fussiness; Fig. 10 gives an example of an acceptable misalignment.

...is the most important one of all, the.

. .

Look up expectantly. As the spectator completes the card's name, flip the two cards over as one as naturally as possible (Figs. 11-12).

FIGURE 13

moving it with your right hand-which still holds the uppermost joker-up to wbere the face-down card had been (Fig. 14).

To start with, pin tbe face-down card in place with your left thumb and move your right hand-holding the upper­ most joker-up to grip the face-down card (Fig. 9).

Withdraw the second choice onto the first one.

All right, we 're down to the final two­ always a tense mament. Touch the last one we're going to remove. [The spectator makes the final choice.] Is that your final decision? Withdraw the third choice onto the first two (Fig. 8).

Move the face-down card diagonally down to come into alignment with the lowermost joker (Fig. 10). FIGURE 8

(Alternatively, use your left thumb alone, pushing the double-facer diago­ nally up to the right.) During the turnover portian of this sequence, keep the joker in your right hand close enough to obscure any front or side view of the queen's other index, but once again avoid any overly tense or tight handling. Even if there's a flash of the other index, it's highly unlikely to be noticed by even the sharpest eye, especially with all focus being on the spectator's naming the queen. Indeed, your own eyes should stay on the spectator's face until the queen has reached its extended position.

FIGURE 12

You can experiment to see how quickly you should move through this sequence to best maintain the illusion that only the top, face-down card is being turned over. Sorne may prefer the alignment and turnover to blend together fluidly; others may want to separate them with a distinct pause. ·

As you do, block out all other thoughts and double-check that the uppermost joker isn't the one with the chosen queen on the other side. (If it is, you need to reverse the order of the three cards.) Then, maintaining absolute focus, make sure the lowermost joker is pointing in the appropriate direction to reveal the chosen queen. (If it's not, you need to square the packet, casually rotate it 180°, and then re-extend the remaining face-down

The spectator says:

FIGURE 1 0

. . .

queen of spades.

As the queen side of the double-facer comes into view, use your left thumb to immediately push it off to the right (Fig. 13),

It's best if the cards are perfectly squared, but the most important con3

W hile allowing a few seconds for your 4

spectator's hand (Fig. 7).

card.) From my own experience, I can promise that if you perform these checks too quickly-or not at all-you will end up making mistakes.

So now we 're down to only one card­ which, as promised, ... While apparen tly flipping the remain­ ing face-down card face up, you will actually turn over the apparent joker b neatb i.t at the same time, bringing the chosen gueen into view. Though deceptive, this move works best with as much misdirection as possible.

FIGURE 7

Now touch the second one we're going to remove.

sideration is to not exhibit tension or fussiness; Fig. 10 gives an example of an acceptable misalignment.

...is the most important one of all, the.

. .

Look up expectantly. As the spectator completes the card's name, flip the two cards over as one as naturally as possible (Figs. 11-12).

FIGURE 13

moving it with your right hand-which still holds the uppermost joker-up to wbere the face-down card had been (Fig. 14).

To start with, pin tbe face-down card in place with your left thumb and move your right hand-holding the upper­ most joker-up to grip the face-down card (Fig. 9).

Withdraw the second choice onto the first one.

All right, we 're down to the final two­ always a tense mament. Touch the last one we're going to remove. [The spectator makes the final choice.] Is that your final decision? Withdraw the third choice onto the first two (Fig. 8).

Move the face-down card diagonally down to come into alignment with the lowermost joker (Fig. 10). FIGURE 8

(Alternatively, use your left thumb alone, pushing the double-facer diago­ nally up to the right.) During the turnover portian of this sequence, keep the joker in your right hand close enough to obscure any front or side view of the queen's other index, but once again avoid any overly tense or tight handling. Even if there's a flash of the other index, it's highly unlikely to be noticed by even the sharpest eye, especially with all focus being on the spectator's naming the queen. Indeed, your own eyes should stay on the spectator's face until the queen has reached its extended position.

FIGURE 12

You can experiment to see how quickly you should move through this sequence to best maintain the illusion that only the top, face-down card is being turned over. Sorne may prefer the alignment and turnover to blend together fluidly; others may want to separate them with a distinct pause. ·

As you do, block out all other thoughts and double-check that the uppermost joker isn't the one with the chosen queen on the other side. (If it is, you need to reverse the order of the three cards.) Then, maintaining absolute focus, make sure the lowermost joker is pointing in the appropriate direction to reveal the chosen queen. (If it's not, you need to square the packet, casually rotate it 180°, and then re-extend the remaining face-down

The spectator says:

FIGURE 1 0

. . .

queen of spades.

As the queen side of the double-facer comes into view, use your left thumb to immediately push it off to the right (Fig. 13),

It's best if the cards are perfectly squared, but the most important con3

W hile allowing a few seconds for your 4

Grasp the packet with your palm-up right hand, pull the top card of the packet slightly to your right, and then-in an action similar to the two­ card turnover used before-turn over all the cards beneath it (Figs. 20-21).

audience to react, momentarily move the remaining cards over the ones on the spectator's palm to head off any premature curiosity. (This is why you had lowered the spectator's hand at the beginning.)

And since she's the most important one of all, it makes sense that she 's the only one with her own...entourage. Reach over to pick up the top joker from those on the spectator's palm (Fig. 15).

FIGURE 1 7

FIGURE 2 1

(Turning the jokers side to side-as opposed to end over end-keeps their heads all oriented in the same direction, easing the reset.)

Drop the right-hand card on top of all, and then square the packet. You are now reset.

FIGURE 20

RESET

Transfer the upper three cards under the others (Fig. 18).

First released at the

works best with the cards well below the

Swap Meet, Entourage has roots in three

eye level of the spectators. In other circum­

unreleased effects of mine that all use a

stances, the following may be preferable:

turnover-based binary out: The Striker, The

(1) Start with the heads of the four face­

Sure Thing, and Tattoo.

down jokers oriented in a different direc­

these, I went so far as to have the necessary

Turn the joker over side to side, placing it onto the cards in your left hand (Fig. 16). FIGURE 1 8

After squaring the packet, use your left index finger to push flush the extended queen (Fig. 19).

(2) Make

cards printed before deciding to go a little further down the road (with one of the

on top of the packet, instead of on the bot­

cards from Tattoo ending up in Entourage).

tom,

(3) Don't extend the face-down cards for the elimination procedure, (4) When

Later, my friend and very clever creator

you're down to one face-down card and are

combined the turnover out with the verbal

ready for the switch, spread the three cards

methodology from Phi! Goldstein's classic

Fenik sent me an unpublished effect that

(5) With

B 'wave to create an effect in which a face­

your palm-down left hand, grasp the upper

down card among three jokers turned out

(6)

to be a chosen queen. At sorne point in the

to your left, instead of to your right,

joker and the middle face-down card,

Turn your left hand palm up, simultaneous­

future,

ly pushing with your fingers and pulling

more completely, perhaps including some

back with your thumb to bring the chosen

of the previously printed cards.

queen into view,

(7) Place the two cards in

right, centering the chosen card.

that the switch used here is much more

Though

deceptive with the central card beginning

direct, this method is discrepant, and has

and ending in an extended position.

the added disadvantage of making a reset much more cumbersome.

Thanks to Norman Gilbreath and James Lewis for their help in refining the patter.

If working for seated spectators, tip the

Continue with the remaining two jokers (Fig. 17).

packet to avoid exposing the undersides of

This effect was originally called Posse.

the cards; if a table is available, use it in

Thanks to Max Maven for coming up with

place of the spectator's hand.

a more elegant alternative.

FIGURE 19 5

I'll describe all these precedents

Thanks to Bruce Cervon for pointing out

your left hand back onto the one in your

FIGURE 16

For the last two of

sure the appropriate double-faced joker is

tion than the two face-up ones,

FIGURE 15

9/24/05 Magic Castle

The switch used to reveal the chosen queen

6

Grasp the packet with your palm-up right hand, pull the top card of the packet slightly to your right, and then-in an action similar to the two­ card turnover used before-turn over all the cards beneath it (Figs. 20-21).

audience to react, momentarily move the remaining cards over the ones on the spectator's palm to head off any premature curiosity. (This is why you had lowered the spectator's hand at the beginning.)

And since she's the most important one of all, it makes sense that she 's the only one with her own...entourage. Reach over to pick up the top joker from those on the spectator's palm (Fig. 15).

FIGURE 1 7

FIGURE 2 1

(Turning the jokers side to side-as opposed to end over end-keeps their heads all oriented in the same direction, easing the reset.)

Drop the right-hand card on top of all, and then square the packet. You are now reset.

FIGURE 20

RESET

Transfer the upper three cards under the others (Fig. 18).

First released at the

works best with the cards well below the

Swap Meet, Entourage has roots in three

eye level of the spectators. In other circum­

unreleased effects of mine that all use a

stances, the following may be preferable:

turnover-based binary out: The Striker, The

(1) Start with the heads of the four face­

Sure Thing, and Tattoo.

down jokers oriented in a different direc­

these, I went so far as to have the necessary

Turn the joker over side to side, placing it onto the cards in your left hand (Fig. 16). FIGURE 1 8

After squaring the packet, use your left index finger to push flush the extended queen (Fig. 19).

(2) Make

cards printed before deciding to go a little further down the road (with one of the

on top of the packet, instead of on the bot­

cards from Tattoo ending up in Entourage).

tom,

(3) Don't extend the face-down cards for the elimination procedure, (4) When

Later, my friend and very clever creator

you're down to one face-down card and are

combined the turnover out with the verbal

ready for the switch, spread the three cards

methodology from Phi! Goldstein's classic

Fenik sent me an unpublished effect that

(5) With

B 'wave to create an effect in which a face­

your palm-down left hand, grasp the upper

down card among three jokers turned out

(6)

to be a chosen queen. At sorne point in the

to your left, instead of to your right,

joker and the middle face-down card,

Turn your left hand palm up, simultaneous­

future,

ly pushing with your fingers and pulling

more completely, perhaps including some

back with your thumb to bring the chosen

of the previously printed cards.

queen into view,

(7) Place the two cards in

right, centering the chosen card.

that the switch used here is much more

Though

deceptive with the central card beginning

direct, this method is discrepant, and has

and ending in an extended position.

the added disadvantage of making a reset much more cumbersome.

Thanks to Norman Gilbreath and James Lewis for their help in refining the patter.

If working for seated spectators, tip the

Continue with the remaining two jokers (Fig. 17).

packet to avoid exposing the undersides of

This effect was originally called Posse.

the cards; if a table is available, use it in

Thanks to Max Maven for coming up with

place of the spectator's hand.

a more elegant alternative.

FIGURE 19 5

I'll describe all these precedents

Thanks to Bruce Cervon for pointing out

your left hand back onto the one in your

FIGURE 16

For the last two of

sure the appropriate double-faced joker is

tion than the two face-up ones,

FIGURE 15

9/24/05 Magic Castle

The switch used to reveal the chosen queen

6

WHO'S THE FAIREST OFTHEMALL? A CLEAN, CLEAR EFFECT With a Legitimately Free Choice, Any One of the Queens is Named With a Legitimately Free Choice, Any One of Four Face-Down Cards is Selected First Clímax:The Selected Card is the Named Queen! Second Clímax:The Other Face-Down Cards Are All Jokers!

REAL-WORLD CONDITIONS Immediate, Open Reset Repeatable to the. Same Audience with Any Named Queen No Difficult Sleight-of-Hand NoTable Needed; Perfect for Walk-Around

"This is one of the great packet tricks. Bravo!" -David RegalGordonBean.com Cards manufactured by the U.S. Playing Card Company Caricature by Laurence Maslon

Layout & Cover Design: Steve Mitchell Copyright ©2006 Gordon Bean

Photography: Hal Beavers