Thanks to Barry

There is no terror in the bang, only in the anticipation of it

Alfred Hitchcock
Introduction
The following is a rather peculiar experiment of mine regarding Dai Vernons lovely
plot Matching the cards
And I write peculiar due to the fact that I do not usually come up with magic that is
visual and quick for I do not personally like it that much. Suspense has always been better
than surprise when It comes to the way I like to present magical curiosities.
I first came across this plot when I saw Michael Vincent, who I modestly consider a
mentor of mine; perform his awesome rendition of it. Mike has got many ways of
presenting the routine and is to my knowledge the individual most responsible for the
constant revitalization of this and many other classical items of conjuring.
However, I also owe thanks to Joseph Barry since it was after I saw him perform a
fantastic three card production, which I think is original with him, that I got to thinking
along the lines of what now is the effect I am writing.
The present routine represents a personal milestone in my magical journey for it
surged from one of those wonderful moments in which one connects methodological dots
in ones head rather automatically and one can almost feel it all click into place. It is truly a
wonderful feeling.
Effect
A spectator touches a card and leaves it on the table sight unseen. The magician then
proceeds to rapidly and visually produce three queens from the pack. He then states that if
his instincts worked correctly the card on the table should be the missing queen. To
everyones surprise, the card on the table is an ace. The magician then shows that the three
queens have now changed into three aces.
Set up
From the top down: Queen of hearts, Queen of clubs, Queen of Diamonds, Ace of Spades,
Ace of hearts, Ace of Clubs and Ace of Diamonds
Method
Begin by giving the pack a few tabled false shuffles. Pick up the packet in your left
hand and pinky count five cards. Set up for the under spread force as you begin spreading

the cards for the spectator to stop you whenever she wishes. When she finally complains to
your request, perform the Aronson subtlety and lay the force card on the upper left corner
of the mat as you instruct her to cover the card with her dominant hand.
Table the pack as you state that you will now find the three mates to the card on the
table using only your intuition. As you explain this you may give the pack a few false
shuffles that retain the top six cards in place.
Now it is time to perform Barrys lovely revelation in which three cards simply
jump out from the pack as you cut it forward. For this to work you need to begin by slip
cutting the top card forward and holding a break as you carry the cut. You may want to
square the sides of the pack in order to insert some time misdirection before you do the
production. Finally, you will hold on to the top packet with your left hand as your right
forefinger presses to top card in its upper right corner. The left hand packet moves back and
slightly to the left as you rapidly jerk upwards and forwards in order to cut the pack. When
the knack is acquired and the production properly performed, a card spins and jumps out
from the pack, landing face up and in-between the two halves.
You now need to remove the queens from the two halves of the pack and deposit
them rather haphazardly onto the queen that lies in-between them.
In order to collect the packets properly you need to place the half that is forward on
top of the one that your right hand was holding, that is to say the one thats closest to you
goes under the one farthest away.
Pick the packet up and dribble it as you say talk about intuition, you want to justify
your picking up the cards from the table verbally. Now you may pinky count three cards as
your right hand spreads the three tabled queens from left to right in order to position them
for the upcoming switch. You will now perform John Carneys versa switch and place the
cards onto the pack in your left hand as your right hand points to the spectators hand,
instructing her to remain dead still.
You now perform Brother John Hammans rolling count with the three queens that
are on top of the pack. Essentially, count them off one by one as you name them, doing a
block push off on the last one and turning the whole packet of six cards onto the pack. You
now deal off the top three cards onto a neat left to right spread as you explain to the
spectator that the card she is now holding has to be the missing queen. When she turns her
hand over you need only perform your magic gesture or frame the moment as Skinner may
say. In order to do it properly I suggest you get the pack out of the way thus inserting
distance between the method and the effect. Besides, this will also mean that the final
picture may now be much cleaner when you finally use the spectators ace to turn over the
three tabled cards.

Note:
A substitute for the Versa switch I found in Ascanios work on the multiple top
change. Briefly, you shall use the 3 cards to be switched out in order to turn over the card
that lines on the table. Said cards may be held in face down biddle grip in your right hand,
one must note.
As you turn over the card on the table it slightly falls off the mat and you use your
left hand in order to adjust it. In that action you perform a 3x3 top change and you spread
the 3 cards on the table as you discard the deck.
I urge you to investigate Ascanios work on the subject of Enfile al tiempo for it
will really teach you a lot about the nature of tension and relaxation when it comes to
applying them into a particular technique within the body of an effect.