John Thompson’s “Garbage Collectors”

Johnny Thompson’s version of Roy Benson’s neo-classic bowl routine is described in detail in The Magic of Johnny Thompson. We mentioned there that John’s favorite final load for the routine was a genuine ham sandwich, and that he sometimes would also use that as a transition effect into card magic. This routine—John’s version of Walton’s “Collector” plot—is the trick that John would utilize to make that transition, however we chose not to include it in the book. Here now is the complete description, as it was written for the book. This routine was first published, with a description written by John Thompson, in “Polished Polish Prestidigitation,” published by Busby-Corin, Inc. in 1981. 

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This is based on Roy Walton’s “The Collectors”, which first appeared in the February 1969 Abra newsletter, No. 1203. The original Walton effect, in which three selected cards appear reversed between four Aces or other four of a kind, immediately led to a flood of variations. John developed this version in an effort to improve a “card in the sandwich” effect that he used as a follow-up to the Roy Benson Bowl Routine, which he often climaxed with the production of a genuine ham sandwich, which turns out to contain a selected card from a previous routine.

In John’s version, two out of three selected cards appear sandwiched between the four Aces. As a climax, the missing selection is found in an impossible location, whether in dramatic or comedic fashion according to the performer’s preference.

REQUIREMENTS

-       Any duplicate card that matches the back of cards you are using

-       A ham-and-cheese sandwich (optional!)

PREPARATION

Since the duplicate is used as a climax to this effect, it is important for you to decide how to most effectively and suitably use it. John prefers to use it for comedic purposes, finding the missing card within the confines of a ham-and-cheese sandwich that is used as the final load in the Roy Benson Bowl Routine. There have been times, however, that John put the duplicate card to dramatic use, by discovering it in a sealed envelope, a wallet, a spectator’s pocket, secretly loaded under an object, or even inside a beer bottle. Think about the style in which you work and choose a revelation that will best suit you.

PERFORMANCE

During the process of having three cards selected, force the duplicate of the extra card. Handle the selection process and the forcing procedure in a consistent fashion; it makes no sense to offer two cards to be selected from a casually spread deck, and then suddenly ask a spectator to say “stop” for a riffle force in order to arrive at the third selection.

After the selections have been made, openly remove the four Aces and place them face up onto your working surface. Call attention to the fact that they are the four Aces. As you do this, your left fourth finger takes a break under the top two cards of the facedown deck. The moment the break is obtained, pick up the Aces and deposit them face up on top of the deck. As the Aces are squared on top of the deck, immediately pick up the two cards above the break along with the Aces. The six cards are raised above the deck and squared between the fingers of both hands. During this squaring action, as the packet is extended away from you, and the inner end of the packet reaches the left thumb and second fingertip, the left second finger tip pulls down the lower right corner of the bottom card of the packet.

As the packet is squared slightly inward again, the right thumb moves in to take over break at this corner. This is a subtle and invisible way of obtaining the break in preparation for Marlo’s ATFUS move (for Anytime Face-Up Switch) based on a principle first devised by Alex Elmsley.

The packet is held in right hand Biddle Grip. The left thumb peels off the first Ace onto the top of the pack, slightly side-jogged to the right; this side-jog helps enable the right hand to immediately pick up the card and add it to the underside of the packet. Without pause the entire packet is moved leftward so that the left long side of the Ace comes contacts the length of the left thumb, which squares it flush with the packet.

As soon as this happens, and still maintaining the right thumb break now above two cards, the packet is again moved to the right, allowing the left thumb to peel off the next Ace. Repeat the same set of actions with this second Ace, up to the point where the packet is moved to the left for squaring; the instant the packet is flush against the left thumb, all of the cards below the break are secretly added to the top of the deck. In a continuing action, the packet is again moved to the right and the left thumb peels off the next Ace onto the deck, side-jogged to the right. Once this third Ace has been added to the underside of the packet and squared against the left thumb, the right-hand packet is carried away from the pack and tabled. Position check: Deck from the top down consists of one facedown indifferent card followed by two face-up Aces. Tabled packet consisting of one facedown indifferent card sandwiched between the two face-up Aces. The audience believes this packet consists of the four face-up Aces.

Retrieve the forced selection, display its face to the spectators, and then insert it into the center of the deck at the inner end, nearest the performer. This action should be consistent with the appearance of the Vernon “Depth Illusion”. However, you can allow the spectators to get a somewhat more open view of the sides of the pack as you execute this insertion, in order to fairly establish the procedure. Openly push the in flush with your right thumb, squaring the pack as you do so; simultaneously obtain a break beneath the top two cards of the pack, positioning them in readiness for the Depth Illusion.

Retrieve one of the two remaining selections, display its face to the spectators, and apparently insert it into the center of the deck from the inner end; in actuality the card is inserted into the Depth Illusion break, beneath the top two cards. Square the pack and under cover of the squaring action allow the second card to drop onto the selection, maintaining the Depth Illusion break beneath a single card.

Retrieve the last selection and after displaying it, insert it into the Depth Illusion break and push it squarely into the pack. Square the entire deck, allowing the top card to ease down onto the pack (which can also be achieved under cover of an all-around square-up; Vernon recommended raising the deck to meet the cover card, rather than lowering the card to meet the deck).

There is now an indifferent card on top of the pack that must be eliminated before proceeding with the effect. A simple and direct way to accomplish this is to say, “You all saw your cards go into the center of the deck. They’re are not on top….” Accompanying this phrase, the right card takes and turns over the top card, showing its face; then the left thumb is slipped beneath the deck and the entire pack is levered face-up to the right, gripped between the thumb on top and the fingers beneath. As the deck turns face up, conclude the sentence with, “… and not on the bottom,” and then add the face-up indifferent card to the face of the pack as your attention turns to the tabled Aces.

Make a point of the fact that the Aces have remained in full view throughout, and at some distance from the deck, never coming in contact with the selections. Casually flip the deck facedown again in the left hand during these comments.

Retrieve the tabled Aces and very fairly place them on top of the deck. Recap the entire procedure, and then snap your fingers over the pack as a magical gesture. Announce that,  “With this simple snap of my fingers I have caused your cards to appear sandwiched between the Aces!” Spread the cards, revealing three facedown cards alternating between the Aces. Allow this first effect to sink in for a moment before proceeding.

Now raise a fan of the seven topmost cards toward the spectators, as you ask each in turn if he sees his card amongst the Aces. Do not approach the spectator who selected the forced card until last. When he responds to your question with a flat “No,” drop your expression of proud achievement and adopt a look of bewilderment, as you respond with a puzzled, “No?” After a suitable pause, reveal the duplicate card however you wish. In John’s case, he proceeds to perform the Benson Bowl routine, at the climax of which he produces a bona fide ham sandwich. As a kicker effect, the third selection is found buried within the sandwich.