I think that ALL BACKS was one of those hybrid effects that evolved from magicians getting together and "noodling." When the double-back card (Horowitz?) emerged and cardmen began figuring out applications and the notion of such a gaff "leaked" into the mainstream, whimsical cardmen decided to create "mock" tricks such as ALL BACKS to amuse themselves and their brethren. Purists didn't like this approach because it "planted the seed of gimmickry" in the minds of laymen.
There were many interesting IMPROMPTU versions, including Elmsley's that was initially published in ROUTINED MANIPULATION (Ganson).
Marlo's "Wrong Deck" was interesting and Ackerman devised a few good versions. I briefly covered this hybrid effect years ago in Hierophant. I occasionally perform my simplex version when I'm really bored, hence, it's semi-ironic title, "Pardon My Backs!"
For those who may have a sliver of interest in this effect, perhaps the following will amuse you for a minute or two?
PARDON MY BACKS!
Preparation: Make-up a double-backed card by gluing two matching cards which also match the deck face-to-face. Use rubber cement. This will also act as a thick card or a locator as in Elmsleys routine. This thick double-backer is inserted in the middle of the deck. Immediately above this special card place the AH face up. The entire deck is cased and you are ready to proceed with the routine.
Method: The performer riffles the upper left corner downwards with his left thumb, asking the spectator to say "stop". The riffling action is timed so that the thick double-backer is forced, i. e. the bottom card of the upper half will be the double-backer. This half is lifted off the left-hand portion and tilted upwards toward the spectator--who will be surprised to see a back. As this half is shown to the spectator, the performer says- "Please remember this card! " (The deck, of course, is held in the conventional dealing position. The "stop action" of the thick card is practically automatic. )
The performer looks at the spectator and recognizes the odd or surprised reaction. Finally he looks at the selection(?) himself, noting the "back", and with a surprising tone says, "Oh... (followed by a favorite or apropos expletive- -which may or may not be profane, depending on the crowd or circumstances)... it looks like... I have the wrong deck... this is terrible. . . "
The performer places the cut-off packet underneath the left-hand portion with the thick card going to the bottom. The pack is spread face-down between the hands, revealing backs. (Be careful not to spread beyond the face-up AH second from the bottom. ) Patter: What can one do with backs here and. . . "
The deck is squared and turned over end-for-end (as in the Marlo routine). Immediately the deck is lifted upwards and re-spread between the hands. The performer, of course, will see faces while the spectator will see the same backs just shown him in Step 3. (This is an effective Marlo subtlety that has taken in many magicians and laymen. ) Patter: ". . . backs here. Backs on both sides. "
The pack is squared and lowered. The thick double-backer is now on top. The left thumb pushes over & flips over(two or three times)this double-backer as the performer remarks, "There's not much one can do with every card having a back printed on both sides. .. " With the pack still squared, once again it's turned over end-for-end. Immediately the right hand (with the aid of the forefinger)Swing Cuts the upper half into the left hand. The right hand, holding the lower half from above and by the ends, bends its wrist inward and almost palm upwards--which in effect, turns its packet over(bringing the thick double-backer uppermost again). The left-hand packet moves over and drops onto the right-hand packet. With the aid of the left hand, the assembled deck is squared and comfortably position in a right-hand dealing position.
Now the left hand further squares the cards held in the right hand, slightly beveling the pack to the left. The entire deck is now shifted to the Right-Hand Pressure Fan position. The pack is given a Right-Hand Pressure Fan(as in the Marlo routine)and both sides of the fan are shown, apparently revealing "all backs". Continuing patter: ". . . Yes--I must have picked the wrong deck by mistake. How can you choose a card? They're all alike. "
The pack is squared and immediately(as though the performer were still unsure, as though still checking the nature of the cards)re-spread between the hands, being careful not to spread beyond the midway point where the two halves meet face-to-face. The pack is re-squared, turned over end-for-end, spread again, and finally squared.
The performer says, "Perhaps it's possible to print the face of the card you selected in the beginning. I had expected you to choose the Ace of Hearts. . . " After a magical gesture(such as riffling the front end of the pack), the performer spreads the cards until he comes to the face-up AH--once again remembering not to spread beyond the face-down card below it. The spread of cards above the face-up AH are taken by the right hand and places below the left-hand portion, as the left thumb makes sure the AH is flush with the assembled pack. Patter: 'The trouble with printed a face on a card is
Here the performer does a Block Pushover(so that the back of the double-card doesn't flash)and continues spreading about a dozen cards or more(just as long as the spreading doesn't go beyond the center where the packets are back-to-back). The cards are squared, turned over, and re-spread in the same manner. Patter: ". ..that all the cards become faces., Faces here, here, and everywhere. Now the upper quarter of the pack is given a Swing Cut into the left hand. The three quarters of a deck remaining in the right hand is turned over(as per technique described in Step 6)and placed underneath the left-hand "quarter packet". Now the upper half of the pack is given a Swing Cut into the left hand and the remaining half pack is turned over and placed underneath the left-hand "half packet". During this cutting sequence, nothing but faces will show. If the pack is examined at this stage, you'll find that the upper 3/4ths of the pack is face-up, the double or thick card is about 18 cards from the top, and the lowermost 1/4 of the pack is face-down.
The left thumb riffles the upper left corner until it automatically stops at the thick card. The right hand lifts all the cards(including the thick one- -which will be on the bottom)and more or less out-jogs them on top of the talon. These cards are casually but incompletely spread. disclosing all faces. The right hand once again lifts them up and tables them, leaving them face-up with the double card on the bottom.
The talon is squared as the right thumb(at the rear end)finds the natural break where the two packets meet back-to-back and releases one face-up card onto the face-down lowermost packet. The left 4th fingertip moves in and holds a very slight break. There is a momentary pause as more patter lines are delivered. Finally all the cards above the break are spread and dropped onto the tabled cards. All faces, of course, will show. The remaining packet is turned over and spread. The last two cards(which will be back-to-back)are held as one. All the cards above these last two cards are dropped face-up onto the tabled cards.
The last two cards(held as one--a double-facer)are turned over, showing a face on both sides, and is used to scoop up the tabled pack. The scooped pack is now held in the left hand and spread face-up. This spread can consist of almost the entire deck. The double or thick card is third from the bottom. The pack is squared and turned over. Now the lone face-up card is lifted at its lower right corner and flicked at its upper left corner as the left hand does a Wrist Turn and the performer simulates doing a DAmico Change. Finally the single card in the right hand is shown to have a back, followed by showing the entire deck to have backs. The thick double-backer is now third from the top. It can either be disposed of at an opportune moment or can be used in other effects as a locator, double-backer. etc.
March 1, 1970