Card Effects. Dai Vernon

DAI VERNON'S

ULTIMATE SECRETS OF CARD MAGIC LEWIS GANSON PHOTOGRAPHS by STEVE YOUNG and LEWIS GANSON LINE DRAWINGS by DENNIS PATTEN

L & L Publishing thanks Excalibur Promotions Limited of Supreme House Bideford Devon EX 39 3YA England for granting permission for the material in this book to be reproduced. The exclusive distribution rights for this title in the United Kingdom and Europe have been granted to Excalibur Promotions Limited, Supreme House, Bideford, North Devon, EX 39 3YA, England. © Copyright L & L Publishing 1995. All rights reserved. Note: The copyright of the material in this book reverts to Excalibur Promotions Limited 30.5.2014.

CONTENTS FOREWORD

1

CHAPTER 1. STARTING RIGHT

5

SECTION ONE - CARD EFFECTS CHAPTER 2. CHAPTER 3. CHAPTER 4. CHAPTERS. CHAPTER 6. CHAPTER 7. CHAPTER 8. CHAPTER 9. CHAPTER 10. CHAPTER 11. CHAPTER 12. CHAPTER 13. CHAPTER 14. CHAPTER 15. CHAPTER 16. CHAPTER 17.

MATCHED SPELLOUT THE PERFECT CIRCLE OF CARDS "SECRETS" "DO AS I DO" BLACK AND RED PUZZLE MENTAL SPELL TEN GIVES THREE THE MAGIC OF LARRY JENNINGS

13 17 21 23 27 31 35

Tell-TaleAces

39

LARREVERSE GAMBLER'S TRIUMPH THE CHANGING OF THE GUARD MONARCHS1 QUARTETTE LES CARTES DIACONIS RUNNING THE SCALE PURE MATHEMATICS SLOW MOTION CARD VANISH

47 53 59 65 69 73 75 77

SECTION TWO- CARD SLEIGHTS AND MOVES CHAPTER 18. VERNON ON THE PASS Standard Pass The Black Pass Location Pass Sprong'sPass Fan Pass Transformation ..

84 86 87 88 ... 89

CHAPTER 19. VERNON ON TABLE PASSES First Method Second Method Mexican Joe's Table Pass Charlie Miller's Table Pass

91 92 93 94

CHAPTER 20. AFTER PEEKING Pressure Fan Spread Location Shuffle to Top Double Peek Control Three Break Control Multiple Peek Control Transferring the Break Spectator Finds His Own Card Adaption of Greek Break

96 97 98 99 100 101 101 102 103

CHAPTER 21. ONE HANDED SHUFFLES Benzon's Shuffle Vernon's Shuffle..

105 .106

CHAPTER 22. CARD PLACEMENT Vernon's Placement John McCormick's Penetration

107 108

CHAPTER 23. HANDLING A SHORT CARD The Short Card Locating a Short Card The Corner Short Vernon's Method of Handling

Ill Ill 112 112

CHAPTER 24. MAGIC CASTLE MOVES All Around Square Up Jennings' Top Palm Key Card Placement Small Packet Glide Rooklyn Top Palm

115 117 118 119 120

CHAPTER 25. MORE USEFUL SLEIGHTS & MOVES Single Shuffle Control Spreading Six Cards as Five Key Card Location Cold Deck Cut

123 123 124 125

CHAPTER 26. TWO SLEIGHTS BY DR. ELLIOTT Bottom Deal Favourite Break Control

130 131

SECTION THREE- FRIENDS OF DAI VERNON CHAPTER 27. MAGIC FROM BRITAIN Slippery Aces Double Prediction Face Your Brothers Last Word Four Aces The Innocent Cheat Thought of Card Across Fellow Travellers

Jack Avis Alex Elmsley Alex Elmsley Francis Haxton Fred Lowe Peter Warlock Roy Walton

135 139 141 143 146 149 153

Ross Bertram Ross Bertram

157 158

Fred Kaps Rink Eddie Taytelbaum Eddie Taytelbaum

161 165 167 171

Dai Vernon Vernon-Ross-Lambert .. Hubert Lambert

173 176 176

CHAPTER 28. MAGIC FROM CANADA Pivot Change Bottom Steal & Recovery

CHAPTER 29. MAGIC FROM HOLLAND The Three Jokers Ups and Downs Find the Ace Infallible Force

CHAPTER 30. MAGIC FROM IRELAND Yemen's Variant Emerald Isle Aces Swivelleroo ...

CHAPTER 31. MAGIC FROM U. S. A. Card Transposition "You Get It" One Pack "Do As I Do" Sleight of Mind

Francis Carlyle Gerald Kosky Jay Ose Bill Simon

179 181 182 184

FOREWORD When it was decided that Dai Vernon's "Inner Secrets of Card Magic" should be published in four parts, we had no doubt that one volume would follow another at regular intervals. This happened with the first three volumes and the fourth one was being written as planned. When the major portion had been prepared in script, it was sent to be typed. At this point fate stepped in; water used to put out a serious fire above the Unique Magic Studio reduced months of work to a handful of pulp. Although we still had all the original notes the prospect of starting again from the beginning was something we found ourselves evading. A two year period of ill health, during which we found it almost impossible to write, was an additional interruption. However, all this is now in the past and the book is completed. Although there have been set-backs it seems that everything has happened for the best, because the interval between the publication of "Further Inner Secrets of Card Magic" and the present volume has coincided with Dai Vernon's appointment at The Magic Castle in Hollywood. Perhaps this has proved to be one of the most important periods of his magical career, as the conditions prevailing at this centre of magic are ideally suited to Dai Vernon's temperament. Here he is able to indulge his passion for the creation of magical effects, and impart knowledge to a younger generation of magicians who frequent the Castle. Not only have we benefited by having the new Dai Vernon items for this book, but his example and teaching has inspired other magicians to experiment for themselves, and many of their creations are also included. Many magicians have contributed to make this book possible and all will be credited, but at this point we must mention two in particular who have done so much work with Dai Vernon in providing material - Larry Jennings and Bruce Cervon. Of them Dai Vernon writes, "In my entire magical experience I have never met two young chaps so clever with cards. For the comparatively brief time they have been engaged with the art it is really amazing how knowledgeable and capable they have become." These two magicians sent us tape recordings with very detailed descriptions of their effects, from which we were able to write the text. Steve Young, who in addition to his magical abilities is a first class photographer, provided seventy of the photographs; the majority of the others being those we took of Dai Vernon when he was in this country. We are also indebted to Dennis Patten for the excellent line drawings. The driving force behind the project has been our good friend Faucett Ross, for it is he who has spurred us on in numerous letters. Not only has he

encouraged us but has provided much necessary information and persuaded his many friends to come to our aid. Everything we have asked for, and more, has been arranged by Faucett Having almost completed the book we still had not decided upon a title, so we asked many of our friends for suggestions, and compiled a list. By a process of elimination we were left with two, either of which would have been appropriate - "Innermost Secrets of Card Magic" from Fred Lowe, and "Ultimate Secrets of Card Magic" from Conrad Bush. As "Ultimate" seemed to convey that this was the final volume of this four-part work we decided in its favour. At Hubert Lambert's suggestion we have included a "Friends of Dai Vernon" section in the book. Dai has so many friends in all parts of the world that it would be obviously impossible to include contributions from them all in one volume. Accordingly our selection has had to be very limited. Our aim has been to include first class effects which in one way or another have some association with Dai Vernon, but we are conscious that so many more, with equally suitable qualifications, have had to be omitted. Although Dai Vernon's work has been known by several magicians in this country for many years, it was not until Harry Stanley arranged tours for him here that the full impact of his genius was felt by the British magical fraternity. By bringing Dai Vernon to us and sponsoring the publication of his works, Harry Stanley has enabled magicians on this side of the Atlantic to benefit to an extent which is unprecedented. When Dai Vernon was in Holland he spent many hours with J. van Rinkhuyzen (Rink) who in addition to his own contribution, has been kind enough to arrange items from Fred Kaps and Eddie Taytelbaum. Hubert Lambert, in addition to supplying three Dai Vernon effects, sent us a copy of the Verner Coat of Arms and the historical background. Faucett Ross arranged for most of the material from the American magicians, Francis Carlyle, Gerald Kosky, Jay Ose and Bill Simon. From the British Isles material has been received from Jack Avis, Alex Elmsley, Francis Haxton, Fred Lowe, Roy Walton and Peter Warlock. Ross Bertram of Canada, not only provided two of his excellent items but also sent photographs to make our task easier.

There have been many clever magicians in the past who have devoted a considerable portion of their life span to originating and developing magical effects, in order to get to the top of their profession by original and masterly performance. Many have kept their secrets to themselves and their efforts have been made for their own benefit (and this is understood), yet the fact remains that in many instances the results of a life's work has died with them. Present and future generations of magicians are indeed fortunate that there is such a person as Dai Vernon - a magical genius who has become a legend in his own lifetime. He must surely be responsible for the creation of more top-quality magic than any other magician of this or any other generation. Not only has he devised so many new effects, but has so improved and simplified the handling of known sleights and moves, that trickery disappears and magic takes place under the guise of naturalness. All this could have been used solely for personal gain, but Dai Vernon has been willing to share his knowledge, not with all and sundry, but with fellow magicians who have proved themselves dedicated to the art of magic. All who meet Dai Vernon come under the spell of his personality friendleness, warmth, gentleness and sincerity, which sets one at ease. From here on one naturally refers to him as "The Professor" - a title not gained by examination, but freely bestowed by his friends and associates in affection, respect and appreciation. This is Dai Vernon's book - all of us who have been associated with its production feel honoured to have taken part. LEWIS GANSON

CHAPTER ONE STARTING RIGHT As would be expected of any work which bears Dai Vernon's name, the card magic this book contains is top quality, but the efforts of all who have co-operated to produce it would be wasted if it stayed within these pages. For this reason we are devoting this chapter to suggestions for helping the reader to turn the printed word into practical magic. Magicians are the first to admit that so much of the wealth of good magic in books is not appreciated until, perhaps, just one person makes an effort to master a certain effect and shows it to others - then the clamour begins. "Wonderful! - where can I get it?" is the question asked, and all the time the chances are that the questioner possesses the very book from which it came. When the description of an effect is set down in print it is almost impossible to find words and phrases which will immediately convey a really clear picture to the reader. No matter how careful one is the fact that a visual thing has been converted into a mass of words, gives an erroneous impression when first seen. Even a simple operation which is completed in a few seconds often takes several paragraphs to describe and when the print is looked at as a whole, the mind imagines complications. It is only when the description is carefully studied that the fog begins to clear and the simplicity is appreciated. We know the difficulty many people experience in learning magic from books, and have tried to make the task as easy as possible by describing everything that it is necessary to know. Obviously, we have assumed that the reader knows how to handle a pack and is conversant with the elementary shuffles, cuts, etc., but apart from this we have gone into necessary detail. There can be nothing more aggravating than being told to use "your favorite method" when you are unacquainted with even one, or being referred to another book which you do not possess. These practices are permissible and desirable in works catering solely for experts, and we certainly do not condemn them when used in this way, but in a book which we hope will be available to all magicians, we feel more is required. Our aim has been to get as near as possible to personal instruction and for this reason have used photographs and line drawings as visual aids. However, to ensure that the text is complete and correct we gave the manuscript to Fred Lowe and purposely omitted the photographs. His task was to perform every effect from the description alone. This resulted in several alterations

being made to make the meaning more easily understood. The purpose in recording the above is to assure the reader that everything that is needed to be known is in the text, and every effort has been made to present it in the clearest possible manner. Starting with this knowledge one can proceed with complete confidence. An important incentive for learning is knowing that the result of one's efforts are going to be worthwhile. On this point we can state with conviction that all the material between the covers of this book is top class card magic - all is practical, entertaining and audience tested. Every item is either Dai Vernon's own, or has his approval - this is your guarantee that the time spent in becoming proficient, and performing the effects, will be more than amply rewarded. When one knows that the material is that which is being performed by the world's most competent magicians, a natural reaction is to wonder if its performance is within the bounds of one's own capabilities. It would not be fair, or in the readers best interests, to minimize the effort required, but we have no hesitation in stating that providing one is prepared to practise, everything can be performed by anyone of normal intelligence and ability. Some sleights and routines are easier to perform than others, but with few exceptions, there is nothing which can be classed as really difficult. Even with the few that are difficult it is simply a question of degree of practice - if one is prepared to expend effort, then the result will certainly be success - make no mistake about that. The only reason why one normal person can do something and another cannot, is because of the degree of effort put into it - in other words, practice is the real secret and again we can help here by differentiating between productive and non-productive practice. Often a lesson has more impact if one is told what not to do, particularly if the results of wrongful procedure can be seen or illustrated. For this reason let us take an example of what sometimes happens when a person decides to learn and practise a magical effect, then the temptations, distractions and difficulties can be guarded against. Imagine a new book has just been purchased, and is found to include an effect that just must be performed - but first it must be learnt and practised. When the time comes the appropriate page is turned to and reading commences - say it is a card trick, then obviously a pack of cards is needed and this is where the trouble starts! A drawer is opened to get the cards and right on top is a length of rope, which reminds us of that trick George showed

down at the club the other evening - he said he got it from "Greater Magic." The bookcase is opened and "Greater Magic" removed. As the pages are turned to find the necessary instructions, the eye catches sight of the illustration of that Billiard Ball move we have been meaning to try out for some time. Back in the drawer three balls are located, but the shell is missing and although a search is made it does not seem to be there - but there are those two coloured silks which are just right for that trick we saw on Television the other evening. Now thinking of Television - it's about time for that programme we must see need we continue? Exaggerated? a little perhaps, but one can spend a whole evening without accomplishing anything worthwhile. Magic is fascinating and often enthusiasm becomes an enemy when it is allowed to take control. The answer is self discipline, and the removal of temptations and distractions which cause time wasting. If possible go into a room in which you will be entirely alone, take with you just the articles needed; say the instructions and a pack of cards, sit at a table with no other objects on it. Make up your mind that one (and only one) trick is going to be understood and practised, and discipline yourself to concentrate. Many professional magicians adopt this procedure, as they realise that it is essential to devote one's whole attention if the best results are to be obtained. Dr. Elliott used to book two rooms at hotels when he was on tour; one room was devoted entirely to practising his magic and a stipulation was that in the room there would be a table and chair, but as little other furniture as possible. In this way he could leave all the possessions he needed for everyday life in one room, and retire to the other room where there would be no distractions. Another rule he made for himself was that each trick he worked would be practised standing at the table as well as sitting down. In "The Dai Vernon Book of Magic" we quoted Dai Vernon's own words on the subject of practise: "Why does practise frighten so many people? Practise can and should be thoroughly enjoyable because it brings the pleasure and satisfaction of achievement. Achievement is a universally gratifying thing and by practising, one ends up with something of value to one's self and others. If skill and cleverness could be acquired for the asking, there would be little to profit anyone. Will my readers conduct an experiment? Sometime when alone, start trying to improve some move or sleight that has already been learnt. Experiment with it, strive to incorporate your own ideas - keep trying - it is surprising how the time will fly by, but when headway has been made a most satisfactory feeling of delight will be experienced. Even a mi-

nor achievement is most gratifying and as the result has been brought about by practise, it makes practise enjoyable. If people cannot derive pleasure and satisfaction from practise and are not prepared to expend the time and thought and energy required because they find it irksome, then magic is not for them - they should turn to a different hobby." When practising routines, do not try to progress too fast, take one stage at a time and understand it thoroughly before proceeding. Have the cards in your hands and go through the moves as described. Trying to cover a great deal of ground too quickly causes the brain to become confused and will retard progress. When a description is first read there appears to be a mass of complicated instructions to follow, and a lengthy sequence of moves to commit to memory. By understanding each part of a routine, the overall plan becomes clear and the pieces of jigsaw fall into place. The order and purpose of the moves becomes easier to remember because one move follows another in a logical sequence. Study the photographs and text together, as in certain instances the hands have had to be moved into slightly incorrect positions for the camera to capture the detail that has to be shown. Actual trial with the cards will put this right. . The sort of pack to select is one with white borders running around the edge of the back design, cards with the design running right to the edges are not the most suitable for this type of magic. When two or more cards have to be lifted or moved as one the white borders help to mask any slight irregularity if they are not in perfect alignment. The stock upon which the cards are printed should be pliable but springy, so that they will resume their original shape after being curved during manipulation. Good quality cards run singly, easily, and smoothly when spread between the hands. Some of the cheaper brands are thick and bunch together when spread or fanned, and difficulty will be experienced in lifting a single card cleanly. Do not handicap yourself with poor cards; pay the extra for quality and do not attempt to economise by keeping the cards too long. After being used for some time even the best cards lose the qualities we have stipulated. At the start make certain that you get all the help possible from the cards themselves. When the necessary ability has been acquired and confidence gained in handling, you will be able to manage with cards that are not ideal

in all respects, for by then the disadvantages which might be found with some borrowed packs can be overcome. Do not practise for long periods without taking a break, the hands soon become cramped when performing movements to which they are not accustomed. Some hands perspire freely and a rest can cure this and prevent the cards becoming soiled. It is a good rule to always practise with full size cards, then one is never at a disadvantage if such a pack is offered when borrowing is desirable or necessary. Changing from full size to Bridge size cards presents no problems, in fact it makes things easier, but if one is only used to the smaller cards then difficulties can be experienced if only a full sized pack is available. Dai Vernon and the other magicians whose routines are in this book, have devoted a considerable amount of time, thought and experimentation before achieving the final results. With this in mind one can be sure that there are very good reasons why each and every move is made. Therefore it is wise to try out the routines as written. However, it is well to remember that it is the entertainment that can be given that matters, the sleights are necessary incidentals. If difficulty is experienced with any sleight, or you have a favourite which brings about the desired result, then there is nothing against altering things around to suit yourself. There is no doubt that eventually you will feel the need to put something of your own into everything you do - this is to be encouraged, as in addition to the satisfaction obtained from originality, something which is styled in one's own way will look more natural. Again we will quote Dai Vernon's own words: "Be natural - what I mean by this is 'be yourself - watch a good performer and note that he is perfectly at ease because he is doing the things that are natural to him; he's not trying to be Cardini, Slydini or any other of the 'greats'; he may have learnt much from watching and reading about other performers, but he has adapted the tricks so that they fit him like a glove; he is master of the tricks which have been tailored to suit him - he does not try to make himself fit tricks that have been evolved by someone else. Every action he makes is a natural action, natural to him; if he picks up an object which he is going to vanish, then he does not pick it up in a way that only takes into account the position he needs to hold it to perform a sleight; he has altered the sleight so that when

he picks up the object in a way which is natural to him, it is already in position to be vanished. "A lot of people might find difficulty in understanding exactly what I mean by being natural. It's very important that movements made when a secret sleight is made are natural movements, but being natural also means being yourself. If you work in a conversational style, you work as you feel; you do not try to ape somebody else, unless you are playing a part. This naturalness must not only be used in a narrow sense, but in a general sense, it must be used in everything....not only in sleights but in everything you do." As we wrote in the beginning, this chapter has been included to help the reader to derive the maximum pleasure and benefit from the magic contained in the book. Experienced card enthusiasts already have the knowledge, so for them the chapter could have been omitted. Perhaps the greatest lesson to be learnt is to enjoy learning. When pleasure and satisfaction is felt the first time one achieves something worthwhile through practise, then the first battle has been won. From then on practise will be as pleasureable as every other aspect of magic, and it is practise which will get the tricks out of this book and into your performances.

10

SECTION ONE CARD EFFECTS

CHAPTER TWO MATCHED SPELLOUT Roger Klause, a very proficient card man, has been performing this Dai Vernon spelling effect for some time. In a letter to Faucett Ross he wrote, "I consider it to be one of the most commercial Vernon items I have ever encountered/' Additionally he disclosed the ending which he uses and which he considers provides a stronger climax, so we will describe this later. Effect:

A card is freely selected, noted by the spectator, then returned to the pack which is shuffled. The performer offers to find the selected card but apparently has some difficulty. However, he says that he will spell it out and proceeds to do so from the top of the pack. For example, say the selected card is the Ace of Hearts, he spells T - H - E, taking a card for each letter to form a face-down packet of three cards on the table. Next he spells the value (A - C - E) into another packet. The third packet is O - F, and the final packet H - E - A - R - T - S. Starting with the first packet dealt all are turned face up - each has a card of the same value (in our example an Ace) on the bottom, the last packet turned revealing the previously selected Ace of Hearts. Performance:

The selection of the card is quite free, but when it is returned to the pack it is brought to the bottom during the shuffle. The performer now states that he will produce the card, and begins to fan the cards with their backs towards the spectators! that is, he is looking at the faces and takes care that the face card (the one selected) is not flashed. He remembers the selected card. Now let us see how the set-up is made so that the spelling will give the desired result. In our example we have assumed that the Ace of Hearts was selected, and is now on the face of the pack. Take the cards in hand and have the Ace of Hearts on the face - it could be any card as the selection is free, but by having an example and actually going over the moves while reading these instructions, everything will be clear. As you begin to fan the cards from the left hand into the right, take the bottom card (Ace of Hearts - remember it) and one extra card behind it into 13

the right hand. Now push cards singly from the left hand onto the face of the selected card until a second Ace appears on the face of left hand packet. If you look at Photograph 1 it will be seen that at the right bottom corner, the index of the Ace of Hearts can be seen with another card behind it - cards are being pushed off with the left thumb onto the selected card until the second Ace (Spades) appears. Split the cards at the second Ace and put the packet in the right hand onto the face of the left hand packet, but hold a break between them and leave the cards spread. To stall a little, say that you are having trouble in finding the selected card. Now begin to fan again from the break, pushing over enough cards to spell the value of the selected card (A - C - E) - these cards go onto the back of the right hand packet - Photograph 2. Now thumb cards over from the left hand packet onto the face of the right hand packet until the third matching card (Ace) appears on the face of the left hand packet. Place the right hand packet on the face of the left hand packet, holding a break between them (leaving the cards spread) as you make another remark (you are still having difficulty!) to stall a little. Fan again from the break, pushing the matching card, plus two extra cards, onto the back of those originally above the break. Now push cards from the left hand packet onto the face of the right hand packet, until the last matching card (Ace) appears on the face of the left hand packet. Get a break under it with the left little finger, then place all the cards from the right hand on top of it. Cut the pack at the pack and complete the cut. The set-up is now on top of the pack. As you will appreciate the above is a "cull," and is very fine when done correctly. In our example the selected card was THE ACE OF HEARTS and the set-up will be from the top down AXX, AXX, AX, A. How this works will be apparent as we proceed. The above reads complicated, but when the reason for the moves is understood it will be quite clear. A trial with the pack in your own hands will

prove that it is simple to remember and easy to do. It can be done quite quickly and the spectators will have no inkling that a set-up is being made. Proceed as follows: Remark that you, "don't seem to be able to find the selected card, so we'll try something else." Ask for the name of the card and when it is given, hold the pack face down in the left hand and spell from the top, taking a card for each letter and dealing them onto the table. First spell T - H - E, that is the top card goes down first, then the next two cards, the three cards being in a pile. Next (in our example) A - C - E in a second pile. The third pile is just two cards only, O - F and the last pile H - E - A - R - T S. Turn the packets over singly, starting with the first one dealt, and on the face of each is an Ace, the last packet showing the selected card. Roger Klause, who has been performing this with great success, finds that he gets more dramatic effect if he turns over the pile to reveal the selected card first. After a pause for it to register, he says, "I knew it couldn't have been any of the others because they're here!" and quickly turns over the other three piles to show they all match. Sometimes Dai Vernon takes things a stage further. During the cull he makes an adjustment, so that when the four piles are dealt out, the first three turned up show matching cards, but he apparently misses on the fourth pile as an indifferent card turns up. However, he puts things right by using the value of the last card to locate the selected card. Dai sometimes uses the above variation when he knows someone present has seen the first version. The effect is now that much stronger because they think he has missed! Note:

During the many times we went over the culling moves, on the odd occasion we encountered two matching cards falling together at the face of the left hand packet. This was simple to overcome as it means that the second matching card is pulled over onto the face of the right packet and retained there momentarily, while the required number of cards are positioned behind the first matching card, then the second one is pulled back onto the face of the left hand packet with the left thumb.

CHAPTER THREE THE PERFECT CIRCLE OF CARDS

In his search for unusual effects, on one occasion Dai Vernon asked Nate Leipzig if he could recall having seen anything with cards which had never been done before. Leipzig said that he had seen a magician in South Africa make a perfect circle with a pack of cards, but it had been done quickly and he had no chance of seeing the method used. As it had impressed Leipzig Dai knew that the effect was more than just completing the circle by carrying the cards round as an extension of a thumb fan, so he set about devising a method which would look quite different from anything that had been seen previously. After much thought and experimentation he produced the effect described below. He makes the circle very quickly, with the pack and hands under the table, then brings it out for display. A feature of the circle is that the hand holding it can be turned back up, the effect then being similar to the "Magnetic Cards", because the cards cling to the hand. Plenty of practice is needed to perform this effect, but the time spent in mastering it will be well worth while. The aim should be to make a circle quickly, but it must be pointed out that the handling is not one of those beautifully smooth sequence of moves. However, when completed everyone likes it, and if the circle is made out of sight, then the handling is not seen. A pack which fans well is the type to use, and certainly while practicing the cards should be treated with fanning powder, which is a considerable help when adjusting the cards. The Joker should be removed and placed where it can be picked up eas-

ily. Proceed as follows: Photograph 1: Hold the pack from above and face up in the right hand, the thumb at the inner end and the fingers at the outer end. With the left hand held palm upwards, place the pack across the left forefinger with the side of the pack well into the fork of the left thumb. Now make a pressure fan in a clockwise direction around the second finger, which is curled inwards to allow this to be done. The fan should be made as wide as possible. 17

The photograph (performer's view) shows how far the fan should be taken round. Notice how it is held in position at this stage by the left thumb. This position should be arrived at as quickly as possible. Photograph 2: Steady the fan with the right hand as the left thumb is moved to the back of the cards. Now work the cards around with the right fingers and thumb. Notice how the cards on the right begin to lock under the cards on the left. This adjustment of the cards as the fan is taken round is not a very smooth series of actions, although with practice it can be done quite quickly. However, any lack of neat handling is fully compensated for as on

completion of the circle the spectator's appreciation is considerable. Photograph 3: The adjustment of the cards continues from both sides of the fan until the gap is closed and the cards well interlocked. Pressure of the thumb and fingers behind the circle hold the cards in position, and the hand can be turned over completely without the cards falling. Photograph 4: For display purposes, the Joker can be picked up and placed in the centre of the circle to cover the protruding second finger. This is op-

tional as the reader may prefer to have the finger showing; it is certainly a peculiar sight and rather humorous. As a matter of interest the photographs were taken by Steve Young, of Bruce Cervon making the circle under the direction of Dai Vernon. The cards used were "Steamboats", over forty years old.

CHAPTER FOUR "SECRETS" This excellent effect has been so called because Dai Vernon included the original version in a book of the same name, published for general circulation in 1923. It was not until ten years later that he had published his first work for the magical fraternity - the now famous "Ten Super Card Problems." Bruce Cervon tells us that he has watched Dai perform the effect for laymen on several occasions at the Magic Castle in Hollywood, and although it is a simple item it never fails to register extremely well. It became the favourite effect of Alfred Benzon, the man who had his hands insured for 250,000 dollars. The effect is that a card is selected in the fairest possible manner, and noted then returned to the pack, which the spectator himself then holds. He is now asked to think of a number. The performer reads his mind and proves this by telling the spectator to look at the top card of the pack, which is found to have the same number of spots as the number thought of. According to the number of spots, so the spectator counts down to that number and finds his own card. Requirements: A very simple set-up is necessary in that a Seven spot is placed on top of the pack, a Six spot second from top, and Eight spot on the bottom and a Nine second from bottom. This is quickly done as suits do not matter and it is simply a matter of positioning only four cards. Performance: Fan the cards and get a break under the seventh card, the excuse for fanning being that you say, "I could ask you to select a card like this, but let's try a fairer method/' Square the cards, retaining the break with the left little finger and riffle the front of the pack. Tell the spectator to insert his finger into the pack as you riffle and remove any card. After the card has been noted, cut the pack at the break, have the card replaced and drop the cut off portion on top. This brings the selected card to the eighth position from the top. 21

Hand the pack to the spectator and ask him to think of a number between 5 and 10. Tell him that although the choice of numbers is small, he must decide on a number carefully and remember all the time that he himself is holding the pack. Your next actions are controlled by the number he states when you ask him to tell you his thoughts - Proceed as follows: A. If he says "Seven" (which is the choice of the majority of people), reach over to the pack he holds, remove the top card and show it to be a Seven. Retain the Seven and tell him to count down to the seventh card - which proves to be the one selected. B. If the number is "Eight" tell the spectator to look at the bottom card of the pack, then count down from the top of the pack according to the number of spots on the bottom card. C. Should he say "Nine", take the pack from him, glide the bottom card and remove the one second from bottom, showing it to be a Nine. Place it on top of the pack, hand the pack back to the spectator and let him count down to the ninth card from the top. Dai Vernon also has a method of not actually taking the pack from the spectator. He reaches under the pack as it is being held, buckles the bottom card with his forefinger so that his second finger hits the second card from the bottom, which he removes. •• D. When "Six" is named, take the pack and double lift the two top cards as one, showing the Six spot. Now bury both cards as one in the centre of the pack and hand it back to the spectator to count down to the sixth card - the one selected. Although the method is simple, the effect is very strong, because you show proof that you actually read their thoughts to know the number they would name. By showing a card with the same number of spots on as their own number, then having the selected card at the same number from the top, seems nothing short of a miracle. These points must be sold, and the fact that the spectator himself holds the pack so that you have no control over it, should be emphasized. Few card tricks can have such a strong impact as this one - the method is so simple that all your efforts can be concentrated on presentation. Sell it for all you are worth! 22

CHAPTER FIVE "DO AS I DO"

This "Do as I Do" effect of Dai Vernon's, although somewhat similar to usual routines of that name/ has a much stronger climax. Certainly a little more preparation is necessary with this method, in that one of the packs is set-up, but in addition to the better ending, it will defeat the knowing ones. For those who want a really stunning card effect, this one will be difficult to beat. Effect: The performer has one pack and a spectator another. Both shuffle and cut their packs which are then exchanged. The performer removes one card from his pack and places it in his pocket. Now the spectator cuts his pack at any point he wishes, completes the cut and looks at the bottom card. According to the number of spots on that card, so the spectator counts that number of cards from the top of the pack, and places the card arrived at on the table. Without hesitation the performer removes the card placed in his pocket previously - they are the same. Requirements: Two packs are needed, say one with red backs and the other with blue backs. One pack (say blue) is set-up in the order King to Ace, King to Ace and so on from the top down, but with the suits mixed; that is each King to Ace set-up is of mixed suits, so that a casual glance through the pack will not reveal a set-up because different suits are together in each run. Photograph 1 shows the pack spread out after a cut. See how unprepared it looks, even though it runs in numerical order.

From the second pack (red) remove the King of Hearts, King of Spades, and King of Clubs. Place these in your right jacket pocket, with the King of Clubs on its side as the inner card. The King of Hearts is directly at the back of it, also on its side. The third King (Spades) is upright at the back of the other two Kings. Eventually (but not at this stage) the King of Diamonds will be with the other Kings in the pocket and it will go upright behind the King of Spades, so that if one could see inside the pocket, the set up would appear as in Photograph 2. Performance: To start the effect you, the performer, have the set-up pack and the spectator has the one with the three Kings missing. Obviously a "magician's choice" can be given here, the essential factor being that you end up with the set-up pack. Tell the spectator to "do as you do" and shuffle his pack. You false shuffle yours to retain the order. Once more he follows you, both packs being cut and the cut completed. At this point you exchange packs with him. Without telling him to do likewise on this occasion, you look through the non set-up pack, remove the King of Diamonds and without showing its face, place it upright in the pocket behind the King of Spades. The four Kings are now in your pocket in the CHaSeD order, with the Clubs and Hearts on their sides. This is the position in Photograph 2. This arrangement of the four cards makes it extremely easy to remove the correct King later; quickly and without fumbling. When removing the card from the pack make it appear that you are concentrating hard on what you are doing. Tell the spectator to cut the pack he holds very carefully at any point he wishes, complete the cut, look at the bottom card and note the number of spots on it. Watch his actions, because it is just possible that he will cut a King to the bottom. If this happens do not call attention to it, just have him cut once more as if this was intended all the time. Now have the spectator count down from the top of the pack according to the number of spots on the card - if a Jack is the bottom card then he counts eleven; twelve if it is a Queen. The card which falls at that number is 24

put aside, face down. It will be one of the four Kings. Have the spectator turn over the card and immediately you see its face, reach quickly into your pocket and remove the matching King. Because of the arrangement of the four Kings in the pocket, the selection and removal can be made instantaneously. Show that the two cards match. Notes: An alternative is to have one pack set-up in the CHaSeD order as far as suits are concerned, but still in numerical order. In this way, when you see which card the spectator cuts to the bottom of his pack, you will be "tipped off" as to which King will be placed aside. Now you can remove the matching King from your pocket before the spectator turns his King face up! This certainly produces a stronger climax, as the effect is that you show the King previously placed in the pocket before the spectator reveals his card. However, both methods are good. In the first one the faces of the setup can be shown momentarily, as it is extremely unlikely that anyone will notice the numerical order because of the mixed suits, but this should not be allowed in the alternative version as the set-up could be noticed. Another alternative is to have four cards all the same, in place of the Kings in the set-up pack. In this method it is not necessary to have any cards in the pocket - all you do is to remove one single card (the matching one to the four in the set-up pack) from your pack, and without showing the face place it face down on the table. Now, when the spectator counts to his card, he must get one of the four "all the same" cards, which he is told not to look at but to place it face down alongside yours. The climax comes when you both turn over the cards together and they match. We feel that this last plan is not the one to subscribe to unless you use it as perhaps the only card trick in a programme of tricks with other objects, or as a repeat item for spectators who have seen the effect before, when one of the other methods was used.

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CHAPTER SIX BLACK AND RED PUZZLE Although Dai Vernon developed this routine in 1939, time has not diminished its worth and it is just as suitable for present day performance as it was all those years ago. Actually it is similar to the "Oil and Water" effect and makes an interesting interlude in any card act. Effect: Eight cards are shown, four black and four red. These are arranged red, black, red, black and so on. By moving only one card, either the top card to the bottom or the bottom card to the top, the arrangement of the other cards is changed. Performance: Show four red and four black cards and alternate them so that they run from the top down, red, black, etc. This is done openly. Holding the packet face down deal the cards one at a time in an overlapping face-up row on the table, calling attention to the fact that the colours are alternated. Tell the spectators that by merely moving a card from the bottom to the top, the entire order of the cards is changed. Scoop up the cards, then holding the squared packet face down in the left hand, apparently remove the bottom card. Actually it is the card second from the bottom which is taken by slightly buckling the bottom card with the left second finger, then inserting the right second finger into the space made by the buckling and pulling out the card second from the bottom. Photograph 1 shows an exposed view of this action. As previously stated this card is placed on top of the packet. The cards are now dealt face up on the table as before but on the fourth card a 'Second' is dealt.

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This puts the cards in the red, red, black, black order. The Second Deal described in "Further Inner Secrets" and called "The New Theory Second Deal", is ideal for this effect. Photograph 2 is a 'Stop Action' view from the performer's angle of the 'Second' being dealt. Now the spectators are told that it is possible to restore the original order of cards by exactly the same procedure as before. Scoop up the cards and holding the packet face down remove the card which is on the bottom and place it on top of the packet. Deal the cards once more into an overlapping face up row, dealing a 'Second' on the third and seventh cards, when the cards will be seen to be alternated. Dealing a 'Second' on the seventh card is extremely easy as there are only two cards in the hand - merely deal the bottom card instead of the top one. Say, "To place the cards in an entirely different arrangement, we just do the same thing again." Scoop up the cards and hold the packet face down. Seemingly move the bottom card to the top, but actually make the buckle and take the second card from the bottom to the top. Again deal the cards'face up, this time dealing a 'Second' on the third and sixth cards. As the cards are dealt say, "Three black and three red." After dealing the sixth card, remove the seventh card with the right hand and begin to turn it up but do not put it down. Turn it face down and place it under the card in the left hand. Leave these two cards in the left hand and pick up the three blacks and three reds from the table, placing them on top of the cards in the left hand. Remove the bottom card openly and place it on top. Now deal the cards slowly and deliberately face up on the table, showing four blacks and four reds. The deal is absolutely normal and quite astonishing. The interlude can be concluded at this point, or it can be taken a stage further by making the cards alternate again in the following manner. 2S

Place the cards together again in a face down packet in the left hand. Remove the two top cards as one by the double lift and place them second from bottom. This is done by using the same buckle move as employed earlier, the two cards as one being inserted into the space caused by buckling the bottom card. The cards are now shown alternated by dealing a 'Second1 on the second and fifth cards. Although this effect will appeal immediately to the performer who is proficient at dealing 'Seconds', others should not be deterred, because it is not essential for the Second Dealing technique to be perfect. The spectators are more concerned with the faces of the cards as they are put down, rather than what is happening in the left hand. This is an ideal interlude to preceed an "Oil and Water" effect, or it can be used as an explanation as to how that effect is brought about. Perhaps it is best used for the latter, then if one or more of your Second Deals are not all that they should be and are detected, the spectators will still be mystified and quite in the dark. They will accept a detected Second Deal as part of the supposed explanation!

CHAPTER SEVEN MENTAL SPELL In this effect the performer openly fans a group of ten cards before a spectator. One of these cards is mentally selected. The spectator is given the packet, which has been cut and mixed by the performer and is told to mentally spell the name of his card. This is done by removing from the top of the packet and placing on the bottom, one card for each letter in the name of the mentally selected card. At the conclusion of this mental spell, the performer reveals the spectator's card in a startling manner. Preparation: Remove the following ten cards and place them face up on the table, one on top of the other, in this order: - Six of Clubs, Ten of Hearts, Four of Spades, Ten of Diamonds, Four of Diamonds, Seven of Diamonds, Queen of Hearts, King of Diamonds, Queen of Diamonds and Ten of Clubs. This preparation is done beforehand. Place these ten cards on top of the pack and you are ready to perform. The top card of the pack will be the Six of Clubs and the tenth card from the top the Ten of Clubs. Method: Please run through the method several times so that you may grasp a complete understanding of the workings of this trick. There are many different combinations the indulgent performer may wish to work out, but for practical purposes the method given here is exceedingly simple and direct. To perform, remove the pack and if you wish, false cut it a few times. "Many times," you say, "a card is removed from a pack and replaced. The magician then attempts to find it. Now, if a card is merely mentally selected...not touched but merely thought of...then we have impossible condition/' Remove the top ten cards from the pack. Say to a spectator, "Sir, will you please mentally select any one of these cards. Just think of one and give me no indication as to which card you are thinking of." When the spectator has mentally selected a card, place the ten cards face down in your hands and give them a few false cuts as you continue to patter. "I am going to hand you this packet. I want you to think of your card and mentally spell it's name to yourself. Then I want you to remove a card from the top of the packet, place it on the bottom and continue to do this, removing one card for each letter in the name of your mentally chosen card. For example, let us 31

say your thought of card was the Two of Clubs. You then spell as follows T-W-O-O-F-C-L-U-B-S-." As you speak, you actually run through this demonstration. At the conclusion of your spelling the Two of Clubs the packet will again be in its original order! Say, "I want you to remove a card for each letter in the complete name of your card, but spell the card mentally." Hand the packet to the spectator and watch him spell the name of his card. He places one card from the top to the bottom for each letter. Count the number of cards he removes as he spells. It is through the total of the cards he removes that you have enough information to effectively conclude the effect. A. If the spectator moves ten cards as he mentally spells the name of his card, you know that his card is the Six of Clubs or the Ten of Clubs. Ask the spectator the name of his card. If he says it is the Six of Clubs, tell him to turn over the top card of the packet and this will be the Six. If he says it is the Ten of Clubs, tell him to look at the bottom card. Either of these denouements are effective. B. If the spectator moves eleven or twelve cards as he mentally spells, then do not ask him any questions. Simply tell him to think of his card, then have him turn over the top card of the packet. To his surprise, his mentally chosen card will be staring at him. C. If the spectator moves' thirteen, fourteen or fifteen cards as he mentally spells, you immediately say, "You were thinking of a picture card, weren't you?" If he says ''No/' then you say, "Well concentrate on your card and hold the packet tightly." Make a magical wave over the packet and have him turn over the top card of the packet. It will be the card he has mentally selected. Note that the above groups: A, B, C take care of seven cards. The remaining three cards will be handled in the following manner. Also note that the following only concerns the picture cards. D. If the spectator moves thirteen, fourteen, or fifteen cards as he mentally spells, and after you ask him: "You were thinking of a picture card, weren't you?" he says "Yes," then the following handling is applied to each case. 1. If thirteen (and a picture card). Say, "Look at the bottom card and remem-

ber the numerical value. Remove that number from the top of the pack and look at the card in that position/' They will note the bottom card and see that it is a Four spot. They will then remove four cards from the top of the pack. The fourth card will be the mentally selected card. 2. If fourteen (and a picture card). Say, "Look at the top card and replace it on the top. How many spots did it have?" Spectator will say: "Four." "Remove the fourth card from the top/' you say. It will be the mentally selected card. 3. If fifteen (and a picture). Say, "Look at the bottom card and remember its numerical value. Remove that many cards from the top." They will note that the bottom card is aFour spot. The mentally selected card will now be exactly fourth from the top. This is the same procedure as in 1. Although the description is lengthy, the trick is really quite simple to perform and easy to master. After rehearsing the effect just a few times, we are sure you will be able to perform it with confidence and conviction.

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CHAPTER EIGHT TEN GIVES THREE Bruce Cervon devised this clever effect which he performs regularly at the Magic Castle. We have given it the above title because in the notes he sent us, he referred to it as "the ten card effect with three climaxes." Even though there are three climaxes the effect is in no way confusing, in fact it is very clear-cut and clean. The photographs (taken by Steve Young) are of Bruce's hands performing the moves. Effect: Showing ten cards, all Clubs, the performer openly arranges them in numerical order from Ace to Ten. While the performer turns his head, the spectator removes any card, notes it and returns it to the packet which has previously been cut. The spectator now takes the packet and moves as many cards from the top to the bottom as there were spots on his card. While this is done the performer turns his head so that he cannot know how many cards are moved. When the packet is turned face up and spread, it is found that the cards are again running from Ace to Ten, and the selected card is at the correct number, but is now face down. On turning the card face up, it is found to be the Joker and the spectator immediately removes the selected card from his pocket. Note: On first reading this may appear a complicated effect - actually it is very straightforward. Do the same as we did and try it out with the cards in hand and you will be convinced. It is a first class trick - otherwise it would not have the approval of Dai Vernon. Performance: Remove the Ace to Ten of Clubs from the pack, but along with them secretely take the Joker. Set-up the cards in the Ace to Ten order from the face, with the Joker in front of the Ace - be careful not to expose the Joker. Holding the eleven cards face down in the left hand do a bottom reverse, reversing the Joker.

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All of the above is done in an off hand manner, no attention being directed to your actions until now. In fact, Bruce Cervon often sets up the cards before he starts, so saving time in his actual performance. Holding the packet face down in your left hand, tell the spectators that you have set up ten cards in the Ace to Ten order. With the right hand pick up the Ten of Clubs from the top and show its face. Now take off the Nine of Clubs onto the face of the Ten and show it - continue in this fashion, taking cards until the Two of Clubs is in the right hand, Photograph 1 shows how the cards are taken and shown. Look down at the back of the card in the left hand and say, "From Ace to Ten" and place all the cards from the right hand on top of those (remember, the Joker is face up under the Ace) in the left hand. >

Fan out the cards, being careful not to expose the face up Joker on the bottom, and ask a spectator to select any card. Turn your head away as this is done, saying that you do not want to know which card is selected. Split the fan at the point from which the card has been taken and put the upper fan under the lower one, but keeping the face up Joker on the bottom. This is done by buckling the Joker so that the right hand cards go between the left hand cards and the Joker. Photograph 2, which is an exposed view from the performer's angle, shows this action. Additionally, the lower packet is jogged back so that you can lift the upper packet easily. As you do the above tell the spectator to show his card to the others. Now lift up the upper packet and have the selected card returned at this point; square the packet. Hand the packet to the spectator, taking care not to flash the bottom card. Tell him to, "Move as many cards singly from the top to the bottom" as his card has spots. As he does this turn your head away, saying that you do not

wish to know how many spots there are on his card. After the spectator has completed this task, take back the packet and hold it face down in the left hand in readiness to cop the bottom card. This card (the selected one) is going to be taken secretly in the left hand, but we use the word 'cop' in preference to 'palm' because the card is not palmed, as a look at Photograph 3 will show. The holding position will be that the outer end is loosely held, the left outer corner near the base of the first finger and the right corner near the tip of the second finger.

The excuse for taking the packet into the left hand is for the right hand to move the rest of the pack, the card case, or any other object, out of the way. After this is done, take the packet from the left hand into the right, leaving the bottom card in the left hand as explained - Photograph 3. As the right hand moves to the centre of the table, turn the packet face up by releasing the grip with the thumb, and clipping the front edge of the packet between the first and second fingers. Photograph 3 shows the holding position on the packet of cards just prior to it being turned face up. As the packet is placed face up on the table, move the left hand back so that it is masked by the body, which leans forward. With the right forefinger spread the cards in a row to the right, where they will come out in numerical order, but the card at the spectator's number will be face down - Photograph 4. This is the first surprising climax and it seems to have been accomplished by some mathematical method. Tell the spectator to turn over the face down card and as he does so and his attention is on this action, reach into your pocket with the left hand and load the selected card. As the spectator sees that the face of the card is the Joker (second surprise) remove the selected card from the pocket as the spectator looks up at you. The "punch line" can be, "I guess the Joker's on me!" pointing to the Joker and tossing the selected card face up on the table for the final climax. 37

CHAPTER NINE THE MAGIC OF LARRY JENNINGS In one of the tape recordings Larry Jennings sent us he says, "The ideas behind top class magic, particularly card magic, are beautiful ideas. When you examine someone's tricks its like taking a walk around inside their mind to see how they overcome difficulties. Its like an insight into their personalities. That's why I like Dai Vernon's magic - it has a quality about it. One cannot put a finger on it - its simply that every trick that the Professor touches comes out of a better grade than other things one sees around. Most of the tricks I do are coloured by the Professor's work. This is natural because I like to consider myself a student of the Professor, and consequently it is very difficult to separate what is mine from what is his, as I use suggestions of his all the time/' For some time Larry Jennings has been closely associated with Dai Vernon, which has resulted in a very firm friendship. Both magicians perform regularly at Hollywood's Magic Castle and the several effects recorded on tape and described here are those which are being performed at this centre of magic. The first trick is based on an effect by Hof zinser but moves by Dai Vernon, Roy Walton and Larry Jennings himself have been employed to bring it about. TELL-TALE ACES. Effect: The four Aces are removed from the pack and placed in a face down packet on the table. A card is selected from the rest of the pack, noted by the spectator, returned to the pack, which is then shuffled. Taking the Joker from the pack, the performer hands the Joker to the spectator and tells him to wave it over the Aces as he thinks of the suit of the card he selected. When the Aces are shown one of the Aces has turned face down, and when turned face up is found to be the Ace of the same suit as the selected card. After the Ace packet is turned face down again, the Joker is placed face up in the pack and the latter is waved over the Aces - the Joker changes to the Ace which was shown to have reversed itself in the packet, whilst the reversed card in the packet is now found to be the selected card. The effect may read complicated in print, but visually it is straightfor-

ward and very strong. Dai Vernon has personally selected tricks from Larry Jennings' repertoire for inclusion in this book, and his choice has been influenced by the fact that he has been able to assess the reaction of the audiences at the Magic Castle. He considers the effects to be first class magical entertainment, and sufficiently different from the usual run of card tricks to be quite new to audiences. Method: 1. Have the spectator shuffle the pack, take it from him and turn it face up. Run through the cards with the faces towards yourself, and when the Joker is seen cut the pack to bring the Joker second from the face of the pack. Continue running through the cards and as each Ace is reached, up-jog it for about half its length out of the pack. When all four Aces have been upjogged, strip them from the pack and place them in a face-down packet on the table in the order Clubs, Diamonds, Spades, Hearts, from the face of the packet. This is the order Larry Jennings uses, but any remembered order will do and the reader may prefer the more familiar CHaSeD formula. 2. Turn the pack face down and have a card freely selected by spreading the cards between the hands in the usual way. Tell the spectator to remember his card, and place it back in the pack somewhere near the centre as you shuffle the cards. Begin shuffling the cards and when the spectator replaces his card, drop all the cards from the right hand on top of it so that the Joker is now two cards above the selected card. Again begin to shuffle, this time the old "Red and Black" overhand shuffle is employed. That is, small blocks of cards are pulled off as normal but when near the centre of the pack, single cards are run off in reverse order until it is certain that the Joker and the selected card have been passed, then blocks of cards are pulled off again to complete the shuffle. Turn the pack with the faces towards you and tell the spectator that for this effect you have to use the Joker. Without letting the spectator see the faces of the cards, run through them till you reach two cards past the Joker, in other words the Joker, an indifferent card and the selected card. Note the suit of the selected card and pick up a break under it with the left little finger. Square up the left hand packet with the Joker on the face and still hold a break under the three face cards of that packet. Show the Joker and push it up with the left thumb then place the cards from the right hand on the face of the left hand packet, leaving the Joker upjogged for about half its length. As the right hand cards are placed on the left hand packet, pick up the break with the right second or third finger, by inserting the finger into the break. 40

This makes it simple to cut at the break and place all the cards below the break on the face of the pack. This gives the impression that the Joker goes to the back (top) of the pack. Square up the pack, pushing the Joker down with the left forefinger then turn the pack face down. 3. Pick up a break (left little finger) under the top card of the pack. We know this card (say Ten of Spades) because we looked at it and remembered the suit. We now need to have the Ace of the same suit (Spades) in the third position from the face of the Ace packet (or second from the top). In our example the Ace of Spades is already in the correct position, due to the CDSH set up, but if the selected card was some other suit, we simply bring it to third position from the face as we pick up the Ace packet. For example if the selected card was a Diamond, we would use the top Ace of the packet to scoop up the other three cards, which would bring the Ace of Diamonds third from the face. If the card was a Heart then the top three Aces of the packet are picked up, and the other Ace scooped up with them. The object is to get the required Ace to the third position from the face of the packet.

The Ace packet is placed face up on the face down pack and squared. The right hand comes over the pack, the thumb at the rear, to pick up the break under the selected card and lifts the face up Aces with the face down selected card behind them (Photograph 1 shows an exposed view from underneath) then moves them up and to the right about an inch, across the top of the pack. As this is done, get a break under the top card of the pack with the tip of the left second finger - Photograph 2 shows an exposed view from underneath, and also shows the holding position of the packet on the pack. 4. Take off the face Ace (Clubs in this example) and place it under the Ace packet; it does not have to be perfectly squared. Remove the next Ace (Diamonds) and do likewise. Remove the next Ace (Spades) and place it 41

under, but into the break; that is the left inner corner goes under the top card of the pack. The method of placing this card is seen in the view from underneath in Photograph 3. (Actually the face of the Ten of Spades would not be seen as it would be covered by an Ace). Now take hold of the Aces with the right hand, between the thumb at the right outer corner and second finger underneath, and slide them to the left over the top of the pack, moving the Ace of Spades also under the top card, but holding the top card so that it does not move, until the position is reached as in Photograph 4. Note that the left forefinger is curled around the outer end of the Aces, with the thumb along the side. The right hand now comes over for the right

second finger to press down slightly on the outer end of the Aces. This lifts the inner end so that the right thumb can butt against it. The position is shown in Photograph 5, but the lifting has been exaggerated for clarity. With the right thumb and second finger move the top Aces forward, leaving the Ace of Spades underneath the top card of the pack. When the Ace packet has been moved forward sufficiently so that the left forefinger can reach the end of the Ace of Spades (Photograph 6 shows an exposed view, but no face card would be seen in the gap) forefinger pushes this Ace flush with the pack under cover of the other Aces. Simultaneously the right hand moves the Aces (three Aces and the selected card) to the position shown in Photograph 7. 5. Place the Ace packet face up on the table, and as this is done get a break under the top three cards of the pack. This is achieved by riffling cards singly with the left little finger.

The position from the top of the pack is: - a face-down indifferent card, face-up Ace of Spades, face-down Joker, then the break. The Vernon Push Off Lift is now executed as follows: Move the left second finger under the pack to the outer right side of the three cards, the break allowing the tip of the finger to contact the under edge of the third card down. With the left thumb on top of the top card, the three cards as one are pinched between the thumb and second finger. The second finger and thumb are now straightened, which pushes back three cards as one over the right side of the pack. Bring the right hand to the three cards and turn them over together, letting them fall square onto the top of the pack. As this happens pick up a break under the three cards with the left little finger. 6. Remove the Joker (which is face up) and hand it to the spectator, asking him to wave it over the Aces on the table and think of the suit of his selected card. When he has done this, pick up the Ace packet and place it again in position on the pack as shown in Photograph 7. Take hold of the Ace packet at the inner right end between the right thumb and second finger. Bring the Aces over square on the pack, for the left thumb to go on top of the Ace of Hearts to hold it, as the rest of the packet is moved to the right and out from underneath. In other words the left thumb drags off the Ace of Hearts as the rest of the packet is pulled out from underneath. Drag off the next card (face down card) in the same way, leaving it fanned a little, then the Ace of Clubs and finally the Ace of Diamonds. In this way you have thumbed the Aces onto the pack, leaving them fanned a little, reversed their order and have shown the spectator that one Ace has reversed itself in the packet of four

Aces (actually the reversed card is the selected card). Move the right hand to the pack prior to turning the fanned Ace packet face down, and insert the right second finger into the break which has still been retained under the six cards. Move the cards down about half an inch as you turn the block of six cards over, so that a break can be picked up under the block. Thumb over the top card, revealing the face up Ace of Spades, then push it over to reveal a face down card. You cannot go further or the face up selected card would be revealed, so you only thumb over the first two cards. This proves to the spectator that the face down card he saw in the face up Aces was the Ace of Spades, so ask, "Is it correct that you thought of a Spade?" and he will answer "Yes." With the two cards still fanned on top of the pack, tip over the whole block of six cards once more, the fan being maintained until they begin to fall, then they are let fall square onto the pack but again a break is held under the block as it is tipped over. Fan off the Aces; the Ace of Diamonds, the Ace of Clubs, the face down card and the Ace of Hearts and place them on the table. 7. Pick up the Joker and place it face up and square on top of the pack. Remember, a two card break was held, and this now becomes a three card break. Move the right hand over, thumb at inner end and second finger at outer end and pick up the break with the right thumb. Lift the whole pack with the right hand retaining the break, and place it on the table, but immediately lift off half the pack and place it in the left hand, picking up the break under the three cards with the left little finger. The other half is now taken from the table with the right hand and placed on top of the cards in the left hand - in other words the face up Joker has been buried in the centre of the pack. We now come to the Jennings Reversal and this is prepared for and executed as follows: Spread the cards between the hands until the face up Joker is reached and say, "Remember, the Joker is face up in the pack." As you begin to square up the pack again, the right hand brings the cards back over the left hand portion, but still in a fanned condition. The left little finger goes under the block of three cards and the left third finger goes above the block of cards. The right hand pushes the cards over in a loose packet on top of the 44

three cards, then changes its position. It grips the pack, all four fingers at the outer end and the thumb at the inner end, that is as if the Pass is to be made - and in some respects this is what is to be done. What actually happens is that a Pass type movement is started with the three cards trapped between the left little and third fingers. Only three cards rotate out of the pack and come down to form a V underneath the pack, partly reversing but are still clipped by the left little and third fingers. While this happens the top and bottom halves of the pack are still held by the right hand. Now the left second finger curls underneath the pack, forcing the three cards up against the face of the pack. The pack never changes position while this is happening. The reason for curling the left second finger under the pack is to bring the packet of three cards up against the bottom of the pack, instead of the pack dropping down. Finally the pack is squared by running the left hand back and forth along the side, the pack being held in the right hand with the left second finger still curled under the pack. The common fault in a half pass is that the pack jumps as the move is made. This has been eliminated in Larry Jennings' method, because the pack is held by the right hand into the crotch of the left thumb. When the cards have been pulled out of the pack and begin to rotate face downwards, the left second finger curls under the pack forcing the cards up against the bottom of the pack. This ensures that the pack does not drop or jump, a fault that shows that something is happening. 8. Place the pack on the table and ask the spectator to cut the pack and complete the cut. Pick up the pack and wave it over the face-up Aces on the table. Spread the pack and show the Ace of Spades face up in the middle, the effect being that the Joker has changed to the Ace of Spades. Turn over the four cards on the table and reveal the spectator's selected card - the Ten of Spades. Photograph 8 shows the completion. The patter is left to each individual as that which Larry Jennings employs would not be suitable for universal use. As stated at the start, Larry Jennings has employed some moves devised by other magicians. The method for stealing a card from a group of cards is Dai Vernon's, who has been using it for about forty years. It is one of the cleverest methods of all for stealing a card, as it looks so natural and works beautifully. 45

The method for showing that an Ace is in the packet when actually it is not there at all, is a lovely idea of Roy Walton's. Finally, the method for reversing cards (the Half Pass) is Larry Jennings' own. Dai Vernon set an exercise for Larry and suggested that he should find a way of reversing cards without any tell-tale movement of the pack. Dai Vernon's verdict is that it is a beautiful item of card magic.

CHAPTER TEN LARRE VERSE We have given this trick the above title because it uses an entirely new move devised by Larry Jennings, for reversing a card or cards. Actually the move itself has been dubbed LARREVERSE by others and is known by that name by the few magicians who have been shown the secret. This is the first time it has appeared in print and we predict that it is going to be applauded and treasured by all card enthusiasts. Here we are given a remarkable method for reversing a card, the only one we know whereby a card can be reversed directly under a spectator's nose without any fear of it being detected. Everyone who has been shown the reverse acclaims it as the best they have seen. In a tape recording sent to us, Dai Vernon says, "This reverse of Larry's is very beautiful. I hope you will say that I consider it to be one of the real gems that has come out in recent years. Larry does it flawlessly and in a perfectly natural manner and no one can ever suspect that any skullduggery is going on." The effect described is a standard one, but by using the new move it makes it a very strong item, and will even fool the people who know the usual methods for reversing a card. Actually the move has many, many uses. It is a very good utility move for reversing one card, or a block or group of cards. As the effect is stra'ight-forward and will be clear as we proceed, we propose to describe the method, inserting the description of the reverse in the correct place. Method: Larry Jennings has a card selected, noted and returned to the pack. He brings this card to the top of the pack by the Pass, but any preferred method can be used. The pack is riffle-shuffled on the table, retaining the top card in position, then given a false cut. Here again Larry Jennings uses a method of falsecutting of his own, a description of which is given here for the first time.

The Jennings False Cut: Photograph 1. This shows the position of the hands. The pack is on the table as if ready for another riffle shuffle. The right thumb is on the inner right end, the first finger is curled on top, and the second and third fingers are on the outer end of the pack. On the left side the left thumb is on the inner end, the forefinger curled on top and the second finger only is on the outer end of the pack. The right second finger picks up a break (very slightly) on the top third of the pack, allowing the left second finger and thumb to pull out the centre of the pack. As soon as this occurs the right hand moves the top and bottom portions of the pack forward. The photograph shows the action about half completed. Notice that the upper and lower portions of the pack are being moved forward, while the centre section is being held back. In the photograph Larry Jennings has his third finger on the centre section but this does not matter. In any case the picking up of the top part of the pack can be dispensed with when one is familiar with the cut. From the position seen in the photograph the right hand moves forward leaving the bottom portion of the pack on the table, then continues forward and leaves the upper portion on the table. The position is now that there are three packets of cards in a row on the table, pointing away from you. The right hand moves back to the inner packet, picks it up and places it square on the centre packet. These two combined packets are placed on top of the third packet but jogged so that a break can be picked up again. The left hand goes to the left end of the packet, the left thumb picks up the break, the right hand undercuts the bottom portion of the pack and places it square on top. This completes the false cut. As far as the spectators are concerned the selected card is lost. The spectator is asked to give any number at all and it is stressed that there is no restriction on the number he may choose. Normally it will be a fairly small number but it really does not matter. Say the number given is "ten." We are now getting ready for the secret reverse, so study the text and photographs carefully with the cards in hand. Remember, the spectator's card is on top of the pack.

Larreverse: Holding the pack face down in the left hand, thumb off single cards with the left thumb into the right hand, reversing the order of the cards as they are counted. When nine cards have been counted, place them partially back on the cards in the left hand, spread the nine cards between the hands and say, "Here are nine cards../' and as you are holding the spread nine cards with the right hand, use them to tip over the next card, face up, onto the pack as you say, "...and here is the tenth card...it is not your card is it?" The answer will be "No." Say, "I wanted to show you this because many people think they are influenced when choosing a number and that I would know the number beforehand, but this is not the case."

When the tenth card has been turned up, get into the position shown in Photograph 2 - a rear view; that is the right forefinger butts the edge of the card just above the face up card and the right little finger also butts on the edge of the same card. As soon as this position is reached, the right second finger moves over and rests on the back of the face up card - this is seen happening in Photograph 3 (rear view). The right hand begins to turn the cards it holds face up by turning the right hand inwards towards the body. As this happens the right second finger pulls the face up card back until it butts against the first and little fingers. This is seen partially happening in Photograph 3 - the action is not quite complete but is nearer completion than in Photograph 2. Notice what is happening - the right second finger is pulling the card back so that it butts against the first and little fingers. When that happens the card will line up perfectly with the selected card above it. The hand continues on inwards (in other words you are turning the face up card face down) and it is rotated inward until the card is completely face down. The face down card (and the one aligned with it) is placed onto the packet in the left hand and the left thumb clips the outer left corner. This is shown in Photograph 4 - notice that the right hand cards are face up and the packet is just coming up from underneath the top face down card which is clipped by the left thumb against the pack. Move the right hand out so that the card is left face down to cover the now face up selected card, then turn

the right hand over again. Say, "I'll place those nine cards (actually eight) back on top of the tenth card - would you hold the pack for a second" and hand the pack to the spectator. Snap your fingers over the pack then have the spectator count down to the tenth card which he finds is his card, face up, in the tenth position.

That is the completion of the simple effect and mastery of it will demonstrate how the Larreverse is employed for the reversal of a single card. However, it can be used in many ways. If a face-up card is directly under a facedown selected card, you can pretend to notice that the card is face up unintentionally and say, "Oh! I beg your pardon" and turn the card face down, using the Larreverse and thereby reversing the spectator's card for later use. In Photograph 5 we see how the move can be used for reversing a block of cards. For this the technique is changed slightly. Let us assume we need to reverse four cards. Have a face up card in the pack, left over from the preceding effect. Spread down to the face up card and four cards above it, and mark off with the right first and little fingers as explained. Now when you reach the face up card show it and place the left fingertips on its back. Now the right hand slides the face down cards over the face up cards until the face up card butts against the right first and little finger. The packet is now turned over inwards and the whole group of cards is clipped with the left thumb. The right hand rotates its cards face down again and you have reversed the four cards. Obviously, this could have been three, four, five, six or as many cards as required. That is Larreverse. To illustrate the versatility of Larreverse we will now describe two more of Larry Jennings' effects in which he uses this clever stratagem. In each item selected cards reverse themselves in the pack, so we will confine our description to methods only.

Double Reverse: 1. Fan the pack face down between the hands and have a spectator point to any card. Flip this card face up on top of the left hand packet by bringing the left side of the spread cards in the right hand under the right side of the card and lifting upwards. Let us assume the face-up card is the Four of Spades. Now flip it face down again, but as the right hand spread packet comes over the left hand packet at the completion of the action of turning the Four of Spades face down, clip the bottom spread card of the right hand packet with the left thumb at the top left corner. Separate the hands again leaving the extra card above the Four of Spades. Immediately thumb off this indifferent card onto the table and have the spectator place his hand on it for safe keeping. 2. With the left thumb, push the two top cards of the left packet over a little to the right. The cards should be spread a little. This happens as the right hand packet is brought over the left packet - as if to re-assemble the pack. Actually the top (selected) card of the left packet is secretly transferred to the bottom of the right hand packet, and the packets are separated again. 3. Saying, "We'll use two cards...that one, the Four of Spades (indicating the card over which the spectator has his hand)...and this one...", flip over the top card of the left hand packet as before. Let us assume this new face up card is the Six of Hearts. Continue the patter, "....the Six of Hearts." 4. Now do the Larreverse with the Six of Hearts (which reverses the real Four of Spades), but do not re-assemble the pack. Place the right hand packet on the table and ask the spectator to lift his hand. Pick up the card he has been guarding (supposedly the Four of Spades) and place it, still face down on top of the left hand packet. The order of the cards in the left hand packet now is: - face-down indifferent card, face-down Six of Hearts, face-up Four of Spades and the rest of the cards face down. Pick up the cards from the table and place them on top of the left hand packet. 5. Make a "magical wave" over the pack, then spread the cards between the hands to show that the Four of Spades is now face up in the pack. 6. Do the Larreverse as the Four of Spades is turned face down. Make another "magical wave" over the pack, then spread the cards again to show

that the Six of Hearts is now face up. i Peeked Card Reverse: 1. Holding the pack in the left hand, have a spectator peek at a card. Hold a little finger break in the usual way, but squeeze the pack so that it seems that the edge of the pack is even all round. In other words you casually display the pack, without actually saying that "no break is held." 2. Remove the top card, turn it face up and insert it into the break from the rear end. As you do this say, "I want you to take a card and push it into the pack like this." 3. Spread down to the face up card to show it, then do the Larreverse as you turn it face down which, of course, brings the selected card face up underneath it. Instead of bringing the right hand packet on top of the left hand packet to assemble the pack, place it on the bottom, so that the face up selected card is second from the top of the pack. 4. Turn the left hand over, which brings the pack face up, and thumb off the under (top) card face up onto the table. The reversed selected card is concealed under the pack. 5. Take the face-up pack from the left hand into the right and spread the cards between the hands. Ask the spectator to pick up the card on the table and place it face down in the face up spread. As this is done pick up a break one card below the face down card. Square the pack, holding the break. 6. Now perform the Herrmann Pass. Readers will know that this pass is made in the action of turning the pack over, so that at the finish the top card is face down, the next card face up and the peeked at card is face up somewhere in the centre of the pack. 7. Being careful not to show the second card (face up) in the pack, spread the cards between the hands to show that the card peeked at is now face up in the centre of the pack.

CHAPTER ELEVEN GAMBLER'S TRIUMPH Dr. Daley once said that a good trick has to have a discrepancy, so Larry Jennings devised the following effect with this in mind. The second part is basically a face-up, face-down shuffle of which many have been described in books on card magic, indeed Dai Vernon's "Triumph" is in this category. Larry himself trunks of his effect as the "Discrepancy Trick" and asked us to put a title to it. As it has a gambling patter theme the best we can do is to call it "Gambler's Triumph" - but whatever the title, it is the effect that matters and there is no doubt that this is first class. Effect: By reading the following suggested patter the effect will be clear: - "When I was a young man I had a job in which I had to travel from one town to another. One day I met a gambler on a train and when I told him that I was interested in magic he showed me an exercise he used for cutting the pack to find the Aces. He proceeded to cut the pack into three packets, then turned over the top card of each to reveal three Aces. Being a young man and rather brash, I pointed out that there was still one Ace missing. He said, 'Well I always do that for guys like you', and turned over the centre packet to reveal the fourth Ace at the bottom." "He was kind enough to teach me how it was done, but there was one thing he didn't show me. He shuffled the packets together, face up and face down. After cutting the cards he spread the cards across the table to show that all the cards were now face down, except for four face-up cards - the four Aces!" The patter tells the story as the effects take place and is a true picture of what happens. Method: At the start the four Aces are on top of the pack, the Ace of Spades being the top card, then the Ace of Clubs and finally the two red Aces in any order. However, so that the photographs can be followed, we will assume that from the top of the pack down, the order is: - Ace of Spades, Ace of Clubs, Ace of Hearts and Ace of Diamonds.

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1. Place the pack face down on the table with the long side towards you, as if you were going to begin a riffle shuffle. Undercut one card from the top of the pack to the bottom. This may be accomplished by any preferred method but Larry Jennings uses Dai Vernon's. Bringing both hands to the ends of the pack he picks up a break under the left inner corner of the top card with the tip of the left thumb, undercuts half the pack with the right hand and as this half goes on top, he picks up the card above the break and undercuts to the break to bring the card to the bottom. This brings the Ace of Spades to the bottom. 2. The next requirement is to perform a standard slip-cut. Refer to Photograph 1 - with the pack face down on the table, riffle the left inner corner with the left thumb, allowing about a third of the pack at the bottom to be riffled off. Pick up the break with the right thumb and start a slip cut, the right hand slipping out the bottom third of the pack, away from you to the front, and at the same time taking with it the top card of the pack by having the right forefinger on top as in the photograph. This packet remains on the table; the Ace of Clubs is on top and the Ace of Spades on the bottom. 3. Photographs 2 and 3: Take the left hand packet by the right end with the right thumb and second finger and place it on top of the tabled packet, but outjogging it as in Photograph 2, so that a break can be picked up between the packets by the left thumb as in Photograph 3. This is the Vernon Break Control. Photograph 4 shows how this break is now picked up by the right thumb.

Another slip-cut is about to be made. At this point a break is being held

between the upper two thirds of the pack and lower one third with the right thumb; the lower one third has as the top card the Ace of Clubs and on the bottom is the Ace of Spades. Photographs: With the left thumb pick up another break of about one half of the cards above the other break. Hold down the top card with the right forefinger as the upper half of the packet is held by the left hand. Move the right hand to the right, just sufficiently for the top card to clear the left second finger. Now move the right hand forward again (away from you). A break is still held by the right thumb as in Photograph 5. As the right hand moves forward about an inch, allow all the cards below the bottom break to remain on the table, then move the right hand forward again and leave the top packet (all the cards the right hand is holding) on the table. Leave all the left hand cards also on the table, but behind the other two packets (nearest to you). Photograph 6: The appearance has been that the right hand has cut the pack into three packets, which are now in a row (away from you) on the table. 4. Photograph 7: Turn over the top cards of each packet to reveal three Aces, replacing each Ace face up and making sure that they are square with their packets. Photograph 8: After the patter, "I pointed out that there was still one Ace missing. He said, 'Well I always do that for guys like you', move off the top Ace of the centre packet with the left hand and turn the centre packet over with the right hand, and as this is done fan it slightly; just enough to show that it is face up. All four Aces are now on display. 5. Pause for a moment then say, "He was kind enough to teach me how it was done but there was one thing he didn't show me..." As you are saying this, pick up the inner (Ace of Diamonds) packet, place it on the Ace of Spades packet, place the combined packets on the Ace of Hearts packet, then pick up the pack and place it on the Ace of Clubs. 55

The above is carried out while you are speaking and no attention is called to what is being done, the inference being that the trick is over. Here is the discrepancy in the trick, as in addition to the Aces being face up, one packet was also face up and the other two packets face down before the pack was reassembled. One would think that this would be obvious, but the fact is it is not remembered. 6. Turn the pack face down in the left hand, so that you are looking at the pack from the sides, as if you were going to begin a Faro shuffle in the hands. You will see a number of bridges in the side; one will be a third of the way down. This is where two packets meet back to back. Cut at this point, picking up the top card of the lower packet as well which will be an Ace; in our example the Ace of Hearts. Remove the upper third of the pack which now has the Ace of Hearts on the bottom and the Ace of Clubs at the top; all the other cards in this packet are face up, but the two Aces are face down. Place this packet on the table to your left. Turn the other packet so that you are looking at the end, as if you were going to look at the index corners from the rear. Riffle the inner end with the right thumb and let one face-down card fall onto the lower facedown third; in other words riffle all the face-up cards and let one face-down card drop, which will be the Ace of Spades. Take all the cards above the Ace of Spades, turn them face up, leave them on the table to the right of the other packet on the table, then place the remaining cards on the table to the right of all. This means that on the left there is a packet which is supposedly face down, in the centre a face-up packet and on the right a supposedly face-down packet. 7. Riffle-shuffle the end packets together, allowing the bottom card of the left 56

hand packet to fall first then the bottom card of the right hand packet. Continue a genuine riffle shuffle until the top cards of the two packets fall together on top. Make this a close shuffle, the hands masking the cards to prevent it being seen that what is supposed to be two face-down packets being shuffled together, are actually face up, except for the two bottom cards and the two top cards. The position after the packets are shuffled together and squared is that there are two face-down Aces on top and two face-down Aces on the bottom - the rest of the cards are face up. 8. Position the packet on the left and take the genuine face up packet on the right. Riffle-shuffle the two packets together, letting the two bottom cards of the left hand packet fall first. Continue a genuine riffle shuffle, but allow the two top cards of the left hand packet to fall last. Square the packets. The appearance has been that a face-up packet has been shuffled into a face-down packet. Actually all the cards are face up, except for the two facedown Aces on the top and the two face-down Aces on the bottom. 9. Say, "If I were to cut the pack I could get either a face-up card or a facedown card." As you say this the actions match the words. Undercut the pack with the right hand, but pick up a break under the top card at the left corner with the left thumb. Place the undercut half of the pack on top of the cards remaining on the table. This brings a face-up card to the top. Undercut all the cards below the break and place them all on top which brings a face-down card to the top. There are now three face-down Aces on the bottom and one face-down Ace on the top. All the other cards are face up. 10. Undercut the pack again, placing the bottom half to the top, which brings a face-up card to the top. The four Aces are now face down in the centre of the pack. Turn the pack face down and ribbon spread it across the table. All four Aces will now be seen, face up, in the centre of the face-down cards - Photograph 9. Note: We appreciate that the text appears to make this complicated. However, if the reader will take one stage at a time and understand it thoroughly before proceeding, then everything will be clear. It is a very fine trick and does not look complicated when performed.

8S

CHAPTER TWELVE THE CHANGING OF THE GUARD Although this effect was originated by Larry Jennings he nearly omitted to include it in this book, because the moves themselves are standard ones. However, Dai Vernon insisted; Steve Young, who took the photographs, was most enthusiastic and we ourselves are delighted that Larry was persuaded. The improved handling that he has given to known moves would be sufficient to justify it being recorded, but the effect produced makes it really outstanding. It is different to the usual run of card tricks and never fails to get good reaction from ladies, who are not always keen on card magic. This is because it is rather a pretty trick, the plot is uncomplicated and the method employs graceful hand movements. It was devised as something different in Four Ace effects; this is how we have described it and how Larry Jennings performs it, but he suggests that four Jacks could be used instead of Aces, which would be more in keeping with the title. The effect is simple - the Ace of Spades is said to have a peculiar effect on the other cards in the pack, and to prove this three indifferent cards are changed into the other three Aces. What makes it so good is the clean way in which the changes take place, as a trial will prove. The photographs, taken by Steve Young of Larry Jennings performing the moves, make everything easy to understand. Method: A simple set-up is required, but as only three Aces have to be on top of the pack it can be done at any time. First have the Ace of Clubs between the two red Aces, place them on top, and all is set. For the purpose of description our set-up is Ace of Hearts, Ace of Clubs, Ace of Diamonds. 1. Tell the spectators that the Ace of Spades has a peculiar effect on the other cards in the pack, and to prove this you will conduct a demonstration. With the faces of the cards towards you, run through the cards, remember the bottom card of the pack (in our photographs the Ten of Spades), and note where its matching card (Ten of Clubs) is in the pack, upjog the Ace of Spades and get a break above the three Aces - Photograph 1. This may seem 59

rather a lot to do on one run-through but it is quite easy in practice. Square the pack but keep the break, pull out the Ace of Spades and place it on the face of the pack. Your excuse for running through the pack is to find the Ace of Spades and this is now seen on the face of the face-up pack, held in the left hand. The Ten of Spades (or whatever the bottom card might be) is hidden behind the Ace and a break is held above the other three Aces. 2. Tell the spectators that for the demonstration you need three cards any cards. Holding the cards in the same position as before run through them again, but this time turn the hands for the spectators to see the faces of the cards. Because you noted the approximate position of the matching card (Ten of Clubs) of the original bottom card (Ten of Spades) the Ten of Clubs is found quickly and upjogged. Two other cards further on are also upjogged. In Photograph 2 the Ten of Clubs, Four of Clubs and Three of Hearts have been upjogged. When the third card has been placed up, the block of cards behind it is brought back down square with the rest of the pack. Photograph 2 will make this clear. As the block is brought square with the rest of the pack, the left little finger pulls down the right side of the Ace packet so that the right fingers can go into the break to hold the block - Photograph 3 (exposed view).

As this happens the left little finger goes on the end of the Aces so that the left forefinger is at the outer end of the Aces and the left little finger at the inner end. This position is shown in Photograph 4 - as it all happens 60

behind the spread cards and the spectators are seeing the faces, everything is done under cover. Photograph 4 also shows that the three cards have been brought up and are being pulled with the Aces hidden behind them. This is a standard move, but the above method is a nice way of doing it. The fingers of the hand are out flat and it looks as if you have merely come up and pulled out three indifferent cards. Actually the Aces are behind them, because all six cards are clipped against the fingers of the left hand, and the hand is rotated with the thumb inwards to strip the cards out. They are immediately placed at the back (top) of the pack. From the front the action seen is that three indifferent cards have been upjogged for about half their length in the spread, stripped out and placed on top. 3. Immediately the cards have been placed on top of the pack, turn it face down and deal off the top three cards (Aces) from left to right in a row on the table - the spectators believe them to be indifferent cards. Photograph 5 shows this completed and also gives an exposed view of the left little finger pulling down the two bottom cards of the pack. For clarity the right hand has been moved, but in performance the right hand would be holding the pack from above, the thumb at the inner end/ second and third fingers at the outer end and the forefinger curled on top. The bottom two cards are pulled down with the left little-finger as stated, then pulled at an angle as in Photograph 5 - in other words, the two cards as one, are turned slightly askew on the face of the pack. Move the right fingers to the outer end of the pack, curl them around the end to hold the cards in position and turn the pack face up, placing it in the upturned left hand as in Photograph 6. Without a pause bring the right forefinger up against the right edge of the two jogged cards and lift them as in Photograph 7. This is a very clean and natural way of doing a double lift.

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As the two cards are lifted as one from the face of the pack, tuck the left thumb under the left side of the pack, flip it face down, and immediately place it behind the card on the right of the row. Place the two cards as one, face up, in the palm of the left hand. Photograph 8 shows the position at this stage. With the right hand cut the pack into three approximately equal packets, placing a packet behind each Ace. 4. Take the Ace of Spades (double card) at the inner right corner, the right thumb on top and the right first and second fingers underneath, the two cards being held as one, face up, in the right hand. Using the cards as a scoop, slide them underneath the card on the left of the row, the cards being face to face when picked up and placed in the upturned palm of the left hand. Actually the right outer sides of the cards go into the creases at the first joints of the left fingers, the fingers being curled to grip the edges in the creases. Move the right hand away and turn the left hand (and cards) over. Place the left thumb on the end of the cards as in Photograph 9 and push, so that the cards go through the hand and come out angled as in Photograph 10. Refer back to Photograph 9 which shows the sides of the cards gripped in the creases of the curled fingers. It will be seen that the surface of the cards do not come into contact with the palm of the hand, thus no friction is caused which might make the cards separate.

When the cards have gone through the left hand, take them in the right hand, thumb above and fingers underneath, turn the left hand palm up and place the cards in the dealing position in the left hand. Press on the cards with the right forefinger and say, "This is what does the trick." Buckle the bottom card with the left forefinger. A good point here is to 62

pull back at an angle with the forefinger when buckling, instead of pulling to the left. If the finger pulls to the left the buckle shows from the front, but if the pull is back and diagonally towards the left inner corner, the buckle is way back under the cards. As the buckle is made the right hand takes the top two cards as one and the left hand moves the bottom face-up card from underneath. This card is the Ace of Hearts in our example and this is placed square on top of the other two cards, which are then taken into the left hand for the Ace of Hearts to be displayed. Move the right hand over the cards and pick off the Ace of Hearts, with the thumb at the inner end, second finger at outer end and forefinger curled on top. Place this card square, and face up, on the pile of cards (third of pack) on the left. Bring the right hand to the two cards held as one in the left hand, grasp them near the right inner corner, move them towards the tips of the left fingers and tip them face up in the left hand, holding them as in Photograph 8. In other words you take no chances on the two cards spreading. The face of the Ace of Spades is now showing. 5. Again bring the right hand to the right inner corner of the two cards, pick them up and slide them face up under the centre card of the row. Hold the left side of this centre card with the tips of the left fingers to steady the card as this is done. Pick up all three cards and place them in the upturned palm of the left hartd. Go through the same moves as before of turning the left hand over, pushing the cards through the hand with the left thumb, taking them with the right hand and placing them in the dealing position in the left hand. Press on the top of the cards with the right forefinger and say, "Remember, this is what does the trick." Buckle the bottom card, grasp the top two cards as one with the right hand as before, bring out the bottom card (Ace of Clubs) from underneath and place it face up on the other two cards, taking all three cards in the palm of the left hand for display. Pick off the Ace of Clubs with the right hand as before and place it face up on the centre packet of cards. Tip over the two cards as one in the left hand as explained previously, then retake the cards (Ace of Spades showing) with the right hand. 6. Scoop up the last card with the two cards held as one, in exactly the same manner as on the two previous occasions, but before the move through

the hand is made, there is a variation. When the three cards (as two) have been picked up by the right hand, their left side is placed near the top joint of the left fingers, so that when the left fingers close the three cards are turned over. Now when the left hand turns over as before and the cards are pushed through the hand with the left thumb, the cards will come out with the Ten of Spades on the bottom and not the Ace. Say, "Oh, I know what you're thinking - but not yet!" Buckle the bottom card and bring it out from underneath showing it to be the Ten of Spades as you say, "If you don't press, nothing happens." Place the Ten of Spades back in the same position (under the two cards held as one) and place all three cards in the upturned palm of the left hand. Turn the left hand over and push the cards through the hand with the left thumb as previously. Take the cards with the right hand and transfer them to the dealing position in the left hand. Press the cards with the right forefinger as you say, "This is what does the trick." Buckle the bottom card, bring it (Ace of Diamonds) from underneath and place it on top of the other cards, taking them into the dealing position in the left hand. This displays the Ace of Diamonds. Buckle the bottom card with the left forefinger as explained and this time place the right thumb at the inner end of the two top cards, the second finger at the outer end - the forefinger curled on top. Lift both cards as one and place them on the packet of cards on the right side of the table. In addition to putting the Ace of Diamonds in its correct place, it also disposes of the Ten of Spades and leaves everything clean. Finally flip over the card in the left hand, to bring the Ace of Spades face up. Drop it in front of the group on the table.

CHAPTER THIRTEEN

MONARCHS' QUARTETTE When the manuscript of this book was almost completed we received another tape recording from Larry Jennings. He gave details of an additional effect and left it to our discretion whether it should be included or not. We tried it out and had no hesitation in writing this chapter, because we are quite certain that it is something which is going to be performed and treasured by many card enthusiasts. Again the title was left to us and we could do no better than "Monarchs' Quartette" - as at the climax all four Kings are produced. Larry gives two versions; the first a surprisingly simple handling which will offer no difficulty to anyone who likes cards, whilst the second will take greater effort to master and will delight the connoisseur. For this reason we have added "Plus" to the title of the second version. MONARCHS' QUARTETTE. Effect:

A card is selected by a spectator and placed face down and unseen on the table. Three more cards are selected (unseen) and any one of the three is placed aside, whilst the other two are turned face up for them to be seen (indifferent cards), then turned face down again. The other card of the three is now shown (indifferent), turned face down again and the performer states that it should match the card selected in the beginning. Unfortunately it does not do so as the first card is found to be a King, but everything is put right because when the face-down card is again turned over it has changed to a King. The performer says that last time he did the trick he was asked what would have happened if one of the other two cards had been selected. His reply was that it would not have made any difference - and turns them over - two more Kings! Preparation: A simple set-up is required. Place the two black Kings face up on the table with an indifferent card face up on top of them. Place another indifferent card face down on them and finally the two red Kings face down on top 65

of all. Now place this packet on top of the pack and all is in readiness. Performance: Force the top card (a red King), using the Riffle Force or any other method you prefer. Without showing this card, place it face down on the table. Reassemble the pack so that the set-up is again on top. Tell the spectator that three other cards are needed and ask him how he wants them - all at once or one at a time. Holding the pack from above in the right hand, let cards dribble off the bottom and ask the spectator to say "Stop" whenever he feels inclined. Any three cards can be taken, but also give a choice of the card on top of those on the table or the one on the bottom of packet in the hand. Whatever the choice you will end with indifferent cards and these are placed face down in a row in front of you, without the faces being seen. Assemble the pack and hold it in the dealer's position in the left hand - the set-up is on top. Ask the spectator to use his intuition and select any one of the three cards in the row. No matter what card he chooses, pick up the other two, turn them face up and ask him if he would like to change his mind and select either of these. Whilst this is being done secure a break under the set-up. Whatever the outcome you have a face down card on the table (his final selection) and two face up cards - all three are indifferent cards. Place the two face up cards, slightly fanned, on top of the pack. Ask him again if he is sure he would not like to change his mind - when he has finally made up his mind, turn the two cards face down, turning the block also, obtaining a break under the set-up. Thumb off the top two cards and place them face down on the table in the position previously occupied by the other two cards. This looks as if the two indifferent cards have simply been turned face down on the pack and dealt off - actually they are now the two Black Kings. Pick up the card finally selected of the three and place it face up on the pack - it is an indifferent card. Turn it face down and in doing so turn the block as before. Thumb off the top card (now a red King) and hold it face down in the right hand. Say that this card and the one selected at the very beginning should match. Use the face down card in the right hand as a scoop to turn over the selected card and feign surprise when it is a King and so does not match. Rub the card on the table with the face down card in the hand then turn it over to show they now match - two red Kings. Say that the last time you did the trick you were asked what would have

happened if one of the other cards of the three had been chosen. Tell them your answer was, "It wouldn't have made any difference", and turn over the last two face down cards, revealing two black Kings! MONARCHS1 QUARTETTE - PLUS. The effect is almost the same as the previous trick, but there are some additional niceties which will appeal especially to the card expert. Set-Up: This is even simpler than before in that the four Kings are on top of the pack, in the order, red King, two black Kings, red King. Performance: Cut the pack and complete the cut, but hold a break between the halves. Riffle down to force the top red King and place it aside, face down, without showing the face. Reassemble the pack so that the set-up is again on top. Tell the spectator that three more cards are needed and have them selected by the same procedure as in the previous effect. Without showing their faces place them face down so that the layout on the table is: - the first card selected about a foot in front of you and in the centre of the table, then directly below it are the scattered cards which were "dribbled" from the bottom of the pack when the three cards were chosen, then just below them are the three selected cards. To the right is the remainder of the pack which you placed down. Leave the "dribbled" cards where they are for a moment. Remove the top card of the pack (a black King) and scoop up the pack with it. There is now a black King on the top and on the bottom of the remainder of the pack. Place this packet of cards in the left hand for the time being. Ask the spectator which one of the three cards he would like to use. Whichever he selects pick up the other two, turn them face up and say, "You could have had either one of these two cards; in fact you can change your mind and take one of them now if you like." If he does change his mind, turn the card he selects face down and put it onto the table and pick up the other card from the table and place it face up with the other one in the right hand. Usually he will not change his mind. In any case turn the two cards in the right hand face down and hold them between the right first and sec67

ond fingers. Place the packet from the left hand between the right first finger and thumb. As you do this say, "Then this is the card you really want" and reach with the left hand for the remaining card of the three. As you pick up the third card, toss the packet of cards onto the "dribbled" cards on the table, retaining the top and bottom cards with the thumb and forefinger. At the same time release the two cards between the first and second fingers. These cards are trapped between the falling packet and the scattered cards on the table and merge with them perfectly. The above is a combination of two old moves; one a gambler's switch for a single card and the other a move well known to magicians for producing two cards. This adaption of moves is original with Larry Jennings and is a very fine idea. The fact that the two cards are originally between the first and second finger, then between the thumb and first finger after the packet is tossed away, is never noticed. Place the card in the left hand face up between the two face down cards in the right hand, letting it protrude for about half of its length from the outer end - all this being completed by the time you say, "This is the card you really want." Hold the face down cards, one in each hand and display the face up selected card. Now move the two hands over the packet on top of the scattered cards and leave the face-up card on top of it by separating the hands, retaining a face down card in each hand. Place the two cards onto the table in the same position they supposedly occupied before. They are now, of course, the two black Kings. Gather the packet and the scattered cards together and place them in the left hand, squared up with the face-up card still on top. Remove the face-up card and hold it face down in the right hand saying, "When I am lucky, this card (snap it against the packet in the left hand, making the Hofzinser Top Change) and this card (point to the card selected in the very beginning) should match." Turn over the card on the table and feign surprise as it appears that you are mistaken. Rub the face down card in the right hand on the face of the King on the table; turn the card in the hand face up - a King! Say that the last time you did this trick someone asked what would have happened if one of the other cards had been selected. Say, "You see it really wouldn't have mattered." Turn up the other two cards, showing all four Kings!

CHAPTER FOURTEEN LES CARTES DIACONIS In one of the tape recordings we received from Larry Jennings we switched on and heard Dai Vernon say, "It's now three o'clock in the morning and I am over at Larry's house. Of all people Persi Diaconis is with us. He flew in today to see some of the boys at the West Coast and is at present inspecting Larry's library I'm going to get Persi to release one of those fine tricks he does. Persi usually doesn't 'tip' but I've got some special powers of persuasion." We then heard Persi say, "You can say that again!" After much banter they got down to recording this fine trick, which is based upon "La Carte Generale" - from Sachs' "Sleight of Hand." Actually Persi has strengthened the original effect considerably and the method he uses is quite new. Effect:

Three spectators each peek at cards in different parts of the pack. The performer removes the top three cards from the pack and holding them in a fan, shows them to each spectator in turn. They all agree that their cards are not amongst the three. However, they are finally convinced that they are mistaken because on taking a second look, all three see their cards. In the original "La Carte Generale7', the same card is forced again and again, but in Persi Diaconis' trick three different cards are merely peeked at - and they can be any cards. Additionally, Persi has greatly improved the ending. Note: To make everything as clear as possible for the reader, we will assume that Dai Vernon's Three Break Control (see Chapter Twenty) is used to bring the three cards, peeked at by different spectators, to the top of the pack and we will describe the trick in this form. Should the reader prefer to have three different cards selected, replaced in the pack then brought to the top by some other method, then care must be taken that only the person who selects each card knows what it is. Actually Persi Diaconis uses Dai Vernon's Multiple Peek Control (see Chapter Twenty) which brings the three cards to the bottom and if the reader wishes to do this then the necessary, adjustments can easily be made once the method is understood.

This trick is ideally suited for performance before a group of people, then three spectators can be chosen who are sitting or standing a little distance from each other. The reason for this is that when three cards are shown in a fan to one spectator, it is essential that the other two do not see the faces of the cards. This will be clear as we proceed. The pack can be shuffled at the start, and it is explained to the audience that each of the three spectators is going to be asked to just peek at a card and remember it. So that there can be no chance of any two spectators peeking at the same card by mistake, the first spectator is to peek at a card somewhere in the front third of the pack, the second spectator somewhere in the centre, and the third one is to peek in the rear third of the pack. Hold the pack in the left hand in the position for a spectator to peek, go to someone on the left and ask him to peek at any card in the front third of the pack, impressing on him that the card seen must be remembered. Hold a break as the peek is taken. Now move to a spectator in the centre and have him peek at a card in the middle third of the pack - again hold a break. Finally go to a spectator on the right, have him peek at a card in the rear third of the pack - hold the third break. Bring the three cards to the top. The whole procedure is explained in Chapter Twenty. The reader will find this description easy to understand if we assume that the first spectator saw an Ace, the second one a Deuce, and the third a Three. In performance these could have been any three cards, as there is no force and no necessity for the performer to know the actual cards seen. In our example the order of the three cards from the top of the pack down, will be Three, Two, Ace. If required the pack can be given a false shuffle to leave the top three cards in position. Holding the pack face down in the left hand, say that you are going to use the top three cards, and thumb them off into the right hand with the left thumb - but actually take four cards. Again for clarity we will assume that the extra card is a Four spot, and this is now the bottom card of the right hand packet. Place the rest of the pack down, take the packet of four cards face down into the left hand and go to the first spectator. Spread the top two cards, and lift the hands to show the faces of the cards in a three card fan. The Ace will 70

be hidden behind the Four so that only the Four, Two and Three will show. Ask the spectator if he sees his card and his reply will be negative because the Ace is hidden. Square the cards. As you move to the second spectator buckle the bottom card and fan again. This time the Two will be hidden behind the Ace in the three card fan, with only the Four, Ace and Three showing. Ask the second spectator if he sees his card and, of course, the answer will be, "No." Square the cards. Go to the third spectator, turn the packet face-up in the left hand and show him three cards by thumbing over the two face cards. The Three is now hidden behind the Two, so naturally he will say that his card is not in the fan. The reason why spectators are chosen who are a little distance apart will now be understood. If two of the three spectators saw the fan at the same time one would see his card. Because only one is able to see, matters are so arranged that his card is hidden - he is aware of only three cards (actually there are four) and his card is not shown. You are now showing the third spectator the faces of three cards and a re-positioning is necessary to enable the trick to be completed. Take the card on the right (the Four) and place it square behind the packet. Step away, hold up the cards with their backs towards the spectators and as if counting the cards, take the Ace into the right hand, in a counting gesture, bring the hands together and push the Two onto the face of the Ace (that is reverse their order). You are now holding up a two card fan in the right hand and one card (two as one) in the left hand. Place the two cards held by the right hand at the back of the card(s) in the left hand and turn the squared packet face down in the left hand. The order from the top is Ace, Two, Four, Three. Now comes a really fine ending: Get a break under the two top cards as you move towards the first spectator. Lift the two top cards as one to show the Two and ask the spectator if it is his card. When he answers "No", move towards the second spectator and as the right hand passes over the left allow the bottom card (Two) to drop secretly on top of the cards in the left hand. Show the card (Ace) remaining in the right hand to the second and third spectators. Both will say it is not their card either. Holding it face down, move towards the first spectator again and ask for the name of his card. When he states the name, blow 71

on the back, then turn it over to show that it has indeed changed into the first card selected. Place it face up on the table. Make a double lift of the next two cards, and turn the Four face up on the face down Three. Show the Four to all three spectators who will all agree that it is not their card. Flip over the two cards as one, face down and thumb off the top face down card into the right hand. Ask the second spectator the name of his card and when it is stated, blow on the back of the card, turn it face up and show that the face has changed into the Two - the spectator's card. Go to the third spectator, ask for the name of his card and turn over the two cards as one in the left hand. The third card selected is revealed. By means of the Gambler's Bottom Palm, the Four can be carried away in the left hand as the Three is taken by the right hand and tossed face up on the table. Remember, we have used Ace, Two, Three and Four as an example only; visualize the effect when three freely peeked at cards are used, then the real strength of the effect will be appreciated.

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CHAPTER FIFTEEN

RUNNING THE SCALE Dai Vernon says that Faucett Ross performs this trick better than anyone - including Dai himself! We had the pleasure of seeing Faucett perform it for several card enthusiasts in Harry Stanley's Magic Studio in London, and everyone present was very impressed.

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The effect is that the performer quickly cuts off seven packets of cards from the pack. When each packet is counted it is found that one packet contains seven cards, one six, one five, one four and so on, the last being a single card. To perform, spread the cards between the hands saying, "Most people count cards by the simple method of pushing each one off singly." Injog the tenth card, then hold a break under the top six cards - square the pack. Say, "Here's how a magician counts cards." Bring the right hand over the pack, thumb at the rear, and pick off one card and place it face down on the table - to the left. By feeling with the thumb, push off two cards and place them squared, alongside the single card. Cut off all the cards above the break (actually three cards) and place the squared packet on the table. Cut at the injog (four cards) and place the squared packet on the table. Now cut off a few more than five cards and place them down, then cut off a few more than six cards and place them down. Finally cut off a few more than seven and place them down. So we now have seven packets in a row on the table; the first four on the left have the correct number of cards in each, but the last three have a few more cards than required. Starting with the packet on the right, false count as seven cards, using the Buckle Count. False count the next packet as six cards by the same method and the third packet as five cards. The four, three and two card packets are correct, so can be counted slowly and deliberately. To complete the effect, pick up the single card, snap it with the fingers as you say, " - and the difficult one!" To obtain the full effect, the cutting should be done quickly and surely and the false counting smoothly. When false counting and counting fairly, the handling must be identical, although the action should be slowed down 73

as the number of packets diminish. As each packet is counted, it should be placed on top of the pack. In this way there is no chance for anyone to check the actual number after a false count has been made.

CHAPTER SIXTEEN PURE MATHEMATICS As the title implies this effect appears to be brought about by some mathematical calculation, yet just how it is accomplished remains a mystery. Although here we have another revelation of a freely selected card/ the circumstances under which it is located are unusual. Preparation: A set-up of the top ten cards of the pack is required. Reading from the top down, we have 10,9,8,7,6,5,4,3,2, Ace - the suits do not matter; its just the sequence that is important. Performance: False shuffle or cut to retain the order of the ten cards on top of the pack. Now hold the pack face down in the left hand and bring the right hand over, placing the thumb at the inner end and bending up a packet of cards so that the inner end of the faces can be glimpsed. Allow the cards to run past the thumb and deliberately look for the Ace of the set-up sequence and hold a break under it. Riffle the front of the pack and allow an almost free selection of a card, only ensuring that incomes from the bottom three quarters of the pack. Riffle the cards to the break, cut off the packet above the break, have the selected card returned then replace the packet on top. Now ask one spectator to name any number from 1 to 5 inclusive and another spectator a number from 6 to 10 inclusive. The rule is to add the two numbers together in your head and proceed as follows: (a) If the total is more than 11, subtract 11 from it and move that number of cards from the bottom to the top, by shuffling or cutting. (b) If the total is less than 11, subtract it from 11 and move that number of cards from the top to the bottom. (c) If the total is 11, the pack is all set and the actual effect begins. 75

Repeat the smaller number given by the first spectator and count down that number of cards from the top of the pack onto the table. Turn over the last card of the count, and the number of spots on the face will be the same as the larger number given. Place all these cards back on top and count down to the larger number, when the spots on the card at that position will be the smaller number given. Now place all the cards on top and count down to the total of the numbers - the selected card is revealed! Note: By placing an indifferent card on top of the set-up at the start, the chances are greatly in favour of you not having to add to or remove any cards from the top of the pack. Take advantage of this whenever the total number is 11 or 12. However, if the number is 11, there is one minor change in procedure: In counting down to the smaller, larger and total numbers, always turn over the next card after the count. If the total number is neither 11 or 12, rules (a) or (b) must be observed, but now the key number is 12.

CHAPTER SEVENTEEN SLOW MOTION CARD VANISH When assembling the material for this book we received several letters from Faucett Ross containing practical suggestions. In one of the letters he wrote, "When the Professor was in England, I believe you recorded details of his Slow Motion Card Vanish. I feel this should be included as I can personally vouch for the effectiveness. It was the very first effect I saw Dai perform - at the Elk's Club in 1927!" We actually did take notes, and at the time Dai told us that Nate Leipzig's Slow Motion Coin Vanish had always intrigued him, so he had set about devising a method for producing a similar effect with a card. We expressed doubts about the possibility, because it seemed that the size of the card would create a problem of handling, in that it would be impossible to conceal the card from almost any angle. However, the Professor put us to shame by taking a card and performing the fine effect about to be described. In addition he expressed some words of wisdom which we will endeavour to set down as we go along. To understand the main principle it is necessary to practice holding a card with one edge under the thumb nail, the card protruding from the nail as in Figure 1. The nail may have to be worn a little longer than usual when you first start, as the card has to remain in position due to its weight creating leverage between the nail and the underside of the flesh at the top of the thumb. The card must be kept in a horizontal plane; a tilt out of plane will cause the card to fall. In Figure 1 the card is being held so that its length protrudes from the thumb nail - this is for practice only, so that one can understand the principle and gain confidence in handling the card in this position. In performance the width of the card will protrude, as it is held near the corner of one long side. By practicing handling the card the more difficult way first, it becomes so much easier when it is held in the other position. This may sound like the old story of hitting oneself on the head with a hammer because it is nice when you stop! Actually the theory is the same as practicing tricks with wide cards - if you learn to handle these cards, then your task is so much easier when you use bridge cards. Once the principle is understood, the reader can proceed to learn the moves. 77

1

In the illustrations we have concentrated on showing only the grips and hand positions. In performance the moves are made head high, that is, in front of the performer's face. For a reason that will be apparent later, the performer should be smoking a cigarette. 1. Hold a card upright in the left hand, thumb on the centre of the back of card and fingers extended across the face of the card. The face of the card should be protruding for about half its length above the side of the left forefinger - Figure 2.

2. Place the right hand at the top of the card, fingers in front of the top right hand corner - Figure 2. Slide the right thumb nail onto the corner of the card, then slide the thumb down the side of the card; simultaneously lever the card backwards until it is out of sight. By now the right thumb nail is about half an inch from the bottom right hand corner of the card; the card itself being in a horizontal position, the right hand having turned palm towards the audience with the fingers open and thumb at right angles to the palm. Only the top of the right thumb is behind the tip of the left fingers but, of course, the whole of the card extends behind the left fingers. 3. Move the right hand from side to side exposing all the palm and right to the tip of the thumb. Now move the right hand up a little so that the edge of the card is behind the horizontal left forefinger. Open the left fingers (Figure 3 - exposed view). 4. Close the left fingers, then move the right hand to the left so that the card is behind the left hand, now turn the left hand over so that the palm is

towards the audience with the fingers pointing upwards. Bring the card behind the left thumb and open all fingers (Figure 4 - rear view). The illustration shows how the outer left corner of the card can be rested on the flesh at the fork of the left thumb to steady the card, whilst the whole of both palms (with fingers wide open) are exposed to the audience. 5. Now blow a dense puff of smoke at the hands and move the hands apart for a brief moment, then bring them back to the position shown in Figure 4. This sounds a bold move, but as the card is edge on to the audience, and the vision is further obscured by the puff of smoke, the card is not seen. 6. Move the right hand to the left to bring the card behind the left hand, then turn the left hand to bring the back towards the audience, with fingers pointing to the right. Move the right hand a little to the right so that the outer corner of the card can be clipped between the sides of the left first and second fingers. Release the nail grip and move the right hand to the right, leaving the card in the left hand. The right hand moves to the right just sufficiently so that the palm and extended thumb are exposed. 7. Turn the right hand to bring the back towards the audience, with fingers pointing to the left. Bring the hands together and place both thumbs behind the card and lever it upright into view. In Dai Vernon's hands this little cameo of card magic is a thing of beauty. He performs it with graceful hand movements and at a slow, even tempo. Some years ago he included it in his night club act, and the American show paper, "Billboard", hailed it by reporting, "Here is something new in Magic." It is a fine example of how a little thing can create quite a stir when given importance by expert presentation. Dai Vernon has released the secret for the benefit of the magical fraternity, but he stresses that it needs a considerable amount of practice before a perfect illusion can be created. Give it the practice it deserves and you will have a real gem.

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