Dai Vernon - Further Inner Secrets of Card Magic

DAI VERNON'S FURTHER INNER SECRETS OF CARD MAGIC

Compiled and Photographed by

LEWIS

GANSON

CONTENTS Page

FOREWORD by Ken Brooke

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' f'.'.- .• CHAPTER ONE — THE FOUR BLUE BACKED ACES

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CHAPTER TWO — BLINDFOLD POKER DEAL

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CHAPTER THREE — CARDS OF COINCIDENCE

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CHAPTER FOUR — THREE CARD MONTE

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CHAPTER FIVE — LARRY GREY'S "CARDS ACROSS"

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CHAPTER SIX — MORE NOVEL KNOWLEDGE

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1. 2. 3. ' 4. 5. 6.

To Shuffle a Certain Number of Cards Above a Selected Card. Plunger Location. Card from Pocket. Switching a Card in an Envelope. Double Lift From Fan. Staring Him in the Face.

CHAPTER SEVEN — PALMING 1.

"•'.' 2. 3.

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Top Palm.

To Palm a Card From the Pack With the Gambler's Palm. One Handed Palm.

4. 5.

Second Gambler's Palm. Springing a Card into the Gambler's Palm Position.

6.

Some Useful Notes on Palming.

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CHAPTER EIGHT — DEALING SECONDS 1. 2. : . 3. 4.

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Dai Vernon's Second Deal. Single Handed Method. Dai Vernon's "New Theory" Second Deal. A Quick Trick.

CHAPTER NINE — THE CARD PUZZLE

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CHAPTER TEN — ANOTHER LARRY GREY TRICK

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CHAPTER ELEVEN — CHANGES The Top Change.

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The Bottom Change. One-Handed Card Change.

Harry Lorraine's Change For Four Cards.

CHAPTER TWELVE — TWO TRICKS

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Dai Vernon's Version of "Everywhere and Somewhere". Matching Any Number of Cards.

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?- FOREWORD bv

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A considerable amount has been written by greater authorities than I about Dai Vernon, the man whose magic you are about to study, and 1 am most grateful to both Harry Stanley and Lewis Ganson for allowing me this opportunity to add my own tribute.

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Of what has become known as "The Vernon Technique" I shall say little. Suffice to add that since Harry Stanley sponsored Dai's lecture tours of this country, the whole pattern of magic here has greatly changed for the better. As a performing magician I have benefited from the sound advice he has given in his lectures and books. Some years ago 1 wrote and published my own routines which I had been performing for the Cups and Balls and the Chinese Linking Rings — Dai Vernon arrived — I listened and studied what he taught. The result was that I completely altered my performances of these classics and went over to Dai Vernon's routines and technique. My engagement book is much fuller and I feel my reputation as a performer has been considerably enhanced. I can think of no better way to place on record my heartfelt appreciation of Dai Vernon as a gentleman, than to recount the following incident which occurred during those never-to-be-forgotten moments when Dai Vernon was in this country. -- = - - - -•-•

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C. v

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I had mentioned to Dai that a life-long friend of mine had suffered a long illness which prevented him taking part in social life. Almost before I knew it, Dai was at the home of my friend, not merely for an hour or two but for several days. My friend had studied magic for years but now here was a world-famous man, explaining his own technique and routines, carefully demonstrating his ways, teaching how to perform in the most natural manner and providing a thousand and one new magic thrills. Today my friend is a new man, as fit and as well as the best of us. In all his performances he employs "The Vernon Technique" and like so many magicians in all parts of the world, he has very good reasons to be more than just grateful to the one and only Dai Vernon. Yes, by nature Dai is a Gentleman, in addition to being the world's greatest natural magician. Ken Brooke.

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CHAPTER ONE THE FOUR BLUE BACKED ACES Lynn Searles published an excellent trick with four Aces in which he made use of prepared cards. In his narrative the author commented, "perhaps one day someone will come up with a method using ordinary cards". Here is Dai Vernon's solution. The basic effect is similar to the standard Four Ace Trick, but there is an important difference in that the four Aces have blue backs and the indifferent cards red backs. The faces and backs of the cards are shown repeatedly during the routine, so that when the four blue backed Aces are placed in a row, and each is covered with three red backed indifferent cards, it seems quite impossible for the Aces to assemble in one packet, yet this is accomplished in a particularly clean manner. The method is extremely ingenious and is a fine example of how Dai Vernon uses naturalness of action and superb routining to create an outstanding effect. PREPARATION: Remove three Aces (not the Ace of Spades) from a red backed pack, making sure that the Ace of Spades is not left among the top twelve cards. Place the three Aces on top, then return the pack to its case. The blue backed pack, which is also in its case at the start, has its Ace of Spades fourth from top and care is taken to see that no card among the top three is duplicated among the nine below the three red Aces on top of the red pack. PERFORMANCE: Take the red backed pack from its case, fan off the top twelve cards, letting the red backs be seen; drop these cards face down on the table, then place the remainder of the pack a little to one side. Remove the blue backed pack from its case, shuffle the cards but leave the top four cards in position, then glance through the face up pack to look for the Aces saying, "I'll take out the four Aces". Spread the pack between the hands and push up the first Ace so that it protrudes for half its length out of the spread. Do the same with the second and third Aces, then run along till you come to the Ace of Spades and carry up this together with the three cards behind it. Make no attempt to hide the three extra cards, but when the Ace of Spades is protruding half way out of the spread, carry the three cards down with the left hand, out of sight behind the pack. Clip these three cards between the left first finger at the top end and the little finger at the bottom end. Straighten the left fingers behind the spread cards, then almost close Page

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the spread and move up the left hand until the top side of the first finger just appears at the outer end of the cards. Now clip the four protruding Aces between the left first finger and thumb and strip them from the pack, immediately squaring the packet in the left hand. This manoeuvre has secretly added three cards behind the face up Aces. (

Transfer the face up Aces (plus three cards) to the right hand and the pack to the left hand. Turn the pack face down with the left fingers, then add the face up cards from the right hand to the top of the pack, but hold a break beneath them with the left little finger. Fan the top three Aces to allow the faces of all four to show and during the fanning action insert the right second finger into the break. Lift off all seven cards (it appears that only the four Aces are lifted), turn them face down on the top of the pack, and square the pack. Fan off the top four cards (supposedly Aces) and drop them on top of the red packet on the table. Place the remainder of the blue backed pack on the table, near to the red backed pack. Pick up the packet of blue and red cards and fan them between the hands, drawing attention to the fact that only four have blue backs. In making the fan, hold a break with the left little finger under the top seven cards (four blue and three red). Say, "Just four blue backed Aces . . . . " , square the cards and immediately take off all the cards above the break with the right hand, turn the hand to show the face card—an Ace—also turn over the other packet, then place the two face up packets together (right on left) as you continue the patter, " . . . . and none amongst the red cards". Fan off the four face up Aces, square them and place them face down on the table when the back of the one blue Ace will be showing. Spread the remainder of the face up packet between the hands, showing that they contain no Aces, and secretly injog the fourth card from the face of the packet. Close the fan and turn the packet face down, securing a break below the injog with the left little finger. To provide a logical reason for holding the cards for the next move, bring the right hand over the packet and take it, holding the break with the right thumb. This frees the left hand which pushes aside the two packs of cards (the red and the blue) on the table, and leaves what is supposed to be the four blue backed Aces in a convenient position. Now bring the right hand cards over these supposed Aces, but so that about two thirds of the backs of these cards are seen protruding to the left. Draw the packet back to the table edge where the left hand has been brought back to receive them as these come over the edge. As the left hand receives the cards, extend the left fingers and pull down on the break in the top (right hand) packet, taking all the cards below Page

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the break and squaring them on top of the left hand packet and as they are added place the left hand packet on top of the cards in the right hand. Deal off the top four blue backed cards, face down, from left to right on the table. Say, "We will check once more to ensure that no more blue backed cards are used—just the four Aces". Count the red backed cards face down onto the table, reversing the order, then pick them up again and hold them in the left hand. Either place or count three of these cards on each of the four face down blue backed cards, starting from the left, but in each instance leave the blue backs partly exposed. Pick up the packet on the right, square it, turn it face up to show the Ace on the face and replace it on the table as you say, "We will turn this packet face up". Bring the right hand to the packet on the extreme left, pick up the top card and use it to scoop up the other cards of the packet—this brings the blue backed card second from bottom. Transfer the packet to the left hand, holding it at the centre of the left side, with the left thumb above and the first and second fingers below. Hold this packet above the face up packet on the right, flick it with the right fingers, then make Alex Elmsley's move, known as Counting Four as Four, as follows:— The left thumb and second finger are at the very edge of the centre of the left side of the packet. With the right thumb above and the second finger below the centre of the right side, pinch off the top card, slide it to the right to clear the second card, and begin to slide it under the packet. Just before it contacts the left fingers, the pad of the left thumb, which is on the very edge of the cards, pushes two cards over to the right. The right thumb and second finger take these two cards as one, as the left fingers take the first card square under the packet. When the right hand cards have cleared the left hand cards, push the top card of the left hand packet to the right with the left thumb and take this card on top of the right hand cards, by sliding the centre of the right side under the pad of the right thumb. Now take the remaining card from the left hand, on top of those in the right in the same manner. The appearance is that four red backed cards have been counted, no blue backed card being seen because it was covered by a red backed card during the count, and one red backed card was counted twice. Turn the squared packet face up and deal each card singly, one on top of the other, face up on the table saying, "No Ace". Pick up the second packet in exactly the same manner as described; make all the same moves as before, but at the conclusion do not count the face up cards onto the table, but display the faces by fanning them Page

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in the left hand, then drop them on top of the first packet of face up cards. Lift off the top card of all, scoop up the cards to bring the card to the bottom, square the packet, then set it down, face up, on the table once more. Treat the third packet in exactly the same fashion as the second packet, eventually dropping it face up on the cards on the table and using the top card as a scoop to pick up all the cards which again takes it to the back of the packet. This time count all the cards (silently) from hand to hand, showing the face of each card. The count reverses the order, bringing the three blue backed cards to the face of the packet. Retain the cards in the left hand. With the right hand pick up the remaining (face up) packet from the table, drop it on top of the face up cards in the left hand and immed iately fan the face cards to show the four Aces. Secure a break three cards below the Aces, square the cards, cut off all the cards below the break with the left hand and place these cards face down on the table. Turn the seven cards still held, to bring them face down in the left hand and count them as four only, buckling the bottom card on the third count to show all the backs as blue, then transfer the bottom card to the top. Drop these cards on top of the red cards on the table. Pick up the packet and deal the top four blue backed cards singly, face down, onto the blue pack. Spread the other cards to show all red backs, then drop them onto the red pack, leaving everything clean. NOTE When correcting the manuscript Dai Vernon added, "I now think it better to simplify the handling by eliminating certain moves. When you reach the stage where you use the 'Elmsley Vanish' to show the backs of four red cards in each of three of the heaps, simply turn each heap face up after the vanish and deal the four cards singly in a line from left to right on the table. When the three packets have been dealt to give four "hands' of three cards each, all the blue cards will be together on the left. Now pick up the 'hands' placing them together, to leave the three blue cards on the face of the packet in the left hand for the effect to be concluded as written".

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CHAPTER TWO BLINDFOLD POKER DEAL IN THIS FINE routine Dai Vernon has the pack shuffled then deals five Poker hands. Asking the other four players to each remember one card from the five they hold, Dai reassembles the pack, shuffles, then deals once again. On turning over his hand it is seen that he has dealt himself the cards previously selected. The fact that Dai is blindfolded throughout the demonstration considerably adds to the dramatic effect. METHOD: In order that the audience have a clear view of the proceedings, sit facing them and have two players sit at the right side of the table and two at the left. The method of blindfolding can be any known to magicians which allows the performer to secretly glimpse when required. Dai Vernon uses the most simple form; a folded handkerchief which he asks one of the players to tie over his eyes. By closing his eyes tightly as the handkerchief is tied, then opening them, he can glance down the opening between the material and the side of his nose. When using a blindfold in this manner it is a good rule to only open the eyes when absolutely necessary. By keeping them closed at all other times your actions will be natural for a person who cannot see and there will be no need to act. Ask one of the players to shuffle the pack then hand it to you. Deal five cards to each player (including yourself) in the normal manner, then ask them to place their cards, face up, in an overlapping line in front of them. Illustrate what you require by doing the same with your own cards. Now tell each player in turn to select one card of his five, remember it, then replace it in the same position in the line. As each player makes his selection you take a glimpse and remember the position of the card from the top—there is no need to remember the actual card, just a number. We will assume that the four numbers remembered are 2, 1. 4 and 3. Feel for the remainder of the pack, cut the cards, collect up your own hand and place them in the cut—forget all about them. Riffle the pack then spread the cards between the hands; divide the spread near the centre and have the first player place his cards on the left portion of the divided spread.

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Knowing that there is a difference of one card between the first and second players (the difference between the first two of the four numbers remembered), you must now get rid of one card of the first hand in order that the position of the card looked at by the first player will match the position of the card looked at in the second hand. All that is necessary is to hold a break under the top card of the hand just returned to the pack, then square the pack. Riffle the pack, then spread the cards and divide them at the break for the second player to place his cards on the left hand spread. As the third number remembered is 4, it is necessary to add three cards above the hand to match the position of the next selected card. This is done as the spread is joined, the left little finger holding a break above the three cards as the spread is closed. Again riffle the pack then spread between the hands and divide at the break for the third hand to be replaced. To match the position of the last card (3) it is necessary to get a break under the top card of the third hand as the spread is rejoined and the pack squared. Riffle again then spread the cards and divide at the break for the insertion of the fourth hand. As the selected cards must be repositioned for a new deal, it is necessary for the last hand to consist of five cards so two more must be added as the spread is rejoined and a break held above them. Square the pack, riffle, then cut at the break and complete the cut. Now false shuffle the pack then deal five hands once more. Ask each player if, by chance, they have received back the card they selected. As you have all the cards in their correct order in your hand you can leave them face down on the table and feel the position of each card, pushing it towards each player as he names the card originally selected. After reading the above it will be obvious that all you do as each hand is inserted is to add or subtract cards to position each selected card five cards away from the next one, then make up the last hand to consist of five cards. By understanding the example given, the number of cards to be added or subtracted each time will be apparent for any combination of the four numbers remembered according to the original positions of the selected cards.

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CHAPTER THREE CARDS OF COINCIDENCE THERE IS NOT a difficult move anywhere in this routine, yet the effect produced is card magic at its very best. The effect is that the performer places a card from a red backed pack into an empty envelope, then gives a blue backed pack to a spectator to shuffle. After the cards have been spread face down across the table, the spectator has a perfectly free choice of any card, which is then pushed from the spread and placed unseen into the envelope. When both cards are shaken from the envelope the faces are found to be identical. This is repeated a second time and again a perfect example of controlled coincidence is brought about. For a third time the performer removes a card from the red backed pack and the spectator one from the blue backed pack. This time no envelope is used, yet the two cards again match. The facts that the spectator always selects his card after the performer, and has a perfectly free choice of any card from the blue backed pack on all three occasions, makes the effect particularly strong. The climax when the envelope is dispensed with, and the backs of the two cards are in sight the whole time, is a knock out. PREPARATION: An ordinary letter envelope is needed. This should be sufficiently large so that when a card is inside, it will not show, even when the flap is open. Two packs of cards are also required; say a red backed and a blue backed pack. The red backed pack has, say, the Two of Clubs on top, the blue backed Two of Clubs below it, then the red King of Clubs with the blue King of Clubs below it. With both packs in their respective cases at the start, all is in readiness. PERFORMANCE:

Show the envelope to be empty.

Take the blue backed pack from the case, hand it to a spectator for shuffling, then take it back and spread the cards face down across the table. Pick up the red backed pack, remove it from its case, place the case aside, then hold the pack in the left hand. Double lift the two top cards as one, without showing the face, bringing them to the tips of the left fingers and thumb. Take the pack into the right hand and Page 11

place it on the table. Be careful not to allow the second card (blue backed) to be seen as the pack is placed down—however, this has been made comparatively simple because the double lifted cards are held at the tips of the left fingers and thumb, leaving the right hand free. Take the card(s) from the left hand into the right, pick up the envelope with the left hand, then slip the two cards (as one) into the envelope. Make the actions deliberate so that there can be no doubt that the card(s) is actually in the envelope, but ensure that the cards are placed near the inner end of the envelope. Do not place the cards right at the inner end, as later you have to shake them out, and they may jam if they are positioned in the corner. Drop the envelope on the table. Remark to a spectator, "You have seen me place a red backed card in the envelope. Now I would like you to touch the back of any one of the blue backed cards on the table". After any card has been touched, push it out of the spread, then without showing the face, pick it up and place it in the envelope. This time see that the card is near the outer end—turn the envelope over longitudinally and by bending it slightly, the face of the card just inserted can be glimpsed through the paper. Remember this card. Take the envelope by the inner left corner with the right thumb underneath and fingers on top, and turn it to bring the opening downwards with the flap towards the audience. Two cards will fall out which you catch in the left hand (Figure 1). The third card remains in the envelope because the right hand grip ensures that it stays in position. Drop the envelope onto the table, opening upwards with the flap away from the audience. Take one card in each hand, turning them to bring the faces to the audience, when it will be seen that they match (say, Two of Clubs). The obvious inference is that the card freely selected by the spectator from the blue backed pack is identical with the one previously selected by the performer and placed in the envelope before the second selection was made. Having seen that one card has a red back and the other a blue back, the audience are convinced that some form of controlled coincidence has taken place. Page 12

After exhibiting the two cards place them down on the table and pick up the red backed pack. Fan the cards with the faces towards you and remove the duplicate of the card sighted in the envelope. Without showing its face, remove it from the pack and place it face down on the table, then also place the pack on the table. Pick up the red backed card again, holding it horizontally in the left hand, the left thumb at the centre of the top side and the fingers at the bottom side—the back of the card is towards the audience of course. Now have the spectator again touch any card in the spread, for you to pick up and place in line with the red backed card in the left hand, but slipped back about one and a half inches so that the cards overlap. Take the overlapped cards into the right hand, then pick up the envelope with the left hand. Let the audience see both cards inserted into the envelope by holding the cards and envelope in the position shown in Figure 2. When the cards are inserted the red backed card will be adjacent to the first selected blue card, and as this card is the one previously sighted through the paper, the red card will match it. The other blue backed card (of the overlapped cards just inserted) will be towards the opposite end of the envelope. Pinch this card by holding the envelope at that end with the left hand, and shake out the other two cards into the right hand. Place the envelope on the table, then take one card in each hand and turn them to show the matching faces. Place them on the table. For a third time take the red backed pack and make a double lift of the top two cards, lifting them to the tips of the left fingers and thumb without showing the face card. This enables the rest of the pack to be taken into the right hand and placed on the table. The two cards (as one) in the left hand are the red backed King of Clubs with the blue backed King of Clubs behind it. Say, "Some people may suspect the envelope . . . . " . Pick it up casually by the bottom and let it fall, so that the edge lightly strikes the table, for the envelope to fall address side down. This brings the card to the opening of the envelope, but as the opening is away from the audience the card cannot be seen. Have another blue backed card touched by the spectator for you to push from the spread, pick up and without showing the face, place in the left hand, overlapping the red backed card(s) as before. Place the tip of the right second finger on the point where the two cards overlap, curl the left forefinger so that the tip rests on the face of the hidden blue backed card (King of Clubs) and place the pad of the right thumb Page 13

against the inner end of the front blue backed card. Figure 3 shows the holding position as seen by the spectators. Say, "The red card is mine and the blue card yours". As this is said move the two visible front cards to the left as a unit, simultaneously pulling the back blue backed card to the right with the left forefinger. This brings the two blue backed cards together although the right end of the red backed card is between them. It will be found that the pad of the right thumb acts as a stop for the end of the back blue backed card to come against, ensuring that the two cards are lined up. Say, "I can accomplish the same result without putting the cards into the envelope". With the right hand seize the aligned cards at the right lower corner and shift the left hand slightly to grip the red card only. Move the right hand a little to the right, when the two aligned cards will come free from the red backed card, then move the cards to the left again to tap them on the back of the red backed card. Turn both hands to show the faces of the cards— both Kings of Clubs.

Drop both blue backed cards (still in alignment) on the spread of blue backed cards on the table and the red backed card on top of the red pack. Pick up the envelope in the left hand and the red pack in the right hand, then bring the pack over the opening in the envelope, so that pack and envelope are in the left hand.

To leave everything "cleaned up" it is now only necessary to take the pack back into the right hand, the right fingers going underneath to slide away the card from the envelope onto the bottom of the pack. Page 14

CHAPTER FOUR THREE CARD MONTE ' There is not a single card feat in the whole calendar that will give as good returns for the amount of practice required, or that will mystify as greatly, or cause as much amusement, or bear as much repetition, as this little game"—S. W. Erdnase. When performing the Three Card Monte many of the old time operators used the following little jingle—"A little game from Hanky Poo, the black for me the red for you—all you have to do is to keep your eyes on the little lady—ten gets you twenty, twenty gets you forty . . . now here we go . . . . keep your eyes on the lady". At the start of his routine Dai Vernon uses the same patter to create atmosphere and set the mood for the game. The purpose of his performance is to provide entertainment, so he does not introduce the gambling element, nor does he place the spectators in what could be an embarrassing situation by asking them to actually choose a card, but treats the proceedings as a demonstration. Obviously, spectators will think they know where the Queen rests after each "throw"; Dai Vernon turns the card to show that the eyes cannot always be believed.

THE THREE CARDS. The cards Dai Vernon uses are; a red Queen, a black Eight and a Seven of the same suit. The three cards are bent along their length until their sides touch and are then released. This makes them deeply bridged to enable them to be picked up easily from the table. Additionally, the cards are placed together, and keeping them perfectly squared, the outer right corners of all three are bent up at right angles (without cracking the surface), then straightened again. This preparatory corner bending aids with the final move of the routine.

THE THROW. To make either a fair or a fake throw the cards are held in the same manner and the visible actions are identical. The purpose of the false throw is to hold one card above another, then to throw down what appears to be the bottom card; actually the top card goes down. The throw can be made with either hand but for the purpose of this explanation it will be assumed that the right hand is in use.

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Bring the right hand over the first face down card and lift it with the second finger at the centre of the outer end (the finger tip should project below the card, the deep bridge making this possible) and the ball of the thumb at the centre of the inner end. Bring the hand over the second face down card so that the left sides of the two cards are touching. Pick up the bottom card, the thumb and second finger projecting sufficiently below the top card for this to be done. Although the left sides of the two cards are touching, there should be a space of about half an inch between the opposite sides. Spread the fingers as both cards are lifted. Show the face of the bottom card by turning the right hand, bringing the fingers together. The tip of the little finger should now be lightly touching the exact index corner of the bottom card (Figure 1). The throw should be made as the hand is turned to bring the card face down again, the turning and throwing being all in one movement, for the top card to go down to the left in a fake throw. To accomplish this, release the grip of the second finger as he hand turns, the bottom card still being held between the thumb and little finger. The arc in which the hand turns should be such that the top card goes down flat, without hitting the table with either a side or end. Of course, to make a fair throw, it is the bottom card which goes down, but the moves for making either a fake or fair throw must appear to be identical. Whenever cards are picked up, one above the other, it is always in the throw position.

THE GAME. Stage One: Place the three cards together on the table, one atop the other, with the Queen on the bottom. With the left hand, pick off and show the face of the top card (say "black"). Pick off the second card (show the face) with the right hand, (say "black"). Leaving the left hand turned with the face of the black card showing, bring the right hand card over the Queen, lift both cards together in the throw position and turn the hand to show the face of the Queen. Page 16

Throw the Queen fairly, then pick it up again in the throw position in the left hand. Throw the Queen fairly from the left hand and pick it up with the right hand. Repeat these moves, showing the face of the Queen each time it is picked up. On the fifth throw (which will be from the right hand), make a fake throw. Drop the left hand card to the extreme right, then drop the Queen in the centre of the two black cards. It will appear that the Queen is on the left; though it is actually in the centre. Say, "It appeared to go here . . . . " and pick up the card on the left with the left hand, show the face then turn the hand to bring the card face down but still retain it in the hand. Continue, . . . . but it really went here". Pick up the Queen (centre card) with the right hand, show the face and drop it face down on the table. Pick up the card on the right with the right hand, show the face then place it over the Queen to pick it up on the bottom. Turn both hands to show the faces of the cards then make a fair throw from the right hand. Pick up the Queen underneath the card in the left hand, show the face, then make a fair throw once more. Pick up the Queen underneath the right hand card, show the face but this time make a fake throw, tossing the card well to the left. Drop the card from the left hand to the centre position, then drop the card (Queen) from the right hand to the right. Say, "It appears to go on this end . . . . " . With the left hand turn the card on the left to show the face, drop it face down again in the same position, then continue, * ' . . . . but it's on this end". With the right hand turn the card on the right to show the Queen, then drop it face down in the same position. Stage Two. Pick up the centre card with the right hand, bring it over the Queen on the right and pick up both cards in the throw position. Pick up the card on the left with the left hand. Turn both hands to show the face of a black card and the Queen. Making a fair throw toss the Queen to the left, then pick it up under the left hand card, show the face and toss it back to the right by a fair throw. Pick it up again under the right hand card, show the face, but this time make a fake throw to the left. Drop the left hand card to the centre position then bring the right hand card (the Queen) over this card, to lift both cards. Turn the right hand—only the face of the bottom black card is seen. Make a fake throw to the centre position, then turn the right hand to show the same black face once more. Although the face of this card has been seen twice it appears that the faces of two black cards have been shown. Remember, the two cards are only ever referred to as "black" and no attention is called to their value. Drop the card from the right hand to the right, then with the same hand pick up the centre card (the Queen) without showing its face. Place the left Page 17

forefinger at the left side of the card on the right, bring the left side of the face down Queen to the right side of the card on the right and flip it over, face up—a black card. Flip it face down again in the same manner (Figure 2). Place the right hand card (Queen) over the card just dropped on the table,—pick it up underneath the Queen, show the black face and remark "Never bet on this one!" Fake throw the Queen to the extreme left. Place the right hand card over the centre card, turn the hand to show a black face, then make a fair throw to the centre. Show the face of the card in the right hand and drop it to the right remarking, "You'll always find the Queen on the end!". Pick up the card on the extreme left, show its face (Queen) and drop it back in the same position. Stage Three. Say, "This is such an old game so I'm going to explain it and perhaps save you some money in the future". Pick up the Queen, show the face, deliberately bend up the outer right corner, following the contour of the preliminary bend, then place the card face down on the table. With the right hand pick up the card on the right, show its face, say, "This is black" and turn it face down but retain it in the hand. Now pick up the other black card, with the left hand, carrying it well to the left before beginning to turn the card to show its black face. In this manner attention is drawn away from the right hand card. As the left hand begins to turn to show the face of its card move the tip of the right third finger to press on the back of the card in the right hand, bringing the card under tension by also pressing down on the back with the forefinger, reach down with the little finger exactly under the corner, and by a pinching action with the third and little fingers, bend up the corner where it was originally bent during preparation (Figure 3—exposed view from underPage 18

neath). Indicating the new face up card in the left hand say, " . . . .and this is black''. The position at this stage is as shown in Figure 4, but the left hand would be more to the left, causing the right hand card to drop out of the picture. Bring the left side of the card in the right hand to the right side of the Queen and flip the Queen face up to show, then flip it face down again. During this action keep the right fingers together to hide the bent corner of the card held in the right hand. Now place the right hand card over the Queen and pick it up in the throw position. Turn the right hand to show the face of the Queen then make a fair throw to the left saying, "Of course, if I toss the card down you know it's the Queen because the corner is bent". Pick up the Queen under the left hand card and make a fair throw to the right. Pick it up again under the right hand card, show the Queen's face then make a fake throw to the left. Say, "But even with the corner bent, if I cross my hands it becomes very confusing". Cross the left hand over the right (the hands can actually touch) to place the card in the left hand to the extreme right—as the hands are crossed cover is provided for the bent up corner of the card (the Queen) in the right hand to be straightened. This is accomplished with the same grip used to make the bend, but the third fingertip should rest firmly on the edge of the card for the little finger to press down to straighten the corner (Figure 5). Uncross the hands and pick up the card with the bent up corner with the left hand. Cross the hands again to place the card in the left hand to the extreme right and the one in the right hand to the extreme left. Say, "Of course you must never bet on this end . . . . (turn over the card with the bent corner—a black card!) . . . . but always on this end". Turn over the card on the left which is found to be the Queen— climax!

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These are many other moves and subterfuges that can be used in a Three Card Monte routine, but the errors gf over repetition and complication should be avoided. The reader is advised to select a good routine such as the one described above, and stay with it, resisting the temptation to lengthen the running time by adding more moves just because they are clever. However, for those readers who are interested in other ideas we give just two.

1.

The use of a short card.

Nate Leipzig was greatly impressed when he saw the following effect performed by the gambler known as Kid Royal. We will assume that three cards of the same value as those employed in Dai Vernon's routine are to be used. In this instance one of the black cards is a short card. No bridging is necessary in this method. Lay the cards face down in a row on the table, the Queen on the left, the short card in the centre and the other black card on the right. Bring the right hand over the card on the right, pick it up, show its face, place it face down over the centre card, then pick up both cards together and show the face of the bottom card. Place both cards face down over the Queen, pick up the three cards together and turn them to show the face of the Queen. The holding position is that the second finger is at the outer right corner and the thumb at the inner right corner. The left sides of the cards are together but the right side of the top card is held a fraction of an inch away from the centre card. Because the second finger and thumb hold the cards on the right of the ends, this space is easily held and removes the friction on the back of the centre card. To lay out the cards for the game, bring the right hand to the left, tilting the left side of the cards downwards a little, so that the sides are actually pushed along the surface of the table top. When the hand reaches the position on the table where the first card is to be placed, alter the direction of movement to the right. There should be no jerking or throwing action, the hand alternating its direction in a smooth flowing movement. Because the centre card is short it will slide out from between the other two and go down first—to the left. The bottom card is then released a little to the right of the first card and finally the third card to the right again. Performed correctly the illusion is that the bottom card (the Queen) goes down first, but actually it goes in the centre. From here Page 20

on other moves can be made to further mystify the spectators. A somewhat easier handling (and quite effective) is to make a throwing action similar to when throwing down a card in the more usual version. The centre card slips out and goes down cleanly and certainly, then a similar but lesser action is made to throw down the bottom card, for obviously the hand must not turn sufficiently for the face of the card to be seen. This way it is not necessary to hold the top card away from the others in the beginning. It will be obvious that when building a routine the use of the short card can be combined with the method described previously, providing it is used first then the three cards bridged for the next stage.

2.

The Optical Move,

This is a good move with which to conclude a Three Card Monte routine. Remove the bridging from the three cards and hold them face down in the left hand, the Queen on top. Fan all three cards between the hands, then take the top two into the right hand, the right thumb tip on the back of the top card about a third of the way up from the inner end and central. The right forefinger tip should be under the bottom card and directly beneath the thumb. The fanned position of the two cards is important, the top card being diagonally across the bottom card, the inner left corner projecting slightly over the side and near the left inner corner of the bottom card. With the left thumb snap the left outer corner of the bottom card twice (Figure 6), then immediately turn over the right hand inwards, simultaneously moving the right thumb about a quarter of an inch to the left. This pushes the top card across the back of the bottom one, so that as the cards come face up there is a new projecting corner at the left outer end of the cards to bump into the left thumb which has remained in position. This new corner is seen to be the index corner of the Queen which the left thumb again snaps twice without pausing (Figure 7). The illusion is that the left thumb has just snapped a projecting face down corner, then snapped the same Page 21

corner after the cards have been turned face up to call attention to the position of the Queen. Without stopping the action, reverse the moves to bring the cards face down, this time of course moving the right thumb to the right to pull the Queen across the back of the black card and so return it to its original position. As the cards come face down the outer corner of the bottom card again projects to the left and bumps into the left thumb which snaps it twice. The actions of snapping the face down projecting corner twice, turning the right hand to bring the cards face up, snapping the projecting corner twice, turning the hand to bring the cards face down again, then snapping the projecting corner twice, must all be continuous. Place the three cards together, fanned in the left hand and deliberately change the position of the two lower cards. Offer the fan to a spectator for him to remove the Queen. He will take the card on the left—a black card. The Queen is actually to the right of the fan (the top card), so that when you apparently show where it is, you do so by taking the two top cards into the right hand and show it by the method described above, when because of the fake moves, the wrong card will again be taken when the fan is offered once more. The value of this move cannot possibly be appreciated by merely reading the description. It is essential to perform the actions with the cards, when the reason for the excellent illusion will be understood.

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CHAPTER FIVE LARRY GREY'S "CARDS ACROSS" LIKE ALL THE late Larry Grey's tricks this one is simple and to the point. The plot is similar to the well-known Cards Across, but there are important differences in both the method and the effect. In the usual version of this trick there is something of an anticlimax when the second packet of cards is counted, as obviously if, say, three cards are missing from the first packet the expectation is that they will be found in the other. The main applause comes in the wrong place— after the first packet is counted. With Larry Grey's method the trick picks up again, for the missing cards are not found when the second packet is counted, the real climax coming when they are found in the spectator's own pocket. There is an interesting and valuable lesson to be learnt from the neat way in which Larry Grey prepared for the trick some time ahead. Even though the reader may not wish to include the identical trick which Larry Grey performed prior to Cards Across, which enabled him to make this secret preparation, many other card tricks can be adapted for the purpose. Larry Grey's preceeding effect was Bertram's Four Ace Trick and a spectator was asked to come on stage for its performance. In his right hand Larry Grey had palmed one Ace and three indifferent cards and would offer the pack from which the four cards had been taken, to the spectator with the request to remove the four Aces. Obviously, he would find only three. Larry Grey would reach into the spectator's inside pocket and take out the other Ace, leaving the three indifferent cards behind. The Four Ace trick would then be performed and at the conclusion a second spectator was asked to come on stage. The pack was handed to the second spectator who was asked to count off ten cards, face down, onto Larry Grey's right hand, then the pack was passed to the first spectator for him to count off ten cards onto the left hand. During this counting the hands were held well apart so that there was no possibility of transferring any cards. The first spectator was then asked, "Have you a handkerchief Sir?—please take the ten cards you have just counted onto my left palm, wrap them up securely and hold them in your own hands". During the interval, while the request was being carried out, Larry Grey Page 23

brought his hands together, palmed off three cards in his right hand from the other packet in the act of transferring the packet from the right hand to the left. He then moved his right hand to his hip as he extended his left hand to the second spectator, asking him to hold the cards between his hands. Larry Grey stood waiting with both hands on his hips, his right fingers dipped into his hip pocket to hold it open for the three cards to drop into as he released them (Figure 1 ). Next he took back the seven cards from the second spectator, false counted them as ten, then handed them back with instructions that the packet should be held by one corner. Placing a hand on each side of the packet, Larry Grey mimed the action of throwing a card from the visible packet towards the wrapped packet. This was repeated twice more but on the third occasion he would pretend to drop the card, pick it up, then throw it— sometimes he would have the first spectator take it ( ? ) from his fingers and place it in the handkerchief. Addressing the second spectator he asked, "How many cards are you holding?". Often the reply was, "Ten", so he would say, "But I've taken three cards from you—you'd better count them". On occasions he varied the procedure by first taking the cards and counting them as seven in a suspicious looking manner, as if making a clumsy false count, then would say, "I expect you would like to count them yourself". Having established that there were seven cards only in the visible packet, Larry Grey told the first spectator to unwrap his cards and count them onto his left palm which he held out somewhat triumphantly. As the count stopped at ten, Larry Grey would be looking away and said, "Go on". Having no more cards, the spectator would insist that ten was the total number, then Larry Grey would look perplexed and ask for them to be re-counted. After the recount he looked even more perplexed and said, "Remember, you took the cards and wrapped them in the handkerchief yourself—perhaps you put some in your trousers pocket, feel (spectator did so),—no? then the other one (spectator felt in his other trouser pocket),—not there? ; try your jacket pocket (spectator did so)—the other one (spectator did so). Have you felt in your inside pocket?". The three cards were produced and counted to give an excellent climax. An excellent effect by a superb artist. Page 24

CHAPTER

SIX

MORE NOVEL KNOWLEDGE HERE ARE SIX more clever ideas and ruses which Dai Vernon has either originated or to which he has added the "Vernon Touch".

1. TO SHUFFLE A CERTAIN NUMBER OF CARDS ABOVE A SELECTED CARD. This is a novel adaption of a cut described by S. W. Erdnase in The Expert at the Card Table. It permits the performer to place, say, two or three cards above a selected card after it has been controlled to the top of the pack. The appearance is that the whole pack is shuffled, yet actually the order remains undisturbed, except that cards are brought from the bottom to the top. Hold the pack in the left hand in the customary manner for an overhand shuffle. With the right hand, undercut about three quarters of the pack, bringing it over to the front of the left hand portion to commence the shuffle. Drop a small packet from the top of the right hand packet, but as the hands are together squeeze the packet originally left in the left hand between the right third finger and thumb (Figure 1 ). Bring it up with the rest of the cards, the small packet that was dropped

from the top now falling against the left fingers, concealing the fact that the under packet is withdrawn. With the left ringers tilt the packet over against the left thumb and drop another small packet from the top of the right hand portion into the left hand (Figure 2), between the packet and the fingers—still with the usual movement of shuffling. With the left thumb tilt the other packet back onto the cards on the fingers, then the right hand makes its customary downward movement, but this time Page 25

drop the packet which is held by the third finger and thumb by simply releasing the pressure of the third finger. Now tilt the left hand portion against the thumb, drop the remaining portion from the right hand with the exception of the bottom card, tilt the whole left hand portion against the fingers, then throw the single card from the right hand on top. This process leaves the pack in the original order, except that the bottom card is now on top. By repeating these moves, any number of cards can be transferred from the bottom to the top. A tip for throwing all but one card from the right hand in the last action of the shuffle, is to move the inner end of the bottom card up a little by an upward movement of the left little finger. This is done while the cards are in the left hand in position for the shuffle but before it commences. It will now be almost automatic when the throw is made, for the last card to remain in the right hand.

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2.

PLUNGER

LOCATION.

The following is a subtle method for keeping control of a card after it has been returned to the spread pack from which it has previously been freely selected. Spread the cards from left to right between the hands for a card to be selected. As the card is taken, imagine that the pack is divided al that point and injog (for about a quarter of an inch) the card on the bottom of what would be the top portion of the pack. This is done by the left thumb which is extended across the spread and pulls the card back. Without closing the spread, divide the cards at the injogged card (which is on the bottom of the right hand spread) and have the selected card replaced on top of the left hand spread. With the left thumb, jog the selected card forward for about a quarter of an inch. As the spread packets are joined once more, line up the outer edge of the second card from the bottom of the right hand portion with the slightly protruding selected card (Figure 3). Close the spread against the left hand and with the left forefinger (which reaches under the pack to the outer edge end) pull or push on the cards to square the pack. This automatically leaves the card immediately above the selected card protruding from the inner end of the pack. It is now a simple matter to cut at or form a break above the selected card.

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3. CARD FROM POCKET. Dai Vernon's method for producing a card from the inner breast pocket is extremely convincing, as although the card is actually palmed in the right hand at the beginning of the operation and is eventually removed by the left hand, the hands are well apart the whole time. Assume that the card has been palmed in the right hand and that it is desired to seemingly remove the card from the inner breast pocket on the right side of the jacket. Bring the right hand to the opening of the jacket at about waist level and allow the card to slide behind the edge of the jacket. This is accomplished by bending the right fingers inwards to clip the outer end of the card momentarily against the palm, when the inner end will be free. When the card is behind the jacket it is held by the tips of the right first and second fingers curled onto the non-index corner with the thumb on the outside of the jacket. This position of the right hand is the natural one for holding the jacket slightly open. By a movement of the second finger the card can be swivelled upwards so that the index corner rises four or five inches. Turning the right side of the body slightly to the audience, reach into the jacket with the left hand, the second, third and little fingers going into the pocket. Keeping the left arm and wrist absolutely still, reach down on the outside of the pocket with the thumb and first finger and grasp the index corner of the card (Figure 4—exposed view). With an upward movement of the left hand and arm, apparently draw the card from the pocket, letting it come into view near the top of the right lapel. At no time do the hands come closer together than eight inches.

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4. SWITCHING A CARD IN AN ENVELOPE. This is a particularly clean method for switching one card for another in an envelope. At the start the pack is held face down in the left hand and the envelope is on the table. Hold the card to be switched in the right hand and show its face to the audience, which gives an opportunity to secure a break under the top card of the pack. In order to pick up the envelope, place the card from the right hand on top of the pack. Hand out the envelope for examination, then with the right hand move the two top cards as one, so that they overlap the side of the pack. The break makes this a clean operation, especially as attention is directed to the examination of the envelope. Take back the envelope with the right hand, holding the open flap clipped between the first and second fingers (opening of envelope upwards). This hold enables the two cards overlapping the side of the pack to be taken as one, between the right thumb and forefinger at the centre of the outer side, and lifted for the envelope to be laid on the top of the pack where it is gripped by the left thumb. Without pause, slip the card(s) into the envelope but leave it protruding a little so that the back can be seen (Figure 5). Do not release the right hand grip on the cards. The actions of taking the card(s) from the pack, placing the envelope on the pack and inserting the card(s) are done in sight of the audience, the position of the hands being as in Figure 5. Say, "Oh, please make certain that this is your card", and lift the hands to bring the address side of the envelope towards the audience. Simultaneously slide out the top card to show its face, leaving the second card in the envelope, still protruding from the opening but

Page 29

covered by the open flap. Slide the shown card down behind the envelope, (as if inserting it) and right onto the top of the pack where it is clipped by the left thumb (Figure 6—rear view). In a similar action to the top change, clip the envelope (and protruding card) between the right first and second fingers, and move the right hand to the right to bring the other side of the envelope facing the audience. A card is seen protruding which is presumed to have just been inserted. Now place the envelope back on top of the pack once more, turning the left hand to enable the protruding card to be seen, then push the card right in and seal the envelope. The original idea of this switch was shown to Dai Vernon by John Scarne. However, the idea of showing a single card at the commencement and adding it to the face of the second card, instead of showing a double to start with, is a decided improvement as it gives greater freedom.

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5. DOUBLE LIFT FROM FAN. Make a pressure fan face up in the left hand and spot the desired card. If it is not in the right third of the fan, close the fan, cut the cards then remake the fan. Assume the desired card is the Joker in this instance. Place the right thumb nail under the card to the right of the Joker which brings the pad of the thumb directly onto the corner of the Joker. Place the pad of the right forefinger on the edge of the corner of the card to the left of the Joker (Figure 7). By closing the forefinger and thumb and squeezing , the two cards can be lined up perfectly. Pull both cards (as one) about halfway out of the fan. The cards will stay in this position, perfectly aligned, when the right hand grip is released. Turn the left hand to show both sides of the protruding Joker(?). You have made a good double lift for use in any of the usual ways, as the two cards can be taken from the fan as one, the fan closed and the card(s) placed on top of the pack. However, perhaps a better form of using this double lift is to turn the face of the fan towards you, as if holding a hand of cards with one protruding. Flip the protruding card with the right forefinger, then take the card(s) by the upper end between the right thumb and second finger and swing it to the left behind the fan. As the card(s) swings to the left, turn the fan face down and without pausing, push down with the thumb on the face card under cover of the fan, pull out the new face down top card and slap it face down on the table. Figure 8 shows a view from underneath of the Joker being left behind the fan as the card above it (King of Hearts) is removed from the fan. The moves of turning the fan face down, swinging the two cards to the left, pressing the Joker down behind the fan and removing the Page 31

face down King of Hearts, should all blend into one smooth action. Obviously, because the fan is turned face down as the cards are swung behind it, the indifferent card is removed from the right of the fan. Incidentally the idea of removing two cards as one from the centre of the pack will pass in fast company if the take-out is done without fumbling. For example, open the cards at the left outer corner (a la thumb count) and as you take hold of the upper card of the lower section, allow a second card to flip up. If these two are pivoted out in a natural action and placed on top as one, the illusion is all that can be desired.

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6. STARING HIM IN THE FACE. The following effect, which is an excellent one with which to conclude a series of card tricks as it entails placing the pack in its case, was a particular favourite of the late Paul Rosini. Have the card case on the table, the flap open and pointing upwards. Offer the pack to a spectator for a card to be selected, noted, and returned to the pack. During the shuffle, control the card to the bottom, then hold the pack face down in the left hand. Bring the right hand over the pack to take it into that hand, but as the hand provides cover, push the bottom card a little to the right with the left fingers. With the left hand pick up the card case, the left thumb at the centre of one side and the fingers at the other. As the left hand turns the case anti-clockwise, move the right hand to the left and as the pack comes to the back of the turning case, clip the bottom card against it—Figure 9 shows an exposed view of the jogged bottom card being brought to the back of the case for the left finger tips to clip the protruding side of the card against the bottom of the case. There should be no pause in the turning of the case, the action appearing as if the case

has merely been turned over for the pack to be inserted. All in the same smooth sequence of natural actions, push the flap further open with the back of the right fingers, and insert the pack in the case (Figure 10), close the flap then take the case into the right hand, holding it at the flap end between the thumb above and the forefinger underneath. Demonstrate how you want the spectator to hold the case by extending your left forefinger, only tell him to extend his right forefinger. Place the back of the case (with the selected card on the back) down on the spectator's extended forefinger, asking him to grip the top of

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the case with his thumb. Ask him to take a firm grip then have him name his card. Bring your right hand down smartly, hitting the case squarely and knocking it from his grasp. Due to the holding position, the face up selected card will still be gripped and will be "staring him in the face".

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CHAPTER SEVEN PALMING In Dai Vernon's book Select Secrets, under the Chapter titled Topping the Deck, he described a particular method of palming a card from the top of the pack, which has been a favourite of his for many years. Recently he has made slight alterations to the handling, and as the complete procedure provides an excellent example for illustrating fundamental rules which are applicable to palming in general, it is proposed to give a description of this palm before continuing with other methods. Throughout this book we have stressed that naturalness of action is most essential for attaining proficiency in card magic, and nowhere is this more important than where palming is concerned. There must be a logical reason for handling the pack in order that the palming action can be executed. Next, the secret palming action itself must be part of a visible, natural and logical movement. After the palm has been made there must be a logical reason for the hand to leave the pack —but a pause is essential before it leaves. When the hand leaves, it should not be held square, as a hand is seldom square when nothing is palmed. The hand must not "freeze"-—this can be prevented by gesturing with the hands; but these gestures must be natural to the individual and should not be overdone or they will telegraph that there is something to hide. Often the hand which holds the palmed card leaves the pack slowly; there is a tendency for slow movement when a card is palmed—the action must be quickened to equal the natural speed of movement of an empty hand. Bearing the foregoing in mind, we will study the following Vernon method for palming a card and see it through from beginning to end.

1.

TOP PALM — DAI VERNON.

Hold the pack face down in the dealing position in the left hand, the second, third and little fingers curled under the pack to the right side, and the forefinger extended under the outer right corner. The finger should be curved and relaxed, not held stiff as if it were sore; — relax, indeed the whole hand should be relaxed, with only sufficient pressure exerted by the fingers to prevent the pack from slipping. Extend the left thumb across the back of the top card. To make the palm, bring the right hand to the pack, the logical reason for doing so being to lift the pack off the palm to the tips of the Page 35

left fingers and thumb for them to make a squaring movement along the sides. To lift the pack, bring the right hand over it, the fingers together at the outer end, but only the second finger actually gripping the end at the centre. The right thumb goes to inner end near the left corner. The pack is now almost covered, so by extending the left thumb a little, push the top card to the right. This causes the card to swing (the second finger acting as a pivot) until the outer right corner comes into contact with the right little finger. By curling the right finger tips over the centre edge of the card and raising the left thumb, the top card is levered upwards (Figure 1). Simultaneously the left forefinger curls under the pack to aid the lifting. Lift the pack with the right hand (aided by the left forefinger) to the tips of the left fingers and thumb. By releasing the left hand hold to enable the pack to move, the left thumb automatically moves out of the way directly to the left side of the pack for the card to go completely into the right palm. The palm grip is made all the surer in these initial stages by lifting the right forefinger and placing the tip on the back of the new top card. This position of the forefinger gives the hand a natural appearance. Additionally, if the pack has to be placed down, the downward pressure of the forefinger facilitates easy release and obviates the necessity for dropping the pack from the fingertips. Now the tips of the left fingers and thumb are in contact with the sides of the pack and move backwards and forwards in a squaring action. All movements must blend into the natural action of squaring up the pack and it is of the utmost importance for the right thumb not to move during the entire operation. A glaring fault to guard against is that when making the palm, there is a tendency for the right hand to make a twisting movement to cover the pack. This is accompanied by a twitch of the right arm. This tendency must be fought—the hand must remain relaxed; the arm perfectly still. This palm is also excellent when one desires to simply place the pack on the table without the squaring up movement, for there is still a logical reason for the right hand to go to the pack; that is to place it Page 36

on the table. The whole action should simulate exactly the normal action of passing the pack from the left hand to the right hand to set it down on the table. Study how the palmed card is held. The line of pressure is diagonally from one index corner to the other; that is, one corner of the card is against the tip of the right little finger and the diagonally opposite corner is against the flesh of the palm at the base of the thumb. Figure 2 shows a view of a card in the correct palming position. The card clings to the hand, the first, second and third fingers being free to move, bend, curl or be stepped. Guard against holding the thumb away from the hand, "fish hook" fashion. It should be curved in a little more toward the forefinger than in the photograph.

Assume that instead of placing the pack down we wish to carry out other manoeuvres. We have made the secret palming action under the guise of squaring the pack, and the position is that both hands are still at the pack. From here the next actions will be determined by what we require to do with the palmed card. Suppose that the effect we need, is to remove the card from the trousers or jacket pocket. Riffle the pack with the left thumb, then leaving the pack in the left hand, raise the right hand, the second, third and little fingers curled, but the forefinger extended in an upward pointing gesture, apparently to gain attention;—the back of the hand partly towards the spectators, of course. Hold the thumb against the extended forefinger, the thumb tip actually on and bending the curled non-index corner of the card and hiding it from view. Now take the hand to the pocket and bring out the card. Notice that there is a logical reason for every action; it all looks natural, without the suspicion of a skilful manoeuvre. Page 37

For another example suppose that it is necessary to have the pack shuffled, then to return the palmed card secretly to the top of the pack. With the right hand offer the pack to a spectator and immediately he takes it, allow the right hand to drop to the side, but do not leave it there. It can be used in many ways. For instance, to move the card case from one position to another on the table, or to mime the action of shuffling to demonstrate to the spectator what you want him to do—any natural action to prevent the hand freezing, but do not overdo it. Study how your hand drops to the side naturally when the hand is empty—notice exactly what happens. It will be found that the arm and hand have a tendency to swing a little before coming to rest. Imitate this in detail when a card is palmed and eliminate all stiffness from the action, for with a card palmed you will find that there is a tendency for the arm to come to rest immediately. When the pack has been shuffled the spectator may place it on the table or hand it to you. Suppose it is on the table and it is required to add the palmed card to the top of the pack. The easiest way is to extend the right hand and draw the pack backwards, replacing the card as the pack is brought to the table edge for picking it up. Should the pack be out of line with the hand, do not alter the position of the hand; nudge the edge of the pack to knock it into position, then immediately draw the pack backwards as described. If the pack is handed to you, take it with the left hand, then transfer it to the right hand, holding it half exposed, the right thumb along the inner end and the right first, second and third fingers over the right side of the outer end. Make no attempt to replace the card immediately, but remove the left hand for the time being. When the pack is required again, bring the left hand to the pack, extending tfee left second, third and little fingers under the pack, with the forefinger curled onto the bottom card. Pull the palmed card onto the top of the pack with the tips of the left fingers which simultaneously pivot the pack to bring it face up. When the sequence of moves are blended into one smooth action, the appearance is that the pack is held by the right hand and taken by the left hand to be turned face up. For palming off more than one card from the pack, it is Dai Vernon's opinion that the first method described by S. W. Erdnase in his book, The Expert at the Card Table, cannot be bettered. In the section of the book dealing with The Erdnase System of Palming, Erdnase has described this method particularly well, and the only thing we have to add is to advise the reader to pay particular attention to keeping the right hand at its natural angle and to apply the same principles for providing a logical reason for the pack to be handled, and handling it in a natural manner, as we have previously described. Page 38

OTHER METHODS OF PALMING. According to the circumstances and requirements, one should feel free to transfer a card from the regular palm position to one of the other ways of palming. For instance, by transferring the card to the Gambler's Palm (Figure 3), the hand which has the card palmed, can be used for counting o t h e r cards from the pack, dealing, turning cards face upall natural actions which are not possible with a card in the regular palm position. Additionally, it is a simple matter to clip the outer corners of the card between the fingers as in Figure 4 for a pointing gesture to be made with the forefinger.

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2. TO PALM A CARD FROM THE PACK WITH THE GAMBLER'S PALM. The same grip on the pack is used at the start as described for Dai Vernon's method, but for conveying the top card to the right palm, the side of the right little finger clips the outer right corner of the card against the side of the third finger. With a slight forward movement, the left thumb pushes the card forward a little enabling the side of the right forefinger to contact the left outer corner and lift this corner against the side of the right second finger. The right hand hold on the card is now akin to the one adopted for when using the back and front palm, but the left corner is barely gripped. As the pack is set down, the right thumb catches the side of the card and allows the forefinger to be released, which brings the holding position to that shown in Figure 3. You now have great freedom of movement of the right hand and fingers. To replace the card on the pack, the moves for gripping the card

are reversed, then the right hand can travel to the pack and place the card flat on top—all in the action of picking up the pack (Figure 5). If the pack is on the table it is not necessary to draw the pack backwards to pick it up, as this is done with the tips of the fingers and thumb. Should the right hand be held in a loose position and it is necessary to replace the card on the pack which is held in the leJft hand, it is essential to approach the pack from the rear and to extend the right fingers over the outer edge of the pack. dropped on top of the pack.

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This allows the card to be secretly

3. ONE HANDED PALM

DAI VERNON.

Holding the pack in the dealing position in the left hand, bring the right hand over the pack, the second and third fingers at the centre of the outer end; the little finger just around the right outer corner and the side of the tip of the forefinger touching the left side of the top card. To make the palm, exert slight pressure with the tip of the right forefinger against the side of the top card, causing the opposite side to press against the right little finger, then by bending up the right first finger, the inner left corner of the top card can be lifted to the fork of the thumb (Figure 6). From this position the pack is either placed on the table or on the extended left palm, and simultaneously the right thumb moves up to clip the corner of the card as the hand straightens out flat and makes mysterious passing movements backwards and forwards over the pack. Figure 7 shows the manner in which the card is clipped in the hand which can be straightened and held perfectly flat.

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4. SECOND GAMBLER'S PALM. This method for palming the bottom card of the pack is used extensively by gamblers because of its ease and simplicity. Hold the pack in the dealing position in the left hand, but the left second finger tip must be directly against the outer right corner of the bottom card. Have the left inner corner of the pack comfortably in the lower centre of the palm, with the first finger resting idly at the centre of the outer end of the pack. To make the palm, press on the outer right corner of the bottom card with the tip of the left second finger, making the card buckle towards the palm and causing the inner right corner of the card to be widely separated from the inner end of the pack. This allows the pack to be seized by the right hand at the right inner corner and removed (Figure 8). As the pack is removed, turn the left hand downwards. If the corner of the card projects, move the forefinger slightly apart from the other fingers to give cover. This will be necessary if the performer has small hands. When performing seated at a table, instead of seizing the pack at the inner corner with the right hand for removal, bring the right hand over the pack and take it from above. As the pack is removed, let the left hand drop for the left thumb to rest on the edge of the table, the rest of hand being obscure^ below the level of the table. Alternatively, the hand can go to the left side of the table with both the thumb and index finger resting above and the palm downward. This hold is also good on the inner edge of the table if sitting slightly sideways with right side to table. To replace the card on the bottom of the pack from this position, curl the left third finger under the card and open the fingers—a position akin to when making the Pass. With the right hand, slide the pack to the rear of the table and as the pack comes over the edge, curl the left fingers in for the card to meet the bottom of the pack. This method of replacement is particularly good when observers can just see down below the edge of the table, for it seems that the empty left palm is glimpsed as the left hand comes up to the bottom of the pack. Dr. Daley used this most effectively and had many nice effects with its use. Page 42

With practically the same actions, the card can be brought to the top of the pack because, as the position of the hands is the same as for for making the Pass, a wider curl of the left fingers permits the palmed card to move around the edge of the pack and go on top. This variation was devised by Slydini.

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5.

SPRINGING A CARD INTO THE GAMBLER'S PALM POSITION.

It is a comparatively simple matter to spring the top card of a small packet of cards directly into the Gambler's Palm position. Holding the card in the left hand, the thumb at the centre of one side and second and third fingers at the other, bend the cards upwards from the two sides as the right hand comes over to take the packet by the sides. By a squeeze, the top card can be made to spring upwards for the right outer corner to strike the side of the right little finger, when it can be clipped against the third finger. The action of moving the right thumb down to grip the packet, traps the opposite side of the card. Figure 9 shows an exposed view of the positions of the hands and cards. Using only two cards an exchange can take place if the face up card is palmed off face to palm, and the other card immediately turned back outward.

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6. SOME

USEFUL NOTES ON PALMING.

(a) A ruse for palming the top card is to hold the pack on its side between the hands and tap it up and down on the table to square the cards. As the squaring action is being carried out, the right fingers pull the top card about half an inch to the right. Now the right hand leaves the pack momentarily to gesture, the left fingers concealing the fact that the top card has been moved. As the right hand returns to the end of the pack, the bottom portion of the palm strikes the projecting end of the card, causing it to be levered into the right palm. At the same time, the left fingers raise up the left end of the pack for the right fingers and thumb to just seize the pack by the sides then drop it onto the table. The levering action in this instance is in the opposite direction to that more commonly known with the top palm. (b) Figure 1 0 shows a card in the Rear Palm position. A fault to be avoided when stealing a card from the top of the pack into this palm position, is the unnatural position of the right hand which is often brought forward of the pack. To correct this, it is necessary to move the top card backwards by pushing it with the left thumb. This should be done as the right hand comes over the pack, but there is a danger of the projecting card being seen from the left side, so endeavour to have the right side of the hands towards the spectators as the palm is made. Alex Elmsley has devised a clever ruse for making the rear palm, by providing a logical reason for bringing his right hand forward of the pack. He has the card to be palmed second from top, takes off the top card and inserts it into the outer end of the pack, leaving it projecting for most of its length. He brings his right fingers to the outer end of the projecting card to push it flush, when his right hand is now well forward of the pack in position for his left thumb to push the new top card directly into the rear palm position in his right hand. (c) An excellent use for the rear palm is for inserting the palmed card directly into the centre of the pack at a position where a break is held. The inner left corner of the palmed card can be inserted into the break opening, which is prised open by the left little finger, as the right hand is brought over and covers the pack.

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(d) With a previously selected card secretly in the rear palm position, a form of "Stop" trick can be performed. Holding the pack in the dealing position in the left hand, take off a single card at a time, lifting each one with the right hand, the finger at the outer end and the thumb at the inner end. Drop each card onto the table until the spectator calls "stop". Now push the dropped cards forward with the right hand, adding the palmed card in this action, for the spectator to turn over. (e) A fine colour change can be made with a card in the rear palm position. Have the face of the rear-palmed card towards the right palm and hold the pack by the sides in the left hand, so that the face card of the pack is towards the spectators. Approach the pack with the right hand, fingers wide open, and as the rear of the palm comes over the face of the pack, leave the palmed card on the face. Bring the right hand back from the pack, fingers still open, when the face card of the pack will be seen to have changed. ( f ) To secretly replace a rear-palmed card on the pack, bring the right hand over the pack and seize it, fingers in front and thumb at the rear. With the left thumb pull the top card and set it in perfect alignment. (g) The following method enables the performer to palm the bottom card of a small packet of cards with one hand, the palmed card being taken to the Gambler's Palm position. Hold the small packet of cards face down in the right hand, which grips the cards from above, the thumb at the centre of one side, the second finger at the centre of the opposite side and the forefinger curled on top. Press with the index finger and crimp the sides of the cards upwards. Reach under the packet with the little finger and buckle the inner right corner of the bottom card, causing the card to pivot clockwise on the thumb. As the card pivots, slide the second and third fingers along the outer side to the outer corner. This outer corner of the bottom card will now be between the third and little fingers (Figure 1 1 ) . Straighten the little finger, clipping the corner of the card against the third finger. Page 46

Now move the left hand to the packet, the left thumb going under the side against the right thumb and the forefinger above to hold the card and packet and move them to the fork of the right thumb. The packet can now be removed by the left hand, leaving the original bottom card in the Gambler's Palm position in the right hand.

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CHAPTER EIGHT DEALING SECONDS "To become an adept at second dealing is as difficult a task as can be given in card handling, but once acquired, like many other arts, it is as easy as habit"—S. W. Erdnase. In his memoirs, Robert Houdin, commenting on witnessing a Greek gambler dealing seconds wrote, "I avowed then and I avow now that so rapid was the recoil of the top card that although he dealt through the entire pack, not once did I detect the action". Most methods for second dealing are based either upon two cards being pushed over together, as near as possible in alignment, and the second card being drawn out; or the so called "strike" in which a narrow margin of the second card is exposed and the right thumb strikes at this exposed border and pulls out the second card. Dai Vernon has evolved his own method which is now published for the first time. It was devised for use by magicians—not gamblers.

1.

DAI VERNON'S

SECOND DEAL

Hold the pack in the dealing position in the left hand, the first finger extended under the pack to reach the centre of the outer end where the finger tip acts as a squaring block. The other three fingers curl to the right side of the pack, their tips protruding above the edge. These fingers hold the pack bevelled. When dealing the top card for a fair deal, it is pushed over by the left thumb, but the remainder of the cards are square—except for the bevel. In the second deal the left thumb is bent back a little more than usual, for the ball of the thumb to push the top card over to the right. This card travels on its own until it is about a third of the way off the pack when, at this point, the right hand advances to take the card, the right second finger going under the top to contact the face right at the right outer corner of the pack itself. At this exact moment the left thumb continues to push to the right but the ball of the thumb rolls to curl the tip of the thumb upwards. This exerts pressure on the back of the second card by the flesh below the second joint of the thumb, which as the thumb continues to extend to the right, moves the second card to Page 48

the right (Figure 1). The right second finger is now in position under the outer corner of the second card, the right thumb being in light contact with the top outer corner of the top card (Figure 2—view from underneath). The pushing movement with the left thumb is continued for a fraction of a second more, so that both cards move slightly to the right before the left thumb draws back to pull t h e top card square on top of the pack. The right hand continues to pull and deals the second card onto the table. In pulling back the top card, it is pushed forward slightly so that the outer edge is touching the tip of the left first finger, the card being boxed between the first finger tip at the outer end and the base of the thumb at the left inner side. When dealing continuous seconds, the left thumb never loses its position on the top card; the ball of the thumb merely rolls back and forth over exactly the same spot. When a single second is dealt, the left thumb immediately relaxes, is lifted, and swings away to the left the moment the top card is in alignment on the pack. The most important thing of all to aim for is a natural action of dealing with no exaggerated movement of the left hand; the deal must be made exactly as if the top card is being dealt. When dealing the top card fairly first, followed by a second deal, there must be uniformity of action and no loss of rhythm. Even a poorly executed Page 49

second deal with perfect rhythm and natural handling is superior to a perfect second deal with loss of rhythm and unnatural hand positioning. An aid to second dealing a single card, is to have the left hand in advance of the right, for the left hand (holding the pack) to move back as the right hand advances to deal. An example is for the performer to advance his left hand for a spectator to look at the top card, then for the second deal to be made the left hand moves back as the right hand comes to the pack, the actual deal being made nearer the body than usual. When dealing fairly it is often natural for the dealer to take the top card near the centre or at the inner end. In the Vernon method of second dealing this can be duplicated.

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2. SINGLE HANDED METHOD. To deal the second card, using one hand only, the left hand action is similar to the two handed method. The handling is exactly the same up to when the two cards begin to ride over the left finger tips. The same additional slight push is given by the left thumb, but at this exact moment the tips of the second and third fingers curl slightly under the second card and with an extending motion, propel the card to the table as the top card is drawn back as in the previous method. The deal is accomplished with a right, upward and inward throwing motion with the left hand. This creates a perfect illusion of the top card being thrown to slide from the pack, the upward movement of the hand also covering the top of the pack from sight. By reversing the hand during the throwing-down action, the card can be dealt face up—the top card is visibly pushed forward and not until the hand is inverted is the change made. This method is also ideal for tossing the card and catching it with the right hand which immediately smacks it face up, or face down, onto the table. This should be done with flair, flourish—ostentatiously. Nothing can be said about the exact amount of pressure of the left thumb on the cards, as this depends upon whether the performer has moist or dry hands. It is not necessary to prepare the hands by the application of a lotion or similar substance, as according to the natural state of the hands, so the thumb pressure is attuned; each individual performer being able to determine the right amount of pressure to suit themselves.

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3. DAI VERNON'S

"NEW THEORY"

SECOND DEAL.

In this method the appearance is that the top card is taken fast (with the right fingers above and the thumb underneath) and dealt face up on the table. The commencement of this deal is exactly the same as the two handed method already described, except that the right hand comes to the pack with the backs of the right fingers upwards. As the second card comes over the pack, the top card is pulled back by the left thumb, but the second card is not seen at this point because by now the right hand has reached the pack and obscures the view of the protruding second card. The right third finger strikes the outside edge of the right outer corner of the second card and swivels it inwards, the left inner corner pivoting against the left palm (Figure 3). At the point where the former left side clears the pack, the first and second fingers of the right hand grasp the card from above (thumb below), turns it over (Figure 4) and slaps it down, face up, on the table. The whole action is fast, the right hand appearing to almost grab the top card, turn it over and slap it down.

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4. A QUICK TRICK. Here is a nice trick to perform when seated at a table. Jt utilises a form of second deal, but it is so easy to perform and has all the cover in the world. Spread the face up pack slowly between the hands and as the near centre is reached, push each card across singly, asking a spectator to name any conspicuous card. As the card is named, extend the left thumb onto the selected card, but ensure that three more cards are fanned out to the left of this card, the remainder of the cards on that side being squared in a packet (the rest of the cards of the pack are, of course, to the right of the selected card), but contrive to have a wide space between the selected card and the card to the right. Curl the left second, third and little fingers and double them under the card below the selected card (Figure 5). With the right hand, remove all the cards above the selected card, the left thumb reaching as far as possible across the face of the selected card. Turn the left hand down and simultaneously pushing with the left finger and relaxing the thumb pressure, draw the selected card back onto the pack, leaving the back of the second card exposed for it to be set down flat on the table and held there by the tips of the left fingers, for the pack to be pulled away from the card. Square the right hand cards by tapping them on the table and place the packet face down. Pick up the single card and without showing its face, place it on top of the packet of cards on the table. During these actions drop the left hand below table level and reverse the selected card against the side of the leg. Take the packet from the left hand with the right and place it squarely on top of the cards on the table. Spread the pack, when the selected card will be seen, face up, in the centre. Page 53

CHAPTER NINE THE CARD PUZZLE IN 1 93 I , AT the insistence of Fawcett Ross, Dai Vernon published a limited edition of a manuscript in which he explained several of his favourite card effects. By reason of its price it was known as The Twenty Dollar Manuscript. The Card Puzzle was one of the routines included, but since its original publication Dai has simplified the handling. EFFECT : The performer removes all the picture cards from the pack and arranges each suit in the order King, Queen, Jack, then assembles the suits in Bridge order—Spades, Hearts, Diamonds, Clubs—Spades on the face. Next the four Aces are removed, arranged in the same order, and dealt in a line, face down on the table. After showing the order of the picture cards to be as originally arranged, he deals the three Spades on the Ace of Spades, the three Hearts on the Ace of Hearts etc., until there are four packets each containing its own suit. However, when the packets are turned face up the four Aces are together in one packet, the four Kings in another and so on. METHOD : Remove the picture cards from the pack and arrange them in the order stated above, so that when the cards are spread, face up, between the hands, the Spades are to the right and the Clubs to the left. Now remove the Aces and arrange them in the same order, placing them in a fan, face up, on the table. These preparations are made in front of the spectators who are left in no doubt as to the fairness of the set-up. Holding all the Court cards face up in the right hand by the ends (Biddle grip), draw off with the left thumb the face up King, Queen and Jack of Spades, then the King, Queen and Jack of Hearts; next the King of Diamonds and as the Queen and Jack are "Biddled", form a break between the King and Queen. Place the remaining three Clubs squarely on top, pick up the two Diamonds at the break, "Biddle off" the King and Queen of Clubs and place the last three cards, squared as one, on the face of the packet. This is extremely simple to execute and places the cards in position to proceed. Page 54

Say, "Remember, the black suits are top and bottom". Turn the packet face down, lift off the top three Spades with the right hand and turn the fan to show the faces. As the Spades are turned face down again and replaced on top of the packet, hold a break beneath them with the tip of the left little finger. Pick up the Ace of Spades and scoop up the other Aces with it, which takes the Ace of Spades to the bottom of the packet of Aces. Place the Aces, face up, on the face down picture packet and immediately move forward all the cards above the break, lifting this packet to the tips of the left fingers and thumb. The position now is that the face up Aces, with the three face down Spades below them, are held in a squared packet at the tips of the left fingers and thumb. This packet is about an inch and a half forward of the face down picture packet which is well down in the palm. There is a clear space of about an inch between the two packets. With the right fingers slide the Ace of Hearts, naming it as you do so. Turn it face down and slide it under the outer edge of the upper packet. Say, "Below the Hearts in value is the Diamonds". Slide back the Ace of Diamonds, turn it face down and slide it under the outer edge of the upper packet. Do exactly the same with the Ace of Clubs saying, "Below Clubs is Spades". Then lift the upper packet, turn it to show the Ace of Clubs on the bottom as you say, "The lowest value is Clubs". Place the packet square on top of the picture packet (Clubs downwards), then say, "and the highest value is Spades—on top". Turn the Ace of Spades face down. Deal the top four cards face down in a line from left to right on the table as you say, "So they run Spades, Hearts, Diamonds and Clubs". Deal the next three cards one after the other onto the card on the extreme left saying, "Three Spades on the Ace of Spades". Ask, "What is the next suit?" and the answer will be "Hearts". Take off the top three cards with the right hand, square them and turn them face up on top of the face down packet, but get a break above the two bottom cards of the packet. Double buckle the bottom two cards as you lift off all the cards above the break, holding them squared from above with the right hand, the thumb at the centre of the inner end and the fingers at the outer end. Move the right hand a little to the right and pull off the face up Jack of Hearts with the left thumb. The side of the Jack should now be protruding over the right side of the face down packet, for the right hand to lift its packet against the side of the Jack to turn it face down, treat the Queen of Hearts in the same manner, but as it is turned face down, bring the right hand packet square on top Page 55

of the left hand packet. Turn the King of Hearts face down. The appearance has been that the faces of all three Hearts have been shown; actually four cards have been placed between the Queen and King of Hearts. Fan off the top three cards of the packet and deal them, one after the other, still face down, on the second card on the table. Start fanning the packet still in the left hand, but when the second card is square under the first, turn the two cards up and say, "Remember— Diamonds next". Turn the cards face down then place them squarely on the packet and buckle away the bottom card to turn up and show the Jack of Diamonds; remove the top three cards and drop them face down on the third card on the table (without dealing separately). Fan out the three remaining cards face down, square them and turn face up to show the bottom card as you say, "Clubs last". Turn them face down and deal them singly on the card on the extreme right of the row. Say, "Remember the order—Spades, Hearts, Diamonds and Clubs". Hold the hands above the four packets and as you move the hands around say, "I'll cause cards to move from packet to packet". Turn each packet face up separately, spreading the cards to show that the four Aces have come together, likewise the Kings, Queens and Jacks. NOTE : — When this Chapter was returned after correction, Dai Vernon had added:— "At the conclusion, all the suits run in perfect Bridge order in each packet of four. Each time the three cards are dealt on the Ace ( ? ) , they are dealt one atop the other, except the Diamond pile (third) and this is not noticeable owing to the manner of showing the Queen and Jack and the ending can be varied for a stronger effect. At the finish turn up Jack of Clubs, Queen of Diamonds, King of Hearts and Ace of Spades (top, second, third and bottom cards of the piles from right to left)—then show the 'gathering of the Clans*."

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CHAPTER TEN ANOTHER LARRY GREY TRICK LARRY GREY BASED this trick on J. Warren Keane's Three Cards Through a Handkerchief, but added several subtleties of his own and embodied some extra effects to build a particularly strong routine. Briefly, the effect is that three cards are selected and returned singly to the pack as it is being shuffled. According to the number of spots on the selected cards, each one is found by counting down in the pack. Next the three cards are placed face up in the centre of the pack, the performer stating that in this fashion he will demonstrate how the effect was brought about. He then shuffles the pack and again finds each card by counting down according to the number of spots on its face. Finally the three cards are again placed into the centre of the pack (face down this time), the pack wrapped in a handkerchief when the chosen cards penetrate the material singly, the last one rising out of the covered pack and floating to the performer's hand held well above it. During the years Dai Vernon was associated with the late Larry Grey, the trick was revised on many occasions, both magicians adding improvements, mainly to the simplification of the method, until the following procedure was adopted for the trick which became a firm favourite with Larry Grey. METHOD: Larry Grey would first force the cards, the two, five, and six of any suits—one on each of three spectators. Holding the pack in position for an overhand shuffle, he commenced the shuffle and asked the spectator who held the two spot to stop him at any time. The two spot would then be replaced in the pack, then two more cards shuffled on top. Larry Grey held the pack towards the second spectator for the five spot to be replaced. Next five cards were shuffled on top then the six spot replaced. Six cards were shuffled onto the six spot, the next card injogged and the remainder shuffled on top. The pack was cut at the injog, the top half dropped onto the table and the remainder dropped on top.

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Obviously, no indication was given of the number of cards shuffled onto each chosen card, so the spectators were quite unaware that the pack had been set up in front of their eyes. Leaving the pack on the table, Larry Grey now asked the third spectator how many spots there were on his card and on being told "six", he counted six cards from the top of the pack, but before turning over the next card would ask, "What suit was your card?", then the card would be turned and dropped face up on the table. The other two chosen cards were found in the same manner. The three face up cards were picked up, displayed, then dropped singly on the table to reverse the order. Remarking,"Perhaps you would like to see how that was done" Larry Grey squared the rest of the pack in his left hand, then picked up the three face up cards saying, "I'll put the three cards face up into the face down pack, so that you can see exactly what happens". Riffling the corner of the pack with his left thumb, he inserted the cards at about the centre, then spread the cards between his hands saying, "Remember, the cards are face up somewhere near the centre of the pack". As he came to the face up cards the two face down cards on the left were fanned much wider, and as the fan was pushed together again, the right hand was dropped a little. This enabled the second of the two bottom cards of the left hand section to go between the two bottom cards of the right hand section, and the next card on the left to go between the next two cards on the right; that is, a face down card from the left went between the five and two and another face down card between the five and six. Figure 1 shows a view of the happening from underneath. Saying, "Remember, I found the six spot first", he spread the cards once more between his hands, got a break above the sixth card above the six spot, made the Pass which brought the six spot to seventh position from the top of the pack. Next he riffled the pack, then thumbed off and counted six cards singly into his right hand to show the six spot was at the correct position. This face up card was pushed off onto the table and the right hand cards placed back on the pack, but the last two cards were immediately passed to the bottom. Next, five cards were thumbed off and counted into the right hand for the five spot to be revealed and pushed off onto the table. The five cards in the right hand were placed back on top of the pack, but a break was obtained Page 58

under the bottom card of the five and the Pass made. This left two cards only above the two spot to enable it to be revealed correctly. Still in the order 6, 5, 2, the cards were again placed in the centre of the pack, all face down, but the Pass was made to bring the three cards to the top. This brought everything in readiness for performing almost the same effect as that used by J. Warren Keane in his Vaudeville act. The pack was held face up in the left hand and three cards were secretly thumb-counted and a break held with the left little finger. The three cards were jogged down and simultaneously the pack was bevelled a little. In Figure 2, the third and little fingers have been curled out of the way to show the position of the cards at this point. Next the pack was taken into the right hand and held by the sides with the face card towards the audience, for the left hand to pull a handkerchief from the breast pocket. The right hand dipped down for the right thumb and little finger to clip one corner of the handkerchief so that it was now held between the two hands to be displayed by turning the hands. With a tossing movement the centre of the handkerchief was brought over the empty left palm, then the pack was taken at the sides through the handkerchief and held perpendicular by the left thumb and fingers. Just before the pack was placed in position, a little slack was taken in the centre of the handkerchief by pressing inwards with the right fingers. Pressing inwards with the left little finger on the corner of the three cards through the handkerchief caused them to secretly pivot on the left thumb, and assisted by the right thumb, go diagonally into the right hand. In Figure 3 the right hand has been removed to show the cards leaving the back of the pack. The right hand immediately carried the cards under the handkerchief to the back of the pack, the right fingers clipping the cards to Page 59

lever them away from the palm, and the hand turning for the cards to point upwards—(Figure 4 discloses the holding position of the three cards and Figure 5 the view from the front) so that the cards went

nicely into position behind the handkerchief and pack. Immediately they were in position the right fingers pulled down the back card for half its length, then the hand came over and flipped the portion of the handkerchief from over the left wrist onto the face of the pack. The right thumb and forefinger now took the pack through the handkerchief, holding it at the centre of the inner side, while the left hand took the left side of the handkerchief and folded it back over the three cards. Figure 6 shows an exposed view. The hold on the pack was now transferred to the left hand for the right hand to take the right side of the handkerchief and wrap it completely around the back of the pack, the left hand moving to facilitate this action, then taking up its grip again. The right hand moved to the bottom of the pack and held the projecting card through the handkerchief, the thumb and forefinger also gripping the bottom end of the pack, then the left hand pinched the top end of the pack. The left thumb being behind the pack, was in position to push down the back card of the two. This card was pushed down sufficiently for it to go just out of sight below the "V" formed by the wrapped handkerchief— the third card still being in the "V". As the card was pushed down, the hands and pack were reversed, the right hand holding the two cards in position as it also held the free portion of the handkerchief. Page 60

It was now possible to remove the left hand, the wrapped pack being suspended from the right hand. By swinging the pack from side to side, pendulum style, the first card made its appearance (Figure 7). There is a knack in bringing the card out smoothly; the swinging action should be only slight with the movement rather jerky. After removing the first card, Larry Grey would begin to shake the pack again, but would stop and turn his hand to show the back of the handkerchief, when, because the second card had been pushed below the "V", no card was visible. The hand was turned again, the pack shaken and the second card made its appearance, the right hand having released its grip on this card, but still held the third card in position. After the removal of the second card, the back of the wrapped pack was again shown, the third card being well out of sight. For the appearance of the third card, a different ruse was adopted as this card rose from out of the wrapped pack. A length of thread and a piece of wax were the answer, one end of the thread being attached to either a fly button or a waistcoat button, and the other (waxed) end stuck to an adjacent waistcoat button. As the second card was making its appearance the left hand moved to the button and pinched off the pellet of wax between the thumb and first two fingers, the fingers rolling it onto the back of the thumb nail. When the back of the wrapped pack had been shown after the removal of the second card, the hands and pack were reversed and the left fingers were brought around the face of the wrapped pack, the thumb going to the back as the right thumb pushed the card to the opening, square on the pack. The right hand was then brought r over the top end of the pack, to grip it from the top. Figure 8 shows a rear view of the right thumb pushing the pellet of wax off the left thumb nail onto the back of the card. This took but a fraction of a second and the left hand then moved down to stroke the handkerchief, the appearance being that the hands had been brought into position for this sole purpose. •••BPMBIHHHBI^HI

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Finally the pack was taken by the left hand again, for the right forefinger to move under the thread so that it ran between the first and second fingers. Now the right hand was moved forward and upwards smoothly and evenly, the card rising from the pack to the right hand (Figure 9). The wax was pushed off the card with the right thumb as the card was displayed, for the wax and thread to fall unnoticed. As stated at the beginning of this chapter, the part of the routine where the cards appear to penetrate the handkerchief closely follows that used by J. Warren Keane in his Vaudeville act. Certain alterations to the method of handling were made by both Larry Grey and Dai Vernon, and it was the former who performed the full routine in his own act. It is interesting to note that J. Warren Keane used a hair, not a thread, to make the last card rise from the pack, and even though he always took the precaution of having two hairs and pellets of wax in readiness, so sure was his handling that he is reputed never to have had to make use of the second preparation.

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CHAPTER ELEVEN CHANGES A SOUND KNOWLEDGE and mastery of practical methods for secretly changing one card for another can be extremely useful attributes in the performance of card magic. So much has been written on this subject that it is not proposed to cover all the same ground again, but Dai Vernon has some important observations to make which will enable the reader to improve his technique.

THE TOP CHANGE. The basic mechanics of this sleight are that the pack is held in the dealing position in the left hand and the card to be changed in the right hand. Under a logical pretext the hands come together, the card in the right hand goes on top of the pack as the original top card is taken into the right hand. Obviously the change must be a secret one, covered by strong misdirection. Although explanations in many books tell us to push the top card of the pack over with the left thumb, a very important aspect has been neglected. This is that the thumb should not rise from the pack during or after the pushing, even when the right hand card comes to the top of the pack—that is, there must be no grasping movement of the thumb as the card is changed. The card to be changed should be slid under the left thumb, square on top of the pack, the finger-tips acting as guides to square the card. To make the change, the hands must come together and although there is no hard and fast rule about the method of bringing them together, as this will depend upon the circumstances prevailing, there must be a reason for them to do so. This statement will be clear when we study the description of the method DaiVernon advocates for practising the change. Aim at keeping the left hand "dead", as far as possible, up to the instant the change is made, but when this point is reached the left hand (holding pack) can be moved, although this should be in a natural leisurely fashion, such as offering the pack to a spectator for shuffling, and not by a quick, snatching movement which will betray the fact that something has happened. Page 63

To practice the Top Change it is suggested that the reader places a match box flat on the table, about eighteen inches in front of him. Hold a card face down in the right hand, the first finger and thumb gripping the card near the right inner corner. The pack is in the dealing position in the left hand.

Show the face of the card as in Figure I , and express the intention

of placing it on the matchbox. Go to place the card face down on the box then, as if changing your mind, draw back the right hand, make the change (Figure 2) and immediately advance the left hand to the box and stand it on its side (Figure 3), then place the changed card on the box (Figure 4). Aim at getting the correct timing; note that the left hand is dead up to the instant of change when it immediately moves forward to stand the box on its side. A tip is to keep the left elbow pressed into the body to help the left hand remain dead until the instant of change. Page 64

In this example it will be seen that the card to be changed is brought over the pack from the front—other circumstances will necessitate that the card approaches the pack from the side. Sometimes the right hand must move from left to right, then a circular swing is made in order that the card approaches the pack from the front. To recap, here are just the mechanics of the change:— (a)

Left hand holds pack in dealing position, left thumb across the pack, the left forefinger at the outer end of the pack.

(b)

Keeping the left hand dead, the left thumb extends and pushes the top card to the right.

(c)

Simultaneously with (b), the right hand approaches the pack, slides the card it holds under the left thumb (there must be no movement of the left thumb)—the card goes square on top, the left finger forming a guide.

(d)

The right first and second fingers clip the side of the pushedover card and carry it away. There should be no pause when the right hand reaches the pack.

(e)

The left hand can move immediately the change has taken place.

Timing is a most important factor. Another form of Top Change is to hold the card (or cards) to be changed by spanning the length of card with the right thumb and second finger, the thumb at the edge of the bottom right corner and the pad of the second finger curled onto the edge of the upper right corner. The change can be made under the misdirection of showing the face of the card, first to the left then to the right, the change taking place as the right hand passes the left. The mechanics of the change are the same as for the previous method. Instead of showing the card from left to right, you can practice changing the card on a matchbox as explained earlier. Focus your whole attention on the matchbox; make it the important object—the cards are momentarily unimportant. Page 65

Holding the cards by spanning them is ideal for when it is necessary to change one small packet of cards for another small packet. In this instance the cards to be changed are held in the right hand as in Figure 5. A break is held by the left little finger under the other packet of cards on top of the pack. This break does away with the necessity of pushing the cards over the right side of the pack with the left thumb.

THE BOTTOM CHANGE. The same rules apply for making this change as described for the Top Change. However, the actual change is more difficult to conceal as the card from the right hand has to be taken under the pack, necessitating some movement of the left fingers. To disguise this finger movement, tilt the pack and hold it between the left thumb and forefinger, which is at the outer edge and curled. Drop the other fingers slightly to allow the card to go under the pack (Figure 6—exposed view).

ONE-HANDED CARD CHANGE—DAI VERNON. This method of secretly changing one card for another is an excellent move for "The card under the foot", but it can also be used for making the change on a table. The pack itself is not used in this version, there being only one card visible. A card is secretly held face to palm in the Gambler's Palm position in the right hand, while a visible card is held face up by the inner corner in the left hand. Page 66

The change is made in the action of taking the card from the left hand into the right, preparatory to placing the card down. The card is displayed in the left hand, then taken into the right. As the hands come together for the right hand to take the card and turn it face down, the tip of the right forefinger grips the corner of the palmed card around the side for the thumb to be released. The right side of the visible card slides across the face of the concealed card (Figure 7 shows view from underneath) the right outer corners of both cards eventually coinciding, when the right thumb can bend over for the tip

to go between the cards and on to the face of the original palmed card. It will be apparent that the original visible card has now occupied the Gambler's Palm position in the right hand, aid having been provided by the little finger (Figure 8). The tip of the right thumb and the tip of the right forefinger are now one at each side of the index corner of the card which will go down, the thumb revolving the card and pivoting it around the finger tips. Performed smoothly the appearance is that the right hand takes the visible card and turns it face down during the stooping and reaching action, to place the card on the floor for a spectator to cover with his foot.

HARRY LORRAINE'S CHANGE FOR FOUR CARDS. Here is an excellent method of changing four cards—ideal for use with say, a Four Ace effect. Hold the pack in the left hand and riffle the left outer corner with the left thumb. Stop the riffle at about the centre of the pack and insert one Ace, leaving it protruding. Riffle two more cards and Pase 67

insert the second Ace; riffle one card and insert the third Ace and again riffle one card then insert the fourth Ace. Push the Aces to the right leaving them protruding from the front of the pack for about half their length. By turning the left hand, bring the pack face up and spread the Aces to show their faces. Now square them and push them a little way into the pack. Pinch the outer ends and push again slightly until you feel (or see) some cards begin to protrude from the opposite end of the pack. Place the left forefinger at the outer edge of the cards protruding from the front of the pack and ask for the loan of a pencil, but immediately say, "Perhaps I've got one". Push with the left forefinger and simultaneously turn the left hand back up (Figure 9), and take the outer end of the now face down pack into the right hand—four new cards now protruding from the front of the pack— and immediately reach into a pocket with the left hand. Take out a pencil, hand it to a spectator, then spread the supposed Aces and have the backs marked. Lift the outer end of the supposed Aces and get a break with the left little finger as the pack divides. As the supposed Aces are pulled out, three of the real Aces will be above the little finger and one below it. If the one below is transferred to above the finger, then the pack is cut, all four Aces will be at the bottom.

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CHAPTER TWELVE TWO TRICKS TO CONCLUDE PART THREE of Inner Secrets of Card Magic, we give two examples of known effects for which Dai Vernon has evolved his own methods.

DAI VERNON'S VERSION OF "EVERYWHERE AND SOMEWHERE" The plot of this excellent card trick is so well known that we will confine ourselves to an explanation of the method Dai Vernon has evolved. A card is freely selected, noted and returned to the pack when it is secretly brought to position third from top (see special shuffle described on page 25). The performer spreads the cards face down across the table and asks the spectator to touch the back of any one card. It could happen that the spectator touches the card previously selected, in which case a particularly strong effect has been produced, even though it is not the one intended. Assuming that it is other than the one selected, take it and without showing its face, place it in your jacket pocket on the left side and say, "This trick will work providing the card you touched is not the one you originally selected". Square the pack and say, *Tm going to press on the pack and have your card come to the top (turn pack face up)—I want you to see that it is not on the bottom. Also you see it's not yet on top (turn pack face down and show the top card)—but you may think that I'm a gambler and can deal the second card, so look at that one too". Show the face of the second card which provides ample opportunity to get a break under the third card. After placing the two cards back on top, press on the top of the pack, then make a triple lift (the break makes this simple), turning up the card(s) by the right inner corner with right thumb and second finger, tip of forefinger on right edges of the three cards to keep them in perfect alignment. Page 69

After the face of the card has been seen, put the card(s) back on the pack but retain the break and keep the cards boxed against the tip of the left forefinger. Now the top card is immediately swivelled to

the right and forward with the right thumb (Figure 1). thumb pushes this top card off on to the table (Figure 2).

The left

Make a double lift (the break making this simple), show the face of the card again, place the card(s) back on top of the pack and immediately push the top card to the right and forward as before, for the left thumb to push it off on to the table. It should overlap the first card. Take the top card of the pack in the right hand, the middle finger at the outer end and the thumb at the inner end, and show the face. Turn the card face down, moving the card to the pack to make the Top Change, the left hand immediately moving forward towards one of the two cards on the table, and the right hand to the other card The two middle fingers of the right hand each touch a card, moves them apart and deposits the third card between them. Mix up the three cards on the table and the moment the mixing is finished, move the pack forward in the left hand so that the inner left corner is in the crotch of the thumb. Give the spectator two chances to find the selected card from amongst the three on the table. As he turns the first card there is ample misdirection to make the swivel palm, to bring the selected card into the left palm as the right hand takes the pack and deposits it on the table. The left hand should drop to the side. After the second selection has been made, reach forward with the right hand and turn over the last card as the left hand goes to the pocket and apparently removes the selected card. Page 70

MATCHING ANY NUMBER OF CARDS. In some of his performances Max Malini would have six or eight cards selected by different members of the audience, each of whom would place the card in his pocket without looking at it. Malini would state that anytime during the show a spectator could ask: "What card have I in my pocket?" and the correct answer would be given. Dai Vernon wished to produce a similar effect but using two packs, so evolved a different method to that used by Malini who actually forced the cards. Dai Vernon tackled the problem from a different angle, using one stacked pack to tell him which cards were selected. To perform the effect, one pack can be stacked by any of the known systems. This pack is introduced and, say, six cards are selected by different spectators, who are instructed not to look at the cards, but to put them right away into a pocket. After each card is selected, the card above it is secretly side-slipped to the top of the pack. / When the desired number of cards have been selected, the same number of side-slipped cards are palmed from the top of the pack and secretly added to the second pack. The first pack is placed aside, the performer saying that he will not touch it again, but will use the second pack to find the selected cards. Fanning the cards with the faces towards him, the performer notices the top card and by the stacking system, can find the last card selected, which he pulls part-way from the fan. The remainder of the selected cards are found and treated in a similar fashion, then the performer shows the first selector a card and when the selected card is removed from the pocket, the two cards match. This is repeated with the rest of the selectors, to show that all the cards match. A good presentation is to have red and blue backed packs, the cards being selected from one pack and "matched" from the other. In this instance the side-slipped cards are added to the face of the other pack to prevent the different coloured backs being seen. Recently Dai Vernon has evolved a different version of this trick which he uses for close-up performances. He has both packs set up and when he is ready to perform, displays the two packs and asks a spectator to select either one. The spectator shuffles this pack, hands it back to the performer who places it aside for the moment. Page 71

The second pack is taken, the spectator selects four cards and without looking at them, places each one in a different pocket nominated by the performer. Cards are secretly side-slipped after each selection as before. Now the pack is shuffled by running four cards, injogging the next card, and shuffling off on top, which brings the four cards to the bottom of the pack. These four cards are palmed off, and as the pack is placed aside with the other hand, the palmed cards are added immediately to the face of the other pack in the action of spreading the cards across the table. By sighting the end cards, the selected cards are pulled out from the spread. As the performer knows the order the selected cards were placed in the nominated pockets, he can show a card from the spread and say: "The card which matches this one is in your . . . . pocket". *

If by chance two consecutive cards are taken, it will be apparent, as there will be two cards in sequence in the stolen key cards. In this case, to find the selected card, it will be obvious that it is necessary to jump ahead once in the system.

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