DAI VERNON'S
ULTIMATE
SECRETS OF
CARD MAGIC
LEWIS GANSON
PHOTOGRAPHS bySTEVE YOUNG and LEWIS GANSON
LINE DRAWINGS by
DENNIS PATTEN
L & L Publishing thanks Excalibur Promotions Limited of Supreme House Bideford Devon EX 39 3YA England for granting permission for the material in this book to be reproduced. The exclusive distribution rights for this title in the United Kingdom and Europe have been granted to Excalibur Promotions Limited, Supreme House, Bideford, North Devon, EX 39 3YA, England.
© Copyright L & L Publishing 1995. All rights reserved. Note: The copyright of the material in this book reverts to
CONTENTS
FOREWORD 1
CHAPTER 1. STARTING RIGHT 5
SECTION ONE - CARD EFFECTS
CHAPTER 2. MATCHED SPELLOUT 13
CHAPTER 3. THE PERFECT CIRCLE OF CARDS 17
CHAPTER 4. "SECRETS" 21
CHAPTERS. "DO AS I DO" 23
CHAPTER 6. BLACK AND RED PUZZLE 27
CHAPTER 7. MENTAL SPELL 31
CHAPTER 8. TEN GIVES THREE 35
CHAPTER 9. THE MAGIC OF LARRY JENNINGS
Tell-TaleAces 39
CHAPTER 10. LARREVERSE 47
CHAPTER 11. GAMBLER'S TRIUMPH 53
CHAPTER 12. THE CHANGING OF THE GUARD 59
CHAPTER 13. MONARCHS
1QUARTETTE 65
CHAPTER 14. LES CARTES DIACONIS 69
CHAPTER 15. RUNNING THE SCALE 73
CHAPTER 16. PURE MATHEMATICS 75
CHAPTER 17. SLOW MOTION CARD VANISH 77
SECTION TWO- CARD SLEIGHTS AND MOVES
CHAPTER 18. VERNON ON THE PASS
Standard Pass 84 The Black Pass 86 Location Pass 87 Sprong'sPass 88 Fan Pass Transformation .. ... 89
CHAPTER 19. VERNON ON TABLE PASSES
First Method 91 Second Method 92 Mexican Joe's Table Pass 93 Charlie Miller's Table Pass 94
CHAPTER 20. AFTER PEEKING
Pressure Fan 96 Spread Location 97 Shuffle to Top 98 Double Peek Control 99 Three Break Control 100 Multiple Peek Control 101 Transferring the Break 101 Spectator Finds His Own Card 102 Adaption of Greek Break 103
CHAPTER 21. ONE HANDED SHUFFLES
Benzon's Shuffle 105 Vernon's Shuffle.. .106
CHAPTER 22. CARD PLACEMENT
Vernon's Placement 107 John McCormick's Penetration 108
CHAPTER 23. HANDLING A SHORT CARD
The Short Card Ill Locating a Short Card Ill The Corner Short 112 Vernon's Method of Handling 112
CHAPTER 24. MAGIC CASTLE MOVES
All Around Square Up 115 Jennings' Top Palm 117 Key Card Placement 118 Small Packet Glide 119 Rooklyn Top Palm 120
CHAPTER 25. MORE USEFUL SLEIGHTS & MOVES
Single Shuffle Control 123 Spreading Six Cards as Five 123 Key Card Location 124 Cold Deck Cut 125
CHAPTER 26. TWO SLEIGHTS BY DR. ELLIOTT
Bottom Deal 130 Favourite Break Control 131
SECTION THREE- FRIENDS OF DAI VERNON
CHAPTER 27. MAGIC FROM BRITAIN
Slippery Aces Jack Avis 135 Double Prediction Alex Elmsley 139 Face Your Brothers Alex Elmsley 141 Last Word Four Aces Francis Haxton 143 The Innocent Cheat Fred Lowe 146 Thought of Card Across Peter Warlock 149 Fellow Travellers Roy Walton 153
CHAPTER 28. MAGIC FROM CANADA
Pivot Change Ross Bertram 157 Bottom Steal & Recovery Ross Bertram 158
CHAPTER 29. MAGIC FROM HOLLAND
The Three Jokers Fred Kaps 161 Ups and Downs Rink 165 Find the Ace Eddie Taytelbaum 167 Infallible Force Eddie Taytelbaum 171
CHAPTER 30. MAGIC FROM IRELAND
Yemen's Variant Dai Vernon 173 Emerald Isle Aces Vernon-Ross-Lambert 176 Swivelleroo ... .. Hubert Lambert 176
CHAPTER 31. MAGIC FROM U. S. A.
Card Transposition Francis Carlyle 179 "You Get It" Gerald Kosky 181 One Pack "Do As I Do" Jay Ose 182 Sleight of Mind Bill Simon 184
FOREWORD
When it was decided that Dai Vernon's "Inner Secrets of Card Magic" should be published in four parts, we had no doubt that one volume would follow another at regular intervals. This happened with the first three vol-umes and the fourth one was being written as planned. When the major portion had been prepared in script, it was sent to be typed. At this point fate stepped in; water used to put out a serious fire above the Unique Magic Studio reduced months of work to a handful of pulp. Although we still had all the original notes the prospect of starting again from the beginning was something we found ourselves evading. A two year period of ill health, during which we found it almost impossible to write, was an additional interruption. However, all this is now in the past and the book is completed. Although there have been set-backs it seems that everything has hap-pened for the best, because the interval between the publication of "Further Inner Secrets of Card Magic" and the present volume has coincided with Dai Vernon's appointment at The Magic Castle in Hollywood. Perhaps this has proved to be one of the most important periods of his magical career, as the conditions prevailing at this centre of magic are ideally suited to Dai Vernon's temperament. Here he is able to indulge his passion for the cre-ation of magical effects, and impart knowledge to a younger genercre-ation of magicians who frequent the Castle. Not only have we benefited by having the new Dai Vernon items for this book, but his example and teaching has inspired other magicians to experiment for themselves, and many of their creations are also included. Many magicians have contributed to make this book possible and all will be credited, but at this point we must mention two in particular who have done so much work with Dai Vernon in provid-ing material - Larry Jennprovid-ings and Bruce Cervon. Of them Dai Vernon writes, "In my entire magical experience I have never met two young chaps so clever with cards. For the comparatively brief time they have been engaged with the art it is really amazing how knowledgeable and capable they have be-come." These two magicians sent us tape recordings with very detailed descriptions of their effects, from which we were able to write the text. Steve Young, who in addition to his magical abilities is a first class photographer, provided seventy of the photographs; the majority of the others being those we took of Dai Vernon when he was in this country. We are also indebted to Dennis Patten for the excellent line drawings.
The driving force behind the project has been our good friend Faucett Ross, for it is he who has spurred us on in numerous letters. Not only has he
encouraged us but has provided much necessary information and persuaded his many friends to come to our aid. Everything we have asked for, and more, has been arranged by Faucett
Having almost completed the book we still had not decided upon a title, so we asked many of our friends for suggestions, and compiled a list. By a process of elimination we were left with two, either of which would have been appropriate - "Innermost Secrets of Card Magic" from Fred Lowe, and "Ultimate Secrets of Card Magic" from Conrad Bush. As "Ultimate" seemed to convey that this was the final volume of this four-part work we decided in its favour.
At Hubert Lambert's suggestion we have included a "Friends of Dai Vernon" section in the book. Dai has so many friends in all parts of the world that it would be obviously impossible to include contributions from them all in one volume. Accordingly our selection has had to be very lim-ited. Our aim has been to include first class effects which in one way or another have some association with Dai Vernon, but we are conscious that so many more, with equally suitable qualifications, have had to be omitted. Although Dai Vernon's work has been known by several magicians in this country for many years, it was not until Harry Stanley arranged tours for him here that the full impact of his genius was felt by the British magical fraternity. By bringing Dai Vernon to us and sponsoring the publication of his works, Harry Stanley has enabled magicians on this side of the Atlantic to benefit to an extent which is unprecedented.
When Dai Vernon was in Holland he spent many hours with J. van Rinkhuyzen (Rink) who in addition to his own contribution, has been kind enough to arrange items from Fred Kaps and Eddie Taytelbaum.
Hubert Lambert, in addition to supplying three Dai Vernon effects, sent us a copy of the Verner Coat of Arms and the historical background.
Faucett Ross arranged for most of the material from the American magi-cians, Francis Carlyle, Gerald Kosky, Jay Ose and Bill Simon.
From the British Isles material has been received from Jack Avis, Alex Elmsley, Francis Haxton, Fred Lowe, Roy Walton and Peter Warlock.
Ross Bertram of Canada, not only provided two of his excellent items but also sent photographs to make our task easier.
There have been many clever magicians in the past who have devoted a considerable portion of their life span to originating and developing magi-cal effects, in order to get to the top of their profession by original and mas-terly performance. Many have kept their secrets to themselves and their efforts have been made for their own benefit (and this is understood), yet the fact remains that in many instances the results of a life's work has died with them.
Present and future generations of magicians are indeed fortunate that there is such a person as Dai Vernon - a magical genius who has become a legend in his own lifetime. He must surely be responsible for the creation of more top-quality magic than any other magician of this or any other genera-tion. Not only has he devised so many new effects, but has so improved and simplified the handling of known sleights and moves, that trickery disap-pears and magic takes place under the guise of naturalness. All this could have been used solely for personal gain, but Dai Vernon has been willing to share his knowledge, not with all and sundry, but with fellow magicians who have proved themselves dedicated to the art of magic.
All who meet Dai Vernon come under the spell of his personality -friendleness, warmth, gentleness and sincerity, which sets one at ease. From here on one naturally refers to him as "The Professor" - a title not gained by examination, but freely bestowed by his friends and associates in affection, respect and appreciation.
This is Dai Vernon's book - all of us who have been associated with its production feel honoured to have taken part.
CHAPTER ONE STARTING RIGHT
As would be expected of any work which bears Dai Vernon's name, the card magic this book contains is top quality, but the efforts of all who have co-operated to produce it would be wasted if it stayed within these pages. For this reason we are devoting this chapter to suggestions for helping the
reader to turn the printed word into practical magic.
Magicians are the first to admit that so much of the wealth of good magic in books is not appreciated until, perhaps, just one person makes an effort to master a certain effect and shows it to others - then the clamour begins. "Wonderful! - where can I get it?" is the question asked, and all the time the chances are that the questioner possesses the very book from which it came. When the description of an effect is set down in print it is almost impos-sible to find words and phrases which will immediately convey a really clear picture to the reader. No matter how careful one is the fact that a visual thing has been converted into a mass of words, gives an erroneous impres-sion when first seen. Even a simple operation which is completed in a few seconds often takes several paragraphs to describe and when the print is looked at as a whole, the mind imagines complications. It is only when the description is carefully studied that the fog begins to clear and the simplic-ity is appreciated.
We know the difficulty many people experience in learning magic from books, and have tried to make the task as easy as possible by describing everything that it is necessary to know. Obviously, we have assumed that the reader knows how to handle a pack and is conversant with the elemen-tary shuffles, cuts, etc., but apart from this we have gone into necessary de-tail. There can be nothing more aggravating than being told to use "your favorite method" when you are unacquainted with even one, or being re-ferred to another book which you do not possess. These practices are per-missible and desirable in works catering solely for experts, and we certainly do not condemn them when used in this way, but in a book which we hope will be available to all magicians, we feel more is required. Our aim has been to get as near as possible to personal instruction and for this reason have used photographs and line drawings as visual aids. However, to en-sure that the text is complete and correct we gave the manuscript to Fred Lowe and purposely omitted the photographs. His task was to perform every effect from the description alone. This resulted in several alterations
being made to make the meaning more easily understood.
The purpose in recording the above is to assure the reader that every-thing that is needed to be known is in the text, and every effort has been made to present it in the clearest possible manner. Starting with this knowl-edge one can proceed with complete confidence.
An important incentive for learning is knowing that the result of one's efforts are going to be worthwhile. On this point we can state with convic-tion that all the material between the covers of this book is top class card magic - all is practical, entertaining and audience tested. Every item is ei-ther Dai Vernon's own, or has his approval - this is your guarantee that the time spent in becoming proficient, and performing the effects, will be more than amply rewarded.
When one knows that the material is that which is being performed by the world's most competent magicians, a natural reaction is to wonder if its performance is within the bounds of one's own capabilities. It would not be fair, or in the readers best interests, to minimize the effort required, but we have no hesitation in stating that providing one is prepared to practise, ev-erything can be performed by anyone of normal intelligence and ability. Some sleights and routines are easier to perform than others, but with few excep-tions, there is nothing which can be classed as really difficult. Even with the few that are difficult it is simply a question of degree of practice - if one is prepared to expend effort, then the result will certainly be success - make no mistake about that. The only reason why one normal person can do some-thing and another cannot, is because of the degree of effort put into it - in other words, practice is the real secret and again we can help here by differ-entiating between productive and non-productive practice.
Often a lesson has more impact if one is told what not to do, particularly if the results of wrongful procedure can be seen or illustrated. For this rea-son let us take an example of what sometimes happens when a perrea-son de-cides to learn and practise a magical effect, then the temptations, distrac-tions and difficulties can be guarded against.
Imagine a new book has just been purchased, and is found to include an effect that just must be performed - but first it must be learnt and practised. When the time comes the appropriate page is turned to and reading com-mences - say it is a card trick, then obviously a pack of cards is needed and this is where the trouble starts! A drawer is opened to get the cards and right on top is a length of rope, which reminds us of that trick George showed
down at the club the other evening - he said he got it from "Greater Magic." The bookcase is opened and "Greater Magic" removed. As the pages are turned to find the necessary instructions, the eye catches sight of the illus-tration of that Billiard Ball move we have been meaning to try out for some time. Back in the drawer three balls are located, but the shell is missing and although a search is made it does not seem to be there - but there are those two coloured silks which are just right for that trick we saw on Television the other evening. Now thinking of Television - it's about time for that programme we must see need we continue? Exaggerated? a little per-haps, but one can spend a whole evening without accomplishing anything worthwhile. Magic is fascinating and often enthusiasm becomes an enemy when it is allowed to take control.
The answer is self discipline, and the removal of temptations and dis-tractions which cause time wasting. If possible go into a room in which you will be entirely alone, take with you just the articles needed; say the instruc-tions and a pack of cards, sit at a table with no other objects on it. Make up your mind that one (and only one) trick is going to be understood and prac-tised, and discipline yourself to concentrate. Many professional magicians adopt this procedure, as they realise that it is essential to devote one's whole attention if the best results are to be obtained. Dr. Elliott used to book two rooms at hotels when he was on tour; one room was devoted entirely to practising his magic and a stipulation was that in the room there would be a table and chair, but as little other furniture as possible. In this way he could leave all the possessions he needed for everyday life in one room, and retire to the other room where there would be no distractions. Another rule he made for himself was that each trick he worked would be practised stand-ing at the table as well as sittstand-ing down.
In "The Dai Vernon Book of Magic" we quoted Dai Vernon's own words on the subject of practise:
-"Why does practise frighten so many people? Practise can and should be thoroughly enjoyable because it brings the pleasure and satisfaction of achievement. Achievement is a universally gratifying thing and by practis-ing, one ends up with something of value to one's self and others. If skill and cleverness could be acquired for the asking, there would be little to profit anyone. Will my readers conduct an experiment? Sometime when alone, start trying to improve some move or sleight that has already been learnt. Experiment with it, strive to incorporate your own ideas - keep try-ing - it is surpristry-ing how the time will fly by, but when headway has been made a most satisfactory feeling of delight will be experienced. Even a
mi-nor achievement is most gratifying and as the result has been brought about by practise, it makes practise enjoyable. If people cannot derive pleasure and satisfaction from practise and are not prepared to expend the time and thought and energy required because they find it irksome, then magic is not for them - they should turn to a different hobby."
When practising routines, do not try to progress too fast, take one stage at a time and understand it thoroughly before proceeding. Have the cards in your hands and go through the moves as described. Trying to cover a great deal of ground too quickly causes the brain to become confused and will retard progress. When a description is first read there appears to be a mass of complicated instructions to follow, and a lengthy sequence of moves to commit to memory. By understanding each part of a routine, the overall plan becomes clear and the pieces of jigsaw fall into place. The order and purpose of the moves becomes easier to remember because one move fol-lows another in a logical sequence.
Study the photographs and text together, as in certain instances the hands have had to be moved into slightly incorrect positions for the camera to capture the detail that has to be shown. Actual trial with the cards will put this right.
.
The sort of pack to select is one with white borders running around the edge of the back design, cards with the design running right to the edges are not the most suitable for this type of magic. When two or more cards have to be lifted or moved as one the white borders help to mask any slight ir-regularity if they are not in perfect alignment.
The stock upon which the cards are printed should be pliable but springy, so that they will resume their original shape after being curved during ma-nipulation. Good quality cards run singly, easily, and smoothly when spread between the hands. Some of the cheaper brands are thick and bunch to-gether when spread or fanned, and difficulty will be experienced in lifting a single card cleanly.
Do not handicap yourself with poor cards; pay the extra for quality and do not attempt to economise by keeping the cards too long. After being used for some time even the best cards lose the qualities we have stipulated. At the start make certain that you get all the help possible from the cards themselves. When the necessary ability has been acquired and confidence gained in handling, you will be able to manage with cards that are not ideal
in all respects, for by then the disadvantages which might be found with some borrowed packs can be overcome.
Do not practise for long periods without taking a break, the hands soon become cramped when performing movements to which they are not accus-tomed.
Some hands perspire freely and a rest can cure this and prevent the cards becoming soiled.
It is a good rule to always practise with full size cards, then one is never at a disadvantage if such a pack is offered when borrowing is desirable or necessary. Changing from full size to Bridge size cards presents no prob-lems, in fact it makes things easier, but if one is only used to the smaller cards then difficulties can be experienced if only a full sized pack is avail-able.
Dai Vernon and the other magicians whose routines are in this book, have devoted a considerable amount of time, thought and experimentation before achieving the final results. With this in mind one can be sure that there are very good reasons why each and every move is made. Therefore it is wise to try out the routines as written. However, it is well to remember that it is the entertainment that can be given that matters, the sleights are necessary incidentals. If difficulty is experienced with any sleight, or you have a favourite which brings about the desired result, then there is nothing against altering things around to suit yourself. There is no doubt that even-tually you will feel the need to put something of your own into everything you do - this is to be encouraged, as in addition to the satisfaction obtained from originality, something which is styled in one's own way will look more natural.
Again we will quote Dai Vernon's own words: "Be natural - what I mean by this is 'be yourself - watch a good performer and note that he is perfectly at ease because he is doing the things that are natural to him; he's not trying to be Cardini, Slydini or any other of the 'greats'; he may have learnt much from watching and reading about other performers, but he has adapted the tricks so that they fit him like a glove; he is master of the tricks which have been tailored to suit him - he does not try to make himself fit tricks that have been evolved by someone else. Every action he makes is a natural action, natural to him; if he picks up an object which he is going to vanish, then he does not pick it up in a way that only takes into account the position he needs to hold it to perform a sleight; he has altered the sleight so that when
he picks up the object in a way which is natural to him, it is already in posi-tion to be vanished.
"A lot of people might find difficulty in understanding exactly what I mean by being natural. It's very important that movements made when a secret sleight is made are natural movements, but being natural also means being yourself. If you work in a conversational style, you work as you feel; you do not try to ape somebody else, unless you are playing a part. This naturalness must not only be used in a narrow sense, but in a general sense, it must be used in everything....not only in sleights but in everything you do."
As we wrote in the beginning, this chapter has been included to help the reader to derive the maximum pleasure and benefit from the magic con-tained in the book. Experienced card enthusiasts already have the knowl-edge, so for them the chapter could have been omitted. Perhaps the greatest lesson to be learnt is to enjoy learning. When pleasure and satisfaction is felt the first time one achieves something worthwhile through practise, then the first battle has been won. From then on practise will be as pleasureable as every other aspect of magic, and it is practise which will get the tricks out of this book and into your performances.
SECTION ONE CARD EFFECTS
CHAPTER TWO MATCHED SPELLOUT
Roger Klause, a very proficient card man, has been performing this Dai Vernon spelling effect for some time. In a letter to Faucett Ross he wrote, "I consider it to be one of the most commercial Vernon items I have ever en-countered/' Additionally he disclosed the ending which he uses and which he considers provides a stronger climax, so we will describe this later.
Effect:
A card is freely selected, noted by the spectator, then returned to the pack which is shuffled. The performer offers to find the selected card but apparently has some difficulty. However, he says that he will spell it out and proceeds to do so from the top of the pack. For example, say the se-lected card is the Ace of Hearts, he spells T - H - E, taking a card for each letter to form a face-down packet of three cards on the table. Next he spells the value (A - C - E) into another packet. The third packet is O - F, and the final packet H - E - A - R - T - S. Starting with the first packet dealt all are turned face up - each has a card of the same value (in our example an Ace) on the bottom, the last packet turned revealing the previously selected Ace of Hearts.
Performance:
The selection of the card is quite free, but when it is returned to the pack it is brought to the bottom during the shuffle.
The performer now states that he will produce the card, and begins to fan the cards with their backs towards the spectators! that is, he is looking at the faces and takes care that the face card (the one selected) is not flashed. He remembers the selected card.
Now let us see how the set-up is made so that the spelling will give the desired result. In our example we have assumed that the Ace of Hearts was selected, and is now on the face of the pack. Take the cards in hand and have the Ace of Hearts on the face - it could be any card as the selection is free, but by having an example and actually going over the moves while reading these instructions, everything will be clear.
As you begin to fan the cards from the left hand into the right, take the bottom card (Ace of Hearts - remember it) and one extra card behind it into
the right hand. Now push cards singly from the left hand onto the face of the selected card until a second Ace appears on the face of left hand packet.
If you look at Photograph 1 it will be seen
that at the right bottom corner, the index of the Ace of Hearts can be seen with another card behind it - cards are being pushed off with the left thumb onto the selected card until the second Ace (Spades) appears.
Split the cards at the second Ace and put the packet in the right hand onto the face of the left hand packet, but hold a break be-tween them and leave the cards spread. To stall a little, say that you are having trouble in finding the selected card. Now begin to fan again from the break, pushing over enough cards to spell the value of the selected card (A - C - E) - these cards go onto the back of the right hand packet - Photograph 2. Now thumb cards over from the left hand packet onto the face of the right hand packet until the third matching card (Ace) appears on the face of the left hand packet. Place the right hand packet on the face of the left hand packet, holding a break between them (leav-ing the cards spread) as you make another remark (you are still having difficulty!) to stall a little.
Fan again from the break, pushing the matching card, plus two extra cards, onto the back of those originally above the break. Now push cards from the left hand packet onto the face of the right hand packet, until the last matching card (Ace) appears on the face of the left hand packet. Get a break under it with the left little finger, then place all the cards from the right hand on top of it. Cut the pack at the pack and complete the cut.
The set-up is now on top of the pack. As you will appreciate the above is a "cull," and is very fine when done correctly. In our example the selected card was THE ACE OF HEARTS and the set-up will be from the top down AXX, AXX, AX, A. How this works will be apparent as we proceed.
The above reads complicated, but when the reason for the moves is un-derstood it will be quite clear. A trial with the pack in your own hands will
prove that it is simple to remember and easy to do. It can be done quite quickly and the spectators will have no inkling that a set-up is being made. Proceed as follows: Remark that you, "don't seem to be able to find the selected card, so we'll try something else." Ask for the name of the card and when it is given, hold the pack face down in the left hand and spell from the top, taking a card for each letter and dealing them onto the table. First spell T - H - E, that is the top card goes down first, then the next two cards, the three cards being in a pile. Next (in our example) A - C - E in a second pile. The third pile is just two cards only, O F and the last pile H E A R T -S. Turn the packets over singly, starting with the first one dealt, and on the face of each is an Ace, the last packet showing the selected card.
Roger Klause, who has been performing this with great success, finds that he gets more dramatic effect if he turns over the pile to reveal the se-lected card first. After a pause for it to register, he says, "I knew it couldn't have been any of the others because they're here!" and quickly turns over the other three piles to show they all match.
Sometimes Dai Vernon takes things a stage further. During the cull he makes an adjustment, so that when the four piles are dealt out, the first three turned up show matching cards, but he apparently misses on the fourth pile as an indifferent card turns up. However, he puts things right by using the value of the last card to locate the selected card.
Dai sometimes uses the above variation when he knows someone present has seen the first version. The effect is now that much stronger because they think he has missed!
Note:
During the many times we went over the culling moves, on the odd oc-casion we encountered two matching cards falling together at the face of the left hand packet. This was simple to overcome as it means that the second matching card is pulled over onto the face of the right packet and retained there momentarily, while the required number of cards are positioned be-hind the first matching card, then the second one is pulled back onto the face of the left hand packet with the left thumb.
CHAPTER THREE
THE PERFECT CIRCLE OF CARDS
In his search for unusual effects, on one occasion Dai Vernon asked Nate Leipzig if he could recall having seen anything with cards which had never been done before. Leipzig said that he had seen a magician in South Africa make a perfect circle with a pack of cards, but it had been done quickly and he had no chance of seeing the method used. As it had impressed Leipzig Dai knew that the effect was more than just completing the circle by carry-ing the cards round as an extension of a thumb fan, so he set about deviscarry-ing a method which would look quite different from anything that had been seen previously.
After much thought and experimentation he produced the effect described below. He makes the circle very quickly, with the pack and hands under the table, then brings it out for display. A feature of the circle is that the hand holding it can be turned back up, the effect then being similar to the "Mag-netic Cards", because the cards cling to the hand.
Plenty of practice is needed to perform this effect, but the time spent in mastering it will be well worth while. The aim should be to make a circle quickly, but it must be pointed out that the handling is not one of those beautifully smooth sequence of moves. However, when completed every-one likes it, and if the circle is made out of sight, then the handling is not seen.
A pack which fans well is the type to use, and certainly while practicing the cards should be treated with fanning powder, which is a considerable help when adjusting the cards.
The Joker should be removed and placed where it can be picked up eas-ily.
Proceed as follows:
Photograph 1: Hold the pack from above and face up in the right hand, the thumb at the inner end and the fingers at the outer end. With the left hand held palm upwards, place the pack across the left forefinger with the side of the pack well into the fork of the left thumb. Now make a pressure fan in a clockwise direction around the second finger, which is curled inwards to allow this to be done. The fan should be made as wide as possible.
The photograph (performer's view) shows how far the fan should be taken round. Notice how it is held in position at this stage by the left thumb. This position should be arrived at as quickly as possible.
Photograph 2: Steady the fan with the right hand as the left thumb is moved to the back of the cards. Now work the cards around with the right fingers and thumb. Notice how the cards on the right begin to lock under the cards on the left. This adjustment of the cards as the fan is taken round is not a very smooth series of actions, although with practice it can be done quite quickly. However, any lack of neat handling is fully compensated for as on
completion of the circle the spectator's appreciation is considerable.
Photograph 3: The adjustment of the cards continues from both sides of the fan until the gap is closed and the cards well interlocked. Pressure of the thumb and fingers behind the circle hold the cards in position, and the hand can be turned over completely without the cards falling.
Photograph 4: For display purposes, the Joker can be picked up and placed in the centre of the circle to cover the protruding second finger. This is
op-tional as the reader may prefer to have the finger showing; it is certainly a peculiar sight and rather humorous.
As a matter of interest the photographs were taken by Steve Young, of Bruce Cervon making the circle under the direction of Dai Vernon. The cards used were "Steamboats", over forty years old.
CHAPTER FOUR
"SECRETS"
This excellent effect has been so called because Dai Vernon included the original version in a book of the same name, published for general circula-tion in 1923. It was not until ten years later that he had published his first work for the magical fraternity - the now famous "Ten Super Card Prob-lems."
Bruce Cervon tells us that he has watched Dai perform the effect for lay-men on several occasions at the Magic Castle in Hollywood, and although it is a simple item it never fails to register extremely well. It became the favourite effect of Alfred Benzon, the man who had his hands insured for 250,000 dollars.
The effect is that a card is selected in the fairest possible manner, and noted then returned to the pack, which the spectator himself then holds. He is now asked to think of a number. The performer reads his mind and proves this by telling the spectator to look at the top card of the pack, which is found to have the same number of spots as the number thought of. Accord-ing to the number of spots, so the spectator counts down to that number and finds his own card.
Requirements:
A very simple set-up is necessary in that a Seven spot is placed on top of the pack, a Six spot second from top, and Eight spot on the bottom and a Nine second from bottom. This is quickly done as suits do not matter and it is simply a matter of positioning only four cards.
Performance:
Fan the cards and get a break under the seventh card, the excuse for fanning being that you say, "I could ask you to select a card like this, but let's try a fairer method/'
Square the cards, retaining the break with the left little finger and riffle the front of the pack. Tell the spectator to insert his finger into the pack as you riffle and remove any card. After the card has been noted, cut the pack at the break, have the card replaced and drop the cut off portion on top. This brings the selected card to the eighth position from the top.
Hand the pack to the spectator and ask him to think of a number be-tween 5 and 10. Tell him that although the choice of numbers is small, he must decide on a number carefully and remember all the time that he him-self is holding the pack.
Your next actions are controlled by the number he states when you ask him to tell you his thoughts Proceed as follows:
-A. If he says "Seven" (which is the choice of the majority of people), reach over to the pack he holds, remove the top card and show it to be a Seven. Retain the Seven and tell him to count down to the seventh card - which proves to be the one selected.
B. If the number is "Eight" tell the spectator to look at the bottom card of the pack, then count down from the top of the pack according to the number of spots on the bottom card.
C. Should he say "Nine", take the pack from him, glide the bottom card and remove the one second from bottom, showing it to be a Nine. Place it on top of the pack, hand the pack back to the spectator and let him count down to the ninth card from the top.
Dai Vernon also has a method of not actually taking the pack from the spectator. He reaches under the pack as it is being held, buckles the bottom card with his forefinger so that his second finger hits the second card from the bottom, which he removes.
• •
D. When "Six" is named, take the pack and double lift the two top cards as one, showing the Six spot. Now bury both cards as one in the centre of the pack and hand it back to the spectator to count down to the sixth card - the one selected.
Although the method is simple, the effect is very strong, because you show proof that you actually read their thoughts to know the number they would name. By showing a card with the same number of spots on as their own number, then having the selected card at the same number from the top, seems nothing short of a miracle. These points must be sold, and the fact that the spectator himself holds the pack so that you have no control over it, should be emphasized.
Few card tricks can have such a strong impact as this one - the method is so simple that all your efforts can be concentrated on presentation. Sell it for all you are worth!
CHAPTER FIVE "DO AS I DO"
This "Do as I Do" effect of Dai Vernon's, although somewhat similar to usual routines of that name/ has a much stronger climax. Certainly a little
more preparation is necessary with this method, in that one of the packs is set-up, but in addition to the better ending, it will defeat the knowing ones. For those who want a really stunning card effect, this one will be difficult to beat.
Effect:
The performer has one pack and a spectator another. Both shuffle and cut their packs which are then exchanged. The performer removes one card from his pack and places it in his pocket. Now the spectator cuts his pack at any point he wishes, completes the cut and looks at the bottom card. Ac-cording to the number of spots on that card, so the spectator counts that number of cards from the top of the pack, and places the card arrived at on the table. Without hesitation the performer removes the card placed in his pocket previously - they are the same.
Requirements:
Two packs are needed, say one with red backs and the other with blue backs. One pack (say blue) is set-up in the order King to Ace, King to Ace and so on from the top down, but with the suits mixed; that is each King to Ace set-up is of mixed suits, so that a casual glance through the pack will not reveal a set-up because different suits are together in each run. Photo-graph 1 shows the pack spread out after a cut. See how unprepared it looks, even though it runs in numerical order.
From the second pack (red) remove the King of Hearts, King of Spades, and King of Clubs. Place these in your right jacket pocket, with the King of Clubs on its side as the inner card. The King of Hearts is directly at the back of it, also on its side. The third King (Spades) is upright at the back of the other two Kings. Eventually (but not at this stage) the King of Diamonds will be with the other Kings in the pocket and it will go upright behind the King of Spades, so that if one could see inside the pocket, the set up would appear as in Photograph 2.
Performance:
To start the effect you, the performer, have the set-up pack and the spectator has the one with the three Kings missing. Obviously a "magician's choice" can be given here, the es-sential factor being that you end up with the set-up pack.
Tell the spectator to "do as you do" and shuffle his pack. You false shuffle yours to re-tain the order. Once more he follows you, both packs being cut and the cut completed.
At this point you exchange packs with him. Without telling him to do likewise on this occasion, you look through the non set-up pack, remove the King of Diamonds and without showing its face, place it upright in the pocket behind the King of Spades. The four Kings are now in your pocket in the CHaSeD order, with the Clubs and Hearts on their sides. This is the position in Photograph 2. This arrangement of the four cards makes it extremely easy to remove the correct King later; quickly and without fumbling. When removing the card from the pack make it appear that you are concentrating hard on what you are doing.
Tell the spectator to cut the pack he holds very carefully at any point he wishes, complete the cut, look at the bottom card and note the number of spots on it. Watch his actions, because it is just possible that he will cut a King to the bottom. If this happens do not call attention to it, just have him cut once more as if this was intended all the time.
Now have the spectator count down from the top of the pack according to the number of spots on the card - if a Jack is the bottom card then he counts eleven; twelve if it is a Queen. The card which falls at that number is
put aside, face down. It will be one of the four Kings.
Have the spectator turn over the card and immediately you see its face, reach quickly into your pocket and remove the matching King. Because of the arrangement of the four Kings in the pocket, the selection and removal can be made instantaneously.
Show that the two cards match. Notes:
An alternative is to have one pack set-up in the CHaSeD order as far as suits are concerned, but still in numerical order. In this way, when you see which card the spectator cuts to the bottom of his pack, you will be "tipped off" as to which King will be placed aside.
Now you can remove the matching King from your pocket before the spectator turns his King face up!
This certainly produces a stronger climax, as the effect is that you show the King previously placed in the pocket before the spectator reveals his card. However, both methods are good. In the first one the faces of the set-up can be shown momentarily, as it is extremely unlikely that anyone will notice the numerical order because of the mixed suits, but this should not be allowed in the alternative version as the set-up could be noticed.
Another alternative is to have four cards all the same, in place of the Kings in the set-up pack. In this method it is not necessary to have any cards in the pocket - all you do is to remove one single card (the matching one to the four in the set-up pack) from your pack, and without showing the face place it face down on the table. Now, when the spectator counts to his card, he must get one of the four "all the same" cards, which he is told not to look at but to place it face down alongside yours. The climax comes when you both turn over the cards together and they match.
We feel that this last plan is not the one to subscribe to unless you use it as perhaps the only card trick in a programme of tricks with other objects, or as a repeat item for spectators who have seen the effect before, when one of the other methods was used.
CHAPTER SIX
BLACK AND RED PUZZLE
Although Dai Vernon developed this routine in 1939, time has not di-minished its worth and it is just as suitable for present day performance as it was all those years ago. Actually it is similar to the "Oil and Water" effect and makes an interesting interlude in any card act.
Effect:
Eight cards are shown, four black and four red. These are arranged red, black, red, black and so on. By moving only one card, either the top card to the bottom or the bottom card to the top, the arrangement of the other cards is changed.
Performance:
Show four red and four black cards and alternate them so that they run from the top down, red, black, etc. This is done openly.
Holding the packet face down deal the cards one at a time in an overlap-ping face-up row on the table, calling attention to the fact that the colours are alternated. Tell the spectators that by merely moving a card from the bottom to the top, the entire order of the cards is changed.
Scoop up the cards, then holding the squared packet face down in the left hand, apparently remove the bottom card. Actually it is the card second from the bottom which is taken by slightly buckling the bottom card with the left second finger, then inserting the right second finger into the space made by the buckling and pulling out the card second from the bottom.
Photograph 1 shows an exposed view of this action. As previously stated this card is placed on top of the packet.
The cards are now dealt face up on the table as before but on the fourth card a 'Second' is dealt.
This puts the cards in the red, red, black, black order. The Second Deal described in "Further Inner Secrets" and called "The New Theory Second Deal", is ideal for this effect.
Photograph 2 is a 'Stop Action' view from the performer's angle of the 'Second' being dealt.
Now the spectators are told that it is pos-sible to restore the original order of cards by exactly the same procedure as before.
Scoop up the cards and holding the packet face down remove the card which is on the bottom and place it on top of the packet. Deal the cards once more into an overlapping face up row, dealing a 'Second' on the third and seventh cards, when the cards will be seen to be alternated. Dealing a 'Sec-ond' on the seventh card is extremely easy as there are only two cards in the hand - merely deal the bottom card instead of the top one.
Say, "To place the cards in an entirely different arrangement, we just do the same thing again." Scoop up the cards and hold the packet face down.
Seemingly move the bottom card to the top, but actually make the buckle and take the second card from the bottom to the top.
Again deal the cards'face up, this time dealing a 'Second' on the third and sixth cards. As the cards are dealt say, "Three black and three red." After dealing the sixth card, remove the seventh card with the right hand and begin to turn it up but do not put it down. Turn it face down and place it under the card in the left hand. Leave these two cards in the left hand and pick up the three blacks and three reds from the table, placing them on top of the cards in the left hand.
Remove the bottom card openly and place it on top.
Now deal the cards slowly and deliberately face up on the table, show-ing four blacks and four reds. The deal is absolutely normal and quite as-tonishing.
The interlude can be concluded at this point, or it can be taken a stage further by making the cards alternate again in the following manner.
Place the cards together again in a face down packet in the left hand. Remove the two top cards as one by the double lift and place them sec-ond from bottom. This is done by using the same buckle move as employed earlier, the two cards as one being inserted into the space caused by buck-ling the bottom card.
The cards are now shown alternated by dealing a 'Second1 on the second
and fifth cards.
Although this effect will appeal immediately to the performer who is proficient at dealing 'Seconds', others should not be deterred, because it is not essential for the Second Dealing technique to be perfect. The spectators are more concerned with the faces of the cards as they are put down, rather than what is happening in the left hand.
This is an ideal interlude to preceed an "Oil and Water" effect, or it can be used as an explanation as to how that effect is brought about. Perhaps it is best used for the latter, then if one or more of your Second Deals are not all that they should be and are detected, the spectators will still be mystified and quite in the dark. They will accept a detected Second Deal as part of the supposed explanation!
CHAPTER SEVEN MENTAL SPELL
In this effect the performer openly fans a group of ten cards before a spectator. One of these cards is mentally selected. The spectator is given the packet, which has been cut and mixed by the performer and is told to men-tally spell the name of his card. This is done by removing from the top of the packet and placing on the bottom, one card for each letter in the name of the mentally selected card. At the conclusion of this mental spell, the performer reveals the spectator's card in a startling manner.
Preparation:
Remove the following ten cards and place them face up on the table, one on top of the other, in this order: - Six of Clubs, Ten of Hearts, Four of Spades, Ten of Diamonds, Four of Diamonds, Seven of Diamonds, Queen of Hearts, King of Diamonds, Queen of Diamonds and Ten of Clubs. This preparation is done beforehand. Place these ten cards on top of the pack and you are ready to perform. The top card of the pack will be the Six of Clubs and the tenth card from the top the Ten of Clubs.
Method:
Please run through the method several times so that you may grasp a complete understanding of the workings of this trick. There are many dif-ferent combinations the indulgent performer may wish to work out, but for practical purposes the method given here is exceedingly simple and direct. To perform, remove the pack and if you wish, false cut it a few times. "Many times," you say, "a card is removed from a pack and replaced. The magician then attempts to find it. Now, if a card is merely mentally selected...not touched but merely thought of...then we have impossible con-dition/' Remove the top ten cards from the pack. Say to a spectator, "Sir, will you please mentally select any one of these cards. Just think of one and give me no indication as to which card you are thinking of." When the spectator has mentally selected a card, place the ten cards face down in your hands and give them a few false cuts as you continue to patter. "I am going to hand you this packet. I want you to think of your card and mentally spell it's name to yourself. Then I want you to remove a card from the top of the packet, place it on the bottom and continue to do this, removing one card for each letter in the name of your mentally chosen card. For example, let us
say your thought of card was the Two of Clubs. You then spell as follows -T-W-O-O-F-C-L-U-B-S-." As you speak, you actually run through this dem-onstration. At the conclusion of your spelling the Two of Clubs the packet will again be in its original order!
Say, "I want you to remove a card for each letter in the complete name of your card, but spell the card mentally."
Hand the packet to the spectator and watch him spell the name of his card. He places one card from the top to the bottom for each letter. Count the number of cards he removes as he spells. It is through the total of the cards he removes that you have enough information to effectively conclude the effect.
A. If the spectator moves ten cards as he mentally spells the name of his card, you know that his card is the Six of Clubs or the Ten of Clubs. Ask the spectator the name of his card. If he says it is the Six of Clubs, tell him to turn over the top card of the packet and this will be the Six. If he says it is the Ten of Clubs, tell him to look at the bottom card. Either of these denoue-ments are effective.
B. If the spectator moves eleven or twelve cards as he mentally spells, then do not ask him any questions. Simply tell him to think of his card, then have him turn over the top card of the packet. To his surprise, his mentally cho-sen card will be staring at him.
C. If the spectator moves' thirteen, fourteen or fifteen cards as he mentally spells, you immediately say, "You were thinking of a picture card, weren't you?" If he says ''No/' then you say, "Well concentrate on your card and hold the packet tightly." Make a magical wave over the packet and have him turn over the top card of the packet. It will be the card he has mentally selected.
Note that the above groups: A, B, C take care of seven cards. The remain-ing three cards will be handled in the followremain-ing manner. Also note that the following only concerns the picture cards.
D. If the spectator moves thirteen, fourteen, or fifteen cards as he mentally spells, and after you ask him: "You were thinking of a picture card, weren't you?" he says "Yes," then the following handling is applied to each case. 1. If thirteen (and a picture card). Say, "Look at the bottom card and
remem-ber the numerical value. Remove that numremem-ber from the top of the pack and look at the card in that position/' They will note the bottom card and see that it is a Four spot. They will then remove four cards from the top of the pack. The fourth card will be the mentally selected card.
2. If fourteen (and a picture card). Say, "Look at the top card and replace it on the top. How many spots did it have?" Spectator will say: "Four." "Re-move the fourth card from the top/' you say. It will be the mentally selected card.
3. If fifteen (and a picture). Say, "Look at the bottom card and remember its numerical value. Remove that many cards from the top." They will note that the bottom card is aFour spot. The mentally selected card will now be exactly fourth from the top. This is the same procedure as in 1.
Although the description is lengthy, the trick is really quite simple to perform and easy to master. After rehearsing the effect just a few times, we are sure you will be able to perform it with confidence and conviction.
CHAPTER EIGHT TEN GIVES THREE
Bruce Cervon devised this clever effect which he performs regularly at the Magic Castle. We have given it the above title because in the notes he sent us, he referred to it as "the ten card effect with three climaxes." Even though there are three climaxes the effect is in no way confusing, in fact it is very clear-cut and clean. The photographs (taken by Steve Young) are of Bruce's hands performing the moves.
Effect:
Showing ten cards, all Clubs, the performer openly arranges them in numerical order from Ace to Ten. While the performer turns his head, the spectator removes any card, notes it and returns it to the packet which has previously been cut. The spectator now takes the packet and moves as many cards from the top to the bottom as there were spots on his card. While this is done the performer turns his head so that he cannot know how many cards are moved.
When the packet is turned face up and spread, it is found that the cards are again running from Ace to Ten, and the selected card is at the correct number, but is now face down. On turning the card face up, it is found to be the Joker and the spectator immediately removes the selected card from his pocket.
Note:
On first reading this may appear a complicated effect - actually it is very straightforward. Do the same as we did and try it out with the cards in hand and you will be convinced. It is a first class trick - otherwise it would not have the approval of Dai Vernon.
Performance:
Remove the Ace to Ten of Clubs from the pack, but along with them secretely take the Joker. Set-up the cards in the Ace to Ten order from the face, with the Joker in front of the Ace - be careful not to expose the Joker. Holding the eleven cards face down in the left hand do a bottom reverse, reversing the Joker.
All of the above is done in an off hand manner, no attention being di-rected to your actions until now. In fact, Bruce Cervon often sets up the cards before he starts, so saving time in his actual performance.
Holding the packet face down in your left hand, tell the spectators that you have set up ten cards in the Ace to Ten order. With the right hand pick up the Ten of Clubs from the top and show its face. Now take off the Nine of Clubs onto the face of the Ten and show it - continue in this fashion, taking cards until the Two of Clubs is in the right hand, Photograph 1 shows how the cards are taken and shown. Look down at the back of the card in the left hand and say, "From Ace to Ten" and place all the cards from the right hand on top of those (remember, the Joker is face up under the Ace) in the left hand.
>
Fan out the cards, being careful not to expose the face up Joker on the bottom, and ask a spectator to select any card. Turn your head away as this is done, saying that you do not want to know which card is selected. Split the fan at the point from which the card has been taken and put the upper fan under the lower one, but keeping the face up Joker on the bottom. This is done by buckling the Joker so that the right hand cards go between the left hand cards and the Joker. Photograph 2, which is an exposed view from the performer's angle, shows this action. Additionally, the lower packet is jogged back so that you can lift the upper packet easily. As you do the above tell the spectator to show his card to the others.
Now lift up the upper packet and have the selected card returned at this point; square the packet.
Hand the packet to the spectator, taking care not to flash the bottom card. Tell him to, "Move as many cards singly from the top to the bottom" as his card has spots. As he does this turn your head away, saying that you do not
wish to know how many spots there are on his card.
After the spectator has completed this task, take back the packet and hold it face down in the left hand in readiness to cop the bottom card. This card (the selected one) is going to be taken secretly in the left hand, but we use the word 'cop' in preference to 'palm' because the card is not palmed, as a look at Photograph 3 will show. The holding position will be that the outer end is loosely held, the left outer corner near the base of the first finger and the right corner near the tip of the second finger.
The excuse for taking the packet into the left hand is for the right hand to move the rest of the pack, the card case, or any other object, out of the way. After this is done, take the packet from the left hand into the right, leaving the bottom card in the left hand as explained - Photograph 3. As the right hand moves to the centre of the table, turn the packet face up by releasing the grip with the thumb, and clipping the front edge of the packet between the first and second fingers. Photograph 3 shows the holding position on the packet of cards just prior to it being turned face up.
As the packet is placed face up on the table, move the left hand back so that it is masked by the body, which leans forward. With the right forefinger spread the cards in a row to the right, where they will come out in numerical order, but the card at the spectator's number will be face down - Photograph 4. This is the first surprising climax and it seems to have been accomplished by some mathematical method.
Tell the spectator to turn over the face down card and as he does so and his attention is on this action, reach into your pocket with the left hand and load the selected card. As the spectator sees that the face of the card is the Joker (second surprise) remove the selected card from the pocket as the spec-tator looks up at you.
The "punch line" can be, "I guess the Joker's on me!" pointing to the Joker and tossing the selected card face up on the table for the final climax.
CHAPTER NINE
THE MAGIC OF LARRY JENNINGS
In one of the tape recordings Larry Jennings sent us he says, "The ideas behind top class magic, particularly card magic, are beautiful ideas. When you examine someone's tricks its like taking a walk around inside their mind to see how they overcome difficulties. Its like an insight into their personali-ties. That's why I like Dai Vernon's magic - it has a quality about it. One cannot put a finger on it - its simply that every trick that the Professor touches comes out of a better grade than other things one sees around. Most of the tricks I do are coloured by the Professor's work. This is natural because I like to consider myself a student of the Professor, and consequently it is very difficult to separate what is mine from what is his, as I use suggestions of his all the time/'
For some time Larry Jennings has been closely associated with Dai Vernon, which has resulted in a very firm friendship. Both magicians perform regu-larly at Hollywood's Magic Castle and the several effects recorded on tape and described here are those which are being performed at this centre of magic.
The first trick is based on an effect by Hof zinser but moves by Dai Vernon, Roy Walton and Larry Jennings himself have been employed to bring it about. TELL-TALE ACES.
Effect:
The four Aces are removed from the pack and placed in a face down packet on the table. A card is selected from the rest of the pack, noted by the spectator, returned to the pack, which is then shuffled. Taking the Joker from the pack, the performer hands the Joker to the spectator and tells him to wave it over the Aces as he thinks of the suit of the card he selected. When the Aces are shown one of the Aces has turned face down, and when turned face up is found to be the Ace of the same suit as the selected card. After the Ace packet is turned face down again, the Joker is placed face up in the pack and the latter is waved over the Aces - the Joker changes to the Ace which was shown to have reversed itself in the packet, whilst the reversed card in the packet is now found to be the selected card.
straightfor-ward and very strong. Dai Vernon has personally selected tricks from Larry Jennings' repertoire for inclusion in this book, and his choice has been influ-enced by the fact that he has been able to assess the reaction of the audiences at the Magic Castle. He considers the effects to be first class magical enter-tainment, and sufficiently different from the usual run of card tricks to be quite new to audiences.
Method:
1. Have the spectator shuffle the pack, take it from him and turn it face up. Run through the cards with the faces towards yourself, and when the Joker is seen cut the pack to bring the Joker second from the face of the pack. Continue running through the cards and as each Ace is reached, up-jog it for about half its length out of the pack. When all four Aces have been upjogged, strip them from the pack and place them in a face-down packet on the table in the order Clubs, Diamonds, Spades, Hearts, from the face of the packet. This is the order Larry Jennings uses, but any remembered order will do and the reader may prefer the more familiar CHaSeD formula.
2. Turn the pack face down and have a card freely selected by spreading the cards between the hands in the usual way. Tell the spectator to remem-ber his card, and place it back in the pack somewhere near the centre as you shuffle the cards. Begin shuffling the cards and when the spectator replaces his card, drop all the cards from the right hand on top of it so that the Joker is now two cards above the selected card. Again begin to shuffle, this time the old "Red and Black" overhand shuffle is employed. That is, small blocks of cards are pulled off as normal but when near the centre of the pack, single cards are run off in reverse order until it is certain that the Joker and the selected card have been passed, then blocks of cards are pulled off again to complete the shuffle.
Turn the pack with the faces towards you and tell the spectator that for this effect you have to use the Joker. Without letting the spectator see the faces of the cards, run through them till you reach two cards past the Joker, in other words the Joker, an indifferent card and the selected card. Note the suit of the selected card and pick up a break under it with the left little fin-ger. Square up the left hand packet with the Joker on the face and still hold a break under the three face cards of that packet. Show the Joker and push it up with the left thumb then place the cards from the right hand on the face of the left hand packet, leaving the Joker upjogged for about half its length. As the right hand cards are placed on the left hand packet, pick up the break with the right second or third finger, by inserting the finger into the break.
This makes it simple to cut at the break and place all the cards below the break on the face of the pack. This gives the impression that the Joker goes to the back (top) of the pack. Square up the pack, pushing the Joker down with the left forefinger then turn the pack face down.
3. Pick up a break (left little finger) under the top card of the pack. We know this card (say Ten of Spades) because we looked at it and remembered the suit.
We now need to have the Ace of the same suit (Spades) in the third posi-tion from the face of the Ace packet (or second from the top). In our ex-ample the Ace of Spades is already in the correct position, due to the CDSH set up, but if the selected card was some other suit, we simply bring it to third position from the face as we pick up the Ace packet. For example if the selected card was a Diamond, we would use the top Ace of the packet to scoop up the other three cards, which would bring the Ace of Diamonds third from the face. If the card was a Heart then the top three Aces of the packet are picked up, and the other Ace scooped up with them. The object is to get the required Ace to the third position from the face of the packet.
The Ace packet is placed face up on the face down pack and squared. The right hand comes over the pack, the thumb at the rear, to pick up the break under the selected card and lifts the face up Aces with the face down selected card behind them (Photograph 1 shows an exposed view from un-derneath) then moves them up and to the right about an inch, across the top of the pack. As this is done, get a break under the top card of the pack with the tip of the left second finger - Photograph 2 shows an exposed view from underneath, and also shows the holding position of the packet on the pack. 4. Take off the face Ace (Clubs in this example) and place it under the Ace packet; it does not have to be perfectly squared. Remove the next Ace (Diamonds) and do likewise. Remove the next Ace (Spades) and place it
under, but into the break; that is the left inner corner goes under the top card of the pack. The method of placing this card is seen in the view from underneath in Pho-tograph 3. (Actually the face of the Ten of Spades would not be seen as it would be covered by an Ace). Now take hold of the Aces with the right hand, between the thumb at the right outer corner and sec-ond finger underneath, and slide them to the left over the top of the pack, moving the Ace of Spades also under the top card, but holding the top card so that it does not move, until the position is reached as in Photograph 4. Note that the left forefinger is curled around the outer end of the Aces, with the thumb along the side. The right hand now comes over for the right
second finger to press down slightly on the outer end of the Aces. This lifts the inner end so that the right thumb can butt against it. The position is shown in Photograph 5, but the lifting has been exaggerated for clarity.
With the right thumb and second finger move the top Aces forward, leav-ing the Ace of Spades underneath the top card of the pack. When the Ace packet has been moved forward sufficiently so that the left forefinger can reach the end of the Ace of Spades (Photograph 6 shows an exposed view, but no face card would be seen in the gap) forefinger pushes this Ace flush with the pack under cover of the other Aces. Simultaneously the right hand moves the Aces (three Aces and the selected card) to the position shown in Photograph 7.
5. Place the Ace packet face up on the table, and as this is done get a break under the top three cards of the pack. This is achieved by riffling cards singly with the left little finger.
The position from the top of the pack is: - a face-down indifferent card, face-up Ace of Spades, face-down Joker, then the break.
The Vernon Push Off Lift is now executed as follows:
-Move the left second finger under the pack to the outer right side of the three cards, the break allowing the tip of the finger to contact the under edge of the third card down. With the left thumb on top of the top card, the three cards as one are pinched between the thumb and second finger. The second finger and thumb are now straightened, which pushes back three cards as one over the right side of the pack. Bring the right hand to the three cards and turn them over together, letting them fall square onto the top of the pack. As this happens pick up a break under the three cards with the left little finger.
6. Remove the Joker (which is face up) and hand it to the spectator, ask-ing him to wave it over the Aces on the table and think of the suit of his selected card.
When he has done this, pick up the Ace packet and place it again in position on the pack as shown in Photograph 7. Take hold of the Ace packet at the inner right end between the right thumb and second finger. Bring the Aces over square on the pack, for the left thumb to go on top of the Ace of Hearts to hold it, as the rest of the packet is moved to the right and out from underneath. In other words the left thumb drags off the Ace of Hearts as the rest of the packet is pulled out from underneath. Drag off the next card (face down card) in the same way, leaving it fanned a little, then the Ace of Clubs and finally the Ace of Diamonds. In this way you have thumbed the Aces onto the pack, leaving them fanned a little, reversed their order and have shown the spectator that one Ace has reversed itself in the packet of four
Aces (actually the reversed card is the selected card).
Move the right hand to the pack prior to turning the fanned Ace packet face down, and insert the right second finger into the break which has still been retained under the six cards. Move the cards down about half an inch as you turn the block of six cards over, so that a break can be picked up under the block.
Thumb over the top card, revealing the face up Ace of Spades, then push it over to reveal a face down card. You cannot go further or the face up selected card would be revealed, so you only thumb over the first two cards. This proves to the spectator that the face down card he saw in the face up Aces was the Ace of Spades, so ask, "Is it correct that you thought of a Spade?" and he will answer "Yes."
With the two cards still fanned on top of the pack, tip over the whole block of six cards once more, the fan being maintained until they begin to fall, then they are let fall square onto the pack but again a break is held under the block as it is tipped over.
Fan off the Aces; the Ace of Diamonds, the Ace of Clubs, the face down card and the Ace of Hearts and place them on the table.
7. Pick up the Joker and place it face up and square on top of the pack. Remember, a two card break was held, and this now becomes a three card break. Move the right hand over, thumb at inner end and second finger at outer end and pick up the break with the right thumb. Lift the whole pack with the right hand retaining the break, and place it on the table, but imme-diately lift off half the pack and place it in the left hand, picking up the break under the three cards with the left little finger. The other half is now taken from the table with the right hand and placed on top of the cards in the left hand - in other words the face up Joker has been buried in the centre of the pack.
We now come to the Jennings Reversal and this is prepared for and ex-ecuted as follows:
Spread the cards between the hands until the face up Joker is reached and say, "Remember, the Joker is face up in the pack." As you begin to square up the pack again, the right hand brings the cards back over the left hand portion, but still in a fanned condition. The left little finger goes under the block of three cards and the left third finger goes above the block of cards. The right hand pushes the cards over in a loose packet on top of the
