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foes more magic than anyone alive, ee Wal Jan and Jimmy Grippo, Francis Carlyle, Jay O LAR) right 1986 L and L Publishing, Lake Tahoe ved. No part of this publication may be reproduced, stored in a retrival system, or trans ny means, electronic, mechanical, photocopying, recording, or any information storage and retrievals -or to be invented without the permission of the publishers. ound in the United States of America. yout by Wild West Graphics & Communications, Lake Tahoe, California. 3 1223 06805 1433 ‘ One day in 1954, while I was living in Detroit, a fateful Canada and the United States. A young Scotsman, and his wif __ This of course, is not remarkable except that it was taking place acro from my apartment. It was an event that was to change my life forever, sere a: The young man’s name was Ron Wilson, a common enough name, but he was far from an ordinary man. His step was sure and he spoke with authority. He also carried about him a sense of mystery. In his hands cards appeared and disappeared. Billiard balls, coins, and doves showered down, only to vanish again as in a dream. His laugh was infectious, and his smile was as charming as a summer breeze, He was one of Canada’s top magicians. When I met Ron he did a marvelous dove act. In fact, he was one of the first todo so, He could produce two decks of cards from the “Back Palm” while wearing gloves, all without body loads. He was a master at all the beautiful moves, switching effortlessly from hand to hand with his productions. He would take off his gloves and continue, pulling a silk through his fingers, and so forth. His billiard ball production was truly a thing of beauty. Ron could “Palm” a ball with a perfectly flat hand. Resulting from hours of practice, he had developed a ridge of muscle in his palm that he could raise on demand. 1 would ask him to show this to me and sit in wonder as he did. At that time he was teaching me to “Palm”. My hand looked like a chicken trying to pick up a ball bearing! His cigarette manipulation was second to none, in fact, to this day, I still use portions of it. I may be biased, but after all the manipulation acts that | have seen, | believe that Ron ranks with the best of them. The first card trick that Ron showed me was Paul Curry’s”Out Of This World”, I wish that I could convey to you the feelings that I had when I turned over the four packets. From that moment on I have been obsessed with cards and their many facets. No one has hada finer teacher or closer friend than Ron. lowe to him the desire to strive for perfection and to never settle for anything less than the best that practice and tenacity could achieve. Ron is my oldest friend. Ron began to show me some of Professor Dai Vernon’s material. I fell in love with its clarity of effect, the economy of motion, and the brilliant construction which characterizes his magic. |began to prefer Vernon's handlings over all others. | studied the professor's material to the extent of collecting everything couldlay my hands on that he had in print. I soon discovered that “Close-Up Magic”, as it is done today, is due to his influence. Such things as the “Pass” without the large body swing, the “Top” and “Bottom Palms”, the “Double Lift”, and the “Double Undercut” were created by him. In fact, Ican hardly name a move or sleight that has escaped the “Vernon Touch’. In the early 1960's I quit my job as a combustion engineer for the city of Detroit and moved to Georgia, intending to open my own business. “Genii” magazine arrived in the mail and I learned that Dai Vernon was now living in California at a new club devoted to magic. [told myself that if I didn’t go see the place and meet the “legend” now, I would never get the chance again, He was already into his seventies, and would soon be tied down for good! Off J went to Hollywood, California, and The Magic Castle . . . never to return! The first trick that I performed for the Professor was “Stencil’s Aces”. It really got his attention. In fact, he took a firmer grip on’his cigar, went over to the bar, and grabbed Jay Ose, He told me todo it again for Jay. It was not until later that I learned that this was a compliment, Speaking of compliments, the greatest that I have ever received was the day that Dai told me that he thought I had handled the cards as well, if not better than, anyone he had ever known! Tsoon found out, as I became friends with Dai, that | knew just enough to realize how much I didn’t know. Here before me was the greatest authority on the subject of magic that I would ever meet. His knowledge is so vast that all of it could never be recorded. He possesses an amazing charisma that causes you to admire him. He also has a keen intellect and a profound insight into a myriad array of subjects not connected to The Classic Magic of Larry Jennings Poe conjuring. To top it off, he is a gentleman in every sense of the word, the finest I have tothe Professor goes beyond my ability to recount. We have been friends for more than tw, and with every meeting I learn something new. The Professor has tried to teach me to understand that effect is everything, and what he says be natural. He has made me privy to his most cherished secrets, spent hundreds of hours material, advising, criticizing, and teaching. Through his nearly photographic memory, 49) remarkable ability to tell stories, he introduced me to the greats of times gone by. He explained fie vanished the tobacco, how Jarrow sleeved, and detailed Down’s method of coin manipulation gaat vanished the matches Dai has taught me hundreds of routines which have never been seen in print. He is a devil yy something that you have been working on for months, and with a simple twist of plot, oramoys into a thing a beauty. He is the only magician in history who in his own lifetime has been hop. virtually every country on earth. He is the benchmark that we all strive to equal in our dreams § will, He is the Professor. Itis to these two men, Ron Wilson and Professor Dai Vernon, who have more than any otherssh life, that | dedicate this book. iz £ -— 3 3 a PuoTS: DAI VERNON (LEFT) & LARRY JENNINGS (RIGHT). During my long life, I have enjoyed meeting and knowing many clever exponents of sleight of hand; just to mention a few of the better known, Malini, Leipzig, T. Nelson Downs, and Dr. James W. Elliott, All of _ these extremely clever artists of bygone days would have agreed with me when Istate that Larry Jennings is ‘one of the finest exponents of pure sleight of hand that I have ever known. I truly feel that Larry not only has great skill, but has also originated many entirely new ways of accomplishing card and coin effects. So many young people today are taking up magic, and now they have this opportunity to learn many most ingenious ways to accomplish sleights. I honestly believe that Larry’s methods are the last word. The information in this book, if carefully studied and followed, will be all that is required to make you a stellar performer. However, you must bear in mind that how you present these effects is of utmost importance. During your wakeful hours, both night and day, think, think, think, how can I make this effect more entertaining? How can I keep this effect from becoming confusing? Then, and only then, will your magic entertain and fascinate people. Everything which Larry develops is beautifully constructed, and every detail is carefully worked out, so the student should have no difficulty in executing the different moves and understanding how to successfully apply them. DAI VERNON I first met Larry Jennings in the year 1962 at the Magic Castle in Hollywood, California. [ had been on a trip to Mexico and heard about Larry's skill while down there. He was far more skillful than I had imagined him to be. I watched him perform a few card effects, and three or four coin routines. It was beautiful to behold. Larry and I became fast friends, and spent many hours together working over sleights, moves, and methods. To say that I was (and still am) astonished at some of Larry’s variations would be the truth. Larry's hands are truly beautiful to watch as he performs his tricks. Never does he make any fast movements, or go about flipping his fingers. This is a fault of many card and coin manipulators. l remember a trick that Larry learned while he was in the Navy. After twenty years I stillask him to doit again and again. Please read this book carefully and you will see how creative Larry Jennings is. This text is not for the beginner. It is for the serious student who wants material of top quality. Every routine in this book should be thoroughly studied and practiced. The true student will practice and practice. The novice will only glance. Thank you Larry for allowing me to write this short introduction. | am honored. CHARLES E. MILLER The Classic Magic of Larry Jennings Page is 's definitions for the word preface is, "to herald”, and if that is the case, the ry Jennings, is very simple. abilities as a master sleight of hand performer, magical inventor, innovator, w1 throughout the world, His “Open Travellers”, “Single Cup & Ball Routine” and ine with Coins” have become neo-classics among the rank and file of the informed of m books, pamphlets, and lecture notes grace the bookshelves of many of magic’s leading experts. “contributions to countless books and periodicals have most assuredly provided him with a not ‘position in the annals of close-up magic. 3 Asa practicing itinerant magician I have often had the pleasure of witnessing many off-beat, i performances by some of magic’s most articulate sleight of hand artists. It is interesting tonote! many of these performances contained a more than generous amount of Larry Jennings’ mate aforementioned “Single Cup & Ball Routine” was a regular feature in the repertoire of the latel Fred, in addition to performing the routine, included it in his lectures. He devised a mechanical using a “Chop Cup”, which placed this difficult sleight of hand effect within the range of thosenote as he and Jennings. Larry has been a leading figure in the world of card magic for almost a quarter of a century. Hisan ‘concept and technique, has earned him accolades from both the public and his peers. Larry's magic, like that of most magicians, is the outgrowth of his association with others inhis list of friends and magical confidants during his formative years in magic contains the names ofsom most notable close-up performers of all time. Those most prominent being Dai Vernon, Charlie Francis Carlyle, and that uncanny Scot, Ron Wilson. Each of these highly individual thinking brought their own particular sphere of influence to bear on Larry’s magical background, This of i explains why the magic of Larry Jennings always contains a high degree of skill in both cone execution. 4 Larry's background has also included a close association with the gaming industry. His thought concerning gambling material are on a par with his magic. I personally believe that Larry's real un his inate ability to combine magician’s sleights with a gambler’s management, The term, in this senserd the gambler's ability to direct the action, with regard to what the other players do and see. Itis, for better title, gambler's misdirection. Larry is a past master at this type of thing, and as previously state combined use of gambler’s misdirection and magic is for me his real forte 5 This book contains a rare collection of Larry Jennings’s latest card effects, plots, subleties, techni moves. They do however, require skill and dexterity and are therefore designed with you, the co in mind JOHN THOM! It is with great pleasure that we present the first major works of Larry Jennings. This volume should be a substantial contribution to magical literature. I would go so far as to say that this book is one of those which you would want with you if you were a magician stranded on a deserted island, {t is safe to say that Larry Jennings has one of the most prolific minds in magic. His routines are both mystifying and entertaining. Great pains have been taken to ensure that each and every routine is explained and illustrated clearly. Even the routines which have appeared in print previously have been re-written in greater detail, and many Jennings touches have been included. All of the sleights, except for the most basic, are completely explained within the body of the routines. In addition, many new sleights and moves have been introduced. Rather than place these new sleights in a “moves” section, they are explained in the context of the routines. Therefore, you can learn each routine in its entirety without having to search through the pages for explanations of moves. THE CLASSIC MAGIC OF LARRY JENNINGS is much more than a collection of tricks. It is an exposed view into one of the greatest magical thinkers of our time. If you sincerely study the routines in this book you will gain valuable insights into the art which we call magic. This book will teach you about the psychology behind fooling people with close-up magic. Larry's professional touches and subtleties should be gone over again and again until they are ingrained in your mind. If you do this, ] guarantee that your magic will be elevated to a higher plane. One of the best things about Larry’s magic is his approach to the construction of an effect. Another one of the aspects that you will notice about Larry’s methods is that they are clean, natural, and straightforward. Larry's philosophy is that simple effects and methods are superior to complicated effects and methods. It is no wonder that Larry’s magic appears natural and effortless. Larry’s mentor, Dai Vernon, is a master at making even the most difficult of moves appear natural. It is evident that Larry has taken the flame, and is Tunning strong with it burning brightly. He has learned his lessons well. Many of the routines in this book have the patter included. In some, only a few lines are given here and there to guide you in the proper direction. In the cases where complete patter is given, make sure that you you study it well so that you understand the psychology behind it. When complete patter is given, you should not alter it until you thoroughly understand the routine. Only then should you mold it to fit your own individual performing personality. Most of the routines have comments written at the conclusion of the method, These comments should be read carefully, as they contain Larry’s valuable insights to the effects themselves, and his philosophy on magic. Take advantage of these comments as Larry pours out knowledge which has been accumulated over the course of many years. Some of Larry’s routines contain moves and sleights which might be termed “difficult”. I can offer youa piece of advice concerning this. PRACTICE. | am not saying this humorously, but rather sincerely. If you study the text, and Tom Gagnon’s wonderful illustrations, every sleight can be mastered in a shorter time than you might think. Practicing in front of a mirror is a must if you wish to see things from an audiences’ perspective. Here are several tips from Larry which should be quite helpful when trying to learn anew move orsleight. When you practice you should never execute the sleight more than twice in a row. Any sleight should imitate a natural action. Thus, you should alternate back and forth between actually executing the move and executing the actions of what you want your audience to think you are doing. Let's take the “Pass” as an example. If you stand in front of a mirror and execute the Pass thirty times in a row, you will stray so far from correctly executing it that you will be in danger of picking up bad habits. The Pass should appear as though you merely placed the upper packet onto the lower packet, and then squared the deck. If your Pass does not look like that, and only that, it will not be effective. So, alternate back and forth. Execute the action, and then make the sleight match that action. You will see an improvement in a very short time. The Classic Magic of Larry Jennings Sage © "Te has become increasing ble for a sleight or routine. tee ‘amount of material being publishe the credit that they are due. O Ina tome of this size it would be hai sons responsi , the staggering everyone receives ad credits here and there: we have overlooked: must mention. Throughout this book I have lauded Mr. Jenning: ‘a bit over zealous in my praise. This merely reflects my ow been PRY JENNINGS will go down in history a5 one of the greta 1,1 did it again!) e ‘You have a formidable task before you, for ther for you tostart learning. alfor you to digest. 1wish that lcould buy Larry's book and study it withor dear reader. Enjoy! Table of Contents ALWAYS CUT THE CARDS Ed Marlo’s Unit Upjog Addition 2002 ACES The Optical Add-On TWISTING THE PLOT ... THE SPECTATOR COPS THE SILVER The Bobo Switch GYNGHRONIGIIY <<. ..csseccecconf va seteneenes The Berg Palm Top Palm Replacement Modified Curry Turnover LJ. Double Pushoff The Optical Toss The Miracle Spread MISDIRECTION CARDS TO POCKET Page 15 A PROBLEM WITH HOFZINSER . A Vernon Cut ATFUS. The Walton Show IN THE PALM OF YOUR HAND LJ. Double Double Pip Mis-Show Sequence THE BET PERIPATETIC COINS LJ. Shell Steal Purse Palm Vanish THE IMMACULATE INSERTION ...-.-.+0+0+0+ 4 Seen coe Rages: THE BONUS TRICK... eee ss See aa SS Se Dea: Page 2: Vernon/Krenzel Mechanical Reverse Modified Dr. Elliot's Pass The Vernon Wedge The Wedge Cull The Wedge Reverse THE MYSTERY CARD .....--+--+-ssss000+ o Larry's Packet Reverse (The Hop) 1a Ra Bee os ily . Page 17 Soe = Page 20 nv 8 Page Page 24 ® cea ma icecewaens Page sd, PLOTTING THE TWISTED ACES... . Page 39 TA DO av ee ee cere me ; . Page 40 The Panorama Pass Praga wi The Classic Magic of Larry Jennings Insertion Fene Finnel’s Free Cut Principle CHE MAESTRO'S POKER DEMONSTRATION ........00600 220 00e- eee ee eet eee eet eee nent J. Unloading Move th Variation of The Machine Break-Off Move LJ. Packet Switch ‘The Hamman Count THE JENNINGS REVELATION THE CHINESE CONNECTION VISUAL COPPER AND SILVER Page 78 Purse Palm : Scotty York Back Clip Variation THE OPTICAL PREDICTION .................., LJ. TEN CARD PROBLEM VARIATION The Top Card Cover Pass THECARDINTHE HAT... LJ. Angle Steal ae Neal Elias Jumping Card THE COURTING ROUEEN oe oun as ‘ASY EXPERT COINS ACROSS The Heel Steal ‘Han Ping Chien MOMECTORSI.. 1. The Vernon Depth Illusion" 7 a. CLASSIC. Page 71 Page 75 Page 126 Page 129 THE ACES1& II Page 130 Bike Jennings Slip Switch _ STANDING THREE EAGLES Page 132 ‘The Kaps Subtlety MMEMNINESERCOME A POINT «2000225000000 Page 134 Drop Switch _ Alex Elmsley’s Hand Washing Vanish AMBITIOUS CLASSIC VARIATION. Page 136 ANY ACE CALLED FOR Page 138 The Gathering Add-On | The Vernon Cut __T.N.T. Bottom Deal TRAVELLERS ........ + Page 144 Double Finley Tent Vanish Dub Dub Vanish Page 150 Page 154 Page 156 + Page 159 Be pices isa right. These will be the three three’s and an indifferent card, The Aces are now on top read the top three cards of the deck into your right hand, without reversing their order, and hold them inned condition. Use this fan of three as a pointer and tap each of the four tabled cards with it as you “Troant you to point to any Ace and Iwill place three cardson top of.” Push over the top card of the deck so youcan plain alittle finger break below it as you pull it flush, Place the righthand cards onto the deck while they are stilin a fanned condition, The lower card of the fan should be flush with the deck, You are now holding aleft le Finger break below the top four cards (the four Aces), the top two of which are fanned to the right. ‘Have a spectator point to one of the Aces. Push the selected Ace forward, toward the spectator. It doesn’t tater which of the cards they choose as they are all indifferent cards. Tell the audience that you are going place three cards on top of the indicated Ace. Deal the top card of the deck onto the selected Ace(?). Deal \ext card onto the same Ace, and as you do, execute a Double Pushoff with the two cards below your left little finger break. Larry uses Dai Vernon’s Pushoff technique. This is a very good method for taking the ee sat off the Double Pushoff. The spectators will be watching you deal the second card onto the supposed " Ace and they will not see the Pushoff take place. © _ Toke the double card into your right hand, thumb above and fingers below. Use the double to scoop up the "tabled packet. As soon as you scoop, the right fingers push off the lower card of the double so that it becomes Hush with the rest of the packet. The top card of the double remains sidejogged. Place this packet into your __lefthand, holding it between your fingertips and thumb (the deck is still in your left hand also). Remove the sidejogged card with your right fingers and set it on top of the packet The entire five card packet is now gripped in right hand Biddle Position. Ask a spectator if they know which Ace was selected. Regardless of their reply, revolve your right hand palm up to display the Ace at the bottom of the packet. Replace the packet into your left hand at the fingertips as it was a moment ago. Your Fight hand grasps the packet at its outer end, fingers below the thumb above, and turns it face up end for ‘end. Remove the Ace from the face of the packet and place it face down onto the table (remember the suit of ‘this Ace). An indifferent card will show on the face of the packet as it should and all is copacetic. Flip the Temaining block face down onto the deck and deal the top three cards (Aces) singly onto the selected Ace. “The audience should believe that there are three indifferent cards on top of the Ace they selected. There is an alternate handling for the preceding lay down of the supposed indifferent cards that Larry " sometimes uses. After scooping up the packet as already described, table the deck to the left. Show the Ace on the face of the packet and deal it face down to the table. Turn the packet face down into left hand Dealing tion and Gambler’s Cop the lower card (an indifferent card). Place the three Aces onto the already tabled \ee, You now pick up the deck, adding the Palmed card to the bottom as you do so. You can now continue "Deal three cards onto each of the supposed Aces in the face down row. You will now place each of these three packets from the horizontal row into the deck, Each four card packet should gointoa different spot in hedeck (all cards face down). Leave all three packets outjogged for three quarters of their length, You must sure that the packet placed closest to the bottom of the deck has a three spot on its face that is not of same suit of the selected Ace (the one you remembered a moment ago). This is easy due to the fact that now the order of the three’s as a result of your prior set-up. Do not let the spectators see any of the of the cards as you carry out these actions cards and cover the outer index and the outer pip of the three spot that lies at the face of the lower Lever the face of the deck towards the spectators while keeping your right hand grip on the “Your right fingers cover the index corner and upper pip (FIG. 4). The cards should be anglejogged to lightly, showing more of the supposed Ace. This makes it all that much more convincing (refer back Page 5 ot Pe ecards back toa horizontal position and push the outjogged cards flush with the d p g this for magicians, you can pretend fe eeaites Multiple Shift. Follow that up witha shuffles that make it look like you are controlling the Aces. They will believe that they have follows ‘until that point. At any rate, push the three Aces(?) into the deck. Riffle the deck towards the tal Turn over the tabled cards to show that the Aces have jumped from the deck to the table. Ribbon Sy deck face up to show that you are using no duplicate Aces. FIG. 5 (Exposed View), NOTE: After a bit of thinking, I am sure that many of you will figure out that The Optical Add-Onisthe perfect sleight for accomplishing the Reaping the Aces effect. Conspire to have the Aces on top of the deck. As you spread the cards face down between your hands, sidejog the fourth card from the top ofthe deck to the right, under the spread. Continue spreading and have four spectators each touch a cards you spread through the face down deck. Outjog each card as it is touched. Square up, and as you do, your let le finger can procure a break below the fourth card from the top by simply pushing up on it as you square. This is easy due to its sidejogged condition. Execute The Optical Add-On as already described and deal the top four cards face up to the table to show that the spectators have touched the four Aces. There is one slight change in the Add-On for this particular routine. When you push the cards belowthe break forward with your right thumb, do not push them all the way even with the outjogged cards. Instead, Teave them about one half inch short (FIG. 5 The left thumb has been removed for clarity.). Now when you execute the strip out (which turns the cards end for end) the added cards will be outjogged for one half inch. You must be sure to place the lower cards of the packet (the injogged cards) flush with the deck. Itisaneasy matter to immediately grasp the outjogged cards at their outer end and turn them face up onto the deckto display that the spectators have found the four Aces. COMMENTS: Larry's additions to the routine are mainly technical. You may wish to look up the original Elmsley routine and compare the two. Learning The Optical Add-On is a must. Larry has used it to fool everyone he has shown it to ‘One note that bears mention. You do not need to set up the Three’s to perform the routine. You canjust set the Aces and perform it without the pip show. The pip show merely adds to the overall effectivenessaf the routine, You may not feel that the extra set-up time and the memory work (remembering the proper suit) is worth it. If you are doing a sit down close-up showcase, then you should probably go for theextid convincer. Otherwise, itis up to your own discretion. Plot ps i ‘Larry devised this utilizing Henry Christ's “Dealing Trick Procedure”, It is one of the routines in the book that is nearly self working. Despite its simplicity however, it is an extremely baffling display of | thaumaturgy. | EFFECT: A card is selected and then lost in the deck. The performer removes several cards from the deck | which he calls “key cards”. The value of these “key cards” are totaled to arrive at a number. That number is counted down to from the top of the deck and the selection is found at that point REQUISITES: A deck of playing cards. The deck must contain all fifty-two cards and the Jokers must not be in the deck. METHOD: Begin by having a spectator shuffle the deck. When the deck is returned havea spectator select a ard. As you spread the cards for the return of the selection, let your left thumb fall on the back of the seventh card from the top. This will allow you to hold that card stationary as your right fingers pull the eighth card under the spread to the right. This is exactly the same as a Cull. Once the card is under the spread your right fingers never leave the face of this culled card. Continue spreading with the rest of the cards going below the jogged eighth card, and separate the deck around the center and have the selection returned. After the card is returned (on top of the left-hand Portion), push it off to the side and raise the cards in your left hand to display the selection once more. As you pullit flush, obtain a little finger break below it. Place the right hand cards on top of the left, retaining your break. As you square the cards it is an easy matter to obtain a right third finger break below the top eight cards Thisis easy because the eighth card is jogged under the spread. For the moment you are holding two breaks, aleft little finger break below the selection, and a left third finger break below the top eight cards. Cut the eight cards above the upper break to the table. Cut all the cards above the lower break onto the eight card packet. Cut one half the cards in your hand onto the tabled packet. Finish by placing the remaining cards on top. This will place the selection ninth from the bottom. Stress the fact that you could have no idea as to the order of the cards or the whereabouts of the selection Tell the spectators that you are going to look through the deck for your “key cards”. What you are going to dois silently count backwards from 10 to one. Anytime that you come to a card whose value matches the number in your head you place it aside. Turn the top card of the deck face up to the table. Count 10 to yourself. If the card has a value of ten (a Ten or any face card) then you would place it off to the side, If it is nota Ten then you would turn the next card of the deck face up onto the first, silently counting nine to yourself. If the card has the same value as the number (i.e. nine) then place it aside. If not, continue to eight then seven, and on down to one Ifacard has not been placed aside by the time you reach the count of one, deal one more card for the count ‘0f zero, and then start the count over again at ten. You will do this only four times. In other words, the maximum amount of cards that you can place aside is four. If, for example, you count from 10 to one the first time and no match is seen, then you would deal one more card, counting zero, and start over again. No Biitias been placed aside. On the next count let's suppose that when you mentally counted the number seven, a Seven was dealt face up. You would place this Seven aside and start the count at 10 again. You will now do the counting procedure only twice more Ttwill perhaps be easier to undérstand if I give you an example. Let’s suppose that you mentally count 10 ‘and the first card you turn up is a Queen (value = 10). Place this Queen aside and start at 10 again. This time ‘you get all the way to one without seeing a match. Deal one more card, mentally counting zero. You would ot place a card aside. Thus we have completed two trials. Start the count at 10 again. Let’s suppose that when you reach the number three, a Three is turned face up. You would place that Three aside with the that you placed aside earlier. Three trials have been completed. Start the count again at 10, Let's i Clic Magic of Larry Jennings Page? top of the deck, retaining a tt le t you placed aside. In our example the give a total of twenty-two. As they are to! u ards above t searing ollow this by cutting the remaining cards abo -on top of that. Drop the remainder of the deck onto those, Once the spectator gives you the tata count down to that number from the top of the deck. The selection will be at that number. i. _ Naturally it is more effective if you have three or four key cards, Sometimes though you just don‘tgeta match, Larry has a way of getting a key card when there is no actual match. Let’s suppose that you are dealing and counting and when you mentally hit the number seven, a Six is turned face up. In other words, the value of the card is one under the mental number. After the Six is dealt you would turn over the next card. If itis not a match (i. e. a Five) then scoop it under the pile and leave it there. Then, as an afterthought, pick up the Six from the face of the pile and place it aside as a key card. By placing the card dealt after the Six to the bottom of the pile, you place the Six into position to be a key card. After placing a card aside, startthe count at 10 again as described, COMMENTS: This sa good example of varying an effect’. By twisting the plot of a routine youcancome uupiwith some very off-beat versions of an effect, Larry does this with every trick he works on. He twiststhe plot one way and then the other, sometimes inventing a potpourri of different effects. It is a habit that you should take up if you want to be creative The Spectator Cops The Silver Larry has designed this very clever Copper/Silver transposition to allow the spectator to assume the role of magician. The handling is clean and the use of the Copper/Silver coins very subtle. The spectator doesall the work for you! If you are looking fora routine that differs in plot from standard transpositions, give this one a try EFFECT: The performer allows a spectator to place a copper coin on their fingertips and a silver coin on his, Both now close their respective hands. Upon opening their hands the two coins are seen to have traded places, with the copper coin now being held by the performer and the silver coin now being held by the spectator. Both coins may be examined REQUISITES: A half dollar, an English penny, and a standard Copper/Silver coin. METHOD: This should be performed while seated. You can, however, perform it while standing up with just a few minor changes. Begin with the copper coin in right hand Finger Palm. The half and the C/S coin (copper side up) are on the table next to each other, or if you are standing have them in your left hand. Turn toa spectator and patter, “lm gong fofach you how tobe a magician. I have two coins, a copper and a silver. If give yx the Copper cain can yo hold it on your fingertips and show it to the autience™ As you say the last line you demonstrate how they should display the copper coin by placing the CiS coin ‘on your fingertips and showing it around, Place the C/S coin onto their fingers so that they can display it After they have displayed the copper coin (C/S coin) tell them to say, “I have in my hand a copper coin. Instruct them that itis very important for a magician to make sure everybody knows what he’s doing. Tell the spectator toclose their hand. Demonstrate this by closing the fingers of your palm up left hand. They should close their hand and the CIS coin will automatically turn silver side up in their hand. Tell the spectator to turn their fist palm down. This will adequately protect you from having the spectator Page & ir hand before you are ready. Instruct the spectator to tell you to place the silver coin on your le ips and show it around in the same manner that they did a moment ago. Have them tell you to close and in the same fashion and then turn your fist palm down, You should perform the actions as they ct. Tell the spectator to say, “I have the copper coin”. Next have them say, “What coin do you have?”. You ould respond with, “I have the silver coin”. As you say, “I have the silver coin,” open your left hand and pick up the silver coin with your fingertips. Remember you still have a copper coin Finger Palmed. Pretend to toss the silver coin back into your left hand, actually executing the Bobo Switch, Briefly toss the Finger Palmed copper coin and retain the silver coin behind your fingers. Your left hand should close around the coin as soon asit hits your palm. Your right thumb should slide the concealed silver coin into the Finger Palm Position, Return your left hand toa palm down position. Have the spectator snap his fingers over your fist. When thisis done, revolve your hand palm up and open ittodisplay a copper coin. Patter, “Oh my gosh, my silver coin has changed to copper”, and dump the coin to the table. Instruct the spectator to snap his fingers over his own fist. Have him open his hand to display the silver side of the C/S coin. As soon as the spectator’s hand is opened, grasp his fingers with your left and pick up the C/S coin with your right fingers pattering, “Can I see thal?” (FIG, 1). Look at the coin for a moment and then toss it into your left hand, executing the Bobo Switch. This will exchange the silver coin for the C/S coin. Dump the silver coin to the table as you slide the C/S coin into Finger Palm Position. You may now lap the C/S coin or whatever you prefer to clean up. COMMENTS: The important thing to remember when you perform this routine is that you are teaching the spectator how to be a magician. You must stress to them how importantitis to follow your instructions to the letter. Make sure that they understand this. Make sure that you are surprised when your coin changes color. The reason that Larry likes this routine s0 much is because itis fun todo. It is the routine that you save for whena spectator asks, “Can you teach me how todo a trick?” Aes sae RAs as If you will pardon the expression, this routine can be a reputation maker. This is the type makes people believe in psychic phenomena. The events that take place seem inexplicable. Asu has taken different sleights and moves and has bound them together to create a direct, beautiful piece of magic. EFFECT: The performer places a card on the table. A spectator remaves a card and places it performer's card. The two cards are turned over to show that they match, i.e. same color and value Th repeated twice more with equal success, despite the conditions becoming more and more impo REQUISITES; A deck of playing cards METHOD: PHASE ONE. Conspire to have two pseudo mates on top of the deck. Pseudo matesdfe that have the same value and the same color, such as the Ten of Hearts and the Ten of Diamonds. Yous now Top Palm these two mates off the top of the deck. Larry uses a Palm shown to him sometimeagoby late Joe Berg. The deck is held face down in left hand Dealing Position and a little finger breakisol below the top two cards. Your right hand arches over the deck in Biddle Grip. Your right litt ‘contacts the outer right corner of the two cards above the break and lifts them so it can geta sight under them also. Your left thumb should lie along the left side of the deck. i Move your right hand forward, maintaining firm contact on the outer right corner with your nightie, finger. The two cards will pivot into your palm using your left thumb as a pivot point. As soonasihe are safely in your palm, regrasp the deck in Biddle Position and hand it toa spectator for shuffling Wheait execute the Palm you may want to add a slight necktie action to give a little more cover. While thespaii is shuffling you must find something natural for your right hand to do. There are a numberof options Larry generally picks up a glass and drinks from it, but picking up the card case or a pack of dgarelisl work also. Just remember to be natural When the spectator is finished shuffling, take back the deck face down in your left hand, Hae spectator cut off a portion of cards from your hand. Ask them which portion they would pref themselves. Give them whichever packet they indicate. Hold the packet you are left with in right Biddle Grip. You must now secretly add the two Palmed cards to the top of your packet. Larry hist! expedient and clever way of accomplishing this. Simply drop the packet from your right hand onlay palmup eft hand, simultaneously releasing the two Palmed cards so that they fall right on topof hepa Your left fingers immediately close around the cards squaring them The cards should be dropped from a height of about six inches. There is a slight downward tossing to the move that helps the Palmed cards travel to the top of the packet a little more quickly. Assoonssft cards are added, give the packet an upwards riffle to take out any bend that you might have placedinae cards by Palming them. Cut the packet, retaining a break between the halves. The two mates are now the break in the center of your packet. Spread down to the break and place the card directly below el to the table. Place the lower half on top of the upper half, bringing the mate back to the top, Have spectator duplicate your actions by spreading down through their packet and placing a card on the Position the cards on the table s0 that yours is on your right and the spectators in on your left. Vou now turn both cards face up. In the process you will execute Larry's modified “Curry Turnover“ tos top card of your packet for the spectators tabled card. Of course if you like you can execute the stim Curry Turnover, Larry feels that too many people don’t do the move because it takes so much Watt set for it. Larry discovered this approach while playing with a second deal that he put in print ingne “Epilogue Specials.” The major change in the move is that you use your forefinger to accomplish second finger normally does in a Curry Turnover. This allows you to set up for the turnover very and with only one hand. Page 10 Your packet should be held in left hand Dealing Position with your second, third, and fourth fingers firmly against the right side. Place your left thumb on the outer left corner of the top card and push to the right, buckling the top card (FIG. 1). This allows you to curl your left forefinger around the outer end of the FIG. 1 (Exposed View) FIG. 2 (Exposed View) rHGs3 deck so that it can enter into the gap created by buckling the card (FIG. 2). As soon as your forefinger goes into this gap, use it to bevel the deck backwards so that the top card cannot be seen when your hand turns palm down (FIG, 3). In other words, when your hand is palm down, the face of the deck is beveled forward. The entire preceding sequence can be done very quickly. In fact, Larry gets his forefinger under the top card as he turns his hand palm down FIG. 4 Bess (Performer’s View) You must now gr both tabled cards in the same manner, with your left hand grasping the card on the left, and your right hand taking the one on the right. Place your thumbs on the tops of thec fingers to dig under the edges so they can be picked up (FIG.4). Only your second finger is used to pick up the card on the left hand side (FIG. 5). As soonas the left edge of the left hand cardis lifted, your left thumb pulls ds and use your FIG. 6 (Exposed View) up the card so that it becomes flush with the card above your forefinger. At this point your left forefinger straightens, pushing the card above it off the side of the packet while your thumb holds the other card in place (FIG. 6). Both hands continue to turn over the cards so they are face up. Your left fingers pin the changed card against the table so your hand can pull back, leaving the card on the table (FIG. 7). lt should look as though you merely turned both cards face up and they match. This entire sequence looks great! The Classic Magic of Larry Jennings : Page v/ When you reach the mate of the top card of the deck, upjog it and square up. Remove the u| and place it to the back of the deck without allowing the spectators to see it. Turn the deck face down in left hand Dealing Position. You wil] now have two pseudo mates on top of the deck. Patter, 7 prediction”. indicating the card that is on top of the deck. As you patter, push off the top two cards of th s0 you can obtain a little finger break below them as you square up. You must now push off the: one by using Larry's “Pushoff.” Squeeze your leftlittle finger to the left and inward so that the double can pivot slightly off thedeck uss the fleshy base of your thumb asa pivot point (FIG. 9. Note: In actual practice, your left thumb would the left edge of the deck). Bring the meat of your left thumb down on the upper left edge of the double push it off the deck where it can be taken at its inner right corner into your right hand, thumb aboies fingers below. The two cards should stay perfectly aligned. If they become slightly misaligned, quit them against your right thumb as you take them into your right hand. This is a wonderful Pushoff Te cards come off in perfect alignment and it looks entirely natural. Ask that the spectator cut offa port the deck and table it. Point out that the top card of the packet in your hand is their selection. (Underview) You will now execute a wonderful move that is absolutely invisible. It is called the Optical Toss. Tt few times and you will see one of the best switches there is. It is also easy to learn. You are nowht double at your right fingertips that consists of two pseudo mates. Push over the top card of the packt left. Patter, “Here is your selection.” Place the double onto the single, sidejogged for the same distance t single is sidejogged off the packet (FIG. 10). Hold everything in place with your left thumb. Ct pattering, “And this is my prediction.” Your left second finger should be in contact with both the fa lower card of the double, and the face of the single card from underneath (FIG.11). Page 12 ove your left hand forward and simultaneously push the top card of the double to the right while your finger pulls the lower card of the double to the left (FIG. 12 for underview). This action will square h le card below the double with the deck. The result is that you have two cards sidejogged of f the deck you did a moment ago, but they are the two mates instead of adouble anda single, There is a tendency for a -thesingle card toride up onto your left fingers as it is pulled flush with the deck. To counteract this youmust 4 pull down with your fingers as the card squares with the deck. Remember, your hand is moving forward while your fingers execute the move. The larger motion hides the smaller motion. Pause for a moment and then cleanly drop the two sidejogged cards onto the table in front of the spectator. Have them turn them over to disclose that they match. Patter, “Same prople would call that Deja vu.” Leave the two mates face up on the table, assemble the deck, and have the spectator shuffle it again. PHASE THREE: Offer to do it one more time. When you get the deck back turn it face up and begin to spread through it. Sight the bottom (face) card of the deck and search for its mate as you spread. Once you locate the pseudo mate, place it to the face of the deck sight unseen. Turn the deck face down. It is important toleave the deck in an unsguared condition when you turn it face down Once the deck is face down you must square it, and in the process, sidejog the second card from the bottom tothe right (FIG. 13). This sidejogged card will remain hidden under your right hand, which is holding the deck in Biddle Position as you square. Once the second card from the bottom is sidejogged, Ribbon Spread thedeck across the table from left to right. Your position is as follows. The bottom card of the spread is the mate of the second card from the face, which is ina sidejogged position below the spread. Openly remove the bottom card of the spread and turn it face up. Tell the spectators that it is your prediction. Ask that they place the prediction anywhere into the spread face up. At this point you demonstrate by placing the card into the spread a few times (FIG. 14) FIG. 12 - (Underview) FIG. 13 (Exposed View) FIG. 14 Give the card to the spectator and have him insert it face up into the spread. You will now execute Larry's variation of Ed Marlo’s “Miracle Spread” to show that the spectator has placed the prediction into the spread fight next to its mate. Lift up the left end of the spread with your left fingers below and thumb above. Your left fingers come into contact with the left side of the sidejogged card under the spread. Your left thumb should be near the outer end of the spread so that it can hold it down so the spectators do not accidentally get agfimpse of the sidejogged card from the front. Place your right hand on top of the spread, just to the right of the face up card (FIG. 15) The Classic Magic of Larry Jennings ‘ Page 43 Push the left end of the spread to the left. Your fingers under the spread move the sidejogg with it (FIG 16 shows a transparent underview). When your left hand reaches the face up € d BS: | 4 7 all the cards below it (to the left of it) to the left. Your right hand should be resting just tothe right often the face up card was to hold the right side of the spread in place. The sidejogged card that you pushedange the spread is now at the left end of what remains of the spread (Transparent Underview) 1 FIG. 17 Slide all the cards above the forced mate to the right so that it is left by itself in the center of thetablely the face up prediction card to flip this card face up to display that they match. Patter, "Th acini nor is it deja vu. We call this SYNCHRONICITY.” Put your cards away, collect you paycheck, and gohome 1 major difference between Larry's and other methods of the Miracle Spread is the Force card being st from the face, allowing for a cleaner spread. Normally the force card is on the bottom and sometinestil hang up during the spread and throw the whole thing off. Having it second from the bottom assuresjwt success. COMMENTS: Larry performs this routine agreat deal. He loves it because it is so absolutely astounding? laymen and magicians alike. It is the type of trick that is structured so that it appears your methads getmt difficult as the routine progresses, sts that if the audience is seated, not to use the Miracle Spread. For the Miracle Spres# Larry su be effective the spectators must be looking down on the cards. In fact, it looks best when executedat®, floor This makes SYNCHRONICITY the perfect “rug trick”. If the audience is seated, substitute lam? variation of Marlo’s B.D.E, Force (described in SPECTATOR’S CHOICE) for the last phase, ——— Cards To SD Ifyou ever have seen Larry perform this, you were probably badly fooled, This routineis a classic example of natural misdirection. If you smoke you are going to love this. For those of you that don’t smoke, you are either going to have to take up the habit or figure out some kind of misdirection that is natural to you. Remember, the best time to do something sneaky is when you cover it by doing something that looks natural. Like Larry always says, BE NATURAL EFFECT: Two spectators each select a card, After each spectator signs their card, they are returned to the deck and lost. One of the spectators is given the deck to shuffle. The performer proclaims that he will make both selections disappear. Not only that, but he will make the first spectator’s card travel to his left hand pocket and the second spectator’s selection travel to his right hand pocket. Without any further ado the selections are removed from the aforementioned pockets REQUISITES: A deck of playing cards, a pack of cigarettes, and a lighter. Place the cigarettes in your right coat pocket and the lighter in your left coat pocket METHOD: Have the deck shuffled and then have two cards selected. Try and position it so that a spectator onyour left takes the first card anda spectator on the right takes the second card. Have the selections signed if you wish, but it really isn’t necessary. Break the deck about center and have the spectator on your left replace his card on the lower half. Replace the top half, retaining a left little finger break. Turn to the spectator on your right and begin to ad the cards above the break. As they begin to replace their card, lift off all of the cards above the break in a htly spread condition. This looks much better than simply lift the cards above the ing the card replaced, The spreading of the cards gives the impre the selection is placed into a totally random spot eak and hav ion that card on top of the first selection. Push off this card andr ise the deck Have the second spectator replace h toshow the second spectator his card as you say, “Don't forget your card.” When you lower the deck 2 card flush, retain a left little k below it. Place the upper half onto the lower, retainin You now have the first spectator’s selection below the break and the second spectator’s selection break. Execute a Pass to bring the Look at the spectator on the left ight As you deliver this line, Top Palm the top card of the deck. Larry uses Dai Vernon's “Topping The Deck ull the r break you bove the lections to the top and bottom nd ask him whois the better shuffler, he, or the spectator on your (from “Secret Secrets’). As soon as the card is Palmed, let your right hand fall naturally to your side leaving thedeck on your left hand. Y< e holding the deck out towards the spectators togive it to the one who decides that he is the best shuffler Reach into your right hand coat pocket leaving the card and bringing out the cigarettes. Shake out a Cigarette and take it in your mouth. Place the cigarettes back in your pocket. There will always be some sort Of discussion as to who shuffles the cards better. This Re-grasp the deck in right hand Biddle Position as you again ask the spectator on your left if he is the better shuffler. To the spectator who replies he is the best, patter, “Well, the you turn and hand the deck to the spectator who is NOT the best shuffler. This will receive a chuckle and also give you ample misdirection to immediately Palm the bottom card of the deck in a Gamble rs Copas you use your right hand to give the deck to the spectator. The Cop should be made as you say the preceding patter line and move to hand the deck to the spectator. It doesn’t matter which spectator is given the deck both sides afford you plenty of cover for the Cop. As soon as they begin shuffling, reach into your left hand pocket br inging out the lighter and leaving the Palmed card. Light the cigarette and replace the lighter in your pocket. This time the misdirection is even stronger, The spectator subconsciously knows that you will light the cigarette, therefore when you do. their mind totally accepts it as a natural action When the spectator is through shuffling and tries to hand you the deck back, tell them that youdon teven want totouch the cards. Tell the spectators that you will make their cards disappear. Notonly that, but you The Classic Magic of Larry Jennings Page 15 ives you ample time to go to your pocket. The act of we better let h shuffle the cards." as et and the right spectator’ $ ator’s 5 y drinks you've had that evening, have oom " ed gone. Show both hands emptl Pectato; all to their knees and bow ee I , Te doing ator’s card go to your left pock ou how man ons are inde! f they don't f will make the left spect After they ask y hand pocket. run through it to verify that the selecti pockets and Jections. | wrong COMMENTS: Make sure that you execute ty todo this just after you as have ample opportunt will look at each other That is when the first Palm should be Il fool anyone There is an extreme sense of satisf atistac + tion when Properly exec uted, this routine w! ce is none the wiser If you practice the P. alms a nd the mi two cards in your poe ket and the audien experiencing this feeling of satisfaction yourself bring out the se the Palms while the audience i ‘ » is not lookin 8 at thed k whois the better shuffler. At th made at point the you will soon be Fags 46 This is Larry’s solution to the Hofzinser “Four Ace Problem’. A version of this effect appeared in Dai Vernon's "Ultimate Secrets of Card Magic”, entitled “Tell-Tale Aces”. This routine is more streamlined than that one. The handling is much more straightforward. The reason that this method was worked out was because Larry heard through the grapevine that Hofzinser did not need to know the order of the Aces to bring about the desired effect. This routine stays within those parametersand stillcarries maximum impact. EFFECT: The four Aces are given to the spectator to shuffle. A card is selected, memorized, and then lost in the deck. The Aces are displayed once more and the deck waved over them, When spread, one of the Aces is seen to have turned face down. This Ace is of the same suit as the selection. The deck is spread face down and the Ace that is supposedly face down amongst the other Aces is face up in the center, The supposed face down Ace is turned over to reveal the selection REQUISITES: A deck of playing cards METHOD: Remove the four Aces and hand them toa spectator for shuffling. Table the Aces face down Spread the deck for a selection. Larry uses his "Immediate Bottom Placement” to control the selection to the bottom of the deck (see COMMENTS). Here’s how. Spread through the deck andhave a spectator touch the back of a card. Separate the deck so that the selectionis the lower card of the upper half. Raise the face of the upper half toward the spectator so they can see the selection and have them commitit to memory. Lower the upper half and place it on the lower half so that it is upjogged for one half its length. Allow your left thumb to rest on the card just above the selection (FIG. 1). Your right fingers should be in contact with the selection from below. FIG. 1 Pull the upper half to the right ing pressure with your thumb on the card above the selection. This card will remain in place while the selection is pulled to the right with the upper half of the deck. This isjust like a Hofzinser Cull. Your right fingers curl, pulling the selection further under the upper half as you ry A FIG, 2 (Exposed View) ama move the upper half inward, aligning it with the lower half. Push the upper half to the left slightly relaxing your right fingers so the selection can lower and ride under the lower half as you push the halves square (FIG. 2 The Four of Diamonds is the Selection), The halves are now roughly squared, with y The Classic Magic of Larry Jennings our right fingers Page 17 - pushing the selection all the way flush with the lower half. You now have an outjogged card thy, supposedly the selection. The actual selection is on the bottom of the deck. This isa highly effectiveccyy, Very slowly and cleanly square up, so the spectators can be confident that the selectionis Tost someyty, in the center of the deck. Immediately following the squaring action, dribble the cards onto your lefty proving to the diehards that you hold no break. Following the dribble, the deck will be in an ungyigy, tondition. You now square the deck, turning it end for end in the process, and Glimpse the bottomgys, the deck (the selection). You will now control the selection to the top of the deck by using the Vernont, Hold the deck in preparation for a Hindu Shuffle, making sure that your right third finger is curled iy the right side of the deck so that it touches the bottom card FIG. 3 (Exposed View) Pull the upper half of the deck into your left hand ala the Hindu Shuffle. This half is placed underts remaining right hand half with your right third finger going between the packets (FIG. 3). Immedize follow this by pulling the half above your finger into your left hand, maintaining third finger pressureoat selection (bottom card of the upper half) so that it stays on top of the lower half when youstrip out they half. Drop the right hand cards on top of the left hand cards. The selection is now on top. The preceding sequence is very tight. You have the card selected, execute the Bottom Placement, Glim selection as you square, and then execute the Vernon Cut. It all flows very smoothly. Youareaccomp agreat deal with a wonderful economy of motion Obtain a left little finger break below the top card of the deck (the selection). Turn the Ace packet fate and hold it in right hand Biddle Position, Let’s suppose the selection is the Four of Diamonds. Youarerst to secretly switch the Ace of Diamonds for the Four of Diamonds. If the Ace of Diamonds is on the the Ace packet here is how you would proceed. Bring the Aces over the deck, adding the card above the underneath them, Obtain a little finger break below the new top card of the deck and add it to thebot the packet, retaining a thumb break above it Peel the Ace of Diamonds onto the deck pattering, “The Ace of Dininonds. As you pretend totakethe Mt of Diamonds back under the packet, release the card below the thumb break on top of it. Move the packet” the deck. There is now a face down card on top of the deck and the Ace of Diamonds is face up secondfte® the top. The spectators believe that the Ace was taken under the packet. You will recognize this as ATC Any Time Face Up Switch). Peel the next Ace onto the deck and then retake it under the packet. Peel athit Ace in the same manner and retake it under the packet. Leave the fourth Ace on the face of the packet # you peel the Aces you should be calling out their names Now let's suppose that the Ace suit that matches the suit of the selection is not on the face of the pate! The only bad spot for the matching suit ison the bottom of the face up Ace packet. To remedy this situati®® start by peeling the face Ace and retaking it under the packet. Since this Ace is not of the suit of the sete” the Ace that does match the suit cannot be on the bottom of the packet Now add the selection to the bottom of the packet. If the next Ace that you peel is not of the propers!” simply retake it under the packet. You would now continue with the procedure, executing ATFUS toswi out the proper Ace when youcome toit, ie. when the proper Ace is on the face of the packet, adda faced™ card underneath the packet (retaining a thumb break), peel the Ace and as you supposedly retake itu” the packet, release the face down card on top of it. Once the switch has been made and the four Aces been displayed, table the Ace packet Spread the deck between your hands, pushing off a batch to begin with soas not to flash the reversed Fuge 1s ea “Separate the deck near center and revolve both hands palm down to display faces while telling the spectators that their card is lost somewhere in the deck. Revolve back palm up and place the original upper half below the original lower half. This centers the face up Ace that you switched out, Tell the spectators that the Aces can tell you the suit of the setection. Reach over and spread the Aces. One of them will be face down, Ask the spectators if the suit of the face down Ace matches their selection. They will say yes, Wave the deck over the Aces and then Ribbon Spread it to display the Ace face up in the center, Have the spectator remove the face down card among the Aces to reveal their selection COMMENTS: Larry came upon his method of the Immediate Bottom Placement independently from |.N. Hofzinser. Years ago, when Alton Sharpe was putting together his "Expert Card Mysteries”, Larry gave him the handling tor the Bottom Placement. Mr. Shar pe showed several people and the move got around. Subsequently, Ed Marlo published a version of hisown. Needless to say, this is the first time Lar ry’s original has seen print. Larry gives credit to Hofzinser for the original Bottom Placement, the only difference is that Larry outjogs the card in the process For the interested student here is another method of ending the routine, It takes its cue from the “Tell. Tale Aces™, mentioned at the beginning of this routine. After you have executed ATFUS and the Aces are tabled, obtain a left little finger break below the top two cards of the deck Execute the Vernon/Krenzel Mechanical Reverse with the two cards above the break as you turn the deck face up (this reverse is described in THE BONUS TRICK). Hold the face up deck in right hand Biddle Position and wave it over the Ace packet. Set the deck in left hand Dealing Position and turn it face down ne Ace packet and display one of the Aces has reversed itself. As you do k below the top two cards of the deck by pressing down on the outer left b. This will cause the deck to separate at the back to back point. (This u Ace packet and reverse count them onto the deck in a fanned e the break over (six of them), allowing them to square as they fall flush below these six cards as they fall play the reversed Ace. This is the perfect time for this Ace to show Use your rig this, obtain a Maintain a le Spread the t t as the selection really did reverse itself. This is known as the “Walton flip everything above the break over (six cards) Spread over the top four i table them in a fanned condition. These will be three face up Aces ators will believe the face down card to still be the reversed Ace w the top two cards in the manner already described. Execute a TRICK for a description of this Reverse) as you turn the deck face up iddle Position. Wave the deck over the tabled cards. Set the deck j i down at the center with your left little finger in preparation for ¢ escribed in the TEN CARD PROBLEM VARIATION). Spread the deck between your t reversed card in the center, Ask for the identity of the selection. Show the reversed card to be the Ace. This is extremely surprising to the spectators. To conclude, turn over the proves that Show™. After cards with: and the face d Obtain a left little finger Mechanical Re and immediately left hand Dealing | Pass. Execute a T facedown card in the A e packet t lose the selection, This method is very strong, as you Will find out as SOON a5 you try it ——____ . Page 49 The Classic Magic of Larry fennings When Larry wants to let acertain someone know that she tickles his fancy, this is the routine that For now, you can just try it on your wife (or husband!), In addition to the great patter, this routi Larry's “Double Double”, the ultimate in transpositions and a new “Pip Mis-Show Sequence”. The a startingly clean two card transposition, The "Pip Mis-Show Sequence” allows you to show a cardiny hand (supposedly) while itis actually in the spectator’s hand. In other words, it allows you to use adup card, without having a duplicate card. Itis the best show of its kind. This routine, although short andsim is actually quite ingenious, Study it well EFFECT: A brief history of playing cards is related during which the spectator is given the Queen of Hein to hold. The magician is holding the King of Spades, Instantly the two cards transpose, with the spect now holding the King and the magician the Queen. ; REQUISITES: A deck of playing cards 5 METHOD: Cut the King of Clubs to the top of the deck. Spread through the face up deck and removethe | King of Spades and place it to the back of the deck (onto the King of Clubs). Remove the Queen of Hearisand | place it to the back of the deck. Flip the deck face down. The order from the top down should be as follows Queen, King of Spades, King of Clubs. Hold the deck face down in left hand Dealing Position. Patter, Tmt) sure whether you know this or not, but every card in the deck has a history. The deck of cards comes to us from the Tara, Theft from the Major Arcana and the number cards come from the Minor Arcana. As I earlier stated, every cardintla) cards are deri deck has its oton history. This particular card, the King of Spades, represents the n igician.” / Obtain a left little finger break below two cards and push the double to the right by using the Vernal Pushoff technique. This will put you into position as shown in (FIG. 1). Grasp the double at its outer right - corner, thumb below and fingers on top (FIG. 2). Turn the double over end for end away from you, As face of the double passes your line of sight, position your thumbs so that they nearly cover the corners (FIG. 3). The double is turned completely face up and the audience sees the King as displayed in Gd: Patter, “You will notice that the King is carrying a sword.” Move your right thumb forward and indicate these Page 20 that the King is holding, while continuing to hold the double on the deck with your left thumb, Continue pattering, “That sword is for lopping off the heads of people who don't like card tricks, so watch it!” As you say “Watch it”, point your right index finger at the spectator, and as you do, execute a slight wrist turn so that the spectator can no longer see the face of the King. This wrist turn positions the double so that your right hand can grasp the outer right corner and turn it end for end face down onto the deck (FIG. 5). FIG. 3 (Spectator’s View) FIG. 5 Take the top card of the deck and place it under the new top card so that it becomes the second card from the top. Immediately obtain a left little finger break under the top two cards of the deck and execute the Vernon Pushoff in the same manner as a moment ago. Patter, “Another important card in the deck is the Queen of Hearts.” Turn the double face up in the same manner as the King a moment ago. Your thumbs againcover the pips. Continue pattering, “She is the loving Queen. She stands for sugar and spice and everything nice, She even holds a flower.” Indicate the flower that the Queen is holding with your right thumb. Patter, “She represents everything that is beautiful in this world. She also represents you (meaning the spectator). Would you please hold out your hand?” Demonstrate by holding out your right hand palm up, and as you do, execute a slight wrist turn as before. Continue pattering, “You hold the Queen.” Turn the double face down by grasping it at its outer right corner and revolving it end for end toward you. Deal off the top card of the deck and place it onto the spectator’s outstretched palm. As you place the Queen onto the spectator’s hand, push off the top two cards of the deck so you can obtain a left little finger break below them. Patter, “! will hold the magician.” Execute the Pushoff and Double Turnover as already described, making sure to cover the pips perfectly with your thumbs (refer back to FIG. 4). Make sure to position your thumbs on the pips while the back of the double card is still facing the spectator. You have plenty of time to cover the pips as the double is turned end for end. This is Larry's “Pip Mis-Show Sequence.” Part of the King of Clubs can still be seen from under your thumbs. When covered in this manner however, it looks just like the King of Spades! This looks absolutely perfect in the context of a transposition type routine. The Classic Magic of Larry Jennings Page ot Tilt the deck back so that the spectator can no longer see the face of the King. As soonas thel from their view, grasp the double at its outer right corner and turn it face down end for end! placing it onto the deck. Take the top card of the deck into your right hand. This entire sequence; You have supposedly shown the King of Spades on top of the deck, when in actuality it lies on the: hand. This is very strong psychologically. Patter, “Let's suppose the magician spots you dining alone af a restaurant. You tickle his fancy (“tickle” the card spectator’s hand with your card) so he comes over and aoorks a little bit of magic (Snap the card in your hand Pretty soon ke has you right at his fingertips (Turn the card in your hand face up to display that you now: Queen and place if face up onto the deck). It makes no difference you understand, because you have the magician of your hand.” Turn over the card in the spectator’s hand to display that they now hold the King of! COMMENTS: Larry thought long and hard about releasing this routine. It has been one of his favoritggs along time. This is an effect that you should save until you reach a point where you want to tell soni, that you are attracted to them. IN THE PALM OF YOUR HAND is a novel and unique way of sage Larry tells me that it never fails to get him a big kiss. Above all, you must perform the routine with sings, Larry would like to thank Dai Vernon, Michael Skinner, Alan Okawa, and Piet Forton for keepingthisig, gem a secret all this time. This is a perfect bar bet with which you can win many a beer. A valuable lesson can be learned it studying this routine. When Larry first devised it, he would show a spectator the face of acardandthenle the person that it was his selection. Even though the person saw that the card was not his, he wouldnt Larry finally figured out that he was giving the spectator too much information. As the routine standste the spectator is accidently given a flash of a card that is not his. Now t pectator will bet his entirepaydal Because of the fact that the spectator believes the performer does not know that he saw the athe spectator relaxes. This is the moment when you can take advantage of them. EFFECT: The performer has a spectator take any card from a group of eight. The selection is returned packet and lost. The performer removes one card from the spread and discards the rest. As the perfor teaches into his pocket for his money, the spectator catches a glimpse of the card that the performer! holding. The performer now bets the spectator that the card in his hand is the selection. As itisnttls selection, he will bet, The card is turned over to display that it is the selection and the performer'shandstt otherwise empty REQUISITES: A deck of playing cards and about a dollar and a half in loose change. METHOD: Place the change into your left coat pocket. Remove any eight cards from the deck, Discadlt remainder of the deck. Fan the eight cards face down and ask that a spectator select one. Onceit hast memorized, have it returned to the spread. It is a simple matter to see where the selection goes, Met! remember its position from the top of the packet. As soon as the spectator replaces the card, turn yout away, saying that you will not even look. Of course you have already obtained the information you! Square up the packet Commence an Overhand Shuffle, reversing the order of the cards. Execute the same shuffle once bringing the packet back to its original order. The selection should be at the spot you remembered LO suppose that the selection is fifth from the top. Spread the cards face down between your hands, anda reach the card after the selection, obtain a left little finger break below it. In our example you wouldobtil® break under the sixth card from the top. Square up the fifth card with the sixth card so that younoW break below two cards, Slide the four cards above the double inward so that you may grip the do Page 22 ble card into the left hand Dealing Position by grasping it at rs. Handle this double as a single card. Discard the rest of the packet, execute a slight wrist turn, do so, flash the face of the double between your fingers. Return the double toa horizontal each into your right coat pocket as if searching for something. As you do this, execute another rist turn, once more flashing the face of the double (FIG, 1). FIG. 1 Bring your right hand out empty as your left hand returns the double to a horizontal position. Take the top card of the double (the selection) into your right hand, fingers below and thumb on top, as your left hand Palms the lower card in a Gamblers Cop. As soonas the card is Palmed, your left hand goes into your left coat pocket, leaves the Palmed card, and emerges with the change. Place the card in your right hand on the table face down and place the change on top of it. Bet the spectator a drink that the card under the change is his selection. The spectator should take you up on the bet as he thinks he has information that you donot know about. He believes that you inadvertently flashed the face of the card, thus he feels privy to secret knowledge. He believes that he has the upper hand. By this time, the indifferent card is in your pocket and the selection is underneath the money. To conclude have the spectator look at the card under the change. Drink up! COMMENTS: Larry feels that magicians sometimes “telegraph” the effect in a routine. We allow the spectator to figure out what is going to happen by our actions. An example of this would be saying to a spectator, “Here, hold this one ball.” By telling them that they are holding only one ball they will immediately doubt you. They are conditioned that you are going to fool them, thus they are always suspicious. In our example you are telling them that they should suspect that you put more than one ball in their hand. Another example that has been used many times before is, “J have an ordinary deck of cards.” By telling them this, they instantly believe that the cards you hold are anything but ordinary. By allowing the audience to have too much information, you are diminishing the “magic moment”.In THE BET, showing the entire face of the wrong card implies that you are going to change the card. By allowing the spectator to believe that they are the only ones who know that you hold the wrong card, you allow him to fool himself. MRIS A ES The Classic Magic of Larry Jennings Page 29 "1965 was a very good year for magic. Ia that year, Larry released two routines that were desi ‘change the face of magic. The first was his famous “Chop Cup” routine. Shortly after PERIPAT COINS was placed into print. PERIPATETIC COINS is a coins across routine that is exceedingly dea first appeared in "Genii" magazine's “Magicana’ column. There are no quick moves to arouse the spectator, suspicions. It can even be performed in slow motion and still look great. The routine has the added plu having the last coin travel to the spectator’s hand in a startling manner. 4 EFFECT; Four coins invisibly travel from one hand to the other in a mystifying fashion. For the climax last coin travels to join the others in the spectator’s hand ; REQUISITES: Four half dollars and a matching shell METHOD: Begin with the shell on the second coin from the bottom in the stack of four. Place the stacker thebase of your right fingers so that the lowermost coin is at Finger Palm Position. Slide the top three«tog | forward so that four coins are displayed. The shell is still on the second coin from the bottom. The topthre | «coins should be spread forward so that about three quarters of the lower coin is visible (FIG. 1) Dighy thesecoins to the spectatoron your right, pattering, “Four coins, correct?” After displaying the coins, closeyoat | fingers, squaring the coins. Due to the forward shelving of the coins, the fleshy portion of the secondjis of your second and third fingers should be trapped between the lower coin and the three upper coins (FIG.2) | Tiltyour right palm toward you as your left thumb goes into this “coin break” from the little fingersides that you can grasp the three coins (and the shell) above the break with your first finger and thumb Liftte three coins away from your righthand as you execute a wrist turn toconceal the coin you have left behindia (Exposed View) HIG. 3 (Exposed Vi Finger Palm Position (FIG. 3). Continue to revolve your right hand until it is palm down and wun the stack of three between your first finger and thumb in Edge Grip. Once done, revolve your left handle up and place the coins singly onto your fingers, first allowing the lower coin to drop out of the shell iit Finger Palm Position, and then overlapping them toward your fingertips. Display the coins on yourleftha tothe spectator on your left. Patter, “Four coins, right?” After the affirmative reply, patter, “You sce ths nl not only entertaining but i's educational as well?” Page ts able. Close your left c to turn over onto your fingertips. Place your which now straighten so the stack is held between fing un stack onto your right fingers at Finger Palm Position, Allow the top two coins to slide forward -e again display three coins to the spectator on your right. Grasp the three coins in left first finger and thumb Edge Grip while they are still in a spread condition. Lift the two coins and the shell as you execute a wrist turn to hide the coin that remains behind in Finger Palm Position (FIG. 4). Turn. your right hand palm and grasp the stack between your forefinger and thumb (FIG. 5). Reverse count the three coins (two, coins and a shell) onto your palm up left hand, with the first coin counted going into Finger Palm Position. The shell should now be on top of the stack. Display the coins in this condition to the spectator on your left. FIG. 4 (Exposed View) Reach for the single coin on the table with your right hand, and as you do, Classic Palm the Finger Palmed coin (see COMMENTS). Close your left hand allowing the coins to nest. Turn both hands to a fist down position. Patter, “You'll hear this one go.” Make a tossing motion from your left hand to your right, during which you release the Classic Palmed coin so that it falls onto the coin on your fingers, indicating that a second coin has traveled across, Patter, “You always hear it, but you never see it!” Turn your left hand palm up and open it to display two coins. Turn your right hand palm up and openit to display two coins, and then dump them to the table. Take the uppermost coin (the one with the shell on it) into your right hand. FIG.6 (Exposed View) FIG. 7 Move your right hand forward to display its coin, and then move it back as your left moves forward. As you are displaying the coin in your left hand, your right hand executes Larry’s “Shell Steal’. The coin with the shell should rest on the second joints of your second and third fingers. Turn your palm slightly toward you as your thumb moves to the inner edge of the coin. Move your thumb upward, pivoting the shell forward and off the coin which stays on your fingers (FIG. 6). Curl your second and third fingers inward to The Classic Magic of Larry Jennings Page 25 e coin as your thumb and forefinger hold the shell in a display position (FIG. 7). Place overlaps the coin in your left hand. ‘our right hand now picks up the two coins on the table, Classic Palming the concealed coin int! Close both hands and turn them palm down, allowing the shell to nest over the coin in yourleft a tossing motion towards your right hand allowing the Classic Palmed coin to fall audibly onto thes two. Open your left hand to display a single coin. Turn your right hand palm up and open it todi the third coin has traveled across. Dump the three coins to the table. Pick up the three tabled coins. them ona spectator’s outstretched palm. Patter, “You've seen me cause coins to travel from my left hand to my right ham Now would you like to see He last coin travel visibly from my hand to your hand?” They will always answer affirmative. FIG. 8 (Exposed View) FIG. 9 (Exposed View) | / Place the single coin (shell side up) onto the stack in their hand and look at them in mock triumph. Thiswil | invariably get a laugh, It not only gets a laugh but also sets you up for the climax. Close their handanf patter, “Iwill nake the last coin go invisibly just for wou.” As soon as their hand is closed look for a coin as thoughyol | had misplaced it, then realize that you left the fourth coin in their hand accidentally. Patter, “Oh, Ineed acainle work with.” Ask them to open their hand. When they open their hand grasp their fingers with yourlefthand and remove the shell from the top of the stack with your right fingers (FIG. 8). Immediately close theirhaal for them. You are now set to go into the climax. The spectator already has four coins in their hand Place the shell onto the base of your right second finger in preparation for a Purse Palm. Exeale the Purse Palm Vanish, pretending to place the coin into your left hand but actually retainingit in righthand Purse Palm (FIG. 9). Rub the back of your left hand with your right fingers. Rub the back of their hand witha right fingers, Patter, "I'm going to make my coin disappear. Sometimes I get lucky and when my coin disappears your med disappear.” Open your left hand to display that the last coin is gone. Ask them if their three coins have disappeared. They will say that they have not. Ask them if theystll | haye three coins, The will say yes. The reason that Larry does this is to get them to admit that theyhaveanl three coins, thus making the revelation of the fourth coin more effective. If you simply ask them how mua coins they have, they could say four, making the revelation of the fourth coin anticlimactic. Have thems open their hand to display that the fourth coin has travelled across. Go south with the shell at yourearlt ‘opportunity. COMMENTS: A note should be mentioned as far as Classic Palming a coin as you pick up anotherfromiie table. When you reach the point in the routine where you must do this, execute the Classic Palmas yaut | fingers touch the tabled coin topickit up. Your second, third, and fourth fingers will close naturally, miki this easy. This way the Palming action is masked by the action of picking up a coin. The audience candi become suspicious because you did the dirty work under coyer of a natural action. So remember, AIG. 3 FIG. 2 (Exposed View) sd SS" (Exposed View) Your right hand should hold the deck in Biddle Grip, Once the deck is face up, curl your left fingers toward your palm, reversing the card below the break (FIG, 3). As with the Christ Twist, the Mechanical Reverse should be done with all four left fingers together. Do not stick out your forefinger. Also, as the cards being reversed, it gives more cover if you angle the card to the right. The deck should end up squared in left hand Dealing Position, Tell the spectators that you will cause every card in the deck toright itself. Pull down at about center with your little finger in preparation for a Pass. A few words here from which you can learn a valuable lesson. Always pull down, never pick up. This is a bad habit. Older cardicians have picked up this bad habit because, ‘years ago, picking up was all there was, Now that itis known that pulling down is superior, young magicians should start off on the right foot, enabling them to escape the tragedy of having to break a bad habit. Learnit right the first time. You will be much better off in the long run. Larry stresses that any time you pick upto obtain a break, or do any picking up motion, spectators can see it. Always pull down! Execute the best Pass that you can. Larry uses a modified Dr. Elliott's Pass. Here is a description of this Pass. You have already pulled down and obtained your left little finger break. Your palm down right hand waves over the deck from right to left. Your hand approaches the deck again, waving back to the right,and as it passes over, the cards above the breakare levered up onto their right side. This is done by straightening i % Page #0 ger. The left long side of the levered packet goes against ht palm. Your right palm downwards onto your left fingers as your Ta nebo ORT aac ‘of the packet that remains in Dealing Position. When your right hand is able to, it grasps ialf in Biddle Position as your left fingers curl toward your left palm, pulling the former top half ‘ight long edge of the cards held in your right hand, and onto your left palm, Now, raise the tion up to meet the upper portion by curling your left index finger onto the bottom of the left hand sand pushing upward. Complete the Pass with a squaring action. Care should be taken not to lower the er packet onto the lower packet. This movement would tip off the Pass. ‘Spectators will see the cards instantly go face up. You will now show the entire deck to be face up 'forone card of course). In the process you will be using Larry’s”Wedge Cull” to set the three mates of e selection into position, As was stated earlier, the Wedge Cull is one of the highlights of the book. It is le of the best Culls in existence. Learnit properly and you will feel confident that no spectator will ever see u culling cards again! Hold the deck in left hand Dealing Position. Begin to spread through the cards to display their face up ‘condition. As you spread the cards you should be pushing them off one at a time andin small batches of two _ orthree alternately. As you are spreading off these singles and batches, your right hand takes them while it "moves in a diagonal direction from the inner left corner to the outer right corner of the deck. In other words, i rene hand moves quickly back and forth at about a forty-five degree angle, taking cards from your left nd The reason that you push cards off in a small spread or in batches of two or three cards is because it allows ‘you to see what cards are coming up in the spread. In this manner, you can see the cards to be culled before ‘youare ready to cull them. Thus, when a card is coming up in the spread that want to cull, begin to take off Single cards about two or three cards before the card is reached, When you reach the first mate of the selection, insert your right little finger between the cards that have already been spread and the mate. Half of your little finger separates the mate from the rest of the spread (FIG 4). This is known as the “Vernon Wedge”. The mate is not pulled completely under the right hand cards until your right hand is moving away from the left hand cards, so that the larger motion will hide the smaller motion FIG. 4 (Exposed) FIG. 5 (Underview) There should be no pause as the spread continues, with the cards now going into the break, but above | yourlittle finger (FIG. 5). The first two or three cards taken after you cull a card should be single cards, then | Fesume taking small batches. In this manner you will not make the Cull look unnatural by taking batches and _ then slowing to take just one card. Single cards should be taken just before and just after the card to be culled ‘When you reach another mate of the selection it is slid (lightly jammed) underneath the card below the Wedge Break, but above your right first, second and third fingers. The right fingers pull this card even with rest on the out swing as before. During this process there should be very little movement of the right Fst, second, and third fingers. The spread continues with the cards once again going into the Wedge Break. our left little finger now holds a break above two cards. Cull the third mate of the selection in the same 80 that by the time you finish spreading the deck you will have all three mates separated from the rof the cards by the Wedge. During the spread the audience will see that one card has not turned face up. |you get to that card tell them that it looks like you missed one. The preceding sequence should take no ‘time than if you were just spreading the deck from hand to hand. h Classic Magic of Larry Jennings Page BL f cae hone Break. You are merely tran: ‘from { to your left, while maintaining the break (FIG. 6). Once the deck is in ‘the right hand revolves palm down and grasps all the cards above the break in Biddle Grip. The now curl towards the palm, reversing the three mates under the deck as you square up. Thisis phase from the Vernon/Krenzel Mechanical Reverse. In the process of spreading the deck to show the audience that the only reversed card in the deckist selection, you will secretly position the three mates into separate parts of the deck. Begin to spread This is a Hofzinser move. Once the card has been pushed out far enough, the right fingers pull the card the right under the right hand cards. Continue spreading, with the cards now going below the card that just positioned. __ FIG. 8 (Exposed View) When you reach the face down card at the center of the deck you will position another mate fromth bottom to the middle of the deck. Spread down so that the reversed selection is on top of the halfinyo hand. You are going to outjog the selection, and at the same time position one of the mates. The rig] with its block of cards moves inward toward your body as you simultaneously use your left second fi buckle and push out a mate to the right. The right fingers come into contact with this card and pull: with the right hand cards as you move them inward. The face down selection is pushed to the rights0 inner end is trapped between the right hand packet and the card that you just positioned to the botton move the left hand cards inward, moving them slightly to the left so they can clear the face up mate (F Page 32 and pul r "| two packets clear each other. The spreac spread. The entire sequence should k the only face down card in the deck. You have actuall n o three different parts of the deck. 2 = “There is only one reversed card in the entire deck, Wait a minute! If that one card turns out fo be your selection, then itis its a miracle. What was your card?” After their reply, pull the outjogged card free from the deck and ‘over to show that it is indeed the selection, Tell the spectators that you will now give them a bonus Ribbon Spread the deck face down to show the three reversed mates in different parts of the deck. ITS: This routine was designed to be performed while standing. If you are standing simply spread cards from hand to hand rather than Ribbon Spreading to show the bonus effect. The important thing to jember is that the spectator must never be aware that you are culling cards. If they are not aware of the culling, then they will be astounded. ~The Wedge Cull is a combination of proper execution of the mechanics, and acting. It is an Action Cull, meaning that your actions and patter should be in the foreground, The Cull itself should be offhand and relaxed, as you patter and look back and forth at the audience. The reason that this effect hits the spectators sohard is that you have just shown them that the entire deck is face up (except one card), and then instantly the three mates are reversed. Thus, you should make sure that you really drive home the fact that all the cards are face up Upon deep reflection, Larry has come to the conclusion that two strong climaxesin a row is not good for a _ layman. A second climax in many cases is anticlimactic. He feels that THE BONUS TRICK should probably be performed for magicians or for people who have seen more magic than most. When you perform a Triumph routine for a magician, they know what to expect. Hence, when the selection is found reversed it is ‘no climax at all. They think that you are merely showing them another method of accomplishing the Triumph effect. When you hit them with the bonus effect, their eyes will fall out of their heads. ‘The astute student may be reminded by the above of a Cull found in Volume 5 of ”Marlo’s Magazine” (1984). Mr. Marlo uses what he terms a “Cull Control Card” instead of the Wedge Break. In fact, Mr. Marlo relegates the little finger Wedge to the “discard” heap. Larry’s Cull was developed independently in early 1983, and established in both private notes and on audio tapes made by Larry's good friend jim Patton Mr. Marlo’s handling works - so does Larry's. As to the efficacy of the Wedge Break as employed by Larry, it will be up to you as a devoted reader to form your own opinion, if only in light of its viability within the wonderful routine described above. Magic of Larry Jennings Page 33 Effects that look like pure magic are hard to come by. This one fits the bill. The construction of THE MYSTERY CARD shows the genius that Larry has for putting together what appears to be real magic, This is the typeof plot that has been butchered many times in the past because too much was added to the method (extra cards, gaffs, etc) This one is streamlined. The handling is straight forward and totally natural. Thisis a routine that Larry has used to fool countless magicians at the Magic Castle. Learn it well and you willbe able to fool all of the people all of the time EFFECT: The performer shows that he has a Mystery Card in his pocket. A card is selected, signed, and placed face down between two face up Jokers, The rest of the deck is discarded. The three card sandwichis placed onto a spectator’s hand. A magical gesture is made toward the cards in the spectator’s hand and the selection vanishes from between the Jokers. The spectator is allowed to reach into the performer's pocket and remove the Mystery Card. As impossible as it seems, it turns out to be the signed selection REQUISITES: A deck of playing cards with two identical Jokers to match METHOD: Place a card into your left coat pocket. Make sure that you know which side is the face and which is the back. The Jokers should be somewhere in the deck. Larry usually performs this while standing. The spectator that assists you should also stand. Patter, “This effect is called the Mystery Card. I believe that magic lay dees’ condain enough mustry, so I alioays Keep a card over here in my pocket that I call the Mystery Card. It will lend an aire mystery fo what we are about to do.” As you patter about the Mystery Card in your pocket, reach into your pocket and remove the card face down. You should be holding it in position for a Gamblers Cop. Place the card back into your pocket. You do not leave the card there however. Bring your hand out of your pocket with the card concealed ina FIG. 1 (Exposed View) Gamblers Cop. This Palmed card is added to the bottom of the deck (FIG. 1), This is a simple thing todo, just remember to be natural. The audience will believe that acardis in your pocket if you believe thesamelf Larry decides to perform this on the spur of the moment, he simply cops the bottom card of the deck, goesto his pocket and brings out the Palmed card, introducing it as the Mystery Card. It is then supposedly putback, but is added to the bottom of the deck as already described Patter, “In addition tothe Mystery Card 1 also have «couple of Jokers.” Remove the Jokers from the deck and hand the deck toaspectator. Have them remove any card and sign it on the face. It is very important that they sign the selection, otherwise they will think that you used a duplicate card. Next have them place the selection face down between the two face up Jokers that you are holding. Hold the three card packet at its rightsidein ‘your right hand, fingers below the thumb on top. Patter, “When I perform this for people Hey tell me afterwards tat the only way I can do what | did is by using trick Jokers, I want you to know before we start that this is a normal everday Joke” As you deliver this last line, wse your left thumb to peel the top face up Joker into left hand Dealing Position (FIG. 2). Curl your left forefinger under the Joker so it can be clipped between your firstand second fingers as you spring it off your thumb to a face down position (FIG. 3). Next move your left thumb under the face down Joker and push upwards, turning the Joker back face up (FIG. 4). You are simply displaying Pages hand so thatitis sidejogged to the right. Raise both cards so the audience can see the face of the selection. er the left hand cards back to a horizontal position and pull the face down card square with the face up Don't hold the cards at their extreme left edge, but rather at the middle so if you were to lift your ‘ff the cards they would balance on your fingers (FIG. 5). thly. Although it is an easy move to accomplish, you must study the text and illustrations well do it right. In the process of turning over the remaining Joker, the two card packet in your left h around to straddle the outer right corner of the cards. At this point the back of the jinst your left palm. Your thumb and forefinger are stretching to grasp the face up right hand To FIG. 6). r and thumb grasp the outer left corner of the remaining Joker, forefinger aboveand your left hand palm up, turning the Joker face down (FIG. 7). It is as this Joker is f Larry Jennings Page SS 3H Rauraee Re the Noker: forefings Joker back face up. You FIG. 7 FIG. 9 The preceding turnaver sequence is 50 natural looking that even if you watch the cards closely you can't see the reverse. Try it and youl see what mean. Again stress that you must do the reverse smoothly. Any hesitation will arouse suspicion. The move almost works by itself as you stretch to grasp the last face up Joker between your left thumb and forefinger. The order of the three card packet from top to bottomisas_ follows: a face up Joker, a face down Joker, and the face up selection. Gamblers Cop the bottom card af the packet (the selection) in your left hand. Allow the hand with the ; Palmed card to fall naturally to your side. Patter, "Now sitice we have four objects to keep an eye on let me reitertte, ember, whe the Misery Cand my ak” Reach into your pocket and bring out the palmed card facedown | Page 36 i you rd as against Serpe Revolve a : ee down card (supposedly two cards) in your right hand is peeled onto the face up Joker as you steal er back into your right hand. It should look as though you peeled the selection onto a face up Joker, ithe second face up Joker in your right hand. This count will not look good unless your right hand fectly frozen as the steal is made. It is your left hand that does all the action. Revolve your right down to display the back of the Joker (FIG.11). Revolve back palm up and place the Joker onto the ‘card (supposedly the face down selection and the other face up Joker). The preceeding sequence ‘Only a moment to execute and it looks totally fair. FIG, 11 [ithe cards at their inner right side in your right hand, fingers below and thumb above. Patter, “Of havie your signed selection between the Jokers,” As you deliver this line you will again count the twocards as 3. top face up Joker into left hand Dealing Position, Take the right hand face down card into your ‘simultaneously stealing the face up Joker back into your right hand, This count is executed exactly as the one you did a moment ago, except that you do not revolve your hands to show the backs of Make sure that your right hand stays frozen as the steal is made. Supposedly you have peeled the on top of a face up Joker, and the other Joker is still face up in your right hand. Tap the face down left hand with the right hand face up Joker. This is done as you deliver the preceding patter fight hand Joker onto the card in your left hand. It should look as though you merely counted hand to hand, pausing to tap the selection with one of the Jokers. tor if they are left or right handed. When they reply have them hold out that hand palm up. execute a Christ Twist (reverse) with the lower of the two cards. (For a description of the * AROYAL TWIST.) This sets both Jokers face up. Patter, “I'll placeall three cards onto your palm,” their outstretched hand, If the spectator is holding the deck, take it back from them at as place their other hand on top of the cards. Larry Jennings Page 37 imply got 4 ikem ghost through the walls of ancient cal Ty ily going to cast a shadow over your pals, and Ii A Ci fe i: il pie dapper i's a disappearing act!” Have them remove their top hand and spread the ion has di sared. j to show that the ee Ce ChRe Twist to reverse theJoker. The temptation will be to substi hough Elmsley’s move is beautiful, Many of you will be pul t rset an easier move suchas Alex Elmsley’s “Hand Washing Vanish”. Altho | his routine. By using such moves, you take. aieeet this urge. In Larry’s opinion, it simply does ; ; cards out of the spectators’ hands. The magic is muc’ fit happens in the hands of the Spectator rather than your own ‘Once you have shown that the selection has disappe# over. You are trying to get the spectator to ask you wI Vanish is so utterly astonishing, When they ask where Fefore vou selected aul signed your card, I skowe you the Mystery not fitin t h stronger i red, look at the spectator as though the routin red he selection went. They usually will ince he» the selection went, patter, “Remember bere < “ the Card, Well, now is thetime for sto solve the mystery - ee Mratt that you have not once gone near your pocket since the routine began (in other words, lie) EAH spcator reach ae ate the selection from your pocket, verifying that there is one card and aaa only inside. Have them show it around to displa: that itis the signed select! J ‘| ne card on play igned selection. Now step back and baskinthe COMMENTS: The s fi yorie cestudent will notice that THE MYSTERY CARD is a super streamlined version of Alex Elmsley's “Point Of Departure”. This was an attempt to get away from using the deck during the rot imsley’s “Point Of Departure”. This was t 0 iB jeck during thi tine, andsti s and stg thesame ffs. Lary el that he has fooled as many people with this as with a he ever performed. I one of those routines that leaves the audience speechless. Th ne sever to reconstruct the routine. It is not too diffic is cerium foi a Es ot too difficult a routine to perform psychology behind it should be studied well so that it is completel io smpletely understood, : impromptu. "EFFECT: The spectator is given the thoroughly mixed deck and asked tocount from 10 to one while dealing "cards in a face up pile from the top. Any time the value of the dealt card matches the verbal count, that ‘umber of cards is dealt face down onto the pile. After that number is dealt, a card is placed off to the side This procedure is repeated three more times until four cards have been placed aside. These four cards turn out to be the Aces. REQUISITES: A deck of playing cards. All fifty-two cards must be present and the Jokers must not be in the deck METHOD: Begin by having the four Aces at the bottom of the deck. The entire first phase of the routine is done as an explanation as to what the spectator is to do ina moment. I will describe this as though we were actually running through the routine. If you have read TWISTING THE PLOT then the principle used should already be familiar. Deal the top card of the deck face up to the table, counting ten out loud. Let’s Suppose that it’s a Five. Deal a second card onto the Five, counting nine out loud. Let's suppose that this card isaNine. Since the value of the dealt card matches the counted number, deal nine cards face down onto the pile: After the nine cards have been dealt, place the next card face down off to the side Repeat the procedure, starting a new count at 10 as youdeala new face up pile. Let’s suppose that the first card you deal is a Jack (any Ten or face card = 10). Since the value of the Jack is 10, then the verbal number Matches the value of the dealt card. Deal 10 cards face down onto the Jack and then place the next card off to the side. Let's suppose that when you deal the next pile no match is seen. After you have reached the count ‘fone without a match, deal one more card face down onto the packet (for the count of zero) and place the next card aside. Repeat this procedure once more, until you have four cards placed aside. Make sure that the spectator understands the procedure. If you look at the piles you will notice that each one contains eleven cards. Therefore you have placed aside every 12th card. This is the principle that allows you to accomplish the effect When you finish the dealing there will be four cards left in your hand. These will be the four Aces You will now set up the Aces for the routine. Obtain a left little finger break below the top Ace. Turn the face up cards on the first pile face down so that all the cards in the packet face the same direction (face down). Pick up the packet of 11 cards and mix it up, telling the spectator that you want to be sure the deck is shuffled, After you have mixed the cards, place the packet onto the four cards in your hand. Cut the cards at the break, completing the cut. ‘You now have three Aces on the top and one on the bottom. Obtain a left little finger break below the top card of the packet in your hand as you straighten out the next packet so that all the cards face one direction. Mix this packet as you did the first. Place them onto the deck and then cut at the break, ‘completing the cut. Repeat this procedure with the remaining two packets. When you are through with this, drop the deck ‘onto the four cards that were placed aside during your explanation, You will now have an Ace every twelfth card from the top. Have the spectator follow the dealing procedure. When they finish, turn over the four cards that have been placed aside to disclose the four Aces. Once again, the handling is so fair that the magic seems to happen all by itself. How about that, An easy to do miracle! _ COMMENTS: This is a good example of what Larry was trying to convey in thecomments for TWISTING _ THEPLOT. This routine uses the exact same principle. Notice how Larry has twisted the plot so that in this oe the spectators count the numbers out loud. They do the work for you. In TWISTING THE PLOT you did ill the counting silently. The spectators were never aware of any counting process. By using this ocedure, Larry has come up with an entirely different effect. Magic of Larry Jennings Of all the versions of John Ramsay's Hanging Coins plot, this method of Larry's will probably find more favor among magicians than the others because of its ease of execution. Its real strength lies however, inits effect on the spectator. If you have been put off by similar routines that use a myriad of difficult sleights and moves, then you will find THE HOOK a breath of fresh air. EFFECT: The performer removes an invisible hook from his pocket and hangs it in the air. Three invisible coins are then hung on the hook, One ata time the three coins become visible. Then the three coins become invisible as you hang them back on the hook, At the conclusion you are left clean REQUISITES: Two half dollars and a shell to match. METHOD: Begin with a half dollar in your right coat pocket, and the other half dollar with the shell onitin your left coat pocket. Place both hands into their respective pockets, the left bringing out the shell andcoin in Fingertip Rest, shell side up. From your right pocket bring out an “invisible hook”. Hang the hook in theair about a foot away from your face. Here is your chance to act. It is your job to cause the spectators to suspend their belief. Make them believe that you have really placed an invisible hook in the air. Sometimes, after hanging the hook, Larry pretends that the hook is swinging, so he reaches up and steadies it. Little touches such as this will add greatly to your magic Reach into your right pocket and bring out an “invisible coin’. Your palm should be toward the audience with your first and second fingers touching your thumb as though you were really holding a coin (FIG. 1) Hang the coin on the hook. Reach back into your pocket and bring out a second “invisible coin”. Holditinthe manner already described and then hang it on the hook. Reach into your pocket a third time and Finger Palm the coin that resides there. Bring out a third “invisible coin” and hang it on the hook after displayingit, The real coin will not be seen because of your curled fingers (refer back to FIG. 1). Your palm is unmistakably empty and the actions should be exactly the same as when you hung a coin without anything in Finger Palm Position. This concealment is most often associated with John Ramsay FIG.1 FIG. 2 Tell the spectators that their imaginations will supply the magic to make the coins visible. Tell them that all you have to do is remove them from the hook and give them a little shake. Remove an “invisible coin” from the hook. Hold your right hand palm up as you pretend to hold a coin (the coin is still concealed by yout curled fingers). Your thumb should be behind your fingers as though you were really holding a coin, Relax your wrist and begin a back and forth motion of your hand. This is a controlled shaking of your handas though you had just hurt your finger. On the down stroke, when the tips of your fingers are out of sight, your thumb pushes the Finger Palmed coin out to your fingertips. When your hand comes back up the coinis seen to have appeared (FIG. 2) After the coin has been pushed to your fingertips, continue to shake your hand for a few moments, then stop to display the coin, Your fingers should not appear to move during this production. Properly dongit Page Me the coin simply materializes out of thin air. A few trials in front of the mirror will show you how 7 After the coin has appeared at your fingertips, flip it into the air and catch it in your right it comes to rest in position to be Finger Palmed. Inow execute Larry's “Panorama Pass” to apparently place the coin onto your left hand. While you it hand coin into the air, maneuver the left hand coin (with shell) into Thumb Palm position. The uld be uppermost (closest to your thumb). ‘the right hand coin to rest at Finger Palm Position. Several things now happen simultaneously. urright hand turns palm down as your left turns palm up. The right hand coin is retained ina Finger Palm uur right fingers and thumb grasp the coin from left hand Thumb Palm (FIG. 3). This action should be wpletely covered. Your palm down right fingertips touch the back of your left first knuckle as your left drotates palm up. Thus, the coin is covered by your right hand at the time when it could be visible to etators (FIG. 4). All that remains to be done is to grasp the Thumb Palmed coin as it goes by. After the FIG. 3 (Exposed View) FIG. 4 ‘coin (with shell) is grasped at your right fingers, place it onto your left fingers (FIG. 5). The Panorama Pass looks great because the spectators get to see both hands empty (except for the one coin) one right after the ther. The best part is that it’s very easy to do. Revolve your left hand palm down into a loosely closed fist. The coin with the shell should be held in Fingertip Rest Position, (shell side up). You have a coin in right hand Finger Palm. Reach up with your right tand and remove a second “invisible coin” from the hook. As before, the coin in your right hand is concealed Iyyour curled fingers. Execute the production described a moment ago to produce a second coin, i. shaking fourright hand and pushing the concealed coin to your fingertips. Once you have made the coin appear, Flip itinto the air and then catch it in your right hand FIG. 5 FIG.6 (Exposed View) _ Display one coin in each hand to both sides of the audience. This is a nice place for a pause. Let it sink in "that two coins have just appeared out of nowhere. Place the single half on top of the half with the shell and phte both onto your right fingers. The half with the shell should be in position to be Finger Palmed. The single coin should overlap the shelled coin (towards your fingers). Grasp the two coins in left first iger and thumb Edge Grip while they are still in a spread condition. Lift both coins, allowing the coin that nthe shell to remain behind in Finger Palm Position. (FIG. 6). You must begin to turn your right hand own as you lift the shell and coin so that the audience does not see the Finger Palmed coin. (For a description of this move see PERIPATETIC COINS.) Magic of Larry Jennings Page 4 lapping row of three: concealment, your ha wuld be uppermost (FIG. 8). Tell the spectators that if you pla ill become invisible again. across the center coin (the shell), and your second finger on the outer ‘uppermost coin should now be firmly secure between your second finger and ‘the uppermost coin backward, allowing the shell to cover the lowermost coin G. 9). Immediately pretend to lift the coin between your second finger and thumb, actually leaving it on "your ind. Two coins are left displayed on your left fingers and you are pretending to hold one between ‘your right forefinger and thumb. HIG, 9 (Exposed View) FIG. 10 (Exposed View) ‘Bring your right hand up to your lips and blow. Pretend to hang the coin on the “invisible hook”, showing that it has once again become invisible. This is a wonderful vanish. It looks like you really do pick up thecoin and it just disappears. Take the coin with the shell on it into your right hand and display one coin in each. You ‘will now execute Larry’s “Shell Steal” (also taught in PERIPATETIC COINS). ‘Move your right hand forward to display its coin (with the shell), and then move it back as your left moves ard. As you are displaying the coin in your left hand, your right hand executes the Shell Steal as ws. The coin with the shell should rest on the second joints of your second and third fingers. Turn your ‘toward you as your thumb moves to the inner edge of the coin. Move your thumb upwards, pivoting orward and off the coin, which stays on your fingers (FIG. 10). Curl your second and third fingers conceal the coin as your thumb and forefinger hold the shell in a display position. Place the shell 9s the coin in your left hand. You now have a coin concealed in right hand Finger Palm. audience while the real coin tremely important that the spectators reali lace nothing in your e e followed each time that you remove a coin from the hook. Whe /ou place your right hand. eave the coin behind. Grasp the shell in Edge Grip between your right thumb and second eit backward and allow it to slip over the real half as you pretend to take it in your right fingers. avea lone coin (with a shell on it) on your left hand. Bring your right hand up to your mouth and supposed coin. Immediately hang it on the “invisible hook”, showing that it too has become coin with the shell by turning it over and taking it from one hand to the other and back again, vending up on the left fingers. Reach up with your right hand excacly as before, but allow more urhand to be displayed so that it is obvious that it is empty, and pretend to remove the “invisible coin” he hook. Place the coin into your pocket. Tell the audience that you are left with only one coin. Tell m that you will make the last coin also become invisible. FIG. 11 (Exposed View) ghover with your right hand and grasp the coin with your fingers at the outer edge and your thumbat edge. Lift the inner edge so that the coin is pressed flat against your right fingers (FIG. 11). Lift ghthand with the coin as your left hand closes into a loose fist. Move your hand toward your mouth, las you do, slide the coin back so that it can be secured in Finger Palm Position. By the time your hand ys your mouth the coin should be secure. Blow on the supposed coin and then hang it on the hook, ing that it has become invisible. You should conceal the coin as you have on all previous "hangings’ flaxthe hand that holds the concealed coin (and shell) and patter, “That leaves me with nocoinsin my left hana” playyour left hand empty. Continue pattering, “It just leaves me with an invisible coin”, Pretend to remove the Pinvisible coin” from the hook with your left hand, and as you do, Classic Palm the coin (with shell) in pirright hand. The shell should face away from your palm. Transfer the “invisible coin” to your right ‘concealing the coin with shell in the Kaps Subtlety position. (For more on the Kaps Subtlety see DING THREE EAGLES.) Place the “invisible coin” into your right coat pocket, leaving the coin and hind to conclude. fas 2 climax to the routine that he used to do some years ago. Carry around a few small hooks in your pit pocket. When you supposedly place the last coin into your right pocket, secretly pinch one of the jbetween your forefinger and thumb. Remove the “invisible hook” with your left hand and then “take irright hand. As the right hand supposedly takes the “invisible hook”, the actual hook is brought Wat your fingertips. Hand the hook to the spectator on your right for them to keep as a souvenir. Sa wonderful way to conclude the routine. B isreally a highly effective routine. The appearance of the coins is quite magical and the use of the és the clean up very strong. In addition, it has a novel ending with the production of the hook. routine and spectators will believe they are seeing real magic. Larry truly loves this routine. It is one of his favorite tricks to perform one-on-one, The d astonishment on the faces of the spectators is priceless. It is one of the routines that comes close to ‘eal magic. By the way, the hooks that Larry uses are of the variety found in any hardware y are the type that have a threaded end and come in a variety of sizes and colors. ic of Lary Jennings ypossible”is the perfect name for this routine (in more ways than one). From a spectator standpoint, it an impossible happening. To magicians not familiar with it, it is impossible to accomplish. To those in the now, itis impossible that it works. As impossible as this seems, this trick is so impossible that even though Larry named it Impossible, it is possible to do, In fact it’seasy to do...but it looks...IMPOSSIBLE, EFFECT: The spectator selects a card in the absolute fairest possible manner. The spectator determines where the card is returned to the deck. The performer cuts the cards. The spectator spells IMPOSSIBLE from the top of the deck, with one card counted for each letter in the word. The card that falls at the last letter is turned face up and it is the selection, REQUISITES: A deck of playing cards. METHOD: Have a spectator shuffle the deck. When it has been returned, hold it face down in left hand Dealing Position and tell the spectator that you are going to have them think of a number. Tell them that they can think of any number in the deck that they like, but in the interest of time, to select a number between one and ten. Tell them that once they have thought of their number, you want them tocount that inumber of cards to the table in a pile. Demonstrate this by dealing a small pile of cards to the table. Tell them that once they have dealt their number of cards to the table, to deal two more piles with exactly the same ‘number of cards in them as the first. Demonstrate this by dealing two mare small piles to the table next to the first one, ‘Once you have made sure that they understand, gather up the three piles and insert them into the center ‘of the deck. As you do this it gives you excellent cover to crimp the outer right corner of the bottom card of the deck with your left forefinger. Make sure that you are looking at the spectators and are pattering while you crimp the card. As you square up rotate the deck end for end (it stays face down). This looks totally inatural and it serves the purpose of placing the crimp at the inner left corner of the bottom card Ask the spectator to think of their number between one and ten. Hand them the deck and turn your back, Instruct them to deal their number of cards to the table ina pile, Tell them to make two more piles of exactly the same number. Point out that it is IMPOSSIBLE for you to know how many cards are in any of the piles, Further point out that you cannot see the faces of any cards ‘Once they have made the three piles, ask that they drop the deck on top of any of the three piles. This places the crimped card on top of their number of cards. Tell them to pick up one of the remaining twosmall packets and shuffle it. Once shuffled, have them look at the top card of that packet, memorize it, and then replace it back on top of the packet. Have them drop that packet on top af the deck. Tell them that itis IMPOSSIBLE for you to know the identity of their card. Have them pick up the last small packet and shuffle it, Have them drop it on top of the deck, burying their card. Tell them that it is IMPO: the identity or the location of their card (you don’t need to mention the crimp) Turn around and face the audience, all the while telling them what an IMPOSSIBLE trick this is. Take the deck back from the spectator and hold it face down in left hand Dealing Position. Give the deck a good False ‘Cut (Larey uses his False Cut that was in Dai Vernon's “Ultimate Secrets of Card Magic’). Tell the audience that you will reiterate to once and for all convince them that it is IMPOSSIBLE for you to find their card. Tell them that you asked them to think of anumber and then deal that number of card to the table. Deal six cards off the top into a face down pile, reversing their order. Patter, “You could have thought of the number six.” Deal four more cards onto the six card pile, also reversing their order. Patter, “Or you could have thought of the number four." Tell them that you then asked them to make two more piles of the same number. Push off a batch of approximately ten cards and place them to the right of the tabled pile. Push off a second batch of about ten cards and place them to the right of the two tabled piles. Tell them that you then asked them to drop the deck onto any one of the piles. Pass the deck over the piles from right to left, finally dropping, the deck onto the Page ss BLE for you to know d shuffle it. Pick up one of the card of the packet, memorize it, ords, don’t look at the faces of any hat you have any key cards jt you had them drop the small packet on top of the deck. Droy the small packet that you just n top of the deck. Tell them you had them pick up the last small pile shuffle i anc dtosit on (ove? BBemoritrate these actions and then pick up the deck. Patter,”To make this nen noe IMPOSSIBLE lveill ‘Cut the deck at the crimp and complete the cut, with the crimped card going to the bottom. Hand eck to the spectator and tell them that the only way to find their card is by having them spell IBLE. Have them deal one card for each letter in the word IMPOSSIBLE and turn over the card that tthe letter E. This will be their selection. Finish by pattering, "Tha's IMPOSSIBLE # This whole routine is built around saying the word, IMPOSSIBLE”. The more you say it, the ive (and humorous) the routine is. This will absolutely baffle magicians who are not familiar modus operandi. Basically, it seems IMPOSSIBLE! ‘You willlike the way this routine is put together. Everything flows smoothly along until POW, you knock them out with the climax, It is basically a handling of Bro. John Hamman’s “Underground Transposition’, with a kicker ending ala Roy Walton's “Oil And Queens”, The “Underground Transposition” was the starting point for many of the popular “Reset” routines, Larry worked out this routine after having seen Derek Dingle perform his beautiful “Oil And Vinegar”, For those of you interested in the evolution of card effects, look closely and you will see the birth of THE MAESTRO’S POKER DEMONSTRATION (which canbe found elsewherein this volume), An aspect that [ particularly like about this routine is that, aftereach count, you simply spread the cards and all is as it should be. EFFECT: The performer displays four Kings and four Queens.The Kings are placed face down to the table The Queen packet is tapped against the King packet and is then displayed. One of the Kings has transposed, taking the place of a Queen. This is repeated, displaying that the Queen packet now consists of two Kings and two Queens, Another tap and the packet is now shown to consist of three Kings and one Queen, One final tap and the packet is seen to consist of only four Kings. The tabled packet is turned face up ands found to be the four Aces, The Queens are nowhere to be seen REQUISITES: A deck of playing cards METHOD: Remove the following cards from the deck and place them in the following order from theface Black Queen, red queen, black Queen, red King, black King, Ace, Ace, Ace, Ace, black King. Discard the rest of the deck. Hold the packet face down and count the ten cards as eight by spreading over the top sevenand holding the last three cards as one. The order of cards should not be reversed. As you count the cards, patter, “A little trick with eight cards.” Square up, retaining a left little finger break below the top seven cards (above the three card block) Push over the top three cards of the packet, fanning them to the right. Allow your right fingers toenter the litte finger break so they can grasp all the cards above it. Flip all the cards above the break face up allowing them to square as you do. Retain a left little finger break below the packet as it falls to a face up position. A red King should be on the face of the packet. Lift the block above the break by its right sein preparation for an Elmsley Count Patter, “These four cards are the Kings.” Execute an Elmsley Count to display four face up Kings, (The Elmsley Count is described at the conclusion of this routine.) This Elmsley Count is executed while there is still a face down block of cards in your left hand. This makes the Elmsley a little awkward, but it would not do to place the left hand cards on the table and then do the Elmsley. It would add too much extra motion, Just work on ita few times and you will get the knack. Flip the face up block face down onto theleft hand cards. Deal the top four cards of the packet intoa pile on the table, reversing their order in the process As you do this, tell the audience that you will deal the Kings to the table Patter, “These cards are the Queens.” As you deliver this line, push the top card of the packet into your right hand, Take the next card under the first, Do a Block Pushoff of all the cards above the bottom one. This block goes under the first two counted. The last card from the left hand goes on top of the packet, Flip the packet face up and execute an Elmsley Count to display four face up Queens Hold the Queen packet face up at its inner right corner, thumb above and first and second fingers below. Tap the tabled packet with the Queen packet. Tell the spectators that all you have to dois tap the Kingsand one of them will trade places with one of the Queens, Execute an Elmsley Count to display three Queens and a King. Immediately spread the top three cards to the right to display three Queens and a King Spreading the packet immediately following the Elmsley Count to display that a King has traveled across looks very good. It gives the audience a clear picture of what you have done, and what you are about toda Square up and tell the audience that you will make a second King come across. Tap the tabled packet again with the packet in your hand, Execute an Elmsley Count to display two Page 46 ings. Immediately spread the top three cards to the right to dis} ia D {tell the spectators that you will make a third King come across. Tap the in your hand. Execute an Elmsley Count to display three Kings and one Queen. pat this point. During the Elmsley Count the spectator will not see three Kings. Not to worry | immediately spread over the top three cards to display three Kings and a Queen. small displacement that must be done now. You have just spread the cards to show three Kings From the top of the fan you have a red Queen, a red King, a black King, anda black King (with hidden behind it). You must exchange the red King for the black King that lies immediately phis is a simple matter. jold the spread, let your left thumb rest on the face of the red King. Your right fingers contact the from underneath. Move your right hand to the right, taking the red Queen and black King with d King is retained by your left thumb and is peeled onto the left hand cards. You should now be two cards in each hand. Revolve both hands palm down to display the backs of the cards and then back palm up. Place the two right hand cards under the left hand cards and square up. ithe audience that you will make the last King travel across. Tap the tabled packet with the packet in rhand. Execute an Elmsley Count to display four Kings. Look at the tabled packet and patter, “If the four hive travelled over here (indicating the cards in your hand) then these must be the four...” You are trying to get "spectators to say Queens. There is no reason for them to say anything else. Allow the spectators to the sentence for you. Turn over the tabled cards to display the four Aces. You have hit them with a ly inexplicable climax THE ELMSLEY COUNT Elmsley Count is an extremely valuable tool that allows you to display four cards in an open manner, and yet still conceal a card or cards in the process. THOD: Remove any four cards from the deck and arrange them in the following order from the top. A facedown card, a face down card, a face up card, and a face down card, Hold the packet in left hand Dealing ition. You will now count four face down cards from hand to hand while concealing the face up card. pthe packet at its right side, thumb above, and fingers below. Take the packet into your right hand (in rip just described) as you peel the top card into left hand Dealing Position. This is for the count of “one” foyer the two cards (as one card) to the left, using a Block Pushoff technique. As your left hand over to take this double card, the single left hand card is stolen back under the right hand packet. This as the left hand takes the double card into left hand Dealing Position. It should look as though you lycounted a second card onto the first. Actually, the face up card that you want to hide is the lower card WYour left hand. As far as the audience is concerned,they have already seen the two left hand cards. forthe counts of “three” and “four” simply peel the two remaining right hand cards onto the left hand cards feata time.) The Elmsley Count can be utilized to hide any small number of cards. For example, if you toshow four cards when you actually have six, simply make sure that the three cards that you do not seen are below the top two cards, and above the bottom card. Now execute the Elmsley and you will only the top two and the bottom card, while hiding the others. This count is very easy to learn, and | be executing it in no time at all jecause of the clean shows throughout the routine, Larry feels that this version is stronger any others. It certainly would be hard to find a cleaner looking method. During the course of this for people, Larry came to the realization that the face card of the packet is always a red roughout the routine. He has since remedied the situation by flipping the packet face down to “Give ‘each time a card travels across. When it comes time to turn the packet face up to display the change, je packet at its outer right corner with your palm down right hand, and revolve palm up. In this ‘you can cover the Queen pips with your thumbs before the audience gets too much subliminal Larry uses this routine when he is asked to do something quick, and the spectator has never seen him perform before. In the eyes of a lay person this is very magical, It utilizes Larry’s variation of the “Hofzinser Top Change”. The student is advised to learn this method, as it is very deceptive. EFFECT: A spectator selects a card which is then lost in the deck. The top card of the deck is displayed tobe an indifferent card, By merely stroking the back of the indifferent card it changes to the selection. Justas quickly, the selection changes back to the indifferent card. REQUISITES: A deck of playing cards. METHOD: Have a spectator shuffle the cards. When the deck is returned spread it for a selection. Have them show the card around and commit it to memory. While they are doing this, set up the top card of the deck for the Vernon “Depth Illusion” (sometimes called, “Tilt’) Briefly, the inner end of the top card is raised approximately 1/8 to 1/4 of an inch (no more than that though). (For an illustration of Vernon's “Depth Illusion” see COLLECTORS 1) The outer end ofthe card remains flush with the deck. The break at the inner end is held by your et litle finger and the base of your left thumb. As far as the spectators are concerned the deck looks normal. Take the spectator's selection and insert it face down into the break. The selection should remain flush with the deck In this manner the card will appear to be going into the center of the deck due to the Illusion cof Depth principle. Actually it goes second from the top. Square up and dribble the cards from hand to hand to further illustrate that the selection is lost. Patter, “If [could really do magic, if I could just utter a fe magic happen, then I should be able to take the top card, inthis case the King of Clubs, stroke it afew times, and make it change into your card. That would be real magic wouldn't it? As you deliver the preceding patter, push off the top card of the deck and take it with your right thumb and forefinger at its inner right corner. Your right second finger should rest at the inner end of the card. Move this card forward until itis a couple of inches in front of the deck. Revolve your hand palm downto display the face of the card (FIG. 1), Because the cardis in front of the deck it gives you all the cover youneed to push over the top card and obtain a left litle finger break below it. You can do a slight wrist turn togive more cover while obtaining the break if you like. Incidentally, Larry uses a third finger break rather thana little finger break, but this is just a personal preference FIG. 2 (Exposed View) Sey Your right hand now revolves palm up, turning the card face down, and immediately slides it on top of the deck without altering your grip (FIG. 2). Your left thumb should not raise up to allow this action, Ratherthe card is inserted below the thumb. As the cardis set onto the deck your right forefinger goes beneath theeard above the break (FIG. 3) As soon asthe right hand card is flush with the card above the break, your left hand moves quickly awayin adiagonal direction to the left, carrying the deck and the card beneath your thumb with it (FIG. 4). Pressure from your left thumb keeps the top card in place, while the card just above the break stays put due toa slight upward pressure from the right forefinger. No pressure is needed from the right thumb. In fact, the only thing you use the right thumb for is to keep the changed card from falling to the floor after the changes completed Prae hs of the change has been broken down into separate make all the moves action. The most important thing to remember is that hand stays frozen he entire change. It is your left hand that accomplishes the work. At the completion of the ise your left forefinger to help square the deck. As the deck moves away after the change there ‘no wrist turn. Your left hand stays palm up throughout the change. I must again stress the fact right hand stays completely frozen during the change. If it moves, the illusion is lost. (Exposed View) Assoon as the changed card is free from the deck, move your left hand back to your right hand and mimic _ Jourprevious actions, stroking the card with your left thumb. Of course, you do not execute the change this "time, you merely stroke the card with your thumb. As soon as you have stroked the card, stroke it a third lime. Each time that you do this action, the stroke should slow down. You should keep your right hand frozen throughout the subsequent “brushes”, just as you did when you executed the change. Here is how the timing should go for the entire change process. The actual change is executed quickly " The stroke following the change should be slower than when you did the change, (about half speed). The final stroke should be slower than the first two (very slow). It is this slowing down of the stroking action hat makes the change so deceptive. Try this Top Change, it looks very good. You should match your patter so that when you say “...stroke it a few times...” you are executing the change. It should not look like a move. In your patter you are saying, “If 1 were a real magician.” There is nothing to tip off the spectators that you are about to do a move, so merely act as though you are just stroking the card. Stay relaxed You should now be holding the face down changed card about a foot away from the deck. The spectator willnow answer your question, replying that yes, it would be real magic if you could just stroke the card and make it change into their card. Move the card to a position in front of the deck and revolve down to display theirselection. Patter, “Now that's magic!” Once again, by having the card in front of the deck, you have cover toprepare for another Top Change by obtaining a break below the top card Atthis point the spectators will usually respond with surprise orlaughter. While they are responding they Willlook at you (or at each other). As far as they are concerned the effect is over. You now take advantage of this misdirection by executing another Top Change. This change, while essentially the same, differs slightly. In fact, it is closer to the standard Hofzinser Change. Revolve your right hand palm up, returning theselection to a face down position. Execute the Top Change, but do not stroke the card with your thumb alter the change. Instead, your right hand freezes with the changed card as the left hand moves the deck away to the left in a sort of shrugging gesture. Remember, this is done on the off beat, so the spectators are Mot looking at the cards (nor should you be) Patter, “Most people don't believe in magic, so they quit thinking about it, and when they do, the magic just fades avoay”. Turn lover the card in your right hand to display that the selection has changed back into the indifferent card _ COMMENTS: The reason that Larry uses this as an openeris because it is good magic that happens quickly Ithits the audience right between the eyes, establishing you as a good magician right away. Larry suggests Mhat you perform this for only one or two people to achieve maximum effect. Even though it has been said "before, it bears repeating again. When you execute the Jennings/Hofzinser Change, make sure that your "fight hand stays completely still. Let the left hand do all the action. ic Magic of Larry Jennings