Series 1, No. 1: John Scarne's Classic Ball Routine:
The effect is a bewildering series of magical appearances and disappearances
of small balls. Starting out by taking a pinch of ashes from an ash tray,
you cause ball after ball mysteriously to materialize, multiply and vanish.
At the end of the routine, the balls become ashes once again.
Series 1, No. 2: John Scarne's Triple
Coincidence:
Using two ordinary decks with backs of different design, the spectator
shuffles one deck while performer shuffles the other. At no time does
performer tough spectator's deck. Spectator cuts his deck three times, each
time exchanging a card with the performer. When both ribbon-spread their
decks, a miracle is accomplished -- each time spectator and performer turn
up one of the three stranger cards in their decks, the cards turn out to be
alike -- a knock-out triple coincidence. Both decks are left on table for
examination.
Series 1, No. 3: John Scarne's Silver
And Copper Trick:
A silver coin in the spectator's hand changes place magically with a copper
coin in the hand of the performer. This is followed by a beautiful
penetration effect of the coin passing through the trousers pocket. For many
years magicians were under the impression that Scarne used gimmicked coins.
Now, Scarne shows that he does it with ordinary coins and gives you his
exact method.
Series 2, No. 1: Dai Vernon's Triumph:
Dai Vernon divulges one of his most astonishing discoveries, an exquisite
card miracle entitled "Triumph." A revolutionary sleight is involved which
will be coveted by every magician. I is an easy-to-do false shuffle
equivalent to a pull-through shuffle, considered one of the most difficult
of all gambling sleights. Very few magicians are able to execute a neat and
deceptive pull-through because it requires years of constant practice and
most of them have abandoned the effort in disgust. Now, by means of Dai
Vernon's false shuffle you can achieve the same result with very little
practice. You will find it the perfect false shuffle for maintaining the
order of the reds and blacks. Furthermore, lovers of gambling tricks will
rejoice in this sleight because the order of the entire pack can be kept
intact.
Series 2, No. 2: Dai Vernon's Cutting
The Aces:
The four aces, fairly distributed throughout the deck, are cut to with
uncanny accuracy in a new and impressive manner. Few magicians have as yet
been privileged to view this extraordinary routine which produces one of the
most entertaining impromptu effects in card magic. Dai Vernon also discloses
here for the first time his own method of controlling cards during the
process of cutting. This secret alone is an extremely valuable sleight for
which you can find numerous uses in card conjuring.
Series 2, No. 3: Dai Vernon's
Spellbound:
Dai Vernon reveals a cherished routine which has been one of his pet
mysteries for many years. The effect involves a series of remarkable and
inexplicable changes of two coins of the same size but minted from different
metals, such as a half dollar and an English penny. It utilizes a very old
sleight originally employed by English swindlers at county fairs and
carnivals. Until now this routine has been guarded, and consequently it is
practically unknown to the magic fraternity. Although the effect appears
extremely difficult to perform, its simplicity will intrigue you.
Series 2, No. 4: Dai Vernon's Kangaroo
Coins:
This is Dai Vernon's original method of passing our coins, one at a time,
through a table into a glass. The sleights utilized in this effect appear
very natural and are easy to do. By adding superb misdirection and
subtleties to natural movements, Dai Vernon has created a magnificent
routine. After practicing and mastering this routine you will have an effect
which will establish you as a superlative sleight-of-hand performer.
Series 3, No. 1: Bert Allerton's Pump Room Phantasy:
The two red aces are exhibited, one on the top and the other on the bottom
of the deck. They are unmistakably inserted into the center of the pack,
when "Presto!" they appear on the top and bottom respectively. This action
is repeated, and on the third change they become black aces. The black aces,
too, are inserted in the center, only to return to the top and bottom. Then
one red ace changes to a black ace and one black ace changes to a red ace,
and finally all four aces are produced for a startling climax.
Series 3, No. 2: Bert Allerton's
Bamboozle:
The magician relates an incident where he has apparently been shortchanged
but in the end came out ahead of the game.
Series 3, No. 3: S. Leo Horowitz's Malini-Bey Chink a Chink:
Four sugar cubes, dice or dominos are laid out on a table in a 15" square.
The magician places each hand on a cube. The fingers are wiggled and the
hands are removed. After repeating this action several times it is found
that the four cubes, one at a time, have traveled mysteriously to one spot.
This routine leads into an amusing finish wherein the performer shows that
cubes placed in his pocket somehow find their way back into his hand.
Series 3, No. 4: S. Leo Horowitz's The
Egyptian Ball Mystery:
The performer exhibits a red ball and a white ball. The red ball is
unmistakably wrapped in a silk handkerchief and placed in a glass. The white
ball is picked up and held at the fingertips. It suddenly changes into a red
ball. The performer then removes the handkerchief from the glass and
discloses that the red ball has mysteriously changed into a white ball.
Series 3, No. 5: Jarrow's Hanky-Panky:
A handkerchief is held at the corners by two spectators in horizontal
position. A newspaper sheet is placed over the handkerchief and a lighted
cigarette held underneath the center of the handkerchief. Suddenly the
cigarette burns its way through the newspaper, but on removing the paper it
is found that the handkerchief has not been damaged.
Series 4, No. 1: Francis Carlyle's
Decapitation:
The performer borrows a package of paper matches and removes one match. He
scrapes off the head on both sides and shows clearly that the match head is
missing. Suddenly the head mysteriously reappears. The performer lights the
match. The strong feature of this effect is in the repetition. The performer
tears out a second match. He again scrapes off the head on both sides. Once
again the head mysteriously appears, and the performer lights the match.
Series 4, No. 2: Francis Carlyle's
Homing Card:
The spectator selects and marks a card on its face with any identifying
mark. The performer shows that his right trouser pocket is empty, and then
has the spectator return the marked card to the pack. Showing that he has no
card in his hand, the performer reaches into his trouser pocket and reveals
that a card has arrived there. The spectator is asked to name his card, and
the performer shows the card in the pocket to be the selected one bearing
the spectator's identifying mark. The performer openly returns the selected
card to the center of the deck, and places the deck on the table or in the
spectator's hand. After showing both hands to be unmistakably empty, he
slowly reaches into his pocket and dramatically produces the marked card
again.
Series 4, No. 3: Francis Carlyle's Wrist
Watch Steal:
The spectator puts an identifying mark on a copper and silver coin. One coin
is placed in a handkerchief which is held by the spectator. The performer
holds the other coin. At his command, the coin held by him vanishes and a
resounding clink is heard. Mysteriously the performer's coin has joined the
one in the handkerchief held by the spectator. Upon examination, the coins
are found to be the ones originally marked by the spectator. This effect is
an excellent one in and of itself. It impresses the spectator with your
ability to do miracles with coins. Psychologically, this makes him easy prey
for the main effect. Mr. Carlyle causes the spectator to believe he is going
to see another coin trick which is even more impossible than the previous
one. He is thus able to gain possession of the spectator's wrist watch
without his knowledge. This is made easy because the spectator's mind is
concerned solely upon seeing a coin miracle and he never suspects that his
watch is to be stolen. The mechanics of the steal itself are simple, and are
timed exactly to coincide with the distractions.
Series 5, No. 1: Dai Vernon's Impromptu
Cups And Balls:
The "Cups and Balls" is, and will remain, one of the great classics of
sleight-of-hand. In olden days, a magician's ability was judged by his
performance of this effect. The appeal to the layman lies in the fact that
the trick embodies nearly every possible effect--appearance, disappearance,
penetration, transposition, and change of form. Dai Vernon's method of
performing the "Cups and Balls," here explained for the first time, has been
developed over a period of years to a point where all superfluous moves are
eliminated and the strongest features of the trick properly emphasized. The
climax is reached in a logical manner, and the whole routine never fails to
astound the keenest onlookers.
Series 5, No. 2: Dai Vernon's Ambitious
Card:
A card is repeatedly placed into the center of the pack and caused to jump
invisibly to the top or bottom. Wherever the spectator thinks he is
following the magician's actions, he nevertheless finds that he has been
completely bewildered.
Series 5, No. 3: Dai Vernon's Mental
Card Miracle:
Spectator is given a free mental choice of one of five cards. Without asking
a single question, performer puts one card in his pocket which never fails
to be the thought-of card. To prove that the chance plays no part in this,
performer repeats the feat twice.
Series 6, No. 1: Dai Vernon's The Ring
On The Wand:
This is a treatise on "The Ring On The Wand." Dai Vernon discloses the
finest sleight-of-hand artists Malini and Leipzig. Herein are revealed for
the first time the secrets of one of the most fascinating magical effects.
Series 6, No. 2: Dai Vernon's
Slow-Motion Four Aces:
Two bewildering slow-motion versions of the Classic Four Ace Trick, wherein
the Aces are caused to leave their packets and join the Ace in the fourth
packet, one at a time.
Series 6, No. 3: Dai Vernon's The
Travelers:
A lesson in misdirection. Four selected marked cards are placed in different
parts of the deck. The deck is shuffled. The four cards vanish from the deck
and mysteriously appear in four different pockets of performer.
Series 7, No. 1: Dr. Jacob Daley's Cards
Up The Sleeve:
The classic "Cards Up the Sleeve," a favorite of great sleight-of-hand
artists, has always been considered the acid test of the skilled performer.
In this ultra-modern version, Dr. Daley greatly enhances the effect by
adding the distinguishing feature of having the cards travel in numerical
sequence. Many new intriguing sleights are introduced here for the first
time, which should serve as a veritable storehouse of powerful magical
weapons for use in many other magical effects. Much thought has been put
into the construction of this effect in order to perfect it. The end-result
is an artistic conception of off-beat timing and precise misdirection which
will prove a delight to the connoisseur as well as the layman.
Series 7, No. 2: Dr. Jacob Daley's The
Itinerant Pasteboards:
This routine embodies two different methods of accomplishing a novel
transposition of two cards. The effectiveness of the routine depends, in a
large measure, upon the proper execution of a new conception of the Double
Lift. This sleight is undoubtedly one of the most valuable sleights in the
entire field of card magic. Despite its great value, it has one serious
drawback which prevents it being used as often as one would like. This
weakness is the necessity of getting set. The "get-ready" requires
misdirection which many times is impractical when the presentation requires
that the sleight be repeated in rapid succession. In order to eliminate this
effect, Dr. Daley has evolved the Instantaneous Double Lift, which makes it
possible to use the sleight repeatedly without the "get-ready." Once you
master this new method, you will have at your command the only indetectable
sleight in card magic that can be done under fire. This routine demonstrates
the practical application of this valuable modification of the Double Lift.
Series 7, No. 3: Dr. Jacob Daley's The
Cavorting Aces:
Two black Aces, one placed on top of the deck and the other on the bottom,
are magically transported to the center of the deck and then back again to
the top and bottom. The two red Aces are now placed in the center of the
deck and are caused to change places with the black Aces. The two black Aces
are left in the center of the deck and the two red Aces are placed on the
top and bottom, whereupon all four Aces are caused to assemble in the center
of the deck. Finally, the Aces vanish mysteriously from the deck and are
produced from the pocket one at a time as called for.
Series 8, No. 1: Slydini's Cigarette
Miracle:
The performer borrows a cigarette and lights it. He unmistakably tears it in
two and shows both halves. Then, without any artificial moves, the two
pieces are seen to fuse, and finally, non the worse for its harrowing
experience, the cigarette becomes magically restored. The performer is able
to amaze the onlookers further by repeating the effect immediately.
Series 8, No. 2: Slydini's Flight Of The
Paper Balls:
A delightful comedy routine. An audience enjoys participating in a magical
effect particularly when the performer takes the spectators into his
confidence. This routine provides hilarious entertainment because the entire
audience is aware of the modus operandi except the assistant who is
profoundly mystified by the entire proceeding. In this routine the performer
repeatedly challenges the spectator to guess what happens to paper balls
which mysteriously vanish.
Series 8, No. 3: Slydini's Flyaway Coin
Routine:
The performer shows a coin to a spectator and causes it to vanish. The
spectator finds that the coin has traveled to his breast pocket. He thinks
that he was caught by surprise and always requests the performer to repeat
the effect. Although the spectator is on his guard, the performer
successfully causes the coin to reappear four times in the spectator's
pocket. This effect differs from other coin routines in that its dramatic
strength lies in the repetition. By continually challenging the keenness of
the spectator, the effect is greatly enhanced and built up into a
bewildering and highly entertaining routine.
Series 9, No. 1: Ross Bertram On Coins:
 Rubdown:
Performer places his right hand on a half-dollar and rubs it on the table
with a circular motion. After a few moments the rubbing motion is stopped,
the right hand is lifted, and the coin is gone. The left hand, which has
been resting on the table, is then lifted, revealing the coin under it.
Again the performer starts rubbing the half-dollar on the table with his
right hand. Personally a dime makes its appearance from under the fingers in
place of the half-dollar. Upon raising his left hand, he finds the missing
forty cents under it--a quarter, a dime and a nickel.
Double-Cross:
Two contrasting coins are shown at the fingertips--one in each hand. The
hands are then closed and held far apart. When they are opened again, the
coins are seen to have changed places. Performer offers to repeat the
effect. This time, just before opening the hands, the left hand drops the
coin it held originally to show nothing has happened as yet. Instead of the
coins being transposed, which is what the spectators expect to see, the coin
in the right hand has traveled over to join the coin in the left.
Passing
The Half-Bucks: Four coins are counted slowly into the left hand.
One coin is commanded to pass into the right hand. When the hands are
opened, three coins are in the left hand and one in the right. This is
repeated with the second and third coins. The performer then states that he
will cause the fourth coin to join the three in the right hand; but
something goes wrong and the coin fails to pass. When the right hand is
opened, it is unexpectedly found to be empty and all four coins have
surprisingly arrived in the left hand.
The
Porous Paw: A coin is caused to penetrate the hand.
Coin
Assembly: Four quarters and two playing cards are used. The coins
are laid out in a square on a cloth covered table, about one foot apart. The
two outer coins are covered with the cards. The two uncovered coins are
vanished in succession, and join the quarter under the right-hand card.
Finally, the coin under the left-hand card vanishes, leaving all four coins
magically assembled under the right hand card.
Series 10: Vernon On Leipzig:
Leipzig's Opener: A deck of cards is placed face down on a spectator's palm
and a selected card appears mysteriously on the bottom when the deck is
turned face up. Then the effect is repeated up to just before the point
where the pack is placed on the spectator's palm, but this time the
performer extends his own right palm down above the spectator's hand and the
pack is placed above the performer's hand. The deck is riffled, and
simultaneously with the riffling sound the card apparently penetrates the
performer's hand and appears face up on the spectator's palm!
Leipzig's Acrobats: Simple in plot, this effect of Leipzig's is baffling in
the extreme. A pack of cards is divided into halves and the face up bottom
cards of each half mysteriously change places!
Leipzig's Pride: The stack of coins was undoubtedly Nate Leipzig's favorite
magical problem. He guarded it jealously, and would never perform it when
other magicians were present. There was a good reason, for in his hands it
was a masterpiece.
Leipzig's Tear-Up With A Twist: The restoration of a torn cigarette paper as
performed by Nate Leipzig, was a minor miracle. He handled the whole
procedure so neatly and cleanly that the result was a real delight to watch.
With it he created a truly magical effect that never failed completely to
bewilder all onlookers.
Series 11: Vernon On Malini:
Malini's
Card Stabbing: After having six or seven cards selected, the pack
was spread face down all over a table top. While blindfolded, Malini would
successfully stab each selected card in turn on the point of a penknife. The
last time he thrust the knife in amongst the scattered cards he would push
the knife into the table top through one last card which allowed him
dramatically to tip the table over towards the audience whereupon all the
other cards would cascade onto the floor, the chosen card pinned to the
table as to a target. When the card was plucked free it proved to be the
last selected card.
Malini's
Own Color Change: While standing completely surrounded by spectators
Malini caused the face card on the deck of cards to change in a most uncanny
manner. Despite the fact that the deck was held horizontally and that he was
under close scrutiny from all sides, he then repeated the effect, causing
the face card mysteriously and absolutely to transform itself into another
absolutely undetectably!
Malini's
Favorite!: Malini would ask a spectator to watch a coin as closely
as possible as he tossed it from hand to hand. The coin landed head up in
one hand, tail up in the other. This was done a few times, Malini asking the
spectator to guess whether the coin was going to land head or rail. Finally
he seemed to toss it into the left hand as the left hand closed on it. The
spectator was asked which way the coin hand landed, head up or tail up. No
matter what the answer was, Malini would open his left hand and reveal that
the coin had completely vanished. The right hand was empty too. The effect
in Malini's hands was that the coin melted away!
Lesson 1--Dai Vernon:
Royal Monte: A lesson in artistic card handling. The performer
comments on how amusing it is, to onlookers at a poker game, to watch the
average player inspect his hand. He demonstrates this by slowly fanning five
cards he holds. He shows the ten, jack, queen, and king of the same suit.
With the "hope that springs eternal," he carefully squeezes out the last
card. Lo and behold, it is actually the ace of the same suit. As so often
happens in such cases, nobody opens the pot. Of course when it comes to his
turn he opens but nobody stays. He shows his wonderful hand and receives the
usual sympathy. Not wishing to part with this beautiful hand, he decides to
perform a Monte trick. Turning the ace and the ten face down in the fan, he
places one of them on the table and asks the other players to guess which it
is, ace or ten. They all guess correctly. It is the ace. As he again turns
up the ten spot he remarks, "Well that time you did not bet any money. I'll
wager that if I turn down these four cards--the ten, jack, queen and king
and give them a cut or two, you cannot pick out one of the picture cards.
And you have three chances to one in your favor. A picture you win; a ten
you lose." Holding the four cards, backs towards the players, several make
small bets. However, they all lose because all four cards prove to be tens
and the picture cards have completely disappeared. The cards of course are
inspected and found unprepared in any way.
Lesson 1--Tony Slydini:
The Art of Using the Lap as a Servante: Tony Slydini has
mystified hundreds of magicians by utilizing this stratagem and has
literally "floored" them with apparently impossible effects. Of course he
has developed his own style, perfected the misdirection and timing to such a
degree that one can say that he has brought this system of deception up to a
high artistic level. It took considerable persuasion to have him permit the
publication of the fine details of lapping as interpreted by him in a new
and modernized form.
The Stars Of
Magic book is considered by many to be the best book ever
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creations from the leading magicians of the first half of
the 20th century. Originally released by Stars of Magic,
Inc. as separate manuscripts that sold in the 1940s and
1950s for around $5 each they were later bound in a
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in September 2003 Meir Yedid Magic acquired the rights to
the original and current editions.
Written/Edited by George
Starke with photographic interpretation George Karger this
new edition is by far the best produced with crystal clear
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Price: $35.00
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