llottt tn (.o;rllttirlt;c, l);tvl w,tf,,t r:kr:,r'lrrrtttrl lrttrl r rtnfkl;rnt of .

,rtr lr
-{
Ittrnttr;rrc:i ;r:i l{oy Wrrlton, (,or(lon llrtrr rl, l'}clr,r l)ulllr, ,rrrrl Arrrlrlw
(r;tllow;ty. Ile wlr:, irs tttut;lt lovc.tl f ot ttr:, ;rrtr:,orr;rltly irrrtl l.trrrlrr,,,,.. =r
(D
;rs hc wirs f<lr his t;rntlrstir. (:reationsi. Yct sur:lr wlr, llt,, ltrorh,,.ty
that hc ncver publishcd a lrook of his own nl;lt(]rurl, Wlrlrr lrr rlrlrl
in 1994, he left behind an amitzing body of wc)rl<:;r,cn lry rll;rtrvrly
few magicians - until now!

ln conjunction with Peter Duffic and Dave's nr;rny frrcrrr|,,

lnternational Magic is publishing, exclusively and rn linrrlt,rl r,rltlrorr,
this incredible legacy of material to enjoy, learn lrnd grr,rlorrrr,
And what material! Dave's work carries the impact ol ;rrr trn;r(ltniuv
collaboration between Roy Walton and l(en Brool<t:, trnd:;ur:lr r', llrr,
treasure herein, you'll be hard pushed to decide whir:h routul(,., l()
oC:r
leave out of your repertoirel

Within these pages you'll find such Campbell classrr:s ;r:, llllsll
g 'l'ltc 'h rt rr'r/ ilrlc Cfose qJy Magic--
,cf Dave Camybel[

POKER HAND, BINGO, THE DEFECTORS, HOUDINI ESCAPI S ;urrl rrr;ury

others...all strong, direct, highly original, and commcrt:r,rl rn tlrr,

t-
(D
extreme. You'll also find routines which are arguably thc rrro,,t (o
entertaining versions of CARDS ACROSS, OIL AND WA lt l{, s)
ALL THE CANNIBALS, SIGNATURE TRANSPOSITIONS, CAIiI) I'IIIN I IN(, (.)
and much more. But while Dave Campbell's magic is nrcrc<lllly
entertaining to the public, it's also strong enou51lr lo ltnil llt,'rrtr,'.t
knowf*dgeable magicians. Routines like FRED, AUTOMAII( Sl'l llll{,
SWAP AROUND ACES, DAVE'S PREMONITION, THE OtsSTRVA IIoN II ., I

and others too numerous to mention all testify to his irnlir/rl(l nl,l(lt(,tl
thinking. lndeed, it can be truly said that many of hr:; routlrr,,,;ur,
worth the price of the entire book Writlr:rr lry
Written by Peter Duffie
Peter I )rrl lre
Ultimately, The Dave Campbell i-egacy will stand ir:i ir trrlrrrt,,to;l
much loved magician whose material is not only a deliqht lo rr,,rrl ;urrl
perform, but in many instances, ahead of its time.
'ltt)tl ,r,1, tl
 Contents
Contents Page

Chapter One
Foreword by Gordon Bruce 15

Chapter Two
Biography 19

Chapter Three
Tricks with normal playing cards

Fusion 37
Three Cards Across 43
Dave's Premonition 47
Simplex Premonition 55
Leap-Frog 57
Automatic Speller 63
Snap 69
Enveloped 75
Surprise Sandwich 79
Mix'n' Match 83
Chinese Prediction 91
Coincidental Transposition 95
Everywhere and Nowhere 99
The Defectors 105
 Swap Round Aces 113 Chapter Five
Ricochet 121 Tricks with extra or faked cards (except packet tricks)
About Turn 127
Jokers to Aces 133 Super Transposition 291
Joker Special 137 Stamp Duty 295
Performing Aces 141 lnfallible Prediction 299
Thought Anticipated 155 Cards to Pocket 303
Lazy Travellers 313
Chapter Four Cards through a Newspaper 317
Packet tricks with extra or faked Cards Reverso-matic 327
The Original'Fred' Trick 331
Transpo Dots 161 BIank Astonishment 337
All Change 171 Direct Transfer 341
Your Card, My Card 175 An Open Prediction 347
The Traveller 179 Card in Wallet 349
Dave's Dotty Spots 183 Super Optica 355
Bingo 191 Magnetic lnk 361
Dave's Oil and Water 197 Gen Prediction 367
Transpo Print 203
lrish Poker Hand 207 Chapter Six
All The Cannibals (Ultimate Cannibals) 215 Miscellaneous tricks not using playing cards
Beyond Belief 223
Teleportation 229 lnf lation 371
Three Blanks Routine 237 Ring Road 375
Highly Progressive Jokers 241 Observation Test 379
Highly Sensitized Cards 249 Triple Surprise 389
Alcohol Monte 257 Silk 'n'Tumblers 393
lnauguratlon 265 A Blend of Silk 'n' Tumblers 397
Houdini Escapes 271 Srr bstitution 401
Thc Grow Morrt, (itow I rx;r; Ortttl ') /o
Fo rewo rd

I knew Dave Campbell for well over half my life. I first met
Dave in Roy Walton's shop when I was still at school. I was
rrot a member of any magic club, so at first Roy's shop was
lhe only place we ever met.

l)arve was one of the few magicians to tell me stories of

.lohnny Ramsay. He often said that if the magicians of today
r:ould see Ramsay perform just one of his routines, they
wr"ruld want to go away and practice it for a year-and as
Ior the "Coins in the Air," he would swear "You could almost
::oo them hanging up there." Although Dave was a young
nran and Ramsay was quite elderly at the time, Ramsay had
ollviously made a deep impression on him-40 years after
riooing Ramsay, the memory was as strong as though it had
lroon yesterday. I once asked Dave if Ramsay had ever
lrrrrght him anything. "Ramsay?" he said, "Johnny Ramsay
would show you nothing-not a thing! He'd just fool"The
Iroll out of you."

ovor the years I came to know Dave very well and he

Iror:ame one of my closest friends. We would meet regularly,
rrsually on a Thursday, still in Roy's shop, and after he
rolirod, more regularly and in each other's homes. We would
ftwap tricks and. he was always someone I could try out new
roulinos on-his criticism was always informed and fair. His
owrr routines, as you are about to find out, were always
rliror:tod at the lay-person. This, however, did not stop him
Che Dwe Camybeff Legacy

from fooling the hell out of magicians with the same

material. Always with a great sense of humour and an
infectious laugh, his personality helped to disguise his actual
skill and ability, which is as it should be. Dave would never Chapter two
show off , or say, "This'll fool you"bul it usually did'

with great difficulty I once persuaded Dave to lecture to Biography

the Edinburgh Magic Circle' The evening was a huge
success, though I felt he gave away too much! Once, when I
was writing a book, I asked Dave and some other close
friends for a couple of tricks. with characteristic generosity
he said, "Take anything you want."Take what you want?
What to leave out! I chose two of my favourites but they
are rightly included here to make this collection as complete
as possible. Dave's routine with the "Chinese Bit" was one
(indeed I based my routine on his) because, although it is
primarily for lay-people, it has a real Johnny Ramsay quality
to it.

I am sure Johnny would have loved it. The other routine?

well, read them all and make up your own mind. There isn't
a bad trick amongst them; but I doubt that you will be able
to present them with the enthusiasm and obvious
enjoyment of my friend, Dave Campbell'

Gordon Bruce
Blography

l)rrve had one of the most inventive minds that I have ever
nlrcountered. His wonderful sense of humour and his
Ittloetious laughter generated an aura of happiness
lhroughout any company he was in. lt will always be a
plouslng and vivid recollection whenever Dave's name is
rnlaod in conversation. lt will be his kindness and generosity
lowards new, up and coming magicians, and people in
goneral, that will, for me, be his forever outstanding virtue.
lhls ls one attribute that has no bearing on talent. lt is a
Iruman virtue, and one that cannot be denied of those who
l)orooss it. Dave possessed it, and he will be remembered
ftrr lt. Let's take a closer look at the man.

l)trvs Campbell, son of Annie and Charles Campbell, was born

otr the 29th September 1928 in the town of Coatbridge,
f]t;otland. He had one brother, Jim, and two sisters, Marie
ntrd Anna.

Ar a young man, he enjoyed nights at the local dance hall.

On one of those nights a particular young lady caught his
ayo and he asked her to dance. She quickly became the
Iooug of Dave's attention, and he began to dance with her
rnore and more.

'flto young lady's name was Margaret Ure, and Dave would
loon be escorting her to her front door at the end of each
ovonlng. Two years later, on the 16th of February 1952,
lhe Dave canry\eff tegacy 'l'lt,' 'tnit tl'i6fe Chse ay Magic of 'tlwe Camy6e(t

Dave and Margaret became husband and wife. The wedding lrul f rom outside the living room window! As it was a dark
took place in St. Bridget's Church in the nearby town of ntr;lrt, Dave had failed to notice some children playing in the
Baillieston. Margaret, however, did not marry a magician, ritr0ot outside. They had all stopped what they were doing
because it was not until four years after they got married, rrrrrl had been standing watching Dave',s rehearsal! At least
at the age of twenty- eight, that Dave caught the magic Iro r;ot a favourable reaction.
bug. lt seems that he had a natural aptitude for his new
found interest, because in less than three years in 1958, llruirrg; this time, Dave performed at local charity shows, as
he became the proud winner of the Shield Competition for woll irs Irequent performances in children's wards in the
stage magic at the Scottish Conjuror's Association in lor;rrl hospitals, and he had a large suitcase crammed with
Glasgow. oVorv children's prop imaginable.

The act was predominantly one with silks, which included, llu rrovcr turned professional, and so he would remain a

Dancing Cane (opener), Twentieth Century Silks, Blendo, grrrrl litne magician with a full-time obsession!
Silken Bombshell (made from two plastic vegetable llrrrt ()ltsession would very shortly take a sharp turn towards
colanders!), Serpent Silk, Willow Pattern Plate, and the r lurru'up magic, and in particular, the art of card magic'
Zombie f loating ball (with a giant silk f inish). Even then, Irr lrrr:t l)ave's first published effect was "All Fair Prediction"
Dave added his own touches, and a few years later, a wlrlr:lr irppeared in the Scottish Conjuror's Association
version of one of his silk creations would be marketed by rrrir11il/ine, The Thistle in April 1958. This was followed by
,
Ken Brooke under the name "Freddie The Flea", although llrorrr;lrt Anticipated," another card trick which circulated
Dave's name was absent from the credits in the tt| ir wirlor readership when it appeared in the April 1959
instructions. Knowing Ken Brooke as I did, this would most trlruo ol Harry Stanley's popular magazine The Gen. Both
certainly not be deliberate. rrlllr:l:; irro exCellent, aS you will discover for yourself as you
rpirrl lltis book, However, it is even more amazing
Dave was a stickler for getting it right, and wOuld practise r nruiitlrtrirrg that he was barely into card magic at the time'
for hours on end. His wife Margaret recalls on one occasion llrlri riwing from stage magic to close-up magic, was very
when he had a local show coming up, he brought all his nrrrlrlott, and it was all down to one man, John Ramsay'
props down from the upstairs room and set them up in the
downstairs living room. He started off with the Dancing Irr rrtr inlorview for Profile magazine (June 1992), Dave
Cane, and when he had finished, there was a sudden burst roripotttltltl to the question, "Where did it all start?" "John
of whistling and clapping, nol f rorrt M:trt;itrot I tttirtht itcld, lliililriiry, llttt mitn was amazing. lt's hard to explain, wee
 't'ltt 'tncre[i6fe Cfose t 1y Magic of oat'e Camybe(
Che Dave Comy\eff tegacy

p;rrtnership broke, and Dave left' Tommy continued the

sausage fingers and a gleam in his eye, he was the best
weekend market stall right through the 1970's' during which
magician l've ever seen. He led you right up the garden
lirne he opened hls own magic studio in Glasgow's Oswald
path, then turned the water sprinkler on. You thought you
lilreet, under the trade name of scottish Magic services.
were following his moves, but he was so far ahead of you
licveral of the tricks that Tommy sold were created' or
that you had no chance, and the construction of his tricks
rotrtined, bY Dave CamPbell.
were, and still are, light years ahead of his time." At this
time, John Ramsay presented a lecture once a year for the
l)rrring the 1960',s Dave contributed several of his creations
members of the Scottish Conjuror's Association. The format
lo Harry Stanley's magazine The Gen, and as I already
was the same each time, Mr. Ramsay would perform some
r;tirted, the first was published in 1959. The effects were
of his inexplicable effects, then he would conduct a talk on
virried, and involved cards, coins, silks, and cigarettes- He
the application of misdirection, which he considered to be
,rlr;o contributed to the Scottish Conjuror's Association's
the real secret of magic.
ollicial magazine, The Thistle. There would then be a long
magical
Dave also had fond memories of Albert Goshman, Tony lroriod before he would contribute to another
lorrrnal, and it was not until the 1990's that
his name would
Slydini, and the legendary Dai Vernon, of whom he had to
orrt:c again be highlighted, this time in Profile, and The
say, "These men were terrific, and to watch Vernon in his
(;rrrnp. The nice thing about that is that both magazines
heyday is something l'll never forget." As Dave progressed
in magic, he garnered a circle of close friends, and they
wrlrcproducedbyfriendsofDave,Profile(thisjournalhas
:iuroe ceased publication) was co-edited by Steve Hamilton
formed an exclusive magical society which they called "The
rrrrrl myself, and The Crimp, published by Douglas Cameron
Night Owls." The other members were, Tommy Frederick
irrrtl edited bY JerrY Sadowitz.
(Frederica), Jimmy Kirkwood, John Nesbit, and Jimmy
Kirkpatrick. Another magician who sometimes met with
At the start of the 1960',s a new face joined the scottish
them, but was not an official member, was Mark Dickson.
oonjuror's Association in Glasgow' His name was Bill
Honorary members included Zina Bennet and Graham
Mt;Brinn,andheandDaveweretobecometheclosestof
Adams. Each Night Owl was presented with a f ez, which
Iricnds. Along with their wives, both named Margaret'
they wore on occasions. lt probably seemed like a good idea
tlrtlywouldattenddances,weddingsandotherfunctions
at the time! ln 1963 Dave and fellow Night Owl Tommy
t0rl()lhcr. Dave accompanied Bill to his first convention in
Frederick set up a small business selling svengali Packs, Find
tlrc Sr;otlish borders town of Galashiels' Dave was on the
the Lady, and other simplc tricks, al tltr-' fltrtt<ltts Barras
(irrlrr:;lrow willr wltirt Bill clr:scribccl as "his lovely silk act'"
weckcncl rttitrkcl itt Cl;t:;t;tlw Alllt :;nvctltl yc;tt:;, llli:;
Che Dare Camybeff tegacy 't'tte qncre{ilfe Chse t ly Magk of Dave Camy6ef[

Bill recalls Dave running through the act in the hotel of a cistern being flushed, he performed the Floating cistern
bedroom at 4.00 d.ffi., and how he "still had the jitters as Ball! Needless to say his performance was the hit of the
the time for his performance drew nearer." There was only convention. After the show they all crowded into one of the
one cure for it. Bill ran down to the High Street and found a rooms in the hotel and a typical late night magic session
chemist shop just as it was about to close. He bought some began, with a barrage of tricks and as many jokes' After a
RELAX tablets (an early form of tranquillizer) which Dave while, Bill noticed that Dave was standing against a wall with
nonchalantly popped into his mouth then went on and rr stupid grin on his face, then he started to slide down the
presented his act. Even when his thread snapped as he wall, apparently the worst for drink. Dave always said when
showed both sides of the silk for the Willow Pattern Plate rcminiscing about this, that "somebody spiked my piggin'
effect, it didn't throw him off one bit. To quote Bill, "He was rlrink that night."
so relaxed that he simply breezed through it. Great
stuff!" Dave taught Bill how to handle properly a Dancing l)ave went along with Bill when he (Bill that is) sat and
Cane, and Bill still performs the effect to this day. Bill recalls pirssed his driving test, then returned with him to his house
that while at a S.A.M.S. convention in Dunoon, Dave taught wlrere he proceeded to tell Bill's wife Margaret, that her
several other magicians the Dancing Cane, and then on a lrusband had unfortunately failedl Harmless fun was one of
late show six of them waltzed on to a musical l)nve's many likeable facets. Bill's fondest memories of all
accompaniment in perfect formation with canes as their Irowever, are the many occasions when Dave visited his
dancing partners and each with a number stuck on their lrome, either to meet other visiting magicians, or to meet
back, just as they did in the popular British television dance lrionds of the family. Dave would be down on the carpet
programme Come Dancing. This brought the house down. pr:rlorming his latest miracles for the visitors. They all loved
lrirn. I previously mentioned The Magician's Club of
However, Bill's fondest convention memory of Dave was at coatbridge. This was formed in 1968 by Dave and Bill. Prior
one which was held in the Scottish coastal town of Largs. lo this, a group of them had been meeting regularly in a
The members of the Coatbridge Magicians Club, of which local hall, though it was not an official society'
Dave was the President, were to put on one of the late
night shows for their peers. Bill managed to persuade Dave l.hc Magicians club was official, and flourished for several
to resurrect his Zombie routine for the occasion. Dave did yoars with Dave as President and Bill as the Honorary
this but not quite in the way that Bill had expected. When sccretary and Treasurer. The club was active for just over
he came out, he was dressed as a pltrmbcr completc with Iorr ycilrs and closed in 1980. However, Dave (and Bill)
overalls, and to thc ;tcr;otttpitttitncnl oI lltrt ttlr:rlrrlrlrl s<tttttrls rorrurirrcrl it tncmber of the Scottish Conjuror's Association in
lhe Dave Cantybeff Legacy 'fhe lncrefi1[e Cfose't"tp Magk of oave Canry\eff

Glasgow, where he had many friends, including Dave coins and the thimbles (in other words his complete actl),
Robertson. Dave and his wife Cathy became close friends of probably saying, "The audience can't piggin' see them-"
the Campbell family around the time that the Coatbridge Reluctantly John heeded the advice, and together, a new
Magician's CIub was formed. lt is to Dave Robertson that I silent act was created. Next, Dave timed each phase of the
owe a debt of gratitude, for it was he who first introduced act, and put together a tape recording, with specially
me to Dave Campbell in 1973, when lwas only sixteen, and selected music. When the music was run along side the act,
had just been accepted as a junior member of the S.C.A.. ln Dave, on recounting this to me later, said, "lt worked like a
fact I was the only junior member at that time. I remember piggin' dream, so it did."
my first performance in front of the members, and the
overwhelming fear that engulfed me. I hurried my way So was John Gray's act good enough to make it as a full
through three card effects, then came off thinking that it time professional? The blunt answer to that is, yes, because
had been a great disaster. No sooner had I finished, when he did make it, and he still is a professional to this day,
Dave Campbell came over to me and said, "You did great, living and working in the Manchester area. However, I have
son, you knocked their piggin' eyes out!" I don't think I noticed that one doesn't need to be good to be successful.
quite did that, in fact I know I didn't, but Dave's words of So was the act good? Well, the first convention I ever
kindness made me feel good again, and gave me attended at the age of fourteen, was held in Airdrie Arts
encouragement. Centre on the 6th of November 1971. Alas lwas one year
too late in getting into magic because only the previous
Throughout the 1960's, and early 1970's, Dave was a year, again in the Airdrie Arts Centre, Dave had presented
regular at the annual Scottish Association of Magical his silk act, under the programme heading of Silent Sorcery.
Societies (S.A.M.S.) convention. His devotion to close-up He was the third act in the first half of the evening Gala
magic paid off , when in 1972, he took the first prize in the show. However, on this occasion it was Dave's prodigy, as I
Close-Up Competition. His act consisted of ALL CARDS, and would later discover, who would create the stir.
that was the first and only time that such an act has taken
the top honours in this competition. At this time, Dave had I knew no other magicians at this time, and I had been told
been teaching a young and talented stage magician called about the convention by the man in the magic shop (Roy
John Gray. John was a superb manipulator, and had Walton). My father drove me to the event, and I was in
developed an act in which he produced coins, and thimbles. wonderland all that day. I was enthralled by everything I

He wanted to make it as a professional, and turned to Dave saw, however, in the gala show that night I saw a magician
for help. The first thing Davo told him was to ditch the wlto mado a massive impact on me. I had never seen or

t
 Che Dwe Camybeff Legacy Che qncref,i1fe Cfose'lly Magic of oave Camybeff

heard of him before, but he was young and he was terrific. Then there was Dr. Zina Bennett from America. Nearly every
He performed with billiard balls, with a flash eight ball finish. British magician knows the name because of the Zina
He produced cards, which eventually grew to almost the Bennett trophy that is awarded as first prize in the British
same size as himself, and he finished with the most Ring Number 25 annual Close-up competition. He also
convincing Zombie routine, complete with total vanish, that I
caused a stir when he manipulated Jumbo playing cards in
have yet to see improved upon. The magician was John his stage act. However, he caused an even bigger stir when
Gray. I got to know John soon after, and I saw his act again he visited the home of "Night Owl" Jimmy Kirkwood. Dave's
a few years later. lt was still great, if not better. John wife Margaret related the story to me as she was present
always spoke about his mentor Dave Campbell, however on this occasion. Jimmy Kirkwood had some beautiful
after he was contracted to work on the cruise ships, he only antique furniture in his home. During his visit, Zina Bennett
returned to Scotland a few times, after which Dave never offered to do some magic, and a lovely antique table was
saw him again. selected for him to perform on. He removed a leather cup
from his case and five dice.
I mentioned the great John Ramsay, as well as AIbert
Goshman, Slydini, and Dai Vernon, who all made a lasting A display of Dice Stacking next ensued, during which he
impact on Dave. However, there were many others who scratched the table senseless! In Margaret's words, "lf he
have since passed on. did it once, he must have done it a hundred timesl" So
perhaps Zina Bennett could be described as the most
Graham Adams (Honorary Night Owl), whom Dave met embarrassing magician that they met? Another local
through Tommy Frederick, became a good friend, and Dave magician who Dave visited regularly was Matt Fallow, or
possessed a beautiful set of three pups (for the cups and "Wee Matt," as Dave would affectionately call him. When
balls) which Graham Adams had made. And then there was Matt's eyesight became very bad due to cataracts on both
Duncan Johnstone, one of Glasgow's most loved old timers, oyes, Dave always paid a visit, often accompanied by
who had performed under the name of Stanley Marne, and another mutual friend Gavin Ross. I am happy to say that an
of whom Dave said in Profile, "A master performer and operation that Matt underwent was completely successful in
raconteur, what a shame so many will never see him." Then restoring his vision, however, as I write, Matt has had heart
there was Bill Hamilton, a coin expert with a touch that I problems and is awaiting news about treatment. Being
have never seen since, and a lovely man as well. Dave had aware of Matt's resilience,
the highest regard for Bill, and I know that the feeling was
mutual. Sadly, Bill's life was ended prematurely in a road I havo complete confidence that he will make a full recovery,
traffic accident. rrncJ I wish him well lor tho future. ln what were to be the

-! ll t*
Che Dave Camybeff Legacy t lri '!tr, t Llittli C[ose'L$ Magic oJ Daw Camybeff

latter years of his life, the magician that Dave met with the llro lirst convention that he did attend was Paul Brignal's
most was Gordon Bruce. Dave and Gordon would meet most llrlrrl Close-up and Comedy Convention in Edinburgh in
Thursdays in a pub in the city centre, and a heavy session I'l!l:l lt was great to see Dave at a convention, however,
(magic that is) was the order of the day. Dave considered llroro wcre some signs (to me anyway) that he was not in
Gordon to be "a piggin' great magician." Dave could never llro lror;l of health. That said, he was most definitely in top
speak highly enough of Gordon's skills and creativity, and lunrr wilh regards to his sense of humour, as he rattled off
again, this feeling was most definitely mutual. As with all of ,,nrllor;r; hilarious remarks as only he could.
us in the Glasgow area, Dave considered the appointment of
Roy Walton to the Magic Shop in Glasgow over thirty years ( )vnr llro years Dave had worked as a Butcher, a Double
ago now, the best thing that could have happened. t ilrrztn{l Salesman, and finally a Credit Traveller. I have nearly
,,plll nry sides with laughter on the many occasions when he
When Roy first came to Glasgow, he quietly demonstrated w,ulrl rolate some of the incidents that happened during his
skill with the pasteboards previously unseen in GIasgow, and r,,rtrrruf i oilreers, however I am going to be completely selfish
as you read through this book, the occasional dash of ,rrrrl lroop those stories to myself .

Walton influence will become apparent. So it will come as no

surprise to know that every Thursday rendezvous with Wlrurr irll is said and done, the real magic of Dave's life was
Gordon, and sometimes myself, was always preceded by a n,,l tn ir rlcck of playing cards, or in his great hero John
long chat with Roy in the shop. llrrnlr,;ry, trut in his family. Dave was quite happy to be at
lrrrnur trr llrc company of his best friend, his beloved wife
I could go on forever mentioning people that Dave liked, Miurlirrol. Together they raised a fine family of five sons,
because it is a fact that Dave never really disliked anyone. wlro irro, Charles, John, William, David, and Paul, and their
His wife Margaret recently told me that in all of the forty- ',nly rlrrrrt;lrter, and she is called lrene.
two years that they were married, she cannot think of one
occasion where Dave talked idly about someone. He refused urr llro nrilny occasions that I spoke with Dave over the
to listen to gossip, and he simply enjoyed people, and life. v,,nr,, lr;oulri tell just how proud he was of each and every
After the heady days of the late fifties, sixties, and early ,,nrt ol llronr, hc couldn't have hidden it even if he tried.
seventies, Dave attended fewer and fewer conventions. ln llir, orrly rlr;irppointment in life was that none of his sons,
fact I cannot recall seeing Dave at a S.A.M.S. convention rrrrr lur, rlirrrt;htcr, shared his interest in magic. That however,
since I started going. r', nnl rrrrrr:;uirl, very few sons and daughters take up magic
lrnr inl,n llroit Irtlhcr or mother is interested in it.
t'he Dave Camybeff Legacy I lr, 'lrr, t L,lilrla Cfose 'Uy Magk of Owe Camybeff

The magic bug is not a hereditary one! Thank goodness, wrr visiting, the first thing you heard was, 'Get the
YY11J',1

some may say. With the family growing up, Dave and r rr(lri ottt Dave', which he did, and that was him for the
Margaret had further reasons to be proud, four reasons in trltllrl l:veryone thought he was the greatest."
fact, as they became grandparents to Allan, Laura, Pauline,
and David.

Now, it's just possible that there is a future magician among

their grandchildren? lt seems uncanny that over a year has
passed since I last saw Dave. It only seems like yesterday
when I had gone along in the company of our mutual friend
Gavin Ross to visit Dave in hospital. He had undergone major
surgery, but the news was seemingly good. Dave was in fine
spirit as he told us some new patter that he had
constructed for his latest card routine. We laughed. Dave
passed away only hours after we left. We cried. lt's still hard
to believe that we will no longer walk into Roy Walton's
magic shop in Glasgow and see Dave Campbell standing
there each Thursday, with cards in hand, chatting, joking,
and demonstrating his Iatest magical creation.

Among the Scottish magicians, Dave was a star. A star that

shone brightly, and one that will continue to shine, as Iong
as there is magic and magicians, because the legacy of Dave
Campbell will live on forever. Then there are the folk that
Dave and Margaret would see regularly at the local hotel.

He was a star there too.

l'll leave the final few words to Margaret: "He was the star
attraction every time we went to orrr local hotcl. Evcn whcr-r
 Chapter th ree

Iricks with normal playing cards

 Fusion

/rrrr shuffle a blue backed deck of cards then invite a

,,Iilt;liltor to select one of the cards and leave it face up on
llrr l;sbls. This is a completely free choice. From an
,nvolope you remove a face down red backed card with
y,,ur signature boldly written across the back. Drawing
,rllnlllisp to your signature, you hand the spectator a pen
,ur(l roquest him to sign his name across the face of his
,r,rlr11'1s6 card which is lying face up on the table.

llt', :;olection is returned to the deck and the red backed

r,rrrl with your signature is replaced into the envelope. The
rl,r:k iS now spread face up to reveal that the selected card
lr,r'r vitnished.

llrn rcd backed card is removed from the envelope, still

I

lror11i11g your signature, and is handed to the spectator.

Wlrnn the spectator turns the card face up he is amazed to
,lt',r:over that it is in fact his signed card!

llrr:; is one of two methods that Dave had for accomplishing

llro .J.G.Thompson "Joint Signature" effect which first
rrlrp{);lr€d in the October 1970 issue of The Pallbearers
llnvir:w. His second method "Direct Transfer" is described
ol:,owhere in this book.

'l rr;ron'previously appeared in the book'5 x 5 Scotland'by

I'llt11 [;1,11ic (Published by Kaufman and Greenberg).
Cfte Dave Camy\eff Legacy r /r,' '/rrt , t,{i6[e Cfose 't ly Magic of l:ate Canybe[f

Req u irements l'rrll off the face card (Two of Spades) into the left hand
llrnrr continue shuff ling fairly until you reach the last card
((Jrroon of Hearts), which is taken onto the face. ln effect
A red-backed deck and any two cards from a blue-backed
deck. For descriptive purposes we will assume these to be llrn r;huffle has transposed the top and bottom cards.
';rluirre the deck and take it face down into dealing position
the Queen of Hearts, and the Two of Spades. Discard the
Irr llro left hand as you ask for a spectator to assist you.
same two cards from the red deck as they will not be
( )n(:o again the audience will see a blue back.
required.

Take the remainder of the red deck and sign your name
I (;omment that in order to be perfectly fair you will have
llru r;irrd selected with all the faces visible' Turn the deck
across all the backs using a black marker pen for visibility.
lrr;o up, keeping it in dealing position, and start to take
t iu(lri one at a time from the face of the deck into the
Take any one of the signed cards from the deck and place
rtrllrl hand using a normal counting action which reverses
into a small envelope. This is kept in your pocket.
tlru order as the cards are taken. Ask the spectator to stop
yuu ;ll any moment. When he does, thumb off the card at
Place the blue backed Queen of Hearts on top of the deck,
llru lirce of the left hand section onto the table, ensuring
and the Two of Spades on the bottom. Place the deck into
a blue card case and you are ready to perform. llrirl lhe back of the card is not exposed to the audience'

.l At this moment you will have a face up portion of cards

Working irr o;rt;h hand (Figure 1).

1. Remove the deck face down f rom the case, the audience
will subconsciously note the blue case and the blue back.
Casually toss the case onto the table. Do not put it into
your pocket as its presence on the table is a constant
reminder of the colour of the deck.

2. State that you will have a card selected, but first you will
give the cards a shuffle. Hold the deck in readiness for an
overhand shuff le, but with the faces towards the audience. Fiqure 1
 lfre Dave Camyae(( Lega,y t lti 'lttt t Lrl'i6[e Cfose aly Magic of Owe Camybeff
l

Square up both packets by pressing inwards with the ', lleach into your pocket and bring out the envelope saying
i
fingers, then turn both packets face down keeping the llrirl it contains a prediction. Open the envelope and remove
packets square. llro red backed card with your signature showing on the
lrrrr;k. The face of the card is kept hidden from view. Leaving
This is done as follows: llro envelope on the table for the moment, place the card
on top of the deck then hand the s.pectator a pen, saying,
Each packet is held in a dealing position in its respective Ar; you can see, I have signed my name across the back of
hand. Place each thumb below its packet, and maintain a llrli red card. What lwant you to do is sign your name
firm grip with the other fingers. Now push upwards with the rr(;ross the face of the card that you freely selected,"
thumbs causing the packets to lever upwards and then
over. At this point the audience are once again silenily tr furn the deck face up and spread through until you come
shown blue backs (Figure 2). lo llre Queen of Hearts. Split the spread at this point so
llrirt the Queen is at the rear of the right hand section. Pick
Figure 2 rr;r the selected card from the table so that it is at the face
ol the left hand section but retain a left little finger break
I
lrulow it, then replace the right hand section on top,
rrrlaining the break below the selected card.

/ Turn the deck face down again at the same time

oxccuting an lnvisible Turnover Pass at the break.

llrc audience will see what appears to be your red backed

grrcdiction card still on top of the deck. Remove this card
;rnd, keeping it face down, slide it back into the envelope.
Conclude this sequence by placing the right hand packet Arlain the audience will see a blue back on top of the deck.
below the left packet then square the complete deck and I ooking at the spectator, you state, "l will demonstrate two
retain it in the left hand. lt is important to remember thal rrrirgical happenings at once. First the card that you have
at no time do you mention the colour of the backs. That yrl;l signed will vanish from the deck and reappear inside the
has been taken care of by the variotrs subileties in the nrrvr..lopc, and secondly, both cards will be the same card,
handling thus far. llur:; provirrry tlr;rl lny prcdiction is correct."
lhe Dave Camybeff Legacy

8. Snap your fingers over the deck then turn it face up and Th ree Cards Across
spread through the cards allowing the spectator to see that
his card has indeed gone. Pick up the envelope and slide out The following is Dave's own method for the classic effect
the face down card and place it onto the table. Look inside "Cards Across", and in our opinion the method leaves
the envelope again as if expecting to find another card and nothingtobedesired.Theonlyothermethodwhichwe
appear surprised that it isn't there, shaking the envelope to have found to be comparable is the Alan Shaxon method
highlight the apparent problem. which appeared in his first book, My Kind of Magic' The
underlying concepts of both this and the Shaxon approach
Finally ask the spectator to turn over your prediction card are similar, but the actual methodology applied in both
and he should be astounded to find that is also his card CaSesisverydifferent.Daveactuallydevisedthisroutineas
complete with signature. Let the spectator keep this jointly an impromptu alternative to the more common envelope
signed card as a souvenir. switch methods such as Zens and others'

End Note P reparation

When you get to the point where you need to do the The preparation is simple. Secretly steal three cards from
Turnover Pass, do not be tempted to just cut the deck, as thedeckandplacethemintoyourrightjacketpocket.lf
an observant spectator would notice that your red backed you are using this autonomously then put the deck into its
card should no longer be on top. case and place it into your pocket in readiness for the
performance.

Wo rkin g

1. Hand the deck out for shuffling then take it back' Ask the
r;pectator to hold out one of his hands then deal ten cards
onc at a time, face down, onto his outstretched hand'
r;ottnting out loud as You do so.

1' Ar;k lhc spectator to fan out his ten cards and have
llrtoo rttltct r;lltlr;l;tlrlrs citr;h solcct ono' By way of
lhe Dave Camybeff Legacy Che lncredi1[e Cfose aty Magk of Dat'e Camybeff

demonstration fan out the balance of the deck in your

Figure 1 shows the hand with palmed cards just prior to
hands then close up the spread obtaining a little finger
making the switch.
break below the top seven cards. As the spectator is having
the three cards selected, and all attention is on him, palm
off the top seven cards into your right hand and leave the
main body of the deck in dealing position in the left hand.
Figure 1
By this time the spectator should have had the three cards
selected, looked at, and returned to his packet. Ask him to
shuffle his ten cards then to square them up. The packet
should be face down.

3. Look the spectator in the eye and say, "l would now like
you to empty your right jacket pocket." As if to help him,
reach forward with your right hand and take the ten card
packet from him, the hand taking the packet from above in
what is best referred to as a Biddle grip. Without pause, the
This switch is imperceptible even if someone happens to be
hand continues and places the ten card packet into the left you
watching your actions, however, no-one will be watching
hand and on top of the deck so that it is held apart by the
because they will be watching the spectator as he empties
left thumb in the position for the Finley Tent Vanish.
his pocket. Nevertheless, it is reassuring to know that a
move will still work if the misdirection should fail. The only
At no point do you look at your hands during the foregoing
advice to give regarding the above is DON'T LINGER' The
actions, or the one that follows.
switch should be almost instantaneous and should take no
longer than it would to make the simple squaring action that
The right hand casually squares the angled packet, in fact you are suPPosed to be making'
as soon as the right hand is covering the packet the left
thumb allows the ten cards to fall flush with the deck. The
Withthespectator,spocketempty,liftoffthesevencard
seven cards from the right palm are gripped between the the spectator
lracket from atop the deck and hand it to
left thumb and fingers of the left hand in exactly the same
wilh the request that he place the cards safely into his
position as the previous packet.
nrrtpty right iacket Pocket.
 Che Dave Camybeff Legacy

4. Hand the deck to the spectator and ask him to count off Dave's Premonition
I

ten cards from the top one at a time, face down, onto your
right hand, which you hold outstretched to receive the The deck is shuffled then spread face down and a spectator
1

cards. These ten cards are the original set from which three is invited to touch the back of any card. This is a completely
l
cards were noted. Cleanly square the ten cards, saying, free selection. The card that he touches is flipped face up
"These ten cards I will place into my own jacket pocket." along with the one directly next to it. These two cards
Place the cards into your right jacket pocket so that they might be the Ace of Hearts and the Six of Clubs. The
join the three cards already therein. Make sure that the spectator is given another choice, that is to create lN HIS
cards face in the same direction. MIND ONLY, one new card from the two he selected.

5. You now state that you will attempt to pass three cards So from the two just mentioned, he could create either the
l
I
from the spectator's pocket into your own. Present the Ace of Clubs, or the Six of Hearts. He now takes the deck
magical passing of the cards in your own inimitable style, and deals through face up with the instruction to stop when
then ask the spectator to remove all the cards from his he comes to the card that is in his mind. He deals straight
pocket. Ask him to carefully count the cards one at a time, through without stopping because his card is not there.
face down, onto the table. He will count only seven cards.
Show your hands to be empty as you remove all the cards You immediately reach into your pocket and bring out the
from your pocket, then count them one at a time, face card which you placed there before you left the house due
down, onto the table to reveal that you now have thirteen. to a premonition.
You have apparently accomplished what you said you would
and passed three cards from one pocket to the other. The "Premonition" effect is one that intrigued Dave for
many years ever since he bought the Eddie Joseph version,
Finally, pick up your thirteen cards and fan them with the which used pocket indices. The original version of the effect
faces towards you. Ask each spectator in turn to name the and method appeared in J.N. Hofzinser's Card Conjuring
card he previously selected. As each card is named pull it (1931) under the title of "Domination of Thought".
out of the fan and toss it face up onto the table. A slight Hofzinser used the same method as Eddie Joseph to achieve
hesitation on the last card will always enhance the finish and the same effect. (See "Domination of Thought" second
draw the applause. version) The main difference was that Hofzinser didn't have
pocket indices, instead a deck was split between four
 t'lrL 'lncredihh Cbse Lty Magic of Dwe Canyleff
(6e Dave Camybeff Legacy

llere is the stack, reading f rom the top down:

different pockets. Considering that there were only thirty-
two cards in a deck, this was a fairly workable method. Dave
BC-BH KC-KH 3C-3H 1OC-1OH 2C.2H 7C-7H 9C-9H
disliked the pocket index method to produce the card and
experimented with the effect. He eventually hit upon a IJC-sH QC-QH 4C-4H AC-AH 6C-6H JC-JH BS-8D
method with which he was "absolutely delighted". KS-KD 3S-3D 1OS-1OD 2S-2D 7S-7D 9S-9D 5S-5D
Unfortunately, Edward Marlo had come up with exactly the QS-QD 4S-4D AS-AD 6S.6D JS.JD.
same method some years previously, and so it was back to
the drawing board.
Working
The story resumes when Dave received a copy of Jerry
I With the deck stacked as above give it any false shuffle
Sadowitz' magazine The Crimp, issue number 10. ln this
llrirt retains full order, followed by a false cut. The false cut
issue, Steve Hamilton had published his excellent routine
l)rrve used is one he discovered while playing around with a
"Thinking Out Loud". Steve's trick also appeared in
rlot:k and is as follows:
the Roger Crosthwaite compilation card book, Roger's
Thesaurus. The principle used in this trick intrigued Dave
rr) llold the deck face down between the left fingertips and
and he quickly saw that it could be used to achieve the
llrrr lhumb in readiness for a Charlier Cut.
"Premonition" effect which would obey the strict conditions
that he had set himself, and which until now had evaded
Ir) With the right thumb and second finger pull the bottom
him. Only one regular deck is used, and nothing else.
llrrrtl of the deck inwards until it is clear of the deck and
lrolrl the packet in position (Figure 1).
We asked Steve for his permission for the following to be
included in this book as the method closely follows his
original "Thinking Out Loud", with the main alterations
coming in at the end which send the effect off in a different
direction.A full deck stack is required, and this is the same
arrangement as used by Steve in his original routine.

The stack is basically the classic "Eight Kings" set-up but

with the cards set in PAIRS, though any other similar stack,
such as Si Stebbins, can bc used.
 'lte
lhe Dwe Camybeff Legacy
't '1ncref,i6fe Cfose n ly Magic of Dave Camybef[

c) Execute a Charlier Cut with what remains of the deck in Irowever, the colour of the card touched will determine
il
the left hand, BUT, before the halves of this section come which card on either side of the selection is also turned.
i

together to complete the Charlier, the right hand places its

portion between the two closing halves (Figure 2). So, once the spectator has touched a card, flip it face up
li koeping it in position in the spread. lf it is a RED card you
llip over the card immediately to its LEFT. lf it is a BLACK
l Figure 2
r;irrd you flip over the card immediately to its RIGHT. Dave
ul;cd Steve's memory jogger to avoid any unnecessary
llrinking here: RED AHEAD-BLACK BACK

ll At this point there are two face up cards in the spread,

rrrrd owing to the prearrangement of the deck along with the
rrl)ove simple rule, these will always be of different values,
rrrrrl different colours. Remove all the face down cards to the
rlrlht (above) of the face up pair and place them to the
lroll<lm thus bringing the two face up selections to the top.

l)orrl the two face up cards onto the table so that they lie
The left little finger takes a break BELOW the portion you 'rlrlo by side. Let us assume that the two cards are the ACE
have just inserted as the left fingers close up and square t)I IIEAFITS ANd thE SIX OF CLUBS
the deck.
ll you check the top and bottom cards of the deck you will
d) Finally with the right hand cut off all the cards above the llrrtl lhat they are the SIX OF HEARTS and the ACE OF
break and place them onto the table, then drop the
( ;l t,llS respectively.
remainder on top. The deck is back in full order.
llrnrro .rre your essential cards in what is to follow.
2. Spread the deck face down between your hands and ask
a spectator to touch the back of any card, saying, "l will llolrl llro deck in readiness for an overhand shuff le and milk
turn whichever card you want face upwards along with the nll llro top and bottom cards together then shuffle off the
card that lies directly next to it." This is a true statement, rnr11 ,,J llro cards on top. Now cut off the top half of the

E
 'J he'Dave Camybetl Lelacy

'ffr"e'tncref,t1fe Chse .Lty Magic of Owe Camy1eff

deck and Faro it into the lower half, ensuring that you begin
r;ll' your Faro above the bottom two cards. The Faro is merely take hold of the outer end of the deck with the right hand
I

I
to destroy the stack so there is no need for perfection. and turr, it face up, while at the same time you hold out
your left hand palm uppermost by way of demonstrating
An in the hands riffle shuffle could be substituted. what is required of the spectator.
il

4. Spread the deck face down between your hands as you Place the face up deck onto his outstretched hand then
l

say, "You have selected two different cards completely by relax, You will have to vary the foregoing procedure slighily
chance and the rest of the deck has been thoroughly if you have palmed the cards into your left hand.
l
shuffled. lf you look at these two cards you will notice that
you can make another two cards by using their properties. 5. At this stage the spectator appears to have all the cards
By taking the value of this card and the suit of the other, in his possession with the exception of two, and these are
you could make up the ACE OF CLUBS....or, if you take the lying in ' 'il view on the table. He has yet to make his
I
value of that one and the suit of the other you would have rlocision cn a cird, so the position is a very strong one from
the SIX OF HEARTS." nn audience point of view.

Here, you point out the two possible combinations of value ol course, it doesn't matter which of the two possible cards
and suit between both cards which will give two completely llro spectator finally decides upon, because you have both
different cards. of them securely in your palm! Ask the spectator to decide
olt one of the two combinations, which he does openly and
As you speak close up the spread and obtain a left little rrtrt loud. Now say, "Make a vivid mental picture of that card
finger break above the bottom two cards then immediately ln your mind. Now i want you to deal the cards face up onto
palm them into the right hand. (See Chapter of Sleights for llrc table and when you reach your card STO7, and t wiil
a description of this palming technique) nltow you a wonderfu: coincidence.',

lf you find this palm difficult, then a regular left hand Allow the spectator to creal through the entire deck and of
bottom palm can be used. r:(,rlrse his card will not be there, at which point you say,
"l l'lAT is the wonderful aoincidence..... because I removed
As you make the palm, ask the spectator to hold out his yttttr eard before we started and placed it in my pocket.,,
Ieft hand palm up. The instant the palm has been made, llonch into your inside jacket pocket with the two palmed
uu(fui, nnd as a memory check you will be able to glimpse
 (6e Dwe Camybeff Legacy

llil the colour of the front card as your hand goes to the Simplex Premonition
pocket. Leave the unwanted card behind in the pocket and
bring out the correct card with its back towards the l-his is a second version of "Dave's premonition" that Dave
audience, then dramatically turn it round to conclude. Irad in his notebooks, and one which he had discussed with
rrs. He referred to this as a ,,Cheat's method.',
NOTE: lf you have used a regular left hand Bottom Palm,
you will not be able to make the final glimpse, therefore, lhe effect is the same as the above except that there is no
you will need to remember the colour order of these cards rrlack, and no palm. Remove any red card and black card,
by glimpsing the face card of the deck during the Faro. lroth of different values. Let,s say they are the Nine of
olubs and the Four of Hearts. place these two cards into
End Notes your pocket, remembering which is which. Now set the two
r:.mposite cards, the Nine of Hearts and the Four of clubs,
As with Steve's original "Thinking out Loud" routine, there llr position to be forced from the deck.
are two crucial cards which must not be touched by the
spectator, otherwise the trick won't work, These are the I lntroduce the theme of premonition, etc, then force the
twenty-sixth and twenty-seventh cards. This is easily lwo cards on two different spectators. Now, ask a third
controlled by spreading the upper half widely, and if no npoctator to form another card using the value of one and
decision is taken, the middle few cards are then pushed llro suit of the other, and to think of that card. As in the
over together and the remainder of the cards spread. A provious version, this offers him two choices, and both of
small problem, but one that you must be aware of. lhom are in your pocket.

However, if you care to think about it, the two composite 2, The spectator now deals through the deck and looks for
cards which can be made from our two Jonah cards lie at Itla card. when he fails to find it, reach into your pocket and
the second from top and second from the bottom positions. romove the correct card (Nine of clubs or Four of Hearts)
Io prove that you really did have a premonition.

Slrnplo? But as Dave said shorily after he came up with it,

"Aasuming that they don't know that you forced the cards,
lho offect is the same as the piggin' stacked deck version.,,
rl

Leap Frog
1l

The four Jacks are placed face up in two pairs on the table,
the reds on one side and the blacks on the other.

A spectator remembers a card which is placed face down

lrotween the pair of Jacks of his choosing, perhaps the red
.Jacks. A second spectator also remembers a card, and this
is placed face down between the black Jacks.

lhe red Jacks with the first spectator's card between them
rrrc placed on top of the deck and the selected card is
romoved and buried in the deck. The cards are riffled
whereupon the selection is seen to have returned. However,
u;ron turning the card over it is seen to be the second
rrlroctator's card. The first spectator's card is found to be
llro one that has been lying untouched between the other
;rrrir of Jacks.

llris simply constructed transposition is not unlike the

Alrrn Brown "Black Widow" effect which appeared in The
l'rrllbearers Review (May 1969).

llro "Black Widow" effect was in fact invented by Tom

iiollors and can be found in his book Magical Mixture (1943)
rrrrtlor the heading "The Change-over Aces".

llrrvo's offect is direct, and there is a subtle sequence which

rrrrrkos the whole thing work almost automatically.
l6e Dave Camybeff Legacy 't'lie'lncredi1h Chse lly Magk oJ Owe Canybef(

Working on top of the face up Jack on the table. Then ask the
spectator to replace the red Jack he is holding face up on
1. Remove the four Jacks f rom the deck and place them lop, thus sandwiching the face down card between the two
into two face-up pairs on the table, the red Jacks to the face up red Jacks. The card is an indifferent but spectator
left, and the black Jacks to the right. Each pair should be One believes it to be his card.
squared.
ll. While the foregoing actions are taking place, your left
2. Have the deck shuff led then take it back and execute Irand, which is holding the deck, prepares for another
a double lift and turnover of the top two cards. (See End rlouble lift.
notes) Have the first spectator commit this card to
memory. Flip the double face down again on top of the Itrrn to spectator Two as you execute a double lift and
deck then using your free hand, point to the red Jacks on Irrrnover of the top two cards. Ask this second spectator to
the table, saying, "Please lift up the upper red Jack and I'll r:0mmit the card to memory, then flip the double face down
place your card in between them." rrr;ain onto the deck.

Note that the pointing after the turning back of the double Alyain using your free hand point towards the black Jacks
is a deliberate action and offers you an excuse for turning llris time, saying, "Would you tift off the top Jack and l,ll
the double face down again, which is not really a logical ltlttce your card between the btack Jacks.',
thing to do. I know we all turn doubles face down before
dealing off the top card, but if you think about it for a ll.move the top card from the deck and drop it face down
moment, it isn't always logical. orr top of the tabled black Jack, then ask him to replace the
,lrrck he is holding face up on top. spectator Two presumes
Dave, however, being a student of Ramsay, gave much llrrrt his card is sandwiched between the two black Jacks, in
thought to such matters, and invariably created stronger Inr:l this card belongs to spectator One.
magic because of it. The delay is a natural one and
eliminates the move element of this most awkward of 4 l)ick up the red Jacks with the indifferent between them
sleights. Irrrn above with the right hand, at the same time obtain a
lrtorrk below the top card of the deck. square the three card
Anyway, once the spectator has lifted the upper red Jack, '.mr(lwich over the deck and pick up the card from above
remove the top card from the deck and drop it face down llrrr lrroak beneath them.
 Cfre lncredi\fe Cfose rLty Magk of Oave Camybeff
Che Dwe Camybeff Legacy
Say, "Look, yoLtr card has jumped from the bottom of the
lmmediately pull off the upper face up Jack square onto deck back between the Jacks. (pause) you look a litile
the deck with the left thumb. Next pull off the face down sceptical-...and you've every right to be because this is in
card but outjog it for about half its length. Finally place fact HIS card (nodding towards the second spectator).,,
the remaining face up Jack, which has a face down card
concealed beneath it, on top of all so that it is aligned Bemove the face-down card and turn it over to revear
l with the first Jack and the deck. that it is indeed the second spectator's card. Have the first
spectator remove the card that is between the two black
Figurel depicts the current position. Jacks to discover his card, and conclude the routine.

End Notes

Although handing the deck out for shuffling prior to showing

lhe two cards is a good strategy, it could backfire if you
lrappen to turn over two very similar cards, like the seven
of Clubs and the eight of Clubs.

rl
while the two assisting spectators will probably remember
llre cards, the effect would be confusing to any other
Figure 1
onlookers. So it might be an idea to ensure that the
:;ccond and third cards are of a good contrast and simply
l;rlse shuffle retaining them there.

5. Look at the first spectator and say, "l'll show you a trick Alternatively have each spectator sign his card.
with your card." Pull out the out-jogged card, and without
letting the face be seen, push it into the deck somewhere
near the bottom.
I

Give the deck a gentle riffle then spread the top three cards
I
to show that a face down card has returned to between the
two red Jacks.
Automatic Speller
This trick is absolutely stunning. Whether performed for a
lay audience or magicians, it will positively astonish them.
It's also very easy to do! As if that wasn't enough, most of
the actions occur out of the performer's hands.

Here's the

Three spectators genuinely shuffle the deck and remember

I card in a manner that is entirely fair. The three selections
lte lost in the deck by the spectators themselves. lnstantly,
the performer spells to each of the selected cards!

Thle effect is based on a powerful combination of Gene

Flnnall's, "Free Cut Principle" and Charles T. Jordan's,
rWlzard master Speller" (marketed by Jordan in 1916). The
Frce Cut Principle was initially created by John P. Hamilton
lhd formed the basis for his ingenious effect called, "The
lyee of the Gods", marketed in 1948.

Flnnell later developed the idea and also gave the principle
thl name. lt is interesting to note that T. Nelson'Downs
ll|mlngly re-invented the Jordan speller some twenty-two
ylfre later, and this can be found in Greater Magic, page
!,l1. Dave's combination and routining make for a truly
iltonlchlng effect.
Cfte Dave Camybeff Legacy
'f'fie 1ncref,i6fe Cfose Ay Magic of Dave Campbeff

Set Up lf shorts and crimps don,t appeal to you, then you can
simply push off the groups by counting as you do so. This
From your deck assemble the following three groups of will all become crear in a moment. Assemble the deck by
cards. The order of each group is not important. The group placing group 4 on top of group 3, then this combined
numbering will become relevant as you proceed: group on top of group 2, and then all on top of the
remainder of the deck, which will be group 1.
GROUP 4 (Eleven cards with thirteen !etters):
Wo rking
(Hearts) Three, Seven, Eight and Queen.
(Spades) Seven, Eight and Queen. 'l' After an optional farse shuffre,
hord the deck face down
(Diamonds) Ace, Two, Six and Ten.
in dealing position in the left hand. Bring the right hand over
and lift off group 4 by cutting at, and including, the first
GROUP 3 (Twelve cards with twelve letters): crimped card.

(Clubs) Seven, Eight and Queen. lf you are using the corner shorts, you wirr riffre down the
(Hearts) Four, Five, Nine, Jack and King. outer left corner with the thumb until the first short card
(Spades) Four, Five, Nine and Jack. r:licks past. Place this packet on the tabre to your right.

GROUP 2 (Eleven cards with eleven letters): cut off group 3 in the same manner and prace it face down
to the left of the first group. All piles are face down. cut off
(Clubs) Four, Five, Nine, Jack, and King. (lroup 2 and place it to the left of number 3.
(Hearts) Ace, Two, Six and Ten.
(Spades) Ace and Two.
linally place the batance (group 1) to the left of all to form
rr row of four face down piles, mentally numbered 1, 2,
At this point Dave trimmed the corners of the face card of , o
rurd 4 from your left to right.
each group to make three short cards, although he also
suggested crimping the cards. We prefer the latter and ;' Ask a spectator to pick up pile 1 and give it a good
simply bend the inner corner of each face card very slightly.
';lruffle then replace it at its position on the table. Next ask
lf you decide to perform this effect on a regular basis, the Irrrr lo pick up pile 2, shuffre it, and reprace it back in prace
short cards do make the handling that bit smoother. orr lho table.
 lhe Dave Camybeff Legacy 't'lie 1ncref,i6fe Cfose ,I$ Magk of Dave Campbeff

Now ask him to cut off a'.portion f rom this pile (2), look at one card from the top of the deck for each letter in the
the card at the face of the portion cut, then to drop the name and turn over the card that appears on the final
portion square on top of pile 1. His card is therefore buried. letter. This will be the selection.

Ask a second spectator to pick up pile 3 and to shuffle it Carry out a false cut, then ask the second spectator to
then replace it in position on the table. He now cuts off a name his card, and spell it out in the same way, dealing
portion, looks at the face card, then drops this portion onto the first pile, finally turning over the card on the final
square on top of pile 2. His card, therefore, is also buried. lotter to reveal the second selection.

Finally, ask a third spectator to pick up pile 4 and carry out Execute another false cut, then repeat the spelling
the same actions, with his portion going on top of pile 3. ;lrocedure with spectator one, again turning over the card
Reassemble the deck by placing pile 4 on top of 3, then
i

that falls on the last letter to reveal the last selection and
both on top of 2, and f inally all on top of 1, then take the lo conclude.
deck into your hands.
End Note
3. Say to the audience, "As you can see, the complete deck
has been thoroughly mixed by you, therefore no-one could l)ave usually discarded any four cards from the unused
possibly know the whereabouts of any card. AIso you had a lr,ltom group 1 prior to performance so that ail four pires
free choice as to where you cut to your cards." would appear equal. A small point, but one perhaps worth
r;onsidering.
Turn the deck face up and spread the cards from hand to
hand, saying, "Your cards could be anywhere in here."
As you close the spread obtain a little finger break below
the face two cards, then double cut them to the rear before
turning the deck face down.
i

4. The selections are now revealed in the reverse order to

which they were taken. So, turning to the third spectator,
you ask for the name of his card. Let's say the card is the
Queen of Hearts. Spell Q-U-E-E-N- O-F- H-E-A-R-T-S dealing
 I

i1

lrl

I
liilil Snap

The deck is thoroughly shuffled by a spectator as you

'lilI remove an envelope from your pocket. From the envelope
I you remove two cards with contrasting back colours to
liltr those in the deck, which you say are lndicator Cards.

It,i A spectator now deals through the deck and stops at any
point. He then places one of the indicator cards into the
rll deck at the point where he elected to stop. The deck is
passed to a second spectator who does the same. The deck
ls now spread across the table, and the two cards that lie
ll
adjacent to each indicator is turned over to reveal that
llrl
Bomehow, the spectators managed to place the indicators
lr
rlght next to their duplicates in the deck.
;lli
This is Dave's handling for a Karl Fulves effect called
llll "Stopped Twice" which first appeared in the booklet
ti lmpromptu Opener (1979). Fulves later republished the trick
6s "Gemini Twins" in the Dover publication More Self-
tir
Working Card tricks. The effect was brought to Dave's
rlii
nttention by his friend Lawrie Frame.

Requ irements
Itli

lll
Aasuming that the deck you will be using is blue backed,
lrom a red-backed deck remove any two cards. For this
rloscription we will presume these to be the Five of Clubs,
tltl
nnd the King of Hearts.

IJ L 1rr)
I

'lie
'fhe Dave Camyheff Legacy 'l 'lncrert\fe C[ose .Lty Magic of llar,,e Camy6e[(

Place these cards face down into an envelope with the Five time into a face-down pile on the table. At any point
spot on top of the King. during the deal he is to stop. When he does, he will mark
lhe position by placing one of the indicator cards face up
From your blue backed deck remove the same two cards on top of the pile of cards just dealt. Demonstrate what is
along with another three cards. These five cards are required by dealing four cards from the top of the deck
arranged; Five X X X King; the King is at the face of the onto the table, then drop the deck on top of them.
packet. Place the packet face down below the envelope and
put this package into a suitable pocket, in such a way that Ihis places the Five of Clubs on the bottom of the deck
the envelope can be brought out by your right hand with rrrrd the King of Hearts on the top.
the face-down packet concealed underneath.
ll. Hand the deck to the spectator and allow him to deal
Working llro cards onto the table until he feels like stopping.
When he does, ask him to pick up the upper red- backed
r:rrrd and place it face down on top of the pile of dealt
1. Hand the blue-backed deck to a spectator and ask him
r;rrrds, then ask him to drop the balance of the deck on top.
to shuffle it. Take the deck back face down into dealing
position in your left hand, while at the same time your right
hand removes the envelope from your pocket along with the Ank a second spectator to take up the deck and to do the
rrrrro as the first spectator, marking the stop point with the
concealed cards.
rrnoofld odd-backed card and dropping the balance of the
rlnt:k on top.
The envelope is placed in a rest position over the deck and
the concealed packet of cards is added to the top. Open
the envelope and remove the two face-down red-backed 4 l'ick up the deck and ribbon spread it across the table
rlrrrwing attention to the two red-backed indicator cards,
cards and place them face down on the table, calling them
indicator cards. ll,rnove each of the red-backers along with the cards that
ll, rliroctly above them and place each two card set on the
l The Five of Clubs will be the top card of the pair. Lay the lllrlo before each spectator.
envelope to one side on the table.
I lrrrrlly ask them to turn over their cards to reveal that,
iili fronl(,llow, they both managed to place their red-backed
2. Remind the spectator that he thoroughly shuffled the
I

cards and that you now want him lo deal catrds one at a tn(llonlors noxt to the matching card in the deck.
 Che Dave camybeff Legacy 't ir tncref,i\fe Cfose Lty Magic of Oave Camybeff

End Notes To continue:

a) lf you are confident in palming, the five card set-up Thumb the two red-backed cards onto the table calling
can be held out as the deck is being shuffled, then added to them indicator cards. As you patter, casually slip cut the
the top as you take the deck back in order to outline the lop card of the deck to a position approximately six to ten
required procedure. ln this case the two red -backed r;ards from the top, and maintain a litile finger break above
indicators can be in your wallet, pocket, or indeed il. lnstruct the spectator to deal cards off the top of the
anywhere that is convenient. tJock, and to stop whenever he wishes.

b) The loading move in Siep 1 can be done without an As if to demonstrate what you mean, deal cards singly off
envelope. To do this, remove the Five of Clubs and the King llre top of the deck into a face down pile, and stop when
of Hearts from a blue-backed deck and the same cards from y.)u reach the break. Now drop the remainder of the deck
a red-backed deck. ,n top of the tabled pile and you are in position to continue
wilh "Snap," from Step 3 onwards.
Set them from top to bottom thus:
llris loading move was first utilised by Jerry sadowitz in his
RB 5C; RB KH; BB 5C; BB KH. lrlck "You only Live Twice," which appeared in Alternative
Orrrd Magic by Peter Duffie and Jerry Sadowitz (19g2).
Place the four cards squared in your right jacket pocket.
Hand the blue deck out for shuffling. As this is done, reach
into your pocket and remove the four cards holding them
squared, from above, in the right hand so that the fingers
mask the front edge of the packet.

Thus the audience cannot see how many cards you are
holding. Retrieve the deck face down with the left hand,
then simply place the right-hand packet on top of the deck.
lmmediately spread over the top two red-backed cards,
saying, "Two red backed cards from another deck...."
The audience will naturally prcsumc that you only brought
out two cards and droppod thonr orr lop of tho dock.
Jr
)
ril

fi

Enveloped

il,il The two black Jacks are placed face up on the table, then a
spectator freely selects two cards. He is asked to decide on
i,[ one and forget the other. He signs his name on the card he
wants and this is placed face down between the two jacks.
,il The sandwich is then placed into the middle of the deck.
The card he wishes to forget is placed into an envelope.
lnstantly both cards change places. The forgotten card is
,;lfll now between the Jacks on the table, while the signed card
It;til lE found inside the sealed envelope.

lrrlt
The inspiration for the routine was Peter Duffie's "Directly
Ir11

.,i] Between" which appeared in his manuscript Obsession. The

lllilil
plot is based on Hofzinser's classic "Remember and Forget",
ll 'l
while the envelope in deck presentation is reminiscent of
Paul Le Paul's "Substitution Envelope Mystery" which can be
Llr1til

ttuitl
llliii lound in The Card Magic of Le Paul, Louis Tannen: New York;
1959, page 143.
'11'[
Before you start, place an envelope in your inside left jacket
pocket, or right side jacket pocket. This is so that it may be
itil rlmoved easily by your right hand later.

llitrt
Working
ilill

1, Remove the two black Jacks from the deck and place
lhem iace up on the table. Spread the deck face down and
illti
lnvlte a spectator to select any two cards. Close up the

L
lr

7S
 't'lie 'lncrecfi1fe Cfose Lly Magic of Dave Campbeff
Che Dave Camybeff Legacy

spread and hold the deck face down in dealing position in 3. Place the card in your right hand into the enverope, rick
the left hand. and seal the flap, then drop the enverope onto the table.
The audience believe that the unimportant card is now
Tell the spectator to look at his two choices, remember one inside the envelope.
of them, and discard the other. Ask the spectator to sign
his name across the face of the card he has decided upon, 4. cut off about harf of the deck and prace this portion on
then to place it face down between the two face up Jacks the table. Place the envelope cross-wise on top of the
on the table. Pick up the Jack sandwich and place it on top
tabled portion (Figure 1), then place the balance of the
of the deck then double undercut the top card to the
I-igure 1
bottom, saying, "The Jacks will guard your card in the
middle of the deck."

2. Pick up the discarded card, show its face to the

spectator, saying, "And this is the card you didn't want."
Name the card out loud so that it will be remembered later.
Place this card face down on top of the deck momentarily,
to apparently free your right hand in order that it may
remove the envelope from your pocket.

rlock on top of the envelope (Figure 2).

Hand the envelope to the spectator for examination, and
as he is doing so, execute a Second Deal as you apparently
retake the top card from the deck back into the right hand. I ttytre 2

The action of the deal/switch is that the right hand remains

static as the left hand moves away, then forward with the
deck. The left hand continues moving forward and collects
the envelope from the spectator.

This is the Jacob Daley false deal cover action described in

"Super Transposition" which is elsewhere in this book.
Che Dwe Camybeff Legacy

5. Announce that the two cards will change places. Pull the Surprise Surprise Sandwich
envelope from the tabled deck and hand it to the spectator.
Spread the deck across the table and remove the two black A transposition between two cards plus an unexpected
Jacks with the face down card between them. teleportation of cards to the pocket all add up to a ,surprise
sandwich'.
Ask the spectator to remove the face down card and turn it
face up to show that it is now the discard.
Working
Finally ask him to open the sealed envelope where he will be
1. Remove the four Jacks from the deck and place them
surprised to find his signed card.
face up on the table in pairs with the reds in one set and
the blacks in the other. Spread the rest of the deck face up
ircross the table and invite a spectator to slide out any two
r:ards, one black and the other red. place these together
ulong side the Jacks.

2. Pick up the deck and hold it face down in dealing position

in the left hand, as you say to the spectalor, "Here we have
lhree pairs of cards and I am going to give you two choices.
fhe first choice is red Jacks or black Jacks? The Jacks you
t,ame will be the Jacks we will use."

I ot us assume that he opts for the red Jacks. pick them up

nnd place them between the left thumb and fingers so that
lhoy are held face up above the deck.

Oontinue, saying, "Your second choice is, do you want the

tttd card or the black card (referring to the two selections),
nrrd the one you name will be the one we wiil Ltse.,,
 l6.e Dwe Camybef( Legacy 't 'lic
'lncredi1fe Cfose ,t-11 Magic of ttave Carytbeff

Once again let us assume that the spectator opts for the 4. Now pick up the black Jacks, as you continue saying,
red card. Pick it up and slide it face down between the two "And you didn't want the btack Jacks either.,,
face up red jacks, then allow the three card sandwich to fall
square on top of the deck. As you say this, place the black Jacks face up on top of the
<1eck (break is now under three cards), then lift off
all three
3. Double cut the top card of the dec..k (face-up Jack) to r:ards and with the left thumb peel off the upper Jack onto
the bottom, then as you square the deck, secretly raise the the deck. Retain a litile finger break below it, then place the
top card at the inner end in readiness for the Vernon Depth romaining Jack (really two as one) on top.
lllusion (Tilt).
l'his is a standard loading move which places the red
Pick up the black selection, saying, "You didn't want the r;olection between the two black Jacks.
black card so I will bury it in the deck."
1,. Lift off the three cards above the break with the right
Apparently insert the card face down into the middle of Irirnd, and with the left thumb riffle down the outer left
the deck at the inner end, executing the Depth lllusion (;orner of the deck and stop anywhere near
the middle.
by pushing the card into the break below the raised card Irrsert the right hand packet into the break then execute a
(See Figure 1 below). "l inley Diagonal palm Shift" which derivers the
cards into
llro right palm.

llris move is described in The Vernon chronicles, Vol. 1. As

Figure 1 you complete the palm steal into the right hand, freeze the
rlryht hand and move the left hand forward towards the
rrrrrJience. Follow the deck with your eyes. The right hand
r,r;ls momentarily on the left sleeve as the left hand
prrrlorms a Charlier One Hand Cut. As the cut is made,
l r:irsually drop the right hand to a rest position on the table.

1l
llr, above series of movements have been choreographed
'rr) irri to completely cover the awkward finish that the Finley
I After pushing the card flush, retain a little finger break l)iirrlonal Palm Shift can have.
below the top card of the do<;k.
lhe Dwe Camybeff Legacy

An alternative approach is to use a conventional Erdnase M ix 'N' Match

Diagonal Palm Shift which sends the cards into the left
palm. ln this instance you instantly table the deck and give You place an envelope on the table which you state
it a complete straight cut. contains a prediction. Next, you hand a deck of cards to
, spectator and ask him to remove a complete suit of
6. Hand the deck to the spectator and ask him to spread thirteen cards. You now proceed to mix these cards as
the cards and remove the red Jacks with his selected card instructed by the spectator. There are no secret moves,
between them. Ask him if he can remember the card he rrnd the spectator has complete freedom in his choices.
didn't want, and when he names it ask him to remove the
face down card from between the red Jacks. l-inally one of the cards is reversed at random within the
lrilcket. Now the envelope is opened and a second packet
This will now be the black discard. As soon as he has turned ,l cards removed. The order of both sets of cards are now
this card over, say, "Did that surprise you? Well these are t:,mpared card by card simultaneously, and amazingly they
the ones that surprise me!" Produce the palmed cards from
l)rove to be identical, right down to the reversed card,
your pocket as you finish the sentence, and show the black which appears in both packets at the same position, and it
Jacks with the red card between them. tr; of course the same card!

lhis routine is based on paul curry's "A swindle of sorts,,

wlrich appeared in the book paul Curry presents (1974).
llro curry routine was shown to Dave by Tommy Frederick
(l roderica) of GIasgow. Dave riked the basic principre and
rlrvised his own routine which is based on Herbert Milton,s
"liyrnpathetic Clubs,,. However, in doing so, Dave
also
rrrrr:ceeded in improving the curry swindle
count to make it
,rl)l)oar as a mix rather than a positional exchange of two
I tlil ds.

ll ln worth noting that in his follow up publication Speciat

I llor;ls (1977), paul Curry included a guest contribution

,fi
 't''tie qncredi1le Cfose t ty Magic of oave Camybeff
Che Dwe Camybef( tegacY

from Terry Morgan of New York' This was an E.S.P.

routine order, with the Ace at the face and the King at the back.
using the Swindle Count which bears some similaritY
to the Show the present condition of the cards to the audience so
following effect. that it is clear to all what you have just done.

3. Say, "l am now going to knock the cards out of sequence

Requirements
by mixing them, but, YOU shall dictate how they will be
tnixed. Let me show you what I mean." Carry out the
Fromanydeckofcardsremoveonecompletesuitandset
following demonstrative actions:
them in the following order, with the queen reversed:

- 5'2-3-A- (o) - K- 10 - J -7 a) Hold the cards FACE UP in dealing position in your

8-9-6-4
left hand and deal the Ace into the right hand, then
turn the hand completely over and place the Ace
The Eight is the top card and the Seven is the
FACE DOWN onto the table.
face card'

your b) Count the next two cards (the Two and the
Seal this packet inside an envelope and put it into
Three) one at a time into the right hand, reversing
pocket. The rest of this deck is discarded and you will
use
their order, then drop them face down on top of the
another full deck for the performance'
card on the table.

Working c) Count the next two cards (the Four and the Five)
one at a time into the right hand, then drop them
1. Start by introducing the envelope and handing it to a face down onto the pile on the table.
spectator for safe keeping, stating, "This envelope contains
a prediction I made before t left home tonight'" d) Count off the next card alone (the Six), and drop
it face down onto the pile.
2. Next, bring out your deck and hand it to the same
spectator requesting that he remove any complete suit of e) Count off the next three cards one at a time (the
the deck
cards. Once he has done this, place the balance of Seven, Eight, and Nine), reversing their order, then
in your pocket as it no longer features in the effect' Then drop them face down onto the pile.
takethethirteencardsandquicklyrunthemintonumerical
f) Corrrrt off two more cards one at a time into the
righl lrirrrd iurd tirop lhorn faco dowrt onto the pile.
 'T'fre lncredi\fe Cfose'llp Magic of Oave Camybeff
l6e Dave camy6e(( Legacy

g) Count the remaining two cards one at at time Here's how: Say to the spectator, "l am now going to let
into the right hand and drop them face down on top you dictate to me how the cards are to be mixed, I can deal
of all. single cards, doubles, triples, or even more. The decision is
all yours." Hold the packet once again in dealing position,
The above must be committed to memory and this is a very however, this time the cards are FACE DOWN.
easy task. First bear in mind that whenever you count off
more than one card, you ALWAYS reverse the order as you To the audience the procedure appears to be the same.
cou nt.
Ask the spectator to call out the number of cards to be
counted, and count off that number into the right hand,
The above sequence when summarised looks like this: reversing their order, then drop them face down onto
the table.
1221322
Continue doing this until the packet is depleted and all the
4. Pick up the cards from the table and turn them face up cards are in a face down pile on the table. This procedure
and spread to show the results of the mixing process. since has simply reversed the order of the cards. Now look at the
you held the packet FACE UP and turned the counted cards spectator and say, "That was a pretty good mix, and l'm
FACE DOWN, the cards really did get mixed, and will now
going to give you another chance to mix the cards further."
be in the following order, reading from face to back:
Iake the packet back into dealing position face down, and
A-3-2-5- 4-6-9-8-7-J -1 0- K-Q. repeat the same procedure one more iime. At the end of
lhis phase, the cards will be back in the original order that
5. You now apparently repeat the process, this time lhey started in, which is;
allowing the spectator to dictate to you the number of
cards to be counted off for each stage of the mix. A-3-2-5-4-6-9-8-7-J-1O-K-Q (the Ace is on the face).

(i. Pick up the packet and remove the top card, which is the
He has complete freedom, and you will follow his directions
implicitly, however, the packet will finish in the same order Queen, and keeping it face down, turn the rest of the cards
as it is at the present thanks to the curry swindle Principle. lrrce up. Drop the face down card onto the face up packet
llron casually spread and cut to bring the Seven to the face.
llris should be done in a carefree manner, as you say,
 lfr.e Dave Camybeff Legacy ,T'lie lncredi1fe qU uoTk of oaue camyleff
C[ose

"Nobody knows this card, l'lt stick it into the middte the
then continue to show the rest of the cards match.
wrong way round."Place the packet face down on the table Finally the two cards are fripped over to revear the two
in front of the spectator. Queens to finish,

7. Reiterate what has happened so far, stressing the fact b) on occasions, Dave wourd have four prediction enveropes,
that the spectator had complete control over how the cards one for each suit, in his pockets, so that he courd bring
were mixed, and that finally an unknown card was reversed out
any one without fumbling.
in the packet.
Each suit was set up as described. As soon as the
Open the envelope, remove the prediction packet, and place spectator decided on a suit, he immediatery brought out
it face down on the table beside the working packet. Using the
appropriate enverope and praced it to one side on the tabre.
both hands, lift off the top card of each pile and turn them
over to reveal that they match. The prediction was therefore enhanced as you also
predicted the suit that the spectator would choose.
Place them face up in front of their respective piles and
continue in this manner to show that every card in the
prediction pile matches those in the working pile, including
the mysterious reversed card, which matches the reversed
card in the prediction pile.

End Notes

a) For the final step (7) the two packets can be placed face
up instead of face down. Draw attention to the fact that
the face cards of both piles are a perfect match, two
sevens, then remove cards simultaneously to reveal that all
the others match.

When you arrive at the two reversed cards, which will be

face down rather than face up, you place them to one side,

_tl/ .

)
 Chinese Prediction

A card is freely selected from a blue-backed deck. There is

no force. There now follows some comedy with a Chinese
prediction which culminates in a startling revelation about
the freely chosen card, because when the card is turned
face down it is seen to be the only card with a red back.

This was the forerunner to Dave's "Fusion" which can be

found elsewhere in this book, however, the two effects are
completely different and only the methods are related.

Requirements

One deck of red-backed cards and two blue-backed cards.

Remove the duplicates of the blue-backed cards from the

deck and discard them.

Place one blue-backed card on top of the deck and the

other at the bottom, then place the deck into the blue
card case.

Take a piece of paper and draw some Chinese lettering on it

ihen seal it inside an envelope. Write on the front of the
l
envelope in bold lettering the words, "CHINESE PREDICTION'.

gr
lfie Dwe Camy1eff Legacy
'r'fie qncredi\fe C[ose aty Magk of ltave Camybeff

Working 3. Square the deck and turn it face down (blue back again
shows on top of deck) as you say,

1. Dave started with the following tongue in cheek opening

"l'll deal the cards onto the table and I would like you to just
remarks. "l suppose most of you have heard of the great
say stop at any time. ln fact I will make it very fair indeed. I
Chinese magician Chung Ling Soo, who met with a tragic
will deal the cards face up so that you can see that I do not
death doing the bullet catching trick at London's Wood
lry and force you to take any particular card."
Green Empire in March 1918. What most people
don't realize is that he used to do a trick called the Chinese
Turn the deck face up and start to deal the cards one at a
Prediction. Unfortunately when he died the secret of his
time into a face-up pile on the table, until the spectator
Chinese Prediction trick died with him, or so everyone
calls stop. When he does, place the card to one side on the
thought, until at a recent Magic Circle auction of some of
table. Let us assume the card is the Ace of Diamonds.
his old props, an envelope turned up and inside it was the
secret of his famous Chinese Prediction. So tonight ladies
4. At this moment there will be a face-up pile of cards on
and gentlemen, for the first time in over seventy years, the
the table and the remainder of the cards face up in your
famous Chung Ling Soo Chinese Prediction!"
Irand.

Place the envelope on the table, saying that it is the

lloth sections have a blue-backed card at the rear. Fan the
Chinese prediction. Then bring out the cards in their blue
r:trrds in your hand to show all the faces, saying,
case, Remove the deck face down f rom the case so that
the audience see the blue-backed deck emerging from the
"lf you had stopped me any later you would have got one of
blue case. Say nothing to the audience about this, just let it
lltese cards...."
register in their subconscious.

lirluare the cards and place them face down on the table.
2. Toss the card case aside on the table, and hold the deck
llro packet appears blue backed.
in readiness for an overhand shuffle but with the faces
towards the audience, Pull off the face card singly into the
l'ir:k up the dealt cards and fan them, as you continue
left hand then shuffle the cards on top of this card, finally ,,rrying "...and if you had stopped me any sooner than you
allowing the last card to fall on top of all. This action has
tlrrl yott would have got one of these card."
retained the blue cards at top and bottom and all that's
happened is that the two cards have transposed.
Che Dave Camybeff Legacy

Square these cards and turn them face down and place it on Coincidental Transposition
top of the tabled section, leaving them slightly offset so
that both blue backs are subtly exposed (Figure 1). A card is freely selected from a red-backed deck. The card
is not looked at but is replaced reversed into the middle of
the deck. You now bring out a blue-backed deck from your
Figure 1
pocket and hand it to the spectator to spread face down
across the table. One face-up card is seen in the middle of
the deck. He now spreads the red-backed deck which has
his freely selected card reversed in the middle, and
discovers that both reversed cards are identical. Finally,
after snapping his fingers, he turns both cards over and is
amazed to discover that they have transposed, the red card
is in the blue deck, and the blue card is in the red deck!
5. Ask the spectator to open the envelope and remove
the prediction and to read it out loud so that everyone can l'his effect was published by Dave in The Gen (Volume 3,
hear. Of course the spectator will be dumbfounded by the Number 9, January 1968).
Chinese writing. So take the paper from him and offer to
translate the message. Requirements

Study the writing and then say, "lt says, the gentlemen will One blue-backed deck and one red-backed deck.
stop at the Ace of Diamonds."You of course name
whatever card is lying face up on the table. The audience l;rke any card from the red deck and place it face up in the
will think that you are having them on, so put on your best rrriddle of the face-down blue deck. Now take the same card
look of being hurt, as you say, "You don't believe me then?" Irom the blue deck and place it face up from the bottom of
llrc face-down red deck.
After a pause, suddenly say, "Hold on a moment, there's a
P.S. at the bottom. lt says, the Ace of Diamonds will be the l'l;rcc both decks into their cases and place the blue deck
only card in the deck with a red back." Ask the spectator to irrlo into your left jacket pocket.
turn over the card to discover that it has indeed got a red
back. As he is doing this, casually pick up the deck and put llro rcrl rlcck is in another pocket ready to be brought out
it back into the case. lur llrc :;l;ul of tlrc pr:rfornancc.
Clie Dave Camybeff Legacy 'fhe tncrefi1fe Chse'r.ly Magic of ttave Camybett

Working face-up section from the table and place it on top of the
selected card, keeping a little finger break above the
1. Bring out the red case and remove the red deck as you selection, as you say, "l will place the card that you freely
say to a spectator, "l wotJld like to show you a card trick stopped me at into the middle of the deck but the wrong
which I call "Coincidence." Riffle shuffle the cards ensuring way round."
that you don't flash the reversed card which is second
from the bottom, and retain it there during the shuffle. 4. You now turn the deck face down executing an lnvisible
Turnover Pass at the break. This switches the reversed card
2. Hold the deck face down in dealing position in the left in the middle for the previously reversed card second from
hand and start to deal the cards face up into a pile on the the face.
table. After you have dealt about half a dozen cards, remark
to the spectator, "As yoLl can see the cards are pretty well lhe card the spectator selected is now face up at the
mixed, so would you call stop at any time as I deal the [lottom of the deck.
cards." Continue dealing cards until the spectator calls stop.
When he does, deal the next card from the top of the [-,xecute a Bottom Palm, stealing the bottom card into the
deck face down to one side. lf you have dealt about half the Ioft hand, as you square the deck and place it face down on
deck, that's fine, if he stops you substantially sooner, deal llre table in f ront of the spectator and say,
some more cards face up saying, "Remember you could
have stopped me at any point, and all the cards are "l told you this was a trick called Coincidence, and now I can
different." Turn the remaining cards in your hand face up :;ltow you why its called that. You see, just before I came
and spread them to show the faces, taking care not to Irore I did exactly the same thing as you, but I used a
expose the reversed card which is second from the face, as tlilferent deck. Look, here's the proof."
you say,
"lf you had carried on further you would have selected one 1,. With your left hand reach into your left jacket pocket,
of these cards." Square up this half and place it face up on rlrop the palmed card, then bring out the blue deck.
the table, then pick up the other half, the dealt pile, and
hold it face up in the left hand. ( )l)on the case and remove the deck, hand it to the
,.1)()otAlor and ask him to spread the cards face down on the
3. Pick up the selected card and place it, still face down, on lrrlrlo.
top of the face up section in your hand. Now pick up the
()rro llr<;c tr;t c;rrrl will show in thc middle.
(he Dave Camy1eff Legacy

6. Ask the spectator to spread the other deck face down Everywhere and Nowhere
below the first, to reveal the same card is reversed in this
deck, to which you remark, As the title suggests, this was Dave,s approach to the
classic Hofzinser effect of the same name.
"ls it magic, or is it coincidence? That could be coincidence,
but I think you will agree that this is magic." No duplicates are involved in this version, so proceed with
a deck at the ready.
Snap your fingers over the two face-up cards then slowly
turn them face down to reveal that they have now changed
Wo rking
places, the red card is in the blue deck, and the blue card is
in the red deck.
1. Begin by having a card selected and noted by a
spectator. The card is then returned to the deck and
controlled to the top.

2. Say, "l am going to deat cards one at a time onto the

lable, and what r would tike you to do, is call stop whenever
you feel the impulse. The card that you stop me at will
lte your card."

with the deck held face down, start to deal one at a time
Into a pile on the table until the spectator calls stop. The
llrst card dealt to the table will of course be the selection.
When he stops you, dramatically turn over the card, saying
llrnt it's his. when he denies this, place the card face down
orr the table to one side, as you jokingly say,

" You aren't very good at this are you? Never mind, t,ll give
ytttt another chance."
 'r'fre qncre{i\fe C[ose 't ly Magic of Dave Cantybeff
Che Dave camybe(( LegacY

saying, "Three chances you have had and none of them

ContinuedealingfromwhereyoUleftoffUntilhesaysstop
were correct. Look, l'll show you a little bit of magic."
again.ShowthecardaSbeforeandagainhewilldenythai
it is his card. Place this card face down on top of the first
Turn the cards face down and take them back into the right
f ailure.
hand in Biddle position. With the left first finger slide the
bottom card to the left, then pull off the top card with the
You now say, "OK, l'll give you one last chance'"Continue
left thumb, so that both the top and bottom cards are
todealcardsontothetabledpileuntilhecallsstopforthe
taken into the left hand. This leaves you with a double in
thirdtime.Showthecard,butonceagainitisnothiscard,
your right hand.
so place it face down on top of the other two on the table'
llub the face of the double against your left sleeve, as you
3. Drop the remaining cards in your hand on top of the
pile
;rsk the spectator to name his card. When he does, turn the
ofdealtcardsonthetable.Theselectedcardisnowonthe
"l'll tell right hand at the wrist to show that the card you hold has
bottom of the deck. Look at the spectator and say '
rrow changed into his selection. Turn the hand so that the
you what, I wilt give you some assistance to find your card'"
rlouble is once again face down and momentarily replace it
lritck on top of the packet in the left hand, ostensibly to
Pick up the deck with your right hand and pass it over to
irllow your right first finger to point to a spot on the table,
thelefthand.DuringthisactionyouSideStealtheselection
iri you say,"Now that we have found your card l'll place it
from the bottom of the deck into your right hand' ln one
llrcre on the table." Deal off the top card onto the table.
continuousmovement,thelefthandplacesthedeckonthe
tabletotheleftasitisnolongerrequired.AttheSame
three l, Turn the packet face up and take it back into Biddle grip
moment, the right hand reaches over and drags the
tn lhe right hand. Peel off the top card into the left hand,
reject cards towards you, adding the palmed card to the
llrcn place the remaining double on top, as you say, "l'll
top.Thesecardsarescoopedoffthetableandintotheleft ,:lrow you that again."Turn the cards face down and retain
to
hand, which should have deposited the deck and moved
llrcrn in the right Biddle grip. Pull off the face card with the
the front of the table to receive the cards'
lnll first finger and take it into the left hand. The right hand
irr;irir.r rubs the face of the remaining double on the left
4. Square the four card packet, turn it face up and take it ,,loovo, the hand turns to reveal that this too has changed
fromaboveintherighthandinBiddleposition.Countthe
trrlo llto selection.
cards as three by peeling off the first two one at a time
into the left hand, and placing the last two as one on top'
lfre Dave Camybeff Legacy 'f'he lncredi1fe Chse ,t
ly Magic of Oave Camybett

Place the double face down on top of the packet, as you 7. Take the face-down packet back into right hand Biddle
say, "That's two of your card now! l'll place this one on the grip and show all three cards as the selection by carrying
table beside the first." Deal off top card onto the f irst card out a Flushtration Count but with a steal at the end
on the table. as follows:

6. You are left holding a face-down double, the selection is a) Turn the right hand to show the face card, turn it
above the indifferent. You visibly change the indifferent back again, then pull off the top face-down card into
card into the selection using The Thumb Palm Change, the left hand.
which is described in the chapter of sleights.
b) Turn the right hand once more to show the same
Having visibly changed the third card inio the selection, face card, turn the hand back again, then pull off the
take the double card from the left hand into the right, top card into the left hand on top of the first,
turning it face down in the process. Slide the double under
the two tabled cards and scoop up the complete packet c) Turn the hand for the third time to show the face
(Figure 1). The selected card is on the bottom. of the remaining double, turn the hand down again,
and proceed to place the double on top of the cards i

in the left hand. However, as you do so the left

fingers push the face card of the pair straight into
the right palm, and only the upper card is placed
onto the packet.

li. with the right still containing the palmed card, deal the
tlrree cards in the left hand onto the table, turning them
lrrce up as you deal rhe three indifferent cards are back,
rrnd the selection is nowhere to be seen.

Al this, say, "Actually the whole thing was really an optical

tllttsion, in fact your card has been in my pocket since
Itttlore we started!"

l'rorlrrcc thc palmccJ card from your pocket to finish.

Th e Def ecto rs

Three cards are freely selected and left lying face down on
the table, You remove four Jokers from your pocket, and
during an espionage patter theme, the four Jokers sueceed
ln whispering the names of the three seleeted cards to you,

After each delivery of information the selection is plaeed

lnto the card case, and in the end all three chosen cards are
ln the box. Finally, the Jokers in your hand are turned over
to reveal that they have transformed into the three
gelections. the Jokers are found to be in the card case - a
case of double defeetion.

This'is Dave's version of the Jerry Sadowltz effect "The

Whisperers" which appeared in Alternative Card Magic
( 1 e82)

For this you require a deek of cards, and four identical

Jokers with baeks to match the deck.

Place the Jokers your poeket.

Working

1. Flemove the deck from its case and place the case on the
trble to your left, with the opening towards the audience.
Glve the deck to a spectator to shuffle, then ask him t,o
ramove three cards and place them in a face down r:ow on
l6e Dave Camybeff tegacy 'fhe'lncredi6[e Cbse ,Uy Magic of Dave Camp6e[(

the table without looking at their faces, saying, "These 4. with the left hand still holding the other four cards, move
three cards will represent three KGB agents." the hand onto the card case in order to steady it, thus
allowing the right hand to insert its face- down card into
Bring the four Jokers out of your pocket and place them the case. During this, tilt the packet slighily and glimpse the
face up on the table, saying, "These four Jokers will face of the bottom card of the packet and remember it
represent the four Ml5 agents whose job it is to arrest the (Figure 1).
three KGB agents, uncover their identities, put them in
prison, then report back to me."

2. Pick up the Jokers, turn them face down, and deal them
one at a time on top of one of the face down cards on the
table. Then with your right hand pick up the complete
packet in a Biddle grip, and raise your arm so that the face
of the bottom card is towards the audience. Turn your head
to one side as you do this so that it is obvious that you are
unable to catch a glimpse of the selection. Figu re

3. Lower your hand again as you turn your head to the

front. Retain the packet in right hand Biddle grip. You now As you insert the card into the case, say, ,,So they put the
appear to count off the top four cards (Jokers) into the left onemy agent into jail."
hand to leave you holding the selection in the right, In fact
you carry out a Hamman Count as follows:
!r. spread the four face down cards in your left hand and
- Count the first two fairly, make the switch on the lirke the top two into your right hand, without reversing
third card to leave your right hand holding two. llreir order. The other two are retained in your Ieft hand.
llub each pair together using the fingers and thumbs of
- Count off the fourth, leaving one card in the right rrirch hand saying, "The MIS agents now got together and
hand which the audience assume to be the original t:ompared notes."
face card, the selection. This is in fact a Joker.
Nrw place the two cards from the right hand below the two
trr llro loll.
lhe Dave Ca nrybe[f .L egac y 't lre'lncredi\fe Cfose'Llp Magrc of tlore Cany,['tff

6. Say, 'Nou/ they transmitted the information back to me This leaves you with two Jokers. Push over the top single
at HO."Turn the packet face up and carry out an Elmsley card and turnover to show the third Joker, flip it face down
Count to show tour Jokers, then announce the name of the and deal it onto the tabled pile.
card you glimpsed.
Turn over the final card to show the fourth Joker and drop
Owing to the fact that you have just shown the four Jokers, it face down on top of all.
the audience should be convinced that the first selection is
in the case. They have no reason to think otherwise. Now announce the name of the card you glimpsed. As you
show the four Jokers, you say, "The, One, Two, Three, four,
7. Say, "Having successfully dealt with the first enemy Mls agents go after the tinal enemy agent."
agent they went atter the second one."
B. Once again the audience have seen four Jokers and
Repeat steps 2 through to 5 with the next face down lherefore must be convinced that the first two selections
selection. You don't turn the packet face up this time, irre in the card case. Under no circumstances should your
instead hold it face down in dealing position in the left hand. presentalion suggest anything other than that.

The order of this packet from top to bottom should be: l'ick up the packet from the table and carry out a Hamman
Count as before, except this time as you count the fourth
Selection, Selection, Joker, and Joker. r)ard into the left hand you retain a left little finger beak
l)elow it. Then place the last card on lop.
This time you show four Jokers using the following method:
liemove the top two cards as one and insert them into the
With your left thumb push over the top three cards as a r;ilrd case, catching your glimpse of the bottom card of the
block then flip them over to show a joker. Flip the triple l,ircket as you did before.
face down again then deal the top card onto the remaining
face down selection on the table. As you are left with only three cards you cannot separate
llrcm into pairs as you have been doing, so give the packet
Flepeat the block push off and turnover, this time with only rllr end for end twist, then name the card.
two cards, to show a second Joker, then flip the double
face down and deal the top card onto the two cards on the
lable
 'I'6e Dqye Camybe(f Legacy Cfre qncredt1fe C[ose qJy Uqit of Aave Camy1eff

9. At this point the audience presume that the three the "agents" and during this action glimpse the face card of
selections are inside the card case, and the four Jokers are the packet.
in your hand. ln fact the position is the complete
opposite of that, The following line is now said; This glimpse was utilised by Roy Walton in an excellent
variation of Jerry's original effect "The Whisperers.,,
"Some people think that I have to see the faces of the
Jokers in order to name your cards. Well, this isn't true, as lf you are interested in Roy's effect see ,,Stage Shout,, from
I can also tell the names from the backs of the Jokers." The Complete Walton, Volume Two, page 1.

Carry out an Elmsley Count with the three face down cards
which will make them appear as four, at the same time
announce the name of the card you glimpsed.

At this stage you are all ready for a lovely transposition.

Conclude by saying, "Of course espionage is a strange

business because during this episode the KGB agents
defected to the West, and the Ml5 agents defected to the
East!"

As you say this, turn the cards in your hand over to reveal
the three selections (KGB), then tip out the four Jokers
(Ml5) from the card case.

End Note

For those who do not wish to glimpse the selections as they

are supposedly inserted into the card case, the following
alternative glimpse can be used;

Raise the packet to your ear as if receivlng a message from

Ito tl, I
Swap Round Aces

The totlowing effect was developed by Dave over a period

of many yearsi, during which Dave was cqnstantly reviewing
his method and refining the handling'

Latterly, he expressed his satisfaction with the finish he had

come up with, but I am sure if fate hadn't sadly intervened
he would still be adding the o:ecagional refinement.

What that csuld possibly be is impossible to Bay, because in

our opinion thia is one of the mCIst beautifully constructed
Ace Aesemblles we have.seen.

Dave's last comments on this were, "l seem to have been

Working on this piggin' Aee triek all my life!"

The ptot is that of the "Solo A'cee,", or "Slow Motion Aees."

Here is what Dave wrote in his note with regards to this
llfect:

"lfl mast rautines.it is custamary for ths Aces ta

vanish fram lheir respeeiive packets and appear ane
at a time in the leader packet. The, sarne appli.e's here.,
anly'the packet in whieh they appea.r is moved
a.round during the ro.utine. This was devised to suit
my particular handting of this effect."

hfore you start, ensure there are twelve spot cards on top
Ol the deck, excluding the four Aces, as during the routine
(fre Dave Canrybef[ Legacy 'fhe 1ncredi6ft C[ose Ay Magic of Oate Campbeff

a couple of the cards are shown twice, and spot cards are Figure 1

less distinct than court cards.

Working
Spot Card

1. Run through the face up deck and transf er the Ace of

Spades to the rear, turning it face down as you do so.
Transfer the remaining three Aces to the rear as you come
Spot Card
to them, turning each face down. Square up the deck and
turn it face down, which brings the Aces face up on top.
Spread over the four Aces to display them, then as you
close the spread, obtain a little finger break below the first
two face-down cards, so the break is under six cards in all.
Ace of Spades
2. With your right hand from above, fingers at the front and
thumb at the inner end, lift off the six card packet above l)eal the face-up Ace of spades onto the table at position
the break and perform a standard Braue Addition: The left A, turning it face down. Deal the next card face down at
thumb pulls off the uppermost Ace and it is levered face position B. Deal the third card face down at position c, but
down onto the deck using the left edge of the packet. Icave it accidentally (?) askew. As you start to deal the the
The next two Aces are turned face down in the same Iourth card, you suddenly notice that the card you just
way. Drop the remaining three cards as one on top of the tlcalt to position c isn't lying straight on the table. so with
deck, to leaVe the Ace of Spades face up on top. yrur right hand holding the fourth Ace, turn the hand palm
rkrwn allowing the audience to see the face of this last Ace,
3. The Aces will now be placed onto the table in a diamond irs you straighten the card at position c. The card in your
formation, and we will refer to the four points of the rrr;ht hand is then dealt face down to position D.
configuration, as A (point nearest to you, B (point to your
left), C (point furthest away from you), and D (point to 4 State that you also require twelve other cards, so push
your right). Figure '1 shows this, with the points moving ,ll the top twelve of the deck into the right hand without
round clockwise from A. r,vorsing their order, then place the balance of the deck
, r:;lr lc.
 'T'he'lncredi\fe Cfose L\p Magic of oare Camy6ef[
Che Dave Camybeff tegacY

Spreadthecardsagaintomakesurethatyouhavethe Position Check:

requisite number of twelve, and as you close them up again'
obtainaleftlittlefingerbreakbelowthetopthreecards. There are three Aces and two random cards at position A,
Now turn the packet face up, retaining the break' Take the four random cards at position B, and the same at position C.
cards into the right hand in a Biddle grip, the right thumb One Ace and two random cards are at position D.
takingoverthebreakwhichisnowabovethelowerthree
cards, two Aces with a random card on top' 6. With the right hand pick up the packet from position A in
a Biddle grip and turn the hand to show the Ace of Spades
5. Look at the audience and say, "l am going to place three irt the face. As you do this your left left hand picks up the
cards on top of each Ace." As you are looking at the packet of cards from position B, then you place the packet
audience, move the left hand to the left taking the three in your right hand face down in their place at B.
cards below the break as one, as if you just counted a card
off the packet. As you look down at the hand, count "One"' You have thus exchanged packets. Retain this new packet in
then with your left thumb pull off the top card of the lhe left hand.
packet onto the three cards in the left hand, counting'
"Two", but keep a left little finger break below this card' As lurn over the top three cards of the packet you are holding
you pull off the next card to count ',Three,,, Biddle back the ;rnd deal them one at a time onto the table at position A.
card above the break. The left hand turns and deposits its tlre last face-down card, which the audience presume to be
cards face down on top of the Ace of spades at position A. iur Ace, is pushed through your fist using the well known
l
Vornon Fist Flourish Variant. lt emerges face up to reveal
count off three more cards into the left hand, again Biddling llrart it has changed into a random card (Figure 2), which

back the second card, and place these cards face down on you drop on top of the pile at position A.
top of the card to your right at position D'
I rtlure 2
ThisleavesyoUholdingsixcards'Countoffthreecards
fairlyintothelefthandandplacethemfacedownontopof
the card at position B, then show the final three cards and
place them face down on the remaining card at position c.
lhe Dave Cantybeff teyacy 'rhe'lncredi1ft C[ose Uy Magic of Owe Camybeff

Pick up the packet at position B, turn it face up, and hold it its cards in the place just vacated at position D. The right
in the right hand in a Biddle grip. With the left thumb pull hand continues to pull the packet off the tabre and into
off the Ace of Spades into the left hand. Pull off the next your waiting left hand.
two cards singly on top which are both random cards. Place
the last two cards as one, showing as an Ace, on top of all. 9. This final packet, which is face down in the left hand,
consists of four random cards plus an Ace at the face.
7. Square up the packet, turn it face down, and clearly Push over the top three cards and flip them face up as you
exchange it for the packet at position C. Turn the top three have been doing with the other packets, then spread the
cards face up and deal them one at a time onto the cards top two cards over to display the three random cards.
at position A, then repeat the Fist Flourish with the close the spread, square the packet, and take it into Biddle
remaining card. Show that the Ace has once again changed position in the right hand.
into a random card, which you drop on top of all.
Look at the audience and say, ,,One Ace remains, does
Pick up the packet at position C and take it face up with the anybody remember which Ace it is?,,Regardless of the
right hand in Biddle position. This time use your left first reply, slide out the bottom card with the left fingers and
finger to puFl out the lowermost card, the Ace of Spades, turn the hand palm down to show the face of the Ace.
taking this card into the left hand.
Turn the hand back again and apparently reprace the Ace
With the left thumb pull off the uppermost Ace into the left face down below the packet, in fact the left fingers
hand on top of the Ace of Spades, pull off the next Ace into continue to push the Ace straight into the right hand palm.
the left hand, then place the remaining two random cards as The instant the card is in the palm, the left thumb and
one on top of all but retain a little finger break below them. f ingers spread the remaining four cards
so that the audience
t:an still see the face down card below the three face up
B. Turn the packet face down, retaining the break, and r:ards.
immediately palm the two bottom cards into the right hand
using the method explained in the Chapter of Sleights without any hesitation, move your right hand to the front
(Bottom Palm to Right hand). ,f the four cards and grip the fan of cards at their outer
onds. Remove your left hand and hold it out palm up, as you
This hand now pulls the packet at position D towards you, riiry, "WoLtld you please hold out your hand,, place the four
adding the two palmed cards, while lhc lcft hanrl deposits r:;rrds from your right hand onto his outstretched hand.
 tfie Dwe Caml6e[[ Legacy

Look the spectator in the eye and say, "Would you also hold R i coc het
out your other hand."As he does so, reach down with your
right hand and pick up the packet from position D adding A spectator (A) selects a card and signs his name across
the palmed card, then place these onto his other hand. the face. You take this card and place it into your inside
jacket pocket. A second spectator (B) selects a card, signs
Make a passing motion from the first hand to the second, his name across the face, and this card is placed face down
then pick up the cards from his first hand and deal the between two face up Jacks. A third spectator (C) selects a
three face up cards onto pile A on the table. card, signs his name across the face, and this is buried into
the middle of the deck.
Push the remaining face down card through your fist to
show that it has changed into a random card, which you Now the fun starts. You attempt to cause the third
drop on top of pile A. selection to shoot out of the deck, only to find it is now the
second spectator's card which is supposed to be between
Finally ask the spectator to deal the four cards he is left the Jacks. The card between the Jacks is removed and it is
holding onto the table, turning each card face up as he does now seen to be the first spectator's card which is supposed
so, to reveal all four Aces. lo be in your pocket. You finally remove the card from your
;locket to show that it is now the third spectator's card.

lhe first revelation is a slight variation on peter Kane,s

t
r;lassic "Shooting Joker" which appeared in Hugard's Magic
Monthly (1963), and also "single Shot" which can be found
I

Irr A Card Session with Peter Kane (1967).

Working

l, Remove the two red Jacks and place them face up on the
Inble to your left and forward. Remove the Ace of Spades
rrrrd place it face up on the table to your right and forward.

l.
Che Dave Camybeff Legacy 'l lrt 1ncref,r\fe Cbte '1.1p Magrc oJ Dare Camybcfi

2. Spread the deck face up between your hands and invite 3. The first selection is on the face of the deck, so turn the
spectator A to select a card. Hand him a pen and have him deck face down and shuffle the bottom card to the top.
sign his name across the face. As he doing this, close up urn the deck face up again and spread the cards, inviting
the spread and obtain a little finger break below the top spectator B to select a card and sign his name across the
face-up card. Take the selection and place it momentarily face. While he is doing this turn the deck face down.
face up on top of the deck, tilt your hand inwards slightly,
then insert your right f irst finger into the break and Take the card from him and place it face down on top of
withdraw the second card from the face (Figure 1)' the deck to allow your right hand to slide the two face-up
Jacks towards you. Now bring the right hand back and
execute a Second Deal, switching selection B for selection
A, which you place between the two face-up Jacks.

4. Once again turn the deck face up and have spectator C

e(7 select a card and sign his name across its face. As he is
rloing this, turn the deck face down, then raise the inner
@2 cnd of the top card of the deck in readiness for The Vernon
Depth lllusion, otherwise known as Tilt.

lake the third selection and apparently insert it face down

rrrto the middle of the deck, really executing Tilt so it
linishes second from the top. The top card of the deck is
Figure 1 :;election B and selection C is below it.

1,. Cut off less than half the deck from the top and weave
llris section into the larger bottom section for about one
Without pause, the right hand places the card into your left rrtr:h. Turn the smaller section so that it is at right angles to
inside jacket pocket, as you say, "l'll do a trick with your llrr: larger section, with both sections forming an L shape.
card later."
llolrl the larger portion in the left fist with the upper portion
;roirrlinc; forwards to represent a hand gun. The faces of the
 't'lie 7ncref,i6fe Cfose Up Magic of t)ave Canrybef[
Che Dwe Canrybeff Le2lacy

cards should be facing to your left. Selection B is the Slide the Ace down so that it enters the larger section and
topmost card of the upper angled section (Figure 2). comes out at the bottom, at which point you stop and
position the card so that it is downjogged from the bottom
of the larger section.
Figure 2

Move the downjogged Ace gently upwards until you feel the
cdge of the card touch the edge of selection B. This will
lc.ave about an inch or so of the Ace still downjogged. Tilt
lhe deck (gun) to a forty degree angle then flick the
rlownjogged ace sharply with the right first finger. This will
(;iruse selection B to shoot out of the deck, into the air and
l;rnd face down on the table.

(i. Ask spectator C to turn over the card to discover that it

r:; spectator B's card. While he is doing this, strip out the
';nraller portion of the woven deck and place it on top of the
l;rrger portion.

Ar;k spectator B to remove the card from between the two

,lokers to firrd spectator A's card. As this revelation is
or:r;urring, palm the top card of the deck into the right hand.
I rrrally reach into your left inside jacket pocket and bring
orrl the palmed card at your fingertips.
As your right hand picks up the Ace of Spades from the
Irrrrr it round to reveal the third and final phase of this
table, turn your left hand so that the faces of the cards are
r, r:;lr,.board ricochet.
towards the audience. 1

Turn the Ace so that it faces the same way as the cards in
the deck, and place it against the back of selection B.
 About Turn
You remove the four Aces from the deck. A spectator cuts
the deck and you clearly place the four Aces face down
onto one of the face down halves. The other half is dropped
on top to bury the Aces. lmmediately you spread the deck
and the four Aces are face up in the middle.

A spectator selects a card and places it in the middle of the

Aces so it is reversed. lmmediately the deck is spread and
his card has gone, leaving only the four reversed Aces.

A snap of the fingers and the deck is spread again and the
eelected card is back between the Aces.

Flnally the four Aces are given to the spectator, but when
he next looks at them they have changed into the four
Kings! The four Aces are found inside your wallet.

lf you want to produce the Aces from your wallet, you will
need a load-in wallet of some kind. Otherwise, you can
elmply produce them from your pocket. On occasions, Dave
resorted to the use of four duplicate Aces which he secured
between two plastic plates by numerous rubber bands. So
when he palmed the Aces away at the end, he simply
dropped them in his pocket and brought out the banded
plastic sheets. That's the way he wrote it up in his notes,
however, in discussion with him about a year before he died,

t
he ran through the routine and said that he simply brought

t27
 'fhe'Jncref,i1ft Cfose'Uy Magic oJ oat'e Camybeff
tlte Dave Camybeff Legacy

them out of his pocket without any more fuss. so we will saying, "Would you please cut the deck into two halves."
describe the routine that waY. This action has secretly reversed the Ace packet and now
the four Aces are face up below a face down cover card.
Note that Dave used the same opening sequence, where the Once the spectator has made the cut, place the packet
four Aces reverse in the deck in the effect called "The square on top of the original bottom half, then pick up the
Performing Aces" which you will find elsewhere in this book top half and place it on top. To the audience, it appears
along with some background data' that the Aces are most definitely face down in the middle
of the deck.
Before you start you need to have the four Kings face up
above the bottom card of the face-down deck' 4. Place the deck into the left hand, then snap your fingers
over it. Spread the cards between your hands to reveal the
lour Aces face up in the middle. Do not spread the bottom
Wo rkin g
low cards as you will expose the face up Kings (Figure 1).
Allow the effect to register then close up the spread
1. Hold the deck face up, and taking care not to expose the
obtaining a little finger break above the reversed Aces.
reversed Kings below the face card, spread through and
upjog the four Aces. Close up the deck, turn it face down
and immediately obtain a break below the top card' Strip
out the Aces and turn them face up onto the deck, then lrr;ure 1

immediately lift off the Aces plus the card above the break
with your right hand, and place the deck face down on the
table with your left hand.

2. Place the Ace packet into your left hand and reverse
count as you show the four Aces, with the last two cards
going on top as one. Flip the packet face down, and carry
out a casual Elmsley count as if to reaffirm the situation,
then take the packet back into left hand dealing grip'

3. Now move the left hand towards the tabled deck, turning
the hand over, and push the deck Iow;ttrl:; it :;prlctator'
') h€'Ddve Lamybell Lcgacy 'T'fre 1ncredi6ft Cfose 't"ly Magic of Date Camybeff

5. Turn the deck face up executing an lnvisible Turnover Figure 2

Pass, then spread the cards between the hands asking the
spectator to select any face up card. The audience see four
face down cards in the middle and presume these to be the
Aces, when in fact they are the Kings. Ask the spectator to
slide his selected card face up in the middle of the four face
down cards. You can divide the spread to facllitate this and
to avoid any fumbling by the spectator. Close up the spread
obtaining a break above the face down cards, then turn the
deck face down again executing another lnvisible Turnover
Pass.

6. Snap your fingers over the deck, saying, "YoLtr card has
now disappeared-" Prove this to be so by spreading the
deck and showing the four face up Aces in the middle with
tt. Remove the five card group and prace it onto the table
no card between them. Push the Aces over cleanly and
r;o that all five cards are still in a spread with the selection
openly so that the audience are in no doubt that there are
lirce up in the middle. Ask the spectator to withdraw his
only four face up cards and there are no concealed doubles.
rielection from between the Aces.

7. Close up the spread obtaining a break above the four

Note: The audience believe the four face down
Aces and turn the deck face up once again executing an
cards are the Aces when in fact they have
Invisible Turnover Pass. Snap your fingers twice over the
been switched for the Kings.
deck, saying, "When I snap my fingers twice, your card
comes back."
A:; he does this, quickly form a break above the four Aces
rrl lhe bottom of the face up deck, easy due to the natural
Spread the cards once again to reveal that the selection has
lnoak, then bottom palm them.
indeed returned, as it appears face up in the middle of the
four face-down cards (Figure 2).
It;rvc used the Bottom palm into Right Hand, but you might
1rr,l<;r the more traditional method into the left hand.
 lhe Dwe Camybeff LegacY

g. Place the deck onto the table as you ask the spectator Jokers To Aces
to turn over the four Aces' He turns over the four face
down cards to discover that the four Aces have changed You bring out a deck of cards and offer to show the
bring out
into the four Kings' Finally reach into your pocket' audience an Ace trick, however, the Aces are not in the
the four Aces at your fingertips and drop them face up
on deck. You realize that you must have left them out after
the table to conclude' your previous performance. So, forgetting the Ace trick, you
offer to show the audience something else. You bring out a
packet of cards which are seen to be four Jokers. Taking
one of the Jokers, you rub it against your sleeve,
whereupon it changes into an Ace.

i The Ace is dropped face up on the table. You take a second

Joker, rub it on your sleeve, and it too changes into an Ace.
This is repeated with the remaining two Jokers, to leave you
with four Aces. We would like to thank our friend lain
Girdwood for supplying us with the working details for this
I
offect which Dave had imparted to him. lt makes an
oxcellent introduction to a four Ace trick.
lr
fhe only requirements are the four Aces from your deck and
I
the Joker. We should point out that this effeci is impressive
rrsing a blank card in place of the Joker.

llowever, it is explained using the Joker. Place the Joker on

llre face of the four Aces and the packet is set. Have the
romainder of the deck in your pocket.

I
 Che Dqve Camybeff Legacy 'fhe cncredi1fe Chse Lty Magic of Oave Campbeff

Working 4, Repeat the Flushtration count, this time to show three

Jokers, again the last two are handled as one, Now do a
1. Begin by bringing out the deck proper, saying, "l'll show mini Ascanio. Hold the packet face down in right hand Biddle
you a trick using the four Aces. " You spread through as if grip. Pull off both the top and bottom cards into the left
looking for the Aces then shrug your shoulders and laugh, hand to leave the centre two in the right hand held as
saying, "l was doing this trick last night and I must have left one (See Figure 3).
the Aces out of the deck. Never mind, l'll do something
else." lf you act this out the right way, the spectators will
believe you.

2. Place the deck aside and bring out the packet, saying,
"Luckily I have another trick I can show you. When I buy a
deck of cards I always keep the Jokers, here are four
of them."Hold the packet face down in Biddle grip in the
right hand, and show the packet as four Jokers using the Fig u re

Hamman Flushtration Count. The last card of this count

is a double which is placed on top as one.

3. The packet is now face down in the left hand. Perform a

loose Ascanio by retaking the packet from above in Biddle
grip with the right hand, then, using the left fingers, pull the
bottom two cards to the Ieft. At the same time the left
thumb pulls over the top card and all three are taken with Figure 2
the left hand. This leaves the right hand holding a double
card, which is an Ace in front of the Joker (See Figures 1
and 2). Rub the double against your left sleeve then slowly
turn the hand to reveal the Ace. Place the double below the
cards in the left hand. Turn the packet face up and deal off
the face card (Ace) onto the table. A Joker is seen on the Figure 3

face.

li,
Che Dwe Canrybef[ Legacy

Rub the face of the double against your left sleeve then Joker Special
turn the hand to show the second Ace. Place the double
below the two cards in the left hand, then turn the packet Two cards are selected and shuffled back into the deck. You
face up and deal the Ace onto the table. Again the Joker is remove the two Jokers and discard the rest of the cards.
seen on the face. The two Jokers now change one at a time into the two
selected cards, which are then dropped onto the table.
5. Only three cards remain. Repeat the Flushtration Count
to show only two Jokers, the last two going on top. Bring The two Jokers are produced from your pocket.
the right hand over and grip the packet in Biddle grip. Place
the left thumb on top of the packet, then remove the The following uses Dave's "Take and Turn" move, which is
bottom two cards away as one with the right hand, leaving both easy to do, and deceptive. The only requirement is
the top card in the left hand. Rub the double against your that your deck contains two Jokers.
sleeve, then turn the hand to show the third Ace. Place the
double below the single card in the left hand, then turn the Wo rkin g
packet face up. Deal the Ace onto the table'
1. Run through and remove the two Jokers and set them
6. You are now holding two cards squared as one. Change face down on the table, saying, "These are two special
the last Joker into the fourth Ace by executing the Thumb cards which we will need in a moment."Next have two cards
Palm Change. Alternatively, side steal the Ace into the right selected, returned, then controlled to the top.
hand then pass the hand over the Joker to cause it to
change to the final Ace. Use this double card to scoop up 2. With the deck face down in left hand dealing position,
the other three Aces from the table, saying , "Good! Now I obtain a break below the top two cards with the little finger.
can show that Ace trick I Promised." l'ick up the two face-down Jokers and turn them face up
onto the deck, saying, "The special cards I mentioned are in
You now perform any Ace trick. The Joker which is hidden lirct the two Jokers."Bring the right hand over and lift off
behind the Aces could be used to get one ahead, or you rrll four cards above the break and place the balance of the
can lose it into the deck, or palm it away if you don't want rlock to one side.
it in the deck.
:t Hold the packet in the left hand then remove the upper
,lokr:r-irnd lurn it facc down as you place it to the bottom.
llcgrc;rl llrir; willr llto l;or;ot)rl .Jokt:r.
lhe Dwe Camybef( tegacy 'ffte']ncrec{i6[e C[ose,tly Magk of t:we Campbeff

4. Now shift the packet so it is held face down by the left

hand in position for The Glide, and Dave's Take and Turn Fig u re
sequence, as follows:

a) Glide back the bottom card, and with your right

hand take hold of the complete upper block of three
cards and slide it forward (Figure '1).

The above sequence has simply shown two Jokers. However,

if you repeat the Take and Turn sequence exactly as
outlined, one Joker will change into one of the selections.

5. You repeat the Take and Turn sequence once more

lo change the second Joker into the second selection,
Irowever, this time when you place the block onto the
r;ingle card, leave it injogged for about half a card length
(Figure 3).

b) As soon as the block has cleared the left hand,

both hands turn over, left hand palm up and right
hand palm down. Without any pause at all, place
the right hand block, injogged, on top of the single
Joker, then push the block forward square with the
single Joker (Figure 2).

Fiqure 3
Che Dwe Camybeff Legacy

Now bring the right hand over palm down and place the Performing Aces
fingers on the face card of the injogged block. Push this
card forward and flush with the upper card. The four Aces are buried face down in the middle of the
face-down deck. The deck is spread and instantly the Aces
This action will automatically deliver the two Jokers into the are seen to be face up. The Aces are removed and one at a
right thumb crotch. Without pause, the left hand moves time they magically reverse using Dave's own version of
forward with the two selections, leaving the two Jokers in Vernon's "Twisting the Aces.". Now an impossible
the right thumb palm, and the selections are dropped onto transposition takes place with two of the Aces. One in the
the table. Meanwhile the right hand drops casually to the spectator's pocket and the other in yours. Finally, a very
table. direct, no palming version of Al Koran's "Solo Aces" is
performed to bring the routine to a fine conclusion.
Finally, reach into your pocket and bring out the two Jokers,
saying, "l told you the Jokers were special, and anything This routine originally appeared in The Gen (Volume 22,
speciat I always keep in my pocket." Number B, December 1966). lt is interesting to note that
Dave devised the diamond shape layout for Ace assemblies
(See also "Swap Around Aces" elsewhere in this book)
rrormally attributed to Daryl Martinez.

Ihe second phase was used by Dave in his routine entitled

"About Turn" which you will also find in this book. Another
groint of interest is that the ingenious second phase of this
routine was later independently re-invented by both J.K.
llartman in the effect "Over and Over", which appeared in
Means and Ends (1973), and Larry Jennings in The
Oardwright

Irr order to perform this routine you will require two extra
rlrrplicate Aces to match your deck. For the description we
wrll assume these to be Aces of Diamonds.
the Dwe Camybe(( Legacy l6e'1ncrert6fe C[ose Uy Magic of ttwe Camybef(

Set Up 2. With the Ace packet hetd by the right hand in Biddte grip,
reverse count the Aces into the left hand, showing
With the four Aces out of the deck (plus the two extras), Diamonds, Clubs, Hearts, and Spades. Spades is in fact a
set the deck as follows reading from the top down; Ace of double card which is placed on top of all.
Spades; Ace of Hearts; Ace of Clubs; Ace of Diamonds; X
Card; Ace of Diamonds; X Card; X card; Ace of Diamonds; Turn the packet face down and spread count to show four
balance of deck . face-down cards, buckling on the third and transferring the
bottom single card (Spades) to the top. The packet is
returned to the left hand,
Wo rking

Ask someone to cut the deck into two approximately equal

Phase One:
halves. Make a cutting motion with your left hand, and
under cover of this, the left hand turns palm down thus
1. Begin by saying, "l woLtld like to show you my Performing
secretly reversing the packet (Figure 1- spectator,s view),
Aces. Most people think that this is done by sleight of hand
but I can assure you that it took a great deal of time and
trouble to train these Aces to perform the way you are
Figure
about to witness." 1

Hold the deck face down in dealing position in your Ieft

hand. Push off the top four cards into your right hand,
without reversing their order, referiing to them as the Aces,
which of course they are. As you look at the four cards in
your right hand, obtain a left little finger break below the
top card of the deck. Flip the four Aces face up onto the
deck (Ace of Diamonds should be uppermost), and spread
them to display all four Aces.

Close up the spread and lift off all five cards above the
break, as the left hand tables the deck face down.
 Che Dave Camy1eff Legacy Che qncref,i\fe Cfose t ly Magk of tlale Camybeff

Place the packet on top of the original bottom half then 5. Here is Dave's version of Vernon's "Twisting the Aces."
ask the spectator to replace the upper section. Snap your
fingers over the deck, then spread it to reveal all four Aces a) Turn the packet face up and push the Ace of
face up in the middle. Clubs into the right hand, to reveal a face-down
card. Push over the face-down card and take it below
Phase Two: the Ace of Clubs, then buckle the lower card and
take the next two as one (showing as Hearts) below
3. Continue, saying, "Now, you may think that what you the face-down card, leaving the Ace of Diamonds in
have just seen the Aces do is very clever, with the Aces the left hand. Hold this pose to allow the effect of
acting as a team, but believe me, I had to teach each Ace the Ace of Spades having turned face down to sink
individuatly. Let me show you what I mean'" in. Finally place the right hand cards BELOW the Ace
of Diamonds so the packet is again in the left hand.
Remove the four face up Aces f rom the spread deck then
close the spread keeping the cards in order. Square the b) Repeat the foregoing sequence to cause the Ace
deck in the left hand and obtain a little finger break under of Hearts to turn face down, this time pausing before
the top card (this should be an Ace of Diamonds). Pick up taking the final Ace. However, this time, as you place
the Ace of Clubs from the table and place it face up on top the cards together let the Ace of Clubs slide below
of the deck. This is followed by the Ace of Hearts, Ace of the face down card(s), while the Ace of Diamonds
Spades, and finally the Ace of Diamonds face up on top of goes above it. Square the packet.
all. with your right hand from above lift off all five cards
above the break and place the deck onto the table. c) Repeat step 5 once again to cause the Ace of
Clubs to reverse, this time the right hand cards are
4. The packet is held from above in Biddle position in the placed ON TOP of the single Ace of Spades in the left
right hand. Peel off the Ace of Diamonds into the left hand, hand. Make a casual adjustment taking the Ace of
followed by Spades, Hearts, then Clubs, really two as one' Diamonds into the right hand followed by the next
three cards as a block which are taken ON TOP of the
Turn the packet face down and hold it in dealing position in Ace. The final Ace of Spades is taken on top of all.
the left hand. Spread the cards as four, without changing
their order, by using a buckle on the third card. Then square d) Spread the cards without any buckle to reveal the
the packet once again. Acc of Diamonds is now face down, the last two

ttl
 (he Daru camybeff tegacy Cfre qncredt\fe Cfose't-ly Magic of Dave Camybeff

cards are held together as one. Finally remove the Grasp the exposed corner of the lower double with the right
face down card and turn it face up to show that it is thumb and fingers and remove it (Figure 3), leaving the Ace
indeed the Ace of Diamonds. Place this card face up of Diamonds in the left hand. This is a Tenkai move.
between the Ace of Hearts and the Ace of Clubs,
that is one position down from where it was. Figure 3

Phase Three:

6. Continue, saying, "lt is a well known fact that some Aces

are more clever than others, and I discovered that two of
my Aces were indeed very bright pupils. I was able to teach
them a trick the the other two couldn't master. Watch
closely."With your right hand take the Ace of Spades and
the Ace of Hearts and lay them face up on the table.

Square up the Ace of Diamonds and the Ace of Clubs (with Using the right hand double, flip the Ace of Diamonds face
duplicate Ace of Diamonds hidden behind), and retain them down, then flip the double face down on top of it. lt appears
in the left hand face up. Now place the left thumb on the that you simply turned the Diamonds face down and
face of the Ace of Diamonds and pull it over to the left dropped the Club on top.
slightly (Figure 2).
7. Remove the top card, calling it the Ace of Clubs, and
slowly move it towards a spectator who is wearing a shirt
Figure 2 or jacket with a breast pocket. Continue to move the card
lowards the spectator, keeping the face hidden at all times,
then move the card up his body and slip the card into his
pocket, leaving it protruding for about an inch.

Iurn the double you are holding over to show that it is still
i
llro Ace of Diamonds; this will further convince the audience
llr;rt the card in the spectator's pocket is the Ace of Clubs.
 t'fie Dave Camybe(f tegacy 'ffre tncref,t1[e Cfose uy Magic of owe Campbeff

Place the double into your pocket with the back towards face down onto the packet. Repeat with the Ace of Clubs
the audience, and immediately push the face card deep into then the Ace of Diamonds.
the pocket, leaving only the Ace of Clubs protruding.
The final three cards, Ace of Spades with two face down
Snap your fingers then remove your card and turn it round. cards below, are dropped on top of all. In placing the cards
Ask the spectator to do likewise to reveal the astounding out imagine a diamond shape on the table.
transposition. Place the Aces face up beside the other two
on the table. The point nearest to you will be No.1, the point to your left
will be point No.2, the point furthest from you will be No.3,
Final Phase: and No.4 is the point to your right.

8. Move into the final phase by saying, "Now the Ace of Lay out the Aces as follows:
Spades and the Ace of Hearts are rather envious at being
left out of things. So rather than have them sulking, I would a) With your right hand remove the face up Ace of
like to show you the latest trick I have taught all four Aces. Spades and place it face down at position No.1.
For this they require the assistance of a few of their
f riends." b) Deal the next card to position No.2.

As you are talking, pick up the deck and push over fifteen c) Deal the third card to position No.3 but
cards by pushing over three groups of five, or whatever, so deliberately leave it Iying at an angle.
long as it appears to be a random number. Place the
balance of the deck face up on the table, Take the fifteen d) The fourth card is taken into the right hand,
card packet face down in the left hand and obtain a little however, just as you are about to place it at its
finger break under the top two cards. position you notice the angled card. Using the right
hand, which is still holding its card, straighten the
L Pick up the Ace of Spades and place it face up on top of card and at the same time, allow the face of the Ace
the packet in the left hand, followed by the Ace of of Spades to be seen by the audience.
I
Diamonds, Ace of Clubs, and lastly the Ace of Hearts.
I Square the cards then lift off all six cards above the break Then place the Ace at position No. 4 (This position
I
with the right hand in a Biddle grip. is shown in Figure 4).
With the left thumb peel off lhc Ar;c of llc;ttl:;;urrl lcvcr it
l.lii
 Che lncref,i1fe Cfose'tlp Magic of Owe Camybe[[
Che Dwe Camy1eff Legacy

Note that the block is not quite square with the rest of the
Figure 4
packet You now transfer the face up packet to the left hand
and obtain a break above the block of cards at the bottom.
Say, "/ will place three cards on top of each Ace."

1 1. Bring the right hand over and take hold of the packet in
a Biddle grip. The block remains perfectly square in the left
hand as the right hand moves away, and you count, "One."
The block is taken as the first card of the count. Without
pause the left thumb peels off another card onto the block
as you count, "Two,"but retain a little finger break below
this card. Now peel off another card and steal back the card
above the break as you count, "Three."

The cards in your left hand are turned face down and placed
10. At this stage the audience must think that all four Aces
on top of the Ace at position No.1. You have apparently
are on the table, and the next subtle sequence will do just
shown three indifferent cards, but in fact you have switched
that. with the right hand remove the bottom card of the
in the Aces.
packet you are holding and turn it face up' Use it as a
pointer, as you say, "Remember the four Aces on the
Count off three cards fairly and place them face down on
table.,,Turn the card face down again and place it on top of
lop of the cards at position No.2. Repeat and place the
the packet.
three cards face down on top of the card at position No.3.
fhis leaves you holding four cards. Simply peel off the first
Turn the packet face up and retain it in dealing position, in
lwo into the left hand and place the remaining double on
readiness for a buckle count, as you comment, "l want you
lop, then turn the packet face down and place it on top of
to be absolutely sure that there are no more Aces.,,Start
lhe remaining card at position No.4.
to push the cards into your right hand, taking each card
below the previous one, and silently count to yourself .

12. Pick up the pile from position No.2 and remove the
I

I WhenyouhaveTENcardsinyourrighthand,bucklethe
Irottom card, supposedly an Ace, and replace it second from
ll bottom card and take the block below the right hand cards.
llrc lop. Turn the packet face up and count the cards into
i Hold it in place with the right first finqcr, then flick the last
llrn riqhl hand to show four indifferents, with the last
card and place it oN TOP of thc 1t;tt;kol itr llto riclht hiind.