Читать книгу Treatise on Modern Magic - Professor Hoffmann - Страница 11

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We have already explained the nature and use of the “forcing” pack of cards. It may be well, before we go further, to give a short account of one or two other species of prepared cards.

The Long Card.—This is the technical name for a card longer or wider, by about the thickness of a sixpence, than the rest of the pack. This card will naturally project to that extent beyond the general length or width of the other cards, and the performer is thereby enabled to cut the pack at that particular card whenever he chooses to do so. With the aid of such a card, and a tolerable proficiency in “forcing” and “making the pass,” many excellent tricks can be performed. Packs with a long card can be obtained at any of the conjuring depôts. The best plan, however, is to purchase two ordinary packs, precisely alike, and to have the edges of one of them shaved down by a bookbinder to the requisite extent, when you can insert any card of the other pack at pleasure to form your long card, and thus avoid the suspicion which would naturally arise from the performance of several tricks with the same card. A still greater improvement upon the ordinary long-card pack is the biseauté or tapering pack, in which, though only one pack is used, any card may in turn become the long card. A biseauté pack consists of cards all of which are a shade wider (say the thickness of a shilling) at one end than the other. (See Fig. 33, in which, however, the actual difference of width is exaggerated, in order to make the shape of the card clear to the eye.)

Fig. 33. Fig. 34.

Fig. 35.

When two cards shaped as above are placed one upon another, but in opposite directions, the effect is as in Fig. 34. If the whole pack is at the outset placed with all the cards alike (i.e., their ends tapering in the same direction), by reversing any card and returning it to the pack, its wide end is made to correspond with the narrow ends of the remaining cards, thereby making it for the time being a “long” card. By offering the pack for a person to draw a card, and turning the pack round before the card is replaced, the position of that card will thus be reversed, and you will be able to find it again in an instant, however thoroughly the cards may be shuffled. By pre-arranging the pack beforehand, with the narrow ends of all the red cards in one direction, and those of the black cards in the other direction, you may, by grasping the pack between the finger and thumb at each end (see Fig. 35), and, drawing the hands apart, separate the black cards from the red at a single stroke, or, by preparing the pack accordingly, you may divide the court cards from the plain cards in like manner. Many other recreations may be performed with a pack of this kind, which will be noticed in due course. The long card and the biseauté pack have each their special advantages and disadvantages. The long card is the more reliable, as it can always be distinguished with certainty from the rest of the pack; but it is very generally known, and after having made use of it for one trick, it is clear that you cannot immediately venture upon another with the same card. It is further comparatively useless unless you are proficient in “forcing.” The biseauté pack may be used without any knowledge of “forcing,” and has the advantage that any card may in turn become the key card, but it is treacherous. The necessary turning of the pack is likely to attract observation, and any little mistake, such as allowing the card to be replaced in its original direction, or a few of the cards getting turned round in shuffling, will cause a breakdown. Notwithstanding these disadvantages, both the long card and the biseauté pack will be found very useful to the amateur; but it should be borne in mind that both these appliances are in reality only makeshifts or substitutes for sleight-of-hand. Professionals of the highest class discard them altogether, and rely wholly on the more subtle magic of their own fingers.

We subjoin a few of the best of the feats which specially depend upon the use of a long card or the biseauté pack.

A Card having been Chosen and Returned, and the Pack shuffled, to Produce the Chosen Card instantly in various ways.—Request some person to draw a card, spreading them before him for that purpose. If you use a long-card pack you must force the long card; if you are using a biseauté pack any card may be drawn, the pack being reversed before the card is replaced. The card being returned, the pack may be shuffled to any extent, but you will always be able to cut by feel at the card chosen.

You may vary the trick by taking the cards upright between the second finger and thumb of the right hand, and requesting some one to say, “One, two, three!” at the word “three” drop all the cards save the card chosen, which its projecting edge will enable you to retain when you relax the pressure upon the other cards.

Another mode of finishing the trick is to request any one present to put the pack (previously well shuffled) in his pocket, when you proceed, with his permission, to pick his pocket of the chosen card. This is an effective trick, and, if you are proficient in sleight-of-hand, may be also performed with an unprepared pack of cards. In the latter case, when the chosen card is returned to the pack, you make the pass to bring it to the top, palm it, and immediately offer the cards to be shuffled. (See Fig. 15.) The pack being returned, you replace the chosen card on the top, and when the pack is placed in the pocket you have only to draw out the top card. The feat of cutting at the chosen card may also by similar means be performed with an ordinary pack. For this purpose you must follow the directions last above given up to the time when, the pack having been shuffled, you replace the palmed card on the top. Then transfer the pack to the left hand, and apparently cut with the right. We say apparently, for though to the eye of the spectator you merely cut the cards, you really make the pass by sliding the lower half of the pack to the left, the fingers of the left hand at the same moment opening a little to lift the upper packet, and so give room for the upward passage of the lower packet. The cards remaining after the pass in the left hand, which the spectators take to be the bottom half of the pack, are in reality the original upper half; and on the uppermost of such cards being turned up, it is found to be the one which was chosen.

Another good mode of finishing the trick is to fling the pack in the air, and catch the chosen card. For this purpose, after forcing the long card, and after giving the pack to be shuffled, you cut the pack at the long card as before, but without showing it, and place the original lower half of the pack on the top. The chosen card will now be at the bottom. Take the pack face downwards upon the right hand, and quickly transfer it to the left, at the same time palming (with the right hand) the bottom card. Spread the cards a little, and fling them into the air, clutching at them with the right hand as they descend, and at the same moment bring the chosen card to the tips of the fingers. The effect to the spectators will be as if you actually caught it among the falling cards.

This feat also may be performed without the aid of a long card, and without the necessity of forcing a card. In this case, as in the pocket-picking trick, you make the pass as soon as the card is returned to the pack, in order to bring it to the top, and palm it; then offer the pack to be shuffled. When the cards are handed back, place the chosen card for a moment on the top of the pack, and endeavour to call attention—indirectly, if possible—to the fact that you have no card concealed in your hand. Then again palming the card, you may either yourself fling up the cards or request some other person to do so, and terminate the trick as before.

A still more effective form of this trick, in which the chosen card is caught upon the point of a sword, will be found among the card tricks performed by the aid of special apparatus.

The following is a good long-card trick, but demands considerable proficiency in sleight-of-hand. You “force” the long card, allowing it to be returned to any part of the pack, and the whole to be well shuffled. You then say, “You must be by this time pretty certain that, even if I knew your card in the first instance, I must have quite lost sight of it now. If you do not feel quite certain, please shuffle the cards once more.” Every one being fully satisfied that the card is completely lost in the pack, you continue, “Let me assure you that I do not know, any more than yourselves, whereabouts in the pack your card is at this moment. You can all see that I have no duplicate card concealed in my hands. I will now take the top card, whatever it may be, or, if you prefer it, any one may draw a card from any part of the pack, and I will at once change it to the card originally chosen.” The audience will probably prefer to draw a card, which, when they have done, you continue, “I presume the card you have just drawn is not the one originally chosen. Will the gentleman who drew the first card look at it and see if it is his card?” The reply is pretty certain to be in the negative. During the discussion you have taken the opportunity to slip the little finger of the left hand immediately above the long card (which, it will be remembered, was that first drawn), and to make the pass, thereby bringing it to the top, and enabling you to palm it. You now ask the person holding the second card to place it on the top of the pack, which you immediately transfer to the right hand, thus bringing the palmed card upon it. You then say, “To show you that this trick is not performed by sleight-of-hand, or by any manipulation of the cards, I will not even touch them, but will place them here on the table in sight of all. Will the gentleman who drew the first card please to say what his card was?” The card being named, you slowly and deliberately turn over the top card, which will be found to be transformed into that first chosen. The other card is now the next card on the top of the pack, and, as somebody may suspect this, and by examining the pack gain a partial clue to the trick, it will be well to take an early opportunity of removing this card, either by shuffling, or by making the pass to bring it to the centre of the pack.

If you make use of a biseauté pack, there is, of course, no necessity for forcing the card in the first instance.

You may also reveal a chosen card with very good effect in the following manner: A card having been freely drawn, open the pack in such manner that it may be placed, when returned, immediately under the long card, which, by the way, should in this instance really be a wide card, though the term “long card” applies, as already mentioned, to both kinds of card. The pack may be moderately shuffled, with very little risk of the two cards being separated, the greater width of the long card tending to shelter the card beneath it, and making it very unlikely that that card will be displaced. If after the shuffle the long card does not happen to be tolerably high up in the pack, you should cut the cards in such manner as to make it so. Holding the cards in a horizontal position, face downwards, above the table, the thumb being on one side and the fingers on the other side of the pack, you say, “Ladies and gentlemen, I am now about to drop the cards, a few at a time, in a number of little heaps upon the table, stopping when you tell me to do so. It will be equally open to you to stop me when I have made one or two heaps only, or not until I have made seven or eight, but, whenever it is, the card at the top of the heap last made will be the identical card which was just now drawn, and which has since, as you have seen, been thoroughly shuffled in the pack.” You now drop the cards, four or five at a time, on various parts of the table. When the word “stop” is pronounced you let go all the remaining cards below the long card, which, from its greater width, a very slight pressure suffices to retain. The card chosen having been next below the long card, is now at the top of the last heap. You ask the person who drew to name his card, and, touching the back of the top card with your wand, turn it over to show that it is the right one.

If you are tolerably expert in sleight-of-hand you may repeat the trick in a yet more striking manner. Proceed as before up to the moment when the word “stop” is pronounced. Having let fall as before all the cards below the long card, lay down the remainder of the pack, and take in the left hand the heap which you last dealt. Cover it with the right hand for an instant, and, sliding away the hand gently to the right, palm the top card, and immediately take by one corner the next card, holding it face downwards until the drawer has named his card, which was, we will suppose, the queen of hearts. As soon as the card is named, you turn towards the audience the face of the card you hold, saying, “Here is the card, as before.” Do not look at it yourself, but at once replace it on the pack, and, covering the pack with the right hand, leave the palmed card upon it. You are by this time made aware by a murmur, if not by a more decided manifestation on the part of the audience, that something is wrong. You ask what is the matter, and are told that, so far from showing the queen of hearts, the card you produced was a totally different one, say, the seven of spades. You pretend to look embarrassed, and ask if they are quite sure. “It is very strange,” you remark, “I never failed in this trick before. Will you allow me to try again?” Then, appearing to recollect yourself, “Oh, of course!” you exclaim, “I forgot to touch the card with the magic wand.” You do so. “Will some one be kind enough to look at the card now?” The card is examined, and proves to be, as it ought to have been originally, the queen of hearts.

To teach the Company a Trick which they Learn without Difficulty; then to allow them to Succeed or to cause them to Fail at your Pleasure.—This surprising trick is performed with the piquet pack of thirty-two cards, from which you must beforehand take away, and secretly pocket, one card of each suit, the spectators, however, believing that you use the whole thirty-two cards.

You announce to the company that you will teach them a trick. You deal the cards face upwards in rows of four, according to the rules set forth in the trick already described under the title of “The Congress of Court Cards,” i.e., you place a card of each suit in the top row; you commence each row with a card of the suit with which the row above ended; you make the second of each row the same suit as the first of the row above, and the third the same suit as the second of the row above, and so on. Thus, if your top row be club, diamond, heart, spade, your second will be spade, club, diamond, heart; your third, heart, spade, club, diamond; your fourth, diamond, heart, spade, club; your fifth, club, diamond, heart, spade; your sixth, spade, club, diamond, heart; and your seventh, heart, spade, club, diamond. You now gather up the cards as directed in the trick already mentioned, i.e., in vertical rows, from the bottom upwards, commencing at the right-hand bottom corner. The pack thus arranged may be cut any number of times, but, if dealt in four heaps, all the cards of each suit will be found to be together.

So far, the trick is ingenious rather than astonishing, although, the arrangement of the cards having reference only to the suits, and not to individual cards, the cards do not at first sight appear to be specially arranged; and if you are rapid and apparently careless in placing them, the spectators will in all probability believe that they are placed hap-hazard. If you can induce this belief, you will greatly heighten their surprise at finding the different suits regularly sorted after the deal. But the trick is not yet finished. You again place the cards as before, remarking that the trick is simplicity itself when once the principle is known, and on this occasion you draw special attention to the necessary arrangement of the cards. Having completed the trick for the second time, you invite some of the audience to try their hands, which they do, and of course succeed, there being really no difficulty in the matter. When one or two have tried and succeeded, they will probably disparage the trick, as being absurdly easy. “Pardon me,” you say, “you have succeeded so far, because it was my will and pleasure that you should do so. You seem incredulous, but I am perfectly serious. To prove that I am so, I give you warning that the next person who attempts the trick will fail. Come, who accepts the challenge?” Some one is sure to respond, and in all probability to offer you a bet that he will succeed. “Sir,” you reply, “I never bet on certainties, or your money would be already lost. I have said that you shall fail, and you cannot, therefore, possibly succeed.” You have, meanwhile, secretly palmed the four cards which you pocketed before beginning the trick, and have watched your opportunity to replace them on the table with the rest of the pack.

Your opponent may now try as much as he pleases, but he cannot possibly succeed, the fact being that the process above described produces the desired effect with twenty-eight cards, but will not do so with thirty-two. The first thought of your audience is sure to be that you have abstracted some of the cards in order to make the trick fail, but on counting they find the number correct. Not one in a hundred will suspect that the reverse is the case, and that when you performed the trick the pack was incomplete.

By the time three or four of the company have tried and failed, you will probably have found an opportunity of again pocketing a card of each suit; and you may then announce that, having sufficiently proved your power, you will now graciously condescend to remove the prohibition, and allow the next person who tries to succeed. This, of course, he will do; and the trick may very well end here, with the satisfaction on your part that you have kept your secret, and that, even when removed from the sphere of your adverse influence, your pupils will fail in performing the trick, making the attempt, as they naturally will, with the full piquet pack. But it is just possible that a contretemps may arise, for which it will be well to be prepared. Some one of the audience, more acute than the generality, may suggest again counting the cards, to see if all are there when the trick succeeds. Even in this case you need not be discomfitted. At once offer yourself to count the cards, and, gathering them up for that purpose, add to them the four which you removed, which you should again have palmed in readiness. Count them deliberately on to the table, and, when every one is satisfied that the pack is complete, announce that you will once more perform the trick, in order to let every one see that you actually use no more and no less than thirty-two cards. Place the cards as before, counting aloud as you do so, till the whole thirty-two cards are placed. So far you have not varied your method of proceeding, but to succeed with the whole thirty-two cards you must secretly make a slight variation in the manner of picking up. You will remember that the cards were picked up face upwards, beginning from the bottom of the right hand row, placing the cards of that row on those of the next row, and so on. Now, to perform the trick with thirty-two cards, the bottom cards of each row must be gathered up all together, and placed on the face of the pack. Thus, if the bottom card of the first or left hand row be the knave of spades, that of the second row the ten of diamonds, that of the third row the ace of hearts, and that of the fourth row the seven of clubs, those four cards must be picked up as follows: The knave of spades must be placed (face upwards) on the ten of diamonds, the ten of diamonds on the ace of hearts, and the ace of hearts on the seven of clubs, which will occupy its own place on the face of the cards of the last or right-hand row. For convenience of picking up, it will be well to place the four rows very near together, slightly converging at the bottom, when it will be tolerably easy, by a bold, quick sweep of the left hand from left to right, to slide the three other cards in due order, on to the bottom card of the last row; while the performer, looking not at the cards but at his audience, diverts their attention by any observations which may occur to him. The trick in this form requires considerable address, and the performer should not, therefore, venture upon it until, by frequent practice, he can be certain of placing the four cards neatly with his left hand, and without looking at his hands, which would infallibly draw the eyes of the audience in the same direction, and thereby spoil the trick.

To Distinguish the Court Cards by Touch.—This trick is performed by means of a preliminary preparation of the court cards, to be made as follows: Take each court card separately, edge upwards, and draw a tolerably sharp knife, the blade held sloping backwards at an angle of about 45°, once or twice along the edge from left to right. This will be found to turn the edge of the card, so to speak, and to leave on each side a minute ridge, not noticeable by the eye, but immediately perceptible, if sought for, to the touch. Prepare the opposite edge of the card in the same way, and again mix the court cards with the pack, which is now ready for use.

Offer the prepared pack to be shuffled. When the pack is returned to you, you may either hold it above your head, and, showing the cards in succession, call “court card” or “plain card,” as the case may be, or you may offer to deal the cards into two heaps, consisting of court cards in one heap and plain cards in the other, every now and then offering the cards to be again shuffled. You can, of course, perform the trick blindfold with equal facility.

You should endeavour to conceal, as much as possible, the fact that you distinguish the court cards by the sense of touch, and rather seek to make your audience believe that the trick is performed by means of some mathematical principle, or by any other means remote from the true explanation. This advice, indeed, applies more or less to all tricks. Thus your knowledge of a forced card depends, of course, on sleight-of-hand; but you should by no means let this be suspected, but rather claim credit for some clairvoyant faculty; and vice versâ, when you perform a trick depending on a mathematical combination, endeavour to lead your audience to believe that it is performed by means of some impossible piece of sleight-of-hand. Further, endeavour to vary your modus operandi. If you have just performed a trick depending purely on sleight-of-hand, do not let the next be of the same character, but rather one based on a mathematical principle, or on the use of special apparatus.

To name any Number of Cards in succession without Seeing Them.—First Method.—This trick, in its original form, is so well known that it is really not worth performing; but we describe it for the sake of completeness, and for the better comprehension of the improved method. The performer takes the pack, and secretly notices the bottom card. He then announces that he will name all the cards of the pack in succession without seeing them. Holding the pack behind him for an instant, he turns the top card face outwards on the top of the pack; then holding the pack with the bottom card towards the audience, he names that card. From the position in which he holds the pack, the top card, which he has turned, is towards him, and in full view. Again placing his hands behind him, he transfers the last named to the bottom, and turns the next, and so on in like manner. Even in an audience of half-a-dozen only, it is very likely that there will be some one acquainted with this form of the trick, who will proclaim aloud his knowledge of “how it is done.” We will suppose that you have performed the trick with this result. Passing your hands again behind you, but this time merely passing the top card to the bottom, without turning any other card, you reply that you doubt his pretended knowledge, and name the card as before. He will naturally justify his assertion by explaining the mode of performing the trick. You reply, “According to your theory, there should be an exposed card at each end of the pack. Pray observe that there is nothing of the kind in this case” (here you show the opposite side of the pack), “but, to give a still more conclusive proof, I will for the future keep the whole of the pack behind me, and name each card before I bring it forward. Perhaps, to preclude any idea of arrangement of the cards, some one will kindly shuffle them.” When the cards are returned, you give them a slight additional shuffle yourself, and remarking, “They are pretty well shuffled now, I think,” continue the trick by the

Second Method.—Glance, as before, at the bottom card. Place the cards behind you, and name the card you have just seen. Passing the right hand behind you, palm the top card, and then taking hold of the bottom card (the one you have just named) face outwards, with the two first fingers and thumb of the same hand, bring it forward and throw it on the table. Pause for a moment before you throw it down, as if asking the company to verify the correctness of your assertion, and glance secretly at the card which is curled up in your palm. Again place your hands behind you, call the name of the card you last palmed, and palm another. You can, of course, continue the trick as long as you please, each time naming the card which you palmed at the last call. You should take care to have a tolerably wide space between yourself and your audience, in which case, with a very little management on your part, there is little fear of their discovering the secret of the palmed card.

You should not be in too great a hurry to name the card you have just seen, or the audience may suspect that you gained your knowledge in the act of bringing forward the card you last named. To negative this idea, you should take care first to bring forward again the right hand, manifestly empty, and do your best to simulate thought and mental exertion before naming the next card.

To make Four Cards change from Eights to Twos, from Black to Red, etc.—For this trick you require three specially prepared cards. The backs should be similar to those of the pack which you have in ordinary use, the faces being as depicted in Fig. 36. They may be purchased at any of the conjuring depôts.

Fig. 36.

Fig. 37.

Fig. 38.

Fig. 39.

You place these three cards privately at the bottom of the pack. You begin by remarking that you will show the company a good trick with the four eights and the two of diamonds. (If you use a piquet pack, you must provide yourself with a special two of diamonds, of similar pattern to the rest of the pack.) You take the pack, and picking out the four genuine eights, hand them for examination. While they are being inspected, you insert the little finger of your left hand between the three bottom cards (the prepared cards) and the rest of the pack. When the eights are returned, you place them with apparent carelessness on the top of the pack (taking care, however, to have the eight of clubs uppermost), and hand the two of diamonds for examination. While this card is being examined, you make the pass to bring the three prepared cards on the top. The two of diamonds being returned, you lay it on the table, and taking off the four top cards, which are now the three prepared cards and the eight of clubs, you spread them fanwise, when they will appear to be the four eights, as in Fig. 37. The eight of clubs is alone completely visible, one half of each of the other cards being covered by the card next preceding it. The spectators naturally take the four cards to be the four ordinary eights which they have just examined. Insert the two of diamonds behind the eight of clubs, and lay that card in turn on the table. Close the cards and again spread them, but this time with the opposite ends outward, when they will appear to be the four twos, as in Fig. 38. Again take in the eight of clubs in place of the two of diamonds, and turn round the supposed two of hearts. This you may do easily and naturally by remarking, “I must now touch something black; my coat-sleeve will do. I gently pass either card along it, thus, and replace it as before. The cards are now all black cards,” which they actually appear to be. (See Fig. 39.) Again substitute the two of diamonds for the eight of clubs, touch any red object, and again turn and spread out the cards, when they will appear to be all red cards, as in Fig. 40. Once more take in the eight of clubs in place of the two of diamonds, and replace the four cards on the pack, again making the pass in order to bring the three prepared cards to the bottom, and to leave the genuine eights on the top.

Fig. 40.

There is a more elaborate form of this trick procurable at the conjuring depôts, in which several groups of cards are used in succession, and the changes are proportionately multiplied, various colours and patterns being produced in the place of the ordinary figures on the cards. In our own opinion, the trick loses rather than gains by this greater elaboration, as the more fanciful changes have the disadvantage of showing clearly (which the simpler form of the trick does not) that the cards used are not ordinary cards; and this being once understood, the magic of the trick is destroyed.

We have had occasion more than once to direct you to turn round the cards, and it will be well for you to know how to do this neatly and without exciting suspicion. Hold the four cards fanwise in the left hand, the fingers behind and the thumb in front of the cards. Having exhibited them, turn their faces towards yourself, and with the thumb and finger of the right hand close the fan, and taking them by their upper ends lay them face downwards on the table. Their lower ends will now be away from you, and when you desire again to exhibit the cards (in a transformed condition), you have only to turn them over sideways, and pick them up by the ends which are now directed towards you. This little artifice (which is simplicity itself in practice, though a little difficult to describe) must be carefully studied, as upon neat manipulation in this respect the illusion of the trick mainly depends.

A Card having been Drawn and Returned, and the Pack shuffled, to make it Appear at such Number as the Company Choose.D—Invite a person to draw a card. Spread out the pack that he may replace it, and slip your little finger above it. Make the pass in order to bring the chosen card to the top; palm it, and offer the pack to be shuffled. When the pack is returned to you, replace the chosen card on the top, and make the first of the false shuffles above described, but commence by sliding off into the right hand the two top cards (instead of the top card only), so that the chosen card may, after the shuffle, be last but one from the bottom. Take the pack face downwards in the left hand, and carelessly move about the pack so that the bottom card may be full in view of the audience. Inquire at what number the company would like the card to appear; and when they have made their decision, hold the pack face downwards, and with the first and second fingers of the right hand draw away the cards from the bottom one by one, throwing each on the table face upwards, and counting aloud “one,” “two,” “three,” and so on. The first card which you draw is naturally the bottom one, and the chosen card, which is second, would in the ordinary course come next; but you “draw back” this card with the third finger of the left hand (see page 36) and take the next instead, continuing in like manner until you have reached one short of the number at which the card is to appear. You now pause, and say, “The next card should be the card you drew. To avoid any mistake, will you kindly say beforehand what it was?” at the same time placing the card face downwards on the table. When the card is named, you request the drawer or some other person to turn it up, when it is found to be the right one.

D Another form of this trick, in which sleight-of-hand is not needed, has been given at page 52.

Another Method.—The card having been drawn and replaced, bring it to the top by the pass, palm it, have the pack shuffled, and replace it on the top. Invite the audience to choose at what number it shall appear. They choose, we will suppose, fifth. “Very good,” you reply; “permit me, in the first place, to show you that it is not there already.” Deal out the first five cards, face downwards, and show that the fifth is not the chosen card. Replace the five cards, in their present order on the pack, when the card will be at the number named.

Several Persons having each Drawn and Returned a Card, to make each Card appear at such Number in the Pack as the Drawer chooses.—Allow three or four persons each to draw a card. When all have drawn, make the pass in such manner as to bring the two halves of the pack face to face. The pack should not, however, be equally divided. The upper portion should only consist of about half-a-dozen cards, and therefore in making the pass you should insert the finger only at that number of cards from the bottom. Receive back the drawn cards on the top of the pack, “ruffling” the cards (see page 27), and saying “Pass!” as each card is replaced. You may casually remark, “Your card has vanished; did you see it go?” When all are returned, you quickly “turn over” the pack (see page 37), and, taking off the top card, say, addressing yourself to the person who last returned a card, “You see your card has vanished, as I told you. At what number in the pack, say from the first to the tenth, would you like it to re-appear?” We will suppose the answer to be “the sixth.” You deal five cards from the end of the pack that is now uppermost, then pretending a momentary hesitation, say, “I fancy I dealt two cards for one; allow me to count them again.” This draws the general attention to the cards on the table, and gives you the opportunity to again turn over the pack. You continue, after counting, “We have five, this makes six; then this should be your card. Will you say what the card was?” You place the card on the table, face downwards, and do not turn it till it is named, this giving you the opportunity to again turn over the pack, to be ready to repeat the operation with the next card. You must be careful to invite the different persons to call for their cards in the reverse order to that in which they are replaced in the pack. Thus, you first address the person who last returned his card, and then the last but one, and so on. You must tax your ingenuity for devices to take off the attention of the spectators from the pack at the moment when it is necessary to turn it over; and as each repetition of the process increases the chance of detection, it is well not to allow more than three or four cards to be drawn.

If you have reason to fear that the cards left undealt will run short, you may always replace any number of those already dealt upon the reverse end of the pack to that at which the chosen cards are.

The “Three Card” Trick.—This well-known trick has long been banished from the répertoire of the conjuror, and is now used only by the itinerant sharpers who infest race-courses and country fairs. We insert the explanation of it in this place as exemplifying one form of sleight-of-hand, and also as a useful warning to the unwary.

In its primary form, the trick is only an illustration of the well-known fact that the hand can move quicker than the eye can follow. It is performed with three cards—a court card and two plain cards. The operator holds them, face downwards, one between the second finger and thumb of the left hand, and the other two (of which the court card is one) one between the first finger and thumb, and the other between the second finger and thumb of the right hand, the latter being the outermost. Bringing the hands quickly together and then quickly apart, he drops the three cards in succession, and challenges the bystanders to say which is the court card. If the movement is quickly made, it is almost impossible, even for the keenest eye, to decide with certainty whether the upper or lower card falls first from the hand, and consequently which of the three cards, as they lie, is the court card. This is the whole of the trick, if fairly performed, and so far it would be a fair subject for betting, though the chances would be much against the person guessing; but another element is introduced by the swindling fraternity, which ensures the discomfiture of the unwary speculator. The operator is aided by three or four confederates, or “bonnets,” whose business it is to start the betting, and who, of course, are allowed to win. After this has gone on for a little time, and a sufficient ring of spectators has been got together, the operator makes use of some plausible pretext to look aside from the cards for a moment. While he does so one of the confederates, with a wink at the bystanders, slily bends up one corner of the court card, ostensibly as a means of recognition. The performer takes up the cards without apparently noticing the trick that has been played upon him, but secretly (that corner of the card being concealed by the third and fourth fingers of the right hand) straightens the bent corner, and at the same moment bends in like manner the corresponding corner of the other card in the same hand. He then throws down the cards as before. The bent corner is plainly visible, and the spectators, who do not suspect the change that has just been made, are fully persuaded that the card so bent, and no other, is the court card. Speculating, as they imagine, on a certainty, they are easily induced to bet that they will discover the court card, and they naturally name the one with the bent corner. When the card is turned, they find, to their disgust, that they have been duped, and that the dishonest advantage which they imagined they had obtained over the dealer was in reality a device for their confusion.

To Nail a Chosen Card to the Wall.—Procure a sharp drawing pin, and place it point upwards on the table, mantelpiece, or any other place where it will not attract the notice of the spectators, and yet be so close to you that you can cover it with your hand without exciting suspicion. Ask any person to draw a card. When he returns it to the pack, make the pass to bring it to the top, palm it, and immediately offer the pack to be shuffled. While this is being done, place your right hand carelessly over the pin, so as to bring the centre of the card as near as possible over it, and then press gently on the card, so as to make the point of the pin just penetrate it.

When the pack is returned, place the palmed card upon the top, and thus press home the pin, which will project about a quarter of an inch through the back of the card. Request the audience to indicate any point upon the woodwork of the apartment at which they would like the chosen card to appear; and when the spot is selected, stand at two or three feet distance, and fling the cards, backs foremost, heavily against it, doing your best to make them strike as flat as possible, when the other cards will fall to the ground, but the selected one will remain firmly pinned to the woodwork. Some little practice will be necessary before you can make certain of throwing the pack so as to strike in the right position. Until you can be quite sure of doing this, it is better to be content with merely striking the pack against the selected spot. The result is the same, though the effect is less surprising than when the cards are actually thrown from the hand.

The Inseparable Sevens.—Place secretly beforehand three of the four eights at the bottom of the pack, the fourth eight, which is not wanted for the trick, being left in whatever position it may happen to occupy. (The suit of this fourth eight must be borne in mind, for a reason which will presently appear.) Now select openly the four sevens from the pack, and spread them on the table. While the company are examining them, privately slip the little finger of the left hand immediately above the three eights at the bottom, so as to be in readiness to make the pass. Gather up the four sevens, and place them on the top of the pack, taking care that the seven of the same suit as the fourth eight is uppermost. Make a few remarks as to the affectionate disposition of the four sevens, which, however far apart they are placed in the pack, will always come together; and watch your opportunity to make the pass, so as to bring the three eights, originally at the bottom, to the top. If you are sufficiently expert, you may make the pass at the very instant that you place the four sevens on the top of the pack; but, unless you are very adroit, it is better to bide your time and make it an instant later, when the attention of the audience is less attracted to your hands. You then continue, “I shall now take these sevens (you can see for yourselves that I have not removed them), and place them in different parts of the pack.” At the words, “You can see for yourselves,” etc., you take off the four top cards, and show them fanwise. In reality, three of them are eights, but the fourth and foremost card being actually a seven, and the eighth pip of each of the other cards being concealed by the card before it, and the audience having, as they imagine, already seen the same cards spread out fairly upon the table, there is nothing to suggest a doubt that they are actually the sevens. (You will now see the reason why it is necessary to place uppermost the seven of the same suit as the absent eight. If you had not done so the seven in question would have been of the same suit as one or other of the three sham sevens, and the audience, knowing that there could not be two sevens of the same suit, would at once see through the trick.) Again folding up the four cards you insert the top one a little above the bottom of the pack, the second a little higher, the third a little higher still, and the fourth (which is a genuine seven) upon the top of the pack. The four sevens, which are apparently so well distributed throughout the pack, are really together on the top, and you have only to make the pass, or, if you prefer it, simply cut the cards, to cause them to be found together in the centre of the pack.

The Inseparable Aces.—This is really only another form of the last trick, though it differs a good deal in effect. You first pick out and exhibit on the table the four aces, and request some one to replace them on the pack, when you place three other cards secretly upon them. This you may either do by bringing three cards from the bottom by the pass, or you may, while the company’s attention is occupied in examining the aces, palm three cards from the top in the right hand, and, after the aces are replaced on the top, simply cover them with that hand, thereby bringing the three palmed cards upon them. You now say, “I am about to distribute these aces in different parts of the pack; pray observe that I do so fairly.” As you say this, you take off and hold up to the audience the four top cards, being the three indifferent cards with an ace at the bottom. You cannot, of course, exhibit them fanwise, as in the last trick, or the deception would be at once detected; but the spectators, seeing an ace at the bottom, and having no particular reason for suspecting otherwise, naturally believe that the cards you hold are really the four aces. Laying the four cards on the table, you distribute them, as in the last trick, in different parts of the pack; taking care, however, that the last card (which is the genuine ace), is placed among the three already at the top.

You now invite some one to cut. When he has done so, you take up the two halves, in their transposed position, in the left hand, at the same time slipping the little finger of that hand between them. The four aces are now, of course, upon the top of the lower packet. You then announce, “I am now about to order the four aces, which you have seen so well divided, to come together again. Would you like them to appear on the top, at the bottom, or in the middle of the pack? I should tell you that I know perfectly well beforehand which you will choose, and indeed I have already placed them at that particular spot.” If the answer is, “In the middle,” you have only to withdraw the little finger, and invite the company to examine the pack to see that they are already so placed. If the answer is, “On the top,” you make the pass to bring them there. To produce them at the bottom is rather more difficult, and unless you are pretty confident as to your neatness of manipulation, it will be well to limit the choice to “top” or “middle.” In order to be able to bring the four aces to the bottom, you must, in picking up the cards after the cut, push forward a little with the left thumb the four top cards of the lower packet, and slip the little finger below and the third finger above them, so as to be able to make the pass above or below those four cards as occasion may require. If you are required to bring those four cards to the top, you must withdraw the little finger (thereby joining those cards to the upper cards of the lower packet) and make the pass with the aid of the third finger instead of the fourth. If, on the contrary, you desire to produce the four aces at the bottom, you simply withdraw the third finger, thereby leaving the aces at the bottom of the upper packet, when the pass will bring them to the bottom of the pack.

We have described the trick as performed with the aces, but the effect will, of course, be the same with four kings, four queens, or any other four similar cards.

Having placed the Four Aces in different positions in the Pack, to make the two Black change places with the two Red ones, and finally to bring all Four together in the middle of the Pack.—This trick may immediately follow that last described. Again selecting the four aces (or such other four cards as you used for the last trick), and placing them on the table, take the two red ones, and opening the pack bookwise in the left hand, ostentatiously place them in the middle, at the same time secretly slipping your little finger between them. Ask the audience to particularly notice which of the aces are placed in the middle, and which at top and bottom. Next place one of the black aces on the top, and then turning over the pack by extending your left hand, place the remaining black ace at the bottom. As you again turn over the pack to its former position, make the pass, which the movement of the pack in turning over in the hand will be found to facilitate. The two halves of the pack having now changed places, the aces will, naturally, have changed their positions also, the two black ones now being in the middle, and the two red ones at top and bottom; but it would be very indiscreet to allow the audience to know that this is already the case. As has been already mentioned, when a given change has taken or is about to take place, you should always seek to mislead the spectators as to the time of the change, as they are thereby the less likely to detect the mode in which it is effected. In accordance with this principle, you should endeavour in the present case to impress firmly upon the minds of your audience that the cards are as they have seen you place them; and for that purpose it is well to ask some one to say over again, for the general satisfaction, in what parts of the pack the four aces are.

At this point a contretemps may arise, for which it is well to be prepared. The person interrogated may possibly forget the relative position of the two colours, and may, therefore, ask to see again how the cards are placed; or some person may have seen or suspected that you have already displaced them, and may make a similar request for the purpose of embarrassing you. In order to be prepared for such a contingency, it is desirable, after you make the pass as above mentioned, not to allow the two halves of the pack to immediately coalesce, but to keep them still separated by the little finger. If you have done this, and for any reason it becomes necessary to show the cards a second time in their original condition, you have only to again make the pass, in order to bring them back to the same position which they occupied at first, making it a third time in order to effect the change.

We will suppose that the audience are at length fully satisfied that the two red aces are in the middle, and the two black ones at the opposite ends of the pack. You then say, “Ladies and gentlemen, I am about to command these aces to change places. Pray observe by what a very simple movement the transposition is effected.” Making a quick upward movement with the right hand, you ruffle the cards, at the same moment saying, “Pass!” Turning the faces of the card to the audience, you show them that the red aces are now at top and bottom, and the black ones in the middle. While exhibiting them, take an opportunity to slip the little finger between these latter, and in closing the cards (while they are still face upwards), again make the pass, and place the pack face downwards on the table. You then say, “I have now, as you see, made the aces change places. I don’t know whether you saw how I did it. Perhaps I was a little too quick for you. This time I will do it as slowly as you please, or, if you prefer it, I will not even touch the cards with my hands, but merely place my wand upon the pack, so. Pass! Will you please to examine the pack for yourselves, when you will find that the aces have again changed places, and have returned to their original positions.” This is found to be the case. You continue, “You have not found me out yet? Well, to reward your attention, as this really is a very good trick, I will show you how to do it for yourselves.” Pick out the four aces, and hand the two red ones to one person, and the two black ones to another person. Then, taking the pack in your left hand, and addressing yourself first to the person on your right, request him to place the two aces which he holds respectively at the top and bottom of the pack. Then, turning to the other person, request him to place the two other aces in the middle of the pack, which you (apparently) open midway with the right hand for the purpose. In reality, instead of merely lifting up, as you appear to do, the top half of the pack, you make the pass by sliding out the bottom half of the pack to the left. This movement is completely lost in your quick half turn to the left as you address the second person, which so covers the smaller movement of the cards as to make it absolutely imperceptible; and it is in order to create the excuse for this useful half turn, that we have recommended you to place the aces in the hands of two different persons, and to begin with the person on your right. When the second pair of aces are thus replaced in the middle of the pack they are in reality placed between the two others, which the audience believe to be still at top and bottom. You now hand the pack to a person to hold, placing it face downwards in his palm, and requesting him to hold it very tightly, thus preventing any premature discovery of the top or bottom card. You then say, “I have promised to show you how to perform this trick. To make it still more striking, we will have this time a little variation. Instead of merely changing places, we will make all the four aces come together.” Then, addressing the person who holds the cards, you continue, “The manner of performing this trick is simplicity itself, though it looks so surprising. Will you take my wand in your right hand? Hold the cards very tightly, and touch the back with this end of the wand. Quite right. Now say ‘Pass!’ It is very simple, you see. Let us see whether you have succeeded. Look over the pack for yourself. Yes, there are the aces all together, as well as I could have done it myself. You can try it again by yourself at your leisure, but please don’t tell any one else the secret, or you will ruin my business.”

The above delusive offer to show “how it’s done” can be equally well adapted to many other tricks, and never fails to create amusement.

A Card having been thought of, to make such Card Vanish from the Pack, and be Discovered wherever the Performer pleases.—This trick should be performed with twenty-seven cards only. You deal the cards, face upwards, in three packs, requesting one of the company to note a card, and to remember in which heap it is. When you have dealt the three heaps, you inquire in which heap the chosen card is, and place the other two heaps, face upwards as they lie, upon that heap, then turn over the cards, and deal again in like manner. You again inquire which heap the chosen card is now in, place that heap undermost as before, and deal again for the third time, when the card thought of will be the first card dealt of one or other of the three heaps. You have, therefore, only to bear in mind the first card of each heap to know, when the proper heap is pointed out, what the card is. You do not, however, disclose your knowledge, but gather up the cards as before, with the designated heap undermost; when the cards are turned over, that heap naturally becomes uppermost, and the chosen card, being the first card of that heap, is now the top card of the pack. You palm this card, and hand the remaining cards to be shuffled. Having now gained not only the knowledge, but the actual possession, of the chosen card, you can finish the trick in a variety of ways. You may, when the pack is returned replace the card on the top, and giving the pack, face upwards, to a person to hold, strike out of his hand all but the chosen card (see page 44); or you may, if you prefer it, name the chosen card, and announce that it will now leave the pack, and fly into a person’s pocket, or any other place you choose to name, where, it being already in your hand, you can very easily find it. A very effective finish is produced by taking haphazard any card from the pack, and announcing that to be the chosen card, and on being told that it is the wrong card, apologizing for your mistake, and forthwith “changing” it by the fifth method (see page 32) to the right one.

Some fun may also be created as follows:—You name, in the first instance, a wrong card—say the seven of hearts. On being told that that was not the card thought of, you affect surprise, and inquire what the card thought of was. You are told, let us say, the king of hearts. “Ah,” you remark, “that settles it; I felt sure you were mistaken. You could not possibly have seen the king of hearts, for you have been sitting on that card all the evening. Will you oblige me by standing up for a moment,” and, on the request being complied with, you apparently take the card (which you have already palmed) from off the chair on which the person has been sitting. The more shrewd of the company may conjecture that you intentionally named a wrong card in order to heighten the effect of the trick; but a fair proportion will always be found to credit your assertion, and will believe that the victim had really, by some glamour on your part, been induced to imagine he saw a card which he was actually sitting on.

This trick is frequently performed with the whole thirty-two cards of the piquet pack. The process and result are the same, save that the card thought of must be one of the twenty-seven cards first dealt. The chances are greatly against one of the last five cards being the card thought of, but in such an event the trick would break down, as it would in that case require four deals instead of three to bring the chosen card to the top of the pack.

It is a good plan to deal the five surplus cards in a row by themselves, and after each deal, turn up one of them, and gravely study it, as if these cards were in some way connected with the trick.

To cause a Number of Cards to Multiply invisibly in a Person’s keeping.—Secretly count any number, say a dozen, of the top cards, and slip the little finger of the left hand between those cards and the rest of the pack. Invite a person to take as many cards as he pleases, at the same time putting into his hands all, or nearly all, of the separated cards. If he does not take all, you will be able to see at a glance, by the number that remains above your little finger, how many he has actually taken. Pretend to weigh in your hand the remaining cards, and say (we assume that you are using a piquet pack), “I should say by the weight that I have exactly twenty-two cards here, so you must have taken ten. Will you see if I am right?” While he is counting the cards he has taken, count off secretly from the pack, and palm in the right hand, four more. When he has finished his counting, you say, “Now will you please gather these cards together, and place your hand firmly upon them?” As you say this, you push them towards him with your right hand. This enables you to add to them, without attracting notice, the four cards in that hand. Continue, “Now how many cards shall I add to those in your hand? You must not be too extravagant, say three or four.” The person addressed will probably select one or other of the numbers named, but you must be prepared for the possibility of his naming a smaller number. If he says “Four,” you have only to ruffle the cards in your hand, or make any other gesture which may ostensibly effect the transposition; and he will find on examination that the cards under his hand are increased by four, according to his desire. If he says “Three,” you say, “Please give me back one card, to show the others the way.” This makes the number right. If “two” are asked for, you may ask for two cards to show the way; or you may say, “Two, very good! Shall I send a couple more for anybody else?” when some one or other is pretty sure to accept your offer. If one only is asked for, you must get two or three persons to take one each, taking care always by one or the other expedient to make the number correspond with the number you have secretly added. While the attention of the company is attracted by the counting of the cards, to see if you have performed your undertaking, again palm the same number of cards as was last selected (suppose three), and, after the cards are counted, gather them up, and give them to some other person to hold, adding to them the three just palmed; then taking that number of cards from the top of the pack, and again replacing them, say, “I will now send these three cards into your hands in the same manner.” Ruffle the cards, as before, and, upon examination, the number of cards in the person’s hands will again be found to be increased by three.

The Pack being divided into Two Portions, placed in the keeping of two different Persons, to make Three Cards Pass invisibly from the One to the Other.—This trick is identical in principle with the one last described, but the mise en scène is more elaborate, and several circumstances concur to give it a surprising effect. It was a special favourite with the late M. Robert-Houdin, and we shall proceed to describe it as nearly as possible in the form in which it was presented by him.

The performer brings forward a pack of cards, still in the official envelope. These he hands to a spectator, with a request that he will open and count them. He does so, and finds that they have the full complement (of thirty-two or fifty-two, as the case may be). He is next requested to cut the pack into two portions, pretty nearly equal, and to choose one of the packets. Having made his selection, he is further asked to count the cards in the packet chosen. The general attention being, meanwhile, drawn away from the performer, he has ample opportunity to get ready in his right hand, duly palmed, three cards of another pack, but of similar pattern to those of the pack in use. (These may previously be placed either on the servante or in the performer’s right-hand pochette; or he may, if he prefers it, have them ready palmed in his right hand when he comes upon the stage to commence the trick.) The spectator, having duly counted the chosen pack, declares it to consist, say, of seventeen cards. “A capital number for the trick,” remarks the performer. “Now, sir, will you be kind enough to take these seventeen cards in your own hands” (here he pushes them carelessly towards him, and joins the three palmed cards to them), “and hold them well up above your head, that every one may see them. Thank you. Now, as your packet contains seventeen cards, this other” (we are supposing a piquet pack to be used) “should contain fifteen. Let us see whether you have counted right.” The performer himself audibly counts the remaining packet, card by card, on the table: immediately afterwards taking the heap in his left hand, and squaring the cards together, thus obtaining the opportunity to separate and palm in his right hand the three top cards. He continues, “Fifteen cards here—and—how many did you say, sir?—yes, seventeen, which the gentleman holds, make thirty-two. Quite right. Now will some one else oblige me by taking charge of these fifteen cards.” He hands the cards with the left hand, and at the same moment drops the three palmed cards into the profonde on the right side, immediately bringing up the hand, that it may be seen empty. “Now, ladies and gentlemen, I will show you a very curious phenomenon, all the more astonishing because you will bear me witness that, from the time the cards were counted, they have not been even one moment in my possession, but have remained in independent custody. Will you, sir” (addressing the person who holds the second packet), “hold up the cards in such a manner that I can touch them with my wand. I have but to strike the cards with my wand once, twice, thrice, and at each touch a card will fly from the packet which you are now holding, and go to join the seventeen cards in the other packet. As this trick is performed by sheer force of will, without the aid of apparatus or dexterity, I shall be glad if you will all assist me by adding the force of your will to mine, which will greatly lighten my labour. At each touch of the wand, then, please, all present, mentally to command a card to pass in the manner I have mentioned. Are you all ready! Then we will make the experiment. One, two, THREE! Did you see the cards pass? I saw them distinctly, but possibly my eyes are quicker than yours. Will each of the gentlemen who hold the cards be good enough to count his packet?” This is done, and it is found that the one holds twenty cards, and the other twelve only.

It is obvious that the two packets now collectively contain duplicates of three cards, while three others are missing; but it is extremely unlikely that any one will suspect this, or seek to verify the constitution of the pack.

To allow several Persons each to draw a Card, and the Pack having been Shuffled, to make another Card drawn haphazard Change successively into each of those first chosen.—Invite a person to draw a card. This first card need not be forced, as it is not essential for you to know what card it is, so long as you afterward keep it in sight. When the card is returned to the pack, insert the little finger under it, and make the pass in order to bring it to the bottom. Make the first of the false shuffles (see page 23), and leave it at the bottom. Again make the pass to bring it to the middle of the pack, and force the same card on a second and again on a third person, each time making a false shuffle, and leaving the chosen card, which we will call a, ultimately in the hands of the last person who drew.E When you have concluded the last shuffle, which (the card not now being in the pack) may be a genuine one, you offer the pack to some person who has not yet drawn, and allow him to draw any card he pleases, which second card we will call b. You open the pack, and ask the persons holding the two cards to replace them one on the other; that first chosen, a, being placed last—i.e., uppermost. You make the pass to bring them to the top, and palm them, and then immediately hand the pack to be shuffled by one of the company. This being done, you replace them on the top of the pack, and, spreading the cards, and appearing to reflect a moment, pick out by the backs as many cards as there have been persons who drew (i.e., four) including among them the two cards a and b. Exhibiting the four cards, you ask each drawer to say, without naming his card, whether his card is among them. The reply is, of course, in the affirmative. Each person who drew, seeing his own card among those shown, naturally assumes that the remaining cards are those of the other drawers; and the remainder of the audience, finding the drawers satisfied, are fully convinced that the cards shown are the four which were drawn. You now replace the cards in different parts of the pack, placing the two actually drawn in the middle, and secretly make the pass to bring them to the top. Then, spreading the cards, you invite another person to draw, which you allow him to do wherever he chooses. When he has done so, you request him to name aloud his card, which we will call c. Holding the card aloft, you ask each of the former drawers in succession, “Is this your card?” To which each answers, “No.” After having received this answer for the last time, you “change” the card by the first method (see page 28) for the top card. You now have the card a (the one drawn several times) in your hand, while b has become the top card, and c, which you have just exhibited, is at the bottom. You continue, before showing a, “You are all agreed that this is not your card; you had better not be too sure. I will ask you one by one. You, sir,” addressing the first drawer, “are you quite sure this is not your card?” He is obliged to own that it now is his card. “Pardon me,” you say, breathing gently on the back of the card, “it may have been so a moment ago, but now it is this lady’s,” exhibiting it to the second drawer, who also acknowledges it as her card. To the third person you say, “I think you drew a card, did you not? May I ask you to blow upon the back of this card! It has changed again, you see, for now it is your card.” The card having been again recognized, you continue, “There was no one else, I think,” at the same moment again making the change by the first method, so that a is now at bottom and b in your hand. The person who drew b will, no doubt, remind you that you have not yet shown him his card. You profess to have quite forgotten him, and, feigning to be a little embarrassed, ask what his card was. He names it accordingly, upon which you ask him to blow upon the card you hold, and, turning it over, show that it has now turned into that card. Then again making the change, you remark, “Everybody has certainly had his card now.” Then, yourself blowing upon the card you hold, which is now an indifferent one, you show it, and remark, “You observe that now it is nobody’s card.”