Читать книгу Treatise on Modern Magic - Professor Hoffmann - Страница 12

In this trick, as in every other which mainly depends upon forcing a given card, there is always the possibility that some person may, either by accident or from a malicious desire to embarrass you, insist upon drawing some other card. This, however, must not discourage you. In the first place, when you have once thoroughly acquired the knack of forcing, the victim will, nine times out of ten, draw the card you desire, even though doing his utmost to exercise, as he supposes, an absolutely free choice; and the risk may be still further diminished by offering the cards to persons whose physiognomy designates them as likely to be good-naturedly easy in their selection. But if such a contretemps should occur in the trick we have just described, it is very easily met. You will remember that the first card drawn is not forced, but freely chosen. It is well to make the most of this fact, and for that purpose, before beginning the trick, to offer the cards to be shuffled by several persons in succession, and specially to draw the attention of the audience to the fact that you cannot possibly have any card in view. When the card is chosen, offer to allow the drawer, if he has the slightest suspicion that you know what it is, to return it, and take another. He may or may not accept the offer, but your evident indifference as to the card chosen will make the audience the less likely to suspect you afterwards of desiring to put forward any particular card. If, notwithstanding, a wrong card is drawn the second time, leave it in the hand of the drawer, and at once offer the cards to another person, and again endeavour to force the proper card, a, and let the wrong card take the place of b in the foregoing description. In the very unlikely event of a second wrong card being drawn, leave that also for the moment in the hands of the drawer, and let that card take the place of c in the finish of the trick.

To make Four Aces change to Four Kings, and Four Kings to Four Aces.—This very effective trick is performed by the aid of four cards, which are so prepared as to appear aces on the one side and kings on the other. To make them, take four ordinary aces and four ordinary kings, and peel off half the thickness of each card. This may be easily done by splitting one corner of the card with a sharp penknife, when the remainder can be pulled apart without difficulty. The cards being thus reduced in thickness, paste back to back the king and ace of each suit, placing them in a press or under a heavy weight, that they may dry perfectly smooth and flat. Better still, entrust the process to some person who is accustomed to mounting photographs, when, at a trifling cost, you will have your double-faced cards thoroughly well made.

Place these four cards beforehand in different parts of the pack, the “ace” side downwards, i.e., in the same direction as the faces of the other cards. Place the genuine aces face downwards on the top of the pack, which being thus disposed, you are ready to begin the trick.

Take the pack in your hand, face uppermost. Remark, “For this trick I want the aces and kings,” and pick out, one by one, the real kings and the sham aces. Lay these cards on the table, the kings face upwards, and the prepared cards with the “ace” side uppermost. Draw the attention of the audience to these cards, and meanwhile make the pass so as to bring the two halves of the pack face to face, when the four genuine aces will (unknown to the audience) be at the lower end of the pack. Place the four kings ostentatiously upon the opposite end of the pack, i.e., that which is for the time being uppermost.

You now borrow a hat. Placing the pack for a moment on the table, and taking the four false aces in one hand and the hat in the other, place the aces on the table, and cover them with the hat, at the same moment turning them over. Then taking the pack in your hand, once more show the kings, and replacing them, say, “I shall now order these four kings to pass under the hat, and the four aces to return to the pack. I have only to touch the cards with my wand, and say, ‘Pass,’ and the change is accomplished.” As you touch the cards with the wand, turn over the pack (see page 37), the bringing together of the hands and the gentle tap with the wand effectually covering the slight movement of the hand. If you do not use the wand, a semi-circular sweep of the hand which holds the cards in the direction of the hat, as you say “Pass,” will answer the same purpose.

Having shown that the cards have changed according to command, you may, by repeating the process, cause the cards to return to their original positions. It is better not to carry the trick further than this, or some of the audience may possibly ask to be allowed to examine the cards, which would be embarrassing.

After the trick is over, make the pass to bring the pack right again, and then get the double-faced cards out of the way as soon as possible. The best way to do this, without exciting suspicion, is to take them up in the right hand, and apparently turn them over and leave them on the top of the pack, but in reality palm them, and slip them into your pocket, or elsewhere out of sight. After having done this, you may safely leave the pack within reach of the audience, who, if they examine it, finding none but ordinary cards, will be more than ever puzzled as to your modus operandi.

Having made Four Packets of Cards with an Ace at the bottom of each, to bring all Four Aces into whichever Packet the Company may choose.—Take the four aces, or any other four cards of equal value, from the pack, and throw them face upwards on the table. While the company’s attention is being drawn to them, make the pass, as in the last trick, so as to bring the two halves of the pack face to face. The company, having satisfied themselves that the four cards shown are really the four aces, and are without preparation, take them up, and replace them face downwards upon the top of the pack, which you hold in the left hand, remarking, “I am going to show you a trick with these four aces. I shall first place them on the table, and put three indifferent cards on each of them.” Meanwhile, get the thumb of the left hand in position for the “turn over,” and the instant that you have drawn off the top card with the right hand, turn over the pack, which the movement of the hands in removing the top card will enable you to do without attracting notice. This top card is really an ace, and you may therefore show it, as if by accident, while placing it on the table. Lay it face downwards, and then place three cards from the end you have just brought uppermost (which the audience will believe to be the other three aces), in a line with it on the table. Next place three more cards, taken from the same end of the pack, upon each of the three cards last dealt. When you come to that first dealt (the genuine ace), before dealing the three cards upon it, you must again turn over the pack, thereby bringing the three aces on the top. You thus have upon the table four packets of four cards each, one packet consisting of aces only, and the remaining three packets of indifferent cards; but the audience imagine that the aces are divided, and that there is one at the foot of each packet. You now ask any one to touch two out of the four packets. The two packets which he touches may include, or may not include, the one containing the four aces. Whichever be the case, take up and put aside the two which do not include the packet of aces, and remark, “We will place these aside,” an observation which will be equally appropriate whether those were the two touched or not. Next ask the same or another person to touch one of the two remaining packets, and in like manner add that one which does not contain the aces to the two already set aside. Placing these three packets on the table, request some one of the company to place his hand upon them, and hold them tightly; then, taking the remaining packet yourself, observe. “You have three aces, and I have only one; but by virtue of my magic power I shall compel those three aces to leave your hand, and come to mine, I just touch the back of your hand, so” (touching it with the cards you hold), “and say, ‘Pass.’ The change is already accomplished. Here are all four aces. Please to examine your own cards, when you will find you have not a single ace left. Let me remind you that the audience chose, and not I, which of the four packets you should take, and which one I should retain.”F

There is another method of performing this trick, which dispenses with the necessity of “turning over” the pack. In this case, as you place the four aces on the top of the pack, you insert the little finger of the left hand under the three uppermost, and make the pass to bring these three to the bottom, still, however, keeping the finger between them and the rest of the pack. You deal out the four top cards (supposed to be the four aces), as above, and three others on each of the three non-aces. You next ask some person to draw any three cards (taking care not to let him draw one of the three at the bottom), and place them at the top of the pack. The moment he has done so, you again make the pass, thus bringing the three aces upon them. You then say, taking off (without showing) the three top cards, “Now I will take these three cards, freely drawn from the middle of the pack, and place them here on this last ace.” From this point the course of the trick is the same as already described.

To Change the Four Aces, held tightly by a Person, into Four Indifferent Cards.—This is a most brilliant trick, and puzzles even adepts in card-conjuring. In combination with the “Shower of Aces,” which next follows, it was one of the principal feats of the Elder Conus, and subsequently of the celebrated Comte.

The trick is performed as follows:—You begin by announcing that you require the assistance of some gentleman who never believes anything that he is told. The audience generally take this as a joke, but for the purpose of this trick it is really rather an advantage to have the assistance of a person who will take nothing for granted, and will be satisfied with nothing short of ocular demonstration of any fact which you desire him to concede. Some little fun may be made in the selection, but a volunteer having at last been approved of, you request him to step forward to your table. Selecting from the pack the four aces, you ask him to say aloud what cards those are, at the same time holding them up that all may see them. Then laying the aces face upwards on the table, you hand him the remainder of the cards, and ask him to ascertain and state to the company, whether there is any peculiarity about the cards, and whether, in particular, there are any other aces in the pack. His reply is in the negative. You then ask whether any other person would like to examine the pack. All being satisfied, you take the pack, face downwards, in your left hand, and picking up the four aces with the right, place them on the top, at the same moment slightly ruffling the cards. Then taking the aces one by one (without showing them) you place them face downwards on the table. Addressing the person assisting you, you say, “I place these four aces on the table. You admit that they are the four aces.” Your victim, not having seen the faces of the cards since they were replaced on the pack, and having noticed the slight sound produced by your ruffling the cards, will, in all probability, say that he does not admit anything of the sort. “Why,” you reply, “you have only just seen them; but I’ll show them to you again, if you like.” Turning them face upwards, you show that the four cards really are the aces, and again replace them on the pack, ruffle the cards, and deal out the four aces face downwards as before. You again ask your assistant whether he is certain this time that the four cards on the table are the aces. He may possibly be still incredulous, but if he professes himself satisfied, you ask him what he will bet that these cards are really the aces, and that you have not conjured them away already. He will naturally be afraid to bet, and you remark, “Ah, I could tell by the expression of your countenance that you were not quite satisfied. I’m afraid you are sadly wanting in faith, but as I can’t perform the trick, for the sake of my own reputation, until you are thoroughly convinced, I will show you the cards once more.” This you do, and again replace them on the pack, but before doing so, slip the little finger of the left hand under the top card of the pack. Again take off the aces with the finger and thumb of the right hand, carrying with them at the same time this top card. Then with a careless gesture of the right hand toward the audience, so as to show them the face of the undermost card (the one you have just added), you continue, “I really can’t imagine what makes you so incredulous. Here are the aces” (you replace the five cards on the pack)—“I take them one by one, so, and place them on the table. Surely there is no possibility of sleight-of-hand here. Are you all satisfied that these are really the aces now?” The audience having noted, as you intended them to do, that the fifth or bottom card was not an ace, naturally conclude that other cards have been by some means substituted for the aces, and when you ask the question for the last time, you are met by a general shout of “No!” You say, with an injured expression, “Really, ladies and gentlemen, if you are all such unbelievers, I may as well retire at once. I should hope that, at least, you will have the grace to apologize for your unfounded suspicions.” Then, turning to the person assisting you, you continue, “Sir, as every act of mine appears to be an object of suspicion, perhaps you will kindly show the company that those are the aces, and replace them yourself on the top of the pack.”

This he does. But during the course of the above little discussion, you have taken the opportunity to count off, and palm in your right hand, the five top cards of the pack. It is hardly necessary to observe that while doing this, you must scrupulously refrain from looking at your hands. The mode of counting is to push forward the cards one by one with the thumb, and to check them with the third finger, of the left hand. A very little practice will enable you to count off any number of cards by feel, in this manner, with the greatest ease. When the aces are replaced on the top of the pack, you transfer the pack from the left to the right hand, thus bringing the palmed cards above them, then placing the whole pack on the table, face downwards, inquire, “Will you be good enough to tell me where the aces are now?” The answer is generally very confident, “On the top of the pack.” Without taking the pack in your hand, you take off, one by one, the four top cards, and lay them face downwards on the table, as before; then taking up the fifth card and exhibiting it to the company, observe, “You see there are no more aces left, but if you like you can look through the pack.” So saying, you take up the cards, and run them rapidly over with their faces towards the spectators, taking care, however, not to expose either of the five at the top, four of which are the genuine aces. Then, addressing your assistant, you say, “The company being at last satisfied, perhaps you will be good enough to place your hand on those four cards, and hold them as tightly as possible.” Then, holding the pack in the left hand, you take between the first finger and thumb of the right hand the top card of the pack, being the only one left of the five you palmed and placed over the aces, and say, “Now I am going to take four indifferent cards one after the other, and exchange them for the four aces in this gentleman’s hand. Observe the simplicity of the process. I take the card that first comes to hand” (here you show the face of the card that you hold, which we will suppose to be the seven of diamonds), “I don’t return it to the pack, even for a moment, but merely touch the hand with it, and it becomes the ace of (say) spades” (which you show it to be). At the words “return it to the pack,” you move the card with what is taken to be merely an indicative gesture, towards the pack, and at the same instant “change” it by the third method (see page 30) for the top card of the pack, which is one of the aces.

You now have the seven of diamonds at the top of the pack, with the remaining three aces immediately following it. You must not show this seven of diamonds a second time, and it is therefore necessary to get it out of the way. The neatest way of doing this is as follows:—You remark, “To show you that I take the cards just as they come, I will give them a shuffle,” which you do as indicated for the first of the “false shuffles” (see page 23), subject to the modification following. Pass into the right hand first the top card (the seven of diamonds) alone, and upon this card pass the next three, which are the three aces, then the rest of the cards indifferently. When all the cards are thus passed into the right hand, shuffle them again anyhow, but take care to conclude by bringing the four lowest cards to the top; you will now have the three aces uppermost, and the seven of diamonds in the fourth place. Taking off the top card, and drawing it sharply over the hand of the person assisting, you show that it also is an ace, and in like manner with the next card, making, if you choose, a false shuffle between. After the third ace has been shown, make a false shuffle, and finally leave at the top the last ace, with one card above it. This may be effected by bringing up from the bottom in concluding the shuffle the two bottom cards, instead of the last (the ace) only. Taking the top card between the thumb and first finger of the right hand, and showing it with apparent carelessness, so as to give the company the opportunity of remarking that it is not an ace, you replace it on the pack for an instant, saying, “We have had three aces, I think. Which is it that is wanting?” Here you glance down at the aces on the table. “Oh! the ace of diamonds. Then the card that I hold must change to the ace of diamonds.” You have meanwhile effected the change, and turning up the card you hold, you show that it is the ace of diamonds.

You may, if you please, use the first instead of the third method of making the “change” in performing this trick, but the first method demands a higher degree of dexterity to make it equally deceptive; and the movement used in the third method has in this instance the advantage of appearing to be the natural accompaniment of the words of the performer.

The Shower of Aces.—This trick forms a very effective sequel to that last described, or may with equal facility be made to follow many other card tricks. To perform it, the first essential is the possession of a pack of cards similar in size and pattern to that you have in general use, but consisting of aces only. You can purchase such a pack at most of the conjuring depôts, or you may, without much difficulty, manufacture one for yourself. If you decide upon the latter course, you must first procure thirty or forty blank cards backed with the requisite pattern. These you can transform into aces in two ways. The first is, to split three or four ordinary cards of each suit, and, after peeling off, as thin as possible, the face of each, carefully cut out the pips, and paste one in the centre of each of your blank cards. This process, however, takes a considerable time; and, when the sham aces are collected in a pack, the extra thickness of the paper in the centre of each produces an objectionable bulge. The better plan is to procure a stencil-plate representing the figures of a club, heart, and diamond, which will enable you to produce any number of the aces of those suits, using Indian ink for the clubs, and vermilion, mixed with a little size, for the hearts and diamonds. The ace of spades you must dispense with, but this is of little consequence to the effect of the trick.

You must have these cards close at hand, in such a position as to enable you to add them instantly, and without attracting observation, to the pack you have been using. If you use the regular conjuror’s table, before described, you may place your pack of aces on the servante. If you do not use such a table, you may place them in one of your pochettes. In either case, you will have little difficulty in reaching them at the right moment, and placing them on the top of the ordinary pack, holding the whole in your left hand, but keeping the little finger between. Having done this, you say to the person who has been assisting you (in continuation of the trick you have just performed), “You appear to be fond of aces, sir. How many would you like?” He is fully convinced, having previously examined the pack, that you have only the ordinary four but, from a desire to put your powers to an extreme test, he may possibly name a larger number—say, seven. “Seven!” you reply; “that is rather unreasonable, seeing there are only four in the pack. However, we will make some more. Do you know how to make aces? No? Then I will show you. Like all these things, it’s simplicity itself, when you once know it. Will you oblige me by blowing upon the pack?” which you hold just under his nose for that purpose. He does so, and you deliberately count off and give to him the seven top cards, which all prove to be aces. You then say, “Perhaps you would like some more. You have only to blow again. Come, how many will you have?” He again blows on the pack, and you give him the number desired. While he is examining them, you cover the pack for a moment with your right hand, and palm a dozen or so of the remaining aces. Then remarking, “You blew a little too strongly that time. You blew a lot of aces into your waistcoat,” you thrust your hand into the breast of his waistcoat, and bring out three or four of the palmed cards, leaving the remainder inside; then pull out two or three more, dropping them on the floor, so as to scatter them about and make them appear as numerous as possible. You then say, “There seem to be a good many more there yet. Perhaps you will take them out yourself.” While he is doing so, you palm in the right hand all the remaining aces. When he professes to have taken out all, you say, “Are you quite sure that you have no more aces about you? You blew very hard, you know. I really think you must have some more. Will you allow me?” Then, standing on his right, you place your right hand just below his eyes, and spring the remaining aces from it, in the manner indicated for springing the cards from hand to hand (see page 37), the effect being exactly as if a shower of cards flew from his nose.

Several Persons having each drawn Two Cards, which have been Returned and Shuffled, to make each Couple Appear in Succession, one at the top and the other at the bottom of the Pack.—This capital trick was also a great favourite with Comte, who christened it, for reasons best known to himself, by the poetical name of “The Ladies’ Looking-glass.”

The cards having been freely shuffled, you invite a person to draw two cards, allowing him free choice. Opening the pack in the middle, you ask him to place his cards together in the opening. You bring them to the top by the pass, make the first of the false shuffles, and conclude by leaving them on the top. Offer the cards to a second person to draw a couple, but in opening the cards for him to return them, make the pass, so that they may be placed upon the pair already drawn, which are thereby brought to the middle of the pack. Again make the pass, so as to bring all four to the top. Make another false shuffle, leaving those four on the top, and offer the cards to a third and fourth person, each time repeating the process. Make the false shuffle for the last time, so as to leave all the drawn cards in a body on the top of the pack, with one indifferent card above them. The audience believe that they are thoroughly dispersed, and your first care must be to strengthen that impression. If you are expert in card-palming, you may palm the nine cards, and give the pack to be shuffled by one of the spectators; but this is not absolutely necessary, and there is some risk of the company noticing the absence of part of the pack. You remark, “You have all seen the drawn cards placed in different parts of the pack, and the whole have been since thoroughly shuffled. The drawn cards are therefore at this moment scattered in different parts of the pack. I can assure you that I do not myself know what the cards are” (this is the only item of fact in the whole sentence); “but yet, by a very slight, simple movement, I shall make them appear, in couples as they were drawn, at top and bottom of the pack.” Then, showing the bottom card, you ask, “Is this anybody’s card?” The reply is in the negative. You next show the top card, and make the same inquiry. While you do so, you slip the little finger under the next card, and as you replace the card you have just shown, make the pass, thus bringing both cards to the bottom of the pack. Meanwhile, you ask the last person who drew what his cards were. When he names them, you “ruffle” the cards, and show him first the bottom and then the top card, which will be the two he drew. While exhibiting the top card, take the opportunity to slip the little finger of the left hand immediately under the card next below it, and as you replace the top one make the pass at that point. You now have the third couple placed top and bottom. Make the drawer name them, ruffle the cards, and show them as before, again making the pass to bring the card just shown at top, with that next following, to the bottom of the pack, which will enable you to exhibit the second couple in like manner. These directions sound a little complicated, but if followed with the cards will be found simple enough.

You may, by way of variation, pretend to forget that a fourth person drew two cards, and, after making the pass as before, appear to be about to proceed to another trick. You will naturally be reminded that So-and-so drew two cards. Apologizing for the oversight, you beg him to say what his cards were. When he does so, you say, “To tell you the truth I have quite lost sight of them; but it is of no consequence, I can easily find them again.” Then nipping the upper end of the cards between the thumb and second finger of the right hand, which should be slightly moistened, you make the pack swing, pendulum fashion, a few inches backwards and forwards, when the whole of the intermediate cards will fall out, leaving the top and bottom card alone in your hand. These you hand to the drawer, who is compelled to acknowledge them as the cards he drew.

To make Two Cards, each firmly held by a different Person, change places.—For the purpose of this trick you must have a duplicate of some one of the cards, say the knave of spades, and you must arrange your pack beforehand as follows: The bottom card must be a knave of spades; the next to it an indifferent card, say the nine of diamonds; and next above that, the second knave of spades. You come forward carelessly shuffling the cards (which you may do as freely as you please as to all above the three mentioned), and finish by placing the undermost knave of spades on the top. The bottom card will now be the nine of diamonds, with a knave of spades next above it. Holding up the pack in your left hand, in such a position as to be ready to “draw back” the bottom card (see page 36), you say, “Will you all be kind enough to notice and remember the bottom card, which I will place on the table here, so as to be in sight of everybody.” So saying, you drop the pack to the horizontal position, and draw out with the middle finger of the right hand apparently the bottom card, but really slide back that card, and take the one next to it (the knave of spades), which you lay face downwards on the table, and ask some one to cover with his hand. You then (by the slip or pass) bring the remaining knave of spades from the top to the bottom, and shuffle again as before, taking care not to displace the two bottom cards. Again ask the company to note the bottom card (which is now the knave of spades), and draw out, as before, apparently that card, but really the nine of diamonds. Place that also face downwards on the table, and request another person to cover it with his hand. The company are persuaded that the first card thus drawn was the nine of diamonds, and the second the knave of spades. You now announce that you will compel the two cards to change places, and after touching them with your wand, or performing any other mystical ceremony which may serve to account for the transformation, you request the person holding each to show his card, when they will be found to have obeyed your commands. The attention of the audience being naturally attracted to the two cards on the table, you will have little difficulty in palming and pocketing the second knave of spades, which is still at the bottom of the pack, and which, if discovered, would spoil the effect of the trick.

To Change Four Cards, drawn haphazard, and placed on the table, into Cards of the same Value as a Single Card subsequently chosen by one of the Spectators.—This trick is on the same principle as that last above described, but is much more brilliant in effect. To perform it, it is necessary, or at least desirable, to possess a forcing pack consisting of one card several times repeated. We will suppose your forcing pack to consist of queens of diamonds. Before commencing the trick, you must secretly prepare your ordinary pack in the following manner:—Place at the bottom any indifferent card, and on this a queen; then another indifferent card, then another queen; another indifferent card, then another queen; another indifferent card, and on it the fourth and last queen. You thus have at the bottom the four queens, each with an ordinary card next below it. Each indifferent card should be of the same suit as the queen next above it, so that all of the four suits may be represented. Shuffle the cards, taking care however, not to disturb the eight cards above mentioned. Then say, “I am about to take four cards from the bottom, and place them on the table. Will you please to remember what they are?” Show the bottom card, then, dropping the pack to the horizontal position, “draw back” that card, and take the next, which is one of the queens, and, without showing it, lay it face downwards on the table. You now want to get rid of the card you have already shown, which is still at the bottom. To effect this without arousing suspicion, the best and easiest plan is to shuffle each time after drawing a card, not disturbing the arranged cards at the bottom, but concluding the shuffle by placing the bottom card, which is the one you desire to get rid of, on the top of the pack. Thus after each shuffle you are enabled to show a fresh bottom card, which, however, you slide back, and draw the next card (a queen) instead. Repeat this four times, when you will have all four queens on the table, though the audience imagine them to be the four cards they have just seen. In order to impress this more fully upon them, ask some one to repeat the names of the four cards. While the attention of the audience is thus occupied, you secretly exchange the pack you have been using for your forcing pack, and advancing to the audience say, “Now I shall ask some one to draw a card; and whatever card is drawn, I will, without even touching them, transform the four cards on the table to cards of the same value. Thus, if you draw a king they shall all become kings; if you draw a ten, they shall become tens, and so on. Now, choose your card, as deliberately as you please.” You spread the cards before the drawer, allowing him perfect freedom of choice, as, of course, whatever card he draws must necessarily be a queen of diamonds. You ask him to be good enough to say what the card he has drawn is, and on being told that it is a queen, you say, “Then, by virtue of my magic power, I order that the four cards now on the table change to queens. Pray observe that I do not meddle with them in any way. I merely touch each with my wand, so! Will some one kindly step forward, and bear witness that the change has really taken place.”

If you do not possess a forcing pack, but rely upon your own skill in forcing with an ordinary pack, it is well to prepare this second beforehand by placing the four queens (supposing that you desire a queen to be drawn) at the bottom. Making the pass as you advance to the company, you bring these to the middle and present the pack. It is comparatively easy to insure one or other of four cards placed together being drawn.

Two Heaps of Cards, unequal in Number, being placed upon the Table, to predict beforehand which of the two the Company will choose.—There is an old schoolboy trick, which consists in placing on the table two heaps of cards, one consisting of seven indifferent cards, and the other of the four sevens. The performer announces that he will predict beforehand (either verbally or in writing) which of the two heaps the company will choose; and fulfils his undertaking by declaring that they will choose “the seven heap.” This description will suit either heap, being in the one case understood to apply to the number of cards in the heap, in the other case to denote the value of the individual cards.

The trick in this form would not be worth noticing, save as a prelude to a newer and really good method of performing the same feat. You place on the table two heaps of cards, each containing the same number, say six cards, which may be the first that come to hand, the value of the cards being in this case of no consequence. You announce that, of the two heaps, one contains an odd and the other an even number. This is, of course, untrue; but it is one of the postulates of a conjuror’s performance that he may tell professionally as many fibs as he likes, and that his most solemn asseverations are only to be taken in a Pickwickian sense. You continue, “I do not tell you which heap is odd and which is even, but I will predict to you, as many times as you like, which heap you will choose. Observe, I do not influence your choice in any way. I may tell you that you will this time choose the heap containing the odd number.” While delivering this harangue, you take the opportunity of palming in your right hand a single card from the top of the pack, and place the remainder of the cards apart on the table. When the audience have made their choice, you pick up the chosen heap with the right hand, thereby adding the palmed card to that heap, and, coming forward, ask some one to verify your prediction. The number is, naturally, found to be odd. You then bring forward the second heap, which is found to be even. Join the two heaps together, and again separate them, palming the top card of the odd heap, replace the two heaps on the table, and this time predict that the audience will choose the heap containing the even number. When they have made their selection, you have only to pick up the non-chosen heap with the hand containing the palmed card, and the chosen heap with the empty hand.

You may with truth assure the audience that you could go on all the evening predicting their choice with equal certainty, but it is best not to repeat the trick too often. You will do wisely to pass on at once to the next trick, which will enable you to display your powers of divination in a yet more surprising form.

A Row of Cards being placed Face Downwards on the Table, to indicate, by turning up one of them, how many of such Cards have during your absence been transferred from one end of the Row to the other.—This trick is somewhat out of place in this chapter, inasmuch as it involves no sleight-of-hand, but we insert it here as forming an appropriate sequel to that last described. It is thus performed:—You deal from the top of the pack, face downwards on the table, a row of fifteen cards. To all appearance, you are quite indifferent what cards you take, but, in reality, you have pre-arranged the first ten cards in the following manner:—First a ten, then a nine, then an eight, and so on down to the ace inclusive. The suits are of no consequence. The eleventh card should be a blank card, if you have one of the same pattern as the pack; if not, a knave will do. This card, in the process which follows, will stand for 0. When the fifteen cards are dealt, their arrangement will therefore be as follows:—

10, 9, 8, 7, 6, 5, 4, 3, 2, 1, 0, *, *, *, *—

the four asterisks representing any four indifferent cards. This special arrangement is, of course, unknown to the audience. You now offer to leave the room, and invite the audience, during your absence, to remove any number of the cards (not exceeding ten) from the right hand end of the row, and place them, in the same order, at the other end of the row. On your return, you have only to turn up the eleventh card, counting from the beginning or left hand end, which will indicate by its points the number of cards removed. A few examples will illustrate this fact. Thus, suppose that two cards only have been removed from the right to the left hand end, the row thus altered will be as follows:—

*, *, 10, 9, 8, 7, 6, 5, 4, 3, [2], 1, 0, *, *.

The eleventh card from the left will be a two, being the number moved. Suppose that seven cards have been removed, the new arrangement will be—

2, 1, 0, *, *, *, *, 10, 9, 8, [7], 6, 5, 4, 3,

and the card in the eleventh place will be a seven. Suppose the audience avail themselves of your permission to the fullest extent, and remove ten cards, the same result follows.

5, 4, 3, 2, 1, 0, *, *, *, *, [10], 9, 8, 7, 6.

If no card is moved, the 0 will remain the eleventh card, as it was at first. If you repeat the trick a second time, you must replace the cards moved in their original positions. Do not, if you can possibly help it, allow the audience to perceive that you count the cards.

You are not necessarily restricted to fifteen cards, but may increase the number up to twenty if you please, making up the complement by increasing the number of the indifferent cards at the right hand of the original row.

The trick may be equally well performed with dominoes, or with numbered pieces of paper, as with playing cards.

Several Cards having been freely chosen by the Company, Returned and Shuffled, and the Pack placed in a Person’s Pocket, to make such Person draw out one by one the chosen Cards.—This trick is an especial favourite of the well-known Herrmann, in whose hands it never fails to produce a brilliant effect. The performer hands the pack to one of the company, who is requested to shuffle it well, and then to invite any four persons each to draw a card. This having been done, the pack is returned to the performer, who then requests the same person to collect the chosen cards face downwards on his open palm. The cards so collected are placed in the middle of the pack, which is then handed to the person who collected them, with a request that he will shuffle them thoroughly. After he has done so, the pack is placed by the performer in the volunteer assistant’s breast-pocket. The performer now asks one of the four persons who drew to name his card. He next requests the person assisting him to touch the end of his wand, and then as quickly as possible (that the mystic influence may not have time to evaporate) to put his hand in his pocket, and draw out the card named. He takes out one card accordingly, which proves to be the very one called for. A second and third card are named and drawn in the same manner, to the astonishment of all, and not least of the innocent assistant. The fourth and last card, which is, say, the ten of spades, he is requested to look for in the pack, but it proves to be missing, and the performer thereupon offers to show him how to make a ten of spades. To do so, he requests him to blow into his pocket, where the missing card is immediately found. But he has, unfortunately, blown too strongly, and has made not only a ten of spades, but a host of other cards, which the performer pulls out in quantities, not only from his pocket, but from the inside of his waistcoat—ultimately producing a final shower from his nose.

This trick, which appears marvellous in execution, is really very simple, and depends for its effect, not so much on any extraordinary degree of dexterity, as on the manner and address of the performer. When the four cards are replaced in the middle of the pack, the performer makes the pass to bring them to the top, and palms them. He then hands the pack to be shuffled. When it is returned, he replaces them on the top, and, placing the person assisting him on his left hand, and facing the audience, places the pack in the left breast-pocket of such person, taking care to place the top of the pack (on which are the chosen cards) outwards. In asking the names of the drawn cards, he puts the question first to the person who last replaced his card (and whose card is therefore on the top), and so on. He is particular in impressing upon the person assisting him that he must draw out the card as quickly as possible, thus giving him no time to select a card, but compelling him, so to speak, to take that which is readiest to his hand, which will always be the outermost, or top card.

Should he notwithstanding, by accident or finesse, draw out a card from the middle of the pack, the performer at once says, “Oh, you were not half quick enough! You must pull out the card as quick as thought, or the magic influence will go off. Allow me!” then pulling out the outer card himself, he shows that it is the right one. When three cards have been thus produced, he himself plunges his hand into the pocket, and takes out the whole pack, with the exception of the then top card, which is the fourth of the cards drawn; then, pretending to recollect himself, he says, “Stay; we had four cards drawn. Will you say what your card was, madam?” We have supposed that it was the ten of spades. He hands the pack to the person assisting him, saying, “Will you find the ten of spades, and return it to the lady?” Being in his pocket, of course it cannot be found in the pack, and on blowing into the pocket it is naturally discovered there. The performer meanwhile has palmed about a third of the pack, which he introduces into the pocket at the same moment that he places his hand therein to take out the supposed superfluous cards. From this stage to the close the trick is merely a repetition of that already given under the title of the “Shower of Aces” (see page 97), to which the reader is referred.

The Cards having been freely shuffled, and cut into three or four heaps, to name the top Card of each heap.—Note the bottom card of the pack, which we will suppose to be the nine of diamonds. Shuffle the cards, so as to bring this card to the top, and palm it. Then remark, “But perhaps you would rather shuffle for yourselves,” and hand the pack to some one of the company for that purpose. When the pack is returned, replace the card on the top, and continue, placing the pack on the table, “You observe that I do not meddle with the cards in any way. Now will some one be good enough to cut them into two, three, or four parts, when I will at once name the top card of each.” To do this you must take especial notice where the upper part of the pack is placed, as you know that the top card of this particular heap is the nine of diamonds. Placing your finger gravely, not on this, but on one of the other heaps, you say, appearing to reflect, “This is the nine of diamonds.” We will suppose that it is in reality the queen of spades. You take it in your hand without allowing the audience to see it, and, noticing what it is, at once touch the top card of another heap, saying, “And this is the queen of spades.” Glancing in like manner at this card, which is, say, the seven of clubs, you touch another card, and say, “This is the seven of clubs.” We will suppose that this third card is really the ace of hearts. You conclude, taking up the card you have all along known (the real nine of diamonds), “And this last is the ace of hearts.” Then, throwing all four on the table, show that you have named them correctly.

This trick should be performed with considerable quickness and vivacity, so as not to give the audience much time for thought as you name the cards. It is further necessary that the spectators be well in front of you, and so placed that they cannot see the faces of the cards as you pick them up.

To allow a Person secretly to think of a Card, and dividing the Pack into three heaps, to cause the Card thought of to appear in whichever heap the Company may choose.—Hand the pack to the company, with a request that they will well shuffle it. When it is returned, cut the pack into three heaps on the table, and invite some one to secretly think of a card. When he has done so, say boldly, “The card you have thought of is in this heap,” touching one of them—say the middle one. “Will you be kind enough to name it?” The person names, say, the queen of spades. You continue, “Your card, as I have already told you, is in this centre heap. To satisfy you that it is so, and that I do not now place it there by means of any sleight-of-hand, I will, in the first place, show you that it is not in either of the other heaps.” Gathering together the two heaps in question, and turning them face upwards, you come forward to the audience, rapidly spreading and running over the cards the while in order to ascertain whether the queen of spades is among them. If it is not, the trick has so far succeeded without any trouble on your part; and, after showing that the card is not among those you hold, you bring forward the remaining packet, and show that you were correct in your assertion. You then say, “I do not generally repeat a trick, but on this occasion, as you may possibly imagine that my success was a mere result of accident, I will perform the trick once more, and, if you please, you shall yourselves name beforehand the packet in which the card thought of shall appear.” The packet having been chosen, you join the other two in your left hand, and invite some one to think of a card. When he has done so, you come forward, as before, to show that it is not among the cards you hold. Luck may again favour you; but if not, and you see the card chosen among those you hold in your hand, you quickly draw it, by a rapid movement of the second finger of the right hand, behind the rest of the pack, and, continuing your examination, show the company, to all appearance, that the card is not there. Having done this, you again turn the pack over (when the card thought of will be on the top), and, covering the pack for a moment with the right hand, palm that card. Then, picking up with the same hand the heap remaining on the table, you place the palmed card on the top, and, transferring the cards to the left hand, you say, “You are welcome to watch me as closely as you please. You will find that I shall cut these cards at the precise card you thought of.” To all appearance you merely cut the cards, but really at the same moment make the pass (by lifting away the lower instead of the upper half of the packet). The upper part of the packet, with the card on the top, remains in the left hand. You request some one to look at the top card, which is found to be the card thought of.

Should the card in the first instance prove to be among the non-designated cards, you will proceed as last directed; but do not in this case repeat the trick.

To allow a Person secretly to think of a Card, and, even before such Card is named, to select it from the Pack, and place it singly upon the Table.—This trick is on the same principle, and performed in a great measure by the same means, as that last described. You invite a person to think of a card (without naming it). When he has done so, you offer the pack to another person to shuffle, and finally to a third person to cut. Then, selecting any one card from the pack, you walk to your table, and, without showing what it is, place it face downwards on the table, retaining the rest of the pack in your left hand. Then, addressing the person who was requested to think of a card, you say, “The card which I have just placed on the table is the one you thought of. Will you be good enough to name it?” We will suppose that the card thought of was the ace of spades. You say, as in the last trick, “Allow me to show you, in the first place, that the ace of spades is no longer in the pack.” Coming forward to the audience, and rapidly running over the cards, you catch sight of the ace of spades, and slip it behind the rest. Having shown that it is, apparently, not in the pack, you turn the cards over (when the ace will, of course, be on the top), and palm it. Leaving the pack with the audience, you advance to your table, and pick up the card on the table with the same hand in which the ace of spades is already palmed. Draw away the card towards the back of the table, and, as it reaches the edge, drop it on the servante, and produce the ace of spades as being the card just picked up. The trick requires a little practice, but, if well executed, the illusion is perfect.

The above directions are framed upon the assumption that you are performing with a proper conjuror’s table, which, as already stated, has a servante, or hidden shelf, at the back for the reception of objects which the performer may require to pick up or lay down without the knowledge of his audience. The trick may, however, be performed without the aid of such a table, but will, in such case, require some little variation.

If you are using an ordinary table, the most effective mode of finishing the trick is as follows:—Walk boldly to the table, and pick up with the right hand (in which the card actually thought of is palmed) the card lying on the table, and, without looking at it yourself, hold it towards your audience, remarking, “Here it is, you see, the ace of spades.” The card being, in truth, a totally different one (say the seven of diamonds), the audience naturally imagine that the trick has broken down, and a derisive murmur apprises you of the fact. You thereupon glance at the card, and affect some little surprise and embarrassment on finding that it is a wrong one. However, after a moment’s pause, you say, taking the card face downwards between the thumb and second finger of the left hand, “Well, I really don’t know how the mistake could have occurred. However, I can easily correct it.” Change the card by the fifth method (see page 32), and, after a little byplay to heighten the effect of the transformation, again show the card, which this time proves to be the right one. The audience will readily conclude that the supposed mistake was really a feint, designed to heighten the effect of the trick.

A Card having been Secretly Thought of by one of the Audience, to place two Indifferent Cards upon the table, and to Change such one of them as the Audience may select into the Card thought of.—Arrange your pack beforehand in such manner that among the fifteen or sixteen undermost cards there may be only one court card, and note at what number from the bottom this card is. Advance to the company, offering the cards face downwards in the ordinary way, and requesting some person to draw a card. Then, as if upon a second thought, say, before he has time to draw, “Or, if you prefer it, you need not even touch the cards, but merely think of one as I spread them before you.” So saying, spread the cards one by one, with their faces to the company, beginning at the bottom. The single court card being conspicuous among so many plain cards, and there being nothing apparently to create a suspicion of design about the arrangement it is ten to one that the person will note that particular card, which we will suppose to be the knave of hearts. When you have run over twelve or fourteen cards in this way, ask, still moving on the cards, “Have you thought of a card?” On receiving an answer in the affirmative, you make the pass two cards below the court card (which you know by the number at which it stands), and forthwith make a false shuffle, leaving the last three cards undisturbed, so that the court card remains third from the bottom. Turning to the audience, you remark, “I will now take the two bottom cards, whatever they may happen to be, and lay them on the table.” Then, holding up the pack in the left hand, with the bottom card towards the audience, you inquire, “That is not your card, sir, I suppose? nor that?” each time lowering the cards in order to draw away with the moistened finger of the right hand, and place face downwards on the table, the card just shown. The second time, however, you do not really draw the card you have shown, but draw back that card and take the one next to it—viz., the knave of hearts. You then, standing behind your table and facing the audience, again repeat the question, “You are quite sure, sir, that neither of these two cards is the card you thought of? Which of them would you like me to transform into your card, the right or the left?” Whichever the answer is, it may be taken in two ways, and you interpret it as may best suit your purpose. Thus, if you have placed the knave of hearts on your own right, and the choice falls on the right-hand card, you interpret it to mean the one on your own right hand. If, on the contrary, the person chooses the card on the left, you interpret him to mean the card on his left, and therefore on your right; so that in either case you make the choice fall on the knave of hearts.G Taking up the other card, and holding it, without apparent design, so that the audience can see what it is, you return it to the pack. Then say boldly, “This card upon the table will forthwith change to the card you thought of. Will you be good enough to name it?” If he names the knave of hearts, you have nothing to do but to turn up, or request some other person to turn up, the card on the table, and show that it is the right one.