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]
[F] It will be observed that this trick is terminated after
the manner described at page 45, to which the reader is
recommended to refer, as the above description will be more
clearly intelligible by the aid of the further explanations
there given.
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.
[G] The reader should specially note this expedient, as it is
of constant use in conjuring.
It is, however, quite possible that the person, by accident or design,
may have thought, not of the knave of hearts, but of some other card,
say the nine of diamonds. Even in this case you need not be at a
loss, although the card on the table is a wrong one. When the card is
named, you say, “The nine of diamonds. Quite right! Let me show you,
in the first place, that it is not here in the pack.” Advancing to the
audience, and at the same time running over the cards, as in the last
trick, you draw the nine of diamonds behind the other cards, and show
that, apparently, it is not among them. On turning the pack over it
will be at the top. Taking the pack in the left hand, and, returning
to your table, pick up (with the right hand) the knave of hearts, and
without looking at it yourself, say, “Here it is, you see, the nine
of diamonds.” Then, with a careless gesture, and making a half turn
to the right or left to cover the movement, “change” the card by the
third method (_see_ page 30), taking care not to show the card after
the change. The audience will naturally exclaim that the card you have
just shown them is not the nine of diamonds. You affect great surprise,
and ask, “Indeed, what card was it then?” They reply, “The knave of
hearts.” “The knave of hearts; surely not!” you exclaim, again showing
the card in your hand, which is now found to be the nine of diamonds.
“Indeed,” you continue, “you could not possibly have seen the knave of
hearts, for that gentleman in the front row has had it in his pocket
all the evening.” The knave of hearts was, in truth, left after the
change on the top of the pack. As you advance to the audience, you palm
it, and are thereby enabled to find it without difficulty in the pocket
of a spectator, or in any other place which you may choose to designate.
It will be observed that the mode here indicated of changing a wrong
card into a right one differs from that described in the last trick.
Either method will be equally available, but it will be well to
practise both, as it is a great desideratum to be able to vary the
_dénouement_ of a trick.
The course of action above directed in the event of an unexpected card
being thought of, may be made available as a means of escape from a
break-down in many other cases. Thus, for instance, if you are using a
_biseauté_ pack, and a chosen card has been replaced without the pack
having been previously reversed, or if you have from any other cause
accidentally lost the means of discovering a card drawn, you may still
bring the trick to an effective termination as follows:--Give the pack
to some one to shuffle, and then, drawing a card haphazard, and placing
it face downwards on the table, announce boldly that the card drawn is
now upon the table. Ask the person to name his card, show apparently
that it is not in the pack, and finish the trick in one or other of the
modes above described.
A CARD HAVING BEEN DRAWN AND RETURNED, AND THE PACK SHUFFLED, TO DIVIDE
THE PACK INTO SEVERAL HEAPS ON THE TABLE, AND TO CAUSE THE DRAWN CARD
TO APPEAR IN SUCH HEAP AS THE COMPANY MAY CHOOSE.--Invite a person to
draw a card. When it is returned, make the pass to bring it to the top.
Make a false shuffle, and leave it still at the top. If any of the
audience requests to be allowed to shuffle, palm the card, and hand him
the pack. When it is returned, again place the card on the top.
Taking the cards in the right hand, face downwards, drop them, in
packets of four or five cards each, on the table, noting particularly
where you place the _last_ packet (on the top of which is the chosen
card). Ask the audience in which of the heaps they would like the
chosen card to appear, and when they have made their choice, pick up
all the other packets and place them in the left hand, placing the
packet on which is the chosen card at the top. Divide the chosen packet
into two, and bid the audience again choose between these, placing the
cards of the non-chosen packet below the pack in the left hand. If the
packet still remaining will admit of it, divide it into two again,
but endeavour so to arrange matters that the packet ultimately chosen
shall consist of two cards only, concealing however from the audience
the precise number of cards in the packet. When you have reached this
stage of the trick, palm the drawn card, which we will suppose to have
been the ace of diamonds, and picking up with the same hand the chosen
packet, secretly place that card on the top. Place the three cards face
downwards side by side, the ace of diamonds in the middle, and ask the
audience which of the three they desire to become the card originally
drawn. If they choose the middle card, the trick is already done, and
after asking the person to name his card, and showing that neither of
the two outside ones is the card in question, you turn up the ace of
diamonds.
If the choice falls on either of the outside cards, gather together all
three, without showing them (the ace still being in the middle) and ask
some one to blow on them. Then deal them out again in apparently the
same order as before, but really deal the second for the first, so as
to bring that card into the place of the card indicated. Then, after
showing the two other cards as above directed, finally turn up the ace
of diamonds, and show that it is the card originally chosen.
TO CHANGE A DRAWN CARD INTO THE PORTRAITS OF SEVERAL OF THE COMPANY
IN SUCCESSION.--For the purpose of this trick you will require a
forcing pack of similar pattern to your ordinary pack, but consisting
throughout of a single card, say the seven of clubs. You must also have
half-a-dozen or more sevens of clubs of the same pattern, on the faces
of which you must either draw or paste small caricature portraits,
after the manner of Twelfth Night characters; which should be of such
a kind as to excite laughter without causing offence. You arrange your
pack beforehand as follows:--On the top place a fancy portrait, say
of a young lady; then a seven of clubs, then a fancy portrait of a
gentleman, then a seven of clubs; another fancy portrait of a lady,
another seven of clubs, and so on; so that the first eight or ten cards
of the pack shall consist of alternate portraits and sevens of clubs
(the top card of all being a lady’s portrait), and the rest of the pack
of sevens of clubs only.
Secretly exchange the prepared pack for that which you have been using.
Invite a young lady to draw, taking care to offer that part of the pack
which consists of sevens of clubs only, so that the card she draws
will, of necessity, be a seven of clubs. You then say, when she has
looked at the card, “Will you now be kind enough to return that card to
the pack, when I will paint your portrait on it.” You open the cards
bookwise, about the middle of the pack, for her to return the card, and
when she has done so, request her to breathe on it. As she does so, you
“slip” (_see_ page 35) the top card of the pack on to that which she
has just replaced, and on examining that card (which she takes to be
the one she has just seen) she is surprised to find that it is still
a seven of clubs, but adorned with a more or less flattering likeness
of herself. You continue, after the portrait has been handed round and
replaced, “I would willingly give you this portrait to take home, but,
unfortunately, being only a magical picture, the likeness fades very
quickly. Will you oblige me by breathing on it once more, when you will
find that the likeness will vanish, and the card will again be as it
was at first.” On her doing so, you again slip the top card (which is
now an ordinary seven), on to the portrait, and on again examining, the
lady is compelled to admit that the card is again as she first drew it.
You then offer to paint on the same card a gentleman’s likeness, and
proceed as before, each time after taking a likeness changing it back
again to an ordinary seven, which adds greatly to the effect of the
trick.
You may, if you please, use allegorical instead of caricature
portraits; _e.g._, for a young lady, a rose-bud; for a conceited young
man, a poppy or dandelion, or a donkey’s head. It is hardly necessary
to observe that nothing short of very close intimacy would excuse the
use of any portrait of a disparaging or satirical nature.
A CARD HAVING BEEN DRAWN AND RETURNED, AND THE PACK SHUFFLED, TO PLACE
ON THE TABLE SIX ROWS OF SIX CARDS EACH, AND TO DISCOVER THE CHOSEN
CARD BY A THROW OF THE DICE.--The effect of this surprising trick is as
follows:--You invite a person to draw a card, allowing him the utmost
freedom of selection. You allow the drawer to replace his card in any
part of the pack he pleases, and you thoroughly shuffle the cards,
finally inviting him to “cut.” Then dealing out six rows of six cards
each, face downwards on the table, you offer the drawer a dice-box and
a pair of dice, and after he has thrown any number of times to satisfy
himself that the dice are fair and unprepared, you invite him to throw
each singly, the first to ascertain the row in which his card is, and
the second to discover at what number it stands in the row. He throws,
say, “six” first, and “three” afterwards, and on examination the card
he drew proves to be the third card of the sixth row.
The whole mystery consists in the use of a forcing pack, all the cards
of which are alike, and which must not consist of a less number than
thirty-six cards. The dice are perfectly fair, but as each card of
each row is the same, it is a matter of perfect indifference what
numbers are thrown. It is advisable to gather up all the other cards,
and to request the person to name his card, before allowing the one
designated by the dice to be turned up. This will draw the attention of
the company to the card on the table, and will give you the opportunity
to re-exchange the cards you have used for an ordinary pack (from
which, by the way, the card answering to the forced card should have
been withdrawn). This pack you may carelessly leave on the table; so
that in the event of suspicion attaching to the cards, it will be at
once negatived by an examination of the pack.
The trick may be varied by using a teetotum, numbered from one to six,
instead of the dice; or you may, if you prefer it, make the trick an
illustration of second sight, by pretending to mesmerize some person in
the company, and ordering him to write down beforehand, while under the
supposed mesmeric influence, the row and number at which the drawn card
shall be found. The mode of conducting the trick will be in either case
the same.
A CARD HAVING BEEN WITHDRAWN AND REPLACED, TO CALL IT FROM THE PACK,
AND TO MAKE IT COME TO YOU OF ITS OWN ACCORD.--This is a very simple
trick, but, if neatly executed, will create a good deal of wonderment.
It is performed as follows:--You must procure beforehand a long hair
from a lady’s head. One end of this must be fastened by means of a
bent pin, or in any other way you find most convenient, to the front
of your waistcoat, which should be a dark one. At the other end of the
hair fix a little round ball (about half the size of a pepper-corn) of
bees’-wax. Press this little ball lightly against the lowest button of
your waistcoat, to which it will adhere. You will thus always be able
to find it at a moment’s notice, without groping or looking down for
it, which would be likely to draw the eyes of the spectator in the same
direction.
Request the audience to examine the cards, that they may be sure that
there is no preparation about them, and as a further proof get two
or three persons to shuffle them in succession. When the cards are
returned to you, invite some person to draw one, and, while he is
examining it, drop your right hand carelessly to your waistband, and
remove the little ball of wax to the tip of your right thumb, to which
it will adhere without interfering with the movements of the hand. When
the card is returned, make the pass to bring it to the top of the pack,
and press the little ball of wax upon the back of the card, as near the
edge as possible. Then shuffle the cards. The shuffle may be a genuine
one, but you must take care to keep the lower edge of the chosen card
half an inch or so below the remaining cards, that the little ball of
wax may not be disturbed. The chosen card will, after the shuffle, be
in the middle of the pack, but attached to your waistcoat by the hair.
Spread the cards _face upwards_ on the table (by which means the wax,
being on the back of the card, will be out of sight), taking care not
to detach the hair. You then address your audience to the following or
some similar effect:--“In the old style of conjuring, I should merely
have picked out your card, and handed it to you; and there was a time
when people would have thought that a very good trick, but nowadays we
should regard that as a very lame conclusion. I can assure you that I
have not the smallest idea what your card was. How do you suppose I
intend to find out?” Various guesses are hazarded, but you shake your
head at each. “No,” you continue, “my process is much simpler than any
you have suggested. I shall merely order the card you chose to walk out
of the pack, and come to me.” Pronounce any magic formula you like,
at the same time beckoning to the cards, and gradually withdrawing
yourself away from the table, when the card must needs follow you. As
it reaches the edge of the table, receive it in the left hand, and
then take it in the right, drawing off with the first finger and thumb
of the left hand the wax at the back. Ask the person who drew whether
that was his card, and again hand the card and the rest of the pack for
examination. This little trick, though simple, will require a good deal
of practice to enable you to perform it neatly, but the effect produced
by it will well repay your trouble.
It may be well to mention, once for all, as bees’-wax is an article of
frequent use in magical operations, that if, as sometimes happens, the
pure wax is found too hard, or not sufficiently adhesive, the addition
of a small quantity (say an eighth part) of Venice turpentine, mixed
with it in a melted condition, will make it all that can be desired.
THE WHIST TRICK.[H] IMPROVED METHOD. TO DEAL YOURSELF ALL THE TRUMPS,
THE THREE OTHER PLAYERS HOLDING THE USUAL MIXED HANDS.--Having decided
which suit (suppose diamonds) is to be the trump suit, arrange the
pack in such manner that every fourth card shall be of that suit, the
intervening cards being taken haphazard. When about to perform the
trick, secretly exchange the pack you have hitherto been using for
the prepared pack. Make the bridge (_see_ page 39), and then a false
shuffle by the third method (_see_ page 24). Invite some one to cut,
and make the pass at the bridge, thus restoring the cards to their
original condition. Deal in the usual manner, when you will be found
to hold all the trumps, the remaining suits being distributed in the
ordinary way among the other three players.
[H] For an inferior form of this trick, in which
sleight-of-hand is not employed, see page 51.
Where in this or any other trick it is found necessary to change one
pack for another, the following will be found the neatest way of
effecting that object. Have the prepared pack in the _pochette_ on the
left side. Hold the ordinary pack in the right hand, and in moving from
the audience to your table, drop the left hand to the _pochette_, seize
the prepared pack, bring the hands together, and make the pass with
the two packs, when they will have changed hands. Drop the left hand,
and get rid of the ordinary pack into the _profonde_, the prepared
pack being left in the right hand. Any little clumsiness in making the
pass is of small consequence, the hands being covered by the body. If,
however, you find it impossible to make the pass with so large a bulk
of cards, the prepared pack may be placed under the waistband, held in
position by a strap of half-inch-wide elastic, stitched to the inside
of the vest; the right hand in this case, at the moment of the turn to
the table, transferring the ordinary pack to the left, and immediately
drawing down the prepared pack, while the left hand, as in the former
case, drops the ordinary pack into the _profonde_.