Chapter IV (2)

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

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

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

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

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

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

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

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

THE PACK BEING DIVIDED INTO TWO PORTIONS, PLACED IN THE KEEPING OF TWO DIFFERENT PERSONS, TO MAKE THREE CARDS PASS INVISIBLY FROM THE ONE TO THE OTHER.--This trick is identical in principle with the one last described, but the _mise en scène_ is more elaborate, and several circumstances concur to give it a surprising effect. It was a special favourite with the late M. Robert-Houdin, and we shall proceed to describe it as nearly as possible in the form in which it was presented by him.

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

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

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

[E] The different drawers should be persons tolerably far
apart, as it is essential that they should not discover
that they have all drawn the same card.

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]

[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.