W !

LL ALMA
M.I.M.C. aONDON)
125 Tricks With Cards
Or Sleight of Hand
Introductory
Ttie State Library of Victoria
"ALMA CONJUI UM COLLECTI ON
Out of all types of sleight-of-hand
and other kinds of tricks, few are so
attractive to the average amateur as
those performed with the assistance of
a deck of cards. In nearly every group
can be found at least one individual
who can do one or more cards tricks,
but the person who has at his finger
tips the ability to preseat in the cor
rect manner a fa irly continuous num
ber is s till rare.
Therefore the person who has the
patience to master some of the bet
ter tricks to the point where they can
be presented with confidence and suc
cess really is unique. These tricks are
not learned to the point of perfection
at one or two trials. Naturally, there
are some who can learn to understand
a tric k with a few readings of the
Instructions, but there Is something
else that also must be studiedthe
correct movement of the fingers. The
tricks must be performed deftly and
with as smooth a flow of motion as
possible. The action must not be jerky
and incoherent or the entire effect
is spoiled and usually the secret of the
trick given away.
P alming, passing and forcing are
perhaps the backbone of the card tric k
sequences. These Instructions should
be studied to the point where they can
be performed with hardly any more
difficulty than i t is to raise a fo rk to
ones lips.
The history of card tricks goes back
to the middle ages and for years I t
was regarded as genuine magic to be
able to perform some of the stranger
sleights, as are offered in this book.
However, the secrets are so simple that
once understood they are very seldom
forgotton.
Of course, there Is more to card
tricks than the mere presentation of
the motions. Y ou must develop a con
tinuous line of patter, as the stage per
formers term It, to keep up the Inter
est of the audience and also to direct
the attention of the audience from your
fingers when a sleight is about to
be performed. You w ill have to imi
tate the ventriloquist and his speak
ing dummy whom he holds on his
knees. The audience watches with rapt
interest the movements of the dummy,
which is jus t what the ventroloquist
wants, fo r then . they wont see the
corners of his own mcuth moving
while the words apparently are com
ing out his "stooges lips.
The beginner can rest assured of
one thing and that is that the tricks in
this book are those used by some of
the foremost masters. The experts
who worked out the correct presenta
tion of the tricks contained in this
book a ll were recognized as among
the real masters. The tricks are sound
and when properly presented w ill ren
der the effects desired.
There are many tricks which do not
require any equipment and i t frankly
was the intention of fhe publishers to
include as many of this type as
possible. Most of the equipment re
quired with some of the more elaborate
tricks can easily be obtained. Much
of i t can be made by the performer, i f
he is genuinely interested in the pos
sibilities. In fact, most of the masters
who appeared fo r years on the stage
and in private manufactured their own
equipment. F rankly, most of the equip
ment on the market is copied from pro
ducts which those masters devised.
Whether the reader wants to enter
into the consideration of these more
intricate possibilities is entirely up to
himself. The book abounds with nu
merous tricks and sleights which can
be mastered within a short period of
time and the publishers confidently
predict that once the easier tricks have
been mastered the desire to perform
the harder ones w ill be hard to
suppress.
There are some who contend that
card tricks really started shortly a f
ter playing cards were introduced in
to E urope and were worked out by the
2 125 TRICKS WITH CARDS OR SLEIGHT OP HAND
worlds firs t cheats in card games. As
soon as the craze for cards became
general there were those who worked
out a few of the simpler ways whereby
cards could be switched to the benefit
of either one or more individuals in
those games where wagers and stakes
were being sought after. Naturally,
the number of these early cheats was
small and until their nefarious scheme
was suspected they had gained consid
erable riches, according to these his
torians. However, it was not long be
fore their schemes were uncovered and
became, to a certain extent, the know
ledge of so many that i t was imprac
tical to use them at gaming tables. To
beat this situation the cheats merely
concentrated on finding new methods
at palming cards, switching cards,
stacking the decks, etc., etc., usually
managing to keep jus t a little bit
ahead of their pursuers. While the
nature of card tricks is fairly well
understood the method of doing them
is s till more or less a general mystery.
This is why so many respectable per
sons are annually lured into games by
professional gamblers who understand
card tricks and against whom the un
suspecting victim has no chance of
competing. The annual toll runs into
many hundreds of thousands and the
professional gambler always 'will find
victims because so few persons under
stand what can be done with a pack
of cards/ a fertile mind and deft fingers.
Of course, the great majority of card
tricks that have been handed down
through generation after generation
are based on the great opportunity for
entertainment which they offer. Cards
can be made to rise frurn the table,
flutter through the air, change their
Identities while in full view of every
onein fact so many things can be
done that suggest strongly of black
magic that the conscientious performer
can make peoples hair literally stand
on end.
Equipment and accessories became
the result of a desire for variety in
programs and entertainments by the
old masters. Once these masters had
perfected all known tricks and sleights
they immediately sought more. The
new ones were the result of efforts
and studying that sometimes covered
many years. P or instance, the trick in
which a card is torn up by the aud
ience and then made to reappear whole,
in a frame on the stage, with the excep
tion of a single piece of the supposedly
torn card missing, actually took years
to work out. But when it was perfect
ed the old master knew when he said
he could do the tric k that it would be
done smoothly and that the amaze
ment of the audience at seeing the
torn corner reappear and furthermore
to have one of the audience fit in the
piece he retained when the card was
ripped to shreds would be almost un-
believeable. S till, this trick can be
worked out i f the special equipment is
obtained.
Of great value also is the ability of
the amateur to appear exceedingly
natural during the presentation of
what tricks he may have mastered.
.There should be little in his action to
indicate that he considers himself a
finished magician. The magician usual
ly accomplishes his feats to the accom
paniment of vast flourishes, excessive
fanfare, etc., by which he impresses his
audience of the great difficulty and
strain coincident with presentation of
his tricks. The amateur who can per
form a sequence of card tricks in a
fashion that makes it appear that it
requires almost no effort makes his
audience wonder the most. The patter
can be casual and easy, just as though
i t were part of the ordinary conversa
tion. When the audience sees the cards
do strange tricks with almost no effort
they become so impressed that there
is always the demand for more and
also attempts to imitate, which natur
ally always come to failure and which
greatly increase the respect for the
performer.
The special equipment, of course,
does not fit in with the plans ,of the
person desiring to present card tricks
as a casual interlude in what may be
a card party or a house party. E quip
ment always suggests careful prepara
tion and naturally the performer must
be careful to make his appearance,
patter, etc., appear in line with the
nature of his special equipment.
125 Tricks with Cards
Or Sleight of Hand
To bo successful arti st, i t i s essen
ti al that thi s, the pass, be mastered
to the poi nt where absol utel y no
chance of fai l ure exi sts. The deck is
held as in the fi rst i l l ustrati on, wi th
the l i ttl e fi nger of the l eft hand i nsert
ed over the card to be brought to the
top. Now cover the deck wi th the ri ght
har.d. Grasp the l ower porti on of the
deck l engthwi se between the second
fi nger at the upper, and the thumb at
fhe l ower end, the left thumb l yi ng
sl i ghtl y bent across the pack. Press
the upper edge of the l ower packet
' i to the fork of the l eft thumb so
that the two packets wi l l be in the po
si ti on depi cted in the second i l l ustra*
ti on. Fi nger s of the l eft hand are now
extended, causi ng the upper porti on of
the deck to be drawn away, at the
same ti me rai si ng (wi th the ri ght
hand) (he l ower edge of the under deck
unti l the edges of the packets j ust cl ear
each other. Here refer to the thi rd i l
l ustrati on. When the packets are at
thi s posi ti on by the mere act of cl os
i ng the l eft hand they wi l l be brought
together as at fi rst except that they
have changed pl aces and the desi red
card wi l l now be on the top. The l et
ters A and B in the i l l ustrati ons wi l l
make thi s cl ear.
T H E FORCE
Thi s tri ck consi sts of bei ng abl e \ic
make a spectator sel ect a certai n card,
somethi ng whi ch is posi ti vel y i ndi s
pensi bl e in certai n tri cks.
I t al ways has proven di ffi cul t to
teach a novi ce how to accompl i sh thi s
tri ck in wri ti ng, but actual experi
ment wi l l soon show resul ts. The card
you wi sh sel ected i s general l y at the
top or at the bottom of the deck, the
pass i s now beinpr made (bri ngri ng the
parti cul ar card to the mi ddl e) and the
deck i s spread out fanw :s the second
I rRICKS WITH CAItDS OR SLEIGHT OF HAND
fi nger of the ri ght hand meanwhi l e
pressi ng- on the b(Tttom of the neces
sary card, as the i l l ustrati on shows.
Now a spectator is asked to sel ect a
card from the deck, the performer
meanti me runni ng the cards qui ckl y
from hand to hand and, as the spec
tators fi ngers approach the deck, the
second fi nger of the ri ght hand l i ter
al l y pushes the desi red card i nto hi s
t -i< as i ndi cated in the second il-
: -ii which shows how the card
is pushed forward. To be absol utel y
sure of success* the card to be forced
shoul d be a bi t more exposed than
the others. Thi s, however, is- j nerel y
the outl i ne of the tri ck, and to be
successful i t must be tri ed agai n and i
agai n. I ndi fference i s one of the gr eat, i
est assets when the tri ck is offered.
However, th^re is an escape shoul d
tho. spectator decl i ne to take the sug- ;
gested card. Shoul d thi s happen, mere
ly suggest that he repl ace the card in
the deck anywhere, put the l i ttl e fin
ger on it, make the pass bri ngi ng it
to the top, from whi ch posi ti on it can
be pal med off, or the tri ck fi ni shed as
the fancy di ctates. The card i s now
forced on some more accomodati ng
person.
THE DIVINING CARD
Provi de a pack in whic^i there i s a
l ong card; open it at that part where
the l ong card is, and present the pack
to a person in such a manner that he
wi l l natural l y draw that card. Then
tel l hi m to put it i nto one part of the
pack, and shuffl e the card3. You
tak-e a pack and offer the same cards
in l i ke manner to the second and third
person, taki ng care that they do not
stand near enough to see the card
each other draws.
You then draw several cards your
sel f, among whi ch i s the l ong card, and
ask each of the parti es if hi s card be
among those cards; he wi l l natural l y
say yes, as they have al l drawn the
same card. You then shuffl e al l the
cards together, cutti ng them at the
l ong card; you hold it before the first
person so that others may not see it
and telJ hi m that it i s hi s card. You
then put it in the pack, shuffl e it, and
cut it agai n at the same card, and hold
i t to the second person, and so to the
rest.
You can perform thi s recreati on
wi thout the l ong card in the following-
manner:
Let any person draw a card, and re
pl ace it in the pack. You then make
the pass, and bri ng that cam to the
top of the pack and shuffl e them wi th
out l osi ng si ght of that card. You then
offer that card to the second person
that he may draw it and put it in the
i mi ddl e of the pack. You make the pass
and shuffl e the cards the second ti me
in the same manner, and offer the card
to the thi rd person, so agai n to the
fourth or fifth.
DECEPTI V E SH UFFL ES
There are three ki nds. The fi^st ia
to mi x al l the cards excepti ng one, ot
whi ch you never l ose si ght. To do tha^,
you must in the first pl ace put i t upon
the pack, then take it in the ri ght
hand, retai ni ng the bal ance of the
pack in the l eft; wi th the thumb of
thi s l ast hand, sl i p into the ri ght hand
five or si x other cards upon thi s re
versed card, and upon these l ast five
or si x agai n, and so on unti l al l the
pack is found in your ri ght hand. By
thi s means the reserved card wi l l be
found at the bottom, and i f at the mo
ment you return the whol e pack i nto
the l eft hand excepti ng only the up
permost card, you can pass succes
si vel y al l the cards from the l eft to
the ri ght hand, through pl aci ng the
cards al ternatel y above and bel ow the
aforesai d uppermost reserved card, un
til you reach the reserved card, which
you put on the top, or the bottom, as
ci rcumstances requi re.
The second decepti ve shuffl e consi sts
in taki ng from the ri ght hand, the
uppermost hal f of a pack held in the
left, in movi ng adroi tl y the annul ar
fi nger of the ri ght, to al l ow the rards
to sl i p wi thout derangi ng thei r order;
and noti ce: 1st. That after havi ng mov.
ed the cards of a pack wi th the annu
l ar fi nger of the ri ght hand as whave
sai d, it i s necessary to pl ace beneath
the pack in the ri ght hand a card,
and one or two others mmedi atel v f ol
l owi ng it, to make pretence of l eav
i ng some wholl y underneath. These,
125 TRICKS WITH CARDS OR SLEIGHT OF HAND 5
however must be brought back under
the package in the l eft hand. 2d. That
the package in the l eft hand, whi ch
was in the first i nstance beneath, and
whi ch i s actual l y above ought to be
taken i nto the ri ght hand to be return
ed sl owl y to i ts fi rst pl ace.
The thi rd decepti ve shuffl e consi sts
in maki ng the pass to retai n the cards
in the ri ght hand, and to di vi de the
i nferi or porti on into three other l i ttl e
packages, of whi ch the fi rst fal l s upon
the tabl e, the second to the ri ght, and
the thi rd to the left. The upper hal f is
then pl aced in the mi ddl e; shoul d you
transport upon thi s hal f the packages
of the ri ght and the l eft, whi l e fol l ow
i ng the same order, and empl oyi ng al
ternatel y the ri ght hand and the l eft
for greater qui ckness, and to cause it
l appear that you shuffl e by chance
nd wthout premedi tati on. The cards,
' appeari ng to commi ngl e, wi l l he
Y* . never to have changed pl aces.
TO SMUGGLE A CARD
To smuggl e a card, it i s necessary, fi rst
to hel d it between the i ndex and mi d
dl e fi nger of the ri ght hand, and to
hol d the rest of the deck in the l eft
hand, between the fi nger and thumb of
that hand. The upper card, whi ch you
desi re to substi tute, ought to be a
l i ttl e advanced toward the ri ght hand.
I n thi s posi ti on the mi ddle, annul ar,
and l i ttl e fi ngers of the l eft hand are
perfectl y free, and i t i s wi th these
fi ngers that you must take the card
whi ch is in the ri ght hand and when
that i s brought near the l eft hand, in
the twi nkl i ng of an eye take from it
the uppermost card whi ch yo. wi sh to
substi tute.
TO SL I P A CARD
To sl i p a card it is necessary, fi rst
to hol d the deck in the ri ght hand, and
show the spectator the undermost card. |
whi ch we wi l l suppose to be the Ace
of Di amonds, second, turn the pack
upsi de down, under pretence of taki ng
thi s Ace of Di amonds; thi rd, take i n
stead of the Ace of Di amonds, the
card i mmedi atel y fol l owi ng it, in caus
i ng thi s Ace of Di amonds to sl i p be
hi nd wi th the annul ar and l i ttl e fi ngers
of the ri ght hand, whi ch you have
dampened a moment before wi th some
sal i va. The fi nger of the l eft hand,
wi th whi ch is drawn the second card
i nstead of the first bel ow it. shoul d be
l i kewi se moi stened wi th sal i va.
TO CARRY AWAY A CARD
To carry away one or more cards, it
*.s necessary: 1. To hol d in the l eft
hand the cards you desi gn to carry
away, poi sed di agonal l y over the others,
and a l i ttl e advanced toward the ri ght
hand.
2. Take these cards wi th the l eft
hand, pressi ng them sl i ghtl y between
the l i ttl e fi nger and thumb.
3. Lean your ri ght hand carel essl y
upon the edge of a tabl e to conceal th
fraud.
TO PLA CE A CARD
Upon other cards hold in the I t,.',
hand the i nstant you ask the spectator
to pl ace hi s hand upon the pack.
The i nstant you have pl aced the card
remove sl i ghtl y the ri ght from the
l eft hand, in such a manner that you
al most touch the cards wi th the l i ttl e
fi nger, as i f to i ndi cate to the specta
tor the pl ace where you i nvi te hi m to
put the hand. By thi s means he wi l l
not pay attenti on to the fact that the
hands are brought toward one another
to operate a sl i ght change, and he
honestl y pl aces hi s hand when too l ate
to prevent one.
T H E CHANGE
A card hel d in the hand mysteri ous
ly changes to an enti rel y di fferent one.
The card to be changed is hel d be
tween the fi rst and second fi nger of
the ri ght hand, the pack bei ng held in
the left, wi th the card for whi ch the
first is to be changed sl i ghtl y proj ect
i ng from the top. The ri gh" hand now
makes a sweepi ng moti on, and, as i t
passes the pack l eaves the card at the
bottom and bri ngs away, wi th the
thumb and fi rst fi nger the top one. Thi s
may appear to the neophyte to be i m
possi bl e of i naetec.tabl e executi on, but
wi th even a l i ttl e practi ce i t wi l l be
found* that a perfect i l l usi on can be
created. I f the body makes a hal f turn
from ri ght to l eft, i t wi l l greatl y f a
ci l i tate the decepti on, or i f done in tho
ar*t of addressi ng a spectator, and
sl i ghtl y bendi ng forward at the same
ti me.
T H REE CARDS HEI NG P RESENT ED
TO T H REE PERSONS, TO GUESS
WHI CH EACH HAS CHOSEN
As it is necessary that the card
presented to the three persons shoul d
be di sti ngui shed, we shal l cal l the first
A, the second B, and the thi rd C; but
the three persons may be at l i berty to
choose any of them they pl ease. Thi s
choi ce, whi ch is suscepti bl e of si x di f
ferent vari eti es, havi ng been made,
x25 TRICKS WITH CARDS OR SLEIGHT OF HAND
gvt i ' first person 12 counters,
to the second 24, and to the thi rd 36;
then desi re the first person to add to
gether the hal f of the counters of
the person who has chosen the* card A,
the thi rd of those of the person who
has chosen B, and the fourth part of
those of the person who has chosen C,
and ask the sum, which must be ei ther
23 or 24; 25 or 27; 28 or 29, as j n the
fol l owi ng1 tabl e;
Fi rst. Second. Thi rd. Sums.
12 21 36
A B C 23
A C B 24
B A C 25
C A B 27
B C A 28
C B A 29
Thi s tabl e shows that i f the sum
25, for exampl e, the fi rst person must
have chosen the card B, the second
the card A, and the thi rd the card C;
and that i f it be 28, the fi rst person
must have chosen the card B, the sec
ond the card C, and the thi rd the card
A; and so of the rest.
THE ORDINARY P ALM
I t is often necessary to pal m or con
ceal a card in the pal m of the hand.
Suppose, for i nstance, a card is chosen
rom the pack and repl aced. The pass
i s then made and the card brought to
e top. The pack is now held in the
l eft hand, the ri ght hand approaches
the same, and wi th the second fi nger
pushes forward the top card an ei ghth
of an i nch or more, at the same ti me
exerti ng a sl i ght pressure upon it. Thi s
causes the card to be ti l ted i nto the
pal m of the ri ght hand, whi ch forthwi th
grasps the pack between the fi rst fin
ger and thumb.
The pack can now safel y be handed
to another spectator to thoroughl y
shuffl e, and, when returned, the per
former has no di ffi cul ty in secretl y
repl acing- the pal med card on top.
v,rhile the card i s pal med, al l ow the
). nd to hang down in a carel ess po
si ti on, and never, under any ci rcum
stances, even gl ance at it.
The begi nner shoul d devote as much
ti me as possi bl e to the practi ce of the
foregoi ng sl ei ghts, as when he is profi
ci ent i nnumerabl e new tri cks and com
bi nati ons wi l l suggest themsel ves to
hi s mind.
TO PRODUCE A P ARTICULAR CARD
WITHOUT SEEING THE P ACK
Take a deck of cards wi th the cor
ners cut off. Pl ace them al l one way,
and ask a person to draw a card;
when he has done so, whi l e he i s l ook
i ng at it, reverse the pack, so that
when he returns the card to the pack,
the corner of it wi l l proj ect from the
rest; l et hi m shuffl e them; he wi ll n^ver
observe the proj ecti ng card. Hol d them
behi nd your back. You can feel the
proj ecti ng carddraw it out, and show
it.
TO CALL FOR ANY CARD JIN
THE P ACK
Thi s i s a very si mpl e tri ck, but wi l
greatl y astoni sh an audi ence 10 whon.
i t is not known. Seat yoursel f at a
tabl e so as to have the whol e of the
company as much as possi bl e in front
of you and at some di stance. Take the
pack of cards as it usual l y li es, and,
in passi ng it under the tabl e or behi nd
'ou. gl ance at the card whi ch happens
to be exposed; then, pretendi ng to
shuffl e the cards, pl ace the one you
have seen back to back on the other
si de of the pack, and hol di ng the cards
firmly by the edges, rai se your hand
between you and the company, and
t how the card you have seen, cal l i ng
out, at the same ti me, what i t is.
Observe whi ch card i s faci ng you,
(for you have now the whol e pack
faci ng you, except the one card whi ch
i s shown to the spectators,) pass them
under the tabl e agai n, and transfer
the card you have j ust seen to the
other si de of the pack, handl i ng the
cards as if shuffl i ng them; agai n ex
hi bi t, and cry out the name of the card
turned to the company, taki ng care to
noti ce the card that faces yoursel f,
whi ch change as before and so on. By
thi s means you may go over the whol e
pack, tel l i ng each card as it i s exposed,
wi thout l ooki ng at the cards, except
when they are hel d between you and
the spectators, and when they are
anxi ousl y l ooki ng at them themsel ves
to see whether you are ri ght or not.
THE CHANGEABLE ACE
Take the Ace of Di amonds, and pl ace
over it wi th paste or soap s >as to
sl i p easi l y, a cl ub cut out of thi n paper,
so as to enti rel y conceal it. After show,
i ng a person the card, you let hi m hol d
one end of it, and you hold the other,
and whi l e you amuse hi m wi th di s
course, you sl i de off the cl ub. Then l ay
i ng the card on the tabl e, you bid hi m
cover i t wi th hi s hand; you then knock
under the tabl e, and command the cl u1
to turn i nto the Ace of Di amonds.
125 TRICKS WITH CARDS Ol- *xAl'iL>
HE CONVE RTIBLE ACES
TIi.j trick is similar to the fore
going. On the Ace of Spades fix a Heart
i ad on the Ace of Hearts, a Spade,
in the manner already described.
Show these two Aces to the company;
then, taking the Ace of Spades, you
desire a person to put his foot upon
it, and as you place it on the ground
draw away the Spade. In like manner
you place the seemi ng Ace of Hearts
under the foot of another person. You
then command the two cards to change
their places.
T HE METAMORP HOSED CARDS
I n the mi ddl e of a pack pl ace a card
that i s a l i ttl e wi der than the rest,
whi ch we wi l l suppose to be the J ack
of Spades, under whi ch pl ace the Seven
of Di amonds, and under that, the Ten
of Cl ubs. On the top of the pack put
cards si mi l ar to these and others on
whi ch are pai nted di fferent objects,
viz.:
Fi r st Car d.........A Bi rd.
Second Car d...A Seven of Di amonds.
Thi rd Card . . . .A Fl ower.
Fourth Car d.. Another 7 of Di amonds.
Fi fth Car d___ A Bi rd.
Si xth C ar d. . . . A Ten of Cl ubs.
Seventh Car d..A Fl ower.
Ei ghth C ar d.. .Another Ten of Cl ubs.
Then seven or ei ght i ndi fferent cards,
the J ack of Spades, whi ch i s the wi de
card, the Seven of Di amonds, the*Ter
of Clubs, and the rest any i ndi fferent
cards.
Two persons are to draw the two
cards that are under the wi de card,
whi ch are the Seven of Di amonds and
the Ten of Cl ubs. Y ou take the pack
in your l eft hand, and open it at the
wi de end, as you open a book, and tel l
the person who drew the Seven of
Di amonds to pl ace i t in that openi ng.
Y ou then bl ow on the cards, and wi th
out cl osi ng them, i nstantl y bri ng the
card whi ch i s at top, and on whi ch a
bi rd i s pai nted, over that Seven of Di a
monds. To do thi s dexterousl y, you
must wet the mi ddl e fi nger of your
l eft hand, wi th whi ch you are to bri ng
the card to the mi ddl e of the pack.
Y ou then bi d the person l ook at hi s
card, and when he has remarked on the
change, to pl ace i t where i t was be
fore. Then bl ow on the cards a second
ti me, and bri ngi ng the Seven of Di a
monds, whi ch is at the top of the pack,
to the openi ng, you bi d hi m l ook at
hi s card agai n, when he wi l l see it is
that whi ch he drew. Y ou may do the
same wi th al l the other pai nted cards,
ei ther wi th the same person or wi th
hi m who drew the Ten of Clubs.
The whole artifice consists in bring
ing the card at the top of the pack
to the opening in the middle, by the
wet finger, which requires no great
practice. Do not let the pack go out
of your han^s
THE GAT; ..<G OF THE CLANzi
Have in readiness a pack of cards,
all the cards of which are arranged in
successive orderthat is to say, if it
consists of fifty-two cards, every th ir
teen must be regularly arranged, with
out a duplicate of any one of them.
A fter they have been cut (do not suf
fer them to be shuffled) as many times
as a person may choose, form then into
thirteen heaps of four cards each, with
the colored faces downward, and put
them carefully together again. When
this is done, the four kings, the four
jacks, the four queens, and so on, must
necessarily be together.
TO T E L L THE NUMBER OF CARDS
BY THE WE IGHT
Take a parcel of cardssay f orty
and pri vatel y i nsert among them two
l ong cards; l et the fi rst be, for exampl e,
the fifteenth, and the other the twen
ty- si xth, from the top. Seem to shuffl e
the cards, and cut them at the first
l ong card; poi se those you have taken
off in your hand, and say, There must
be fifteen cards here; then cut them
at the second l ong card, and say,
There are but el even here; and poi s
i ng the remai nder, excl ai m, And here
are fourteen cards. On counti ng them,
the spectators wi l l find your cal cu
l ati ons correct.
THE CONTINUOUS FRONT AND BACK
HANDP ALM AND TRICKS N
CONNECTION THE RE WITH.
We wi l l fi rst of al l descri be the method
of worki ng thi s tri ck wi th one card.
To begi n wi th, the card i s hel d be
tween the ti ps of the mi ddl e fi nger and
thumb, as i l l ustrated.
The fi rst and l i ttl e fi ngers now gri p
the card.
The two mi ddl e fi ngers are next bent
and brought down under the cards and
round to the front of same, thereby
causi ng the card to revol ve between
the fi rst and fourth fi ngers, as though
on an axi s, and assume the posi ti on on
the back of the hand cl i pped between
the fi rst and second an^ thi rd and
fourth fingers.
125 THICKS WITH CARDS OIl SLEIGHT OP HAND
After consi derabl e practi ce 't wi l l
be found that al l the movements wi l l
become practi cal l y one{ and the card
wi l l apparentl y vani sh from the hand
i ng a gl i mpse of the cards as they are
brought from the back to the front
of the hand, or vi ce versa. Thi s can,
however, be surmounted by practi si ng
before a mi rror, as you wi l l then be
abl e to ascertai n the exact angl e at
whi ch the movement can be i ndectet-
abl y accompl i shed.
To further hei ghten the effect of the
sl ei ght when the card i s in posi ti on
wi th the back of the hand, of course,
faci ng the audi ence, push the card
down into the pal m as shown.
Thi s movement, whi ch is absol utel y
i mpossi bl e to descri be in wri ti ng, wi l l
become apparent to the l earner after
a few tri al s.
Wi th the card in thi s posi ti on, of
course, the fi ngers and thumb can be
spread wi de apart.
When mani pul ati ng more than one
card, the above movements al l hol d
good wi th the excepti on of bri ngi ng
the cards from the back of the hand to
the front. I nstead of the thumb pul l i ng
1the cards round to the front, whi ch
woul d practi cal l y be i mpossi bl e, it sim_
j pl y presses upon them, whi l e the fi rst
! fi nger moves to the other end of the
cards, and pushes them down.
The foregoi ng i s the correct method
of executi ng the conti nuous front and
back handpal m.
TO MAKE A CARD PASS FROM
ONE HAND INTO T HE OTHER
Take two Aces, the one of Spades
and the other of Hearts; then put on
that of spades the mark of Hearts,
arithoT.it the most astute spectator hav-
ng the fai ntest i dea where, especi al l y
f the mani pul ati on is accompl i shed
vi th a sweepi ng moti on, as though the
card were thrown in the ai r.
Now to reverse the card to the front
of the hand agai n, so as to enabl e the
back of the hand to be shown to the
audi ence.
To accompl i sh thi s, the fi ngers bend
forward so that the thumb can press
on the mi ddl e of the face of the card,
and pul l it sharpl y round to the front
of the hand, where it i s held between
the fingers, as shown.
The pri nci pal di ffi cul ty encountered
by vtul ents when l earni ng thi s sl ei ght
vc. orevent the audi ence from catch-
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
17
der wi l l i ndi cate the spots of the card
whi ch has been drawn: i f the remai n
der is 11, i t has been a j ack, i f 12 a
queen, but i f nothi ng remai ns i t has
been a king:. The col or of the ki ng
may be known by exami ni ng whi ch
one among the cards i s wanti ng. The
tri ck may thus be expl ai ned. I n the
deck of cards there are 13 of each
sui te; the sum of al l the spots of each
sui te, cal l i ng the j ack 11, the queen
12, and the ki ng 13, is seven ti mes 13,
or 91, whi ch i s a mul ti pl e of 12; con
sequentl y, the quadrupl e of thi s sum
is a mul ti pl e of 13 al so; i f the spot s
then of al l the cards be added together,
al ways rej ecti ng 13, we must at l ast
find the remai nder equal to nothi ng.
I f a card the spots of whi ch are l ess
than 13, has been drawn from the
deck, the di fference between these
spots and 13 A vi l l be what i s wanti ng
to compl ete that number; i f at the
end, then, i nstead of recei vi ng 12, we
re&ch onl y 10, for exampl e, i t is evi
dent that the card wanti ng i s a three,
and if we reach 13, i t i s al so evi dent
that the card wanti ng i s equi val ent to
13, or a ki ng.
TO CHANGE A P ACK OF CARDS
INTO VARIOUS P ICTURES
Take a pack of cards and pai nt the
backs of one- hal f of the pack wi th
what fi gures you thi nk fitas men,
bi rds, women, flowers, etc. Al so pai nt
the faces of the other hal f of the cards
in the same manner; thus you wi l l
have a compl ete pack of odd pi ctures,
and may, by showi ng the faces of that
part of the pack whose backs onl y
have been pai nted, and then by a mom
entary shuffl e, apparentl y transform
them i nto a set of grotesque fig-ures
produce much amusement.
E XP E R T CARD MANIP ULATION
Seven or ei ght cards are sel ected
(not forced) in a bunch from a pre
vi ousl y shuffl ed pack. The performer
can i nstantl y name the chosen cards.
The ar ti st fi rst shuffl i ng the pack, a
spectator i s then asked to name any
card, whereupon the performer states
i ts correct posi ti on in the pack, and to
j orroborate hi s asserti on, i mmedi atel y
proceeds to cut the pack at the desi red
card.
Three cards are sel ected by a mem
ber of the audi ence, and, wi thout l ook
i ng at same, are pl aced by hi msel f in
hi s pocket. The performer now cal l s
out the name of a certai n card, whi ch
we wi ll suppose i s the ei ght of di a
monds, and requests the spectator to
take one of the three cards from hi s
pocket, whi ch upon exami nati on, is
shown to be the ei ght of di amonds.
Thi s i s repeated wi th the remai ni ng
two cards.
The foregoi ng are but a few of the
many bri l l i ant and bewi l deri ng tri cks
possi bl e of performance by the method
've are about to descri be.
Many have for some ti me past been
accustomed to present thi s seri es of
tri cks at al l pri vate engagements,
and can, wi thout hesi tati on, emphati
cal l y state that for parl or or drawi ng
room work there are no better card-
tri cks extant.
The pri nci pal secret of the whol e
of the tri cks herei n expl ai ned l i es in
the novel prearrangement of the pack
of cards used.
The cards shoul d, in the fi rst pl ace,
be l ai d out on the tabl e in the order
as shown.
The second card (the four of spades)
shoul d now be pl aced on (the ace of
cl ubs), then the thi rd one (the seven
of hearts), and so on to the end.
I t wi l l be observed that each card i s
three hi gher than the one i mmedi atel y
behi nd it, the arrangement of the
sui tes bei ng: Cl ubs, spades, hearts, di a
monds. The preci se arrangement of the
sui ts i s practi cal l y i mmateri al , and it
would, perhaps, be as wel l for the stu
dent to adopt a system of hi s own. The
arrangement of the Court cards i s:
J ack11, queen12, Jungr13, so that
supposi ng the bottom card of the pack
was the j ack of cl ubs, the performer
woul d i nstantl y know that the next
card begi nni ng at the top of the pack
is the ace of spades.
The performer shoul d, by means of
hi s pocket or otherwi se, exchange the
pack he has been previ ousl y using-, for
a si mi l ar pack, prepared as j ust des
cri bed.
For stage or drawi ng- room purposes,
a very i ngeni ous l i ttl e pi ece of appara- .
tus has recentl y been devi sed to enabl e
the arti ste to i ndetectabl y change one
pack for another, and as i t woul d b
most useful in thi s case, we thi nk we
cannot do better than give readers a
description of it.
The principal part of this piece of
appar atus consi sts of a metal ri ng, 6
or 8 i nches in di ameter, to whi ch is
attached a bl ack cl oth bag. To the ri ng
i s sol dered a fl at stri p of metal , havi ng
ri veted to it a spr i ng cl ip. By means
of a sharp poi nt protrudi ng from the
rear, the appar atus can be easi l y and
qui ckl y attached to the back o f a chai r
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
by pushing the point into the wood
work. In the clip is inserted a pack of
cards arranged in the order I have ex
plained, which the performer must sub
s titute for an ordinary pack by means
of the following ruse:
With the pack in the right hand, he
takes hold of the chair in such a man
ner that the thumb only is visible to
the audience, the pack and the fingers
being hidden by the back of the chair.
The l eft hand now takes hold of the
seat of the chai r, whi ch i s set on one
si de, as i f i t were in the way. Duri ng
thi s operati on the pack of cards is
dropped from the ri ght hand i nto the
bag, and the dupl i cate pack removed
from the clip. I f thi s i s done neatl y
and wi thout undue haste, the audi ence
wi l l never suspect that a change has
been accompl i shed.
A more si mpl e change, but whi ch
wi l } answer the purpose qui te as well ,
especi al l y for an i mpromptu perform
ance, i s to si mpl y pl ace the pack whi ch
you have been usi ng in your coat pock
et, and an i nstant l ater take out from
the same pocket the prepared pack.
The performer next proceeds to make
what is known as a fal se shuffl e wi th
the prepared pack. As thi s i s a most
useful adj unct to many beauti ful ex
peri ments wi th cards, we wi l l descri be
two of the methods empl oyed in i ts
execution.
F i r st Method
This is one of the very many decep
ti ve sl ei ghts ori gi nated by the cel e
brated Professor Charl i er, and i s un
doubtedl y the best fal se shuffl e in ex
i stence, but owi ng to the gr eat amount
of practi ce requi red for i ts successful
accompl i shment, i t i s rarel y made use
f except by professi onal s, but i f
thoroughl y mastered the performer can
decei ve experts.
The pack i s held i n the l eft hand,
and three or four of the top cards are
passed i nto the ri ght. Now pass the re
mai ni ng cards in smal l parcel s al ter
natel y above and bel ow these but the
cards that are passed bel ow are taken
from the top of the l eft- hand packet,
and the cards that are pl aced above
are passed from the bottom of the l eft-
hand packet, thi s bei ng exactl y the re
verse of the ordi nary movement.
To pass the cards from the top of
the l eft- hand packet to the bottom of
the ri ght- hand packet i s fai rl y easy,
they bei ng pushed forward wi th the
l eft thumb, but i t i s the reverse move
ment that i s di ffi cul t.
We recommend this style of false
shuffle to the lover of deceptive
sleights, but for those who do not care
to devote sufficient time for its inde-
tectable execution we herewith des
cribe a very easy, but at the same time
effective false shuffle originated by
ttte author.
Second Method
The pack I s hel d in both hands, as
shown. The l ower hal f of the pack is
now removed wi th the ri ght hand, but
I n doi ng so a few of the hi ndermost
cards of the pack in the l eft hand are
l eft sl i ghtl y protrudi ng as in the
i l l ustrati on.
The parcel In the ri ght hand i s now
repl aced on the front of the pack. I f
thi s i s repeated wi th rapi di ty, the ef
fect to the audi ence wi l l be that the
cards are thoroughl y mi xed, whereas
in real i ty they are onl y cut.
TO LE T TWE NTY PERSONS DRAW
TWE NTY CARDS AND MAKE
EACH DR AW T HE SAME
L et any person draw a card and put
i t back i nto the deck agai n, but where
you know where to find i t; shuffl e
the cards as before di rected; then l et
another person draw a card, and be
sure he takes the same the other di d;
proceed in the same way wi th al l the
persons but the one who may be l ast
who i s to draw another card, whi ch
al so return to the pack, and shuffl e,
ti l l you have brought both the cards
together. Then showing the last card
to the company, the other w ill show
the tri ck.
i25 TRICKS WITH CARDS OR SLEIGHT OF HAND 10
TO MAKE A CARD J UMP OUT OF
T HE P ACK AND RUN ON
T HE TABLE
Thi s feat, i f wel l managed, wi l l ap
pear marvel ous. Havi ng forced a card
upon one of the company, after shuf
fl i ng it up wi th the rest of the pack,
you wi l l know the card by feel i ng.
You then take a pi ece of wax and put
i t under the thumb nai l of your ri ght
hand, and by thi s wax you fasten an
end of a hai r to your thumb, and the
other to the chosen card; spread the
3ards upon the tabl e, and make use
of afome magi c words, when, by dr aw
ing*' about your ri ght hand, the chosen
^,rd i s conducfed round the tabl e.
r O T E L L AL L THE CARDS WITHOUT
SEEING THE M
Thi s tri ck, whi ch i s founded on the
sci ence of numbers, enabl es you to tel l
every card after they have been cut
as often as your audi ence pl eases, al
though you onl y see the backs of them.
I t i s thus performed: A pack of cards
are di stri buted face uppermost on the
tabl e, and you pi ck them up in the
fol l owi ng manner6, 4, 1, 7, 5, ki ng,
8, 10, 3, j ack, 9, 2, queen. Go through
thi s seri es unti l you have pi cked up
the whol e of the pack. I t is not neces
sary that you shoul d take up the whole
of one sui t before commenci ng another.
I n order that the above order may not
be forgotten, the fol l owi ng words
shoul d be commi tted to memory:
6 4 1
The si xty- fourth regi ment beats the
7 5 ki ng
seventy- fi fth; up star ts the kinr, wi th
8 10 3 j ack
ei ght thousand and three men and
9 2 queen
ni nety- two women.
The cards bei ng thus arranged, the
cards must be handed to the company
to cut; they may cut the cards as often
as they li ke, but i t must be understood
that they do it in bri dge fashi onthat
is, by taki ng off a porti on of the cards,
and pl aci ng the l ower di vi si on on what
was formerl y the upper one. You then
take the pack in your hand, and wi th
out l etti ng your audi ence percei ve, cast
a gl ance at the bottom card. Havi ng
done thi swhi ch you may do wi thout
any apparent effortyou have the key
of the whol e tri ck. Y ou then deal out
the cards in the ordi nary way in 13
di fferent sets, putti ng four cards to
each setin other words, you deal out
the first cards si ngl y and separatel y,
and then pl ace the fourteenth card
above the fi rst set, the next upon the
second set, and so on throughout, unti l
you have exhausted the whol e pack.
You may be (certain now that each
one of these thi rteen sets wi l l contai n
four cards of the same denomi nati on
thus, the four ei ghts wi l l be together,
and so wi th the four queens, and every
other denomi nati on. The thi rteenth or
l ast set wi l l be of the same denomi n
ati on as the card at' the bottom, whi ch
you contri ved to see, and as they wi l l
be pl aced in exactl y the reverse order
of that in whi ch you fi rst of al l pi cked
them up, you may wi thout di ffi cul ty
cal cul ate of what denomi nati on each
of the sets consi sts. For exampl e, sup
pose an ei ght was the bottom card, you
woul d find after a l i ttl e cal cul ati on,
that after bei ng deal t out in the man
ner above descri bed, they woul d be
pl aced in the fol l owi ng order: Ki ng,
5, 7, 1, 4, 6, Queen, 2, 9, j ack, 3, 10, 8;
and repeati ng in your own i pi nd the
words whi ch you have commi tted to
memory, and reckoni ng the cards back
ward, you woul d say
8 10 3 j ack
Ei ght thousand and three men and
9 2 6 4
ni nety- two women; si xty- fourth regi -
1 7 5
ment beats the seventy- fi fth; up star ts
ki ng
the ki ng wi th, etc.
TO INS TANTLY NAME ANY CA>
CHOSEN
The pack i s spread out fanwi se to &
spectator wi th a request for hi m to
sel ect a card. When thi s i s done the
cards at the poi nt where the chosen
card was removed, thereby bri ngi ng
the card that was next above the sel -
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
ectedone to the bc/ttom of the pack,
and the artiste has simply to catch a
glimpse of the bottom card, whi ch tel l s
him the name of the chosen one. For
instance, suppose the bottom card was
the six of spades, the performer knows
that the sel ected card must be the ni ne
of hearts, because hearts fol l ow spades
and, therefore, the next card (the one
drawn) i& a heart, and it wi l l be r e
membered in the arrangement of the
pack that each card i s three hi gher
than the precedi ng one. Therefore, if
the bottom card i s the si x of spades,
the sel ected card wi l l be the ni ne of
hearts.
O T EL L TH E NAMES OF ANY NUM
BER OF CARDS CHOSEN
A spectator i s asked to take out a
*ew cards in a bunchei ght or nine,
or in fact as many as he l i kes. The
cut i s now made, and the bottom card
noted, and the performer i s abl e to
i nstantl y name the chosen cards. When
thi s has been done, i f the cards are re
pl aced on the bottom of the pak one
by one in the order chosen, the pack
wi l l sti l l be in the correct condi ti on
Ior farther tri cks.
When nami ng the cards sel ected, so
as not to gi ve any astute member of
the audi ence a chance to observe that
each card is three spots hi gher than
the precedi ng one, i t i s advi sabl e not
to cal l then out in thei r exact order.
Supposi ng the cards sel ected were
the j ack of spades, ace of hearts, four
of di amonds, seven of cl ubs, ten of
spades, ki ng of hearts, three of di a
monds, and si x of cl ubs, the performer
ould name them in the fol l owi ng man
ner, thereby el i mi nati ng al l suspi ci on
of prearrangement:
J ack of spades, ace of hearts, then
pass the four of di amonds and cal l the
seven of cl ubs, then cal l the four of
di amonds. But in pl aci ng the four of
di amonds on the bottom of the pack,
be sure to get i t under the seven of
cl ubs so as not to upset the order of
arrangement. The performer wi l l now
have the seven of cl ubs on the bottom,
so wi l l i nstantl y know that the ten
of spades i s the next card to be call ed.
I n performi ng thi s tri ck general l y
a&k three or four members of the audi
ence to sel ect a number of cardsal l
in bunchesfrom the top of the por
ti on of cards held in the l eft hand.
I t is wel l to ask those who have
sel ected cards to mi x them before
star ti ng to cal l out thei r names, as .
thi s di sarranges the order of the cards
they hold. otherwi se they mi ght note
.he cards in thei r possessi on were cal l
ed in the order they hel d tfcem.
xO T E L L THE E XACT POSITION IN
T HE P ACK OF ANY CARD NAM
ED BY THE AUDIENCE
The following explanation w ill re-
uire a little study, but i f the rules
are fol l owed j ust as stated bel ow, the
student wi l l soon comprehend the idea.
To begi n wi th, the card is named by
the audi ence, the performer so hol di ng
the pack as to see at a gl ance, and
note the l ast four cards, as seen. These
l ast four cards are: Ten of hearts, ki ng
of di amonds, three of cl ubs, and si x of
spades.
Say the card named i s the three of
spades. Now, accordi ng to tabl e No. 1,
you subtract the gi ven card (three of
spades from the fi rst card of the sui t
(si x of spades), whi ch l eaves three.
Next mul ti pl y by fourtwel ve; there
fore, the three of spades i s the twel fth
card from the top. Now cut the cards
as near as possi bl e to what you thi nk
i s twel ve. Shoul d you cut at the el ev
enth cardwhi ch woul d be the ki ng of
cl ubsyou i mmedi atel y know the card
fol l owi ng a cl ub i s a spade, and i f you
cut at the ki ng of cl ubs, the next card
i s three spots hi gherthe three of
spadesso you open at the next card.
Or, shoul d you cut the pack at the thi r
teenth card, whi ch in thi s case woul d
be the si x of hearts, you know a heart
i s preceded by a spade, xand i f you have
the si x of hearts, the card before i t i s
he three of spades.
Table No. 1
The fol l owi ng tabl e shoul d be th
oughl y l earned and memori zed.
We wi l l suppose the performer has
effectex* the change of packs, and i s
ready to find any gi ven card in the
pack, therefore he proceeds as fol l ows:
Subtract the gi ven card from
first card of sui t from the bottom
of pack. Now mul ti pl y it by four,
and deduct the number of cards
fol l owi ng the fi rst card of sui t.
We wi l l refer agai n to i l l ustrati on*
Say the gi ven card i s the five of
hearts, subtract five from the fi rst card
of sui t, whi ch is the ten of hearts, five.
Now mul ti pl y by fourtwenty, l ess
the number of cards before the first
card of sui te from the bottom, whi ch
i s three, whi ch, deducted from twenty
l eaves seventeen. Therefore, the five
of hearts i s the seventeenth card from
the top.
125 TRICKS WITH CAROS OR SLEIGHT OF HAND J M
Table No. 2
I f the card named is higher than
the firs t card of suit from the bot
tom, subtract the given card from
thirteen.
Now add the number of fi rst card
of sui t, then mul ti pl y by four, l ess
the number of cards fol l owi ng the
fi rst card of sui t, and you wi l l have
the exact number of the gi ven car d
from the top of the pack.
In the i l l ustrati on the l ast f our car ds
are the ten of hearts, ki ng of di a
monds,, three of cl ubs, and si x of
spades.
We wi l l say the fi ve of cl ubs i s
named, the three of cl ubs bei ng the
fi rst card of sui t.
As i t i s i mpossi bl e to subtract five
from three, you deduct i t from thi rteen
(as expl ai ned i n tabl e No. 2), whi ch
l eaves ei ght. Now add the number of
fi rst card of sui t, whi ch i s threeel ev
en; mul ti pl y by fourforty- four, l ess
the number of cards fol l owi ng the fi rst
card of sui t (whi ch i s one)forty-
three. Y ou wi l l upon exami nati on now
find that the forty- thi rd card i s the
fi ve of cl ubs.
Wi th a l i ttl e careful practi ce the
student wi l l soon become fami l i ar wi th
the arrangement, and that whi ch now
appears somewhat di ffi cul t wi l l be
come very si mpl e and easy.
We can, wi thi n the space of three
seconds, cut the pack to any gi ven
card.
TO T E L l A CARD THOUGHT OP AND
^ NAME ITS P OSITION IN
J T H E DE C K
Y ou take the deck, and present It
to one of the audi ence, desi ri ng hi m
to shuffl e the cards wel l , and al so i f
vie chooses, to gi ve them to another
person to shuffl e the second ti me. Y ou
i hen cause the pack to be cut by sev
eral persons, af ter whi ch you sel ect
one out of the company whom you re
quest to take the pack, thi nk of a card,
and fi x i n hi s memory, not onl y the
card he has thought of, but al so i ts
posi ti on i n the deck, by counti ng 1,
2, 3, 4, and so on from the bottom of
the pack, as f ar as, and i ncl udi ng, the
card thought of. Y ou may offer to go
i nto another room whi l e thi s i s bei ng
done, or remai n wi th your eyes band
aged, assur i ng the company that, i f
they desi re it, you wi l l announce be
forehand the number at whi ch the card
thought of wi l l be found. Now, suppos
i ng the person sel ecti ng the card stops
at No. 13 from the bottom, and that thi s
13th card i s the Queen of Hearts, and
supposi ng al so that the number you
have put down beforehand i s 24, you
w ill return to the room or remove your
handkerchi ef, as the case may be, and
without putting any questi on to the
person who has thought of a card, you
sk for the pack, and rest your noa
upon it, as i f you would And out the
secret by smel l i ng. Then, putting your
hands behind your back or under the
tabl e so that they cannot be seen,
you take away from the bot
tom of the pack 28 cardsthat is one
fewer than the number you marked
down beforehandand pl ace them on
the top, taki ng gr eat care not to put
one more or l ess, as I naccuracy in thi s
respect woul d certai nl y cause the tri ck
to fai l . Y ou then return the pack to
the person who thought of a card, r e
questi ng hi m to count the cards from
the top, begi nni ng from the number of
the card he thought of. Thus i f that
card were the thi rteenth, he wi l l com
mence counti ng fourteen, and so on.
When he has cal l ed twenty- three stop
hi m tel l i ng hi m that the number you
marked down was twenty- four; and
that the twenty- fourth card, whi ch
he i s about to take up I s the
Queen of H ear ts; whi ch he wi l t
find to be correct.
Be sure and have the number you
name gr eater than that of the fi rst
posi ti on of the card i n the pack; for
i nstance, twenty- four i s gr eater than
thi rteen.
ON T HE SPOT
Secretl y note the bottom card of the
deck. Fan the deck out as in Fi g. 2
and al l ow anyone to choose a. card and
conceal i ts i denti ty from you. Then cut
the cards i nto two pi l es, pl aci ng the
card they sel ect on the top pi le. The
pi l e wi th your secret card on bottom
should then be placed on the top pile.
By going through the deck, you can
readily pick out the selected card. I t
Is the one immediately below your se
cret card.
22
126 TRICKS WITH CARDS OR SLEIGHT OF HAND
TO CHANGE THE CARDS BY WORD
OF COMMAND
You must have two cards of the
same sort in the pack, for exampl e a
dupl i cate King: of Spades. Pl ace one
next to the bottom card, and one at the
top. Shuffl e the cards wi thout di s
pl aci ng those three, and show a person
that the bottom card is the Seven of
Hearts. Thi s card you dexterousl y sl i p
asi de wi th your finger, whi ch you have
previ ousl y wetted, and taki ng the ki ng
of Spades from the bottom, whi ch the
person supposes to be the Seven of
Hearts, l ay it on the tabl e, tel l i ng him
to cover it wi th hi s hand. Shuffl e the
cards wi thout di spl aci ng the first and
l ast card, and shi fti ng the other Ki ng
of Spades from the top to the bottom
show it to another person. You then
draw that pri vatel y away, and taki ng
the bottom card whi ch wi l l then be the
Seven of Hearts, you l ay that on the
taol e, and tel l the second person (who
bel i eves it to be the Ki ng of Spades)
t j cover it wi th hi s hand. Yo\I then
command the cards to change pl aces,
nd when the two parti es take off thei r
viands and turn up thei r cards, they
wi l l see, to thei r great asto .shment,
that your commands are obe.-ed
TWIN-CAR D TR IC K
Another tri ck performed by means of
twi n," or dupl i cate cards, as in the
previ ous case, i s to show the same card
apparentl y on the bottom and at the
top of the pack. One of these dupl i cate
cards may be easily, obtai ned. I n fact,
the pattern card whi ch accompani es
every deck may be made avai l abl e for
that purpose. Let us suppose, then, for
a moment that you have a dupl i cate
of the Queen of Cl ubs. You pl ace both
of them at the bottom of the deck, and
make bel i eve to shuffl e them, taki ng
care, however, that these two keep
thei r pl aces. Then l ay the pack upon
the table, draw out the bottom card,
show it, and pl ace it on the top. You
then command the top card to pass to
the bottom, and on the pack bei ng
turned up the qompany wi l l see wi th
surpri se that the card whi ch they had
j ust seen pl aced upon the top i s now at
the bottom.
TE N CARDS BEING ARRANGED IN
A CIRCLE TO T E L L THAT WHIC H
ANYONE THOUGHT OF
Pl ace the first ten cards of any sui te
in a ci rcul ar form, as i l l ustrated, the
Ace bei ng counted as one. Request a
person to thi nk of a number or a card,
and to touch al so any other number
or card; desi re hi m to add to the num.
"ber of the card he touched the number
of the cards l ai d outthat is, ten; then
bi d hi m count that sum backward, be
gi nni ng at the cnrd he touched, and
reckoni ng that card at the number he
though* of; when he wi l l thus end it
as the card or number he fi rst thought
of, and thereby enabl e you to ascer
tai n what that was. For exampl e, sup
pose he thought of the number three,
and touched the si xth card, i f ten
be added to si x it wi l l of course make
si xteen; and i f he counted that number
from the si xth card, the one touched,
in a retrograde order, reckoni ng three
on the si xth, four on the fifth, five on
the fourth, si x on the thi rd cards, and
so on, i t wi l l be found to termi nate on
the thi rd card, whi ch wi l l therefore
show you the number the person
thought of. When the person i s count
i ng the numbers, he shoul d not, of
course, call them out al oud.
TR IC KY CARDS
Hol d the deck as shown bel ow, pre
vi ousl y noti ng the bottom card. Sl i r
the cards backward unti l someone tel l r
you to stop. Sl i p the top cards from the
r-.-st of the deck, al so sl i p oiit the bot
tom card wi th your thumb, and wi th
out l ooki ng, name it as the card at
whi ch you were tol d to stop.
TO PRODUCE A CARD FROM A NUT
OR CHERRY STONE
Burn a hol e through the shel l of a
nut or cherry stone and al so through
the kernel , wi th a hot iron, or bore
it wi th an awl , and wi th a needl e pi ck
out the kernel , so that the hol e in it
may be as wi de as the hol e of the shel l ;
then wri te the name of a card on a
pi ece of fine paper, rol l i t up hard, put
it i nto the nut or cherry stone, stop
the hol e up wi th some beeswax, and
rub it over wi th a l i ttl e dust and it
Will not be percei ved; then, whi l e some
bystander draws a card, observe, I t
is no matter what card you draw; and
i f you use cards well , you wi l l offer
hi m and he wi l l recei ve a si mi l ar card
to that you have rol l ed up in the nut.
Gi ve hi m the nut and a pai r of cr ack
ers, and he wi l l find the name of the
card he drew rol l ed up in the kernel .
125 TRICKS WITH CARDS OR SLEIGHT OF HAND 23
TO KNOCK A CARD THROUGH
T HE TABLE
To knock a card through a table,
ecretly moisten the back of your hand.
Stri ke it sharpl y on the deck. Then
tui ckl y sl i p your hand under the tabl e
and produce the card.
TO BURN A CARD, AND AF TE R -
WAR I) F IND I T IN A WATCH
Thi s is a tri ck out of whi ch the pr o
fessors of the art of l egerdemai n make
much capi tal . I n order to carry i t out
successful l y, i t i s necessary to observe
the fol l owi ng di recti ons: You, in the
first pl ace, borrow from the j j pectators
three watches, whi ch are pl aced hi
boxes resembl i ng di ce boxes, and then
l ai d upon a tabl e and covered wi th a
napki n. Y ou then hand a pack of cards
to one of the company, and he sel ects
one at random, and i t i s thereupon en
ti rel y burned, and the ashes put i nto
a box. Shortl y afterward the box is
opened, and the spectators are puzzl ed
to find that the ashes are not there.
The three watches are then brought
out and put on a pl ate, and one of the
company, at your request, sel ects one
and opens i t; and the spectators per
cei ve that a porti on of the burned card
i s bel ow the gl ass of the watch, and
that in the watch- case underneath the
watch is a mi ni ature facsi mi l e of the
card destroyed.
And now we tel l you the modus
operandi by whi ch thi s entertai ni ng
trick, is performed. Havi ng i nformed
your confederatefor i t i s necessary
that you shoul d have one of the com
pany in your confi denceof the sui te
and denomi nati on of the card chosen,
he stretches forward hi s arm and takes
one of the watches from the tabl e, and
unobserved by the rest of the company
deposi ts in it what is necessary. The
napki n whi ch covers the watches must
be supported by bottl es or arti cl es of
a si mi l ar shape, otherwi se your con
federate woul d not be abl e to taka
away the watch wi thout bei ng seen.
The ashes of the burned card are
made to di sappear from the box by
havi ng a doubl e lid, so arranged that
when the box is cl osed the upper lid
wi l l fal l upon the ashes; and as it
'fi ls cl osel y to the bottom, the deceived
spectator wi l l thi nk that the ashes
have real l y vani shed, and that the
remnants are in process of bei ng form
ed afresh i nto the mi ni ature card
whi ch i s di scovered in tho watch.
T HE CARD IN THE EGG
Before commenci ng thi s tri ck, you
must provi de yoursel f wi th a hol l ow
sti ck about ten i nches l ong and three-
quarters of an i nch in di ameter. You
must al so have another round sti ck
to fit thi s holl ow, and sl i de in it easi l y,
wi th a knob to prevent i ts goi ng
through the tube, whi ch must be open
at both ends. The sti ck whi ch fits the
tube must be of the ful l l ength of the
tube, excl usi ve of the knob.
Havi ng steeped a card in water for
twenty mi nutes, you oeel off the l ace
of it, and doubl e i t up twi ce, so that
it becomes j ust one- mi arter the s'ae
of an ordi nary card. Then roll it nr>
ti ghtl y, and thrust it up the tube I ni
i t becomes even wi th the bottom. You
then thrust in the sti ck li i i it j ust
touches the card.
You now take a. deck of cards, and
request one of the company 1 0 ui.i v/
one; but be sure to l et it be a si mi l ar
one to that you have in the sti ck. You
can do thi s by forci ng. As soon as it
is returned to the pack you shi urJ e
the cards, and whi l e you are shuti li n<?
you l et the card fal l i nto your lan.
Then cal l i ng for a number or' egrs,
you request some person in the com
pany to sel ect o^e of them, i n ord*r
that i t may not be suspected that you
have a confederate, you request any
two persons in the company to volun-,
teer to choose an egg each, and then
to deci de between themsel ves whi ch
shal l contai n the ca^cl. Havi ng done
thi s, and the company seei ng thai the
shel l of the egg has not been broken,
you pl ace the egg in a saucer, break
it wi th your wand, and pressi ng the
knob wi th the pal m of your ri ght
hand, the card wi l l be dri ven i nto the
egg. Y ou may then show it to the
spectators.
T HE CARD IN T HE P OCKET-BOOK
A confederate i s previ ousl y to know
the card you have taken from the pack
and put into your pocket- book. Yc )
then present the pack to him, and
f&rce one in the usual way (whi ch we
wi l l suppose to be the K i ng of Hearts)
and pl ace the deck on the tabl e. You
th^n ask hi m the name of the card,
and when he says the K i ng of Hearts,
you ask hi m i f he i s not mi staken,
and i f he is sure that the card is in
the deck. When he repl i es in the af
fi rmati ve, you say: I t migrht be th^re
when you l ooked over the cards, but
I bel i eve i t i s now in my pocket; then
desi re a thi rd person to put hi s hand in
your pocket and take out your book;
when i t is opened the card win apDear
125 THICKS WITH CARDS OR SLEIGHT OF HAND
T H E CARD FOUND OUT BY THE
P OINT OF A SWORD
When a card has been dra'vyn, you
pl ace it under the long- card, and bj
shuffli ng- them dexterousl y you bri ng
i t to the top of the pack. Then l ay or
throw the pack on the ground, ob
servi ng where the top card lies. A
handkerchi ef is then bound round your
eyes, whi ch ought to be done by a con
federate in such a way that you can
ce the ground. A sword is then put
in your hand, wi th whi ch you touch
several of the cards, as i f in doubt, but
never l osi ng si ght of the top card,
in whi ch at l ast you fix the poi nt of
the sword and present i t to the party
who drew it.
T u - O :'T A CARD THOUGHT OF
BLINDF OLDKD
Taka twenty- one cards, and l ay them
down in three rows, wi th thei r f aces
upward; when you have l ai d out three,
begi n agai n at the l eft hand, and l ay
one card upon the first, and so on to
the ri ght hand; then begi n on the l eft
hand agai n, and so go on unti l you
havtj l ai d out the twenty- one cards in
three heaps, at the same ti me request
i ng any one to thi nk of a card. When
you have l ai d them out, ask hi m whi ch
heap hi s card is in; then l ay that heap
in the mi ddl e between the other two.
Thi s done, l ay them out agai n in three
heaps as before, and agai n request
hi m to notice where hi s noted card
goes, and put that heap in the mi ddl e
as before. Then taki ng up the cards
wi th thei r back toward you, take off
the uppermost card, and reckon it one;
take off another, whi ch reckon two;
and thus proceed ti ll you come to the
el eventh, whi ch wi l l i nvari abl y prove
to be the card thought of. You must
never l ay out your cards l ess than
three ti mes, but as often above that
number as you pl ease. Thi s tri ck may
be done wi thout you seei ng the cards
at all, i f you handl e and count them
careful l y. To di versi fy the tri ck, you
may use a di fferent number of cards
but the number chosen must be di vi s
i ble by three, and the mi ddle card, af
ter they have been thri ce deal t as di
rected wi l l al ways be the one thought
of; for i nstance, i f done wi th fifteen
cards, it must be the ei ght, and so on,
when the number i s even, it must be
the exact hal f; as, i f i t be twenty- four,
the card thought of wi l l be the
twel fth, etc.
I three others to the second person, <\nd
three others to the third. Next take up
the first persons cards, and l ay them
^own separatel y one by one, wi th thei r
faces upward; pl ace the second per
son's cards over the first, and the
thi rd over the seconds, so that there
wi l l be one card in each parcel be
l ongi ng to each person.
Then ask each of them in whi ch par
cel hi s card is, for the first persons
wi l l al ways be the first, the second
persons the second, and the thi rd per
sons in the third, in that parcel where
each says hi s card is.
A MECHANICAL CARD FOR THE
RACK-HAND P ALM
Havi ng recei ved so many i nqui ri es
from amateur performers as to whether
i t was possi bl e to obtai n a mechani cal
card for performi ng the conti nuous
front- and back- hand pal m, some time
ago an expert devoted consi derabl e l a
bor and ti me to devi si ng a card by
whi ch thi s otherwi se exceedi ngl y di f
ficult sl ei ght can be accompl i shed with
ease; and as many readers of thi s book
may not be i ncli ned to spend suffi ci ent
ti me to l earn the sl ei ght- of- hand meth
od herei nbefore descri bed, we wi l l ex
pl ai n the easi er pl an.
TO NAME THE CARD UPON WHIC H
ONE OR MORE PERSONS F IX
There must be as many di fferent
cards shown to each person as there
are cards to choose; so that, if there
are three persons you must show three
cards to each person, tel l i ng the first
to retai n one in hi s memory. You then
the three cards down, and show
The illus tration shows the manner
of prepari ng the card; AA are sl i ts cut
one on each si de of the card, as near
the edge as possi bl e; BB are ti ny ri ngs
sol dered to the cl i ps CC (al l pai nt*''* f i e* *
i25 TRICKS WITH CARDS OR SLEIGHT OF HAND A
and on that of H ear ts the mark of
spades; whi ch you wi l l do easi l y, by
spl i tti ng a card of each color, whi ch
you are to cut out wi th dexteri ty, in
order, that the mark be very neat; then
rub l i ghtl y on the back of the spade
and heart that you have cut, a l i ttl e
soap or very whi te pomatum; put the
mark of Hearts on the Acp of Spades,
and the mark of Spades on the Ace of
Hearts, taki ng care to l et the one cov
er the other compl etel y, and make al l
your preparati ons before you begi n
your experi ments.
-Then di vi de your deck of cards i nto
two parcel s, and under each parcel put
one of your two Aces thus prepared;
afterwards take wi th your ri ght hand
the parcel under whi ch i s the Ace of
Hearts, and wi th your l eft that where
Ace of Spades is.
Then show the company that the Ace
of Hearts i s on the ri ght hand and the
Ace of Spades on the l eft; and when
everybody i s convi nced of i t say,
Ladi es and gentl emen, I command the
Ace of Hearts, whi ch i s i n my ri ght
hand to pass to my l eft, and the Ace of
Spades to take i ts pl ace." I t may be
proposed to have both arms ti ed to
prevent thei r j oi ni ng and communi cat
ing.
Al l the secret consi sts of i s maki ng a
qui ck movement when you gi ve your
command. Duri ng thi s movement you
must sl i p wi th dexteri ty your l i ttl e
fi nger over each of the marks, in order
to rub i t off, whereby the mar ks of
Spades and H ear ts that weu'e sti ck
i ng to the two cards, by the means
expl ai ned before, wi l l be di spl aced;
you then show to the company that the
cards have obeyed your command, by
passi ng from the ri ght to the eft, and
from the l eft to the ri ght wi thout your
hands communi cati ng.
THE CARD H I T UPON BY GUESS
Spread part of a pack before a per
son in such a way that onl y one pi c
ture card i s vi si bl e, and ar range that
it shal l appear the most promi nent and
stri ki ng card. Y ou desi re hi m to thi nk
of one, and observe i f he fi xes hi s
eye on the court card. When he tel l s
you he has determi ned on one, shuffl e
the cards, and turn them up one by
one; when you come to the face card,
tel l hi m ttiat i s the one. I f he
dees not seen to fix hi s eye on
the court card, you shoul d not hazard
the experi ment but frame an excuse
for performi ng some other amusement.
UPS AND DOWNS
Thi s is a very si mpl e way of ascer
tai ni ng what card a person chooses.
When you are pl ayi ng wi th the deck,
drop out the di amonds, from the Ace
to the Ten, and contri ve wi thout bei ng
percei ved, to get al l the other cards
wi th thei r heads in t \ e same di recti on;
then request a person to choose a card;
do not force one, but l et hi m choose
whi chever he pl eases; whi l e he has it
in hi s hand and i s l ooki ng at it, car e
l essl y turn the pack in your hand, so
that the posi ti on of the cards may be
reversed; then bi d hi m put the card he
has chosen i nto the center of the deck;
shuffl e and cut them, and you ma y to
a certai nty know the card chosen by
i ts head bei ng upsi de down, or in a
di fferent di recti on from the rest of
the pack.
T HE DISAP P EARANCE OF F IV E
CARDS AT ONE TIME
F irs t Method
I n thi s tri ck the performer takes one
card and back- pal ms it. He then takes
another one between the mi ddl e fi nger
and thumb, and sl i des i t on to the back
of the hand on top of the fi rst one
the fi rst and fourth fi ngers sl i ghtl y
openi ng to recei ve it. The other three
cards are treated in the same manner.
Thi s sl ei ght wi l l be found somewhat
di ffi cul t at first, but, bei ng so effecti ve
i t wi l l ampl y repay the performer for
any ti me he may spend on i ts Requi re ...
ment.
Second Method
I n thi s method of performi ng L.ie
foregoi ng tri ck, after you have back'
pal med one card, in the act of pl aci ng
the second card in posi ti on, you pal m
off wi th your l eft hand from the back
of the ri ght the fi rst card vani shed.
Thi s is, of course, repeated wi th the
remai nder. Each card vani shed is
pal med off i nto the l eft hand in the
act of pl aci ng the next one in posi ti on
between the fi nger and thumb of tho
ri ght, thus enabl i ng the performer to
show that he only hol ds one card in
hi s ri ght hand. The remai ni ng four can
then, i t desi red, be produced from the
si de of the l eft l eg.
TO T E L L T HE CARD T HAT A P E R
SON HAS TOUCHED WIT H
HIS F INGE R
Y ou previ ousl y agree wi th a confed
erate on certai n si gns by whi ch he if
to denote the sui te, and the parti cul a
card of each sui te; thus; I f he touch
-5 TRICKS WITH CARDS OR SLEIGHT OF HAND
the first button of hi s coat, it si gni fi es
an Ace; i f the second, a Ki ng, etc.
These prel i mi nari es being; settl ed, you
gi ve the deck to a person who i s near
your confederate, and tel l hi m to sep
arate any one card from the rest whi l e
you are absent, and draw hi s fi nger
once over it. He is then to return you
the pack, and whi l e you are shuffl i ng
the cards, you careful l y note the si g
nal s made by your confederate; then
turni ng the cards over one by one, you
di rectl y fix on the card he touched.
TO DISCOVER ANY CARD IN THE
P ACK BY ITS WE IGHT OR SMELL
Desi re any person in the company to
draw a card from the pack and when
he has l ooked at it, to return it wi th
i ts face downward, then pretendi ng to
wei gh or smel l i t ni cel y, take noti ce of
any parti cul ar mark on the back of
the card; whi ch havi ng done, put i t
among the rest of the cards, and desi re
the person to shuffl e as he pl eases;
then gi vi ng you the pack, you pretend
to wei gh each card as before, and pro.
ceed in thi s manner ti l l you have di s
covered the card he had. I f the l ong
card i s used, you can take the pack,
shuffl e the cards in a carel ess, easy
manner and wi thout l ooki ng at the
pack hand it to the spectators.
THE FOUR ACCOMPLICES
Let a person draw four cards frora
the pack, and tel l hi m to thi nk of one
of them. When he returns you the four
cards, dexterousl y pl ace two of them
under the pack, and two on the top.
Under those at the bottom you pl ace
four cards of any sort, and then, tak
i ng ei ght or ten from the bottom cards,
you spread them on the tabl e, and ask
the person i f the card he fixed on be
among them. I f he says no, you are sure
i t i s one of the two cards on the top.
Y ou then pass those two cards to the
bottom, and drawi ng off the l owest of
them, you ask i f that be not hi s card.
I f he agai n says no, you take that
card up, and bid hi m draw hi s card
from the bottom of the pack. I f the
person says hi s card is among those you
first drew from the bottom, you must
dexterousl y take up the four cards that
you put under them, and pl aci ng those
on the top, l et the other two be the
bottom cards of the pack, whi ch draw
I n the manner before descri bed.
THE TURN-OVER F E AT
Havi ng found a card chosen whi ch
you have previ ousl y forced, or any
card that has been drawn, whi ch you
have di scovered by the means before
descri bed, in order to do the feat cl ev
erly, convey the card pri vatel y to the
top of the deck; get the rest of the
cards even wi th each other, maki ng
the edge of the top card proj ect a
l i ttl e over the others; then hol di ng
them between your fi nger and thumb.
about two feet from the table, let
them drop, and the top card which,
as has been sai d, must be the one
drawn, wi l l fal l face uppermost, and
al l the others wi th thei r faces toward
the table.
THE PRODUCTION OF CARDS ONE
AT A T IME AT T HE F INGERTIP S
FROM THE BACK-HAND
P ALM
Thi s i s one of the pretti est effects
in connecti on wi th the Back- hand
Pal m.
After the performer has vani shed by
means of the back- hand pal m, say five
cards, and shown both si des of the
hands to be empty, he proceeds to r e
produce the cards one by one at the
fi nger ti ps.
Thi s i s accompl i shed in the fol l owi ng
manner:
When i t i s desi red to produce one
card from the back of the hand, the
thumb bends round to the mi ddl e of
the nearest end of the outsi de card and
l i teral l y pul l s i t away from the rest,
the fi rst and fourth fi ngers ai di ng in
i ts rel ease by sl i ghtl y rel axi ng thei r
pressure. Once qui te free from the
back of the hand, the card i s pushed
by the thumb i nto the posi ti on shown
in the previ ous i l l ustrati on. Thi s must
be done very sl owl y at fi rst, but, of
course, in the actual performance al?
the above movements must be made
si mul taneousl y. I f thi s i s done wi th a
sl i ght wave of the hand, i t wi l l appear
to the audi ence that the performer
actual l y caught the card from the ai r.
125 TRICKS W I T H CA RDS OR SLEIGHT OF HA\
The effect of thi s trl cl : can be f ur
ther hei ghtened by the performer al ter
having- caught, say, three cards, bow
i ng hi s ri ght hand to be absol utel y
empty, back and front, and the fi ngers
spread wi de apart. The fol l owi ng i s the
procedure.
As each card i s produced at the ri ght
hand fi nger- ti ps, i t i s pl aced in the
l eft hand. (I l l ustrati on shows the ex
act posi ti ons of both hands.) When the
performer has caught the thi rd card,
in the act of pl aci ng i t in the l eft hand
he secretl y l eaves the cards, sti l l back,
pal med, behi nd the three cards now
in the l eft hand, gri pped by the second
fi nger. (I l l ustrati on whi ch represents a
back view showing the position of the
hand and cards.)
The right hand is now shown empty,
and the performer makes the remark:
No, certainly not. Nothing between
he fingers. A ll we have here is three
cards, meanwhi l e c o u n t i n e wi th the
thumb of the ri ght hand those in the
1- ft hand. Under cover of thi s move
ment the two hi dden cards are agai n
back- pal med in the ri ght hand and re
produced at the wi l l of the arti st.
TI I E NERV E FEA T
Force a card, and request the person
who has taken i t to put it in the pack,
and shuffl e the cards; then l ook at
them agai n yoursel f, very cl osel y, find
the card, and pl ace it at the bottom;
cut them in two par ts; gi ve hi m the
par t contai ni ng hi s card at the bottom,
and desi re hi m to hol d i t between hi s
fi nger and thumb j ust at the corner;
after tel l i ng hi m to hol d them ti ght,
stri ke them sharpl y, and they wi l l fal l
to the ground, except the bottom one,
whi ch i s the card he has chosen.
T H E CARD I N A MI RROR
Get a round mi rror; frame si ze of
a card. Make the gl ass in the mi ddle
move in two grooves.
The qui cksi l ver must be scraped off
equal to the si ze of a card. The gl ass
must al so be wi der than the di stance
between the frame by the wi dth of a.
card. Then cement a pi ece of pasteboard,
on whi ch i s a card that must exactl y
fit the space, over the par t where the
qui cksi l ver i s rubbed off. Thi s card
must at fi rst be pl aced behi nd the
frame.
Secure the mi rror agai nst a p- r4ion
through whi ch are to go two ga,
by pul l i ng whi ch an assi stant as-
i ly move the gl ass in the groc and
consequentl y make the card aL ar or
di sappear at pl easure.
The assi stance of a confederate i s
not absol utel y necessary to this- per
formance. A tabl e may oe pi aced under
the mi rror, and the string- t made to
pass through a l eg, communi cati ng
wi th a smal l tri gger, c be pushed by
the foot, taki ng occasi on t o dust the
gl ass wi th your handkerchi ef, as i f i t
were i ntended to make the card appear
more conspi cuous.
T HE MAGIC TE A-CADDIE S
Two cards bei ng drawn by di fferen
persons, are put i nto separate tea
caddi es and l ocked up. The performer
changes the cards wi thout touchi ng
them, or any confederacy. The caddi es
ar e made wi th a copper flap, whi ch
has a hi nge at the bottom, opens
agai nst the front, where i t catches un
der the bol t of the l ock, so that, when
the li d i s shut and l ocked, the flap wi l l
f al l down upon the bottom; the per
former pl aces two cards that he i n
tends to be chosen between the flap
and the front, whi ch, bei ng l i ned wi th
green cl oth, may be handl ed wi thout
any suspicion; then he desires the first
person to put his card into one of the
caddies, taking care i t be that which
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
contai ns the contrary card to the one
that he chose, and the second into the
other; he then desi res they wi l l lock
.hem up, whi ch unl ocks the flaps, cov
ers thei r cards, and, when openfed, pre-
jents the contrary ones to the vi ew of
the company.
GUESSING A CARD THOUGHT OF
Spread out the cards on the ri ght
hand in such a manner that, in show
ing- them to the audi ence, not a si ngl e
card i s whol l y exposed to vi ew, wi th
the excepti on of the K i ng of Spades,
the uppermost part of whi ch shoul d be
cl earl y seen wi thout any obstructi on,
ei ther from the fi ngers or the other
cards. When you have thus spread
them outdesi gnedl y in fact, but ap
parentl y at randomshow them to one
of the spectator*, requesti ng hi m to
thi nk of a card, and at the same ti me
take care to move the hand a l i ttle, so
as to descri be a segment of a ci rcl e, in
order that the audi ence may catch
si ght of the Ki ng of Spades, wi thout
noti ci ng that the other cards are al l
parti al l y conceal ed. Then shuffl e the
cards, but in doi ng so you must not
l ose si ght of the K i ng of Spades, whi ch
you wi ll then l ay on the tabl e face
downward. You may then tel l the per
son who has thought of a card that
the one in hi s mi nd is on the table,
and request hi m to name it. Shoul d
be name the K i ng of Spades, whi ch he
wil l be most l i kel y to do, you wi ll of
course turn it up and show i t to the
company, who, i f they are not ac
quai nted wi th the tri ck, wi l l be very
much astoni shed. I f, however, he shoul d
name some other cardsay the Queen
of Cl ubsyou must tel l hi m that hi s
memory is defecti ve, and that the card
could not have been the card he at fi rst
thought of. Whi le tel l i ng hi m thi s
whi ch you must do at as great l ength
:is you can, in order to gai n ti me*
shuffl e the cards rapi dl y, and appar
ently wi thout any parti cul ar purpose,
unti l your eye catches the card he
1 >.s j ust named (the Queen of Cl ubs.)
Put it on the top of the deck, and sti l l
appeari ng to be engrossed wi th other
thoughts, go through the first fal se
shuffl e, to make bel i eve that you have
no parti cul ar card in vi ew. When you
I vive done shuffl i ng, take care to l eave
he Queen cff Cl ubs on the top of the
deck; then take the pack in your l eft
hand, and the Ki ng of Spades in your
ri ght, and whi le dexterousl y exchang
i ng the Queen of Cl ubs for the K i ng of
.Spades, say, What must I do, gentl e
men, that my tri ck shoul d not be a
fai l ure? What card shoul d I have in
my ri ght hand? They wi l l not fai l
*o cal l out the Queen of Cl ubs, upon
whi ch you wi l l turn it up, and they
wi l l see that you have been successful .
Thi s tri ck, when wel l executed, al ways
hns a good effect, whether the specta
tor thi nks of the card you extended
hi m to think of, or, from a desire to
compl i cate matters, or some other. It,
however, requires considerable pres
ence of mind, and the power of con
ceal i ng from your audience what your
real object is.
TO T E L L A CARD BY SMELLING IT
Before commenci ng i t you must take
one of the party i nto your confi dence
and get hi m Vo assi st you. When al l
is arranged, you may tal k of the strong
sense of smel l and touch whi ch bl ind
peopl e are sai fl to possess, and state
that you could, when bl i ndfol ded, di s
ti ngui sh the face cards from the rest,
and profess your wi l l i ngness to at
tempt it. The process i s thi s: After you
have sati sfi ed the company that your
eyes are ti ghtl y bound, take the deck
in your hands, and hol di ng up one of
the cards in vi ew of the whol e com
pany, feel the face of i t wi th your fin
gers. I f i t i s a face card, your con
federate, who shoul d be seated near
to you, must tread on your toe. You
then procl ai m that i t i s a face card,
and proceed to the next. Shoul d you
then turn up a common card your con
federate takes no noti ce of it, and you
i nform the company accordi ngl y; and
so n, unti l you have convi nced the
company that you real l y possess the
power to whi ch you l ai d cl ai m
T HE PRODUCTION OF CARDS AT
T HE F INGE RTIP S FROM THE
ORDINARY P ALM
The ori gi nal method of produci ng
the cards si ngl y at the fi nger- ti ps, wi th
the back of the hand toward the audi
ence met wi th a great amount of suc
cess. We are pl eased to acquai nt our
readers wi th the correct method of i ts
executi on.
From the ordi nary pal m the cards
are transferred to the fi nger pal m
The l i ttl e fi nger now very sl i ghtl y r e
l axes i ts pressure on the cards, when
it wi l l be found upon practi ce that one
card wi l l be rel eased.
The thumb now comes down under
the end of the card and pushes it up
i nto the posi ti on depi cted, the back
*25 TRICKS WITH CARDS OR SLEIGHT OF HAND
the hand, of course, faci ng the audi ence.
Some ar e usual l y in the habit of per*
formi ng thi s sl ei ght wi th from twenty-
five to thi rty ordi nary cards, but three
r r four wi l l be qui te enough for the
begi nner to commence wi th.
T H E CARD IIV T H E OPERA GLASS
Procure an opera gl ass two i nches
nd a hal f l ong; the tube to be made
oi i vory so that i t may not appear
opaque. Pl ace i t i n a magni fyi ng gl ass
of such power and at such a di stance,
that a card three- quarters of an inch
long1may appear l i ke a common- si zed
card.
At the bottom of the tube l ay a ci rcl e
of bl ack paste- board, to whi ch fasten
a smal l card, wi th the pi ps or fi gures
on both si des and in such a manner
that, by turni ng the tube, ei ther si de
of the gl ass may be vi si bl e.
You then offer two cards to two per
sons si mi l ar to the doubl e card in the
gl ass. You put them in the pack agai n,
or convey them i nto your pocket; and
after a few fl ouri shi ng moti ons, you
tel l the persons you have conveyed
thei r cards i nto the gl ass; then you
show each person hi s card in the gl ass
by turni ng i t in the proper posi ti on.
.TACKS AND T H E CONSTABLE
;ck the four j acks out of a pack of
cards, and one of the ki ngs to perform
the offi ce of constabl e. Secretl y pl ace
one of the j acks at the bottom of the
deck, and l ay the other three wi th
the constabl e down upon the tabl e.
Amuse the spectators wi th a tal e of
three knaves goi ng to rob a house;
one got in the parl or wi ndow, (putti ng
a j ack at the bottom of the deck, tak
i ng care not to l i ft the deck so hi gh
that the one al ready at the bottom can
be seen,) one effected hi s entrance at
the fi rst- fl oor wi ndow, (putti ng an
other j ack in the mi ddl e of the deck),
and the other by getti ng on the par a
pet from a nei ghbori ng house, con
tri ved to scrambl e in at the garr et
wi ndow, (pl aci ng the thi rd j ack at the
top of the deck;) the constabl e vowed
he woul d capture them, and cl osel y
fol l owed the l ast j ack, (putti ng the
ki ng l i kewi se upon the top of the
deck). Y ou then request as many of
the company to cut the cards as pl ease
and tel l them that you have no doubt
the constabl e has succeeded in hi s ob
ject, whi ch wi l l be apparent when you
spread out the deck in your hands, as
the ki ng and three j acks wi l l , i f the
tri ck i s neatl y performed, be found
together. A very l i ttl e practi ce onl y is
requi red to enabl e you to convey a
j ack or any other card secretl y to the
bottom of the pack.
TO GUESS S THE SPOTS ON CARDS
AT THE BOTTOM OF THR E E
P ACKETS, WHIC H HAVE
BE EN MADE BY THE
DRAWE R
Tel l a person to choose as he pl easos
three cards from a euchre deck, i n
formi ng hi m that the ace counts for
eleven, the face cards for ten, and the
others accordi ng to the number of
spots. When he has chosen these three
tel l hi m to put them on the tabl e, and
to pl ace on each as many cards as
spots are requi red to make fifteen.
That I s to say, in the e ei ght
cards woul d have to be put on the
Seven of Cl ubs, four cards on the Ace,
nnd five above the Ten. Let hi m r e
turn you the rest of the pack, and
("while pretendi ng to count somethi ng
in them) count how many remai n. Add.
si xteen to thi s number, and you wi l l
have the number of spots in the three
bottom cards, as may be seen in thi s
exampl e, where twel ve cards remai n,
to whi ch n u mbe r add si xteen, and the
amount (twenty- ei ght) i s the number
on the three cards.
Take the twel ve pi cture cards (j acks
ki ngs, queens) from the deck, and
pl ace them in three rows, feur in
each. Commenci ng witfc the fourth
card in the bottom roT* on the r?ght,
i nrfi them up l oujeways, one ov>-
ot her , and offer them to any *>f I)-.*
14
125 TRICKS WITH UARDS OR SLEIGHT OP HANL
company to cut. it is of no consequence
jhow often they are di vi ded. Next deal
Them out in four di vi si ons, and the
ki ng, queen and j ack of each sui t wi l l
be found together.
The key to thi s mystery consi sts in
observi ng the fol l owi ng arrangements
in the di sposi ti on of the cards at first.
Pl ace one of each sui t in the upper
row: begi n the next row wi th a card
of the same sui t that you l eft off wi th
in the first, and commence the thi rd
or l ast row wi th a face card of the
same sui t that you l eft off wi th in the
second.
THE MAGIC OPERA GLASS
Before you begi n to perform thi s
extraordi nary i l l usi on prepare a tabl e
of fi gures exactl y l i ke the fol l owi ng:
1 1. 131
2. 231
3. 331
10.132
11.232
12.332
19.133
20.233
21.333
4. 121
5. 22.1
6. 321
13.122
14.222
15.322
22.123
23.223
24.223
7. I l l
8. 211
9. 211
16.112
17.212
18.312
25.113 1
25.113
27.315 ,
Thi s tabl e is pl aced in an opera gl ass
so as to be vi si bl e. The best pl an is
to cut them out of a book, and paste
them on a ci rcul ar pi ece of card, soak
ed in oi l so as to make it transparent,
or they may be pl aced in the crown of
of your hat as occasi on may serve.
Take a deck, consi sti ng of twenty- sev
en cards only, and gi ve them to a
person; desi re hi m to fix on anyone,
then shuffl e them, and return the deck
to you. Pl ace the twenty- seven cards
in three heaps, by l ayi ng down
one al ternatel y on each heap; but' be
fore you put each card down, show i t
to the person wi thout seei ng i t your
sel f. When the three equal heaps are
compl eted, ask hi m what number from
twenty- seven he wi l l have hi s card
appear, and in whi ch heap i t is. Now
look at your magi c tabl e, and i f the
fi rst of three numbers whi ch stand
agai nst that number it i s to appear at
be one, put that heap at top; i f the
number be two, put it in the mi ddl e;
and i f three, put i t at the bottom. Then
di vi de the card i nto three heaps in the
same manner a second and a thi rd ti me
and hi s card wi l l be at the number he
chose. For the sake of maki ng the el u
ci dati on perfectl y cl ear, we wi l l gi ve
an exampl e: Suppose he desi re that hi s
card shal l be the twenti eth from the
top, and the first ti me of maki ng the
heaps he says it i s in the thi rd heap.
You then l ook through your opera gl ass
at the magi c tabl e, and see that the
first fi gure agai nst the number twenty
i s two. Y ou therefore put that heap in
the middle of the pack. The second and
thi rd times you in like manner put
Ha heap in which he says i t is at
the bottom, the succeedi ng numbers
botfh bei ng three. Now l ayi ng the cards
down one by one, the twenti eth card
wi ll be that he fixed on. You may, of
course, in l i ke manner, show the per
son hi s card wi thout aski ng hi m at
what number it shal l appear, by fi xi ng
on any number yoursel f.
TO SEP ARATE THE TWO COLORS
OF A P ACK OF CARDS BY ONE CUT
To perform thi s tri ck, al l the cards
of one col or must be cut a l i ttl e nar
rower at one end that at the other.
You show the cards, and gi ve them
to any one that he may shuffl e tnem;
then hol di ng them between your hands
one hand bei ng at each extremi ty, wi th
one moti on you separate the Hearts
and Di amonds from the Spades and
Cl ubs. N
PASSING A CARD THROUGH
THE KNEES, ETC.
A cardsay the ace of spaJ desis
held in the l eft hand in the posi ti on
shown. I t now vani shes, i mmedi atel y
reappeari ng in the ri ght hand, havi ng
apparentl y passed through the knees,
I t i s next passed back to i ts ori gi nal
posi ti on, and then agai n i nto the ri ght
hand.
Both hands now assume the attitude
illustrated. The card is caused to ap
parently pass along the arm into the
125 TRICKS WITH CARDS OR SLEIGHT OP HAND 1
l eft hand, and then back i nto the ri ght.
I t i s then taken in the l eft hand and
vanished, both hands bei ng shown
empty, and the card is reproduced at
the-, finger-tips as though caught in the
air./
This is accomplished chiefly by the
oerformer bei ng abl e to execute the
front and back pal m wi th both hands
wi th equal faci l i ty. There are, of
course, two cards used, and as the me
thod for secretl y obtai ni ng possessi on
of the dupl i cate card i s somewhat uni
que and novel, we had better descri be
thi s tri ck in detai l as it, i s the founda
ti on of i nnumerabl e other tri cks.
I n the fi rst pl ace, the performer
takes in real i ty two aces of spades,
but held cl osel y together so that they
appear to the audi ence as on card
onl y. Both cards are now back- pal med,
and hands shown empty. One only of
the cards i s caught at the fi nger- ti ps
and thi s i s forthwi th taken i nto the
l eft hand and hel d in the fi rst posi ti on
for passi ng through the knees. I t i s
now (wi th a swi ngi ng moti on of the
hand as i f to throw the card behi nd
the knee) back- pal med, and the dupl i
cate (whi ch has remai ned on the back
of the other hand) produced in the
ri ght hand. Thi s can be repeated at
the wi sh of the performer. A certai n
ti me must be spent in getti ng the
hands to work harmoni ousl y together.
I f thi s is done, the i l l usi on i s perfect.
The passi ng of the card al ong the arm,
of course, .is accompl i shed in the same
manner
The ri ght hand now pl aces the card
whi ch is vi si bl e to the audi ence be
tween the second fi nger and thumb of
the l eft hand, whi ch forthwi th back-
pal ms i t on top of the dupl i cate. Both
hands are now shown empty, and as a
finale the two cards are produced as
one and l ai d on the tabl e, thi s bei ng
easi l y brought about by ti ghtl y hol d
i ng them together as in the fi rst stage
of the tri ck.
THE CARD DISCOVERED UNDER
THE HAN DE R K E R C HIK F
L et a person draw any card i rom
the rest, and put i t in the mi ddl e of
the pack, you make the pass at that
pl ace, and the card wi l l consequentl y
be at the top; then pl aci ng the deck
on the tabl e, cover i t wi th a handker
125 TRICKS WITH CARDS OR SLEIGHT OP HAND
chi ef, and putti ng your hand under it,
take off the top card, and after seem
i ng to search among the cards for
some ti me, draw i t out.
Thi s amusement may be performed
by putti ng the cards I n another per
son's pocket, after the pass is made.
Several cards may al so be drawn and
pl aced together in the mi ddl e of the
pack and the pass then made.
T H E CARD UNDER T H E HAT
Thi s tri ck is performed in the same
manner as i s di rected for finding a
card pl aced under a handkerchi ef.
A T T H E GAME OP BRI DGE WHAT
PROBABI LI TY THA T T H E FOUR
HONORS W I L L BE I N T11E
HANDS OP ANY TWO
PA RTNERS
De Morie, in hi s Doctri ne of 1
Chances, shows that the chance is
nearl y 27 to 2 that the partners, one
of whom deal s, wi l l not have the four
honors; that i t i s about 23 to 1 that
the other two partners wi l l not have
them; that i t i s nearl y ^to 1 that they
wi l l 'not be found on any one si de;
that one may bet about 13 to 7. wi th
out di sadvantage, that the partners
who are fi rst in hand wi l l not count
honors; that about 20 to 7 may be
bet that the other two wi l l not count
them; and, in the l ast pl ace, that i t
is 25 to 16 that one of the two si des
wi ll count honors, or that they wi l l
not be equal l y di vi ded.
SI XTEEN CARDS BEI NG DI SPOSED
I V TWO ROWS. TO T EL L THE
CARD WI I i OH A PERSON
HAS THOUGHT OP
The cards bei ng arranged in two
.ows, as A and B, desi re the person to
thi nk of one, and 'to observe wel l in
which row it is. ;
A B C B D E B P H B 1
0 0 0 0 0 0 0 0 0 c
0 0 0 0 0 0 0 0 0 0 0
0 0
*
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0
* 0 .0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
Let us suppose that the card thought
* is in row A; take up that whol e row.
i the order in whi n it stands, and
di spose i t in two roxvs C and D, on
the ri ght and l eft of the row B; but
in arrangi ng them, take care that the
first of the row A may be the first
of the row C; the second of the row
A, the fi rst of the row D; the thi rd
of the row A, the second of the row
C, and so on; then ask agai n in verti cal
rows in whi ch row, C or D, the card
thought of is. Suppose i t to be in C;
take up that row, as wel l as the row
P, putti ng the l ast at the end of the
first, wi thout derangi ng the order of
the cards, and observi ng the rul e al
ready gi ven, before, in whi ch row the
card thought of is. Let us suppose i t to
be in E ; take up thi s row, and the row
F, as above di rected, and form
them into two new rows on the
ri ght and l eft of B; after these
on the ri ght and l eft of B; af ter these
operati ons, the card thought of must
be the fi rst of one of the perpendi cul ar
rows H and I ; i f you therefore ask
in whi ch row i t is, you may easi l y
poi nt i t out, havi ng desi red them to
be shuffl ed, the better to concoal the
arti fi ce.
TO T EL L HOW MANY CARDS A P ET
SON TA K ES OUT OF A PACK,
AND TO SP ECI FY EACH CARD
To perform thi s, you must so d*s
p:>se a phjiiiet pack t>f cards, (i n whi ch
the cards from 2 to Gare excl uded) that
you can easi l y remember the order in
whi ch they are pl aced. Suppose, for
i nstance, they are pl aced accordi ng
to the words in the fol l owi ng l i ne:
Seven Aces, Ei ght Ki ngs, Nine
Queens, and Ten J acks;
and that every card be of a di fferent
sui te, fol l owi ng each other in th.s
order: Spades, Cl ubs, Hearts and Di a
monds. Then the ei ght fi rst cards wi ll
be the Seven of Spades, Ace of Clubs,
Ei ght of Hearts, K i ng' of Di amonds,
Ni ne of Spades, Queen of Cl ubs, Ten
of Hearts and J ack of Di amonds, and
so of the rest.
Y ou show that the cards are pl aced
promi scuousl y, and you offer them with
thei r backs upward to any one, that ht
may draw what quanti ty he pl eases
you then dexterousl y l ook at the card
that precedes and that whi ch fol l ows
those he has taken. When he has
counted the cards, whi ch i s not to be
done in your presence, (and in order
to gi ve you ti me for recol l ecti on, you
tel l hi m to do it twi ce over, that he
may be certai n,) you then take them
from him, mi x them wi th a pack, shuf
fle, and tel l hi m to shuffl e.
Duri ng al l thi s ti me you recol l ect,
by the foregoi ng line, al l the cards he
took o\it; and as you l ay them down,
one by one, you name each card.
TO GUESS T H E NUMBER OP SPOTS
ON ANY CARD WHI CH A P E R
SON HAS DRAWN FROM
A DECK
f ake the deck of 52 cards, and des!
some person to draw out one, wi thout
showi ng it. Cal l the J ack 11, The Queen
12, the K i ng 13. Then add the spots of
the fi rst card to those of the second;
the l ast sum to the spots of the thi rd,
and so on, al ways rej ecti ng 12 and
keepi ng the remai nder to al l to the
fol l owi ng card. I t i s needl ess to r eck
on the ki ngs ^vhich are counted 13.
I f any spots remai n at the l ast card,
subtract them from 13. and the remai n*
l ' Z 1'aICKS WITH CARDS OR SLEIGHT OF HAND
25
col or). The ri ngs are of the fami l i ar
spl i t- ri ng pattern, thereby enabling-
them to be attached to the card, as
shown in the i l l ustrati on. The two cl i ps
fit the top j oi nts of the first and fourth
fi ngers, and in thi s posi ti on the card
i ready tor the trick.
The thumb now pushes the card to
ward the fi nger- ti ps (the sl i ts al l owi ng
t to sl i de al ong the ri ngs), and i t wi l l
.hen be found qui te easy for the two
uniddle fi ngers to bend round under
the card whi ch forthwith assumes the
position depicted.
For the reverse movement the thumb
pul l s the card round i nto the fi rst po
si ti on. I n a word, practi cal l y al l t.h$
movements necessary for executi ng the
sl ei ght wi th thi s card are i denti cal
with those descri bed in the sl ei ght- of-
and method, wi th the excepti on that
m the method now expl ai ned i t i s i m
possible for the cards to fal l or become
visible between the fi ngers.
Fi ve mi nutes practi ce wi th a card
of thi s descri pti on suffi ces to enabl e
the student to execute thi s tri ck in an
i ndetectabl e manner.
Wi th two si mi l ar cards, of course,
the effects of passi ng a card through
the knees from hand to hand, etc., can
be accompl i shed by havi ng a card at
tached to each hand.
THE VANISHING CARD
Di vi de the deck, pl aci ng one- hal f in
Dpim of the l eft hand face down
ward, and taki ng the remai nder of the
pack in the ri ght hand; hol d them be
tween the thumb and three frrst fin
gers, taki ng care to pl ace the cards
upri ght, so that the edges of those in
your ri ght hand may rest upon the
back of those in the left, thus form
i ng a ri ght hand angl e wi th them. I n
thi s way the four fi ngers of the l eft
hand touch the l ast of the upri ght
cards in your ri ght hand. I t i s neces
sar y that the cards shoul d be pl aced
in thi s posi ti on, and that once bei ng
attai ned the rest of the tri ck i s easy.
These prel i mi nari es havi ng been gone
through, one of the company, at your
req-uest, exami nes the top card of the
hal f pack that rests in the pal m of
your l eft hand, and then repl aces it.
Havi ng done thi s, you request hi m to
l ook at i t agai n, and to hi s astoni sh
ment i t wi l l have vani shed, and an
other card wi l l appear in i ts pl ace. I n
order to accompl i sh thi s, havi ng as
sumed the posi ti on al ready descri bed,
you must dampen the ti ps of the four
fi ngers that rest agai nst the l ast card
of the upri ght set in your ri ght hand.
When the person who has chosen a
card repl aces it, you must rai se the
upri ght cards in your ri ght hand very
qui ckl y, and the card wi l l then adhere
to the dampened fi ngers of your l eft
hand. As you rai se the upri ght cards,
you must cl ose your l eft hand ski l l
ful l y, and you wi l l thereby pl ace the
l ast of the upri ght cardswhi ch as we
have expl ai ned adheres to the fi ngers
of your l eft handupon the top of the
cards in the pal m of your l eft hand,
and when you request the person who
fi rst exami ned it to l ook at it agai n,
he wi l l observe that it has boen
changed.
TO PRODUCE A MOUSE FRGty
A P ACK OF CARDS
Have a pack of cards fastened to
gether at the edges, but open in tne
mi ddl e l i ke a box, a whol e card bei ng
gl ued on as a cover, and many l oose
ones pl aced above it, whi ch requi re
to be dexterousl y shuffl ed so that the
enti re may seem a real deck of cards.
The bottom must l i kewi se be a whol e
card, gl ued to the box on one si de only,
yi el di ng i mmedi atel y to exteri or pr es
sure, and servi ng as a door by whi ch
you convey thte mouse into the box.
Bei ng thus prepared, and hol di ng the
bottom ti ght wi th your hand, requi re
one of the company to pl ace hi s open
hands together, and tel l hi m you mean
to produce somethi ng very marvel ous
from thi s pack of cards; pl ace the
cards then in hi s hands, and whi l e you
engage hi s attenti on in conversati on,
take the box in the mi ddl e, throw the
pack asi de, and the mouse wi l l re
mai n in the hands of the person who
hel d the cards.
Card Secrets Exposed
The most useful single device when manipulating
cards is BOTTOM DEALI NG. But skill at this
would be useless without knowing what cards ar*>on
the bottom. For this we must resort to STOCKI NG
(or stacking) the cards. Furthermore, to retain cards
in the stocked positions, it necessitates the ability
to BLI ND SHUFFLE, and finally, since they must
he protected again during the cut. the manipulator
must be able to effect a BLI ND CUT. Most sub
terfuge in card dealing employs these basic accom
plishments, though in addition a knowledge of
SECOND DEALI NG is extremely useful, if not
indispensible.
I t is not possible to give more than a short out
line of one <>r iwo methods of doing each of the
above manipulations, but by subtle employment of
them, you will find yourself at a tremendous ad
vantage in any ordinary card playing contest; and,
more important, able to recognize deception when
employed by others.
Frank. Advice and information
HOLD OUTS. Hold outs r.re usually mechanical
contrivances which fit up the sleeve or under table
to hold any desired cards. Devices of this type are
rarely used by card experts as they are cumbersome
and easily detected except when playing with ama
teurs.
PREPARED CARDS. Also called readers.
Printed prepared cards are manufactured, but seldom
used by professionals, since they prefer use of stan
dard card decks. Any standard deck can be marked
by hand or doctored quite easily. I n some in
stances, only a few desired cards are identified, be
ing careful so they can be read if either end is
visible. Marking is done with pen and colored ink
to match printed color; or by obliterating part of a
design. I t is very easy to do, since only the smallest
mark is necessary. The person familiar with the code
can quickly mi d the cards from the back, but
even the expert would have difficulty detecting a
marked deck without spending many minutes care
fully examining the backs of several cards.
Some players can mark cards while a game is in
process by use of a sharp object such as a fingernail;
use of fanning powder to make n certain card
more slippery; roughing up a card to make it less
slippery; arching" cards to make their presence in
the stack more noticeable. In some cases cards are
specially trimmed to make certain cards easily lo
cated by their feel; this is described elsewhere in
this book.
HOW TO BEHAVE. The rules of behavior when
employing card deception are disarmingly practical
advice, yet fooolish vanity often makes even the
most proficient among us invite disaster. No matter
how capable you become, always remember these
rules:
1. Do not show cff. Do not in any way demon
strate your skill at card manipulating. One single
display of dexterity and your usefulness is past.
2. Uniformity of action. Do not depart from the
customary manner of holding, shuffling, cutting or
dealing. Your subterfuge must follow your custom
ary procedure, any deviation is quickly noticed and
suspected.
3. If suspected, quit. I f for any reason, you feel
that, you do not have the other players complete
confidence, do not employ any further deception,
unless absolutely necessary.
REPLACI NG THE CUT AS BEFORE- A dar
ing and sometimes successful ruse is to pick up
under oack with right hand and pass it over into
left hand, then top packet is picked up with right
hand and placed on top, leaving cards in same
order. I f done openly, carelessly and without haste,
it is often successful. I f detected, it can be attrib
uted to thoughtlessness.
HOLDI NG OUT FOR CUT. Sometimes a dealer
will hold out a caTd or stock of caTds during cut by
palming selected cards, then replacing them on top
or bottom sn they can be dealt at will.
DEALI NG TOO MANY. Often a dealer will give
himstilf or accomplice an extra card or two on the
last round. This gives him an additional advantage
that should be sufficient.
CRI MPI NG FOR THE CUT. This is simply a
method of arching or crimping cards so that person
making cut will be likely to cut at a desired place.
This is not a reliable practice, but often gives the
dealer sufficient advantage. Dealer should note irian-
ner in which cut is customarily made so that if
person cuts high, low, near middle, by sides or by
ends, the crimping will be done accordingly.
SHORT DECK. A simple way of obtaining an
advantage in many games is simply by removing
certain cards. Thus with a knowledge of certain
missing cards, which are not employed in the
game, it enables you to play accordingly.
Technical Terms
STOCK. Certain desirabl e cards, usual l y placed at bot
tom or top of deck, which are to be controlled.
JOG. A protruding card, about a quarter inch, which
i s used to l ocate particul ar stocked card or cards.
While shuffling, if top card i s to be jogged, it is
pushed over l ittl e finger end by left thumb, littl e
finger preventing more than one card moving. I f
fi rst card, i s to be- jogged (first card in ri ght hand)
it i s done by shifti ng right hand sl ightly toward
either end of left hand packet during shuff'e. so
that fi rst card drawn off bv l eft thumb will protrude
over end of left-hand pacfcet.
CULLS. The stocked or desired cards. To cull i s the
art of locating and pl acing desired card1.. This is
done in gatheri ng up cards for deal or duri ng the
shuffli ng process when desired cards are stocked at
ton or bottom of deck.
BLI ND. Shuffling, ri ffl i ng, cutting or cull ing which ap
pears proper, out which covers up card manipula
tion.
SHUFFLE & RI FFLE. Shuffle i s the old-fashioned
method of shuff ing cards from hand to haml;
ri ffl i ng i s modern method of shuffli ng on table by
spri ngi ng ends of two packets into each other.
Stocking
The most ordinary method of stocking is in ar
ranging cards as discreetly as possible while taking
tricks, or making discard, or while gathering up for
deal. There is no sleight of hand in this. A play i t .
if he keeps his wits about him, finds many oppor
tunities to prearrange to some extent for his deal-
With aid of a partner, possibilities are doubled.
But remember that whole deck must be tampered
with before shuffle begins.
Method No. 1
I n casual games a practiced operator can run up
several desirable cards, by methods that will not
stand scrutiny in a professional game. This is done
26 ...... .......
fingers on other side, and first finger curled up
against back. Right hand covers face, fingers at one
end. thumb at other. Left thumb then springs cards
so that index can be seen. (Fig. 1). As desired
\ \ \ Figure 2 \/J
card is located, lower side of deck is opened at that
point, and left second, third and little fingers in
serted. and card is drawn or slipped out to top of
27
deck. (Fig. 2) . Additional cards can be brought to
top in like manner until desired stock is completed;
if desired, indifrerent cards of required number can
be interspersed between desired cards, depending
upon number of players so that deck can be run
from top "col d", bearing in mind, of course, that
you must still retain control during the shuffle and
cut as described later. We now have a TOP STOCK,
but this can be transferred to a BOTTOM STOCK
by a single shuffling motion.
Method No. 2
Hold deck in left hand, back to palm, between
thumb and fingers, as described for first method,
but in covering face with right hand, bring first
three fingers straight across outer end of deck, the
little finger against lower side at comer and thumb
on top side at corner close to right first finger.
Then spring card with left thumb against right
thumb. When desired card is located, tilt the pack
et then held between right thumb and little finger,
about half an inch outward, so that right thumb
will pass comer of packet held by left hand. (Fig.
3). Release desired card with left thumb, press
down on its comer with right thumb and bring
right hand packet back to original position, closing
up space entirely. I n doing so it will force desired
card down and out against left hand fingers. Re
lease these fingers slightly as packets are being
closed, then press desired card up again with left
little finger. This will cause it to protrude about half
an inch at end, but it is entirely concealed by po
sitions of hands. Deck can be again sprung rapidly
with left thumb in search of next card, and re
peated till required number are jogged.
When desired cards are jogged, jog several of top
cards at same end, concealing opposite end with
right fingerB, then shift left thumb and second and
third fingers to inner side comers, and turn deck
face downward, shifting right hand to top. at
opposite comers in position to make running cut.
With left hand draw off top* packet, sliding out
jogged cards with same movement, dropping them
on table (Fig. A). Completing cut by placing
packet in right hand on top leaves desired cards on
bottom.
Method No. 3
During process of riffle shuffle, glimpse of top
card is obtained by slightly in-jogging top card of
left hand packet. As thumbs raise comers of two
packets, top cajd is raised by left thumb just barely
enough to obtain glance at index. Riffle should be
completed so as to leave this card on top. Shuffling
continues until top card is desired card. Totf card is
easily brought to bottom by under cutting with
right hand, and as packet is placed on top it is
done with a sliding movement, the tip of right
thumb lightly slides across top card of under paoket,
pushing it a little over inner side. Left thumb is at
side to receive it, and foams a break, o that it
becomes under card of top packet when squared up.
The cards are again cut including the break for
another riffle, making certain to retain desired card
at bottom while you search for another desirable
top card, which can be brought down to join the
bottom stock in same manner. Two or three de
sirable cards are usually sufficient advantage in
ordinary game- Undesirable cards are sometimes
stocked for dealing to opponents thus making con
spiracy appear innocent if detected.
Bl i nd Shuffl i ng
The object of blind shuffling is to retain a top
or bottom stock. I t appears to be a true shuffle,
but it does not disturb the pre-arranged cards.
Position for Shuffle
Deck is held much as usual in left palm, but
more diagonally, so that first finger from seeonfl
joint lies up against outer end. first joint of little
finger curled in against inner end, second and third
fingers slightly curled in against bottom and thumb
resting on top, near outer end about the middle.
Right hand, when about to shuffle, seises under
Figure 7
portion at ends between thumb and Becond and
third fingers, and first finger rests on upper side.
(Fig. 6). This position, and especially that of
first and little fingers of left hand, is essential for
process of blind shuffling and stocking. First and
little fingers hold and locate jogs. Should be used
for true as well as blind shuffles.
To Retain Top Stock
Seize about half deck from beneath with right
hand (under cut), draw, out and shift right hand
a little inwards over packet in left hand so that
when first card is drawn off by left thumb it will
protrude slightly over little finger (in-jog). Then
shuffle off balance of cards in right hand on top of
those in left. Then seize with right hand all cards
beneath in-jog card (Fig. 7) which protrudes over
little finger of left hand, and throw them in orfe
packet on top. Location is found by right thumb
solely by sense of touch and without any hesitation.
In-jog card is concealed by cards on top and held
in position by little finger.
To Retain Bottom Stock
Under cut about three-quarters of deck and
shuffle off about two-thirds, then in-jog one card
and throw balance on top. Under cut to and include
in-jog card (Fig- 8) and shuffle off.
Blind Riffling for Top or Bottom Stock
Riffling is shuffling cards on table by springing
ends of cards together and is the more,, conventional
method of shuffling at present, though of ten time*
28 125 T H I C K S WITH CARDS OR SLEIGHT OP HAND
both method* are used as it gives a more secur*
fealin*.
Since in this short treatise we are dealing with
only a stock of very few cards, it will be found very
easy to riffle theyiards so that a small bottom or
top stock is retained. I f you desire to preserve the
top stock, you cut deck into two packets and when
riffling', the bottom packet is riffled more quickly
so that when finisKed, there still remains a few
cards of the top packet (including the top stock).
To preserve bottom stock, you riffle a few cards
from bottom parket first and then riffle both to
gether as in a true shuffle; this retains bottom
stock.
Blind Cuts
Blind cut is natural sequence to blind shuffle or
riffle. As cards are cut in almost all games, there
would be little advantage derived from clever shuf
fling, were the order to be subsequently disturbed
by cutting. The able card handler with a confeder
ate on his right has the game well in hand. Yet it
is quite possible to play alone and still have a good
percentage in ones favor.
Seize deck with left hand at sides, near end, be
tween second finger and thumb, first finger tip
pressing on top. Seize upper portion of deck with
right hand, at sides, near end. between second finger
and thumb. Raise deck slightly with both hands and
pull out upper portion with right hand, but retain
top card in left hand by pressing on it with left
first finger tip. (Fig. 10). I mmediately drop left-
hand packet on table and bring right hand packet
down on top with slight swing, and square up.
Action is very simple and easy; movements are
natural and regular. Process displaces tQp card
sending it to middle and if this blind is used when
top stock is to be retained, an extra card is placed
there during shuffle.
Blind Cuts When Playing Alone
There are several systems that are used when
playing alone. One simple method is to hold loca
tion of cut while dealing. After cut, pick up top
packet and place in left hand; then, pick up under
packet. When placed on top of other packet in left
hand, little finger retains a break in deck to indi
cate location of top stock (below break) or bottom
stock (above break). Break is not noticeable from
front end and is concealed by hand. Cards appear
squared up from almost all angles. You must be
alert to second deal or bottom deal as necessity re
quires when you reach prepared cards.
Bottom Deal i ng
Bottom dealing is the most useful accomplish
ment since on bottom is most convenient place for
retaining desired cards. Hold deck in left hand,
resting one corner against middle of first joint of
second finger and other comer of same end in sec
ond joint of first finger, tha first two joints of
Figure 12 Figure 13
which rest idly along end of deck. Press deck out
ward as much as possible and rest opposite inner
end coiner against palm below base of thumb. Rest
thumb on top of deck, pointing towards second
finger tip, which just shows at top of corner. Bring
up little finger against side, and third finger mid
way between second and little fingers. Deck is held
in position principally by comers, between second
finger and palm below base of thumb. Little finger
may aid in holding deck, but it must be released
when bottom card is pushed out.
Second finger and thumb do the work. Draw
back thumb a litle and push top card oyer in
usual position to seize with right hand for dealing,
then draw back third finger, which action is con
cealed by overhanging card, until tip rests against
edge of bottom card. (Fig. 13). Press up slightly
inwards against that card and push it out, at same
time releasing little finger and holding deck firmly
between second finger and palm- Advance right hand
apparently to take off top c;ird. (Fig. 14). Draw
bark top card with left thumb and at same instant
seize bottom card and deal it in usual manner.
When done smoothly and quickly it is almost im
possible to detect. I t is easier to do as pack grows
smaller.
Second Deui i ng
Deck is held in left hand much the same as
above, tip of thumb being a little over end of top
card. This enables thumb to come in contact with
second card by pushing top card a trifle downwards.
To deal, left thumb pushes two cards over the side
nearly together, top card perhaps a little in advance
and seqoiid card showing a little above it at end.
Right hand seizes second card by exposed comer,
right thumb barely touching edge, right second
finger is well up under second card and helps to
get it out by upward pressure as left thumb draw:;
back top card. (Fig. 15). Then left thumb ag:*
comes in contict with second card at upper edge.
Third finger tip previ nts more than two cards from
being pushed over ide. Top card continues to move
forward and back as seconds are dealt, but rapidity
of backward movement prevents detection.
For a complete description of these manipula
tions, plus instructions how to palm, advanced
methods for stocking, cutting and dealing that will
withstand professional scrutiny, we suggest you send
50c to Johnson Smith Company. Detroit 7, Michi
gan for Expert at Card Table by S. W. Erdnase-
125 TRICKS WITH CARDS OR SLEIGHT OP HAND
29\
TO SEND A CARD THRU A T A BL E
Request one of the company to draw
a card from the pack, exami ne it, and
then return it. Then make the pass
or i f you capnot make the pass, make
use of the l ong cardand bri ng the
card chosen to the top of the pack, and
shuffl e by means of any of the fal se
shuffl es before descri bed wi thout l os
i ng si ght of the card. After shuffl i ng
the pack several ti mes, bri ng the card
to the top agai n. Then pl ace the deck
on the tabl e about two i nches from the
edge near whi ch you are si tti ng, and
havi ng previ ousl y sl i ghtl y dampened
the back of your ri ght hand, you stri ke
the pack a sharp bl ow and the card
wi l l adhere to it. Y ou then put your
ri ght hand very rapi dl y underneath the
tabl e, and taki ng off wi th your l eft
hand the card whi ch has stuck to
your ri ght hand, you show i t to your
audi ence, who wi l l at once recogni ze
in i t tji e card that was drawn at the
commencement of the tri ck. Y ou must
t>e careful whi l e performi ng thi s tri ck
not to al l ow any of the spectators to
get behi nd or at the si de of the tabl e,
but keep them di rectl y in front, .other
wi se the i l l usi on woul d be di scovered.
TO CHANGE FOUR J A CK S OR K I NGS
HEL D I N Y OUR HAND I NTO
BL A NK CARDS OR I NTO
FOUR ACES
You must have cards made for the
purpose of thi s feathal f cards, as
they may be properl y termedthat i s
one hal f ki ngs or j acks and the other
hal f aces. When you l ay the aces over
one another, nothi ng but the ki ngs or
j acks wi l l be seen. Then turni ng the
ki ngs or j acks downward, the four
aces wi l l be seen. Y ou must have two
perfect cards, one a ki ng or j ack, to
cover one of the aces, or el se it wi l l
be seen; and the other an ace to l ay
over the ki ngs or j acks. When you
wi&h to make them al l bl ank cards,
l ay the cards a l i ttl e l ower, and by
hi di ng the aces, they wi l l al l appear
whi te on both si des. Y ou may then ask
the company whi ch they choose; exhi bi t
kirgs, aces or bl anks as requi red.
T H E LOCOMOTI VE CARD
Take a deck of cards, and l et any
person draw one from i t; tel l hi m to
l ook at the card so he wi l l know it
agai n, and then put i t i nto the deck.
Hol d the pack so that the person may
pl ace hi s card in it, maki ng sure that
you hold the card next to the bottom
open for hi m to pl ace hi s card in,
maneuveri ng the cards wel l that he
may i magi ne he has pl aced hi s card in
the mi ddl e of the pack; by thi s means
you know where the card is, and, when
you are shuffl i ng them, you can very
easi l y pl ace the parti cul ar card on the
top of the pack. Then take a pi ece of
wax wi th a l ong hai r attached to it,
fasteni ng it to the bottom of your vest,
(i t must be prepared before you com
mence the tri ck), have the wax pl ac
ed under the thumb- nai l of your ri ght
hand, and sti ck it to the card that was
drawn; spread the cards on the tabl e;
then aski ng the person to name the
card he sel ected, command i t to move
from the pack to your hand. By shi ft
i ng your posi ti on backward, the card
wi l l move al so.
NATURAL Sr XES
Remove the four si xes frofti a dock
of cards and l ay them face down. I so
face down, pl ace si x other cards. Fol d
up a sl i p of paper wi th the words you
chose the si x heap and pl ace i t al ong
si de the cards. Tel l someone to choose
one of the heaps and then read the pa
per. No matter what heap i s chosen,
the wri tten statement proves correct,
one heap4 si xes; other he 6 cards.
Dont repeat thi s tri ck.
How to Mark a New Deck of Cards
FANNI NG POWDER: This is a slippery,
wax-like powder that makes this card slide easier
so it can be easily selected from deck.
ROUGHI NG POWDER: Roughs up a card
so it does riot slide easily.
SI LVER DAUB: Silver colored powder\en-
abling you to mark cards on back as you play.
Gives card a glint easily detected but natural
l ooki ng. _____________
T H E TjlWO CARD T RI CK
The conj urer shows the ace of hearts
and the ace of spades in hi s hand. He
turns them face downward, and chal
l enges any person to name whi ch i s
the ace of hearts and whi ch i s the ace
of spades. The person al ways guesses
i ncorrectl y.
Both cards are ordi nary aces of
hearts. A l i ttl e Sakesee i l l ustrati on
i s pl aced ov.er one of tho aces, whi ch
makes i t resembl e the ace of spades.
The top of the cl i p i s col ored whit
3t
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
one si de and i s backed to resembl e the
back of the card, so that the cards
can be turned over and the fake i s i n
vi si bl e. The faked card i s hel d in the
f k r i
One*ij fibred Dir'cHier
o f H/M rfy
Fikr.
Afeither can nwr
C B rrtcrty n a rx e d
- ''f i c r t f f f l ' i * L f fio H i Card) are.
b<*cfr m \ flees o f Mwfi
Of ( * r d y i J Chh tfte /o ifJ
mem nd.
Covers orte
fie*r-r.
<~3 J fi tmfilf:- Jf hif) Card n
" Homed a Sfeufe f t rj removed
2nd S fitrm .f't be a httirf /f nart.-ref ,1
heart bottom card rs jheum h be Hit hear
"eft hand, and the thumb on the face
>f the card hi des the top of the clip.
When the cards are turned over i t is
a si mpl e matter to sl i p the cl i p on to
the other card i f necessary.
r\ 0 T EL L T H E NAMES OF A LL T H E
CARDS BY T H EI R WEI GHTS
The pack having; been cut and shuf
fl ed to the enti re' sati sfacti on of the
audi ence, the performer commences by
stati ns that he undertakes, by poi si ng
each card for a moment on hi s fingers,
to tel l not only the color, but the sui te
and number of spots, and, i f a court
card, whether it be ki ng, queen or j ack.
For the accompl i shment of thi s most
amusi ng tri ck, we recommend the fol
l owi ng di recti ons: Y ou must have two
packs of cards exactl y al i ke. One of
them we wi l l suppose to have been in
use duri ng the eveni ng for the perfor
mance of your tri cks; but in addi ti on
to thi s you must have a second pack
in your pocket, whi ch you must take
care to arrange in the order herei n
after descri bed. Previ ous to commenc
i ng the tri ck you must take the oppor
tuni ty of exchangi ng these two packs
and bri ngi ng i nto use the prepared
deck. Thi s must be done in ?uch a man
ner that your audi ence wi l l bel i eve
that the deck you i ntroduce is the
a a me one you have been usi ng al l the
evening, whi ch they know has been
m H s b uf fir a. The 0 r a- r in whi ch the
v i sl be arranged will be best as
certai ned by memori zi ng the fol l owi ng
l i nesthe words in bol d face formi ng
the key:
Ei ght ki ngs threa- ten'd to save
Ei ght, ki ng, three, ten, two, acTen,
Ni ne fai r l adi es for one si ck j ack.
Ni ne, f i v e, q u een , f o u r , ace, h I x, j a c k .
These l i nes, thoroughl y commi tted to
memory, wi l l be of materi al assi stance.
The al l i terati ve resembl ance wi l l in
every i nstance be a suffi ci ent gui de to
the card i ndi cated. The order in whi ch
the sui tes come shoul d l i kewi se be
commi tted to memory*namel y, Hearts,
Spades, Di amonds, Cl ubs. Havi ng sor t
ed your cards in obedi ence to the
above di recti ons, each sui te separatel y,
and begi nni ng wi th Hearts, your deck
is prepared, and ready for use; and
when you have successful l y compl eted
the exchange you bri ng forward your
rrepared deck, and hand it around to
be cut. The pack may be cut as often
as the audi ence pl eases, but al wayr
bri dge- fashi onthat i s to say, the l ow
er hal f of the pack must be pl aced up
on the upper at each cut. You now on
ly want to know the top card, and you
wi l l then have a cl ue to the rest. You
therefore take off the top card, and
hol di ng i t between yoursel f and the
l i ght, you see what i t is, sayi ng at the
same ti me, by way of apol ogy, that
thi s is the old way of performi ng the
tri ck, but that it i s now superseded.
Havi ng ascertai ned what the first
is, whi ch, for exampl e we wi ll suppose
to be the K i ng of Di amonds, you then
take the next card on your fi nger, and
poi se i t for a moment as i f you were
goi ng through a process of mental cal
cul ati on. Thi s pause wi l l gi ve you ti me
to repeat to yoursel f the two l i nes gi v
en, by means you wi l l know what card
comes next. Thus; Ei ght ki ngs thr ea
tened to, etc.; it wi l l be seen that the
three comes next. The sui te of Di a
monds bei ng exhausted, you must not
forget that Cl ubs comes next: and so
on, unti l you have descri bed every card
in the pack.
MY STERI OUS DI SA PPEA RA NCE
TH E J A CK OF SPADES
Fi xi ng your eye upon the stoutes
l ooki ng man in the room, you ask hi m
if he can hol d a card ti ghtl y. Of course
h 3 answers in the affi rmati ve. You
then desi re hi m to stand in the mi ddl e
of the room, and hol di ng up the pack
of cards you show hi m the bottom one,
d request hi m to state what card it
. He wi l l tel l you that it is the J ack
( f Spades. Y ou then tel l hi m to hold
the card ti ghtl y and l ook up at the
c li ng. Whi l e he i s l ooki ng up, you
ask hi m i f he recol l ects hi s card; and
he answers, as he wi l l be sure to
o, the J ack of Spades, you wi l l repl y
-fhat he must have made a mi stake, for
if he l ooks at the card he wi ll find it
to be the J ack of Hearts, whi ch wi l l be
the case. Then handi ng hi m the deck
125 THICKS WITH CARDS OR SLEIGHT OF HAND
you tel l hi m that i f he wi l l l ook over
i t he wi l l find hi s J ack of Spades some
where in the mi ddl e of the pack.
Thi s tri ck i s extremel y si mpl e and
easy of accompl i shment. You procure
an extra J ack of Spades, and cut i t in
hal f, keepi ng the upper part, and
throwi ng away the l ower. Before
showi ng the bottom of the pack to the
company get the J ack of Hearts to
the bottom, and l ay over it, unpercei v
ed by the company, your hal f J ack of
Spades and under pretense of hol di ng
the pack very ti ght, put your thumb
across the mi ddl e, so that the j oi ni ng
may not be seen, the l egs of the two
j acks bei ng so si mi l ar that detecti on
i s i mpossi bl e. Y ou then gi ve hi m the
l ower part of the J ack of Hearts to
hold, and when he has drawn the card
away, hol d your hands so that the
faces of the cards wi l l be turned to
ward the floor. As earl y as possi bl e
ou take the opportuni ty of removi ng
the hal f- j ack.
A CARD CAUGHT ON T H E CORNER
OF A BORROWED HAND
K ERCH I EF
The above tri ck i s a vari ati on of a
much ol der feat of 'catchi ng chosen
cards on a sword, and i s to be recom
mended, i nasmuch as no speci al appar
atus i s necessary.,
A card i s sel ected, not forced, and
repl aced, and the pack shuffl ed and
held by a spectator.
The performer now requests the l oan
of a gentl eman's handkerchi ef, whi ch
he shows to be an ordi nary one. The
gentl eman hol di ng the pack is now re
quested to throw the same in the ai r,
and, as the Cards cfes^e^d, the perform,
er waves the handkerchi ef among
them, whereupon the chosen caroi
caught on the corner of seme both
bei ng i mmed{atTy passed for i nspec
ti on. The fol l owi ng i s Mie expl anati on
of thi s effecti ve l 5*tl e tr*ek:
On the top vest- button the perform
er has a smal l porti on of soft adhesi ve
wax. Wh^n the chosen rard i s returned
the pass i s made and the card i s pal m
ed off, the pack bei ng i mmedi atel y
handed to a spectator to thoroughl y
shuffl e. Whi l e thi s i s bei ng done the
performer removes the wax and sti cks
it to one corner of the pal med card.
A handkerchi ef i s now borrowed and
held, as in the i l l ustrati on, the back
of the hands, of course, faci ng the
audi ence (i n the i l l ustrati on they are
drawn as they appear to the performer).
The l eft hand now pl aces the corner
A of the handkerchi ef in the ri ght
hand, as shown, at the same l i me
pressi ng corner B on to the wax.
I n thi s posi ti on the handkerchi ef can
be waved in the ai r to show it i s un
prepared, but when the spectator
throws the cards, the performer sl i ps
the end between hi s fi ngers, and. agai n
wavi ng the handkerchi ef among the
fal l i ng cards, rel eases the card from
the pal m, whi ch thereupon becomes
vi si ble' on i he end of the handkerchi ef
the effect bei ng that the performer has
actual l y caught one of the fal l i ng:
cards.
Tho above tri ck does not requi re
mv h practi ce when once thu reader i s
profi ci ent }n the "pass ar'r: "pal m,
but. is a very pretty and effecti ve ex-
peri i a - at.
TO MA KE T H E COS RT
WAY S COMF TOGETHER
Take the pack, and separate al l the
Ki ngs, Queens and J acks. Put. these
al l together i nto any part of the pack
you fancy, and i nform one of the com
pany that he cannot in twel ve cuts
di sturb thei r order. The chances arp
32
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
500 to 1 in your favor; but wi th a no
vice the feat becomes i mpossi bl e. Thi s
i s a very amusi ng and easy tri ck.
Thi s tri ck may al so be rendered more
wonderful by pl aci ng one hal f of the
above number of cards at the bottom
and the other at the top of the pack.
TO TURN A CARD I NTO A RI RD
Havi ng a li ve bi rd in your sl eeve,
take a card in your hand, exhi bi t it,
and then draw i t i nto your sl eeve wi th
your thumb and l i ttl e finger, gi vi ng
the arm a shake suffi ci ent to bri ng the
bi rd i nto your hand, whi ch you may
then produce and l et fly.
OF TW ENTY - FI V E CARDS LAI D I N
FI V E ROWS UPON A TA BL E, TO
NAME T H E ONE TOUCHED
To perform thi s tri ck you need a
confederate. The l atter si ts near the
tabl e, has both hi s hands cl osed, and
poi nts out the cards touched by the
fi nger whi ch he l eaves extended. The
fi ngers of the ri ght hand i ndi cate th
cross rows counted from above down
ward; tne fi ngers of the l eft hand, on
the contrary, poi nt out the number of
the card in the cross row counti ng
from l eft to ri ght.
I f, for exampl e, the thi rd card from
the l eft in the second cross row i s the
one touched, your accompl i ce l eaves
the second fi nger of the ri ght hand,
and the thi rd fi nger of the l eft hand
:nbent, cl osi ng al l the others.
Thi s must be done natural l y, and not
_n fco open a manner as it mi ght be
eas ly detected.
Ti ' i r a SEV ERA L CARDS WHI CH
; E \ DI VI DED I NTO
TWO HEA PS
T >r thi s tri ck, you take a compl ete
ir. k. wli .ch has been di vi ded i nto two
k/Ucii heaps that al l the Aces, Ni nes,
Sevens, Fi ves, Threes are in one heap,
and al l the Ki ngs, Queens, J acks, Tens,
E.ghts. Si xes, Fours and Twos are
in the other heap.
You now let several of the company
draw cards out of ei ther of the heaps;
change the heaps unpercei ved, and l et
the person pl ace the odd cardsas Ace
Ni ne, etc.i nto the heap of even cards,
and vi ce versa. On runni ng over the
cards, you easi l y di scover the drawn
cards, the even cards bei ng in the heap
of odd cards, and the odd cards in
the heap of even cards.
TO FI ND A CERTAI N CARD A FT ER
I T HAS BEEN SH UFFL ED
I N TH E PACK
As you shuffl e the cards, note the
bottom one, bei ng careful not to shuf
fle it from i ts pl ace. Then l et any one
draw a card from the mi ddl e of the
pack, l ook at it, and pl ace i t on the
top. Let hi m then cut the deck. The
card in questi on wi l l be found in front
of the one whi ch was at fi rst the bot
tom card.
T H E CARD OF ONE COLOR POUND
I N A PACK OF T H E OTHER
Separate the pack i nto two parts,
pl aci ng al l the red cards in one pi le,
and al l the bl ack cards in the other.
One of these packs you conceal in your
pocket. You l et any person draw a card
from the other pack, and whi l e he is
exami ni ng the card, substi tute the pack
in your pocket for the one you hold in
your hand. Let hi m pl ace hi s card in
the pack you have taken from your
pocket, and shuffl e as much as he
pl eases. On recei vi ng back the deck,
you wi l l at once recogni ze the card he
has drawn by the di fference of col or.
TH E THURSTON METHOD OF
THROWI NG CARDS
Many performers of note (in parti cu
l ar, Fel i ci en Trewey) have made a
speci al ty of throwi ng cards among the
audi ence to a great di stance.
The cards used shoul d be of fai rl y
sti f f pasteboard, wi th as smooth a sur
face as possi bl e.
The card Is held lightly between the
second and thi rd fi ngers, the back of
the hand faci ng the audi ence. The hand
now moves to the shoul der, and, wi th
a short, qui ck j erk, l ets the cards go.
Thi s movement i mparts a terri fi c vel
oci ty to the card and wi th practi ce,
it wi l l be found that the performer can
throw the same into the back of any
theater or hal l.
Many can al ways manage in the
course of thei r performances to get
several cards i nto the gal l ery of any
theater.
T H E FOUR I NSEP A RA BL E KI NGS
Take the four Ki ngs, and behi nd the
l ast of them pl ace two other carus,
so that they may -not be seen. Then
spread open the four ki ngs to the com
pany, and put the si x cards to the bot
tom of the pack. Draw one of the ki ngs
and put i t at the top of the pack. Draw
one of the two cards at the bottom, and
put it toward the mi ddle. Draw the
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
S3
other, and put it at some di stance from
the last, and then show that there re
mai ns a ki ng at the bottom. Then l et
any one cut t-he cards, and as there re
mai ned three kings at the botton, they
will then be al l together in the mi ddl e
of the pack.
TO NAME SEV ERA L CARDS WHI CH
TWO PERSONS HAV E DRAWN
FROM A PA CK
Di vi de a pi quet pack i nto two par ts
by a long: card; l et the fi rst part con
tai n a qui nt to a K i ng in Cl ubs and
Spades, the Four Ei ghts, the Ten of
Di amonds, and Ten of Hearts, and let
the other par t contai n the two quart
maj ors in Hearts and Di amonds, the
FoOr Sevens, and the Four Ni nes. The
cards may be di vi ded in any other way
that is easy to remember.
Then shuffl e the cards, but be car e
ful not to di spl ace any of those cards
of the l ast par t whi ch are under the
l ong card; you then cut at that card,
and l eave the pack in two par ts; next,
present the fi rst of these parts to a
person, and tel l hi m to draw two or
three cards, and pl ace the remai nder
on the tabl e; you present the second
parcel in l i ke manner to another; then
hari ng dexterousl y pl aced the cards
drawn by the fi rst person in the sec
ond parcel , and those drawn by the
second person in the fi rst parcel , you
shuffl e the cards, observi ng not to di s
pl ace any but the upper cards; then
spreadi ng the cards on the tabl e, you
name those that each person drew,
whi ch you may very easi l y do, by ob
servi ng the cards that are changed in
-ach parcel .
of stri ki ng it, fi rst one bal l i s removed
and then the other, the fal se pack be
i ng doubl ed and pal med.
OF TWO ROWS OF CARDS, TO T E L L
TH E ONE WHI CH HAS BEEN
TOUCHED
You l ay two rows of cards upon the
tabl e, si x or ei ght in each row. Y ou
have arranged wi th an accompl i ce that
the upper cards, counted from the l eft
si gni fy days, the upper cards hours.
You now l eave the room, requesti ng
one of the company to touch a card.
On returni ng, you step to the tabl e
and begi n to l ook for the card, when,
after a whi l e your accompl i ce cri es out
out, as i f in mockery, Yes, you mi ght
l ook for i t three days, and never find
i t, i f the touched card i s the thi rd
card from the l eft in the upper row.
Y ou pay no attenti on, however, to hla
remark, but conti nue to search. At lar.t
you apparentl y l ose your temper, and
mi x . the cards together, excl ai mi ng,
The cards are fal se today! Then you
refl ect agai n, shuffl e the cards, pl ace
them in two rows, and, after some hes.
i tati on, poi nt out the touched card.
TO HOLD FOUR KI NGS OR FOUR
J A CK S I N YOUR HAND, AND TO
CHANGE TH EM SI DDENL V
I NTO BL A NK CARDS,
AND THEN I NTO
FOUR ACES
Y ou must have cards made for !
purpose of thi s feat: hal f cards, as they
may be properl y termedrthat is, one
hal f K i ngs or J acks, and the other hal f
Aces. When you l ay the Aces one over
the other, nothi ng but the K i ng or
J acks wi l l be seen. Then turni ng the
K i ngs or J acks downward, the four
Aces wi l l be seen. You must have two
perfect cards, one a K i ng or a J ack,
to cover one of the Aces, or el se it
wi l l be seen; and the other an Ace to
to l ay over the K i ngs or J acks. When
you wi sh to make them al l appear
bl ank cards, l ay the cards a l i ttl e l ow
er, and by hi di ng the Aces they wi l l
appear whi te on both si des. You may
then ask the company whi ch they
choose, and exhi bi t the Ki ngs, Aces or
Bl anks as requi red.
TO SH U FFL E T H E CARDS TN SUCH
A MANNER AS ALWAY S TO
K E E P ONE CERTA I N CARD
AT T H E BOTTOM
I n shuffl i ng l et the bottom card be
al ways a l i ttl e before, or, whi ch i s best,
a l i ttl e behi nd al l the rest of the
cards; put it a l i ttl e beyond the rest
before, ri ght over your forefi nger, or
el se whi ch i s best, a l i ttl e behi nd the
rest, pl aced in such a manner thnt the
l i ttl e fi nger of the l eft hand may sli p
up and meet wi th i t; at the first, shuf
fle as thi ck as you can; and, at l ast
V PACK OF CARDS CHANGED TO
TWO L A RGE BA LLS
A pack of cards shown from al l si des
- :u Id in the l eft hand, but upon bei ng
stroked changes to two parti - col ored
bal ls.
An ordi nary pack must be secretl y
exchanged for a dummyi n real i ty, a
oase openi ng in the center.
each end place a spring ball and
cl ose the pack. I t i s then exhi bi ted
as an ordi nary pack and. under cover
3 iiJ fRICKS WITH CARDS OR SLEIGHT OF HAND
tL: <., .1 i lie board the bottom card,
Yv'i.h us .j any more as you would pre
serve for any purpose, a l i ttl e before
or a l i ttl e behi nd the rest; and be sure
to l et your forefi nger, if the pack be
l ai d before, or your l i ttl e fi nger i f
the pack be lai d behi nd, al ways creep
up to meet wi th the bottom card; and
when you feel it, you may there hold
it ti ll you have shuffl ed over agai n;
r- hi ch bei ng done, the card whi ch was
l i rst at the bottom wi l l come there
agai n. Havi ng perfected yoursel f in
thi s manner of shuffl i ng, you may ac
compl i sh anythi ng you pl ease wi th a
pack of ten, twel ve, or twenty cards.
TH E EL ECTRI C CARDS
Ten cards are handed to a spectator
on a tray wi th a request for hi m to
take two. These are dul y noted and
.placed among the remai ni ng ei ght.
The performer now takes the cards,
two at a ti me, and passes one in front
of the other. Thi s is repeated until ,
/hen in the act of passi ng the cards,
i i ashes of fire shoot forth from the two
cards, whi ch, upon bei ng turned wi th
thei r faces to the audi ence, are found
to be the two cards sel ected.
Thi s somewhat star tl i ng ef f ect is
brought about by prepari ng ten cards
as fol l ows:
The front top corner of each card i s
coated wi th potash and sugar and the
correspondi ng back corner is coated
wi th sul phuri c aci d. These are l ai d out
on a tray wi th the prepared ends to
ward the performer. The spectator se
l ects two. Meanwhi l e the performer
changes the tray from the ri ght to the
eft hand, thereby reversi ng the posi -
t i n of the cards, so that when the
l .: >sen ones are returned the perfor
mer knows that the only cards wi th
the prepared corners toward hi msel f
sire the two sel ected. I n passi ng the
cards he is careful only to rub the
tops; not the bottoms, so that when he
-comes to the chosen ones and rubs
them, they emi t fl ashes of fire, and upon
bemg turned to the audi ence are found
to be the correct ^nes.
T H E CI RCLE OF FOURTEEN CARDS
To turn down fourteen cards whi ch
li e in a ci rcl e upon the tabl e, observi ng
to turn down onl y those cards at whi ch
you count the number seven.
To do thi s you must bear in mi nd
the card whi ch you fi rst turned down.
Begi n counti ng from any card from
one to seven, and turn the seventh card
down. Starti ng wi th thi s card, you
agai n count from one to seven, and
turn the seventh card down, etc., etc.
When you came to the card whi ch you
fi rst turned down, you ski p it, passi ng
on to the next, and so on unti l al l the
cards are turned. Thi s i s a very enter
tai ni ng tri ck.
TH E MAGI C SLI DE, OR TO MAKE
A CARD DI SA PPEA R I N
AN I NSTANT
Di vi de the pack, pl aci ng one hal f in
the pal m of the l eft hand, wi th ne
face of the cards downward; then ta^e
the bal ance of the pack in the ri ght
hand, hol di ng them between the thumb
and three fi rst fi ngers, and pl ace the
cards upri ght so that the edges of the
cards in y o u r ri ght hand wi l l rest upon
the back of those l yi ng in the pal m
of the l eft hand perpendi cul arl y and
formi ng a ri ght angl e, by whi ch you
wi l l percei ve that the four fi ngers of
the l eft hand touch the l ast card of the
upri ght cards in your ri ght hand. Be
sure you get thi s posi ti on correctl y,
for the rest of the tri ck i s very si mpl e.
Y ou "now request any one of your audi
ence to exami ne the top card of the
hal f pack that rests in the pal m of
your l eft hand, and to repl ace i t agai n.
Havi ng done thi s, request hi m to l ook
at i t agai n, and to hi s amazement it
wi l l have di sappeared, and another
card wi l l appear in i ts pl ace.
To perform thi s tri ck, after you
have assumed the posi ti on al ready des
cri bed, you must dampen the ti ps of the
four fi ngers that rest agai nst the l ast
card of the upri ght cards in your ri ght
hand. Y ou must now rai se the upri ght
cards in your ri ght hand very qui ckl y,
and the l ast card wi l l adhere to the
dampened fi ngers of your l eft hand.
As you rai se the upri ght cards you
must cl ose your l eft hand ski l l ful l y,
and you wi l l thereby pl ace the l ast
card of the upri ght cardswhi ch ad
heres to the fi ngers of your l eft hand
upon the top of the cards in the pal m
of your l eft hand, and when you re
quest the person who exami ned the top
card in your hand to l ook at i t once
more, he wi l l see the card you have
j ust pl aced there, i nstead of the one
he fi rst exami ned.
The pri nci pal thi ng you must ob
serve i s to be very rapi d and dexter
ous in sl i ppi ng the card at the back
of the upri ght card from i ts posi tion
there to the top of the cards in th*
of your l eft hand
125 THICKS WITH CARDS OR SLEIGHT OP IIAMJ SS
T H E TRA NSM UTED CARDS
I n a common pack of cards let the
Ace of Hearts and Nine of Spades be
somewhat larger than the rest. With
the juice of a lemon draw over the Ace
of Hearts a Spade, large enough to
cover I t entirely, and on each side draw
four other Spades.
P resent the deck to two persons so
adroitly that one of them shall draw
the Ace of Hearts, and the other the
Nine of Spades, and tell him who draws
the latter to burn I t on a chafing dish.
Y ou then take the ashes of that card,
P ut them in a small metal box, and
give i t to him who has the Ace of
Hearts, that he may himself put that
card into the box and fasten it. Then
put the box for a short time, on the
chafing dish, and let the person who
put the card in i t take i t off and take
out the card, which he w ill see Is
changed Into the Nine of Spades.
T H E SH I FTI NG CARD
P ut at the top of your pack any card
you please, say the Queen of Clubs.
Make the pass, by which you put it In
the middle of the pack, and make some
one draw it; cut again, and get the
same card into the middle; make the
pass again, to get it to the top of the
pack, and then present i t and get it
drawn by a second person, who ought
not be so near the firs t as to be able
to perceive that he has drawn the
same. Repeat this process until you
have made five people draw the same
card. S huffle, without losing sight of
the Queen of Clubs, and spreading on
the table any four cards whatever with
this Queen, ask I f every one sees his
own card. They w ill reply in the a ffir
mative, since each sees the Queen of
Clubs. T urning over these cards, with
drawing the Queen, 'and approaching
the firs t person, ask i f that be his
card, taking care while showing I t to
him that the others may not be i able
to see it. He w ill tell you i t is. Blow
on it, or strike it, and show I t to a
second person, and so on.
T H E FOUR TRA NSFORM ED K I NGS
You have the four Kings of a pack,
and have placed them in your hand in
such a manner that one s lightly over
tops the other, yet so that each can
easily be distinguished when held
closely in the hand.
A fter showing them to the company
you slide them together, and place
them, thus joined, upon the top of the
pack, which you hold in your right
hand. You then draw off the four top
cards, and lay each in a persons lap.
face downward, directing them to place
the flat of the hand upon them. You
now draw four other cards from the
pack, and place them each upon the
lap of a neighbor of each of the four
above persons, and direct them also
to cover them with the flat of the hand.
You can now step with the rest of the
cards in front of each of these eight,
persons, flirt the cards toward the lap
of each, and when each lifts his card
from his lap, and looks at it, it ap
pears that the four persons upon whose
lap you have placed the four Kings
have altogether different cards, and
their neighbors have now the four
Kings.
This is done in the following man
ner: While you are drawing tho four
Kings from the pack, and placing them
as described, one upon the other in
your hand, you at th.e same time, un
perceived, carry off four other cards,
and place them fcc'iind tho four Kings,
so that they lie in the hollow of your
hand and cannot be seen. Who , after
having shown tho four Kings, you
push them together in a heap, the four
Kings, of course come in front of the
four other cards, which latter now lie
on the top of the pack. These you dis
tribute to the firs t four persons, and
then deal out the four Kings to their
neighbors.
T H E CARD I N T H E RI NG
Get a ring made of any metal, In
Which is set a large, transparent stone
or piece of glass, to the bottom of
which is fastened a small piece of
black s ilk; under the s ilk is to be the
figure of a' small card; and the s ilk
must be so constructed that i t may be
either drawn aside or spread by turn
ing the stone around.
You then cause a person to draw the
same sort of card as that at the bot
tom of the ring; and tell him to burn
i t in a candle. Now, the ring being
so constructed that the s ilk conceals
the card underneath it, you firs t show
him the ring, that he may see it is
not there, and tell him you w ill make
i t appear; then rubbing the ashes of
the card on the ring, you manage to
turn the stone or glass dexterously
round, and exhibit to him the small
card at the bottom.
TO GUESS T H E CARDS WHI CH FOUR
PERSONS HAV E FI X ED T H EI R
THOUGHTS UPON
You take four cards, show them to
the firs t person, request him to select
one of them in thought, and lay them
aside. Then take four other cards, let
a second person choose one of them,
place these four cards upon the table
beside the firs t four, but a little apart.
Proceed in the same way with the
third and fourth person.
120 THICKS WITH CARDS OR SLEIGHT OF HAND
Y ou now take the first persons four
cards, and l ay them, separatel y, si de
by si de. Upon these four cards you
pl ace the four cards of the second per
son in the same order, and so wi th the
four cards of the thi rd and fourth
person.
You now show each pi l e to the four
persons, one after the other, aski ng
each in whi ch pi le he finds the card he
has thought of.
As soon as you know thi s you di s
cover the cards thought of in the fol
l owi ng order: The card thought of by
the first person is, of course, the fi rst
in the pi l e in whi ch he says i t i s con
tai ned; the second persons card i s
the second of the pi le, so al so the thi rd
and fourth persons card i s the thi rd
and fourth of the pile.
O
TI1E CHOSEN CARD R E VE ALE D BY
A P INCH OF SNUFF
Force a cardsuppose for i nstance,
the Fi ve of Cl ubshavi ng previ ousl y
wri tten the words, or drawn the spots,
on a cl ean sheet of paper, wi th a tal
low candl e; then hand the pack to the
person on whom the card i s forced;
bi d hi m pl ace it where, and shuffl e the
pack how he pl eases; ask for a pi nch
of snuff, strew i t over the sho.: >f pa
per, bl ow the l oose grai ns oft'. the
remai nder wi l l sti ck to the pl aces the
tal l ow has touched, thus tel l i ng the
person what card he has chosen. The
paper, i f done l i ghtl y wi th the candl e
wi l l not appear to have any marks on
HOW TO ARRANGE THE T WE L VE
P ICTURE CARDS AND THE FOUR
ACES OF A P ACK IN FOUR ROWS
SO THAT THE R E WIL L BE IN
NE ITHE R ROW TWO CARDS
OF THE SAME VALUE NOR
TWO OF T H E S A M E
SUITE, W H E T H E R
COUNTED HORIZON
T AL L Y OR P E R-
P E NDICULARLY
The si mpl est way of performi ng thi s
tri ck i s to form a di agonal li ne from
the l eft to the ri ght wi th the four Aces.
Then form another di agonal line,
from the ri ght to the l eft wi th the four
J acks, crossi ng the precedi ng di agonal
line, and you wi ll have a posi ti on si mi
l ar to that shown.
Thi s done, pl ace a K i ng and a Queen
in each of the four spaces whi ch re
mai n to be filled, in order to compl ete
the square or four rows, bei ng careful
to choose the sui tes, and to arrange
the cards in such a manner as to fulfi ll
the condi ti ons requi red.
By pursui ng any other method than
one i ndi cated i t wi l l be found
qui te di ffi cul t to ful fi l l the requi red
condi ti ons, and at al l events, i t wi l l
take you a l ong ti me to do so.
THE RISING CARDS
The effect of the i l l usi on to the audi
ence i s as fol l ows:
Fi ve cards are sel ected haphazardl y
(not forced) from an ordi nary pack.
The five cards are then handed to an
i ndependent member of the audi ence,
wi th the request that he repl ace the
same and shuffl e them i nto the pack
thoroughl y.
The performer now returns to the
stage and hol ds the pack in the l eft
hand, wi th the faces of the cards to
ward the audi ence. He passes the ri ght
hand compl etel y round the cards to
prove there are no threads, etc., used.
The hands and cards are now l eft in
the posi ti on depi cted, bei ng about thre
feet apart. The performer next i n
qui res the name of the fi rst card se
l ected, whereupon i t i mmedi atel y l eaves
the pack and soar s as graceful l y as a
bi rd up to the ri ght hand, where i t i s
hel d between the fi ngers and thumb,
the beauty of the experi ment l yi ng in
the fact that the performer does not
move a muscl e duri ng the ri si ng of
the card. The card i s now pl aced on
the front of the pack, and the second
card cal l ed for, when i t i mmedi atel y
ascends in the same manner as the
fi rst one. Thi s is repeated unti l the fiv
TRICKS WITH CARDS OR SLEIGHT OF HAND
chosen cards have made thei r appear-
ance.
The performer i s not compel l ed to
stand in any parti cul ar part of the
stage; in fact, the tri ck can be j ust
as successful l y presented in any draw
i ng- room, wi thout the ai d of assi stants,
etc.
between the fi rst and second fingers,
so that when the hands assume the
atti tude shown the thread i s in the
posi ti on i l l ustrated.
Thi s thread, i f of the correct thi ck
ness i s absol utel y invisible, even at
close quarters.
The pri nci pal secret of the i l l usi on
depends upon the i ngeni ous pi ece of
apparatus depi cted. I t resembl es the
wel l known sel f- coi l i ng measuri ng
tape. A pi ece of very thi n, but strong
si l k thread, say, about three to four
feet long, i s coil ed on a drum wi thi n
a cyl i ndri cal box or case. The thread
can be drawn out to i ts ful l extent, but
upon sl i ght pressure bei ng brought
to bear on a l i ttl e stud on the face of
the box it i s gradual l y wi thdrawn, the
sl ow acti on of the drum bei ng brought
about by an exceedi ngl y weak i nternal
spri ng. A in the di agram is a safety
pi n sol dered to one si de of the case,
thus enabl i ng the performer to attach
the same to the top of hi s trousers
between the suspender buttons on the
l eft si de. The thread i s now pul l ed out
about 2 feet 6 inches, a smal l pel l et of
soft wax bei ng attached to the end.
The wax is then affi xed to the top vest
button, the sl ack porti on of the cord
bei ng tucked into the vest.
The performer now i nvi tes five mem
bers of the audi ence to sel ect cards.
He col l ects them hi msel f, and, in the
act of turni ng round to ask another
spectator to shuffl e the cards, changes
the chosen five for five other cards by
means of the ri ght hand profonde. I f
thi s i s done neatl y, the spectator never
i magi nes but what he i s shuffl i ng the
sel ected cards i nto the pack.
On the return j ourney to the stage
there is ampl e ti me and opportuni ty
to regai n possessi on of the chosen
cards, whi ch are pal med and repl aced
on the top of the pack, care bei ng
taken that they are in the correct or
der. Now, as the performer turns round
to face the audi ence, he very adroi tl y
removes the wax, together wi th the
thread from the vest button and
presses it on the back of the hi nder-
most card. The ri ght hand now passes
round th?: cards and secures the thread
When the name of the card I s cal l
ed out, the performer, wi th the el bow
of the l eft arm, presses on the vest at
the pl ace where he knows the drum
to be, thus causi ng the thread to recoi l
and the card to ri se to the ri ght hand.
The card i s now repl aced on the front
of the pack, and under cover of ask
i ng the name of the next card, the wax
i s fastened to the back card, and the
same movements repeated. The rest of
the cards are si mi l arl y deal t wi th.
T HE ART OF F ORTUNE T E L L I N ^
BY CARDS
Take a pack of cards, and maki ng
yoursel f whi ch Queen you pl ease, lay
them out on a tabl e, ni ne in a row, and
wherever you find yoursel f pl aced
count ni ne cards every way, maki ng
yoursel f one, and then you wi l l see
what card you tel l to, and whatever
that is wi l l happen to you. I f the two
red Tens are by you, it is a si gn of
mar ri age; the Ace of Di amonds i s a
ri ng; the Ace of Hearts i s your house.
Ace of Cl ubs i s a l etter; the Ace
of Spades i s death, spi te or quarrel i ng,
(for that i s reckoned the wor st car**
ss 12,"5 TRICKS. WITH CARDS OR SLEIGHT OP HAND
in the pack;) The Ten of Diamonds is
a journey; the Three of Hearts is a
kiss; the Three of Spades is tears; the
Ten of the same suite is sickness; the
Nine of the sarpo is disappointment.
Nine of Hearts is feasting; the Ten
of Clubs going by water; The Ten of
Hearts places of amusement; the F ive
of Hearts a present; the F ive of Clubs
a bundle; the Six of Spades a child; the
Seven of Spades is a removal; the
Three of Clubs fighting; The E ight of
Clubs confusion; the E ight of Spades
a roadway; the F our of Clubs a strange
.bed; the Nine or Diamonds business; the
F ive of Diamonds a settlement; the
F ive of Spades a surprise; the two red
E ights new clothes; the Three of Dia
monds speaking with a friend; the four
of Spades a sick bed; the Seven of
Clubs a prison; the. Two of Spades a
false friend; the F our of Hearts a
marriage bed; when several Diamonds
come together i t is a sign of money;
several Hearts love; several Clubs
drink; and several Spades vexation.
I f a married woman lays cards, she
must make her husband K ing of the
Ba^me suite the Queen, is of; i f a
single woman tries it, she may make
her sweetheart what king she likes;
the J ack of the same suite is the
men's thoughts; so that you may know
what they are thinking, by telling nine
cards from where they are placed,
making them one; and i f any one
chooses to try i f she shall have her
wish, let her shuffle the cards well,
(as she must likewise when she tells
her fortune,) wishing all the time for
some one thing; she must then cut
them once, and minding what card she
cut, shuffle them again, and then deal
them out into three parcels; which
done, look over every parcel, and i f
the card you cut comes next to yourself
or next to the Ace of Hearts you w ill
have your wish; but i f the Nine of
Spades is next, you w ill not, for this
is a disappointment; however, you may
try i t three times.
THE MAGIC TWE LVE
Let any one take the pack of cards,
shuffle, take off the upper card, and,
having noticed it, lay it on the table,
with its face downward, and put so
many cards upon it as will make up
twelve with the number of 'spots on
the noted card. F or instance, i f the
card which the' person drew was a
King, Queen, J ack or Ten, bid him lay
that card with its face downward, call
ing i t ten; upon that card let him lay
another, calling i t eleven, and upon
that another, calling it twelve; then
bid him take off the next uppermost
card; suppose it to be a nine; let him
lay i t down upon another part of the
table, calling i t nine; upon it let him
lay another, calling it ten; upon the
latter another, calling it eleven; and
upon that another, calling i t twelve;
then let him go to the next uppermost
card, and so proceed to lay out in heaps
as befpre, ti l l he has gone through the
whole pack. I f there be any cards at
the lastthat is, if there be not
enough to make up the last noted card
the number twelve, bid him to give !
them to you; then, in order to tell him
t'he number of all the spots contained
in all the bottom cards of the heaps,
do this: F rom the number of heaps
subtract four, multiply the remainder
by fifteen, and to the product add the
number of remaining cards which he
gave you; but if there were but four
heaps, then those remaining cards
alone w ill show the number of spots
on the four bottom cards. You need
not see the cards laid out, nor know
the number of cards in each heap, it
being sufficient to know the number
of heaps, and the number of remaining
cards, if there be any, and therefore
you can perform this feat as wel l
standing in another room, as if preaei .t.
T HE DRAWN* CARD AVAILED TO
THE WALL
Drive a fiat-headed and sharp-pointed
nail thi-ough a card force n similar
one on any person presentreceive it
into the packdexterously drop it, ai\d
pick up, unseen, the nailed card; place
the latter at the bottom of the pad:,
which take in your right hand, and
throw it, with the bottom forward,
against a wainscot or door; the nailed
card w ill be fixed, and the rest, of
course, fa ll to the ground. Take care
to place your nail so that the front of
the card, when fixed to the door, may
be exposed; to effect this, you must
also remember to put the back of the
card outward placing it face to face
with the others, when you put it at
the bottom of the pack.
OX ENTERING A ROOM, TO KNOW
OF THR E E CARDS P LACED SIDE
IJ Y SIDE WHICH HAVE BEEN
REVERSEDJ TH AT IS TO
SAY. TURNED UP
SIDE DOWN
This trick is a very easy one, as t l . '
two ends of the cards are cut so a;,
to leave a margin of an unequal width
A ll that is requisite is to place all the
broad ends of the cards either toward
you or from you, when upon entering
the room, you will at once perceive
which card has been turned.
TO BRING A CARD WHIC H IIAS
BE EN THROWN OUT OF THE
WINDOW INTO THE P ACK
AGAIN
A fter you have shuffled the pack
and placed i t upon the table, you let
any person draw forth the lowest card,
of which there are two alike, at the
bottom of the pack; tear it in small
125 TRICKS WITH CARDS OR SLEIGIIT OF HAND
S9
pieces, and throw them out of the
window.
You assure the company that the
pieces jus t thrown out w ill join them
selves together again, and return as a
whole card to the pack. Y ou raise the
window, and call Come, come, come!'
Then approach the table assuring the
spectators that the mutilated card has
returned complete to its old place in
the pack; and let them satisfy them
selves that such is the fact.
A NE W METHOD TO T E L L A CARD
BY ITS WE IGHT
You declarevto the company that you
can tell a cabd by weighing it. Y ou
take the pack in your hand, let one of
the company draw a card, look at it,
and place it face downward in your
hand. Y ou then look at it attentively,
apparently trying its weight, while in
fact you are examining it very closely
to see if you cannot discern upon its
back some mark by which you may
know it again, and i f there is none you
mark it secretly with your nail.
You let the person put the card in
the pack, shuffle it, and hand it back
to you. You now look through the
pack, take one card after another, and
appear as i f you were weighing them,
while you search for the mark by
which you may discover the drawn
card.
T HE WINDOW TR IC K
Place yourself in the recess of a win
dow, and let any one stand close to
you, as near to the window as possible.
You now draw a card, hand i t to him,
and request him to note it. This you
must contrive to do in such a manner,
that you can catch a glimpse of the
image of the card reflected in the win
dow. You now know what the card is
as well as he does, and can point i t
out to him after the cards have been
thoroughly shuffled.
T HE NUMERICAL CARD
L et the long card be the sixteenth
in the pack of piquet cards. Take ten
or twelve cards from the top of the
pack, and spreading them on the table,
desire a person to think of any one of
them, and to observe the number it
is from the firs t card. Make the pass
at the long card, which w ill be at the
bottom. Then ask the party the num
ber his card was at, and, counting to
yourself from that number to sixteen,
turn the cards up, one by one, from
the bottom. Then stop at the seven
teenth card, and ask the person i f he
has seen his card, when he w ill say
no. You then ask him how many more
cards you shall draw before his card
appears, and when he has named the
number, you draw the card aside with
your finger, turn up the number of
cards he proposed, and throw down
the card he fixed upon.
TO NAME T I I E R ANK OF A CARD
THAT A PERSON HAS DRAWN
FROM A P HIUE T P ACK ;
The rank of a card means whether
it be an Ace, King, Queen, etc. You
therefore first fix a certain number to
each cardthus you call the K ing
four, the Queen three, the J ack two,
the Ace one, and the ethers according
to the numbers of their pips.
S huffle the cards, and let a person
draw any one of them; then turning
up the remaining cards, you add the
number of the first to that of the sec
ond, the second to the third, and so
on, ti l l i t amounts to ten, which you
then reject, and begin again; or i f it
be more, reject the ten, and carry the
remainder to the next card, and so on
to the last; to the last amount add four
and subtract that sum from ten if it
be less, or from twenty if it be more
than ten, and the remainder w ill be
the number of the card - that was
drawn; as for example, if tho remain
der be two, the card drawn was a
J ack; i f a three a Queen, and so on.
T HE THR E E MAGICAL P ARTIE S
Offer the long card to a person that
he may draw it and replace it in any
part of the pack he pleases. Make the
pass, and bring that card to the top.
Next divide the pack into three parcels,
putting the long card in the middle
heap. You then ask the person which
of the three heaps his card shall be in.
He w ill probably say the middle, in
which case you immediately show it
to him; but i f he says either of the
others, you take all the cards in your
hand, placing the parcel he has named
over the other two, and observing to
put your little finger between that and
the middle heap, at the top of which
is the card he drew. Y ou then ask at
what number in the heap he w ill have
his card appear. I f, for example, he says t
the sixth, you tell down five cards from
the top of the pack, and then dexter
ously making the pass, you bring the
long card to the top, and tell i t down
as the sixth.
SE VE RAL DIF F E R E NT CARDS BE
ING F IX E D ON BY DIF F E R E NT
PERSONS, TO NAME THAT
' ON WHIC H EACH P E R
SON F IX E D
There must be as many different
cards shown to each person as there
are cards to choose; so that i f there
are three persons, you must show three
cards to each person, telling the first
to retain one in his memory. You then
lay those three cards down, and show
three others to the second person, and
three others to the third. Next take up
the firs t persons cards, and lay them
down separately, one by one, with their
faces upward; place the second per-
40 125 TRICKS WITH CARDS OR SLEIGHT OP HAND
eons cards over the first, and the third
over the second's, so that there w ill be
one card in each parcel belonging to
each person. You then ask each of
them in which parcel his card is, and
by the answer you immediately know
which card i t is; for the first persons
w ill always be the first, the second
persons the second, and the third per
sons the third in that parcel where
each says his card is.
,This amusement may be performed
with a single person, by letting him
fix on three, four or more cards. In
this case you must show him as many
parcels as he is to choose cards, and
every parcel must consist of that num
ber, out of which he is to fix on one,
and you then proceed as before, he
telling you the parcel that contains
each of his cards.
TO DI SCOVER TH E CARD WHI CH
I S DRAWN, BY T H E THROW
OF A DI CE
P repare a pack of cards in which
there are only six sorts of cards. Dis
pose these cards in such a manner that
each of the six different cards shall
follow each other, and let the last of
each suite be a long1 card. The cards
being thus disposed, it follows that i f
you divide them into six parcels, by
cutting at each of the long cards, these
parcels w ill all consist of similar cards.
Let a person draw a card from the
pack and let him place it in the parcel
from whence it was drawn, by dexter
ously offering that part. 'Cut the cards
several times, so that a long card to
always at bottom. Divide the cards in
this manner into six heaps, and giving
a dice to the person who drew the card
tell him that the point he throws shall
indicate the parcel in which is the card
he drew; Then take up that parcel and
show him the card.
TH E CARD CHANGI NG I N TH E
HANDS
Erase one of the end spots of the
Th^ee of Hearts, and keep this card in
youi pocket in such a manner that you
can recognize the top. Have a pack of
c;"ds at the bottom of which have the
'Ace and the Three of Hearts, make the
pass to bring them to the middle of
the pack, and force them to be drawn
by a lady and gentleman, to whom you
w ill then give the pack to replace the
cards and shuffle them. During this
time adroitly take the card from your
pocket, conceal it beneath your hand,
and again taking the pack place it at
the top. Make the pass, and draw this
card from the middle of the pack, pre
sent it to him who has drawn the
Three of Hearts, covering with the
right forefinger the spot where you
erased so that he w ill imagine that he
sees the Three of Hearts, and ask, Is
this your card?" He w ill reply Yes.
Retake it with two fingers of the left
hand, and concealing the other end,
show it to the one drawing the Ace of
Hearts, and ask: Is this your card,
madam? She w ill respond affirmative,
ly. You w ill then say: That is impos
sible, for the gentleman says it is his."
and then you w ill show it to the per
son who has drawn the first, who w ill
say: I t is not the same. Then .show
the Three of Hearts to the lady, re
marking: I knew vfiry well it was
the lady's card, ^o which shfe w ill in-
swer: But it is not mine." To this re
join: Would you deceive meI who
deceive others? And s triking with your
finger1upon the card, you w ill show to
them successively the two cards they
have drawn, saying: Behold your card,
and yours. You ought, at every
change of the card, to takef it in the
fingers of the right hand.
TO M A KE SEV ERA L PERSONS DR ^
CARDS WHI CH TH EY W I LL
TH EM SEL V ES REP L A CE I N
TH E PACK, AND TO
FI ND THEM AGAI N
Y ou must hive a pack of cards pre
pared as is suggested. That, is the
one end must be a very little nar
rower than the opposite one. You
w ill make one of the company draw a
card from the pack, and w ill observe
particularly i f he turns it in his hand.
I f .he replaces it as he drew it, you
w ill turn the pack, so that i t may be
in a contrary position to the others. I f
he turns i t in his hand, it will save you
the trouble. The card being replaced,
you give the pack to someone to shuf
fle, and then have a second or even a
third drawn, observing the same pre
cautions. A fter this, taking the pack
by the widest end, in the left hand,
you w ill draw successively with the
right hand cards that were chosen.
NOTEInvariably this tric k should
not be performed before those who are
accustomed to witness sleight-of-hand
and it should never be repeated to the
same company, who may readily find
out that the whole art consists in
turning the pack. These little bits of
knowledge will readily come to the
conjurer after a short time.
T H E BURI ED H EA RT
A curious deception may be practiced
by cutting out neatly and thinly sli? '
ing the back of a Club, which is thei*
to be pasted s lightly over an Ace of
Hearts. A fter showing a person the
card, let him hold one end of it, and
you hold the other; and while you
amuse him with discourse, slide off
the Club, then laying the card on the
table, bid him cover it with his hands;
knock under the table, and command
the Club to turn to the Ace of Hearts.
125 TRICKS WITH CARDS OR SLEIGIIT OF HAND 41
T HE E R R ATIC CARD
Take a pack of cards from your
pocket,' shuffle them, and let anyone
draw a card; note i t and replace it in
the pack. Y ou then ask the person
Where he would like to have it appear,
whether under the table-cloth, under
a flower-pot, or in the pocket of any
one of the company. As soon as his
choice is made, you wave your magi
cian's wand in the direction of the
place where the drawn card is to be
.found.
This tric k is rendered more interest
ing* if you employ an alarm clock,
which you set to strike at the reap-
earance of the right card. This is done
y forcing a card upon the person who
draws. A similar card is put before
hand in the places which you mention
for him to choose as the spot where
;his card shall reappear.
;<ro f i n d i n t h e p a c k , a n d
THROUGH A HANDKE R C HIE F
WHATE VE R CARD A P E R
SON HAS DRAWN
Give the pack for a card to be drawn
from it; and, dividing the pack in two,
desire that the chosen card be placed
in the middle. Make the pass at this
place, and the card w ill now be at tho
top of the pack. P ut i t on the table,
cover i t with a rather thin handker
chief, and take the firs t card under it,
pretending:, however, to feel about for
it. T urn over the handkerchief and
.Show that this card was the one drawn.
TO CONJ URE A CER TAIN CARD
INTO YOUR P OCKET
Y ou take beforehand any card from
a complete pack, say a Queen of Hearts,
and put it in your pocket, after having
named the card to your accomplice.
You then hand the pack to the latter,
and request him to look at a card in
the pack, to note it, and then place the
pack upon the table again. Y our con
federate does as he is directed. You
then ask him what was the card that
he selected, and he w ill of course an
swer the Queen of Hearts. "I should
be much obliged to you, you reply, if
you would show me that card again.
Y our confederate examines the cards,
but cannot find it, and at last says that
i t is not now in the pack. Y ou now
draw the Queen of Hearts from your
pocket, and show i t to the astonished
company.
T H E MAGICAL TRIO
As already shown, you force one of
the company to draw a certain card,
and let him replace i t in the pack, and
shuffle the cards well together. You
now take the pack, and find the drawn
card, and without showing: it, place it
next to the bottom card. Then hold up
the pack in the right hand, and show
the bottom card to the company, with
the question: Is that the drawn card?
To which the answer is, of course, in
the negative. Y ou then drop suddenly
the right hand, in which you hold the
cards, and with tho fingers of the left
hand slip the bottom card back, and
draw out instead of i t that card select-
el by the company, and throw i t upon
the table face downward, the company
of course supposing it to be the card
last seen upon the bottom.
You then shuffle the cards thorough
ly, show once more the undermost card,
requesting the company to see i f it is
the card drawn, and upon receiving a
reply in the negative, you place it also,
face downward on the table upon the
firs t card. You now shuffle the pack
well, show the company the undermost
card, repeating the question as before.
On receiving again a reply in the nega
tive, you appear surprised; however,
place the card just shown upon the
two that were before drawn from the
pack, approach the company with these
three cards, and request them to ex
amine them carefully, and see whether
there has not, perhaps, been some er
ror on their part, as the drawn card
must certainly be one of the three. To
their great astonishment they w ill find
this to be the case. This tric k can also
be done by making- the pass, and slip
ping the card by wetting the fingers
as before explained.
TO MAKE A (?ARD SPRING TTP INTO
T HE AIR FROM THE P ACK WIT H
OUT BE ING TOUCHED
Having forced a card upon one of the
company, (see explanation to the ex
change of card,) the pack must then
be placed in a spoon, so that the
chosen card may lean on a pin bent
in the form of a hook. This pin is fas
tened to a thread, and ascending
through the pack leans upon the upper
end of the spoon; then i t descends un
der the stage through the table. In
this disposition the confederate cannot
pull the thread without dragging along
with it the hook and card, which causes
it to be perceived as flying in the air.
The thread slides upon the blunt edge
of the spoon as easily as i f it ran in a
pulley. In order to place the cards in
th spoon quick enough that the com
pany may perceive no preparation, care
must be taken that another pack Is
dexterously put on the table. The chos
en card in the other, with the book
and thread, must be previously pre
pared as described.
TO P RODUCE A RE QUIR E D CARD
FROM YOUR P OCKET
F or this tric k you need an accom
plice. You tell him beforehand the card
that he must call for; for instance,
the Three of Clubs. Y ou then shuffle
the pack, contriving i t so that the
Three of Clubs shall be the top card.
4S 125 Till OKS WITH CARDS OR SLEIOHT OF HAND
T o [*!:..* the j 14.0 k in yuur pocket,
and ak i f one of the company wi l l
cal l for a card. Tour accompl i ce cal l s
t qui ckl y, "The Three of Cl ubs!''
wi i h you at one* produce from your
ocfcet.
t * t h h , r m i o e c n a w i j v r - g i .a s s
WHAT CARDS HATH BEEfl
Tl l tl Y K U
The pi cture cards usual l y haye a
.val ors! narrow stri pe for the bor-
*ec. Thi s border i s usual l y narrower
at one end of the card than i t i s at the
other. Too pl ace the pi cture cards in
such a manner that oi ther al l the broad
er or al l the narrower borders are
ced uppermost. You now request a
fl pootator to turn one of the cards
wkile you are absent from the room.
On your return you exami ne al l the
cards through a wi ne- gl ass, and easi l y
#i coyer the one whi ch has been turned
9M i ts narrow border now l i es on a
l evel wi th the broader borders of the
other cards. I f they try to mysti fy you
b y turning- none of tho cards, you wi l l
easily see that thi s i s the case.
TO CHANGE F I V E K I NGS I NTO
FI V E QUEENS
You take four Ki ng-s and draw a
*karp kni fe gentl y across the mi ddl e of
them, where the two busts meet. Peel
the pi cture careful l y from one- hal f the
cards, and paste upon the bl ank part
the four hal f pi ctures of four Queens,
whi ch have been peel ed off in the same
manner. I n thi s way you have four
cards, each representi ng both a Ki ng
and a Queen.
To those prepared cards you joi n an
ordi nary K i ng and Queen. These si x
cards you spread out in a fan- l i ke
nhape, from the l eft to the ri ght, and
in such a manner that onl y the Ki ngB
are vi si bl e. Thi s i s easi l y done i f you
keep the ordi nary K i ng at the end of
the fan to the ri ght and the Qufeen
conceal ed behi nd it. You show the five
Ki ngs, say that you wi l l change them
i nto five Queens, bl ow upon the cards,
reverse them, pl aci ng the K i ng behi nd
the Queen, and di spl ay them as five
Queens.
T H E MAGI C SEV ENS
Take a number of cards, from whi ch
you wil l make two pi l es, taki ng care
that one wi l l contai n two or three Sev
ens, and the other wi l l be composed of
seven cards, al l face cardsthat is,
Ki ngs, Queens, J acks or Aces. Then
ask for pen and i nk, and wri te on a
pi ece of paper the names of the seven;
thi s paper you turn over so that he
cannot see what you have wri tten. Now
you can request a person to make hi s
choi ce i n such a manner that i f he
chooses your number i t wi l l be good,
i nasmuch i f he sel ect the l ar ger pack
age, you wi l l show hi m the paper on
-which i s i nscri bed the names of th*
face cards; t hen command h i m t o c ount
the number of cards contai ned in the
package he has sel ected, and he wi ll
find seven, agreeabl e to the names on
your l i st. Thi s revel ati on wi l l doubtl ess
astoni sh hi m; but i f he sel ects the
smal l er package, you have l i kewi se
the advantage, for you know i t to con
tai n two o r three Sevens, and nothi n*
else.
T H E NUMERI CAL TRI CK OF CARDS
Request a person to sel ect at wi l l
three cards from a pack of cards such
as are used for tho game of Euchre,
whi ch has no cards bel ow seven poi nts
in ei ther sui te, warni ng hi m that the
Ace counts eleven, the face or fi gure
cards ten, and the others accordi ng to
the poi nts on thei r faces. These three
chosen, tel l hi m to pl ace them on the
tabl e separatel y, and then to put on
each card a pi le of other cards, as
many in number as, wi th the poi nts
on the card, wi l l sum up at fifteen
poi nts on each heap; that i s to say,
i f the fi rst card be a nine, i t wi l l r e
qui re si x cards to be pl aced over i t; if
the second be a Ten, five cards; i f the
thi rd be a J ack, l i kewi se five cards.
Here you have ni neteen cards empl oyed
consequentl y there remai ns thi rteen
for you to recl ai m. Maki ng bel i eve to
exami ne them, count them over to as
sure yoursel f of bei ng ri ght as to the
number remai ni ng. Mental l y add si x
teen to thi s number, and you wi l l have
twenty- ni ne, the number of poi nts on
the three cards chosen, and whi ch wi l l
be found beneath the three heaps.
WHEN FI V E I S FOUR
Take the four fives from an ordi nary
pack of cards and chal l enge your
fri ends to ar range them, face upward,
so that onl y four pi ps show on each
card. The secret i s di scl osed in the
i l l ustrati on.
T H E NOVEL GAME OF TONTI NE
Thi s game i s pl ayed wi th fi fty- two
cards. After each one in the company
has taken a number of counters, say
twenty, upon whi ch a val ue has been
pl aced, each pl ayer puts 3 counters in
jl25 TRICKS WITH CARDS OR SLEIGHT OF HAND
4-J
the pool. A fter cutting-, deal one card to
each pl ayer, wi th the face down. Now
to create a purse for the game. Upon
turni ng up the card deal t, he who hol ds
the K i ng draws three count er s; The
Queen two; the J ack one; the Ten nei
ther draws nor l oses; The Ace pays one
to hi s nei ghbor; the Two gi ves two to
the second pl ayer bel ow hi m; the Three
gi ves three to the thi rd beyond hi m;
and wi th respect to the others, they
pay one or two, as they happen to be
odd or even; the Four, Si x and Ei ght,
two counters; and the Fi ve, Seven, and
Ni ne, one each. I t wi l l be seen that
twenty- four counters are drawn by the
pl ayers; that twenty- four ci rcul ate,
and that thi rty- si x ar e put up for the
pri ze of the game. Thus, on each deal ,
twel ve counters pass from the hands
of the pl ayers. When one runs out of
counters, he returns hi s cards, and i s
consi dered dead; neverthel ess, he r e
vi ves rapi dl y, i nasmuch as hi s nei gh
bor* shoul d an Ace come to him, i s
compel l ed to gi ve hi m one; the pl ayer
two pl aces above hi m, i f a Two i s
deal t to him, gi ves hi m two; the Three,
chanci ng to the thi rd above him, sup
pl i es hi m wi th three, and thi s rul e
works a revol uti on in hi s favor. F i n
al l y the pool remai ns to the pl ayer
hol di ng the l ast of the counters; but
duri ng conti nuance of the game many
wonderful acci dents occur, and i t f r e
quentl y chances that he who has been
dead two or three ti mes, or who has
been pl aced in the most desperate
strai ts, carri es off the pool . I t i s these
vari ati ons whi ch render the game ex
ci ti ng and amusi ng.
CARDS CHANGE SPOTS
For thi s cl ever card tri ck the equi p
ment needed consi sts of two aces of
di amonds from si mi l ar packs and an
ace of spades. Er ase the corner spots
and l etters from the di amonds and
cut out the center of the ace of spades,
as shown in the accompanyi ng i l l ustr a
ti on. I n presenti ng thi s tri ck hol d an
ace of di amonds in each hand wi th one
l eavi ng a rectangul ar secti on bel ow i t
>f the di amonds hi dden under the spade
jn the pi ece of ace of spades. Thus i t
appears to the spectators that you are
hol di ng an ace of di amonds and an ace
of spades. Now to make the cards
change pl aces or spots, whi chever way
you prefer to have it.
Hol di ng the two cards wi th thei r
backs to the audi ence fi rst move them
apart, then bri ng them together gr ad
ual l y unti l the edges of the two di a
monds finall y touch as shown. Now
qui ckl y sl i p the fal se ace of spades
over to the other card so as to hi de the
ace of di amonds.
TO GUESS I N WHI CH HAND, HOLD
I NG COUNTERS, CAN HE POUND
T H E ODD OR EV EN N I' M It ECIt
Mul ti pl y the number i n the righx.
hand by an even number, accordi ng t#
pl easure, 2 for exampl e, and the num
ber in the l eft hand by an odd ri amber,
3 for i nstance; then add together the
sum of both; i f the total i s odd the
even number of pi eces wi l l be in the
ri ght hand, and the odd in the l eft;
i f the sum be even the contrary wi l l be
the case.
Proof.Suppose In the ri ght hand 8
pi eces, and 7 in the l eft; mul ti pl y V by
2 and you have 16, whi l e the produet
of 7 by 3 wi l l be 21; the sum total i s
37, an odd number. I f, on the other
hand, 9 was in the ri ght hand and 8
in the l eft* mul ti pl y 9 by 2, you have
3 8, and mul ti pl y 8 by 3, you have 24,
whi ch added to 18 gi ves 42, an even
number.
TO PRODUCE NUM BERLESS CHANGES
WI TH A GI VEN NUMBER
OF CARDS
Take the cards, each i nscri bed wi *
the ci phers 1 2 3 4 5 6 7 8 9 0.
Take these cards in the l eft hand as
i f to shuffl e them. Take wi th the ri ght
hand the fi rst two cards, 1 and 2, wi th
out derangi ng them; pl ace them be
neath the two fol l owi ng, 3 and 4, and
under these four cards the three fol
l owi ng, 5, 6, and 7; bel ow these put 8
and 9, and bel ow al l the 0. They can be
rearranged several ti mes accordi ng to
the same formul a. At each new ar
rangement there wi l l be a fresh order,
whi ch, neverthel ess, after a certai n
number of ti mes, wi l l come out as they
were before shuffl ed, as wi l l be seen
by the fol l owi ng tabl e, wherei n the or
der repeats i tsel f af ter the seventh ar
rangement:
1st order..............1 2 3 4 5 8 7 8 0 0
1st shuf f l e............8 9 3 4 1 2 5 6 7 0
2nd ___ 6 7 3 4 8 9 1 2 5 0
3d ___ 2 5 3 4 6 7 8 9 1 0
4th ___ 9 1 3 4 2 5 6 7 8 0
5th " ___ 7 8 3 4 9 1 2 5 6 0
6th ___ 5 6 3 4 7 8 9 1 2 0
7th M _____ 1 2 3 4 5 6 7 8 9 0
MI ND OVER MI ND, OR T H E MAH'
VELOUS W I L L POWER
A spectator draws three cards from
the pack, not forced, and wi thout l ook
i ng at them, or the performer touchi ng
them, pl aces them in hi s breast- pocket,
from whi ch he has previ ousl y removed
44 125 TRICKS WITH CARDS OR SLEIGHT OF HAND
the contents. The performer now calls
out the name of a card, and requests
the spectator to hand him one of the
cards from his pocket. Upon this be
ing- done, the card is found to corres
pond wfth the one previously named
by the performer. This is repeated with
the two other cards.
This is a vast improvement on the
old method of performing a very sim
ila r trick, and is highly commended.
The performer asks a spectator to
select three cards (making sure that
the three cards are selected in a
bunch). He then cuts the cards as
usual, bringing the card just above the
three chosen to the bottom.
The three cards chosen must now
be placed in the pocket with the faces
toward the person, which is the natur
al way of doing it. Tho performer now
notes the bottom card of the pack,
which enables him to know the names
of the chosen cards. Suppose the bot
tom card was the five of hearts, the
firs t of the three cards would be the
eight of diamonds. Therefore, the per
former asks the gentleman to place
his hand, as quickly as possible into
his pocket and hand him the eight of
diamonds, which nine times out of
ten w ill be correct, for this reason:
In the act of the spectator placing
his left h,nd in his right inside breast
pocket, owing to it being done quickly,
he w ill seldom, i f ever, place more
than his four fingers in the pocket, the
thumb remaining on the outside. F or
this reason the only card possible for
him to take from the pocket in this
condition is the top one, whi~h is th*
eight of diamonds. I f the reader w ill
try this experiment with himself, he
w ill readily catch the idea.
A fter the first card is produced, the
performer calls for the next, which is
the jack of clubs, and as there Is but
one remaining card there can be no
mistake, as the performer asks for the
ace of spades.
Many find this tric k always has a
great effect on the audience, and causes
a considerable amount of excitement
and interest.
TO CAUSE A CARD SEL ECT ED BY
A SPECTA TOR TO BE XAMED
*1 B1' T H E A UDI ENCE
A card is selected by a spectator and
laid on the table without its face being
seen. The performer now states that i t
is impossible for anyone to know the
ame of the card, But that he w ill
or,use the audience themselves to name
it.
The modus operand! employed for
this experiment is not absolutely new.
Supposing the card selected was the
eiht of hearts, the performer secret
ly ascertains its name in the same
manner as explained previously, and
forthwith addresses the audience as
follows;
"Ladies and gentlemen, u^r. i are
four suits in the pack: hearty, spades,
diamonds, and clubs. X shall ask some
gentleman to name either tw._ of them.
Thank you, sir. The gunthMu.in .says
hearts and spades, therefore it must
be a heart or a spade. Kow v;n
one kindly name one of li. *.*.*, m-j kUj !
Thank you, s ir; that loaves a heart
therefore it must be a heart.'1
To explain the above. The perforator
knows in the first place that tho c:;.d
| is a heart, and he interprets the'un-
. swers from the audience to suit h.s
, own purpose, in the following manner;
Had the audience said diamonds and
clubs in place of spades and hearts,
the performer would have said: Very
well, sir; that leaves hearts and
spades." Now, with regard to th heart
and the spade, had the audience said
hearts instead of spades, tbs reply
would have been: Very w*ll; it must
be a, heart.'*
Ex*ample: There are two cards le ft
hearts and spades. The performer
wants the audience to name hearts.
Suppose the audien names spades,
the reply is: Very well; that leaves
a heart."
Should they have named a heart, the
reply is: Thank you; we w ill make
i t a heart, and thus the performer
practically forces the card on the
audience.
Now, to continue the tric k and cause
the exact name of the card to be called,
which is carried out on the same prin
ciple, the performer continues: The
suit is a heart, there are thirteen cards
in a suit, and it must be one of the
thirteen. We w ill divide the thirteen
into odd and even numbers. W ill some
one kindly say either odd or even?
Odd! Thank you; that leaves even. The
even numbers are two, four, six, eight,
ten, queen. We w ill divide them into
two parts, above or below seven. W ill
some one kindly name above or below
seven? Above seven! Thank you sir. It,
therefore, must be either the eight, ten
or queen. W ill some gentleman kindly
name two of these three? E ight and
queen! Th&nk you. Now, w ill some one
select either the eight or the queen?
Queen! Thank you. That leaves the
eight of hearts. W ill the g-entleman
kindly turn up this card?
A suggestion as to the tone of voice
in naming these cards w ill be of
great advantage. F or instance, suppose
the queen and eight are left, the per
former wishing the audience to name
the eight, says: W ill someone name
the eight or the queen? with a strong
accent on the eight, and nine times out
of ten, i f the words are properly spok
en, tl^e desired card w ill be selected.
,T n E COURT CARDS
F or this tric k the conjurer takes a
pack of cards, and separates the court
cards from the remainder
125 TRICKS WITH CARDS Oil SLEIGHT OP 2X.1X:
Usi ng only tho court cards, he asks
a member of hi s audi ence to take one,
to l ook at it, and repl ace it among: the
others. The court cards can then be
shuffl ed by anyone, but i mmedi atel y
they are returned to hi m the conj urer
pi cks out the chosen card.
The secret of thi s tri ck I s very si m
ple. I f you l ook at the i l l ustrati on of
Si x cards, you wi l l see that on each
one of them the whi te margi n (x) i s
l ar ger than on the othor.
The conj urer begi ns by arrangi ng?
the cards wi th the l arger margi n oa
the left, as In the pi cture. He theu
hands the cards to someone, auks hi m
to take a card out and to repl aco it.
*Jhe Queen fs reversed.
Before the card i s repl aced, the con
j urer qui etl y turns round the cards he
is hol di ng, so that when the chosen
card i s repl aced al l the wi de margi ns
of the cards wi l l be on the ri ght wi th
thft excepti on of that of the chosen
caiifl., whi ch wi l l be on the l eft. The
conj urer can, therefore, easi l y find the
chosen card and no amount of shuff l
i ng wi l l make hi s task di ffi cul t.
All cards are not pri nted al i ke. Some
ti me the margi ns on the si des of the
?ourt cards are even, but in that case
t wi l l be general l y found that there i s
a l arger margi n at one end of the card
than at the other. The tri ck is, there
fore, j ust as easy for the conjurer.
CLE VE R CARD TR IC K
Show your fri ends what mysteri ous
powers you have over cards by per
formi ng thi s si mpl e, but effecti ve tri ck
for them. The only materi al s needed
are an ordi nary card from the bri dge
deck, a gl ass tumbl er that i s wi der at
the top than at the bottom so the si des
taper, and a l i ttl e soap. Prepare the
gl ass in advance by rubbi ng the soap
on the i nsi de, but be sure to make only
two narrow channel s at opposi te poi nts
runni ng from tho toy i>r Wi,o 10
the bottom so that when a fl ayi ng-
card is pushed down i nto tho gl ass i ts
edges wi l l stri ke the soared stri ps.
The card shoul d he of the :>th~
fi ni shed ki nd.
Wi th thi s equi pment al l set tho per
former bogi ns the tri ck b f pcshi ug
the card down I nto the gl ass a4 tel l
i ng a spectator to ask the car4 to rlap
out of the gl ass. But the car * Aooe not
ri se at the spectator's ooxnmanA. So
the performer removes tho oar4 Crow
the gl ass, strokes it oa hLs sl oevo, and
thon pusi i es it down i nto th yl ass.
Thi s ti me the performer gi ves a sharp
command to the card to ari se, an* tho
card i mmedi atel y ri ses.
Tho secret, of course, i s that when
the performer first pushes the car# i nto
tho gl ass he does not pl ace it s the
edges of the card come in eonta:t
wi th the soap. But when he pushes
the card into the gl ass the second ti me
he does have the edges ri ght down the
soapy tracks. The sti ffness of the
card, the shape of the gi ass and the
smooth paths hel p i t ri se at the per
f ormers command. I t is necessary,
however, to appl y the soap evenl y so
i ts presence wi l l not be noticed.
TH E POUR BUR GLAUS
The performer takes a pack of car cs
and removes the four j u,ks. The packs
represent the four Bur gl ar s; he
shows the four j acks fanwi se to the
audi ence. He pl aces the cards upon the
top of the pack, remarki ng at the same
ti me that the four burgl ars cl i mb upon
the roof of a house, whi ch i s repre
sented by the pack. Now one burgl ar
guards the front of the house; pl ace
a j ack face upward in front of the
pack. A second burgl ar robs the l ower
part of the house. Take the next card
and pl ace i t in the l ower part of the
pack. The thi rd burgl ar robs the mi d
dl e of the house. Put the next card in
the mi ddle of the pack. The fourth
burgl ar robs the upper part of the
house. Put the next card about one-
fourth the way down. Now after they
have robbed the house, they al l meet
agai n on top. Take the j ack whi ch i s
in front of the deck and pl ace it on
top. Exami ne the top four cards and
they wi l l al l prove to be there.
Thi s tri ck i s very easi l y done. Whi l e
the performer i s amusi ng wi th some
patter, ar range the four j acks in the
shape of a fan, when thi s i s hel d up
to the spectators' vi ew, they see the
four j acks, al l ri ght, but what they do
not see is the fact that behi nd the
second j ack from the l eft there are se
creted three other cards, ni cel y squar
ed up and flush wi th the j ack, so that
whether vi ewed from ei ther front or
behi nd there appears to be the one
card onl y; namel y the j ack. The i l l us
trati on shows the posi ti on of the cards.
When the fan i s cl osed and pl aced
40
125 TRICKS WITH CARDS OR SLEIGHT OP HAND
is pl aced at the top and another at the
bottom of thi s hal f of the pack, whi ch
i s then pl aced under a handkerchi ef
on the tabl e. The audi ence chooses si x
cards from the other hal f of the pack,
and, at the conj urers request, hol ds the
cards so that everyone can see them.
The conj urer turns round whi l e thi s i s
bei ng done, so that he shal l not see
them. Whi l e hi s back i s turned the
conj urer exchanges the cards he i s
hol di ng in hi s hand for the faked cards
under the handkerchi ef. The chosen
cards are then pl aced among those
whi ch are faked, and in order to do
the tri ck the conj urer has only to sl i p
the bottom card to the top of the pack
and then gl ance at the card whose
i ndex corner wi l l be vi si bl e through
the hole in tpe cards he holds. Havi ng
named thi s card, he removes i t and
is thus abl e to read the name of the
second card. He repeats the operati on
unti l al l the cards have been read.
T H E TEN DUPLI CATE CARDS\
BRV EA L A PERSONS
THOUGHTS
Sel ect any twenty cards. L et any
person shuffl e them; l ay them in pai rs
upon the tabl e, wi thout l ooki ng at
them as represented here. You next
desi re several persons, (as many per
sons as there are pai rs on the tabl e)
to l ook at di fferent pai rs and remember
what cards compose them. Y ou then
take up the cards in the order in whi ch
they have been l ai d, and repl ace them
wi th thei r faces uppermost upon the
tabl e, in four rows, wi th five cards
in each row.
The order in whi ch you pl ace the
cards in each row i ndi cates wi th cer
tai nty the coupl e sel ected by each per-
son.
To enabl e you to do thi s, recourse
must be made to a mental tabl e of
four words, each word consi sti ng of
five l etters, maki ng twenty in al l , so
that each l etter represents a car<| as
shown. ,
The fi rst card you put on M in Mutus,
and the next on M in Nomenthat i s
to say, on the fi rst and ei ghth pl aces
of the i ntended square of twenty
pl aces. Havi ng di sposed of the fi rst
pai r, you proceed to put the next card
on U in the second pl ace of the fi rst
line, and on i ts compani on in the fourth
pl ace of the same line. The next card
i s pl aced on the spot occupi ed by T
in the fi rst line, and on T (or fi fteenth
pl ace) in the thi rd l i ne, the fi rst cm-d
of the fi fth coupl e i s pl aced on S in
the fi rst l ine, and on S in the fourth
li ne. Havi ng compl eted the fi rst li ne,
you proceed wi th the word Nomen in
the second line, then wi th Dedi t and
finall y wi th Coci s, fi l l i ng up the
the remai ni ng vacanci es by pl aci ng
each coupl e of cards on correspondi ng
pai rs of l etters, unti l the square i s
compl ete, as shown.
Hal f the pack i s "faked, a smal l
ni ece bei ng cut out of the i ndex cor
ner of al l the cards. One ordi nary card
top of the pack, the first carda real
j acki s put in front of the house.
The next three cards v/hi ch are not
j acks are pl aced in vari ous parts of
the house, l eavi ng three j acks sti l l
i n top.
THOUGHT READI NG
H al f a dozen cards are chosen by
members of the audi ence and returned
to the pack. The conjurer, pl aci ng the
pack to hi s forehead and aski ng those
spectators to thi nk i ntentl y of thei r
cards, i mmedi atel y announces the
names of the cards.
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
f
You now ask each person where the
cards he selected In his mind are now
ituated. I f he says they are both in
the firs t line, then he thought of the
cards ocupying the places of the two
Us.
I f he says that one card is in the
first, and the other in the second line,
then he thought of the cards oocupy-
ing the places of the two Ms.
I f in the firs t and third line*, of
tho two T's.
I f in the firs t and fourth lines, of
*he twe Ss.
And bo on, with each pair of letters
orrespondingr with the couple of cards
selected.
A little practice Is required to
strengthen the memory, so as to pair
the. letters as they present themselves
in the words which represent the
places of twenty cards. Y ou w ill notice
that, although there are twenty places,
there are only ten different letters or
ten pairs.
This amusement, which is very sim
ple and requires very little practice,
w ill excite considerable astonishment
in those unacquainted with the key.
T HE K E Y
M u T u S
J
o M E N
D E D I T
V*,
o C I S
I n the fol l owi ng tabl e, the plac
Of the l etters are numbered I n rotati c
1 2 3 4 5
U U
T U S
6 7 8 9 10
! N
O M E N
' 11 12 13 14 15
X) E D X T
16 17 18 19 20
C O C I S
TO CHANGE A CARD LOCKED UP
IN A BOX
You ask a person to give you any
card he pleases out of,the deck, and
you let him put i t into a box which is
locked up before the company. You
then take a few cards, and desire an
other to draw one and remember it,
which he does, and the cards are laid
aside. You now unlock the box and
the card which the second person drew
is on the box instead of the one which
is locked up.
A box must be made on purpose with
a double bottom, on the false one is
laid the card which the firs t person
chose. I n locking the box, by a secret
spring, the false bottom is raised with
the card, and firmly united to that part
where the hinges are. On the real bot
tom lies another card, which had been
previously and secretly deposited
there. In making a person draw a card,
a duplicate of this is forced upon him;
for i f he attempts to draw another, un
der some pretence you shuffle the
cafds again, ti l l at last he takes the
very card you Intend for him. This
card you know by feeling It, it being
purposely longer than any of the
rest, and Is in fact a conjurors secret
card. Y ou must never let one of those
particular or brief cards remain in a
pack when you give i t to be examined.
A NE W MIND-R E ADING F E AT WIT H
CARDS (
One or more cards should be select
ed by a spectator, and the pack laid
on the table.
A lady or gentleman s itting on the
opposite side of the room (without
even as much as a look from the per
former) immediately informs the draw
er the number and the names of the
cards chosen.
This trick, which can, i f desired, be
presented as an exhibition of genuine
mind-reading, w ill create a profound
sensation.
The medium, or second party, to this
experiment must be thoroughly ac
quainted with the order in which the
pack is arranged, and should be seat
ed on one side of the performer.
A fter the card or cards have been
selected, the pack is cut, and the card
that was above those selected brought
to the bottom. I n the act of laying the
cards on the table, the bottom card is
momentarily exposed to the view of
the assistant, thus enabling him to
name the selected card, this, of course,
being easily accomplished when one
thoroughly understands the arrange
ment of the pack.
With a judicious addition of one of
the false shuffles described, two clever
people can perform tricks on the above
principle that not so many years ago
would have caused them to meet the
fate of a sorcerer.
AN INCOMP REHENSIBLE
DIVINATION
*
A very clever non-sleight-of-hand
trick. I t has seldom been published,
and is, in fact, almost unknown: I t is
so simple that a child can learn it in
five minutes, yet i t can be exhibited
for hours without the slightest fear of
detection. I t is one of the very fcv"
tricks that can be repeated.
I n effect i t is as follows:
4t> 125 TRICKS WITH CARDS OR SLEIGHT OF HAND
El even cards are pl aced face down
ward on the t abl e i n a heap. The p e r -
former i s now securel y bl i ndfol ded,
and, i f desi red, can be led i nto another
room. I n hi s absence a spectator cuts
the cards, and after counti ng the l ower
porti on repl aces them on what was
ori gi nal l y the upper porti on.
The performer now enters the room,
sti l l bl i ndfol ded, waves hi s hands over
the cards, and i mmedi atel y pi cks one
of them out of the packet, whi ch upon
exami nati on proves to have the num
ber of pi ps or spots that corresponds
wi th the number of cards counted.
For i nstance, suppose four cards
were removed, the performer woul d
unhesi tati ngl y turn up, say, the foun
of cl ubs. Supposi ng that no cards were
removed, and the packet was l eft in
i ts ori gi nal st at e, t he j ack woul d be
turned up by the performer. Not onl y
can the performer be bl i ndfol ded, but
a thi ck cl oth or handkerchi ef can b
covered over the packet, and yet the
card wi th the proper number of pi ps
i s produced. Thi s tri ck can be repeated
as often as desi red wi thout any r ear
rangement of the pack, and it i s thi s
part of the experi ment that mysti fi es
conj urers unacquai nted wi th the modus
operandi .
For the performance of thi s excel
l ent drawi ng- room tri ck, the performer
must previ ousl y ar range el even cards
Ki: fol l ows:
Pl ace a j ack face downward, and on
the top an ace, then a deuce, then a
.rey, and so on to the ten, and the
cards must be kept in thi s order
throughout the tri ck. They can, how
ever, be cut as often as desi red before
. ou start the experi ment; but as the
pi cket i s pl aced on the tabl e the per
former must manage to catch a
gl i mpse of the bottom card, as thi s
forms the key to the whol e mystery.
Supposi ng the bottom card is the
four spot. The cards wi l l be arranged
one on top of the other.
Now, no matter how many cards
the spectator moves, al l the performer
has to do is to show the fourth card
down from the top, and thi s wi l l have
the number of spots that corresponds
wi th the number of cards removed.
We wi ll suppose a spectator moved
seven cards.
The performer now shows the fourth
card from the top, whi ch i s a seven-
spot.
Now, wi thout r earr angi ng the cards,
or even l ooki ng at the bottom, one, the
tri ck can be repeated. The performer
remembers that the card j ust shown
a seven spotwas fourth from the top,
and he, therei ore, knows that the thi rd
card from the top must be the ei ght-
spot, the second the ni ne- spot, and the
top card the ten- spot, l eavi ng the j ack
at the bottom
A certai n number of cards are agai n
moved, and as in al l cases when the
j ack is at the bottom of the packet, al l
the performer has to do i s to turn the
cards over, and on the bottom card wi l l
be found the correct number of spots.
Shoul d the ace be at the bottom of
the pack, then the top card wi l l al ways
denote the answer.
I f the two- spot be at the bottom, the
second card from the top wi l l denote
the answer, and so on al l through.
I f no cards were moved, i t is appar-
*kat the performer woul d turn up
the j ack, thi s bei ng fourth from the
top so that i f no cards are shi fted the
j ack al ways turns up.
.f ter five mi nutes study, thi s tri ck
wi l l be found qui te easy of accompl i sh
ment.
CARD AND 3IATCH TR IC K
A card is freel y chosen from a deck.
The wi zard, unfami l i ar wi th the sui t
of the sel ected card, reaches into hi s
pocket and draws forth a package of
matches of the fl at paper vari ety. Re
movi ng one of the matches from the
package, he stri kes it and al l ows the
match to burn about hal f way, when
the fl ame i s exti ngui shed.
CHOOSE CAttf ROM PtftPAREOOCC*
On drawi ng attenti on to the head of
the burned match, the di get 7, and a
smal l di amond, are seen mysteri ousl y
pri nted upon i ts surface. The sel ected
card is, upon exami nat i on, found to be
the seven of di amonds, much to the
amazement of the spectators.
125 TRICKS WITH CARDS OR SLEIGHT OP HAND
The tri ck i s as si mpl e as i t i s effec
ti ve. Before presenti ng the tri ck, the
wi zard secretl y prepares one of the
matches, by wri ti ng the di gi t seven,
and drawi ng a smal l di amond, upon
the head of one of the matches, wi th
a l ead penci l . I t i s amazi ng to see how
cl earl y thi s wri ti ng shows up, after
the match has been burned. The card,
of course, i s forced upon a spectator.
Shoul d an amateur, not ski l l ed in
sl ei ght of hand, attempt thi s tri ck, we
suggest that he use what i s commonl y
known as a forci ng deck. Thi s con
si sts of fi fty- two cards, the faces al l
al i ke.
NEW CARD AND EGG MYSTERY
Many of the readers are doubtl ess
acquai nted wi th the tri ck wherei n a
chosen card, after bei ng muti l ated, is
di scovered whol e in the center of a
previ ousl y exami ned egg.
A hard boi l ed egg i s passed for ex
ami nati on to prove that the shel l has
never been broken or tampered wi th
in any way, and the same egg i s pl ac
ed in ful l vi ew of the audi ence.
A card i s now sel ected by a member
of the audi ence, noted, and repl aced
in the pack, whi ch i s then shuffl ed.
The egg, whi ch has never been out of
si ght of the audi ence, i s now handed
to a spectator wi th a request to crack
and remove the shell . Upon thi s bei ng
done, the name of the sel ected card i s
found to be wri tten on the whi te of
the egg.
Thi s tri ck wi l l cause a profound sen
sati on wherever presented, as the egg
wi l l bear the stri ctest exami nati on.
The secret i s as fol l ows:
Di ssol ve an ounce of al um in a quar
ter of a pi nt of vi negar. Now di p a
camel s- hai r brush in the sol uti on, and
i nscri be on the outsi de of the shel l of
an egg the name of the card you i n
tend to force. Now l et i t dry, where
upon al l traces of the wri ti ng wi l l van
i sh. The egg must now be boi l ed for
ten mi nutes, and i t i s then ready for
use. When the shel l i s removed, what
ever you have wri tten on same wi l l
be found on the whi te of the egg.
ISAP P EARANCE OF A CARD
THOUGHT OF BY A
SPECTATOR
rhe petformer passes a number ot
cards from hand to hand, wi th faces
toward the audi ence. A spectator i s
now asked to remove any card he sees.
Upon thi s bei ng done, the per
former agai n passes the cards from
hand to hand, at one ti me, when i t i s
di scovered that the card thought of
has di sappeared.
A second card i s si mi l arl y treated.
To produce the above effect, the per
former must obtai n a pack of cards
consi sti ng only of twenty- si x, but wi th
no backs, each si de bei ng a face. On
one si de are pi ctures of twenty- si x
cards, and on the other si de the re-
mai ng twenty- si x. The cards shoul d be
arranged in a haphazard manner. When
the spectator has mental l y noted a cer
tai n card, the performer, under cover
of hi s hand, turns the pack round, s
that the other twenty- si x cards are
vi si bl e to the audi ence. Upon thei r be
i ng passed sl owl y from hand to hand,
i t i s found, of course, that the chosen
card has vani shed.
Thi s can natural l y be repeated. I f
desi red, two or three spectators cp
note cards at the same ti me.
THE HANGING CARDS
The conj urer takes a pack of cards,
shuffl es them, then hol ds them out
fanwi se to show that they are qui te
unprepared. He al so i nvi tes i nspec
ti on of hi s hands, to make sure that
they have not been secretl y prepared.
Then the conj urer takes one of the
cards and pl aces i t on hi s ri ght hand;
he hol ds hi s hand stretched out away
from him, wi th the pal m upward.
Havi ng pl aced the card in posi ti on,
the conj urer makes a pass wi th hi s
l eft hand toward the card and announ
ces that he is goi ng to try to mesmer
i ze it.
CrrCCT Jecrer C*rd,
Nothi ng seems to happen, so the
conj urer pl aces a second card under
the first, then proceeds to add a num
ber of other cards, spreadi ng them
out so that he has a ki nd of rosette of
cards in hi s ri ght hand.
Then he once more pretends to mes
meri ze the cards, and pl aces hi s l eft
hand on them for a moment.
Wi thout any warni ng of what he
i ntends to do, the conj urer then turns
hi s hand over, sti l l keepi ng the l eft
hand agai nst the cards and so prevent,
i ng them from fal l i ng to the ground.
Suddenl y he takes away hi s l eft hand
and repeats the mesmeri c passes wi th
it in the di recti on of the ri ght hand,
and the audi ence are consi derabl y sur
pri sed to see that the cards do not obey
It
125 TRICKS WITH CARDS OR SLEIGHT OF BAND
tho law of gravi ty and fal l to the
ground. They remain clinging to the
hand.
The conjurer asks someone to name
a small numberunder twenty. He
counts slowly up to this number, and
exactly at the moment he speaks it, the
cards fa ll to the floor. The cards and
the conj urers hand can be exami ned
by any person who i s curi ous to find
out how it i s done.
To come at once to the expl anati on,
one of the cards I s prepared, but if the
preparati on i s done neatl y, the card
wi l l pass as an ordi nary card.
A smal l pi ece of another card is
pasted to the center of the card that
i s to form the foundati on of the pi le
of cards pl aced on the ri ght hand.
Of course thi s l i ttl e pi ece i s pasted to
the back of the card; it shoul d form a
l i ttl e fl ap whi ch can be hel d down cl oss
to the card, and thus i t wi l l not be
noticed.
To rai se the flap, the conj urer merel y
has to bend the card sl i ghtl y, and in
repl aci ng it on hi s ri ght hand he gets
thi s flap between the two knuckl es of
hi s thi rd and second fi ngers.
I t wi l l be seen that the card i s hel d
cl ose to the hand, and therefore i f t he
conj urer ar ranges other cards under
thi s fl ap card al l the cards wi l l be
hel d cl ose to the hand.
The counti ng is done merel y for ef
fect, and when the cards are al l owed
to fal l the conj urer takes care that
the fl ap card i s not pl aced too near the
^yes of any i nqui si ti ve person.
A TORN CARD WIT H A NE W F INIS H
Here i s an i dea whi ch we do not pre-
cend to be in any way a fini shed tri ck;
i t i s merel y a suggesti on upon whi ch
the reader may bui ld. The actual tri ck
i tsel f i s si mpl y a versi on of the torn
and restored card adapted from an
effect gi ven in one of Roterbergs ex
cel l ent works, and whi ch is to be
found in one form or another in many
more. The final e i s a rough try out of
a new finish by whi ch the card i s en
ti rel y restored at the end by apparent
ly wel di ng on the torn corner under
somewhat curi ous condi ti ons.
Thi s part i s si mpl y an idea, but, as
a matter of fact i t i s actual l y more
than thi s because we actual l y worked
i t somethi ng after thi s fashi on and we
found that i t went over very wel l
and apparentl y no one tumbl ed to the
method empl oyed, though a conj urer
mi ght possi bl y have done so. We are
not performi ng for the benefi t of con
j urers, howeverat l east we hope not,
for thi s sort of conj uri ng is very aften
uni nteresti ng to the average audi ence
and frequentl y onl y practi cal under
certai n set condi ti ons whi ch in the av
erage run of real entertai ni ng do not
readi l y obtai n.
: .*t up star t the tri ck i tsel f.
V s does not fol l ow qui te the stand
ard l i nes for this particular trick. The
force employed is unusual and though
it appears to be even more fair than
usual it is actually a moro decided one
and absolutely cortain to work. Wo a l
lude here to the forcing of the corner
or other part torn out, not to the force
of the card 'itself. I f you come to think
F ig. 1
D. Ordinary card B. Untorn card
frame. with C. Sand-
A. Actual torn paper covcr to
ard. cover corner.
of i t the pl anti ng of thi s bi t of card
i s the cruxand al so the weaknessof
the enti re tri ck, whatever i ts form may
be.
To star t wi th, the performer forces
a card, preferabl y a court card. Let us
suppose i t to be the ki ng of cl ubs. Thi s
card i s then torn i nto a number of
pi eces enti rel y at the free wi l l of the
audi ence and by one of themsel ves. The
pi eces are poured upon an ordi nary
pl ate and thi s i s offered in turn to a
number of peopl e each of whom ; . r e
quested to take one of the pi eccs, hi s
choi ce not bei ng control l ed at al l . Each
i s then asked to take a card, qui te
freel y, from the pack and whatever
card proves the hi ghest among those
taken that person i s i nvi ted to keep
hi s porti on of the card in hi s pocket,
or notebook, for subsequent reference.
The rest of the pi eces are al l dropped
back upon the pl ate and the l ot deal t
wi th in whatever way the performer
chooses. The card i s then found r estor
ed in a smal l frame whi ch has j ust
been shown enti rel y empty. We say
restored, that i s al l, but the one mi ss
i ng part whi ch i s shown to exactl y fit.
The performer i s not sati sfi ed wi th
thi s unfi ni shed state of affai rs and he
tel l s hi s audi ence that he has recentl y
di scovered a ray whi ch, correctl y used.
125 TRICKS WITH CARDS OR SLEIGHT OF HAND II
acts as a sort of magi cal bl owl amp and
enables hi m to reduce sol i ds to a state
of fl ux so that on cool i ng there i s a
cl ean joi n. He demonstrates hi s mean
i ng by borrowi ng a quarter, pl aci ng
i t in a smal l receptabl e, whi ch i s un
doubtedl y empty, otherwi se, and pl ay
i ng the red ray upon it for a moment
af ter whi ch the owner of the quarter
i s del i ghted to be shown that hi s quar
ter i s now a mere mass of mol ten me
tal . Thi s is set asi de to cool and in a
very few seconds the coin i s agai n hard
and as good as ever.
Havi ng thus proved hi s poi nt, as to
the val ue of the ray, the performer
then takes the card, mi nus the part
whi ch i s sti l l torn out, and repl aces
i t in the empty frame in whi ch i t is
seen, mi nus i ts l ast pi ece. He pl aces
thi s i s posi ti on outsi de the frame upon
the gl ass i tsel f so that the two are
separated by the gl ass of the frame.
Neverthel ess he turns on hi s "r ay and
pl ays i t upon the t^orn corner and the
audi ence are then shown that the cor
ner sti l l shows but that i t i s now at
tached to the card beneath the gl ass,
the tear in the card bei ng compl etel y
mended and the corner apparentl y
mel ted through the gl ass and joi ned up
bel ow it.
I n proof of thi s the performer takes
the cards from the frame and hands
i t di rect to the chooser for exami na
tion, the empty frame remai ni ng upon
the tabl e i nnocent as at first.
Now for the expl anati on, whi ch is
real l y very si mpl e.
To star t wi th the pack used i s very
ei mpl y prepared by removi ng al l the
aces but onei ts a matter of i ndef-
ference whi ch i s l eft in the pack. Thi s
one i s then marked, upon i ts edge,
wi th penci l, or i nk (thi s i s accordi ng
to your eyesi ght, penci l i s best i f it
i s suffi ci entl y di sti nct for the perfor
mer to di sti ngui sh it qui ckl y in the
pack, si mpl y because i t can be rubbed
off agai n whereas i nk i s not so easi l y
di sposed of!) The ki ng of cl ubs i s set
for the force accordi ng to the per
formers i ndi vi dual i deas in thi s di rec
tion. Another ki ng of cl ubs dupl i cati ng
it, i s prepared by teari ng out a por
ti on (not necessari l y the corner) whi ch
i s set careful l y asi de for future use;
the card, i tsel f, i t set in an ordi nary
sand frame wi th the sand coveri ng it,
as usual .
The card forced, i t i s gi ven to i ts
chooser to tear i nto pi eces whi ch are
recei ved upon an ordi nary chi na pl ate,
the onl y extraordi nary thi ng about
whi ch is that the performer hol ds it
in hi s ri ght handor hi s left, for that
matterwi th hi s thumb above and hi s
fi ngers beneath (whi ch i s not so extr a
ordi nary after al l i f you except the
f act that he has beneath the thumb
that l i ttl e bi t of card whi ch the others
have not got! ) when the pi eces are
poured upon the pl ate the torn pi ece
he artful l y shi fts hi s thumb a little
and al l ows the pi oce hi dden beneath
i t to mi ngl e wi th the rest, being care
ful to keep i t wel l marked, however,
as thi s i s the cl ue of the whol e effect.
I t i s not a very di ffi cul t feat to force
thi s corner among so many for the
si mpl e reason that you j ust keep i t
up unti l someone does take i t! I n i ml -
F IG. 2.
Curd* A and n In detail.
C. Cap for attachment to B,
l ar manner i t i s not very di ffi cul t to
push out the sol i tary ace whi ch th*
pack contai ns upon the hol der of thi s
parti cul ar porti on of the card. Now
whatever other cards may be taken i t
i s i mpossi bl e for anyone but the choos
er of the pl anted bi t to hold the hi gh
est card si nce Now we e come to t5
est card si nce he, natural l y hol ds the
hi ghest card in the pack. The usual
restorati on i s then proceeded wi th and
the card i s ul ti matel y di scovered in
the frame.
Now we come to the wel di ng busi
ness, and thi s, too, i s a perfectl y si m
pl e matter for al l i ts novel effect. An
ordi nary Sand Fr ame i s used about
whi ch there i s only one thi ng to be
attended to; it must be of the ki nd in
whi ch the card occupi es the enti re
si ght openi ng and i t must be so ar
ranged that when the back i s opened
and al l owed to fal l down at ful l l ength
(as shown) the sand wi l l be run out
and the front cl ear and transparent.
The arrangements other than these
two smal l matters are as fol l ows:
Fi r st a thi rd dupl i cate ki ng of cl ubs,
whi ch i s qui te ordi nary, and wi thout
bl emi sh of any ki nd, i s adj usted behi nd
the one wi th the torn out pi ece so th; t
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
the two cards exectly register as one.
In this condition they are exactly reg
istered with the opening and a spot or
two of wivx, jus t sufficient to hold the
card, is put upon the corners of the tin*
torn card (which is, of course, on top,
and back upward). The back of the
frame is now closed, gently, and a l i t
tle firm pressure applied so as to cause
the upper card to adhere to the back
of the frame. I f the under, torn card
is not removed i t w ill be found that i f
replaced to register as before the back
is carefully closed w ill bring the two
cards into complete register again ( if
the frame is at all well made, that is
to fii&y!) which is the reason for all
this preparation. The next thing is to
take a little cap, or pocket, to slip
over the same corner of the whole card
as is torn from the other one. This is
done by selecting a small piece of
sandpaper to match the frame back
ing and s lightly larger than the torn
piece. This is shaped so that it covers
a little more than the torn surface and
leaves a narrow turn over, as shown
in F igs. 1 and 2, by which it may be
fitted upon the card. When made, the
rear of this cap must be smoothed
and all sand and roughness removed
entirely and, lastly, a fine s ilk thread
is attached to i t long enough to pro
trude from the back of* the closed
frame an inch or two. A knot should
be made in the free end. '
What happens after this? J ust this:
The frame, so prepared, is arranged
with the sandpaper cap over the rear,
whole card and torn card registered
with its duplicate and facing the glass
of the frame. The sand covers all and
the frame appears to be empty.
F irs t the card is produced in the
frame where, owing to the cap over
!the rear card, the appearance of the
card is exactly as though there were
only the one card in the frame at all,
.and that with its corneror other part
missing. In order to remove the card
the back is opened and allowed to drop
down so that i t carries upon i t the
piece which is lightly stuck to it. I f
the frame is sloped very s lightly fo r
ward as this is done the result w ill be
that while the one card descends with
the released back of the frame, the
front card remains facing the audience
and being removed visibly, and a clear
Yiew obtained through the glass, the
affect of a totally empty and unprepar
ed frame is secured. The card removed,
the frame is closed not by raising the
back to the frame but vice versa; the
fram$ is turned back upon the back
and the frame thus reversed and fas
tened with the back to the audience
during which the sand, of course, runs
down, covering the card s till within
and giving the appearance of an en
tirely empty frame. In returning the
card to the frame for the welding
'ocess, the frame is opened in exactly
the reverse manner to that In which
i t was closed; that is to say: i t is in
verted with its back to the audience
and the fastening undonethis allow
ing the sand to clear awayand the
frame is then laid on its back, flat
upon the hand, and the frame itself
raised toward the spectators so that,
although the glass is cleared of sand,
they have no opportunity to see into
the frame until i t is separated from the
back as before. The card is inserted
and the back closed up in the ordinary
way (not as at first, by lowering the
frame) and i f the card is correctly in
serted the two w ill register, as before.
Set the corner in position by secret
ly moistening the back under pretence
of a slight cough but any ruse w ill
serve for this and, once covered by the
loose piece it is easy to remove the
little paper cap within the frame by a
simple pull on the thread ( it is nol
necessary to pull it right clear; only
to pull i t clear of the card) the two
cards now appear, at a little distance,
to be one, mended card but, for the
time being this state of affairs is con
cealed by the piece s till upon the sur
face of the glass.
The vanish of the torn piece through
J. the glass is absurd but effective. The
ray is simply a small electric torch
with a colored disc inside the lens.
Upon the outside of the lens itself,
put a smear of wax and in directing
the beam upon the torn piece at one
point bring it actually into firm con
tact with it, switching off almost im
mediately and putting the torch down
on the table. I t- o f course carries with
i t the torn piece but, owing to the ar
rangement within the frameonce the
small cap is removedi t is impossible
to see i f i t is there or not: i t appears
to have melted through the glass and
joined up with the card itself.
This time when the frame is opened
both cards are allowed to descend with
the back and it is the rear one which
-is detached and removed while the one
with the torn corner is allowed to re
main within the frame which is closed
jus t as at firs t by lowering the frame
upon the back and so reversing the
frame and so causing the sand to des
cend and cover the contents from view.
The little by-play with the quarter
is simply the old melting pot with
quicksilver except that we simply dis
pensed with the usual plug lid. We had
the well with its blob of quicksilver
already within the outer receptacle
and simply palmed i t out to receive
the quarter and inserted the well again
as we le ft i t upon the table and to re
store the quarter we jus t reversed the
process! Crude, i f you like, but i t ser
ved quite well, so why worry?
There is an alternative to leaving the
card in the frame. The two cards may,
i f preferred, be removed as one and
the single hand slide" change made,
I I
11S TRICKS WITH CARDS OR SLEIGHT OF HAND
as the card Is handed out for inspec
tion but we dont quite see what is
gained by it. Howeveryou pay your
money and you take your choice!
A NEW SWORD T R IC K
There has al ways been a certai n f as
ci nati on about any sort of effect in
nrhioh a sword pl ays a part, and sword
and cards i s well appl auded and re
ceived by al most any cl ass of audi ence,
tt is not perhaps a tri ck sui ted to very
close work, but upon the stage i t is
not at all i mpossi bl e.
In the old days when performers
worked in court costume, a sword was
a necessi ty as wel l as an ornament;
the costume bei ng i ncompl ete wi thout
i t; they made a practi ce, therefore, of
A -
p ------------
i ntroduci ng the catchi ng of cards upon
the sword from a pack thrown i nto
the ai r, as a regul ar feature of the
show.
The sword sol d for the purpose in
those days was a bi g and cl umsy affai r,
wi th the cards hel d in a sort of card-
case attached to the hilt, whi ch was a
massi ve and ungai nl y l ooki ng affai r;
indeed the enti re thi ng was al most a
cutl ass and was an absurd way of r e
veal i ng two or three cards. I n any case
i t obvi ousl y woul dnt go wi th a cos
tume that was del i cate.
One performer had a rapi er, taken
from a sword sti ck, converted to hi s
needs, very l i ght and smart l ooki ng,
but havi ng no sort of tri ckery about it
whatever. He wanted to perform the
card catchi ng stunt wi th thi s. The me
thod was most beauti ful l y si mpl e. I t
onsi sted of prepari ng three cards by
stamping out a hole in each which al
lowed each to pass a certain distance
along the swordsall except the first
which had no hole at all. The other two
had holes of different sizes, allowing
them to stop at di fferent pl aces upon
the sword bl ade. These were neatl y
stacked, fi rst the whole, unprepared
card, face down. Next the one wi th the
smal l er hol e and, upon that, the one
wi th the l arger hole. These cards were
then pl aced upon the fl oor of the stage
and hi dden from si ght by any smal l
obj ecta box, or a pot of fl owersand
the scene was set! To Perform; The
performer faced the member of the
audi ence who was to throw and scatter
the pack, and he stood in a pi cturesque
atti tude, the sword poi nt resti ng upon
the floor, and as soon as the pack was
in the ai r he made a wi l d l unge at
them and there, upon the sword, in a
neat row, were the three chosen cards.
He stood wi th the poi nt of the sword
not onl y upon the fl oor but stuck into
the bottom card of the pi l e of three,
through the two hol es, and as he made
the forward l unge si mpl y rai sed the
sword wi th the cards stuck on it, I l ka
toast on a r oasti ng fork, and the f or
ward l unge di d the rest!
Al l thi s i s merel y to i ntroduce the
present versi on of the tri ck whi ch
is an advance upon any mechani cal
method yet put forward. I ts mechan
i sm i s si mpl e and, as f ar as our exper
i ence goes, certai n, and it embodi es no
peri shabl e el asti cs, etc., and, further
more, i t does l ook an el egant weapon
and a genui ne one, and does not gi ve
the i mpressi on that a band of pi rates
has taken possessi on of the stage by
mi stake.
The sword may be used for one, two
or three cards, and they may be de
tached and show nothi ng but a sli t,
such as the bl ade woul d natural "
make, in any case. There i s nothi ng
break or sti ck at a cri ti cal momen
and the appearance of the cards is
more natural than in the ol der method
for the si mpl e reason that in the ol d
versi on the cards came to the sword
from outsi de it, whereas in the pr es
ent versi on they are actual l y upon the
sword at the start.
The method i s based on the Coi n
Wand. We refer to the metal rod wi th
a sl i ght bul b at the ti p by whi ch the
travel of a coin upon it, by means of
a col l ar attached to the coin, i s ar
rested at the tip, the coin sli ding: up
ward to the ti p when the wand i s
struck i nto the ai r. We have appl i ed
the same pri nci pl e to a card travel i ng
upon the bl ade of a rapi er in the f ol
l owi ng manner.
Above the handl e of the rp.pier i s a
metal shi eld, for the protecti on of the
hand hol di ng it, and i t i s here that
the maj or part of the mechani smif
one can cal l i t suchis si tuated. Thi s
shi el d i s actual l y di vi ded in the center
and i s made to open and shut in two
hal ves, l i ke the doors of a cabi net.*
The doors serve to encl ose a very shal
l ow metal box, only deep enough to
contai n three or four cards and abo*1*
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
a hal f i nch l arger al l round than a
pl ayi ng card woul d be. Through thi s
box, whi ch is brazed upon the shank
of the handl e, the bl ade i s fixed, per
manentl y and a l i ttl e V shaped cut
in each metal pl ateor dooral l ows
of these cl osi ng fl at upon the box.
I n thi s posi ti on they are normal l y
held by a spri ng whi ch only j ust serves
to keep the doors cl osed, but wi l l open
to a sl i ght pressure but, upon rel ease,
wi l l i nstantl y cl ose agai n. Sui tabl e
sl ots are made in three cards, such as
wi l l al l ow of thei r travel i ng up the
bl ade when the box is open, and the
sword i nverted. At the top, or near it,
the bl ade is prepared upon i ts flatter,
broad, surface by the addi ti on of a
l i ttl e bl ob of metal , upon each si de,
filed i nto the requi red shape. Vi ewed
upon the broad si de of the bl ade it
i s so sl i ght as to be scarcel y noti ceabl e.
A metal bush i s made whi ch wi l l tr a
vel up the bl ade, j ust as the coin does
upon the metal rod, but i f thrown up
to that poi ntas by a smart sl ash
i nto the ai r i t j ams upon the metal
thi ckeni ng at thi s poi nt. Thi s bush
i s qui te smal l (i t i s shown greatl y ex
aggerated at E2) and i t i s used by
thrusti ng i t through the sl ot in the
uppermost card (i n thi s case, of course,
they wi l l be face up). Al l three cards
are then al l owed to si nk to the bottom
of the sword bl ade, the box bei ng open
to recei ve them, and the l i ds are al
l owed to close.
I n the handl e there i s a sl ot in whi ch
travel s a movi ng button to whi ch is
attached a smal l pl ate beari ng an eye
let. To the proj ecti ng ends of the
doors, upon the undersi de, are at
tached two mi nute eyel ets and a strong
wi re, or a l ength of gut, goes from one
to the other, passi ng al so through the
eyel et attached to the movi ng button
and pl ate worki ng in the handle. So
l ong as the button i s not moved the
doors are hel d cl osed by the spri ngs
wi thi n the shal l ow box; but i f the hand
hol di ng the rapi er uses i ts thumb to
pul l down the button i t causes both
the doors to be held open for j ust so
l ong as the pressure i s mai ntai ned; im_
medi atel y i t is rel axed the doors close.
They can thus be fl ashed open and shut
in a moment.
Here, then, i s the acti on. The cards
bei ng thrown i nto the ai r the perform
er makes a moti on at them whi ch i s
a curi ous mi xture of a fl ouri sh and a
thrust at the cards. To do thi s he
stands wi th the sword in hi s ri ght
hand, arm across the body, and poi nt
of sword poi nti ng to the rear, at hi s
l eft side.
I n thi s posi ti on the hi l t of the sword
(whi ch means the rear of the box)
f aces the audi ence. Hi s atti tude is one
of a l i vel y expectancy, befi tti ng the
ci rcumstances. As soon as the cards are
thrown he makes a sweepi ng cut to-
T>'ari them and at the same ti me opens
the doors and al l ows the three con
ceal ed cards to pour out and fal l down
the bl ade. The sudden sweep through
the ai r causes them to rush up the
bl ade unti l the topmost j ams upon the
protuberance near the ti p, and the f or
ward thrust, at the end, assi sted by
the now sl opi ng posi ti on of the sword
al l ows the other two to fal l back to
ward the hil t. The doors, have, of
course, cl osed as soon as opened, al
most. Actual l y the enti re moti on i s one
and not a seri es of moti ons as all.
There i s one other matter whi ch
needs expl anati on. I f onl y one card
i s to be used then nothi ng further i s
necessary. I f , however, two or more are
to be caught a l i ttl e thought wi l l show
that somethi ng further i s essenti al . I t
wi l l be remembered that the cards -re.
in thi s case, travel i ng up the bl ade to
ward the poi nt, and thi s, in turn, means
that the hol e in the card must be made
to al l ow of the passage of the broad
est part of the rapi er, to star t wi th. I t
i s evi dent, then, that these cards wi ll,
on the poi nti ng of the sword upward
si mpl y fal l to the bottom in a heap
and wi l l not accommodati ngl y range
themsel ves at conveni ent i nterval s as
in the fi rst case where they were f al l
i ng poi nt downward at the start. I t
wi l l , therefore, be necessary to attach
each o f the l ower cards to the one
above it by a l ength of fine thread,
the attachment bei ng made cl ose to
the bl ades and near to the hol es them
sel ves. I n thi s way the topmost card
supports both the other two at stated
i nterval s. I t i s not essenti al that the
cards shoul d be permanentl y fastened
to the thread, a spot of wax woul d
serve, in whi ch case they coul d be r e
moved and shown unprepared. The
smal l bush need not be removed at j*11
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
i t may be freed and al l owed to si nk to
the bottom of the bl ade, out of the
way. I n any case nothi ng is to be gai n
ed by a too cl ose exami nati on of every
thi ng; whi ch, in most cases, i s much
more l i kel y to arouse suspi ci on than
to al l ay it!
Another poi nt upon whi ch we mi ght
say a word is as to the shape of the
shi el d whi ch consti tutes the doubl e
l i d to the card hol der. Thi s i s not a
mere fl at pi ece of metal , it i s onl y flat
where i t meets the card hol der edges,
otherwi se i s i t curved and shaped
and the more fanci ful i t can be made
to l ook the better. I t certai nl y shoul d
not be made wi th squared edges but
shoul d be as unl i ke a card, in i ts gen
eral shape, as possi bl e. I t shoul d not
be di ffi cul t to gi ve i t a scrol l l i ke and
'Id worl d appearance wi thout in any
vay i nterferi ng wi th i ts worki ng parts.
Wi th reference to the accompanyi ng
i l l ustrati ons.
At A i s shown a rough sketch of
the appearance of the rapi er.
B shows a sketch of the top part
oC the prepared bl ade, l ooki ng at i ts
thin edge, in whi ch case the protuber
ant thi ckness of the added metal is
pl ai n to the eye.
C shows the same but vi ewed from
the flat, or broad si de, of the bl ade.
At D the acti on of the doors in
openi ng, governed by the sl i di ng stud,
or button i s shown.
E shows thi s agai n, but showi ng
the i nteri or of the tray or card holder.
I t al so shows the arrangement of the
spri ng whi ch, as here drawn, i s a
doubl e coil of spri ng wi th a proj ecti ng
arm at the center, thi s l atter sl i di ng in
a l i ttl e stapl e- l i ke fi tti ng upon the i n
si de of the lid. The normal posi ti on of
thi s arm i s fl at upon the bottom of the
box, or, rather paral l el wi th it. I n
thi s posi ti on i t hol ds the l i d securel y
in pl ace and upon i ts bei ng rai sed it
at once tends to return to thi s posi ti on
when rel eased. The spri ng i tsel f i s
mounted upon a wi re rod sol dered
across the end of the contai ner (l i ke a
l ong stapl e). I t wi l l be seen that the
two hal ves of the shi el d have smal l
l ugs from whi ch a pi vot passes i nto
the i nteri or of ths tray, vi a a smal l
hol e dri l l ed in the si de of the tray
i tsel f.
A more detai l ed vi ew of thi s spri ng
i s shown at El , and at E2 i s seen a
smal l and very exagger ated sketch of
the smal l metal bush upon whi ch the
card i s actual l y carri ed and caused to
remai n stati onary.
At P i s shown the appearance of the
sword wi th the card out, and appar
entl y i mpal ed upon it, the doors be
i ng agai n closed.
There i s no reason why the card r e
ceptacl e shoul d be the actual si ze of
the card, gi ven the requi si te ar ea r e
qui red to contai n it, and thi s, too,
could be to a certai n extent di sgui sed.
The box is, however, so shal l ow that
much more di sgui se shoul d not be
found necessary, i t has the appearance
more of a strengtheni ng pl ate than
anythi ng.
MA RK ED CARDS
The use of marked cards i s natur
al l y a gr eat advantage to the aver age
v? -;i? C .fc &
performer who exhi bi ts card tri cks.
However, marked cards al so have be
come a most val ued al l y to the bl ack
56
125 TRICKS WITH CARDS OR SLEIGHT OF HAND
l eg who cheats at cards, especi al l y at
games such as stud poker, cri bbage
and si mi l ar games where cards that
fi gure to an i mportant extent In the
game are pl aced face down on the
tabl e.
ADAM'S LEA GUE DECK
Because i f the vast i mportance of
marked cards to the card tri ck expert
and al so because of the danger of
runni ng agai nst them in a game a
compl ete descri pti on of thei r appear
ance and al so the mar ki ngs by whi ch
they can be recogni zed i s val uabl e.
One of the popul ar numbers i s
known as De L ands, a deck whi ch has
more than 32,000 secret marks. Some
seemi ngl y i mpossi bl e feats in magi c
READ THE CARDS
FROM THE BACKS
DQ.p.O'pO 0 0-0 0.
>6o6oboooo' o.
DOOdOGO'OpOQ
?6oo o o.o Co
a fro 6b.o 6 6
5,9.e .0:0jOi]*
5 0 0 0 0 0 0- 0I a i O$
?oo'o'o'ocvdo^;
5 o e &io;OiO o 6:9
t p[p
3 C 0.0 0 O'OC 6 O'O,
0 <; f 0 0;0
J O O O I ' O O O ' O O O
)OC 0.jC-OfO.OO!
p 00,0q o'oc o ooe
3oo 69dtd,o;o_.o $;4
[i6]ijlfP'
D0:0 O >,C ,0,4,.
Wk o sSBsRW
STAR DECK
can be performed wi th these cards and
the operator can tel l at a gl ance j ust
what card is hel d by hi s audi ence, or
whi ch has been l ai d on the tabl e.
The i l l ustrati ons wi l l desi gnate the
di fferent brands of decks and parti cu
l ar care shoul d be taken to note the
di fference in desi gns. The ski l l ed card
tri ck performer wi l l undoubtedl y want
several of these decks because i t wi l l
not then be necessary to use the same
cards for al l the tri cks.
I t shoul d be understood that these
cards are made to l ook j ust l i ke r egu
l ati on decks and i t woul d take a pr et
ty shrewd person to di scover the di f
ference wi thout havi ng attenti on di
rectl y cal l ed to the unusual l ooks.
There are so many di fferent types of
backs on the cards used now that there
i s l i ttl e l i kel i hood of thi s. I n fact, we
are sure that the cards coul d be used
in a card game and pl ayed wi th the
enti re eveni ng wi thout anyone once
suspecti ng that they are unusual from
the standpoi nt that they al most shont
out thei r i denti ti es to the person who
knows how to read the backs.
The Dai sy deck cards have a system
of marks whi ch can be read at a di s
tance of 15 feet. They are regarded by
some old masters at card mani pul ati on
as especi al l y adapted to stage use.
The Ni fty deck i s especi al l y sui ted
for l ong di stance readi ng. Adam's l ea
gue deck can be "tol d" from the froi i t
as wel l as the back. The performer can
present an enti re act in magi c ar wel l
wi th thei r aid.
DE LANDS DECK
The Star deck comes very close In
appearance to some of the styl es that
are in use every day where men get
together for a game of poker.
We mi ght add that al l these cards
can be purchased from J ohnson Smith
and Co., Detroi t, Mich, together wi t*
DAI SY DECK
compl ete i nstructi ons. The cost of the
cards i s $1.00 per deck.
How these cards are someti mes used
by cheats i s easi l y to be seen. Take,
for exampl e, that the game of five
125 TRICKS WITH CARDS OR SLEIGH!' ' W
card stud was bei ng pl ayed by a.
group i nto whi ch the crook has manag
ed to make hi s way. I n some manner,
easi l y understood by the professi onal
cheat, he has managed to have the
marked deck used. After the first card
i s deal t, whi ch al ways, in five card
stud, i s face down, he can read the
val ues of the card wi th l i ttl e effort. AH
he does i s l ook at the back of the
cards and they tel l thei r secret to him.
He j udges hi s own hand accordi ngl y.
I n fact, he usual l y adds a bi t of card
mani pul ati on wi th the marked deck
and wi th thi s doubl e advantage there
i s l i ttl e chance of anyone bei ng abl e
to keep up wi th hi m at the gambl i ng
tabl e.
I n cri bbage the advantage i s sti l l
greater in that the cheat wi l l never
hel p the cri b of hi s opponent. He
wai ts unti l hi s opponent has di scarded
the cards i nto the cri b and then pl aces
two cards hi msel f that do not match.
Then he watches the cards as he cuts
them and by a bi t of careful mani pul a
ti on manages to have a card turned
up that wi l l be of di sti nct advantage
to hi s own hand.. For exampl e, sup
pose he had a pai r of tens and a pai r
of fives in hi s hand. Natural l y the
turn he seeks i s a ten, a five or at l east
another pi cture card. So wi thout effort
manages to get one of these up, pre
ferabl y the five. Wi th thi s card turned
he gets a bi g hand, wi th l i ttl e chance
of hi s opponent, who trusts onl y to
luck, havi ng a sum in hi s hand to
equal the cheats.
I t shoul d not be hard for the perfor
mer of card tri cks to vi sual i ze how
these cards can be used to great ad
vantage in presenti ng a program or
j ust a few exhi bi ti ons as the case
mi ght be. Great fun coul d be arranged
to have the deck used in a regul ar
game for a few hands and then non
chal antl y excl ai m that i ts no fun pl ay
i ng when you can read the val ue of
the cards from the back because of an
extraordi nary gi ft i nheri ted from your
ancestors.
Natural l y such a statement wi l l
cause a l ot of l aughter and then wi l l
come the demands to prove it. Al l that
woul d be necessary now i s for some
one to l ay a few cards on the tabl e.
Natural l y, by l ooki ng at thei r backs
you can tel l what they are. The rest
of the group wi l l be amazed and regard
the correct readi ngs as some unusual
abi l i ty. Whether the j oke i s to be ex
pl ai ned natural l y rests wi th the per
former. I f he expects to have the game
of cards conti nue wi th hi m as a par ti
ci pant the tri ck wi l l have to be ex
pl ai ned.'
But many of the card tri cks enum
erated in thi s book woul d be much eas
i er to perform i f a deck of these cards
i s used. Al so the opportuni ty for gr eat
ly i ncreasi ng the number of tri cks in
the repertoi re wi th l i ttl e speci al pr ac
tice i s presented.
RING WIT H MIRROR
Thi s type of ri ng has been in favo>
for many years both wi th the perform
er of card tri cks who has a perfectl y
l egi ti mate reason for i ts use and agai n
by the crook who cheats at cards.
When the ri ng is on the finger, i t is,
to al l appearances, j ust an ordi nary
one. I t is, however, fi tted wi th a smal l
though effecti ve gl ass mi rror, as shown
in the i l l ustrati on. The m i r r o r mea
sures an i nch in di ameter and qui te
effecti ve for seei ng what i s goi ng on
behi nd the wearer and al so vi ew the
the cards as they are bei ng deal t.
The crooked gambl er wears a ri ng
l i ke thi s and in deal i ng manages to
hold the cards and ri ng so that he can
catch a gl i mpse of the cards as they
sl i de oft the deck. I n thi s fashi on he
knows j ust what cards are bei ng gi ven
to everyone on the tabl e and al so t
hi msel f.
Many of the ol d- ti me professi onal
gambl ers who haunted the wi l d- wet
towns duri ng the boom days of earl y
settl ements used these ri ngs to cheat
the cattl emen and al so the mi ners out
of thei r hard- earned money. The
gambl ers grew so accustomed t o wor k
i ng wi th the ri ng that many of them
i mproved on the ori gi nal desi gn and
had speci al ri ngs made whi ch they
coul d wear at al l ti mes. The ri ngs us
ual l y were purchased sl i ghtl y l ar ger
than the fi nger so that they coul d be
permi tted to reverse themsel ves and
the refl ector fal l to the back. Rome of
the gambl ers had speci al ri ngs mad
whi ch were of hi ghl y pol i shed gol d.
These then coul d be sported in the
open and persons accustomed to noti c
i ng the ri ng woul d thi nk nothi ng of i t
when the front happened to sl i p
around, j ust as any ri ng wi l l do i f i t
is too l arge.
Today a ri ng of thi s type can be pur
chased for onl y 15 cents from J ohnson
Smi th and Co., Detroi t, Mi chi gan. The
i ngeni ous performer of card tri cks wi l l
58 x*5 THICKS WITH CARDS OR SLEIGHT OF HAND
easily see where such a ring can be
come a valuable adjunct In performing
many of the tricks suggested in this
look and also tricks which w ill sug
gest themselves as time goes on and
the performer becomes more and more
adept at both the simpler tricks and
those requiring sleight of hand.
WORDS OF ADVIC E
,, Many readers who might become dis
couraged with Blow progress might
bear in mind the record of the great
Howard Thurston, who for many years
reigned supreme in the field of card
tri ckB
Howard Thurston, the P remier Card
Manipulator of the World, and known
throughout America as The Man who
Mystified Hermann/ was born at Co-
umbus, Ohio, on the 20th of J uly, 1869,
O riginally intended by his fa
thera gentleman of firm C hristian
principlesfor the ministry, he entered
the D. L. Moody College, in Northfield,
Mass., and completed a course of five
years' training. During this period he
came to the conclusion that P rovidence
had never intended him to go through
life as a parson, and his natural love
of Magic always predominated over
his liking for the more serious subject
he was studying.
Upon graduating with honors from
the college, very much against his fa
thers wish he decided to adopt Magic
as his profession. (How many other
well-meaning enthusiasts have adopt
ed this procedure, and with what re
sult? ) He did so, but found that there
were already too many all-round*
conjurers in the business. This some
what dampened his ardor at firs t; but,
after cogitating for some considerable
time, he decided to adopt a single
branch of the Magician's A rt, viz., Card
Tricks.
Then came many weary month of as
siduous practice, the greater part of
the time being occupied in a s trict ad
herence,to a special system of strength
ening and giving additional flexibility
to the muscles of the hands (a system
which, much as wed like, we are not
In a position to divulge), and after five
years* traveling in America, presenting
a J Magical E ntertainment of two hours
In length in the smaller cities, Mr.
TJ uirston firs t made his bow to a ipub-
lic audience as a Card Manipulator at
the F ountain Square Theater, C incin
nati, Ohio, in J anuary, 1895. Since then
his career has been one of unprece
dented, success and brilliancy.
One - of the chief characteristics of
Mr. Thurstons act is his graceful stage
deportment. No other living artist, in
our opinion (and we have witnessed
performances of the best P restidigita
tors of the past quarter of a century)
can compare with him in the incom
parable manner in which he presents
his tricks.
There is nothing automatic about
this P ast Master of the A rt. During the
whole of his performance he is think
ing, and always on the alert, watching
for new ideas to occur to his energetic
brain. Magic, like L iterature is a
double A rt: Mechanical Magic is the
Prose, while S leight-of-hand Is the
P oetry, and it is in this latter branch
that this great artis t excels.
Mr. Thurston's piece de resistance was
celebrated Rising-Card T rick, with
which he aboslutely mystified that guar
dian of an honored name in the world
of deceptionHERMANN THE GREAT.
W ith regard to this tric k we think it
w ill be of interest to the readers of
this book, to reproduce at this point
the following extract from the Denvr
Sunday P ost of October 23, 1898:
Hermann, the Great, Mystified by .
Thurston
Hermann, the magician, and his en
tire company, including Mme. Her
mann, were nonplussed last night on
the Tabor Grand stage by another ma
gician. The scene occurred about 7:30
oclock, before the prestiditateur had
dressed for his performance, and while
Mme. Hermann was yet in street cos
tume. Both had come in with the un
derstanding that they were to witness
a performance before commencing their
own.
The chief actor In the scene was
Howard Thurston, who had been filling
a two weeks engagement at the Or-
pheum Theater.
Hermann, having heard of T hur
stons act, or trick, called at the thea
ter one evening to witness it, and was
so pleased with it that he requested the
young man to call. In response, T hur
ston called on Hermann, and they dis
cussed the act.; Hermann told Thurston
that he would be delighted to have him
give the tric k before his entire comr
pany, and, i f its members were as fa
vorably impressed with i t as he him
self, he would purchase it.
Thurston set an everting as the time
of the tria l exhibition. The drop cur
tain was lowered and Thurston told
all the company to line up before him
on the stage. In the group of auditors,
besides Mr. and Mrs. Hermann, were
W. E. Robinson, chief illusionist of the
company, also a representative of the
Denver Post, the numerous stage hands
and carpenters attached to the com
pany and the theater
Thurston occupied a position in the
center of the stage. F our of the w it
nesses drew a card from a pack which
had been shuffled, looked at it, noted
the denomination silently, and replaced
it in Thurstons hands. Then he with
drew to a position further in the rear,
and asked one of the spectators what
card he had taken out of the pack.
I t was the ten of diamonds,' was
the answer.
125 THICKS WITH CARDS OR SLEIGIIT OF HAWD
"'T en of diamonds, come forth! com
manded Thurston, who held' the pack.
Instantly the ten of diamonds arose
from his left hand and ascended two
feet to the right hand. Addressing the
next man, he said: What card did you
draw?
The jack ot hearts.*
Thurston ordered the jack of hearts
to ascend, and i t instantly obeyed.
"To the next man Thurston pro
pounded a s imilar question with like
results. He then asked the next man,
Hermann himself, to name his card,
which happened to be the ten of clubs.
Let the ten of clubs appear! said
Thurston, and the familiar ten-spot
silently arose as if propelled by an un
seen power. Hermann smiled with
wonder at the performance, and was
completely mystified. Afterward Her
mann acknowledged the trick was a
winner, and offered to purchase it.
Thurston was especially gratified at
the fact that his trick was not seon
through by the Hermann party. He
had mystified the mystifier.
When this episode became know*!,
there was a great rush on the part of
the public to witness the trick, and
after that Mr. Thurston never pass- 1
ed a single week out of an engage
ment.
I n addition to his being otherwise
highly connected socially, Mr. Thurston
is the nephew of former Senator
J ohn M. Thurston, of Nebraska.
Being a polished gentleman both on
and off the stage, Mr. Thurston made,
during his stay in the great Metropolis,
a host of friends; but this does not
seem at all strange/ to any one per
sonally acquainted with this genial and
affable artiste. I n addition to highly
salaried engagements booked in P aris,
Berlin, Vienna, St. P etersburg, etc., etc.
Mr. Thurston held contracts which
kept him busy for the next four
years. A gentleman and a born artiste
to his finger-tips, Howard Thurston-
P remier Card Manipulator of the World
w ill undoubtedly cause his name to
be a household word among conjurers
fo r many years to come.
Mr. Thurston happened to be at Cop
enhagen when K ing E dward V I I , of
England, the Czar of Russia and the
K ing of Greece were vis iting the K ing
of Denmark. One day as the four kings
were coming out of th palace in &
carriage Mr. Thurston stepped out of
the crowd, and bowing to the royal
four, proceeded to extract a card from
the air. I t was a king. Once more he
reached into space and took another
card. A king again. F our times he did
this and then bowed. The four real
kings then bowed to him and passed
on.
A fter a brilliant tour of the contin
ent, Thurston returned to the United
States. He had by no means exhausted
the interest of his countrymen in his
unique card act, but he was ambitious,
and determined to branch out into the
larger field of illusions. W ith a brain
teeming with ideas, he built a number
of very original illusions and necro
mantic deceptions, likewise making im
provements upon old tricks, which he
presented to the American public with
unbounded success.
W ith his laurels thick upon him, he
determined to go to the Orient with
his company, to penetrate into the
wilds of India and study the magic art
of the Hindoo fakirs , while exhibiting
the necromancy of the Occident. His
adventures in India, China apd E gypt
would, fill a valume.
Thurstons tour of the Orient lasted
over two years. People of all classes,
from royalty downward, attended his
entertainments. Among his patrons
were the E mperor of J apan, the E m
peror of China, together with the E m
press Dowager, the S ultan of J ava, the
K ing of Siam, all the royal heads of
India, the Shah of P ersia, and the Sul
tan of Turkey.
Upon returning to America in May,
iV 07, Mr. Thurston joined with Mr.
Harry K eller and toured the United
States as co-star with Mr. K eller for
one season. Mr. K ellar introduced Mr.
Thurston to his audience nightly as
his successor. In August of 1908, Mr.
Thurston took up the mantle of his
old and famous master and continued
as America's leading magician.
Mr. Thurstons life-work is best giv
en in his own words: While keeping
myself in practice in the old tricks,
I am steadily s triving to devise some
thing new. By the application of scien
tific principles, I seek to get out of tho
beaten paths, and to contrive more in
genious apparatus and novel effects.
I t is my aim and ambition to give to
magic, now considered the doubtful
daughter of science and occultism, a
legitimate recognition and standing/*
An Exposure of The Card Tricks
Made Uae df by Professional
Card Players, Blacklegs and Gamblers
DRI OOG
The- fol l owi ng: course i s known to
har e been extensi vel y carri ed on at
the bri dge tabl e wi th gr eat success.
I t i s tel egraphi ng by conversati on.
Suppose you wi sh your partner to pl ay
i n any parti cul ar sui te whi ch woul d
enabl e you to get a run; now i f you do
thi s unobserved, you wi l l at once see
the advantage gai ned over your adver
sary. The method i s thi s: To ask a
questi on upon any subect you may
thi nk of, onl y mi ndi ng the fi rst l etter
i s the same as the fi rst l etter I n the
Huite you wi sh pl ayed namel y:
Shoul d you l i ke a tri p to W ashi ng
ton?" S bei ng the fi rst l etter, Spades
woul d be the sui te requi red; i f he can
obl i ge he mi ght answer Very much;
but i f he coul d not, and wi shes to l ead
hi msel f, then for hi s partners i nforma
ti on he woul d not send back an answer
..f the same descri pti on, "Very much,
cne l etter V not bei ng of any servi ce;
but How can you ask such a ques
ti on? w o u l d i mpl y, by H that Hearts
were wanted. No one woul d noti ce thi s
sor t of conversati on unl ess previ ousl y
acquai nted.
REFL ECT ORS
The cards so named are, by a certai n ,
mechani cal process, equal l y di sti n
gui shabl e to the i ni ti ated by thei r
backs as by thei r f aces; but from the
expense of manufacturi ng them, they
ar e 'not often had recourse to. They
nearl y resembl e those i ngeni ous l and
scapes whi ch, at f i r st si ght, present to
our vi ew some beauti ful scene i n na
ture, but by a more mi nute i nspecti on,
gi ve us portrai ts of human f aces wi th
fereat exactness and fi deli ty. Some
years back thi s tri ck was pl ayed aff
on the conti nent, to the enri chi ng of
a cheater and two or three of hi s
confederates. He attended the f ai r s at
Fr ankf or t and Lei pzi c wi th a l arge
packet of these cards, whi ch he sol d
at a pri ce whi ch bade defi ance to com
peti ti on. V i si ti ng the country agai n by
the ti me he thought they woul d be in
ci rcul ati on at the vari ous spas and
wateri ng pl aces, where hi gh pl ay i s
al ways goi ng on, hi msel f and hi s
fri ends, by bei ng al one abl e to deci pher
the apparentl y I nvi si bl e hi erogl yphi cs,
nade a good thi ng of it.
T H E LONGS AND SHORTS
Consi st in havi ng al l short cards
above the number ei ght a tri fle l onger
than those bel ow it. Thi s i s accom
pl i shed wi th gr eat ni cety, by a machi ne
i nvented for that purpose. By thi s
means nothi ng under an ei ght can be
cut; and the chances agai nst an honor
bei ng turned up reduced two to one.
SA K T El l LA COUPE
An adept at thi s tri ck can cheat and
swi ndl e at pl easure. Wherever i t is
practi sed the f ai r pl ayer has no earth
l y chance of ri si ng from the tabl e
other than a l oser. The tri ck, too, i s
much practi sed. Some ti me ago publ i c
attenti on was powerful l y di rected to
it, by a' tri al i n one of the courts, a
cel ebrated l ord fi guri ng i n i t a most
unenvi abl e manner. The exci tement
then rai sed I s now al l ayed, and Sauter
L e Coupe i s agai n in extensi ve vogue.
By i ts means the weal th of the unwary
and i nexperi enced pl ayer i s tr ansf er
red to the pocket of the cheat.
The fol l owi ng si mpl e exposi ti on of
the manner i n whi ch thi s tri ck i s per
formed wi l l be of essenti al servi ce toi
the pl ayer. I t wi l l enabl e hi m to detect
the sharper and bl ackl eg, and thus pro
tect hi msel f from the nefari ous
scheme.
Sauter l a Coupe i s the French term
for Sl i ppi ng the Cards. I t i s practi ced
at bri dge, when the cards are cut and
pl aced in the hands of the deal er. By
a dexteri ty easi l y acqui red by practi ce,
he changes the cut card, by sl i ppi ng
from i ts posi ti on in the pack, ei ther
from the top or the mi ddl e, the Ace,
and thus secures i ts "turni ng up! The
practi cer of Sauter l a Coupe, to cover
the tri ck he i s resorti ng to, i nvari abl y
ruffl es the cards, maki ng wi th them
a l oud noi se. Whi l e the apparentl y si m
pl e acti on he thus performs, wi th the
consequent noi se, di stracts attenti on,
he sl i ps the card, the Ace, whi ch he has
hi therto conceal ed for the purpose,
and dexterousl y pl aced on the top of
the pack when passi ng i t from one
hand to another to deal ; or ascertai ned
i ts posi ti on i n the pack by one of the
many means resorted to for that pur
pose. Whenever the pl ayer begi ns to
ruffl e the cards, i nstead of deal i ng
qui etl y, suspect foul pl ay. I t i s a symp
tom of cheati ng.
125 TRICKS WITH CARDS OR SLEIGHT OF IIAND
The fa ir player has no chance with
the cheater, by means of Sauter la
Coupe. Suppose that during an evening
20 games have been played. The cheat
and his partner would thus have to
deal the cards at least ten times. Dur
ing these ten deals the cards might be
slipped six times, giving the cheat an
advantage over the fa ir player of at
least twenty to one.
CONVEX AND CONCAVE CARDS
A ll from the E ight to the K ing are
cut convex, and all from the Deuce to
the Seven, concave. Thus, by cutting-
the pack in the center a convex card
is cut; and by taking hold of the
cards, in cutting them, at either end of
the pack, a concave card is secured.
Sometimes these cards are cut the
reverse way to the foregoing one, so
that i f suspicion arises a pack of this
description is substituted for the
others. But here the sharper has not so
great a pull in his favor, because the
intended victim may cut in the usual
way and so cut a low card to the
dealer. But the possibility, or rather
certainty, of his feeing able, by any
means, to cut or deal a high or low
card at pleasure, is an advantage
Lgainst which no s kill in the game
can avail.
HANDLI NG T H E CARDS
So called from the cards being se
cured in the palm of the hand. The
person who practises this art at crib-
bage, generally takes car^ to get two
Fives, with any other two cards, plac
ing one of the two ordinary cards at
the top, next to i t one F ive, then the
other ordinary card, and under it the
other F ive. These four cards, so placed
he secures in the palm of his hand,
while he desires his adversary to shuf
fle the cards, and, being very generous,
Iso tells his opponent to cut them;
vhen this is done, he puts his hand
which contains the four cards upon
that part of the pack which is to b?
uppermost, and then leaves the cards
on the same; consequently, when he
deals, the two F ives w ill fa ll to his
own hand of cards. By these means,
when a person who can hand deals, he
is pretty sure of two or more Fives.
* GA RRETI NG I N CRI BBA GE
I t is so called from the practice of
securing the cards either under your
had, you have got the best.
The method of doing this is to sel
ect out three or four extraordinary
good cards, while your adversary is
marking his hand of crib. This being
done, and the cards properly dealt,
you take up your own cards, which you
take care to examine pretty quickly
and after laying out any two you think
proper fo r crib you immediately, with
one hand, put your other remaining
01
cards-on the pack, and with your other
hand take down the cards which have
been secured; then in lieu of very bad
cards, which you might possibly have
had, you have the best that can be got.
SLI PPI NG T H E CARDS
Is performed in various ways, all of
which tend to put the same cards on
the top again, which have been cut off
and ought to be put underneath. When
ever this is done, you may depend the
cards are previously placed in such a
manner as w ill answer the purpose
of the person who performs the op
eration.
W A LKI NG T H E PEGS
Means either putting your own pegs
forward, or those of your adversary
back, as may best suit your purpose;
and it is always executed while you
are laying out the cards for crib.
The method generally adopted for
this business is to take the two cards
which you intend to put out for tho
crib, and fix them with your third fin
ger on the back of the cards and your
others on the front; then, holding them
fast in your hand, you cover the pegs
on the board from the sight of your
adversary, while with your first finger
and thumb you take out, unpereeivod,
any peg you like, and place the same
wherever you think proper.
PRI CK ED CARDS
This is a method of marking playin'4
cards, which, if cleverly done, is ve\-y
diffic ult of detection, from the circum.
stance of the effect being made known
through the organ of touch, and not
through that of sight. The cards to be
thus distinguished are laid upon a
stone, faces uppermost; and upon the
left-hand side at the top, and through
the right hand side at the bottom,
they are punctured with a very finely-
pointed instrument, care being taken
not to drive i t quite through the cards,
but s till to press s ufficiently hard as
to cause a s light elevation or pimple
upon the opposite sides or backs. By
this means i t is in the power of the
sharper, when the cards are with their
back toward him, to distinguish their
characters by the aid of the ball of
his thumb. There are instances on re
cord of individuals in the habit of
playing this foul game, using a chemi
cal preparation to this particular part,
and by constantly wearing a glove,
keeping i t in a highly sensitive state.
* T H E BRI DGE
Is a card s lightly shaved. By intro
ducing i t carelessly into the pack and
s huffling them, i t can be cut at plea
sure, The tric k of the Old Gentleman*
consists in merely introducing into the
pack a card of thicker substance than
the rest, which can likewise be cut at.
125 TRICKS WITH CARDS OH SLEIGHT OP HAND
pl easure by merel y bei ng properl y
pl aced by the shuffl er.
SKI NNI NG
I t i s by thi s operati on that unfai r
cards are i ntroduced, and too often cre
ati ng suspi ci on by the i ngenui ty -with
which I t i s performed. Certai n fai r
cards are taken out of the ori gi nal
stamped cover wi thout i nj ury to it,
and in thei r stead ei ther concave, con
vex or pri cked ones, or refl ectors are
pl aced. The stamp bei ng stuck on the
cover by means of gum, whi ch the ap
pl i cati on of warm water di ssol ves, or
depri ves of i ts tenaci ty, a kettl e of
hot water and a sponge are the only
thi ngs requi si te. The exchange bei ng
compl eted, the regul ar pack finds i ts
way i nto soci eti es of a certai n descri p
ti on, where it i s contri ved to be pl aced
on the card- tabl es unobserved. Pl under
I s the i nevi tabl e resul t.
SHUFFL I NG OR WEAVI NG
Much fraud i s practi sed by the hel p
of dexterousl y shuffl i ng, by whi ch the
power to pl ace certai n cards i n cer
tai n -Darts of the pack i s under the
control of the sharp, who become an
adept in the art. The preparatary step i s
a stri ct observance of the tri cks taken
up on both si des, and thei r contents,
when those ri ch in trumps or court
cards are sel ected to be operated upon
by the shuffl er, when i t i s hi s turn to
deal.
T H E GRADUS OR ST EP
Consi sts in one parti cul ar card bei ng
so pl aced by the shuffl er, on handi ng
them to hi s adversary to be cut, as to
proj ect a l i ttl e beyond the rest, and
':htis ensure i ts bei ng the turn- up card,
ei ther at whi st or ecarte. The repre
sentati on speaks for i tsel f.
SLI PPI NG T H E FI V ES
Sl i ppi ng the Fi ves at cri bbage i s an
amazi ng strong advantage. The mode
of doi ng thi s i s to mark them in any
manner so as to know them; and when
ever i t happens that you observe one
comi ng to your adversary, you gi ve
hi m the next card under in l i eu there
of, whi ch many, who are I n the habi t
of pl ayi ng much, perform wi th extr a
ordi nary dexteri ty.
SADDLI NG T H E CARDS
I s frequentl y practi ced at cri bbage.
Thi s i s bendi ng the Si xes, Sevens,
Ei ghts and Ni nes, in the mi ddl e, l ong
ways, wi th the si des downward; by
-which i t i s extremel y easy for you to
have one of those cards for a star t
by cutti ng where you see a card bent
I n that manner, taki ng du care to
have the card so bent uppermost.
DEA L I N G FI V ES FROM T H E BOTTOM
a very common practi ce; i t i s
therefore, very necessary for you to be
watchful over your adversary whi l e
he deal s. Thi s i s a devi ce of old date,
but i s easi er to be performed wi th the
smal l cards used at ecarte than those
general l y pl ayed wi th at whi st. I t con
si sts in secreti ng a certai n card unti l
an opportuni ty presents i tsel f of i ts
bei ng avai l abl e, when i t i s produced,
as i mpl i ed, from the pal m of the hand
that secretes It.
T i l l ! TEL EGRA P H
I s more easi l y expl ai ned than sketch
ed. Two pl ayers si t down at the card
tabl e, one, l et i t be supposed, a rogue,
and the other ri ch. Behi nd the ri ch
pl ayer, and i n such a posi ti on as en
abl es hi m to have a ful l vi ew of hi s
hand, i s stati oned a confederate of the
rogue- pl ayer, who conveys to hi s (Col
l eague, by preconcerted tel egraphi c
si gnal s, made by the Angers, what la
doi ng, or passed, by the ri ch opponent.
Thi s i s cal l ed worki ng the tel egraph,
and I s a successful as I t i s di shonor
abl e.
T H E PRODUCTI ON OF CARDS AT
T U B FI NGER- T I P S FROM
T H E ORDI NARY PALM
From the ordi nary pal m the card'
ar e transferred to the fi nger pal m, at
shown. The l i ttl e fi nger now very
sl i ghtl y rel axes i ts pressure on the
cards, when i t wi l l be found upon pr ac
ti ce that one card wi l l be rel eased as
shown.
The thumb now comes under the end
of the card and pushes i t up i nto po
si ti on depi cted, the back of the hand,
of course, f aci ng the audi ence.
Some ar e in the habi t of performi ng
thi s tri ck wi th from twenty- fi ve to
thi rty ordi nary cards, but three or four
wi l l be qui te enough for the begi nner
to commence wi th.
CHEATI NG AT P OK ER
Because of i ts overwhel mi ng popv
l ari ty as a mans game, poker ha.
been centered upon by cheats to pl y
thei r nefari ous trade. There are hun
dreds of professi onal cheats i n the
country constantl y seeki ng new vi c
ti ms for thei r games.
The professi onal gambl er of the past
century who general l y i s pi ctured as
a soft spoken i ndi vi dual who prefers
to travel on the Mi ssi ssi ppi si dewheel -
ers has passed out of the pi cture. Hi s
game was to pal m an addi ti onal card
or two i nto the game, especi al l y I f the
parti ci pants were engaged at stud. Hi s
methods of keepi ng an extra ace or
two scattered through hi s cl othi ng
woul d seem crude today and the won
der of i t i s how he got away wi th hi s
schemes as l ong as he did. Fi ve card
stud in whi ch the fi rst card i s down and
the other four up, was hi s del i ght. Hi s
game wa* to pl ace an extra ace i n t he
125 TRICKS Wi' CARDS OR SI*E1GHT OF IIA!VD
Mi
deck, duri ng: hi s deal , so i t was deal t
to hi m. Perhaps he shuffl ed so that
, another ace was on the bottom of the
deck. Al ways receiving: the l ast card
during- hi s deal , he coul d sl i p hi msel f
the ace from the bottom and unl ess
thi ngs had grone wrong and two pai rs
were out, he al ways won. Then of
course, he agai n coul d have i ntroduced
an extra ace in the game from hi s
sl eeve, but the danger was consi der
abl e by thi s method and i t was usual
ly reserved onl y where there was a
chance of maki ng an unusual l y l arge
hauL
The more preferred method today i s
to have several cheats travel together,
at l east one of them an expert at deal
i ng and j ust how expert they can be
come at passi ng out the cards i s hard
to bel i eve. Suppose a group of cheats
were travel i ng together on a boat,
whi ch i s the favori te method of find
i ng vi cti ms, the supposi ti on bei ng that
i f a person travel s by boat he has some
money. The cheats pi ck out a l i kel y
l ooki ng vi cti m and then keep an eye on
hi m for some ti me to determi ne wheth
er they can l earn more about hi s fi
nances. I f they find that the proposed
Vi cti m has money and better yet, has it
wi th hi m i n hi s purse, then the stage
i s set.
Where the proposed vi cti m i s l i kel y
to see them they star t a fri endl y l i ttl e
game of poker. I f the vi cti m knows
anythi ng about the game the chances
are that he wi l l pause and watch a
f ew hands. He sees nothi ng ui rusual
in the pl ay, and from the conversati on
I s gi ven to i ndi cate that the pl ayers
di d not know each other unti l they
met on the boat. A s a few more hands
To by the vi cti m bel i eves that the
i rand of poker bei ng pl ayed i s very
si mi l ar to that in whi ch he al ways
engaged back home and he i s al so ad
vi sed, i nformal l y, .that the stakes are
extremel y low. A fter a whi l e someone
offers hi m a chai r and he i s urged to
take a hand for a spel l .
Hand af ter hand goes by and they
are j ust the ordi nary run of poker
hands. Some are fai r, others are worth
l ess from the chance of wi nni ng the
pot i s concerned. As ti me goes on the
vi cti ms l uck gets better. He manages
to draw, he bel i eves, a pretty f ai r hand
once in a whi l e and soon he finds that
hi s profi ts are growi ng. I n fact, he
seems to be havi ng an unusual l y good
run of l uck and doesnt have any
troubl e at al l fi l l i ng str ai ghts and
flushes. Natural l y, he i s feel i ng good
tnd then i t i s suggested that the game
)e broken up because one of the pl ay-
rs promi sed to qui t at a certai n ti me.
Phe chi ps are cashed in, the vi cti m
trol l s to hi s cabi n under the i mpres-
- Ion that he showed the others how
oker was pl ayed back in hi s home
>wn. He doesn't real i ze that the mon-
r he was al l owed to wi n was an i n
vestment in the future on the par t of
the cheats.
A day may pass and then the rehear
sal i s staged agai n. The cheats ap
proach hi m and urge hi m to pl ay agai n,
addi ng the hope that he'l l gi ve them a
chance to get even. The vi cti m thi nks
i t over, real i zes that he won consi d
erabl e and surmi ses that even i f he
doesnt wi n agai n he can pl ay on tho
others money. So he si ts down and hi s
fate i s seal ed.
The game star ts j ust as the other
one did. The vi cti ms l uck seems to be
wi th hi m sti l l for of the few good
hands that come out he manages to
hol d the maj ori ty. Soon he i s a l i ttl e
ahead agai n and manages to i ncrease
hi s wi nni ngs here and there.
Fi nal l y there come a hand where
someone ahead of hi m opens the pot.
He i s deal t, say a pai r of tens and
wi th one or two of the others stays
wi th the opener. He draws three
cards, the same as the opener and to
hi s amazement sees four tens in hi s
hand after the draw. Eager l y bo
watches the opener, tryi ng hard to keen
hi s exci tement from showi ng. The op
ener makes a bet of the l i mi t and the
vi cti m natural l y rai ses hi m the li mi t.
The fi rst bettor does the same to hi m
and thi s keeps on for some ti me when
the opener fi nal l y cal l s a hal t and says,
I shoul d rai se you agai n, but youvo
got me scared. So I ll cal l . and he puts
in the requi red amount of chi ps. The
vi cti m l ays down hi s four tens and be
l i eves the pot i s his. The opener shakes
hi s head and tops the hand wi th four
ki ngs. The vi cti m i s speechl ess, but
takes hi s medi ci ne l i ke a trooper under
the gui dance of the cheats phi l osophy.
The vi cti m by thi s hand has l ost al l
hi s wi nni ngs and probabl y al l the chi ps
he bought the fi rst ti me. So he i nvests
agai n and -play keeps on in a more
even styl e. The vi cti m agai n i s deal t
the aver age run of poker cards, but he
cannot seem to manage to hold on to
hi s chi ps l i ke he di d previ ousl y. Hi s
l osi ngs are not sensati onal , however,
and undoubtedl y he real i zes it. As tho
ti me gets l ate someone suggests that
in vi ew of the f act that the l osi ngs
are among onl y two the stakes be i n
creased so that they have a chance to
come back. Thi s i s sai d i n a tone of
voi ce that i ndi cates doubt over wheth
er the proposal wi l l be accepted. The
vi cti m doesnt answer, perhaps, but the
others, eager to gi ve the l osers a
chance, agree. The vi cti m i s advi sed
that he neednt stay, etc., etc. and
meanwhi l e the cards are deal t. Under
the heavi er stakes he finds hi s l uck a
l i ttl e better and wi thi n a few hands
has accumul ated a few chi ps.
Now comes the final bl ow, whi ch the
cheats have been l eadi ng up to for
the several days. The vi cti m i s deal t
a pai r, say, aces, af ter some of the
others. He i s preceded by one of the
125 TRICKS WITH CARDS OR SI/ISIfJIIT OF HAND
other players with the opening price.
Naturally he stays. Considerable talk
goes on jus t about now to try and con
fuse him as to the drawings made by
the others and usually the attention
of the victim is distracted. He finds,
after silence again reigns, that he has
accumulated four aces on the second
draw. The opener bets, he raises, and
to his delight, his wager sets a "boost"
from someone behind him. The opener
calls the two raises, but the victim
raises once more. The player behind
him also raises and the opener aaya
he has had enough and drops out. The
victim and one other are le ft and bet
all they can, the victim undoubtedly
digging into his purse liberally to pro
tect his hand and also lay his bets.
F inally he becomes frightened and
calls, to have his good hand beaten by
a straight flush. Now he is frankly sus
picious, but afraid to say so and leaves
the game, saying that you cant beat
luck of that type. But his money Is be
ing scooped up by the other player and
he realizes that he has dropped a good
ly sum. F or the rest of the trip on the
boat he keeps s trictly away from the
card games.
F or the cheats I t was nothing to
deal the cards as they wished. They
could deal him any type of hand they
wanted. T heir control of the cards is
amazing and hard to believe for the
average uninformed person. But the
T H E
above method should be kept in anl4
and where the symptoms explained here
begin to show themselves in a poker
game then I t is time to get out.
The co-operation of the travel sys
tems, notably the boat lines and the
railroads, has made the efforts of the
cheats during recent years more of a
problem. Passengers are warned not
to play cards with strangers, but even
these warnings do not always have the,
desired effect. Among too many the de
sire to win more acts as the stepping-
stone to great losses, bat so cleverly
staged that no complaint can be made.
Another favorite method of cheating
at poker is tp have a victim between
two "bumpers, as the accomplices aro
called. F or Instance, i f the victim haa
a fa ir hand and makes a bet, he is
raised firs t by one accomplice and the*
by another. I n this method the victim,
unless his has an unusually good band,
must pay high to see what the others
have and i f the least bit of doubt ca
be Instilled in his mind he w ill drop
the cards and give up the fight. This
can happen a number of times in a
game before the victim realires he ts
in a hopeless trap. Again the victim
must be careful of making accusations,
because i t is diffic ult to prove. A ll
these elements are exploited by the
cheats, who also know that a victim
abhors the thought of publicity.
E N D