Nikola Card System PDF

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A NEW POW ER FOR M A G ICIAN S.
BY
LOUIS NIKOLA.
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P R IC E 5/- N E T .
COPYRIGHT.
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Printed it Published by Harry Lent, 26, ISurmester Road,
Lower Tooting, London, S . W. England,
September 1927.
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THE NIKOLA CARD SYSTEM.
The last word in Card Conjuring. A development, on

astonishing lines, of the principle of the stacked pack,
presenting features unbelieveable until demonstrated.
By this system pre-arrangement seems impossible.The
sequence bears close investigation, and is indetectable
in counting, displaying, repeating, or even in deliberate
examination.
All that has been done by previous systems can be
done with this, and more.
The most valuable feature of the system is that the
pack can actually be stacked during the performance,
which may be entirely impromptu, and given at a mo
ment’s notice with a borrowed pack of cards.
A complete description of the system, including pic
torial chart, with detailed instructions for tricks in
conjunction, and valuable subsidiary devices and arti*
fices applicable to this and general purposes of conjuring
with cards.
The State Library of Victoria
“ A LM A CO NJURING C O LLEC T IO N ”
SEC TIO N 1.
ARGUM ENT.
This thing seems simple and obvious when explained.

Yet in practice it is completely baffling to the uninitiat
ed, and productive of effects that are astonishing.
Without knowledge of sleight-of-hand, the possessor of
the secret, by easily acquired mental processes alone,
may produce a range of effects conveying an impression
of the most absolute control of the cards. Allied to
skill in the execution of standard sleights commonly
used in card conjuring, the system may be fortified and
amplified until its results seem almost miraculous.
The idea of using a pack pre-arranged in a memorised
order for the accomplishment of specific tricks is an old
one, but has not at any time found great favour, prob
ably because it was a little too much for the casual and
not quite enough for the expert. The childish formula
of “ Eight king(s) three-ten-ed t(w)o save (7) nine(ty)-
five queen(s) fo(u)r one sick (6) knave” four times re
peated, with a regular routine of the suits, and others
of the same ilk, are more or less familiar to all who
have given any attention whatever to the magic of
cards.
At a later period the “ Charlier System ,” detailed in
Hoffmann’s “ Tricks W ith Cards''' and in “ More M agic,”
provided a more intelligent and more useful application
of the principle, but it is discredited by the fact that it
applies only to a piquet pack of cards, and not to the
full whist pack in common use to-day.
10 T he N ik o l a . C ard S y st em .
I
The only system generally used is the “ Si-Stebbins”
system, favored in America but not to any extent in
this country, where perhaps it is better known to readers
under the published title of the “ Thurston” system.
This last, although the best so far, inherits the defect
common to its predecessors that the stack is made of
the same sequence of cards four times repeated, with a
regular routine of suits throughout. Now this will not
bear a minute’s inspection and, although it is neither
necessary or desirable to invite inspection of the pack
to prove “ that it is not arranged,” it is a necessary
feature of some of the tricks peculiarly the property of
the pre-arranged pack that the cards be named, shewn
or counted; and to anyone acquainted with the system
it is immediately apparent that it is being used, while
even to one unacquainted, but habituated to intelligent
observation, the fact is liable to detection.
The system to be described is indetectable to the
closest observation, whether unsophisticated or export.
Much has been said from time to time, and opinions
differ, upon the question of “ conjuring for conjurers.’’
Apart from such “ stunts” wherewith members of m ag
ical societies delight to “ fool” one another, which, ex
cept for the special pleasure that no doubt they give,
both to their perpetrators and to their victims, are of no
practical value, it must be borne in mind that these are
days* of rapid dissemination of knowledge, and every
audience is liable to contain a conjurer of some degree,
or somebody who knows something about something in
connection with conjuring. From the expert there is
nothing to fear: always he is the performer’s ally and
best friend. But the half-boiled egoist has the kind of
T he N ikola C akd S y stem . 11
little knowledge that may be a dangerous thing, and the

discreet performer will do well to use his best endeavours
always to be a little ahead of the times - and well ahead
of the gentleman who “ knows how it’s done,” and the
querulous child who has “ seen it before.”
The reader is recommended at this point to take a
good look at the chart, which represents the order of
the pack as arranged for use. On any reasonable in
spection no peculiarity of arrangem ent is apparent.
Prolonged scrutiny may reveal the fact that the heart
suit appears upon every fourth card, but beyond that no
regularity is detectable. And this for a very solid reason.
There is none. The disposition of the cards is not how
ever indiscriminate. There is method in the madness.
Every fourth card being of the heart suit permits of
an all-trump hand being dealt for whist or bridge.
On the same deal every second card forms one of a
sequence complete as to values but regardless of suits,
for the presentation of an elaboration of the trick known
as “ The Spelling Bee.” (For the reason that a king is
not available, in consequence of more pressing demands,
a knave has to do duty for such, as will be explained in
its proper place.)
The first twenty-one cards are studiously placed for
the purpose of a “ game of Poker” - to the advantage of
the dealer.
The remaining cards have no special significance.
The complete arrangement is not even arbitrary: once
the principle has been grasped it may be revised to
meet individual requirements or fancy, or for partial
disguise.
12 T his N ik o l a C ard S y st em .
This is the basis of the system, and the rotation of

the cards, with their numerical equivalents, must be
memorised until as familiar as the alphabet. This, of
course, presents a greater immediate difficulty than the
“ eight kings threatened to save” achievement, but even
so, and purely by an effort of concentration, it is not an
insuperable task.
Fortunately, however, there is a system of mnemonics
by the aid of which it can be made a mental fixture
much more quickly and with greater certainty than
without. This is outlined in the next section.
SEC TIO N II.
CURRICULUM .
To readily distinguish the cards in the mind, every

card is symbolised by an object and every number from
one to fifty-two is represented by another object. The
numbers and their corresponding cards produce combin
ations of objects which form mental pictures that in-
deliably imprint the relations upon the memory.
That is it in a nutshell: this is it in detail
The mnemonic system is built up in stages.
First, let every figure be represented by a consonant,
thus -
Table 1.
Let the figure 1 be represented by 1 (one, stroke)
„ 2 n (two strokes)
3 m (three strokes)
4 r (as in four)
5 f or v (as in f i v e)
6 p or b (similar shape)
t or d ( )
„ 8 „ sh or ch (eight-aitch)
„ 9 ,, k or g (similar shape)
, , 0 ,, s or z (as in zero)
(The notes in parenthesis are a further aid to memory
in the laying of this simple foundation.)
This is a terrible lot of trouble, I know, but no valu
able accomplishment can be acquired without effort.
Think of the first time you tried to swallow a pill.
Now by supplying vowels at discretion, every number
can be translated into a name, thus -
14 T he N ik o l a C ard S y st em .
T A B L E 2.
1. Ale. 27. Net.
2. Hen. 28. Niche.
3. Emblem. 29. Neck.
' 4. Arrow. 30. Moss.
5. Ivy. 31. Mill.
6. Bee. 32. Moon.
7. Tea. 38. Mummy,
8. Shoe. 34. Mare.
9. Key. 35. Muff.
10. Lass. 36. Mop.
11. Lilly. 37. Mat.
12. Lion. 38. Match.
13. Lamb. 39. Mug.
14. Lyre. 40. Rose.
15. Loaf. 41. Bail.
16. Lobby. 42. Rain.
17. Lad. 43. Room.
18. Latch. 44. Rower.
19. Log. 45. Roof.
20. Nose. 46. Rope.
217 Nail. 47. Rat.
22. Nun. 48. Rush.
23. Gnome. 49. Rack.
24. Norway. 50. Face.
25. Knife. 51. File.
26. Nap. 52. Fan.
Arid if Table 1 has been thoroughly familiarised as a
groundwork, Table 2 can be fixed in less than half-an-
h'our. Another half-hour concentrated upon the four
columns of Table 3 should absorb them also.
T he N iko la C akd S ystem . 15
Herein the le tters corresponding to tha spot values of

the cards are combined with the initials of their suits to
form other names, so that every card in the pack be
comes translated into something easily pictured in the
mind.
Aces take simply the name of the object of which
they are the conventional representations.
The associations applied to the picture cards are
obvious.
T A B L E 3.
Clubs. Hearts. Spades. Diamonds.
Two. Can. Hun. Sun. Din.
Three. Comb. Ham. Sum. Dome.
Four. Car. Hair. Sire. Dear.
Five. Cough. Half. Safe. Dove.
Six. Cap. Hop. Soup. Dope.
Seven. Cat. Hat. Suit. Dot.
Eight. Cash. Hash. Sash. Dish.
Nine. Cog. Hog. Sack. Dagger.
Ten. K iss. Hiss. Sauce. Dose.
Ace. CLU B. H EA K T. SPA D E. DIAMOND.
K ing. Clubman. Bridegroom. Gardener. Jeweller.
Queen. W aitress. Bride. Garden-girl. Jeweller’s
Assistant.
Knave. Porter. Cupid. Garden-boy. Burglar.
Table 4 is evolved from the preceding tables, which
are merely stages in its construction, and if each devel
opment has been properly mastered, this last can be
acquired almost in a single reading. I t is the system-
atised code for the arrangement of the pack and the key
to its working.
The use of the completed nmemonic should be easily

mastered. A mental picture of associated objects (more
especially if the association is curious or bizarre) is
more easily and securely retained than such similar
forms as numerical figures and playing-card designs. It
must be emphasised that the objects themselves are to
be visualised, and net merely the descriptive words
thought of.
For examples -
No. 1. The Ale is doped.
No. 2. The Hen has a Cough.
No. 22. The Nun drinks from a Can.
No. 26. The King Sleeps.
No. 27. A Net Suit for summer.
And so on. It is not necessary to go through the

list. The slight effort of composing a picture will help
to its retention, so I will leave the student to make his
own.
To illustrate the use of the table in its elementary
application -
Required the position of the Ten of Spades. The Ten
of Spades is represented by Sauce. The Sauce is spilled
on the Mat. Mat is 37. Therefore the Ten of Spades
is the thirty-seventh card of the sequence.
Required the name of the fifteenth card. No. 15 is a
Loaf. The Jeweller is selling a Loaf. Jeweller repre
sents the K ing of Diamonds. Therefore the fifteenth
card is the King of Diamonds, and so on.
T his N ik o l a C ard S y st em . 17
T A B L E 4.
1. Ale. Dope. Net. Suit.

27.
2. Hen. Cough. Niche. Hog.28.
3. Emblem . Clubman. Neck. Sash.
29.
4. Arrow. Cupid. Moss. Soup.
30-
5. Ivy. Safe. Mill. Cap.
31.
6. Bee. Dagger. Moon. Hun. 32.
7. Tea. Sack. 33.
Mummy.Spade.
8. Shoe. Bride. 34.
Mayor. Garden-boy.
9. Key. Comb. Muff. Car. 35.
10. Lass. K iss. Map. Half.
36.
11. Lilly. Gardener. Mat. 37.
Sauce.
12. Lion. Heart. 38.
Match. Diamond.
13. Lamb. Dear. Mug. Porter.
39.
14. Lyre. Burglar. Rose. Hair.40.
15. Loaf. Jeweller. Rail. 41.
Sun.
16. Lobby. Bridegroom. Rain. Dot. 42.
17. Lad. Din. 43.
Room. Garden-girl.
18. Latch. Waitress. Rower. Ham.44.
19. Log. Cog. Roof. Sum. 45.
20. Nose. Hiss. Rope. Cash.46.
21. Nail. Dish. Rat. 47.
Dose.
22. Nun. Can. Rush. Hop. 48.
23. Gnome. Club. Rack. Dove.49.
24. Norway. H at. Face. Dome. 50.
25. Knife. Cat, File. 51.
Jew eller’s
Assistant.
26. Nap. Sire. 52. Fan. Hash.
Haying learnt the code, the next step is to acquire
facility in the use of it.
To this end the learner should take a pack of cards,

and proceed to arrange it from memory in the tabulated
order. When this has been done, shuffle thoroughly -
and repeat the arrangement. This should be done again
and again until it can be done without hesitation. The
exercise may be alternated by questions as to the numer
ical position of specified cards, and by naming cards at
numbers chosen at random.
In case the process has not already been made quite
clear, we will take two more examples -
Question. What is the eighteenth card ? Eighteen is
1-ch - latch: the Waitress is fastening the Latch: W ait
ress represents the Queen of Clubs. Answer. - The
Queen of Clubs.
Question. At what number is the K ing of H earts ?
The King of,Hearts is a Bridegroom: he is waiting in
the Lobby, Lobby (1 - b) is 16. Answer. - Sixteenth.
We may profitably conclude the section by an analy
sis of the arrangement. I f the pack is stacked and then
dealt into four, the heaps will be as follows :-
T A B L E 5. ( For reference only.)
Five of D. Three of D. Queen of D. Eight of H.
Three of S. Eight of C. Ten of D. Six of H.
Two of S. Seven of D. Queen of S. Three of H.
Ten of S. Ace of D. Ja ck of C. Four of H.
Ace of S. Jack of S. Four of C. Five of H.
Eight of S. Six of S. Six of C. Two of H.
Seven of C. Four of S. Seven of S. Nine of H.
Eight of D. Two of C. Ace of C. Seven of H.
Two of D. Queen of C. Nine of C. Ten of H.
Four of D. Jack of D. K ing of D. King of H.
Three of C. Ten of C. K ing of S. Ace of H.
T he N ik o l a C ard S y st k m . IS)
Five of S. Nine of D. Nine of S. Queen of H.

Six of D. Five of C. K ing of C. Jack of H.
Notes on T A B L E 5.
The second and fourth hands are available for special
purposes - the fourth fcr play as under, the second for
the “ Spelling Bee” trick.
The first and third may be named in order by repeat
ing the sequence with the omission of the intermediate
cards.
W H IST or BR ID G E. The fourth hand contains
the whole of the heart suit. The performer may either
deal it to himself and let it go at that, or he may invite
the spectators to “ choose” a heap, ard force this ere
upan them. Or, he may trust to luck and accept it if
the choice falls upon it. The suit for trumps may be
forced by inviting a player to cut for trumps from this
heap. I f the choice falls upon the second heap he may
instead give the “ Spelling Bee” trick. I f upon eitlx r
of the other two he offersto tell the chooser what cards
he holds. In either case there is nothing to prevent a
further choice being offered.
S P E L L IN G B E E . The cards as dealt face down, of
course, are in the correct order for this. The performer
takes up the cards and spells - o.n.e, (,ne. At each
letter he transfers a card from top to bottom of the
packet, and on the word “ one” turns up the ace and
lays it on the table. T.w.o, two, is spelled out in the
same wny, and so on throughout the packet to the end
of the story. No king can be provided, as three have
been appropriated to the poker hands, so the Knave of
Spades has been to do duty for the king. It is very
similar, and if shewn quickly it will pass.
PO K ER . The first twenty cards of the pack, dealt

as poker hands, are rather artfully disposed.
The first player gets a sequence, - 2. 3. 4. 5. G.
The second gets - 5. 9. 10. J . Q.
This is one card short of a sequence, and if he exer
cises his option of ‘buying’ :a card his enterprise is
rewarded. He gets the eight of diamonds (the twenty-
first card) and then holds - 8. 9. 10. J . Q.
The third hand gets a “ full house” K. K . K. 9. 9.
Such a combination of hands in a real game of poker
might give rise to some little excitement. Whatever the
speculative proclivities of the players, the wizard can
stand firm to the last in the triumphant possession of a
royal flush - A. K. Q. J . 10, (all hearts.)
“ N A P .”
The same hands will ensure the same happy security
to the dealer.
Finally, Table 6 is given from which to refresh the
memory from time to time. The memory tags, once
acquired, can easily be recalled, and an occasional read
i n g of the table (if it should fall into disuse) should be
sufficient to revive the impressions.
T A B L E 6. (The Order of the Pack.)

1. Six of D. 27. Seven of S.
2. Five of C’ 28. Nine of H.
3. King of C. 29. Eight of S.
4. Jack of H. 30. Six of S.
5. Five of S. 31. Six of C.
G. Nine of D. 32. Two of H.
7. Nine of S. 33. Ace of S.
8. Queen of H 34. Jack of S.
T he N ik o l a C ard S y st em . 21
9. Three of C. 35. Four of C.

10. Ten of C. 36. Five of H.
11. K ing of S. 37. Ten of S.
12, Ace of H. 38. Ace of D.
13. Four of D. 39. Jack of 0.
14. Jack of D. 40. Four of H
15. K ing of D. 41. Two of S.
16. K ing of H. 42. Seven of D.
17. Two of D. 43. Queen of S.
18. Queen of C. 44. Three of H.
19. Nine of C. 45. Three of S.
20. Ten of H. 46. Eight fflf C.
21. Eight of D. 47. Ten of D.
22. Two of C. 48. Six of H.
23. Ace of C. 49. Five of D.
24. Seven of H, 50. Three of D.
25. .Seven of C. 51- Queen of D.
26. Four of S. 52! Eight of H.
SEC TIO N 8.
U T IL IT Y .
The pre-arranged pack in hand, and the knowledge

of it in the head, the possessor may proceed to the ex
ecution of marvels.
For the sake of brevity I will allow the words of
essential description by the performer to the audience
to serve also as description to the reader.
The reader is probably wondering how it can be
possible to stack a pack in view of the audience. May I
beg his patience for awhile. I have reasons.
Methods of false shuffling and of exchanging packs
(after a spectator’s shuffle) are given in the appendix.
1. “ ST O P .” (To apparently count the cards in riffling.)
“ I will give you an illustration of what may be accom
plished by a highly cultivated sense of touch.
“ After shuffling these cards, as I riffle the pack, some
body say ‘Stop.’ - anywhere you like.
“ Sto p ? There are (so many) cards here. (Countand
verify.) I ’ ll do it again to shew you it wasn’t an
accident. Stop ? These are (so many.)” (Count and
verify.)
PRO CED U RE. The cards are held in the left hand as
for dealing. The right thumb rests against the lower
end, and the right fore-finger riffles. When stopped,
the right hand lifts off the upper packet of cards at the
break and turns it face up. A glance at this card, and
a reference to its number indicates the number of cards
in the packet. For instance, if stopped on the eight of
spades, twenty-nine cards are in the packet. I f the face
card of the packet is the ten of hearts there are twenty
cards. In counting tin* cards, of course, proper care

must be used not to displace the order.
A variation may be effected by cutting any number of
cards demanded. To do this, riffle slowly and' stop at
the card bearing the equivalent Code number. For in
stance, if thirty cards are asked for, riffle to the six of
spades: if thirty-nine, riffle to the Ja c k of Clubs, and so
on.
2. CA RDS B Y W EIGH T.
“ Perhaps you think I count the cards. I won’t say
that I don’t, but I need not.
“ Will you cut, please, at any point you like. Ju st by
weighing these cards in my hand [ can tell you that you
have cut exactly (so many) cards. Of course, it’s easy
to tell you that. I ’ll count them or perhaps you would
not believe me................Correct.”
In this case the procedure is varied. Presumably the
spectator who cuts the cards will deposit the packet face
down on the performer’s palm, and to turn it over
might be conspicuous. Directing public attention un
consciously towards it by a gesture of careful consider
ation of its weight, he tilts the left-hand packet with the
left thumb, and with the left-hand finger tips pushes the
top card slightly over the edge of the packet until the
index is ju st readable. Say this is the four of clubs,
which is the thirty-fifth card, then there are thirty-four
cards in the right hand packet.
3. W EIG H IN G CH O SEN CA RDS.
“ Will somebody take a card, please. Don’t let me see
what it is.
“ It hardly seems credible that the difference in the
printing of the faces of the cards - the colour of the ink
and the difference in quantity for the different spots and

designs would make a perceptible difference in the
weight; but perhaps I can distinguish it. ‘Perhaps not,’
you may retort, but let me try. Lay that card face down
on the palm of my hand, please....................That is the
two of clubs. See.
“ No. I didn’t guess it. I ’ll do it again. Will you
take one, please. I can recommend any of these. Lay
it on my hand as before................... That is the eight of
clubs.
PRO CEDURE. The cards are spread fan-wise in offer
ing a choice. When a card is removed the performer
retains the break with the little finger of the left hand
in closing up the pack, and immediately after makes a
secret cut, (“ The Pass” or “ The Shift” ) or if not pro
ficient in sleight-of-hand, boldly lifts the cards above the
break and puts them at the bottom. He then tilts the
pack with the left thumb, and sights the bottom card.
The chosen card is the card next in order in the sequence.
Thus, in the first instance the bottom caid is the eight
of diamonds (21,) and the chosen card is the two of
clubs (22;) and in the second instance the indicating
card is the three of spades (45,) and the chosen card is
the eight of clubs (46.)
4. T H E S E N S E OF TOUCH.
“ Another card, please. Don’ t let me see it. Look at
it intently, and remember it well. Then, instead of
laying it upon my hand, lay it on the palm of your ow n.
face down. Ju st for three seconds. One - two - three.
Good. Now replace it in the pack. It will not be re
quired any further. Allow me, please, to place the palm
of my hand upon yours. The card leaves an impression
T he N ik o l a C a rd S y st em . 25
behind which can be felt by the super-sensibility of my

highly trained touch. It feels like a picture card - a
diamond - the King of Diamonds.”
PRO CED U RE. When the card is removed the per
former retains the break as before, but he does not cut
the cards. When offering the pack for the card to be
returned, he divides it at the break, so that the card is
replaced iri the same position. He also lifts the upper
half of the pack in such a way as to enable him to sight
the bottom card of that half, in this case the Jack of
Diamonds (14,) and thereby becomes acquainted with
the fact that the King of Diamonds (15) has been chosen .
5. HUMAN M A G N ETISM .
“ I ’ll shew you another curious effect. The momentary
contact of my hand with the sense-impression of the
card thought of has induced a magnetic influence that
will, under favorable conditions, draw the card to it . .
so.” The card floats gracefully out of the pack up into
the hand extended to receive it.
PRO CED U RE. This has nothing to do with the system
and its introduction is purely optional. It is described
here as an example of the judicious combination of the
“ system” with other devices for mutual support.
The first condition is to bring the chosen card to the
top of the pack, and this is done by inserting the little
finger of the left hand above it immediately it is replaced
and subsequently making a secret cut.
The motive power that raises the card from the pack
to the hand is a fine thread or hair, and the mode of
application takes many forms. Of these I will briefly
mention three of the best. The hair is the most perfect
in the m atter of invisibility, but it is a trifle troublesome.
2(3 T he N ik o l a C ard S y st em .
A pellet of beeswax or diachylon is fixed to each end of

the hair, and by this means one end is attached beneath
the lappel of the coat, near the shoulder. The other end
is lightly fixed at a point lower down, readily accessible
to the right hand. In due course this end is secured by
the right thumb, and from thence transferred to the
upper end of the top card of the pack, the pack being
held in the right hand. The hand is extended until the
hair is nearly taut, and then the left comes up and
grasps the pack. The hair is allowed to pass between
the first and second fingers of the right, and by gently
raising the right hand the card is drawn from the pack
and up into the fingers.
The second method is by means of a thread similarly
prepared. One end is attached to the lowest waistcoat
button, and the other to another button a little higher
up. The connection of card and thread is made as be
fore. The pack is held in the left hand in an upright
position, the thread attached to the upper end of the top
card passes up and between the first and second fingers
of the extended right hand held above and then down
again to its point of attachment to the vest button. At
this point the thumb of the left hand passes behind it
and holds it taut. In this method no movement of the
right hand is necessary, the action being by the thumb
of the left hand, which pulling downwards and forwards,
by a very slight movement raises the card to the right.
The third method has the advantage of requiring no
immediate preparation, the apparatus once set being
ready for use at any time. This consists of a simple
mechanical device, the thread being wound on a very
light-action spring drum contained in a small cylindrical
case attached to the right wrist, beneath the shirt-cuft',

by a flat elastic band. The thread is drawn down when
required, attached to the card in the usual way, and
when the card is released the thread is automatically
rewound. When detached from the card it flies back
out of sight into the coat sleeve. A small celluloid but
ton at the end of the thread carries the wax and pre
vents the thread being drawn right into the drum.
6. LO CATING .
“ Again take a card, please. Look at it, remember it,
and return it to the pack. Then I will shuffle. Will you
please cut. . . . . . You chose the four of clubs, and
it is the forty-sixth card, counting from the top.”
This is accomplished by calculation. First the chosen
card is ascertained by means already made use of - viz,
a break is held at the point where the card is removed,
and in opening the pack to have the card replaced at the
same point, the card above is sighted. In this case it
is supposed that the Jack of Spades (34) is sighted,
therefore the four of clubs (35) is the chosen card. It is
replaced, and the pack plainly squared up. The shuffle
is false. The cut, or any number of cuts, is genuine.
Now to find the position of the chosen card, note the
bottom card (say the two of spades, 41): if, as in this
example, the code number of the bottom card is higher
than the code number of the chosen card, substract the
code number of bottom card from 52, and add the num
ber of the chosen card to the result - thus, - 52 - 41 = 11.
11 + 35 = 46, and the four of clubs will be found at
that number.
I f the code number of bottom card be lower than that
of the chosen card, it is only necessary to subtract the
former from the latter. For example, - Chosen card =

ten of diamonds (47,) bottom card = nine of clubs (19,)
47 - 19 = 28, and the twenty-eighth card will be found
to be the ten of diamonds.
I f the performer prefers digital to mental activity, he
may adopt a different procedure. This is to make a
secret cut below the eight of hearts (the normal bottom
card of the sequence) to restore the pack to its regular
.starting point. No calculation is then necessary, it only
being necessary to name the numerical equivalent of the
ascertained chosen card.
To facilitate the restoration of the pack on occasion,
it is necessary that the top or bottom card should be
prepared as what I have chosen to term a “ pilot” card.
.Various forms of “ pilot” cards have been introduced
from time to time as a means of locating replaced chosen
cards, the pack being for this purpose cut so that the
card it is desired to locate is placed immediately above
or below the pilot. The earliest known is the “ wide”
or “ long” card (a card omitted from the pack while the
latter is placed in a printer’s guillotine, and a minute
shaving taken off one edge) that projects a trifle and can
be readily felt with the finger tip. Then came a “ thick”
card - one backed with another, or the split half of an
other, neatly pasted together and dried under pressure,
easily detectable in riffling. A narrow or short card, the
converse of the wide or long card, easily prepared with
a pocket knife, can also be discovered in riffling if the
edges of the cards are first knocked upon the table to
settle it against one edge of the pack. Cards with
trimmed corners, tapered or convex edges are variations.
Then came a device of inserting a minute tongue of thin
T he N i k o i -a C ard S y st em . 29
celluloid into the middle of one end of a card, succeeded

by a removable clip such as is used in the card-file sys
tems pertaining to office appliances.
All of these are more or less undesirable, and none of
them are practicable ( except, perhaps, the Clip) when
occasion demands the use of a borrowed pack of cards.
The plan recommended is to bend up the bottom left-
hand corner of the top card ( the six of diam onds) and
work it between the thumb and finger until it is soft.
Only a small extent is necessary, say to within an
eighth-of-an-inch or so of the edge. When the cards
are riffled with the right thumb across this corner, the
cards will “ break” above the six of diamonds, and tho
point can be checked by a quick glimpse of the eight of
hearts. Increased pressure of the thumb will bend up
the upper half of pack slightly to permit the insertion of
the little finger of the left hand, and a secret cut will
transpose the two halves of the pack.
7. SPELLING.
“ Sometimes I can find cards by spelling them. F o r
instance, - K .I.N .G .S .P .A D .E .S ., and I get the King
of Spades. T .E .N .H .E .A .R .T .S ., and I get the Ten of
H earts. S .I.X .S .P .A .D .E .S ., and I get the six of
spades.”
PRO CED U RE. This is perfectly straightforward and
automatic. It is only necessary to start with the eight
of hearts at the bottom. As each letter is spelled, an
accompanying card is taken from the top of the pack,
and placed at the bottom. After the letter S of the first
spelling, the King of Spades turns up, and after shewing
it is replaced on the top. This is the only point to re
member. The ten of hearts is then spelled out, and
transferred to the bottom. The six of spades follows. If

the six of spades be replaced on top, the Jack of Clubs
can be spelled out. Transfer the Jack of Clubs to the
bottom and spell out the six of diamonds (including the
word “ o f ” in the spelling) and the original starting
point will be reached.
8. TO S P E L L ANY CARD C A LLE D FOR.
I f the experimenter cares to go to the trouble he may
elaborate the last feat to the extent of inviting the audi
ence to name any card and spell it out in the same way.
To do this, make a rapid calculation of the number of
letters in the description of the card, i.e. - start with
tlie value, add five for clubs, six for hearts or spades,
and eight for diamonds. Subtract the sum from the
tabulated number of the card and transpose the pack to
bring to the top the card which is the numerical equiva
lent of the result.
Thus, if the seven (if clubs is called for
5 -f-5 = 10.
Seven of clubs = 25.
25 - 10 = 15.
Card No. 15 = K ing of Diamonds.
The K ing of Diamonds being cut to the top, the seven
of clubrf is the eleventh card down, the desired position
for revelation by spelling.
Another example, -
Required, the eight of diamonds.
5 + 8 = 13.
Eight of Diamonds — 21.
21 - 13 = 8.
8 = Queen of Hearts.
Cut the Queen of Hearts to the top of pack, and the
T he N iko la Oahu S y stem . 31
thirteen cards required for spelling are on top of the

eight of diamonds.
In the event of the number of letters in the name of
the card being greater than the code number of the card,
subtract the number of letters from 52 and add the code
number to obtain the indicator.
To divide the pack at the right point, the card pre
ceding in order the card desired to bring to the top
must be sighted by riffling with the right thumb the left
hand bottom corner of the pack. This is not difficult as
the sequence is a guide to the approximate position.
When the card is sighted, the little finger of the left
hand is inserted, and a secret cut made. I f the reader
cannot execute a secret cut he may make an open cut.
Better than either, the false riffle shuffle to be described
later necessitates the pack being divided into two pack
ets as a preliminary, and it is a perfect cover to the
artifici of the break to make it openly in this connection,
while the “ shuffle” itself can be so executed as to leave
the pack cut or intact at will.
“ The Secret Cut” is a term I have ventured to sub
stitute, as more descriptive, for the clumsy old-fashioned
term “ making the pass” and the better, but inadequate,
Americanism, “ the shift.” The reader can call it which
he prefers, but I think “ the secret cut” is understand
able in both languages.
9. THOUGHT A N T IC IP A T E D .
“ Now will somebody ju st think of a card. Do you
mind ? Think of ju st any card you like, but don’t think
of more than one card, and once having made a choice,
don’t change it, but think of it exclusively and intently.
And will somebody else please think of a number — a
number between one and fifty-two.
“ Now, sir, what card did you think o f? The Ja ck of

Clubs. And what number did you think o f? Twenty-
four. Very well. Now listen attentively, please. I have
not handled those cards at all. They have been out of
my hands while the card and the number have been
mentally chosen. My object has been, not merely to
divine your thoughts but to anticipate them; and if my
effort has been successful the Jack of Clubs will be found
twenty-fourth in the pack.”
PRO CED U RE. Here is an application of “ system” to
an older effect whereby a more complete realization of
the idea is obtainable than by the elementary process
usually associated with it. This is perhaps the best of
the tricks applicable to the system, and it is the most
difficult. Probably to a person ordinarily adept at fig
ures the difficulty will be negligible. Personally I labour
under a mental disability in regard to figures, and I can
no more comfortably perform this particular item my
self than I can balance my yearly accounts, ( I almost
added ‘or make out an income tax return,’ but the latter
I easily dispose of by writing tniV against all the heads.)
When, however, one considers that practised auditors
commonly check up compound additions, not column by
column, but line by line, it will be realised that such
calculations as these are child’s play.
Rule 1. I f the specified number be lower than the
table number of the chosen card, the difference must be
transferred from top to bottom. Therefore, subtract the
required number from the table number of the card, and
take the remainder as the indicator of the card to be
sighted, and cut to the bottom of the pack.
EX A M P L E . Required to place the Jack of Spades
T h e N i k o l a O akd System . 33
fifteenth. 34 - 15 = 19 — nine of clubs. Cut the nine

of clubs to the bottom, and the Jack of Spades becomes
the fifteenth card.
Rule 2. I f the specified number be higher than the
table number of the chosen card, the difference must be
transferred from the bottom to the top. Therefore, sub
tract the table number of the card from the required
number, and subtract the remainder from 52. This gives
the indicator of the card to be sighted and cut to the
bottom of the pack.
E X A M P L E . Required to place the four of diamonds
twenty-seventh. 2 7 - 1 3 = 1 4 .
52 - 14 = 38 — Ace of diamonds.
Cut the ace of diamonds to the bottom of the pack,
and the four of diamonds becomes twenty-seventh.
Rule 3. (Applicable to either case.) This general
rule may, if preferred, take the place of both the pre
ceding rules.
Deduct the required number of appearance from 52,
and add the table number of given card. When the sum
exceeds 52, deduct 52.
E X A M P L E S. Required to place the Ja c k of Spades
fifteenth. 52 - 15 = 37.
37 + 34 = ; 71- 52 = 19 =--Nine of clubs,
which cut to bottom of pack.
Required to place the Four of Diamonds twenty-
seventh.
52 - 27 = 25.
25 -f- 13 = 38= Ace of Diamonds,
which cut to bottom of pack.
For the double purpose of emphasising the effect and
facilitating the procedure, the pack at the outset is laid
upon the table. After the two participants have been

invited to “ think,” the performer pauses for a period of
masterly inactivity. Then he asks for the card and the
number, upon receipt of which he makes the necessary
calculation as quickly as possible: he also makes a men
tal estimate of the approximate position of the card to
be cut to the bottom of the pack. Deliberately reaching
for the pack he, in process of lifiing it, first turns it
upon its side edge, the backs of the cards towards the
spectators. With the thumb he pushes a portion of the
pack from left to right in such a way as to reveal the
indices round about the required card. The location is
completed in gathering up the pack, and the little finger
inserted at the break. The few subsequent remarks are
framed to give time to make the secret cut. This is a
case where technique should be faultless. I f the reader
will turn back a moment to the performer’s remarks, he
will note that the audience is invited to “ listen” and
not to “ watch,” and with experience in control he should
be able to divert attention from his hands to his face for
ju st so long as may be necessary.
10. UNCONSCIOUS THOUGHT T R A N SM ISSIO N .
“ I will give you an astonishing example of the effect
of unconscious thought transmission. Will somebody
take any one card, please—but don’t look at it.
“ I will at once place it, without looking at it myself,
face down in this envelope. I will seal the envelope and
place it in sight and out of reach—here. None of you,
nor I, know what card is in that envelope.
“ Next I will invite you to name any card, but so that
there shall be no suspicion of collusion, let it be a joint
selection. F irst name a suit . . . Diamonds. Will you
T he N ik o t .a , ( J a k d S y st em . 35
have a court card or a spot card. . . . A spot card;

very well, how many spots shall-we sa y ? Eight !
“ The choice, then, falls on the eight of diamonds, and
I think you will admit, under the conditions, it could not
have been prearranged. It is a strarfge thing— I would
not believe it myself, if I hadn’t done it— the eight of
diamonds is the identical card in that envelope over
there.” ,
The envelope used is preferably of a large size—-5Ain
x 4în. and is prepared by neatly slitting the bottom to
a little more than the length of a playing card.
When a card is taken, a secret cut is made at. the point
where it is removed. The pack is retained in the left
hand, back upwards, and the envelope is casually laid
on top of the pack, and grasped in the same hand/ The
right hand receives the chosen card and-pushes it, face
down, into the envelope. It is pushed through the slit
in the bottom to the extent of about a quarter of ah inch,
and in this position is grippf d in the fork o f the thtlmb'
against the top of the pack. When the'envelope-is with'*-
drawn the card remains behind on the top of the pack,
and it is an empty envelope that is<erected for the con
templation of an expectant audience. Upon the front of
this same envelope is stuck a minute-pelkt of beeswax,
or diachylon.
While a card is being named in stages, the performer
holds the pack in front of him edge up; with the faces
to the right and the backs to the left, grasped in both
hands in such a way that it is completely covered. The
thumb of the right hand supports the bottom end, and
the four fingers of the same hand cover the opposite end.
The side of the pack nearest the spectators rests upon
T iu c N ik o l a C ard S y st em .
the second, third and fourth fingers of the left hand, the
thumb of the same hand rests upon the opposite side
(nearest the performer) and the first finger, bent, rests
upon the top. The upper corners can therefore easily be
riffled by a slight action of the left thumb, and as soon
as the required card is known it is sighted (using the
sequence as a guide) and a break made above it. It is
secretely cut to the top of the pack and in due course
the envelope is laid over it while it is l’ipped open with
a knife. The cut is made along the edge already parti
ally severed, and the evidence of faking thereby de
stroyed. Meanwhile the top card of the pack is pressed
against the pellet of wax, and when it has been secured
to the envelope, the pack is placed aside, and the fingers
inserted into the envelope. The concealed card is drawn
up behind as though coming from the interior of the
envelope.
11. W IZARD ’S W H IST.
“ I will give you an example o f the practical appli
cation of thought-reading to card-playing. It is useful
Sometimes to know what card your opponent thinks of
playing.
“ Will you please suppose you had these cards in your
hand at the card table, and decide upon one of them to
play. You need not necessarily choose the highest or a
good card, but ju st think of any one, for the purpose of
a test. Only one, please, and don’t forget it. Keep it
in mind for a little while.
“ Will you do the same, please. Think of one of these.
And you. Thank you.
“ Who else will take a hand ? You ? Thank you.
“ Remember the one card in each case, forget the
T ub N ik o l a C ard S y st em . 37
others, and return them all to me.

“ For the purpose of illustration we will imagine the
game is whist, so I will deal the cards accordingly.
“ Now, as I shew you the hands, tell me if you see
your particular card amongst them.
“ You thought of t h e ........... . you have in mind, the
. . . , ., you are going to play the . . . . . . and you de
cided upon t h e ........... ”
PRO CED U RE. This is entirely independent of the
system, and can be done without any prearrangement
of cards; but it is introduced here because it happens to
make a very appropriate conjunction of effects.
Each of the four spectators taking part is given four
cards from the top of the pack. They are taken back in
the same, order as they were given out, and replaced at
the bottom of the pack. A false shuffle may be intro
duced here, but the cards must be left intact at the
bottom of the pack. Four w h ist hands are then dealt,
and the process of the deal will distribute the sixteen
bottom cards of the pack to the tops of the four heaps
and divide each original group of four cards among the
same. So that directly the information is obtained that
.a chosen card is in a particular heap, as it can only be
one card of that heap, it is easily discovered. The group
of four cards last returned to the pack are the top cards
of the newly dealt hands, and when the last “ player”
points out the heap that contains the card he thought
of, it must be the top card. The four cards next return
ed are the second cards of the whist hands* and the
second card of the hand that contains the thought of
card is it. And so on with the other two groups. It is
essential to remember that the cards first returned to
.18 Th e N ik o l a C ard S y st em .
the pack are fourth after the deal, the second to be re
turned are third after the deal, the third the second,
and the fourth the firBt.
When performing this trick with an unprepared pack
it is necessary for the performer either to look at the
faces of the cards, or secretly glimpse the indices. With
the prearranged pack this is unnecessary as he can name
the cards by mental reference to the Code.
He cannot, with the prepared pack, shew the fourth
hand without prematurely exposing the fact that it con
tains all of one suit, but this is not only unnecessary,
but the omission adds somewhat to the effect. Any card
or cards not revealed in the first three heaps must,
necessarily be in the fourth, and knowing this and being
acquainted with the contents of the heap he can name
them without any reference to it.
12. A L L TRU M PS.
“ Now, gentlemen, if you please, we will play the
hands out. Will you cut for frumps ?
“ Hearts. . . Then I think the game is mine ! ”
PRO CED U RE. This has already been explained,— see
page 11. While astonishment over the last effect is still
fresh, and the victims are not in a condition to notice
the irregularity of the proceeding, the performer picks
up his own and offers it for the cut. The other hands
are pushed across to the would-be players, and after due
interval they are confronted with the constellation of
trumps.
So far is a smooth-working, rational sequence of
effects. It may be reduced, extended or varied at dis
cretion. The possibilities are not yet exhausted.
T he N ik o l a C a rd B y st k m . 39
13. T H E S P E L L IN G B E E ,
14. T H E GAME OF P O K ER , and
15. T H E GAM E OF “ N A P ”
have already been referred to inSection 2, pages 19 and
20. Here are some others,—
16. TO NAME T H E PO SITIO N OF A N Y CARD
C A LLE D FOR.
17. TO NAM E T H E CARD OCCUPYING ANY
G IV EN PO SITIO N .
These are the most elementary demonstrations, and
need no special explanation. The Code gives the desired
information instantly.
18. TO NAM E T H E PA C K IN ORDER, W ITH-
OUT LO O KIN G AT IT , E IT H E R FROM T H E
BOTTOM OR FROM T H E TOP.
This also is self-explanatory. Indeed the nature of
the feat so readily suggests the idea of pre-amingement
that its inclusion, if unsupported, would be the height
of indiscretion. By the interposition, however, of two
other artifices, it makes an effective addition to the series
by reason of the fact that any suspicion of pre-arrange
ment can be completely dispelled by handing out the
pack from time to time during its performance, and im
mediately proceeding as before:
How r
Once the arrangement has been broken up, the per
former resorts to other means.
To read cards from the bottom of the pack, a fake is
used, consisting of a tiny mirror consisting of a disc o f
polished silver three-eightS-of-ari-inch in diameter,
attached to the left thumb-nail with a dab of wax or
diachylon. The pack is held upright in the right hand,
at arm’s length, facing the spectators, and the first bot

tom card is known as the result of a sly glance before
commencing the experiment. After it is named, the left
hand is raised to remove it from the pack. In so doing
the left thumb is inserted between the exposed card and
the next, and before carrying it away, the reflection of
the index of the next card is observed in the mirror.
This; of course, can be repeated indefinitely.
Now, to vary the procedure, cards are named from
the top of the pack, and as the mirror is not required it
can be removed from the thumb and stuck to the bottom
card until a convenient opportunity occurs to pocket it.
A s the pack is now held face downwards it is well hid
den pro teni. In making an attempt to name the first
top card, recall the first bottom card named and men
tally referring to the code, name the next card in order
to it. There is a fair chance that the two cards have
not been seperated in the shuffle, and if not, and the
announcement is correct, well and good. I f not— suppose
for example that you have named the ten of diamonds*
and the ace of clubs turns up, look at it in astonishment
and apologise: then add cheerfully, “ I meant the ace of
clubs.” Whether this is accepted seriously or taken as
a joke does not matter. The mistake has served its pur
pose. In separating the top card from the pack with the
thumb of the right hand (the pack is now held in the
]eft) raise the left-hand bottom corner of the first tivo
cards, and note the index of the second card. This is
allowed to fall back, and the top card removed alone and
proved right or wrong as the case may be. From this
point all is plain sailing. The next card is .’definitely
known, and is named. In removing it from the pack the
Th* N i k u i ,a C abd S ybtem . 41
index of the next following card is named in the same
way. And so on, ad lib.
To proceed with other code tricks the pack may be
restacked openly as described hereafter or another pre
arranged pack may be substituted by one of the devices
described in the appendix.
19. TO P IC K OUT A N Y CARD C A LLE D FOR
B E H IN D T H E BA C K .
This is merely a disguise of No. 16. All that is necess
ary i$ to note the bottom card, and follow the code
wdiile counting the cards behind the back until the re
quired one is reached, I f the pack has been disarranged
it forms a suitable opportunity for an exchange, as
described in the appendix.
20. TO P IC K OUT A CARD CH O SEN AND R E
PLA C ED .
When the chosen card is withdrawn from the pack,
retain the break, as in previous examples, and, similarly,
in offering the pack for its return, divide it at the same
point, and sight the card immediately above, i.e. - the
face card of the portion. A false shuffle may now be
given, followed by a genuine cut. Then note the bottom
card of the pack, hold the pack behind the back, and
following the code, count until the chosen card is
reached.
Alternatively,, by cutting or secretelv cutting within
half-a-dozen or so of the known card, so that it is
brought within pasy reach of the top or bottom, the pack
may be placed in a spectator’s pocket, and the produc
tion made in those circumstances.
21. TO PRO DUCE CARDS C A LLE D FO R FROM
T H E PO CK ET.
42 T he N ik o l a Oakd S y st em .
This, a feat usually achieved by the use of a duplicate

pack sorted into the divisions of card holders, can be
donn with the stacked pack.
Cut the six of diamonds to the top, and divide .the
pack into four equal parts by riffling and sighting the
indices. The first packet is cut at the thirteenth card,
the four of diamonds, and placed in the left breast pock
et; the second is cut at the twenty-sixth card, the four
of spades, and placed in the right trousers pocket; the
third is cut at the thirty-ninth card, the Ja c k of Clubs,
and placed in the left trouser pocket; and the remaining
thirteen cards are put in the right breast pocket. The
backs of the cards in each case are outwards.
When a card is called for, mentally refer to its Code
number, from which it is clear which packet it is in;
plunge both hands alternately into various pockets, and
with the hand most convenient to the one containing
the required card, count in accordance with the Code
until it is reached, and bring it out of the pocket, toget
her with all above it, and sheiv as one, then return to the
pocket. In this way the order of the cards is undisturbed.
For instance, the King of Spades is wranted. K ing of
Spades is the eleventh card, and therefore in the first
division, and in the left-hand breast pocket. The right
hand counts the cards, in this case conveniently back
wards - thirteen, twelve, eleven-, the thumb separates
twelve and thirteen from eleven and the rest, and these
are gripped with thumb at one end, second and third
fingers at the other end, and the first and foiirth fingers
gne on each side, so that the cards are neatly and
securely squared up.
Again. The three of hearts is asked for. This is the
T he N ik o l a C ard S y st em . 4:<
forty-fourth card, and therefore in the fourth heap and

in the right-hand breast pocket. Count from the top—
forty, forty-one, forty-two, forty-three, forty-four, and
grip the five cards in the same way.
The six of clubs would be thirty-one— in the left-hand
trousers pocket. The left hand counts, twenty-seven,
twenty-eight, twenty-nine, thirty, thirty-one, and shews
as before.
At the conclusion, the packets are removed from the
pockets in the reverse order to their insertion, and
stacked one above the other to restore the order.
22. TO NAME T H E BOTTOM CA RD S OF A NUM
B E R OF H E A P S B Y LO O KIN G A T T H E TOP
CA RDS.
Sight, the bottom card of the pack and let a spectator
cut into any number of heaps. Look carefully and note
their order if other than regular. Examine first the top
card of the heap containing the noted card and name the
latter. The former is the key, not to the bottom card of
the heap from which it was taken, but to the bottom
card of the heap next in order, and so on throughout the
series.
For instance, say the six of clubs is the bottom card
and the pack is cut into four heaps from left to right.
Suppose the top card of the first heap is the ace of clubs.
The performer states that the bottom card is the six of
clubs, which he knew at the outset. Then, counting one
backwards from the ace of clubs (23) he knows that the
bottom card of the next heap is (22) the two of clubs,
but he does not announce it until he has turned up the
top card of that packet, which being the Ace of Hearts
(12) conveys the information that the bottom card of the
next is No. 11, the K ing of Spades, while the five of

clubs on top of that heap indicates the six of diamonds
at the bottom of the remaining heap.
23. A S U B T L E GAME.
Although the system is made use of in this trick, it is
not necessary for the pack to be pre-arranged. To begin
with it is therefore handed out for thorough shuffling.
Prior to so doing, however, the performer abstracts, and
palms, any four cards in Code order. For convenience
we will assume the cards to be the four bottom cards of
the stack—
Three of diamonds.
Five of diamonds.
Queen of Diamonds.
Eight of Hearts.
After the pack has been shuffled to satisfaction, the
palmed cards are returned to the top and subsequently
forced upon four spectators.
Any method of forcing in which the performer is pro
ficient will do, but as certainty is desirable, a method of
absolute precision is given in the appendix. I do not
wish to burden the present explanation.
The four cards are returned and manipulated to the
top of the pack by any of the usual processes. A false
shuffle of any type that retains the four top cards is giv
en. The cards are then dealt info four hands and one
given to each of the four people who chose cards. They
are distributed in order so ihat each gets the hand con
taining his own card, and in gathering up, it is desirable
to displace the bottom, so that the chosen card is not
conspicuous.
The parties are then instructed to sort their hands into
T he N ik o l a U a k i> S y st em . 45
suits, as for a game, and to hand the performer such

cards as he calls for. On this amiable understanding, he
proceeds to name the cards according to the Code, back
wards from the next in order to the four forced cards.
In the present example therefore he will first call for the
six of hearts, then the ten of diamonds, next the eight
of clubs, and so on. As the cards are handed to him ho
places them naturally, face down, in the left hand. This
he continues until one card only remains in each person’s
hand, that card being the one originally chosen. The
spectator’s are left with their chosen cards, and the wily
wizard is left with— !
I promised my reader that I would show him how to
arrange the pack in full view of the audience, and 1 have
now redeemed my promise. I have done more than I
promised. He has not even had the trouble of arranging
the pack. It is done, and the audience has done it for
him, lured into the belief that they are assisting a trick.
The four isolated cards are taken in their proper order
and added to the stack to complete the chain. I f you
can beat that for audacity— next please!
This properly precedes the other tricks in order of ex
ecution, but I have kept it till the last, partly so that it
might come as a surprise and partly because familiarity
with the material wras necessary, both for its apprecia
tion and for its performance.
It may be used or not, by way of introduction, as
circumstances demand, or, commencing with a pre
viously arranged pack, it may be held in reserve against
an accidental or antagonistic disarrangement.
An appendix follows, comprising useful methods of
false shuffling, exchanging packs, etc.
SECTIO N 4. A P P E N D IX .
F A L S E SH U F F L IN G .
To give full effect to the various tricks of the series it
is necessary to induce the idea that the cards are con
tinually mixed, and this is effected by an occasional
imitation shuffle.
To retain a few cards at top or bottom of the pack is
a very simple matter, but to produce a satisfactory ap
pearance of shuffling without displacing a single card is
a more difficult proposition. These are the best known
m ethods:—
1. T H E C H A R LIE R SH U F F L E .
This shuffle is the most completely deceptive yet in
vented, iu that it allows close inspection, and the most
deliberate execution. It is unfortunately quite imprac
tical for present-day use, because, although a perfect-
imitation of the method of shuffling cards that my
grandmother taught me in the first days of my acquaint
ance with cards, it is quite unlike any process in use by
card players to-day. I have included a description be
cause I consider its analysis to be usefully instructive.
The cards are held in the left hand as for dealing. To
start the shuffle, a few cards are pushed off the top of
the pack by the left thumb into the right hand, which
seizes them with the thumb above and the fingers below.
The left hand continues to transfer successive groups of
cards alternately above and below the packet in the
right hand, ivith this restriction, that the cards placed
above those in the right hand are pushed with the fin
gers from beloio the left-hand packet, and those that are
placed below the right-hand packet are pushed with the
thumb from the top of the left-hand packet.
Tb b N ik o l a C ard S y st em . 47
The exact effect of this at the finish is that the rela

tive order of the cards is the same as at the start, except
that the top and bottom halves of the pack are trans
posed. The pack is as cut, but the chain is unbroken,
2. T H E OVERHAND S H U F F L E .
When the last described style of shuffling went out of
fashion, the method generally followed was to hold the
pack on edge in the left hand, and retaining a few
of the top cards with the left thumb, lift the bulk from
beneath with the right hand and, alternately raising and
lowering this hand, draw off small packets of cards with
the left thumb. Sometimes the procedure was varied by
tilting the left-hand packet from side to side, and drop
ping batches of cards alternately upon one side and the
other.
This can be imitated to some extent as follows
Hold the pack on edge in the left hand, thumb across
the back, first finger at the outer end, and second, third
and fourth fingers resting against the face card. Bring
the right hand up to the left, thumb at the inner end,
second and third fingers at the outer end, first and four
th fingers extended out of the way. Retaining about
one-fourth o f the pack with the tip of the left thumb on
the upper edge, lift the bulk with the right hand, and
shift it over to the opposite side of the smaller packet,
which to facilitate description we will call number one,
the left thumb being mov^d to make way for it. Let the
upper, outer corner of packet number one pass between
the first and second fingers of the right hand. Holding
back a few more cards with the left thumb, raise the
right hand again, carrying away the bulk of the pack
and the separated portion, number one: The small packet
remaining in the left hand we will call number two.

Tilt number two to the left, supported against the thumb,
bring the right hand down aud drop a few cards from
the top of the bulk, tilt the left-hand portion over to the
right, supported against the fingers, release packet num
ber one and drop it on top, tilt it over to the left again,
and drop a few more cards from the top of the right-
hand packet on to the face of the left, tilt the left-hand
packet over to the right again, and drop the balance of
pack on top.
This is practically the same process as the Charlier
shuffle, differently applied. It will not bear the same
close inspection or delibtrate handling, but executed
with the rapidity that can be acquired by practise it is
fairly deceptive.
T H E OVERHAND S H U F F L E . (B.)
One of the cleverest false shuffles preserving the pack
intact that I have seen is executed as follows. Rapidly
executed it is a fine imitation of a genuine overhand
shuffle. ~
Hold the pack in an upright horizontal position in the
right hand, the face being towards the palm, with the
second and third fingers on the top edge, the thumb at
the bottom edge, the first finger curled up against the
face card and the fourth finger idly extended. Let the
lower side of the pack rest upon the fingers of the left
hand held palm upwards, and with the left hand thumb
press upon the top card. Rapidly count off about six
cards by repeatedly drawing the pack away and pressing
with the thumb upon the next in succession. Jo g the
seventh card, and throw the rest of the pack en bloc on
top. Without pausing, undercut at the jo g and shuffle
■Th e N ik o l a Card S y st em .
off one by one, back to the top of the pack, the cards
displaced in the first part of the shuffle. It looks as
though the cards must be mixed, but all that happens is
that seven cards are reversed in process o f tran sference
from top to bottom and then reversed again in trans
feren ce from the bottom back to the top.
For the benefit of any readers to whom the term may
be unfamiliar, to “jo g ” a card is to place it with about
a quarter-of-an-inch projecting beyond the rest of the
pack either at the inner or the outer end, usualty the
inner, so that it forms a ready means of location for a
break. “ Undercut below the jo g ” means to take the
cards below the projecting card: “ undercut at the jo g ”
means include the projecting card in the cut.
3. R IF F L IN G .
Riffle shuffles were introduced to obviate falsification.
Unfortunately for the faith of card players, though for
tunately for the trickster, a riffle shuffle is the easiest of
all shuffles to falsify.
I f it is desired to retain a few cards at top or bottom,
all that is necessary is to avoid interleaving those cards
and let the stock fall at the top or lay as the foundation
at the bottom, as the case may be.
To imitate a riffle shuffle while preserving the order
of the pack entire, two methods of procedure are avail
able.
a. — This is the easiest, and the most convenient for
the conjurer, as it is done in the hands.
Hold the pack by both hands (the palms of the hands
facing one another,) with the fingers at the outer end,
and the thumbs at the inner end. Divide the pack at
about the middle with the two thumbs, separate the two
SO T h e N ik o l a C a r d S y st e m .
halves* reversing the position of the left hand half, so

that they are face to face, hold one in each hand, in each
ease with the thumb at the inner end, the second, third
and fourth fingers at the outer end and the first finger
curled up on top. Bring the hands together until the
corners of one packet overlap thbse of the other, bend
up the ends of the cards with the thumbs and. release
the pressure so that the cards fall alternately from each
hand and interleave. Then, instead; of pushing the. two
packets fairly into one another in accordance with the
.orthodox procedure, bend one packet upwards and the
other down, at the outer ends, as the hands appi’oach to
push the packets together: the effect of this is to twist
the cards apart and replace one packet on top of the
othe;r. Either half may be placed top, so that the
“ shuffle” may effect a cut or leave the disposition entire
ly unchanged, whichever may be preferable. The fingers
of both hands encircle the pack during the final oper^
ation, and mask its duplicity.
b, —r In the second version of the false riffle, the
cards are riffled upon the table top, as would be the case
in course of play. The procedure is in this case not quite
so easy, but even more delusive. The handling is the
same up to the point where the corners are interleaved,
except that the cards lie uppn the table. In pushing the
packets together they are in reality pushed through one
another. The right-hand packet is pushed to the left, and
the left hand packet is pushed to the right, both in an
oblique direction, until the ends of each packet protrude
beyond the other. They are then seized again, at the
opposite ends and by the opposite hands, drawn apart
and replaced one upon the other. The essential condition
T iie N ik o l a C akd S y st em . 51
for success is that the cards be held quite loosely and

allowed to slide easily, without force. The fingers of both
hands mask the outer edges of the cards.
FORCING.
In good hands there is nothing to beat the orthodox
method of forcing cards. With some performers it is an
instinct: with others it is an insult.
In my early youth, when I visited the old Egyptian
Hall, the late Paul Valadon invariabty picked me out as
a simple-looking person, and leisurely fanned out a pack
of cards in front of me. I never knew which one he want
ed me to take, and I never knew till the climax if I had
taken it, but always I had. He used Steamboats, which
are rather confusing to the eye of the victim, and pro
portionately difficult to follow by the operator.
In contrast to this a certain card expert of the present
day once staggered me by a demonstration of a wonder
ful new “ pass” which he claimed was positively invisible.
He spread out the cards and asked me take one. Quite
innocently I took the first that came to hand, and he
promptly snatched it away and handed me another.
This he asked me to replace in the pack, he squared up
the pack, and without the flicker of a sleight reproduced
the card from the top. I was nearly too astonished for
words, but I gasped out that it was the most astounding
thing I had ever seen, and that the pass was quite invis
ible. It certainly was.
While I do not recommend this sort of forcing, some
thing very near it is useful where a number of cards
have to be forced, and there is no time to waste. I f the
performer has skill and nerve he can pass quickly from
one to another, and “ push” the cards on to people
without giving time for thought.
FO RCING B Y N U M B ER S.
This sounds like something out of a Drill Book, but
it isn’t.
In experiment No. 23 it was pointed out that the un
interrupted consecutive forcing of four cards was desir
able. There is always a possibility of meeting an
unsusceptible subject to the forcing of a card, and with
a series the risk is naturally increased. The present plan
differs entirely from what is usually known as “ forcing”
but it lends itself agreeably to the purpose in view.
The four cards to be placed in the hands of the parties
are in the beginning stocked at the bottom of the pack
and, as needed, transferred one by one, in turn, to the
top. Instead of inviting each perfeon to choose a card,
he is asked to name a number. The conjurer then counts
down to that number, and apparently hands out the card
that occupied that position, whatever it be.
As throughout this series of tricks, whtre counting
has been necessary, it has been usual to count simply by
passing cards from one hand to the other without dis
turbing their order in any way, it must be noted that in
this case the cards are counted one above another, so
that their order is reversed.
Holding the pack in the left hand, as for dealing, two
less than the stated number of cards are counted off,
one over the other, with and iuto the right. The first
card of the pack becomes the bottom card of the right
hand lot, and is pushed sideways to the left to the ex
tent of about a quarter*of-an-inch beyond the cards
above it. Then, for the next count, instead of the right
hand passing below the pack, it passes above it, and in
stead of pulling a card o f the pack with the thumb, the
T he N ik o l a O a h i> S y st em . 58
projecting card (the one to be forced) is pushed on to

the top of the pack by the right hand fingers, the re
mainder of the right-hand cards being drawn away
smartly in a downward direction with an imitation of
the snap produced in counting off the previous cards.
The next number counted is the chosen number and the
card is ostentatiously lifted with the finger tips of the
two middle fingers and handed to the chooser.
TO EX CH A N G E P A C K S .
I f a series of any considerable length be selected, it is
desirable to have the pack genuinely shuffled by the spec
tators at some point.
To effect this, a second pack of cards, duly arranged,
must be in readiness, and the exchange is best disguised
by the course of a trick arranged for the purpose.
1. — A convenient method is to have a clip (failing a
special card clip, an ordinary office clip of the “ bull-dog”
type will do) to hold the second pack of cards attached
to the waist of the trousers at the back and a hip pocket
to get rid of the first pack. A “profonde” is useful for
getting rid of the discarded pack if the performer is
equipped with it. Personally I gave up the use of all
special pockets years ago, to save arguments with tailors.
The cards are exchanged under cover of reading behind
the back, which may be given as a climax to Experi
ment No. 18, the cards being truly shuffled in between.
Or it may be more effectively covered by Experiment
No. 19, a card or two being taken out of the first pack,
the pack handed out for shuffling, and upon its return
the exchange made behind the back and the experiment
continued with the second pack.
Still better is to adapt Experiment No. 20. A card is
54 T he N ik o l a . Oakd S y st em .
first chosen, a secret cut is made to bring the preceding

card to the bottom of the pack, which is glimpsed. The
pack is then handed to the chooser and he is asked to
replace his card, shuffle the pack and return it. On tak
ing it back, the performer undertakes to find the chosen
card “ without looking at the pack,” and with this os
tensible reason holds the caids behind his back while
searching for the card. Under cover he drops the first
pack into his hip pocket, removes the second from the
clip and counts down to the cards next in order to the
sighted card, which will be a duplicate of the one chosen.
Here there is a definite double advantage. The fact that
the card is replaced and the pack shuffled while out of
the performer’s reach and without handling on his part,
enhances the effect of the experiment itself, while pro
viding him with a new pack.
The Experiment No. 24, which follows, utilizes a
method of exchange that can be applied to other cases
where an envelope is made use of, and should meet the
most exacting requirements.
24. T H E TELEPA TH O G R A M .
This is an experiment quite effective in itself, apart
from its value as a means of providing a pack of cards
duly arranged for “ system” effects, or otherwise.
The requirements are as follows:—
Two packs of cards, one arranged according to the
system of which this pamphlet is the subject, or in any
other known order, and the other pack in its original
wrapping. The “ unopened” pack is previously tampered
with in regard to its wrapping, to convert it into a tem
porary carbon pad. The wrapper is steamed apart and a
strip of white paper two-and-a-half inches long and
T h e N ik o l a C a r d S y st e m ,
seven-and-a-half inches wide is folded round the pack

longitudinally and a piece of carbon transfer paper of\
the same dimensions is folded over that. The wrapper is
then refastened.
A celluloid or metal thumb tip to which is cemented
or soldered a small tube, halfân-inch long and one-eight
of an inch in diameter, to hold a piece of crayon. The
attachment should be on the “ nail” side.
Another piece of crayon, a few envelopes and corres
pondence cards and a slip of paper about three inches by
two.
A dummy packet of envelopes, constructed as now de
scribed, — several envelopes have enclosed in them
pieces of stout card, cut to size, and the flaps fastened.
A margin of about an inch all round on both sides of the
card is pasted before inserting them into the envelopes.
A pile of these prepared envelopes is made, equivalent
to a thickness of three-quarters-of-an-inch. They are
pasted together in the pile and set aside to dry. Then
the centres and part of one end are cut away, leaving a
three-sided frame open at one end, with space large
enough to easily hold a pack of cards. A strip of brass
about quarter-of-an-inch wide is riveted in position to
span the open end, close to the edges, above and below,
and a stiffened envelope is glued into position to form a
bottom. A hole being previously drilled for the purpose
in the centre of each brass strip, the ends of a piece of
thin cord elastic are passed through and knotted, form
ing a loop that will shoot out a pack of cards placed
within. A second pair of holes, near the first, are made
for the reception of a pin, to hold the pack in security
until delivery is required. The sketch (Fig. 1. a) shews
56 T h e N ik o l a Oa k d S y st e m .
this box-disguised-as-a-packet-of-envelopes, minus the

top, which is fitted last. A piece of card the size of the
opening is cut into two portions, corresponding to the
size of a card and of the end of the pack respectively.
With a square of calico the parts are hinged together
and in turn to the closed end of theenvelope-box.(Fig.lb)
This fake is set by inserting a pack of cards into the

mouth of the box and within the loop of elastic, and se
curing with an ordinary pin. A loose envelope masks
the top. I f a pack of cards is placed upon it, the envel
ope moved away and the pin withdrawn, the second pack
_________________________ T hk Is i k o l a C a r d S y s t e m ._____________________5 ?
is shot out and the first sinks into its place.

These articles are disposed in readiness: the fake
packet of envelopes set with the arranged pack of cards,
upon it four or five genuine envelopes, two or three
correspondence cards, the slip of paper and the sealed
pack of cards, while the thumb tip and the loose piece
of crayon, together with a pencil, r.epose in the right-
hand waistcoat pocket.
In performance, a spectator is first invited to think of
a card. No pack is offered to disturb the free direction
of his thoughts. The only stipulation is that he shall
write the name of the card, as evidence, upon the slip
of paper presented for that purpose. This is placed, by
the writer, in an envelope, which is handed to another
spectator to guard.
Then, and not till then, the cards are brought into
the play. They are handed to a spectator for shuffling,
placed by him in a second envelope and entrusted to
someone else.
A third envelope is offered for inspection, together
with a blank correspondence card. The card is shewn
on both sides, sealed in the envelope and given into the
possession of a third spectator.
The outcome of all this is that the performer tells
what card has been thought of and produces upon the
blank card,writing indicative of the exact position in the
pack at which that card will be found. Which is veri
fied and found correct.
The description of the preparations will have given
the clue to the solution of the mystery.
The magician picks up the packet of envelopes and
accessories. A card having been thought of, he hands
58 T he N ik o l a Card S y st em .
out the slip of paper and pencil, and, as an afterthought,

the sealed pack of cards, which will naturally be used
to write upon.
(In circumstances where it may be inconvenient to
use a new pack— as, for instance, when cards have been
used in a trick or tricks immediately preceding, a sub
stitute may be used in the form of a prepared card
secretly added to the pack already in use. It is made by
soaking a card for some hours till the back and face
easily pull apart, washing away the adhesive, drying
and rejoining at the extreme edges only, with a piece of
‘full’ carbon paper -between. ‘Full’ carbon paper, as
distinguished from ‘semi’ carbon is prepared on both
sides. This card is handed out as a writing pad, and
subsequently peeled apart and read.) (A further device
is the use of a piece of sponge, contained in a small
round, flat tin box that can be palmed, saturated with
alcohol: this rubbed over the surface of the envelope
makes it translucent, and discloses the writing inside.
It will dry during the subsequent procedure, but the
scheme is move difficult to disguise in operation.)
An envelope is given for the paper to be enclosed in
and the pack of cards taken back. This is opened, and
in doing so the carbon impression within the wrapper is
read, after which all is crumpled together and thrown
aside. After the pack has been shuffled the performer
tak es it again and lays it momentarily upon the suppos
ed packet of envelopes in his hand, slips out the loose
envelopes and correspondence cards between the pack
and the fake, at the same time withdrawing the pin,but
keeping the duplicate pack in check with the little fin
ger, and transfers them to the bottom, separating one
T hk N ik o l a O akd S y s t k ji.
envelope, and Landing it out. Then he relaxes the hold

of the little finger, and presses lightly upon the pack of
cards at the same time tilting it towards his body. The
duplicate pack is dropped into the left hand, which is
held in readiness to receive it, and the first pack sinks
into the space left vacant. The substituted p ackisgiven
to be enclosed in the envelope. The loose envelopes and
correspondence cards from the bottom are returned to
the top and restore the appearance of the packet. A
correspondence card and an envelope are removed, and
the rest put aside. While card and envelope are being
inspected the thumb and finger of the right hand go to
the waistcoat pocket and bring out the loose piece of
crayon and the thumb tip, the latter in position upon
the thumb. The crayon is dropped into the envelope,
and the card displayed on both sides prior to inserting
it also. The equipped thumb is kept out of sight behind
it and, while shewing the second side, writes upon the
first the known number corresponding to the position of
the chosen card in the pack. The envelope is sealed and
given to the third party to hold, in completion of the
conditions.
The trick is now done, and it only remains to make
the various revelations, and enforce the points by suit*
able patter.
For example,—
“ In recent years much study has been given to what
is called psychology, and much has been written about
telepathy, mind concentration, thought projection, will
power and the influence of mind over matter.
“ It would take too long to go into theories, and as
most of you, no doubt, will be more interested in a
60 T he N ik o l a C akd S y st em .
practical accomplishment, I will prodeed witli my de

monstration and leave you to draw your own conclusions.
“ First I would like one of you to think of a card. Not
to pick one out of the pack, but merely to think of one,
without reference to the pack. As a guarantee of good
faith, and for the purpose of evidence, please write the
name of the card you have thought of upon the slip of
paper. Don’t let me see what you write, and afterwards
place the paper face down in this envelope, seal the en
velope and pass it on to someone near, as a sort of
umpire.
“ Now here is a pack of cards. Please shuffle them
thoroughly. So that I cannot possibly manipulate them
in any way, they shall be sealed in an envelope. Have a
look at the envelope first—there’s nothing to f-ee. Have
you seen it ? Then put the cards in and fasten it secure
ly. Give that to somebody else.
“ Thirdly, here is a blank correspondence card and
another envelope. Have a look at those. Sorry to give
you so much trouble. In the envelope I will drop this
little piece of crayon. Those wrho have not had an op
portunity of examining the card can no doubt see, if I
hold it up, that it is blank on both sides. I will put it
in the envelope with the crayon, fasten it, and perhaps
you will keep that yourself.
“ Notice, please, that all the preparations are right
out of my hands. I do not need to touch anything.
“ My experiment is a three-fold manifestation. What
I set myself to accomplish is first to divine the name of
the card you secretly thought of; next to discern its
position in that pack of cards, which is in your possess
ion, and then to reveal my knowledge by long-distance
T hf, N ik o l a C abd S y st em . 61
writing projected on to the card in the sealed envelope.

“ ............................ It is done !
“ Remember I do not handle the materials. You may
impose any conditions you like.”
“ F irst the name of your card. Tell me if I read your
thought correctly. I get an impression of t h e ........... of
...... Is that correct? Good. The proof of my
assertion is in the first envelope. It has served its pur
pose, and you can satisfy yourself that it remains intact.
Anyone can open it.
“ You, sir, remove the correspondence card from your
envelope. You will find it now bears a number, written
in crayon. Tell us if it is so, and what is the number.
.............. Thank you.
“ And now will you hand me the pack of cards. I will
count them through and prove to you that t h e ........... ..
o f ........... is at the n u m b e r................ Or, if you pre
fer it you may count them yourself, but come up here
and count them deliberately and distinctly, so that all'
can see.”
There are two remote contingencies upon which the
routine may fail, and as it is a case wherein the performer
cannot retrace his steps, it may be advisable to be fore^
warned. !
A very cunning person may deliberately avoid using
the concealed carbon pad, or write an indecipherable
scrawl. In this event little harm is done. At the point
where the pack has been sealed up and placed in custody
of a spectator, the performer says,— “ Now' that the pack
is secured from interference and beyond my reach— I
shall not touch it again—you may safely tell us what
card you are thinking of: if everybody will join in
62 T he N ik o l a . (Ja m S y st em .
thinking of the same card it will help in the result.’ ’

Occasionally one encounters an imbecile-at-large or a
half-witted crank who thinks it clever to put an obvi
ously insurmountable obstacle in the way. Such a person
might write “ fourteen of clubs” or something equally
i*idiculous. -
This supposition is raised by the memory of a “ funny”
man of this type, who, being requested to write ‘a number
consisting of three figures,’ put down X .X .X .— prob
ably the most familiar sign he could recall.
In such a case the experiment is spoiled beyond sav
ing as a magical effect, but the performance can be
brought to a satisfactory conclusion, and the laugh
tnrned against the would-be wit, by writing “ E a ts’
upon the correspondence card.
25. T H E FLIG H T .
To make a chosen card held by a .spectator fly to any
fla m in or beyond the room desired by the audience, the
cards being absolutely untouched by the magician at any
stage of the experiment.
This sounds rather beyond the limit, even of a
“ shipping order,” but it is what the average witness
will be prepared to say he has seen after the perform
ance. By a simple, but by no means obvious, ruse, the
spectators’ representative is himself made to carry the
Card to the desired spot, and the choice is unrestricted,
as also is the choice of the card.
Like the last, this experiment starts with a shuffled
pack and delivers up a stacked pack at the finish.
The performer challenges close observation that he
will not at any time handle the cards, and immediately
give3 the pack to any person in the audience, requesting
T he j^ iK o r ,A .C a r p S. y s t e î . 63
him to shuffle it and remove a card yvithout shewing it.

He gives two envelopes, one for the reception of the
pack, and one for .the abstracted card. He receives the
.envel.op.ed pack upon a tray and passes it on to any in
dividual selected by the audience themselves to place if.
in any position in or out of the room cljosen by them.
Before being carried away the packet is signed by an in
dependant member of the audience. The envelope con
taining the chosen card is laid by the person holding it
upon the centre of a handkerchief which the performer
spreads open for that purpose. The handkerchief is fold
ed completely round the envelope and the parcel left in
the same custody. When the handkerchief is subsequent
ly unfolded the envelope is found empty. The performer
asserts that the card has travelled back to the pack in
the chosen spot, and further that he will send it to any
specified position in the pack, and asks for a number for
its destination. The pack of cards is fetched from its
chosen location by the appointed messenger and by him
removed from the sealed envelope, after identification of
^he mark. At this point the performer asks the name of
the chosen card, which up till now he does not even
know. He instructs the person holding the pack to ex
amine and say if the card is really there. It is duly dis
covered, and when the cards are counted it is found to
be in the exact position required.
The visible preparation consists, in addition to the
pack of cards, of a small tray with a handkerchief, two
envelopes and a pencil upon it.
The tray itself is a device for changing packs, and is
shewn in plan and scction in Fig. 2. It is about 12A” x
8^” , and has a false bottom one inch above the true
«4 T h e N ikot .a O a * i > B ybtkm .
bottom, leaving space between for a duplicate pack of

cards, and the frame is cut away to leave part of one
end open. One half of the false bottom corresponding
to the open end is fi$pd, and the other half is hinged to
the frame, forming a trap, and kept level with the fixed
portion by a strong steel spring. Pressure on the trap
with the thumb of the hand holding the tray allows the
first pack to slide into the space in the opposite section,
k~------- -------------- ------ ------------------H
■ ta
-• ii _
/
PAHTSTtON S P R i N<Z
2 SECTION
from which the duplicate pack will drop as the tray is
tilted. To prevent the first pack falling out, a partition
is fixed from side to side of the frame between the false
and the true bottom to midway between the mouth of
the trap and the open end of the tray, as shewn in the
T hf, N ik o l a G aud S y st em . 65
section. Two other partitions extending from this to the

end opening form a recess for the duplicate pack as in
dicated by the dotted lines in the plan.
A pack of cards, arranged according to Code, in an
envelope, is placed in the secret compartment, pushed
^n from the open end. The pack which it is desired to
substitute, similarly enclosed, is laid upon the hinged
flap of the right-hand half of the tray. To effect the ex
change it is only necessary to tilt the tray to the left,
the surface, of course, away from the spectators’ line of
sight, receive the second pack in the left hand, and at
the same time press down the flap with the thumb of
the right hand to allow the first pack to slide out of
sight into the interior of the tray.
The handkerchief is for the purpose of exchanging
the envelope containing the chosen card for an empty
envelope, and although without preparation, the manip
ulation requires careful study, and we will therefore
consider it in this place as a preliminary detail.
The handkerchief should be of large size and thick
enough to be opaque. 'Lay it upon the table and make
a crease down the centre. In one corner of the front of
a sealed empty envelope put a pellet of soft beeswax or
diachylon. Lay the envelope to one side of the crease
and press the pellet of adhpsive to the fabric. Now fold
the handkerchief along the crease, with the envelope in
side. Then fold the two edges back to meet the fold.
Reduce the strip to a square by folding in the opposite
direction, but observe carefully that the two upper cor
ners (the “ top” edge of the handkerchief being consid
ered as that nearest to which the attached corner of the
envelope is) are on the outside of the completed fold. If
66 T he N ik o l a Gabd S y st em .
this is properly arranged, by lifting the handkerchief

and opening out from these same corners it will appear
empty, while the envelope hangs behind. The right
hand releases its hold and goes behind and beneath the
handkerchief: then the left hand corner is dropped, and
the handkerchief remains spread over the right hand,
covering the empty envelope. The envelope containing
the chosen card is placed in the centre of the handker
chief. Of necessity it lies over the concealed envelope,
and its position is adjusted, so that the two envelopes,
with corresponding edges, are squarely together. Now
comes a move that must be made boldly and quickly—
not nervously, hurriedly or hastily— but boldly and
quickly, avd quietly. It must be practised slowly until
the knack is acquired. It is a rather impudent, but
strangely deceptive piece of work. Bring the left hand
up to the right, so that the fingers mask the edge of the
visible envelope. Pass the tips of the fingers beneath
the edge of the concealed envelope, draw both forward
together, with the handkerchief, raise them from the
front edge, while the back edges still rest upon the fin
gers and turn upon them as on a hinge, and fold them
back upon the hand.
Transfer the grip of the right hand to the edge that
’s now turned to the front and lift the handkerchief and
contents bodily off the hand. I f the effect of this is close
ly examined, it will be found that the empty envelope
is now folded inside the handkerchief and the envelope
containing the card is loosely wrapped in an external
fold. It may be partly visible from the back, but not
from the front. Pull the loose folds around it, to com.
pletely cover it, gather all together and give it to the
T hk N ik o l a C ard S y st e m . 67
man to hold. Nothing is j e t abstracted or carried away,
and if the business has been neatly done, with an un
hesitating hand, and an unflinching countenance, there
is nothing to arouse suspicion. When, subsequently, it
becomes necessary to prove the disappearance of the
card, the handkerchief is taken in the left hand, the
right inserted into the outside fold, beneath the access
ible envelope (the one that contains the card) and the
latter grasped, together with its companion on the other
side of the fabric. The left hand now moves across to
the edge of the handkerchief, pulls it back and reveals
the substituted envelope. This is pulled away from its
temporary attachment and returned to the holder. The
object of placing the pellet of adhesive on the front of the
envelope is that it is less likely to be noticed, as in cut
ting open, attention is naturally diverted to the back.
While the inspection is being made, the envelope con
taining the card can be crumpled up as small as possible,
regardless of the contents, and palmed away; or it can
be rolled up in the handkerchief and thrown aside in
that, at discretion.
I f the performer mistrusts his ability to execute this
rather bold manoeuvre, he can use a “ card-box” of the
self-acting type for the exchange, but finished magicians
do not like old-fashioned contrivances of this kind.
The machinery of the trick having been described,
there is little more to explain. The course is clear.
The pack is shuffled and a card removed, the perfor
mer meanwhile standing passively by with the tray
carrying envelopes and handkerchief. He hands the
envelopes to the person conducting the operation and,
removing the handkerchief, proffers the tray for the re
68 T uk N ik o l a C ard S y st em .
ception of the pack. He invites a free choice of any part

of the room or house or accessible place where the pack
shall be taken. He asks for a volunteer to take the pack
to that place, but before it is carried away, has the en
velope marked on the back, so that it cannot be opened
without detection. (The marking is really to prevent
suspicion of an exchange, although as an exchange is
actually made, it would be most unwise to suggest it.)
The exchange is made by means of the tray at the mo
ment of handing the packet to be marked.
Then the card in the envelope is wrapped in the hand
kerchief and “ vanished,” as described.
The messenger is sent for the pack, and during his
journey, to sustain the interest, the audience is further
invited to choose the precise number in the pack for its
final destination. At this point he asks for the name of
the chosen card, which so far is unknown, and makes a
mental calculation for its transference to that point (in
accordance with the rules given for Experiment, N o .9.)
The messenger himself opens the envelope and re
moves the pack, he being instructed not to displace the
cards, but ju st to fan them sufficiently to ascertain that
the card is really there. When acknowledged, the per
former reaches out for the pack, and expanding the fan
to shew the card move clearly to the other spectators,
remarks triumphantly “ There it is ! ” A s it has already
been independently investigated, the claim that the per
former “ never touches the cards” is satisfied. The
opportunity is necessary for him to locate in the fan the
key card for the secret cut, and having done so, he
squares up the pack, retaining the break and makes the
necessary transposition. Handing back the pack, or not,
T he N ik o l a Cam) S y st em .
as he prefers, he adds.— “ It only remains to prove that

the number is correct,” and the cards are counted
accordingly.
The specification of the exact number is an elabora
tion that is inessential, and this phase may be omitted
if preferred, in which case the cards may actually be
left with the person assisting. In this circumstance the
performer instructs the holder of the pack to count face
up, so many cards (being one less than the Code num
ber of the chosen card) and announces that the next is
the card, which it proves to be.
The “ patter” which follows has no points of interest
or merit. I have appended it only to give the possible
experimenter an orderly arrangement of presentation and
to help him to picture the effect sought for. The tech
nical explanation has been so complex,and possibly tedi
ous, that the reader may have lost sight of, or not com
prehended, the plot.
“ Possibly you may think there is some trick about
these things. I will give you a test in which I will pos
itively not once touch the cards. Here they are. I will
not touch them again until my experiment is completed.
First, please shuffle. Shuffle thoroughly and shuffle well.
Now take a card out of the pack— choose ju st any one
you like, don’t shew it to me and don’t let me know
what it is; but look at it yourself and remember it. To
keep it quite distinct, here are two envelopes-—place the
pack in one, and the chosen card in the other. Fasten
both securely and keep the one containing the chosen
card.
“ This pack shall be deposited in any part of this
house you like— or anywhere outside, if not too far. As
I do not even want to know where—yet— decide among

yourselves upon any unlikely place within fairly reason
able access.
“ Who will carry it? You, sir? Thank you. Here it
is, but before you take it away, will somebody who is
remaining sign it on the back— across the flap so that
the envelope cannot be tampered with without dam ag
ing the mark. There you are, sir. Consult among your
friends and take it where you decide between you. Any
suggestions? Don’t tell me—ju st make a sign. There
you are, sir— over there: a lady wants to whisper to you.
“ Now your chosen card. You remember it, of course?
Lay the envelope in the centre of this handkerchief. We
will make an extra wrapping by folding it completely
around, but still hold it, please.
“ Now you have chosen yourselves a remote place to
which this card is to make a flight. I could have no pre
vious knowledge of the spot you would choose. I do not
even now know where it is. Neither do I know the card.
But if you will tell me the place only, I will send it
there ............................ Then, G O !
“ Allow me. I f you will open the envelope you will
find the card has really gone. May I trouble someone
to fetch the pack.
“ Now, tell me, at what exact number in the pack
would you like me to deliver the card— somewhere
about the middle— any number ? Sixteenth ! Yery well,
I will try to do that too. But to do that, I must know
the name of the card. What was it? The eight of spades.”
(Mentally. Eight-of-spades, twrenty-nine: sixteen from
twenty-nine, thirteen— four-of-diamonds)
“ Here comes the postm an! I am told that the chosen
card is the eight of spades. Will you open the envelope

and see if it lias arrived. Don’t displace any of the
cards— I ’ll tell you why presently. Ju st fan them out
sufficiently to find the eight of spades. It is there?
R ig h t! Allow me ! Here it is, ladies and gentlemen.
And, remember, please, that from start to finish I have
not once touched the cards. It only remains to see if it
is disposed exactly as you asked. During your absence,
sir, I was further desired to transport that card, no^
only into the coffee-pot on the dining-room side-board,
but to place it at a certain number in the pack. What
was the number, by-the-way ? Oh, yes. Sixteen. Count
the cards, please, face up, slowly. You deal— I ’ll count,
One— t wo— three— four— five— six— seven— eigh t- -n in e
— ten— eleven—twelve— thirteen— fourteen— Fiftetm —
and sixteen,—the eight of spades.”
Curtain.
(Copy letter.)
Melbourne, Australia.
18th July, 1927.
Dear Mr. Leat.

I hasten to thank you for the parcel of
goods which I have received in good order and con
dition.
I was astounded to find the enormous value you give
away for the amount I remitted. Surely your profits
must be based on a meagre scale when you produce such
genuine and original effects. I am sure, even if I had
been a “ genius,” like yourself, I would never think of
turning out such articles as you do for the benefit of
magicians at such low prices.
When I first got your Catalogue, and read the de
scription, as given, of each article, I thought your de
scription was a “ bit stretched out,” but now that I have
the Goods , I am convinced what you state is perfectly
“ true to type.” And in regard to the H at Babies, I have
never seen anything better and so well finished.
Once more allow me to thank you for putting such
excellent class of Goods before me.
Thanks also for the “ Leaflets,” the last one No. 13 is
your “ Bull-dog” issue. Do not let anyone get the ad
vantage over you. I would “ Go” for anyone myself who
dare attack me. I am proud to learn that you can give
“ measure for measure” and even more when occasion
arises.
Believe me,
Yours fraternally,
(Signed) Edwd. T. Stevenson. (Major)
(The above to advertise the firm of Leat.)

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s .

Lower Tooting, London, S . W. England,

The last word in Card Conjuring. A development, on

This thing seems simple and obvious when explained.

little knowledge that may be a dangerous thing, and the

This is the basis of the system, and the rotation of

To readily distinguish the cards in the mind, every

Herein the le tters corresponding to tha spot values of

The use of the completed nmemonic should be easily

And so on. It is not necessary to go through the

1. Ale. Dope. Net. Suit.

To this end the learner should take a pack of cards,

Five of S. Nine of D. Nine of S. Queen of H.

PO K ER . The first twenty cards of the pack, dealt

T A B L E 6. (The Order of the Pack.)

9. Three of C. 35. Four of C.

The pre-arranged pack in hand, and the knowledge

cards. In counting tin* cards, of course, proper care

and the difference in quantity for the different spots and

behind which can be felt by the super-sensibility of my

A pellet of beeswax or diachylon is fixed to each end of

case attached to the right wrist, beneath the shirt-cuft',

former from the latter. For example, - Chosen card =

celluloid into the middle of one end of a card, succeeded

transferred to the bottom. The six of spades follows. If

thirteen cards required for spelling are on top of the

“ Now, sir, what card did you think o f? The Ja ck of

fifteenth. 34 - 15 = 19 — nine of clubs. Cut the nine

upon the table. After the two participants have been

have a court card or a spot card. . . . A spot card;

others, and return them all to me.

at arm’s length, facing the spectators, and the first bot­

This, a feat usually achieved by the use of a duplicate

forty-fourth card, and therefore in the fourth heap and

next is No. 11, the K ing of Spades, while the five of

suits, as for a game, and to hand the performer such

The exact effect of this at the finish is that the rela­

remaining in the left hand we will call number two.

halves* reversing the position of the left hand half, so

for success is that the cards be held quite loosely and

projecting card (the one to be forced) is pushed on to

first chosen, a secret cut is made to bring the preceding

seven-and-a-half inches wide is folded round the pack

this box-disguised-as-a-packet-of-envelopes, minus the

This fake is set by inserting a pack of cards into the

is shot out and the first sinks into its place.

out the slip of paper and pencil, and, as an afterthought,

envelope, and Landing it out. Then he relaxes the hold

practical accomplishment, I will prodeed witli my de­

writing projected on to the card in the sealed envelope.

thinking of the same card it will help in the result.’ ’

him to shuffle it and remove a card yvithout shewing it.

bottom, leaving space between for a duplicate pack of

section. Two other partitions extending from this to the

this is properly arranged, by lifting the handkerchief

ception of the pack. He invites a free choice of any part

as he prefers, he adds.— “ It only remains to prove that

I do not even want to know where—yet— decide among

card is the eight of spades. Will you open the envelope

Dear Mr. Leat.

(The above to advertise the firm of Leat.)

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at arm’s length, facing the spectators, and the first bot

The exact effect of this at the finish is that the rela

practical accomplishment, I will prodeed witli my de