~The Nikola Card System~
Contents
The last word in Card Conjuring. A development, on astonishing lines, of the principle of the stacked pack, presenting features unbelievable until demonstrated.
By this system prearrangement seems impossible. The sequence bears close investigation, and is undetectable 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 a moment's notice with a borrowed pack of cards.
A complete description of the system, including pictorial chart, with detailed instructions for tricks in conjunction, and valuable subsidiary devices and artifices applicable to this and general purposes of conjuring with cards follows.
ArgumentThis thing seems simple and obvious when explained. Yet in practice it is completely baffling to the uninitiated, 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 prearranged in a memorized order for the accomplishment of specific tricks is an old one, but has not at any time found great favour, probably because it was a little too much for the casual and not quite enough for the expert.
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 inspection no peculiarity of arrangement 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, however, indiscriminate. There is method in the madness.
Every fourth card being the H 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 K is not available, in consequence of more pressing demands, a J 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.
This is the basis of the system, and the rotation of the cards, with their numerical equivalents, must be memorized 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.
CurriculumTo readily distinguish the cards in the mind, every card is symbolized by an object and every number from one to fifty-two is represented by another object. The numbers and their corresponding cards produce combinations of objects which form mental pictures that indelibly 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 l (one stroke) " " 2 " " n (two strokes) " " 3 " " m (three strokes) " " 4 " " r (as in four) " " 5 " " f or v (as in fi v e) " " 6 " " p or b (similar shape) " " 7 " " 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.)
Now, by supplying vowels at discretion, every number can be translated into a name, thus--
Table 2
1. Ale 19. Log 36. Mop 2. Hen 20. Nose 37. Mat 3. Emblem 21. Nail 38. Match 4. Arrow 22. Nun 39. Mug 5. Ivy 23. Gnome 40. Rose 6. Bee 24. Norway 41. Rail 7. Tea 25. Knife 42. Rain 8. Shoe 26. Nap 43. Room 9. Key 27. Net 44. Rower 10. Lass 28. Niche 45. Roof 11. Lily 29. Neck 46. Rope 12. Lion 30. Moss 47. Rat 13. Lamb 31. Mill 48. Rush 14. Lyre 32. Moon 49. Rack 15. Loaf 33. Mummy 50. Face 16. Lobby 34. Mare 51. File 17. Lad 35. Muff 52. Fan 18. Latch And if Table 1 has been thoroughly familiarized as a groundwork, Table 2 can be fixed in less than half an hour. Another half-hour concentrated upon the four columns of Table 3 should absorb them also.
Herein the letters corresponding to the spot values of the cards are combined with the initials of their suits to form other names, so that every card in the pack becomes translated into something pictured in the mind.
A's take simply the name of the object of which they are conventional representations.
The associations applied to the picture cards are obvious.
Table 3
Clubs Hearts Spades Diamonds 2 Can (C & N) Hun Sun Din 3 Comb (C & M) Ham Sum Dome 4 Car Hair (H & R) Sire Dear 5 Cough Half Safe Dove 6 Cap Hop Soup Dope (D and P) 7 Cat Hat Suit Dot 8 Cash Hash Sash Dish 9 Cog Hog Sack Dagger 10 Kiss Hiss Sauce Dose Ace Club Heart Spade Diamond King Clubman Bridegroom Gardener Jeweller Queen Waitress Bride Garden Girl Jeweller's Asst. Jack Porter Cupid Garden Boy Burglar Table 4 is evolved from the preceding tables, which are merely stages in its construction, and if each development has been properly mastered, this last can be acquired almost in a single reading. It is the systemized code for the arrangement of the pack and the key to its working.
Table 4
1. Ale Dope 27. Net Suit 2. Hen Cough 28. Niche Hog 3. Emblem Clubman 29. Neck Sash 4. Arrow Cupid 30. Moss Soup 5. Ivy Safe 31. Mill Cap 6. Bee Dagger 32. Moon Hun 7. Tea Sack 33. Mummy Spade 8. Shoe Bride 34. Mayor Garden-boy 9. Key Comb 35. Muff Car 10. Lass Kiss 36. Map Half 11. Lily Gardener 37. Mat Sauce 12. Lion Heart 38. Match Diamond 13. Lamb Dear 39. Mug Porter 14. Lyre Burglar 40. Rose Hair 15. Loaf Jeweller 41. Rail Sun 16. Lobby Bridegroom 42. Rain Dot 17. Lad Din 43. Room Garden-girl 18. Latch Waitress 44. Rower Ham 19. Log Cog 45. Roof Sum 20. Nose Hiss 46. Rope Cash 21. Nail Dish 47. Rat Dose 22. Nun Can 48. Rush Hop 23. Gnome Club 49. Rack Dove 24. Norway Hat 50. Face Dome 25. Knife Cat 51. File Jeweller Asst. 26. Nap Sire 52. Fan Hash The use of the completed mnemonic 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 emphasized that the objects themselves are to be visualized, and not merely the descriptive words thought of.
For example:
No. 1. The Ale is Doped.And so on. It is not necessary to go through the list. The slight effort of composing a picture will help in its retention, so I will leave the student to make his own.
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.To illustrate the use of the table in its elementary application:
Required the position of the 10S. The 10S is represented by Sauce. The Sauce is spilled on the Mat. Mat is thirty-seven. Therefore the 10S 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 represents the KD. Therefore the fifteenth card is the KD, and so on.
Having 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 again until it can be done without hesitation. The exercise may be alternated by questions as to the numerical 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 l-ch--latch; the Waitress is fastening the Latch; Waitress represents the QC. Answer: The QC.
Question: At what number is the KH? The KH is a Bridegroom; he is waiting in the Lobby; Lobby (l-b) is sixteen. Answer: Sixteenth.
We may profitably conclude the section by an analysis of the arrangement. If the pack is stacked and then dealt into four, the heaps will be as follows:
Table 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 Jack 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 King of D King of H Three of C Ten of C King of S Ace of H Five of S Nine of D Nine of S Queen of H Six of D Five of C King of C Jack of H Notes On Table 5
The second and fourth hands are available for special purposes, the fourth for play as under, the second for the 'Spelling Bee' trick.
The first and third may be named in order by repeating the sequence with the omission of the intermediate cards.
Whist or Bridge.The fourth hand contains the whole of the H 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, and force this one upon 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. If the choice falls upon the second heap he may instead give the 'Spelling Bee' trick. If upon either of the other two he offers to tell the chooser what cards he holds. In either case there is nothing to prevent a further choice being offered.
Spelling Bee.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, one. At each letter he transfers a card from top to bottom of the packet, and on the word 'one' turns up the A and lays it on the table. T.w.o, two, is spelt out in the same way, and so on throughout the packet to the end of the story. No K can be provided, as three have been appropriated to the poker hands, so the JS has been made to do duty for the K. It is very similar, and if shown quickly it will pass.
Poker.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, 6.
The second gets--5, 9, 10, J, Q.
This is one card short of a sequence, and if he exercises his option of 'buying' a card his enterprise is rewarded. He gets the 8D (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 H's).
'Nap.'The same hands will ensure the 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 reading of the table (if it should fall into disuse) should be sufficient to revive the impressions.
Table 6 (The Order of the Pack)
1. Six of D 19. Nine of C 36. Five of H 2. Five of C 20. Ten of H 37. Ten of S 3. King of C 21. Eight of D 38. Ace of D 4. Jack of H 22. Two of C 39. Jack of C 5. Five of S 23. Ace of C 40. Four of H 6. Nine of D 24. Seven of H 41. Two of S 7. Nine of S 25. Seven of C 42. Seven of D 8. Queen of H 26. Four of S 43. Queen of S 9. Three of C 27. Seven of S 44. Three of H 10. Ten of C 28. Nine of H 45. Three of S 11. King of S 29. Eight of S 46. Eight of C 12. Ace of H 30. Six of S 47. Ten of D 13. Four of D 31. Six of C 48. Six of H 14. Jack of D 32. Two of H 49. Five of D 15. King of D 33. Ace of S 50. Three of D 16. King of H 34. Jack of S 51. Queen of D 17. Two of D 35. Four of C 52. Eight of H 18. Queen of C
UtilityThe prearranged pack in hand, and the knowledge of it in the head, the possessor may proceed to the execution 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 a while. I have reasons.
1. 'Stop'
(To apparently count the cards in riffling)'I will give you an illustration of what may be accomplished by a highly cultivated sense of touch.
'After shuffling these cards, as I riffle the pack somebody say "Stop"--anywhere you like.
'Stop? There are (so many) cards here. (Count and verify.) I'll do it again to show you it wasn't an accident. Stop? There are (so many).' (Count and verify.)
Procedure. The cards are held in the left hand as for dealing. The right thumb rests against the lower end, and the right forefinger 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 8S, twenty-nine cards are in the packet. If the face card of the packet is 10H there are twenty cards. In counting the 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 instance, if thirty cards are asked for, riffle to the 6S: if thirty-nine, riffle to the JC, and so on.
2. Cards By Weight'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. Just by weighing these cards in my hand I 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 unconsciously towards it by a gesture of careful consideration 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 just readable. Say this is the 4C, which is the thirty-fifth card, then there are thirty-four cards in the right-hand packet.
3. Weighing Chosen Cards'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 2C. 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 right hand as before.... That is the 8C.'
Procedure. The cards are spread fan-wise in offering 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 proficient 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 card is the 8D (twenty-one) and the chosen card is the 2C (twenty-two) and in the second instance the indicating card is the 3S (forty-five) and the chosen card is the 8C (forty-six).
4. The Sense Of Touch'Another card, please. Don't let me see it. Look at it intently, and remember it well. Then, instead of laying upon my hand, lay it on the palm of your own face down. Just for three seconds. One-two-three. Good. Now replace it in the pack. It will not be required any further.
Allow me, please, to place the palm of my hand upon yours. The card leaves an impression behind which can be felt by the super-sensibility of my highly trained touch. It feels like a picture card-a diamond-the KD.'
Procedure. When the card is removed the performer 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 in 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 JD (fourteen) and thereby becomes acquainted with the fact that the KD (fifteen) has been chosen.
5. Locating'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 4C, 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 JS (thirty-four) is sighted, therefore the 4C (thirty-five) 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 2C, forty-one): if, as in this example, the code number of the bottom card is higher than the code number of the chosen card, subtract the code number of bottom cards from fifty-two, and add the number of the chosen card to the result--thus: 52 - 41 = 11. 11 + 35 = 46, and the 4C will be found at that number.
If 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 = 10D (forty-seven), bottom card + 9C (nineteen), 47 - 19 = 28, and the twenty-eighth card will be found to be the 10D.
If the performer prefers digital to mental activity, he may adopt a different procedure. This is to make a secret cut below the 8H (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. This card may be cut short.
Or a plan recommended is to bend up the bottom left-hand corner of the top card (the 6D) 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 6D, and the point can be checked by a quick glimpse of the 8H. Increased pressure of the thumb will bend up the upper half of the 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.
6. Spelling'Sometimes I can find cards by spelling them. For instance--K.I.N.G.S.P.A.D.E.S, and I get the KS. T.E.N.H.E.A.R.T.S, and I get the 10H. S.I.X.S.P.A.D.E.S, and I get the 6S.'
Procedure. This is perfectly straightforward and automatic. It is only necessary to start with the 8H at the bottom. As each letter is spelt, 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 KS turns up, and after showing it is replaced on the top. This is the only point to remember. The 10H is then spelt out, and transferred to the bottom. The 6S follows. If the 6S be replaced on top, the JC can be spelled out. Transfer the JC to the bottom and spell out the 6D (including the word 'of' in the spelling) and the original starting point will be reached.
7. To Spell Any Card Called ForIf the experimenter cares to go to the trouble he may elaborate the last feat to the extent of inviting the audience 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 the value, add five for C's, six for H's or S's, and eight for D's. 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 equivalent of the result.
Thus, if the 7C is called for
5 + 5 = 10The KD being cut to the top, the 7C is the eleventh card down, the desired position for revelation by spelling.
Seven of Clubs = 25
25 - 10 = 15
Card No. 15 = KD.Another example:
Required, the 8DCut the QH to the top of the pack, and the thirteen cards required for spelling are on top of the 8D.
5 + 8 = 13
Eight of Diamonds = 21
21 - 13 = 8
8 = QH.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 fifty-two and add the cdoe number to obtain the indicator.
To divide the pack at the right point to bring the card desired to the top, sight the card preceding by riffling the left-hand bottom corner of the pack with the right thumb. 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. If the reader cannot execute a secret cut he may make an open cut. Better than either, the false riffle shuffle, necessitates the pack being divided into two packets as a preliminary, and it is a perfect cover to the artifice 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.
8. Thought Anticipated'Now, will somebody just think of a card. Do you mind? Think of just 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 of? The JC. And what number did you think of? Twenty-four. Very well. Now listen attentively, please. I have not handled these 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 JC will be found twenty-fourth in the pack.'
Procedure. 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.
Rule 1. If 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.
Example. Required to place the JS fifteenth, 34 - 15 = 19 = 9C. Cut the 9C to the bottom, and the JS becomes the fifteenth card.Rule 2. If 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, subtract the table number of the card from the required number and subtract the remainder from fifty-two. This gives the indicator of the card to be sighted and cut to the bottom of the pack.Example. Required to place the 4D twenty-seventh.Rule 3 (Applicable to either case). This general rule may, if preferred, take the place of both the preceding rules.27 - 13 = 14
52 - 14 = 38 = AD. Cut the AD to the bottom of the pack, and the 4D becomes twenty-seventh.Deduct the required number of appearance from fifty-two, and add the table number of given card. When the sum exceeds fifty-two, deduct fifty-two.
Examples. Required to place the JS fifteenth.For the double purpose of emphasizing 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 mental 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 lifting it, first turns it upon its 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. If 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 just so long as may be necessary.52 - 15 = 37Required to place the 4D twenty-seventh.
37 + 34 = 71 - 52 = 19 = 9C, which cut to bottom of pack.52 - 27 = 25
25 + 13 = 38 = AD, which cut to bottom of pack.
9. Unconscious Thought Transmission'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. First name a suit... D's. Will you have a court card or a spot card... A spot card: very well, how many spots shall we say? Eight!
'The choice, then, falls on the 8D, and I think you will admit, under the conditions, it could not have been prearranged. It is a strange thing --I would not believe it myself, if I hadn't done it-the 8D is the identical card in that envelope over there.'
The envelope used is preferably of a large size--51 in. x 4] in. 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 an inch, and in this position is gripped in the fork of the thumb against the top of the pack. When the envelope is withdrawn the card remains behind on the top of the pack, and it is an empty envelope that is erected for the contemplation of an expectant audience. Upon the front of this envelope is stuck a minute pellet of wax, 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 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 secretly cut to the top of the pack and in due course the envelope is laid over it while it is ripped open with a knife. The cut is made along the edge already partially severed, and the evidence of faking thereby destroyed. 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.
10. Wizard's Whist'I will give you an example of the practical application 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 just 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 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 show you the hands, tell me if you see. your particular card amongst them.
'You thought of the......, you have in mind the......,you are going to play the......, and you decided upon the.......'
Procedure. 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 introduced here, but the cards must be left intact at the bottom of the pack. Four whist 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 hasp, 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 returned 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 the pack are fourth after the deal, the second to be returned are third after the deal, the third the second, and the fourth the last.
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 pro-arranged pack this is unnecessary as he can name the cards by mental reference to the Code.
He cannot, with the prepared pack, show the fourth hand without prematurely exposing the fact that it contains 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.
11. All Trumps'Now, gentlemen, if you please, we will play the hands out. Will you cut for trumps?
'H's... Then I think the game is mine!'
Procedure. This has already been explained at the beginning in the 'Argument.' 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 it is a smooth-working, rational sequence of effects. It may be extended or varied at discretion. The possibilities are not yet exhausted:
12. The Spelling Bee, 13. The Game Of Poker, and 14. The Game Of 'Nap' have already been referred to. Here are some others,15. To Name The Position Of Any Card Called For
16. To Pick Out Any Card Called For Behind The BackThis is merely a disguise of No. 15. All that is necessary is to note the bottom card, and follow the code while counting the cards behind the back until the required one is reached. If the pack has been disarranged it forms a suitable opportunity for an exchange of packs.
17. To Produce Cards Called For From The PocketThis, a feat usually achieved by the use of a duplicate pack sorted into the divisions of card holders, can be done with the stacked pack.
Cut the 6D 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 4D, and placed in the left breast pocket; the second is cut at the twenty-sixth card, the 4S, and placed in the right trousers pocket, the third is cut at the thirty-ninth card, the JC, and placed in the left trousers 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 pack 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, together with all above it, and show as one, then return to the pocket. In this way the order of the cards is undisturbed.
For instance, the KS is wanted. KS 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 backwards--thirteen, twelve, eleven: the thumb separates twelve 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 fourth fingers one on each side, so that the cards are neatly and securely squared up.
Again. The 3H is asked for. This is the 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 6C would be thirty-one--in the left-hand trousers pocket. The left hand counts, twenty-seven, twenty-eight, twenty-nine, thirty, thirty-one, and shows 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.
18. A Subtle GameAlthough the system is made use of in this trick, it is not necessary for the pack to be prearranged. 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.
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 given. The cards are then dealt into four hands and one given to each of the four people who chose cards. They are distributed in order so that each gets the hand containing 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 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 backwards from the next in order to the four forced cards. In the present example therefore, he will first call for the 6H, then the 10D, next the 8C, and so on. As the cards are handed to him he 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 spectators are left with their chosen cards, and the wily wizard is left with--!
I promised my reader that I should show him how to arrange the pack in full view of the audience, and I 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. If you can beat that for audacity--next please!
This properly precedes the other tricks in order of execution but I have kept it till the last, partly so that it might come as a surprise and partly because familiarity with the material was necessary, both for its appreciation and for its performance.
It may be used or not, by way of introduction, as circumstances demand, or, commencing with a previously arranged pack, it may be held in reserve against an accidental or antagonistic disarrangement.