Sleight of Hand: A Practical Manual of Legerdemain for Amateurs & Others

by Edwin Thomas Sachs

Fig. 39.

This is a very simple, but not, therefore, any the less useful, little deception, which deserves to be brought more into use by conjurors than it is. It consists merely in sliding back, in a particular manner, the bottom card of a pack, with the fingers of one hand, so that the other hand may remove the one next to it, and yet appear to actually remove the bottom card. The particular method of holding the pack is shown at [Fig. 39]. The cards are taken, face downwards, in one hand, and the first and second fingers push back the bottom card to the extent of from half an inch to an inch. Damp a finger of the other hand, and apply it to the bottom of the pack, drawing away the last card but one instead of the last. Thus, if, as in the illustration, the seven of hearts is at the bottom, and the seven of clubs next it, the red card will be exhibited to the audience at the bottom of the pack, which is then turned over. The seven of hearts is then ostensibly taken from the bottom of the pack (the seven of clubs being taken instead), and then made to change, whilst covered by the hand of a spectator, from the heart to the club suit. This is the simplest form in which the deception can be employed. It is very useful in demonstrating to the audience that a chosen card is neither at the top nor the bottom of a pack, when it is actually at the bottom. A card or two can be taken from the top, and then a few from the bottom, the actual bottom card being slipped aside. After taking off cards in this manner, always ask whether you shall take any more away, and so disarm the suspicion that you know the position of the card, and have only removed a certain number of cards so as to ultimately reach it. Should anyone not be satisfied, but demand to have the pack turned over, you must comply, making the pass as you turn the cards over. This will bring another card to the bottom; but, if you do not remove the finger from between the two portions, the pass can afterwards be repeated, and the cards brought back to their former positions. This is a ruse which will naturally occur to most conjurors when performing.

The Force.

This is the last of the elementary principles to be learnt, and in a highly important one. It is hardly a feat of sleight of hand, although requiring considerable practice and determination to carry out properly. The act of forcing a card consists in inducing the chooser of a card to select from those proffered by you any particular card you please. As will hereafter transpire, it is highly essential for some tricks that a particular card, and none other, be chosen. The best method is as follows: Have the card which you desire to have selected at the bottom of the pack, in which the finger is inserted ready for the pass. As you advance for the purpose of presenting the cards, make the pass and allow the middle finger to remain under what was the bottom card, now somewhere in the middle. Spread out the cards, keeping them in constant motion, and as the chooser's hand is put forward to select a card, the middle finger should run the desired card into it. This action must be performed as naturally as possible. There must be no distinct motion of pushing the card into the hand, the cards being so manipulated that it always appears as if they were only just ready as the chooser's hand reaches them. Usually the difficulty of forcing a card is very small indeed, persons unacquainted with the ruse taking the first card that reaches their fingers with charming simplicity. In the event of a failure, do not appear in the least degree disconcerted, but "force" the card on some more tractable person, and then ask a third party to choose between the two cards selected. You will explain that your reason for having two cards chosen is to prove that you do not "force" any card, and then say, "Now, which card shall I take?" If the card you want is indicated, say, "This one, then, I am to use for my trick;" but if the other card is pointed at, then say, "This card I am to take away," and suit the action to the word. By this means you will appear to have given the audience a free choice, and at the same time obtained your own private ends. The beginner is sure to be nervous in forcing a card, and he must endeavour to overcome the feeling as quickly as possible. Some performers (I won't say conjurors) use what is called a "forcing pack," viz., a pack consisting entirely of cards of one particular kind, which will, of course, be that which is required for the trick. As, however, it is utterly impossible to allow such a pack to be examined, and highly disastrous to allow any number of the cards to fall or otherwise become seen, the conjuror should disdain to seek such adventitious aid as that afforded by a "forcing pack," the possession of which generally causes the appellation of "duffer" to attach itself to the owner.

With a command of the foregoing "elementary principles" the performer may attempt anything with the cards, taking care, however, always to rehearse any new combination carefully, lest it prove too much for him in the hour of trial. As previously stated, tricks with cards are without end, and the conjuror may vary his causes and effects at will. I give, however, a few of the most favourite tricks, so as to afford an idea of what may be attempted by the learner.

La Carte Générale.—This is, perhaps, as pretty a trick as can well be conceived. Force a card, say the eight of hearts, have it replaced in the pack, and re-force it on someone else so far removed from the first chooser that the possibility of their seeing that they have both selected the same card is avoided. Have the card replaced in the pack and re-force, repeating the operation four, five, or six, or even more times, according to the size of the room and number of the audience. Now and then it is as well to pass the card to the top, palm it, and then have the pack shuffled by one of the audience, or, at least, to shuffle it yourself. When you have forced the card a sufficient number of times, bring it finally to the top of the pack, from which select haphazard a card. Show this card to one of the choosers, and ask if it was the one selected. A negative will of course be given. Look neither surprised nor satisfied, merely exclaiming "No?" inquiringly. Show the card in turn to each of the persons who selected, asking if it belongs to them. When you have completed the round, turn to the first chooser, changing the card unperceived for the one (the eight of hearts) on the top of the pack, and holding it in front of the person, face downwards, so that no one can see what it is, say, "Well, since this card belongs to nobody, will you kindly tell it to go away?" As the words "go away" are uttered, run the thumb sharply along the edges of the cards held in the left hand, and "flip" the eight of hearts with a finger of the right hand, so leading the audience to believe that some miraculous change had taken place. Now hold the eight of hearts to the person whom you addressed, saying, "Is not that your card?" On receiving, as you will, a reply in the affirmative, turn the card face downwards and proceed to the next chooser of a card, and so on, until all are satisfied. As all are supposed to have chosen different cards it is imagined that each card is invisibly changed for the next one required. Commence another trick immediately, or otherwise divert the attention of the audience, or the drawers of cards will begin to "compare notes," and so discover that they all drew the same card. Although this discovery does not actually spoil the trick, it diminishes the effect immensely. It adds to the effect of the trick if the performer pretends to place each card, as chosen, upon a table, or other prominent place. Upon each occasion, however, he must change the forced card for an indifferent one. The last time the eight of hearts is actually placed with the rest. The supposed chosen cards are then held up, fanwise, together, and the choosers asked if they do not see their cards amongst them. As they all see the eight of hearts, they reply in the affirmative, and thus the idea that only one card has been selected is very unlikely to be entertained. To effect this valuable addition to the trick, great facility with the change is absolutely necessary, as it has to be so frequently executed.

The Sympathetic Cards.—Palm a few (say, four) cards, and ask one of the audience to take any number, without any reference to their specification, from the pack. Suppose eight are taken: how many is quite immaterial. Borrow a handkerchief; and after satisfying all that there is nothing whatever in it, ask for the eight cards, to which number add, unperceived, those you have palmed, and place the whole in the handkerchief with great deliberation. Fold the handkerchief up, and ask someone to hold it very firmly. Now have some cards drawn from the pack. "Any number you please," you will say carelessly, taking particular care that neither more nor less than four are chosen, the "force" being here brought into play. You now ask the person who selected the first batch how many are in the handkerchief, and the answer in this instance will be eight. "Eight, and four I have here, will make twelve, will they not? Now, sir," addressing the party holding the handkerchief containing the cards, "please to keep a firm hold whilst I pass these four cards into the handkerchief to join the other eight." Make a movement as though you threw the cards towards the handkerchief, palming them, and then have the handkerchief opened and the cards counted. The beauty of the trick is that the audience apparently selects the number of cards in each instance, the idea of any previous calculation on your part taking place being thereby precluded. Be careful to call attention to the number of cards in the handkerchief, and to the number to be passed into it, or the effect of the trick will be lost. This trick is sometimes performed without a handkerchief, the cards being given to be held in the hand only. Which method is the better is purely a matter of opinion, and the learner may follow which he pleases. Do not allow the drawer of the second batch of cards to examine the faces of them, or it will be noticed that they did not pass into the handkerchief, should anyone be 'cute enough to look for them. This possible contretemps can be avoided by having duplicate cards palmed in the first instance, in which case the faces of the cards should be shown to the audience, who will be asked to remember them. This is decidedly an additional feature to the trick, but it entails far more trouble. It is for the learner to try these little things, and then retain or relinquish their use as he finds it assist or trouble him.

Another way of performing this trick is to ask one of the company to count thirty cards from the pack, and then to cut them roughly into two parts. Taking one of the parts, ask a spectator to count them. Suppose the number is sixteen. Taking them momentarily in the hands, for the implied purpose of describing exactly what you wish done, you place the four palmed cards upon the sixteen, and then instruct the spectator to hold them very securely. Now count the other heap. There will be fourteen cards, which number you announce to be quite correct, sixteen and fourteen together making thirty. Pick the cards from the table, and, in giving them to someone to hold, palm off four, taking the wand in the hand to cover the constrained position of it. Now you command four cards to pass from the heap last picked up to the one first given to be held, and, when the cards are counted, this will be found to have taken place. The trick may be reversed with success; the ten heap having the palmed cards secretly put back, and given to be held again, the twenty cards heap having four abstracted before being finally parted with. The cards are then commanded to go back to their original places. This method will possibly be found more difficult than the first one, in which a handkerchief is used.