The trick is performed as follows:—You begin by announcing that you require the assistance of some gentleman who never believes anything that he is told. The audience generally take this as a joke, but for the purpose of this trick it is really rather an advantage to have the assistance of a person who will take nothing for granted, and will be satisfied with nothing short of ocular demonstration of any fact which you desire him to concede. Some little fun may be made in the selection, but a volunteer having at last been approved of, you request him to step forward to your table. Selecting from the pack the four aces, you ask him to say aloud what cards those are, at the same time holding them up that all may see them. Then laying the aces face upwards on the table, you hand him the remainder of the cards, and ask him to ascertain and state to the company, whether there is any peculiarity about the cards, and whether, in particular, there are any other aces in the pack. His reply is in the negative. You then ask whether any other person would like to examine the pack. All being satisfied, you take the pack, face downwards, in your left hand, and picking up the four aces with the right, place them on the top, at the same moment slightly ruffling the cards. Then taking the aces one by one (without showing them) you place them face downwards on the table. Addressing the person assisting you, you say, “I place these four aces on the table. You admit that they are the four aces.” Your victim, not having seen the faces of the cards since they were replaced on the pack, and having noticed the slight sound produced by your ruffling the cards, will, in all probability, say that he does not admit anything of the sort. “Why,” you reply, “you have only just seen them; but I’ll show them to you again, if you like.” Turning them face upwards, you show that the four cards really are the aces, and again replace them on the pack, ruffle the cards, and deal out the four aces face downwards as before. You again ask your assistant whether he is certain this time that the four cards on the table are the aces. He may possibly be still incredulous, but if he professes himself satisfied, you ask him what he will bet that these cards are really the aces, and that you have not conjured them away already. He will naturally be afraid to bet, and you remark, “Ah, I could tell by the expression of your countenance that you were not quite satisfied. I’m afraid you are sadly wanting in faith, but as I can’t perform the trick, for the sake of my own reputation, until you are thoroughly convinced, I will show you the cards once more.” This you do, and again replace them on the pack, but before doing so, slip the little finger of the left hand under the top card of the pack. Again take off the aces with the finger and thumb of the right hand, carrying with them at the same time this top card. Then with a careless gesture of the right hand toward the audience, so as to show them the face of the undermost card (the one you have just added), you continue, “I really can’t imagine what makes you so incredulous. Here are the aces” (you replace the five cards on the pack)—“I take them one by one, so, and place them on the table. Surely there is no possibility of sleight-of-hand here. Are you all satisfied that these are really the aces now?” The audience having noted, as you intended them to do, that the fifth or bottom card was not an ace, naturally conclude that other cards have been by some means substituted for the aces, and when you ask the question for the last time, you are met by a general shout of “No!” You say, with an injured expression, “Really, ladies and gentlemen, if you are all such unbelievers, I may as well retire at once. I should hope that, at least, you will have the grace to apologize for your unfounded suspicions.” Then, turning to the person assisting you, you continue, “Sir, as every act of mine appears to be an object of suspicion, perhaps you will kindly show the company that those are the aces, and replace them yourself on the top of the pack.”
This he does. But during the course of the above little discussion, you have taken the opportunity to count off, and palm in your right hand, the five top cards of the pack. It is hardly necessary to observe that while doing this, you must scrupulously refrain from looking at your hands. The mode of counting is to push forward the cards one by one with the thumb, and to check them with the third finger, of the left hand. A very little practice will enable you to count off any number of cards by feel, in this manner, with the greatest ease. When the aces are replaced on the top of the pack, you transfer the pack from the left to the right hand, thus bringing the palmed cards above them, then placing the whole pack on the table, face downwards, inquire, “Will you be good enough to tell me where the aces are now?” The answer is generally very confident, “On the top of the pack.” Without taking the pack in your hand, you take off, one by one, the four top cards, and lay them face downwards on the table, as before; then taking up the fifth card and exhibiting it to the company, observe, “You see there are no more aces left, but if you like you can look through the pack.” So saying, you take up the cards, and run them rapidly over with their faces towards the spectators, taking care, however, not to expose either of the five at the top, four of which are the genuine aces. Then, addressing your assistant, you say, “The company being at last satisfied, perhaps you will be good enough to place your hand on those four cards, and hold them as tightly as possible.” Then, holding the pack in the left hand, you take between the first finger and thumb of the right hand the top card of the pack, being the only one left of the five you palmed and placed over the aces, and say, “Now I am going to take four indifferent cards one after the other, and exchange them for the four aces in this gentleman’s hand. Observe the simplicity of the process. I take the card that first comes to hand” (here you show the face of the card that you hold, which we will suppose to be the seven of diamonds), “I don’t return it to the pack, even for a moment, but merely touch the hand with it, and it becomes the ace of (say) spades” (which you show it to be). At the words “return it to the pack,” you move the card with what is taken to be merely an indicative gesture, towards the pack, and at the same instant “change” it by the third method (see page [30]) for the top card of the pack, which is one of the aces.
You now have the seven of diamonds at the top of the pack, with the remaining three aces immediately following it. You must not show this seven of diamonds a second time, and it is therefore necessary to get it out of the way. The neatest way of doing this is as follows:—You remark, “To show you that I take the cards just as they come, I will give them a shuffle,” which you do as indicated for the first of the “false shuffles” (see page [23]), subject to the modification following. Pass into the right hand first the top card (the seven of diamonds) alone, and upon this card pass the next three, which are the three aces, then the rest of the cards indifferently. When all the cards are thus passed into the right hand, shuffle them again anyhow, but take care to conclude by bringing the four lowest cards to the top; you will now have the three aces uppermost, and the seven of diamonds in the fourth place. Taking off the top card, and drawing it sharply over the hand of the person assisting, you show that it also is an ace, and in like manner with the next card, making, if you choose, a false shuffle between. After the third ace has been shown, make a false shuffle, and finally leave at the top the last ace, with one card above it. This may be effected by bringing up from the bottom in concluding the shuffle the two bottom cards, instead of the last (the ace) only. Taking the top card between the thumb and first finger of the right hand, and showing it with apparent carelessness, so as to give the company the opportunity of remarking that it is not an ace, you replace it on the pack for an instant, saying, “We have had three aces, I think. Which is it that is wanting?” Here you glance down at the aces on the table. “Oh! the ace of diamonds. Then the card that I hold must change to the ace of diamonds.” You have meanwhile effected the change, and turning up the card you hold, you show that it is the ace of diamonds.
You may, if you please, use the first instead of the third method of making the “change” in performing this trick, but the first method demands a higher degree of dexterity to make it equally deceptive; and the movement used in the third method has in this instance the advantage of appearing to be the natural accompaniment of the words of the performer.
The Shower of Aces.—This trick forms a very effective sequel to that last described, or may with equal facility be made to follow many other card tricks. To perform it, the first essential is the possession of a pack of cards similar in size and pattern to that you have in general use, but consisting of aces only. You can purchase such a pack at most of the conjuring depôts, or you may, without much difficulty, manufacture one for yourself. If you decide upon the latter course, you must first procure thirty or forty blank cards backed with the requisite pattern. These you can transform into aces in two ways. The first is, to split three or four ordinary cards of each suit, and, after peeling off, as thin as possible, the face of each, carefully cut out the pips, and paste one in the centre of each of your blank cards. This process, however, takes a considerable time; and, when the sham aces are collected in a pack, the extra thickness of the paper in the centre of each produces an objectionable bulge. The better plan is to procure a stencil-plate representing the figures of a club, heart, and diamond, which will enable you to produce any number of the aces of those suits, using Indian ink for the clubs, and vermilion, mixed with a little size, for the hearts and diamonds. The ace of spades you must dispense with, but this is of little consequence to the effect of the trick.
You must have these cards close at hand, in such a position as to enable you to add them instantly, and without attracting observation, to the pack you have been using. If you use the regular conjuror’s table, before described, you may place your pack of aces on the servante. If you do not use such a table, you may place them in one of your pochettes. In either case, you will have little difficulty in reaching them at the right moment, and placing them on the top of the ordinary pack, holding the whole in your left hand, but keeping the little finger between. Having done this, you say to the person who has been assisting you (in continuation of the trick you have just performed), “You appear to be fond of aces, sir. How many would you like?” He is fully convinced, having previously examined the pack, that you have only the ordinary four but, from a desire to put your powers to an extreme test, he may possibly name a larger number—say, seven. “Seven!” you reply; “that is rather unreasonable, seeing there are only four in the pack. However, we will make some more. Do you know how to make aces? No? Then I will show you. Like all these things, it’s simplicity itself, when you once know it. Will you oblige me by blowing upon the pack?” which you hold just under his nose for that purpose. He does so, and you deliberately count off and give to him the seven top cards, which all prove to be aces. You then say, “Perhaps you would like some more. You have only to blow again. Come, how many will you have?” He again blows on the pack, and you give him the number desired. While he is examining them, you cover the pack for a moment with your right hand, and palm a dozen or so of the remaining aces. Then remarking, “You blew a little too strongly that time. You blew a lot of aces into your waistcoat,” you thrust your hand into the breast of his waistcoat, and bring out three or four of the palmed cards, leaving the remainder inside; then pull out two or three more, dropping them on the floor, so as to scatter them about and make them appear as numerous as possible. You then say, “There seem to be a good many more there yet. Perhaps you will take them out yourself.” While he is doing so, you palm in the right hand all the remaining aces. When he professes to have taken out all, you say, “Are you quite sure that you have no more aces about you? You blew very hard, you know. I really think you must have some more. Will you allow me?” Then, standing on his right, you place your right hand just below his eyes, and spring the remaining aces from it, in the manner indicated for springing the cards from hand to hand (see page [37]), the effect being exactly as if a shower of cards flew from his nose.
Several Persons having each drawn Two Cards, which have been Returned and Shuffled, to make each Couple Appear in Succession, one at the top and the other at the bottom of the Pack.—This capital trick was also a great favourite with Comte, who christened it, for reasons best known to himself, by the poetical name of “The Ladies’ Looking-glass.”
The cards having been freely shuffled, you invite a person to draw two cards, allowing him free choice. Opening the pack in the middle, you ask him to place his cards together in the opening. You bring them to the top by the pass, make the first of the false shuffles, and conclude by leaving them on the top. Offer the cards to a second person to draw a couple, but in opening the cards for him to return them, make the pass, so that they may be placed upon the pair already drawn, which are thereby brought to the middle of the pack. Again make the pass, so as to bring all four to the top. Make another false shuffle, leaving those four on the top, and offer the cards to a third and fourth person, each time repeating the process. Make the false shuffle for the last time, so as to leave all the drawn cards in a body on the top of the pack, with one indifferent card above them. The audience believe that they are thoroughly dispersed, and your first care must be to strengthen that impression. If you are expert in card-palming, you may palm the nine cards, and give the pack to be shuffled by one of the spectators; but this is not absolutely necessary, and there is some risk of the company noticing the absence of part of the pack. You remark, “You have all seen the drawn cards placed in different parts of the pack, and the whole have been since thoroughly shuffled. The drawn cards are therefore at this moment scattered in different parts of the pack. I can assure you that I do not myself know what the cards are” (this is the only item of fact in the whole sentence); “but yet, by a very slight, simple movement, I shall make them appear, in couples as they were drawn, at top and bottom of the pack.” Then, showing the bottom card, you ask, “Is this anybody’s card?” The reply is in the negative. You next show the top card, and make the same inquiry. While you do so, you slip the little finger under the next card, and as you replace the card you have just shown, make the pass, thus bringing both cards to the bottom of the pack. Meanwhile, you ask the last person who drew what his cards were. When he names them, you “ruffle” the cards, and show him first the bottom and then the top card, which will be the two he drew. While exhibiting the top card, take the opportunity to slip the little finger of the left hand immediately under the card next below it, and as you replace the top one make the pass at that point. You now have the third couple placed top and bottom. Make the drawer name them, ruffle the cards, and show them as before, again making the pass to bring the card just shown at top, with that next following, to the bottom of the pack, which will enable you to exhibit the second couple in like manner. These directions sound a little complicated, but if followed with the cards will be found simple enough.
You may, by way of variation, pretend to forget that a fourth person drew two cards, and, after making the pass as before, appear to be about to proceed to another trick. You will naturally be reminded that So-and-so drew two cards. Apologizing for the oversight, you beg him to say what his cards were. When he does so, you say, “To tell you the truth I have quite lost sight of them; but it is of no consequence, I can easily find them again.” Then nipping the upper end of the cards between the thumb and second finger of the right hand, which should be slightly moistened, you make the pack swing, pendulum fashion, a few inches backwards and forwards, when the whole of the intermediate cards will fall out, leaving the top and bottom card alone in your hand. These you hand to the drawer, who is compelled to acknowledge them as the cards he drew.
To make Two Cards, each firmly held by a different Person, change places.—For the purpose of this trick you must have a duplicate of some one of the cards, say the knave of spades, and you must arrange your pack beforehand as follows: The bottom card must be a knave of spades; the next to it an indifferent card, say the nine of diamonds; and next above that, the second knave of spades. You come forward carelessly shuffling the cards (which you may do as freely as you please as to all above the three mentioned), and finish by placing the undermost knave of spades on the top. The bottom card will now be the nine of diamonds, with a knave of spades next above it. Holding up the pack in your left hand, in such a position as to be ready to “draw back” the bottom card (see page [36]), you say, “Will you all be kind enough to notice and remember the bottom card, which I will place on the table here, so as to be in sight of everybody.” So saying, you drop the pack to the horizontal position, and draw out with the middle finger of the right hand apparently the bottom card, but really slide back that card, and take the one next to it (the knave of spades), which you lay face downwards on the table, and ask some one to cover with his hand. You then (by the slip or pass) bring the remaining knave of spades from the top to the bottom, and shuffle again as before, taking care not to displace the two bottom cards. Again ask the company to note the bottom card (which is now the knave of spades), and draw out, as before, apparently that card, but really the nine of diamonds. Place that also face downwards on the table, and request another person to cover it with his hand. The company are persuaded that the first card thus drawn was the nine of diamonds, and the second the knave of spades. You now announce that you will compel the two cards to change places, and after touching them with your wand, or performing any other mystical ceremony which may serve to account for the transformation, you request the person holding each to show his card, when they will be found to have obeyed your commands. The attention of the audience being naturally attracted to the two cards on the table, you will have little difficulty in palming and pocketing the second knave of spades, which is still at the bottom of the pack, and which, if discovered, would spoil the effect of the trick.