THE DETECTIVE DIE

[4]Better still, thicken the under edge by the interposition between card and velvet of a slip of white card, as described inThe Detective Die, post.

This is another of the new departures dependent upon the use of the velvet mat. Broadly stated, the effect of the trick is as follows.

One of a group of six different cards laid out in a row or rows repeatedly changes place with some other, the position which it occupies, or to which it has moved, being indicated by the cast of an ordinary die. This may be repeated any number of times.[5]

The requirements for the trick are as follows:

1. The Velvet Mat. This should be one with a plain surface, dimensions preferably eighteen inches by ten, so as to admit of the six cards being laid in one row. A smaller size, say twelve by nine, may suffice, the six cards in this case being arranged in two rows. In either case there must be a space of an inch or so between each pair.

2. Six cards of like denomination (say for the purpose of illustration six queens of diamonds), each backed with black velvet and blackened at the edges all around save at one end. Here the card is thickened by the interposition of a slip of white cardboard between itself and the velvet, so that the card as viewed from that end shall show a clearly visible white edge. Each card has all four of its corners snipped off to a microscopic extent, say a sixteenth, or less, of an inch.

3. An ordinary pack of cards one of which (in the case supposed, the queen of diamonds) bears a mark upon its back recognisable by the performer, but not conspicuous enough to be noticed by any one else.

4. An ordinary die and dice-box, or a champagne tumbler to be used in place of the latter.

5. A tray or plate, about six inches in diameter, whereon to throw the die.

6. The wand.

Preparation.Velvet mat on table, and laid upon it, face down in a row (or a double row, in the case of a small mat), the six velvet-backed cards. These, so laid, will be undistinguishable by spectators at a very short distance from the mat itself. Each is laid with its “white” end toward the hinder part of the table, so that this shall be visible to the performer when standing behind it. The marked queen of diamonds is laid on the top of the pack. The die and dice-box, on their tray,are laid on the mat, which may partially cover two or more of the six cards.

Presentation.Performer, picking up the pack of cards with his right hand, transfers it to his left, leaving the queen of diamonds palmed in the right. Picking up the tray and its contents with the right hand and advancing with it, he offers the pack to some member of the company, saying: “Will you kindly look well over this pack of cards and satisfy yourself that there is nothing exceptional about them; and when you have done so give them a thorough shuffle. And you, Sir” (handing tray and die to another spectator), “please test this die in any way your please. Throw it as many times as you like. I want you to be quite sure that it throws a different number each time, and that it is not loaded, or ‘faked’ in any way.

“I don’t like bothering people to examine things, for in most cases it is a mere waste of time. But in this case I have a special reason for asking. There is something about this pack of cards and this die which I myself don’t understand; and I shall be much obliged to anyone who will help me to do so. As a matter of fact, these cards, though quite ordinary in other respects, are afflicted with a peculiar restlessness. They change places without notice and without any apparent reason. If I were to try to play bridge with them, for instance, I should find as likely as not that my best trump had invisibly left my hand and passed over to the enemy,which would naturally upset my game and get me into trouble with my partner. The die is equally peculiar, but in another way. From some curious effect of sympathy it knows where a given card is to be found when I don’t know myself.

“The only possible explanation I can think of for their peculiarities is the fact that both cards and die were formerly the property of an old magician, and that after his death they were shut up together for some years in the same box with this wand, which also belonged to him, and that they have imbibed some of its magical qualities. I will give you a sample of their ‘eccentricities.’”

Performer takes back the cards and proceeds to force the queen of diamonds on some member of the company (a lady for choice). Leaving the drawn card for the time being in her hands, he asks a gentleman to shuffle and cut the rest of the pack and count off from the cut five indifferent cards. The card drawn by the lady is then shuffled with these, so that its position among the six shall be unknown. Performer, taking these from the holder, deals them in a row (or double row, as the case may be) upon the velvet mat, placing each exactly over one of the velvet-backed cards; the white hinder edges of these guiding him as to their positions.

“We will now consider these cards as numbered in regular order, One, Two, Three, Four, Five, Six! Among them somewhere or other, is thecard the lady chose. At what number it stands nobody knows (I can assure you that I don’t), but the die will tell us instantly. May I ask you, Madam, to name your card. The queen of diamonds; you say? Good! Now will the gentleman who holds the die kindly throw it. What is the number thrown? A three?” (Whatever the number happens to be.) “The die says the card stands number three. Let us see whether that is correct.”

He picks up the two cards occupying the position indicated, and shows the face of the undermost, which is of course seen to be the queen of diamonds.

“But now we come to the more remarkable feature of the case. I told you about the queer way in which the cards change places. Even in this short time I daresay the lady’s card has got tired of being number three, and has moved away to some other number. If so, the die will tell us. Throw it again, Sir, please.”

This is done, the die bringing up a new number, say “five.”

“The die declares that the card has moved, and now stands fifth. We shall soon see whether such is really the case. First, however, let us see whether it has really departed from number three.”

Performer has meanwhile replaced the two cards just lifted. He now lifts the upper one only,which (being one of the indifferent cards) shows a different face. “The queen has gone, you see. And now to ascertain whether she has really passed to number five.”

The two cards standing at that number are lifted together, and again a queen of diamonds is exhibited. The trick can of course be repeated any number of times, but it is better not to prolong it beyond a third or fourth “move.”

In picking up two cards together, in order to show the undermost, they are lifted with second finger at top, thumb at bottom and the first and third fingers at the sides. Thus “framed” so to speak, the two cards will lie squarely the one upon the other and be undistinguishable from a single card. When it is desired to lift the upper card alone, it should be nipped between the second finger at top right-hand corner and thumb at bottom left-hand corner, when it will be brought away clear without difficulty.

There is one contingency for which the performer must be prepared, namely, that the throw of the die may happen to correspond with the actual position of the card drawn. Both cards of the pair are in this case alike, and the performer cannot, at the succeeding throw, show that the drawn card is no longer in its late position. This possibility is provided for by having the back of the card marked as before explained. Should the contingency in question arise, the performer, havingmeanwhile noted the marked card, does not call attention to the disappearance of the queen from that number, but proceeds at once to show that it has moved to its new position. There is not the smallest fear that anyone will notice the omission.

[5]Since the description which follows was written, it has come to my knowledge that there is already on sale a trick on somewhat similar lines in point ofeffectentitledThe Educated Die. I need hardly say that my own trick, so far as I am concerned, is absolutely original. The advertised description ofThe Educated Diewould suit either trick, but there is little further resemblance between them.

To be worked on a Black Art Table

The requisites for this trick are as under:

1. Three small billiard balls, one red, two white.

2. A white half-shell to correspond, vested or placed in a pochette.

3. Three hollow wooden dice, each of such a size as just to contain one of the balls, and lined inside with velvet to prevent “talking.” One side of each is left open, but the opening can be closed at pleasure by the insertion of a loose side with a beveled edge. When this is in position, the die appears solid. The inner surface of each of the loose sides is also covered with black velvet, so that when lying with that side upwards on a black art table it is practically invisible.

4. Three cardboard covers, fitting easily over the dice. In preparation for the trick the three balls are placed inside the dice, and these are placed on the table, open side upward, but with the loose sides inserted on top, and the covers over them.

Presentation.The opening “yarn” may run as follows:

“I once read a story about a man who invented a most ingenious piece of furniture of the ‘combination’ kind. It started, say, as a table, but by giving it a pull here and a push there, it became a step-ladder. Another pull and push, and it turned into a mangle, or by just turning a button or two, you could make it a clothes-horse.

“The story says that at first it was a great success, but after a little while the thing began to work too easily, and sometimes changed of its own accord when least expected, which was a drawback. It was annoying, naturally, when you were using it as a step-ladder, and hanging up a picture, to have it suddenly turn into a clothes-horse, and land you on the floor. It was vexing, too, when it was a table, and the family were seated round it at breakfast, to have it turn into a mangle, and mangle the cups and saucers.

“I shouldn’t care myself to have a piece of furniture like that: it would make life too exciting. But the story gave me an idea. It struck me what a convenience it would be, after showing one of my little experiments, to be able to turn the articles I had been using into what I wanted for the next. I haven’t got very far as yet, but I have made a beginning in a small way, and I will show you how it’s done.

“I have here three wooden dice, with a cover foreach of them.” (Take off all three covers, placing each beside its own die. Then, placing one of them on the end of your wand, advance with it to the company, tacitly inviting anyone who pleases to take it off and examine it.) “I use these covers to spare the feelings of the dice at the critical moment. Like myself, they are rather bashful. They don’t mind doing the Jekyll and Hyde business, but they don’t like to be seen doing it. By the way, there is a very ancient trick (believed to have been invented by Noah in the Ark, to amuse the boys on a wet Sunday), which is worked by means of a sham die fitting over the real one. Please take my word for it that I do not use any such stale device. If I did, you may be quite sure I should not mention it. These are all three genuine dice. They are rather too large to play backgammon with, but save as to size, they are merely big brothers of the regular article. Most of you know, no doubt, that in properly made dice, the points on opposite sides always together make seven. Notice please, that each of these dice has the numbers placed correctly.” (Taking up one of the dice and turning it about.) “You see, five on this side, two on that; together, seven. Three on this side, four on that; together, seven. Six on this side, one on that; again seven.”

This is repeated, in a casual way, with the other two dice, the object being two-fold, viz.: first, by showing all six sides, to induce the belief that thedice are solid, and secondly, to enable the performer, in replacing them on the table, to turn each the other way up, so as to bring the loose side undermost. This is best done by placing the thumb on top of the die, with the first and second fingers behind it, then tilting the die over a little to the front, and slipping the two fingers underneath it. After showing it on all sides, as above mentioned, it is an easy matter to replace it with the loose side undermost, as desired.

“Now, as it happens, I have no immediate use for dice, but I want to show you a pretty little effect with billiard-balls. Naturally, the thing to be done is to change the dice into billiard-balls. It’s quite easy, if you are provided with my patent quick-change combination dice. All you need to think about is to take care to have even numbers in front.” (You turn the dice accordingly, and in so doing lift each die a little, and shift it forward a couple of inches or so, leaving the loose side undisturbed just behind it, the ball travelling forward with the die, though still covered by it.) “You don’t see why they should show even numbers? Because they would look ‘odd’ if they didn’t. Quite simple,—when you know it. Now I cover all three dice over, to spare their blushes, as I explained just now. I wave my wand over them and say, ‘Presto! Proximo! Change!’ And we shall find the dice have all turned to billiard-balls.”

The right hand lifts the first cover, pressing its sides sufficiently to lift the die within it, exposing the ball, and in bringing it down again lands it close to one of the wells of the table. The exposed ball is picked up with the left hand, and while the attention of the company is attracted in that direction, the die is allowed to slide out of its case into the well, after which the ball and cover are brought forward and handed to someone of the company.

The other two balls are now uncovered in the same way, but in this case the dice may be left in their covers, the offer of the first cover, found empty as above, having sufficiently proved that they really disappear.

“Well, we have got our three billiard-balls. Good, so far. Next, can any gentleman oblige me with the loan of a billiard table? Nobody offers: that’s unfortunate. Well, does any gentleman happen to have a cue about him. No again? Well, perhaps it would be ‘cuerious’ if any gentleman had. I beg your pardon, it slipped out unawares. It shall not occur again.

“It’s unfortunate that I can’t borrow a billiard table and a cue, because it prevents my showing you my celebrated break of ninety-three off the red with my eyes shut. When I showed it to Gray, he turned green, but that is another story. You don’t believe it? Well, I told you it was a story.

“Anyhow, as we have got the balls, we must do something with them.”

The sequel may vary, according to the fancy of the performer, and his skill in ball-conjuring. For lack of a more effectivedénouement, the trick may be brought to a finish as follows:

Secretly getting the shell ball into his right hand, and picking up the red ball with the left, the performer proceeds:

“Well, here we have three balls, one red and two white. To prevent ill feeling between them, I think we had better make them all the same colour: and as the white are in the majority, we will have them all white. It is quite easy, if you know how to do it. You have only to breathe on the ball, give it a roll round in the hand to take the colour off, and there you are.”

After breathing on the ball, you bring the right hand containing the shell over it, and exhibit it, shell in front. You then transfer it in the same condition, to the opposite hand. Then pick up one of the two white balls with the right hand, transfer it to the left and show the two side by side. Then pick up and add the third ball, in so doing letting the red ball fall into the right hand, and while calling attention to the three in the opposite hand, drop it into the profonde. You then bring up the shell over one or other of the two solid white balls, thereby transforming the three into two. Drop the solid from the shell into the right hand, making the two into one; finally causing the disappearance of this last after the usual manner.

If the reader (being an expert) is provided with a spare red ball and red shell, he may offer the choice as to which shall be the colour of all three, finally causing their disappearance after the manner above described, or his own version thereof.

This is another of the tricks dependent on the novel application of the black art principle.

For programme purposes the trick may, if preferred, be entitled “The Erratic Shilling.” Its effect may be broadly described as follows:

A marked shilling, lent by some member of the company, after being professedly magnetised or mesmerised by rubbing, is laid upon a black velvet mat and covered with a playing card, face down. Two other cards are laid (also faces down), one on each side of the first, at a few inches distance from it, and the audience are given to understand that the rubbing has imparted to the coin the power to travel from card to card at command, and indeed sometimes of its own accord. When the card which covered the coin is lifted, this is found to be the case. The shilling is no longer where first seen, but is found to have placed itself under one of the other two cards. The spectators may be invited to say under which of the cards they would like the coin to pass, when it will place itself accordingly.The coin may be identified by the owner in the course of the trick, as well as at its close.

The requirements for the trick are as follows:

1. The velvet mat.

2. A pack of cards, arranged as presently to be explained.

3. Three overlays (see p. 20), each consisting, in the present instance, of a court card, backed with velvet of similar tint and texture to that with which the mat is covered. Three of the edges of each card are blackened, but the fourth (one of its shorter sides) is left white, and thickened by the insertion of an extra slip of white card along that end. The effect of this is that, as the card lies on the mat, its white edge is visible from that side, but from no other position.

4. Three cards, corresponding with the three overlays, which we will suppose to represent the queen of clubs, and the knaves of spades and diamonds respectively. The queen is wholly unprepared, but each of the two knaves has a point of fine wire, or a black bristle projecting a sixteenth of an inch or so, midway from each of its sides. The “queen” overlay is furnished with similar points, the object of these being to enable the performer the more easily to lift a given card with or without its duplicate overlay.

In preparing for the trick the two “knave” overlays, each covering a shilling, are laid beforehand on the mat, velvet side up, eight or ten inchesapart, as shown in Fig. 11, under which circumstances they are invisible to the spectators at a few feet distance, and very nearly so to the performer, save that their white edges, turned towards himself, furnish him with an exact guide to their position. On the top of the pack are laid, first the two knaves. On these the queen overlay, and uppermost the unprepared queen.

Fig. 11

In presenting the trick the borrowed shilling is laid on the mat midway between the two overlays already on the table, and is covered with the top card of the pack, the third overlay being lifted off with it, and resting beneath it with its centre as nearly as possible over the coin.

The two following cards are now laid one on each side of the first, as in Fig. 12, each on the corresponding overlay, the white edges of these, visibleto the performer, but not to the company, serving as guides to exact position. When the performer desires to show that the coin is not under a given card, he raises the card only, lifting it lengthwise, and leaving the coin covered by the overlay. When he desires to exhibit a coin, he picks up the card covering it breadthwise between finger and thumb and with it the overlay beneath it.

Fig. 12

The introductory patter may run as follows:

“You have all heard, no doubt, of what is called the thimblerig trick, frequently exhibited at fairs and on race-courses. Some of you gentlemen may even have parted with a little money over it. For the benefit of the ladies I will explain what it is.

“The operator has before him on a small board or tray three thimbles, or half walnut-shells. He exhibits a small pea, or a pellet the size of a pea, which he affectionately calls the ‘joker.’ This heplaces under one of the thimbles, all three of which he then shifts about on the tray; inviting the spectators to bet with him as to which thimble the pea is under. He has two or three confederates, who bet, and naturally win, but if an outsider is rash enough to back his own supposed smartness he loses; for as a matter of fact the pea is not placed under either of the thimbles at all until after the bet is made, when it is skilfully introduced under whichever thimble best suits the performer.

“The trick is in truth a mere affair of dexterity; the performer having acquired by long practise the power of placing the pea under any thimble he pleases. What I propose to show you is a similar effect, but more surprising, because, as you will see, there is no room for dexterity, or indeed any form of trickery; so that I have to depend entirely upon my magic power. I shall use a shilling, as being more easily seen than a pea, and three cards from this pack to represent the thimbles.

“Will some gentleman oblige me with the loan of a shilling; marked in such a way that he may be sure of knowing it again.”

Receiving the coin in his right hand, the performer makes believe to transfer it to his left; wherein he already has a shilling of his own. Surreptitiously depositing the coin lent to him behind the pack of cards on the table, he exhibits the substitute on the palm of the left hand and rubs it with the fingers of the right.

“I do this,” he explains, “in order to drive out all adverse magnetisms, and to substitute my own. I will now put the coin in full view on the table and cover it with a card. See that I do so fairly.”

After laying down the coin he takes the top card of the pack, and with it, unknown to the spectators, the overlay beneath it, and lowers them on to the coin.

“Notice particularly, please, where I have placed the coin, and notice too that I do not touch it again. I will now place two more cards, one on each side of the first one.” He does so, letting the spectators see clearly that there is nothing in the hand save the card itself, and then slowly lowering it exactly on to one of the two overlays on the table. “Now I make a few magnetic passes over the cards, so.” He waves his wand backwards and forwards above the cards, at a few inches’ distance.

“And now, where is the coin? Still under the middle card, you would say? You are mistaken.” He lifts that card lengthwise, leaving the overlay covering the coin; then replacing the card. “It is no longer there, you see. In point of fact it has passed under this card.”

He lifts one of the side cards breadthwise, the overlay coming with it, and exposes the coin beneath it. “Here it is, you see. We will try once more.” He replaces the card and then shows, in like manner, that the coin has passed to the card on the opposite side. After one or two transpositionshave been shown, the audience being allowed to say under which card the coin shall appear, and the last shift having been to one of the side positions, the performer says: “I should like you to be satisfied that it is really the marked coin and no other, that wanders about in this way. I will ask the gentleman who lent it to me to verify his mark.”

He picks up from one of the side positions the coin last uncovered and brings it forward, but in transit “switches” it for the borrowed coin, which he has a moment previously picked up from its resting place behind the pack. It is, of course, this last which he offers for identification, again exchanging it for the substitute before replacing this in its former position. The final reproduction must be from under the centre card, the performer again ringing the changes before returning the coin to the owner. At the close of the trick all three cards are placed on the pack, the centre overlay going with them. The other two overlays are left on the mat, each still covering its own coin, and the whole being carried off together. If the mat is of the folding kind it can be closed before removal, effectually concealing the accessories used in the trick.

Some amount of skill will be found necessary to pick up the card with or without the corresponding overlay, as may be desired. The difficulty however speedily disappears with practice. Onthe other hand, the trick is well worth the trouble needed to master it, for if the spectators are convinced (as, given perfect execution, they should be) that it is really the borrowed coin which travels about as it appears to do, nothing short of genuine magic will furnish an adequate explanation.

The performer is of course by no means bound to adopt themise en scèneabove suggested. If preferred, the patter might be based on a supposed plot between the two knaves to rob the queen, the coin representing the stolen property, secretly passed from the one to the other when either was accused of the theft. The story might conclude with an appeal by the queen to a benevolent magician, through whose good offices her property is brought back to its original position, and in due course restored to her. The touch of the mystic wand would naturally play an important part in effecting the restoration.

Preparation.The two “flower-pots” (see page 5), separated, are placed upon the table. Also the card mat (see page 1), loaded with thetenof any given suit, say diamonds, taken from the pack performer is about to use, and a double-faced card, representing on the one side the seven, and on the other the three of the same suit. The deuce and five of same suit to be laid on the top of the pack.

Performer, advancing pack in hand, palms off the two top cards, and offers the rest to be shuffled. This done, he forces these two cards on different persons. On receiving back one of them, he brings it to the top; executes a false shuffle leaving it in the same position; brings it again to the middle by the pass, and has the second card replaced upon it; then, once again making the pass, brings both together to the top.

(The use of the Charlier pass is here recommended.)

The patter may be to something like the following effect: “Two cards have been chosen, ladies and gentlemen. I can’t say what they are, but I can very easily find out. I shall simply orderthem to rise up and paw the air. It all depends on the strength of the will. I myself happen to have a very strong will, in fact, I don’t know anyone who has a stronger will, except my wife. I exert my will, and say, ‘first card, rise!’ and up it comes, as you see.”

Stepping well back from the spectators, so that they cannot distinguish from what part of the pack the card comes, he works up the hindmost card by the familiar “hand” method. (“Modern Magic,” p. 129.)

“Here we have one of the two cards. Let us see what it is. The five of diamonds! Good! And now for the other. Second card; rise! Up comes another card, you see, the deuce of diamonds. Those are the cards which were drawn, are they not?

“Now the question arises, ‘what shall we do with them?’ It is a pity the ladies didn’t choose bigger cards. You can’t ‘go nap’[6]on a deuce and a five, can you? I think I can’t do better than use them to show you a little experiment in conjurer’s arithmetic. Will some young mathematician among the audience kindly tell us what two and five, added together, make?” (He waits for reply, but if none, pretends to hear one.) “Seven! Right first time. And if you take two from five how many remain? Three? Good again. Reallythere are lot of clever people about, if you know where to look for them.

“Now I want to show you that the cards know all about it themselves; in fact, they are just as clever at doing sums as we are. I will take these two cards and drop them into one of these pretty flower-pots. Let me show you first that it is quite empty.”

He lays the cards on the little mat while showing inside of flower-pot (the one with secret pocket), then picks up mat, and transfers it from hand to hand, showing, without remark, that the hands are otherwise empty, and lets the two cards slide off it into the flower-pot, the concealed cards naturally going with them.

“Now, ladies and gentlemen, what shall the cards do for you, the addition, or the subtraction sum? It is all the same to me. The addition? Very good. They can’t talk, so they will call another card from the pack to give you the answer. Yes, here we have it. Five—and two—are—seven.”

As he names each card, he produces it from the flower-pot, the third being the double-faced card, shown as the seven.

“Now I can hear what some of you are thinking. Oh, yes! I often hear what people think. You are thinking that if you had said subtraction instead of addition, I should have been in what is popularly called a hole. But you are mistaken. Now we will ask the cards to do the subtractionsum. The seven will go back to the pack, and send another card in its place.” He drops all three cards back into the flower-pot, and brings them up as before, save that this time the trick card is made to face the other way. “Five—lesstwo—arethree! Quod erat demonstrandum, as our old friend Euclid used to say when he had just floored a new poser. As the cards seem to be in a good humour, we will try them once more, and see if we can get them to do a little multiplication.” (He drops the three cards into the flower-pot, as before, but this time lets the fake card fall into the pocket.) “Five times—two—are ‘ten.’” (Showing the two cards and the ten, in that order.)

“Now I will ask some gentleman to see that these three cards really belong to the pack. The three and seven went back to it as soon as they were done with. The flower-pot, as you see, is again empty.” (He shows by lifting it that apparently it is so.)

If the first choice of the audience is for subtraction the order of production will naturally be varied accordingly.

[6]To endeavor to take all five tricks in the game of Napoleon.

This item may be described, if preferred, as “Knavish Tricks.”

Requirements.Card mat loaded with knaves of spades, hearts and diamonds, taken from the pack in use. Knave of clubs on top of pack.

Presentation.Advance, palming off the knave of clubs, and offer pack to be shuffled. When it is returned, force the knave on one of the company. Borrow a hat, and after showing that it is empty, place it, crown downwards, on the table. Receive back the drawn card upon the mat, remarking that you will place it in the hat, which you do accordingly, the other three knaves going in with it. Then, assuming a worried expression, deliver patter to something like the following effect.

“I am afraid, ladies and gentlemen, that I shall not be able to show you the experiment I had intended. I have a telepathic nerve in my left thumb, a sort of private fire alarm, only more so, which always gives me warning when things are going wrong, and I feel it now. If you have read ‘Macbeth,’ you will remember that one of the witches says:

‘By the pricking of my thumbs,Something wicked this way comes.’

‘By the pricking of my thumbs,

Something wicked this way comes.’

“I have often wondered whether that old lady could have been a sort of great-great-great grandmother of mine. Magic certainly runs in the family, and we may have inherited it from her. Anyhow, I have just the same sort of sensation myself. Unfortunately, in my case the warning is incomplete. I dare say you will remember that story (I rather think it’s in Macaulay’s ‘Lays of Ancient Rome’), about Little Queen Cole. HerMajesty had the misfortune to develop a mole upon her nose, and King Cole was worried about it. He consulted Old Moore and Zadkiel, and all the leading astrologers of the day, but all they could tell him was

‘A mole upon the faceShows that something will take place,But not what that something will be.’

‘A mole upon the face

Shows that something will take place,

But not what that something will be.’

That’s just my case. My prophetic thumb merely tells me that something is wrong, but doesn’t say what. It may be drains, or the house on fire, or something in the county court. You never can tell!

“Of course it’s nothing of that sort now. In the present case it has no doubt something to do with the experiment I want to show you. You chose your card quite freely, did you not, Madam? It never matters to me in the least what card is chosen, with the exception of one particular card, which is a holy terror. May I ask if you happened to draw the knave of clubs? Yes? I feared as much. The knave of clubs is the bane of my life. He is always endeavouring to get himself chosen, and then he does his best to upset my arrangements. And the worst of it is, he leads away the other three knaves. The four of them form a secret society, which they call ‘The cheerful blackguards.’ The knave of clubs is the president, and the rest have to do just as he tells them. He communicateswith them by means of a sort of wireless telegraphy, and when he calls they go to him at once.” (You here make the “click.”) “Did you hear that sound? That’s his call now, despatched by wireless from the hat to the very middle of the pack. I have no doubt that we shall find that the other three knaves have already left it, and joined him in the hat.” (Make believe to look over the pack, and hand it to a spectator.) “Yes! just as I thought: they are all gone.” (To a spectator.) “See for yourself, sir. Not a single knave left. And here they all are, in the hat.” (Whence they are produced accordingly.)

As the “click” in some cases adds much to the effect of a trick, and as it may to some readers be an unfamiliar sleight, I may pause to explain that it is executed as follows: Take the pack in either hand, held upright between forefinger and thumb, a little more than halfway down, with the middle finger curled up behind it as in Fig. 13. With the tip of the third finger bend back the extreme bottom corners of the last half dozen or so of the cards, allowing them to escape again smartly. The sound made by the corners in springing back again constitutes the “click.” It needs a little practice, but if the cards are held properly, and the sleight worked smartly, the sound will be audible at a considerable distance, whilst the movement of the finger producing it is quite invisible to the spectators.

Fig. 13

But we have not yet done with our trick. You may resume as follows:

“I will give you a further illustration of what I have to put up with from the knaves. I should like you to be satisfied that I have nothing to do with their bad behaviour.” (You palm off the three top cards, and with the same hand offer the four knaves to a spectator.) “Will you, sir, make sure that these really are the four knaves, and then place them here on the top of the pack,”—offeredwith the left hand. When the knaves have been laid upon it, you transfer it to the opposite hand, and palm on to them the three concealed cards, but immediately slide them off again, with the uppermost of the four knaves beneath them. You hold them up in a careless way, so that the audience, catching sight of this card, may be confirmed in the belief that the cards exhibited in the right hand are really the four knaves.

“Here we have the four knaves, at present all together. I will now distribute them in different parts of the pack, as far apart as possible. One here, nearly at the bottom, one a little higher up, another about the middle, and this last” (you show it carelessly), “close to the top.” (This, being a genuine knave, must be placed among the other knaves.) “They could hardly be placed farther apart than that: but to make things a little more difficult for them, I will ask some lady to cut the cards.”

This done, and the cards handed back to you, you repeat the click. “There it is again: the wireless signal. You can all bear witness that I have nothing to do with the matter. Now, Sir, will you kindly examine the pack, and unless I am much mistaken, you will find that the other three knaves have answered Black Jack’s call, and that the four cheerful blackguards have got together again, in which case, with your permission, I will leave them severely alone, and try some other experiment.”

The expert will recognise this last effect as a “chestnut” among card tricks, but it is none the worse on that account, and it forms a particularly appropriate sequel to the principal trick.

If the performer possesses the “flower-pot,” one of these will naturally be used in place of the hat.

Requirements.Card mat, loaded with a single known card (precise nature optional). Pack of cards with corresponding card at top. A horseshoe magnet, the larger the better for the sake of effect. The two flower-pots, placed at some distance apart, preferably on separate tables.

We will suppose that the card selected for the purpose of the trick is the ten of spades. Performer advances, and delivers patter to something like the following effect.

“By way of a change, I should like now to show you a little experiment in magnetism, but magnetism of a new kind. The old sort was a comparatively poor affair. It was only useful with iron or steel. Anything else it wouldn’t attract for nuts. My sort of magnetism is a very superior article. It will attract all sorts of things, so long as they are not too heavy, like a sack of coals, or a lawyer’s bill. So far, I have been chiefly experimenting with cards, and I will show you how it works.

“I want three ladies each to choose a card from this pack.” (He forces the ten of spades, allowing the other two cards to be chosen freely, and takes all three back, face down, on the mat, keeping in mind which of them is the forced card.) “I will take one of these cards.” (He picks up the forced card, and holds it aloft.) “Please all notice what it is: I don’t want to see it myself. I drop it into this pretty flower-pot” (actually dropping it into the secret pocket). “And now as to these other two.” (He picks them up and shows them, then replacing them on the mat.) “These I will place in the other flower-pot. First, however, I will show you that at present it is empty.” He does so, and then lets the two cards slide off the mat into the pot, the concealed card going with them.

“Now I take this magnet. It is a very powerful magnet, and I make it still more vigorous by rubbing it on my left coat sleeve. Do you know why on the left? You all give it up? Because in this case the left happens to be right. Simple, when you know it, isn’t it? Again, you will observe that one-half of this magnet is painted red. Can you guess why that is? It’s so that when it is wanted it is sure to be ‘reddy.’ I hear a lady smile! Thank yousomuch! This is the eleven hundred and third time I have let off that little impromptu joke, and no one has ever laughed at it till now.

“Well, as I was saying, or as I was going to say when the lady interrupted me—I mean complimented me, by smiling—Upon my word, I’ve forgotten for the moment what Iwasgoing to say, but I daresay it was of no consequence, so we’ll skip it, and proceed at once to ‘business as usual.’

“Observe, I just draw the magnet slowly across from the one flower-pot to the other, when the single card, being naturally the weaker, will be drawn out of its own flower-pot, and join the other two.” (Looks into flower-pot holding the pair.)

“Yes, it has found its way, as you see.” (Lifts the pot, and shows that the third card is on the table with the other two.) “And as it’s a well-known fact that nobody but a bird can be in two places at the same time, it naturally follows that it is no longer in this other pot, which is once more empty.” (Lifts it up and shows that it is so.)

Variation.If the flower-pots are not available, the single card may be placed in a card box, or other suitable appliance adapted for causing its disappearance, the other two, with the concealed card, being dropped from the mat into a borrowed hat.

Requirements.Two or three yards of half-inch tape or ribbon, wound on a reel, to which its inner end is secured, and having a loop on its outer end. Coin mat made adhesive, and two packs of cards,which we will call A and B respectively. From pack A take a court card (say the queen of diamonds), and press it face down against the waxed side of the mat: then turn this over, and place the rest of the pack upon its unprepared side. On the top of pack B lay the corresponding card, in readiness for forcing. This pack also to be placed on table.

Presentation.Advance with pack A on the mat. Invite a gentleman to take it in his own hands and after shuffling, to pick out a card, and without looking at it, lay it face down on the mat. Remark: “I have asked you not to look at the card, because I find people fancy I find out by what is called thought-reading, and if you don’t know the card yourself, I can’t find it out that way, can I? You are sure you don’t know what card you have taken? I can honestly say that I don’t. Now please notice that I don’t look at it, or even touch it—I will place it here, where you can all keep an eye on it. You had better keep the other eye on me.”

You accordingly place the mat on the table, in transit keeping the card just laid upon it in place by the pressure of the thumb, and just as you reach the table, under cover of your own body, turn over the mat, so as to bring the adhering card uppermost.

You then say, picking up the reel, “I must now introduce to your notice my telepathic tape. Likemyself, it isn’t anything particular to look at, but it has an extraordinary talent for finding out things; even secrets that people don’t know themselves. Now you will admit that the name of that card on the table is at present an A1, copperbottomed secret. Even the gentleman who chose the card doesn’t know what it is; you don’t know; in fact nobody knows. Nothing could well be more secret than that. But this tape will find it out. Will you, Sir,”—(addressing the gentleman who chose the card) “be kind enough to pass this loop over your left little finger. Thank you, and now I want some lady to assist me. Perhaps you will oblige, Madam?” A sufficient length of the tape is unrolled, and the reel placed in the lady’s hands. “And now I will ask you to do me the further favor of taking a card from this other pack.” (The second queen is forced on the lady.)

“Now, Madam, what was the card the gentleman chose? You don’t know? Oh, yes, you do. The tape has told you. Unless it has betrayed me for the first time in my experience, it will have compelled you by an effect of sympathy to draw the very same kind of card as the one freely chosen, as you will remember from the other pack. What card did you draw? The queen of diamonds?” (Goes to table, and turns up card on tray.) “The tape was right, you see. The card the gentleman drew is also a queen of diamonds.”

In default of the card mat, the trick can beequally well performed by the aid of the card-box, or any other appliance for “changing” a card.

This may be otherwise described for programme purposes as “A Royal Row,” or “A Row in a Royal Family.”

Preparation.Card mat loaded with two kings of hearts: one of them taken from the pack to be used: the other a spare card. The king of clubs and queen of hearts to be laid on top of pack. The two flower-pots on table.

Presentation.Advancing to the company, palm off the two top cards, and hand the pack to be shuffled. This done, force the palmed cards on two different persons. Then say, “I want you to take notice that I do not handle or tamper in any way with either of the cards you have chosen. Please lay them yourselves face down on this mat. Thank you. Now still without touching them I will put them temporarily in this elegant flower-pot, which you observe is quite empty. You see that it has neither top nor bottom, and nothing between. You couldn’t have anything much emptier than that, could you?”

Having duly exhibited the flower-pot (this by the way must be the onewithoutpocket) you let the two drawn cards slide off the mat into it, the two concealed kings going with them. Then,assuming a perplexed air, you say, “I don’t know why it is, but I have that peculiar sensation in my left thumb that always means that something has gone wrong. What it is in this case I can’t imagine, but I must find out before we go further. As the two chosen cards have passed out of my hands, I may now ask the ladies who drew them to name them.

“The queen of hearts and the king of clubs, you say? Ah! that accounts for it. When those two cards come together there is sure to be trouble. The queen of hearts is a bit of a flirt, and the king of hearts is very jealous, particularly of the king of clubs, who is rather a gay dog, though he is old enough to know better. I fancy I hear some sort of commotion going on in the flower-pot.” (You look into it.) “Yes, it is just as I feared. The king of hearts has found out that his queen has gone off with the king of clubs, and has followed the queen post-haste. Here he is, you see.” (You plunge hand into flower-pot, and take out and exhibit the two drawn cards, and with them one of the two kings of hearts.) “It’s too bad, for as a matter of fact the queen of hearts doesn’t really care two-pence about the king of clubs. In fact she has even been known to call him a giddy old kipper.

“But I can’t have my arrangements upset by these little family jars. To teach the king of hearts better manners I shall put him in solitaryconfinement. We will drop him into the other flower-pot, which, as you see, is also empty.” (The card is in this case not dropped through the pot, but into the pocket.)

“Now we shall be able to get on. No! my left thumb tells me that there is still something not quite right.” (Glance into second flower-pot.) “Upon my word, this is too bad. The king of hearts has already got away and followed the queen again.” (Lift flower-pot, and show that the king has disappeared.) “I thought I had him safe, but his prison, as you see, is empty, and here he is again in the first flower-pot.” (Show the three cards accordingly.) “He is too many for me; I can’t show you what I had intended. I must give it up and try something else.”

Variation.Load mat with a single king of hearts and the queen of clubs, the latter taken from the pack. Proceed as before up to the putting of the king in prison, and then exhibit the queen of clubs, as having come in pursuit of her spouse, the patter being modified accordingly. The imprisoned king of hearts will still be found to have escaped, but in this case to have returned to the pack.

For lack of the two flower-pots, the drawn cards may be dropped with the concealed pair into a borrowed hat, and the jealous king made to escape from a card-box, or some similar appliance.

Aproposof the card-box, by the way, I havealways had a sort of affection for this in its oldest and simplest form, viz., the reversible flat box with loose flap falling from the one into the other half at pleasure. I should not recommend the use of it at a school treat, as there would be much risk of some demon small boy proclaiming to all whom it might concern that he “knows how that’s done,” but before an average mixed audience its use is safe enough. Should one of the spectators happen to be acquainted with the box he will probably smile in a superior way, pluming himself on having a little inside information, though he may be no nearer the complete solution of the trick than the rest of the company.

The expert will easily guard himself against even this small risk. For example, he may use a duplicate box, innocent of guile, ostensibly merely to contain the cards he is about to use, and after turning the pack out of it upon the table, switch this (obviously empty) box for the faked box to be used later, or after using the latter he may extract the fake and the superseded card during the journey back to his table, where the box will of course be inspection-proof.

Better still, he may make matters absolutely safe by using an improved box, which has been christened the “Fast and Loose” card-box. This is a recent invention of an Italian wizard named Veroni, of Glasgow (an old soldier of Garibaldi). It is an idealised version of the old flat box, beingof the same shape, but a trifle larger. The loose slab is retained, but it is only loose when the performer desires it to be so. The box may be handled beforehand with the utmost freedom, and after a card has been placed in it it may be closed and re-opened any number of times, nothing happening till, “Presto,” a mere touch in the right place, and the flap is free. When the box is now closed, this falls into the opposite portion, concealing the card, or producing another; and again locking itself, automatically, in its new position. The box in this condition will again stand the closest scrutiny.

Whether this box is yet placed upon the market I cannot say (having myself been favoured with a sight of an “advance” model), but it will certainly commend itself to all who appreciate a good thing in the way of ingenuity of contrivance and mechanical finish.

Preparation.Card mat to be loaded with king of hearts and king of diamonds,nottaken from the pack in use. Flower-pots on table.

Performer advances with ordinary pack, delivering patter to something like the following effect. “It is not generally known, ladies and gentlemen, what a lot of human nature there is about a pack of cards. They have their likes and dislikes, andtheir little tempers, just as we have. Some of them are bosom friends; others again hate each other like rival suitors to the same best girl. The four kings are generally pretty friendly, but there is a good deal of emulation between them, particularly between the two red kings on the one hand, and the two black ones on the other. Each pair claims to be the stronger, and they are always pleased to have a chance of putting the matter to the test.

“I will give you an illustration of this, by allowing them to hold a little tug of war. They have already had six trials, and each side has won three of them. This evening we will let them play a final game, which is to settle the matter. Will you, sir, kindly pick out the four kings for me, and lay them on this little tray. Thank you!” (This done, performer lays mat with cards on table.)

“I will drop the two red kings into this flower-pot.” He takes them from the mat and after showing them drops them into the flower-pot (in reality into the pocket), “and the black ones into this other.” (The black kings are allowed to slide directly off the mat, into the flower-pot, the concealed pair going with them.) “Are your Majesties ready? Silence gives consent! Then Go!”

He waits a moment or two, and then looks over into the flower-pot with the pocket. “Nothing has happened yet. Yes, there goes the king of diamonds, pulled over to the other side. There’s notmuch chance now for the poor king of hearts, left single-handed. He won’t hold out long. Yes! Now he is gone too.”

Performer lifts flower-pot, with fingers inside pressing against pocket, and shows it apparently empty. “And here, in the other flower-pot” (lifts it and shows the four cards lying together on table) “are all four Kings. One more score to black. You didn’t see the cards go? Of course you didn’t; because they fly horizontally, like the aeroplanes, and they go so fast that they get there almost before they have started.”

Preparation.Card mat loaded with two cards of different denomination, say the queen of clubs and the knave of diamonds,taken from the pack. Flower-pots on table.

Presentation.Force the corresponding cards of same colour (in this case the queen of spades and the knave of hearts), lay the pack aside, and take the drawn cards back face down on the mat, leaving them thus on table till needed. The patter may run as follows:

“As I think I have mentioned before, the cards of a pack, from long association, become a sort of family. They have their likes and dislikes, just as human beings have. In particular, there is a curious bond of sympathy between each pair ofthe same colour, say the king of hearts and the king of diamonds, or the ten of clubs and ten of spades. If they are parted, and they possibly can, they will get together again.

“I will try to give you an example with the cards that have been drawn. We will put them for the moment in this pretty flower-pot, which, as you see, is quite empty.” (Show by lifting it up, that it is so, and then drop the two cards from the mat into it, the concealed pair going with them.) “They will only require to be assisted by a gentle electric current, which I shall create by waving my wand, so.

“Before we go any further, will the ladies who drew the cards say what they were,—I don’t mind asking you now, because they have passed out of my control. The queen of spades and the knave of hearts, you say? A fortunate choice, for the queen of spades and the knave of hearts happen to be particular friends, so I think we may now be sure of success. Now to establish the wireless wave, and I doubt not the queen of clubs and the knave of diamonds will speedily find them. (Make any appropriate gesture with wand.)

“Did you notice a little flash, like the striking of a very inferior lucifer match in a gale of wind? That’s when they went. Quick work, isn’t it? The cards were timed by two gentlemen one evening, each with his own watch. By the one gentleman’s watch they started at one minute past nine,and by the other gentleman’s watch, they arrived at one minutetonine, so it is clear that they must have made the journey in two minutes less than no time. But let us make sure that they have arrived.” Lift the flower-pot, and show the four cards lying on the table together. “And now, to convince you that there is no deception, will some lady or gentleman kindly look through the pack, and make sure that the queen of clubs and knave of diamonds have really left it.” Which is found to be the case.

The trick may of course be worked with any two pairs of cards, the mat being loaded and the corresponding cards forced accordingly.

The discovery, in some more or less mysterious way, of an unknown card is one of the stock feats of the conjurer, and indeed in one shape or another is one of the most hackneyed of card tricks. But the wise magician never discards a good trick simply because it is an old one. He repolishes it, adds a bit here, takes away a bit there, presents it in a new shape and with new patter, and behold! the “chestnut” of yesterday becomes a latest novelty of today.

To obtain the maximum effect from a trick of the above kind, it is necessary in the first place to convince the spectator that the drawn card cannot possiblybe known beforehand to the performer; and in the second place to persuade him that it is discovered in some actually impossible (and therefore magical) way; taking advantage, where possible, of some known scientific truth which may lend colour to your suggestion. It is surprising, in conjuring matters, how much even the smallest percentage of fact increases the power of the average spectator for swallowing fiction. The patter for the trick which follows has been arranged upon these lines.

The requisites for the trick are a pack of cards from which three known cards have been withdrawn and palmed (or so placed to be in instant readiness for palming), a hand-mirror, and a silk handkerchief.

The introductory oration may run somewhat as follows:

“You all know, ladies and gentlemen, what an important part finger-prints now play in the detection of crime. Happily there is no connection between conjuring and crime, beyond the fact that they both begin with aC. No conjurer that I know of has ever murdered anybody or been murdered himself, and when a conjurer borrows a half-crown, he always—well, almost always returns it. But each one of us, whether criminal or curate, burglar or bishop, possesses a definite set of finger-prints, quite unlike those of anybody else. And, what is more, we cannot touch anything, ever solightly, without leaving upon it our sign manual in the shape of a more or less perfect impression of our fingers, imperceptible to ourselves, but quite visible to the expert in such matters.

“Practice in distinguishing such points forms a highly interesting study. Of course it must be pursued with a proper amount of tact, or it may get you into trouble, as in the case of a gentleman I once heard of who took up the study with more zeal than discretion. He said to his wife, not leading up to the subject gently, as he should have done, but in a peremptory sort of way, ‘Maria, I want your finger-prints.’ Unfortunately, Maria was rather a quick-tempered lady, and she had just been having a few words, of a hostile nature, with the cook. She slapped his face, and said, ‘Well, now you’ve got ’em.’ He had! They were very distinct, but not quite in the shape he wanted. I am going to ask permission to read some of your finger-prints, but, I trust without fear of such painful results.

“In the first place, I should like this pack of cards to be thoroughly well shuffled.”

While this is done, performer palms the three known cards, and when the pack is returned, proceeds to force them on different members of the company. Each of the drawers is requested to allow his or her card to lie for a few moments face down on the palm of the outspread hand. The cards drawn are then returned to the pack, whichis again shuffled, and spread face upward on the table.

“Each of the three cards which have been drawn now has a complete set of finger-prints upon its surface, but there are no doubt others on many other cards, the result of previous handling. To enable me to distinguish the right ones, I must ask each person who chose a card to give me, for the purpose of comparison, a fresh impression, on the glass of this mirror. First, however, we must remove any prints that may already be upon it.”

He accordingly breathes upon the glass, and wipes it carefully with the handkerchief.

“Now, Sir” (to the person who first drew), “will you kindly press your hand flat against the glass. Thank you. Not a very clear impression, but I dare say it will be good enough. I have now only to discover the card bearing the same imprint, and I shall know that it was the one you drew.” (He picks it out from the exposed cards on the table.) “Here it is, I think, the —— of ——” (as the case may be).

The other two cards are then discovered after the same fashion. As the performer knows beforehand what they are, this will give him little trouble, but he will be wise, for the sake of effect, not to discover them too readily. For the same reason, great importance should ostensibly be attached to the thorough cleaning of the hand mirrorbefore each new attempt, so as to get a clear impression.

The trick as above described can be worked with any pack of cards, but where those used are the performer’s own property, he can make it even more effective by marking the three cards to be freed in such a way as to be distinguishable (by himself only) by their backs. The drawers in this case are requested to press their hand against thebackof the card, and the cards are spread face down upon the table, the performer apparently not knowing the nature of the card indicated to him until he has turned it up.

This trick, though it merely rests upon a combination of methods already familiar to the expert, may as a whole fairly claim to be a complete novelty. Themise en scèneis so simple, and the room for deception apparently so small, that to the uninitiated it seems like a genuine miracle. Unlike most card tricks, it is even better adapted to the stage than to the drawing-room.

The effect of the trick, baldly stated, is that the performer divines the nature of nine cards, selected apparently quite haphazard, and then picks out the corresponding cards from another pack, freely shuffled and covered by a handkerchief.

The requirements for the trick consist of two packs of cards, and an envelope with adhesive flap, of such a size as to accommodate one of them. One of the two packs is a “forcing” pack, consisting of three cards only, each seventeen times repeated. The cards of each kind are however not grouped all together, as is usually the case, but are arranged after the manner explained inMore Magic(p. 13), viz.: assuming the three cards to be the knave of clubs, the seven of spades, and the nine of diamonds, the pack will consist of groups of those three cards, in the same order, repeated throughout. The effect of this arrangement is that, wherever the pack be cut, the three cards above or below the cut will always be a set of those three cards: and the same result follows, however many times the pack may be cut, or however many such groups may have been taken from it.

The second pack has no preparation, but the three cards corresponding to those of which the forcing pack is composed are so placed as to be ready to hand for palming.

The performer advances with the forcing pack, meanwhile executing a false shuffle of the kind which leaves the pack as if cut, but otherwise undisturbed as to order. Holding the pack on the outstretched palm of his left hand, he invites someone to cut it. This done, he takes back with the other hand the upper portion of the cut, and says, “You have cut where you pleased, have you not?If you think I made cut at that particular point, you can cut again. You are satisfied? Then I will ask you to be good enough to take three cards from the top of this lower heap. Keep them carefully. Don’t let me see them: in fact don’t show them just yet to anyone, but please remember exactly what they are.” He replaces the top half of the cut, and passing to another spectator, at some little distance from the first, has the pack cut again, and a second three cards taken in like manner. This is repeated with a third person, just far enough away from the second as to preclude any possibility of the three drawers comparing their cards.

“Now, ladies and gentlemen, you must all agree that I have not sought to influence the choice of these gentlemen” (or ladies, as the case may be) “in the slightest degree, and it must be equally clear to you that I cannot possibly know even one of the cards that have been chosen. To make sure that I do not get sight of them in any way, we will have them placed, with the remainder of the pack, in this envelope.” He collects the cards accordingly, allowing each person who drew to replace his cards himself in the envelope, and requesting the last person to moisten the flap, and make all secure.

Returning to his table, he places the closed envelope in full view. “I shall now want the assistance of some gentleman. Thank you, sir.Will you kindly shuffle this other pack for me.” (He runs the cards over fanwise, showing their faces, so as to prove that they are an ordinary mixed pack: then hands them to be shuffled, and while this is being done, palms the three secreted cards.) “Shuffle them thoroughly, please, and then spread them a little, faces down, upon the table, and lay your handkerchief over them.

“Now I am going, in the first place, to attempt a little thought-reading. I shall endeavour by that means to discover the three cards each person chose, and then, by means of the sense of touch, which I have cultivated to a rather unusual degree, to pick them out, without seeing them, from among the cards under the handkerchief. I shall only ask one indulgence. To leave a little margin for possible mistakes. I shall ask your permission to pick out four cards instead of three for each person, so as to give me one extra chance. Will the gentleman who drew first kindly look my way, and say to himself slowly, the names of the cards he drew. Thank you, Sir! I think I read them right.” He inserts his hand under the handkerchief, and after a little pretended fumbling, brings out the three palmed cards, with one indifferent card in front of them. He does not show or look at them, but asks the second chooser to think hard of his three cards, afterwards taking four more from under the handkerchief. Having done the same in the case of the third drawer, he spreadsthe twelve cards he has taken from under the handkerchief, and shows them fanwise. Addressing the first drawer, he says, “Your three cards are among these, I think, sir?” and the same question is then addressed to the other two choosers, the answer being of course in the affirmative.

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