Treatise on Modern Magic. Professor Hoffmann. Читать онлайн. Newlib. NEWLIB.NET

Автор: Professor Hoffmann
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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 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