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W IL L ALMA M.I.MC. (LONDON)

A NEW POWER FOR MAGICIANS.

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LOUIS NIKOLA. --------- -------------

PRICE 5/- NET.

COPYRIGHT.

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Printed it Published by H arry ar ry Lent, Len t, 26, 26 , ISur ISurm mester ester Road, Lower Tooting Tooting,, London, London, S . W. England, Englan d, September 1927.

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. J t t G i K y p t fc

THE NIKOLA CARD SYSTEM. The last word in Card Conjuring. A development, on astonishing lines, of the principle of the stacked pack, presenting features unbelieveable until demonstrated. By this system pre-arrangement seems impossible.The sequence bears close investigation, and is indetectable in counting, displaying, repeating, or even in deliberate examination. All that has been done by previous system s can be done with this, and more. The most valuable feature of the system is that the pack can actually be stacked during the performance, which may be entirely improm ptu, and given at a m o ment’s notice with a borrowed pack of cards. A complete description of the system , including pic torial chart, with detailed instructions for tricks in conjunction, and valuable subsidiary devices and arti* fices applicable to this and general purposes of conjuring with cards.

The State Library of Victoria “ALMA CONJURING COLLECTION”

SECTION 1. ARGUMENT. This thing seems simple and obvious when explained. Yet in practice it is completely baffling to the uninitiat ed, and productive of effects that are astonishing. Without knowledge of sleight-of-hand, the possessor of the secret, by easily acquired mental processes alone, may produce a range of effects conveying an impression of the most absolute control of the cards. Allied to skill in the execution of stan dard sleights commonly used in card conjuring, the system may be fortified and amplified until its results seem almost miraculous. The idea of using a pack pre-arranged in a memorised order for the accomplishment of specific tricks is an old one, but has not at any time found great favour, prob ably because it was a little too much for the casual and not quite enough for the expert. The childish formula of “ Eigh t kin g(s) three-ten-ed t(w)o save (7) nine(ty)five queen(s) fo(u)r one sick (6) knave” four times re peated, with a regular routine of the suits, and others of the same ilk, are more or less familiar to all who have given any attention whatever to the magic of cards. At a later period the “ Charlier Sy stem ,” detailed in Hoffmann’s “ Tricks W ith Cards''' and in “ More Magic,” provided a more intelligent and more useful application of the principle, but it is discredited by the fact that it applies only to a piquet pack of cards, and not to the full whist pack in common use to-day.

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T h e Nikola . Ca r d S ystem. I

The only system generally used is the “ Si-S tebbin s” system, favored in America but not to any extent in this country, where perhaps it is better known to readers under the published title of the “ Thurston” system. This last, although the best so far, inherits the defect common to its predecessors that the stack is made of the same sequence of cards four times repeated, with a regular routine of suits throughout. Now this will not bear a minute’s inspection and, although it is neither necessary or desirable to invite inspection of the pack to prove “ that it is not arranged,” it is a necessary feature of some of the tricks peculiarly the property of the pre-arranged pack that the cards be named, shewn or counted; and to anyone acquainted with the system it is immediately apparent that it is being used, while even to one unacquainted, but habituated to intelligent observation, the fact is liable to detection. The system to be described is indetectable to the closest observation, whether unsophisticated or export. Much has been said from time to time, and opinions differ, upon the question of “ conjuring for conjurers.’’ Apart from such “ stunts” wherewith members of m ag ical societies delight to “ fool” one another, which, ex cept for the special pleasure that no doubt they give, both to their perpetrators and to their victims, are of no practical value, it must be borne in mind that these are days* of rapid dissemination of knowledge, and every audience is liable to contain a conjurer of some degree, or somebody who knows something about something in connection with conjuring. From the expert there is nothing to fear: always he is the performer’s ally and best friend. But the half-boiled egoist has the kind of

T h e N ikola Ca kd S ystem.

11

little knowledge that may be a dangerous thing, and the discreet performer will do well to use his best endeavours always to be a little ahead of the times - and well ahead of the gentleman who “ knows how it ’s done,” and the querulous child who has “ seen it before.” The reader is recommended at this point to take a good look at the chart, which represents the order of the pack as arranged for use. On any reasonable in  spection no peculiarity of arrangement is apparent. Prolonged scrutiny may reveal the fact that the heart suit appears upon every fourth card, but beyond that no regularity is detectable. And this for a very solid reason. There is none. The disposition of the cards is not how ever indiscriminate. There is method in the madness. Every fourth card being of the heart suit permits of an all-trump hand being dealt for whist or bridge. On the same deal every second card forms one of a sequence complete as to values but regardless of suits, for the presentation of an elaboration of the trick known as “ The Spelling Be e.” (For the reason that a king is not available, in consequence of more pressing demands, a knave has to do duty for such, as will be explained in its proper place.) The first twenty-one cards are studiously placed for the purpose of a “ game of Poker” - to the advantage of the dealer. The remaining cards have no special significance. The complete arrangement is not even arbitrary: once the principle has been grasped it may be revised to meet individual requirements or fancy, or for partial disguise.

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T h is N i k o l a C a r d S y s t e m .

This is the basis of the system, and the rotation of the cards, with their numerical equivalents, must be memorised until as familiar as the alphabet. This, of course, presents a greater immediate difficulty than the “ eight kings threatened to save” achievement, but even so, and purely by an effort of concentration, it is not an insuperable task. Fortunately, however, there is a system of mnemonics by the aid of which it can be made a mental fixture much more quickly and with greater certainty than without. This is outlined in the next section.

SECTION II. CURRICULUM. To readily distinguish the cards in the mind, every card is symbolised by an object and every number from one to fifty-two is represented by another object. The numbers and their corresponding cards produce combin ations of objects which form mental pictures th at indeliably imprint the relations upon the memory. That is it in a nutshell: this is it in detail The mnemonic system is built up in stages. First, let every figure be represented by a consonant, thus Table 1. Let the figure 1 be represented by 1 (one, stroke) (two strokes) „ 2 n m (three strokes) 3 4 r (as in four) 5 f or v (as in f i v e) 6 p or b (sim ilar shape) t or d ( ) „ 8 „ sh or ch (eight-aitch) „ 9 ,, k or g (similar shape) , , 0 ,, s or z (as in zero) (The notes in parenthesis are a further aid to memory in the laying of this simple foundation.) This is a terrible lot of trouble, I know, but no valu  able accomplishment can be acquired without effort. Think of the first time you tried to swallow a pill. Now by supplying vowels at discretion, every number can be translated into a name, thus -

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T h e N ik o l a

Ca r d S y s t e m .

TABLE 2. 1. Ale. 27. Net. 2. Hen. 28. Niche. 3. Emblem. 29. Neck. 30. Moss. ' 4. Arrow. 5. Ivy. 31. Mill. 6. Bee. 32. Moon. 7. Tea. 38. Mummy, 8. Shoe. 34. Mare. 9. Key. 35. Muff. 10. Lass. 36. Mop. 11. Lilly. 37. Mat. 12. Lion. 38. Match. 13. Lamb. 39. Mug. 14. Lyre. 40. Rose. 15. Loaf. 41. Bail. 16. Lobby. 42. Rain. 17. Lad. 43. Room. 18. Latch. 44. Rower. 19. Log. 45. Roof. 20. Nose. 46. Rope. 47. Rat. 217 Nail. 22. Nun. 48. Rush. 23. Gnome. 49. Rack. 24. Norway. 50. Face. 25. Knife. 51. File. 26. Nap. 52. Fan. Arid if Table 1 has been thoroughly familiarised as a groundwork, Table 2 can be fixed in less than half-anh'our. Another half-hour concentrated upon the four columns of Table 3 should absorb them also.

T h e N i k ol a C a kd S y s te m.

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Herein the le tters corresponding to tha spot values of the cards are combined with the initials of their suits to form other names, so that every card in the pack be comes translated into something easily pictured in the mind. Aces take simply the name of the object of which they are the conventional representations. The associations applied to the picture cards are obvious. TABLE 3. Clubs. Hearts. Diamonds. Spades. Hun. Sun. Din. Can. Two. Ham. Sum. Dome. Three. Comb. Car. Sire. Dear. Four. Hair. Cough. Half. Safe. Dove. Five. Cap. Hop. Soup. Dope. Six. Hat. Suit. Dot. Seven. Cat. Sash. Hash. Dish. Eight. Cash. Sack. Cog. Hog. Dagger. Nine. Sauce. Ten. K iss. Hiss. Dose. Ace. C LU B. DIAMOND. HEAKT. SPADE. King. Clubman. Bridegroom. Gardener. Jeweller. Queen. Waitress. Bride. Garden-girl. Jeweller’s Assistant. Kn ave. Porter. Cupid. Garden-boy. Bu rgla r. Table 4 is evolved from the preceding tables, which are merely stages in its construction, and if each devel opment has been properly mastered, this last can be acquired alm ost in a single reading. I t is the systematised code for the arrangement of the pack and the key to its working.

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T h e N ik o l a C a r d S y s t e m .

The use of the completed nmemonic should be easily mastered. A mental picture of associated objects (more especially if the association is curious or bizarre) is more easily and securely retained than such similar forms as numerical figures and playing-card designs. It must be emphasised that the objects themselves are to be visualised, and net merely the descriptive words thought of. For examples No. 1. No. 2. No. 22. No. 26. No. 27.

The Ale is doped. The Hen has a Cough. The Nun drinks from a Can. The King Sleeps. A Net Suit for summer.

And so on. It is not necessary to go through the list. The slight effort of composing a picture will help to its retention, so I will leave the student to make his own. To illustrate the use of the table in its elementary application Required the position of the Ten of Spades. The Ten of Spades is represented by Sauce. The Sauce is spilled on the Mat. Mat is 37. Therefore the Ten of Spades is the thirty-seventh card of the sequence. Required the name of the fifteenth card. No. 15 is a Loaf. The Jeweller is selling a Loaf. Jeweller repre sents the Kin g of Diamonds. Therefore the fifteenth card is the King of Diamonds, and so on.

T h is N i k o l a C a r d S y s t e m .

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TABLE 4. Suit. Net. Niche. Hog. Sash. Neck. Soup. Moss. Mill. Cap. Moon. Hun. Mummy.Spade. Mayor. Garden-boy. Muff. Car. Half. Map. Mat. Sauce. Match. Diamond. Porter. Mug. Rose. Hair. Rail. Sun. Rain. Dot. Room. Garden-girl. Rower. Ham. Roof. Sum. Rope. Cash. Rat. Dose. Rush. Hop. Rack. Dove. Face. Dome. File. Jeweller’s Assistant. 52. Fan. Hash. 26. Nap. Sire. Haying learnt the code, the next step is to acquire facility in the use of it.

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25.

Ale. Dope. Hen. Cough. Emblem . Clubman. Arrow. Cupid. Ivy. Safe. Dagger. Bee. Tea. Sack. Shoe. Bride. Key. Comb. Lass. Kiss. Lilly. Gardener. Lion. Heart. Lamb. Dear. Lyre. Burglar. Loaf. Jeweller. Lobby. Bridegroom. Lad. Din. Latch. Waitress. Log. Cog. Nose. Hiss. Nail. Dish. Nun. Can. Gnome. Club. Norway. Hat. Knife. Cat,

27. 28. 29. 3031. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51.

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Th e Nikola Ca r d System.

To this end the learner should take a pack of cards, and proceed to arrange it from memory in the tabulated order. When this has been done, shuffle thoroughly and repeat the arrangement. This should be done again and again until it can be done without hesitation. The exercise may be alternated by questions as to the numer ical position of specified cards, and by naming cards at numbers chosen at random. In case the process has not already been made quite clear, we will take two more examples Question. What is the eighteenth card ? Eighteen is 1-ch - latch: the Waitress is fastening the Latch: Wait ress represents the Queen of Clubs. Answer. - The Queen of Clubs. Question. At what number is the K ing of Hearts ? The King of,Hearts is a Bridegroom: he is waiting in the Lobby, Lobby (1 - b) is 16. Answer. - Sixteenth. We may profitably conclude the section by an analy sis of the arrangement. I f the pack is stacked and then dealt into four, the heaps will be as follows :T A B L E 5. ( For reference only.) Five of D. Three of D. Queen of D. Eight of H. Three of S. E igh t of C. Ten of D. Six of H. Two of S. Seven of D. Queen of S. Three of H. Ten of S. Ace of D. Jac k of C. Four of H. Ace of S. Jack of S. Four of C. Five of H. Eight of S. Six of S. Six of C. Two of H. Seven of C. Four of S. Seven of S. Nine of H. Eight of D. Two of C. Ace of C. Seven of H. Two of D. Queen of C. Nine of C. Ten of H. Four of D. Jack of D. Kin g of D. King of H. Three of C. Ten of C. King of S. Ace of H.

T h e N ik o l a

Ca r d S ystkm.

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Five of S. Nine of D. Nine of S. Queen of H. Six of D. Five of C. K ing of C. Ja ck of H. Notes on TABLE 5. The second and fourth hands are available for special purposes - the fourth fcr play as under, the second for the “ Spelling Bee” trick. The first and third may be named in order by repeat ing the sequence with the omission of the intermediate cards. W H IST or BR ID G E. The fourth hand contains the whole of the heart suit. The performer may either deal it to himself and let it go at that, or he may invite the spectators to “ choose” a heap, ard force this ere upan them. Or, he may tru st to luck and accept it if the choice falls upon it. The suit for trum ps may be forced by inviting a player to cut for trumps from this heap. I f the choice falls upon the second heap he may instead give the “ Spelling Bee” trick. I f upon eitlx r of the other two he offersto tell the chooser what cards he holds. In either case there is nothing to prevent a further choice being offered. S P E L L IN G B E E . The cards as dealt face down, of course, are in the correct order for this. The performer tak es up the cards and spells - o.n.e, (,ne. At each letter he transfers a card from top to bottom of the packet, and on the word “ one” turns up the ace and lays it on the table. T.w .o, two, is spelled out in the same wny, and so on throughout the packet to the end of the story. No king can be provided, as three have been appropriated to the poker hands, so the Knave of Spades has been to do duty for the king. It is very similar, and if shewn quickly it will pass.

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T h e N ikola Ca r d S ystem.

PO K ER . The first twenty cards of the pack, dealt as poker hands, are rather artfully disposed. The first player ge ts a sequence, - 2. 3. 4. 5. G. The second gets 5. 9. 10. J . Q. This is one card short of a sequence, and if he exer cises his option of ‘buying’ :a card his enterprise is rewarded. He gets the eight of diamonds (the twentyfirst card) and then holds 8. 9. 10. J . Q. The third hand gets a “ full house” K. K . K. 9. 9. Such a combination of hands in a real game of poker might give rise to some little excitement. Whatever the speculative proclivities of the players, the wizard can stand firm to the last in the triumphant possession of a royal flush A. K. Q. J . 10, (all hearts.) “ N A P .” The same hands will ensure the same happy security to the dealer. Finally, Table 6 is given from which to refresh the memory from time to time. The memory ta gs, once acquired, can easily be recalled, and an occasional read i n g of the table (if it should fall into disuse) should be sufficient to revive the impressions.

1. 2. 3. 4. 5. G. 7. 8.

TABLE 6. Six of D. Five of C’ King of C. Ja ck of H. Five of S. Nine of D. Nine of S. Queen of H

(The Order of the Pack.) 27. Seven of S. 28. Nine of H. 29. Eight of S. 30. Six of S. 31. Six of C. 32. Two of H. 33. Ace of S. 34. Ja ck of S.


9. Three of C. 10. Ten of C. 11. K ing of S. 12, Ace of H. 13. Four of D. 14. Ja ck of D. 15. King of D. 16. King of H. 17. Two of D. 18. Queen of C. 19. Nine of C. 20. Ten of H. 21. Eight of D. 22. Two of C. 23. Ace of C. 24. Seven of H, 25. .Seven of C. 26. Four of S.

35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 5152!

Four of C. Five of H. Ten of S. Ace of D. Ja ck of 0. Four of H Two of S. Seven of D. Queen of S. Three of H. Three of S. Eight fflf C. Ten of D. Six of H. Five of D. Three of D. Queen of D. Eight of H.

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SECTION 8.

UTILITY.

The pre-arranged pack in hand, and the knowledge of it in the head, the possessor may proceed to the ex ecution of marvels. Fo r the sake of brevity I will allow the words of essential description by the performer to the audience to serve also as description to the reader. The reader is probably wondering how it can be possible to stack a pack in view of the audience. May I beg his patience for awhile. I have reasons. Methods of false shuffling and of exchanging packs (after a spectator’s shuffle) are given in the appendix. 1. “ ST O P.” (To apparently count the cards in riffling.) “ I will give you an illustration of what may be accom  plished by a highly cultivated sense of touch. “ After shuffling these cards, as I riffle the pack, some body say ‘S top.’ - anywhere you like. “ S to p ? There are (so many) cards here. (Countand verify.) I ’ll do it again to shew you it wasn’t an accident. Stop ? These are (so m any.)” (Count and verify.) PR O CE D U RE . The cards are held in the left hand as for dealing. The right thumb rests aga inst the lower end, and the right fore-finger riffles. When stopped, the right hand lifts off the upper packet of cards at the break and turns it face up. A glance at this card, and a reference to its number indicates the number of cards in the packet. For instance, if stopped on the eight of spades, twenty-nine cards are in the packet. I f the face card of the packet is the ten of hearts there are twenty

T h e N i k o l a Ca r d S y s t e m .

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cards. In counting tin* cards, of course, proper care must be used not to displace the order. A variation may be effected by cutting any number of cards demanded. To do this, riffle slowly and' stop at the card bearing the equivalent Code number. Fo r in stance, if thirty cards are asked for, riffle to the six of spades: if thirty-nine, riffle to the Ja c k of Clubs, and so on. 2. CAR DS BY W EIGHT. “ Perhaps you think I count the cards. I won’t say that I don’t, but I need not. “ Will you cut, please, at any point you like. Ju st by weighing these cards in my hand [ can tell you that you have cut exactly (so many) cards. Of course, it ’s easy to tell you that. I ’ll count them or perhaps you would not believe me ................Correct.” In this case the procedure is varied. Presum ably the spectator who cuts the cards will deposit the packet face down on the performer’s palm, and to turn it over might be conspicuous. Directing public attention un consciously towards it by a gesture o f careful consider ation of its weight, he tilts the left-hand packet with the left thumb, and with the left-hand finger tips pushes the top card slightly over the edge of the packet until the index is ju st readable. Say this is the four of clubs, which is the thirty-fifth card, then there are thirty-four cards in the right hand packet. 3. W EIGHING CHOSEN CARDS. “ Will somebody take a card, please. Don’t let me see what it is. “ It hardly seems credible tha t the difference in the prin ting of the faces of the cards - the colour of the ink

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and the difference in quantity for the different spots and designs would make a perceptible difference in the weight; but perhaps I can distinguish it. ‘Perhaps not,’ you may retort, but let me try. Lay that card face down on the palm of my hand, please....................That is the two of clubs. See. “ No. I didn’t guess it. I ’ll do it again. Will you take one, please. I can recommend any of these. Lay it on my hand as before ................... That is the eight of clubs. PR O CED URE. The cards are spread fan-wise in offer ing a choice. When a card is removed the performer retains the break with the little finger of the left hand in closing up the pack, and immediately after makes a secret cut, (“ The Pa ss” or “ The Shift” ) or if not pro ficient in sleight-of-hand, boldly lifts the cards above the break and puts them at the bottom. He then tilts the pack with the left thumb, and sights the bottom card. The chosen card is the card next in order in the sequence. Thus, in the first instance the bottom caid is the eight of diamonds (21,) and the chosen card is the two of clubs (22;) and in the second instance the indicating card is the three of spades (45,) an d the chosen card is the eight of clubs (46.) 4. TH E SE N SE OF TOUCH. “ Another card, please. Don’ t let me see it. Look at it intently, and remember it well. Then, instead of laying it upon my hand, lay it on the palm of your ow n. face down. Ju st for three seconds. One - two - three. Good. Now replace it in the pack. It will not be re quired any further. Allow me, please, to place the palm of my hand upon yours. The card leaves an impression

T h e Ni k o l a Ca r d S ystem.

25

behind which can be felt by the super-sensibility of my highly trained touch. It feels like a picture card - a diamond - the King of Diamonds.” PR O CED U RE. When the card is removed the per former retains the break as before, but he does not cut the cards. When offering the pack for the card to be returned, he divides it at the break, so that the card is replaced iri the same position. He also lifts the upper half of the pack in such a way as to enable him to sight the bottom card of that half, in this case the Jack of Diamonds (14,) and thereby becomes acquainted with the fact that the K ing of Diam onds (15) has been chosen . 5. HUMAN M AG NETISM. “ I ’ll shew you another curious effect. The momentary contact o f my hand with the sense-impression of the card thought of has induced a magnetic influence that will, under favorable conditions, draw the card to it . . so .” The card floats gracefully out of the pack up into the hand extended to receive it. PRO CED U RE. This has nothing to do with the system and its introduction is purely optional. It is described here as an example of the judicious combination of the “ system ” with other devices for mutual support. The first condition is to bring the chosen card to the top of the pack, and this is done by inserting the little finger of the left hand above it immediately it is replaced and subsequently making a secret cut. The motive power that raises the card from the pack to the hand is a fine thread or hair, and the mode of application takes many forms. Of these I will briefly mention three of the best. The hair is the most perfect in the matter of invisibility, but it is a trifle troublesome.

2(3


A pellet of beeswax or diachylon is fixed to each end of the hair, and by this means one end is attached beneath the lappel of the coat, near the shoulder. The other end is lightly fixed at a point lower down, readily accessible to the right hand. In due course this end is secured by the right thumb, and from thence transferred to the upper end of the top card of the pack, the pack being held in the right hand. The hand is extended until the hair is nearly taut, and then the left comes up and grasp s the pack. The hair is allowed to pass between the first and second fingers of the right, and by gently raising the right hand the card is drawn from the pack and up into the fingers. The second method is by means of a thread similarly prepared. One end is attached to the lowest waistcoat button, and the other to another button a little higher up. The connection of card and thread is made as be fore. The pack is held in the left hand in an upright position, the thread attached to the upper end of the top card passes up and between the first and second fingers of the extended right hand held above and then down again to its point of attachment to the vest button. At this point the thumb of the left hand passes behind it and holds it taut. In this method no movement of the right hand is necessary, the action being by the thumb of the left hand, which pulling downwards and forwards, by a very slight movement raises the card to the right. The third method has the advantage of requiring no immediate preparation, the apparatus once set being ready for use at any time. This con sists o f a simple mechanical device, the thread being wound on a very light-action spring drum contained in a small cylindrical


27

case attached to the right wrist, beneath the shirt-cuft', by a flat elastic band. The thread is drawn down when required, attached to the card in the usual way, and when the card is released the thread is automatically rewound. When detached from the card it flies back out of sigh t into the coat sleeve. A small celluloid bu t ton at the end of the thread carries the wax and pre vents the thread being drawn right into the drum. 6. LOCATING. “ Again take a card, please. Look at it, remember it, and return it to the pack. Then I will shuffle. Will you please cut. . . . . . You chose the four of clubs, and it is the forty-sixth card, counting from the top.” This is accomplished by calculation. First the chosen card is ascertained by means already made use of - viz, a break is held at the point where the card is removed, and in opening the pack to have the card replaced at the same point, the card above is sighted. In this case it is supposed that the Ja ck of Spades (34) is sighted, therefore the four of clubs (35) is the chosen card. It is replaced, and the pack plainly squared up. The shuffle is false. The cut, or any number of cu ts, is genuine. Now to find the position of the chosen card, note the bottom card (say the two of spades, 41): if, as in this example, the code number of the bottom card is higher than the code number of the chosen card, substract the code number of bottom card from 52, and add the num ber of the chosen card to the result - thus, - 52 - 41 = 11. 11 + 35 = 46, and the four o f clubs will be found at that number. If the code number of bottom card be lower than that of the chosen card, it is only necessary to subtra ct the

28


former from the latter. For exam ple, - Chosen card = ten o f diamonds (47,) bottom card = nine of clubs (19,) 47 - 19 = 28, and the twenty-eighth card will be found to be the ten of diamonds. If the performer prefers digital to mental activity, he may adopt a different procedure. This is to make a secret cut below the eight of hearts (the normal bottom card of the sequence) to restore the pack to its regular .starting point. No calculation is then necessary, it only being necessary to name the numerical equivalent of the ascertained chosen card. To facilitate the restoration of the pack on occasion, it is necessary that the top or bottom card should be prepared as what I have chosen to term a “ pilot” card. .Various forms of “ pilot” cards have been introduced from time to time as a means of locating replaced chosen cards, the pack being for this purpose cut so that the card it is desired to locate is placed immediately above or below the pilot. The earliest known is the “ wide” or “ long” card (a card omitted from the pack while the latter is placed in a printer’s guillotine, and a minute shaving taken off one edge) that projects a trifle and can be readily felt with the finger tip. Then came a “ thick” card - one backed with another, or the split half of an other, neatly pasted together and dried under pressure, easily detectable in riffling. A narrow or short card, the converse of the wide or long card, easily prepared with a pocket knife, can also be discovered in riffling if the edges of the cards are first knocked upon the table to settle it again st one edge of the pack. Cards with trimmed corners, tapered or convex edges are variations. Then came a device of inserting a minute tongue of thin

T h e N i k o i -a C a r d S y s t e m .

29

celluloid into the middle of one end of a card, succeeded by a removable clip such as is used in the card-file sys tems pertaining to office appliances. All of these are more or less undesirable, and none of them are practicable ( except, perhaps, the Clip) when occasion demands the use of a borrowed pack of cards. The plan recommended is to bend up the bottom lefthand corner of the top card ( the six of diam onds) and work it between the thumb and finger until it is soft. Only a small extent is necessary, say to within an eighth-of-an-inch or so of the edge. When the cards are riffled with the right thumb ac ross this corner, the cards will “ break” above the six of diamonds, and tho point can be checked by a quick glim pse of the eight of hearts. Increased pressure of the thumb will bend up the upper half of pack slightly to permit the insertion of the little finger of the left hand, and a secret cut will transpose the two halves of the pack. 7.

SPELLING.

“ Sometimes I can find cards by spelling them. F o r instance, - K .I.N .G .S .P .A D .E .S ., and I get the K ing of Spades. T .E .N .H .E .A .R .T .S., and I get the Ten of Hearts. S .I.X .S.P .A .D .E .S., and I get the six of spades.” PR O CED U RE. This is perfectly straightforward and automatic. It is only necessary to start with the eight of hearts at the bottom. As each letter is spelled, an accompanying card is taken from the top of the pack, and placed at the bottom. After the letter S of the first spelling, the King of Spades turns up, and after shewing it is replaced on the top. This is the only point to re  member. The ten of hearts is then spelled out, and

30


The six of spades follows. If the six of spades be replaced on top, the Jack of Clubs can be spelled out. Transfer the Ja ck of Clubs to the bottom and spell out the six of diamonds (including the word “ o f ” in the spelling) and the original starting point will be reached. 8. TO SP E L L ANY CARD CA LLED FOR. If the experimenter cares to go to the trouble he may elaborate the last feat to the extent of inviting the audi ence to name any card and spell it out in the same way. To do this, make a rapid calculation of the number of letters in the description of the card, i.e. - start with tlie value, add five for clubs, six for hearts or spades, and eight for diamonds. Su btract the sum from the tabulated number of the card and transpose the pack to bring to the top the card which is the numerical equiva lent of the result. Thus, if the seven (if clubs is called for transferred to the bottom.

5 -f-5 = 10. Seven of clubs = 25. 25 - 10 = 15. Card No. 15 = K ing of Diamonds. The K in g of Diamonds being cut to the top, the seven of clubrf is the eleventh card down, the desired position for revelation by spelling. Another example, Required, the eight of diamonds. 5 + 8 = 13. Eight of Diamonds — 21. 21 - 13 = 8. 8 = Queen of Hearts. Cut the Queen of Hearts to the top of pack, and the

T h e N i k o l a Oa h u S y s t e m .

31

thirteen cards required for spelling are on top of the eight of diamonds. In the event of the number of letters in the name of the card being greater than the code number of the card, subtract the number of letters from 52 and add the code number to obtain the indicator. To divide the pack at the right point, the card pre ceding in order the card desired to bring to the top must be sighted by riffling with the right thumb the left hand bottom corner of the pack. This is not difficult as the sequence is a guide to the approxim ate position. When the card is sighted, the little finger of the left hand is inserted, and a secret cut made. I f the reader cannot execute a secret cut he may make an open cut. Better than either, the false riffle shuffle to be described later necessitates the pack being divided into two pack ets as a preliminary, and it is a perfect cover to the artifici of the break to make it openly in this connection, while the “ shuffle” itself can be so executed as to leave the pack cut or intact at will. “ The Secret Cut” is a term I have ventured to su b stitute, as more descriptive, for the clumsy old-fashioned term “ making the pass” and the better, but inadequate, Americanism, “ the shift.” The reader can call it which he prefers, but I think “ the secret cut” is understand able in both languages. 9. THOUGHT AN TICIPA TED . “ Now will somebody ju st think of a card. Do you mind ? Think of ju st any card you like, but don’t think of more than one card, and once having made a choice, don’t change it, but think of it exclusively and intently. And will somebody else please think of a number — a number between one and fifty-two.

32

T h e N i k o l a Ca r d S y st e m.

“ Now, sir, what card did you think o f? The Ja ck of Clubs. And what number did you think o f? Twentyfour. V ery well. Now listen attentively, please. I have not handled those cards at all. They have been out of my hands while the card and the number have been mentally chosen. My object has been, not merely to divine your thoughts but to anticipate them; and if my effort has been successful the Jack of Clubs will be found twenty-fourth in the pack.” PR O CE DU RE . Here is an application of “ system” to an older effect whereby a more complete realization of the idea is obtainable than by the elementary process usually associated with it. This is perhaps the best of the tricks applicable to the system, and it is the most difficult. Probably to a person ordinarily adept at fig ures the difficulty will be negligible. Personally I labour under a mental disability in regard to figures, and I can no more comfortably perform this particular item my self than I can balance my yearly accounts, ( I almost added ‘or make out an income tax return,’ but the latter I easily dispose of by writing tniV aga inst all the heads.) When, however, one considers that practised auditors commonly check up compound additions, not column by column, but line by line, it will be realised that such calculations as these are child’s play. Rule 1. I f the specified number be lower than the table number of the chosen card, the difference must be transferred from top to bottom. Therefore, subtract the required number from the table number of the card, and take the remainder as the indicator of the card to be sighted, and cut to the bottom of the pack. EX A M PL E . Required to place the Ja ck of Spades

T he

N i k o l a O a k d Sy st em .

33

fifteenth. 34 - 15 = 19 — nine of clubs. Cut the nine of clubs to the bottom, and the Jack of Spades becomes the fifteenth card. Rule 2. I f the specified number be higher than the table number of the chosen card, the difference must be transferred from the bottom to the top. Therefore, sub tra ct the table number of the card from the required number, and subtract the remainder from 52. This gives the indicator of the card to be sighted and cut to the bottom of the pack. E X A M P L E . Required to place the four of diamonds twenty-seventh. 2 7 - 1 3 = 1 4 . 52 - 14 = 38 — Ace of diamonds. Cut the ace of diamonds to the bottom of the pack, and the four of diamonds becomes twenty-seventh. Rule 3. (Applicable to either case.) This general rule may, if preferred, take the place of both the pre ceding rules. Deduct the required number of appearance from 52, and add the table number of given card. When the sum exceeds 52, deduct 52. E X A M P L E S. Required to place the Ja ck of Spades fifteenth. 52 - 15 = 37. 37 + 34 = ; 71- 52 = 19 =--Nine of clubs, which cut to bottom of pack. Required to place the Four of Diamonds twentyseventh. 52 - 27 = 25. 25 -f- 13 = 38= Ace of Diamonds, which cut to bottom of pack. For the double purpose of emphasising the effect and facilitating the procedure, the pack at the outset is laid

34

Th e Nikola Card S ystem.

upon the table. After the two participants have been invited to “ think,” the performer pauses for a period of masterly inactivity. Then he asks for the card and the number, upon receipt of which he makes the necessary calculation as quickly as possible: he also makes a men tal estimate of the approximate position of the card to be cut to the bottom o f the pack. Deliberately reaching for the pack he, in process of lifiing it, first turns it upon its side edge, the backs of the cards towards the spectators. With the thumb he pushes a portion of the pack from left to right in such a way as to reveal the indices round about the required card. The location is completed in gathering up the pack, and the little finger inserted at the break. The few subsequent remarks are framed to give time to make the secret cut. This is a case where technique should be faultless. I f the reader will turn back a moment to the performer’s remarks, he will note that the audience is invited to “ listen” and not to “ watch,” and with experience in control he should be able to divert attention from his hands to his face for ju st so long as may be necessary. 10. UNCONSCIOUS THOUGHT TR AN SM ISSION . “ I will give you an astonishing example of the effect of unconscious thought transmission. Will somebody take any one card, please—but don’t look at it. “ I will at once place it, without looking at it myself, face down in this envelope. I will seal the envelope and place it in sight and out of reach—here. None of you, nor I, know what card is in that envelope. “ Next I will invite you to name any card, but so that there shall be no suspicion of collusion, let it be a joint selection. F irst name a suit . . . Diamonds. Will you

T h e N i k o t .a , ( J a k d S y s t e m .

35

have a court card or a spot card. . . . A spot card; very well, how many spots shall-we sa y ? Eight ! “ The choice, then, falls on the eight of diamonds, and I think you will admit, under the conditions, it could not have been prearran ged. It is a strarfge thing— I would not believe it myself, if I hadn’t done it—the eight of diamonds is the identical card in that envelope over there.” , The envelope used is preferably o f a large size—-5Ain x 4în. and is prepared by neatly slitting the bottom to a little more than the length of a playing card. When a card is taken, a secret cut is made at. the point where it is removed. The pack is retained in the left hand, back upwards, and the envelope is casually laid on top of the pack, and grasped in the same hand/ The right hand receives the chosen card and-pushes it, face down, into the envelope. It is pushed through the slit in the bottom to the extent of about a quarter of ah inch, and in this position is grippf d in the fork o f the thtlmb' against the top of the pack. When the'envelope-is with'*drawn the card remains behind on the top of the pack, and it is an empty envelope that is
Tiuc N

ikola

Ca r d S ystem.

the second, third and fourth fingers of the left hand, the thumb of the same hand rests upon the opposite side (nearest the performer) and the first finger, bent, rests upon the top. The upper corners can therefore easily be riffled by a slight action of the left thumb, and as soon as the required card is known it is sighted (using the sequence as a guide) and a break made above it. It is secretely cut to the top of the pack and in due course the envelope is laid over it while it is l’ipped open with a knife. The cut is made along the edge already parti ally severed, and the evidence of faking thereby de stroyed. Meanwhile the top card of the pack is pressed against the pellet of wax, and when it has been secured to the envelope, the pack is placed aside, and the fingers inserted into the envelope. The concealed card is drawn up behind as though coming from the interior of the envelope. 11. W IZARD ’S W HIST. “ I will give you an example of the practical appli cation of thought-reading to card-playing. It is useful Sometimes to know what card your opponent thinks of playing. “ Will you please suppose you had these card s in your hand at the card table, and decide upon one of them to play. You need not necessarily choose the highest or a good card, but just think of any one, for the purpose of a test. Only one, please, and don’t forget it. Keep it in mind for a little while. “ Will you do the same, please. Think of one of these. And you. Thank you. “ Who else will take a hand ? You ? Thank you. “ Remember the one card in each case, forget the

T u b N ikola Ca r d S ystem.

37

others, and return them all to me. “ For the purpose of illustration we will imagine the game is whist, so I will deal the cards accordingly. “ Now, as I shew you the hands, tell me if you see your particular card amongst them. “ You thought of t h e ........... . you have in mind, the . . . , ., you are going to play the . . . . . . and you de cided upon t h e ........... ” PR O CED U RE . This is entirely independent of the system, and can be done without any prearrangement of cards; but it is introduced here because it happens to make a very appropriate conjunction of effects. Each of the four spectators taking part is given four cards from the top of the pack. They are taken back in the same, order as they were given out, and replaced at the bottom of the pack. A false shuffle may be intro duced here, but the cards must be left intact at the bottom of the pack. Four w hist hands are then dealt, and the process of the deal will distribute the sixteen bottom cards of the pack to the tops of the four heaps and divide each original group of four cards among the same. So that directly the information is obtained that .a chosen card is in a particular heap, as it can only be one card of that heap, it is easily discovered. The group of four cards last returned to the pack are the top cards of the newly dealt hands, and when the last “ player” points out the heap that contains the card he thought of, it must be the top card. The four cards next return ed are the second cards of the whist hands* and the second card of the hand that contains the thought of card is it. And so on with the other two groups. It is essential to remember that the cards first returned to

.18

T h e N i k o l a

Ca r d S ystem.

the pack are fourth after the deal, the second to be re turned are third after the deal, the third the second, and the fourth the firBt. When performing this trick with an unprepared pack it is necessary for the performer either to look at the faces of the cards, or secretly glimpse the indices. With the prearranged pack this is unnecessary as he can name the cards by mental reference to the Code. He cannot, with the prepared pack, shew the fourth hand without prematurely exposing the fact that it con tains all of one suit, but this is not only unnecessary, but the omission adds somewhat to the effect. Any card or cards not revealed in the first three heaps must, necessarily be in the fourth, and knowing this and being acquainted with the contents of the heap he can name them without any reference to it. 12. A LL TRUM PS. “ Now, gentlemen, if you please, we will play the hands out. Will you cut for frumps ? “ Hearts. . . Then I think the game is mine ! ” PR O CE D URE . This has already been explained,— see page 11. While astonishment over the last effect is still fresh, and the victims are not in a condition to notice the irregularity of the proceeding, the performer picks up his own and offers it for the cut. The other hands are pushed across to the would-be players, and after due interval they are confronted with the constellation of trumps. So far is a smooth-working, rational sequence of effects. It may be reduced, extended or varied at dis cretion. The possibilities are not yet exhausted.

T h e N i k o l a C a r d By s t k m.

13. 14. 15. have

39

THE SPE LLIN G BEE , T H E GAME OF PO KE R , and TH E GAME OF “ NA P” already been referred to inSection 2, pages 19 and 20. Here are some others,— 16. TO NAME TH E PO SITION OF A NY CARD CALLED FOR. 17. TO NAME TH E CARD OCC UPYING ANY GIVEN POSITION. These are the most elementary demonstrations, and need no special explanation. The Code gives the desired information instantly. 18. TO NAM E TH E PA CK IN ORD ER, W ITHOUT LOOKING AT IT, EITHER FROM THE BOTTOM OR FROM THE TOP. This also is self-explanatory. Indeed the nature of the feat so readily suggests the idea of pre-amingement that its inclusion, if unsupported, would be the height of indiscretion. By the interposition, however, of two other artifices, it makes an effective addition to the series by reason of the fact that any suspicion of pre-arrange ment can be completely dispelled by handing out the pack from time to time during its performance, and im mediately proceeding as before: How r Once the arrangement has been broken up, the per former resorts to other means. To read cards from the bottom of the pack, a fake is used, consisting of a tiny mirror consisting of a disc of polished silver three-eightS-of-ari-inch in diameter, attached to the left thumb-nail with a dab of wax or diachylon. The pack is held upright in the right hand,

40


at arm’s length, facing the spectators, and the first bot tom card is known as the result of a sly glance before commencing the experiment. After it is named, the left hand is raised to remove it from the pack. In so doing the left thumb is inserted between the exposed card and the next, and before carrying it away, the reflection of the index of the next card is observed in the mirror. This; of course, can be repeated indefinitely. Now, to vary the procedure, cards are named from the top of the pack, and as the mirror is not required it can be removed from the thumb and stuck to the bottom card until a convenient opportunity occurs to pocket it. As the pack is now held face downwards it is well hid den pro teni. In making an attempt to name the first top card, recall the first bottom card named and men tally referring to the code, name the next card in order to it. There is a fair chance that the two cards have not been seperated in the shuffle, and if not, and the announcement is correct, well and good. If not— suppose for example that you have named the ten of diamonds* and the ace of clubs turns up, look at it in astonishment and apologise: then add cheerfully, “ I meant the ace of clu bs.” Whether this is accepted seriously or taken as a joke does not matter. The mistake has served its pur pose. In separating the top card from the pack with the thumb of the right hand (the pack is now held in the ]eft) raise the left-hand bottom corner of the first tivo cards, and note the index of the second card. This is allowed to fall back, and the top card removed alone and proved right or wrong as the case may be. From this point all is plain sailing. The next card is .’definitely known, and is named. In removing it from the pack the

Th* N i k u i , a C a b d S y b t e m .

41

index of the next following card i s named in the sam e way. And so on, ad lib. To proceed with other code tricks the pack may be restacked openly as described hereafter or another pre arranged pack may be substituted by one of the devices described in the appendix. 19. TO PIC K OUT AN Y CARD C A LL ED FOR BEHIND THE BACK. This is merely a disguise of No. 16. All that is necess ary i$ to note the bottom card, and follow the code wdiile counting the cards behind the back until the re quired one is reached, I f the pack has been disarranged it forms a suitable opportunity for an exchange, as described in the appendix. 20. TO PIC K OUT A CARD CH OSEN AND R E  PLACED. When the chosen card is withdrawn from the pack, retain the break, as in previous examples, and, similarly, in offering the pack for its return, divide it at the same point, and sight the card immediately above, i.e. - the face card of the portion. A false shuffle may now be given, followed by a genuine cut. Then note the bottom card of the pack, hold the pack behind the back, and following the code, count until the chosen card is reached. Alternatively,, by cutting or secretelv cutting within half-a-dozen or so of the known card, so that it is brought within pasy reach of the top or bottom, the pack may be placed in a spectator’s pocket, and the produc tion made in those circumstances. 21. TO PRODU CE CARDS CA LLE D FOR FROM THE POCKET.

42

T h e N i k o l a Oa k d S y s t e m .

This, a feat usually achieved by the use of a duplicate pack sorted into the divisions of card holders, can be donn with the stacked pack. Cut the six of diamonds to the top, and divide .the pack into four equal parts by riffling and sighting the indices. The first packet is cut at the thirteenth card, the four of diamonds, and placed in the left breast pock et; the second is cut at the twenty-sixth card, the four of spades, and placed in the right trousers pocket; the third is cut at the thirty-ninth card, the Jack of Clubs, and placed in the left trouser pocket; and the remaining thirteen cards are put in the right breast pocket. The backs of the cards in each case are outwards. When a card is called for, mentally refer to its Code number, from which it is clear which packet it is in; plunge both hands alternately into various pockets, and with the hand most convenient to the one containing the required card, count in accordance with the Code until it is reached, and bring it out of the pocket, together with all above it, and sheiv as one, then return to the pocket. In this way the order of the cards is undisturbed. Fo r instance, the King of Spades is wranted. K ing of Spades is the eleventh card, and therefore in the first division, and in the left-hand breast pocket. The right hand counts the cards, in this case conveniently backwards - thirteen, twelve, eleven, the thumb separates twelve and thirteen from eleven and the rest, and these are gripped with thumb at one end, second and third fingers at the other end, and the first and foiirth fingers gne on each side, so that the cards are neatly and securely squared up. Again. The three of hearts is asked for. This is the


4:<

forty-fourth card, and therefore in the fourth heap and in the right-hand breast pocket. Count from the top— forty, forty-one, forty-two, forty-three, fortyfour, and grip the five cards in the same way. The six of clubs would be thirty-one—in the left-hand trousers pocket. The left hand counts, twenty-seven, twenty-eight, twenty-nine, thirty, thirtyone, and shews as before. At the conclusion, the packets are removed from the pockets in the reverse order to their insertion, and stacked one above the other to restore the order. 22. TO NAME TH E BOTTOM CA RD S OF A NU M BE R OF H EAP S BY LOOKING AT THE TOP CARDS. Sight, the bottom card of the pack and let a spectator cut into any number of heaps. Look carefully and note their order if other than regular. Exam ine first the top card of the heap containing the noted card and name the latter. The former is the key, not to the bottom card of the heap from which it was taken, but to the bottom card of the heap next in order, and so on throughout the series. For instance, say the six of clubs is the bottom card and the pack is cut into four heaps from left to right. Suppose the top card of the first heap is the ace of clubs. The performer states that the bottom card is the six of clubs, which he knew at the outset. Then, counting one backwards from the ace of clubs (23) he knows that the bottom card of the next heap is (22) the two of clubs, but he does not announce it until he has turned up the top card of that packet, which being the Ace of Hearts (12) conveys the information that the bottom card of the

44


next is No. 11, the King of Spades, while the five of clubs on top of that heap indicates the six of diamonds at the bottom of the remaining heap. 23. A SU B T L E GAME. Although the system is made use of in this trick, it is not necessary for the pack to be pre-arranged. To begin with it is therefore handed out for thorough shuffling. Prior to so doing, however, the performer abstracts, and palms, any four cards in Code order. For convenience we will assume the cards to be the four bottom cards of the stack— Three of diamonds. Five of diamonds. Queen of Diamonds. Eight of Hearts. After the pack has been shuffled to satisfaction, the palmed cards are returned to the top and subsequently forced upon four spectators. Any method of forcing in which the performer is pro ficient will do, but as certainty is desirable, a method of absolute precision is given in the appendix. I do not wish to burden the present explanation. The four cards are returned and m anipulated to the top of the pack by any of the usual processes. A false shuffle of any type that retains the four top cards is giv en. The cards are then dealt info four hands and one given to each of the four people who chose cards. They are distributed in order so ihat each gets the hand con taining his own card, and in gathering up, it is desirable to displace the bottom, so that the chosen card is not conspicuous. The parties are then instructed to sort their hands into

T h e N i k o l a Ua k i> S y s t e m .

45

suits, as for a game, and to hand the performer such cards as he calls for. On this amiable understanding, he proceeds to name the cards according to the Code, back wards from the next in order to the four forced cards. In the present example therefore he will first call for the six of hearts, then the ten of diamonds, next the eight of clubs, and so on. As the cards are handed to him ho places them naturally, face down, in the left hand. This he continues until one card only remains in each person’s hand, that card being the one originally chosen. The spectator’s are left with their chosen cards, and the wily wizard is left with—! I promised my reader that I would show him how to arrange the pack in full view of the audience, and 1 have now redeemed my promise. I have done more than I promised. He has not even had the trouble of arranging the pack. It is done, and the audience has done it for him, lured into the belief that they are assisting a trick. The four isolated cards are taken in their proper order and added to the stack to complete the chain. If you can beat that for audacity—next please! This properly precedes the other tricks in order of ex ecution, but I have kept it till the last, partly so that it might come as a surprise and partly because familiarity with the material wras necessary, both for its apprecia tion and for its performance. It may be used or not, by way of introduction, as circumstances demand, or, commencing with a pre viously arranged pack, it may be held in reserve against an accidental or antagonistic disarrangement. An appendix follows, comprising useful methods of false shuffling, exchanging packs, etc.

SECTION 4.

APPENDIX.

FALSE SHUFFLING. To give full effect to the various tricks of the series it is necessary to induce the idea that the cards are con tinually mixed, and this is effected by an occasional imitation shuffle. To retain a few cards at top or bottom o f the pack is a very simple matter, but to produce a satisfactory ap pearance of shuffling without displacing a single card is a more difficult proposition. These are the best known methods:— 1. THE CH AR LIER SH U FFLE . This shuffle is the most completely deceptive yet in vented, iu that it allows close inspection, and the most deliberate execution. It is unfortunately quite imprac tical for present-day use, because, although a perfectimitation of the method of shuffling cards that my grandmother taught me in the first days of my acquaint ance with cards, it is quite unlike any process in use by card players to-day. I have included a description be cause I consider its analysis to be usefully instructive. The cards are held in the left hand as for dealing. To start the shuffle, a few cards are pushed off the top of the pack by the left thumb into the right hand, which seizes them with the thumb above and the fingers below. The left hand continues to transfer successive groups of cards alternately above and below the packet in the right hand, ivith this restriction, that the cards placed above those in the right hand are pushed with the fin gers from beloio the left-hand packet, and those that are placed below the right-hand packet are pushed with the thumb from the top of the left-hand packet.

Tb b N ikola Ca r d S ystem .

47

The exact effect of this at the finish is that the rela tive order of the cards is the same as at the start, except that the top and bottom halves of the pack are trans posed. The pack is as cut, but the chain is unbroken, 2. TH E OVERHAND SH U FF LE . When the last described style of shuffling went out of fashion, the method generally followed was to hold the pack on edge in the left hand, and retaining a few of the top cards with the left thumb, lift the bulk from beneath with the right hand and, alternately raising and lowering this hand, draw off small packets of cards with the left thumb. Sometimes the procedure was varied by tilting the left-hand packet from side to side, and drop ping batches of cards alternately upon one side and the other. This can be imitated to some extent as follows Hold the pack on edge in the left hand, thumb across the back, first finger at the outer end, and second, third and fourth fingers resting against the face card. Bring the right hand up to the left, thumb at the inner end, second and third fingers at the outer end, first and four th fingers extended out of the way. Retaining about one-fourth of the pack with the tip of the left thumb on the upper edge, lift the bulk with the right hand, and shift it over to the opposite side of the smaller packet, which to facilitate description we will call number one, the left thumb being mov^d to make way for it. Let the upper, outer corner of packet number one pass between the first and second fingers of the right hand. Holding back a few more cards with the left thumb, raise the right hand again, carrying away the bulk of the pack and the separated portion, number one: The small packet

48


remaining in the left hand we will call number two. Tilt number two to the left, supported a ga inst the thumb, bring the right hand down aud drop a few cards from the top of the bulk, tilt the left-hand portion over to the right, supported against the fingers, release packet num ber one and drop it on top, tilt it over to the left again, and drop a few more cards from the top of the righthand packet on to the face of the left, tilt the left-hand packet over to the right again, and drop the balance of pack on top. This is practically the same process as the Charlier shuffle, differently applied. It will not bear the same close inspection or delibtrate handling, but executed with the rapidity that can be acquired by practise it is fairly deceptive. THE OVERHAND SHUFFLE. (B.) One of the cleverest false shuffles preserving the pack intact that I have seen is executed as follows. Rapidly executed it is a fine imitation of a genuine overhand shuffle. ~ Hold the pack in an upright horizontal position in the right hand, the face being towards the palm, with the second and third fingers on the top edge, the thumb at the bottom edge, the first finger curled up again st the face card and the fourth finger idly extended. Le t the lower side of the pack rest upon the fingers of the left hand held palm upwards, and with the left hand thumb press upon the top card. Rapidly count off about six cards by repeatedly drawing the pack away and pressing with the thumb upon the next in succession. Jo g the seventh card, and throw the rest of the pack en bloc on top. Without pausing, undercut at the jo g and shuffle

■Th e N i k o l a C a r d S y s t e m .

off one by one, back to the top of the pack, the cards displaced in the first part of the shuffle. It looks as though the cards must be mixed, but all that happens is that seven cards are reversed in process o f tra nsference from top to bottom and then reversed again in trans ference from the bottom back to the top. For the benefit of any readers to whom the term may be unfamiliar, to “jog” a card is to place it with about a quarter-of-an-inch projecting beyond the rest of the pack either at the inner or the outer end, usualty the inner, so that it forms a ready means of location for a break. “ Undercut below the jo g ” means to take the cards below the projecting card: “ undercut at the jo g ” means include the projecting card in the cut. 3. RIFFLING. Riffle shuffles were introduced to obviate falsification. Unfortunately for the faith of card players, though for tunately for the trickster, a riffle shuffle is the easiest of all shuffles to falsify. If it is desired to retain a few cards at top or bottom, all that is necessary is to avoid interleaving those cards and let the stock fall at the top or lay as the foundation at the bottom, as the case may be. To imitate a riffle shuffle while preserving the order of the pack entire, two methods of procedure are avail able. a. — This is the easiest, and the most convenient for the conjurer, as it is done in the hands. Hold the pack by both hands (the palms of the hands facing one another,) with the fingers at the outer end, and the thumbs at the inner end. Divide the pack at about the middle with the two thumbs, separate the two

SO

The N i k o l a C a r d S y s t

em.

halves* reversing the position of the left hand half, so that they are face to face, hold one in each hand, in each ease with the thumb at the inner end, the second, third and fourth fingers at the outer end and the first finger curled up on top. Bring the hands together until the corners of one packet overlap thbse of the other, bend up the ends of the cards with the thumbs and. release the pressure so that the cards fall alternately from each hand and interleave. Then, instead; of pushing the. two packets fairly into one another in accordance with the .orthodox procedure, bend one packet upwards and the other down, at the outer ends, as the hands appi’oach to push the packets together: the effect of this is to twist the cards apart and replace one packet on top of the othe;r. Either half may be placed top, so that the “ shuffle” may effect a cut or leave the disposition entire ly unchanged, whichever may be preferable. The fingers of both hands encircle the pack during the final oper^ ation, and mask its duplicity. b, —r In the second version of the false riffle, the cards are riffled upon the table top, as would be the case in course o f play. The procedure is in this case not quite so easy, but even more delusive. The handling is the same up to the point where the corners are interleaved, except that the cards lie uppn the table. In pushing the packets together they are in reality pushed through one another. The right-hand packet is pushed to the left, and the left hand packet is pushed to the right, both in an oblique direction, until the ends of each packet protrude beyond the other. They are then seized again, at the opposite ends and by the opposite hands, drawn apart and replaced one upon the other. The essential condition

T iie N i k o l a C a k d S y s t e m .

51

for success is that the cards be held quite loosely and allowed to slide easily, without force. The fingers of both hands mask the outer edges of the cards. FORCING. In good hands there is nothing to beat the orthodox method of forcing cards. With some performers it is an instin ct: with others it is an insult. In my early youth, when I visited the old Egyptian Hall, the late Paul Valadon invariabty picked me out as a simple-looking person, and leisurely fanned out a pack of cards in front of me. I never knew which one he want ed me to take, and I never knew till the climax if I had taken it, but always I had. He used Steamboats, which are rather confusing to the eye of the victim, and pro portionately difficult to follow by the operator. In contrast to this a certain card expert of the present day once staggered me by a demonstration of a wonder ful new “ pass” which he claimed was positively invisible. He spread out the cards and asked me take one. Quite innocently I took the first that came to hand, and he promptly snatched it away and handed me another. This he asked me to replace in the pack, he squared up the pack, and without the flicker of a sleight reproduced the card from the top. I was nearly too astonished for words, but I gasped out that it was the most astounding thing I had ever seen, and that the pass was quite invis ible. It certainly was. While I do not recommend this sort of forcing, some thing very near it is useful where a number of cards have to be forced, and there is no time to waste. If the performer has skill and nerve he can pass quickly from one to another, and “ push” the cards on to people without giving time for thought.

52


FORCING BY NUMBERS. This sounds like something out of a Drill Book, but it isn’t. In experiment No. 23 it was pointed out that the un interrupted consecutive forcing of four cards was desir able. There is always a possibility of meeting an unsusceptible subject to the forcing of a card, and with a series the risk is naturally increased. The present plan differs entirely from what is usually known as “ forcing” but it lends itself agreeably to the purpose in view. The four cards to be placed in the hands of the parties are in the beginning stocked at the bottom of the pack and, as needed, transferred one by one, in turn, to the top. Instead of inviting each perfeon to choose a card, he is asked to name a number. The conjurer then counts down to that number, and apparently hands out the card that occupied that position, whatever it be. As throughout this series of tricks, whtre counting has been necessary, it has been usual to count simply by passing cards from one hand to the other without dis turbing their order in any way, it must be noted that in this case the cards are counted one above another, so that their order is reversed. Holding the pack in the left hand, as for dealing, two less than the stated number of cards are counted off, one over the other, with and iuto the right. The first card of the pack becomes the bottom card of the right hand lot, and is pushed sideways to the left to the ex tent of about a quarter*of-an-inch beyond the cards above it. Then, for the next count, instead of the right hand passing below the pack, it passes above it, and in stead of pulling a card of the pack with the thumb, the

T h e N i k o l a Oa h i> S y s t e m .

58

projecting card (the one to be forced) is pushed on to the top of the pack by the right hand fingers, the re  mainder of the right-hand cards being drawn away smartly in a downward direction with an imitation of the snap produced in counting off the previous cards. The next number counted is the chosen number and the card is ostentatiously lifted with the finger tips of the two middle fingers and handed to the chooser. TO EXCHANGE PACKS. If a series of any considerable length be selected, it is desirable to have the pack genuinely shuffled by the spec tators at some point. To effect this, a second pack of cards, duly arranged, must be in readiness, and the exchange is best disguised by the course of a trick arranged for the purpose. 1. — A convenient method is to have a clip (failing a special card clip, an ordinary office clip of the “ bull-dog” type will do) to hold the second pack of cards attached to the waist of the trousers at the back and a hip pocket to get rid of the first pack. A “profonde” is useful for getting rid of the discarded pack if the performer is equipped with it. Personally I gave up the use of all special pockets years ago, to save arguments with tailors. The cards are exchanged under cover of reading behind the back, which may be given as a climax to Exp eri ment No. 18, the cards being truly shuffled in between. Or it may be more effectively covered by Experiment No. 19, a card or two being taken out of the first pack, the pack handed out for shuffling, and upon its return the exchange made behind the back and the experiment continued with the second pack. Still better is to adapt Experiment No. 20. A card is

54

T h e N i k o l a . Oa k d S y s t e m .

first chosen, a secret cut is made to bring the preceding card to the bottom of the pack, which is glimpsed. The pack is then handed to the chooser and he is asked to replace his card, shuffle the pack and return it. On tak ing it back, the performer undertakes to find the chosen card “ without looking at the pack,” and with this os tensible reason holds the caids behind his back while searching for the card. Under cover he drops the first pack into his hip pocket, removes the second from the clip and counts down to the cards next in order to the sighted card, which will be a duplicate of the one chosen. Here there is a definite double advantage. The fact that the card is replaced and the pack shuffled while out of the performer’s reach and without handling on his part, enhances the effect of the experiment itself, while pro viding him with a new pack. The Experiment No. 24, which follows, utilizes a method of exchange that can be applied to other cases where an envelope is made use of, and should meet the most exacting requirements. 24. THE TELEPATHO GRAM . This is an experiment quite effective in itself, apart from its value as a means of providing a pack of cards duly arranged for “ system” effects, or otherwise. The requirements are as follows:— Two packs of cards, one arranged according to the system of which this pamphlet is the subject, or in any other known order, and the other pack in its original wrapping. The “ unopened” pack is previously tampered with in regard to its wrapping, to convert it into a tem porary carbon pad. The wrapper is steamed apart and a strip of white paper two-and-a-half inches long and

The N ik o

la

Ca r d S ystem,

seven-and-a-half inches wide is folded round the pack longitudinally and a piece of carbon transfer paper of\ the same dimensions is folded over that. The wrapper is then refastened. A celluloid or metal thumb tip to which is cemented or soldered a small tube, halfân-inch long and one-eight of an inch in diameter, to hold a piece of crayon. The attachment should be on the “ nail” side. Another piece of crayon, a few envelopes and corres pondence cards and a slip of paper about three inches by two. A dummy packet of envelopes, constructed as now de scribed, — several envelopes have enclosed in them pieces of stout card, cut to size, and the flaps fastened. A margin of about an inch all round on both sides of the card is pasted before inserting them into the envelopes. A pile of these prepared envelopes is made, equivalent to a thickness of three-quarters-of-an-inch. They are pasted together in the pile and set aside to dry. Then the centres and part of one end are cut away, leaving a three-sided frame open at one end, with space large enough to easily hold a pack of cards. A strip of brass about quarter-of-an-inch wide is riveted in position to span the open end, close to the edges, above and below, and a stiffened envelope is glued into position to form a bottom. A hole being previously drilled for the purpose in the centre of each brass strip, the ends of a piece of thin cord elastic are passed through and knotted, form ing a loop that will shoot out a pack of cards placed within. A second pair of holes, near the first, are made for the reception of a pin, to hold the pack in security until delivery is required. The sketch (Fig . 1. a) shews

56

T h e N i k o l a Oa k d S

ystem

.

this box-disguised-as-a-packet-of-envelopes, minus the top, which is fitted last. A piece of card the size of the opening is cut into two portions, corresponding to the size of a card and of the end of the pack respectively. With a square of calico the parts are hinged together and in turn to the closed end of theenvelope-box.(Fig.lb)

This fake is set by inserting a pack of cards into the mouth of the box and within the loop of elastic, and se curing with an ordinary pin. A loose envelope masks the top. I f a pack of cards is placed upon it, the envel ope moved away and the pin withdrawn, the second pack

_________________________ T

hk

I s i k o l a C a r d S y s t e m ._____________________5 ?

is shot out and the first sinks into its place. These articles are disposed in readiness: the fake packet of envelopes set with the arranged pack of cards, upon it four or five genuine envelopes, two or three correspondence cards, the slip of paper and the sealed pack of cards, while the thumb tip and the loose piece of crayon, together with a pencil, r.epose in the righthand waistcoat pocket. In performance, a spectator is first invited to think of a card. No pack is offered to disturb the free direction of his thoughts. The only stipulation is that he shall write the name of the card, as evidence, upon the slip of paper presented for that purpose. This is placed, by the writer, in an envelope, which is handed to another spectator to guard. Then, and not till then, the cards are brought into the play. They are handed to a spectator for shuffling, placed by him in a second envelope and entrusted to someone else. A third envelope is offered for inspection, together with a blank correspondence card. The card is shewn on both sides, sealed in the envelope and given into the possession of a third spectator. The outcome of all this is that the performer tells what card has been thought of and produces upon the blank card,writing indicative of the exact position in the pack at which that card will be found. Which is veri fied and found correct. The description of the preparations will have given the clue to the solution of the mystery. The magician picks up the packet of envelopes and accessories. A card having been thought of, he hands

58


out the slip of paper and pencil, and, as an afterthought, the sealed pack of cards, which will naturally be used to write upon. (In circumstances where it may be inconvenient to use a new pack—as, for instance, when cards have been used in a trick or tricks immediately preceding, a sub stitute may be used in the form of a prepared card secretly added to the pack already in use. It is made by soaking a card for some hours till the back and face easily pull apart, washing away the adhesive, drying and rejoining at the extreme edges only, with a piece of ‘full’ carbon paper -between. ‘F ull’ carbon paper, as distinguished from ‘semi’ carbon is prepared on both sides. This card is handed out as a writing pad, and subsequently peeled apart and read.) (A further device is the use of a piece of sponge, contained in a small round, flat tin box that can be palmed, saturated with alcohol: this rubbed over the surface of the envelope makes it translucent, and discloses the writing inside. It will dry during the subsequent procedure, but the scheme is move difficult to disguise in operation.) An envelope is given for the paper to be enclosed in and the pack of cards taken back. This is opened, and in doing so the carbon impression within the wrapper is read, after which all is crumpled together and thrown aside. After the pack has been shuffled the performer takes it again and lays it momentarily upon the suppos ed packet of envelopes in his hand, slips out the loose envelopes and correspondence cards between the pack and the fake, at the same time withdrawing the pin,but keeping the duplicate pack in check with the little fin ger, and transfers them to the bottom, separating one

Thk N ikola

Oa k d S y s t k ji.

envelope, and Landing it out. Then he relaxes the hold of the little finger, and presses lightly upon the pack of cards at the same time tilting it towards his body. The duplicate pack is dropped into the left hand, which is held in readiness to receive it, and the first pack sinks into the space left vacant. The substituted packisgive n to be enclosed in the envelope. The loose envelopes and correspondence cards from the bottom are returned to the top and restore the appearance of the packet. A correspondence card and an envelope are removed, and the rest put aside. While card and envelope are being inspected the thumb and finger of the right hand go to the waistcoat pocket and bring out the loose piece of crayon and the thumb tip, the latter in position upon the thumb. The crayon is dropped into the envelope, and the card displayed on both sides prior to inserting it also. The equipped thumb is kept out of sight behind it and, while shewing the second side, writes upon the first the known number corresponding to the position of the chosen card in the pack. The envelope is sealed and given to the third party to hold, in completion of the conditions. The trick is now done, and it only remains to make the various revelations, and enforce the points by suit* able patter. For example,— “ In recent years much study has been given to what is called psychology, and much has been written about telepathy, mind concentration, thought projection, will power and the influence of mind over matter. “ It would take too long to go into theories, and as most of you, no doubt, will be more interested in a

60

T h e N ik o l a

Ca kd S y s t e m .

practical accomplishment, I will prodeed witli my de monstration and leave you to draw your own conclusions. “ First I would like one of you to think of a card. Not to pick one out of the pack, but merely to think of one, without reference to the pack. As a guarantee of good faith, and for the purpose of evidence, please write the name of the card you have thought of upon the slip of paper. Don’t let me see what you write, and afterwards place the paper face down in this envelope, seal the en velope and pass it on to someone near, as a sort of umpire. “ Now here is a pack of cards. Please shuffle them thoroughly. So that I cannot possibly manipulate them in any way, they shall be sealed in an envelope. Have a look at the envelope first—there’s nothing to f-ee. Have you seen it ? Then put the cards in and fasten it secure ly. Give that to somebody else. “ Thirdly, here is a blank correspondence card and another envelope. Have a look at those. Sorry to give you so much trouble. In the envelope I will drop this little piece of crayon. Those wrho have not had an op portunity of examining the card can no doubt see, if I hold it up, that it is blank on both sides. I will put it in the envelope with the crayon, fasten it, and perhaps you will keep that yourself. “ Notice, please, that all the preparations are rig ht out of my hands. I do not need to touch anything. “ My experiment is a three-fold manifestation. What I set myself to accomplish is first to divine the name of the card you secretly thought of; next to discern its position in that pack of cards, which is in your possess ion, and then to reveal my knowledge by long-distance

T h f , N i k o l a C a b d S y s t e m .

61

writing projected on to the card in the sealed envelope. “ .... .................................................... I t is done ! “ Remember I do not handle handle the materials. You may impose any conditions you like.” “ F irst irs t the the name of your card. Tell me me if I read your thought though t correctly. I get an impressio impression n of t h e ........... o f ...... Is t h a t corr co rrec ect? t? G ood. The pr proo o f of my assertion is in the the first envelope. envelope. It has served its p u r pose, and you can satisfy yourse yo urself lf that it remains intact. intac t. Anyone can open it. “ You, You , sir, remove remove the the correspondence correspondence card from from your envelope. envelope . You will find find it now bear be arss a number, written in crayon cra yon.. Tell us if it is so, and what is the number. nu mber. .............. Thank Than k you. you. “ And now will ill you hand hand me the the pack of cards ca rds.. I will ill count them them through through and and prove to you you that t h e ........... .. o f ........... is at the number ................ Or, Or, if you pre ................ fer it you may count them yourself, but come up here and count them deliberately and distinctly, so that all' can see.” There are two remote contingen con tingencies cies upon whic which h the the routine routin e may fail, and as it is a case wherei wherein n the performer cannot retrace his steps, it may be advisable to be fore^ warned. ! A very cunning person may deliberately avoid using the concealed carbon pad, p ad, or write an indecipherable indeciph erable scrawl. scraw l. In this event little harm is done. done. A t the point where the pack has been sealed up and placed in custody of a spectator, spe ctator, the the perfor performer mer says,— say s,— “ Now' that the the pack is secured from interference and beyond my reach—I shall not touch it again—you may safely tell us what card you are thinking thinking of: if everybody will will join in

62

T h e N i k o l a . (Ja m

S ystem.

thinking thinkin g o f the same card car d it will will help in the resu re sult lt.’.’ ’ Occasionally one encounters an imbecile-at-large or a half-witted crank who thinks it clever to put an obvi ously insurmountable insurm ountable obstacle in in the the way. way. Such a person might write write “ fourt fourteen een of clubs” club s” or something something equally equally i*idiculous. This supposition supposition is raised ra ised by by the the memory memory o f a “ funny” man of this type, who, being requested to write ‘a number consisting consisting of thr three ee figures,’ put down own X .X .X .— prob ably the most familiar sign he could recall. In such a case the the experiment is spoiled beyond beyond sav sa v  ing as a m agical agic al effect, effect, but the performanc perfo rmancee can be brought to a satisfactory conclusion, and the laugh tnrned against aga inst the woul wouldd-be be wit, by by writing w riting “ E a t s ’ upon the correspondence card. 25. TH E FLIGH T.

To make a chosen chosen card held held by a .spectat spectato or fly to any any fla f lam m in or beyond the room desired by the audience, th the cards being ab absolu soluttely ely unto untouched uched by the mag agiician cian at any stag stagee of the experi experim ment. ent. This sounds rather beyond the limit, even of a “ shipping order,” but it is what the average averag e witness witness will be prepared to say he has seen after the perform ance. By a simple, but by no means obvious, ruse, the spectators’ representative is himself made to carry the Car Card to the the desired desire d spot, and a nd the choice choice is unrestr un restricted icted,, as also is the choice of the card. Like Lik e the last, las t, this this experiment star st arts ts with with a shuf shuffl fled ed pack and delivers up a stacked pack at the finish. The performer challenges close observation that he will will not at any time time handle the cards, car ds, and immediately give3 the pack to any person in the audience, requesting

T h e j ^ i K o r , A . C a r p S . y s t e î .

63

him to shuff shuffle le it and remove remo ve a card car d yvith yvithou outt shewi she wing ng it. He gives give s two two envelopes, one one for the reception of the pack, pa ck, and one one for .the abstra ab stracte cted d card. ca rd. He receives the the .en .envel.o l.op.ed .ed pack pa ck upon a tray and pas p asse sess it on to any in in  dividual divid ual selected select ed by the the audience themselves to place ifif. in any an y position in or out of the room cljosen by them. Before being carried away the packet is signed by an in depend dep endant ant member of the audience. The envelope envelope con tain ta inin ingg the chosen chosen card is laid by the person person holding holdin g it upon the centre of o f a handke han dkerch rchief ief whic which h the the performer spreads open for that purpose. The handkerchief is fold ed completely round the envelope and the parcel left in the same custody. When the handkerchief is subsequent ly unfolded the envelope is found empty. The performer asse as sert rtss that tha t the card has travelled back to the pack in the chosen spot, sp ot, and further furth er that tha t he he will will send send it to any any specified position in the pack, and asks for a number for its destination. destination . The pack of cards card s is fetched fetched from from its chosen location by the appointed messenger and by him removed from the sealed envelope, after identification of ^he m ark. ark . A t this point the the performer asks ask s the name of the chosen card, which up till now he does not even know. He instru cts the pers person on holding holdin g the the pack to to ex ex  amine and say if the the card is is really there. there. I t is duly dis covered cov ered,, and when when the cards car ds are counted it is found to be in the exact position required. The visible preparation consists, in addition to the pack pa ck of o f cards, car ds, of a small small tray with with a handkerchief handkerchief,, two two envelopes and a pencil upon it. The tray itself is a device for changing packs, and is shewn in plan and scction scction in F ig. ig . 2. I t is about abou t 12A” x 8^ ” , and has a false bottom one inch inch above above the the true

«4

T h e N i k o t .a O a * i > B y b t k m .

bottom, leaving space between for a duplicate pack of cards, and the frame is cut away to leave part of one end open. One half of the false bottom corresponding to the open end is fi$pd, and the other half is hinged to the frame, forming a trap, and kept level with the fixed portion by a strong steel spring. Pressure on the trap with the thumb of the hand holding the tray allows the first pack to slide into the space in the opposite section, k~ ------- --------------

------ ------------------H

ta

- • ii

_

/

PAHTSTtON 2

S P R i N
SECTION

from which the duplicate pack will drop as the tray is tilted. To prevent the first pack falling out, a partition is fixed from side to side of the frame between the false and the true bottom to midway between the mouth of the trap and the open end of the tray, as shewn in the

T h f , N i k o l a G a u d S y s t e m .

65

section. Two other partitions extending from this to the end opening form a recess for the duplicate pack as in dicated by the dotted lines in the plan. A pack of cards, arranged according to Code, in an envelope, is placed in the secret compartment, pushed ^n from the open end. The pack which it is desired to substitute, similarly enclosed, is laid upon the hinged flap of the right-hand h alf of the tray. To effect the ex change it is only necessary to tilt the tray to the left, the surface, of course, away from the spectators’ line of sight, receive the second pack in the left hand, and at the same time press down the flap with the thumb of the right hand to allow the first pack to slide out of sight into the interior of the tray. The handkerchief is for the purpose of exchanging the envelope containing the chosen card for an empty envelope, and although without preparation, the manip ulation requires careful study, and we will therefore consider it in this place as a preliminary detail. The handkerchief should be of large size and thick enough to be opaque. 'Lay it upon the table and make a crease down the centre. In one corner of the front of a sealed empty envelope put a pellet of soft beeswax or diachylon. Lay the envelope to one side of the crease and press the pellet of adhpsive to the fabric. Now fold the handkerchief along the crease, with the envelope in side. Then fold the two edges back to meet the fold. Reduce the strip to a square by folding in the opposite direction, but observe carefully that the two upper cor ners (the “ top” edge of the handkerchief being consid ered as that nearest to which the attached corner of the envelope is) are on the outside of the completed fold. If

66

T h e N i k o l a Ga b d S y s t e m .

this is properly arranged, by lifting the handkerchief and opening out from these same corners it will appear empty, while the envelope hangs behind. The right hand releases its hold and goes behind and beneath the handkerchief: then the left hand corner is dropped, and the handkerchief remains spread over the right hand, covering the empty envelope. The envelope containing the chosen card is placed in the centre of the handker chief. Of necessity it lies over the concealed envelope, and its position is adjusted, so that the two envelopes, with corresponding edges, are squarely together. Now comes a move that must be made boldly and quickly— not nervously, hurriedly or hastily—but boldly and quickly, avd quietly. It must be practised slowly until the knack is acquired. It is a rather impudent, but strangely deceptive piece of work. Brin g the left hand up to the right, so that the fingers mask the edge of the visible envelope. Pass the tips of the fingers beneath the edge of the concealed envelope, draw both forward together, with the handkerchief, raise them from the front edge, while the back edges still rest upon the fin gers and turn upon them as on a hinge, and fold them back upon the hand. Transfer the grip of the right hand to the edge that ’s now turned to the front and lift the handkerchief and contents bodily off the hand. If the effect of this is close ly examined, it will be found that the empty envelope is now folded inside the handkerchief and the envelope containing the card is loosely wrapped in an external fold. It may be partly visible from the back, but not from the front. Pull the loose folds around it, to com. pletely cover it, gather all together and give it to the

Thk Nikola

Ca r d S ystem.

67

man to hold. Nothing is j e t abstracted or carried away, and if the business has been neatly done, with an un hesitating hand, and an unflinching countenance, there is nothing to arouse suspicion. When, subsequently, it becomes necessary to prove the disappearance of the card, the handkerchief is taken in the left hand, the right inserted into the outside fold, beneath the access ible envelope (the one that contains the card) and the latter grasped, together with its companion on the other side of the fabric. The left hand now moves across to the edge of the handkerchief, pulls it back and reveals the substituted envelope. This is pulled away from its temporary attachment and returned to the holder. The object of placing the pellet of adhesive on thefront of the envelope is that it is less likely to be noticed, as in cut ting open, attention is naturally diverted to the back. While the inspection is being made, the envelope con taining the card can be crumpled up as small as possible, regardless of the contents, and palmed away; or it can be rolled up in the handkerchief and thrown aside in that, at discretion. I f the performer mistrusts his ability to execute this rather bold manoeuvre, he can use a “ card-box” of the self-acting type for the exchange, but finished magicians do not like old-fashioned contrivances of this kind. The machinery of the trick having been described, there is little more to explain. The course is clear. The pack is shuffled and a card removed, the perfor mer meanwhile standing passively by with the tray carrying envelopes and handkerchief. He hands the envelopes to the person conducting the operation and, removing the handkerchief, proffers the tray for the re

68

T u k N ik o l a C a r d S y s t e m .

ception of the pack. He invites a free choice of any part of the room or house or accessible place where the pack shall be taken. He asks for a volunteer to take the pack to that place, but before it is carried away, has the en velope marked on the back, so that it cannot be opened without detection. (The marking is really to prevent suspicion of an exchange, although as an exchange is actually made, it would be most unwise to suggest it.) The exchange is made by means of the tray at the mo ment of handing the packet to be marked. Then the card in the envelope is wrapped in the hand kerchief and “ vanished,” as described. The messenger is sent for the pack, and during his journey, to sustain the interest, the audience is further invited to choose the precise number in the pack for its final destination. At this point he asks for the name of the chosen card, which so far is unknown, and makes a mental calculation for its transference to that point (in accordance with the rules given for Experiment, No.9.) The messenger himself opens the envelope and re moves the pack, he being instructed not to displace the cards, but just to fan them sufficiently to ascertain that the card is really there. When acknowledged, the per former reaches out for the pack, and expanding the fan to shew the card move clearly to the other spectators, remarks triumphantly “ There it is ! ” As it has already been independently investigated, the claim that the per former “ never touches the cards” is satisfied. The opportunity is necessary for him to locate in the fan the key card for the secret cut, and having done so, he squares up the pack, retaining the break and makes the necessary transposition. Handing back the pack, or not,

T he Nikola

Ca m ) S ystem.

as he prefers, he adds.— “ It only remains to prove that the number is correct,” and the cards are counted accordingly. The specification of the exact number is an elabora tion that is inessential, and this phase may be omitted if preferred, in which case the cards may actually be left with the person assisting. In this circumstance the performer instructs the holder of the pack to count face up, so many cards (being one less than the Code num ber of the chosen card) and announces that the next is the card, which it proves to be. The “ patter” which follows has no points of interest or merit. I have appended it only to give the possible experimenter an orderly arrangement of presentation and to help him to picture the effect sought for. The tech nical explanation has been so complex,and possibly tedi ous, that the reader may have lost sight of, or not com prehended, the plot. “ Possibly you may think there is some trick about these things. I will give you a test in which I will pos itively not once touch the cards. Here they are. I will not touch them again until my experiment is completed. First, please shuffle. Shuffle thoroughly and shuffle well. Now take a card out of the pack—choose just any one you like, don’t shew it to me and don’t let me know what it is; but look at it yourself and remember it. To keep it quite distinct, here are two envelopes-—place the pack in one, and the chosen card in the other. Fasten both securely and keep the one containing the chosen card. “ This pack shall be deposited in any part of this house you like—or anywhere outside, if not too far. As

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I do not even want to know where—yet—decide among yourselves upon any unlikely place within fairly reason able access. “ Who will carry it? You, sir? Thank you. Here it is, but before you take it away, will somebody who is remaining sign it on the back—across the flap so that the envelope cannot be tampered with without damag ing the mark. There you are, sir. Consult among your friends and take it where you decide between you. Any sug gestions? Don’t tell me—ju st make a sign. There you are, sir—over there: a lady wants to whisper to you. “ Now your chosen card. You remember it, of course? Lay the envelope in the centre of this handkerchief. We will make an extra wrapping by folding it completely around, but still hold it, please. “ Now you have chosen yourselves a remote place to which this card is to make a flight. I could have no pre vious knowledge o f the spot you would choose. I do not even now know where it is. Neither do I know the card. But if you will tell me the place only, I will send it there ............................ Then, GO! “ Allow me. I f you will open the envelope you will find the card has really gone. May I trouble someone to fetch the pack. “ Now, tell me, at what exact number in the pack would you like me to deliver the card—somewhere about the middle— any number ? Sixteenth ! Yery well, I will try to do that too. Bu t to do that, I must know the name of the card. What was it? The eight of spades.” (Mentally. Eight-of-spades, twrenty-nine: sixteen from twenty-nine, thirteen—four-of-diamonds) “ Here comes the postm an! I am told that the chosen


71

card is the eight of spades. Will you open the envelope and see if it lias arrived. Don’t displace any of the cards— I ’ll tell you why presently. Ju st fan them out sufficiently to find the eight of spades. It is there? R ig h t! Allow me ! Here it is, ladies and gentlemen. And, remember, please, that from start to finish I have not once touched the cards. It only remains to see if it is disposed exactly as you asked. During your absence, sir, I was further desired to transport that card, no^ only into the coffee-pot on the dining-room side-board, but to place it at a certain number in the pack. What was the number, by-the-way ? Oh, yes. Sixteen. Count the cards, please, face up, slowly. You deal— I ’ll count, One— t wo— three—four— five— six— seven—eigh t- -n in e —ten—eleven—twelve—thirteen—fourteen— Fiftetm— and sixteen,—the eight of spades.”

Curtain.

Nikola-Card-system.pdf

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