hofzinsers_card_conjuring.pdf

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CONTENTS

FOREWORD FOREWORD TO THE SECOND SECOND EDITION EDITION ................................... ................................... iii EDITOR'S EDITOR'S PREFACE PREFACE ...................................... .......................................................... ...................................8 ...............8 PREFACE ....................................... ........................................................... ........................................ ..............................11 ..........11 JOHANN N.* HOFZINSER HOFZINSER ....................................... ............................................................ ......................14 .14 GUIDE TO PERFORMANCE...................... PERFORMANCE........................................... ....................................19 ...............19 EXPERIMENTS EXPERIMENTS WITH UNPREPARED UNPREPARED CARDS......................... CARDS...........................23 ..23 THE SYMPATHETIC SYMPATHETIC NUMBERS NUMBERS ......................................... ..............................................23 .....23 SYNONYMOUS SYNONYMOUS THOUGHTS THOUGHTS (First Method) ............................25 ............................25 ASSOCIATION ASSOCIATION OF THOUGHTS.................................... THOUGHTS................................................29 ............29 THE FOUR EIGHTS ........................................ ............................................................ ............................33 ........33 EXPERIMENTS WITH DUPLICATE UNPREPARED CARDS....39 EVERYWHERE AND NOWHERE (First Method)* ...................39 THE FOUR ACES ........................................ ............................................................. ................................45 ...........45 THE METAMORPHOSIS OF THE FLYING CARD..................51 EXPERIMENTS WITH DOUBLE-SIDED CARDS........................55 SENSATION..................... SENSATION......................................... ........................................ ........................................55 ....................55 PRE-DETERMI PRE-DETERMINATION NATION OF THOUGHT................... THOUGHT ...................................59 ................59 THOUGHT* ....................................... ........................................................... ........................................ .......................65 ...65 THE POWER OF FAITH FAITH ....................................... ............................................................ ......................69 .69 THE FOUR KINGS ...................................... ........................................................... ................................75 ...........75 EXPERIMENTS WITH PRE-ARRANGED PACKS.......................81 DOMINATION DOMINATION OF THOUGHT (First Method) Method) ..........................81 ..........................81 DOMINATION DOMINATION OF THOUGHT THOUGHT (Second Method) ......................85 ......................85 EXPERIMENTS EXPERIMENTS WITH DIVIDED CARDS ....................................89 ....................................89 REMEMBER REMEMBER AND FORGET (First Method) Method) ..............................89 ..............................89 REMEMBER AND FORGET (Second Method)..........................93

REMEMBER AND FORGET (Third Method).............................97 OMNIPOTENCE OMNIPOTENCE OF THE LADIES ...................................... ..........................................101 ....101 DECEIVE YOUR NEIGHBOUR AS YOURSELF....................111 THE MARRIED HEARTS (First Method) .................................117 .................................117 THE MARRIED HEARTS THE LOVING COUPLE (Second Method) Method) ....................................... ........................................................... ........................................ ............................123 ........123 THE QUEEN OF HEARTS.................. HEARTS ...................................... ......................................127 ..................127 THE MYSTERIOUS PACK OF CARDS*........................ CARDS*.................................131 .........131 EVERYWHERE EVERYWHERE AND NOWHERE NOWHERE (Second (Second Method) Method) .............135 EVERYWHERE EVERYWHERE AND NOWHERE (Third Method) Method) .................141 EXPERIMENTS WITH DIFFERENTLY PREPARED CARDS...151 SYNONYMOUS SYNONYMOUS THOUGHT THOUGHT (Second (Second Method) Method)................... ........................151 .....151 THE INSOLUBLE IMPROMPTU* ............................................155 LOST, STOLEN OR STRAYED—A KING ..............................159 ..............................159 EXPERIMENT WITH THE APPLICATION OF TRANSPARENT CARDS ........................................ ............................................................ ........................................ ...............................163 ...........163 ACE OF HEARTS ....................................... ........................................................... ...............................163 ...........163 EXPERIMENTS EXPERIMENTS WITH MECHANICAL MECHANICAL APPARATUS APPARATUS ..............167 THE FLYING THOUGHT ....................................... .........................................................167 ..................167 THE THREE POWERS ...................................... .......................................................... ........................169 ....169 APPENDIX APPENDIX ..................................... ......................................................... ........................................ ............................185 ........185

HOFZINSER'S CARD CONJURING

HOFZINSER'S

CARD CONJURING BY

JOHANN N. HOFZINSER Reconstituted by Ottokar Fischer Edited and with Notes by S. H. Sharpe

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FOREWORD TO THE SECOND EDITION

It is now over 40 years since Hofzinser's Card Conjuring Conjuring was published, during most of which time it has been out of print; getting progressively more difficult to obtain a copy. This has been due in a small measure to eighty copies of the 500 published by George Johnson in 1931 having been destroyed in the London blitz of October, 1940, when the binder's premises were laid waste. waste. Although I had read the five Hofzinser card experiments experiments translated in Goldston's Modem Card Tricks (1914), they left no impression. But when Singleton's somewhat jumbled translation of J.N. Hofzinser Kartenkünste Kartenkünste appeared in The Sphinx, I Sphinx, I gradually began to realize what a wealth of artistically arranged card experiments were here waiting to have their descriptions sorted out and made available to all those conjurers and students of conjuring who were unaware that such poetically composed effects existed. Consequently, Consequently, I set to work to clarify the existing texts, with the help of a German-English dictionary; and correspondence with Ottokar Fischer; whom I feel has not, perhaps, been given all the credit he so rightly deserves; considering that, only his painstaking research, and his ability to visualize the way in which Hofzinser's Hofzinser's mind worked, enabled him to reconstruct reconstruct his experiments in the poetic way in which Hofzinser probably presented them. In a letter to me dated May 29th., 1931, Fischer wrote, in reply to my query: "Of course I know that an English translation of the card tricks of Dr. Hofzinser was running through The Sphinx. But Sphinx. But as far as I remember the translation was made too verbally, why the sense of the patter sometimes did not come near to the meant one by Hofzinser. In fact, it is not so easy to transcribe the puns that Hofzinser sometimes put in his patter. I hope you have been successful successful enough to find the correct correct expressions." expressions."

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So it was particularly gratifying to me when, in a letter dated October 31st., 1931, acknowledging the first copy of Hofzinser's of Hofzinser's Card Conjuring, he Conjuring, he remarked: "As far as I went your wording through (a detailed study will follow) I convinced myself that you always found the proper meaning of both the meaning and the patter of the tricks. Even the puns being cleverly transcribed, where necessary. "As the out-side get-up of the book too is of a standard and representative look, it not only fulfills my expectations, but it surpasses them, happy to say." However, Fischer did not agree with my occasional suggestions for alternative methods. He continued: "Now some personal remarks with regard to your surely good intentions recommending to the students here and there 'preferable' or 'easier' methods of executing of different moves and pointing at certain authors: When I wrote my book, using Hofzinser's original letters, directions etc., I myself was sure, that some of his moves could have been done differently from the methods which Hofzinser used to employ. However, considering the fact, that Hofzinser's tricks arose 60 till 80 years before my book was published (in the meantime 80 till 100 years faded away!), I did not dare to alter not one particle of them, for not to destroy the historical and to prove the documentary evidence, how advanced was his technique and his skill, when he performed the tricks! Between us and frankly spoken: in fact there is no necessity for altering Hofzinser's moves at all, when you are familiar with them. Each move, may it seem ever so difficult, is practical and hardly can be replaced with a better one. Of course it is hardly impossible impossible to describe every move as minutely as to depict its possibility of executing, and its full faculty of deception. One has to see the proper handling, for judge that each move is is practicable, just as

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and in deep meaning for every kind of art being seriously cultivated, this City also was a fertile ground for the finest MAGICAL ART and the ARTISTIC CARD-CONJURING. "Many intellectual leaders and stars of the delightful attractive and exceedingly ingenious Art of Deception have been born in Wien or adopted it as the favorite City to live in. From here their fame spread far over the borders of the former mighty Austria and and in many cases over both both hemispheres hemispheres of the world. world. "Names as Ludwig Döbler, Döbler, Dr. Johann N. Hofzinser, Prof. Compars Herrmann, George Herrmann, George Heubeck, Heubeck, Anton Kratky-Ba Anton Kratky-Baschik, schik, Ludwig Haselmayer, Ludwig Haselmayer, Charles Charles Arbre, Arbre, St. St. Roman, Roman, Ernest Ernest Thorn, to mention some of the most famous Viennese magicians, are known not only by the experts and connoisseurs of Magical History, but also by many people standing out of the circle have of special interest for this subject." Unlike Robert-Houdin, Hofzinser was not a stage performer. He probably rarely performed outside the salons of his native Vienna; and never beyond Austria. So his fame could only be spread by others: such as Carl Herrmann, who used some of Hofzinser's experiments; notable "The Ring and Envelopes", and "The Obliging Bouquet", from which chosen cards rose while being held by a lady. I think it was Adelaide Herrmann, wife of Alexander, who once said of of Hofzinser: "In the drawingdrawingroom he is a god." Hofzinser had no children; and his wife left her personal fortune of 250,000 clorins to the Vienna University, from which her first husband had graduated as a Professor of Experimental Physics. Since he died in almost poverty, his wife presumably inherited her fortune from her second husband. One of Hermann's most characteristic characteristic effects was "Le Mouchoir Serpent", which, to me, seems to be typically Hofzinser; although I am not aware of any evidence that Herrmann obtained it from him.

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Hofzinser employed it. - Of course galore of patience and assiduity must be spent with practice until you may affirm to master master each single move! I remember how Downs and Houdini, to both of whom I have shown a lot of Hofzinser's moves and tricks about 30 years ago, endeavored to catch the sleights, but nearly vainly. That's the reason why Downs modified some of Hofzinser's Card-tricks, he took in his "Art of Conjuring" and tried to simplify them, recommending black backed cards and so. Houdini was absolutely baffled, when he saw Hofzinser's Card-tricks Card-tricks for the first time and could not find any solution of the secrets. I remember vividly how he looked at me, when I performed, for example, "The Power of Faith" to him, he was simply concerned. Well, I mean Hofzinser's Cardtricks practically have no "weak points" and I should be pleased to get the opportunity to show you that I am right. Let us hope we meet each other as soon as possible, to shake hands and to have a talk about Hofzinser and his marvelous inventions! "In spite of all I worship your work just the same and am thankful to you for having introduced Hofzinser and the ingenuity of his inimitable art to the English speaking magical fraternity! "Supposing you are interested in some patterns of Original Hofzinser-Cards, it gives me a pleasure to dedicate you different kinds of them. All pieces enclosed here are coming from Dr. Hofzinser's own stock, the same pattern having been used by himself. I am sure the cards I offer you, are the only ones in England." This generous gift consisted of: (1) A "Changing Card," (2) A "Transparent Card," (3) A model of a very old pattern of the "Restored Card" (about 1850); (4) Three Original Hofzinser "Divided Cards." One of these I presented to my old friend Stanley Collins; another to The Magic Circle Museum. When Hofzinser was first heard about by English-speaking English-speaking conjurers through Ottokar Fischer's writings, at the beginning of the century, it seems to have been believed by some that

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Hofzinser was almost an invention of Fischer's. This naturally annoyed him and led him to assemble all the evidence he had available, with the intention of publishing it in book form, as stated by me in the Footnote on page 16 of Hofzinser's Card Conjuring, Conjuring, First Edition. During further correspondence, he wrote to me me on Feb. 19th., 19th., 1934, on this matter: matter: "Your offer of publishing my M.S. of Dr. Hofzinser's magical tricks in English language interested me very much. I thank you for the intention. But now listen: The last days of December I got another offer for publishing this book in German and when I got your writing, the M.S. was already by a printing office for making a calculation. As I said it would not be urgent I have not yet gotten the answer, answer, but I do expect it in the very next time. time. If my contract will come to a conclusion I think it would not be a bad idea to publish both editions simultaneously. simultaneously. In the meantime many preliminary works had to be done, especially photographing the most interesting apparatuses, for you might know that the magical confraternity of U.S.A. doubted at all that Dr. Hofzinser's tricks would exist. The pictures must give the proof of the existence, and for this reason about 130 photos have to be taken. Then the cuts must be prepared, and if everything goes off without a hitch two or three months will pass before I'll see the first proof-sheet. "As you see this volume is thought to be a very splendid one and the rich material of illustrations will surely attract the magical fraternity by far more than the card-volume did. Not to forget that its contents will be about twice as voluminous as the card-tricks are." However, this project came to nothing. And, owing to the increasing political political troubles in Europe, which resulted in streetfighting by the revolutionaries; and the accompanying misery in Vienna; especially among the older generation, the publication of the second Hofzinser volume had to be shelved. Ottokar Fischer died on December 1st., 1940; and I contributed an Obituary on him to "The Magic Wand" for October-

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November 1941. The new book was eventually published by Marvelli of Berlin in 1942, under the title: J. N. Hofzinser Zauberkünste. Zauberkünste. Another doubt concerns the previous ownership of the Hofzinser apparatus, which at that time belonged to Mr. Fischer. In spite of his definite statement that Hofzinser's personal apparatus and documents were all destroyed by his widow, on his request, and that Fischer collected duplicates from four of his pupils, some collectors still believe Fischer's collection to have consisted mainly of Hofzinser's own pieces. My friend John Henry Grossman is one of these doubters, considering that the beautiful silver pieces, each in its individual velvet-lined tooled-leather jewel case; and the various boxes of the finest craftmanship, craftmanship, were unlikely to be copies: especially as many have Hofzinser's monogram engraved on them in ornate flowing scroll. For my part, I can only quote my old friend Fischer himself again: a gentleman of the old school, whose word I cannot doubt. Writing to me on March 10th., 1933, in reply to a query on this very point, he stated; "It is also true that not one apparatus or description of his own programme was left after he faded away. Everything was absolutely destroyed by his wife Mrs. Wilhelmine Hofzinser, who later got married a second time with a high state-officer, state-officer, Biela with name. She over-lived also this man and died on May, 1900. Mrs. Biela told this fact to me herself (I mean the destruction of the apparatuses etc.) and made me a present of the very last piece of magical devise she still possessed from Dr. Hofzinser: a knitted purse containing 12 silver coins, that he used to use in his performances. All stuff in my possession came from four of his pupils. I bought it for a pretty stiff price, for the people have known my eagerness after these things. But it is now a collection unequalled in the world. However of what use is it now!

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As long as everything everything is laying laying in my trunks it is a dead material of no use to anybody. I guess one day I shall do just the same as Hofzinser did and destroy every bit of his experiments. It might look like vandalism, practically I would act in his own sense, for he himself was not anxious to leave his inventions behind." The truth of the matter may never be known; but it seems evident to me that, when Hofzinser taught his own creations to his pupils, he must have provided them with duplicates of the essential apparatus: which duplication could have included his monogram, to indicate indicate its source. If not, why is there, so far as I am aware, no trace of other copies, which must have existed? If Hofzinser's own apparatus was not destroyed, where are the pupil's copies? Were they destroyed? And if so, why? After the war, and Fischer's death, much of his collection was acquired by the American collector: the late John McManus. These pieces included: The ornate box from which any card rises from a shuffled pack placed inside. A circular metal card box for making three changes of cards. The "Ink and Water Vase". The Rice and Egg Transposition." "Predetermination of Thought;" and his "Troublewit." Also Hofzinser's original handwritten notes, from which Ottokar Fischer Fischer wrote the books which saved Hofzinser's Hofzinser's work from obliteration. A photograph of some of this collection was reproduced reproduced in Magicol in Magicol for for August 1950, Vol. I, No. I. Hofzinser had a typical artistic temperament, combined with a rather delicate physique, his aristocratic background and intimate manner giving him an appeal to the most exclusive social circles of Imperial Vienna; which at that time was a centre for the Fine Arts. To quote Fischer again: "The distinguished city of Wien on the Strand of the Blue Danube, the Home of immortal musical heroes as Haydn, Beethoven, Mozart, the native place of the Prince of songs Franz Schubert, of the King of Waltzes Johann Strauss, the City engrossed in ardent artistic judgment Edwin Sachs, who

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was greatly influenced by Carl Herrmann's style; which, in turn, had been greatly influenced by the unique Hofzinser, described "The Serpent Handkerchief in his monumental monumental book: Sleight of Hand; which, Hand; which, as a whole, is in style much nearer to Hofzinser than was Hoffmann, who derived much from RobertHoudin, Hartz, and Buatier de Kolta; but, I think, never made any reference to Hofzinser in his writings. Hofzinser was unique. But in spite of the range of his originalities and fancies in the art of general conjuring, his chief love was for artistic card-conjuring; which led him to write in one of his letters: "Without Poetry there is no Poet; without Card-Artistry, no Conjurer." The following is the full list of Hofzinser originalities originalities printed in Houdini's Conjurer's Monthly Magazine Magazine in 1907; reproduced by Gibson and Young Young in Houdini in Houdini on Magic Magic (1953), (1953), and referred to by me in the footnote to page 16 of Hofzinser's Card Conjuring, Conjuring, First Edn. (1931). Those marked with an asterisk were old tricks, tricks, improved improved by his master touch. touch. The Rose Mirror The Floating Wand The Wandering Coins The Butterflies (quite different from the Japanese Method) The Ink of the Enamoureds (Ink Vase) The Protocol of Knots The Recollection of a Finger The Spiritist The Word The Sympathetical Influence The Lantern of Diogenes The Rose-Tree and Card The Frame for Cards The Card-Star with Crystal Dial-Hand The Crystal Ball Casket The Dial With Cards The Ducats (a coin trick)

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The Delicate Theme; egg The Enchanted Bankbills The Grandfather (fairy ninepins) The Corresponding Watches The Dial with Flowers A Mathematical Mathematical Example Example The Library The Album of Poetry The Bird-Sword The Thought-of Photograph The Wreath of Flowers in the Hat Diabolical Variations with a Ninepin The Exchange-Spectacular Exchange-Spectacular The Billiard Balls (his own method) *The Box of Flowers *The Changement in Onlookers Hands *The Magical Bell *The Toast *The Coffee Trick (his own) S. H. Sharpe, Bridlington August, 1973.

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HOFZINSER'S CARD CONJURING EDITOR'S PREFACE

THOUGH J. THOUGH J. N. Hofzinser Kartenkünste Kartenkünste has has been recognized as a classic ever since its publication in 1910 it has remained for the most part a closed book save to those who could read German. In Modern Card Tricks, Tricks, Mr. Will Goldston published part of the Introduction and the first five effects in modified form; then—thanks to Mr. Fred. Singleton of New York—the book was published serially through The Sphinx commencing with the issue for March, 1922. Unfortunately this translation was practically a literal one and most difficult to follow, being reduced to mere jargon in parts; furthermore the illustrations were omitted. omitted. In the present edition I have endeavored to put the book into understandable English without altering the original idiom, and added notes where they have been deemed necessary. To Mr. Ottokar Fischer, of Vienna, the whole magical world owes a debt of gratitude. He has done for Hofzinser what Professor Hoffmann did for Buatier de Kolta and Hartz. It is sincerely hoped that the reader will not rest merely with studying this book, the contents of which may well be described as the flowers of card magic. Should he decide to set sail as an interpreter of Hofzinser of Hofzinser may I take this opportunity of wishing him— Bon Voyage! Voyage! S. H. SHARPE.

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HOFZINSER'S CARD CONJURING PREFACE

No more artistic and brilliant phenomena in the field of modern drawing-room conjuring in general and card tricks in particular have ever been presented than those which originated in the mind of the genial amateur prestidigitator, Johann N. Hofzinser, of Vienna. Unfortunately he has not left a single memorandum describing his productions. That we possess to-day part of his secrets we owe to the fact that he imparted at least some of them to his pupils, who delivered them to posterity. But did he give them of his best? The first man to communicate Hofzinser's art to me was Professor Georg Heubeck, of Vienna, who enjoyed Hofzinser's special confidence. I recognized at once the exceptional beauty of these experiments, and, as was perfectly natural, took the deepest interest in them. However, since Heubeck, on account of his rather limited education, could not follow the high soaring mind of his master, he was not able to reproduce the latter's thoughts exactly and therefore imparted them to me in anything but the original scientific form. Any details of the tricks which Heubeck could not comprehend he interpreted according to his own ideas, thus often interfering with the logic and destroying the beauty of the trick. It must be said, however, in justice to Heubeck, that he had mastered the technique absolutely and without fault, even if he took undue liberties with the theories of the art. After I had, during the course of several years, come into possession of all the card tricks known to Heubeck and had also mastered the technique to his entire satisfaction, I recognized the principles underlying the evolution of Hofzinser's ideas and undertook to reconstruct those

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problems which appeared wrong to me—a work which took many months to accomplish. accomplish. I am deeply gratified in being able to say that my surmises proved entirely correct, not only through my own research but also through confirmation from other sources, which were none other than original letters written by Hofzinser himself and which are now in my possession. possession. I endeavored to describe each experiment in a plain but concise manner, and followed every clue that might lead to improvement or amelioration of the material at hand. I examined each point, however vague, which came under my observation, and let neither considerable cost nor weary correspondence interfere in making my collection as complete as possible. Fourteen years have passed since I commenced, but I believe that I have gathered everything in existence pertaining to the subject. For a long time I allowed my work to remain in the seclusion of my study, only showing it now and then to a few confidants who prevailed upon me to give it to the public. I hesitated a long time for two reasons; in the first place, I did not cherish the idea of parting with my treasure, and in the second place I was afraid that Hofzinser's individuality individuality might not be entirely understood, notwithstanding my—in places—even extremely exact description. There are in Hofzinser's art finesses and subtle shading which cannot possibly be reproduced in print. After long deliberation I overcame my objections and resolved to give these card problems to the world. Mainly to honor Hofzinser's memory, an honor which was due to him seventy years ago, I resigned my egotistical enjoyment of the sole possessorship of the treasure, and only hope that this work will give the same pleasure to every reader which I experienced in writing it. I hope that those for whose benefit it is published will receive a clear and correct conception of Hofzinser and his creative power. In addition I would call attention

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to the fact—which should not be overlooked—that all these phenomena were originated fifty to seventy years ago, at a time when magic and its technique were in a rather primitive condition and when nobody would have dreamed of such original ideas, which in our time still cause the greatest wonderment and surprise. surprise. May I succeed in this work in carrying Hofzinser's fame far and wide and erecting to him a lasting monument in the history of magic. OTTOKAR FISCHER.

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HOFZINSER'S CARD CONJURING JOHANN N.* HOFZINSER

ONE of the most genial, and undoubtedly the most spiritual representative of the magic art in the nineteenth century, was born in Vienna on the 19th of July, 1806, and died in the same city on the 11th of March, 1875. Our knowledge of Hofzinser's life history is rather limited. We know that his parents came from Suabia. His father was a wealthy privateer, who gave to his son a most careful education. After absolving his studies young Hofzinser received the degree of Ph.D. (Doctor of Philosophy) and, entering the service of the Imperial Government, was appointed to a high position in the Tobacco Monopoly Department of the Ministry of Finance in Vienna, which he retained until his retirement from service on a pension. The magic art was not Hofzinser's first recreation. At first he devoted his spare time to music, but experiencing a deep disappointment he soon forsook it. In a book published by A. Patuzzi, 1857, under the title: Magic, After the Diary of J. N. Hofzinser, Hofzinser, the latter expresses himself as follows: "In my earliest childhood I was passionately fond of music, I played the violin, had appeared in concerts as well as in private circles, and always received great applause. One day a smaller boy rendered a violin number following mine. Hardly paying any attention to him at first, I was soon interested, then fascinated and finally deeply humiliated by the fact that this boy displayed a virtuosity, which so far surpassed my own that I was convinced of my inability and, laying aside my violin, buried my dreams of musical renown." ______________ _______________ _ *Nepomuk.— Ed.

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This intermezzo is probably—at least to some extent— the reason why Hofzinser occupied himself with another form of favorite amusement, namely the magic art, which field he conquered with a really classical mastership. Here he gained greater fame than he would ever have attained in the musical world. Just at what time Hofzinser first devoted himself to the magic art cannot be determined with certainty. It develops, however, from his own letters, that he experimented with cards as early as 1828 and that at that period some of his phenomenal card tricks came to life. Undoubtedly he received a great deal of inspiration from Döbler, who at that time was enjoying his greatest success in Vienna and of whose admirers Hofzinser was one of the most enthusiastic. His enthusiastic criticisms in Bäurles Theaterzeitung* of Döbler's performances are an eloquent proof of this. He was also one of the warmest friends of Professor Compars Herrmann, who successfully employed some of Hofzinser's ideas. For more than forty years Hofzinser was the declared favorite of the aristocratic and social circles of Vienna. No evening entertainment was possible without him. According to his own statement he had an engagement every other day during the social season. Artists competed for the honor of painting his picture which was publicly exhibited in the art shops. He reached the zenith of his popularity in the year 1853 when he opened a "Salon" at No. 789 Wollzeile (to-day No. 36), where on three evenings every week he arranged "Magic Entertainments," Entertainments," which he called "An Hour of Deception." Since his position would not permit him to conduct this salon under his own name, his wife's name, Wilhelmine Hofzinser, was chosen chosen for that purpose. ______________ _______________ _ *Theatrical News.—Ed.

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Mrs. Hofzinser, a lady gifted with extraordinary beauty as well as exceptional brilliancy of mind, not only filled the position of hostess with inimitable grace, but also actively assisted her husband in his artistic performances, since she was a veritable Pythia, one of the best mind readers of the period. "Mindreading," then a novelty, was one of the main features of the Hofzinser programme.* The newspapers outdid each other in voicing their praises and proclaimed a Hofzinser "Soiree" far superior to all musical and theatrical enjoyments. In short, the "Salon Hofzinser" was one of the social and artistic centres and it was practically obligatory for every member of society to have visited these these "Soirees." As far as Hofzinser's artistic development development is concerned, the fact must be taken into consideration that at the time when he conceived an interest for the same, the magic art was in a primitive state. The principle of the "double bottom" reigned supreme and Hofzinser, so genially gifted and I might say predestinated for this particular field, found superabundant opportunities to try his mental talents by thoroughly improving these old experiments, thereby changing them so completely that they appeared entirely new and original. When he found nothing more to improve he began to invent new tricks. What now flowed from the inexhaustible fountain of his inventive genius is without parallel in the history of the magic art. Under his wonder working fingers there were born new experiments, founded on original and up to that time unknown principles, which for decades were the pride of all prestidigitators prestidigitators and are still employed to-day in the same unchanged form in which they were created by Hofzinser fifty or sixty years ago. ______________ _______________ _ *Having been introduced by Robert Houdin in 1846.— Ed.

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The Ball-casket, Rose-mirror, Ink Vase, Card Frame, Floating Wand, Lantern of Diogenes, and many more effects, each a masterpiece, came from his brain.* Further, many "tricks of the trade" were thought out by him, he being compelled to invent them for the new groove in which he had placed the Art of Magic, as the technicalities of the period were not sufficient. Great as Hofzinser may have been as an inventor and creator in the field of general magic, he attained greater achievements in the domain of card conjuring, which he lovingly styled "The Poetry of Magic." Here his creative power developed into gigantic efforts, here his genius worked with all the concentrated forces of his mind. What he produced here borders on the verge of the overwhelming. overwhelming. As he himself says, he invented and composed more than sixty original card tricks, all beautiful in execution, accompanied by poetic conversation. One feels that he worked with heart and soul and that from the innermost recesses of his mind he brought forth the best that was hidden hidden in the depths. depths. ______________ _______________ _ *The Ball Casket, The Magician Annual, 1908-9 Annual, 1908-9 (Goldston) p. 35. For the small model to produce one ball or handkerchiefs see Later see Later Magic, p. Magic, p. 302; The Rose Mirror is practically unknown to English-speaking conjurers. A lady's handmirror is displayed on both sides and covered with a handkerchief. Upon being uncovered, two roses —red and white—are seen to have appeared on the mirror. Now, as the conjurer recites a piece of poetry, the roses gradually change color. First both turn red and then into white; The Ink Vase, Modern Magic, p. Magic, p. 372; The Card Frame, p. 172 post; The post; The Floating Wand, Magical Wand, Magical Tit Bits, p. Bits, p. 188 (credited to Henri Herrmann). The following are a few of the other effects claimed as the originations of Dr. Hofzinser by Mr. Ottokar Fischer: Diabolical Variations with a Ninepin, Modern Magic, Magic, p. 360; The Card Star, Ibid, p. Ibid, p. 454; The Crystal Clock Hand (counterweighted model); The Bird Sword (The Mysterious Flight), Magicians' Flight), Magicians' Tricks, T ricks, p. 255; The Floral Tribute, Ibid, Tribute, Ibid, p. p. 273; Magical 273; Magical Tit-Bits, p. Tit-Bits, p. 197; and The Ring in Danger (Ring and Envelopes) as performed by Compars Herrmann. Also The Mirror Tumbler, Later Tumbler, Later Magic, p. 42, and the Black Art Table, Ibid, Table, Ibid, p. p. 85. At the th e time of writing, Mr. Fischer has just ju st finished the manuscript m anuscript in German of a book describing in detail some seventy-three effects devised by Hofzinser, the illustrations being taken direct from the original apparatus now in Mr. Fischer's collection. The authenticity of the various experiments will be proved by reproductions of forty-one of Hofzinser's letters, covering the period from 1847 to 1874.— Ed.

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That his eminent knowledge and ability has not become known to the extent which it deserves is mainly caused by his jealousy displayed wherever his art was concerned, which prevented him from imparting his secrets to anyone else, even his most trusted friends. His anxiety to keep his art secret even caused him to order his wife to burn all his written memoranda, directions, etc., thus destroying after his death all information which he did not wish to impart. Unfortunately Unfortunately his wife carried out the last wish of her adored husband so completely that not a piece of paper left in Hofzinser's home remained, and the traces of his creative genius were, literally, wiped out of the world. Only with sorrow can I think of Hofzinser's last years. Governed by the highest ideals, he sacrificed in restless activity all his temporal possessions on the altar of the magic art and never stopped to think that hand and brain could tire. And so he too shared the sorrowful fate of so many artists in their declining years, that only the charity of his friends saved him from utter poverty and privation. Death finally stepped in just in time to save him from the poor house. He lies buried in the Central Cemetery at Vienna. A plain stone marks his grave and no one knows what a mental giant, what an eminent master of the magic art sleeps here. Honor be to his memory! ______________ _______________ _ Although Hofzinser's gravestone bears the date of birth stated on pg. 14, Ottokar Fischer later found a document stating that it was actually May 16th, 1807. On Hofzinser's gravestone is engraved the following inscription: "Of the Imperial Ministry of Finance, Doctor of Philosophy, Professor of Experimental Physics. (Le Livre d'Or, Robelly). Ed Robelly). Ed

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HOFZINSER'S CARD CONJURING GUIDE TO PERFORMANCE

"This card trick, well understood, well studied and capably executed causes immense success. But it is absolutely necessary for the artist to be an expert. Otherwise no result can be expected."—Hofzinser, expected."—Hofzinser, 1853. I CAN find no more suitable words to precede this chapter than those employed by Hofzinser himself before he commenced some of his tricks but which exactly fit all of them. They contain the secret of success: to study profoundly, understand thoroughly, and execute skillfully. Hofzinser's experiments are logically evolved and it requires logical thinking to enable the artist to grasp their principle intelligently. Then all details must be carefully studied and each sleight, each movement, diligently practiced until that perfection is acquired which is essential to a successful performance. For his experiments Hofzinser used certain cards made especially to his directions. Pips and pictures were drawn very distinctly to enable those spectators at a distance to recognize them easily. The reverse side showed a flesh colored pattern. The material was such as to produce an exceptionally elastic card, which could be rolled and bent at will without showing the slightest trace of rough handling. In producing a trick, the performer stands and allows no persons to be behind him. A pack of 32 cards is usually employed, although sometimes 52 are required. The pack is held in the left hand in such a manner that one-third is projecting; he never lets the cards leave his hands without good cause. It is advisable, however, to hand the pack to a spectator for inspection after a trick is finished and any "aid cards" have been removed.

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I would recommend showing not more than six of Hofzinser's tricks during one evening; one half of this number should be such as require no aid cards.* No tricks that bear any similarity should be executed during the same evening. It is not a bad idea to precede the Hofzinser tricks with a few simple effects. As we proceed it will be seen that all Hofzinser's card tricks may be divided into three classes: 1. Those executed with ordinary packs. 2. Those which require specially prepared cards. 3. Those which necessitate the employment of "aid cards." Of the latter we have five categories: (a) Unprepared; (b) divided; (c) double faced; faced ; (d) transparent; (e) prepared. Unprepared cards are are plain, ordinary cards taken from another pack. Divided cards show cards show different pictures or pips on the upper and lower half of the card. Of course one-half of such a card is always kept covered and only shown according to contingency. Hofzinser called these cards "the divine" and the employment of them was one of his most guarded secrets. + Double-faced Double-faced cards show cards show different pictures or pips on the face and reverse side. Transparent cards are cards are to all appearances plain cards, but show a different value or picture when held to the light. ______________ _______________ _ *We are now in an age of hustle, when half this number (interpolated by less complex effects) will usually be found sufficient.— Ed. +Apparently Hofzinser was unaware that divided cards had been in use for some considerable time, having been first described in print by Samuel Rid in The Art of Jugling and Legerdemaine (circa 1614). (circa 1614). It will be realized however that he used the device in a much more subtle manner than his predecessors, who merely changed the denomination of several cards by secretly reversing them. Compare Modem Compare Modem Magic, p. 71.—Ed.

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The special preparation of certain cards to be used with particular experiments will be explained later on whenever employed. The arrangement of the programme must be strictly adhered to because the aid cards are arranged according to the succession of effects. The aid cards are usually kept in the right hand trouser pocket, and when needed during the performance taken out and clandestinely added to the pack. They must be removed in a like manner after finishing the experiment. Perfect composure is absolutely essential to successful presentation. presentation. The professor must have completely mastered the conversation as well as the succession of the sleights, so that the whole problem is executed in a smooth and finished manner without embarrassing interruption. While it is permissible for the lecturer to add individual remarks, it is probably best to adhere to Hofzinser's original address and instructions. They are the result of many years' development and the acme of technical perfection. Close observation of these instructions instructions will bring success. The patter I leave in Hofzinser's original form, without making any alterations; a point I wish to emphasize in order that any peculiarities peculiarities of his period will be thoroughly understood.

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HOFZINSER'S CARD CONJURING EXPERIMENTS WITH UNPREPARED CARDS

THE SYMPATHETIC NUMBERS Preparation

A PACK A PACK of 32 cards is required. The pack is placed in the left hand and ten cards are separated from the rest by the little finger. The four tens are arranged in such a manner as to be the 11th, 12th, 13th, and 14th cards in the pack. A sheet of paper and a pencil are placed conveniently on the table. Remarks and Instructions

" At a time when the human mind—so extremely e xtremely productive productive of wonderful inventions, but unfortunately also of deception—has reached the culmination point, I beg to submit a question! Do you believe that I can give you in concrete form your own thought even before you, yourself, are conscious of it?" (Answer: " No!") No!") "No? And yet it is sometimes possible! "I will write down a few words." (The performer writes on the sheet of paper: "You will say 'Stop' at the tenth card," rolls it up and hands it to a lady.) " Will you kindly hold this paper for a while? Now I shall put a number of cards on the table and whenever you wish, say 'Stop!'" (Now he places the ten cards, which had previously been separated from the rest by the little finger, singly and consecutively on the table in one heap, fixing his gaze on the person addressed in such a manner that he forces her to say "Stop!" exactly at the tenth card. In case she still seems

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undecided when he is nearing the tenth card, he retards his counting to force her command. If, however, she stops him sooner, he takes with his right hand all cards that remain of the ten and places them on top of those already on the table, at the same time pushing them toward the lady, in this way disguising his own movement. Then he proceeds in his remarks:) " This This 'Stop' was the expression of your own free will, without any influence on my part?" (Answer: "Yes.") "Please put your hand on the cards." (Complied. Then to a few gentlemen:) "Will gentlemen:) "Will the gentlemen kindly draw a few cards?" (He forces them to draw the four ten-spots. Then to the lady:) " Madam, Madam, how many cards are there under your hand?" (The lady counts: "Ten!") "Ten cards!" (To one gentleman:) gentleman:) "Sir, how many spots did you draw?" (Answer: "Ten!") (Answer: "Ten!") "And you please?" (Answer: "Ten!") (Answer: "Ten!") "Also ten? And you, sir?" (Answer: "Ten!") (Answer: "Ten!") "Again ten? And you, please?" (Answer: "Ten!") (Answer: "Ten!") "Ten too?" (To the lady:) lady:) "As you see, madam, all the gentlemen sympathise with your number. And now will you kindly read that memorandum?" (The lady reads it.) "Then ten is the sympathetic number! "But what should I have done if the gentlemen had only drawn eight spots?" (No answer.) "Then I should have permitted myself to count the lady's eyes as two spots and my trick would have gained an additional pleasing feature."

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SYNONY SYNONYMOU MOUS S THOUGH THOUGHTS TS (Fi (Fi rst rs t Meth Meth od ) Preparation.

Two packs of 32 cards each without preparation are required. Remarks and Instructions

"It is well known that two persons frequently have the same thought at the same time. Under certain conditions one glance is sufficient to conceive mutually what cannot be put into words. This phenomenon phenomenon is expressed in the well-known phrase: 'Two souls with but a single thought, Two hearts that beat as one.' "But it is also a deplorable truth that in life the poetry of these words is often prosaically and sadly changed, and should then be expressed: ' Two souls without a single thought, Two hearts and constant beatings! ' "But to return to our subject. Will you be kind enough to fix your thought thought on one card? Ready? Ready? "In order to prevent you from changing your mind, I would ask you to draw the selected card and place it before you on the table." (You hand one of the two packs to the person, who does as requested.) (Then to another person:) person :) "Will you, too, think of a card and take it from the pack? (Done.) " Now Now kindly replace both cards in the pack."

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(The professor spreads out the pact fan-wise and the first card is pushed in. Almost simultaneously, he puts his right middle and ring-finger (the second and third) upon the face (i.e. the lower side of the card in question), and with a quick side movement draws it towards the right under the fan, while at the same time the left thumb moves the next card into the vacant space caused by the removal of the first card, thus closing the gap. Now the fan is closed with both hands, leaving the selected card at the bottom of the pack. * You proceed in absolutely the same manner with the second card, so that the two cards are at the bottom. The next step is to remove both from underneath and conceal them in the left hand. This "removing from underneath" is an original pass of Hofzinser's and is executed in the following manner: The two lower cards are held separately by the little finger which is put between them and the other cards. The right hand now holds the pack in this manner: The second and third fingers are placed on the narrow upper margin, the thumb on the lower margin opposite. The first finger rests on the left side margin. Now, by turning the right hand towards the right without relieving the grip on the pack at all, the two lower cards will move into the hollow palm of the left hand, at the same time making a slight turn, supported by the first finger of the right and the little finger of the left hand, which acts like a pivot. During this whole manipulation of course both hands stay together making it appear as if the whole pack had been moved forward slightly, since finally the pack is being held at the left lower corner, so that now the left hand actually holds the pack as well as the two lower cards.+ ______________ _______________ _ *This is a most difficult sleight to execute neatly. The following slight modification may be preferred. As the card is returned to the fan it is clipped between the tips of the second and third fingers of the right hand, which then close towards the palm until the card is clear of the one underneath it. The act of closing the fan then leaves it at the bottom of the pack. The Diagonal Palm Shift may be substituted if desired.— Ed. +A preferable method of executing the bottom-palm is that described by Erdnase on page 86 of Expert of Expert at the Card Table.—Ed.

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By means of the "Transfer-Palm" these two cards are brought into the right hand and placed on top of the other pack. The "Transfer-Palm" is executed as follows: The right hand approaches the left as if to grasp the pack, but only touches the right lower corner with thumb and first finger "en passant" while the other fingers touch the tips of the fingers of the left hand. Instantly the left middle finger is bent with the nail touching the face of the two cards, pressing them into the palm of the right hand which conceals them and takes up the other pack, thus placing the two cards on top.* The pack in the left hand is now put aside.) (Conversation during this Transfer:) Transfer:) "In order to avoid suspicion I take another pack, shuffle it and put it in my coat pocket." (Shuffling, but leaving the two cards on top.) " Now Now with your permission I, too, shall think of two cards and select them from the pack." (The professor puts his hand in his coat pocket, appears to be seeking, at the same time looking fixedly at the first person and places the first card face down on the table; this is repeated with the other card and person. Finally the whole pack is taken out out of his pocket pocket and placed placed on the table.) table.) (To the first person:) " Here Here in my right hand I am holding this card, namely my thought! You observe every movement of my hand—I cannot exchange it— it is my original thought. Now will you have the kindness to tell me your thought?" (This is done, for example: " King King of Hearts.") ______________ _______________ _ *It is surprising that this Transfer-Palm (or Change-Over Palm) has not been described in any conjuring text book. The only other explanation with which I am acquainted is that given by Stanyon in New in New Card Tricks (First Tricks (First Series).

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"King of Hearts! Now you see Madam, this is exactly what I thought." (The card is shown and immediately placed on the first pack.) "And you, please, what have you thought of?" (Answer, for example: "Jack of Clubs.") "Jack of Clubs was my original thought too!" (It is shown and placed on the first pack.) pack.) "Consequently "Consequently the problem has been solved!" ______________ _______________ _ An alternative method was that described by Fischer on page 116 o his Illustrated Magic Magic (1931): A spectator selects a card from a stacked pack, and places it on the table, face downwards. The performer glimpses the card above it to know which card has been chosen. Then from a second pack he takes the corresponding card, which he places beside it. They are found to be alike. Ed alike. Ed

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ASSOCIA A SSOCIATION TION OF THOUGHTS Preparation.

HERE a pack of 52 cards is used. The 20 low cards are together underneath and of these the four sixes are at the bottom. A sheet of paper and a pencil are on the table. Remarks and Instructions

" Nothing Nothing arouses a more intense curiosity in a woman than a mysterious secret. I shall now show you a problem involving an extremely interesting secret. I say an interesting secret in order to awaken an equally intense interest on your part. Now then, ladies, do you believe in anticipation? anticipation? Or in other words, do you consider it possible for me to know sooner than you do yourselves what what you will will do, perform perform or even think?" think?" (Answer: "No!") (To a lady on the left:) "Yet left:) "Yet it can be done! And I will prove it! Only you must permit me to move nearer to you in order to come in closer contact with your mind, for I must be in thorough mental accord with you, and you will materially assist me if you will look incessantly at me while I am writing,—a difficult task, I admit." (Taking hold of paper and pencil, he writes: "You will say 'stop' at the eleventh card!") (While writing:) " Please Please do not look away, otherwise your thoughts may change and then they will no longer be the same as mine." (The paper is folded and handed to the lady.) (To a lady on the right:) "And right:) "And now you have your actions and intentions in black and white! Please place the paper near your heart! You, madam, will kindly move close to me, quite near, so—like that!"

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(The professor now divides the pack, handing the lady the upper 32 cards, and keeping the 20 low ones himself.) " Here Here is the pack of cards. Now, please count off 20 —like this—but out aloud, so that everyone can see and hear." (He counts off six of the "low" cards, placing them on the table, making it appear as though he wants to show the lady how to proceed. Whilst the lady counts, the six low cards are taken up with the right hand and placed on top of the others, interposing the little finger. When the lady counting approaches the 20th card, the six cards are removed and palmed. Then the right hand is placed over the 20th card seemingly to prevent the lady from adding any more, in reality, however, to put the six on top, saying:) " Enough! Enough! How many cards did you count?" (Answer: "Twenty.") (Answer: "Twenty.") "Very well! Will you give me the remaining cards?" (The 12 cards are taken and placed on top of those in front of the professor.) (To the lady on the left:) "Now, left:) "Now, I too, shall count some cards and whenever you think that there are enough, say ' Stop.'" (During this conversation he separates eleven cards from the rest with the little finger (unnoticed (unnoticed by the audience.)* Now the cards are put on the table, card by card, while at the same time he looks at the lady in such a manner as to force her to say "Stop" at the 11th card. If she hesitates, he retards his counting; if she speaks too soon, the balance of the cards are quietly taken up and put on top and at the same time pushed towards the lady, thus disguising the deception.) (When the lady says "Stop!") says "Stop!") "Well! Please count these cards!" (The lady counts: "Eleven!") counts: "Eleven!") "How many?" (Answer: " Eleven!") Eleven!") ______________ _______________ _ *The counting is best done by the right thumb.

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"Then at which card did you command me to stop?" (Answer: " At the eleventh!") eleventh!") "At the eleventh! Well!" "Was this 'stop' your own free will or caused through my influence?" (Answer: "My (Answer: "My free will!") "I beg your pardon, but I must contradict you! It was forced by the mental sympathy existing between us, which compelled you to stop me at the eleventh card. In order to prove this, is is only necessary to read my note! Aloud, please!" (The lady reads.) "Now you see?" (The professor passes the four sixes from the bottom to the top. Then to the lady on the right:) "How many cards have you in your hand?" ( Answer: "Twenty!") "Twenty!") "All right! "Now, I shall arrange a few cards on the table like this . . ." (Eight cards are placed in one row on the table face down, the four sixes to the left and four other cards to the right.)

" This This lady will kindly designate one of these? "Which one shall it be? The first, second, third, fourth, fifth, etc.?" (The lady makes her selection. If she chooses one from the first to the fourth, the professor counts from left to right, if one from the fifth to the eighth he counts from right to left, thus always picking a six.)

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(To the first lady:) " Now, Now, madam, you are sure that you have twenty cards in your hand?" ("Yes!") "How embarrassing for me! Again I must contradict a lady. "You are holding more than twenty and the number of cards in your hand in excess of twenty corresponds exactly with the number of pips on this card." (The face of the selected card is shown and the others gathered up.) "Six pips! All right! Now please count your cards; count out aloud, and stop at the twentieth!" (The lady counts. In the meantime the professor palms with the right hand three of the cards which he holds in his hand. As soon as the lady puts down the twentieth card, he takes up the twenty saying:) "Stop! Enough!" (at the same time putting the three palmed cards on top.) " How How many more cards have you?" (Answer: "Six.") (Answer: "Six.") "Six! Exactly like the selected card! And you said you had only twenty. Now, madam, you are sure this time that you gave me twenty cards?" (Answer: " Yes.") "Perhaps they have multiplied again? "Let us see. How many more cards shall there be? Three, four, five or six?" (The lady decides. If special emphasis is given to the "three" this is usually the number called for. If more are wanted however, the difference must be made up in the same way as before (i.e. palming the required number and adding them to the others white the pack is being handed to the lady) " Three Three more? Then you must now have twenty-three instead of twenty! Please count again slowly, for my reputation is at stake and I never make mistakes." (The lady counts.) " You see, the the ladies need only utter utter a wish and it is fulfilled!"

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THE FOUR EIGHTS Preparation

IN this effect we use a pack of 32 cards. The four eights are on top in this order: Top card, eight of hearts, then diamonds, then spades, then clubs. The fifth card is the seven of clubs, then follows the seven of spades, then the seven of diamonds. diamonds.

The seven of hearts is not used. The three sevens are so placed that the upper halves show the five pips and the lower halves the two. The next four cards are the jacks. Remarks and Instructions

" There There is no doubt that in our lives we are subjected to certain occult powers; we feel their influence, but cannot account for them. To use the words of Shakespeare: ' There are more things in heaven and earth than are dreamt of in our philosophy.' To apply this thought to our subject, I wish to say that there are here present four persons in whose lives a certain number plays an important part. Which one? We shall see!" (Make the pass and force the four eights on four persons. "Pass" back and put the little finger under the three sevens.) " Will four persons persons each draw a card and place place it face downward on the table?

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"Now you are curious to know which cards you have drawn? You remember what I said about the unaccountable connection connection existing between certain persons and numbers? The four cards on the table will show you those numbers and if you recall your past life you will remember that the number which you drew has often played an important role in your life. I speak of the number ' eight' and you will find on looking at your cards that involuntarily you each drew an ' eight.' Please convince yourselves!" yourselves!" (The cards are turned up and found to be the four eights. In the meantime the professor removes the three sevens and palms them. Placing the pack on the table, he gathers up the four eights and places them face-side up on top of one another.) "Here is the first eight—eight of hearts." "Here is the second—eight of diamonds." diamonds." "Here is the third—eight of spades." "And here is the fourth—eight of clubs." (Now he turns them all face down, thus having the eight of hearts on top.) "So here we have the four eights." (Saying which, he places his right hand with the three palmed sevens on the four eights (nobody must see the three sevens) and picks up the seven cards, placing them on the pack which he now holds in his left hand.) " Perhaps Perhaps you think the four eights have disappeared?" (Calling attention to the pack.) "If pack.) "If you please, one, two three, four." (The four top cards are moved with the left thumb, one after another, and taken between thumb and index finger of the right hand which spreads them fanwise. The first three cards are the three sevens, the fourth is the eight of hearts. Since the lower part of the three sevens are covered and the only card which is

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entirely visible is an eight, it appears as if all four are eights* The right hand is raised.) " Here Here are the four eights." (These four cards are now pushed together and handed So a gentleman for safe keeping.) " Will you kindly place your hand on these cards for a little while?" (The gentleman does to.) "Now I put four cards on the table." (Four cards are placed on the table from right to left.) " And—how funny!—not funny!—not an eight remains in the whole pack!" (Spreading the pack fanwise and showing it round;—pointing to the gentleman:) "But—oh! gentleman:) "But—oh! of course—that is because you are holding them. Now will you kindly let me have one of these eights?" (The professor takes up the first card—face down— from under the hand of the gentleman and places it into the card fan to the left, allowing the upper half (showing five pips) to protrude. Then he turns the cards towards the audience, allowing a superficial examination.) examination.) " Here Here is the first eight. "Now the second eight." (The same manipulation is made with the second seven, which is placed near the centre.) " Eight, Eight, number two. "Now the third." (Manipulates as before. The third seven is placed in the fan to the right of the centre. Then, showing it again:) ______________ ________________ __ *In Hofzinser's day there were no indexes on playing cards but the modern conjurer is obliged to modify the manipulation in order to hide these tell-tale marks. The cards should be fanned from right to left instead of vice versa, the versa, the bottom indexes being covered by the right thumb and each top one by the card in front. The same expedient is used when inserting the sevens into the fanned pack, but in this case the faces cannot be shown until all have been replaced with the genuine eight in front. A trial with a pack in hand will demonstrate the t he practicability of this device. As the fan is closed the eight of hearts must be passed to the top or this may be done by means of a false shuffle.— Ed.

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"Here we are. And now the fourth, and last, eight." (He takes up the last card, this time face up since it actually is an eight, and even drops it on the table to show it. Then he places it to the right of the fan, protruding protruding only a little. He shows the cards in this arrangement and closes the fan, leaving the eight of hearts on top.) (Pointing to the four cards on the table, he says:) "To show my complete control over these magic cards, I shall now change them into eights."

(Taking the card at the right lower corner.) "Number one, Go!" (Saying which, his little finger riffles the lower corner of the pack, cause a crepitating noise. At the same time the middle finger of the right hand—after a quick "snap"—strikes the face of the card which if held between thumb and index finger. This "hokus-pokus" is a very effective embellishment to the act of apparent transformation of cards, etc., and can be employed to advantage in many tricks.)* "And here we have the first eight." (Placing the eight face up on the table.) "Now the second card, March! "Here is the second eight. ______________ _______________ _ *The "Riffle," Modern Magic, Magic, p. 27; Magicians' Tricks, Tricks, p. 28; or the "Click," More Magic, p. Magic, p. 19.

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"Now the third—Pass! "And here, eight number three!" (Proceeding with the second and third cards in the like manner, including the noise, etc. Now, with the right hand, he takes up the fourth card —which is the Jack of clubs.) "And now the fourth card! One, two . . ." (At "one, two," he makes the riffle, then hesitating:) " Oh! Oh! you presume this is already the fourth eight?" (Showing the card.), " Most Most decidedly not!" (Now the professor must "change" the Jack for the eight of hearts, which is on top of the pad. This is done in the following manner: Holding the pack in the left hand, the thumb pushes the top card a little to the right, while at the same time the left hand moves towards the right hand. This is held firmly against the body, holding the Jack of clubs at the lower right corner between thumb and first finger. At the approach of the left hand, the Jack is pushed under the left thumb, the eight of hearts being thrust, so to speak, into the right and left in the former's place. During this movement the right hand remains absolutely motionless.)* " Not Not until I command 'three!' will the fourth eight appear!" (Riffles as before, shows the eight, and adds it to the other three, fare up. Then immediately passes the two top cards to the bottom of the pack, so that they face the bottom cards.) " Now Now you want to know what has become of the Jack? Would you like to see it? Or perhaps all four Jacks? All right, I will show you all four." ______________ _______________ _ *The Top Change. Compare, Modern Magic, p. 30; Expert at the Card Table, p. 147; Magicians' Tricks, p. 16.

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(The professor has already secretly moistened the thumb and middle finger of each hand. While speaking, he firmly presses the pack between these two fingers thus causing the top and bottom cards to adhere to them. He now transfers the pack to the left hand—except the two adhering cards—and presses with the left fingers with the same result. Then he drops the pack on the table, and holds the four Jacks adhering to the tips of his fingers.)* "Here they are!" (He hands the pack to the audience for examination.) ______________ _______________ _ *Compare "The Ladies' Looking-glass," The Secrets of Conjuring and Magic, p. 221; Modern Magic, p. 99.—Ed.

38

HOFZINSER'S CARD CONJURING EXPERIMENTS WITH DUPLICATE UNPREPARED CARDS

EVERYW EVERYWHER HERE E AND NOWHE NOWHERE RE (Fir (First st Method Meth od )* Preparation

IN addition to a pack of 32 cards, two extra e xtra cards of even value, for instance Nines of Spades (or any other card for that matter) are required, so that three cards in the pack are the same. Two of these are on top; the third is next to the bottom card. In this explanation explanation we shall use three Nines of Spades. Remarks and Instructions

" Card Card tricks are usually shown at a distance. I prefer the opposite: Close proximity—especially proximity—especially if ladies are present." (To a gentleman:) " May May I ask you to draw a card, please?" ______________ _______________ _ *For other versions refer as follows: Second Method, p. 135 post; post; Third Method, p. 141 post; post; T. Nelson Downs's method, Art method, Art of Magic, p. Magic, p. 63. Charles Waller's method: A card is freely chosen, palmed off, and replaced after the pack has been shuffled. The pack is placed in the right hand jacket pocket and the two top cards removed as one, shown, and placed face down on the left palm. Two further cards are removed in succession and placed on the first (two), the last one being palmed off again and placed on top of the pack as it is removed from the pocket. The three are now spread on the table with the chosen one (which has not been seen by the audience up to now) in the centre. One is now selected by a spectator; should it be the centre one it is shown as that chosen in the first place. If one of the others, it is reversed by the centre card, using the Mexican Turnover Change (Expert at the Card Table, p. Table, p. 122). Then the others are shown in turn by the same manoeuvre. The pack has meanwhile been held in the left hand. The chosen card is shown, then, under cover of a gesture, the bottom-change is executed. In due course the bottom card is shown to be that chosen, that held in the hand and the two on the table being indifferent cards. For fuller particulars see The Magic Wand, p. 172, Vol. 8.— Ed.

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(Make the pass and force the upper Nine of Spades. Repeat the pass, thus putting the second Nine of Spades on top.) " Now Now return the card but kindly remember it." (The right hand picks up part of the pack which is held in the left hand, and the spectator puts his cards on the lower package; then the upper half is replaced on top and the little finger interposed.) interposed.) " The The number of cards is too great for me to know which card you drew, so I shall have to employ psychological psychological means and request you to answer two questions." (During this conversation the upper half of the pack is pushed among the other cards—a way often employed to mix or shuffle them—but the left thumb holds the top card, which is the Nine of Spades, so that the two Nines are brought together on top. This must be done very quickly, but without displaying any haste. Now the pack is cut and the above process repeated thus putting another card on top, leaving the two Nines of Spades the second and third cards of the pack.)*

_______________ ________________ _ *This is a very deceptive sleight, the only disadvantage being that it does not simulate any shuffle in general use. The same results may be achieved in many different ways however, two of which I will briefly describe: (a) In this case there should be two cards below the Nine located at the bottom of the pack. The forced card is inserted and brought to the top by the "Upward Diagonal Palm" (More Magic, p. 15; Magicians'' 15; Magicians'' Tricks, p. Tricks, p. 11). Then a card from the bottom is slipped on top. (b) Two cards should be under the bottom Nine as in (a). After the Nine has been forced, replace the top half of the pack forming a break with the little finger. Cut at the break for the Nine to be returned. Replace the top half, release one card by the right thumb and make the pass above it.— Ed.

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"You remember your card?" "Yes!" "You will not forget it?" "No." "Yes! No! Very determined answers, but I do not know your card yet. Still it must be one of three cards, which I will show you. It might be this top card for instance." (The professor shows the top card, holding it at the lower right hand corner. The person says, " No.") No.") ("Top change" this card for the upper Nine of Spades.) "No? "Well, then, I put this card here on the table." (The top card is now pushed into the middle of the pack, thus leaving the second Nine of Spades on top.* Then draw any card from the middle of the pack and show it.) "Is this your card then?" "No!" "Not this one either?" ("Top change" this card for the second Nine of Spades.) " Well, then, I will place this card on the table too. Now perhaps the last card in the pack is yours. As you see, the cards are well shuffled."

(Spread cards fan-shape, pushing each card with left thumb towards the right. When the last but one is reached (the third Nine of Spades), lower the hand and put the left thumb on this card, pushing it a little down ______________ _______________ _ *This is best done by "slipping" the top card to the centre in cutting to show the bottom card of the top half as that chosen. When it is stated that cards are placed on the table, it is generally preferable to use a card-easel of the type frequently employed in connection with versions of the "Three Card Trick." This applies particularly to Nelson Downs's method where black-backed duplicates are employed.— Ed.

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ward at the same time closing the fan. Thus the Nine of Spades protrudes about one third of an inch inwards. The right hand grasps the pack at the upper margin and describes a complete turn in the left hand, so that the left finger tops now touch the lower margin without showing the protruding Nine of Spades. The pack is held horizontally between the finger tips.) "Well, is this your card?" "No!" (With a quarter turn, the pack is placed in the right hand, the Nine of Spades now protruding at the upper margin. The hands are lowered and the left pulls this card out and places it next to the two cards on the table. The pack is put in the left hand. Now make the pass.) " In In this case I must apply to the power of a lady. Ladies can achieve wonders with their eyes, why should they not possess a wonderful influence influence over cards?" cards?" (To a lady:) " If If you please, madam, will you say which of these cards is the one selected by the gentleman?" (The lady chooses one. The professor takes the card at the right lower corner.) "Here, this card is yours, is it not?" "Yes!" (The card is shown, then changed for the top card of the pack which is put on the table face face down, making making it appear as though though the Nine of Spades had been put on the table. Then, addressing the lady, and pointing to the other two cards:) "If you had your choice between these two, which one would you prefer?" (During this question, the top Nine of Spades is "slipped" to the bottom of the pack and clandestinely put in the pocket.* Meanwhile, the lady has selected one of the other two.) ______________ ________________ __ *If the bottom change had been used instead of the top change, this "slip" would be unnecessary. The most suitable bottom palm for the purpose is that described on p. 86 of Expert of Expert at the Card Table. For Table. For particulars of the "Slip," see Modern Magic, p. Magic, p. 35; Expert 35; Expert at the Card Table, p. Table, p. 61.— Ed.

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"This one? Well, then, this must be the gentleman's card also!" (Same maneuver with this card and another top card as before.) (Then, to the lady:) lady:) "Had there been only this one card we should have had no other choice, but if the lady will kindly coax it a little, then it too will become the card selected by the gentleman." (Pointing to the last of the three.) " I know, ladies and gentlemen, what you think now! You think this card is here in triple edition: here, here and here. But this is not the case! The card is only here." (Turning the one card face up with the Nine of Spades in hand.) " Not Not here, nor here!" (Turning the others in the same way. The two cards are pushed among the other cards and the pack held in the right hand, finger tips at the lower, thumb at the upper, margin, showing the face of the bottom card. Place pack in left hand, "slip" top card (Nine of Spades) to the bottom and take up Nine of Spades from the table and "top change" it for the top card. As soon as this is done, the hand is turned with the palm towards audience, bringing the Nine at the bottom into view.) " Now, Now, if you look in another direction—and now look down— your card appears here . . ." (Pointing to the lowest card—the Nine). "... Nine). "... but is not found any more on the table. If I place the whole pack on the table you will be sure that your card is the lowest! I will show it again!" (He picks up the pack, shows the bottom card and puts pack on the table.) " I want you to be firmly convinced—then the surprise will be greater. Now you are sure your card is at the bottom of the pack? Well, then, all I say is: 'Card, Presto; on top!' and it will

43


be on top . . ." (Turning the top card, showing the Nine of Spades.) "...but Spades.) "...but ceases to be the lowest." (The pack is scooped up with the four fingers underneath, the thumb being on top of the pack, the back of the hand towards the audience and concealed in the palm. By doubling the hand to a fist and exerting a slight pressure, the top card is palmed while the pack is handed handed for inspection.)* inspection.)* "Here you find a regular pack of 32 cards." ______________ ________________ __ *This explanation is hardly so clear as it might be. The pack is face down on the table, one narrow end being towards the audience. It is taken up by placing the right thumb on top and pushing the fingers underneath at the narrow end, the back of the hand being towards the audience. The hand thus covers the whole of the face card which is palmed by slightly contracting the fingers as the pack is placed face up in the left hand and shown. This sleight is facilitated if the pack has been bridged to leave the face card slightly convex. A preferable method is to palm off the bottom card in replacing the pack on the table for the last time.— Ed. Other versions include: Conradi's "The Jack as l'Enfant as l'Enfant Terrible," in Problems In Mystery Mystery by Max Sterling: Paul Rosini's, Greater Magic, Magic, p. 567; Hugard's, Card Manipulations Manipulations No. 4, p. 112: Braue's, Expert Card Technique, Technique, p. 309: Trevor Hall's Nothing Is Impossible, Impossible, p. 29: Ernest E. Noakes' Magical Originalities, p. 16. p. 16. Ed Ed

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THE FOUR ACES Preparation

A PACK A PACK of 32 cards is required. The four Aces are at the top. Sixteen Aces, all of the same denomination, are held in readiness. (We shall use Diamonds.) Remarks and Instructions

"Now we are about to have an increase. But not an increase of the national debt. That would be a calamity for it has already reached the ne plus ultra I Here Here I refer to an increase in Aces. "I assure you that quite often you cannot get along with only four Aces, for instance in Whist. You need not be a psychologist to read in the expression of every player the fervent desire to get four Aces from the dealer. And frankly I admit that I, too, have the same desire. Consequently, the pack must have 16 Aces if the dealer wants to retain the the friendship of every player. player. "Since, however, the ordinary pack of cards contains only four Aces, I have employed my satanic power to cause these to multiply." (The little finger is interposed between the four aces and the balance of the cards, cards, and during this conversation conversation the professor professor palms them in his right hand.) " With your permission I shall remove all four aces from the pack. Here they are—clubs, spades, diamonds and hearts." (The pack is held in the left hand, the little finger riffling the cards at the lower margin, causing a crepitating noise. The right hand makes a grasping move towards the left hand, and the four aces are pushed up between the fingers and at the same

45


time spread out fan shape. This manipulation makes it appear as though the aces had passed instantaneously from the pack into the right hand.) "I will ask somebody to take the four aces into his special care." (With these words the aces are taken, one after another, from the right hand and put on top of each other on the table. The right hand straightens them and, with the thumb placed against the lower margin, and the fingers against the upper, exerts a pressure in such a manner that they are bent upwards and appear bridged. Then the same hand is put on the pack and four cards are secretly counted off and the little finger interposed.) "Who will have the kindness?" (With these words, the professor palms the four separated cards in his right hand and removes them from the pack, at the same time pressing his thumb against the palm, thus bending these four cards in precisely the same manner as the four aces.) "You, sir?" (At this moment the right hand takes up the four aces, placing the four palmed cards on top of them; then all eight cards are placed on the pack and the four top cards counted off on the table. Everybody will think these are the four aces on account of being bent.) " Here Here they are! One, two, three, four. Please put your hand over them!" (Done. Care must be taken to turn the pack so that the next cards (the bent ones) are not seen by the audience. Then the whole pack is bent backwards, which will cause the "bridge" to disappear.) "Now I shuffle the cards." (The professor shuffles, keeping the four aces in their position (on top) except for one other card which is placed on top of

46


them.* Then this card is taken with the right thumb and forefinger and turned up (touching the left thumb which is on top of the pack), and shown to the audience.) "No ace here!" (Now the left thumb pushes the first ace outward a little, the card shown being turned and pushed over the ace far enough to enable first and middle finger of the right hand to grasp the protruding ace, incidentally releasing the other card, which is pulled in place by the left thumb. Now the pack (in the left hand) is turned towards the audience, thus showing the face of the bottom card.) "And no ace here!" (Now, with the face side of the ace (in his right hand) the professor taps against the face of this lower card, with the word:) word:) " Pass!" Pass!" (The left hand is turned back and the little finger "riffles" the corners. The thumb and forefinger now hold the ace; the middle finger knocks against the face side and then holds the card.) ______________ _______________ _ *This may be clone as follows: (a) Run five, injog sixth and shuffle off. Undercut about 3/4 of pack making a break at the injog. Shuffle off to injog and throw on top. Or the shuffle explained in connection with "Everywhere and Nowhere" may be used; (b) Drop a small packet from the top into the left hand. Now draw one card on top by the left thumb. Next drop a packet on the face side, simulate putting another on the hack and throw the remainder on the bottom. These actions simulate a back-and-front overhand shuffle; (c) Use any false shuffle, then slip one card on top from the centre. See Fig. 29 in Expert at the Card Table.—Ed.

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"And here already is the first ace. I shuffle again." (The ace is put on the table face up. The same maneuver is repeated three times until the four aces are on the table, taking care, while shuffling, that a different card is put on top every time to prevent showing the same card.* With the second ace:) " No No ace here and no ace here; I only say ' Pass, pass!' and here is ace number two. I shuffle once more." (Shuffling as before.)

"No ace, as you see, but ' Pass, quickly! '; here is the third ace. And the last time. Again you see no ace, here nor here, but ' Presto, Allons! ' and we have our fourth ace." (Now all four aces are on the table. To the gentleman whose hand is covering the four cards:) "You think that you have four aces under your hand, also. Oh! no, just convince yourself." (While the gentleman investigates, the professor secretly takes out the 16 aces of diamonds and places them on top of the ______________ _______________ _ *Hold the pack in left hand as for overhand shuffling. Press the thumb on top and fingers on bottom and draw out all remaining cards with right hand. Now proceed as in previous note (b). By this shuffle, both top and bottom cards are changed, though the next few at the top remain undisturbed.— Ed.

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pack, which is held in the left hand. The four aces are placed on the table face up.) (To the same gentleman:) "Of gentleman:) "Of these four aces kindly select two, the two to the right or the two to the left. "These two? Very good, now which one of these two?" (Done. The ace of diamonds is forced.) " Aha! Ace of diamonds. Now then, how many aces of diamonds do you wish me to count from this pack? pack? 8, 9, 10, 12? . . . "Ten? As you wish!" (Counting, and placing the aces face up on the table.) "Here are ten aces of diamonds: one, two, three, four, five, six, seven, eight, nine, ten . . . but even if you had desired more, say 11, 12, 13, 14, 15 or 16 . . . I should have promptly furnished them.'' (Counting them and putting them on the others.) "But there is only one ace in the whole pack! Please convince yourself." (With these words the 16 aces are quickly placed on top of the pack, and palmed off with the right hand, while the left places the pack on the table for inspection. inspection. The right disposes of the 16 aces—in a pocket, low-cut vest, open drawer, etc.) ______________ _______________ _ Compare this routine with "The Conus Ace Trick," Modem Trick," Modem Magic, p. 93: and The Secrets Of Conjuring And Magic, p. Magic, p. 260. Ed 260. Ed

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50


THE METAMORPHOSIS OF THE FLYING CARD Preparation

A PACK A PACK of 32 cards is required plus one of the 32 in duplicate (we select King of Diamonds). One King is the top card, the other the bottom. Remarks and Instructions

"Do you know how to distinguish between a single and married man? No? Simply by his conversation. When a single man talks to a young lady, he goes right on without ever interrupting himself. But if a married man talks to a young lady, he stops and looks round after each word to see if his wife is there to interfere. This is an infallible method of ascertaining whether a man is single or married." (Then to a lady:) " Now Now I have to ask a favor of you. Have you a pocket in your dress?" (Answer: "Yes!") (Answer: "Yes!") "Then may I ask you to put this pack in your pocket?" (The lady does as requested.) " And now another favor! Will you give me one of those cards in your pocket, pocket, but quickly please?" (By this seeming hurry, the lady is somewhat embarrassed, and will probably take either the uppermost or the lowest card, which is really the object. If, however, the King should not be brought out it has to be forced later on. When the lady has taken the card from her pocket she is told to keep it. Then:) "Kindly return the other cards to me."

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(Upon receiving the pack the professor ascertains which King has been taken out. If it is the top one, the lower one must be passed to the top; in the other case the pack remains as it is.) (Then to a gentleman:) "Will gentleman:) "Will you please draw a card?" (The gentleman draws a card, looks at it and returns it to the pack. It is passed to the top, the cards shuffled and the same card forced on another gentleman with the words:)* "Will you draw one, too, please?" (The same manipulation as before. Then to a third gentleman:) "And you too?" (The card is taken from the gentleman's hand and substituted for the top card (the King of Diamonds). Now while the professor holds the King in his hand (which appears to be the card last drawn), he asks the first gentleman:) "Sir, which card did you draw?" (Answer, for instance: "Eight of Spades.") (To the second gentleman:) "And gentleman:) "And which was your card?" (Answer: " Eight Eight of Spades.") (To the third gentleman:) "And yours?" (Answer: "Eight (Answer: "Eight of Spades!") "Also Eight of Spades?" (With these words the King of Diamonds is put on the table face down, leaving the audience under the impression that it is the Eight of Spades.) " Excuse Excuse me, gentlemen, but that would necessitate three cards of the same denomination in the pack! To prove that this is not the case, I must ask you to inspect the pack carefully." (So saying, he turns the whole pack face pack face up in the left hand, then interposes his little finger between the second and third cards from the bottom and holds these two cards firmly together. ______________ _______________ _ *The chosen card should be placed on top of the King before shuffling and both controlled together. This end may be achieved either by under-cutting about half the pack and having the chosen card replaced on what was the top half, then bringing them to the top by the pass after the others have been replaced; or the card may he inserted anywhere and brought to the top by means of the Diagonal Palm. (More Magic, p. Magic, p. 15; Magicians' 15; Magicians' Tricks, p. Tricks, p. 11).— Ed.

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Now he shows all the cards in the pack, calling special attention to all the Spade cards. Since the Eight of Spades is completely hidden by the last card hut one, it seems to be absent from the pack.) " Your card is not in the pack at all! Of course not, since it is lying here." (Pointing to the King of Diamonds on the table.) "Now I shall make the impossible possible and transform the card which the lady drew from her pocket into the one which is absent from the pack. What is the absent card?" (Answer: " Eight Eight of Spades.") "And which is your card, madam?" (Answer: " King King of Diamonds.") "How would you like me to put it on the table? Face up or down?" (Taking it from the lady:) (Answer: "Face (Answer: "Face up.") "Up? Then I put it here on top of the pack . . ." (It is really immaterial what answer is given. The professor places the King face up on top of the pack which is lying on the table face down, and, covering the pack with his right hand, pushes the top card and the King forward so that they will stick out about one inch. This movement must not be noticed and the two cards remain together.) "... and only say: Passez la!" (With these words he lifts up the pack to a height of about 24 inches (holding it vertically) and drops it on the table. The air pressure will cause the two projecting cards to turn while

53


flying, leaving the Eight of Spades exposed on top and the King of Diamonds face down underneath it.)* " Then, Then, here is your card." (Taking the Eight from the pack and putting it on the table.) "Will you pick up this card yourself?" (Pointing to the card which had previously been placed on the table as the Eight of Spades.) "It is the card which the lady drew from her pocket." (At the same time removing the other King of Diamonds from the top of the pack and hiding it.) ______________ _______________ _ *It will he found better to take the pack in the left hand as for dealing and, as the chosen card is placed on on top, draw the King out sideways sideways about half an inch. Only the King should project and this is concealed by the card above and the right hand which now holds the pack with the fingers at one end and thumb at the other, face down save for the top card. To obtain a good "turn-over," the cards should he thrown thrown on to the table, keeping the side where the card projects slightly lower than the other. If the cards are merely dropped the velocity is usually insufficient to reverse the cards. Furthermore, if the card projects too much the effect is not satisfactory.— Ed.

54

HOFZINSER'S CARD CONJURING EXPERIMENTS WITH DOUBLE-SIDED CARDS

SENSATION Preparation

FOR this piece we need a pack of 32 cards which is arranged as follows: Ace of Hearts, Ten of Spades, Jack of Diamonds, Nine of Hearts, King of Clubs, Eight of Spades, Queen of Diamonds, Seven of Hearts, Ace of Clubs, Ten of Diamonds, Jack of Hearts, Nine of Clubs, King of Spades, Eight of Diamonds, Queen of Hearts, Seven of Clubs, Ace of Spades, Ten of Hearts, Jack of Clubs, Nine of Spades, King of Diamonds, Eight of Hearts, Queen of Clubs, Seven of Spades, Ace of Diamonds, Ten of Clubs, Jack of Spades, Nine of Diamonds, King of Hearts, Eight of Clubs, Queen of Spades, Seven of Diamonds. Then we need a pack consisting of 16 double cards; i.e. cards which show the 16 Court cards and Aces on one side, and on the other the spots. These cards are arranged in the following manner: Face side: Ace, King, Queen, Jack of Hearts; Ace, King, Queen, Jack of Diamonds; Ace, King, Queen, Jack of Spades; Ace, King, Queen, Jack of Clubs. Reverse side: Ten, Nine, Eight, Seven of Hearts; Ten, Nine, Eight, Seven of Diamonds; Ten, Nine, Eight, Seven of Spades; Ten, Nine, Eight, Seven of Clubs. By way of variety, Hofzinser sometimes used the following arrangement:

55


Face side: Ace, King, Queen, Jack, Ten, Nine, Eight, Seven of Hearts; Ace, King, Queen, Jack, Ten, Nine, Eight, Seven of Diamonds. Reverse side: Seven, Eight, Nine, Ten, Jack, Queen, King, Ace of Spades; Seven, Eight, Nine, Ten, Jack, Queen, King, Ace of Clubs. These 16 cards in the above order are placed in the "Assorting Pocket-case" (described under "Three Powers") and this is put into a coat pocket. Remarks and Instructions.

" Here Here you see an ordinary pack of cards. Kindly inspect it closely." (The pack of 32 is shown without disturbing the arrangement. It might be handed to a spectator, but fare must be taken that it is not shuffled.) " I now take pleasure in showing you a trick where ' sensation ' plays the principal role. Sensation ought to be the prime factor in every human life. Why? Because it springs from the seat of all sensation—the human heart. "Do you know, ladies, which is the magician's seat of sensation? Now you think his heart of course, too! No, ladies, a magician carries all his feelings in his pocket! To convince you, I shall put this pack into my pocket." (The pack is put into the same pocket as the the "assorting case" and next next to it.) "Now will you please call for a card and the sensation will enable me to select and produce it." (The card called for is, for instance, the King of Spades.) "King of Spades? Very well!" (The professor searches in his pocket, apparently experiencing considerable difficulty.) " It It is really very difficult to get your bearings without a lantern in this dark place, but—here is the King of Spades!" (The card is taken from the assorting case and placed on the table, taking care that the reverse side is not seen.

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Then the ordinary pack is taken out of the pocket. The professor knows that, according to the foregoing schedule, the Nine of Spades (i.e. the same as on the reverse side of the King of Spades on the Table) is the twentieth card. The pack is divided there by the little finger and this card brought on top by the pass. Then to another person:) "Will you please draw a card from the pack?" (The Nine of Spades is forced; then "pass" back restoring the cards to their original order; then the King of Spades, the thirteenth card is passed to the top.)* "Which is your card?" "Nine of Spades!" (Take it up, "change" it for the King on top and put the latter— seemingly the Nine of Spades—face down on the table. Then:) "I put it there on the table and would now beg the loan of a handkerchief." (He receives one; then to the first person:) "I now place your card here in the handkerchief." (This is done in such a manner that the handkerchief is folded four times (a smaller one only twice); the card is placed between the layers, and when entirely hidden from view quickly turned to show the Nine of Spades. To the second person, who had drawn the Nine of Spades:) ______________ ______________ *These manipulations are easier said than done. One of the following methods may be used: (a) Bring both cards to the bottom by means of a cull shuffle, force the Nine, and then slip the King to the top. Cull shuffling is fully explained in The Expert at the Card Table. The formula in this instance would be: Run six, throw t hrow on top; to p; run six (this is more mo re convenient than running twelve all together), injog the seventh (King of Spades), run seven, outjog and shuffle off. The nine is now the injog and the King immediately underneath the outjog. Undercut to outjog, forming break at injog; injog one, throw to break and shuffle off. Undercut to injog and shuffle off. The two cards are now at the bottom in the same relative positions as before. That before. That is to say the Nine is still undermost. (b) Rime the index corners until the Nine of Spades is glimpsed, insert little finger and pass to top. Repeat later with the King. The approximate position of each card is of course known and may therefore be readily found unobserved. (c) The ninth, seventeenth and twenty-fifth cards should be short cards, and the bottom one a long card. Any card may now be quickly found by riming. Thus, for the twentieth from the top: Rime to the first break. then release five more, one at a time, by the right thumb. The Nine is now on top of the bottom section and may be forced without making the pass. The long card forms the key for neutralizing the pass when necessary.— Ed.

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"Now I shall transform your card into the one which is here in the handkerchief. Which card is in the handkerchief?" (Answer: "King (Answer: "King of Spades) (Indicating the card which is lying face down on the table.) table.) "Ready? Pass!" (The card on the table is turned face-up and at the same time the handkerchief unfolded, showing the Nine of Spades.) "Voila! Your card!" (The balance of the pack is at once put on the "double" card and taken up, then the faked card is palmed and the pack handed over for inspection.) inspection.) ______________ _______________ _ In reply to my enquiry regarding the difficulty in performing these manipulations, Fischer kindly enlarged on them in a letter dated April 3rd as follows: "With regard to the 'Finding of the necessary card in Hofzinser's Sensation' I must tell you, that there is no other method but practice and practice again. By this opportunity allow me, dear friend, to tell you, that I never agreed with your intentions to 'facilitate' or to 'alter' Hofzinser's moves and methods of performing the card-tricks, for the originality goes lost, when performed in another way different from Hofzinser's. You should not have given hints and advises, but should have left it to the "boys," being interested in Hofzinser's card conjuring, to manage them according to their private skill. I did not keep my own council telling in my book (page II) that the explanations in 'Hofzinser Kartenkünste' are not for dilettantes, i.e. amateurs of feeble dexterity, and that only the experienced expert will enjoy these tricks. Advising the amateurs to use any 'long' or 'short' cards when performing Hofzinser's card-tricks looks to me like a 'sacrilege' committed towards Hofzinser's spirit, for he never used cards of those kinds. "As for the great secret of finding any card in a pre-arranged pack, this lies in the ability of riffling any any wanted number of cards from the deck by the tip of the thumb! And secondly; The absolute knowledge of the numerical sequence of each card in the pack. A bit of memory is necessary, supported by mnemonic. We only have to memorize the first eight cards, to know the number of each card of the same denominations. In our case (page 55) the Tens are to be found under No. 1 - 9 - 17 - 25, all Jacks under 2 - 10 - 18 - 26, the Nines under 3 -1119-27 and so on. (Remember; The top card Ace of Hearts is practically the 32nd. card in the pack. Hofzinser put it for misdirection on the top. You must consider this fact and either put the Ace of Hearts to the bottom or add every time 'One' more to the stated number of the cards in question looked for.) Now you being familiar with these two fundamental secrets it won't cause you any further difficulty to riffle to any card you need and to bring it by a pass on pass on the top of the deck. Learn first to get the proper number of cards by the tactile sense - it is absolutely possible!"

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PRE-DETERMINATION OF THOUGHT Preparation

Requirements: 1. A pack of 52 cards; the low cards (2-6) are lying together. The Three of Clubs is the top card; the 19 other low ones are put on the table at the beginning of the trick, seemingly as unimportant. 2. A

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pack of 32 cards, each showing a Three of Clubs on the back. 3. Two specially prepared metal trays and two mats. The mats are crocheted of red and yellow wool with a border of yellow fringe. The bottom is a piece of medium weight cardboard, 5" X 5", which is sewed on. The most important parts to be prepared are four pockets which are pasted underneath the bottoms of the trays and mats. Each of these pockets is made of a strip of stiff paper 5 1/2" long and 2 1/2" wide. On both sides a strip of 1 1/2" is bent over (leaving in the centre a space of 2 1/2" and the edges pasted together as shown in illustrations. In this way we obtain a pocket which is open on two sides. We need 16 of these pockets; four for each tray and mat. In pasting the pockets to the bottom strict attention must be paid to the measurements as given in the illustrations. Into these pockets the prepared cards (the 32) are distributed in such a manner that two cards are put in each in opposite directions, and under each tray and corresponding mat the cards are of the same color, i.e. under the tray the Spade cards, under the mat the Clubs, etc. For arrangement of the cards see sketch.

When everything is finished, the trays with the black cards are placed on the left (on a side table, chair, etc.); the red cards to the right. Care must be taken that the sides of the trays and mats where Seven and Jack are hidden face the professor. 60


To divert any possible attention from the trays it is advisable to put things which are used during the performance on them; for instance, candle sticks, glasses, bell, etc. Remarks and Instructions.

" Thoughts Thoughts are not taxable! Why? Because so many are groundless, otherwise otherwise they would have been taxed long ago! "Still I am going to manipulate your thoughts, and shall guide them and determine them, according to my will; yes, I shall pre-determine them; that is to say I shall compel you to think of what I want! You think it is impossible? I shall prove my assertion. "Here is a card." (The (The Three of Clubs (the top of the low ones) is put fare down down on the table.) (To a spectator:) spectator:) "May I trouble you to try and remember a card? You have done so? Very good. Now I declare that you selected precisely the same card which I put here. You do not think it is possible? "Please name your card." (Done, for instance: instance: "Seven of Diamonds.") "Now I pledge you my word of honor that this card (pointing to the one on the table) table) will not be changed or moved from the table; no, not even touched by me. And to render this absolutely impossible I will put the whole pack in your hands. Here is the Piquet pack." (The pack is placed on the metal tray on the right; this is taken up with the mat and thus presented to the person.)

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At the same time the middle finger pulls the Seven of Diamonds a little from the pocket under the mat so that the edge is visible only to the professor. Then he returns to the table for the low cards. These are now placed on the mat in the manner shown above, protruding over the margin and exactly covering the selected card.) (Then, addressing the person:) " Here Here are the 'low ' cards of the whist pack." pack." (The package is taken off with the right hand in such a manner that the thumb is placed on top and the first and middle fingers underneath, thus pulling out the hidden card together with the rest of the cards. Then the whole package is handed to the spectator to hold, face up. Then:) "Since I have pledged my word not to touch this card (pointing to the card on the table) I table) I must ask you to lend me one" (Taking the top card (Three of Clubs) from the person, he exhibits it, without showing the reverse side, and puts it on the table. Then the empty hands are shown and the sleeves pulled back.) " Nothing Nothing concealed anywhere. Nothing can be added or taken away. "Here is the Three of Clubs!" (He takes the prepared card between thumb and middle finger of the right hand.) "No direct contact!" (With these words the prepared card is pushed under the other card and both are turned over at the same time with the words:) words:) "Attention!" (A little pause.) "Voila! Here is the selected card." (Pointing to the Seven of Diamonds.) Diamonds.) "You see the truth of my words. An impossibility has become a reality. The problem has been solved." (To the gentleman who is holding the low cards:) "And here is the card (handing him the Three of Clubs) which Clubs) which you were kind enough to lend me." (The prepared card is unobtrusively unobtrusively hidden.)

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Additional Instructions.

(a) If a Spade card is selected only the tray on the left is used; if Clubs, both tray and mat; if Hearts, only the tray on the right; if Diamonds, both tray and mat. (b) In handing over the cards, the Piquet pack must always be given first, given first, and and the low cards afterwards; otherwise there would not be sufficient time to pull out the respective cards from the pocket without undue haste. (c) The position of the cards in the pockets must be thoroughly memorized to prevent the necessity of trying to ascertain where the respective cards may be located. As soon as the card is named, the tray must be turned with the respective margin towards the professor, while he places the Piquet the Piquet pack on pack on it. ______________ _______________ _ By employing the following method, a pack of 52 cards may be used and the trays, mats and prepared cards dispensed with: The pack may be either: (a) Pre-arranged so that the approximate position of every card is known and any one can be found rapidly by riffling the index corners. The simplest order is King to Ace of each suit in the order: Hearts, Clubs, Diamonds, Spades, reckoning from the top. (b) Made on the "Instanto" principle, so that it is unnecessary to look at the pack when riffling owing to pre-arrangement and a system of trimmed edges. In either case there are two Kings of Hearts on top. After the desired card has been located, it is "slipped" to the top as fully explained by Erdnase Er dnase on p. 61 of Expert of Expert at the Card Table. Now the two top cards are removed as one and shown casually as the King of Hearts. Then they are carelessly replaced on the top, one only (that chosen) removed and exchanged for that on the table by the Mexican Turnover as described in the text. This still leaves a King of Hearts in the hand which is shown unostentateously, replaced on top of the pack and immediately palmed off again and pocketed. Everything may now be examined if necessary. Should chance lead the King of Hearts to be chosen—and the chance is not a remote one—it is already on the table and may be turned over by the lady herself, the denouement being being thereby materially increased. For particulars of Robert-Houdin's version see "Thought Anticipated," p. 254 The Secrets of Conjuring and Magic.—Ed. Compare Modern Magic, Magic, p. 110; Greater Magic, p. p. 442; Hugard's Annual Of Magic, 1937/8, Magic, 1937/8, p. 44. Ed 44. Ed

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64

HOFZINSER'S CARD CONJURING *

THOUGHT Preparation

IN this trick we need two packs, one of 52 and one of 32 cards. The former is an ordinary pack, but each card is marked on the reverse side. The 20 low cards must be together and the Three of Diamonds the last in the pack. The other pack shows a Three of Diamonds on the reverse side of each of the 32 cards. This pack is arranged according to the schedule given in "PreDetermination of Thought." On the top of this pack are placed two Threes of Diamonds to hide the backs of the prepared cards. A pencil and paper are placed within reach. Remarks and Instructions

"Thoughts are products of the mind, consequently of a psychological nature. Therefore they are invisible, inaudible and unfathomable. It is said that thoughts are not taxable. Why? Just because they are unfathomable, unfathomable, otherwise our wise legislators would surely have found a way of imposing a tax upon them! Now, of course, there is an exception to every rule. The unfathomed depth of the soul unveils its mysteries to the omniscient magician. He not only investigates the hidden thoughts; he directs their course, yes, even predominates over them if he so wishes. "I shall now prove my remarks and compel your thoughts to run in the same channel as mine—a thing that can be done under favorable conditions. You doubt my words? You think I am deceiving you? To convince you, I shall furnish three witnesses. witnesses. Here are two two packs of cards." ______________ ________________ __ *Compare, "The Sympathetic Cards," p. 227 of The Secrets of Conjuring and Magic (Robert-Houdin).— Magic (Robert-Houdin).— Ed.

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(The professor takes up the 52-card pack and removes the 20 low cards with his left hand, putting them face up on the table, thus showing the Three of Diamonds.) " Since Since we do not need the low ones we put them here on the table." (The balance is put back on the table. To a person:) " Now Now each pack has 32 cards. Will you please think of a card? Any you wish. But I may tell you that you will select the very same card which I am putting here on the table." (The professor takes the prepared pack, puts the top card (Three of Diamonds) face down on the table table and replaces replaces the pack.) "You think it is impossible? Very well! Will you convince yourself that there are moments when the impossible can be made possible." (With these words the plain pack is handed to the spectator.) "Will you take out your card and place it face down opposite this one?" (Pointing to the card on the table. The professor recognizes the card by the mark, and from its position in the arrangement. He at once takes the prepared pack, face side towards himself, and "passes" the card in question to the lop of the pack. Care must be taken that the Threes of Diamonds on the back are not seen). seen) . The pack is held near the body, a little obliquely, and is covered by the fingers of both hands. Then he "palms" this top card in his right hand and puts the pack aside with the left hand. During this manipulation manipulation he points to the two on the table.) "So these two cards are, so to speak, two of the subpoenaed witnesses! Three, however, however, are better than than two." (By means of the "Transfer-Palm," the palmed card is changed over into the left hand, the Three of Diamonds facing the palm.)* palm.)* ______________ _______________ _ * If If preferred, the card may be "slipped" to the top (facing the floor), then palmed in the left hand by the t he Bottom-Palm.— Ed.

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"I shall now place into your hands a third witness, in black and white this time!" (With these words the right hand reaches for the pencil, which lies next to the 20 low cards, the left being put on these apparently apparently to push them back a little, in reality to place the palmed card on top. Since a Three of Diamonds was previously on top this will not be noticed. Now he takes the sheet of paper and writes (the words not being seen by the audience), audience), "You must think of (writes down the selected card)!" card)!" then folds the paper and hands it to the person.) " You were kind enough to remember a card, and you are convinced that your selection was not influenced by any foreign power. I beg your pardon for contradicting you but really you are mistaken! You were compelled by the magic power of my will over your mind to think of the card which I had previously laid on the table. I shall turn it over with one of these low cards." (So saying, the professor takes the top card between the tips of the right thumb, first and middle finger, simultaneously turning over the pack of low cards with the left hand to hide the second Three of Diamonds, and pushes this card under the one on the table (the Three of Diamonds placed there by the professor) and turns both face up. The one is seen to be the "remembered" card, the other the Three of Diamonds.* Then:) " Here Here is the thought which I put on the table." (Then turning over the second card—which the spectator had put there:) " Here Here is the thought which you yourself placed here." (Pointing to the folded paper.) "And here; please read! As you see, three witnesses witnesses prove the the truth of of my statement!" statement!" (Then both cards are placed on their respective packs, the prepared pack being removed while the other is left on the table for inspection.) ______________ _______________ _ *Mexican Turnover. Compare Expert Compare Expert At A t The Card Table, p. Table, p. 122. For a version based on "Do As I Do," see Conjured Up, Sharpe, Up, Sharpe, p. 25. Ed. 25. Ed.

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68


THE POWER OF FAITH Preparation

We use a pack of 32 cards. On top are the four Jacks: Clubs, Spades, Diamonds and Hearts. Four more Jacks in the same order, and prepared in such a manner that the reverse sides show the Eights of the same suit as the Jacks on the other side, are convenient. Remarks and Instructions

(To a person:) '' Will Will you kindly draw one card?" (Make the Pass and force the Jack of Clubs. "Pass" back, restoring the other Jacks to the top.) "Now I divide the pack into two parts." (This is done and both parts put on on the table table next to each other.) other.) (To another party:) party:) "And will you, sir, have the kindness to choose one of these halves; this or that?" (Pointing first to the part having three Jacks on top, then to the other one. Put special emphasis on the "that" because it might induce the person to select "this" part, in which case the professor pushes the part over to the person, picking up the other one with the right hand. If, however, the part with the Jacks should be selected, it must be picked up, the Jacks palmed, and the part handed to the party with the left hand while the right places the three Jacks on the other cards.) * "Aha, this one!" (To the same party:) party:) "Will you now take a card from your package without looking at it or letting anybody see it and put it before you on the table?" (This is done.) " Please Please put another card on the top of it." (Done.) _______________ _______________ *A better plan if the "Jack" heap is chosen is to pick it up saying, "Very well, I will use this one," leaving the other on the table.— Ed.

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"Now three is a sacred number, so put a third card on these." (Done. In the meantime the professor palms the three Jacks from his half-pack. half-pack. The The balance he put! aside aside to the left.) left.) " Now, Now, will you return the balance of the cards to me?" (He accepts them with his left hand and puts them on the others (to the left). left) . Then he picks up the three selected cards with his left hand, holding them as shown in this illustration:

Care must be taken that the audience only see the reverse, never the face side of the cards. The hand is held up palm towards the audience.) audience.) " You see, of all the mysterious mysterious powers given by nature to the human mind, the most powerful is faith! The faithful are blessed! Half a bliss is happiness. Consequently a half faith will at least make you happy." (To the gentleman No. 2:) 2:) "Please believe with all your heart in a mysterious mysterious mental sympathy!" sympathy!" (Lowering the left hand and doubling it into a fist, palming the three cards. At the same moment the right approaches the left, the left thumb and forefinger grasping the three Jacks (which are palmed in the right hand) so that the left hand now holds six cards, three palmed and three between the finger tips.* Pointing with the right right hand towards towards the gentleman:) "At this moment these three cards and the three which you selected must be identical." (Pointing to those held in the left hand. Then pointing to the first gentleman:) ______________ _______________ _ *The Hellis Change No. 2. See Modern See Modern Magic, p. Magic, p. 33 (Sixth Method); Expert Method); Expert at the Card Table, p. Table, p. 150.— Ed.

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"If this gentleman drew an ace, then you must have put down three aces." (Pointing to gentleman No. 2:) "If 2:) "If the gentleman drew a nine, then you must have placed three nines here, etc. (With these words the three Jacks are put on the table with the right hand, while the three palmed in the left are disposed of by placing the hand in the pocket and leaving them there.) (To gentleman No. 1:) No. 1:) "Please, sir, which card did you draw?" (Answer: "Jack (Answer: "Jack of Clubs.") (To gentleman No. No. 2) "Then you must have put three Jacks here. Please convince yourself." (Gentleman No. 2 turns the cards over.* In the meantime the professor palms the four prepared Jacks in the right hand, Jack of Hearts innermost. When the audience has inspected the (other) four (other) four Jacks he arranges them in this order: Jack of Clubs (face up), on this Jack of Spades, then Diamonds and Hearts (all face up). He now takes the pack with the left hand, face up; the right hand reaches for the four Jacks, putting the palmed four prepared Jacks on them and then all eight on the pack, showing showing the Jack of Hearts on on the face face as before before .) "I will now put all the Jacks face up on the table." (The professor puts the four prepared Jacks on the table like this:

______________ _______________ _ *Compare this phase of the effect with "Correcting A Mistake," p. 93, Magician's Tricks (Hatton Tricks (Hatton & Plate); & Plate); Modem Magic, p. Magic, p. 102. Ed. 102. Ed.

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The pack must be held in such a manner that the eight spots (on the reverse side) are not seen. When the fourth Jack is taken from the pack, the left hand must be turned at the same time towards the professor, to prevent the audience from seeing the other Jacks.) Jacks .) (To a spectator:) "Now spectator:) "Now please select one of the Jacks." (This is done, for instance, Clubs.) " Clubs? Clubs? Then I cover it with three low cards." (While seemingly looking for three cards he transfers the four Jacks to the top of the pack, then selects any three spot cards (except Eights). The pack is held face side towards the audience in an oblique position. The three cards are put on the table and the Jack of Clubs on top of them—all face side up.) "In order to avoid any controversy about equal rights I shall give the other Jacks similar company." (This ( This is done in the same way as above. Then the pack is turned with the reverse side up, interposing the little finger between the four top cards (the four Jacks) and the rest. Now with the right hand he takes one of the not selected Jacks, for instance Hearts, and says:) "So you selected the Jack of Hearts? Did you not?" (Answer: "No, (Answer: "No, no! Jack of Clubs.") "Ah! Clubs!" (With that the Jack of Hearts is put back, face up of course. The four other cards (with the Jack of Clubs on top) are taken with thumb and index finger at the lower left corner, and after having been shown to audience, are "changed" for the four Jacks on top of the pack. Care must be exercised to keep the Eight on the back from being seen). seen ). " Well, it is really immaterial immaterial whether whether you chose this, this, this or this Jack." (Pointing with the Jacks in right hand to the respective heaps.) heaps.) "But since you selected Clubs, I would ask you to put your hand on the Jack Jack of Clubs, and the three cards with him." him."

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( Saying this, he shows the four cards in his hands so that only the Jack of Clubs is seen, then spreads the four fan-shape but showing only the backs. He next closes the fan and puts the four cards (the Jacks) face face down on on the table table.) .) " Now Now the four Jacks will form an alliance under your hand in the order which I shall determine. Here you see the Jack of Spades and three other cards." (The professor takes the four cards, by pushing the right thumb under the left corner, lifts them up, and spreads them fan-shape, holding them near his body to prevent anybody from seeing the eight on the reverse sides. Then he pushes them together on the table and takes them, face up, as shown in the illustration. illustration.

Then lifts his hand, pushes the lower card between the finger tips with the thumb (see illustration) and throws it on the fable, face up, with the words:) words:) "The first card is not a Jack! The second card is not a Jack!" (Now instead of the third lowest card, the Jack is pushed out with the finger tips and put on the table Jack down and eight—the reverse side up.) "The third is not a Jack!" (The right hand holding the fourth card is stretched out to the right, so that the audience can only see the back.) * " Now Now comes the Jack of Spades. There he goes!" ______________ _______________ _ *An alternative method is to use ordinary Jacks instead of double-faced cards, and to vanish one from each heap by means of the sleight described by Mr. Stanley Collins on pages 27-34 of Original Magical Creations.—Ed.

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(With these words the right middle finger is snapped against the card from below and it is thrown to the others. All the cards are thrown on the table in such a manner that the unprepared cards are together in one heap white the prepared ones should be thrown a little to one side (but not noticeably) in order to have the three together at the finish when they must be disposed of. The above manoeuvre is repeated with the other cards and with similar remarks.)

"Now comes the Jack of Diamonds. And at last the Jack of Hearts. Now please look at the cards under your hand—the four Jacks in the order named!" (While the spectator turns over his cards the professor "passes" the four top cards to the bottom, thus putting the Jack of Clubs at the bottom. Now he puts the pack on the three prepared cards (face down), gathers the other cards on the table and puts them on the pack. The four prepared cards are now the lowest. Finally the pack is taken up, the four lowest cards removed by the "Bottom Palm," hidden, hidden, and the the pack handed handed out for for inspection.) inspection .)

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THE FOUR KINGS Preparation

A PACK A PACK of 32 cards is required. The four Kings are placed as follows: King of Hearts on top, next King of Diamonds, then third King of Spades. The King of Clubs is the seventh card from the bottom. The six cards above this King as well as the six below must be spots. The four cards next to the King (two above and two below) must show red spots. Four extra cards are held in readiness, showing on one side the four Kings, on the other the corresponding four eights, in this order: Hearts, Diamonds, Spades, Clubs. When the cards are taken up the King of Hearts faces the palm. Remarks and Instructions

(Showing the park, the professor asks a lady:) "Will lady:) "Will you please remember a card?" (Since he only shows the lower 8-10 cards and the King of Clubs is the only picture card in this lot, it is sure to be the selected one.* Then he addresses another lady, as if he wanted her to select a card too, but seemingly changes his mind, and says:) "Why says:) "Why should I trouble so many ladies Will you please tell me the suit of your selected card?" (Answer: "Clubs.") "Clubs! Then please remember the same card in Hearts, Diamonds and Spades. "Now I am going to show you an exceptionally good card trick. Don't think I am bragging when I say so. for there is really no merit in showing an excellent trick. ________________ ________________ *This is a precarious force at the best of times and seems too risky in the effect under discussion in which the conjurer does not know whether he has succeeded or not until it is too late to act accordingly. I suggest using the force by "touch" described in the Footnote to "The Flying Thought" (post).—Ed.

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Do you know why? Simply because the exceptionally bad ones have all gone out of existence. "The basis of this trick is the principle: 'The ladies can do anything—if they make up their minds to do it.' So in order to please the present company, I will ask you, Madam, to show us a good card trick. With your permission I shall direct proceedings." (With these words the professor palms the three top cards (the Kings) and hands the the pack to the the lady.) lady.) " Please Please shuffle the cards and have your vis-a-vis cut them—so! Now please give me one half of the pack and you keep the other half." (One package is pushed over towards the lady, the three palmed Kings being put on top.) " Now Now will you please put the three top cards of your package face down on the table!" (While this is being done the professor inspects the returned package to see if it contains the King of Clubs. If so, he puts it on the front and puts the pack on the table to his right. If the King of Clubs is not in this package, the professor picks up the other half and "passes" the King to the top (of face side). Then he puts both half-packs together, leaving the King in the same position, and puts the cards into a. gentleman's coat pocket so that the King faces the body. This will assure the selection of this card later.)* later.)* " The The other cards we place aside—into the pocket of this gentleman." (Then to this gentleman:) "Since gentleman:) "Since the lady has remembered four cards, will you give me one more card out of your pocket, but quickly, make haste! Now you may return the others to me." ______________ _______________ _ *This appears to be an error. The King should face away from the body. Compare, "The Pocket-Picking Trick," Magical Tit-Bits (Hoffman), p. 181; Modern Magic, p. Magic, p. 106. (Magical Tit-Bits has Tit-Bits has been incorporated with the newer editions of Later of Later Magic; q.v.)—Ed

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(Give special emphasis to the "quickly" so that the gentleman will have no time to hunt for a card. When the professor receives it he places it on top of the three on the table. Now there are the four Kings together. The pack is placed on the table face side up.) up.) " Now, Now, madam, you shuffled the cards yourself, somebody else cut them, you divided them into two packages, of which you chose one. From this you put three cards on the table and a fourth was added from the gentleman's pocket. The whole transaction was performed without my interference. I was left absolutely in the dark. "Now you think over your selection, while I touch these cards! (This is done with the left hand, while the right grasps the four hidden "aid" cards and palms them.) them.) "Which cards did you choose?" (Answer: "The (Answer: "The four Kings.") "Here are your four chosen cards!" (The ( The professor turns over the four cards on the table (with the left hand) and exhibits them. Care must be taken to have them in the same order, i.e. Hearts on top.) "To prove to you the extraordinary influence which you exert over the cards, we will employ your thoughts once more." (With ( With these words the four Kings are picked up with the right hand, the four palmed "aid" cards put on them, and then all eight Kings put on the face side of the pack which is now held in the left hand, showing the King of Hearts. The professor puts the four (prepared) Kings on the table: table : HEARTS DIAMONDS SPADES CLUBS ( In putting down the last card the pack is turned towards the professor, in order not to to reveal the the other Kings Kings.) .)

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(To a lady:) lady:) "Now you think of a King; any one! Ready? All right—which right—which is your choice?" (The lady chooses (for example) Spades. The professor "slips" this King (in the pack) to the bottom of the other Kings. Then he passes all four to the top of the pack.)* (To the lady:) "Spades? lady:) "Spades? Well. I shall put three spot cards under it." (The professor selects three cards in plain view and puts them under the selected King (no eight spot must be used).) used) .) " For For sociability's sake, I shall give each of the other Kings three companions too." (This is done as above. He turns the pack face down, secretly counts off the four top cards—the Kings—and interposes his little finger.) (To a lady:) " To To be able to choose among four Kings is certainly an enviable position for a lady. But four Kings will now form an alliance in that small space covered by your hand. Which was was your choice choice again?" ("Spades.") (The professor takes the King and the three cards with his right hand, exhibiting them fan-shape, but taking care that nobody sees the eight on the back of the one card. Saying:) "Here is your King and his Court, . . ." ( After this superficial showing, he pushes them together and "changes" them for the four regular Kings on top. Pointing to the others on the table:) ". table:) ". . . and here are the other three! Now then, once more, here is your King . . ." ( Raising ( Raising the four four cards, without showing anything but the King of Spades; then lowering the hand he spreads the four Kings into a fan. The audience think they are the one King and the three spot cards, which belief is strengthened by the words:) ". words:) ". . . and the three spot cards." ______________ _______________ _ *This is rather vague. It will be found better to pass all four to the top and then "slip" the King of Spades on the top.— Ed.

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(Handing the four cards to a lady:) "Please cover these with your hand!" (Done.) "Which King would you choose next?" (One of the three is mentioned.) "This one? Very well. Here is the King and three spot cards." (The four cards are pushed together and taken up as shown in this illustration: he lifts his hand, pushes the lowest card between the finger tips with the thumb (see illustration on page 73) and throws it on the table, face up, with the words:) "The first card is not a King." (Then ( Then the second lowest card .) .) "The second card is not a King." ( Now instead of the third lowest card, the King is pushed out with the finger tips and put on the table King down and eight (the reverse side) up.) up.) " The The third is not a King!" (The right hand holding the fourth card is stretched out to the right, so that the audience can only see the reverse side, and then:) "Now then:) "Now comes King of Spades. He's gone!" (With these words the right middle finger is snapped against the card from below and it is thrown to the others. All the cards are thrown on the table in such a manner that the unprepared cards are together in one heap while the prepared ought to be thrown a little to one side (but so it is not noticed) in order to have the three together at the finish when they must be disposed of. The above maneuver is repeated with the other cards and the same remarks used .) .) " Now Now comes the King of Diamonds—and at last King of Hearts. Now please look at the cards under your hand; the four Kings in the order named." (While the spectator turns over her cards the professor "passes" the four top cards to the bottom, thus putting the King of Clubs at the the bottom. Now he puts the pack an the three three prepared cards (face down), gathers the other cards on

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the table and puts them on the pack. The four prepared cards are now the lowest. Now the pack is taken up, the four lowest cards being taken away by the "bottom palm," hidden, and the pack handed handed out for inspection.) ______________ ______________ In an earlier version of this experiment Hofzinser put three other Kings under the one to be chosen, and then forced this packet; after which the chosen packet was given to a person to hold. To force the choice of the packet Hofzinser used us ed a method employing a faked die; though by doing this it was not possible to allow a free choice of the packet, which is the beauty of the trick which he afterwards worked out, as already described. Ed described. Ed

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HOFZINSER'S CARD CONJURING EXPERIMENTS WITH PRE-ARRANGED PACKS

DOMINATION DOMINATION OF OF THOUGH THOUGHT T (First (Fir st Met Met ho d ) Preparation

HERE we need three packs: 1. An ordinary 32-card pack, arranged according to the schedule No. 1; 2 and 3. Each an assembled pack, one of 30, the other of 27 cards, so selected that the two consist of entirely different cards. The selection and arrangement is as follows: 1 Ace of Hearts Ace of Spades Spades Ten of Spades Ten of Hearts Jack of Diamonds Jack of Spades Nine of Hearts Nine of Spades King of Clubs

King of Diamonds

Eight of Spades Queen of Diamonds Seven of Hearts Ace of Clubs Ten of Diamonds Jack of Hearts

Eight of Hearts Queen of Clubs Seven of Spades Ace of Diamonds Diamonds Ten of Clubs Jack of Clubs

Nine of Clubs

Nine of Diamonds

King of Spades Eight of Diamonds Queen of Hearts Seven of Clubs

King of Hearts Eight of Clubs Queen of Spades Seven of Diamonds

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2 Eight of Hearts

Ten of Clubs

Ten of Clubs

Eight of Hearts

King of Diamonds

Nine of Spades

Nine of Spades

Ten of Diamonds

Queen of Clubs

Ace of Clubs

Ten of Diamonds

Jack of Diamonds

King of Spades

Queen of Clubs

Nine of Hearts

Nine of Hearts

Seven of Spades

King of Spades

Ace of Clubs

Eight of Clubs

Jack of Diamonds

King of Diamonds

Eight of Clubs

Seven of Spades

Seven of Diamonds

Jack of Spades

Jack of Spades

Seven of Diamonds

Ace of Hearts

Queen of Hearts

These two packs are on the table. 3 Ten of Spades

Ten of Spades

Jack of Hearts

Jack of Hearts

Nine of Clubs

Nine of Clubs

Queen of Spades

Ace of Diamonds

Ace of Diamonds

Queen of Spades

King of Clubs

Ten of Hearts

Ten of Hearts

King of Clubs

Ace of Spades

Ace of Spades

Queen of Diamonds

Queen of Diamonds

Eight of Spades

Eight of Diamonds

Jack of Clubs

Jack of Clubs

Nine of Diamonds

Nine of Diamonds

Seven of Clubs

King of Hearts

Seven of Hearts

This pack is placed within easy reach. 82


Remarks and Instructions

"In this experiment I shall omit any and all material combinations and shall take the liberty of subjecting your thoughts to my superior influence. I hope you will pardon my audacity! "I shall place one card on the table and assure you that it will neither disappear nor be exchanged." (The professor puts the top card of the pack (the Ace of Hearts) face down on the table.) "Here is another pack." (Pack No. 2 is handed to somebody.) " Please Please look over these cards and remember one of them." (Done.) "Have you made your choice?" (Answer: "Yes.") (Answer: "Yes.") "Now please let this choice be your constant thought and do not change it. Of course, this selection was made of your own free will, without without being influenced by anybody?" "Yes? Sorry to correct you, but really you are mistaken. You acted under my influence (I had almost said hypnotic influence) which compelled you to think of exactly the same card which I placed here on the table." (During this conversation, Pack No. 3 is taken from its hiding place and palmed in the the right hand.) hand.) "May I now ask you to return the cards to me?" (The professor receives the pack, exchanges it for the palmed one by the "bottom palm" and hides it.)* "But no! Just keep it for a while." (Now he hands over pack No. 3, making it, of course, appear to be the same pack which the gentleman previously held.) ______________ _______________ _ *Hellis Change No. 2 may be used for this substitution. See Modern agic , p. 33 (Sixth Method); Expert at the Card Table, p. 150.— M agic Ed.

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"To prove my assertion, I shall cause the card which you selected, that is your thought, to disappear without touching your cards. I only say: 'Passez-la!' and your thought has vanished! Which was your card?" (It is named; at the same time the professor takes the complete pack No. 1 and passes the card which is mentioned to the top (by remembering the schedule it is easy to locate the card);* card) ;* then he puts the pack back on the table.) table.) (During this maneuver:) "Any maneuver:) "Any change would be impossible, for you are holding the proof in your hands. Please convince yourself that your thought is not in the pack." (The gentleman investigates. Answer: " No.") No.") "This is correct?" ("Yes.") "Do you want me to turn up this card? Yes! All right. Then you will permit me me to do so with with this card." card." (The professor takes the top card of the pack—which is identical with the selected card—with thumb and forefinger at the middle of the right margin, and pushes it under the Ace of Hearts on the table until the thumb can reach this card. Then the thumb pulls it over the other card to the right, so that the Ace is now between thumb and middle finger where it is held, while the second card is released and only touched by the tip of the middle finger. The whole hand now makes a movement to the left by which the card is turned face side up. The Ace is immediately replaced on the pack. If well executed, the whole maneuver creates the impression that the card on the table has been turned over by the first card on the pack.+ Then, pointing to the turned card:) card:) "Here is your thought! Quod erat demonstrandum!" ________________ *Full particulars of this useful sleight are given by Erdnase on p. 61 of Expert at the Card Table, q.v.—Ed. +Mexican Turnover. See Expert at the Card Table, p. 122.—Ed. 122. —Ed.

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DOMINATION DOMINATION OF OF THOUG THOUGHT HT (Seco (Secon n d Method Meth od ) Preparation

FOR this piece we need three packs arranged in exactly the same manner as those in the preceding chapter. The top card of the 32-card pack is a prepared card; it has two backs—no pictures nor spots. There are also sixteen cards distributed in the following manner: 1. Right coat pocket—Ace, Queen, Ten and Eight of Hearts. 2. Left coat pocket—Ace, Queen, Ten and Eight of Clubs. 3. Right trouser pocket—King, Jack, Nine and Seven of Diamonds. 4. Left trouser pocket—King, Jack, Nine and Seven of Spades. If more convenient, these sixteen cards may be put in an "assorting case" and put in one pocket. Remarks and Instructions

"Thoughts are products of the mind, and consequently of a psychological nature. Therefore they are invisible, inaudible, and unfathomable. It is said that thoughts are not taxable. Why? Just because they are unfathomable, unfathomable, otherwise our wise legislators would surely have found a way to impose a tax upon them. Now, of course, there is no rule without exception. The unfathomed depth of the soul unveils its mysteries to the omniscient magician. He not only investigates the hidden thoughts; he directs their course—yes, even predominates over them at his own will.

85


"I shall now prove my remarks and compel your thoughts to run in the same channel as mine, a thing that can be done under favorable conditions. You doubt my words? You think I am deceiving you? To convince you, I shall furnish three witnesses." witnesses." (The professor takes the top card from the complete pack and puts it on the table.) " I put your thought here on the table. Or, better still, I will put it in your handkerchief. Will you kindly lend me yours?" (The card is wrapped in the handkerchief and put on the table. Then pack No. 3 is handed to the lady:) lady:) "Here is a pack of cards. Will you examine it then pick out one card and keep in it your mind?" mind?" (Done.) "Have you chosen one?" (Answer: "Yes.") (While the lady makes her selection the professor takes the third pack of 27 cards from its hiding place and palms it. Now he takes the second pack from the lady's hand and exchanges the two packs by the bottom palm, and with the left hand hides the first pack.) "Please keep your mind fixed on the selected card without changing it. I shall now cause your thought to disappear from the pack—into my pocket. Please name your thought." (Done, for instance, instance, King of Diamonds.) Diamonds.) "Aha! King of Diamonds! I take it out of the pack —invisibly— so—, like this, and put it in my pocket." (The professor makes a movement as though extracting the card from the pack without touching it then proceeds of course empty handed, as if throwing a card in the direction of his pocket—the one in which he has concealed the card in question.) "And to prove my words, I shall now put it on the table." (With these words the King of Diamonds is taken from the pocket and put on the table, face down.) " Please Please convince yourself. Now please shake the card from your handkerchief."

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(The complete pack (32) is taken up and the King of Diamonds passed to the top. As soon as the card from the handkerchief handkerchief is on the table the professor takes the top card and proceeds as described in the preceding chapter. Then, pointing to the two Kings of Diamonds:) Diamonds:) "Now you see the King of Diamonds is there, and here too. Two witnesses! Any you yourself are my third witness. Therefore, I have three witnesses to prove the truth of my words." (If anybody wishes to convince himself that the selected card actually has disappeared from the pack he is permitted to examine it superficially (No. 3, 27 cards). It is then disposed of.)

87


88

HOFZINSER'S CARD CONJURING EXPERIMENTS WITH DIVIDED CARDS

REMEMBER AND FORGET (First Method) Preparation

A PACK of 32 cards is required. On top are six selected cards in a pre-arranged order; for instance, Ace of Clubs, Ten of Diamonds, King of Spades, Queen of Diamonds, Ten of Clubs and Eight of Hearts. Black and red colored cards alternate. The last card but one in the pack is a divided card (King of Spades— Queen of Diamonds). While the 1st, 2nd, 5th and 6th cards may be selected ad libitum; libitum; the 3rd and 4th must always correspond correspond with the divided card. Remarks and Instructions

(The professor shuffles the cards without disturbing either the six top or the two lowest cards.)* cards.) * " With your permission I shall now change an impossibility to a possibility, by remembering and forgetting. That does not sound very clear, but in the end I shall solve the problem to your satisfaction. satisfaction. I am going to count some cards on to the table until it pleases you to stop me." (He puts card by card on the table, face up, until someone says "Stop." Not less than the six preselected cards, however, must be put down. As soon as he is stopped, he puts the pack aside, picks up the counted cards, and distributes them with the words:) ______________ _______________ _ *Any false shuffle which leaves the arrangement of the whole pack undisturbed may be used. See Expert at the Card Table, p. 159; The Modem Conjurer (C. (C. Lang Neil), p. 53 (1st Edition); Magician's Tricks, p. 21.— Ed.

89


"Now I am going to distribute some of these cards. Two to you!" (to a person to the left). "And you, two!" (to (to a person in the middle). middle). "And you, two!" two!" (to a person to the right). (Any cards left over are put back on the pack. This is taken up and the two bottom cards passed to the top, thus putting the divided card uppermost.) "Please look at these two cards. One you will remember; the other you must forget. To remember is difficult, to forget is easy, because what you forget you know no more." (The professor now takes the two cards held by the first person and shows them both. (It is well to mark the selected cards on the reverse side so they can be recognized at once by the professor. Then:) Then:) "Have you remembered one card and forgotten the other?" ("Yes.") "I shuffle these two cards, so neither you nor I can know which is which." (So saying, he shuffles the two cards sideways, as shown in the illustration. The hands are held low and the cards face the table.)

"Your thought I put here on the table." (Done.) " The The forgotten card I put between the other cards." (The top card (the divided one) is pushed out a little with the left thumb, so that the right hand can easily push the second card under it. Then the second pair of cards is taken up.) up .) " Have Have you remembered one card and forgotten the other?" ("Yes.")

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"I shuffle these two cards as I did the others. Neither of us can tell which is your card." ( Now both cards are put together so that neither protrudes, taken up at the lower right corner with thumb and index finger of the right hand and changed for the top (divided) card, the little finger being interposed between these two and the others.) "Your thought is now there on the table, the forgotten card in the pack." ( He puts down the divided card, takes the two separated top cards and puts them (apparently one card) anywhere into the pack. Then to the third person: (taking up the last two cards).) cards).) "Now will you, too, remember one card and forget the other? You have done so?" (Answer: "Yes.") "I shuffle these too, to prevent anybody from knowing the position of the remembered one. Your thought I put on the table." (Shuffles as before. The professor puts the marked card down.) "The forgotten one goes back into the pack." (This card is put into the pack under the top card so that the two top cards are the two belonging to the first and third pair.) "Do you consider it possible for a human being to know the thoughts of another?" (Answer: "No!") (Answer: "No!") "Perhaps not always! But sometimes it is, for your thoughts are here on the table." (To the first person:) "Will person:) "Will you name your thought?" (He does so. If the card happens to be on the table, it is shown, then changed for the top card, and this is put on the table as the selected one (of course it has to be done so quickly that nobody notices the change). change ). If, however, the card on the table is not the right one, it is taken up, changed, for the top card, this one shown as the selected one, then again changed for the top card and this one replaced on the table, creating the impression that it is the exhibited card, while of course it is the same that was originally on the table.)

91


(To the second person:) person:) "And your thought?" (It is named, either King of Spades or Queen of Diamonds. The professor shows the respective half of the divided card, covering the other half.) (To the third person:) person:) "And, lastly, we want to know your thought!" (It is told. While asking, the second card of the pack (i.e. the one belonging to the third pair) is passed to the top. When the answer is given, the professor goes through the same maneuver as with the first pair, leaving that card on the table which has not been called. Then the pack is placed on the left side of the table. Now he continues:) " It It seems to be another impossibility for me to know the forgotten cards. Now, if you really should have forgotten the other cards, as I commanded you to do, I must aid your memory a little. I pick up your thoughts once more! And say: ' Changez! Vite! ' and here is the forgotten card!" ( He names the three cards hesitatingly as if slowly calling them to mind, and at the same time takes the cards in the left hand so that the latter receives them at the (till that time) upper margin. The first and third card must not be seen when picked up; the second, however, is quickly shown, keeping the lower half well covered. Now he holds the three cards fanshape in the left hand (the divided one in the middle), knocks with the right middle finger on the reverse side, and raising the left hand the three cards are exhibited and placed on the pack. This is taken up, the two top cards passed to the bottom of the pack, the divided card taken away (Bottom Palm) and the pack handed over for inspection.)

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REMEMBER AND FORGET (Second Method) Preparation

A PACK A PACK of 32 cards is required. On top are three divided cards as follows: First card: Jack of Diamonds—King of Clubs. Second card: Queen of Hearts—Queen of Spades. Third card: King of Hearts—Jack of Clubs. The six lowest cards correspond with the three divided cards and are arranged as follows, counting from the bottom up: up: Bottom card: Jack of Clubs; next, King of Hearts; next, Queen of Spades; next, Queen of Hearts; next, King of Clubs; next, Jack of Diamonds. The red halves of the divided cards are lying towards the audience and may be marked. Remarks and Instructions

"I am going to put three cards on the table." (The three divided cards are put on the table, face down, side by side.) "Now this trick owes its existence to a rather peculiar coincidence. At one time I had a very dear friend, a veritable living Jack of Hearts, for he had two hearts— a pathological condition—which occurs quite frequently. He loved two girls at once with the same deep passion. Inasmuch as the law would not make an exception in his case and permit him to have two wives at the same time, he had to choose—willy-nilly—bet choose—willy-nilly—between ween the two. I happened to call on him just at the psychological moment, when he had made his decision. He said: ' Now prove your power of divination. Tell me the name of my chosen one! ' And I told told him . . .!

93


"Now I want to repeat this here to-night, but in order not to embarrass anyone present I shall choose as the objects to be revealed—the cards! And to prevent any suspicion on your part that the exhibition of my powers might be simple guesswork, I shall pre-determine the results of your thoughts not once but three times—three times in advance! I shall first shuffle the cards." (He shuffles without disturbing the six lowest cards. Then these are passed into the middle of the pack, where they are held ready to be forced in the pre-arranged order.) (To a lady:) lady:) "Will you kindly draw two cards?" (He forces the Jack of Diamonds and King of Clubs. On another lady he forces the Queen Queen of Hearts Hearts and Queen Queen of Spades.) Spades.) (To a third lady:) lady :) "And you also, will you draw two cards please?" (He forces the King of Hearts and Jack of Clubs.) " Now Now please keep those two cards well fixed in your mind, just as my friend always remembered the image of his two young ladies." (To the first lady:) lady:) "Have you been so kind as to memorize them?" ("Yes.") "Then will you place the cards back into the pack?" (The lady does so.) (The same question is made to the second and third lady. When the six cards are in the pack, he says to the three ladies:) " Now Now I must request you to choose one of the two cards, that is, one you must remember, the other you must forget. Have you decided?" ("Yes.") "Undoubtedly you will admit that I cannot know which card you impressed on your memory and which one you forgot. And yet these three cards which I put on the table (pointing to the three divided cards) cards) must be be the same ones or must change into them. Now I put them right before your eyes on top of the pack (he does so) so) and bring them into close communication with your your thoughts." thoughts."

94


(The three cards are put back on the table. Then to the first lady:) "And lady:) "And here is your thought!" (To the second lady:) "Here lady:) "Here is your thought!" (To the third:) "And third:) "And here is your thought!" "But now I must ask you to be sure to tell me the right card! If you should deceive me I would have no redress, I could not complain, for all proof would be lost." (To the first lady:) "Which lady:) "Which was your selection? It is here on the table!" (The lady names the card. Conforming to the selection, the divided card is picked up either at the right upper or the left lower corner, and the correct half exhibited, keeping the other half well covered.) (To the second lady:) "And lady:) "And your card, please?" (During this question, the divided card is grasped between the tips of the first and middle fingers along the side margin and by the bottom change exchanged for a spot card, which is put on the table as if this was the exhibited card. The second lady names her card, and the second divided card is shown as before. Then, addressing the third lady:) lady:) "And yours, please?" please?" (The second divided card is changed as was the first and a second spot card put on the table. Then the same manipulation is made with the third divided card. Now the three divided cards are together at the bottom of the pack; they are taken away by the bottom palm, hidden, and the pack put on the table.) "So then here are the three selected cards! But why did you give these the preference? Why not the other three? Would you like to see the forgotten ones too? Nothing easier! I say 'Allez! March! '" (The professor takes up the three cards, spreads them fanshape, face down, knocks with the middle finger en the reverse side and shows them.) " They They are no more the selected ones, consequently they must be the forgotten forgotten ones!"

95


(Answer: "No! (Answer: "No! No!") "No? How can you tell? Surely you cannot know what you have forgotten!"

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REMEMBER AND FORGET (Third Method) Preparation

THIS piece requires a pack of 52 cards. The 32 high cards (the piquet pack) and the 20 low ones are lying together in two separate packages. packages. The four top cards of the piquet pack are the following—in following—in the order named: Ten of Hearts, Queen of Hearts, Jack of Clubs and Ace of Diamonds. The last card but one shows only two

Diamonds; and the last but two is a divided card, Queen of Hearts—Jack of Diamonds. The two top cards of the "low" package are, for instance, Five of Spades and Three of Diamonds. Remarks and Instructions

"Of course to remember anything is more difficult than to forget. To forget is easy, for what you forget you do not know any more. "Now I shall carry out—before your eyes—exactly what two or three persons will resolve in their minds to do. I admit that this statement sounds rather enigmatical but the results will prove that I am right!" (The professor takes up both packages, holding them face up, and shows them.) " Here Here is the piquet pack; here are the low cards. I take a few of each from here—(he here—(he puts the six top cards of the piquet pack on the table)—and table)— and from here. (Adds the three top cards of the "low" ones.) I ones.) I think that will be sufficient."

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(The "low" package is put aside and the piquet pact held in the left hand. Then the nine cards on the table are handed to a lady.) "Here are a number of cards. Please count and shuffle them— so!" (Done. The cards are returned and spread side by side on the table.) "Nine cards, no more, no less!" (During this, the three bottom cards are "passed" to the top, which makes the two prepared cards the top ones. Then he takes the Ten of Hearts and Five of Spades from the table and shows them to a person on the left.)

" Please Please look at these two cards and remember one of them. Ready?" (Answer: " Yes.") (The two cards are fingered so that their positions continually change. One of the two, for instance, Ten of Hearts, is marked by bending the lower right corner, which makes it easily recognized.) recognized.) " I shuffle them, so that it is impossible to say which card is on top and which at the bottom. The card, however, which you remembered I place here." (The professor puts the marked card on the table after having straightened the corner again.) "The other I return to the pack." (He puts it back as the third from the top. Then he takes up the Queen of Hearts and Jack of Clubs. (Same manipulation and conversation as before, but before he puts down a card on the table, he "changes" the two for the "divided" card on top, and interposes his little finger between the two top cards and the balance).) balance) .)

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" The The selected card I place here on the table." (Puts down the divided card.) "The other I return to the pack." (Puts the two top cards (which are held separately) anywhere separately) anywhere into the pack. Now he takes up the Ace and the Three of Diamonds (proceeding the same as before).) before).) " I think that the number of cards used will be sufficient evidence to prove that this is no guess-work. But I must implore you not to change the object of your thoughts. You cannot deceive me, but even if you attempt to do so, how can I prove your thoughts?" (Pointing to the three cards on the table:) " Now " Now here are the three cards which you were kind enough to fix in your memory; I have done exactly what you mentally resolved to do. Will you please name your cards?" (This is done.) "Now then for a grand manifestation of the truth. You said: ' Ace of Diamonds'—here Diamonds'—here it is!" (The professor shows the prepared card, covering the upper spot, which creates the impression that it is the Ace. Then it is replaced on the table. If Three of Diamonds is called, the card is shown in such a way that the vacant spot is covered and the audience will suppose the third spot to be covered by the hand.) " Then Then (for instance) Queen instance) Queen of Hearts!" (The second card is shown (either upper or lower half, according to contingency) and replaced .) .) "And Ten of Hearts!" (It is shown. If "Five of Spades" should be called, the Ten of Hearts would have to be "changed" for the top card (which is the card wanted). After exhibiting the third card this is "changed" for the "forgotten" one and the latter placed on the the table.) table.) " Now Now an important question!" (The pack is put aside.) " Do Do you know the ' forgotten ' cards? Or may

99


I aid your memory and show them to you as well? Here are the cards which you remembered———! "Ten of Hearts!" (It is taken up, and without being shown, placed in the left hand which holds it at the upper narrow margin.) "Queen of Hearts!" (The divided card is shown (half covered) and put in left hand.) "And Ace of Diamonds! Was it not?" (The third card is shown as such and put in the left hand which holds the three cards like a fan.) "Now if I take the three cards together—like this— and say: 'Change! Pass!' (The professor knocks with the right middle finger on the back of the fan in the left, and raises the left hand, showing the faces; at the same time the right hand picks up the pack.) "Voila! pack.) "Voila! Your forgotten cards Five of Spades, Jack of Clubs, and Three of Diamonds!" (The three cards are put on the pack, the two prepared ones secretly removed, and the pack given over for inspection.)

100


OMNIPOTENCE OF THE LADIES Preparation

WE need a pack of 32 cards. On top we place the following cards in this order: 1. Queen of Clubs 2. Queen of Spades 3. Queen of Hearts 4. Queen of Diamonds 5. Nine of Hearts 6. Jack of Clubs 7. Ace of Diamonds 8. King of Spades The following cards are held in readiness (in a pocket) in the order named and so placed that when they are taken out the fingers will touch the upper halves of the "divided" cards, i.e., the Queens. 1. Nine of Hearts 2. QUEEN OF HEARTS JACK OF CLUBS 3. Ace of Diamonds 4. QUEEN OF DIAMONDS KING OF SPADES Remarks and Instructions

" Only Only the ladies are perfect in this world. They are, we might say, a magnetic pivotal centre, around which everything moves. To prove the truth of this assertion, I shall remove all the ladies (the Queens) from the pack —or may I first offer you a card?" (The four Queens are passed to the middle of the pack and then forced on four ladies. "Pass" back, putting the Nine of Hearts, etc., on top.)

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"Now you see the mutual affinity! The ladies kindly selected the four ladies from the pack. Please convince yourself—there is not a Queen left in the pack." (The professor fingers the pack, showing the cards and the absence of the Queens. Then he interposes the little finger between the four top cards and the balance, holding them ready for the "change." Gathering up the four Queens and arranging them so that the Queen of Clubs is the first, Queen of Spades the second, Queen of Hearts the third and Queen of Diamonds the fourth card, he holds them in his right hand as shown in the illustration.)

" And now the ladies will twice alter their positions. In the first f irst place, all the ladies will vanish from my hand and reappear in conformity with your wish. In the second, each lady will change places with a card which you yourself shall determine." (During this conversation, the four Queens are pushed together on the table, picked up with the first and middle fingers and changed for the four separated top cards. The right hand moves as little as possible. It is best held firmly against the body until the change has been effected. Then with a somewhat agitated movement of the left hand—implying emphasis:) "But emphasis:) "But will you kindly hold the four ladies yourself?" (The hand is stretched out towards the person to whom the cards are given as if they are the four Queens.) "Now I take four cards; it is immaterial which ones: one, two, three, four!" (The professor puts the four Queens on the table, face down. in this order: Diamonds at the bottom, then 102


Hearts, then then Spades, and, on top, Clubs. Clubs. Then he picks picks them up with the right hand.)

"And now all the ladies shall vanish from your hand and reappear in mine!" (He spreads the four Queens fan-shape without showing the pictures, then raises his hand, exhibiting the Queens.) " See See how they assemble in my hand. Here they are —all four! Clubs, Spades, Hearts and Diamonds!" (He puts the pack aside and takes the Queens in the left hand; then, addressing the person who is holding the four cards:) "Which cards did chance put in your hands?" (The professor takes up the four cards, shows them and distributes them among four persons, beginning on the left.) "Nine of Hearts, Jack of Clubs, Ace of Diamonds and King of Spades! Now for a transformation of each one of these ladies!" (The Queens are shown again, and the pack given to someone; holding them up:) " Please Please inspect the pack and convince yourself that, except for these four Queens, there are none in the pack." (During the inspection, the professor takes the four prepared cards from his pocket and palms them (backs towards the palm). Before receiving the pack back, he puts them on the four Queens (in taking the latter from the left hand), then, holding these eight cards with the right hand, middle and third fingers at the upper, and the thumb at the lower narrow margin, he receives the pack with the left hand. Now he pushes the thumb and fingers of the right hand together repeatedly, thus bending and releasing the eight cards intermittently, making it impossible for the audience to observe the number of cards.) cards.)

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"I have heard people say that ladies are not yielding. I have not found this so; I must say the ladies are very yielding, provided you can make make the right impression." impression."

(The eight cards are put on the pack in plain view. Naturally they will remain somewhat bent, but they are left so. Then the four top cards (the prepared ones) are put face down on on the table, table, one by by one, from left to to right.) " I replace the four ladies! Here is the Queen of Clubs, here Hearts, here Spades and here Diamonds!" Diamonds!" (On top of the pack are the four Queens (belonging to the pack), also a little bent. The back is taken up and bent in the opposite direction, thereby straightening the four cards. Then:) Then:) "Without flattering myself, I must admit that I am somewhat proud of the impression which I made on the ladies because it is so lasting." ( Pointing to the four cards on the table.) table.) " But But my good manners compel me to efface the impression again by a counter pressure. First I take the Queen of Clubs." (The professor puts his right middle and third fingers on the first card to the left (which (which in reality reality is not the Queen of Clubs, but the Nine of Hearts, and lifts the near end, thus straightening the card. See illustration.) illustration.) " Now Now the second lady, the Queen of Hearts, . . ."

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(This time he puts his thumb on the card and with first and second fingers lifts the outer end (see illustrations), thereby showing half the divided card (Queen of Hearts) the same as with the Queen of Clubs.) Clubs. )

". . . then the third—Queen of Spades—and lastly, the fourth— Queen of Diamonds. All impressions are effaced and the Queen of Clubs will show us the favour of changing into your card. Will you name it?" (Answer: "Nine of Hearts!" The card is taken from the lady and replaced in the park.) " I take this Nine of Hearts and cut it into the pack, so that it cannot escape." (Then he takes the left hand card (actually the Nine of Hearts) at the right lower corner, between first finger and thumb.) " Allons! Done! Done! Change!" (The Nine of Hearts is shown. Then the hand is lowered and the card held ready for the change.) (To the lady:) "Now lady:) "Now the Queen of Hearts will change into your card!" (With these words the Nine is "changed" for the top card (Queen of Clubs) then the left hand points to the second card on the table (the "divided" card, Queen of Hearts and Jack of Clubs); he acts as if he thinks the audience is suspecting that the Queen of Hearts is not the alleged card and as if he wants to enter a protest against such a possibility.) "What? You think . .. I. .this card is not the Queen of Hearts? Good Heavens! I have hardly touched the card but in order to convince you I will show it." (The respective half of the

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card is shown and replaced on the table.)* table.) * "Now will you name your card?" (Answer: " Jack Jack of Clubs!") "Jack of Clubs! I put 'him' into the pack . . ." (He feigns putting it into the pack.) "I take the Queen of Hearts and say: 'Allez! Change to the Jack of Clubs!'" (The divided card is shown superficially (covering the lower half). Now the card is quickly turned in this manner: The thumb and first finger hold the card so as to form a pivot, while the other fingers turn the card (make half turn). The back of the card is held towards the audience far from the body while the turn is made. Then this half (the Jack) is shown, while the other half is covered.) covered. ) ". . . And here we have the Jack of Clubs!" (The card is put face down on the table, the Jack half towards the audience. Incidentally the two top cards are transposed, thereby placing the Queen of Spades on top. The audience will not pay any attention to this or give it any consideration consideration .) (To the third lady:) " Now Now the Queen of Spades will change places with your card! Which is yours?" ( Answer: Answer: "Ace of Diamonds." The card is received.) "I put it back into the pack and take the Queen of Spades." (Done.) (He picks up the Ace of Diamonds, without showing it.) "Madam, will you kindly change into the Ace of Diamonds?" (Making a profound bow.) "And bow.) "And here it is!" (Exhibiting card.) ______________ _________________ ___ *Provided these divided Court cards are well made (so that the join is invisible), there is no need whatever to cover all the lower half when showing them. It is quite sufficient to conceal the lower index, and even this will pass unnoticed if of the same color as the top one (for instance, Heart and Diamond). It is a psychological fact that all forms of reading are done mainly by noticing the top halves of the letters, and the same thing applies when observing playing cards. This principle may well be borne in mind during the study of this book, as its application increases an effect very considerably.— Ed.

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(The Ace of Diamonds is now "changed" for the Queen of Spades, then pointing with left hand to the alleged Queen of Diamonds, the card in the right hand is put on the table as the Ace of Diamonds.) Diamonds.) (To the fourth lady:) "And, lady:) "And, lastly the fourth card, the Queen of Diamonds, is going to change into your card! Which is yours?" (Answer: "King (Answer: "King of Spades!") "King of Spades? Very well, I'll treat him like the rest of the cards and replace him into the pack." (It is returned to the pack.) "So ... now he cannot escape. I take the fourth lady, the Queen of Diamonds, and say: ' Change! '" (He picks it up as the Queen of Hearts, making the movement of a badly executed substitution, thus causing the audience to think the card had been exchanged.) * "I beg your pardon! You think the Queen has changed already? Oh, no, it has not! See!" (The half card, i.e. the Queen is shown, keeping the other half well covered.) "Amongst four ladies there is bound to be one who will not obey! But again I say: ' Changez vite! '" (The card is turned as described with the Queen of Hearts; then covering this, and showing the King of Spades, he says:) "And here is the King of Spades." (The card is put on the table, face down, the King towards the audience. The pack, which until now has been held in the left hand, is laid aside.) " Now Now I will give you a brilliant proof of the ladies" mighty power. To this end I again take the four selected cards." (Addressing the first lady, seemingly absorbed in thought:) "Nine of Hearts, was it not?" ______________ _________________ ___ *It seems to me that this feint is best omitted as its absence does not affect the trick's progress, though its introduction gives an impression of clumsiness and spoils the general atmosphere by suggesting trickery.— Ed.

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(The professor picks up the Nine of Hearts to the left (it is, in fact, the Queen of Clubs) with his right hand at the near lower margin and transfers it to his left hand, describing a half circle so that the upper margin will reach the left hand first. ) (Then, to the second person in the same way:) "Jack way:) "Jack of Clubs?" (Picking it up in a like manner and transferring it to the left hand, after the Jack (the upper half), has been shown superficially.) (Then, to the third person:) "Ace person:) "Ace of Diamonds?" (The third card, the Ace of Diamonds (in fact, the Queen of Spades) is picked picked up and put put in the left left hand as before.) before.) (To the fourth person:) "And person:) "And King of Spades!" (It is picked up, etc., like the Jack. Now the four cards are held fan-shape in the left hand which is held low down all the time.)

" Now, Now, I claim that when there are no ladies in the game, all interest ceases. I would, most humbly, entreat the ladies ' please return to my hand '—and see the power of the ladies!— here they are!" (With these words the left hand is raised, thus exhibiting the four Queens. The right hand grasps the third and fourth cards and holds them between thumb and forefinger. forefinger. Since the first and third cards are ordinary, the audience is convinced that none of the cards are prepared. The professor now holds two cards in the left and two in the right hand, and says:) "Clubs, Hearts, Spades and Diamonds!"

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(Both hands are lowered, the third card is pushed between the first and second, thus laying the second and fourth (the "divided" ones) together. Before pushing them together, he interposes the first finger of the right hand between these and the other two and puts the latter (the first and third) into the pack or underneath, underneath, the second and fourth going on top. Now the four "aid" cards are all on top and may be palmed off as the pack is handed for inspection.) inspection. )

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DECEIVE DECEIVE YOUR NEIGHBOUR AS A S YOURSELF Preparation

WE require a pack of 32 cards. The four top cards are arranged as follows: 1. Nine of Hearts; 2. Jack of Clubs; 3. Ace of Diamonds; 4. King of Spades. The following four "aid" cards are placed in a pocket so that the upper halves of the "divided" cards are the Queens, and, when taken out, the backs face the palm of the hand: Nine of Hearts, top card; Queen of Hearts —Jack of Clubs, 2nd; Ace of Diamonds, 3rd; Queen of Diamonds—King of Spades, 4th. Remarks and Instructions

"Here, ladies, is a complete pack of 32 cards! Will you kindly draw one of them?" (Make the pass and force the Nine of Hearts, commencing commencing with a person on the extreme left. On a second lady force the Jack of Club; on a third lady force the Ace of Diamonds; on the fourth lady force the King of Spades. The professor hands the pack to a gentleman.) "Will you kindly take one also?" "Now, sir, I would ask you to pick the four Queens from the pack, unless they have already been taken out." (While the gentleman looks for the four Queens, the professor takes the four "aid" cards from his pocket and palms them in his right hand. When the pack is returned to him, he accepts it with his left hand and puts it on the table a little to the left. Then he takes the four Queens and arranges them as follows: First he puts down the Queen of Clubs, face side up, on this the Queen of Spades, then the Queen of Hearts and uppermost the Queen of Diamonds. He puts them in his left hand, holding them face down.)

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"The scripture says: 'Love thy neighbor as thyself!' But I cannot say so! I must change it into: 'Deceive thy neighbor as thyself!' and do you know, ladies, in what manner a great many people deceive themselves? By imagining themselves somebody else. Now in our case, will you kindly think that you are the Queen of Clubs, you of Spades, you of Hearts and you the Queen of Diamonds." (Pointing successively to the four ladies.) " Now Now I shall permit myself to deceive you by changing these four Queens right before your eyes into the cards which you selected from the pack." (Showing the four Queens with the left hand, holding them fan-shape.) (The right hand takes the Queens from the left, puts the four palmed cards on top of the former and holds all eight cards with the second and third fingers at the upper and with the thumb at the lower narrow margin. Then he bends and relaxes the cards in the same manner as described under "Omnipotence of the Ladies." During this maneuver:) "I maneuver:) "I have heard people say that ladies are not yielding. I do not find this so. I must say the ladies are very yielding, provided you make the right impression." impression." (Picking up the pack, the eight cards are put on top without straightening them.) "Here are the four Queens." (The professor takes the top card as Queen of Clubs (it is, in fact, the Nine of Hearts) and puts it on the table a little to the left, with the words: ) "Here is the Queen of Clubs." (The second card is placed next to it:) " Here Here the Queen of Spades"; "Here the Queen of Hearts" (the third); " And here the Queen of Diamonds." (After putting down the fourth card, the bends of the four cards are straightened (the pack being held towards the body).) body).) " Without flattering myself, I must admit that I am somewhat proud of the impressions which I made on the ladies, since

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they are so lasting." (Pointing to the four cards on the table.) " But But my good manners compel me to efface the impressions again by a counter-pressure. First I take the Queen of Clubs, then the Queen of Hearts, then the Queen of Spades and, lastly, the Queen of Diamonds." "All impressions are now effaced and . . ." (To the first lady on the left:) ". left:) ". . . will you please hand me the selected card?" (The card (Nine of Hearts) is put into the pack without being shown. Then he takes from the table on his left side the supposed Queen of Clubs (which is really the Nine of Hearts) between the tip of his thumb and first finger, without showing the card.) card.) " Here Here is the Queen of Clubs!" (Then, to the lady:) "Which lady:) "Which was your card?" "Nine of Hearts? Fly away Queen! Pass! It is the Queen no longer, but the Nine of Hearts!" (Showing the Nine of Hearts.) " Now Now you see, madam, this is how you would look, if ... if ... yes, if you had nine hearts!" (The hand is lowered, the card shown; "changed" for the top card (Queen of Clubs) and this is put on the table as the Nine of Heart's.) Heart's.) (To the second lady:) "May lady:) "May I ask for the second card?" (Without looking at it, it is put into the pack, then the second card picked up without being shown (Jack of Clubs).) Clubs) .) " Here Here is the Queen of Hearts! Will you name your card? Very good! ' Fly away Queen! ' What! You do not think it is the Queen of Hearts? I beg your pardon, I have hardly touched the card!" (The Queen of Hearts is shown, keeping the lower half well covered.) " But But now I say: 'Go! Pass madam!' ...and here is the Jack of Clubs . . . the second selection."

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(The card is put on the table, the half with the Jack towards the audience; then the second card (the Queen of Spades) placed (by exchange exchange or "pass") on top.) top.) (To the third lady:) "Now lady:) "Now I will ask for the third card!" (It is put into the pack without being shown. Then the third card on the table is picked up with the tips of thumb and first finger.) "Here is the Queen of Spades!" (To the third lady:) "And lady:) "And which is your card?" "Ace of Diamonds! Adieu, madam! Here is the Ace of Diamonds!" (The Ace is shown, then substituted for the top card (the Queen of Spades) and this one put on the table as the Ace of Diamonds. Then the fourth card is taken from the table and (covering the lower half) the upper half (the Queen of Diamonds) exhibited.) exhibited.) "And here is the fourth lady, the Queen of Diamonds, as you see." (The card is placed on the table, the lower half (the King of Spades) towards the audience.) audience. ) (Then to the fourth lady:) "Now lady:) "Now will you hand me your card?" (The card is put into the pack, without being shown; then, picking up the fourth card :) :) "I take the Queen of Diamonds . . . which was was your card?" card?" (Answer: "King "King of Spades!") Spades!") "King of Spades! Voila! Here it is!" (The card is shown, s hown, keeping the lower half well covered.) "But now I must beg your close attention!" (Putting the pack aside.) (The Queen of Clubs is picked up and while he looks at it, the conjurer says:) says:) "I here take ... let me see . . . the Nine of Hearts." (Describing a half circle, the card is put into the left hand. Then the second card is taken up at the lower margin and, addressing the second lady:) lady:) "Here is your card, the Jack

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of Clubs!" (It is shown, half covered, and put into the left hand in the same manner. Then the same maneuver is gone through with the third card.) (Then to the fourth lady:) lady:) "And, lastly, your card— King of Spades!" (It is picked up and having been shown like the second, is also placed in the left hand.) " Now Now I must say that if there are no ladies in the game, all interest ceases; therefore I would most humbly ask the ladies to return to my hand." (Knocking the back of the cards with the middle finger, the hand is raised showing the four cards fan-wise, saying:) "And saying:) "And here they are—all four—Clubs, Hearts, Spades and Diamonds." (Conclude as in "Omnipotence of the Ladies.")

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THE MARRIED HEARTS (First Method) Requirements

A PACK of 32 cards. The Jack of Clubs is on top. Two aid-cards are held in readiness. When taken up the latter are in this position: Queen of Hearts—Jack of Clubs, next to the palm. King of Hearts—Jack of Clubs, next to the other card. The ends showing the King and Queen are next to the finger tips. Remarks and Instructions

" Will you please draw one card which shall represent Cupid, the God of Love?" (The Jack of Clubs is forced and placed, face side up, on the table.) " Aha, Jack of Clubs; I hope that he will play his part well, although one ought not to play with love. Why? Because in playing with love, the best chances are often lost." (To a spectator:) "Will spectator:) "Will you please give me the Married Hearts from the pack, that is to say the King and Queen of Hearts." (The professor holds the two cards between thumb and first finger of the right hand (the Queen on top, the King underneath) and requests the return of the other cards, which are now held in the left hand.) " Here Here are 'The Married Hearts,' the loving couple! I put them here in the pack!" (The thumb and middle finger separate the pack, as shown, and the two cards are pushed in. At the same moment the little finger is interposed between King and Queen and by a "pass"

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the King is put on top and the Queen at the bottom.* The pack is placed on the table.) " Now, Now, being husband and wife, they are inseparable. But quite modern. For he is alone by himself on top . . ." (The top card is picked up, exhibited and put on the table to the right of the pack.) ". . . and she is all by herself down here!" (The whole pack is turned fare side up on the table and the Queen placed to the left. The pack is taken in the left hand.) " When they still still loved each other, they both lived under Cupid's Cupid's wings. After the wedding he moved to the right wing . . ." (The King is turned face down (on the right side).) ". . . and she moved to the left wing." (The Queen is picked up and substituted for the top card, which is put face down on the table as the Queen of Hearts. Then the Queen is passed to the bottom.)+ bottom.)+ "Now then. Where is 'he'?" (Answer: "On the right!" The King is picked up by the right lower corner and shown. Then it is held ready for the top change.) " And where is is ' she '?" (Answer: " On On the left!") (During this question the King is substituted for the top card and this is put on the table (to the right) as the King. If a person should say: "On the left!" the professor only points to the card on that side. The pack is now placed in the middle between the two cards (supposed to be the King and Queen of Hearts).) Hearts).) _______________ _______________ *The Charlier Pass may be utilized here.— Ed. here.— Ed. +By employing the Bottom Change the Pass becomes unnecessary.— Ed,

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"But I only say: Change! And again he is up here all by himself . . ." (The top card is turned over face up to the right) ". right) ". . . and she is all alone down here." (The whole pack is turned face side up, the Queen of Hearts exhibited, and then put on the left side of the pack, back uppermost.) (Pointing to the two end cards:) cards:) "You think 'The Married Hearts' are here too? Oh, no!" (Both cards are turned face up.) " Will you kindly inspect the pack and convince yourselves that there is but one Heart-Marriage?" (Pointing to the King and Queen of Hearts.)

(The two end cards are put on the pack which is handed to somebody in the audience. While he inspects, the professor palms the two aid-cards (which he had hidden somewhere) in the manner described under "Preparation" (backs towards the palm). With the left hand he puts the King on the Queen and both on top of the pack as soon as it is returned. At the same time he reaches for the pack with his right hand, placing the two palmed cards on it. The pack remains on the table .) "Now, ladies, I will ask you to try your luck again. Here is Cupid, the God of Love." (The Jack of Clubs is picked up

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with the left hand and shown.) "Here' "Here' he' is." (The top card (i.e. the aid-card) is picked up with the right hand and shown (the lower half well covered), then put obliquely on the Jack which is on the table so that the King protrudes while the lower half (the Jack) is hidden by the true Jack of Clubs. Clubs. Both cards are put put in the right right hand.) hand. )

" And here is ' she.'" (With the left hand the other divided card (now on top of the pack) is picked up, exhibited (the lower half well covered) and put on the two others in the opposite direction, so that the Queen protrudes on the left side. In this position the three cards are shown once more and then put in the left hand. The hand is lowered.) "Again I put Cupid in the centre." (The right hand pulls the Jack from the trio, shows it and puts it face down on the table.) "'Him' we put on the right as before." (The card is shown (lower half covered) and put face down to the right.) "And 'Her' on the left again." (It is shown as before and put on the left side.) "Now, where is 'He'?" (Spectator points to the right.) "Here?'' (Pointing in the same direction?) " Now Now you see, when we think of the King of Hearts, we cannot evade Cupid, the God of Love." (The Jack of Clubs is picked up, shown and replaced on the table face down.)

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"You doubt me?" (The card on the right side is picked up at the right corner (pushing the fingers under it) and the Jack of Clubs shown while the other half is well covered. ) " Voila!" (The card is put back on the table, face down, the Jack towards the audience.) " And where is is the Queen?" (Audience: "On (Audience: "On the left!") "Here?" (Pointing to the left too.) "Thoughts in connection with the Queen of the heart have the same effect! Immediately we meet that rogue, Cupid! You don't believe me? Well, look!" (The card is picked up, shown and replaced as was the King. Then the pack is picked up and the top card (the King) passed to the bottom in such a manner that it faces the bottom card. The thumb and middle finger are moistened a little and pressed firmly against the top and bottom cards, i.e. King and Queen of Hearts.) "Now we have three Gods of Love! But where is our loving couple? You see they put themselves under my protection. To show you their affection for me; I need only say: 'One, two, three. Come quickly!'" (With these words the professor throws the pack into the right hand, which catches it. Of course, the King and Queen adhere to the thumb and middle finger and, showing them:) "And here they both are! See how they love each other! They are not a bit bashful!" (With these words the cards are made to touch each other a few times. Then the King is placed on top and the Queen underneath the pack.) "Now here we have one loving couple and three Cupids." (The professor picks up the right hand card, shows the upper half (the Jack), and puts it back on the table, describing a half

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circle, so that it lies toward himself. The same is done with the two other cards in a casual manner, in order not to cause any suspicion.) suspicion.) " Though Though this proportion of one to three is not right, it is absolutely modern. There are more artists than faces, more musicians than ears, why should there not be more Cupids than couples? But laying all jokes aside. I have only one complete pack here, consequently only one Jack of Clubs." (The card in the centre is picked up, shown and replaced.) replaced.) "And only one Heart Marriage, and that is here." (Showing the King on top of the pack and the Queen underneath. Then the Pass is made, thus placing the two in the middle of the pack.) "But I say: 'Allez! March!' and the Married Hearts have vanished from here . . ." (The top and bottom cards of the pack are shown and this is put aside.) ". . . and are here, protected by the Jack of of Clubs as Cupid, the God of Love!" (With the right hand the professor takes the card on the right, shows the upper half (the King), covering the lower, and puts it in the left hand; then he shows the left hand card (the Queen) and puts it also in the left hand; lastly the Jack is picked up, shown, and put under the other two so that it covers the two half-Jacks. To the left the Queen protrudes, to the right the King (as shown before). When the cards have been sufficiently exhibited, they are placed in the right hand, and put on the pack which has been picked up with the left. Then the two aid-cards are palmed off and the pack handed over for inspection.) inspection. )

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THE MARRIED HEARTS THE LOVING L OVING COUPLE COUPLE (Secon (Second d Meth Method od)) Requirements

A PACK A PACK of 32 cards is required, with the Jack of Clubs on top. Two aid-cards are held in readiness: King of Hearts—Queen of Hearts—first Hearts—first card; Queen of Hearts—King Hearts—King of Hearts—second Hearts—second card. Remarks and Instructions

"Will you kindly draw one card? Which shall represent Cupid, the God of Love!" (The Jack of Clubs is forced and placed face side up on the table.) " Aha, Jack of Clubs; I hope that he will play his part well, although one ought not to play with love! Why? Because in playing with love, the best chances are often lost!" (To a spectator:) "Will spectator:) "Will you please give me the Married Hearts from the pack? That is to say the King and Queen of Hearts." (The professor holds the two cards between thumb and first finger of the right hand (the Queen on top, the King underneath) and requests the return of the other cards, which are now held in the left hand.) "Here we have "The Married Hearts," the loving couple! I put them here in the pack!" (The thumb and middle finger separate the pack as shown on page 118, and the two cards are pushed in. At the same moment the little finger is interposed between King and Queen and by a "pass" the King is put on top and the Queen at the bottom. The pack is put on the table.) " Now Now they are inseparable, being husband and wife. But quite modern, nevertheless. nevertheless. For he is alone by himself on top . . ."

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(The top card is picked up, exhibited and put on the table to the right of the pack.) ". pack.) ". . . and she is all by herself down here!" (The whole pack is turned face side up and the Queen placed to the left. The pack is taken in the left hand.) " When they still still loved each other, they both lived lived under Cupid's Cupid's wings. After the wedding he moved to the right wing . . ." (The King is turned face down (on the right side)) side)) "... and she moved to the left wing." (The Queen is picked up and substituted for the top card, which is put on the table as the Queen of Hearts, face down. Then the Queen is passed to the bottom.) " Now Now then, where is he?" (Answer: " On On the right!') (The King is picked up at the lower right corner and shown. Then it is held ready for the change.) " And where is is she?" (Answer: " On On the left!") (During this question the King is substituted for the top card and this put on the table (to the right) as the King. If a person should say: "On the left!" the professor merely points to the card on that side. The pack is now placed in the middle between the two cards (supposed to be the King and Queen of Hearts).) Hearts). ) "But, I only say: 'Change!' And here he is up here all by himself . . ." (The top card is turned over face up to the right.) ". . . and she is all alone down here!" (The whole pack is turned face side up, the Queen of Hearts exhibited and then put on the left side of the pack, back up. See diagram on page 119.) (Pointing to the two end cards:) "You cards:) "You think the Married Hearts are here too? Oh, no!" (Both cards are turned face up.) "But I would ask you to inspect the pack and convince yourselves that there is but one Heart-Marriage." Heart-Marriage." ( Pointing to the King and Queen of Hearts. The two end cards are put on the pack and this handed to somebody in the audience.

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While he inspects the pack, the professor palms the two aidcards (which he had hidden somewhere) in the manner described under "Preparation" (backs towards the palm). At the same time he reaches for the pack with his right hand placing the two palmed cards on the same. Then pointing to the Jack on the table:) table: ) " Now, Now, ladies, I will ask you to try your luck again. Here is Cupid, the God of Love." (The King of Hearts is picked up, shown and held ready for substitution.) "On the right wing, ' He.'" (The right hand is lowered and the King substituted for the first aid-card on top and this put on the table to the right. Immediately afterwards the second aid-card is put on top, by exchanging it for the King on top. Then the Queen is picked up from the table and shown and "top-changed" "top-changed" for the second aid-card with the words:) words:) "On the left wing, 'She.'" (And put on the table to the left with the King towards the audience. Then the (divided) King on the right is picked up again, shown superficially, with the words:) words:) "'He' on the right," (and pointing with the right index finger to the card on the left, at the same time lowering the hand:) "'She' hand:) "'She' on the left!" (During this maneuver the card is turned in the hand so that the Queen is towards the audience and then put on the table to the right.) "But if I say: ' Pass! ' ' She ' is on the right again!" (The right hand card is picked up and shown. While putting it back on the table it is turned again, so that the King is towards the audience.) "And ' He' again on the left." (Same manipulation with left card.) " But But because I really do not care to offend you by always having 3 different opinion, I will conciliate your feelings by showing that you are right too! So I say; 'Change!' and immediately Monsieur is on the right ..."

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(Right card shown (i.e. half).) half) .) ". . . and Madame on the left!" (Left card shown (half) and put on first card.) card. ) "In these modern married lives you never know if he is right or she is right! But alls well that ends well! " (During these words the (real) Queen on top is brought to the bottom, facing the lowest card. The middle finger

and thumb of the left hand are moistened and pressed firmly on the pack, thus causing the top and bottom cards to adhere to the fingers. At the same time the two aid-cards are picked up at the right margin, and without showing them the professor says :) "The Married Hearts, the loving couple! Life is one great dance . . ." (With these words they are thrown upwards about 8 to 10 inches—with the backs up, not on edge. While they are dropping, the right hand quickly grasps them before they fall on the table and palms them. At the same time the left hand throws the whole pack over to the right, only retaining the King and Queen of Hearts which adhere to the fingers. The whole maneuver creates the impression of throwing away the pack in order to catch the two cards quickly which were thrown in the air. The right hand hides the two palmed cards. The left hand is opened, so that the King and Queen are seen. The fingers make a few motions imitating dancing figures, accompanied by the words:) words:) "... then dance until the end of your days!" days!"

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THE QUEEN OF HEARTS Preparation and Requirements

(a) A PACK of 32 cards; (b) Three aid-cards as follows: 1. King of Hearts—Queen Hearts—Queen of Hearts 2. King of Clubs—Queen of Hearts 3. King of Diamonds—Queen Diamonds—Queen of Hearts The four Kings, the Queens and three aid-cards are located in the pack in this manner: King of Spades

top card

King of Diamonds

second card

King of Clubs

third card

King of Hearts

fourth card

Queen of Hearts

bottom card

Aid-card No. 3

next card (counting (counting upwards) upwards)

Aid-card No. No. 2


Aid-card No. No. 1


Queen of Clubs

next card (counting upwards)

Queen of Diamonds next card (counting upwards) Queen of Spades

next card (counting upwards)

Remarks and Instructions

" An old story, which is always new! The story of unhappy love! But I do not want to be indiscreet and therefore substitute cards for persons. "I had four friends." (The four Kings are placed on the table, Spades to the right, next (to the left of it) Diamonds, next Clubs and then Hearts on the extreme left .) .) "Here is the first." (The King of Clubs is put back on the pack.) "Here the second." (Same with the King of Clubs.) "Here the third." (Same with the King of Diamonds.) 127


"Here the fourth." (Same with the King of Spades.) " In In no case was the saying: ' Of one heart and one mind! ' applied more truthfully than in the case of these four. Their unanimity was so perfect, that all four fell in love with the same girl." (The bottom card is pulled out, exhibited and put on the table, face side up.) "That almost killed the harmonious friendship between them." (During these remarks the bottom three cards (the aid-cards) are passed to the top.) top. ) " Of Of course, the Queen of their hearts found this out. Now, her sympathies sympathies were equally strong for all four friends; on the other hand, however, the law would not permit her to marry all four (at least not at the same time), so she resolved to prevent the rupture of such an ideal friendship." (The four top cards are taken off with the right hand, arranged fan-shape, shown in this position and put on the table from right to left, face down.) " She She thought: ' Out of sight, out of mind! '" (With these words make the pass, putting the three Kings in the middle. The Queen of Hearts is put (either by the professor or by someone else) on the Kings. Then "pass" back. thus putting the Queen of Hearts Hearts on top. top.)) " But But on the contrary, the four friends thought of her only with greater constancy. The first . . ." (King of Spades is picked up with the right hand and shown then top-changed for the Queen of Hearts (on top).) ". . . whose love for her was the deepest, thought of her day and night until his whole personality was completely identical with hers." (The Queen of Hearts is shown and bottom-changed for the King of Spades, and this (as the Queen of Hearts) put on the table. The real Queen of Hearts is now at the bottom. ) " I put the lady here on the table.

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"The second friend did not fare much better. He, too, thought of nothing else but his lady love, until he completely lost his head." (With these words the card is turned in the hand, so that the upper half is the Queen of Hearts. Covering the lower half, it is exhibited, then substituted for the King of Diamonds on top by the bottom change, and this card also put on the table as a second Queen of Hearts.) "I put the second Queen of Hearts on the table also. "The third friend . . ." (Showing the King of Clubs, the lower half being well covered.) ". covered.) ". . . tried his best to forget the lady, but in vain!" (The card is turned face down so that the lower half is now directed towards the audience.) " She She appeared to him every time he thought of their first meeting! (The Queen of Hearts is shown, the other half being covered. Then this is bottom-changed for the King of Clubs and the latter put on the table as the third Queen of Hearts.) "I put this Queen of Hearts on the table too! And now for the fourth friend!" (Showing the King of Hearts, by keeping the other half covered.) " Neither Neither could he escape the magic power of love, for with each—even the slightest—remembrance, she appeared before his mental vision!" (The card is turned over, the Queen of Hearts shown, changed for the King of Hearts and this put on the table as the fourth Queen of Hearts.) " I place this Queen of Hearts in the company of her sisters. Still, time heals all wounds, and before a year had gone by, the intoxication of their love was gone, their heads were clear and the lady of their hearts forgotten!" (With these words, the four supposed Queens are turned over and found to be the four Kings. Then the three bottom cards (the aid-cards) are taken away (by the bottom-palm) and hidden. Then the four Queens

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are passed from the bottom to the top of the pack and pushed back a little at the inner margin and so held in the left hand.)

" We read in the Bible: 'It is not good for man to live alone,' and so after a while my friends seriously considered the advisability of taking to themselves a better half! This time they did not follow the dictates of their hearts, but allowed chance to select a suitable companion. It is such a chance that we are going to create." (Pointing to the pack:) " Here Here we have the balance of 28 cards! Kindly mention four numbers anywhere between 1 and 28. The respective cards which correspond with the selected numbers I shall place on the four f our Kings." (Supposing the spectator selects—6, 12, 15, 20. The professor counts off five cards and takes the top card (the Queen of Spades) as the sixth and puts it face down on the King of Spades.* In the same manner the other Queens are put on the Kings. Then they are all turned over showing that the Kings and Queens are of the same suit.) " And in this manner we succeed in arranging instead of four unhappy courtships courtships . . . four happy marriages!" _______________ _______________ *That is to say, one less than the number required are counted from the pack proper, and then one of the Queens which are on top but slightly drawn back. This sleight is really a type of second dealing. An alternative method would be to leave the Queens at the bottom; -low—supposing the number chosen to be six—deal five from the top and then bottom-deal a Queen on to its respective King. For instructions in bottom-dealing, see Expert see Expert at the Card Table, T able, p. p. 52.— Ed.

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THE MYSTERIOU MYSTERIOUS S PACK PA CK OF CARDS* Requirements and Preparation

1. A PACK of 31 identical cards (for instance Ten of Spades), on top of which is placed another card (for instance Eight of Diamonds). 2. A transformation pack, i.e. a pack of cards which have on one side the ordinary pictures and spots, and on the reverse side a divided picture (for instance, King of Hearts— Jack of Clubs). The bottom card has the whole picture of the King of Hearts on one side, and on the other the whole Jack of Clubs. The top card is a divided card (as above) but has an ordinary back. 3. A complete pack. 4. An "assorting" case." The first pack is used to commence the experiment, the others, together with the case, being placed within convenient reach. Remarks and Instructions

(To a gentleman:) "Will gentleman:) "Will you please draw a card and replace it in the pack?" (The Eight of Diamonds is forced.) (To a second gentleman:) gentleman:) "You too, please!" (The Eight of Diamonds is forced again.) again.) (To a third gentleman:) gentleman:) "And you, please!" (The Eight of Diamonds is forced as before. As soon as it is returned this time it is passed to the top, palmed off with the right hand and hidden. Then to the first gentleman:) gentleman:) "Which card did you draw?" ("Eight of Diamonds.") (To the second:) " And you, sir!" ("Eight of Diamonds!") (To the third gentleman:) gentleman:) "And you, sir?" ("Eight of Diamonds!") _______________ _______________ *Compare "The Protean Pack of Cards," The Secrets of Conjuring and Magic (Robert-Houdin), p. 275.—Ed.

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"How funny! Please draw again. You must think that I have nothing else but Eights of Diamonds." (The pack is spread on the table and several persons requested to select a card, look at it and return it to the pack. During this procedure the transformation transformation pack is taken from its hiding place with the right hand and palmed, the Kings towards the finger tips. Now the left hand takes up the pack from the table and the right places the palmed pack on top, the little finger of the left hand being interposed between the two packs. The left hand bottom-palms the lower pack and then hides it. Then the question:) "What question:) "What have you drawn now?" (Answers: "Ten of Spades!" by all four.) " Well! well! You certainly cannot suspect me of influencing your selection. And you drew Ten of Spades? And you? And you, too? Peculiar, very peculiar. At first you all drew Eight of Diamonds and now Ten of Spades! That you drew the same card is really not so wonderful, since there is no reason why different persons should not have the same preference for a certain card. But what surprises me is the fact that you claim to have drawn the Eight of Diamonds and the Ten of Spades, when really there are no such cards in the pack; in fact there are only Kings of Hearts!" (With these words the pack is put into the left hand, card by card, showing them all superficially, except the last one, the whole King of Hearts, which is allowed to be seen fully, the pack being held with thumb and middle finger of the right hand on the lower margin, then put into the left hand so that now the Jack of Clubs is directed towards the audience. Then the bottom card— the King of Hearts—is turned over (in a casual way) thus making it appear that the Jack of Clubs is the last card.) " Now Now you might claim that the Eights of Diamonds and Tens of Spades have changed into Kings of Hearts! I find myself in the very distressing distressing position of being compelled to contradict you. For as you see, I have not a single King of Hearts in the

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pack!" (Repeating the same maneuver as before.) " I am willing to wager that you are now firmly convinced that I am using nothing but identical cards." (With these words the little finger of the left hand is interposed between the top card (the one with an ordinary back) and the others. The right hand takes hold of this top card and the fingers on the left turn over the balance of the pack so that the divided sides are now facing the face side of the top card.) "And yet I can show you that I have nothing but an ordinary piquet pack." (The cards are shown again and then placed in the left hand while the right hand takes the unprepared pack from its hiding place, palms it, and then puts it on the pack in the left, which is now palmed away and hidden, while the other pack is handed over for inspection. Another way might be employed to effect an easy removal of the transformation pack. After it has been shown as an ordinary pack, it is put in the pocket with the words:) "Will you think of a card? You, too; and you. So that means three cards. To show you the intense feeling which I have for my cards will you please name them?" (The professor puts his hand in his pocket and seemingly takes the cards from the pack which he had just put in his pocket and shows them. In reality he takes them from the assorting case, which contains an ordinary pre-arranged pack. Finally, he pulls the pack from his pocket (of course not the one which has been used, but a third ordinary pack) and he gives it for inspection.) " Voila! Here Here they are!"

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EVERYWHERE AND NOWHERE (Secon (Second d Meth Method od)) Preparation

A A PACK of 32 cards is required. The top card is the King of Diamonds, the second a spot card—immaterial which one—the third Ace of Diamonds. The bottom card may be any spot card, next to this another King of Diamonds and next to the latter a "divided" card like this: King of Diamonds—Queen of Spades. Remarks and Instructions

"As "As a rule, card tricks are shown at a distance. I prefer the reverse, the closest proximity, especially when there are ladies in the game." (With these words make the pass, placing the King of Diamonds (the (the top card) in the middle, interposing the the little finger.) (To a gentleman:) "Will gentleman:) "Will you now draw a card ..." (The King of Diamonds is forced and the pass neutralized.) ". neutralized.) ". . . and replace it in the pack?" (The pack is divided into two packs, the chosen card put on the lower, and the upper half-pack put on this, the little finger between. The cards are shuffled (i.e. only feigning) so that the King of Diamonds is on top, then another card (immaterial which) is manipulated on top of the King.) " The The number of cards is too great for me to know which one you selected. I must employ psychological means and therefore ask you a few questions. "Is it a spot card?" (Answer: " No!") No!") "You are sure of its identity?" (Answer: "Yes!") (Answer: "Yes!") "Yes! No! You are very positive!" (To a second person:) person:) "Do you know which card has been drawn?" ("No!")

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"No? Neither do I; still it must be one of these which I am going to show you." (To the gentleman who drew the card:) "Is card:) "Is it the first card here on top?" (The top card is shown.) "Or the lowest one here?" (Bottom card shown. Answer: "No!") Answer: "No!") "Not either? Of course, if I show you all the cards I must finally reach the right one." (The top card is taken again and with the words (showing it) . . .) "So it is not this one!" (. . . is substituted for the King (now on top) and this one put on the table as the exhibited card.) " Neither Neither is it this one!" (The bottom card is shown as in the illustration on page 41, then the hand is lowered and while the first finger slips the bottom card back (towards himself) the second lowest card is pulled out and put on the table as the exhibited one. The bottom card is then passed to the top.) " But But three is a holy number!"

(The pack is formed into a fan in the right hand, the left card, the divided one, being placed horizontally underneath the others. Viewing the pack from below the King is half directed toward the right.) " Now Now will you please touch a card and that one must be your selection!"

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(Done. The cards on the left of the touched one are pushed aside thus leaving the latter free. The others, including the touched card, are pushed together, at the same time the divided card is placed in the hand, being finally the bottom card, while the audience is under the impression that the touched one is at the bottom. The whole pack is picked up and the lowest card shown, i.e. only the Queen of Spades half. Of course the gentleman says that that is not his card.) "What? Not your card? Well, that really is exasperating!" (The bottom card is put on the table between the two others. The pack is taken up.) " But But now I appeal to the ladies, who often play the magician with their glances. Why should they not possess a wonderful influence over the cards?" (To a lady:) lady:) "Will you kindly fix your gaze on one of these cards? It will change instantaneously into the selected card." (The lady selects one. Then, to the gentleman:) "Will gentleman:) "Will you name your card?" card?" ("King of Diamonds.") Diamonds.") (The professor fakes the one which the lady picked out and shows it.) "Voila! it.) "Voila! Your card!" (The hand is lowered, the King changed for the top card (the King going underneath the pack) and the fop card put on the table as the King. To the lady:) "Now I would ask you to influence one of the other cards!" (The lady does so.) "Voila! Here is your selected card too!" (The card is shown, substituted for the top card and this put on the table as the exhibited one.) (To the lady:) " Now Now will you coax this one a little. See . . . here also is your selection!" (The last card is exhibited and put bad on the table.)

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"But I know what you all think! You think the same card is here three times, here, here and here! But no, it is only just there where you are are looking." (The divided card is picked up and the King shown. The other half is covered. If the divided card has been picked out previously, it is not changed, as it must be the one which is replaced on the table. Only the two Kings are changed. There is now one King on top and one on the bottom of the deck.) "As you see, it is here . . ." (The exhibited card is pushed under one of the two cards on the table and turns it face side up.) ". . . but not here here . . ." (turning the second card.) ". card.) ". . . nor here." (The two cards are put into the pack.) "But if you will change the direction of your glance from this King to the first card here . . ." (The professor points with the divided card, which he holds in his right hand, to the pack in his left hand, at the same time turning it so that the King is now covered.) covered.) ". . . the King immediately ceases to be here." (The Queen of Spades is shown (the other half well covered).) covered) .) "Of course,—because he has moved over here." (The top card is pushed out and allowed to fall on the table, face side up. The divided card is put info the pack as the third card from the top. Then the exhibited King is taken up with the right hand.) "And if you turn your eye from the first card here on top . . ." (The King is at once substituted for the top card (Ace of Diamonds) and the pack turned so that the bottom card becomes visible.) ". visible.) ". . . to the last card, you see that the King has journeyed away from the top to the bottom! Voila!" (The Ace of Diamonds is shown and put aside on the table.) "And if you remove your eyes from the pack altogether the King vanishes absolutely." absolutely."

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(The right hand is so placed under the pack that the four fingers touch the face and the thumb the back of the pack. Then in turning the pack face up the four fingers pull the King into the palm of the hand, making it appear to have vanished. Later, of course, course, it is replaced replaced on top top of the pack.) pack.) "As you see, madam, through your magic influence— everywhere and nowhere!"

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EVERYW EVERYWHER HERE E AND NOWHERE NOWHERE (Third (Thi rd Method Meth od ) Preparation

A A PACK of 32 cards is required. The eleven top cards are arranged as follows: Top card

King of Diamonds

Second card

a spot card

Third card

Ace of Diamonds

Fourth card

Nine of Spades

Fifth card

Queen of Hearts

Sixth card

a spot card

Seventh card

a spot card

Eighth card

Jack of Clubs

Ninth card

Jack of Clubs

Tenth card

Jack of Clubs

Eleventh card

Queen of Spades

The bottom card is the Ace of Spades, next to this another King of Diamonds. Next to this, King of Diamonds—Queen of Spades. This divided card is so placed in the pack that the King is directed towards the audience. The following nine aid-cards are held in readiness in this order: First

King of Diamonds

Second K of Diamonds—Q of Spades Third

King of Diamonds

Fourth

King of Diamonds

Fifth

K of Diamonds—J of Clubs

Sixth

King of Diamonds

Seventh King of Diamonds Eighth

K of Diamonds—Q of Hearts

Ninth

Nine of Spades

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When these nine cards are put on the pack, the Queen of Spades, Jack of Clubs and Queen of Hearts must be directed towards the audience. Remarks and Instructions

"As a rule, card tricks are shown at a distance. I prefer the reverse, the closest proximity, especially when there are ladies in the game." (With these words make the pass, placing the King of Diamonds (the (the top card) in the middle, interposing the the little finger.) (To a gentleman:) "Will gentleman:) "Will you now draw a card . . ." (The King of Diamonds is forced and the pass repeated.) ". repeated.) ". . . and replace it in the pack?" (The pack is divided into two parts, the chosen card put on the lower, and the upper half-pack put on this, with the little finger in between. The cards are shuffled (ie. only feigning) so that the King of Diamonds is on top; then another card - it is immaterial which - is manipulated on top of the King.) "The number of cards is too great for me to know which one you selected. I must use psychological means and therefore ask you a few questions. "Is it a spot card?" ("No!") "You are sure of its identity?" ("Yes!") (To a second person:) " Do Do you know which card has been drawn?" ("No.") "No? Neither do I ... still it must be one of these which I am going to show you." (To the gentleman who drew the card:) "Is card:) "Is it the first card here on top?" (The top card is shown.) "Or the lowest one here?" (The bottom card is shown.) ("No!")

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"Not either? Of course, if I show you all the cards I must finally reach the right one." (The top card is taken again and with the words (showing it):) it):) "So not this one!" (—substituted for the King (now on top) and this one put on the table as the exhibited card.) "Not this one either!" (The bottom card is shown as in the illustration on page 41, then the hand is lowered, and while the first finger pushes the bottom card back (towards himself) the second lowest card is pulled out and put on the table as the exhibited one. The bottom card is then passed to the top.) " But But ' Three ' is a holy number!" (The pack forms a fan in the left hand, the last card (the divided one) being placed horizontally underneath the others. Viewing the pack from below the King is directed towards the right, as shown on page 136.) "Will you now please touch a card and that must be your selection!" (Done. The cards on the left of the touched one are pushed aside thus leaving the latter free. The others, including the touched card, are pushed together; the divided one is at the same time placed in the hand, being finally the bottom card, while the audience is under the impression that the touched one is at the bottom. The whole pack is picked up and the lowest card shown, i.e. only half—the Queen of Spades. Of course the gentleman says that it is not his card.) "What? Not your card? Well that really is exasperating." (The bottom card is put on the table between the two others. The pack is taken up.) ''But now I appeal to the ladies, who so often play the magician with their glances. Why should they not possess a wonderful influence over the cards?"

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(To a lady:) " Will you kindly fix your gaze on one of these cards? It will instantaneously change into the selected card!" (The lady chooses one. Then, to the gentleman:) "Will you name your card?" (Answer: "King of Diamonds.") (The professor takes the me picked out by the lady and shows it.) it.) "Voila! Your card!" (The hand is lowered, the King substituted for the top card (the King going underneath the pack) and the the top card put on the the table as if it were the King.) (To the lady:) lady:) "Now I would ask you to influence one of the other cards." (The lady does so.) "Voila! Here is your selected card too!" (The card is shown and substituted for the top card and this put on the table as the exhibited one. To the lady:) "Now lady:) "Now will you coax this one a little also? See—here too is your selection!" (The ( The last card is exhibited and put back on the table.) table. ) " But But I know what you all think! You think the same card is here three times, here, here and here!" (Pointing to the three cards.) " But But no. It is only just there, where you are looking." (The divided card is picked up and the King shown, the other half being well covered. If the divided card should have been picked out previously, it is not changed, as it must be the one which is replaced on the table. Only the two Kings are changed.) " As you see, see, it is here. here. "But not here." (The exhibited card is pushed under one of the two cards on the table and turns it face side up.) "Nor here." (Turning the second card also.) (The two cards are put into the pack.)

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"But will you change the direction of your glance from this King to the first card here?" (The professor points with the divided card which he holds in his right hand to the pack in his left hand at the same time turning it so that the King is now covered.) "Now pay attention. The King immediately ceases to be here." (The Queen of Spades is shown (the other half well covered).) "Of course, because he has moved over here." (The top card is pushed out and allowed to fall on the table face side up. The divided card is put into the pack as the third from the top. Then the exhibited King is taken up with the right hand.) "And if you turn your eye from the first card here on top . . ." (The King is at once substituted for the top card (Ace of Diamonds) Diamonds) and the pack turned so that the bottom card becomes visible.) ". . . to the last card, you see that the King has journeyed away away from the top top to the bottom. Voila!" Voila!" (The Ace of Diamonds is shown and put aside on the table.) "And if you remove your eyes from the pack altogether, the King vanishes absolutely!" (The right hand is so placed under the pack that the four fingers touch the face and the thumb the back of the pack. Then in turning the pack face up the four fingers secretly pull the King into the palm of the hand, making it, of course, appear to have vanished. Later it is hidden.) "As "As you see, madam, through your magic influence— everywhere and nowhere!" (The professor takes the pack in his left hand (backs of the cards up) and puts the top card (the King of Diamonds) face down on the table, while he hides the divided card.) " And now the selected card is going to appear and disappear at my command; it will be everywhere and nowhere . . . based upon your imagination like everything in this world. If

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this is true, why should you not imagine that the Ace of Spades is the King of Diamonds. They say, too, that every man has his own free will ... I say, no! ... he has not ... he has to follow a higher power! Now I shall influence your will but not through a higher power; in all humility, humility, I alone shall be responsible." responsible." (The professor writes on a piece of paper "9" and shows It to several persons, except the one who drew the King of Diamonds, or he folds the paper and hands it to the latter person for safe keeping.) "As you see ... in the whole pack there is no King of Diamonds." (Showing all the cards, calling special attention to the Diamonds.) "Without conviction there can be no surprise." (The two cards on the table are put under the pack. Then the King of Diamonds Diamonds picked picked up and shown.) shown.) " The The only King of Diamonds!" (Puts it back on the table. Then, to the gentleman:) " Now Now I want you to stop me in counting the cards." (Each card, as he is counting, is put face down on the table and through a fixed gaze he forces the gentleman to say "Stop!" at the ninth card.) "Will you kindly put your hand on these cards? Will you count them and make sure?" "How many?" (Answer: "Nine!") (Answer: "Nine!") "Aha, nine. Now you are sure that you stopped me at the ninth card through your own free will?" ("Yes.") "Yes? No! It was not your will, but mine! You are holding the proof in your hands." (Or if the paper had been shown to several persons:) "You are all my witnesses. You see now that I predestined your selection." (During these remarks the professor secures the nine aidcards and puts them on the pack, interposing the little finger. Now he picks up the nine cards from the table and holds them in the right hand.)

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"And now these nine cards, influenced by your imaginative power, will change to nine Kings of Diamonds, your selected card!" (The nine cards are exhibited.) " I do not except a single card, neither Nine of Spades nor Queen of Spades, nor Hearts; all cards must undergo immediate transformation through your glance . . ." (Pointing to the respective lady.) ". . . and . and become Kings of Diamonds." (With these words, and assisted by the pointing motion, the nine cards are substituted for the nine aid-cards on top and the pack is placed face up on the table, then handed to somebody.) " In In order to make an exchange e xchange of cards absolutely impossible, impossible, I will ask you you to hold hold this pack pack for a minute." minute." (The nine aid-cards are put face down on the table.) "Here is the King of Diamonds, your selected card." (The King of Diamonds is picked up, shown and replaced.) " But But now look away from this King . . ." (Pointing to it.) it.) ". . . and look at this card . . ." (The first card is turned up.) ". . . and . and the King is here. Now change the direction of your vision." (The first King is picked up with the right hand, shown and replaced face down, then the second card is taken and the Queen of Spades shown.) "Now the second card . . ." (The arm is stretched, the card turned between the fingers and the King shown, keeping the other half well covered.) ". covered.) ". . . then we have the King here." (The next card is turned over (with the aid-card) .) " Now Now look here, and you see the King!"

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(The second (divided) card is put on the first aid-card, the third picked up and, with this, the fourth turned up.) " One One glance at this card and it is King of Diamonds." (The third King is put on the other two, the fourth picked up, shown again, and put on the three.) "Now look at this card . . ." (Picking up the fifth (divided) card and showing it as the Jack of Clubs; then stretching out the hand, turning the card and showing the King.) ". King.) ". . . and it will change to King of Diamonds." (With these cards the sixth one is turned over and the former put on the other.) " One One glance suffices—here is the King." (The sixth card turns the seventh and is put on the five cards.) " Now, Now, if you look here, again the King appears." (This card is put with the six. Now the seven cards are taken in the left hand. Then the eighth and ninth cards are picked up and exhibited, taking care that the Nine of Spades well covers the lower half of the eighth card, so that only the Nine of Spades and the Queen of Hearts are seen.)

"Now I have two cards left: Queen of Hearts and Nine of Spades." (They are replaced and only the divided one taken up, so that the Queen is directed towards towards the front.) " Now Now if you remove your eyes from this King here . . ." (Again showing the top card (i.e. the seventh).) ". . . towards the Queen of Hearts here . . ." (The Queen is shown, the card turned as before and the King shown.) ". . . then you see the King."

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(The divided card is put on the seven in the left hand and the Nine of Spades taken up, while the left fingers fingers push the bottom card, i.e. the one nearest the palm, a little outward.) ( Showing the Nine of Spades.) Spades.) "And, lastly, if you look from this King . . ." (Pointing to the top card, and lifting it slightly, showing the upper half, at the same time substituting the Nine of Spades for the bottom card.) ". card.) ". . . to the Nine of Spades . . ." ( Holding it in the right hand, back to the audience.) audience .) ". . . it immediately becomes the King of Diamonds." ( Exhibiting ( Exhibiting it .) .) "So you see merely through the power of your vision, the King of Diamonds appears everywhere!" (The nine aid-cards are placed on the table and the return of the pack requested.) " Or, Or, if you don't look at these cards . . ." (Pointing to the nine aid-cards.) ". . . the . the King of Diamonds is nowhere!" nowhere!" (Showing the cards of the pack and interposing the little finger between the nine top cards and the balance. The right hand palms the nine top cards; the left puts the pack on the table, face up and picks up the nine aid-cards. The right makes a movement as though to straighten these nine cards, in reality it only places the nine palmed cards on top of the aid-cards, interposing the little finger of the left hand. The latter bottom palms the nine aid-cards and reaches for the pack, placing them on top. Now the left hand holds the pack plus the aidcards; the right the nine cards which really belong to the pack.) " And if you remove remove your eyes entirely entirely from the the cards there is is no King of Diamonds anywhere!" (The right hand exhibits the nine cards.) "As I said—everywhere said—everywhere and nowhere!" (The professor fingers the cards of the pack and interposes the little (left) finger between the nine aid cards and the balance.)

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"And now, please, one more look at this card . . ." (Pointing to the regular King of Diamonds which has been left on the table. While the spectators concentrate their attention on the card, the left hand steals the nine aid-cards by the bottom-palm and hides them, while the right, holding the pack, turns over the card on the table.) ". table.) ". . . and it becomes the King of Diamonds!" (The right hand spreads all the cards on the table face side up.) "And, as you see, only one . . ." (Pointing to the King on the table.) ". . . and . and not another in the whole pack!"

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HOFZINSER'S CARD CONJURING EXPERIMENTS WITH DIFFERENTLY PREPARED CARDS

SYNONY SYNONYMOU MOUS S THOUGH THOUGHT T (Seco (Secon n d Metho Meth o d) Preparation

FOR this piece we need a specially prepared card as follows:

The back of a picture card (for instance, the King of Hearts) is removed. In its place is pasted a half Jack of Clubs, while the lower half is covered with one-half of an ordinary back in such a manner that a pocket is formed, so that a whole Jack of Clubs can be inserted between the half-back and the King of Hearts. If (b) and (d) are together, the whole King of Hearts is visible. If (b) is bent downward the Jack of Clubs becomes visible, show-

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ing above the upper half the whole card (d), below, the lower half of the reverse side of the King (b). If the prepared half is taken in the hollow of the hand, the Jack of Clubs can be drawn by a person while the prepared part is quickly hidden. This prepared card is kept in a pocket in which later the two unprepared packs which are also needed to this piece are put. The top card of one of these packs is the King of Hearts, the second Jack of Clubs. Remarks and Instructions

" It It is well known that two persons frequently have the same thought at the same time. Under certain conditions one glance is often sufficient to conceive mutually what cannot be expressed in words. This phenomenon is expressed in the wellknown phrase: 'Two souls with but a single thought, Two hearts that beat as one.' " But But it is also a deplorable truth that in life the poetry of these words is often prosaically and sadly changed and ought to be expressed: 'Two souls without a single thought, Two hearts and constant beatings! ' "But to return to our subject . . ." (Addressing a person:) ". . . Will . Will you be kind enough to select a card from the pack . . ." (Make the pass and force the King of Hearts.) ". . . and put it in front of you on the table." (To a second person:) person:) "Will you too draw a card and put it in front of you?" (The Jack of Clubs is forced.) "To avoid all suspicion, I take another pack, let you shuffle it and put it in my pocket." "Now, with. your permission, I shall also think of two cards and take them from the pack." (With these words the professor puts his hand in his pocket and after seeking a while he brings out the prepared card, holding it face down.)

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"Now I am holding my thought in my hand. You can notice the slightest move. I cannot exchange it—it is my original thought." (To the first person:) " Will you have the kindness to name name your thought?" "King of Hearts? Now you see that is exactly what I thought." (The hand is raised and the King exhibited. Then the card is put in the left hand, while the back back flap is closed.) (To the second person:) "And person:) "And what was your thought?" (Told.) "The Jack of Clubs was my original thought too . . ." (With these words the flap is turned down with the right hand and the card shown as the Jack of Clubs.) " Will you take the card in your hand?" (The card is so held with the right hand that the lower half is completely covered while the person pulls out the whole card. The prepared half remains in the hand of the professor, who immediately hides it.) it.)** "The problem is solved!" ______________ ________________ __ *A more artistic method would be as follows: Instead of the prepared card use an ordinary King and Jack. These are removed from the pocket as one (King in front) and, having been shown, the Hellis Change No. 1 is made. The card can now be shown as the Jack and straightway given for examination, the King (palmed) being meanwhile disposed of in the profonde or elsewhere. For particulars of this change (sometimes known as "The Palm Change") see: Modem Magic, Magic, p. 32; Magicians' Tricks, Tricks, p. 19; Expert at the Card Table, p. 149.— Ed.

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154

HOFZINSER'S CARD CONJURING *

THE INSOLUB INSOLUBL L E IMPROMPTU IMPROMPTU Preparation

A PACK A PACK of 52 cards is required, the Two of Hearts being on top. Another Two of Hearts is required which is prepared in this way: The back is only only pasted to the the picture on three three margins for about 1/32 of an inch, thereby forming a pocket. This card is now bent 3/5; 2/5 upon itself, then the right and left margins are bent backwards about 1/3 of an inch so that the slit is open at the top. A little lead plaster (diachylon) (diachylon) is spread on the inner margins of the aperture. The edge is bent backwards

and the prepared card put into the crease behind the knee, where it is held secure. ______________ _______________ _ *Compare with "Card, Coin and Candle"; Hartz's method, Magical Tit-Bits (Hoffmann), p. 145; Mdlle. Patrice's version, The Modern Conjurer (Lang Conjurer (Lang Neil) (First Edition), p. 249; Hatton and Plate's version, Magicians' Tricks, p. p. 155. Another effect bearing some points of similarity is Hoffmann's "The Mystery of the Three Seals," Latest Seals," Latest Magic, p. Magic, p. 170.— Ed.

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If the trick is to be executed standing, the card must be put in a pocket, opening upwards. Besides the above, a gentleman's wedding ring, ring, which is at first kept hidden, is required. Remarks and Instructions

"Will someone count all the cards in the pack?" "You have convinced yourself that the pack is complete?" ("Yes.") (To a lady:) " May May I offer you a card?" (The Two of Hearts is forced; then to a gentleman:) gentleman:) "And now I request a loan—no, not of a hat—something hat—something more tender —a wedding ring." (During these remarks the professor secures the false ring and palms it in the left hand. Then he accepts the requested ring with the right hand and feigns passing it to the left, really palming it in the right. The false ring is shown superficially and placed on the table.) "So! ... I put the ring on the table and cover it temporarily with the pack!" (This is done with the left hand.) (To a lady:) lady:) "I must ask you to remember carefully the card which you drew! I don't think that you will find it very difficult!" (With these words the right hand is lowered and during the following conversation the palmed ring is put into the card-pocket held behind the bended knee, then the opening is closed by exerting a slight pressure. The lead plaster serves as a paste and keeps the aperture tightly closed.) (To the lady:) "Will. lady:) "Will. you name your card?" (Answer: "Two (Answer: "Two of Hearts!" "Two of Hearts! Now will you bend the card like this?" (This is done in the same manner as the prepared card.) " To To bend hearts is a ladies' special art. Splendid! Now may I trouble you to bend it again—the long way —like this! "And now please tear the card into two pieces! So!"

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(Done. The professor takes up the prepared card and palms it in the right hand, after which he puts this hand on the table. With the left hand he picks up the pieces of the torn card.) " This This card is torn . . . the hearts are separated. That certainly was a heart-rending heart-rending task, task, but without without danger danger for either part." (The pieces are now put between the tips of the right thumb and first finger.) (To a lady:) "May lady:) "May I request the loan of a handkerchief?" (Upon receiving it, the professor unfolds It with the left hand only, so that it is spread over the whole palm. Then to the first lady:) "Will you now hold both these pieces—like this—under the handkerchief, but do not press too hard for separated hearts are very sensitive! (With these words the handkerchief is thrown over the right hand. Thumb and first finger of the left hand take hold of the two pieces (outside the handkerchief) while the right (under the handkerchief) releases them. At the same moment the right hand pushes the prepared card (with the ring enclosed) between the finger tips, high enough to enable the first and middle fingers of the left hand to grasp it (outside the handkerchief). Immediately the thumb and first finger of the left hand releases the torn card, which is now palmed in the right hand. The handkerchief with the prepared card is then handed to the lady to hold while the right hand is lowered and the torn card hidden.) "And now the same hand that tore the hearts asunder shall reunite them! A slight pressure . . ." (The professor presses the card slightly with the finger tips.) ". . . . and the card is whole again! Just drop it!" (The lady drops the handkerchief and the card. The professor fakes the latter and straightens it.) " I admit the hearts are a little worse for wear but the card is whole—not a tear anywhere! But really, this is not so

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mysterious as it seems. The ring which the gentleman was kind enough to lend me shall solve the impromptu." (The professor takes up the ring from under the pact and shows it.) "I take this ring and say: 'If you please, pass into the card . . . between the card . . . into the middle of the card!" (The professor seemingly puts the ring in the left hand, while in reality he palms it in the right and with the left executes a throwing movement towards towards the Two of Hearts on the table.) "Pass! And here in the middle is your ring!" (The left hand picks up the card, while the right hand hides the palmed ring in a pocket.) "Now I must ask you to examine the card carefully! Here are the margins of the card . . ." (The four edges of the card are pulled between the tips of the thumb and first finger, paying special attention that the pasted edge is well closed.) "No passage anywhere; not even a breath of air can pass, much less a solid body. Face side, reverse side—no opening—as you see!" (Both sides are shown.) (To the gentleman:) " If If I tear the card you may think that I might exchange the ring. To make this impossible, will you take the ring out yourself? Just tear the card in two!" "Is this your property?" (Answer: "Yes!") (Answer: "Yes!") "Then can you offer any explanation?" (No answer.) "I spoke the truth! The impromptu remains unsolved!"

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LOST, STOLEN OR STRAYED—A KING Preparation

A PACK of 32 cards and two specially specially prepared cards— cards— a Queen of Clubs and a King of Hearts—are required. An extra back is pasted to the Queen of Clubs for about 1/32 of an inch along three edges, leaving the upper narrow margin open, thus forming a pocket; the King of Hearts is trimmed along the edges about 1/16 of an inch so it can be slipped into the pocket of the other card. The upper

narrow edge is not trimmed, affording an opportunity to pull it out of the pocket easily. The prepared card is held within convenient reach and the King of Hearts put on top of the pack. Remarks and Instructions

(The King of Hearts is taken from the pact and palmed, while the pack is handed to a person.) "Will you please shuffle the cards?" (Done.) (Done.) "Thank you." (Taking the pack.)

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"And now will you kindly draw a card?" (The King of Hearts is forced.) forced.) "Put it back in the pack, please— so." (The King is replaced in the pack, brought to the top by the pass, taken off and palmed.) (Returning the pack to the person.) " And shuffle it again." (During the shuffling the King is hidden, then:) " Of " Of course your card is in the pack?" (Answer: " Yes.") "Please investigate, for without conviction there can be no surprise." (The person looks through the pack and does not find the card.) "No? Which card did you draw?" ("King of Hearts.") "A King has vanished. Well, well! I have often read of directors and cashiers disappearing, but a King . . . never! Perhaps it is an affair of the heart, some affinity who lured the King into seclusion. Just think, a King, and the King of Hearts into the bargain. We must certainly investigate. Perhaps you have not exercised sufficient care, so let us look through the pack again and pick out the Queen of Clubs." (This is done.) " Now Now then, here is the Queen of Clubs; but no hasty conclusions please! please! I think it it will be best for you you to count the cards singly and put them on the Queen of Clubs, then we shall see if there are thirty-one cards and be sure that the King of Hearts is missing." (While the person counts the cards the professor takes the prepared card from its hiding place and palms it in the right hand. The person counts thirty-one cards.) "Really cards.) "Really only thirtyone. The King has actually been lost!" (The pack—except the Queen of Clubs—is taken in the left hand.) "Please put the Queen of Clubs on top." (Done. The right hand reaches for the pack, putting the palmed card on top. Then it is shown again as the real Queen of Clubs.) " So then, So then, here is the Queen of Clubs! Now I command the King of Hearts to appear!" (The thumb and first finger move along the sides of the card and pull out the King of Hearts.)

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"Here is the King! The intimate relationship is made public!" (Both cards are put on the pack and disposed of at a suitable moment.)* moment.) * ______________ ________________ __ *The prepared card seems to be an unnecessary complication. A more artistic method is to keep the King palmed and replace it on top of the Queen after the latter has been returned. Then both are removed as one and the trick terminated as described in the text. The denouement is rather feeble, but a more effective version is described on page 128 of Magicians' of Magicians' Tricks (Hatton Tricks (Hatton & Plate) under the title of "The Reunion." Another version is as follows: Remove the King and Queen of Hearts and place them face up in the pack, near the bottom. Force a duplicate King and replace it, palming it off by means of the Diagonal Palm Shift (Expert at the Card Table, p. Table, p. 137). Cut the pack with the right band, at the same time pocketing the card palmed in the left. Upon the pack being fanned the King and Queen are found together reversed.— Ed.

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162

HOFZINSER'S CARD CONJURING EXPERIMENT EXPERIMENT WITH THE APPLICATION OF TRANSPARENT CARDS

ACE A CE OF HEARTS Preparation

A PACK A PACK of thirty-two cards is required. The top card is the Ten of Spades; second card, Jack of Clubs; third card, Queen of Hearts; fourth card, Nine of Hearts. Held ready are: (1) An ordinary Ten of Spades; (2) A divided card (Jack of Clubs— Queen of Hearts); (3) A transparent Nine of Hearts (Queen of Hearts); (4) A transparent Ace of Hearts (Nine of Hearts). On the table to the left of the professor stands a burning candle. The transparent cards are made in the following manner: On one side of the white card-paper is painted the Nine of Hearts, then, when dry, on the other side the Queen of Hearts, taking care that the position of the eyes of the Queen exactly cover the left lower and the right upper spot of the Nine when held against the light. In the same manner the Ace of Hearts is painted on one and the Nine of Hearts on the other side of the white paper, so that the Ace exactly covers the middle spot of the Nine. When the painted figures are perfectly dry, the "backs" are pasted on. For this purpose an absolutely transparent paste (like albumen) must be used. In selecting the backs, thin paper must be used in order not to destroy the transparency. Remarks and Instructions

"Everything in life undergoes certain changes in the course of time! Times change, and we change with them. Only the cards remain unchanged, at least as far as their character is

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concerned! For instance the Queen of Hearts will always be the Queen of Hearts, and will always have her two Hearts to bestow at will! Still I intend to show you that even cards can be transformed . . . yes, instantly! Please draw a few cards!" (The professor forces the Ten of Spades on a gentleman to the right, has it put back in the pack, and forces it again on a person on the opposite side, permitting him to keep the card.) "You too, please." (Then the Jack of Clubs, Queen of Hearts, and Nine of Hearts are successively forced on three other persons who are also allowed to keep them. Now the pack is handed to another person.) "Will person.) "Will you please give me the Ace of Hearts out of the pack?" (Done.) "Now (Done.) "Now please put all the other cards back into the pack and shuffle." (While this is being done, the professor secures the four aidcards from their hiding place and puts them on top of the pack when it is returned to him. Holding the pack in the left hand, he lakes up the Ace of Hearts from the table at the right margin with the tips of the right thumb, first, and middle fingers and shows it.) it.) "As you see, Ace of Hearts!" (The professor puts puts his thumb

against the face side and presses the card against the body. Thus the Ace, held between the tips of the first and middle fingers, is turned face side towards the professor, now held with thumb and first finger. In this position the card is held in front of the candle.) candle.) "Absolutely transparent!" (The hand is lowered, the middle finger is put on the face side the thumb

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releases its hold, so that the card is now held face downward between the tips of the first and middle fingers.) " fingers.) "

As love changes in the human heart, I change the card!" (With these words the left thumb pushes out the top card of the pack (Ten of Spades) a little and the right hand changes the Ace for it (by the Bottom Change). Then to the first gentleman who drew the Ten of Spades:) Spades:) "Is this your card?" ("Yes!" The card is held between thumb and first finger at the right lower corner and shown to the gentleman only. Then the hand is lowered again.) "Now watch my hand, so that you don't miss the exact moment of the transformation." (The second gentleman is shown the card (without letting anyone else see it) and he, too, identifies it as his selection. Then the hand is lowered and the Ten of Spades changed for the divided card (Bottom Change), placing the Ten of Spades underneath the pack as before. To the third person:) person:) "Please name your card!" ("Jack of Clubs!" It is shown, with the other half well covered.) "Here covered.) "Here is the Jack of Clubs!" (To the fourth person:) person:) "And your card?" ("Queen of Hearts!" During the question the card is turned and the Queen of Hearts is shown, while the Jack is covered.) covered.) "Here is the

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Queen of Hearts!" (The hand is lowered and the card bottomchanged for the first transparent card. To the next person:) "And which was your card?" ("Nine of Hearts!" For a moment the card is held in front of the candle as before, ie. back towards the spectators who see nothing but the Queen of Hearts.) Hearts.) "As you see, still the Queen of Hearts, but I say: Change! . . ." (The card is turned with the face, i.e. the Nine, towards the audience.) audience.) ". . . and here we have the Nine of Hearts!" (Now, under cover of a gesture, this is bottomchanged for the next transparent card which is held in front of the candle to "prove" that it is still the Nine. Then, upon the command "Change!" it is turned face side to the audience and seen to be the Ace once more. After being shown back and front it is placed on the face of the pack and the four prepared cards bottom-palmed. This leaves the original Ace on the front and the pack may be passed for examination.) examination.) ______________ ________________ __ Compare this routine with Modem Magic, p. 87; The Secrets of Conjuring and Magic, p. 245; The Art of Magic (Downs), p. 71. Ed.

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HOFZINSER'S CARD CONJURING EXPERIMENTS WITH MECHANICAL APPARATUS

THE FLYING THOUGHT Preparation

A PACK A PACK of 32 cards is required, the Queen of Hearts being on top. The left vest pocket contains a spring-mechanism (vide "The Three Powers") in which is put a duplicate of the card which it is intended to force; for instance, instance, the Queen of Hearts. Hearts. The thread is measured carefully so that the mechanism can be held out about 18". The other end is fastened to a vest button. The needle which is used in the mechanism must be of a dark color. Remarks and Instructions

(The Queen of Hearts is taken off and palmed in the right hand. The balance of the pack is handed to a spectator.) "Will you please shuffle these cards?" ( Done. ( Done. The pack is returned and accepted with the left hand while the right puts the Queen on top, which is then either passed to the middle if it is to be forced or to the bottom if it is to be selected by "Touch." )* )* " May May I now trouble you to draw (or touch) a card? "Now I shall permit myself to show you an effect ef fect which requires an extremely intense feeling, ... a trick in which sensation really plays the most important part." ( During ( During these words someone is requested to put the card back into the pack and shuffle .) ______________ ________________ __ *The force by "Touch" is executed as follows: Fan the pack and allow a spectator to touch the back of any card. The pack is divided at this point, the card to be forced being slipped by the right fingers from the bottom of the pack to the bottom of the top half in doing so; (his packet being then turned face up and the front card remembered. The sleight is also described on pages 136 and 137 ante.—Ed.

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"In fact sensation should be the basic principle of each human being since the heart is the seat of sensation!" ( With these words the professor seemingly points with the right hand to his own heart; in fact he grasps the mechanism in his vest pocket and palms it.) it.) "Do you know where my sense of feeling is at the present time? Not in my heart, oh! no, but here in my hand!" ( With these words, the mechanism which is covered with the same paper as that employed for the back of the cards,* is put on the pack with the right hand which makes an agitated demonstration. Then the pack is taken in the left hand and held between the thumb and middle finger.) " Now, Now, to prove the truth of my assertion, the thought shall be produced through sensation. "It is very difficult, I admit, but nothing is impossible in magic. Thought—appear!" (With these words the professor suddenly pushes his left hand forward, forward, thereby pulling the the pin out of the mechanism and releasing the spring, thus causing the Queen of Hearts to jump out.) " Here Here it lies ... at your feet!" ( In stooping to pick up the card the mechanism is removed from the pack and hidden. The pin is put in the vest pocket. The second Queen of Hearts is also removed at a suitable moment.) ______________ _______________ _ *A simpler plan in this effect is to use a "Jumping Card" made as explained by Devant in connection with his version of the Rising Cards on p. 95 of Tricks for Everyone. Everyone. In this case the prepared card is best made in the form of an envelope with the top open, the elastic being brought through a small hole in the bottom edge and held secure by a pin as with the spring-mechanism. The card to rise should be trimmed slightly in order to prevent jamming. Some of the Indian fakirs perform a very similar feat. A card is chosen by a spectator, and returned to the pack; being inserted between two cards joined together with elastic. The pack is placed on the ground, and the fakir puts his foot on it. The chooser is now asked to name his card, and, upon doing so, the conjurer relaxes the pressure of his foot, and out it jumps.— Ed.

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THE THREE POWERS Preparation

THIS piece consists of four different, and entirely independent, card tricks as follows: 1. Domination of Thought (First Method) 2. The Rising Cards 3. The Card Picture 4. The "Little Profit" For the first we need two pre-arranged packs: A of 30; B of 27 cards: A—Eight of Hearts, Ten of Clubs, King of Diamonds, Nine of Spades, Queen of Clubs, Ten of Diamonds, King of Spades, Seven of Hearts, Seven of Spades, Ace of Clubs, Jack of Diamonds, Eight of Clubs, Nine of Diamonds, Jack of Spades, Ace of Hearts, Ten of Clubs, Eight of Hearts, Nine of Spades, Ten of Diamonds, Ace of Clubs, Jack of Diamonds, Queen of Clubs, Seven of Hearts, King of Spades, Eight of Clubs, King of Diamonds, Seven of Spades, Jack of Spades, Nine of Diamonds, Queen of Hearts. B—Ten of Spades, Jack of Hearts, Nine of Clubs, Queen of Spades, Ace of Diamonds, King of Clubs, Ten of Hearts, Ace of Spades, Queen of Diamonds, Eight of Spades, Jack of Clubs, Seven of Diamonds, Seven of Clubs, Nine of Hearts, Ten of Spades, Jack of Hearts, Nine of Clubs, Ace of Diamonds, Queen of Spades, Ten of Hearts, King of Clubs, Ace of Spades, Queen of Diamonds, Eight of Diamonds, Jack of Clubs, Seven of Diamonds, King of Hearts. Pack A, which is supposed to be complete, lies on the table. Pack B is so placed on the table that almost half of it protrudes over the back edge. The card-picture is placed on this pack, thereby preventing it from falling and also hiding it from

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view. At first Hofzinser used for his card-picture the picture of the famous dancer Pepita. Later he substituted his own. In the left breast (or outside) pocket, a so-called "spring mechanism" is hidden. This contains three cards which present on each side nothing but the back patterns—no pictures nor spots. They are made by simply pasting two backs together.

The spring mechanism is made as follows: At the lower end of a narrow tin-case, just large enough to admit three or four cards, is fastened a spring (a) which carries at its end a small gutterlike arrangement (b) of very thin tin. To the bottom of this is soldered a small loop or eye of wire (c). If the spring is pressed down, this loop passes through a small hole (d) in the bottom of the case and held in place by a threaded needle. This needle is first passed through the lining of the coat into the pocket

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and then fastened as described. The thread is pulled just enough to be taut and fastened to a vest-button. vest-button. Furthermore an "assorting case" is needed, which is put into the right back pocket of the dress-coat.* The assorting case contains only these sixteen cards: Ace of Hearts, Queen of Hearts, Eight of Hearts, Seven of Hearts, Ace of Spades, Queen of Spades, Eight of Spades, Seven of Spades, King of Diamonds, Jack of Diamonds, Ten of Diamonds, Nine of Diamonds, King of Clubs, Jack of Clubs, Ten of Clubs and Nine of Clubs. In the same pocket is hidden a complete pack which has on top the three cards which are to be forced, for instance the Ten of Diamonds, Queen of Hearts and Jack of Clubs. For the "Rising Cards" three duplicates of those three cards which are to rise from from a water tumbler tumbler are required. required. Four cards are perforated in the centre about half an inch below the upper margin; the holes have a diameter of about 1/16 of an inch. They must have no rough edges. Now through these holes a woman's long hair is drawn which is fastened to the first card. To the other end of the hair is fastened a small piece of beeswax about the size of a pea. Between these four cards the three duplicates are placed, in this order: Jack, Queen, Ten.+ ______________ _________________ ___ *The "Assorting Case" (or as we now call it, "The Card Index"), appears to have been invented by Hofzinser. Several other types are described by Hoffman in connection with "The Pocket-Picking Trick," in Magical in Magical Tit-Bits, p. Tit-Bits, p. 181, et seq. See, also, Magic Made Easy (Devant), First Edition, p. 136. For particulars of the kind usually employed in this year of grace see Up-to-Date Conjuring (Walker), p. SO—Ed. p. SO—Ed. +This method of threading will he recognised at that usually credited to Buatier de Kolta. Compare More Compare More Magic (Hoffman), Magic (Hoffman), p. 94; Magicians' 94; Magicians' Tricks (Hatton Tricks (Hatton & Plate), p. 87; The Art of Magic (Downs), Magic (Downs), p. 191.— Ed.

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After the cards are prepared in this manner a sheet of black paper 6 1/2" x 5 3/4" is divided into six parts so that two middle fields (b), (d), correspond with the width and (d) with the length of the card. On each side

in the middle a corner is cut out. All seven cards are put on the field (b) face up and the hair outward. Now the side fields (a) and (c) are folded over the cards and finally the lower field (d) folded upwards, thus covering the cards except the upper margin. This simple card-case is fastened with four thumbtacks near the back edge of the table. The hair is allowed to hang down, while the wax is pressed firmly on the table. Finally an ordinary round water tumbler is required of such a size that it will easily admit a pack of cards. The card-picture—an invention of Hofzinser—is also mechanical. It consists of a frame about 13 1/3" x 17", a 172


pane of glass, two pictures of a dancer (both alike) and a back. The pictures cover one another. The one in front is fastened to a spring roller which in turn is fastened to the inside of the right margin of the frame.* The second picture is pasted on cardboard. To this are fastened three hair-loops into which are placed the three cards which are to appear later on. One of these cards is minus a corner, which is later handed to a spectator. This card, always a picture card (for instance, Queen of Hearts), is equipped with an extra flap which can be folded on to the corner, giving the card the appearance of a whole card. The preparation of the card picture is as follows: The picture frame is placed on the table, face down, i.e. the glass on the table; the roller picture pulled out and the cardboard on which the second picture is pasted together with the three cards is placed on the back of the first picture. Then the back is put on. A very slight pressure on the glass is sufficient to release the spring of the roller, thus causing the first picture to disappear very quickly, revealing the second with the cards. The "Little Profit" is an apparatus which enables a person to shoot a card into a candle.+ A pistol, which is also required, plays an important part. First we need a metal tube 14 1/2" long and 1/5" in diameter into which is fitted a steel piston. A slot about 2" long long and 1/20" wide is filed into the tube-wall near the bottom. A button button is screwed through through this aperture aperture into the steel piston, so that the piston can be moved up and down.

______________ _______________ _ *Compare Modern *Compare Modern Magic, p. Magic, p. 467; More 467; More Magic, p. Magic, p. 98.— Ed. +For other versions of "The Card and Candle," see Magical see Magical Tit-Bits, p. 145; The Modern Conjurer, p. Conjurer, p. 249; Magicians' 249; Magicians' Tricks, p. Tricks, p. 155; More 155; More Magic, p. Magic, p. 421.— Ed.

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To the top of the tube is fastened another piece of tubing, about 2 1/2" long long and covered with white paper (or lacquered white) thus giving it the appearance of a candle. The diameter of this tubing must correspond with that of a candle. Into the top a very small piece piece of candle candle is fitted (not (not too tightly). tightly). When When this is lit the deception is complete. Under the lower end of this piece of tubing a small saucer is placed for the purpose of catching the melted paraffin. In this way the apparatus looks exactly like the "Little Profit," a saving device which was used in Hofzinser's time to burn up the candle to the last, and was then known under that name.*

The pistol is also equipped with a piece of tubing on the barrel of such size that the false candle fits exactly into it. On the table stands a candle-stick (candelabra) with several long candles. About 2" to to 2 1/2" from the top these are notched to enable the professor to break off a piece of the desired length. The pistol is loaded with a blank cartridge. Matches are on the table. Remarks and Instructions

" Three Three heterogeneous powers—mind, magnetism and mechanism form the basis of this experiment. "The first forbids any and all material associations, therefore I hand this pack over to you and request you to look through it and remember one card." (Pack A is handed over.) " I shall not pay the slightest attention to you and therefore cannot exert any influence over you whatever." ______________ ________________ __ *When finished, this "Little Profit" should resemble the part of a candle-stick which grips the candle, fastened to the end of a slender rod. It would seem a better plan to use a regular candle-stick with the piston made in the stem as explained in the text.— Ed.

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(To a second person:) "May I trouble you too?" (The second person makes a selection. Then a third:) "And you too?" (It is done. Now the pack is received back with the right hand, which then reaches for the card picture, dropping the pack A into a little servante on the back of the table, and picking up pack B and the card picture.) " Here Here is a well-known person, Madame Pepita, who has kindly volunteered her assistance." assistance." (The picture is hung in a convenient convenient place.) "You were kind enough to remember three cards at my request, but without being questioned by me. Now the three cards shall disappear from the pack and be found in my pocket." (Pointing to the pocket which contains the spring mechanism.) " But But no, not I ... you yourself shall hold the cards." (Pack B is handed to someone.) "Now I take possession of your thoughts." (The hands make a circling movement around the pack—and then a throwing motion towards his pocket.) "Cards, come out! Pass! Now your thoughts are in my pocket. You do not believe it? Still, you have the proof in your hands. Look through the whole pack . . . but no ... not a whole pack any more for the three cards are missing. Please convince yourself." (The persons look for their cards and do not find them.) "Of course they cannot be in the pack, since they are in my pocket. To convince yourself that this really is a fact, I shall force them to come out. Do you wish to see them?" (Answer: "Yes!") (Answer: "Yes!") "Pass! It is done." (With these words the needle is pulled out and the spring released, causing the cards to jump out of the pocket and fall on the floor. Everybody thinks the cards are lying face down.) "Voila! Your three thoughts! Now will you name them?" (This is done. Upon learning the names the professor takes the

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respective cards out of the assorting case and palms them. Then with his left hand he picks up the three cards from the floor and puts puts the three palmed cards cards on them, interposing interposing the little finger of the left hand. Then he removes the three aidcards by the bottom-palm, exhibits the three chosen cards and puts them on the table. Then:) Then :) "The appearance of the cards is really based on an absolutely material phenomenon, just like the disappearance of a whole pack. Would you like to see a whole pack disappear from my hand? Ah! yes, of course, the three chosen cards belong to it!" (The ( The three cards are taken from the table and added to the the pack.) "Now here is the complete pack. First we shall see how it disappears. Here are the cards!" (The ( The cards are held between the tips of the thumb, middle, third and little fingers, while the first finger leans against against the back of the pack.) pack.)

"Change! Pass!" (With (With these words the professor puts his right hand flatly on the pack and makes a throwing move with both hands. Suddenly he stops and acts as if he had noticed a person who intended to criticize this action action.) .) "Oh! yes, the pack is still here!" ( He ( He spreads the pack fanshape in his right hand. Then pushes it together on the table and takes it in the left hand as before .) "Now then, here is the pack. Change! Pass!" ( The right hand is placed on the pack, while the thumb of the left hand moves over the edges of the cards causing a crepitating noise.

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After repeating this two or three times the pack is palmed in the right hand and with the word ) "Begone!" (both hands again execute the throwing movement.) "Not here as you see . . ." ( Pointing ( Pointing with the right hand to the empty left; immediately executing the "Transfer-Palm" which passes the cards cards into the left hand .) .) ". . . nor here either!" ( Pointing with with this to the right .) .) "And not here!" (With (With these words the right hand grasps the arm-hole of the vest and pulls the latter a little outwards; the left does likewise, but before it grasps the vest it throws the cards into the space between vest and shirt. The hand does not have to be removed immediately, since the whole movement causes the impression that it was only intended to show there was nothing hidden behind the vest .)* .)* "No, but here, where you could not see . . . here in my back pocket." (With (With these words the professor turns back to the audience and takes from the back pocket of his coat the complete pack with the three pre-selected cards—Ten of Diamonds, Queen Queen of Hearts, Hearts, and Jack of Clubs—on Clubs—on top.) top .) " And now for the second power—'Magnetism.'" power—'Magnetism.'" (To a person:) person:) "Will you kindly draw a card?" (The Ten of Diamonds is forced.) (To a second person:) person :) "And you?" (The Queen of Hearts is forced.) (To a third :) :) "And you too?" (The ( The Jack of Clubs is forced .) .) ______________ _______________ _ *An alternative method would be to drop the pack into the profonde as the hand came down for the last throw, or, if wearing a dinner jacket, a "Topit" could be used in a similar manner. On p. 288 of The Secrets of Conjuring and Magic (Robert-Houdin), Magic (Robert-Houdin), another suitable vanish is explained.— Ed.

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"Now will you put the cards back and shuffle them!" (Done. The pack is received back. The professor goes to the table to fetch the, tumbler and puts the pack face up on the middle field of the fastened case containing the seven cards.) ( Showing the glass:) glass:) "Here we have an ordinary water-glass, please convince yourself, . . ." (The ( The tumbler is handed over for inspection.) inspection.) ". . . and here the pack which you shuffled yourself!" (With these words the pack is picked up in such a manner that the right thumb and middle finger hold it at the upper corners, at the same time taking hold of the seven cards in the little paper pocket. The first finger is placed on top of the pack. Then the hand pulls the pack backwards, at the same time pulling out the seven cards. Then the whole pack is put into the tumbler, face side towards the audience.) audience .) "I put it into the glass right before your eyes! So! like that. And to enable you to see this thing better I shall come quite close." (With these words the professor takes the glass in the left hand, while with the right hand he removes the wax from the table and holds it. Then he steps close up to the audience.) "Now all three cards shall march out or jump out at my command, which in turn shall be entirely subservient to your wishes. You see there is no preparation preparation or subterfuge of any kind." (Pointing with the right hand to the glass.) (To the first person:) "You person:) "You shuffled the cards yourself. Will you name your card?" (Answer: "Ten (Answer: "Ten of Diamonds!") Diamonds!") "How would you like it to come out? Quickly or slowly?" ( According to the person's wish, the hair is pulled slowly or quickly. The pulling is done by the left hand moving the glass away from the right which is held firmly to the

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body.* When the Ten of Diamonds has risen it is put on the table while the glass is held with the right hand. ) (To the second person:) " Now Now for the second card! How? Quickly or slowly?"(The slowly?"(The card does not rise.) " The The card does not obey? Well, what kind of a card may this be which refuses to obey my command? Queen of Hearts? A lady! Of course, ladies do not like to be commanded. They are accustomed to hearing quite a different language." ( Looking at the glass glass:) :) "If you please, madam, may we have the pleasure of your company!" ( At ( At the same moment the hair is pulled a little.) little.) " See, See, she commences to flirt already! But, my dear lady, won't you come out altogether? You know the beginning and the end (i.e. the head and the foot) are the things which are most enchanting! Come, madam, come to me!" (The hair is pulled taut and the card rises to the surface. To the audience:) "1 hope you will pardon me for courting the lady but you know you have to to use extraordinary extraordinary means when a lady has put it it into her head to do or not to do a thing. And this lady even has two heads!" (The glass is put in the right hand and the card put on the table with the left. Now the glass is put on the table so that the piece of wax hangs down over the back edge of the table. Then:) Then:) "But I shall certainly not fail to employ all politeness with the third third card." (Addressing the third card:) "Kindly card:) "Kindly make your appearance, . . . if you please!" (The card does not move. After a pause:) pause:) "Oh! "Oh! please, do come!" (No move.) ______________ _______________ _ *The manner of presenting and operating this version of the Rising Cards closely follows "The Obliging Bouquet" variation, which was also devised by Hofzinser, though usually associated with the names of Compars and Alexander Herrmann who made it a feature in their programmes. For a detailed description of "The Obliging Bouquet," in which the chosen cards rise from a bunch of flowers held by a lady in the audience, see Sachs's Sleight of Hand, Second Hand, Second Edition, p. 202; also The Art of Magic, p. Magic, p. 211.— Ed.

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"Even politeness has no effect! What kind of a card is this? Will you tell me?" me?" (Answer: "Jack (Answer: "Jack of Clubs.") "A Jack! Oh! a boy! Why didn't you tell me so right away? I have to employ an entirely different language here." (With these words the professor takes out his handkerchief, rolls it to a ball and going quickly to the table, grasps the piece of wax with the left hand, while he hits the table with the handkerchief. In reality he strikes it on the taut hair, causing the Jack to rise quickly.) "Thunder and Lightning! Will you come out?" (The card is taken in the left hand, which drops the wax.) "Another proof that you must not be too lenient with the boys!" "Now for the third, and last, power—'Mechanism.'" (The three cards are picked up.) " In In order not to trouble you again, I shall use your three cards! To prevent any exchange, we will mark them with a lead pencil, . . ." (With these words he puts his hand in the vest pockets, seemingly seeking a pencil, actually he takes out the corner which had been torn off one of the cards which are hidden in the "card-picture." Not finding a pencil, he continues:) ". . ". . . or I will tear a piece piece off one of them—so!" them—so!" (The corner is torn off the Queen of Hearts, which card is held so that the audience cannot see the face of it.) "What did I pick up?" (Turning the card up:) "Oh! up:) "Oh! yes, Queen of Hearts!" (The piece which has just been taken from the pocket is handed to somebody, after being substituted for the one just torn off.) "Will you kindly hold this for identification purposes?" (Pointing to the card picture:) " Madame Madame Pepita will be kind enough to let the three cards in, when I command —three! "One! . . ." (The professor takes his handkerchief and seemingly wraps it around the cards; in reality he palms

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them in his right hand and hides them, while he folds up the handkerchief.) handkerchief.) ". . . Two! . . ." (Then with the word:) word:) ". . . Three!" (he throws the handkerchief handkerchief forcibly against the glass, thereby releasing the spring with the result that the three cards are exhibited.) " Voila! The three cards! I cannot very well claim ' everything without preparation,' preparation,' but I shall remove the picture and leave leave it to you to solve the problem according to your own imagination!" (This is done, then the three cards are taken off.) "The parts have been shown and I hope that Madame will not be offended if I exhibit all the the details." (The picture is put aside and the Queen of Hearts (with a corner torn off) picked up.) "I believe you have a piece of this card? Let us see! A perfect fit, is it not! If you wish, I will mend this defect and make the card whole again. It is not easy, but to fulfill your wish, I shall even do the impossible. You see that the card is really torn! No doubt whatsoever! And now the torn card shall again become a whole one, without any apparatus, here in my hand, right before your eyes." (The card is put in the left hand, back towards the audience. The professor loosens the flap with the first finger and holds it between this and the middle finger. Now he takes the small piece from the person. Then, pointing to the card:)

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"Here is the piece which we tore off and here is the card. Changez, vite!" (The piece is seemingly thrown towards the card, but in reality is palmed. At the same time the flap is turned covering the torn part. The hand is turned so that the face of the card is directly upward. The defaced corner is now on the left side, covered by the flap. The card is now so turned that this corner is directly towards the tips of the fingers, where it is covered from underneath by the thumb. Then the card is well exhibited.) "Again it is whole! But now for a brilliant proof to dominate your thoughts." thoughts." (To a person:) person:) "Will you, once more, remember a card? You can choose from amongst 32! Here is the pack; just take your card out. " Have you got it?" (The candelabra is held before the person.) " Please " Please select one of these candles; it is immaterial which." "This one?" (The candle is taken from the holder and the piece broken off at the notch.) " As you see, there is no preparation!" preparation!" (The piece is put on the table near the servante. Picking up the pistol:) "May I trouble you now to roll up your card, lengthways, lengthways, and load it into the pistol?" (Done.) "So (Done.) "So ... such a card is the best wad! Will you do the shooting?" (The professor holds the pistol by the barrel while presenting it to a gentleman. As soon as the gentleman grasps the butt, he (the professor) steps back, at the same time pulling out the false candle with the card inside. Then he returns to the table to fetch the candle but pushes it into the servante and puts the false (i.e. prepared) candle, which he had palmed, on the "Little Profit," lighting it and showing the whole apparatus with the right hand.) " This This 'Little Profit' possesses the great profit for me in that my hands will not be hit. Now please, shoot when I command

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'Three!' Aim right for the flame, in order to shoot the thought into it out of this gentleman. Now—One, two, three!" (As the gentleman pulls the trigger the professor pushes the piston upwards. The card pushes the candle end out, which falls on the floor, simply creating the impression that the light has gone out. The card is pulled out of the (false) candle and exhibited.) exhibited. ) " Here Here is your card! The problem of the three powers is solved!"

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HOFZINSER'S CARD CONJURING APPENDIX

On the following pages are described Hofzinser's card experiments and Card Flourishes, the most difficult and most bewildering manipulations manipulations with with unprepared unprepared cards. A written description for the performance of these Card Flourishes is however impossible. Also, an illustration would only show the result, but not explain how to make the separate figures. On these grounds I must refrain from explaining how to perform the Card Flourishes in words, and will only indicate the order in which Card Flourishes or designs are described under the following headings 1: a) Spread

g) Bridge

b) Rosette

h) Bow (or Arch) Arch)

c) Little Wheel i) Waterfall d) Great Wheel k) Half-Wheel e) Long Pull l) Half Shuffle (or Accordian) (or Rapid Shuffle) j) Necklace Further, I must observe that there is an original Hofzinser guide to one of these experiments, under the title: "Three Are One." One can easily follow the skilled Hofzinser technique, but not to their conclusion. The keys to the experiments are not given. I have therefore not completed the descriptions of the experiments, and they are not completely recorded. In conclusion, there follows a list of Card Experiments which were of Hofzinser's invention, invention, though there is no authentic proof of this. ______________ _______________ _ 1For

some unknown reason the letters in brackets are not all in alphabetical order in the original text. Ed text. Ed

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(1) The Choice Of Suits Eight cards are drawn from the pack, and placed face down on the table. Someone will be asked to name one of the four suits of cards. The eight cards, on being turned over, will all be of that suit.2 (2) The Changed Cards Two Aces are placed on the table. A card is drawn from the pack, and the pack well shuffled. One Ace will disappear; and in its place will appear the drawn card. This will again disappear, and the original Ace return. (3) The Cigarette Packet A card is drawn and shown, and placed in a cigarette packet held by a spectator. A second card is drawn. On command the card in the cigarette packet will be found to have changed places with the card in the conjurer's hand. (4) The Mystery Of The King Of Spades From four packs take four picture cards: e.g. King of Hearts; King of Spades; Knave of Clubs; and Queen of Hearts. The packs are placed face down, with their backs toward the audience. The conjurer shows the King of Clubs in his hand. It disappears. Next the conjurer points to one of the four cards, and shows it is now the King of Clubs. The remaining three cards will also now be found to be Clubs in order (e.g. Jack, Queen, Ace). Finally, the original four cards will appear elsewhere. (5) The Five Changed Cards Five cards are drawn, then shuffled into the pack. On being asked, the conjurer produces any one of the three chosen cards. The other two of these three are removed from the pack, and changed to the two remaining cards, which were shuffled into the pack. (6) Carte Blanche (or The Blank Card) A card is drawn and shuffled into the pack. Now Now the ______________ _______________ _ That is to say, the whole suit from a 32-card pack. Ed. pack. Ed.

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conjurer will show a blank card (or a white sheet of notepaper). Slowly a picture of the drawn card will appear on the paper or the blank card. (7) The Magic Finger-Ring A card is drawn and shown, and will suddenly appear in a finger-ring held by a spectator behind his back. (8) Strange Harmony A spectator will be asked to draw a pip card. From the rest of the pack, two more cards are drawn. The pips on these two cards will add up to the number on the first card. (9) Card And Banknote A pip card is drawn from the pack. Then several banknotes are shown and one is chosen. The pips on the card will add up to the sum of the numbers on the banknote. (10) Card And Handkerchief Handkerchief A card is drawn and placed in a white handkerchief. After appropriate patter the handkerchief is opened. The card is now blank, and its pips or picture will appear slowly on the white handkerchief. (11) Card And Watch A card is drawn and placed on the table. The card changes to reveal the painted dial of a watch. Someone is asked to name an hour. The conjurer waves the card and reveals the dial, now showing the hands pointing to the hour asked for. The picture on the card changes from the clock face to that of the original card. (12) The Magic Separation The conjurer displays a pack of cards; all the suits and colors mixed together. He puts the pack on the table and divides it into two piles. In one pile, all cards will be red; in the other, all black. Unprepared Unprepared cards.

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(13) The Flower Puzzle A card is drawn and is revealed as the Queen of Hearts. That lady loves flowers! The picture on the card changes to a picture of flowers. The conjurer apparently picks the flowers from the card, and real flowers appear in his hand. The painted flowers on the card change back to the picture of the Queen of Hearts. (14) The Toss Of The Cards The conjurer has a pack of cards in his hand and appears to throw away the whole pack; they disappear. Suddenly they are in his hand again. He throws them into the air, catches the falling cards, and again has a full hand. He throws them away again; they vanish, and he displays his empty hands. Suddenly the pack is revealed in his hands again. (15) The Card And The Turnip The conjurer shows a tray full of turnips. One is picked out. A card is drawn and vanishes from the conjurer's hand. The turnip is cut open, and in it is the drawn card. (16) The Visiting Card A visiting card is produced and placed in an envelope. A card is then drawn. The drawn card vanishes from the hand, and the visiting card appears in its place; and in the envelope will be found the drawn card. (17) The Pack Of Knaves A pack of cards seems to change into little flags. Four flags are picked out and change into the four Knaves disguised in the national costumes. (18) The Mysterious Card A card is drawn and a lady is asked to hold out her hands. In one hand is placed the card, in the other the pack of cards. Now the lady is asked to shuffle the drawn card into the pack. The card appears in another place, and has disappeared from the pack. [THE END]

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hofzinsers_card_conjuring.pdf

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