Reprinted from Card Manipulations by Jean Hugard (p. 112-15). The five sections of this book are now published by Max Holden, N. Y. C. as one volume, and comprise the very latest tricks and all the sleights known to modem card conjuring Four versions of 'Everywhere and Nowhere' are given. Other presentations of this trick will be found in T. Nelson Downs' The Art of Magic; and in Modern Card Effects and How to Perform Them. Hofzinser's original version will be found in his book Card Conjuring by Ottokar Fischer and edited by S. H. Sharpe.
This brilliant trick was the invention of the late Dr. Hofzinser of
Vienna, who was regarded as the greatest card conjurer in the world. In his hands this experiment must have been a veritable masterpiece of artistic card conjuring and the modern magician will find this latest adaptation a decided addition to his repertoire.
This is one of the most effective card tricks ever devised. The reason that it is so seldom seen is probably because the explanation given in the textbooks are unnecessarily complicated and give the trick the appearance of being difficult. The moves in the routine that follows have been arranged to simplify the procedure as much as possible.
The only requirements are-- a small stand or card easel, or failing that, three glasses, against which to stand cards for display, an ordinary pack of cards with two extra duplicate cards, two 10S's for example. Any card can be used but the black suits are preferable if the feat is to be performed before a large audience since the spots stand out so much more plainly under artificial light. Let us suppose that 10S's are used, place all three on top of the pack. Begin by shuffling the pack overhand in this manner-under cut about three-quarters of the pack, injog the first card and shuffle off. Ask a spectator to draw a card, insert the tip of the left little finger below the jogged card and, spreading the pack, force one of the three 10's. This is much easier and more natural than making the pass to bring the 10's to the middle. The shuffle, being quite genuine as far as the cards actually shuffled are concerned, tends to throw the spectator off guard and renders the force easier. In any case there should be no difficulty in forcing one of the three 10's.
As the spectator notes his card, close up the pack and insert the tip of the left little finger above the two remaining 10's. Hold the pack in
right hand, fingers at the outer end, the thumb at the inner end, holding the break. As you ask the spectator to replace his card allow a few cards to drop from the bottom of pack on to your left palm, then a few more, finally let drop all the cards below the break and hold the left hand out to receive the chosen card which is thus returned on top of the other two 10's. Make the pass, bringing the 10's to the top.
It is necessary now to place the 10's so that one shall be next to the bottom card, one on top of the pack and the third one third from the top. To do this the simplest way, grasp the pack with the right hand as for an overhand shuffle, press firmly on the top and bottom card with the fingers and thumb on the left hand and lift all the cards but these two with the right hand. The top card, the first 10, will fall on the bottom card and you drop the cards from the right hand on top of them, thus placing the first 10 next to the bottom. Do this casually, while talking, then as if having changed your mind as to the manner of shuffling split the pack in half and riffle shuffle. Let the two lowest cards in the left-hand packet fall first, then execute a genuine riffle until the packets are reached. Hold back the top card of the left-hand packet and let it fall between the two top cards of the right-hand packet, i.e. between the other two 10's. The three cards are now in the position required--one on the top, one third from the top and the last next to the bottom card.
The usual patter runs to the effect that by means of a scientific system a card can be found in a shuffled pack in not more than three trials. 'The most likely position,' you say, 'is the top of the pack.' Make a double lift and show the second card.
'Is this of your card?
'Then I'll put it here on the table out of the way.' Turn the two cards down, as one, take off the top card, the first 10S, and put it face down on the table or easel, or stand it upright against one of the glasses.
'The next likely position is on the bottom. Here is your card, the
of Say this confidently as if sure of its being right and hold the pack upright in the left hand, the bottom card facing the audience.
'What? Wrong again? Then I must put this card with the other one.' Drop the left hand and by means of the Glide draw out the second 10S, and put it beside the first. Now shuffle overhand by first running one card, then drop about half the pack on it, injog one card and shuffle off. The last 10 being the next card below the jogged card, make a break at that point with the right thumb at the inner end of the pack, separate the next two cards, 10S and an indifferent card, from the rest and push them forward, as one card, till they protrude from the outer end of the pack for about an inch. Turn the pack upright and with the right hand, thumb at rear and fingers in front, pull the two cards up for about three-quarters of their length above the pack. Assert now with the utmost confidence that you have succeeded.
'I have only this one more chance and as my system has never failed yet this of simply must be your card. No again?
You are sure? Pardon me, but did anyone else see the chosen card? Oh, excuse me. I don't doubt you for a moment, but it is such an extraordinary thing for the trick to fail I thought you might have made a mistake. This is not your card.' The more bewildered and anxious you can appear to be, the better the final effect. Drop the left hand, push the lower of the two cards flush with the pack, draw out the upper card, a 10S, and put it with the other two on the table.
'I must finish the trick somehow. You all say that not one of these cards (point to the easel or the glasses) is your card? Very well. May I ask you what was the card you chose? The 10S? Do you think it would be possible for me to make you see any one of these cards as the 10S, No? Let us try. Which one shall I take? The middle card?'
Take that card and hold it with its back to the audience.
'Of course it isn't really a 10S, but it will appear so to you.'
Wave your hands in pretended hypnotic passes, then turn the card face out.
You all see it as the 10S? Very well, I will replace it here.'
Make the bottom change in the swing towards the table and put the indifferent card down face inwards.
'You are still skeptical? Let me prove that you are all under hypnotic influence. Of these two which would you like to see as the 10S, This one? Very well.'
Repeat the same business and again change the card for an indifferent one by the bottom change, placing this card down with the first.
'One card only is left. You will see this also as a 10S.'
Show the card as before, but this time it must be changed by the top change. Show the card upright, holding it with fingers on top end, thumb on the lower. The left hand holds the pack close to the body about waist high, as you say:
'Of course the card is not a 10S. The real 10 is here in the pack'
Drop the right hand bringing the card on top of the pack and at the same moment push the top card of the lower pack over to the right. Release the I OS from the right hand and grip this top card in exactly the same way. A moment later the left thumb pulls the 10 squarely on to the pack and moves away, the right remaining stationary. Finally place the indifferent card with the other two.
'Let me give you further proof. You see this top card?'
Make the double lift and show an indifferent card. Name it and turn the two cards, as one, face down. Take off the top card, a 10S, and after more hypnotic passes turn its face to the spectators.
'Now you see it as the 10S, Replace it on top. Wave your hands again.
'Now look at the bottom card. It also is the 10S,
Hold the pack upright and show the 10 on the bottom. Under cover of this surprise make the pass and hold a break with the right thumb between the two packets. Show the pack upright in the right hand, bottom card facing the audience, an indifferent card is now seen to be there.
'It is all an optical illusion. The cards are not really 10S's. They only appear so.'
Place the pack in the left hand and slip the tip of the left little finger into the break. Lift off the top card and show it is an indifferent card now.
'But when I put you under the influence you can see the 10S, only, look.'
Cut the pack at the break and hold the top portion upright, a 10S, again faces the audience. Insert the tip of the left little finger under the top card of the lower packet, i.e. the third 10. Replace the top packet and make the pass, bringing the three 10's to the bottom, riffle off the inner ends of these three cards and insert the tip of the left little finger between them and the rest of the cards, and hold the pack in position to execute the bottom palm. (Erdnase, p. 86.)
'I know exactly what you all suspect, that I have been trying to mislead you and that all the cards are 10S's. I wouldn't do anything as barefaced as that for worlds. Look! This card is not a 10.'
Palm the three 10's in the left hand and at once turn the first card on the table face out. 'Nor this,' turn the next, 'and this last one is not a 10 either.' Turn it also.
'You see there is not a single 10S in the pack.'
Spread the cards face up on the table with a flourish turning your right side to the audience as you do so and slipping the three palmed cards into your left trousers pocket at the same moment.
'In fact knowing that card is an unlucky one for my trick, I put it in my pocket before I began. Here it is.'
Thrust your left hand into your pocket, bring out one of the three 10's and throw it on the table.
Smoothly executed and well acted the feat has an extraordinary effect. It is one of the few card tricks suitable for performance before the largest or the smallest audiences. Paul Rosini, the Philadelphia prestidigitateur, makes a feature of the trick and in his hands it is a masterpiece.
A very good plan for displaying the three cards when performing the trick in the parlor, is to take a large thick book, stand it upright and insert the cards as shown in the illustration. This is another idea of Dr. Jack Daley's who also makes a specialty of the trick. In his hands it leaves nothing to be desired.
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