Fingers do NOT LET GO CORNER UNTIL CARD IS WAY DOWN and left fingers CLOSE AROUND cards and square them up.
Practice this move over and over as it is the MAIN MOVE and should be done smoothly and steadily without jerking and without haste. In fact the whole effect must be done DELIBERATELY and SLOWLY--and SMOOTHLY.
Now, a clean surface is facing upwards. (The writing is now on the UNDERSIDE of the TOP CARD). You are about to number this card --but in doing so, the LEFT HAND comes UP to a point near shoulder height, so that the card surface is OUT OF SIGHT OF THE SPECTATOR while the figure "2" is being written in the UPPER LEFT CORNER. This is a natural move for writing in the hand. Immediately the left hand is lowered and shows the second numbered side all around.
When this has been shown, the LEFT HAND again comes UP to shoulder height, and the same move is made as at first --the top card being TURNED UPWARD and brought down BEHIND THE OTHER one in the hand. This time for just a second, the WRITING SIDE can be seen by you BUT BY NO ONE ELSE. After changing cards -- BEFORE THE HAND IS LOWERED -- you write the figure "3" in the UPPER LEFT CORNER of TOP SURFACE. Then lower hand as before and show around as, "Side Number Three."
Once more your LEFT HAND comes UP and again the same move is APPARENTLY made--but this time there is a slight difference. After the TOP CARD is turned OUTWARD as before --instead of bringing it down BEHIND the other card, it is BROUGHT DOWN IN FRONT OF IT (see Figure 10) instead. From the spectator's view the move is just the same as before, as your hand hides the exact action. From the front the motions look exactly the same as before.
This brings back to the TOP, the side number "1" (which you first numbered) (See Figure 11). Without bringing your hand down you mention that this is the LAST SIDE and you apparently make the MOTIONS for marking a figure "4". But you actually ONLY MAKE THOSE NECESSARY
TO CHANGE THE FIGURE "ONE" into a PERFECT NUMBER "FOUR1
At once the hand is dropped exactly as before --the side "Four" shown! Now with the cards still down, they are SPREAD JUST A TRIFLE (the TOP card to the RIGHT).
The figure "1" shows up on the UNDER CARD (this being the writing side) and performer states "Sides One and Four". Closing them up and turning them over together, end for end, they are spread again--and "Two" and "Three" shows.
The cards are now squared up and handed to a spectator to hold for the finish.
The spectators have actually seen four blank sides WITH A DIFFERENT NUMBER ON EACH. And when the cards are examined, the four NUMBERED sides are all there properly numbered--yet a name or message is found on one side of one of the cards.
Hertofore, memory work has necessitated a lot of study with memonics and word key lists. Card work was made doubly hard through having to learn two lists and very few have ever successfully accomplished this work although it covers many wonderful feats.
My new card memory effect is based upon several subtle ideas and principles which require but a moment's understanding. There is nothing to learn or commit to memory, and ten minutes from now you will be able to do it on a few minutes notice.
Nothing but a deck of cards is used and they may be borrowed, provided you have a chance for a THREE MINUTE PREPARATION.
EFFECT: The deck is thoroughly and genuinely shuffled to start with. Because using the entire pack would make the feat too long, it is divided into half and one half freely chosen by a spectator who cuts the packet and reads it through once out loud to the performer who stands in full view in the centre of the floor.
To prevent signals or confederacy, and so everyone may see the cards as named, the performer leaves the room but stays within hearing distance.
The spectator spreads the cards in a row face up and the performer successfully names the cards in order both ways. Also names cards at any number or the number of any card.
This effect is always appreciated by the intelligent class as a demonstration of pure memory highly trained. But it is really nothing but a really cute trick all the way through.
First, the arrangement, which WILL ALWAYS BE DIFFERENT. Separate the red and black cards into two heaps. Shuffle the red cards and spread them from left to right faces up. Now place your black cards in a row under the reds with the values corresponding, and everytime you have a Heart above, place a Club of the same value below. Each time you have a Diamond place a Spade of the same value below. Thus by looking at the sixth card for instance in the red packet you can name the sixth card in the black packet as it will be of the same value in the opposite suit. Thus either packet will be a copy of the other. Place one on top of the other with a bridge or break between.
TO PRESENT: Call attention to the shuffle. Cut at bridge or break and SHUFFLE THE TWO HALVES TOGETHER with a riffle or dovetail. Of course, the audience doesn't know one half is all black and the other red. Mention that a full deck is too much and that you will divide the pack. Turn deck face up, and dealing a card at a time, deal the REDS IN ONE HEAP and the blacks in another. Then turn the two packets face down. The subtle point is that the TWO PACKETS ARE STILL ARRANGED AS AT FIRST IN REGARDS TO EACH OTHER! This may be hard to believe, but try it with a pack of cards now--and note the principle.
Ask the spectator to take either one of the piles. Upon selection you carelessly drop the other half in your pocket, out of the way. Ask him to CUT the packet a couple of times and then starting at top, to read the cards to you just once. You listen AND REMEMBER THE LAST CARD NAMED, ONLY.
Step from the room and immediately take out packet from your pocket. Run through it and cut it so the card is at face or front which corresponds with the last card named. NOW YOUR PACKET IS THE SAME AS THEIRS!
Holding packet face down in your hand, deal them face up in a row from left to right and overlapping, naming each as you turn it up. After every fifth card dealt, jog the next five, either up or down, about an inch in the row. After you have thus gone through them, ask anyone to name a number and as you have them jogged in sets of five you can locate any number instantly and name cards located there LONG BEFORE THEY CAN COUNT TO IT in the other room. The same applies when finding a named card and telling the location of it.
When finished merely pick up the pack and drop in pocket before returning.
You have performed a real feat of memory which cannot be surpassed in effect by the real thing--and yet you don't need memory at all.
The last subtlety of jogging the row of cards makes your replies almost instantaneous. There is no wait until you count to position, which you would otherwise have to do.
"Phantasma" - -A Mental Card Feat
This is an effect that depends mostly upon PRESENTATION--as most of the secret magical operation is practically completed before the trick is really started. To the performer, it is very simple both in preparation and working, but it is highly inexplicable to the audience.
Although smoking material is used, it is not necessary to smoke for the effect. Very little material is needed for it, as a cigarette case with cigarettes, a deck of cards in the case and an empty side pocket is all that is used.
The performer starts by announcing, that by combining mind-reading with sleight of hand he has been able to perform the most astonishing and weird problems. This forming a good topic, he goes into the effect wherein a thought of card vanishes and appears in another practically unapproachable spot.
PREPARATION: First is needed a deck of cards and five duplicate cards, all different. These five extra cards are planted as follows: ONE is rolled up tightly and inserted into a cigarette in lieu of tobacco; ONE is inserted in one side of the cigarette case and covered with cigarettes; the last of which is the PREPARED CIGARETTE.
The case is then dropped into left side coat pocket, with a THIRD CARD lying loose in pocket. The FOURTH CARD is placed about fifteen from the bottom of pack and FACE UP in deck. The FIFTH CARD is placed on bottom of pack - -and the pack then inserted in case.
Previous to this the five cards of the pack of which you have duplicates, were removed and placed on top. Four other indifferent cards removed. Five or six ordinary letter envelopes are taken. The flap cut off from one (See Figure 14). They are all faced one way. The flap sides are up, and the flapless one placed on top, (See Figure 15).
The flap of the second envelope being turned down over the top of the flapless one. Thus the flap of the second envelope APPEARS TO BE THAT OF THE FIRST ENVELOPE. The four extra cards taken from deck are placed in this SECOND envelope from the top.
The packet of envelopes are so arranged, then placed in the inside coat pocket. You are now ready!
Ask the gentleman up on your LEFT. Take deck from case--(secretly leaving the bottom or fifth card behind in case), which you close and drop on table. Riffle - shuffle deck, NOT DISTURBING TOP FIVE CARDS--and NOT REVEALING FACE UP CARD near center.
Deal five cards face down on hand of man. Ask him to turn his back, look the cards over and to merely THINK of any one he pleases. Lay the remainder of deck face down on table. Ask another gentleman up on your RIGHT.
Take out the stack of envelopes in your LEFT HAND, flap sides up--and pointed toward right.
When first man turns around with cards, after making his selection, take cards in your RIGHT HAND--and apparently insert them into
TOP ENVELOPE, the flap of which is partly open. They really go into top FLAPLESS ENVELOPE (See Figure 16). At the same time, the
LEFT HAND TIPS UP towards body--and RIGHT FINGERS pull second envelope UP ABOUT AN INCH, by the FLAP (See Figure 17). The left hand rises the stack of envelopes up to the lips to wet the flap. After this, the right fingers press down flap and seal it, the envelope being
drawn high enough out of the pocket for this. The audience can only see the ADDRESS side of envelopes and all looks fair. After sealing flap down, the RIGHT FINGERS pull envelope away and hand to man on right --while the left returns stack of envelopes to pocket.
The man on your right side, now initials the envelope to identify and holds it. The performer meanwhile CARELESSLY and NATURALLY brings out cigarette case and extracts the PREPARED CIGARETTE, holding it as if ready to light. The case is shut and dropped onto table.
The performer mentions what has been done and how the first man is thinking of ONE of the five cards in envelope.
Then he further explains that by mind-reading he has learned the identity of the card--and by sleight of hand he did something with it, while right in front of them.
Performer then asks the second man to open the envelope and count the cards. "ONLY FOUR"! AND THE ENVELOPE IS UNPREPARED!
The man on left is now asked to name FOR THE FIRST TIME the card he was THINKING of, "so that the rest of the audience may appreciate the surprising climax of this experiment! " He does so and the man on right declares it is the VERY CARD MISSING FROM THE ENVELOPE HE HOLDS!
Then the performer deliberately explains what he did with the card and the first man finds his thought of card himself!
BECAUSE NO MATTER WHICH OF THE FIVE CARDS WERE THOUGHT OF, THE PERFORMER CAN TELL HIM WHERE TO FIND IT! For example:
1. If the card named is in the cigarette case or card case, the performer calls attention to that article WHICH HE PLACED ON THE TABLE IN FULL VIEW BEFORE the thought of card was named. He asks first man to open the case before all, and upon doing so the card is found there.
2. If the card named is in the cigarette, attention is called to the fact it has been in full view all the time, and now upon breaking it open, the card is extracted, unrolled and handed to owner.
3. If card named is in pack, the performer calls attention to the pack he placed on table and states that when hiding a card, the best place is among other cards. But to make it easily found, he has placed it in pack FACE UP! There it is found.
4. And lastly, if the card named is the one in your pocket--you can defy anyone to have seen you go to your pocket any time after taking cigarette case out, WHICH WAS BEFORE CARD WAS NAMED. The man himself is allowed to reach in and find the card there.
The effect is nearly foolproof, as it is mostly over beforehand. The fact that you have FIVE CARDS READY is never suspected.
Of course, attention is only drawn to the one place. All others appear perfectly natural and innocent articles by themselves, which are pocketed after effect.
With proper presentation, this is a wonderful drawing room or club feat.
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Among the evils which a vitiated appetite has fastened upon mankind, those that arise from the use of Tobacco hold a prominent place, and call loudly for reform. We pity the poor Chinese, who stupifies body and mind with opium, and the wretched Hindoo, who is under a similar slavery to his favorite plant, the Betel but we present the humiliating spectacle of an enlightened and christian nation, wasting annually more than twenty-five millions of dollars, and destroying the health and the lives of thousands, by a practice not at all less degrading than that of the Chinese or Hindoo.