Modern Magic: A Practical Treatise on the Art of Conjuring - Professor Hoffmann

Скачать книгу

the cards. Hold the card to be changed in the right hand, between the first and second fingers. (See Fig. 16.) The card into which it is to be changed should have been previously placed (secretly, of course) on the top of the pack. Push this card a little forward with the left thumb, so as to make it project about three-quarters of an inch beyond the remaining cards. Bring the hands close together for an instant, and in that instant place the card held in the right hand under the pack, (the second, third, and fourth fingers of the left hand opening to receive it, and the remaining finger making way for it as soon as it reaches the pack). Simultaneously with this movement, the thumb and first finger of the right hand must close upon the card projecting from the top of the pack, and, as the hands separate, carry with them that card in place of the one which the right hand originally held. A half turn of the body to the left or right, a quick downward sweep of the right hand, or any other rapid gesture, will assist in covering the momentary bringing together of the hands. In some cases it is better that the right hand alone should move, the left hand being held stationary; in other cases the left hand (the one holding the pack) should make the movement, the hand holding the single card being motionless. It will be well to practise both these modes of making the change. The direction in which the performer turns, in order to place the card on his table, or the like, will indicate which is the best mode to use in any given case.

      Fig. 17.

      Fig. 18.

      Third Method.—Hold the card to be changed face downwards between the thumb and first and second fingers of the right hand, the thumb being above and the two fingers below the card. Hold the pack in the left hand, as if about to deal the cards, the card for which that first mentioned is to be changed being on the top. Bring the hands rapidly together, pushing the top card with the left thumb about an inch beyond the rest of the pack, and at the same moment place the card held in the right hand with a sliding motion upon the top of the pack. (See Fig. 18.) Both this card and the original top card (which is now second) will now be between the two fingers and thumb of the right hand. Press lightly on the top card with the left thumb to keep it back, and quickly draw away the right hand, pressing gently upwards with the two fingers on the face of the second card, which you will thereby draw away in place of the top card. If neatly done, the keenest eyesight cannot detect the substitution of the second card. Your only difficulty will be to find a colourable pretext for placing the card you hold on the top of the pack. This achieved, the rest is easy. The nature of the trick you are performing will frequently suggest a plausible excuse. A very successful plan is to boldly request the company to observe that you do not do that which you at the same moment actually do. “You will observe, ladies and gentlemen,” you remark, “that I do not, even for one moment, replace the card in the pack, but simply,” etc., etc. At the words “replace the card in the pack,” the hands are brought together, and make the change. The action, suiting the words, is taken by the audience as an indicative gesture only, and thus the change is effected under their very eyes without exciting the least suspicion. In this mode of making the change, you should aim at being easy and natural, rather than very rapid. The main movement (that which brings the hands together) is undisguised, but attributed to a fictitious motive; and the subsidiary movement of the fingers, which actually effects the change, is so slight as to be practically imperceptible.

      Fig. 19.

      Fig. 20.

      Fifth Method. (To change a given card without the aid of the pack.)—A card having been chosen and returned to the pack, make the pass to bring it to the top, and palm it. Give the pack to be shuffled, and when it is returned pick out hap-hazard any card you please, and holding it up between the first finger and thumb of the right hand (in which is the palmed card), announce boldly that that was the card chosen. You will, of course, be contradicted, whereupon you pretend to be disconcerted, and ask if the person is quite certain that that is not the card he drew, and so on. Meanwhile, you take the card, face downwards, between the first finger and thumb of the left hand, whence you immediately take it again in the right hand (see Fig. 19), taking it so as to bring the palmed card immediately over it, when the two will at a little distance appear to be only one card. You then say, “Well, if you seriously assure me that it is not the right card, I must endeavour to change it to the right one. May I ask what your card was?” When you are told, you continue, “It is a very simple process. I have merely to lay the card upon my hand, so, or if you prefer it, I will change it in your own hands. Oblige me by holding the card face downwards. I think you said your card was”—(say) “the ace of spades? Change!” As you say the words, “lay the card upon my hand,” you place the two cards for an instant on the palm of the left hand (see Fig. 20), and draw off rapidly the top card, which is the right one, leaving the other palmed in the left hand, which then drops to your side. The audience do not suspect that the change is already effected, or that you have had more than one card in your hand throughout, and if you have performed the trick neatly, will be utterly nonplussed when the transformation is revealed. You may, if you please, conclude by asking what card the audience imagine that they first saw, and, when told, remarking that they must have been mistaken in their impression, as that card has been in Mr. So-and-so’s tail-pocket all the evening, as you prove by plunging your left hand (in which the card remains palmed) into the pocket, and producing it accordingly.

      Fig. 21.

Скачать книгу