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left?” Whichever the answer is, it may be taken in two ways, and you interpret it as may best suit your purpose. Thus, if you have placed the knave of hearts on your own right, and the choice falls on the right-hand card, you interpret it to mean the one on your own right hand. If, on the contrary, the person chooses the card on the left, you interpret him to mean the card on his left, and therefore on your right; so that in either case you make the choice fall on the knave of hearts.G Taking up the other card, and holding it, without apparent design, so that the audience can see what it is, you return it to the pack. Then say boldly, “This card upon the table will forthwith change to the card you thought of. Will you be good enough to name it?” If he names the knave of hearts, you have nothing to do but to turn up, or request some other person to turn up, the card on the table, and show that it is the right one.

      It is, however, quite possible that the person, by accident or design, may have thought, not of the knave of hearts, but of some other card, say the nine of diamonds. Even in this case you need not be at a loss, although the card on the table is a wrong one. When the card is named, you say, “The nine of diamonds. Quite right! Let me show you, in the first place, that it is not here in the pack.” Advancing to the audience, and at the same time running over the cards, as in the last trick, you draw the nine of diamonds behind the other cards, and show that, apparently, it is not among them. On turning the pack over it will be at the top. Taking the pack in the left hand, and, returning to your table, pick up (with the right hand) the knave of hearts, and without looking at it yourself, say, “Here it is, you see, the nine of diamonds.” Then, with a careless gesture, and making a half turn to the right or left to cover the movement, “change” the card by the third method (see page 30), taking care not to show the card after the change. The audience will naturally exclaim that the card you have just shown them is not the nine of diamonds. You affect great surprise, and ask, “Indeed, what card was it then?” They reply, “The knave of hearts.” “The knave of hearts; surely not!” you exclaim, again showing the card in your hand, which is now found to be the nine of diamonds. “Indeed,” you continue, “you could not possibly have seen the knave of hearts, for that gentleman in the front row has had it in his pocket all the evening.” The knave of hearts was, in truth, left after the change on the top of the pack. As you advance to the audience, you palm it, and are thereby enabled to find it without difficulty in the pocket of a spectator, or in any other place which you may choose to designate.

      It will be observed that the mode here indicated of changing a wrong card into a right one differs from that described in the last trick. Either method will be equally available, but it will be well to practise both, as it is a great desideratum to be able to vary the dénouement of a trick.

      The course of action above directed in the event of an unexpected card being thought of, may be made available as a means of escape from a break-down in many other cases. Thus, for instance, if you are using a biseauté pack, and a chosen card has been replaced without the pack having been previously reversed, or if you have from any other cause accidentally lost the means of discovering a card drawn, you may still bring the trick to an effective termination as follows:—Give the pack to some one to shuffle, and then, drawing a card haphazard, and placing it face downwards on the table, announce boldly that the card drawn is now upon the table. Ask the person to name his card, show apparently that it is not in the pack, and finish the trick in one or other of the modes above described.

      A Card having been Drawn and Returned, and the Pack shuffled, to divide the Pack into several heaps on the Table, and to cause the Drawn Card to appear in such heap as the Company may Choose.—Invite a person to draw a card. When it is returned, make the pass to bring it to the top. Make a false shuffle, and leave it still at the top. If any of the audience requests to be allowed to shuffle, palm the card, and hand him the pack. When it is returned, again place the card on the top.

      Taking the cards in the right hand, face downwards, drop them, in packets of four or five cards each, on the table, noting particularly where you place the last packet (on the top of which is the chosen card). Ask the audience in which of the heaps they would like the chosen card to appear, and when they have made their choice, pick up all the other packets and place them in the left hand, placing the packet on which is the chosen card at the top. Divide the chosen packet into two, and bid the audience again choose between these, placing the cards of the non-chosen packet below the pack in the left hand. If the packet still remaining will admit of it, divide it into two again, but endeavour so to arrange matters that the packet ultimately chosen shall consist of two cards only, concealing however from the audience the precise number of cards in the packet. When you have reached this stage of the trick, palm the drawn card, which we will suppose to have been the ace of diamonds, and picking up with the same hand the chosen packet, secretly place that card on the top. Place the three cards face downwards side by side, the ace of diamonds in the middle, and ask the audience which of the three they desire to become the card originally drawn. If they choose the middle card, the trick is already done, and after asking the person to name his card, and showing that neither of the two outside ones is the card in question, you turn up the ace of diamonds.

      If the choice falls on either of the outside cards, gather together all three, without showing them (the ace still being in the middle) and ask some one to blow on them. Then deal them out again in apparently the same order as before, but really deal the second for the first, so as to bring that card into the place of the card indicated. Then, after showing the two other cards as above directed, finally turn up the ace of diamonds, and show that it is the card originally chosen.

      To change a drawn Card into the Portraits of several of the Company in succession.—For the purpose of this trick you will require a forcing pack of similar pattern to your ordinary pack, but consisting throughout of a single card, say the seven of clubs. You must also have half-a-dozen or more sevens of clubs of the same pattern, on the faces of which you must either draw or paste small caricature portraits, after the manner of Twelfth Night characters; which should be of such a kind as to excite laughter without causing offence. You arrange your pack beforehand as follows:—On the top place a fancy portrait, say of a young lady; then a seven of clubs, then a fancy portrait of a gentleman, then a seven of clubs; another fancy portrait of a lady, another seven of clubs, and so on; so that the first eight or ten cards of the pack shall consist of alternate portraits and sevens of clubs (the top card of all being a lady’s portrait), and the rest of the pack of sevens of clubs only.

      Secretly exchange the prepared pack for that which you have been using. Invite a young lady to draw, taking care to offer that part of the pack which consists of sevens of clubs only, so that the card she draws will, of necessity, be a seven of clubs. You then say, when she has looked at the card, “Will you now be kind enough to return that card to the pack, when I will paint your portrait on it.” You open the cards bookwise, about the middle of the pack, for her to return the card, and when she has done so, request her to breathe on it. As she does so, you “slip” (see page 35) the top card of the pack on to that which she has just replaced, and on examining that card (which she takes to be the one she has just seen) she is surprised to find that it is still a seven of clubs, but adorned with a more or less flattering likeness of herself. You continue, after the portrait has been handed round and replaced, “I would willingly give you this portrait to take home, but, unfortunately, being only a magical picture, the likeness fades very quickly. Will you oblige me by breathing on it once more, when you will find that the likeness will vanish, and the card will again be as it was at first.” On her doing so, you again slip the top card (which is now an ordinary seven), on to the portrait, and on again examining, the lady is compelled to admit that the card is again as she first drew it. You then offer to paint on the same card a gentleman’s likeness, and proceed as before, each time after taking a likeness changing it back again to an ordinary seven, which adds greatly to the effect of the trick.

      You may, if you please, use allegorical instead of caricature portraits; e.g., for a young lady, a rose-bud; for a conceited young man, a poppy or dandelion, or a donkey’s head. It is hardly necessary to observe that nothing short

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