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The Demon Envelope
The performer enters, bearing a large envelope in one hand and a
complete pack of cards in the other. Placing the envelope against a
candlestick, or some piece of apparatus on the table so that it
remains in full view during the course of the trick, the performer
proceeds to shuffle the cards.
Seizing an ornamental dagger or paper knife, the performer goes
among the company and, handing a spectator the dagger, requests them
to insert it anywhere in the pack. The performer takes off all the
cards above the knife and asks the spectator to take the topmost card
of the lower heap (on which the knife now rests), cautioning the
spectator to remove the card so that the performer cannot obtain a
glimpse of its face.
In a similar manner, six more cards are selected at random by
different spectators, each one retaining the card in their
possession. Remaining away from the company, the performer calls for
the assistant, who is told to hand the envelope to some prominent
spectator to open it.
Doing so, the spectator discovers in it another envelope, on the
outside of which is written the name of the card selected by the
first spectator, who is requested to hold up their card so that
everyone can see that both the card and the name on the envelope
correspond. The next envelope is opened, and inside of it is found a
third one, bearing the name of the second card chosen. The trick
proceeds in this manner, the spectator discovering as many envelopes,
one inside of another, as there were cards selected, with each
envelope bearing the correct name of a drawn card.
The solution of this mysterious and effective trick is very simple
indeed. In the first place, it is necessary that the performer and
the assistant should have memorized some simple code of Second Sight,
consisting of seventeen different cues, thirteen of them representing
the different values of the cards and four the suits. The pack of
cards that is used is prearranged; the shuffle to which it is
subjected being a false one.
The envelope placed by the performer upon the table is really
empty. The set of envelopes opened later on by the spectators is
really in possession of the assistant behind the scenes. After the
first spectator has inserted the dagger in the pack, the performer,
as will be remembered, takes off all the cards above the dagger. By
glancing at the lowest card of this heap, thanks to the formula the
performer can instantly tell the name of the card that has been
taken.
In inviting the second spectator to insert the dagger anywhere in
the pack, the request is worded in such a way as to bring into play
the cue for the name of the first card selected. The assistant, who
is listening to the performer, thus finds out the name of the
selected card. For the different cues, such simple short phrases as
"Now," "Please," "If you please," "Kindly," etc., will be found to be
the most serviceable. The exact arrangement I leave to the ingenuity
of my reader, who no doubt can easily invent a brief system nicely
adapted to his or her own style.
By this means the performer communicates all the names of the
selected cards to the assistant, who writes them separately on the
outsides of the envelopes. Quickly enclosing them in one another, the
assistant places them into a still larger envelope that is then
concealed somehow in their clothes.
Mean time the performer has given the assistant time to do all
this by stating what has taken place, and how utterly impossible it
would be for anyone to know the names of the card selected in such a
fair manner.
Calling for the assistant, the latter steps forward and is told to
take the envelope from the table and to hand it to someone in the
audience, whom the performer asks the audience to select. While this
is being done, the assistant turns about to pick up the envelope, at
the same time obtaining possession of the one already concealed. The
assistant secretly places it on top of the one on the table and,
picking up both, secretly hides the empty envelope in their clothes
and turns around with the nest of envelopes in their hand, bringing
it to the person the spectators have decided upon.
Obviously the assistant must be quick and clever enough to change
the envelopes without being detected in the act!
The trick, which is now practically done, is then brought to the
conclusion described. If presented with the necessary amount of
address, it will not fail to bring the performer a hearty round of
applause.
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Changes
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