Egyptian Pocket

This feat is one of the few that are suitable for the stage or platform only. It was one of Alexander Herrmann's favourites, and he it was who gave it the name by which it has been known ever since. Successful presentation of the trick calls for considerable address rather than technical skill.

The effect is that a spectator takes a pack of cards and has four cards freely selected by four other spectators. He collects the cards, and they are replaced in the deck, which is then shuffled and placed in his breast pocket. He himself then draws three of the four chosen cards from the deck, but he fails to find the fourth. Examination of the deck shows that the card is missing, but on blowing on his pocket he finds the card there. He blew too hard, however, for the magician pulls an avalanche of cards from various parts of his clothing.

The only preparation required is to have a duplicate deck in your left coat pocket. The deck to be used should be a new one, with the seal unbroken. If it is encased in a cellophane wrapper, this should be removed beforehand. Have the deck on your table.

1. "At the present time," you begin, "many people are concerned with the workings of what is termed the subconscious mind. We have our psychoanalysts and psychiatrists busily probing into its workings and coming up with curious results. I would like to make an experiment which I am sure will interest you. Will you, sir," addressing a gentleman who looks good-natured and appears to be enjoying the show, "be kind enough to help me? Thank you. Please take this pack of cards–" (toss the pack to him) "–break the seal, take out the cards, and certify to their condition? Kindly stand up as you do, so that all can see."

2. The spectator opens the case, removes the cards, and tosses the case back to you. Instruct him to shuffle the cards and then spread them neatly, face downwards, with both hands. "Now, sir, I want you to smile amiably and ask this lady–" (indicating a lady in the front row and well to your right) "–to choose a card." As he does this, address the lady (A): "Please look at the card and remember it. Hold it in your right hand only for the moment, and don't let my assistant know what card it is."

3. Indicate another lady (B) a few seats away from the first and toward your left. Instruct your volunteer assistant to repeat his performance of smiling and having that lady take a card, asking her to use the same precautions, hold the card in her right hand, and conceal its face from your assistant.

Have these same manoeuvres repeated twice more with two other ladies (C and D), always working towards your left. Some amusement may be had by telling your man each time to smile, and when he reaches the fourth lady you remark, "Hard work, isn't it? I think you can manage one more smile."

4. Four cards having been selected, you continue, "You will have to use both hands now, so I'll relieve you of the deck." Take the cards from him. "This is what I want you to do, and it is most important. Hold out your left hand, flat and palm upwards, and request the lady– " (he is still standing in front of D) "–to place her card face downwards on that hand…. That's right. Now with your right hand grasp the lady's right hand, with which she held her card, and hold it for a few moments. Let the impression sink in. Fine! I think you have been impressed enough."

Indicate the next lady (C) and have the same manoeuvres repeated, laying emphasis on the impressions he is receiving from the lady's hand. Have the same act done with ladies B and A. but, when he has grasped A's hand, turn away to put the card case on the table and leave him holding the lady's hand. Turn again and pretend to be surprised that he is still "holding hands." "Well," you say, "I think you must have received a very good impression this time."

5. "Kindly bring me the four selected cards." He does this, and you seat him at your table so that he is on your left, with the little table between you. Shuffle off about half the deck by the overhand method, hold the packet in your left hand toward him, and have the four cards placed on it. Immediately resume the shuffle, jogging the first card and shuffling off on top of it. Form a break at the injog, shuffle to the break, and throw on top. Finally execute the lift shuffle control , leaving the four chosen cards on the top. While shuffling talk briskly to the assistant, asking him if he likes magic, if he has enjoyed his work so far, and so on. Look at him and not at your hands.

6. "For our experiment we really should have the objects, that is the cards, placed in a dark room, so let's improvise one. Will you empty your inner breast pocket for a few moments?" As he moves his hand to do this, palm the four top cards in your fight hand and take the pack in that hand. "One moment," you continue, "will you shuffle the cards first?" Hand the deck to him and, when he has shuffled, take it back, replacing the palmed cards on top by the method we have already given you. Then have him empty his breast pocket. Generally some amusement may be caused by naming the miscellaneous articles brought forth. Give him the deck and have him place it in his pocket.

You require to have the cards with their faces toward his body, therefore watch carefully. "The cards must be completely isolated. You are sure that you left nothing else in your pocket?" So saying you plunge your hand into the pocket. If the deck has been placed wrongly (it should be on end and backs outwards), turn it into the correct position and push off the top card, A's card, turning it so that it lies on its side at the bottom of the pocket. "That's fight," you go on, "nothing in the pocket but the cards."

7. "We are going to see how well your subconscious mind responds to the impressions you received from the ladies. Suppose we begin with this lady's card," and you indicate the second lady (B). "Kindly name the card you chose." "The six of spades," let us suppose the lady replies. "You, sir, now have to find the lady's card, the six of spades. Oh, you won't have any trouble. Your subconscious will do it for you. Please hold your left hand over your head. By the way, you had better stand up. Thank you. Take hold of your lapel with your right hand, hold your coat open, and when I say "Three" dive your left hand into your pocket and bring out the six of spades. You must work as fast as you can, or the impression left on your hand and the card will fade. Are you ready? One, two, three!"

He thrusts his hand into the pocket and naturally, taking the first card his hand comes in contact with, brings out the six of spades. Take the card from him and display it to the audience.

8. "That was excellent. Your subconscious is working very well tonight. Let's see if it will lead you to this lady's card," and you indicate C. Follow exactly the same procedure with her card and with D's, each card being named and found by the assistant in the same way. Encourage him to work with you by ' making little asides complimenting him. Watch him when he plunges his hand into the pocket, and if he does not withdraw it at once with a card this means he is taking one from the centre of the pack. Stop him, saying, "No, no, sir! You are letting the impression escape. Let's start again. You must be quick, or the card will get away from you."

9. With the last card, the one drawn by the first lady (A), naturally he fails and brings out a wrong card. Let him try twice more and then remark, "Really, I'm surprised. I thought that would have been the strongest impression you received. You held the lady's hand quite a while. We must try another method, the simplest possible." Take the deck out of his pocket, leaving there A's card, the one you turned on its side. "Run through the deck, take out the card which the lady has named, and we'll try another experiment with it."

10. He searches, but the card is not there. Take the pack from him. "Do you know how to make a ten of hearts?" (or whatever the card was). "No? Very simple. Just blow on your pocket." He does so and of course finds the card there. Seize the moment of surprise at this discovery to put your left hand in your left coat pocket and add the second deck to the one you hold. Cover the extra thickness with your right hand and palm off about twenty cards.

11. "Unfortunately you blew a little too hard. You made quite a lot of cards." With your right hand, still holding the palmed cards, seize his right lapel, pulling his coat open, and then grasp the lapel with your left hand. Dive your right hand into the pocket and bring out six or eight cards, fanning them, and leave the rest behind. "Perhaps you had better take them out yourself." As he does so, palm another large packet of cards, thrust your hand under his vest, and bring out one card, leaving the others. Pull out four or five more singly, then lift the edge of his vest so that the rest of the cards will drop out in a stream. Don't let them fall in a bunch; regulate the flow by the

pressure of your hand holding the edge of the vest. As the last cards fall, palm the cards remaining in your left hand. Place your right hand just above his nose, and squeeze the cards as in the spring flourish, so that a stream of cards appear to issue from his nose. As you do this, say to him sotto voce , "I hope you don't mind this little fun. You've helped me splendidly."

All that remains to be done is to shake hands with your assistant, thank him, and usher him offstage.

Such is the trick with which Herrmann always created a sensation. As we have said, the technical work is of the simplest character and allows the performer to give his whole attention to the presentation. With good acting the feat cannot fail.