The performer obtains a visiting card from each of four spectators. He spreads a large dinner napkin upon the table. Then the master of chicanery deals the four cards onto the four corners of the miniature table cloth. Two of the cards are covered with a menu each, a half torn theatre program, or a half sheet of note paper. One of those left visible is taken in hand and pushed upwards from beneath the outspread cloth. It is shown to have evidently penetrated the fabric for next it is seen beneath one of the coverings. This mystery of the fourth dimension continues until all of the four cards, IN THE CORRECT ORDER OF NAMES, have appeared under the same cover.
The exceptional part of this trick is that but FOUR cards (borrowed) are used and the effect is actually impromptu in type. They are obtained from the audience members and may be dealt out in any order. However, the performer must remember the name on the card dealt in the #4 position.
Let us say now that the front left is #1, the front right #2, left rear #3 and right rear #4.
The covering papers are oblong in shape and are held (long side) one in each hand with the thumbs on top. They first are lowered (but not released) over cards #1 and 2; then over 2 and 4. With #4 still covered, the left hand paper is moved to #1. Cards #2 and 3 are next covered, (#2 with the right hand) the performer explaining, as an excuse for these movements, that the papers covers the cards in a satisfactory manner and that when two are covered two are visible, etc.
Now comes a crucial move. The papers again are moved to cover cards #2 and 4 (#4 with the left hand). In doing this the left hand secretly picks up the card (purposely left close to the edge of the napkin and, if possible, crimped upward) under the cover. This cover, with the card underneath, is dropped onto card #1, while, at the same instant, and in a manner to cover the move, the right hand drops its cover over the vacant space at #4.
The cover at #1 now covers two cards (but supposedly one only).
The performer now picks up the visible card (#3) in his right hand, and at the same time grasps the left hand rear corner of the napkin with his left hand (thumb on top).
Looking at the card he says “We now will pass Mr. –‘s (calling the name on #4’s card) card completely through the cloth”. So saying, he puts his right hand with the card under the napkin and seems to push it upwards. Then the hand is withdrawn from underneath – empty.
The card was, in fact, transferred to the fingers of the left hand still under the napkin. The right hand now lifts the cover at #1 (showing the two cards there) and transfers it to the left hand to cover secretly the card there. (This transfer of the cover from hand to hand is a natural movement to enable the performer to pick up and read at a glance the card at #1).
Knowing this he drops the cover, with card beneath, over the other two cards. (Under the cover at #1 are now three cards)
Next the card at #2 is taken up and read like the first one just placed under the cover #1. Then it is passed upwards through the napkin to be in place.
Finally, to account for the disappearance of Mr. —, presumably under cover #4, the performer hits the cover a sharp rap with his hand. Then he raises the cover to show there is nothing beneath. Then he picks up cover #1 to show that all four cards are in position and in the correct order as to their names.
To facilitate the working of the effect remember that one must memorize the name on the visiting card last secretly passed under the cover at #1 position. This, always, is the name to be read aloud, apparently from the card that is picked up next. A spectator may be on hand to check ARRIVALS under #1 cover. The performer calls a card and later he admits of and shows its arrival. The spectator admits of a personality in flight.
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