Down Shift

Scott Robinson

This is Scott's Half Pass which was derived from Larry Jenning's Circle Shift which was published in The Larry Jennings Issue of Richard's Almanac (page 171). Scott is from Concord, NC and does some very pretty sleight of hand. Gary Plants came up with this same move independently and showed it to me in Boston. He also provided the trick which follows as the perfect use for the pass.

This is not your standard half pass. It does not reverse the bottom half. It reverses the top half on the bottom. In other words, the pack is secretly cut --- with the former top half ending up reversed on the bottom. This sleight accomplishes the exact same thing the Braue Reversal does ---

without the suspicious handling. You can use this sleight to bring the four aces which are on top of the pack, to a position reversed on the bottom.

The Work. The deck is held in the left hand in dealing position. Obtain a left little finger break between the two halves of the deck. The right hand comes over the deck to take possession of the pack in Biddle position.

When the right hand covers the pack, the left little finger pushes the top half of the pack to the left, creating a step where the break was held. The right hand takes possession of the deck with hand providing the cover for the step.

right hand rotates direction until the >n top and the in a right fingers

The clockwi s e thumb is underneath. The left hand hugs the edge of the deck, providing cover for the step. The deck, which is held perpendicular to the floor, faces to the left.

The left hand now covers the face of the deck, taking the vertically held deck in dealing position. The upper corner nearest to the spectators is held between the left first and second

fingers. The left thumb is placed directly onto the step, covering it from view. You have simply turned the deck end for end in the left hand.

Possession of the deck is transferred to the left hand. The right hand moves in front of the deck to shield if from the spectators' view. As the left hand is lowered back into dealing position by rotating counterclockwise at the left wrist, the left thumb presses down on the step. The combination of this downward pressure and slight downward pressure by the left fingers, causes the lower portion to snap upward and the upper portion to remain in the curled left fingers. This half is perpendicular to the floor while the half now being clipped in the left thumb crotch is parallel to the floor.

This is where this handling differs considerably from the original. You have simply to use the left fingers to pull the half they are holding over to the left and flush with the deck. This half will pivot around the right edge of the face down half, completing a very well covered reversal.

Regurgi.Lations. The parentage of this move is obvious. The original is an excellent, well covered pass. 1 use this handling more often as a reversal since, most of my routines requiring a half pass will not permit the cutting of the deck in the process.

REMEMBER AND FORGET Gary Plants

This is Gary's handling of Dai Vernon's Remember And Forget plot. You can find Vernon's version in the June 1965 issue of Genii in Charlie Miller's Intermission column. Gary's version utilizes the Half Pass just described and is a good example of clever routining.

Effect. This is the same as the original. The spectator is asked to freely select two cards. He is told to remember one card and to forget the other. Since this process takes place in the spectator's own mind, there is apparently no way the magician can know the selection. However, he does prove conclusively that he knows the card by revealing the one the spectator remembered.

The Work.

Start with long the hand ■

____a card reversed on the bottom of the deck. Fan the cards before a spectator, asking him to remove any two cards. As per the routine above, he is to remember one of the cards and forget the other.

While he is thus occupied, the deck is taken in the right hand from above in Biddle Position. It is held beLween the right second finger at the far short end and the right thumb at the near short end. The righL third finger (and this is important) rests on Lhe right edge of the deck. Swing or kick cut the top fourth of pack over into Lhe palm up left Follow this by cutting the second fourth over into Lhe left hand on Lop of the first. Now, in an action imitaLing Lhe first two, Lhe right hand apparently places its half onto the top of the left« As iL does so, Lhe righL Lhird finger levers the packet over so that its half is flipped over book fashion onto the cards in the left hand. Hold a break between Lhe two halves.

This action is done casually and while Lhe spectator is choosing which card he wishes to remember. The status from the Lop of Lhe pack is as folLows: face down mdifferenL card, half Lhe deck face up, little f1nger break, half Lhe deck face down.

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