"[llerf. has been an on-going debate about when the Pass should be performed—immediately, as in the Spread Pass, or after a delay, as Malini advocated. I believe to a great extent the question must be decided by the cover action. The previous Pass, the Edge Pass, would be delayed, while this Pass, the Squeeze Pass, must occur almost immediately in most instances. I know of no Pass that looks as much like a true, if slighdy exaggerated, squaring action than this one. I've been able to use it with other card men watching and on completion they were still waiting for me to do the Pass.
of the Pass action can be seen.
Bend all five right fingers, as though you were squeezing something toward your palm. At the same time, bend your right wrist slightly to the left. Almost instandy you will feel the upper packet clearing the lower one. At that instant, pull with your left second, third and fourth fingers. The two actions, the squeeze of the right fingers and the pull of the left fingers, should occur at almost the same instant.
Assume the Basic Position. With your hands held at about groin level, tip them down sharply. It is hard to give you the exact angle but it should be approximately thirty-seven degrees (Figure 245). A mirror or, better yet, a video camera will confirm the angle for your hands, which will vary with your height and the distance from your spectators. Simply increase the angle until no part
Immediately continue with a light squaring action, by bouncing the sides of the deck between the fingertips of the second and third fingers and the thumbs of both hands. As the squaring goes on, the right first finger should move to a curled position on top of the deck.
NOTES: With work, the amount of "squeeze" both hands apply can be reduced to a negligible level. It will then appear that the squeeze is part of the bouncing squaring action. It is lightness in this Pass that makes it indetectable; the invisibility is contingent upon finding the correct angle of the deck relative to the eyes of the spectators.
Unless the deck is somewhat messy (unsquared) to begin with, as it would be after a spread for the replacement of a card or a dribble replacement, you should find a logical reason to leave the cards in an untidy condition. The Cardini-Okito idea of springing the cards between your hands while maintaining a break (ascribed to Cardini in Card Control by Arthur Buckley, 1946, page 51; and to Okito in PaulRosini's Magical Gems by Rufus Steele, 1950, page 50) is a workable approach if it fits your style, and if you can't find another means more directly related to the effect being performed.
Some readers may find the explanation of this Pass a bit cryptic. Having reread it many times I'm confident that all the information required is contained in the description. What makes this Pass difficult to understand is that three actions occur almost simultaneously. The right hand twists the front of the upper packet to the left, the left fingers pull inward strongly but briefly on the upper packet, and the right second finger and thumb pull upward strongly but briefly. This causes the packets to transpose with extreme rapidity. As soon as this transposition is complete, the hands switch to a light, fingertip squaring action. It will take some work to teach the muscles to synchronize properly but once learned this is an astonishingly fast, exceptionally light Pass that appears to be a fingertip squaring action.
This Pass is best judged with a video camera set where you expect your target spectators' eyes to be when you employ it; you would have to stand too close to the mirror. The camera should guide the spatial orientation (tilt and rotation) of your hands. My general guidance is that a line extending direcdy along the left edge of the deck but rotated upward would pass by the leftmost eye of your spectators; and a line across your right knuckles, if rotated upward, would pass to the right of the rightmost eye of your audience.
the pivot e-jtggte pass
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