Working

1. Initial Position. Hold the pack, face down, in the left hand, and with the little finger keep a "break" between the upper and lower portions. Grip the LOWER half between the extreme tips of the right thumb and middle finger. Figure 1.

Figure One.

This photograph is a view as seen by the performer as he looks at his hands. Take particu'ar note of the position of the left thumb which lies along the edge of the pack.

(Incidentally, this position of the thumb is very similar to that adopted when about to execute the Hugard-Braue "Invisible Pass". See plate 4 in the book in question).

The cards being he'd as in Figure 2 (A).

2. The Left Thumb Moves. Turn your right shoulder to the spectators, raise the right wrist, completely concealing the pack from view. Figure 2 (B).

Figure Two (Spectator's View)

With the left thumb, push the upper packet towards your right. Figure 3.

Figure Three (Performer's View)

Continue the movement of the thumb until the upper portion of the pack stands— or rather is held—at right angles to the lower. Figure 4.

Figure Four (Performer's View)

At this stage, the right corner of the upper half is pressed against the upper joint of the right little finger. Nothing can be seen from the front as the view is still as in Figure 2 (B).

3. Movement of the Right Hand.

Extend the LEFT fingers and with the "flat" of the right hand, s ide the upper part of the pack under the lower. Neatly square up the cards. Figure 5.

Figure Five.

(Performer's View)

4. Speed. No great speed is required in the execution of this pass, but a lot of practice will be needed before the necessary degree of "smoothness" can be acquired.

For about a second the pack is entirely hidden from view, and this is long enough to perform the sEeight.

That is the Ottokar Fischer Pass, and I have exp'ained it to the best of my ability. Personally, I have never used it as I have a method which suits me better and which has become second nature.

However, in the expert hands of my old friend Clément de Lion—the original Billiard Bail Manipulator—the effect obtained is all that could be desired. Some thirty or more years ago, Fischer taught the sleight to de Lion, and since then, like the man in the famous advertisement, he has used no other.

P.S.—I have just remembered a story about Clément de Lion, and he will not mind if I tell it here. One of his tricks consisted in spreading a pack of cards, faces down, on the table and requesting a member of the company to select one. (The de Lion "spread" force). As a precautionary measure he invariably asked the man who had chosen the card to show it to his neighbour, experience having taught him—as it has taught many other magicians—that very often a spectator forgets the name of his card, and that sometimes an ill-natured individual, in order to embarrass the performer, will name a card that he has not actual y taken.

On one occasion, the required card having been duly forced and genuinely shuffled in the pack, de Lion proceeded to "read" the spectator's mind. The selector of the card got very excited, thumped the table and exclaimed. "That man is a marvel! He to?d me the name of the card I chose, although I was thinking of another!" Mr. de Lion dryly remarked: "Yes, but you had shown your card to the man beside you, and his powers of concentration happen to be vastly superior to yours!"

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