There is nothing new as far as its underlying concept or mechanics are concerned, but this technique is interesting because of its novel context.
Specifically, the If Glimpse is a detailed item that should be attached to Edward Marlo's innovative Incomplete Faro Control. Its uses are manifold. For example, it can be used to deceive cardmen familiar with Incomplete Faro Control techniques and can be used to secretly glimpse a known key at the twenty-sixth or twenty-seventh positions. Its strength lies in that the controlled card is a known card, yet the glimpsed card remains in the deck's center. Most glimpsed cards remain on or near the top or bottom of the deck. Through the utilization of subsequent Faro shuffles and allied maneuvers, the known card can be controlled to any position in the deck.
The Incomplete Faro as a controlling artifice was initially recorded by Marlo in private notes dated October 5, 1958 and April 20, 1964 and were later published in The New Tops ( August -September, 1963 and December, 1964). This description is based on the handling of the Incomplete Faro's fundamental control found in The New Tops (December - 1964).
Method: First, here is an explanation of Marlo's basic procedure for performing An Incomplete Faro. Hold the deck for an In-The-Hands Faro Shuffle. Cut at the twenty-six card and split for the shuffle. Perform an In-Shuffle and do not push or cascade the halves together, but push the weaved ends together for about an inch. This results in the elongated pack.
Place this elongated pack in your left hand and slightly bevel the elongated pack to the right. This not only makes the corner riffle-action easier, but it is absolutely imperative to the subsequent success of the glimpse. Tilt back the pack and say, "As I riffle these cards, say stop and peek at the card showing." Place your right first or second fingertips at the outer right corner of the top half and slowly riffle backwards, starting with the bottom card. When the spectator says "stop," pull back the remaining cards and say, "Please note and remember this card." Firmly hold the top half between your right thumb, first, and second fingers when you widen the separation. The separation extends across the entire right side of the elongated pack.
Release the rest of the top section and let the separation close. In the process, obtain a left pinky break at the separation temporarily formed at the inner left corner of the bottom half. If you riffle-release the rest of the top cards, the spectator cannot see any separation. Grasp the front end of the top half.
Place your four fingers at the face and your thumb at the back or top, then pull this top section backwards. The top section of cards will disengage with a riffling sound. At this point, the peeked selection is not controlled and you do not know its identity or position.
When the upper half is completely free of the lower half, turn it end-over-end and momentarily rest it face up onto the lower half and say, "Your card is somewhere among these cards!" Hold the face-up half in place with your left thumb, then re-grasp its right side with your right hand.
Flip the face-up half face down onto the left-hand half and allow the cards to fall flush. Immediately undercut all the cards below the break and place this smaller packet on top and cleanly square-up. The deck can be scrutinized and examined at this point because there are not any breaks, crimps, or other work. The selection is twenty-seventh from the top.
Position the deck for an In-The-Hands Faro Shuffle. Cut at twenty-six and perform an In-Shuffle. The selection is now on top. If you perform an Out-Shuffle when you form the elongated pack, the peeked selection ends up twenty-sixth from the top. When you perform an In-shuffle, the selection goes to the bottom of the deck.
To perform the IF Glimpse, instead of releasing the peeked card and all the cards above the break with your right fingers, a break is momentarily maintained by your right first and second fingertips. The elongated pack is held face downwards so that the spectator looks down on the cards; however, the hand position is similar to Marlo's original in the New Tops—only the break is less and the cards are held horizontal and parallel to the floor instead of in a vertical position.
At this point, your right second fingertip slides the peeked card slightly downwards and to the right about three-eighths of an inch. This jogging action can be done quite smoothly as your left pinky still retains a break in the lower section. If this slightly diagonal side-jog is performed correctly, the jogged card cannot be seen from above due to the beveled condition of the cards. This is true even if your right hand is removed. Since the card is pulled slightly downwards, the upper left corner of the jogged card will not protrude from the top end.
At this point, you can release the break and move your right hand away from the elongated pack or you can perform Step 6 of Marlo's original procedure and perform the following variant of Step 7: Your right hand comes over to grasp the upper half of the pack, your fingers on the face and your thumb on the back. This grip is special. (Fig. 1) Your right forefinger overlaps the outer right corner of the upper half. The outer right corner of this half nearly wedges itself between your first and second right fingers, near the crotch. The exact place slightly differs with each performer and can be discovered by experimentation.
Using this grip, the cards are pulled backwards, causing the upper section to un-weave with a slight riffling sound. If you opt to release all breaks, you must still un-weave the upper half as previously described in Step 4. Either way, once the upper half is free, it is displayed face up. (Fig. 2) Patter: "Your card is somewhere in this section."
As you can see, due to the slight opening between your right first and second fingers, the index of the spectator's peeked card (7H in the drawing) is easily glimpsed. Due to the position of your hand, fingers, and the cards, the exposed index cannot be seen by anyone else, unless they are standing directly above or behind you. Even then, they would have to know exactly when and where to look.
If you choose to retain a left pinky break, once the card is glimpsed, immediately turn the upper section face down and place it on the lower section. The deck is cut to the break, squared, and tabled. If you have released all breaks, you can simply place the upper half face down on top of
the lower half. Since you are not interested in controlling the selection, simply square the deck and give it to a spectator to shuffle.
Now, depending on which option was taken, you have a known card controlled to the twenty-sixth or twenty-seventh positions or you have a known card somewhere in the deck. How you exploit or apply this advantage is an individual matter. Imaginative cardmen will make superior use of this advantage.
If you choose to control the known card to the twenty-sixth position, there are many avenues to take. All the effects using a 26th key can be performed For example, Marlo's Faro Fooler #2 from Faro Notes, p. 51, is an apt effect—only in this case, the two selections would not have to be named before the dealing-and-pairing occurs. It can also be applied to Estimation Stab effects so that you will know if you are ultimately successful. The potential of this technique is strictly limited to your imagination.
This technique was devised on August 31, 1967. When I met Marlo for the first time at Crandall's bar in Chicago, the session included Art Weygandt, Jimmy Nuzzo, Eddie Fields, and Alton Sharpe. After watching others perform, Marlo asked me: "Why don't you show us something?" I was petrified and did not want to directly perform for Marlo. So, I asked Jimmy Nuzzo to assist. After Nuzzo noted a card, I performed If Glimpse and noted the Queen of Diamonds. Nuzzo thought I was performing Marlo's Incomplete Faro Control and relaxed until I handed him the deck and said: "Shuffle the cards!"
I took back the deck and ribbon-spread the cards face up, saying: "Your card is lost in the deck!" When I glanced at the spread, I saw that the Queen of Diamonds was on top. I scooped up the spread as quickly as possible, hoping that Nuzzo had not seen it. I tabled the deck face down and looked at Marlo, who was grinning. I asked Nuzzo to name his card, then pointed to the deck and said, "Check the top card!" It was a lucky break.
This was the first card technique I ever devised and then had nerve enough to send to Marlo. The other two techniques were the "Splay-Handed Switch" and the "Poor Man's Curry Turnover," which were never published. My first published trick was "The Technicolor Hour," a clock trick submitted to Mike Roger's column in M-U-M.
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