On The Charlier Pass

Edward Marlo

From the spectator's view, this action is still hidden by your right hand. (Fig. E) As the halves transpose, it is important that the cards are allowed to settle or drop down into your left hand. This enables your right hand to easily move in, grasping the deck from above by the ends with your right first finger curled on top. (Fig.F )

At this stage, notice that your left first finger is curled against the bottom of the deck. This action is carried to completion, the halves meeting flush, as your left hand raises the deck to meet your right hand. Both hands immediately simulate a squaring action of the deck. (Fig.G)

This shows the completed action from the spectator's vantage point. This Pass, if carried out properly, is invisible. The viewing spectator is only aware of the pack being raised to the fingertips of both hands for a squaring action. It can be performed standing or seated at the table. You simply need an excuse for your right hand to screen the deck, such as raising of the deck so that it be easily and openly squared.

A strictly frontal action is covered by ostensibly turning the pack face up or face down. The deck is held in front of your body about waist high. (Fig.H )

Your right hand comes in front of the outer end of the deck. (Fig.I ) Notice that your left hand has already begun the Charlier Pass. From the spectator's vantage, the action is hidden. (Fig.

As the packets transpose and are about to meet, your right hand immediately grasps the front end of the deck. The halves are not yet flush. (Fig. K) From the spectator's view, the situation looks like Figure L.

Turn the deck end for end and back into your left hand. (Fig.M ) In this case, the deck has been turned face up. However, the Pass can be made when you turn a face-up deck face down. This turnover action does not necessarily need to be done frontally. It can be done while using the covering actions already depicted in Figures 1, 2, and 3, then use the actions of Figures K, L, and M to turn the deck end for end. Depending on the performing circumstances, this procedure is preferable.

The strictly frontal covering action" of Figures I, J, K, and L can be used to cover the actual transposition of the halves. In other words, the deck is not turned over, but as a ruse for your right hand coming over to the deck, it follows through by tapping the top or front end of the deck as your left hand turns inwards so that the bottom end of the deck rests on the table. Without hesitation, your right hand turns the deck.

To all appearances, you have merely tapped or squared the ends of the deck between the top of the table and the palm of your right hand. This inward wrist action can also be applied to the covering-action shown in Figures A, B, and C, but instead of your right hand grasping the lower portion, both hands in a cupped position move down to tap the inner right corner of the deck against the table. In the case of either the front or side actions, with the proper timing of the inward wrist action, the Pass can be executed invisibly, even while seated at a table.

Besides using these methods to control a card to the top or bottom, it can be placed directly into a pre-determined position from either the top or bottom. All that is required is to make sure the required number of cards are already below the crimp on the bottom or near the top. When the selection is returned to the deck, simply undercut the deck as the spectator replaces his card on top of the upper portion. The pack is then fairly squared and the Pass is later executed at the crimped card, bringing the selection to the previously determined position.

The Marlo-Charlier can also be used as a direct color change, using the procedure of turning over the deck or apparently squaring it. As a color change there is a definite procedure to produce the most effective result. Begin by holding the deck in your left hand, face outwards. (Fig. A) Call attention to the card at the face. Your right hand then covers this card, momentarily screening the entire deck. (Fig. B)

As soon as your right hand has covered the deck, your left thumb lets the deck break at its center or at a crimp if a desired card is to be maneuvered to the face. (Fig. C) Your right hand, still covering the deck, is raised upwards to allow let spectator again see the card at the face of the deck. As this is done, your left first finger simultaneously raises the lower half of the deck. (Fig. N - the spectator's view.) Figure O is the your view from the top. Notice that the lower half is about to pass the upper half.

All that remains is for your right hand to grasp the lower portion from above and by the ends. (Fig. P) Then follow-through to square-up as previously explained. This results in apparently transforming the face card, with the deck in the position shown in Figure Q. The cards are more upright and facing the audience than originally started. As a Secret Pass, the deck would end up face down, parallel to the floor, and squared between your hands. As a color change, the face of the deck winds up directly towards the spectator.

You may prefer to have your left first finger already curled against the bottom of the deck at all times rather than moving it to this position during the actual Pass. This will minimize any knuckle flash. The Inward Wrist Action will provide excellent cover when used in conjunction with the conventional Turnover or Invisible Pass when done at the table. You merely turn to the left and perform the underneath actions of the Turnover Pass. Then conclude with the Inward Wrist Turn as the inner right corner of the deck is tapped against the table. Using this procedure, the deck does not need to be turned over.

Note of 1947: On the Turnover or Invisible Pass (See the Hugard-Braue treatise): Instead of executing the usual turnover action to complete this technique, merely raise your hands, bringing the outer long edges of the deck towards the spectator. Your view will reveal the V-opening, but it will be covered from all the other angles. This action is finished by squaring the deck between your hands, with the outer long edge towards the spectator. The deck is eventually returned face down to the left-hand dealing position.

Note of February 9, 1970: The raised-hands technique can be applied to the Riffle Pass. In this case, you perform the Riffle Pass as both hands raise the deck with its faces towards the spectator. The raising-riffling action is accompanied by the remark: "Somewhere in the deck is your card!" A trial in front of a mirror will demonstrate the deceptiveness of this action. Any breakage in the deck will be taken as part of the usual action of bending the cards backwards as they are riffled off your fingers. This raised-action also enables you to perform the Riffle Pass quite comfortably while seated at a table.

These techniques were demonstrated for us, but not in the conventional tell-and-show manner, followed with the inquisitive: "Did I flash?" Instead, during the demonstration of certain effects, these techniques were used, causing us to ask, "The control seemed quite efficient. What is it?" This interrogative mood remained. The fact that the Charlier Pass was use surprised us. If you do not sense the practicality and deceptiveness of these techniques, you will probably be fooled by them sometime in the future. will, in some future time, be deceived by them.


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