And

This uses the same technique as the Tabled Multiple Shift just described. The method of shifting the right half of the deck through the left half is not new, both Mario and Vernon having explained it in print. It is the combination of this technique with an immediate triple cut that makes this so nice, and it is one of the few-handlings where the top of the deck is apparently buried during the shuffle (the cut afterward resolving this). To avoid confusion, rather then merely asking you to do the Tabled Multiple Shift with two halves of the deck, the entire handling will be explained.

First, begin with the face-down deck on the table directly in front o: you in shuffle position. Grasp slightly less than the top half with your right hand, lift it off, and table it on the right. Begin to riffle the inner corners together, allowing some cards to first fall from the left half to form a "bed," then shuffle evenly making sure to run out of cards from the right half first so that cards from the left half are the last to fall. There should be, in other words, smai blocks of unshuffled cards on the top and bottom of the left-hand hall-Begin to push the halves into ont another and stop when one quai ^

of the right half still protrudes to the right.

Your hands should be in . position over the telescoped ^ your left grasps the left end t* ^ thumb, at the inner left cornei'hich second and third fingertips. cradle the outer left corner right hand grasps the right end ^

Tabled Shuffles, Cuts, and Shifts deck, thumb at inner right corner and second fingertip at the outer right corner (fig. 1). The right half is pushed to the left, apparently into the left half of the deck—however, since your right second finger does all the pushing, the left end of the right half will turn inward as it moves, and its inner left corner will injog (fig.2). Your right second fingertip should now be pressing directly against the outer right corner of the deck as shown.

Check the position of your left third fingertip because it must be as far forward as possible. Relax your left thumb slightly away from the inner left corner of the deck. Your right thumb and second finger now lightly pinch the deck and slide to meet one another at the inner right corner (fig.3). This pushes the right half of the deck farther into the left half so that its outer left corner emerges from the left end of the deck, directly inward of your left third fingertip (if it is properly positioned). The inner left corner of the right half of the deck will also move out the inner left corner of the deck and, if your left thumb is pressing firmly against that corner, it will prevent it from moving smoothly through. You will find that your left thumb and third finger are now automatically gripping the left end of the original right half of the deck.

Your right thumb is already in position at the inner right corner of the deck. Next, move your right second finger back to the outer right corner so that the right hand has a firm grasp on that end of the deck. The left thumb and third finger now shift the original right half of the deck slightly clockwise until it is evenly leftjogged about a quarter of an inch (fig.4).

u l ohtlv lift the inner left corner of the leftjogged half (flg 5l

With your left thumb. shghU> mt^ ^^ Qf ^ deck tQ ^ ^ ^ ^. The break creatcd must run ^ right end of this isol _

v nght thu7tbhXdTas juTsho^vn. Cut ^ Cut this block out. from b^

rssrw * °ntop'ieftjogged a quarter in 311 in vv e °rigmai right half of the deck.

right halt 01 me uc^.

r u i ft thumb and third finger on the original right half (now jogged to The grip of the lett tnu placed aboye it simply by squeezi the left, e^cnd^ to tM Woc ^ ^ ^ ^ ^ tQ ^ ^ ^

blt h^ere" Fbe a gap at the left end beneath the packet you've just cut on^nal shuffle there ^ P ^ ^^ youf ^ thumb and I

f^er ci now ¿asp ¡U the'eards currently jogged to the right and draw them diagonally to the nght and outward. As these cards leave the deck, the gap at the left end is held open bv the flesh of the left thumb, turning it into a break. Strip the right hand's cards out completely and place them on top of the deck in line with the uppermost cards.

Cut No.3: Finally, the right hand cuts all the cards beneath the left thumb break to the top of the deck. Square the cards. The deck is back in its original order. This technique will be used in "Quintiple Duke."

More than one famous cardman has been overheard describing this as "devilishly clever." And so it is. Deceptive Glimpses are many, and the artful performer who uses such techniques wall vary the moment and method of spotting the chosen card. This item, whose parent is The Gambler's Glimpse on p.97 of Expert Card Technique, is a worthy addition to your arsenal. It allows you to Glimpse a card in the action of making a Pressure Fan. This sleight was published in Apocalypse (June, 1987).

Your right hand, held palm toward audience, moves up behind the deck and grasps it, thumb at the lower end, fingers at the upper end—the grip required to make

Place the deck into the left hand in position for a peek as follows: the deck is farther forward than when in dealing position, so the left fingers are together along the right long side and the pinky is at the lower right corner (fig. 1). This way, no separation will be visible after the break is obtained. Raise your left hand until the face of the deck is toward the spectator and ask him to push open the deck at one spot and look at a card. Once he's done that, he is to allow the deck to close, and you obtain a flesh break with the tip of the left little finger beneath the selection. (How the card is selected doesn't really matter as long as you have a break beneath it afterward.)

Rotate your left hand so the deck is now vertical and the back of the top card faces directly toward you. Flatten the left fingers around the right long side of the deck, causing the upper cards, above the break, to step to the left (fig.2). The left thumb moves to the left long side of the deck, out of the way. This activity is concealed from the audience by the back of your left hand.

a Pressure Fan (fig-3). A vital point both hands must now be tilted so the left long side of the deck turns toward you (fig-4 is a side view).

Look downward at the deck. This action is excused by the fact that everyone in the audience is also looking at the deck. Squeeze your right thumb and fingers together, flexing the cards in preparation for the fan. The index of the chosen card will be plainly visible at the lower left, stepped corner of the deck (figs.5 and 6). The instant you've identified the card, lift your eyes toward the audience and snap the deck into a Pressure Fan.

While it goes without question that laymen never suspect anything, this Glimpse is particularly valuable for toasting other magicians because it just doesn't occur to them that you could possibly be doing anything other than making a fan. There is no unnatural move to tip them off. Steve's great notion in adapting the technique described in Expert Card Technique is to give some motivation to the required flexing of the deck. In other words, he made an unnatural action a natural action by including it in the Pressure Fan, where you must flex the deck. (This, incidentally, is a perfect example of Dai Vernon's philosophy of naturalness put into action.)

Steve Freeman, upon seeing Draun's Glimpse, made the following interesting modification (subject to the lighting conditions on the left side). Instead of causing the deck to step at the break as shown in illustration one, he forces the right fong sides of the two halves of the deck closed by pressing against the face card with his left fingertips. This creates a wedge-shaped break be-

tween the halves, with the opening along the left long sides (fig.7).

Proceed with the Glimpse as before. Now, you will be looking down into a gap into the deck (fig.8). not at the card on the face of a stepped block. This eliminates the slightly unnatural look created by the step in the deck. Care must be taken, however, that there is sufficient light coming from the left side to ensure that you will be able to see into the gap. If the light shines only from the right, or front, the index corner of the card will fall in shadow.

Steve Draun sometimes combines Freeman's technique with his own, both stepping the deck and widening the break.

In after a

^ ♦ ; a«trms (1952) Mario first published a series of motions to be used Card Control Systenx (19> ) ^ ^ appeaj impossible for the card

_ - Spectator 1Peek at *>PP J ^^ ^ ^ belieye ^ a capd ^ ^

controlled alter a y i952 ^ just fme without going through all s^Ttfttt^ displays and flexing of the deck to "prove' that the card is not under control. Unfortunately, all of these shenanigans to prove that you are not holdin- a break really just beg the question because of their inherently suspicious nature You are pretending that you can hold the deck in all sorts of supposedly loose ways, but you cannot because your fingers are clamped around it to maintain the break, and it looks that way. The technique fails the idea. Simply turning to the spectator after you've felt him look at the card and saying innocently (as I've seen Derek Dingle, among others, do), "Have you seen one yet?" is the most psychologically disarming thing possible.

In 1956 Mario published "The Square-Up Glimpse" in Fingertip Control. Steve has combined the Mario Glimpse with the overproving motions from the Peek as a gag with which to fool other magicians. The following combinatorial technique succeeds precisely because it jettisons all the finger-flinging in lieu of a an absolutely invisible glimpse which occurs immediately after the peek. All the flexing and bowing of the deck is loose and fancy free because no break is being held. It looks impossible for you to have any sort of control over the card, and that's because you don't.

™»3he ?Ck be?nS face down in ^ft-hand dealing position. Bevel the cards to the toimbln "IT y°Ur uhand t0Ward the sPectator with the request that he use his left ¿low vour let TZ ^ *** at ** Point P^k at a card. He does this and you ^S^^^^^imal amount. When he lets go, you *

Caching it reqXs bre^ ^ * Wt' 1116 followin§ ^11 all blend into a rapid blun quality from X Uwer^o? l^T ** StePS that ^iH mask its amazingly deceit a forty-five degree >0^thands the outer end of the deck points upward at facing directly Upward Pirl? ? t0 the ri§ht untU what was the left long side is same time, your right h^dT Y°Ur left flrst fin§er onto the face of the deck. •

deck, thumb at the left s^firtT Pahn outward and grasps the upper endI of fingers on the right side(fig1) fmger CUrled the back and second and third

Once the right hand has a grip on the deck, the left thumbtip moves onto the center of the left long side. During the preceding action, your left pinky is slipped farther into the break. While the right thumb and fingers tightly clamp the halves of the deck in place (for just a second), your left pinky pushes the halves apart at the inner end so you can glimpse the chosen card on the bottom of the upper portion (fig. 2).

The instant you spot the card, release the break and give the deck a sideways flex, pressing the center of the cards (at the outer end) to the left with your right first finger (fig.3). (If the deck were face down, this would be a longitudinal concave flex.) Then, reverse the flex. Immediately rotate your hands so the deck is in a normal face down position and take it with your right hand in Biddle Grip. Grasp the center of the deck between your left thumb and first finger and flex it up and down. Finally, loosely dribble the deck from your right hand onto your left palm.

In order to get the most out of this, and avoid the usual "it really looks like I don't have a break, doesn't it?" feeling, you must execute the glimpse immediately after the peek and then release the break. Don't hold onto it like it's a long lost friend. Once the flexing starts, keeping your fingers as open as possible—give the deck air so it's plain that you're not secretly trying to hold onto something. By the time you dribble the cards, other magicians will be absolutely lost.

Steve will now make a fan or put the deck down and patter for a moment before controlling the card to the top or bottom of the deck. He does this in a straightforward manner. The deck is picked up and held in

, «„lit for a Faro Shufílo. You know approximately wherr Z readiness to l* M I ' > m (hr lulhrs a little der,.r, (¡uM « „^ h<

r'^ïâÏw «hu.nb .uul immediately rim.- uP che ,iml,

,hC ™r r " , This tokos only » moment It you «an, the «lectio,, (>n „ come to th scU "c ' " mh, when you see it. If you want the adcctlon on u„., bot torn ot the dock, ^¡m, "ff your right thumb,ip before s,.»m,„, deck ¡2 of the dock, alio« .t to u m Kuro Shuffle so the required curd ,

Thil di-mi,,Hb simple method of rcs„„,i,„ «„„ ft card has fooled many magicians.

it ft

First published in the 1984 Winter Extra of Richard's Almanac, this version of The Herrmann Pass has received a great deal of attention, which was further boosted by its demonstration on the video tape On The Pass (Kaufman, 1989). In both of these instances the descriptions reflected the way of doing the sleight as taught to me by

Derek Dingle, and not the way in which Steve Draun actually performs it. Here is a description exactly as Draun does it.

The great question confronting anyone doing a variation of The Herrmann Pass is how to conclude the sleight: how, in other words, to cover the moment when the lower half of the deck falls onto the upper half. While one of the earliest solutions was to turn the deck over, and later to turn the hand over, Steve is the first person to turn both deck and hand around. Most of the mechanics follow those outlined by Dr. Jacob Daley in "The Cavorting Aces," described in Series 7, No.3 of The Stars of Magic, until the final moment just after the halves coalesce.

The face-down deck rests in left-hand dealing position. The left thumb rests on the edges of the cards along the left long side of the deck. You have a left pinky break in the center of the deck. As the right hand descends over the deck to grasp it from above, the left first fmger curls beneath the cards. The position of the right hand is important: it grasps the deck, thumb at inner end (at approximately center), second, third, and little fingers at outer end. The position of the second finger is dictated by the individual size and shape of the right hand. Steve places his second finger in the center of the outer end, though if your hand is not as wide as his, you will have to position your second finger a bit farther to the left 1

there is no gap between the right long side of the deck and the right thumb crotch

This would create a window through which left-finger activity could be seen. It is

Part One: Tools

.w the right second finger not be too far to the left, for this important, however, Jhat the rig lessens the amount of right-hand cover.

„ „rp readv to begin the shift. It may be done in either of Once in this positron you are r y ^ ^ & ^^ pasg Qr by turning tQ the positions: directly in fro^°^ Jann Pass in New Era Card Tricks (1897). Steve side b°th hands to 1116 side whiie keeping the top of the deck tilted toward the audience (fig.2).

Begin the shift in the conventional manner, by lowering the left fingers and upper long side of the rear half of the deck. This is continued, with a little pressure from the curled left first finger, until the packet is resting horizontally (or flatly) on its back (fig.3). By continuing to push with the left first finger, and relaxing the other left fingers, the turned packet is lowered until its forward long side moves below the upper packet. Once this happens, the concealed packet is shoved forward a bit (fig.4). If done with the hands held beside the body as shown here, the preceding actions are greatly aided by gravity—just relaxing the left fingers and drawing them back slightly will allow the lower half of the deck to almost move into position by itself.

Continue the shift by using the left thumb to push the vertical (visible) half of the deck face down onto the concealed half (fig.5). The left hand 2 must turn palm down a bit to do this comfortably.

At the same time, the left fingertips press the concealed cards upward until they meet the half moving toward them. The halves of the deck have now been brought back together.

It is at this point that the technique diverges from that of Dr. Daley. The left hand v rotates until the outer end of the deck is facing directly upw%ard (fig.6). (Note that this action, shown in illustration 6, actually occurs as the halves of the deck are still

The liZUZlAgether' l°r of learning> however, the steps have been separated.) Lwer gend^7igruPS ^ * Biddle GriP> at upper end and fingers at

SToskfonW8r T^, T °{ y°m left hand' which turns palm up to a normal position (fig.8). The deck is placed back into left-hand dealing position.

5. Ohnce ThTre^t"/ofl"hTl* betWeen the stePs - illustrations 4 and thumb i—^S^iL^^^X the d^ d~ntoit. P°Sltl°n' ^ "

change L^c^q^^t^loTn^^ ** hands held directly in front of you with no cards are face up. ner Posltion, makes an excellent color change it the

Passes

the MIDNIGHT

t doscst friends in magic is David Solomon, another Chicago eardmL oavThas applied the concept of •'The Mrdnight Shift" to a Side Steal with surprising results.

The face-down deck is held in dealing position in the left hand. Raise the hand and allow a spectator to peek at a card. Obtain a left pinky break beneath the peeked card as the deck closes and lower your hands to normal position.

Allow the break to open slightly, just enough for your left fingertips to slip inside and onto the face of the peeked card. (Your left thumb, which lies across the top of the deck, keeps the upper half of the deck in place.) They push the card to the right until its outer right corner is clipped between the third and little fingers where they meet (fig. 1). This position is the Hatton and Plate Card Clip, first described in Magicians' Tricks: How They're Done, in 1910.

Both hands now simultaneously turn so the fingers point more toward the floor. This draws the clipped card farther out of the deck until it is at right angles to it, in Herrmann Pass position (fig.2 is an x-ray view).

Conclude by executing "The Midnight Shift," bringing the card flush against the deck so it appears face up on top as the cards are turned around (fig.3). Note that your left thumb will have to move out of the way, to the left long side of the deck.

This method of producing the card face up on top of the deck is quite economical because it is a Side Steal rather then a Shift. This also leaves the order of the entire deck intact with the exception of the selected card—this might come in quite handy if routined with a trick involving a large setup.

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