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Another person who has sui cessfully covered the weak momer in the Herrmann Shift is profession magician Bill Malone. He has adde an auxiliary action to the sle which, while only applicable t certain tricks, renders the Herrmani Shift completely invisible.

Assume that you have displayed £ particular card and inserted it into the center of the deck in preparation for causing it to return to the top. You are holding a left pinky break above the card.

Turn to the left. Begin by doing a Herrmann Shift exactly as already explained in "The Midnight Shift." The lower half of the deck, on top of which rests the chosen card, is turned at right angles to the upper half and brought along side of it, hidden beneath the right hand.

The pass is completed in the following way. The left thumb pushes the horizontal half to the right, so it begins moving beneani the upper half, and it disappears tor an instant under the right hand (fig- -is an x-ray view). This results in ^ hidden cards starting to turn back to a horizontal position on top ot tu upper half (about to become lower half).

When the right fingers ¿ire dlt\\,e over the left long side of the vis»D 1

half of the deck, obscuring it from the audience, the left fingers squeeze the halves of the deck together (fig.2 is an x-ray view).

The right fingers immediately slide inward along the back of the top card (left of center) (fig.3). At the same time, the right thumb moves to the inner end of the deck to meet them.

The fingers draw off the top card, pulling it inward so the thumb can move beneath it (fig.4). The card is turned over to reveal that it has returned to the top of the deck.

This sleight is quite easy to do, and its success rests entirely upon timing. The moment the left fingers squeeze the halves of the deck together and the inward sliding action of the right fingers on the back of the top card must be perfectly coordinated.

Passes

i The Herrmann Pass is designed for a very specifid

This method o^comPle^' being pushed flush into the deck. Steve always situation: when outjogged^rds^e ^eser Bluff Shift using this sleight, rather completes Derek Dingle s iandhn flutterillg action by the right thumb and than openly cutting the aecK. nac, H

fingers covers the bad moment.

First a brief description of the Dingle Bluff Shift (The Complete Works of Derek Dingle Kaufman, 1982) will be given. Spread through the deck openly upjoggmg the four <\ces Square the long sides of the cards without disturbing the jogged Aces. Strip the Aces out of the deck with your right hand, then move your left thumb beneath the deck and flip it face down.

Your right hand now flips the Aces face down onto the deck, sideways, your right thumb pulling the Ace on the face inward slightly before it loses contact with it. After the Aces have fallen onto the deck, face down, the lowermost Ace will be injogged.

Your right hand arches over the deck, and lifts up on the injogged Ace with the thumb, enabling your left pinky to obtain a break beneath it.

While the left thumb riffles down the outer left corner of the deck, two other small actions occur at the same time. One: the right thumb is slid across the top card from inner end to outer left corner, simulating a drag-off of the top card. Two: the left pii^ curls inward, kicking the four-Ace block's inner end slightly to the left. Your blfck"utrSoff meddSecCknd ^^ ^ ^ left C°mer °f 1116 **

bottom—they ^intot^ ^ ** 1116 deck about a third of the way up from the pushed imoythe deck so It ^T?8 ** left-thumb riffle. As the block is

Change is executed. The right ^ " outJ0§§e<^ about an inch and a half, a Push-In the deck, leaving only the unnJ SeCOn? fln§er shoves the three lowermost cards into over to Hash the face'of the oS' *Ce The left hand immediately turns three (indifferent) cards are 2 , 8X1(1 111611 turns P^m down again. The next inserted at various points ahZir°m ^ top of the deck one at a time ant Aces, are now uniformly outjogged protruding Ace- All four cards, apparently the cards areriw i hands' keeping the hi ,1 he Mldnight Shift." Now, spread the are clearly seen in differentportionf V° 1116 au^nce. so the four outjogged

Portions of the deck. Spread until you reach the

lowermost outjogged card. As you square the long sides of the deck (without disturbing the jogged cards), obtain a left pinky break above the outjogged card.

Here comes The Flutter Pass action. Once the deck is squared, your right hand arches over the cards, thumb at the inner end and fingers at the outer ends of the outjogged cards. The protruding cards are pushed into the deck with small fluttering finger and thumb movements, rapidly coming together and apart (fig. 1). (The action is not unlike that of a butterfly's wings opening and closing many times in quick succession.)

At some point during this, before the cards are completely squared, your right thumb and first finger will be able to grasp the ends of the upper half of the deck. The instant that happens, the lower (or rear) half is levered downward until it is at right angles in the method common to all Herrmann Passes. Without pausing, the angled half of the deck is squeezed upward, onto the front of the visible half, while the right fingers and thumb release the visible half and continue the flutter

The activity off the right thumb and fingers provides a visual shield for the Pass that apparently gives the audience a clear view of the deck the entire time. The vital point in this Pass is that the left fingers do not pause after levering the rear half of the deck to right angles. It is immediately brought up in front of the visible half of the deck without any hesitation. It is not easy to do this, because it requires split-second timing. The visible half of the deck must be grabbed by the right thumb and first finger only long enough to lever the rear half to right angles. Then, they release it and continue the fluttering. When Steve does it. his right thumb and fingers appear to flutter without pausing—you do not see them stop and grasp the deck for a moment.

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- rwth illusion has spawned many variations and interesting ideas, but^veXTbleX if with an entirely different sleight to produce a subtle and de<Lptive palm The card is apparently inserted into the center of the deck yet it is actually placed beneath the deck directly in a left-hand palm. Steve s handling was inspired by an idea of Mario's in which he openly placed a card on the bottom of the deck (from the side), and immediately plucked it off the bottom and stuck it in his pocket.

^en by the right h^Slnd Md £ J* by its inner rieht mm . ld' face down, first and second S ^ ^

Howard Schwar^Zf First'

performed in the follo^fj™ subtlety is 2

the'oute^InT^ as lf ^in^ent^™^ right thumb to slightly deck ^d pus°h^ ^st ^e i^S8 "Jnto ¡nner end of the deck, butting hands card fromi f* 0utwi*d (fig ,, evnd of a card or cards in the center of the

'rom the deck. "g l)' have "missed." Withdraw the right

Act as if you are going to do the same thing again and hopefully, this time, push it into the center of the deck (that should be your intention, as far as the audience is concerned). Turn your right hand very slightly just before you begin the insertion (fig.2). Shove the card beneath the deck until its outer right corner butts up against the left second fingertip—it is now in Gambler's Cop (fig.3, in which the deck is transparent) .

Your right hand lets go of the card, turns palm down, and descends over the deck. Grasp the cards in Biddle Grip, your right fingers pushing the outjogged card or cards which remain from the Schwarzman subtlety square with the deck.

Extend your left first and second fingers out of the way (fig.4 is an exposed view from beneath). Your right hand lifts the outer end of the deck in preparation for a riffle—the audience sees your apparently empty left hand beneath the outer end of the deck (fig.5 is an audience view). This is flashed only for an instant, because your right fingers immediately allow the cards to riffle downward onto the left fingers as shown. This is a supremely convincing display.

As soon as the riffle is over, move your left second finger back to its position for the Gambler's Cop. Your left hand immediately drops away with the palmed card.

So, not only does the audience believe that the card is in the center of the deck, they have also apparently seen that your left hand is empty an instant before it leaves the cards.

t\ut One roola

The reason Steve places a caul into Gambler*« Cop is so that he can ^ri that clean display shown in illustration 5. The sleight can also position the card in full palm in the left hand just as easily, but the riffle slum cannot h< used.

To place the card into a full palm, the inner end of the deck must be elevated slightly m the left hand. Tlu-right hand then turns clockwise so tlu card to be palmed is already in propel position before it moves beneath the deck (fig.6), The card is then moved forward into full palm. The right hand lets go, grasps the deck in Middle Grip, and the left hand can drop away._

One of the reasons Steve Draun is so good at palming cards is that there's never any "tell" just before the sleight. He does it on the "go." This Top Palm is perfect for any routine in which cards travel to a pocket accessible to the right hand. Its antecedent is Dr. James Elliott's Top Palm.

The card or cards to be palmed are on top of the deck, and you hold a left pinky break beneath them. (Let's assume that you wish to palm off the Aces.) The right hand takes the deck in Biddle Grip, assuming the break with the right thumbtip, and lifting it out of the left hand. _

In order to conceal the large break that now runs down the upper long side of the deck, the right first finger moves first to the outer end of the upper side (fig.l) and then slides inward (fig.2). This forces the break, which is beneath the cards to be palmed, closed for most of the length of the deck. The left hand immediately swings down and pats the left side jacket or trousers pocket in a feint, as if feeling to see if the cards have arrived yet. At the same, the right hand turns so the bottom of the deck, and the palm, face directly to the left (fig. 3 is an audience view).

After the feint, the left hand swings back up to the deck and opens as if to take it. The left thumb and fingers, however, go around the deck and grasp the sides of the cards above the break (fig.4). The 2

right first finger straightens, moving back to the outer end of the deck.

The left hand has not paused at any time, and it now shoves the separated cards into the right palm (fig. 5).

This automatically leaves the deck in the left hand, pressing against the left palm. Simply close the left fingers and thumb around it. That frees the right hand and allows it to immediately drop away with the palmed cards, on its way to a pocket.

This is a beautiful sleight: the left hand swings down toward the pocket and then back to the deck, then the right hand swings down toward the other pocket. The movements are perfectly balanced and serve admirabh to w conceal the small action of the cards being pushed into the right palm.

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