directed towards it; and if the performer were himself to look downward at the cards, it would multiply tenfold the chances of detection. He should pause for a moment, and, looking full at the person who drew the card, ask, “You are certain that you will know that card again?” or make any similar observation. As he speaks, a natural impulse will draw the eyes of the audience to his own face, and he may then make the pass without the slight necessary movement attracting the least attention. It is hard to believe, until tested by actual experience, what apparently obvious movements may be executed under the very noses of an audience, if only their attention is diverted at the right moment by a dexterous use of the eye and voice of the operator.
Fig. 4.
Second Method.—(With both hands).—Holding the pack in the left hand, as directed for the first method, grasp as before the lower portion of the pack lengthways between the second finger at the upper end and the thumb at the lower end; move the left thumb, which now takes no part in the operation, a little below the pack to be out of the way. Then slide the lower half of the pack a little to the left, and the upper half to the right till they just clear each other (see Fig. 4), when you will be enabled to place what was originally the upper half undermost, and vice versâ. This is the theory of the process, but in practice the necessary motions are not nearly so distinct. As you grow more and more expert, the necessary movement from right to left should become gradually smaller and smaller, until at last it is almost imperceptible. You must study to reduce this movement to the very minimum; and in order to do this, endeavour, after you have once seen clearly what it is you have to do, to keep the hands together as much as possible. Let the edge of the palm of the right hand rest gently, but firmly, on the first three fingers of the left hand, and let the contact thus made form a kind of hinge or fulcrum for the movement of the hands. When you become expert, you will find that the mere outward movement of the two hands upon this imaginary hinge (the cards being held lightly, and allowed to accommodate themselves to the movement) is sufficient to produce the effect.
Fig. 5.
We have above recommended you to keep the hands together as much as possible; but there are circumstances under which an ostentatious separation of the hands is equally effective. Thus, holding the cards as above directed, you may make the pass by (apparently) merely cutting the cards, lifting, in truth, the under instead of the upper half, the latter making way (by a slight and momentary extension of the left hand) to allow it to pass. You may also, when holding the cards as just cut (i.e., half the pack in each hand), make the pass in the act of bringing them together. To do this you should hold the right hand packet in such manner that the thumb and second finger may project a full inch beyond the face of the cards. At the moment of bringing the two packets together (which should be done with a sidelong motion of the right hand from right to left) this thumb and finger grip the other packet, and slide it out towards the left shoulder, leaving what was originally the right hand packet in the left hand. If this is done neatly, the movement is so subtle that the keenest eye cannot detect that the two packets have changed hands. Having effected the change, you may take your own time as to placing the now uppermost packet on the other. The circumstances of each trick will indicate the cases in which it may be desirable to adopt either of these variations.
Fig. 6.
Third Method. (With both hands.)—This is very similar to the first method, but much less neat. Take the cards, as in the former case, face downwards in the left hand, but instead of the little finger, insert the second and third fingers immediately above those cards which are to be brought to the top of the pack, and draw the first and fourth fingers below the pack. (See Fig. 5.) In this position, the lower half of the pack is held as in a forceps between the second and third and the first and fourth fingers. Now cover the pack with the right hand as directed for making the pass by the first method, but in this instance grasp therewith (between the first and second fingers at top and the thumb at bottom) the upper half of the pack. Raise this upper half slightly, to allow room for the movement of the lower half, and at the same moment slightly extend the fingers of the left hand. (See Fig. 6.) This will make the lower packet describe a quarter of a circle. As soon as it is clear of the upper packet, by reversing the motion (i.e., closing the fingers of the left hand, and at the same time lowering the right hand), the two halves of the pack will be again brought together, but that half which was originally undermost will now be uppermost. The movement will be understood more clearly on an inspection of the diagrams a and b (Fig. 6), a representing an end view of the two portions of the pack in their original position, and b of the same in their transposed position, the original lower portion being in each case indicated by the darker shade.
Fourth Method. (With the left hand.)—This is almost the same as the method last described, save that the left hand only is used. The upper packet, instead of being held in the right hand, is in this case clipped between the ball of the left thumb and the point where the thumb joins the hand. In other respects the movement is the same.
Fig. 7.
Fifth Method. (With the left hand.)—Take the cards in the left hand as before. Insert the third finger above the cards which are to be brought to the top (and which now form the lower half of the pack), and close the remaining three fingers on the top of the pack. (See Fig. 1, but suppose the third finger inserted in place of the fourth.) Now extend the fingers, which will make the upper part of the pack describe a semicircle (see Fig. 7), and at the same moment press downward with the thumb the left top corner of the lower packet. This will tilt up the opposite end of the lower packet, and give room, as you again close the fingers, for the upper packet to pass into the lower place. (See Fig. 8.) To bring the original upper packet (i.e., the one with the six of hearts at the bottom) from the position indicated in Fig. 7 to that which it occupies in Fig. 8, it is pressed slightly forward with the middle finger, and is thereby made to perform a semi-revolution, the third finger acting as pivot. The packet is by this means turned over endways, i.e., that end of the packet which was originally nearest to the performer is now farthest from him, and vice versâ. The movement is by no means easy to describe, but if followed step by step with the cards, will be readily understood.
Fig. 8.
This method of making the pass has a peculiarity which renders it specially useful in certain cases. When the upper half of the pack describes a semicircle, as above mentioned, the bottom card of such half is in full view of the performer, though the spectators see only the backs of the cards. The performer thus becomes acquainted, unknown to his audience, with that card which, after the pass, becomes the bottom card of the pack; which knowledge may occasionally be very useful. The movement of the cards in this mode of making the pass is very noticeable; but the circular sweep taken by the upper packet so confuses the eye, that the audience must be extremely keen-sighted to detect the effect of the movement, which, if neatly executed, has the appearance of a mere flourish. A quick sweep of the arm from left to right as the pass is made will greatly assist in covering the transposition of the cards.
Some perform the pass last described without causing the upper packet to make the semi-revolution above mentioned. The first finger in this case does not participate in the operation, but is left extended beyond the upper end of the pack.
Fig. 9.
