Sleight of Hand: A Practical Manual of Legerdemain for Amateurs & Others

by Edwin Thomas Sachs

As the cards are supposed to be pushed home along with the rest of the pack, it is advisable to actually remove the right hand for a short time, the performer commencing to say what he is about to do with the cards. When he subsequently brings the hands together again, for the purpose of making the pass, the thumb and second finger of the right hand should again nip the upper end of the pack. A simultaneous twisting movement is made with both hands, the right hand turning the pack to the right, whilst the left turns the three cards to the left, until they are clear of one another, when the motions are reversed, the three cards being placed either on the top or at the bottom, as the performer may desire. He will find it easier to place them at the bottom, as they come more naturally there. The position of the left hand remains the same throughout, the three cards being held in position by the pressure of the little finger at the lower right-hand corner. The making of the pass must be covered by a slight swinging movement of the two hands in any direction. Some performers, finding it rather difficult to push home several cards into the desired position simultaneously and neatly, make the pass each time a card is placed in the pack. It is open to the learner to adopt this method if he so pleases, but he is more liable to detection; besides which, the feature of the pass is the showing the cards all in different parts of the pack, and then apparently pushing them home at one and the same time.

An alternative method is to push the cards down, with the projecting corner on the thumb side of the left hand, and then, by straightening the cards at once, leave half an inch or more of the whole width of the chosen cards projecting from the bottom of the pack, instead of having them diagonally across the pack, as is shown in illustration. A trial will show the learner that this method is an expeditious one, but my reasons against its use are twofold. Firstly, too much of the cards to be passed is exposed, and, secondly, the act of pushing them down is extremely likely to carry along with them indifferent cards intervening between two of them. This is especially likely to be the case with cards that are at all worn. The reason for this is that there is no stop to the body of the cards, which stop is provided, in the method shown at [Fig. 34], by the little finger, during the whole of the operation. The act of pushing the cards transversely down, from the opposite side of the pack to that depicted, renders it impossible that the little finger can be in position on the lower side of the cards at the most critical time, the commencement, to prevent any but the desired ones from being pushed down. Its presence just at the corner seems to me to be very essential to the effective performance of the pass, combined with security from mishap.

The False Shuffle.

This the conjuror will find a very useful adjunct to the pass. There is nothing very difficult about it, but it is necessary to be somewhat bold in executing it. The two methods of shuffling in ordinary use are the perpendicular and the horizontal. The perpendicular is the most business-like, and I have no doubt that it is used by most of my male readers who are card-players. Ladies, I am aware, mostly patronise the horizontal shuffle, in which the cards are passed from right to left, or vice versâ, alternately over and under. To illustrate the perpendicular method, suppose the card to be at the bottom of the pack, just passed there, and it is desired to keep it in that position. By applying pressure with the fingers and thumb, the top and bottom cards will be retained in the left hand when the right hand draws away the rest of the pack, which is then shuffled over the two. The operation can be repeated hundreds of times without fear of a mistake. With the card at the top, the action is more complicated, though not difficult. The pressure with thumb and fingers must be made as before. This will bring the chosen card from the top to second from the bottom. Commence the shuffle a second time, and the card will be the bottom one of those held in the right hand, the one recently beneath it having been drawn off by the fingers of the left hand. It now remains to continue shuffling vigorously until the chosen card alone remains in the right hand, which then leaves it on the top of the pack in its original position. For this shuffle, which I prefer to any other, I have to thank myself. It is utterly impossible for the eye of anyone, be he the most practised conjuror, to follow the positions of the one card, even supposing that an opportunity for minute investigation were allowed, which it scarcely would be during a performance. When exhibiting before a select company of extra sharp people who have vague notions of false shuffles and passes, it is sometimes advisable to bring the chosen card to the top, with one card or more above it. You can then say, "Now, it is utterly impossible for me to know where the card is. You see it is neither at the bottom nor next to the bottom" (throw bottom card off), "nor is it at the top" (throw as many cards off the top as are above the chosen card). More than this the spectators can hardly expect you to do. In the horizontal shuffle, with the card at the top, draw the card off between the first and second fingers, and put all cards which are shuffled above it between the first finger and thumb. This will form two packs, divided by the first finger. The final movement in the shuffle is the replacing the lower half on the upper; but I prefer bringing this about by means of the pass. With the card at the bottom, one has merely to shuffle the cards in the ordinary way, just taking care that the bottom card is shuffled last by itself to the top, where it may be left; or it may equally easily be shuffled to the bottom again by simply retaining it in the hand last. This is the simplest shuffle of all, but it will not deceive enlightened people. I find it an excellent method to combine two methods of shuffling. Great rapidity of action should be studied; everything, however, being practised very slowly at first, until the proper method is secured. The false shuffle is very useful in covering the pass. The pass should be made, and the shuffle at once proceeded with, without allowing a fraction of a second to elapse.

Leaving the beginner to overcome at his leisure the various difficulties connected with the mastery of single-handed passes, I will describe some tricks performed by the aid of the pass, assisted by the false shuffle alone, commencing with the most simple. Lest the reader should say, "Oh! but no person in his senses would be deceived by that simple thing," I will observe that he should endeavour to suit his audience to his skill. The learner should commence by allowing a card to be selected from the pack, which he then cuts near the centre, and requests the person who selected the card to place it upon the lower portion. He then replaces the upper portion, taking care to allow the little finger to intervene between the two, so as to be ready for the pass, which must be made on the first opportunity, and the pack handed to a spectator to hold. Now say that you will cause the card chosen to rise from the centre of the pack, where it is supposed to be, to the top, and then let the holder of the pack show that such has actually been done. By inserting the finger beneath the card before making the pass, it will be brought to the bottom of the pack, whither you can afterwards command it to go. In these instances the effect will be spoilt if any shuffling takes place; but, in most of the following, false shuffling should be resorted to, attention being called to the fact that the cards are well mingled, and that you, therefore, cannot possibly know the position of the chosen card in the pack.

To Cause a Card to Show itself on the Top of the Pack.—Bring the card to the top, and, holding the pack in the right hand, push it off with the thumb of the left hand about half an inch, and then throw the pack violently on the table or floor. The resistance of the air will cause the uppermost card (the chosen one) to turn completely over, without losing its position. The effect is very good indeed.

The Attached Card.—Bring the chosen card to the top, and give the pack to be held by one corner tolerably firmly, between the finger, and thumb. See that it is held neither too tightly nor too loosely, and then suddenly strike the cards upwards with the hand. Give a good strong blow, and all the cards, with the exception of the top one, will fly into the air, the chosen card remaining in the fingers. If the card is brought to the bottom, the cards must be struck downwards to the floor, which method certainly has the advantage of causing less litter. The effect is increased if two cards are chosen, one being brought to the top and the other to the bottom. The cards are then struck—only moderately hard in this instance—sideways, when the top and bottom cards will remain in the holder's fingers.

To Catch Two Cards in the Air, out from the Pack.—A better way with two cards is, after bringing one card to the top and one to the bottom, to take the pack firmly between your own thumb and fingers, and jerk it upwards. This will cause all the cards to fly towards the ceiling, except the top and bottom ones, in a bunch. Before the cards fall, you make a dash at them, and affect to catch the two chosen cards in the air out from the rest. This is a very finished illusion. The audience, having their eyes upon the pack, do not notice the two cards between the performer's fingers, but the dash at the pack must be made immediately.

The Congenial Aces.—Select from the pack the four aces (four cards of any other denomination would serve equally well, but aces are best for effect), and allow the pack to be thoroughly examined for the purpose of showing that there are no others contained in it. Give one ace to one person, another to a second person, and the remaining two to a third. Have the first ace placed at the top of the pack, the second at the bottom, and the third and fourth in what the audience will suppose to be the middle of the pack, but in reality between the top and bottom cards brought together by means of the pass. As you turn to the third person holding aces you pretend to open the pack in the middle, but in reality make the pass, but without bringing the two portions together again. The two remaining aces are thus innocently placed between the two already restored to the pack, which you instantly close up, whilst calling particular attention to the fact that you do so with all possible deliberation and slowness. Now command all four aces to join company in the centre of the pack. On the pack being opened, the command will be found to have been obeyed. The trick can be varied by placing a red ace in the centre and a black one on the top or bottom, and then causing them to change places by means of the pass. But the most startling change of all is when two aces of one colour are placed in the centre, and the two of the other colour, one on the top and one at the bottom, and then made to change places. The company cannot realise that this can possibly be accomplished in so brief a space of time; but it is simple enough. It should always be produced as a final effect, the performer saying, "Now I will show you something more remarkable still." He then places, say, the two red aces in the centre of the pack, and one black ace on the top and the other at the bottom. In order to convince the company thoroughly that things are as stated, the pack is turned over and opened slightly, fanwise. In showing the cards thus, it will be very easy to insert the little finger between the two red aces unperceived, and the double-handed pass is made in the act of turning the pack over. It is instantly placed in the hands of one of the company, who may be asked to blow upon it, or to perform any other operation equally unlikely to bring about any magical change, and then the cards can be examined without the performer approaching them again. But, in such cases, much depends upon how the pack is examined, and it should always be done under the performer's directions. For instance, he would say, "On the top was a black ace; will you please look at the top card now?—you will see that it is a red one. At the bottom was also a black ace; turn the pack over, please, and you will find a red one there also. In the centre were two red aces; kindly look there, and you will find the black ones." By this means, the whole of the company are informed of what has taken place, which would only be unsatisfactorily done if it were left in the hands of the temporary holder of the cards, who only thinks of satisfying his own curiosity.