Being thoroughly master of this first lesson, you may proceed to the study of the various “passes.” All of the passes have the same object—viz., the apparent transfer of an article from one hand to the other, though such article really remains in the hand which it has apparently just quitted. As the same movement frequently repeated would cause suspicion, and possibly detection, it is desirable to acquire different ways of effecting this object. For facility of subsequent reference, we shall denote the different passes described by numbers.[I]
[I] It should be here mentioned that the term “palming,” which we have so far used as meaning simply the act of holding any article, is also employed to signify the act of placing any article in the palm by one or other of the various passes. The context will readily indicate in which of the two senses the term is used in any given passage.
It is hardly necessary to remark that the diagrams, save where the letterpress indicates the contrary, represent the hands of the performer as seen by himself.
Pass 1.—Take the coin in the right hand, between the second and third fingers and the thumb (see [Fig. 61]), letting it, however, really be supported by the fingers, and only steadied by the thumb. Now move the thumb out of the way, and close the second and third fingers, with the coin balanced on them, into the palm. (See [Fig. 62].) If the coin was placed right in the first instance, you will find that this motion puts it precisely in the position above described as the proper one for palming; and on again extending the fingers, the coin is left palmed, as in [Fig. 60]. When you can do this easily with the hand at rest, you must practise doing the same thing with the right hand in motion toward the left, which should meet it open, but should close the moment that the fingers of the right hand touch its palm, as though upon the coin, which you have by this movement feigned to transfer to it. The left hand must thenceforward remain closed, as if holding the coin, and the right hand hang loosely open, as if empty.
Fig. 61. Fig. 62.
In the case of an article of larger size than a coin—as, for instance, a watch or an egg—you need not take the article with the fingers, but may let it simply lie on the palm of the right hand, slightly closing that hand as you move it towards the left. The greater extent of surface in this case will give you plenty of hold, without the necessity of pressing the article into the palm. Remember that, in any case, the two hands must work in harmony, as in the genuine act of passing an article from the one hand to the other. The left hand must therefore rise to meet the right, but should not begin its journey until the right hand begins its own. Nothing looks more awkward or unnatural than to see the left hand extended with open palm, before the right hand has begun to move towards it.
Fig. 63. Fig. 64. Fig. 65.
After the pass is made, a judicious use of the wand will materially assist in concealing the fact that the object still remains in the right hand. For this purpose the performer should, before commencing the pass, carelessly place the wand under either arm, as though merely to leave his hands free. Immediately that the pass is made the right hand should, with a sort of back-handed movement, which under the circumstances is perfectly natural, grasp the wand, draw it from under the arm, and thenceforth retain it till an opportunity occurs of disposing of the coin as may be necessary. The position of the fingers in the act of holding the wand is such as to effectually mask the concealed coin, while yet the hand appears perfectly easy and natural. The same expedient may be employed with equal advantage in the remaining passes.