Substitutes for the Pass

1. Break and Overhand Shuffle
2. The Riffle Return
3. Reversed Card as Indicator

A great number of different moves have been evolved for controlling a chosen card without the use of the pass. By request I give three of the best.

a. The Break and Overhand Shuffle

A card having been drawn do not simply cut the pack for its replacement, a suspicious and inartistic procedure. Rather spread the pack fanwise and as the person extends his hand with the card, divide the fan about the middle, push it forward and actually take the card from him, for all the world as if you were using a forceps. You do not, of course, snatch the card, but work smoothly and without hesitation. Instantly close the fan, inserting the tip of the left little finger above the card.

Remove your right hand for a moment, allowing all to see that the outer end of the pack is closed and regular. Fig. 13.

Take the pack, from above between the right second finger, at the outer end, and the ball of the right thumb, at the inner end. Press the thumb tightly against the pack, retaining the break made by the left little finger. Remove your left hand for a moment making some gesture, appropriate to your patter, again allowing the outer end of the pack to be visible, the break at the back being out of sight, unless you allow someone to stand directly behind you. Fig. 14.

Proceed to an overhand shuffle by placing the pack in the fork of your left thumb, which then turns the pack down as if it were pivoted at the tips of the right second finger and thumb of your right hand, the break being retained by the ball of the thumb. Fig. 15.

Shuffle the cards in the usual way until the break is reached, then throw the rest of the cards on top. The chosen card is thus brought to the top of the pack, ready to be dealt with in any way desired for the purpose of the trick in hand, without any irregular or quick movement; indeed, the sleight should be executed rather slowly, giving the onlooker every opportunity of seeing how honest the procedure appears from the front.

b. The Riffle Return

In this method you allow the drawer of the card to push it into the deck as you riffle the outer end. Prevent the card from going flush with the rest by holding the inner end of the pack tightly. Fig. 16.

Draw the deck back, covering it with the right hand, and, under cover of squaring the cards, push the outer end of the card a little over to the left and then downward diagonally, so that its left top and right bottom. The left little finger at once straightens the card by pressing on the right lower corner. The selected card will now project from the lower end of the pack. Fig. 17, A, B and C.

Divide the deck at the projecting card, taking off the top half, and this card, with the right hand, and proceed at once to a riffle shuffle. The position in which the cards are held allows you to sight the chosen card without arousing any suspicion on the part of the spectators. You may put it at the bottom of the pack by allowing it to drop first, or you may place it second, third or fourth from the bottom by letting one, two or three cards drop from the left hand packet first.

Illustrations Nos. A, B and C are exaggerated for the sake of clearness. The card should protrude an eight of an inch at the utmost, and, with practice, it may be allowed to project so slightly as to be practically imperceptible except to the touch.

c. Reversed Cards as Indicator

This is rather a barefaced procedure, but it is very useful at times to baffle a skeptical spectator who may have an inkling of the usual methods. In spreading the cards for one to be chosen push the bottom card well into the fork of the left thumb, then, as you close the pack, lift all except this card slightly. At the same moment, press the tips of the right fingers against the right side of this bottom card and move the left hand to the right, so that the card is turned face up under the rest of the cards. The move is made under cover of closing the spread of card and is imperceptible.

While the card is being noted, make a free overhand shuffle, simply retaining the bottom card in position. Then undercut about half the deck, have the card replaced on the portion in the left hand and drop the undercut on top. Square the deck very openly and tap both sides and ends on the table, plainly showing that there is no break or jogged card, but be careful not to mention these artifices. If any of your audience know about these processes they can see you are using them, so why suggest them to others who are ignorant of their possible use. You may have occasion to use them in another trick later on.

To get control of the chosen card and right the reversed card, you may divide the deck, riffling the inner end with the right thumb, dividing the pack at the reversed card, and, by a riffle shuffle, send that card to the bottom and the chosen card to the top. Pull up your left sleeve with the right hand and with the pack in the left hand pull up your right sleeve. It is an easy matter then to turn the bottom card over with the fingers against the sleeve under cover of the forearm.

Or, standing with your right side to the front, shuffle the pack overhand. Shuffle freely till you have almost reached the reversed card, then run the cards off singly When the reversed card shows up, thumb it right off the pack and let it fall on the floor. At once drop the rest of the cards on top of those shuffled off into your left hand, thus bringing the drawn card to the top. Apologize for your clumsiness and pick up the fallen card, casually inquiring if it is the selected cards, as if you didn't know.

The use of these three entirely different means of controlling a card, combined with an occasional regular pass, will throw the onlookers entirely off the trail. It is advisable, when working out the details of a particular trick to apply one of these methods to it and thereafter stick to that particular move for that trick. This will help in attaining that smoothness of execution which is so necessary to success.