The Charlier Pass affords a ready and natural means of gaining possession of a selected card. The card having been chosen, the performer says, "Now, sir, will you put the card back in the deck?" He offers the deck lying on the palm of his left hand, but as he does so, opens it bookwise with the thumb, bringing it into the usual Charlier Pass position. (See Fig. 1) for start of move. The difference is that the little finger is at the side, with the other fingers, not the end, of the deck. The movement is so easy and natural that the spectator instinctively places the card in the opening, after which the magician calmly allows the upper half of the deck to drop on top of it.
If the performer wishes, or if he misses the thumb break, the stepped condition of the deck allows him to form or recover a break, or proceed to a variety of cut controls. The thumb break allows the thumbtip to break the deck instantly at the step, as in the first action of the sleight, thus allowing the performer to bide his time until he can execute the Charlier Pass unobserved. At the table the action may be hidden by the right forearm as the right hand reaches across to the left for some purpose. Afterthoughts (HL): Actually, when using either the "drop" OR "lift" method, it is easy to drop the top half, after the replacement, so that it forms a step above the selection. I particularly like the inward forefingertip bend, when using the "lift" method, to form a beveled injog at the rear of the deck. This should be a fairly sharp, slight, in and out movement of the forefingertip just as the upper half is falling onto the lower half. The movement of the forefingertip is quite similar, in action and concept, to a palming method (Larry Jennings) I described in A Multiple Palm in my book, RIM SHOTS.
Certain control is secured by curling the tip of the left first finger inward slightly after the return of the chosen card, thus beveling the top portion of the lower packet inward. (See Fig. 2) for a stop-action view. You can also, when the thumb releases the top packet, apply enough pressure to close the break at the front.
(^Apocalypse Variations or* Additions Subscriber Sam Rosenfeld just loves To Tell The Truth (Vol. I, No. 6 ) . He has a couple of fine ideas pertaining to it. First, he feels that since many magicians may be asked to repeat it for the same people, it might become obvious that he (the performer) always asks about the "liar." So, why not change occasionally, and ask, "Does the honest person (the truth-teller) have the ring (or whatever)?" When you ask it that way, always go to the POSITIVE (instead of the negative, as I originally taught it). Once you're aware of this, you can give the spectators more choices when you approach them. "Of which of you two shall I ask my one question?" and, "Should I ask if the liar has the ring, or if the truth-teller has it?" Giving your spectators all these free choices makes the entire thing more bewildering than ever. Sam also suggests the following method with cards (and, it's good): Force, or glimpse, a selected card. The deck is shuffled. Ask the spectator to choose a partner. Explain the idea one will be the liar, the other the truth-teller, etc. Turn your back and have the first spectator find his card. The two of them decide who should put the card into his or her pocket or purse. Then, turn back and ask the "liar" or "truth" question. You not only say who has the card - but you NAME it before it's removed from pocket or purse! This can be made to look like a miracle!
c?u6lisfied, written, HARRY
dirt director
edited:
BILL STEINACKER
LORAYNE 190