Expert Card Technique. Jean Hugard

      7. Bend the left thumb bringing its tip against the middle of outwards, snapping the pack into and resting on the top joints of the left fingers. The pack will now be face upwards with the desired card at the top.

      The following points should be kept in mind:

      a. With the right fingers forming a screen at the end of the pack, it is impossible for the onlookers to see the movement of the lower packet when it is extended to the right.

      b. The moment the lower packet clears the upper packet, the right first finger must bend inwards, pivoting its packet into a vertical position without the loss of a fraction of a second.

      c. Similarly, immediately thereafter the left thumb and fingers snap the assembled pack face upwards without hesitation.

      The pass can be made without the slightest telltale sound; however, if the proper timing is not maintained, there may be a small whisper of card on card. Once perfect coordination is established, this is eliminated.

      In making this pass it should be clear to the onlookers that the pack is turned over and there should be a self-evident reason for having turned it. Commenting upon the favorable import of having a certain card at the face of the deck may be used, but the following is an even better procedure:

      Immediately upon terminating the pass grasp the pack at the inner sides from underneath between the left thumb and second, third and fourth fingers, with the first finger curled at the bottom. Place the right thumb, second and third fingers at the right ends and make a pressure fan. After a brief glimpse at the fan, close it and square the deck upon the left palm.

      By this procedure you have given a tacit reason for turning the pack and you have further amply demonstrated that you have turned the face-down pack face upwards, and vice versa.

      THE ZINGONE PERFECT TABLE PASS

      Referring to the pass, or shift as it is sometimes called, Erdnase in his book, The Expert at the Card Table, writes: “The shift has yet to be invented that can be executed by a movement appearing as coincident with card table routine.” Jack Merlin agrees with this statement and writes that he has spent many weary hours trying to devise an invisible pass without success. The following pass, invented by Mr. Zingone, fulfills the requirements. In his hands, performing at the table, the pass is imperceptible. Here are the moves:

      1. The pack having been cut, pick up the original lower portion by the ends between the right thumb and second finger, the other three fingers resting on the end but taking no part in the grip.

      2. Place this half of the pack on the original upper half and, in drawing the pack off the table, secure a break between the two packets by pressing a minute portion of the flesh of the ball of the second finger between them.

      3. Place the third finger against the outer end of the lower packet and hold it against the thumb at the inner end, Fig. 1.

      4. Bring the left hand, palm upwards, over to the right hand and, in the act of placing the pack in it and moving both hands towards the left, grip the outer left corner of the upper packet with the left thumb and draw the lower packet towards the right with the right thumb and third finger, Fig. 2.

      5. Raise the right side of the lower packet and press downwards on the upper packet with the left thumb until the packets clear one another, Fig. 3. Bring the packets together, remove the right hand, continue the motion of the left hand to the left and deal the top card with the left hand.

      The moves are not difficult but a good deal of practice will be required to execute them with the deftness of the originator.

      THE FLESH GRIP PASS

      The striking feature of this pass is that, with all the fingers of the left hand visible and the pack held in a perfectly natural position, no such sleight seems to be contemplated or even possible.

      1. Place the pack vertically on its side in the left hand, the thumb at the upper side, so that it lies somewhat diagonally across the fingers with the outer corner resting on the middle phalange of the forefinger, the inner corner resting on the innermost phalange of the little finger. Let the four fingers curl over the side and their tips rest upon the back of the pack. The position is a natural one, all the fingers being exposed to the spectators’ view.

      2. Place the right hand over the pack and break it with the thumb at the inner end. Press the little finger upwards forcing the soft flesh of its first phalange up into the break at the lower side near the inner corner. Remove the right thumb and the two packets will snap shut on the little pillow of flesh, which retains the break, Fig. 1.

      3. Relax the pressure of the left fingers against the back of the upper packet and lower the left little finger very slightly, causing the two packets to fall a little apart; at the same moment grasp the ends of the lower packet, near the upper corners between the thumb and first and second fingers of the right hand. Alter the position of the left thumb from the top side of the pack to the middle joint of the right forefinger, Fig. 2. When the right hand is held in the position shown the two packets must always remain parallel to one another and thus must be transposed in a minimum of space. Note particularly that the two outermost joints of the right first and second fingers are at right angles to the remainder of the side of the hand.

      4. Transpose the two packets by bending the right second finger inwards, causing the lower packet to pivot on the left forefinger and thumb; at the moment that the two packets clear one another, press the tips of the left fingers against the back of the upper packet thus completing the pass which is made very swiftly and well-nigh invisibly.

      When a break is held by the tip of the left little finger in the usual fashion and a pass must be made, the right hand takes the pack at the ends, the thumb holding the break at the inner end. The pack is placed in the vertical position, on its side, in the left hand, the flesh of the little finger is forced into the break and the pass is made as described above.

      THE JOG PASS

      This fast and very deceptive pass is so named because its best use is with a card jogged at the inner end of the deck.

      1. Hold the pack vertically in the left hand, the thumb at the middle of the upper side, the forefinger curled at the middle of the face card, the second, third and middle fingers being at the inner end of the lower side. A card is jogged at the inner end.

      2. Place the right hand over the deck·and take it between the first and second fingers at the upper outer corner and the thumb at the upper inner corner, making a break with the thumb above the jogged card.

      3. Remove the left hand, making a casual gesture, and turn. the body half left; place the pack in the left hand, grasping it by the ends between the second and third fingers at the lower outer corner and the thumb at the lower inner corner, retaining the break, the forefinger and the, little finger free, Fig. 1. Make a gesture with the right hand.

      4. Bring the right hand over the pack and grasp the lower packet at the top corners between the thumb and second and third fingers, Fig. 1.

      5. Draw the upper packet downwards a quarter of an inch with the left thumb and second and third fingers and press inwards with the tip of the right second finger, causing the packets to