 Printer EmailThis is simply another form of the overhand shuffle. The right hand holds the deck, from above, near the inner ends. The thumb is on one side, second finger on the other. The left hand approaches the deck, palm up. It reaches up from under the deck, so that the bottom card is facing the left palm. The thumb and fingers grasp small packets of cards from the top of the deck. (See Fig. 1.) As these packets are taken, they are allowed to fall into the left palm. The left forefinger should be at the center of the outer end of these cards as they fall. This acts as a stop, to keep the cards from falling out of the hand.... Please—learn the effects and routines exactly as I teach them. After you've mastered them completely, you may want to change something here or there. But even then, be careful! As I said earlier —most of these are audience tested or "audience preferred." Why not benefit from my years of experimenting and performing experience with these particular effects, and do them as I do, or as I tell you to? Don't try for short-cuts; I've already given you most of them, fn most cases, another short-cut will ruin the effect. Make it easier to do, perhaps—but ruin it, nevertheless. If there are a few sleights (or routines) which you feel are beyond you—try them anyway. You may be surprised at what some practice and perseverance will accomplish. I know that for years I avoided any effect which depended on a perfect faro shuffle, because I felt it was too difficult; too much trouble. One day, I decided to sit down and make a serious attempt at it. I found it was much easier than I thought. You may find this to be true with most of the sleights described in this book. Well, enough talk. I hope you're anxious to start practicing and doing these effects. Go to it—and I hope you fool 'em all! Close-up Card Magic by HARRY LORAYNE
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