I have been very intrigued with the posts under the topic entitled "What's your favorite false shuffle?" But my interest was not only in the various shuffles that were discussed. I was also very interested in the points about how any shuffling may appear suspicious after a selection has been returned to the deck.

As a creator/performer that does mostly mentalism, mental magic, and hauntedmagick, I certainly never want to give the impression to the audience that I am a cardshark. (I want to look adequate with the tools of my trade, but I certainly do not want to look like a card expert.) With that being the case, one of my favorite controls is my handling for the Classic Pass False Cut.

I first became aware of the CPFC in the wonderful book "The Complete Works Of Derek Dingle." I was reintroduced to it in the video series "Miracles With Cards" from James Swain. My handling appears in my release, "The Book Of HauntedMagick."

When done correctly, this is what the spectator sees: A selected card is returned face down on top of the pack, and it is cleanly cut into the center of the deck.
In reality, the card stays on the top of the pack. (In fact, the entire deck remains in the exact same order.)

The control itself is very simple to do, but it requires a smooth, casual rhythm to work under fire. So, it will take some practice.

The reason that I like this so much is that nothing suspicious ever takes place. There is no need for breaks, passes, etc... Basically it is an in-the-hands false cut that looks legitimate. (Picture how nicely this works with a Mullica Wallet.)

So when it comes to non-suspicious card handling, I offer my version of the Classic Pass False Cut. Thanks for reading all of this, and I look forward to reading about other favorite non-suspicious card moves from some of you.


Keep the change,
Rick Maue

I'm a big fan of the Tenkai Side Steal. Done right, the card appears to be inserted into the deck and the deck squared.

It's probably my favorite, nearly-angleproof, non-shuffle/cut control.

The Prayer (spread ) cull works very nicely too. Nothing to see and angleproof except looking straight up from the floor.

Rick Maue states:

I was thrown a bit by this post by Mr. Maue. First of all in the post you state that this is a Classic Pass False cut. Mr. Maue this is A pass yet when you talk about the pluses for your supposed control..., you say "There is no need for breaks, passes, etc., ...." Well this is a form of the pass amigo.

Luke Dancy

Actually, it is a false cut that is based upon the handling of the pass. It is not technically a pass because then it would be used to exchange halves of the deck. The purpose of the Classic Pass False Cut is to keep the deck as is. It is a false cut.

As for the name, I am not sure who first called the move the Classic Pass False Cut. I certainly agree that it may be a bit misleading, but I simply modified the handling, so it would not be appropriate for me to rename the move.

I hope that clears up the confusion.


Keep the change,
Rick Maue

I also use an underspread cull. Also before I reposition the card by shuffling, I use what Max Maven calls "the pause that convinces".

Another option is to either force the card or glimpse it and allow the spectator to shuffle.

Also, depending on the effect, a stacked deck (ie - Si Stebbins) would work great because you could glimpse the card before the selection, have them place the card back and shuffle. You know the card and they destroy the syclical stack.

I like my moves as clean and simple as possible, so I think my favourite is a kind of false cut. I came up with it on my own, but found several others doing it, so I'm sure it's been around for quite some time. We'll call it the "finger slide false cut" and those who know it will know what I mean. If not, just e-mail me.

Sable

"The pause that convinces" is quite useful! When I was a kid I read about dropping your left hand to your side between the return of the card and the shuffle or cut control. It never worked for me; they still burned my hands, so I gave up on it. Years later I did it quite by accident, and it was amazing the effect it had on the audience. I realized that I had killed it by being too tense when I had first tried it.

Andru