Further Notes

Concerning the
Palming of Cards
by John Galsworthy
 Further Notes
Concerning
the Palming
of Cards

Additional studies in the surreptitious procurement of playing

cards from an ordinary deck; several novelties therewith.
Methods: various.

Copyright 2020 © by John Galsworthy.

All rights reserved. This manuscript may not be reproduced, in whole or in part, in any format
without the express written permission of the author.

1
By heaven, I’ll steal away.

All’s Well That Ends Well (2.1.33)

We can forgive a man for making a useful thing so long as he does

not admire it. The only excuse for making a useless thing is that one
admires it intensely.

The Picture of Dorian Gray

2
Contents

Foreword................................................................................... 4
1. Introduction .......................................................................... 6
2. Side Steal............................................................................... 8
MECHANICS........................................................................ 8
MOTIVATIONS ................................................................ 13
3. Leipzig Bottom Palm .......................................................... 16
THE RIGHT HAND .......................................................... 16
THE LEFT HAND ............................................................. 17
THE PALM ......................................................................... 18
MOTIVATIONS ................................................................ 20
4. Top Card Palm Replacement ............................................. 23
A BRIEF DISCUSSION ..................................................... 23
FINER POINTS .................................................................. 25
5. Palm Transfer ..................................................................... 27
MECHANICS...................................................................... 27
MOTIVATIONS ................................................................ 30
6. References........................................................................... 31

3
Foreword

Welcome back. Take a seat. I think we understand one another now.

In so far as it’s possible for someone with a face like mine to find their swagger, I
believe I’ve found it now. Be it arrogance or ignorance, my feathers remain
unruffled by the usual cares of the Second-Album Syndrome. I’m content that this
new volume of notes should contain something of value. As such, I won’t intrude
upon your time (nor your data allowance) with caveats and apologias about my
presumptions for writing. I believe you know what you’re buying by now.
Nevertheless, it’s worth mentioning that I was pleasantly surprised and handsomely
remunerated by the response to what history will now remember as the first volume
of my Notes Concerning the Palming of Cards series. However, having spaffed
away the earnings from volume one on the stock market1, I feel compelled to bring
forward publication of this second volume for your consideration. And what with
pirated copies of volume one already appearing at discounted prices on Chinese
magic sites2, I like to think my renewed efforts here will do something, however
small, for struggling economies in the far east. It’s the least I could do.
As before, I’ll hold no claims of originality to the core moves presented here, and
I remain certain that my referencing is incomplete. Any questions, comments,
advice, salacious rumours or boring facts that you think are actually quite
interesting, by all means let me know.
A sincere thanks to everyone who has taken an interest in these notes, and indeed
to anyone who has indulged even a passing curiosity in the work I’ve presented to
date. I’m tickled in the best way. Since publishing the last set of notes, I’ve had the
very good fortune to meet some of you for face-to-face sessions, where the
conversation has been as improving as the pizza has been disappointing. As I
continue to dip my shy toes still further into the waters of the magic world, I’ve
every faith I’ll do that sort of thing all the more. That’s a threat as much as a
promise.

1
I’m barely even joking.
2
I’m actually not joking. Seriously. Google it. 3 USD they’re going for. 混蛋.

4
There. That’s the foreword this time round. Compare it to the last one and see
which you prefer.
Yours, still,

J. Galsworthy
April 2020

5
1. Introduction

I find myself at a bit of a loss for an introduction this time. I’m running with the
assumption that those of you who are here now were here the last time, so I’m keen
to avoid repeating anything. While I don’t think it’s possible to plagiarise oneself,
nevertheless, it is possible to cheat the paying public. And I’d rather avoid being
accused of either.
For the sake of completeness, and at the expense of variety, when I say ‘palm’ I
mean this:

Fig. 1.1

Most of what I’ll talk about – most of what I’ve been talking about – relies on this.
So, if you’re not yet up to speed, I’d encourage you to take your time before going
any further.
There’s little in these notes that could really be described as ‘knuckle-busting’. I
think we all know I’d avoid such a phrase anyway, but there’s nothing, from a strictly
dexterous point of view, that could be considered overly taxing. In reviewing these
sleights, writing and re-writing their descriptions, and taking photographs, I’ve been
struck by how little the hands and fingers actually have to move to execute them –
when performed correctly, of course.
Instead, where the true learning curve lies is in performing the sleights within the
context of natural, motivated actions. You’ll see familiar themes presented here as
in the first volume. Finding identifiable and justified motivations for the hands to
come together (or separate or pass the deck from one to the other) and being able

6
to successfully cloak the sleights within them, is, I feel, where the value of these
notes lies.
Should you pursue learning any of the items included here, I think the greatest
challenge will be a mental one. It becomes a question of trying not to think too
much about what you’re doing while you’re doing it. An earnest curiosity to this
approach can, I feel, pay dividends in the wider learning of sleight of hand-based
magic.
Attention to detail is key. Working through things slowly and anchoring the sleights
into a wider context is important. Patience will be the watch word. Good luck.

7
2. Side Steal

This approach to the side steal relies on friction, gravity and movement to provide
cover and context for the necessary vagaries involved in retrieving a selected card
from the centre of the deck. It greatly reduces the motion of the left fingers as well
as any superfluous side-to-side ‘squaring’ business with the right hand. Instead, the
aim (and, with the requisite practice, the achievement) of this method is for the
chosen card to slide from the deck into the righthand palm as the hand simply falls
away. Here, a seated position, with or without a table, provides an ideal context in
which to perform the move. The method owes a certain debt of gratitude to Marlo’s
technical steal. No money will change hands, however. Just gratitude.
The method, then.
MECHANICS
The right hand dribbles the cards into the left hand with a request to the spectator
to call ‘Stop’' at their convenience. Ideally, this would be somewhere near the
middle of the deck. Thus commanded to ‘Stop’', raise the righthand packet for the
spectator to note the face card, their selection.
At this point, it’s worth highlighting the positions of the right fingers. Some variation
exists in the way in which folk dribble their cards. Regardless of this preference,
when the righthand packet is raised to show the face card, the right fingers should
make the necessary adjustments such that they align together along the front end
of the packet.

Fig. 2.1

8
The right index finger should be touching the outer left corner of the packet. The
tips of the second and third finger, ideally, should be curled over the face of the
packet. Similarly, the right pinky should be curled over the face of the packet such
that its tip is in contact with the outer corner of the face card. In this way, the right
pinky finger will act as a pivot point in the subsequent stealing action.

Fig. 2.2

Nothing has been said so far of the right thumb. For completeness, then, this digit
sits squarely at the inner left corner of the packet where it will maintain little
significance in the proceeding manoeuvres.
The left hand has squared its cards, with the packet now being held in a standard
mechanic’s grip (thumb along the left-hand side; index finger at the top; middle,
ring and pinky fingers along the righthand side).

Fig. 2.3

9
With the chosen card noted, the right hand now lowers its packet to the cards held
in the left hand. However, rather than aligning both halves together, the righthand
packet is angled in a counter clockwise direction (from the performer’s view above)
to the lower packet. Note that this angling amounts to little more than a slight
misalignment of the two packets, enough and no more to allow the tips of the left
fingers to contact the outer right side of the righthand packet’s face card.

Fig. 2.4

With the above positions maintained, the left ring finger is brought into contact
with the face of the chosen card, a little above the inner right corner.

Fig. 2.5

Both packets can now be brought into alignment with each other. In doing so, the
face card of the top packet will angle out to the right, pushed by friction from the
left ring fingertip and pivoting around the right pinky finger. Note that little if any
movement of the left ring finger is needed to achieve this angling, however. The
10
pivoting of the card is accomplished essentially by squaring the two packets
together. With the finger positions noted above, very little realignment of the
packets is required to achieve the necessary (and quite substantial) angling of the
chosen card.

Fig. 2.6

With the card angled through the deck in this way, it sits directly beneath the arched
right hand. With only the slightest contraction of the right fingers, the necessary
contact points required to secure the card in the righthand palm position are
achieved. The right pinky finger is contacting the outer right corner of the card; the
inner left corner of the card touches the base of the right thumb. From here, the
right hand draws outwards to the right in a slight diagonal line from the deck. In
doing so, the selected card slides out underneath the righthand, gripped by the two
contact points noted above. Until it’s completely withdrawn from the deck,
however, the card is not positioned fully into the palm, but rather sits beneath the
hand, in front of the palm (see Fig 2.7 overleaf). Immediately the outer left corner
of the card leaves the deck, the right fingers can curl inwards to a small degree, thus
bringing the card into the palm proper.

11
 Fig. 2.7

The left hand has remained relatively passive throughout the above motions. The
tip of the left ring finger has helped provide the necessary angling of the card, but
only as a consequence of its position on the face of the card. A small amount of
relaxation of the left finger tips is needed as the chosen card slides out above them.
This, however, is inconsequential. No flexing or pushing of the left fingers is
needed.
A brief note here on the position of the left thumb. As the cards are initially
dribbled into the left hand, the left thumb can be extended out, not having to touch
the left long edge of the dribbled packet resting in the hand. However, as the right
hand’s packet is brought down as described above, the left thumb is brought over
the cards such that it is positioned in its usual place as per a standard mechanic’s
grip. When the two hands separate, the right hand taking the selected card into the
palm, the left hand remains holding the deck in a mechanic’s grip.

Fig. 2.8a Fig. 2.8b

Thus, essentially, the side steal.

12
MOTIVATIONS
In drawing the card out diagonally, however, the right hand does not remain in
plane to the centre of the deck. Instead it drops downwards, either onto the leg1 or
to the table top. A downward motion here, I feel, is more in line with sensible card
handling than, for example, a side-to-side motion typical in many side steals. Here,
again, I’ll bore you to tears with the importance of motivations and intentions which
provide useful tools in guiding your movements.
Context is best provided by ensuring there is congruence between the left hand and
the right hand, as well as posture and body movement. With the right hand secretly
taking the card and the left hand holding the deck, naturally we should seek to
place as much attention on the left hand as we can. To this end, consider the
following coordination.
The performer is seated at a table opposite their spectators. In dribbling the cards
with an instruction to ‘Stop’, the performer leans forward slightly to ensure the
spectator has an easy view of the cards. A card is noted, and the side steal is
performed as described. As the right hand commences its steal, the performer sits
back in their chair, the right hand removing to the edge of the table, the deck spread
haphazardly by the left hand across the middle of the table. A comment is made
regarding the position of the card. ‘Somewhere about half way,’ perhaps.

Fig. 2.9a

1
Your own leg, for Christ’s sake.

13
 Fig. 2.9b

Fig. 2.9c

The intention of leaning back and removing the right hand to the edge of the table
is to provide space for the spreading of the cards. In this motion, there is a sense
of the right hand dropping away from the deck, timed to coincide with a backwards
movement of the upper body. The card steal becomes inconsequential. It’s an
insignificant, relatively small movement covered, yes by a bigger movement, but
more so by a bigger intention.
This is the range of motions I’ve become comfortable with in executing the side
steal. Alternatives and variations clearly present themselves. Dropping the right
hand from the deck to retrieve or move an object (the card box, for example) is an
obvious one.

14
Regardless of the details, there should be some overriding intention that is guiding
the right hand away from the deck. In addition, the left hand must be given a
purpose to avoid it remaining still in dead space. Finding suitable actions that marry
these two things together is key to getting the most out of this side steal.

15
3. Leipzig Bottom Palm

This bottom palm is a slight reworking of Nate Leipzig’s bottom palm method as
presented in Dai Vernon’s rendition of ‘Leipzig’s Opener’ published in Stars of
Magic (Tannen, 1961), whereby the bottom card is palmed into the right hand.
Many handlings of this bottom palm tend to present what I feel is a heavy-handed
approach. There’s often a deliberate swiping action of the right hand as the card is
pressed too forcefully into the palm, as well as a readjusting of the hands which is
both unappealing and unnecessary. With the touches presented here, a lightness
within the right hand can be maintained throughout.
THE RIGHT HAND
The right hand holds the deck from above in Biddle grip. All four fingers are
aligned along the front end of the deck such that the tips of the middle, ring and
pinky project over the bottom edge of the cards. The tip of the right pinky finger is
contacting the outer right corner of the bottom card. The right thumb remains
rooted to the inner left corner of the deck. The right hand is placed such that most
of the top card of the deck remains in view.

Fig. 3.1

In this position, the right hand should remain free of tension above the deck.
There’s no need to arch the hand much at all. In fact, the flatter the hand remains,
the better. Keeping the hand low and flat in this way will reduce the distance the
bottom card has to travel to the palm, removing much of the need for readjustment
later.

16
Note the position of the right pinky finger. In contacting the outer right corner of
the bottom card, the finger will act as a pivot point for the card to swivel into the
palm.
THE LEFT HAND
The left hand approaches the deck from beneath, fingers open and relaxed,
ostensibly to take the cards into a mechanic’s grip. Before doing so, however, the
tip of the left middle finger contacts the face of the bottom card at a position just
below the outer right corner.

Fig. 3.2

With the fingertip contacting the card, a leftward movement of the left hand angles
the bottom card to the right, pivoting on the right pinky finger. The card now sits
beneath the right hand, although further work will be needed to secure it into the
palm itself.

Fig. 3.3

17
Only the smallest amount of pressure and movement from the left hand is needed
to pivot the card out sufficiently. The length of the right pinky finger provides a
backstop to prevent the card pivoting beyond the width of the right palm.
The fingers of the left hand remain loose and extended. As the bottom card is
extracted into the right palm, however, the left fingers will begin to regrip the deck.
THE PALM
With the bottom card pivoted as described above, the hands can begin to separate.
Ultimately, the right hand will take the bottom card concealed in its palm; the left
hand will take the deck, held in mechanic’s grip.
With the left hand, fingers still extended, the deck is pinched between the left
thumb at the outer left corner and the straightened left index finger beneath. Fig.
3.4 below shows the position in which the deck is held, with the right hand removed
for clarity. Note that the left fingers all remain extended. This allows the bottom
card to be stolen by the right hand.

Fig. 3.4

With the bottom card pivoted outwards, the right pinky will already be contacting
the outer right corner. A small inward flexing of the right thumb will bring its base
into contact with the inner left corner of the card. The right hand, with the card in
tow, can now begin to move to the right. In this position, however, the card itself
won’t be secured within the palm. To address this, the left ring finger presses into
the face of the card, just enough to bow it up into the palm. For reference, this
flexing feels somewhat similar to the mechanics of an Erdnase bottom deal. It’s a
movement that should be as minimal as it can be; just enough to nudge the card
out, but no more than is necessary.

18
Throughout the movement of the right hand, the right thumb slides along the inner
end of the deck, thus avoiding any ‘hitchhiker’ business.
When the card clears the right side of the deck, the hands can perform their
necessary and slight readjustments. The right fingers curl in, securing the card
comfortably within the palm. More discussion to follow on where the right hand
goes and what, specifically, it does.

Fig. 3.5

The left fingers can now curl around the deck to take it fully into a mechanic’s grip.
This needn’t – indeed, shouldn’t be done quickly. Depending on the context, the
fingers can remain fairly open around the deck.

Fig. 3.6

19
Very little pressure is exerted on the bottom card throughout this palm action, and
there should be no rush in moving the right hand away from the deck. Keeping a
slow pace and maintaining a lightness in the hands will prevent the usual tell-tale
‘scrape’ sound often heard in other methods as the bottom card is taken into the
palm.

Note the finger positions of the right hand and try to maintain consistency
throughout. Ensure that the right thumb is kept low and is not brought up level to
the top of the deck. Similarly, ensure that the right fingers are kept aligned together
to avoid any flashing as the palmed card is taken.
MOTIVATIONS
Through the above actions, the bare necessities of a bottom palm have been
achieved. As always, however, some intention is required to provide a context
which motivates our handling of the deck.
The scenario discussed in Chapter 2 with the side steal can apply directly here.
While the side steal is performed at a very deliberate moment (i.e. after a card is
selected), there is scope for the bottom palm to be executed whenever is
convenient. As such, the pace and rhythm of the move can be played with.
Another scenario that presents itself, something that has become a bit of a common
theme for me with palming, is the pulling up of one’s sleeves. In this instance, the
right hand takes the deck from above in Biddle grip as the left hand moves to pull
up the right sleeve, the right arm straightening out to accommodate. Thus, the right
hand is naturally positioned as required for the palm.
As the left hand returns to the deck and the hands cross over, the left middle finger
can press onto the face card and execute the palm as described. The right hand
moves away from the deck to pull up the left sleeve, and in doing so, carries the
bottom card away in full palm. The left hand remains holding the deck.

20
 Fig. 3.7a

Fig. 3.7b

Fig. 3.7c

21
These choreographies (for lack of a better name) do take a bit of getting used to. A
lot has to take place in a very short time frame. Two movements are essentially
being carried out in tandem. There is the secret movement (the palm), and there
is the apparent intended action (here, the pulling up of sleeves). The former must
be executed within the time it takes to carry out the latter, all while maintaining a
natural, unobtrusive appearance. And you aren’t allowed to flash.
Begin slowly, and let your intended actions guide your movements.

22
4. Top Card Palm Replacement

A brief, likely unoriginal diversion on the replacement of palmed cards to the top
of the deck.
A BRIEF DISCUSSION
The stealing of cards into the palm, while a satisfying and valuable pursuit, when
considered in isolation, the act is a largely redundant and incomplete one1. The
palmed card must go somewhere. Exactly where, of course, will depend on the
needs, tastes and imagination of the performer. Here, we concern ourselves with
the particular scenario whereby a card palmed in the right hand is replaced on top
of the deck. I fully appreciate that the replacement of palmed cards in this way may
seem like a small, unimportant detail. And perhaps it is. But still: ‘Details make
perfection, and perfection is not a detail,’ and all of that.
In returning a palmed card to the top of the deck, the standard colour change
provides a useful reference point from which to begin. The colour change
accomplishes our goal: it replaces the card from the right palm to the top of the
deck. Typically, however, this is done in a very magicianly way. There’s a certain
pretention to things: an affectation, a theatricality; a sort of poncing about,
essentially, with the hand waving over the deck in a ‘look at me’ kind of way. We’ve
all done it. And that is fine for a colour change.
To utilise the mechanics of the colour change as a palm replacement, though, much
if not all of this ‘art’ should be removed until we have a handling that is
inconsequential and non-descript. One approach which I favour is as follows.
A card is palmed in the right hand. The deck is held in the left hand, not, however,
in a standard mechanic’s grip. Instead, the deck is raised the left fingertips: the
thumb grips the deck near the middle of the left long edge; the index finger is curled
underneath the deck; and the second, third and fourth fingers lie along the right
side of the deck, gripping it by the fingertips only.

1
Don’t let this detract from the enjoyment, nor indeed the price of these notes.

23
 Fig. 4.1

In this way, the thumb and index finger are kept out of the way for the replacement,
while the other three fingertips will help to square the deposited card on top of the
deck.
The right hand, with its palmed card, casually passes above the deck from right to
left such that it can deposit its card from the left-hand side of the deck.

Fig. 4.2

From the position shown above, the right hand describes a small clockwise arc over
the deck. As the hand covers the cards, the right fingers relax and flatten in order
to bring the palmed card into contact with the top of the deck. The right middle,
ring and pinky fingers square the card along the front end of the deck as needed.
Similarly, the left fingertips provide a backstop to prevent the card from
overreaching the righthand side of the deck.

24
 Fig. 4.3

As soon as the card is deposited, the right index finger curls inwards to show as
much of the top of the deck as possible. In a continuous motion, the right hand
takes the deck from the above in a Biddle grip and moves the cards back and forth
in a modest jiggling or squaring-like motion as the hands readjust the deck.

Fig. 4.4a Fig. 4.4b

The entire action is brief and undemonstrative. It should resemble a simple

readjustment of the cards at the fingertips. The impression should be given that the
right hand never fully covers the top of the deck at any point.

FINER POINTS
Many alternatives for achieving a top card replacement exist, of course. A number
of obvious variations present themselves: turning the deck over end for end, turning
the deck over side to side, rotating the cards with a sort of Midnight Shift-type
mechanics, to name three. All of these present the necessary opportunity for the
right hand to pass over the top of the deck to facilitate the replacement. The
purpose of this section is to encourage a bit of consideration and experimentation
to this minor area of card palming.

25
Many of the lessons around card palming apply directly to the replacement of
palmed cards. None of my readers will be guilty of it, I know, but we will be aware
of those who signpost their terrible top palms with the ‘hitchhiker’s’ thumb sticking
out the side. The same failing can occur during the depositing of palmed cards.
This should be avoided at all times. The above method ensures that the thumb
remains positioned at the inner left corner of the deck throughout.
Another point is the potential for flashing the palmed card through the fingers of
the right hand. During the replacement, pay attention to the right fingers
(particularly the pinky finger) to ensure they remain aligned and don’t relax too
much too soon.
And, as always, consider what your implied intentions are while carrying out the
replacement. In the bare description given here, the intention is to adjust the deck
in the left hand. The taking of the cards in the right hand, however, easily provides
the context of moving the deck from the performer’s left to the right.
If nothing else, the above replacement can actually be used as a slight finesse to the
standard colour change. It might work particularly well in the context of colour-
changing deck routine, for example. So, that’s something at least.

26
5. Palm Transfer

Certain things seem to epitomise the whole notion of magic to me. The hiding of
an object in an apparently empty hand is one. The surreptitious movement of an
object from place to place is another. As concepts for the sleight of hand enthusiast,
they are necessary and fundamental, of course. Yet, in the cold light of day, there’s
a simple fey quality to them; a turn-of-the-century quaintness that in itself would
likely appeal to me anyway. But given the significance within magic that they
continue to carry, they are made all the more pleasing. The trap door, the elastic
thread, the hiding of things up one’s sleeve. Such thin and whimsical foundations
for our hefty castles. That’s magic in a nutshell, basically.
The palm-to-palm transfer of a playing card, then, has been a long-held fascination,
although it can hardly claim itself to be a foundational tool of the card magician.
You don’t really need to learn any of them, far less so the method presented here.
Palm transfers sit within an especially indulgent niche of card magic. They’re set
dressing only. Posturing filigree for the tart. In a sense, they’re a bit like Robert
Shaw’s deck switch in The Sting, in that I enjoy the idea of them perhaps more
than the nuts and bolts themselves.
Maybe they have their place. Perhaps one day, just like Dai Vernon, you’ll find
yourself interrupted in the middle of a performance and be invited to ‘Shake hands
with Judge Haber’ at the very moment you have a card secretly palmed in your
right hand. In such a scrape, you’ll need to rapidly (and, of course, secretly) transfer
the palmed card from your right hand to your left if you want to keep up with the
demands of decorum 1. Then again…
MECHANICS
This transfer concerns the passing of a palmed card from the right hand to the left
during what will hopefully be construed as nothing more than a brief and casual
rubbing of the hands together. There is a fluidity required to the transfer which I
fear will be lost within any written description. There are no pauses in the
movement of each hand from start to finish. In beginning the transfer, there is a
sense of ‘stepping off’ required. You do just have to go for it and let the hands pass
through the necessary motions without thinking. The artlessness of this approach
can’t be overstated.

1
See page 455 of the third edition of Expert Card Technique (Hugard & Braue, 1950) for a definition of the word
‘apocryphal’.

27
A card begins palmed in the right hand. Both hands are brought together in front
of the performer’s body initially at right angles to each other, the righthand fingers
laid across the left palm; the right hand palm down, the left hand palm up.

L.

Fig. 5.1

From here, both hands rotate in opposite directions. From the performer’s view,
the right hand turns in a clockwise direction while the left hand rotates counter-
clockwise. In doing so, both hands change plane such that the palms are now
perpendicular to the body, fingers pointing away from outwards.

Fig. 5.2

With the hands aligned in this prayer-like fashion, the transfer can begin. Until
now, the card has been held by the usual pressure points of the right pinky and
base of the right thumb. With the hands now touching, the right hand can relax its
hold of the card and begin to allow the left hand to take the card. The left fingers
curl around the card such that the card is now secured in the left palm. However,
28
both hands continue their rotation and continue to change plane, with the left hand
turning palm down as the right hand now turns palm up.

L.
Fig. 5.3

The hands arrive at what is essentially a mirror image of the starting position: the
left-hand fingers now rest across the right palm, both hands at right angles to each
other.
It’s important not to dwell in this position. The left fingers brush across the right
fingers, the card secured in the left-hand palm. From here, the left hand can curl
inwards in that casual way we all remember from volume one, being brought
upwards to tug the right sleeve in a presumptuous display of blithe disregard.

Fig. 5.4

29
MOTIVATIONS
Much of the utility (to say nothing of the deceptiveness) of this transfer will come
from the performer’s tailoring of the motions to suit his or her own natural
movements. Even then, a certain amount of theatrical license might be needed. I
for one have never rubbed my hands together without a playing card between them.
But with a bit of thought and a measure of practice, I can make myself just about
comfortable with the above movements so that they feel as natural as they can.
Other palm-transfer methods which utilise a ‘hand-rubbing’ pretext sometimes rely
on a stop-start approach, where the hands rest together during the washing action
(I’m thinking in particular of Michael Vincent’s approach discussed in his
Rhapsodies in Silver and Other Mysteries DVD, disk two). This broken-up
approach provides a beat and a rhythm to the palm transfer which can be made to
fit the context of patter. For instance, a pertinent question can be asked as the hands
are clasped together, which in the natural flow of conversation can easily provide
congruity between words and actions. It just seems to fit.
The method given above doesn’t quite lend itself to this approach, however. In my
hands, it doesn’t feel right to pause, either at the beginning or at the end while the
hands remain together. As such, there’s no real or obvious motivating factor for the
hands to come together.
The goal, then, is for the whole process to be inconsequential and, that word again,
artless. Tugging the right sleeve at the end of the process is something of a comfort
blanket, in that it provides the guilty left hand with something to do. In addition,
relaxing back into one’s seat also feels like a natural action to occur during the
transfer.
Experiment with contexts that fit your own natural preferences. The palm transfer
itself lacks much in the way of technical requirements. The biggest hurdle, I find,
is a mental one. The move is done in a single motion and doesn’t provide much
time to think. I can only advise a slow, patient approach to learning it. Fluidity and
congruity should be the goal. In time, perhaps you’ll have something new and
useless to add to your repertoire.
And that’s really why we’re here again, isn’t it?

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6. References

These notes make liberal reference to the following texts, each of which formed
my introduction to many of the concepts discussed in the preceding pages:
• Expert Card Technique, Jean Hugard & Frederick Braue (1940)
• Side Steal, Ed Marlo (1957)
• Stars of Magic, Louis Tannen (1961)
Additionally, Michael Vincent includes a discussion on palm transfers within the
‘Invisible Card’ routine on disk two of his Rhapsodies in Silver and Other Mysteries
DVD (2009). While the method presented there is different, his thoughts on how
and when to perform palm transfers are invaluable. His execution of the palm-to-
palm transfer gives me hope that there may be use for them yet.

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