Flourishes continued

Waterfall Shuffle

This is a flourish applied to the riffle shuffle. It has come into common use among card players, and its use by the card conjurer is therefore entirely justified.

Proceed exactly as described for the riffle shuffle, interlacing the ends of the two packets for about half an inch.
Place the thumbs on the back of the packets at the point of junction, and slide the middle, ring, and little fingers under the outer ends of the packets, at the same time moving the hands towards each other and bending the packets (Fig. 35).

[Note: The “waterfall shuffle” described in Royal Road to Card Magic is indeed the same technique commonly known today as the “bridge” or “bridge finish” to a riffle shuffle.
The technique described in the text – where you riffle shuffle two packets together, then bend them upward into an arch while holding the ends, and finally allow the cards to cascade down – is what modern card handlers call a bridge. The “waterfall” effect occurs when you release the tension and let the interlaced cards fall in a cascading stream.
The terminology has evolved somewhat over time: Historical usage (Royal Road era): “Waterfall shuffle” described the entire process; Modern usage: Bridge” refers to the arched formation after the riffle “Waterfall” specifically refers to the cascading release of cards The complete action might be called a “riffle shuffle with bridge finish” – RJW ]
Raise the hands and the pack about breast high, maintaining the pressure of the thumbs and fingers; then, by slightly relaxing the pressure of the hands on the outer ends of the cards and at the same time continuing the downward pressure of the thumbs, allow the cards to fall from the bottom separately on to the fingers of both hands held together (Fig. 36). In making the preliminary shuffle the cards should be allowed to fall as nearly as possible in regular rotation, a card from one hand falling on a card from the other. The cards should be interlaced just sufficiently to be held in position by the thumbs, for the higher the arch that is formed the longer and more effective the fall of the separate cards becomes.

[Note: The waterfall shuffle represents the evolution of card handling from practical necessity to artistic expression. The authors’ emphasis on its legitimacy among card players reflects their awareness that magical techniques should appear natural and familiar to audiences. The visual spectacle of cascading cards became a signature element of many professional card manipulators. – RJW]

A Flourish Count

This is a striking method of counting a small packet of cards.

Hold the packet vertically in the left hand between the crotch of the thumb and the outermost joint of the middle finger.
Push the top card to the right with the tip of the left thumb, pivoting it on the middle finger at the middle phalanx, until it projects at right angles from the packet (Fig. 33).
Remove this card and repeat for each remaining card.

[Note: This flourish count transforms the mundane act of counting cards into a visually engaging display. The pivoting action creates a distinctive rhythm and visual pattern that can enhance the theatrical presentation of numerical revelations in card tricks. – RJW]

Throwing a Card

It is often necessary to throw a card or cards out to the audience. When this is done with neatness and precision it creates a marked impression of the performer’s dexterity. The flourish depends on a little knack by means of which the card is made to revolve rapidly in its own plane. To do this:

Hold the card in your right hand, near the outer end, between the forefinger and the middle finger (Fig. 34).
Draw the hand back near the left breast, bending the wrist inwards. Extend the arm rapidly, letting the card go but at the same moment giving it a spinning motion by a sharp backward jerk of the hand. It is this spinning motion in the card’s own plane that carries the card to a distance; otherwise the resistance of the air would cause it to fall at your feet.

When throwing cards to an audience, slant them upwards so that, their velocity expended, they flutter down upon the spectators. By starting the throw at an upward angle of about forty-five degrees and throwing the card only a couple of yards, the card can be made to return to your hand so that you can catch it with the tips of the fingers. This very pretty effect, known as the boomerang card, is the basis of several fine tricks with cards.

[Note: Card throwing became one of the most iconic skills associated with stage magicians, with some performers like Ricky Jay achieving legendary accuracy and distance. The boomerang card effect mentioned here demonstrates the authors’ understanding of physics principles in performance – the gyroscopic stability created by the spin allows for predictable flight patterns. This skill bridges the gap between flourish and practical magical technique. – RJW]

Springing the Cards

This is a favourite flourish with card conjurers, and when well done the effect is brilliant. With the hands held apart the cards are made to leap from one hand to the other. The moves are as follows:

Hold the pack in the right hand, by the ends, between the thumb and the middle and ring fingers.
Bend the cards by squeezing on the ends, so that the convex side of the pack is towards the inside of the hand. They will then naturally tend to spring from the fingers.
Place the left hand about six inches away from the right hand, in position to catch the cards; continuing the pressure on the pack, allow the cards to escape, one by one, and catch them in the left hand (Fig. 32).

The distance between the hands can be increased with practice, and the flourish should be accompanied by a swing of the body towards the left, so that the hands describe an arc of a circle. The right hand should follow the last card and be brought against the cards in the left hand with a loud smack.

Spread and Turnover

A. On a Cloth-Covered Table

This flourish has a very pretty effect as a preliminary to the execution of an opening trick. The cards are spread on the table in a row showing the backs, then they are turned over simultaneously to show the faces.

Two conditions are required for perfect results: first, the table used must have a cloth on it to provide the necessary friction to prevent the cards from sliding; second, the cards themselves must be in good condition.

Place the pack on the table toward your right, the sides parallel with the edge of the table nearest you.
With a swift movement of the right hand to the left, pressing down slightly on the top card, spread the cards, thus causing a separation of about an inch between each card and the one following it (Fig. 29).

[Note: I usually spread the cards sideways, as opposed to lengthwise. Especially if I want the spectator to choose a card from the spread. Sideways seems more natural to me – RJW]
Slip the index finger of the right hand under the card at the extreme right and turn it over in the direction in which the cards lie. This action will cause all the other cards to turn over.

When facility has been acquired in spreading the cards in a fairly long line, the knack of spreading them in an arc of a circle will give you little trouble. The effect of the turnover is then much prettier.

The spread may be used for a very attractive flourish, first described by Robert-Houdin in The Secrets of Conjuring and Magic (1868). A comparatively recent addition makes the little feat even more effective.

After spreading the cards in a long line on the table lengthwise, in such a way that about two-thirds of each card is covered by the one above it, slip the right index finger under the first face-down card.
Turn this card to an upright position.
Take one card in the left hand, hold it vertically with its sides parallel to the table top, and place the middle of its lower side on the top edge of the upright card (Fig. 30).
Draw this card toward the left, pressing it lightly on the top edge of the other cards as they move up into a vertical position. All the cards turn over in succession.
On reaching the other end of the line, do not let the cards fall flat. Move the card in the left hand back in the opposite direction and turn the line of cards face downwards as at the start.

If the cards have been spread carefully, the flourish may be repeated several times before letting the cards fall flat in their original position. The effect is intriguing.

B. On a Bare Table

For this flourish proceed as follows:

Grasp the pack at the ends between the right thumb and the middle and ring fingers, pressing the tip of the index finger on the middle of the pack.
Pull the ends of the deck upwards with the thumb and two fingers, at the same time pressing downwards with the index finger.
Place the pack on the table so that only the middle part of the bottom card touches the table surface (Fig. 31).
Move the cards from left to right swiftly, allowing the ends to slip off the tips of the fingers and thumbs, and at the same time maintaining the pressure of the index finger on the back of the top card. The result will be the formation of a perfect and symmetrical ribbon of cards, accompanied by a light riffling sound which is very effective. The length of this ribbon spread will be governed by the amount of pressure exerted by the index finger.

Note that in this case the cards are spread sideways, not lengthwise as in situation A. The method may also be used on a cloth-covered table. It is excellent for use when a card is reversed at or near the bottom of the pack. In starting the spread, let half a dozen cards slip off the thumb and fingers before moving the hand, so that these cards will be bunched together and prevent the reversed card from being seen. The onlookers will be convinced that all the cards are face downwards without your commenting on this fact.

C. Gathering the Ribbon-Spread Pack

When (as in A above) the cards have been spread, turned face upwards, and face downwards again—or when (as in B) they have been ribbon-spread for the selection of a card—the whole pack can be gathered with a rapid sweep of the right hand. To do this, slip the fingers of the right hand under the lowermost card at the extreme end of the line and slide it under all the others, following the line of the pack. The cards are all brought into the hand, the thumb falling on the last card.

The action can be made as rapidly as you wish with perfect safety.