This trick is based on a plot titled "Strange Harmony" attributed (without known documentation) to Hofzinser. Hen' is my easy and direct method with either a half stack or full stack. After some false shuffles, ask a spectator to cut off a packet: The packet should consist ot less.than twenty-six cards if using a half stack, although you could extend this limit by adding six of the unstacked cards on top. so they cancut between ten ("don't make it too small a packet ) and thirty-six cards. That g.ves an ample margin. Bv glimpsing the top card of the remammg packet ou will immediately knou how many cards have been cut off nd force two or three cards the total values of wh.ch add to munfcro rorce two or three cards me co« ><"—
cards cut. For example, if you ghmpse the 8* I 4) you £
tor has cut 13 + 10 = 23 (assumingf^^^ST.,23 on top. as suggested). So you orce the to mJtch ,he
(Fig. 4. next page). The values of these three cards are number of cards cut.
Here is an even better solution: •\dd fifteen unstacked cards, instead of ten. above the stacked portion. Now there is a chance that the cut may be made above the stack. If, beforehand, you put a corner crimp into the 4*, all you have to do is ----
count how many cards arc on top of it after the cut and subtract that number from fifteen to arrive at the number of cards in the cut-off packet.
The advantage of this is that the spectator can cut up to forty-one cards—and, more important, this will leave you a larger portion of the stack on the lalon, with a better chance of finding a good combination of cards to force.
If more than forty-one cards are cut off, you could secretly count the remaining cards (which will be no more than ten) and subtract that number from fifty-two.
If you don't find a good combination of cards to force among the remaining stacked portion, you can search among the unstacked cards, running through them face up.
5. Triumph (Dai Vernon)
The point here is simply to do Dai Vernon's "Triumph" with a card a spectator only names, rather than physically selects. All you need to do is cut the card named to the top and proceed as per "Triumph".' The advantage is two-fold. How could you possibly control a card that was simply named? And the subsequent tricks you perform with the mne-
<non.c stack increase in effect because of the tremendously messy shuffle
«e-up and face-down cards). Having the entire deck in order after this seems utterly impossible.
Incidentally, to make the most of that first advantage (the card being anv 2 e:,dT8 3 fa,Se shuffle 1 dually ask the spectator to think of foil,,' „ 0 , flfty-hvo in the deck. I then cut the card to the top the ZZT WUh "TriumPh"; but before I ribbon spread the cards for 2]X: briefly: "So, you though, of a card and W shuffledpr
./the™^ l°*et,,Cr- m(» did you think of?" (This is *
he nant ;; °cr ia n'' h* «-1' » " 1 «™e '-gotten it.) ^
magical seslllr 1 "" ™,l1d be a triumph if, just Inj 1>«*>% 5«'«rt, each oiiw _____ . r . -¡h
»logical gestural' *** "" be a triumph if, just by »«»'« •»■-spread. mi ™ery card turned face down..." I begin the ribbon
^"bbonspreadTf™**ll* °»e yw thought of. tohich is..." I
^P'aced in i't PUSh°Ut lhefece-up cud that was named. Thecal • v S,uV;r., S -POb,llun Jnd the Whole deck is back in order.
Regarding the other advantage mentioned i „ft one of «he most) powerful climaxes Í mywLt",' this manner: After several tricks with MnZZ , Up a'Perfoiri',n from there to new-deck order (from A« 0S? g° ^ umph" (taking care not to sPr ad fe^^T t '
obvious order). I then repeal the nnlir T Y' Wh'Ch m,1sks ,hl>ir
«Je cards have magical,y arranged uJSSjSb JÍS^ sensahon of wonder created is unique. A, the end, I leave the spread,,n the table for a while, prolonging the magical sensation that much longer
Naturally a mnemonic stack can be used to great advantage for any version of Triumph (Vernon himself had several). If you would like to present a multiple Triumph effect, you can have a number from one to thirteen named and cull the four cards of that value to the top.' You can then perform Triumph with that four of a kind appearing face up and interspersed in the righted and face-down deck.
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The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.