And Other Senses

A FYli-SC AN

Explain tli.it you have acquired extraordinary skill in counting card* very quickly by JuM watching them as you riffle through them Riffle downward with your left thumb at the outer left corner of the deck, an we magician* sometimes do when secretly counting cards, but you now do this At great »peed. When someone (alls "Mop" Immediately do so and tell him how many card* you have riffled off (which you know by glimpsing the last card released).

Another possible presentation is to spring the curds from hand to hand (Fig. H) and claim that you are able to count them an you watch them fly by Mere you can use the time-honored and .ilwa>s effective ruse of dropping a card "accidentally", or leave it in the card case, and pronounce, "Fifty-one cards," after springing the resl of the deck from hand to hand. Then you bring out the missing card and add it to the deck.

Or have a packet cut from the deck. Spring these cards between your hands ,ind' ,nKn'ng maximum concentration, say, '"Ihwity thrre," (or whatever). The cards are counted to prove your claim. B FINE EYISKiHT

'he same thing: Stare at a packet

sDec111* „ J. i' . " P'1ck<'' ort,m'l! Packo,s c ut by as many

This is done r *nd ,hi'n 0,11 ,hl' number of cards in each, each pa, k,t"' " 10 S'iy'by Pri'vi"usly glimpsing the bottom card of

MNRMONK A / 2w c. flubtij iikamno

I lave a packet handed to you and riffle the card* near your ear "to order to count them In/ lit? untnd Ihe\j maW il ig 14), ( .ill tint ihe exact number and have the specatators count the card* to verify ycrur claim

0, A flPECTACUUK KOUTINB

If you put these three effect together, along will, the lmirh ^e explained, you can build a wonderful demonstration of super I leave ii to your creativity or your ability to improvise

Note

Obviously, in these three methods you can resort to the state*-/ described In the context of "Weighing the ( flrds"(p. VP), faro shuffling the stacked half into the unstacked half. A patter them* revolving around gambling is moat appropriate and effective hm It sound* mythical and is always appealing. Try It. - * HH|

I recommend combining this trick with "Weighing the (ards", "Total Memory" and "Mow Many Red*?" I'hey convey an incredible Imagi of you being Superman, or the spectators'cleverest son*

4. A ( :ARI? AND A NUMBI k ((iOMBI rf, BAKKK am; 1/ mak1/)

I his is my vera Ion of that excellent effect by two great magician*, 1 out Gombert of Prance and Al Baker from the United State*.' I have adapted it for a half stack, and have attempted to dramatize it (it is suitable fur a theater stage)* I've also furnished it with technical and psychological subtleties* I he result is, I believe, an exertional trirk, and one of the two or three that yield for me the strongest reaction* from a lay audience, »rvJ even from magician*.

Someone name» a number and another pic ks a card Ihe card is found at the number named in an isolated and previously shuffled deck, that »U-

magician never touches.

MET! 100

I lere is my version, exactly as I perform it.

half of the deck, keeping the stacked half InUc t

I et some of the unstacked cards fall to the floor and let a W*™« ^

WSthem up. Gather all the cards and hand the full dcck to tha, to tor, asking him to give it several complete cuts. * W f|»e entries for ( .O^bt-ft And IMkcr in Ihe biblk*"P^

tun t\mab7

^ v,' > ^ A diflfe,Wt dOSlgn' With the vA^fiv :V ^ ^ a sccood ami ask him to examine it ui ftom the fir« specter And ¡¡no him the new deck - ^ it w • \v hile he shuffle find the 4* in the fir*

;;'or double cut to bring it to the top. along with the the citd ca<e from the «xond spectator and give it to the . :v na^tNi halt ot the dtvk > ou now hold and give that v -V if*«** as he gno vou hack the other deck, which yea '! V v; .v :s «vond >pccMor to shuttle. The first spectator puts his

Avi into the catd case and the c*« into his pocket. This may sound a bit x av \vu nvui ;t but it isn t in performance. Actually, it is quite Af \wi have giver» the impression that both docks have been staffed b\ the spectator

; ..-.- . V : .i Avfe ikt '«'»fc Of'f!!\> pecpit. OlH ;rsidf

Hwl imiiililt > *r junrtrtr ifltfit stejjfci"

Vw v \. v.xvto ;\ r.t to a third person, thus conveying that v... ■ v -..■■■: .> Vj.vsy. .Ms third spectator > asked to name a number v: "a ix«V* • . V v. . • . V . •.:- ■ .' <:.'. v [first pcaw V I iW oca- 'kx rttc pxhi, ffcr he storfSaf end orf >' knusc.'C

1 v vxv'.^vx v»nx*anumber: eighteen. Presshim to change . -Vx-r vn^^vnvth^i'Ae' T irtyxs ^4bwmiyTi&c:tker.£nt}Ktr v; N:p?vsc he sticks u th echteen. It makes no difference, v sew xi spcctatortc Tgfem the deck he has been shuffling Fan iVcwvfe laces toward the Audience, but in such a u that you c; v -v ; r>d stress that the colors, suits and values zre

^ v ,tSc And ** * to the «atari third oi the deck tf it isn t Acre <-va^ K^ .n he^vk taoe up and a fourth person UiWS*

T XV ^: C x> ^ *** haw him take the K^ * ^ v ^ K4 ar^rv» v>e that vou aie ¿K>ut to cause the K4 m :be w ^ ™ ^ * ' and Am put hv km^ ^ **

him. pronging him

" V u , * ^Mar h* fewr ¿v^* ev iffl^i ^Tf*"*

vou the deck. \Sl>en he moves to do that \%rbdr «V. -iW < ^nnct^n.,¿on-, ^^¡T^^^f * i,ghtnms spn-vi md siipped it m at the ma+n ] a'J

txre yemrsdf with the deck. Open the Take out the' ■ - J" " ■ ^

then ere no cards left mside. And rv*.htsmtojej^^r?''' SUkr fwmmc each card bce up cm the table art c^r:^ ¿..J ^

rfsf ctdbi *ihten mdhtdSdnl wni t* charge te & + ^

art ye* another persm chose a card fn** the ^ d«± » ¡^ j , sritdi it or msrajmiete it m any s»y. He scktfrJ the k • y yChd^ Thai - • •• - • kvnth card ' Point at the spectators hands / hot» • c.^e da*—hit 1 trust your intuition. * Here >«u nvixate the spectators ».ho dwse the number and the card. Pka* turn corr art shx. r^-jn- v n&ecrak card which is—the Krry tfCbdvC" pomj u-th yew tareftnc« ai a d^ta.-x». r die card the sptvtator is r»ou she .vine te :ne as*..uvvj v.-v v

Note 1

If the number named is higher than tvenft p- vf^un regains the same, except that the stack -unh-a- .¿re :-n . - - > be 53 iess the nu—her name.: For ev.-r* r thutvHsne rs ¿hosov 53 - 31 s 22; so \ ou foa-e Card 21 the Sf At e er>.: asv the ♦ r to hold the deck face up as he deals down to the fuanbex Thi5 starts him uith the unst^cked half Step ton uhen he -caches tSL card hcir-n r^t number named. In our evamrie. that wou d he the thame^ card -n -r. the foce .the Recap even thine at this point ^ expk ah vc -d s him remove the thirtieth card to expose the thirty -first ^"hidi than the >4 ~J'ifljDfflB

x'ott ii

The use of a halt stadk alk^^-s ataass honest diaities miper-ts^t.

drxT cards, which the ^vtator homsrIf pd® ^ prw:

commi and tho^me e> sdualed the ^^iews ^ mpuct

CMmoody It the wdfanoe &tn3j hefiewe that date are ^

the specMors, the ernvt becomes utterh iiapassMe r ^ ran*s

210 / juanTamariz

] leek (the one that is not in the card case) and

* "amed'i ^hSLes toward the audience. Secretly find and bring fan the cards w,th he ace (o ^ number named and its comple-together the card that cor p you bring together Card lg men. for nft^ha.. ^us ^J^Je ^ ) ^ ^ ^ ^ ^ (the K*) and Cardi K it/ whkh you also touched, unin-

XZ You are tow* " name one of them, and the one you name-not the CZZilt I,' the card that I will try to put in the position designated by that spec lator. Name one.' The spectator names a card and you mast: Tins one, and not the other7 This is the card you umt tobeat the eighteenth position m theother deck You my change your mind and name the other card instead. This moment is extremely dramatic. Whether he changes his mind or not makes no difference to you. If he names the K* (18), the cards are counted from the top of the face-down deck; and if he names the KV (35), the count is made from the face of the face-up deck. I urge you to try this. You won't regret it.

Note

To bring the two cards together unsuspiciously, 1 believe the most expedient method is Hofzinser's spread cull (see Appendix VI, p. 356).

The Illustrated Key To The Tarot

The Illustrated Key To The Tarot

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.

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