## Effect

The magician divides the deck into four packets and spreads them on the table. On a slip of paper he then writes the name of a P W ^

naming it aloud as well The paper is left next to the his.

a spectator is instructed to try to take the

The spectator pulls out one of the cards and leaves it dcsu sight unseen. discussion of it

7This is an Ascanio concept, related to time misdirection. for appears in The Magic of Ascanio, an English-language edi i release around the same time as this volume.

212 / jUANTAMARIZ

, n iffltN another card and writes that name on another slip, spread. A second specter draws a tu^ S pread and .eaves it next ,o it- This * repeated with a third and the thini spread packet. The mag.aan tr.es h,s own luck

With fourth spread, pulling a card from .t.

The («b draw« are now turned over and found to be the ones targeted. Each cttd is left beside the slip bearing its name.

The cards are stacked from 1 (the 4*) to 32 (the .!♦). The rest of the cards are unstackcd on the bottom. Shuffle without disturbing the top thirty-two cards. Cut just below the (10) and spread these ten cards from right to left.

Cut under the I* (20). Spread these cards in a somewhat tighter row, so that the pile appears smaller than the first. Cut under the J» (32). Spread these cards a bit wider than those of the first spread. Shuffle the remaining cards. Glimpse the second card from the bottom i tor example the AV) and spread the cards normally to form a fourth row which because it contains twenty cards, will be longer than the previous three (Fig. 15).

Take out four slips of paper. Name the A* and then draw an "A" and a

V on one of the slips Lay it to the left of the first spread packet. A spectator removes a card from that spread and, without looking at it, leaves between the paper and the first card of the spread. Work out the identity of the card drawn. If it is. for example, the fourth card of the spread, counting from the left, it would be the 34 (4).

On the second piece of paper, draw a "3" and a Name that card aloud The second spectator slips a card from the second spread. Let's say keS lhe second from the left. This will be the twelfth card of the mnemomc order (10 + 2 = 12), which is the 34.

st>™Tn 1v' ^ 3 * °n anolhcr Piec<? of PaP« *™d lav it next to the third orTl'll^^ SpeCtator from that spread. If it is,

ZZ7 <T°f that rOV- »^ the 5*. which S the hventv-

On the fourth slip draw a , spread With vour right i ! * ' and b>' il beside ,he ^

which will be the WiF, " ke lhe ^ultimate card of that spread,

11 isfip ~ teft over that from'the UP ** selection from the third spread, lay it spread, and those two over the first selection.

Mnemonic a j 213

Meanwhile, bring your right hand to the three-card packet and use the AV it holds to scoop up the packet and turn it over (Fig. 17). However, in this action the right hand releases its card and takes, in its place, the top card of the packet, using the right fingers to turn that packet over to the left, thus exposing the A* The third card (the 5*), which was the top card of the three-card packet, is still in your hand face down. You have just made a switch (a Mexican turnover done with a packet*) and have altered the order of the four cards.

In a continuing motion, the left hand spreads the three face-up cards so that the top card of the three ends up in front of the 4 ^B^^^BWJ^^H

first spread, the central card in ^■^^^^B^SS^IUl^^^H front of the second spread, and the bottom card in front of the ^^jLJL^EBitrifflUiU^B third spread. At the same time, *

the right hand brings its card ^^H

near the right end of the fourth ^^^HBff^^Hv) 1' lM spread and, after a pause, turns it slowly face up.

Your left hand brings the fourth slip of paper near the nght hand s card, as seen in Fig. 18. Every card is now in its respective row, next to the matching paper. This effect is as close as it gets to real magic.

note

For some psychological misdirection, just before JTJ^SS card, I often sav," "Well, you guys got i, right. Let m, ^

H* The spectators think, or sa, The - ^¡JJ ^ed expected, but its incredible that the three of us picked ^ ^

' The inventor of thi> packet variant of the Mexican tumom ^ rSx, appearances in print occurred in Lin Seles's AkV> . ** *

No. 8. Autumn 1973. P. 668; and in Ken Kiwud s Prog««»

214 J Juan I'amahiz

( ,.. Bv lhe way. contrary «0 .he photos whlc h arc po»ecl „, make thing. 'ir for yon. .n performance you should arrange- for the »lip» to read r,y>hl tide up for the audience.

maG0 ANT0N'S VARIATION

my admired friend Ant<m Lrtpe/., bettor known as Mago

Anton give me the following idea to accomplish the same «ftect ina very

### Mmple and direct way.

,, n tly turn the l»'ttom two cards of the deck (the ,,n(| AV> face up llMd take Ihc .1- k into left-hand dealing position. Name the A* arid ask a !,rotator to My "Mop" whenever he wishes, as you deal card* into a faceup pie, on«- .It a time rake the card the spectator stops you on and set it aside, f,,re down. Since you have seen the last card you turned up, you will irnmc dwtely know the identity of the selection, which is the next one in the stack If I he UKard lurrwd is, for example, the A* (7), you'll know that tin- next one I the "5* (H) Ask th<- spectators to try to stop you next at the 5V You r.-Mime the deal and they stop you at another < ard, say the 6V (2'ij. Set that iard aside. Nov. .i k them to stop you at the 6T and whi-n they call "Stop," • retl\ turn over the de< k (held in the left hand), leaving the A V on top. Ih<-turnover is concealed by the a< tion of putting the deck. onto the table. Take the A* .ind use it to gather and turn over the previous two selections, doing the Mexican turnover packet variant explained in my version of the trick.

## 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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