## Five Divinations

1. Fingerprints and "Cardprints"

### First Phase

Shuffle the deck without disturbing the half stack on top. Then ribbon spread the cards ace down and have a spectator remove a card with total freedom. If he takes one from the stacked half, tell him to replace it anywhere he wants. If he takes it from the unstacked portion, have him replace it in the stacked portion, which you call

"the other half. After some shuffles that leave the stacked portion intact, bring out a magnifying lens and pretend to search for the spectator's fingerprints in the faces of the cards (Fig. 44), finally finding them on the selection, which is either the only card out of place in the stacked portion, or the only card missing from that portion.

The shuffles before and immediately after the selection procedure make the trick very deceptive, even for magicians.

### Second Phase

Replace the selection where it belongs. Do a perfect in-faro, bringing the 44 second from the top and the K* to the bottom. Turn your back to the audience and ask a spectator to take any card, note it and replace it anywhere in the deck. He then squares the cards and gives them a complete cut.

Pick up the deck and search through the faces, using the magnifying lens and watching for two cards from the unstacked portion that are together and two from the stacked portion that are also together. First consider the two cards from the stacked half. If they follow one another in mnemonic order, neither is the selection. If they do not follow one another, then the card of the two that is out of place in the series of alternated stacked cards will be tiie selection.

When you find two cards from the unstacked half together, examine them and ask the spectator a question that will determine which is the selection. For example, "h it a red one this time?" or "It s an odd value, isn t itr naming a feature that differentiates the two cards. You can then name the selection.

238 / juan tam ariz thirp r»ast (whether it is a stacked card being

Slip the selection or v versa) and ask a spectator

" "n^Cirr's even, divide it by two to obtain the mnemonic numbor of lhe card sights by the spectator. If the number us odd d,v,de ,t by two, icnorinc anv fractions. and subtract the result from twenty-six. ITus ,s very L For example,,.' fortv-one is chosen, 41 + 2 =20 (ignonng the fraction), then > 20 = Therefore the card sighted is number six in the mnemonic stack, which is the 6* __

It nineteen is named, half equals 9 (again, ignoring the traction), and

> o 17 (the In such cases, the divination should be done without looking at the cards. You look only at the spectator's fingertips, appearing to search with the lens for thecardprints" left by the card on his fingers (!).

Fourth Phase (in Which the Half Stack is Reassembled)

After some false shuffling and cutting, say, "I'll divide theeards into tuv ,■.,„„■! r.;ckch Deal the cards rapidly and alternately into two piles. Force a glimpsed card from the unstacked one, have it noted and returned to that portion, and then hand the packet out for shuffling. Have two cards freely selected from the stacked half and returned anywhere in that pile. After a false shuffle, you proceed to divine the three cards: two through the fingerprints (looking at the faces of the cards through the magnifying lens) and the remaining one through the cardprints" left by the card on the spectator's fingers.

Your imagination will lead you in putting together a strong routine that use« good combinations of the diabolical principles used in this sequence, including false shuffles, genuine partial shuffles, real cuts by the spectators perfect fares, forces, disarrangements, unshuffling, etc. This makes it impossible for even the most knowledgeable spectator to keep track of what's going on. As far as laymen are concerned, they will certainly recognize the impossibility of the conditions under which everything takes pbce. You will need to develop an exciting plot, with laughs, mystery, stones, drama, lyricism, horror or any number of other things. Note

Alter the third phase, the stacked portion is alternated with the unstacked one (an interfaced stack), which allows you to proceed, if you

X^T, Wf NeUhCr BUnd Nor Stupid" (the Mnemonic« version), described in Appendix I, p. 259.

Mntmovica ^ 239

2. Double Divination

This is a quick effect I developed, like the oro.

some of the multiple possibilities of the staked d«k17

this case. dcck"or half Mack. ,n

Shuffle the cards, keeping the top twentv-six si vkoH . to the last (twenty-sixth) card of the stack ~

one, asking him to d.v.de it in half and riffle shuffle the \ *2r

Tins done, instruct him to give the cards a complete cut and to takl card, which goes into his pocket. '

Another spectator is asked to cut some cards from the top of the st »eked though shuffled, packet. Tell him to note the bottom card of the group ho ait off and to place that small packet into his pocket. You may be looking away all the while, to prevent any thoughts of your noting the number of cards taken by the spectator.

Reclaim the remaining stacked cards and hold them in your left m hand. Open the packet bookwise and throw the unstacked packet, which you've held all along, into the opening (Fig. 45).

Proceed to divine the two cards as follows. First, glimpse the bottom two or three cards of the deck. You might do this by grasping it face down in right-hand end grip and, with your left fingertips, secretly spreading the bottom two cards to the right. This action is hidden by the right hand. Turning your right palm toward you enables you to look m •

at the near indices of the bottom three cards (Fig. 46).

This will lead you to the identity of the first spectator s card. If y see, for example. Cards 6,5 and 22 of the stack you'll know that the next card (corresponding to the first selection) must be Card 7 or Can! 2< l et s assume it s Card 2.V It the three card* glimpsed an- consecutive m the stack (Cards 6,5 and 4. for example), you will need to look at a fourth card (or as many as necessary) until you find one that is out of place.

* You'll need to ask some key question to determine which of .he two pt^ble card. to the selection, such at color, picture or spot. etc.

„ lran,fcrring three cards from top to bottom and repeating a* mu, 1 ^Tou w.l! be looking at the indices of the three cards «hat v,Te enables vou to ascertain the identity of the second selection ^ ,h,t ^ Card preceding each sequence may be the selection. For "ZZZZcJL 26, 12 and 11. you'll know the selection , 1% 25) or the 2* (10). A simple question allows you to determine whid, « Let's sav the selection is the 2*.

To conclude, mentally subtract the two cards you initially glimpscd on . that have the highest mnemonic number of each sequence (the

84 [22] and 64 [6j in our example) and the two cards from the top you eiimpsfid that bear the lowest mnemonic numbers of each series (the K* [26]

and the Q* HU)- T*e °F*ration * done 35 iol,ows: 26 - 22 = 4; 11 -6 = 5.

Add the two resulting numbers: 4 + 5 = 9, and subtract 3 (always 3) from the result. Thus 9 - 3 = 6. You are now ready to announce that the second imitator has six cards in his pocket. To be more specific, these are Cards 24, 25 7 8 9and 10—and Card 23 is in the first spectator's pocket.

Keep in mind that using a packet of only twenty-six cards (the half stack) and making cuts, the order turns cyclic and the Ki will be followed b\ the 4*, which we will occasionally refer to as 27.

## 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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