Pick up the piles as follows. 8 onto 11, onto 14, onto 1, and set these accumulated piles on the table. 12 onto 15, onto 2, onto 5, and all onto the first gathered pile. 16 onto 3, onto 6, onto 9, and all onto the previously gathered pile. Finally place 4 onto 7, onto 10, onto 13, and all this onto the rest. If you study Fig. 1 you'll see all this forms a diagonal pattern that is easy to remember.
The pick-up sequence can be done in a quick, natural and apparently random manner, after some practice,__
<>| course. Let's look at how you would pick up the piles with both hands. ™>s is the only sequence that offers a challenge. ANTIFAR04 PlCK-UP (TWO-HANDED)
"We take Ptefrom different places."
J^&ht hand takes 8, left takes 14
Right hand places 8 onto 11, left hand lays 14 onto 1.
• - t hand sets its packets onto the table, and the right hand drops its packets on top.
"Writ start dropping them onto the table..."
Mnemonic a y 323
d. Right hand takes 12, left takes 2.
e. Right hand lays 12 onto 15, left 2 onto 5
f. Left hand puts its cards onto the previously gathered pile heht h md puts its cards on top of all. v ' M * n,incl
g. Right hand takes 16, left takes 6.
h. Right hand puts 16 onto 3, left puts 6 onto 9.
i. Left hand puts its cards onto the previously gathered piles, right hand puts Its cards on top of all.
"It will be a total mess/'
j. Right hand takes 4, left takes 10. k. Right hand puts 4 onto 7, left 10 onto 13.
1. Left hand puts its cards onto the tabled group, right puts it> cards on top of all.*
If you try this two or three times, you'll see how quick it is (do it on a close-up mat), how easy it is to remember, and what a convincing sensation it gives of everything being out of order and gathered in a totally casual and sloppy way (that is, totally berserk).
An antifaro-1 can be justified as a method for dividing the deck into two equal piles, or in the action of dealing the whole deck for a game with two players. CJQBN
An antifaro-2 can be disguised as a bridge deal (thirteen cards for each of four players).
Antifaros-3 and -4, can be represented as ways to mix the cards by dividing them into piles that are picked up haphazardly. I usually say, "This is the surest way of mixing cards. That's why they use it in the casimh in Monte Carlo." I always name a place far away, whose rules are unlikely to be familiar to my audience.
Everything remains the same for decks of thirty-two, and even thirty-one, cards, with this exception: The piles made by an antifaro-3 (eight piles) or an antifaro-4 (sixteen piles) are picked up in reverse order-last one onto the previous one, etc.—rather than in zigzag fashion or diagonally. The same happens with sixteen, eight or four cards (decks with a number of cards equaling a power of two).
•"instead of placing the r^ht hand's cards on tup of all the rest, you i an further divpen the deception in this way: With your left hand, pick up the accumulated pile from the table and perform a Charlier one-handed cut. I lowever, just More you finish the cut. toss the right hand's cards between the left hand's two packet, as they close, compltt-
ing the cut. See Appendix II, 2j, p. 276
Here I point out something that should be evident, but which at tim is not. The action of dealing fifty-two cards singly should be practiced and rehearsed. Not because it's difficult, but because it can be slow and tediou for the audience, if not done at a lively pace. s
Your practice should have two goals: To gain speed in the process of dealing (a regular deal of four, eight or sixteen piles takes almost forty-fiVe seconds, but I do it in about fifteen); and so that you can learn to talk about something interesting as you deal the cards. The best thing to do is to learn a script; but if vou are a good ad-libber you could improvise, sprinkling the procedure with bits of wit, drama or lyricism that are exciting or at least interesting.
If you master both skills, physical and verbal, antifaros will be a powerful magical weapon for you, and your new skills will also be useful in other tricks that use dealing sequences.
The general rule is, as usual, Don't let it drag—not one second without something of interest.
Was this article helpful?
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.