than twelve cards and less than thirty-nine, which gives you an ample margin.

You could also ask that the deck be cut several times, and explain that you will attempt to keep track of the position of the card. Look attentively at the deck as it is cut Then pick it up and glimpse the bottom card. If that card belongs to the stacked portion, subtract its mnemonic number from 40and announce the result as the position of the A* If the card sighted doesn't belong in the stacked portion, cut the cards yourself once or twice, until you get a card from the stack on the bottom and, supposing you've sighted the 9V (17) this time, say, "J think I've brought

it js better not to make your alleged estimation skills seem too good to be true if aner the first cuts, you know that the position of the card is eigh-

r* ^ ** *P' might say, -/isbetween seventeen and twenty." 4 „ Ume **«I cuts, you can hit the position exactly.

ptd counting. Using similar methods, pretend to count the cards in

* by nffiing them quickly with vour thumb.

**g*neand v ^^^stack that makeagood hand for

^^ ***** explained for -Cards to Pocket" (p. !«><

mnemonic a J 23 3


gather them quickly on top of the deck and display the dream hand of the game called for (see Fig. 37 for a sampling of good hands). Needless to say, the cards can be culled through a variety of methods, such as Mario's lessinout system/ Ray Gris-

mer s overhand-shuffle system* or by bringing the cards to the fop, at a time using Zarrow shuffle techniques.* Another way to perform the same alleged gambling demonstration is simply to cut to the required cards, one at a time (cut estimation, glimpse and correction) The cut may be replaced by a pass to make the effect even stronger

Resorting to false dealing, we can also give the following demonstration: After presenting the exhibitions of estimation, glimpsing arid quick counting explained above, ask someone to cut the cards, guiding the cut into the stack. After glimpsing the bottom card, say the 9% ask, "What do you prefer? A King? A Deuu? A jack? A Vine? Hen you name the three top cards and the bottom card of the deck. In accordance with the reply you receive, deal a top, a second, a third or a bottom.

You might also give the spectator the top five cards, calling them a hand, and take the next five for yourself. Looking into his ty*s and resorting to "our knowledge of psychology and the tells of our opponent*," propose new bets and pronounce, You win, or You're bluffing," or "All you have is a pair," and so on. You know his cards by looking at you/ own. Also check the amusing demonstration described under Car-

These gambling demonstrations may also be combined with .Vigh-ing the Cards" (p. 197) and with "Sense of Touch...and Other Sen*V' (p. 204). Employing your imagination, a bit of creativity and a dose of improvisation, along with some advanced sleights (false deals controls, passes, palms), vou can accomplish the most fabuJoas gambling demonstrations. The poor spectator, will be left wondering times thev must have lost their money to people as mean and djfhonest as you (and pardon me if I point).

t See Vernon's RrzrUtvn* OSHU P . :_f t See "Cards to Pocket", p Detect overtook thr note» c* Che technical rartJiK»


234 / Juan Tamariz

2 card to wallet (daley and tamariz)

nr Dalcv proposes a magnificent idea in Note 215 from his Note-

J(19S^s my version, using a half stack^

Bocin with the stacked half on top of the deck and have a spectator „,„„ , number from one to fifty-two. Ask that he look through the cards and note the one that lies at his number, counting from the top of the deck ,f the number is less than twenty-seven, or from the face .f .t is greater.

While he is busy with this, and knowing already the card he will find, vou palm a duplicate of it from a card index that you carry in your pocket, which contains another set of the twenty-six stacked cards (see the Note at the end of this explanation). Transport the palmed card to the pocket where you earn' your wallet (gimmicked or otherwise, set to receive the card) and load it into the wallet. Bring out the wallet and hand it to another spectator. You will normally be done with these actions long before the spectator finds the card that lies at his number.

Slake a magical gesture, as if making the card pass from the deck, still held by the first spectator, to the wallet, held by the second spectator. Show from ^ the deck by using the TPC (p. 359), or a double push-off as described in the method for "Come and Go" (p. 216), or the method given in ' lying Through Thin Air" (p. 102), in which you turn up one card at a time and take two as one when you've reached the selection.

The card appears in the wallet, which, you point out, "was in the spectators hands Ivforc anyone knew its identity." (Fig. 38)

Note indlTl^u as per Dr' Dale>"s original idea, an impromptu card two different , T? ^^ ^^ duplicates between the (irst Z ' (,aCkct or trouscr*)< thirteen in each. Better still, have mx lying hon"«m ilvf^Ch Rr°Up SUmding verticall>' and the remaining neve: ,0 count fu^Cf'0" ^ ^ * C<ird' ^

3- we Reversed Card f°r yoursei!18 0r,Bln,1l eiieCt is clean- direct and quite strong.

Mnemonic a / 235

Someone names a number from one to fiftv-twn ™ t. l , duplicate must be face up and the Joker face down

The spectator places the card he arrived a. on top of the face-down deck and squares the cards. In instructing him to cover the deck with his hand, make an explanatory gesture and load the two palmed cards onto the pack (Fig. 39). The face-down Joker now lies on top, followed by the face-up duplicate and the facedown selection. The spectator covers the deck with his hand.

Tell the spectator, as if reminding him, to give the deck a complete cut to begin with, because you don't want to get near it yourself I fe complies and again covers the deck with his hand. After a pause, go through the actions of turning over an imaginary card. To conclude the effect, the spectator himself spreads the deck on the table and finds his card (actually the duplicate) reversed in the center.

You may now make the card magically turn over a second time in the deck. Simply use Larry Jennings's Larreverse* to turn the face-up selection face down while secretly reversing its duplicate, which lies directly below it (Pigs. 40 and 41).

Square the deck and have the spectator rest his hand on top. Repeat the actions of turning over an invisible card. Then tell him to spread the cards again— and the card reappears face up in the center.

To clean up, in preparation for the next trick, remove the Joker from the deck, stealing away the duplicate card with it.

236 / juan tamariz , tur qfi ection between the aces h

11 ,WTr^ Uvtm"ace down to your right on the table.

portion and ask someone to name any card he sees.

ret a break under that card and turn the deck face up, maintaining the «I a half pass at the break, secretly turning the lower portion face down. Thte becomes specially easy if you resort to the Wolh-Krenze.

mechanical reverse.

The deck appears to be face up, which is partly true; and the selection is face down on the bottom. Do the Vernon transfer move* (Fig. 42 shows an exposed view of the move in progress) to load the named card secretly onto the Aces, as you pick them up and set the deck aside. This transfer appears all the more impossible, since the deck is supposedly face up and

Gel a break under the third card of the five-card packet. Turn over the packet as you execute a turnover pass. In a continuing motion, spread the packet face up on the table to reveal the selection sandwiched in the middle of the Aces.

After a pause, bury the selection face up in the center of the face-down lower portion of the deck. However, to all appearances, you are losing the face-up card in the face-up deck. (Fig. 43 exposes the actual situation.) Place the four Aces fact« up beneath the deck and turn the whole pack face down. Find the point where the packets meet back to back, cut there and complete the cut. — ______

nourish' passin* ^eck top half to reveaTTh ^ lurninS il ovcr Tht'n sPread ,hC

P SClCCti0n amon8 the face-down cards. OWS). p' sir* C'"0nida- Vn'U",f 1 <m7>- P■ 127; or Ciobbi's Card College, VoluM 3


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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