Rene Lavand Memorized Deck

3. This switch was (or is) used by card hustlers. Sitting at a table, the stacked deck is kept in the crook of your right knee. The deck to be switched out is held in left-hand dealing position (Fig. 49, sans table). In the action of scooting your chair closer to the table, you lower both hands, holding the deck, beneath the table. When the hands are below the table's edge, they separate. The left hand leaves its deck in the crook of the left knee and helps scoot the chair forward. At the same time the right hand takes the stacked deck from behind the right knee while appearing to help move the chair (Fig. 50). While still out of view, the hands ate brought together and come up in a continuing action. The position of the deck in the crook of the knee (as shown in Fig. 51) allows you to bring the hands down to the center of the sides of the chair, in a very natural manner.

^onAronson explains.! clever version of th.s type of

nrrv the deck under the table to explain to someone a procedure 4 heftofollow, such as cutting the deck and taking the top card, the deck switched for another you have in your lap. The naturalness of the Iction is totally disarming. Don't pass it by because of its simplicity.

switching Half or the Deck " This is in idea I developed not long ago. In an unstacked deck, separate lhe - m Js of the first half of the stack (1 to 26) from the others, using Lorayne's rn^at divide, the Green angle separation or the spread cull (pp. 356-363).

Give the half of the deck containing Cards 1 to 26 to one spectator and the other half to a second spectator. Ask both of them to give their cards an overhand shuffle. The first spectator then thinks of any card he holds (from 1 to 26). Let's say it's the 3*. The second spectator peeks at a card from his half while you hold the packet and obtain a little-finger break under the card peeked at. Let's say it's the 8f. Use a side steal to palm it and set the rest of the packet aside.

Take the first spectator's half into your right hand (which holds the palmed 84) and carry it beneath the table, where you intend to find the first person's thought-of card "by touch". There you switch the unstacked half for its stacked counterpart (ordered 1 to 26), which you have put secretly in your lap or behind your knee. Bring the switched packet and the from beneath the table and set the card face down without showing its face. That's the card you thought of. Will you please name it?" The spectator names the 3* and you express your excitement: "Great! I'll go for the second one." While you say this, locate and palm the 3* from the stacked half you hold. The right hand picks up the tabled unstacked half and secretly loads the palmed 3* on top of it. Shuffle and cut the packet, while controlling the 34, and then extract it from the center of the packet and set it face down beside the face-down 8*.

Ask the second spectator, "And what was your card?" "The Eight of Diamonds."

Perfect1" you exclaim, turning up the two cards and showing them to be those thought of by the spectators.

Keep the time the half deck is under the table to a minimum. Practice

\ Procedure ^roughly. On top of a stunning divination, vou now have a half stack at your disposal. Til OgB g

6. Other Useful Sleights

I he following techniques, which are repeatedly mentioned throughout this work, are extremely useful.

A. Due Corner Crimp lo^Tl l^^"8 thC inner left «>™er of a card downward allows you to

^ ben*ath it. The best method for making this crimp

iS/ in my opinion, Dai Vernon's. The left forefinger pushes the bottom card slightly forward and to the right to expose the outer right corner of that card. The right little finger then bends that corner downward (Fig. 52) and the hands rotate the deck end for end, bringing the crimped corner to the near left.

B. Counting Cards Secretly

Tlie following four methods are tried and true standards. In the first, the left thumb riffles down the outer left corner of the deck, counting the cards as they snap softly off the thumb (Fig. 53). This method of counting requires good misdirection from the right hand, which moves about or gestures. Hie left hand, while counting, may hang at your side or be held very high, as is done by the great René Lavand. A good way to count the cards is in ga)ups of three (actually one by one, but with brief pauses between every three cards) while using three-beat phrases like "Remember / your/card T "Think / of / it." ''Don't / forget / it." This allows you to count the cards secretly as you speak, which is otherwise a challenging task. For example, it you need to count thirteen cards, use four three-beat phrases. These don't need to consist of three words. "I'll / now do / a beautiful trick" will do fine. Ihus you count twelve cards (four times three) and then one more to make thirteen.

The count can also be made by riffling the right inner corners of the cards off the left little fingertip (Fig. 54). The palm-down right hand can conceal the procedure by holding the deck from above. This "pinkie count" can also be done with the left hand hanging at your side while the right hand performs some action required by the trick. The problem with this

, • Ihll eiven the weakness of the little finger, counting more than count * that, snc n ¡^considerable practice.

dga liu^ng nie.htJ consists of the right thumb riffling up the Of the cards. Bend the deck slightly upward and release each inT/' n the p Of the thumb. The problems with this method are con-iltX upward bend in the deck, which is visible from the front, and fn / xvrrl c atd Technique (1940, p. 183) there is an excellent method called "the side count", in which the left middle finger does the counting.

Ihe eve-count is a good method when the cards are spread in your hands or on the table. It is advisable to spread the cards in an arch, and to spread the pertinent area of the deck somewhat wider (Fig. in which the lower portion is that of intenret). In this way the outer left comers of the cards will protrude slightly from the spread, allowing you to eye-count them more quickly and easily. Here, again, it is useful to count by threes.

C. Palms

I recommend the palms described in Vicente Canuto's Cartomagia Fun--¿omental, in Roberto Giobbi's Card College and in Erdnase's The Expert at the Card Tabic, as well as those derived from Little Tamariz's perpendicular control, described in Sonata. See also Hugard and Braue's Expert Card Technique, the works of Dai Vernon, and Ascanio's lecture notes The Psychology of Palming (also included in the English translation of La Magia Ac Ascanio).

D. Hofzinser's Spread Cull

Hofzinser, the great genius from Vienna, creator of exquisite sleights and tricks of unsurpassable construction; which constitute what I consider the best card magic of all time, also devised this technique, which allows us to slip a card secretly under a spread held in the hands. Hofzinser's goa was, from what we know of his work/ to control a returned card to the bottom of the deck. However, in later developments of the sleight by mag|,iC commun'ty, the technique was expanded to gather several cards while running through the face

-up deck.' Various

I xT!;V"0'fJr 'rhl'r-who «»»piW and published it in 1910 under the title of

",lS ll°°k " —"li->1 «-'ading for anyone who wants to

LS"ag ' B J|S0 bisis of Vi"i«us outjog spread-controls widely used these days.

Mnemonica / 357

handlings have been published (from Hd Mario to I

tian Chelman, and others). lc""'nRs tothrts-

I learned this cull from my esteemed friend Rid i viduals who contribute the most to the art f ' ' °"C °f ,he indi" magic in particular. I later arrived at such a toC,Jrd handling of the move that I began using i, for J V h T for gathering a complete suit. In the early 1990s , ^

appropriate patter and misdirection, I was able toTul^nhl i T*

t,„ I could separate the red cards he b.ack,£ £

Mnemonica stack. 1 ine

In memorized-deck work, it comes in very handy for slipping cuds into certain positions, to transport a given card to the bottom prior to poimm*

it, etc. I here are many applications indicated in this book and, indeed, this very appendix. '

The basic culling technique consists of this: While spreading the deck face up in the hands, running the cards from the left hand to the right the left thumb is rested on the face of the card directly above the one to be controlled. If, for example, you want to slip the 8V (14) to the rear of the stocked deck, the left thumb makes contact with the64 (15), anchoring it (see Fig. 14. p. 334). The right fingers pull the from below, toward the right of the spread, disengaging it from the other cards (see Fig. 15, p. 334) The culled card (the 8V) will automatically ride to the rear of the deck as the spread is closed. Observe in the pictures how both little fingers act as stops or guides at the inner end of the spread, preventing the can! in question from protruding during its journey. Another important point: lilt the hands forward to prevent the culled card from flashing at the front edge, especially to those spectators seated low or at a distance. On the other hand, then.* is no need to worry about the finger movement of the cull being seen, since it i> virtually the same movement employed for spreading the cards from hand to hand.

When controlling a single card, I often delay the action of pulling the card free of the spread. When the desired card appears, I pull it only slightly to the right to conceal it under the card above it. I then run another three or four cards from left to right and lift my left thumb. I stop tor a bea and lower the thumb onto thecard above Ihe one being culled l.ookingup at the spectators, I say something and at the same time slip the concealed card to the right of the spread. .«»-.«iiient

To cull several cards, the same procedure is used ^f^^

card, slipping it under the previous one. £

happen to lie together in the deck, the process beco^h do disengaging the first card from the spread, all you %

is pull the following cards to be culled to >«P

thumb on the card above, since the second and following

•i and cleanly beneath the spread. It is best not to pull these subsequent clSany farther to the right than the first one. Try it out. Also, on spotting Zo o three dcired cards .hat fall together, you may lex* up, as you don', ZZ o watch the cards a. such times. Moments .n you don't look nhe cards greatly contribute to very strong misdirect.on, since you direct Lr ea/e at the spectators' eyes, drawing them away from the cards.

Moving the hands and cards from place to place to show them to different people is also verv useful in helping to conceal the culling actions. But whv are you showing them the cards? That's the main thing about this sleight: You must have a reason to show the cards to the spectators (not just looking at them yourself), and it should be an interesting reason for them.

For example, if you are culling from four and thirteen cards, you could run through the deck under the pretense of showing that the card they selected or named is the only one missing (after having lapped it or palmed it). When culling a larger number of cards (up to twenty-six) I use a different sort of psychological cover. 1 run the cards rapidly between my hands and begin to utter questions and vague requests, such as "Let's see—you, who ivas the one who... I cull six or seven cards and continue running through the deck, during which I tum to another spectator. "No, not you. You did not... right? The spectators don't know what I'm referring to and they are trying to figure it out. "You didn't take a card earlier, did you?" They try to remember whether that spectator had taken a card while I control another six or seven cards. "Never mind. Think of any card you see here, but don't think of the..." Pause. Everyone is expectant, wondering which card is to be avoided. 'And you guys, don't you say anything—don't think, because that would confuse those who..." I turn toward another group of spectators, having culled about twenty cards, and then turn back to the previous spectators. "Have you already seen one that's not a picture card and that appeals to you—and that is in the deck?" 1 now cull the last six cards. I close the spread and ask for the name of the card freely thought of. I then either locate it quickly by riffling through the correct half, palm it and produce it from a pocket; or I find it openly and do a quick trick with it, such as making it rise to the top of the deck, or transforming it into another card (using a top change), etc.

Here are some important details. Change your pace from time to time as you spread the cards. Look up when you see several desired cards lying together, and cull them without looking at your hands. Do everything as quickly as you can and display a certain nervousness and haste (without overdoing ,t) to create some puzzlement and restlessness. If I want tosepa-«« h, colors, I leave the first six or seven cards with the colors mixed, so * spectators get to see a mixture of colors in the spread. Realize that from Z t°?11' Say'a" tht'red card!" t^t color will begin to disappear sPfead a fact that may be detected. Once the spread is closed, I

show the top Six or seven cards ninalv and ik , or three red cards above th, Macka, ^rl -I'J^ ^

the three rod cards other rod cards.

I wo to the roar of the dec k, briny;


'«no an ing thi'm together with the

To reposition a card while snr«. .u dc^ed , „rd undo, ft. ' -»«-

insert it. Then, with the help of your „„»„ r pl* " ^ wl h *>

it into that spot. P ' ^ P°*h « to the left to ,|fp


i devised this sleight in 1962. Since then I've found it te >n incredible number of purposes. Nowadays (forty-two yea , ^ to control one or more cards to any po^n in the Jk, to card o pa m a card in either hand (In classic palm, Tenkai palm or 11 i nk palm;, to reverse a card, to i<>r<»- card, to glimpjfc «.»rd-., to E5 rom place to place, to switch small packets, to rotat, cards metly ,nd for end, to load a card into a card case or sleeve, and to do false deak fall,, shuffles, concealments, produc- __^^______

tions, transfers, secret card folds, etc.

Although the sleight is described in detail in Sonata, as well as on video tape, and in a monograph written by Jim Krenz, I'll describe it again, briefly, for your convenience.

Hold the deck in left-hand dealing position, with the thumb stretched along the left edge and the little finger at the right edge, near the inner right corner. We will assume that a card has been returned to the deck and is left protruding from the outer end. With your right middle and ring fingers, push the card into the deck (Fig. 56), secretly anglejog-

ging it slightly, so that its inner right corner protrudes from the right side of the deck and makes contact with the left little fingertip (Fig. 57, right hand omitted). Your left thumb, lying at the outer left corner of the deck, conceals the left outer corner of the card being controlled. If your left thumb now draws that corner

Zieh pushes outward on the inner right corner o the card. In th,s way the caid is brought perpendicular to the deck (Fig. 59).

Use your left thumb to continue spreading cards from the top, while you move the left hand to the left and position your right hand palm up ardw SUpp0rt lhe sP^d (and the perpendicularly turned

' fr°m benealh-As ^e left hand moves leftward and the right fingers

The right hand, maintaining its position over the deck, conceals the protruding portion of the card (Fig. 60). The left hand tilts the deck about fifteen degrees to the right to cover the only bad angle: from above and to your left. Keep in mind that the left thumb must conceal of the corner of the card during the pivoting and, when the card reaches its perpendicular position, the thumb assures that no part of it protrudes from the left side.

Prom this position, push a few cards from the top to the right, to cover the protruding portion of the card in perpendicular position. The right hand may now leave the deck (Fig. 61).

„c u i (Fifi ■») until it reaches the inner left corner of the deck, the card

Zieh pushes outward on the inner right corner o the card. In th,s way the caid is brought perpendicular to the deck (Fig. 59).

hold the turned card in place, the card soon becomes disengaged from the spread and ends up lying lengthwise under it. Twist your left hand counterclockwise at the wrist to bring the cards at the left end of the spread parallel with the hidden card being controlled (Fig. 62, exposed from below). Now begin to close the spread, at the same time slipping the turned card under and into alignment with those at the left end. Finally, turn your left hand clockwise, straightening the wrist, as you square the deck and leave the controlled card on the bottom.

Suppose you wish to shift a card—let's say the 8'V—to another spot in the deck—under the 5f for example. First cut the 54 to the rear of the faceup deck. Locate the 8V (by counting or riffling with the right thumb at the inner end) and get a left little-finger break under it. With the left ring and little fingers, push the card to the right, as if beginning a side steal, causing the right inner corner to protrude slightly from the side of the deck. Shift your left little finger under the edge of the protruding corner of the 8T but do not insert it into the deck. Place your right thumb at the inner left corner of the deck and press your left thumb against the outer left corner of the 8V, which likely will protrude from the left side. Slide the left thumb toward the inner end, carrying the corner of the card with it and pivoting the card to perpendicular position. Complete the control as described above, which leaves the 8V under the deck—and under the 54, our goal. You can also feed the 8V between other cards, inserting it at a desired spot, before you close the spread.

Elsewhere in this work I explain how to use the I PC to control several cards that have been slightly injogged (p. 341), how to glimpse one or two cards buried in the center (pp. 330 and 114) and how to make one or several cards magically appear on turning over a ribbon spread (p. 217).

F. THe Green Angle Separation

This is a beautiful and extremely useful procedure, devised by my friend, the extraordinary Swedish magician and creator, Lennart Green, 't is built on earlier culls by Harry Lorayne and Ed Mario, which we will discuss shortly. What it accomplishes is to separate several cards from the rest of the deck as you show every card, running them singly from one hand to the other. With his kind permission, 1 will briefly describe

Lennart's procedure.

irf* assume that you wish to separate Cards 1 through 26 of the Mnemónica stack from Cards 27 through 52. Take the face-up deck into l hind dealing position, with its face turned toward you, and begin to o^ cards singly into the right hand. Take those that belong to the first Mf of the stack deep into the fork of the right thumb, with their lower left corners between the ring and little fingers, and the upper left corners above the forefinger. Your index, middle and ring fingers hold the cards at the left side, and the little finger steadies them at the inner end. . I I . |

The cards of the second half of the stack are peeled into a slightly diagonal position in relation to the others, with their upper left corners cradled between the index and middle fingers, and the lower left corners below the little finger. Fig. 63 shows the positions of the two groups. Figs. 64 and 65 show the hands continuing the sorting procedure, which is done rapidly and secretly as the cards are peeled singly from the left hand into the right. When you have gone through the entire deck, turn your right hand palm down and, with your left hand, grasp the upper packet (which now points to the left). Then move your right hand to the right, pulling the lower portion free. The position of the right fingers makes this very easy. In a continuing motion, throw the right hand's packet onto the left's. ^

C, lokavme's "Great Divide" and Marlo's "Fifth Objective" Culls n e early 1970s, Harry Lorayne and Ed Mario independently devised Z nTiTlPnXCdures- L^e published his in a monograph titled mZ L ZTJ ' Sh°n**»■ "«Ho'» «"Hings appeared in Mri*

— concept is identical lo that of the Green anR

tic»*,itself, this work includes some very good appto-f ** "Fifth obedsc ^ ***** oí ^ magnificent magician and friend

< P U. which conuins refinements in handling worth noting-

mnemonfca s 363

separation, but the right hand's grip is different. Here you injog the cards you desire, while keeping their sides aligned with the rest (Pig. 66). When all the cards have been peeled into the right hand, it turns palm down and the injogged cards are pulled free by the right fingers and thrown on top of the rest.

There are other methods to separate three, four or even more packets while running the cards from hand to hand (by Ariston, Mario,GeneFinnell and even myself)/ which allow us to sort a whole deck at considerable speed. The reader will certainly be able to imagine them or figure out his own.

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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