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belong in the 1-26 portion.

The discards lie in a pile on the table. The best thing of all is that now, by turning the face-down cards face up over the twenty-six already in that condition, the half stack is brought into sequence, while everyone remembers that the spectator shuffled the deck several times. You are now in position to proceed with any tricks you please using the half stack. Note I

Sometimes I have two cards turned face up instead of one. In this case I ha\e the two spectators who selected them each wave a hand over the spread, and I pretend to sense certain vibrations as their hands pass over their selections. This allows me to search visually for the cards that follow the ones already gathered in order. I tell one of them, for example, "Pass your tend once again over the cards, please. No. this is not your card, and neither is this one over here." Then, to the other spectator, "Let's see, with you..." Ncm II

It Lsessential to build more and more tension as you sort the cards into a pile The structure of the trick itself accomplishes just that. The possibilities are gradually narrowed around the selections, and the fewer cards left, the greater the chance of error; or so it seems nrnt hi

^ fact"up and ^e-down cards are shuffled together, it is very con-m whi v, SOme maneuver of the kind used in Topsy-turvy effects, r»'* °ver without doing s<r-You l„ nay: T *J Andru^ drunken false shuffle from Andrus Deals

(1956, p. 9j j; Holding the deck i in your left hand, push a group of

Mnemonic a

cards from the top to the right (these wiU include far cards) and take them into your right hand (fj.\^ ** turns palm down with its cards (Fi^ 4) k ^ ' n«ht ^nd packet, which must be face up (the 5V in fi* xTl^ ****

packet from the left hand, taking it under I ri^ h^^^ between the right hand's cards and the right thumb) *

Turn your right hand palm up and the left palm down simultaneously (Fig. 5). Push some more cards from the left hand and take them onto the right hand's cards. Turn both hands once again and take the remaining cards from the left hand under the right-hand's cards (Pig. 6) AH this accomplishes is to reverse the first packet Repeat the whole procedure, turning over the same initial group of cards you did the first time, by cutting at the card you noted earlier (the 5*)—and continue as described Having turned the same packet both times, everything is returned to its original order, but an appearance of total chaos is created.

THREE CLASSICS AND A SEMI-CLASSIC 1. Weighing the Cards

Here is my version of this classic.

cards in a packet.

198 / JUAN TAMARIZ

5 0t m A^vtator places a packet of a similar size, taken from the top thcur weight. A spec \ ^ r ^ ^ (^ plimpse khe b()Hom ^

of the

"Shi onto your right palm (Fig 7). Glimpse thebottoni card 0f

N,LTHIV° , VMir mus in imitation of a roman scale. Openly count ten « T tl<, acked half onto your left palm and pretend to estimate cards o\ tne un»«.v - „ .tmj|ar th f ,h° M^y™^ niany cards it contains. Ask the spectator to

T! „remove .inglecards from it until there are precisely ten. During this Z^s vou pretend to be bringing the two packets into exact balance by comparing their weights. Count - —---—

the canls in the right hand s packet, turning each one face up on the table, to prove that there ate in fad ten. Return these cards to the deck; then shuttle the left hand's cards honestly and throw them on top of the pack. This places ten indifferent cards above the half stack.

Give the deck one or two brief shuffles: You can shuffle up to ten cards from the top and as many as sixteen from the bottom (the unstackcd portions). Have the spectator cut a larger packet than before—more than ten cards—and lay it onto your left hand. By "weight memory '' you estimate that there an' about sixteen or seventeen cards. These numbers are arrived at by adding ten to the number that corresponds with the bottom card of the packet, which you have again managed to glimpse. You must add ten to the number to account for the ten indifferent cards on top of the stack. It is advisable not to hit on the right number immediately. Instead, hesitate between two numbers (sixteen or seventeen).

Count the cards, turning them face up one at a time and laying them on the table. Deal the first ten cards into an unsquared pile, and the following ones each overlapping the previous one slightly to the right, forming a somewhat messy spread. Gather the dealt cards and replace them on the deck. Hold a card in your left hand, as estimating its exact weight, and put it away saying, "Normally 1.5 gram. \m humid weather 1.6; with dry weather U." Shuffle the deck, or rather, its twenty-six unstacked cards. If you wish, you can do an out-faro to leave the half stack in the

Mnkmonica S 199

The spectator can now cut anywhere he lik« the exact number of cards, pretending to c.il i ' Mn ,1nn"unf(' thing like "Tins is three times the first paeket fZ " ° ^ ^ is to say, lets see-three times ten makes thirty Lf " u'h"!<

a, one ami a ha,f grams per ear,..." Usually «e™^ *><

cards," and you conclude, "In other words, thirty, J T*

to show you are right. y anb- Co"nt them

To ascertain the number of cards in the cut mrVo. .u , glimpse the bottom card of the packet If the «rcl bdongsto the stacked half multiply its stack number by two. ,f the card d stacked half, ghmpse the top card of the talon, multiply its stack number by two and subtract one from the total. As an example, if the bottom card of the cut packet is the 7* (47), which doesn't belong to the stacked halt glimpse the top card of the talon. If that card is the 8V (14), the number of cards in the cut packet is 14 x 2 = 28, then 28 - 1 = 27

The good thing about this version is that half the deck is honestly shuffled before the faro, giving the impression that the whole deck has been mixed. After you do the faro, the spectator can cut a packet of any size, from one to fifty-two cards (to take the limits to the absurd), yet you are able to ascertain the number.

To reassemble the half stack, deal the cards alternately into two piles of twenty-six cards each, explaining that you are dealing piles of exactly the same size, so that the spectator can feel, in his own hands, the balance of a "human scale".

To avoid the assumption that you are estimating the number of cards by looking at the si/e of the packet, hold the card case in your hand, pa-tending to estimate its weight. Ask a spectator to cut off a packet and put it into the case, and then to put the rest of the deck into his pocket.

Since you have previously prepared the card case by breaking its bottom left edge, near the flap, you can easily glimpse the index of the bottom card by pulling down slightly with your left thumb, and thereby determine the number of cards ait.

To close the routine, you offer to transfer your power to a spectator

(after having asked if there is someone bom under the- s.gn of 1 ibra the scale). Another spectator lays a packet on the hand of the one who has received your powers. The new human scale estimates the number cards—and he's right! .

lb do this you must false count the cards in the packet, over-a^bnfr under-counting, or counting honestly as proves

Libra spectator has declared his estimated number. At tunc.

to laP any excess cards or load them onto the rest of the deck usmg

200 / juan' Tamariz

Vemon transfer move.' Depending on your skill, you couid also palm the

,rv raids and add them to the packet. "Tnv case, I can assure you that by letting your Libra spectator repeat feat, the effect approaches real mag.c. Try ,t out.

Note

Hen? are some points of interest: ^

Sometimes, during the initial weight estimations, you can tell them to remove one card, then another, and say, "And now there are ten, the same mmbcr those in the other hand." But on counting the cards there are only nine A mistake? No! The mistake occurred earlier, when counting the cards into the left hand: There are only nine. The human scale worked perfectly!

As a final detail, you pretend to weigh the whole deck and appear puzzled. 'T/uwflrt'on/y ^y-i?»^ ¿r/7rí/;s m/ssm^. ' Then a card is found to have dropped to the floor, or was left inside the card case when the spectator's hidden packet was removed.

You could weigh two piles at the same time, one in each hand, and state the number of cards in each.

If you have a portable scale, such as those used for letters (or for food, if performing at someone's home), you can pose a challenge between the magician's "human scale" and the machine. You win, of course (assuming you are the magician, not the machine).

My admired friend Miguel Gómez, an outstanding technician and great magician, submitted the following magnificent idea for ending this trick:

Bring out a handkerchief and pretend to weigh it in your hand. Have a spectator cut a packet and wrap it in the handkerchief (to prevent, you explain, your estimating the number by sight or touch). By glimpsing the top card of the talon, you learn the number of cards in the cut-off packet.

its corners, forming a bag as shown in Fig. 9, and pretend to weigh its contents. "J think ll,ere are about hoenty-five...No! Wait! I haw to account for the weight of the handkerchief... Yes, there should bt—fifteen." The cards are counted to prove you are right.

°n one of the counts you might find one card less in the

Anoih,■ r wtoS*'^"'" 5,1998> ^ * good description of this sleight p 127 nd m lhi Vemon Chronicles. Volume 1 by Stephen Minch

Anoih,■ r wtoS*'^"'" 5,1998> ^ * good description of this sleight p 127 nd m lhi Vemon Chronicles. Volume 1 by Stephen Minch

MNEMONICA / 201

After this apparent failure, you hand out the card f u checked and it turns out you made an error in vo, Cin,n' *

surmise may have been caused by two cards sLip!?"""*'Which ^ at some point you counted two cards as one) 8 **** ^^

Sometimes you can do the estimation while the snorts km u cards and you merely hold his wrist. This shows ,ha, yZZ ^ to touch the cards.

You can hand the unstacked half out for shuffling and have a spectator cut a packet from it. He hands you the talon, which you add to the stack,d half, catching a break between them. By rapidly, and secretly, counting the cards above the break with the little finger (yes, you can do a little-finger count while using the same finger to maintain the break; try it!), you can determine the number of cards in the spectator's packet: twenty-six minus the number counted.

Another possibility: Have the spectator shuffle the unstacked half of the deck. You then form a break under the top sixteen cards of this half. When the spectator cuts a packet from it, it is an easy matter to count, in a second, the cards remaining in your hand. If he cuts less than sixteen, count the few remaining above the break. If he cuts more than sixteen, count the few that remain in your hand.

Finally, you might like to combine "Weighing the Cards" with "How Many Reds?" (p. 249). Take a look at it.

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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