Only half the deck is mnemonically stacked. Shuffle the cards thoroughly-well, really only the unstacked half. Then separate the halves. Let a spectator shuffle the unstacked half while you false shuffle the stacked portion. Take the spectator's half and do a bottom multiple glimpse (let's give it a name: the chorus-line bottom glimpse), as follows:

Hold the deck face down in left-

hand deaUn8 Position. In the casual mohon of tapping the inner end of the cards square on the table, route the the? -__

.0 ¡dopUn^uSitr/'11'^, (W78>is of W* interest, especially to those who

magic. Those who can't road Spanish, sadly, will mm it view of magic. Those who can't road Spanish, sadly, will

Mnemonic:a S 221

fingers tightly around the right edge of the pack, holding i, secure At the same time, shift your thumb to the face of the pack „h

thumb to pu firmly down on the edges of the cards a, the t.u , causing them to buckle and their bottom right corners to flare out pving you * v ew of the indices (Fig. 25). The glimpse is taken ,n a the deck returned to face-down dealing position.

If spectators are watching closely, they may recognize in this gesture you can have spotted the bottom card of the pack. I lowever, they will nev dream you have in an instant gained knowledge of an entire bottom >;roup.

You do not need to remember the cards-just their color sequence. If you see, for example, two red cards followed by three blacks and another red, you simply remember 2-3-1. That's all you need to know

Now have the spectator take any card he wishes from the stacked half and hide it in a pocket or elsewhere. You easily learn its Identity by glimpsing the card above it.

Now hand the unstacked half to the spectator, and ask him to turn his back while he consults the packet he shuffled earlier. I le is to answer your questions guided by the colors of the cards, reading from the face of Ins packet. If he sees a red card he answers "yes", and if he sees a black one the answer is "no". Me is to transfer each card to the rear of the face-up packet and answer the next question according to the color of the next card he finds on the face.

Since you know the identity of the selected card as well as the color sequence, you ask questions that are appropriate to the answers you will be getting and that lead you to the selected card. I or instance, if the selection is the 84 and the color sequence is 2- 3 1 (two red, three black, one red), you begin with "Was your can! a sfwt card? I mean the one you put in your iHKkel." The spectator, seeing a red card, says, "Yes/' and transfers the red card to the rear of his packet. You continue, Wa< it a spade? Since he's looking at another red card, he says, "Yes," again. "Doe- it hair a low Vfilue?" He sees a black card anil says, "No." Is the value of your card odd? ' He sees black and says, "No." "1$ it an Eight?" He sees 4, red card and says "Yes." "Take the card out of your f>ockct and show it to everyone. There it is! The

Eight of Spades!"

Now give someone a slip of paper and ask her to write the name of a celebrity or a famous character in history, such as C olumbus Nero or Vernon. You secretly discover what she wrote via the center tear or by giving her a paperback book (with a sheet of carbon paper under the thin cover) for her to brace the slip on as she writes. Another effective resource to accomplish the task is Maxwell's card, consisting of carbon paper that copies what is written on a piece of paper resting above it, onto another

222 / juan tamariz

piece of p^r inside (Fig. 26). It ¡, sold bv Spanish magic shops

;^th a routineby Little Tamam titled "El E/ecto SoUado (The

Dream Effect).'

False shuffle the stacked halt of the deck and have it cut by a spectator. Glimpse the bottom card and hand the packet to the spectator, who takes it with him and turns his back to the audi-

ence You have secretly learned the name of the celebrity, and you know the color sequence of the memorized order in the packet the spectator is holding. Now it's child's play to formulate appropriate questions to have the cards lead you to the name of the celebrity. You need only a few answers to questions like, "1$ the person alive?" "Male or female?" "An artist?"

other presentations A. THE TRIP

A trip is proposed. The spectator writes down the name of a city. You secretly discover it and begin to ask questions accordingly, such as "Do 1 go to Europe?" "Do 1 go through France?" "Do I cross the Channel?" This constitutes a beautiful magical trip. If you use a large map or world globe you can make it easier to follow and more appealing to the eye. b. THe Labyrinth

You can draw a labyrinth that leads to a hidden treasure, and force a cut between the 4* and K* (leaving the 4* on top and the K4 on the bottom). The cards are turned up one at a time from the top of the stack and are interpreted as red card = left turn, black card = right turn. Draw a labyrinth that takes you directly to the treasure by following the color sequence of the half stack. The labyrinth can be drawn on a large piece of cardboard, an erasable-marker board, etc. The spectator may use the whole deck. Before handing it to him, however, shuffle it, keeping the twenty-six-card stack mtact, and cut the 4* to the top. After every question, the spectator is to tarn up a card and show it to everyone after answering "left" or "right", ine labyrinth can have all kinds of hurdles such as holes, skulls, fires, all of "^^^ym^ it more dramatic. The question will always be "left

,U<1r Carb°n book, see Corinda's stupendous

Mavwell's ■■J lu PP'166 °nd 218 respectively. For the carbon card, see Jam« March 1920, p. n °?f gh' Rcadin8 with Cards" in The Magic Wand, Vol. 9, No-^his^M,;,^;,,"™^" card-case, see Annemann's "Mental Masterpiece'; Em V. •< ,yj,a of c! i TV p-5-,iolh Ihese items can also be found in Hugard s.

Mnemonîca y 223

Later, having had the deck cut anywhere, you ask questions like, "Do I turn right?' or "Do I go forward?" Since you know the coming answers (according to the colors of the cards, where red = yes and black = no), and the path is there for you to see, everything becomes as easy for you as it is incredible and puzzling to the spectators What else can you ask for? Come on!

or right?" All this makes the trick visual, exciting ^ «t , presentation described above, suitable for sta J *****

You could also ask a spectator to draw a modest ^ I u ■ . L self, following your instructions, which you g^n su^h T'

there is only one way to get to the treasure. TeH him first IT™ with several breaks in it (Fie 27> Hp th n * * hnc

(hebreaks with dead ends ft., have noexi, mS

c. Hangman

The Hangman game (with words and letters that are to be guessed) also lends itself to this method. I leave to you the pleasure of studying it and coming up with your own version.

Based on ideas by Arthur Finley and Charles Jordan/ here is my version, which I think is very practical and that I have adapted to the half stack, with a method for finding a thought-of card that is as easy and direct as it gets. Furthermore, despite the many mixes the spectators give the entire deck, the half stack remains intact. My friend Mago Anton was very helpful with the final presentation.

effect .

While the magician is facing away from the audience, a spectator shuffles the deck twice, selects a card and loses it in the pack, after which he shuffles the deck two more times. The magician turns to face the audience, takes the cards, deals them into five piles and, with total assurance and without asking any questions, instantly names the chosen card.

224 / Juan Tamakiz

Ruffle the stacked portion, overhand fashion, while the spectator

^«r^d^ana have the spectator give thes.a^ half an . , h;mls dovetail shuffle while you do the same with the unstayed ^both shuffling honestly. You again exchange halves, and you give the , -L1 Portion a tabled, false riffle shuffle (Zarrow or another type) while th Spectator gives the unstacked portion a tabled riffle shuffle. If the spec tatorcan't do such a shu/fle, have him cut his portion into two piles and push them into one another.

Point to the stacked portion and turn your back to the audience. Someone gives that portion several complete cuts. He then takes the resulting top card, looks at it, remembers it and pushes it into either of the halves.

The spectator riffle shuffles one of the halves, and then the other. He then gives each half a complete cut. He finally riffle shuffles both halves together and gives the deck several complete cuts. The deck has been shuffled several times before the selection was made, and several more after the card was returned to the deck. Furthermore, these are real shuffles performed by the spectator without the magician even looking. To locate the card under these conditions appears absolutely impossible.

Turn to face the audience again and give the deck a false overhand shuffle. Turn the cards face up and deal them into a diamond-shaped layout—north, south, east and west—with a fifth pile in the middle. Into the center pile deal all the cards with mnemonic numbers greater than twenty-six. These cards are dealt facedown, while the cards in the other four piles are dealt face up. In the north packet, deal the first card that appears from among the first twenty-six cards of the stack. The next card from the first twenty-six, if it is the one that immediately precedes the card in the north pile in the mnemonic order, is dealt face up onto the north card. For example, ir the first card from the first twenty-six is the 24 (19) and the second of the group to turn up is the K* (18), you deal the K* onto the 2♦ If the next card is not the K4, but is still from the first ^enty-six (for example

** 2* POD, place it at the eastern position. Continue *<> deal the cards into four P&s (four because you are Secretl>' irking with four or chains 0f cards)

Mnemonic a J 22s so that each pile (north, south, east and west, contains ,

TO™rven »-^«srs some point yoo w,ll arrive al a card lower |ha„ ,.„,.„,„ ° 1 Al be placed m., deeding ord, ny „

card missing in one of the piles. This will be the selection. In Fig 30 theA* is missing in the east pile. TTiere/ore, it is the chosen card Note I

Needless to say, when the selection turns up (because it is not sortable or its absence becomes evident in the sequence), you continue to deal all the remaining cards, dropping the selection on any of the piles and remembering its identity. At the end, the four piles are gathered to reset the half stack in inverted order (from 26 to 1), which is quite easy. Slip the selection into place and continue with other tricks using the half stack. All this will seem miraculous even to fellow magicians, since they themselves have shuffled the whole deck several times.

Note II

Sometimes, through mischance, you can have the selected card fall into its place after the shuffles. In that case there is no way to discern what the selection is. Nevertheless, pretend you do know it. Reverse the order of the twenty-six stacked cards, bringing them back to their natural order, on top of the unstacked portion, have the card named, force a cut at or near that card and locate it, as in the trick "Mnemonicosis" (p. 97).

Note III

When I present this trick, I use the packets at north, south, east and west to explain that every card possesses a different type of magnetism, since each points to a different cardinal direction, and the ones I put in the center are those that lack magnetism altogether. The selected card acquires, I explain, a strange kind of magnetism that I should be able to detect.

Another presentational ploy is to talk about the four winds. Wave each card like a fan to determine onto which pile it is to go, explaining that Each card produces a distinct and identifiable wind. Bring the trick alive. Introduce verbal bits of wit and give it as much rhythm as you can.

Note IV

And now here is a story that I'll tell not from vanity (or at least not just from that), but to encourage you to perform this trick. I did " f.N. V at the Magic Castle in 1982, for a group including Dai Vernon, Urry Jennings Piet Forton, my first wife Mary Pun and several other magicians. I he next day, Piet Forton said to me, "Last night the Professor and I were discussing your tricks, and there were some whose secret wecouldn . workout Tin- Professor was so enthusiastic." I suspected 'TNT." was one of tlw tricks and I asked Piet if this was so. To my surprise, he said, No, no. hat


. • ,ht away - Hours later, I asked again (I couldn't

<*** ^ Jl1 ZT^tii the secret so easily) and he said, "Yes, of course befievethey haa pe ^ It was so impossible we agreed on

" " " 2U hen the Professor looked at the card, Mary Pura t^t Z later, when you ran through the cards, she signaled you K fL reached the selection." My surpnse was then mixed w,th joy.

was so impossible, their only explanation was that I used

3 ^ then whenever I perform this trick I see that only two or three rwvcle look at the card. This experience also made me feel more strongly ;k4 nv0 beijefe: first that I should work more and more on applying the method of The Magic Way and the Theory of False Solutions (to prevent spectator; from hitting on a false solution that prevents them from reach-The Magic Rainbow); and, second, that this trick really is T.N.T.! (My friend Anton Lopez [Mago Anton] called it "a bomb" when I first showed it to him.)

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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