Total Memory

My version of this trick uses the half stack to good advantage. The sensation it produces is remarkable. Even people who are familiar with the classic version are often left bamboozled and slack-jawed. The only explanation they can think of is that you have the memory of an elephant

(just the memory).

You appear to have the ability to memorize five different sequences of the same group of cards (about two-thirds of the deck), even when (he cards are shuffled, at times bv the spectators themselves.

You need a stack of thirty-one cards, from the 4* 11) to the K* HI • 1 he remaining twenty-one unstacked cards are put away for the moment You can use faro shuffles or antifaro deals to accomplish yo^

this case antifaros are perfectly suited and naturally ; ^

to my mind, the preferred tool for this effect, and are what I always us , but first let me describe the version with faros.


Begin by doing two straddle faros with «he tfcrty^^ by some false shuffles and true cuts. Next, pretend to memonze ing order of the cards.

202 / Juan JAMAKI/

u «^in» lo writT down Un- ñame* oí any Ihree conaecutlv* A* «hel ir*l < )rder". Tarn your back lo «he audlerw»

,n(J r» i tu aboum i 1Í|W two NtriU|d|t. ÍHrmf „„. * 'I O^b^ ' -rd., C * u lnllow..«l

íalse ahuífle, íollowed hy two more alraddle íaroa, nnd pri.,,„d ,„ m«norizc (he «"da ¡n «he new order. T1.U «ruly

IV aplato» wrli«' down »everal group. oí three conaecullv»

, trd* under IV heading "S«ond Order". MI them lo no«,, e ihal .he order „„„ih difieren» from »he pievknia ofV Furthermore, when dolng (he Un*, yon muy mak* them look like Imperfect ahuííle* by applying lh*

"P.vll Ruaoa" laughi ín my book S<MM/a.

Redte anotlu-r ten or v» carda, beginnlng wllh a«ard tlu-y ñame, fhl*,

«galn,»" I'" *,,rr ,MUrth l,,rfldíJk'ÍMro w?Muffn<" wi" Pr<x ml thrnu'gh fvry othercard oí Ihc ala.k, Ihe rard» wiih even «dack number»

lyínK Inonc K.roup, íollowad hy llu»»e wilh «K.ld Mat k numbera II Ihe apei i.itdi I,.,1,1. ,V thr '>¥( 17), lh< íollowingcard* wlll he Ihe (19), 3é (21)/ (•f (21) and o on Oru - yon r.-a. h Ihe K ♦ (31), Ihe < .tr.k íollnwlng II will Ik- llw- 2» (2), '■* (4), <>♦ (6), etc.

I in.iily, do -i ílíth nlradd le faro, wlu< h brmg* lh«* ata« k ba< k lo ¡ls origi ni I urdei' ll Isnow a v.-ry ■ iny maller lo r.-c11«- IwHveor thirteen cardi, ai ilu-y fjn in »ir«ighl mrutnonlf ordi r, he-^lnning wilh .uiy one tiwy ñame l« i «he " «Itírly-one r^irdn mide and pie k iip llw retil oí llw* de« k. M#vi- thi new pat^ t •huííled and, .ilii-r rvlrtovlng them, l«K>k di iln-i.t<< (or .i rruwnent, pn-timdlng tn memori/e ih«'in .»i .i glance ll.ind iIm-p«rkrt tu .i »(..xuiiii .ind ha ve hlm fan Ib® >ard», f.i<«-t> tovvard hlrnwll Now atk hlm «i» ñame a fcuit.

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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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