WHr AI Dont Alter the Order of the Deck

while appearing to Do So uT "f 'he above'and a misleading weapon of magnificent ' ,mcrt'°n of the following actions and procedures in


im tricks employing mnemonic stacks. Here are those I „* „,<„, often fr.

among the many possible.

a. Faro shuffles followed by antifaros (see my book Sonata or Appendix V, p. 319)* • ^

b. Eight faros (and other combination*). I ither eight straddle farm with a fifty-one-card deck (including hones! cuts between the shuffles), or eight out-faros with a fifty-two-card deck; both return the c ards to the.r original order. Five straddle faros with thirty-one oirds, five out-faro-, with thirty-two, twelve straddle faros with thirty-nine cards or twelve out-faros with forty cards all do the same job.

c. Out-antifaros th.it add up to eight; for example, two antifaro I. two antifaros-3 and one antifaro-2, or any other combination for fifty two cards). Also antifaros that add up to five for thirty-two cards, out anti faros that add up to twelve for forty cards; that is,dealing four piles and placing each pile onto the previous one, etc., then dealing five pile. and placing the each pile onto the previous one,etc., and finally «baling two piles and placing the second one onto the first.*

d. A riffle shuffle done by the spectator followed by a cull, sue h as "The Great Divide", the Green angle separation or a spread cull.' All these procedures allow you to undo the riffle shuffle rhe deck should be stacked from I to 52 and cut exactly in half for the shuffle. You may however, start with the stack rotation beginning at any point, and then have a spectator cut the cards for the shuffle In this case you must know what card is on top at the outset and where tin- spectator nits. The "C". This is a table e.

spread that I devised long ago. You have a card selected from the stacked deck and noted. I lave it returned to its spot in the stack and cut the deck, bringing the selection to third position from the top. Spread the cards on the table, forming a flat tened C, as shown in I ig. 1. After touching all the cards "to get the vibrations" of the

• Don't br surprised if 5 ♦ 4 • 2 don't make 12 Actually the four-pile .ifituaro is *nii-faro-2, the- tWO-pilc one it antlfaro-l, while Ihe f.vepile antifaro h «ntifrro* (tot itw forty-oird dock), and 2 f I ^ 9 do make 12

t for an explanation of the spread cull, Green .ingle separation and I mayne. gftal divide, Append I* VI, pp. 356 363.

selection, and misaligning the spread a bit, break it at the positions indicated in pig 1 The impression of a mess Ls compelling. Gather the cards as follows:

The right hand gathers the cards designated by V in Fifc 1 and leaves them on the table, to your right. The left hand simultaneously pushes together those cards designated by IV and sets them to your left (Fig. 3). The impression of unpremeditated mixture is strengthened by the fact that your arms, in picking up the cards, have crossed and uncrossed. The right hand next gathers the cards designated by X in Fig. 4 and sets them onto the packet to your left, while the left hand gathers those designated by a V and drops them onto the packet to your right.

Three cards remain in the center. Your left hand picks up the cards marked Q in I ig. 5 and lays them onto the packet on your left. At almost the same time, the right hand take* the top two cards of the three in the center and uses them to scoop up the Z which are dropped the packet on your "ftHt. All of these pick-up And gathering actions are performed rather quickly leaving the cards unsquared

Mnemonics S 273

A single card (the selection) and two unsquared packets remain on the table (Fig. 6). Dramatically turn over the single card to reveal the selection. Lay one pile over the other and use both hands to square up the reassembled deck in the manner used by the average person to square a pile of cards that is thoroughly jumbled (l:ig. 7). This last squaring action packs a good psychological punch—it's not easy and takes time—giving a strong impression of mixture and disorder. All that remains is to return the selection to its place in the stack.

f. Flourishes such as the spring flourish, cascades, the paddle wheel flourish of Mike Rogers/ ribbon spreads and spread turnovers, fans, double fans and simultaneous one-handed cuts with both hands. None of these alter the order of the cards, yet th«-y prinduce an impression of can'les^ness concerning the order, whk h serves our purpose admirably. I seldom use them, however, as I have made a personal choice to avoid overt displays of skill, so that the magic doesn't appear to be produced through such means. Needless to say, this position of mine is somewhat flexible, as I do occasionally make a fan, a ribbon spread or a one-handed cut, none of which needs to be performed as a demonstration of advanced skill but, rather, shows an ease in handling the cards. I also use flourishes when doing gambling demonstrations.

g. All kinds of false cuts of two, three or more packets Magic's literature is full of these. My preferred ones are Dai Vernon's three-packet cold-deck cut (Dai Vernon's Ultimate Secret> of Card Magh 11 %7), p. 168), the up-the-ladder cut (Expert Card Technique [1940J, p 7»), the Vernon multiple false cut (The Vernon ChronicleVolume I [IW7J, p. 38) and the one I describe below, which was shown to me by an extremely clever magician, and my good friend, Esteban del Acebo. Neither of us has so far been able to determine its inventor.

• See Jerry Men tier's Card Cm*kadt {Yff%)t p 10).

multiple false Cut

The deck is on «he .able. The ngh hflnd cuts the lower half to the nght

"nd sets it on top of the other half, protruding a quarter of an inch to the left (Fig. 8, seen from the front).

The right middle fingertip picks up thc top half of the new upper packet while the tip of the right ring finger lifts the top half of the lower packet. Grip these two packets between your right thumb and the middle and ring fingers, and draw both blocks to the right and away. At the same time, grip the remaining two blocks between your left fingers and thumb. (In Fig. 9 the right hand has been moved aside to expose the configuration of the packets in mid-cut.)

Lay the right hand's two packets onto the left's, which rest on the table, aligning the top packet with the third, and the second packet with the fourth. (Rather than add the rest of the thousand words, look instead at Fig. 10.)

In a continuing action, the right thumb and fingers now strip out the two packets that arc aligned at the nght end (the second and fourth from the top), carrying them to the right d ig- U). Conclude by dropping the r>ght hand's two packets onto those on the table (Fig. 12) and square everything up. The order of the deck

I*™? UnaUered' >'et impres-° putting (almost of shuffling, is h ^'nary. Get a deck and try ft.

or,o°ld!aLCtrdS 0ne at 3 lime <t0 reach a number called by a spectator

"rds n2 ** ^ reas™< such as looking for a selection), «?

a> be thrown a certain distance (about eight inches), taking ca*

ha each ovedaps lhc prcviolls onC/ forming an jrregu)ar d on ^

table (Fig. 13 the cards could also be face up). This spread may gradually take through your design or at random-a very irregular shape, and may consist of two, or even three levels (Fig 14}

Don't shy away from this: Despite the apparently haphazard configuration, it's quite easy to gather everything in order, if you press the cards against the table to prevent unwanted displacements as you neaten and square up everything. It's advisable to gather the cards in a deliberate manner and from the outside inward, as if to square the cards as explained a few paragraphs above (see Fig. 7).

If, as you throw the cards, one of them doesn't overlap the previous one, missing the whole card, all you need do is stop your dealing, pick up the last card thrown and look at it as if to see if it's the selection; or display it, if you are dealing the cards to show them. Then throw the card down again. If you miss a second time, leave it out and take care of it later.

i. Most visual card revelations give an impression that the deck changes order or gets out of control, but the stack is easily recovered. Among them are the wonderful pop-out move of Piet Forton* (Fig. 15), Bruce Cer-von's pivot revelation' and Paul LePauI's production from "The Gymnastic Aces" done from an incomplete faro.* Also consider those in which the four Aces are produced on top of as many piles (one or two cards may need to be repositioned after these productions).

• A fine description of this is given in Frank Simon's Versatile Card Atygk (1983), p. 76

t See The Card Magic ofLePaul (1949), p. 208.

. ,virvmely clever and deceptive ruse built around the Char-1 iCfr wslh wur right hand, take a few cards from the top of the deck !i7 ,h m while vour left hand begins a Charlier cut. Insert the right between the two packets just before you complete the cut

The fan endsup on top of the original upper packet, back where itstarted. Square the deck and ribbon spread it, making it clear without saying as much that you're not keeping any breaks or steps. The stack retains its cyclical order (equivalent to a straight cut) and yet the effect is formidable. Lennart Green, the super-creative Swedish magician, showed me a similar move (almost identical) that he created independently and that he often uses. Incidentally, his diabolical mind has also given birth to a wide variety of apparently chaotic mixing and gathering techniques from a ribbon spread, packets cut onto the table and multiple cuts in the hands, which 1 hope he will publish soon. Having learned them, thanks to his generosity, I can assure you they are extraordinary. I vividly recommend his booklets and videos. They contain a wealth of material for the Mnemonicaddict, and for any cardman.

k Mnemonica and Strippers make an explosive combination. Aside from the tricks that are possible with each of them, you can allow a spectator to riffle shuffle two packets together, one of which has been "inadvertently" turned end for end, and then strip them out to reassemble the entire stack. The strip-out can be done openly under the pretense of trying to locate a selection through your sense of touch. You could also Ve >'our hand ^e deck covered with a handkerchief "to block any W Qld' and lhen unhurriedly do the strip-out. Or you could do the same w.th the deck behind your back, "to make it impossible to see or keep inck of the amis."

luifl^r1 :nnemonic^ck tricks, you can at any time have the deck is case genuinely and without reasse mbling anything).

and then proceed w.th a couple of tricks making use of the Stripper Deck much to theastonfahment of even welUversod magkians. who will be dumbfounded and bamboozled; No question about it

1. Nonchalant handling. I mustn't conclude this *xtion without Point,n* out that a careless looking, nonchalant handling of the deck in vour hands or on the table, is .n my opinion essential, as is the plov oí le n -ing the deck in a spectator's hands under such pretenses as having him look at the cards and think of one. or asking him to make sure his card is still in the deck, etc. That's what really foils people, leading their thoughts away from the concept of order, espcdailv if mnemonic and non-mnemonic tricks (that leave the st.,ck intact or nearlv so) are clev erly alternated. Therein lies the strength of the half stack, to which I have devoted much of Part II.

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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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