! For some years now, I have been using a sequence of effects based on Juan Tamariz’ Mnemonica stack1. I have described parts of the routine to some friends, or during workshops, but I have never really taken the time to describe the entire sequence and its details.! Although the Mnemonica stack is used, you don’t need to know the stack. You just need to order the deck correctly, perform the described moves and actions, and the routine will work automatically. I hope these effects will make you more interested in the fascinating subject that is stack magic.

1 described in detail in his book Mnemonica, available in English from Hermetic Press.

Table of Contents

................................................................................Preparation! 3

...............................................................................First Chance! 5

....................................................................Illusion or Reality! 8

...............................................................................Four Errors! 12

.....................................................................Kingdom Hearts! 17

...........................................................................Shuffle Bored! 25

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Preparation

! The order of the Mnemonica stack has been modified to allow you to perform the five effects. Here is the order of this modified Mnemonica:

3� 2� Q� J� 2♠ Q� 9♠ 3♠ 5� 9� 6� K♣ 4�Q♠ J♠ 8♠ A♠ 5♠ 9♣ 6� A♣ Q♣ 4� 10♣ 7� 6♠4♠ 5� A� 10� 10� K� 7♠ 8� 7� 2♣ 2� 7♣ 4♣3� 3♣ 9� J♣ K♠ K� 6♣ 10♠ 8� 8♣ A� J� 5♣

! 9��is a key card, a breather crimp allowing you to cut under the card. Q♣ has a corner crimp on its bottom left corner, allowing you to cut above it.

! It is possible to reach the modified Mnemonica order from the original Mnemonica (and thus from a new deck). Here are the actions to achieve this:

• Move A♠ between 9♣ and J♠. Take the first four cards of Mnemonica (4♣ 2��7��3♣), arrange them in the order 3♣ 4♣ 2��7�, and place this 4-card block between J♣ and 7♠. This step prepares the deck for the “Four Errors” effect.

• Move K♠ between 3� and 8�, then move K♣ between 3♠ and 8♠. This step prepares the deck for the “Kingdom Heart” effect.

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• Swap Q��with 7♣. Cut 9� to the face of the deck. Holding the deck face up, cut under 7♣ and put these 7 cards face up on the table. Then cut under 8��and put these 37 cards face up on the packet on the table. Finally, put the 8 remaining cards on the packet on the table. This step prepares the deck for the “Illusion or Reality” effect.

• Holding the deck face down, take the top card (7♣) and place it 4th from the top. Take the bottom card (Q♣) and place it 3rd from the top. Cut the top 6 cards under the deck. The left thumb pulls the top card (A�) in the left hand. Then, take the top and bottom card at the same time (the left thumb pulls the top card while the left fingers pull the bottom card); repeat this action 5 times. The 13 cards in the left hand are then placed under the deck. Cut the top 13 cards to the bottom. Invert the top 26 cards and put these 26 cards under the deck. Do a partial OUT faro on the top 13 cards, then a full IN faro. This step2 prepares the deck for the “First Chance” effect.

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2 Denis Behr described a similar procedure, under the name “Tantalizer”, in his book Handcrafted card magic, available in English. When I met Denis, we realized we had found the same sequence independently.

First Chance

Effect! A spectator chooses a card that is then lost in the deck. Thanks to a progressive elimination, the magician produces the selection.

Method! The original effect, “Last Chance”, is by L. Vonsburgh Lyons3. The idea is to control the selection 22nd from the top, then to deal the cards into two piles. Since the actions of this effect are always the same, despite the appearance of chaos, you can preserve the order of the deck during this effect.

! Start by forcing Q♣. Thanks to its corner crimp, you can easily secure a break above the card, then perform a stop force, or even better a variation of the classic force by Dani Daortiz4. Once the spectator has seen his card, place it back where it came from. Q♣ is now 22nd from the top and you are ready for the revelation.

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3 published in The Jinx n°54.

4 his technique is described, in English, in Utopia, available from Essential Magic Collection.

! Hold the deck face down and deal 2 piles regularly, the 1st card going to the spectator. When the deal is finished, take your half and deal again, still

starting with the spectator; his new cards are piled above his first packet. Deal three more times (5 in total), always starting with the spectator who will have more and more cards, while you will have less and less, until you are left with only card. Turn your card face up: it is, the selection Q♣.

! To finish, place Q♣ under the deck. The deck is now in the following order:

7♣ Q� Q♠ 10� 6♣ A� 9� 8� 6♠ 5♠ 9� 2� J�3♠ K♣ 8♠ 6� 10♣ 5� K� 2♣ 3� K♠ 8� 5♣ J�8♣ 10♠ K� J♣ 3♣ 4♣ 2� 7� 7♠ 10� A� 4♠ 7�4� A♣ 9♣ A♠ J♠ 4� 6� 5� 9♠ 2♠ Q� 3� Q♣

Note! If you want to, the force of the selection can be replaced by a free choice, by adding some sleight of hand.! Start by cutting Q♣ (corner crimp) to the bottom of the deck. Spread the deck face down between your hands and

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have a card selected. Once the spectator has taken his card, your left fingers push the bottom card of the deck into the place previously occupied by the selection. Square the deck.! Ask the spectator to replace his selection anywhere in the deck, and control it to the bottom of the deck by using the Perpendicular Control5.! Finally, cut 5♣ to the bottom of the deck. The selection is now 22nd from the top, ready for the revelation. Perform the sequence of deals described previously; you will end up with only card in your packet, and it will be the selection.! To rearrange the deck, place the selection on top of the deck. Hold the deck face down in your left hand and hold a break under Q♣ (corner crimp). Do a slip cut to place the selection at the position of the break. When the right hand approaches its packet from the left hand to square the deck after the cut, the right fingers pull and tilt Q♣ (bottom card of the right packet) and slide it under the left packet6.

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5 this move invented by Juan Tamariz is described in his book Sonata, as well as in Mnemonica.

6 this move is basically Frank Kelly’s bottom placement, described in Tarbell Course in Magic - Volume 3 by Harlan Tarbell.

Illusion or Reality

Effect! The spectator cuts the deck in half and magically produces the four queens.

Method

! This effect is my adaptation of a Peter Duffie7 trick to the Mnemonica.! Put the deck face down on the table and ask a spectator to cut half the deck and keep it. Take the bottom half and transfer the bottom 3 cards to the top; to do this you can do a pass (it is not very difficult at this moment of the effect since there is no tension on you yet) or do a double undercut. Here is a nice idea by David Jones to cover that transfer: I ask the spectator to cut about 26 cards and after he cuts I take the remaining cards, quickly thumb through them, pretending to count them (of course I’m just giving myself the opportunity to get a break under the bottom three cards) then say something like “Pretty close”, and just cut packets to the table, finishing with the last three cards. !

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7 “Illusion versus Reality”, described in Card School by Peter Duffie.

! Ask the spectator to turn his top card face up: it is 7♣. Pretend to do the same but do a double turnover, showing 3�.

Ask the spectator if he sees the coincidence. Of course, he will not understand what coincidence you are talking about. Explain it may be an issue of

perspective, of point of view, and that maybe if the spectator was in your place he would understand better. To illustrate this, ask him to turn his top card face down on its packet, and do the same by turning your double card face down on your packet.! Put your packet in front of him on the table and take his half. Ask him to turn over his top card: it is Q��! Do a double turnover with the top 2 cards of your packet, showing the other red queen, Q�! Now the spectator sees the coincidence

you were talking about. He places his Q�� face up on the table and you place your double card face up somewhere on the table.

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! Offer to repeat the effect, and repeat exactly the same actions. The spectator turns over his top card (3�) and you do a double turnover (10�). Ask the spectator if he sees the coincidence. Explain it may be an issue of perspective, of point of view, and that maybe if the spectator was in your place he would understand better. To illustrate this, ask him to turn his top card face down on its packet, and do the same by turning your double card face down on your packet.! ! Put your packet in front of him on the table and take his half. Ask him to turn over his top card: it is Q♠�! Do a double turnover with the top 2 cards of your packet, showing the other black queen, Q♣! Now the spectator sees the coincidence

you were talking about. Take Q♠� from the spectator and place it face up on the double Q�(7♣). Then put your double Q♣(3�)�on Q�.

! To finish, put his half on yours. Hold the deck face down in your left hand and secure a break above the bottom 5 cards. Cut off the top 4 cards (cut under 9�, the breather crimp) and put this packet face down on the table. Take the Q�(7♣)/Q♠ group and put it face down on the packet on the table. Cut at the break and put that packet on the one on the table. Take the

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Q♣(3�)/Q��group and put it face down on the packet on the table, then put the left hand’s cards on top of everything.

! The deck is now in the following order:

4� 6� 5� 9♠ 2♠ Q� 3� Q♣ 8� 6♠ 5♠ 9� 2�J� 3♠ K♣ 8♠ 6� 10♣ 5� K� 2♣ 3� K♠ 8� 5♣J���8♣ 10♠ K� J♣ 3♣ 4♣ 2� 7� 7♠ 10� A� 4♠7� 4� A♣ 9♣ A♠ J♠ 7♣ Q� Q♠ 10� 6♣ A� 9�

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Four Errors

Effect! The spectator is invited to cut to the 4 aces. Unfortunately, he cuts to 4 indifferent cards. But it then appears that the values of these indifferent cards actually lead to the 4 aces!

Method! This effect is inspired by an original routine by Arnaud Chevrier, in which he produces 4 indifferent cards then finds the 4 kings by counting as many cards as the values of the cards produced in the first place. I changed the progression of the routine: it is the spectator who cuts to 4 random cards, the values of which then revealing the position of the aces.

! Start by cutting 3♣ (32nd in the deck) to the top of the deck. Ask the spectator to help you cut to the aces. The following procedure is a cuting-to-the-aces sequence by Jim Surprise8, used here to produce the top 4 cards. Put the deck face down on the table and ask the spectator to cut the deck roughly in half. The top half (now D) is placed to the right of the bottom half (now A). The spectator then cuts the bottom pile A in half, then the top pile D in half, creating 4 packets A, B, C and D.

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8 described on p. 91 of Card Cavalcade by Jerry Mentzer.

!! Take D in the left hand and hold the top card positioned slightly to the right and forward. The right hand then takes C’s top card and put it on the left hand’s outjogged card, then B’s top card, then A’s top card.

! The right hand takes the 4 outjogged cards and the left thumb pulls them one by one onto the left packet, holding a break under the 4 cards. The right hand turns the top card face up, showing 3♣, then takes the 4 cards above the break as one and puts them on the A packet, whilst at the same time spreading it slightly toward you. Then the right hand turns

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over the left hand’s top card (4♣) and puts it face up on B while spreading it slightly toward you ; same thing for the next card (2�), which is placed face up on C. Finally, the right hand turns over the left hand’s top card (7�) and puts the whole packet to the right C. The spectator has cut to 4 seemingly random cards, none of them being an ace.

! Take the 4 face up cards and line them up in the order 3♣ 4♣ 2� 7�. Take A in the left hand and hold a break under the top card; take D in Biddle grip with the right hand; the right hand approaches its packet closer to the left hand and steals the card above the break, then goes to put its packet on C. While the right hand gathers C, the left hand holds a break under its top card. The right hand puts its packet on the one in the left hand and leaves it there. The right hand, now empty, goes away to squares B, then comes back to the left hand to

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take all the cards above the break and puts them on B, then puts the whole block on top of the left hand’s packet.! Explain to the spectator that since he cut to 3♣, you will count 3 cards from the top, turning them face up one by one; the 3rd one will be A�. For 4♣, count 4 cards, the 4th one will be A♣. For 2�, count 2 cards, the 2nd one will be A♠. For 7�, count 7 cards, the 7th one will be A�.

! To reorder the cards, perform the following actions. Make a remark on the spectator’s ability to find the aces; at the same time, take A♠ and show it to the audience, then relax your hand to put A♠, almost absentmindedly, somewhere else on the table. Take the A� packet and put it on 9♣, put these cards on the A♣ packet, then on the A� packet. Put these cards face down on the deck and cut under 9� (breather crimp). The right hand scoops up 3♣ 4♣ 2� and 7� in the order 4♣ 2� 7� 3♣ (from the back) while the left hand secures a break under the

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top 2 cards. The right hand puts its cards face down on the deck. Finally, take A♠ and insert it inside the break. In the end, the deck is in the following order:

4♣ 2� 7���3♣ 4� 6� A♠ 5� 9♠ 2♠ Q� 3� Q♣8� 6♠ 5♠ 9� 2� J� 3♠ K♣ 8♠ 6� 10♣ 5� K�

2♣ 3� K♠ 8�� 5♣ J� 8♣ 10♠ K� J♣ 7♠ 10� A�4♠ 7� 4� A♣ 9♣ J♠ 7♣ Q� Q♠ 10� 6♣ A� 9�

! At this moment in the routine, the order of the deck is the very close to the original Mnemonica stack. Except for the two black Kings, and the swapped 7♣/Q�, the deck is stacked. In fact, the entire first half of the stack (except for the misplaced K♣) is exactly in order, thus allowing you to perform various effects needing only the top half of the stack9, or to adapt certain effects needing the whole stack.

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9 effects using only the top half of the stack are the subject of Chapters 8 and 9 in the book Mnemonica by Juan Tamariz, available in English from Hermetic Press.

Kingdom Hearts

Effect! The magician produces all the Hearts from the deck, in numerical order.

Method

! This is the first effect I thought of using the Mnemonica and the one that motivated me to find other routines to perform first, as this effect destroys the order of the stack.! Here is how to produce each Heart from the deck:

A�! Do a bottom slip cut. Here is a brief description: the left hand holds the deck face down in dealing grip, the right hand comes over the deck in

Biddle grip, the right thumb takes all the cards except the bottom one and the right hand does a swing cut then shows the bottom card of its packet.! The left hand takes the ace and puts it face up on the table. Finally, the right hand replaces its packet between the left hand’s bottom card and the left packet.

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2�! Turn over the top card, 4♣, it is a mistake. Perform J.K. Hartman’s Blow Away Change10 to transform 4♣ into 2�.! Instead of a change, you can simply do a double lift, showing 2�, then use a Kardyro-Marlo11 move to get rid of the card at the back of the double.! Finish by putting 2��face up next to A�.

3�! Do an estimated cut of half the deck (27 cards) to cut under or above 3� then show the card to the audience. As with any estimated cut, you

have a small margin of error, more or less one or two cards, that can be corrected by doing a double or triple lift.! Put 3��face up next to 2�.

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10 described in Card Craft and After Craft.

11 described on p. 230 of Reputation Makers by Harry Lorayne.

4�! Cut 9� (breather crimp) to the bottom of the deck. Count 4 cards from the top, putting them one by one face up on the table; the 4th one will be 4�.! Put 4��face up next to 3�.

5�! Take a break under the top 2 cards of the deck. The right hand takes the counted cards on the table and puts them face down on top of the deck. Do a double under cut to transfer the top 5 cards (cards above the break) to the bottom of the deck. Turn the top card over, it is 5�.! Put 5��face up next to 4�.

6�! Explain that you found the Ace, whose value is 1; illustrate your words by taking one card from the top of the deck and putting it face up on the table. Then you found the 2�, so you take 2 cards from the top of the deck (without changing their order) and put them face up on the first one; then take 3 cards for 3�, then 4 cards for 4�, and finally 5 cards for 5�. The last face up card is 6�.! Put 6��face up next to 5�.

! The face up pile is placed under the deck. 8♠ is now the bottom card of the deck.

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7�! Turn the top card over to produce 7�; you end up with 10♣ instead. Act as if you trying to cover your error, and explain: “I just found the 6� and right here it is a 10; 10 + 6 = 16; 16 is written with a 1 and a 6, and 1 + 6 = 7! Ok, I admit it, it is far-fetched... But 10 and 6 really add up to 16!” Then count 16 cards from the top; the 16th card is 7�.! Put 7��face up next to 6�.

! Replace the counted cards on top of the deck, then 10♣ on top of everything.

8�! While putting the deck face up on the table, explain that you must now find the 8. The audience sees 8♠ on the face of the deck, you realize that and say “But not this 8; the 8 of Hearts.” Take the deck face up in your left hand, turn the hand so the deck is face toward to the table and count 8 cards one by one

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from the face, letting the cards fall face down in a pile on the table. Turn your hand to bring the deck face up again, revealing 8� on the face of the deck.

! Put 8��face up next to 7�.

! The counted cards are placed back on top of the deck.

9�! With a double undercut, transfer the top 2 cards to the bottom of the deck. Turn over the top card, 9�.! Put 9��face up next to 8�.

10�! Do an estimated cut of about 18 cards, to cut under or above 10�, then complete the cut. Adjust and correct any mistakes with a double or triple lift to reveal 10�.! Put 10��face up next to 9�.

! (7♠ is now on the face of the deck)

J�! Cut above Q♣ (corner crimp) and complete the cut. Spell JACK by taking cards one by one (without reversing their order) and show the next card, J�.! Put J��face up next to 10�.

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! The cards used for the spelling are put back on top of the deck.

Q�

! Do a bottom slip cut (as described for A�).! Put Q��face up next to J�.

! The right hand replaces its packet between the left hand’s bottom card and the left packet.

K�! Under cover of an overhand shuffle, transfer the top 3 cards to the bottom of the deck. To produce the last Heart, the King, offer to spell its full

name, THE KING OF HEARTS. Deal a first pile to spell THE, counting 3 cards one by one, face down on the table. Deal a second pile (to the right of the THE pile) for KING, counting 4

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cards. Deal a third pile (to the right of the KING pile) for OF, counting 2 cards. Deal a fourth pile (to the right of the OF pile) for HEARTS, counting 6 cards. Put the rest of the deck aside. Turn over the top card of the HEARTS pile, it is K�.

! As a final bonus, turn over the top card of the THE, KING and OF piles, revealing the 3 other Kings.

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! After this finale, the stack is destroyed... almost. Take the 4 Kings and put them face down on top of the deck. Gather the 4 spelling piles and put them on the deck as well. Gather the Hearts from Ace to Queen and put them under the deck. Despite the apparent chaos of the deck, you are ready to perform the next effect, “Shuffle Bored”.

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Shuffle Bored

Effect! The classic “Shuffle Bored”12 effect by Simon Aronson.

Method

! After “Kingdom Hearts”, 9� (breather crimp) is 29th from the top. Cut under 9� to create 2 packets and follow the standard procedure of “Shuffle Bored”. For the ending, your 4 predictions will be:

• There are 29 cards face down.• There are 18 black cards.• 11 Diamonds are left.• Except for K�.

Note! I suggest you also study Aldo Colombini’s version, “Pre Deck Ability”, which contains a very funny revelation for the final card.

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12 described in his book Shuffle Bored, as well as p.144 of his book Bound to Please.

Credits

Thanks to my aussie mates Brad Benson, Edward Colussi and David Jones for their precious help in proofreading and

correcting my English.

Thanks to Denis Behr: his amazing magic database helped me find sources and references for many moves and routines.

www.VincentHedan.comcontact@vincenthedan.com

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