The point here is to be able, occasionally, to perform tricks that don't make use of the stack, yet to leave it intact, or at least leave the cards in a condition that allows you to reassemble the stack easil\ Phe enormous advantages oí this will be readily understood if I tell you what I often clo. I take out the deck in mnemonic order and start out with .1 couple tit strong tricks, the kind that leave the company frozen in wonder. I then follow with a trick that doesn't use the mnemonic stack and that might, perhaps, leave only a few cards out of place, which are restored to their mnemonic positions with a few simple actions. I continue with a couple of tricks with Mnemónica, and so on. Sometimes I perform a lew effei is in which a good portion of the cards (up to twenty-six) are clearl) shuffled, and then proceed with tricks with the half stack. I he impact, after genuine shuffles have been clone, is extremely strong. Other times I reassemble the shuffled cards to recover the lull stack, using one of the methods I'll explain in this appendix. In this way I can close with one of the great finales that the Nine monica stack provides, such as "l.verything in Order ', "A (¡rand Hrulge Deal" (both on p. 35), " I he Three Piles" (p. 8S), "Sha-la la la-la" (p. 106), "Control in C líaos" (\\ 116) or 'Total Memory" (p. 89), completing a strong and fully realized act.
Another resource I have used extensively to take out two decks at the start, one blue backed and one red backed, t >ne of the decks is stacked and the other isn't. I open with a trick that requires 1 wo decks, which is the motivation for bringing out both* I then alternate mnemonic staik tricks with regular ones, each time using the appropriate deck. You can also do tricks with the stacked deck that minimally disturb the stack, as men Honed above, to mislead the company further. The change of one deck tor
* „her must done casually, without calling attention to it and with both Tl ken! handy on the table. Sometimes, while a spectator examines the 7k with which I have just performed a trick ("to wake sure there aren't any IMe cmisl. I begin another trick with the other (stacked) deck. Thus am able to perform tricks that disorder the whole deck (the unstackcd one') The audience gets the impression that both decks are shuffled and used and that it makes no difference which deck is put to work. In this way you are not forced to do several consecutive tricks that rely on the stack which can be dangerous, given that some people can be very analytical or intuitive, and can "smell" a stack. I generally prefer, however, to use just one deck and do tricks that don't alter the stack.
Although the reader will find many tricks on his own that don't disturb the stack, or that only displace a few cards, here is a brief list of those I have found and sometimes use.
a. Those tricks in which only a few cards are used, such as The List Trick of Dr. Jacob Daley (done, in this case, with two black cards and two red cards), Oil and Water, Twisting the Aces, the Collectors, Cannibal Cards and Ace Assemblies.
b. Revelations of a selected card.
c Cards that travel to an impossible location, such as Card to Pocket or Card to Wallet d. Triumph and Topsy-turvy effects. These are very good in this context. since the impression of chaos they give to the order of the deck is extremely misleading when a stack is preserved.
e. Ambitious Card, Elevator Cards and the like.
f. Rising cards and animated cards.
g. Card penetrations or escapes (from a silk, a rope, an envelope, a pocket, a card case, etc.).
h Twcxard transpositions.
' -*veral vcrMons of Everywhere and Nowhere, like "The Hypnotic
Powers of the Jokers" from my book Sonata. I- Color changes, vanishes, etc.
ar Ther"arealsoa great many tricks that leave the half stack intact, but they th" ***mero^hat one could as easily put it the other way around, saying thint r V'me tnCkS in which a* whole order of the deck is destroyed (I they amount to less than a quarter of known card effects).
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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.