Tamariz Stack

As you can see, the cards in the first column match, in color and value, those in the second column; they are mates. They are also either thirty-five cards apart in the stack, or seventeen, according to where we cut. That's the feature that makes this simple effect possible.


111 describe the trick as I present it.

Cut the 2* (10) to the bottom. Explain that you're about to cut the deck into three piles of approximately the same size, for an experiment in the power of coincidence. Cut under the 3 V (28). Spread this packet of eighteen cards face down across the far side of your performing area, moving from left to right.

Cut off a pile of sixteen cards from the deck, cutting under the 9* (•«' and spread these cards behind the first spread (in other words, nearer you), double cut the top card of the deck (the J«) to the bottom and spread all rema.nmg cards behind the previous spread, also face down. aJ\\ T PTt'th0 Cards in lhe first column of the table shown above oml l P0SÍ,ÍOnS from the toP of the first spread pile. Their mat« «cupy^he same positions in the third spread pile richiTJ jiu r Were to the same odd number of cards from t* ,ZTol K fÍrSt and third >'ou would arrive at two mates. fl* cCnuZ ;PPOn Íf y°U Were to counl - both these rows to the «me

The seriinH Slart'n8 from the ,eft of the spreads, ^ve a S Whkh Consists of sixteen cards, could be used »

'H-^ber ZITl 3 nUmber from to sixteen and count to ** The effect o»er hV0 Sprcads lo discover a coincidence: mates-

presentation is odIT fateresHnB if you repeat it a couple of *** ^

open to your imagination and creativity.


15. THe Good Fortune Routine

even well-versed mag.c.ans are astonished when they sec- i. And v, toid them it was done with Mnemonics seme found it hTrd ,o Mi e" effect

You offer to tell the spectators their fortunes, using the cards and the method of coinadences". Spectators ask what the future will bhn>> regarding love, health and money (one question at a time). Then thev choose a number from one to seven and you show that the cards Iving at that number in two previously cut piles are mates. This is repeated twice, and the spectators begin to gain a new interest in their fortunes. Surprise and emotion build. Finally, you ask two questions about your own fortune, and the best result possible turns up: two pairs of Aces. The ultimate good fortune!

The repetitions, the clarity of handling, the fact that the mates prove to be at the numbers called while the other cards aren't mated, the attractive premise and the situations created, all make this effect one of the most unforgettable an audience can experience.

METHOD Phase One

Cut the A* to the bottom. Cut a packet off the deck, leaving everything below the 2* on the table. Cut the top card of the packet you hold (the 9*) to the bottom of that packet. Cut at the 2*, lifting away it and all the cards above it, and leave the lower portion on the table. Cut the top card of the packet left in your hands (the J4) to the bottom. As a result you now have three piles whose bottom cards are the J* the 94 and the A*. Push the A4 pile to one side.

Take the packets that have the 9* and J* at the bottom, one in each hand, holding them with your palms turned downward, as if you were about to perform the glide. Turn both hands palm up, exposing the jack and the Nine.

Ask someone to name a subject of personal concern, such as love, money, health or business. Next have her choose a number from one to seven. Let's say she chooses five (an odd number). Counting "One aloud, turn your hands palm down and the packets face down, and thumb the bottom cards of both packets (the Jack and the Nine) onto the table leaving them separated and face down. Push off the next two cards (two Deuces) without showing them, on top of the Jack and the Nine, counting Km Deal the next two in the same way always from the bottom (^N'mean a King), as you count "Three." Continue in this way until you hase dealt

five pairs of cards, the last one consisting of an Ace and a Ten. Tap ^ . packets against each other and turn both hands palm up. The two card! exposed on the faces of the packets are seen to be mates; in our exampfc the two red Sixes. That's the first coincidence: great fortune in her cho^ field. (If she had named an even number, such as four, the tap of the pact ets and the revelation of the mates are made as you say "Four" and befo* you push off the bottom cards. The two packets are turned up and the Girds on their faces, the two red Fives, in this case, are shown to match We owe this coincidence to the fact that every other card—those at evn positions—in each packet matches its counterpart in the other packet.

While your hands are palm up, push the two red Sixes face up ontofe packets on the table. Two non-matching cards are exposed on the fac*$o( the packets. This is the fundamental misleading feature of the trick.

Ask another spectator to name an aspect of his life he wishes to krew about, and to name a number from one to seven. All previous actions art then repeated: turning the hands, pushing off the bottom cards at the court of one (dealing them over the red Sixes), and so on until you reach the number called for (Fig. 39). If the number is even, two new mates will be at that point; therefore, you tap /¡^¿^^■^■■■■■■■■^■S the packets before showing the cards at that number. The tap and the pause misdirect from the fact that sometimes you show the cards lying at the exact number, while at other times you show the ones following it At this point I usually ask what subject (love, money, business)

he has chosen.

For a second time you have sh(nvn a coincidence of mates, Indicat3ng good fortune in the chosen area of life, and those cards are dealt, as before, face up the tabled packets (fig. 40), <*P°*ng ^-matching cards on

^ faces of the packets. Ask for

3 th,rd number and follow the same procedure.

finally continue dealing face-

n without showing ^^as you sayriwiiS

Mnemonica S 73

my own fortune with the last cards." When »here **

hand, tap those two against each other and turn thZ, ** **

them face up on top of their respective pa, Ms ThoJh ' '

note i

Since every other pair doesn't match, you could strengthen the effect by occasionally raising your hands, as if absentmindedly. and let them J some of the unmatched pairs before dealing them.

note ii

If you decide to finish here, all you have to do to recover the mnemonic order is tum over the cards that are face up, leaving them where they lie in their piles. Bring the J* to the top of its packet, leaving the 2* on the bottom. Drop this packet onto the other and bring the bottom card of the combined packet (the 94) to the top. Put this packet onto the portion you set aside earlier and the stack is whole again.

Phase Two

Turn the sue face-up cards face down in place in their piles Then *>t aside the packet with the 94 at its face. Pick up the packet with the J* at the face and cut three cards from the bottom to the top, bringing th<- ^ to the face.

Pick up the third packet (the one not used in Phase One, with the A4 on the bottom) and do a Klondike shuffle, milk shuffle—or a milk-build overhand shuffle as follows. Take the packet into position for a face-down overhand shuffle and draw off the top and bottom cards together Draw off the next cards from the top and bottom, and let them settle onto the first two cards. Continue in this way until all the cards have been pulled off in pairs. After this shuffle, cut the top card (the to the bottom, leaving the J4 on top. juDB

Take this packet into one hand and the 5* packet into the other, in the same position used in the first phase. With these packets, you explain, you'll do it all over again, but you will also test your own fortune.

Til say a number: two.for example." Deal, as you have before, a card inm the face of each packet onto the table: "One On counting 'Two, deal the next two cards, one from each packet, side by side to the nght of the two previous cards, without showing their faces. These are the black Aces

Ask for a number from one to *vea Perform the ncc^sa/y actions (to the same pattern as before) to reveal a new coincidence, leaving me matches face up on the packets on the table a r _ . .

Note these t wo card. One of them will be one of the the stack (the 44,2% 713* or 4?); or if »01 be the Ust one ,n the stack (the

9» Continue dealing from the bottom of both packets (without shoWln„ ,, ,s) until you reach the A* This is simple: If the face-up card y„u not,h" ;;v thc 7t you should deal the 2T I* and 9t Ihe AV,s poised to gp Stop the deal at this point and say, "¡feel something herr, loo." IUll1l M((j (the AV), along with the corresponding card from the other packet (the At), behind thc two black Aces at the right of the dealt piles, without showing their faces.

Ask for another number and reveal another coincidence at that position. Turn over your two pairs of "fortune" cards, two cards at a time, revealing the four Aces: the ultimate in good fortune (Fig. 41).

Notf. III

To recover the order of the whole deck, pit k up the spread packets with both hands, turning over those cards that are face up while leaving I hem in place. Pick up the packet with the at the face and cut the <>t and 2t from the top to the bottom. Lay this packet onto the one sitting to one side, with the 9* on the bottom. Pick up the combined packet and cut the bottom card (the9») to the top. Now pick up the third packet and turn it faceup The KV is at its face. Put the At between the Kt and jt Transfer the K*" the rear, then deal the cards alternately into two face-up piles while you point out, "As you see, it's impossible for Ihe cards to match in color and just by chance." Deal very quickly and mumble the comment, almost >'

speaking to yourself. Pick up the smaller pile, that with the J* on il-and reverse the order of its cards by dealing them singly Onto the pile *» »he K* at its face. Put the A4 onto this pile, turn the pile face down ay it onto the remaining large portion. Everything is now in order e*«£ ,0r Ac«' "hich you can later return to their positions by any <>'

methods described in Appendix VI (p. 333). M


Remembering all the necessary actions is an easy matter. Let'* ** ^ k !?d°" 10 CUl at t^ A4 Now cut at the 24 (cutting one ' ;nd « the 24 (cutting another card to the

'«maint T " ^ "C"nd do the Klondike Ruffle

" * Pack'( The reassembly of the deck into mnemonic <*»

Mnhmonm a / 75

h>' '^n^ y;: plCk M? ,,U' '""«P " you try I, with, ards in hand/ you will readily w what to do,

Note v

Instead of the Klondike or milk-build overhand shuffle you cm do ,n out-faro with the A* packet. After the shuffle, c u! the top ,ard (the 3¥,,, the bottom. You .ire now in position to mveaj the coin« idenn* with thin packet and the one carrying the r>V ,is it.» bottom card. Norn vi

If you want to end the first phase with the double coincidence you can do it with the four Queen* instead of the Acc% IWare in the setund .«fid third positions from the bottom in each ojf the two pa<ket* in uw Note VII

I he second phase of the routine will also work with the pa< ket given the Klondike shuffle and the packet that was not used in this e>p|,»natK.n (that containing the K4 and In this case, cut the 2* to the bottom of that packet. Hie packet given the Klondike shuffle is held fan- up during the shuffle, which brings the J* to the face of the pile Turn the pile face down and cut two c ards from the bottom to the top, bringing the 7+ to the face. The four Kings will now turn up at the end, instead of the A< es It's an option to keep in mind/ aft it allows you to have one of the p&ckeU freely selected.

Note viii

I don't know if you can make use of this, but let me telJ you about one last discovery. I he out-faroed A* packet and the one with the Y ♦ and J happen to contain a striking coincidence After cutting the 24 to the face of this Kings packet/ the < «»rds that aren't mate mate he* In both pa c ket» are "sisters" or pairs of consecutive card* in their suit A* and 24, and r>t. 6V and 7¥, 34 and and so on to the J4 and 04

This means that in the same faro-shuffled packet with the A* .it its face, the cards at even position* from the face are mat**, of those at even positions in the 24 (or Kings) packet, and the card* at odd position* in the iarovd A 4 packet are mates to those at even positions in the pactel, as well as "bisters" of those at odd positions in the 24 packet I /eali/e this sounds very complicated, but if you take the time to try it out you'!I

quickly understand the point i'm making

This array of extremely curious properties of Mnemo/.ica leaves even its author dumbfounded. And there are *«IJ many more wonder, to dis cover. This is an invitation to an rxpk^lion and a c re,Hive dame enjoyed in the reader's mind.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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