ERIC RICHARDSON

1
 GUIDE

PACKED [5]

ROAD READY [7]

TRAVEL TIPS [10]

SECTION 1: ROADS LESS TRAVELLED

CHAPTER 1: SIGHT SEEING

MOCKINGBIRD ACES (2 variations) [17]

AIR-TIME ACES (2 variations) [22]
THE SYSTEM [27]
ROYAL FLUSH PRODUCTIONS [40]
SOLUTIONS [44]
THE JACKS [47]

CHAPTER 2: DETOURS

RUBBED AWAY (Joel Givens) [52]

WHAT THE DEVIL? [56]
P.A.C. MAN POKER [63]
A DECK SWITCH (Giles Cartwright) [70]
EXPRESS LANE [72]
ROYALLY ASSEMBLED [81]

2
CHAPTER 3: NAVIGATION

THREE MORE HOURS (Paul Thomey) [88]

JAN’S EYES (Jan Forster) [91]
ULTRA-MENTALLY CHALLENGED (Tyler Wilson) [96]

SECTION 2: DREAM DESTINATIONS

CHAPTER 4: GPS

NEW DECK ORDER TO ARONSON STACK [107]

CHAPTER 5: UNPACKING

ARONSON STACK TO NEW DECK ORDER [136]

CONCLUSION [153]

APPENDIX 1: NDO TO ARONSON STACK CHEAT SHEETS [155]

APPENDIX 2: OTHER CHEAT SHEETS [157]

APPENDIX 3: QUESTIONS AND ANSWERS [158]

3
THIS WORK IS DEDICATED TO
SIMON ARONSON

SPECIAL thanks
SIMON ARONSON
JOSHUA JAY
JOEL GIVENS
TYLER WILSON
JAN FORSTER
PAUL THOMEY
DENIS BEHR
GILES CARTWRIGHT

COPYRIGHT
2013

4
 Packed
dgdf

I live in Paris, France. I love the city and all of its sights. I enjoy watching people—especially tour
groups and the guides who lead them. One thing I have noticed as I observe tour guides is that not all
tour guides are created equal! I love watching a skilled and passionate tour guide. A really good tour
guide can have the group hanging on their every word. The group trusts the guide, they laugh at his
jokes. They are fascinated with the interesting things he reveals. They willingly follow him wherever he
decides to take them. They are happy, amazed and enlightened. I see many parallels between an
expert tour guide and an expert performer. My goal is to create and perform routines that allow me to
take my audiences on a tour of a magical world. The Aronson stack is an integral part of the methods I
use to give memorable and magical tours for my audience to experience.

I will try my best to be a great tour guide for you as we take a secret, behind the scenes, tour of the
Aronson stack! As your guide I hope to share my passion for card magic and the Aronson stack with you
and I hope it will be contagious! I have big plans for us on this tour. I will show you some fascinating
things—some never seen before! I plan to take you to secret places off the beaten path. It will be well
worth it. Trust me!

Our tour will begin in Section 1 which contains a wide range of tools and routines. There are routines
here ranging from four-of-a-kind productions to stunning mind-reading effects. I am so pleased that this
section contains extra routines and ideas from friends and fellow Aronson stack enthusiasts. To them I
offer a huge thank you for their generosity and insights into the stack.

Later we will visit Section 2 which contains something that I suspect will generate a lot of interest. I will
introduce my system and routines for going from new deck order (NDO) into the Aronson stack and for
going from stack back into NDO. Let me assure you that these methods and routines are completely
practical. I use them for real-world performances. I am excited to share my secrets with you!

This book is somewhat divergent from the prior two volumes (It All Depends and Oasis). In my previous
books, there was absolutely no need to have the Aronson stack memorized. All of the routines could be
performed simply with the deck in stack order. The order of the cards did all the work. While this book
contains routines that fit into this category it also contains routines and procedures that require the
deck to actually be memorized.

There are other differences as well. As I have written this trilogy on the Aronson stack, I have
endeavored to build upon the material shared in each previous book. It All Depends is a book full of
routines for someone just starting their explorations with the stack. OASIS is more advanced in its
routines and more varied in its themes. I included routines that increased in complexity, stack
management and sleight of hand skill.

5
This book is about providing the Aronson stack user with tools and systems that can be used and
combined in various ways to create many different kinds of effects. Some of the more subtle qualities of
the stack are highlighted in more advanced routines. These discoveries are the results of a deep study
of the stack over a long period of time. While not every routine requires advanced skill with cards, I do
not shy away from incorporating sleights with the stack. I think a stack and sleights can be combined in
powerful ways!

I have had a great time developing these routines and ideas for my own use and I am excited to share
them with you now. I hope the material in this final installment of the trilogy inspires you to create and
perform powerful and entertaining magic with the Aronson stack.

Amazing things await us. Let the tour begin!

Eric Richardson
January, 2013

6
 Road ready

In OASIS I included a section at the beginning of the book that covered techniques for preparing the
deck in ways that made the effects even easier to perform. These same preparations are also highly
recommended for the routines in this book. Here is the basic set-up I use.

SCALLOP SHORTS

The short card is an invaluable tool for many reasons. The main benefit for stack work is that it allows
you to get to specific places in the deck with certainty and without glimpses or openly looking at the
faces of the cards. By obtaining a break at a short card you can then count or spread up or down in the
deck from that point to locate desired cards for culling, cutting, etc.

I prefer to scallop short my cards. The scallop short simply shortens the center area of the playing card’s
narrow ends.

I scallop short two cards in the deck. I find it very useful to have the JS (1) and the 5D (27) cut short. I
used to have both cut short in exactly the same way. I didn’t find this to be a problem because it is very
easy to know which one you are going for since they are twenty-six cards apart.

Recently I discovered a way to scallop short the two cards so that they can be distinguished from each
other. There are several benefits to this. First, this provides absolute certainty of which card my thumb
has just located without the need to glimpse the bottom card of the deck to get my bearings. With this
technique I can immediately locate either card after the spectator’s cuts without looking at the deck.
Secondly, if I destroy the stack and continue with the shuffled deck I can use the two cards as distinct
key cards without any confusion.

The basic idea is to short less than half of the narrow ends of the cards. Each card is scallop shorted on
the opposite side to that of the other card. As you can see, in the picture below, the two cards are
scallop shorted on opposing sides. The cuts have been exaggerated for clarity. The actual work I put
into the cards is minimal. You don’t need to remove much of the card to get the desired effect.

It is important that when you are cutting the cards, you stop the scallop cut before you get to the center
of the card. If you don’t, the cards will not work properly and you will get false information.

7
You will find that the use of these cards is fairly simple. If you want to find card #1 then run your right
thumb up the left side of the back narrow end of the deck. To find #27 run your thumb up the right side
of the end of the deck. If you have cut your cards well, you should not be getting accidental breaks at
the opposite card’s position.

When I hit upon this idea I felt sure that someone must have already thought of it. I owe a big thank
you to Bryan So for helping track down the proper source. You can find more information on this short
card technique and many other ideas in Gordan Miller’s Anthology of Card Magic (1968) pg. 56.

CORNER SHORT

I also recommend making the 5H (12) a corner short card. Not only will this place another tactile locator
in the deck, but the 5H was chosen for a good reason. Several of the routines in this volume and in
OASIS require the ability to locate this card easily and without needing to spread the deck. Of course
you can put a corner short in any card you wish or opt not to use it at all.

I create the corner short card by trimming the inner left and outer right corners of the card with a sharp
pair of scissors. Corner rounding machines are also commercially available.

SECRET MARKS

A shrewd use of very simple marks on a few cards comes in very handy as well.

I mark the outer left and inner right corners of the AC (10), 5S (20) and 3C (40) in this way:

AC 5S 3C
I mark these cards by scratching off some of the ink with a sharp knife. I also mark them so that they
can be distinguished from each other. This marking system makes locating cards easy.

BREATHER CRIMP

I also recommend putting a breather crimp in the 4S (37). That might seem like an odd location for a
breather crimped card, but I have several reasons for locating it there. Having the 4S prepared is
important for several routines in this book. I also like having a card other than the bottom card (9D) to
be prepared in this way. I can already get the 9D to the bottom by using the short JS. Since I am going
to cut the breather to the bottom of the deck then I would rather have a card other than the 9D be
crimped. Since the 9D is always in danger of being seen repeatedly on the bottom of the deck already. I
don't find that locating named cards with the 4S cut to the bottom is a problem. Adding the breather
crimp to the 4S is completely optional, but I highly suggest adding it to your deck.

8
Here is a brief description of how to create a breather crimp: Hold the card you wish to crimp face down
in your left hand. Pinch it firmly between your right thumb and first and second fingers. The thumb is
on top and the fingers are below. Drag your thumb from the outer left corner diagonally to the inner
right corner. The card will bow as you move your thumb. Perform this same action on the opposite
diagonal, making an “X” on the back of the card. This process creates a card that will remain crimped
and allow you to easily cut it to the bottom of the deck. The crimp is virtually invisible and the creases
along the arms of the “X” don’t need to be dramatic for the crimp to work. The crimp will remain in the
card for the life of the deck, but may need to be refreshed from time to time. (You can find another
description of the Breather Crimp in The Vernon Chronicles Vol. 1, 1987.)

READY TO GO!

In the end you may not want to always use these preparations in your deck. I use them all and I have
found them to be easy to apply and helpful in my magic. I recommend you make up a deck with all of
these ideas for ease in following along with the routines in this book.

9
 TRAVEL TIPS

There are several routines in this book that rely on remembering sequences of moves or shuffling
sequences to obtain a secret setup or obtain some other specific goal. I realize that taken all at once
they could seem overwhelming, but I want to assure you that everything in this book is obtainable and
performable with practice. Since I don’t want you to be overwhelmed I would like to make some
observations about practicing that can aid you with the routines you decide to master.

DECIDE ON ONE ROUTINE: Let me begin by suggesting what is probably obvious and yet from
discussions I have had with other stack workers it bears repeating. Decide on one routine from the book
that really gets you excited and focus solely on that routine. Make notes of other routines you might
want to learn, but only focus on learning one. Once the routine is mastered, move on to another.

ISOLATE AND PRACTICE SPECIFIC SEQUENCES: When working on a routine where a specific sequence,
like a shuffle, is used, it is a good idea to isolate that particular sequence. For instance, when I was
learning the shuffle for getting set up for Josh Jay’s “Royal Assembly,” I created a cheat sheet that I
carried in my pocket. I reviewed it several times a day and practiced with the cards needed for that
specific shuffle. I ran through it every day until it became second nature. I then practiced the full
routine. Nothing disturbs a practice session more than forgetting a shuffle sequence in the middle of
your routine rehearsal. You will make faster progress if you isolate and master the sequences before
attempting to practice the whole routine.

PRACTICE A SERIES: Once you have several routines mastered, run through each routine once a week or
more. The mini practice sessions will keep the routines fresh in your mind and help you to further
internalize them. Even if you stop performing the routine for a while, when you decide to use the
routine again, it will be a much faster task to get the routine back to performance level.

BOTTOM LINE: Having several of these routines in your repertoire at the same time is really not a
problem but it takes time to build up a collection of these routines. You will find that the effort will
benefit you in ways beyond that one routine. For instance, by practicing and mastering The System
(taught in Section 1) you will be able to visualize your stack with an accuracy that is otherwise hard to
obtain.

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 SECTION 1

ROADS
LESS
TRAVELED

11
 SECTION 1
ROADS LESS TRAVELLED

With the Aronson stack it is possible to perform some very amazing effects. These effects are always
ready because they are already set up in the deck. Many of them would be complicated to set up in
performance and therefore less likely to be used together. With the Aronson stack it is possible to
combine many different styles of effects into a card performance. The amazing part is that these effects
are so varied in their themes and magical plots. This gives you a wide range of beautiful magic to
perform between effects that might use the stack as a memorized deck. I believe that the Aronson stack
is worthy of any card magician’s full attention even if they never intend to memorize the stack. The
built-in features and the routines that have been created to utilize them are worth using the stack
whether or not it is ultimately memorized.

It is time to add more to your arsenal of strong magic with the stack. In this section you will find many
different types of effects to suit just about anyone’s tastes.

We will begin our tour with a thorough study of ways to produce any four-of-a-kind easily from stack.
There are some valuable tools here that can be used to create many different effects!

Later, we will take some surprising detours. The Aronson stack contains astonishing things that can only
be uncovered as you follow hidden back alleys and enter previously undiscovered passageways. These
are roads less traveled, but well worth the effort.

If mentalism is your passion, you will enjoy routines by Paul Thomey, Jan Forster and Tyler Wilson. You
will be able to navigate a spectator’s mind and tell them their thoughts at will!

Get ready to see some unforgettable and magical sights on the first stop of our tour!

12
 CHAPTER 1

SIGHT
SEEING

(PRODUCTIONS)

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 SIGHT SEEING

Producing four-of-a-kind is a mainstay of many card workers—with good reason. These productions
can range from demonstrations of deft skill to magical productions. Four-of-a-kind productions are also
very useful because they can introduce an effect that uses a particular four-of-a-kind in a dramatic and
theatrically pleasing manner.

One of the advantages of using a memorized stack is that you can plan exactly how any four-of-a-kind
might be produced or easily culled and controlled. In my previous books I have included some four-of-a-
kind productions, all of them in the context of full routines. I am devoting this chapter to a more
thorough study of the theme that includes many ideas for producing four-of-a-kinds. Here is a brief
overview of the contents of this chapter:

ACE PRODUCTIONS: Several routines are given for quickly and dramatically producing the aces.

THE SYSTEM: Here you will find the system I developed for producing any four-of-a-kind named in the
Aronson stack.

ROYAL-FLUSH PRODUCTIONS: Produce a royal flush in any suit at any time!

SOLUTIONS: Denis Behr's routine for producing four-of-a-kind of any value (known as “Plop”) is
problematic for some values in the Aronson stack. Gathered here are some efficient methods for
dealing with these values. You will also find some new approaches for quickly producing certain values
that use unique features of the Aronson stack.

THE JACKS: Yet even more four-of-a-kind explorations, including a great idea by Joshua Jay.

14
 ACE
PRODUCTIONS

MOCKINGBIRD ACES
AIR TIME ACES

15
 Ace productions

Of all the cards to produce magically, or with overt demonstrations of skill, no cards are more
popular than the aces. Here are several routines that produce the aces in striking fashion:

MOCKINGBIRD ACES
The classic Dai Vernon Ace Cutting routine (from Stars of Magic) meets the Aronson stack. The results
are beautiful!

MBA V2
A variation on “Mockingbird Aces” without advanced preparation of the stack!

AIR TIME ACES

Here we have a fast, snappy series of ace productions done complete in the hands. Perfect for walk-
around settings! Two versions are given.

16
 MOCKINGBIRD ACES
EFFECT

The magician dramatically produces the aces from a shuffled deck!

SET UP

Cull the AD between the 3H and 6C. Cut the 2H to the bottom of the deck. The cull can be done as you
run through the face up deck and say, “Have you heard of Cincinnati Slim? He was a crazy card cheat
back in the fifties. He was legendary with a pack of cards. He claimed to be able to memorize the
positions of all the high cards in the deck just by dropping the cards from hand to hand.” Dribble the
cards into the left hand as you deliver the last line.

ROUTINE

Give the deck a false shuffle and continue, “Several years ago I decided to see if it was even remotely
possible or if Cincinnati Slim was just bluffing to intimidate other card cheats.”

Turn the deck face up and dribble the cards into the left hand as you say, “If I just dropped cards from
hand to hand like this…and told you to memorize the locations of all the high cards you probably
would think it is impossible. Well it isn’t impossible to train yourself to see a particular value. For
instance, try for a two. I’ll drop the cards and see if you can spot one. How did you do? Did you see
more than one of them? Wow, pretty good for a first try.” Usually the spectator will say that they saw
at least one of the twos in the deck. Often they will be surprised by this, especially if they were able to
catch more than one. The point of this introduction is to have the spectator’s experience for themselves
just how difficult what you are about to do really would be. They will experience the location of the
aces on a deeper level because of their personal experience.

Continue, “I have been working on this for several years and I’ll try to get four of a kind.” Turn the
deck face up and dribble the cards into the left hand as you pretend to be concentrating on the cards as
they go by. A moderate speed on the dribble is preferable. You want people to seriously wonder if
what you are claiming is actually possible.

PRODUCING THE AS

Place the deck on the table and say, “I went for the aces! Let’s see if I can locate them because that
would be important for someone like Cincinnati Slim. Look, there is no ace on the bottom and there is
no ace on the top.” Begin by showing that an ace is not on bottom of the deck by lifting up the deck and
flashing the 2H. Turn the deck face down and lift the top card to show it is not an ace (it is the 9S) and
place it back on top of the deck while keeping a right thumb break beneath it.

“Let’s go for the ace of spades first. I think it was right about here!” Cut the 9S to the bottom of the
deck. Continue by using whatever series of false cuts you want. At the end of the sequence the AS will
still be on top of the deck. Turn the AS over and display it. Place it face up on the table.

17
PRODUCING THE AC

Obtain a break under the top three cards. You can obtain this break with a
pinky count as you display the AS and place it on the table. Transfer the 1
break to the right thumb as you place the deck on the table and say, “The
other black ace, the ace of clubs, was about half-way down.” Cut the top
three cards to the bottom of the deck. The AC will now be second from the
top of the deck and the AD will be second from the face of the deck.

Continue, “It should be…here!”, as you perform a slip cut of the top card (it 2
is slipped onto the left hand packet). Push the new top card of the right
hand packet (the AC) forward for about 1/4th of an inch. Use the inner
right corner of the left-hand packet to put downward pressure on the out-
jogged AC and flip it face up [photos 1 & 2] and next to the AS.

PRODUCING THE AD

Perform a Zarrow shuffle under the top card of the left-hand pile as you say, “For the third ace I am
going to make things more difficult. I will track it through a shuffle which complicates things
considerably!” The Zarrow shuffle returns the deck to stack order.

Continue, “I’ll even turn the deck over causing me to have to think in reverse.” Flip the deck face up on
the table and say, “The ace of diamonds was about a fourth of the way down, then the shuffle put
it…and then I flipped…” Allow your voice to trail off as you pretend to be concentrating. Then
triumphantly declare, “It should be here!,” as you perform a slip cut of the 6C onto the left hand portion
to reveal the AD. Use your right finger to push the AD onto the table and next to the other aces.

With the deck face up, Zarrow shuffle the right-hand portion back under the 6C to restore the stack
order. Flip the deck face down.

PRODUCING THE AH

Obtain a break under the top card of the deck. Turn your head away and close your eyes as you say,
“For the ace of hearts I will take this to the extreme. I won’t even look at the cards!”

Cut the card above the break to the bottom and continue with a series false cuts as you say, “This
should lead me to the final ace!” Triumphantly turn over the top card to reveal the 10S.

Let the audience react to the apparent mistake before you look at the card yourself. Finally, look at the
10S and continue, “Oh…well I said it would lead me to the ace. Ten, nine, eight,…”

Drop the 10S on the table next to the three aces and count ten cards off the top of the deck (taking each
face-down card under the last to retain stack order).

Turn over the tenth card to reveal the AH as you say, “...and one…The ace of hearts! I can’t believe it. I
guess Cincinnati Slim wasn’t so crazy after all!”

18
If I intend to continue with some card magic using the aces I transition into it by saying, “That was all
skill, but it can seem almost like magic. Magic though is unmistakably different. Let me show you
something amazing with these aces…”

RESET

To reset the deck, drop the counted cards onto the table and place the 10S on top of it. Drop the rest of
the deck onto the 10S packet.

To replace the aces into their proper stack positions I typically use a wonderful idea by Denis Behr. His
Plop replacement procedure of using breaks and slip cuts to reinsert several cards into their stack
positions is efficient and deceptive. He has graciously given me permission to briefly describe his
technique. (For a more detailed description see Handcrafted Card Magic Vol. 2, pgs. 33-36. By the way,
buy his books! They are truly wonderful and full of great ideas and routines for the memorized deck
along with other great card magic.)

Cut the QD to the face of the deck. Really, any card that precedes an ace in the stack could be cut to the
face. I always cut the QD to the face. Arrange the aces in this order from the face of the ace packet: AD,
AS, AC, and AH. Notice that the AD, AS and AC are in descending stack order.

You will now spread the deck and obtain three breaks; one at each ace’s normal stack position. In other
words, obtain breaks above the 9S, 8D and 3S. The three breaks are obtained as you casually spread
through the deck and are held by the little finger, ring finger and middle finger of the left hand.

Begin by performing a slip cut into the top-most break. After the AD is slip cut to its position,
immediately take all the cards above the next break into the right hand and slip cut the AC into its
position. Finally slip cut the AS to its position. This technique can be used with many effects in this
book.

CREDITS

This routine reproduces the effect “Cutting the Aces” created and popularized by Dai Vernon. See Stars
of Magic, pgs. 27-30.

19
 MOCKINGBIRD ACES
(VERSION 2)

I usually use the original version of “Mockingbird Aces”, but the routine can also be performed without
the cull of the AD. The order of the revelations changes slightly, but it may be preferable to some. I will
briefly cover the handling here, refer to the previous routine for further handling and script details.

SET UP

Cut the 2H to the bottom of the deck.

ROUTINE

PRODUCING THE AS

The revelation of the AS is exactly the same as in the previous routine. Briefly, begin by showing that an
ace is not on bottom of the deck by lifting up the deck and flashing the 2H. Turn the deck face down and
lift the top card to show it is not an ace (it is the 9S) and place it back on top of the deck while keeping a
right-thumb break beneath it. Cut the 9S to the bottom of the deck. Continue by using whatever series
of false cuts you want. At the end of the sequence the AS will be on top of the deck. Turn the AS over
and display it. Place it face up on the table.

PRODUCING THE AC

Get a break under the top two cards and cut them to the bottom of the deck. Perform a slip cut of the
top card onto the left portion. Reveal the AC.

Zarrow shuffle the right-hand portion under the top card of the left hand portion of the deck.

PRODUCING THE AH

You can show that the next ace is not on the top or bottom of the deck by showing those cards. Obtain
a break under the top card of the deck and cut that card to the bottom using any series of cuts and false
cuts you would like. After the sequence, turn over the top card to reveal the 10S. Place the 10S on the
table next to the aces.

Count down ten cards taking each card under the previous card to maintain stack order. Begin the
count with "Ten, nine, eight,..." You will count down ten cards and turn over the next card. Since the
card is revealed one card after the count I think it flows better if the card is revealed by counting down
to zero. At the end of the count, turn over the card to reveal the AH.

20
PRODUCING THE AD

There are many options for producing the last ace. The AD is the fourth card up from the bottom of the
counted cards. Here is just one of many options:

Cut it to the top of the deck as you reassemble the deck after the revelation of the AH. From here you
can use many revelations. For instance, perform a double lift to show an indifferent card and then
transform it into the AD. Whatever revelation you choose to use for the final ace it must be really
amazing to keep the routine building dramatically.

21
 AIR TIME ACES

This is an extremely quick production sequence and the moves should flow smoothly. The script is as
straightforward as the effect. I like using this production when standing away from a table.

EFFECT

An in the hands magical production of the four aces!

SET UP

Cull the AD between the 10S and 5H. Cut the marked AC to the bottom of the deck.

ROUTINE

PRODUCING THE AS

Obtain a break above the bottom four cards of the deck with the right thumb
1
(below the AS). Obtain the break by spreading the deck and catching a break
with the left little finger as the deck is squared up. Transfer the break to the
right thumb as you take the deck into the right hand end grip [photo 1].

Begin by saying, “To begin I need my favorite cards. Sometimes they are
referred to as the ‘bullets’ and they are…” 2

Immediately contact the inner left corner of the cards above the break with the
left first finger. Rotate the cards above the break to the left, using the right
second finger as a pivot point [photo 2].

“…the ace of spades…” As the block rotates to the left, contact the bottom 3
card (the AS) with the tip of your left thumb. Push your left thumb up and
towards you. This will make the AS slide out towards you [photo 3]. Continue
the action allowing the AS to pivot around the deck and end face up on top of
the block and trapped under the left thumb [photo 4]. Immediately place the
cards in the right hand under the left-hand block, reassembling the deck 4
without holding a break.

22
PRODUCING THE AC

Position the deck in the left fingertips in preparation for the D'hotel revelation.
5
Hold the deck in your left hand in dealing position, but further toward the tips
of the fingers. Turn slightly to your left and position the deck so its back is
facing the audience. The tip of the left first finger contacts the outer short
edge of the deck and pulls the bottom card away from the deck slightly [photo
5]. Slowly push the card towards you. This will cause the card to swing out
and up [photo 6]. (This move was created by Dr. Jules D’hotel. See Royal 6
Road to Card Magic).

Continue, “…the ace of clubs…” Take the AC into the right hand and turn it
face up and display it to the audience.

PRODUCING THE AH

As you display the face up AC in the right hand, obtain a break under the top two cards of the deck (the
face up AS and the face down 10S). Drop the face up AC onto the AS. Immediately grab all three cards
above the break with the right fingers and thumb.

In the time honored classic sandwich effect, use your left thumb to slide the
AC to the left and insert it under the double card. Move the AC so it is side 7
jogged to the left under the double.

Say, “The ace of hearts is a bit…tricky!” Drop the double onto the deck and
snap. Spread the top four cards to reveal the face-down card sandwiched
between the AC and AS [photo 7]. Obtain a break below the fourth card from
the top of the deck (under the AD). 8

NOTE: I also use the procedure from Eric Jones’ “Ishkabibble Sandwich” for
this revelation (see his DVD set Extension of Me for the details), but any
sandwich effect process will work.

Continue, “I think I will find it…ten cards down.” Use the AS to flip over the 9
face-down card to reveal the 10S. Leave the 10S sandwiched between the
black aces and out jogged for about half its length. Gather all the cards above
the break. Your right middle finger will push the 10S to the left slightly. Move
the four card packet to an out-jogged position under the deck. The crotch of
your left thumb and left first finger hold the aces and 10S securely [photo 8].

Count down ten cards from the top of the deck using your right hand. Take each counted card under
the card that was previously counted to maintain stack order. When you get to the tenth card, push it
to the left with the left thumb and use the cards in the right hand to flip the card face up to reveal the
AH [photo 9].

23
Use your left thumb to push the AH to the right. Slide all the cards in your right hand under the AH.

Place your right thumb on the AH and your right fingers under the out-jogged aces and 10S. Move your
right hand forward and strip out all the aces and the 10S [photo 10]. Be careful not to expose the face-
down AD under the face-up cards.

PRODUCING THE AD

To produce the AD, we’ll use the Kosky Switch (described below).

While still holding the deck in your left hand, use your left fingers and thumb
10
to grab the face-up packet by its long edges. Use your right fingers to square
up the out-jogged 10S with the rest of the packet [photo 11].

Use your left thumb to drag the AH onto the deck but out-jog it for about
half of its length. Now drag the AS onto the AH but allow the index of the AH
to still be seen. 11

Now drag the 10S onto the deck, but use the right-hand double to flip the
10S face down. The 10S is aligned with the deck. Place the double (in-jogged
about half of its length) on top of the face-down 10S [photo 12]. At this point
you can use your right fingers to pull up on the front edge of the 10S to show it
12
between the aces one last time.

To affect the switch, use your right thumb to contact the back edge of the
double card and push it up and forward at the same time. Continue this
forward motion as you push the double until it is aligned with the out-jogged
AS and AH. Grip the four out-jogged cards with your right fingers and pull the 13
four cards forward and away from the deck [photo 13]. You continue the
forward motion as you re-spread the four cards in your right fingers [photo
14]. The illusion is perfect. The spectators will believe the sandwiched 10
has never left their sight.
14
Conclude by saying, “For the last ace I will give the ten a spin. Ladies and
gentlemen, it is the ace of diamonds!” Grip the fanned cards with your left
fingers and thumb. Take the face down AD out of the spread and give it a
pirouette flourish and turn it over dramatically to reveal the transformation
of the 10S into the AD!

RESET

I usually use this production when I intend to use the aces for another routine, so the reset depends on
the final routine I use the aces for. However, it is a simple matter to fan the deck with its faces towards
you and insert the aces into their proper stack positions. You could also use Denis Behr’s Plop
Replacement.

24
 AIR TIME ACES
(No cull variation)

For this variation of “Air Time Aces” there is no need to cull any cards. Instead of the cull, a different
and subtle strategy is employed that requires no set up.

PRODUCING THE AS AND AC

Produce the AS and AC as in the previous description.

Produce the 10S as described before, but only out jog the aces and 10S. No card is hidden under the
face-up aces and 10S. When you reveal the 10S say, "This card will lead us directly to the next ace."
This statement is vague enough to help blur the exact location of the ace. When it falls at the card after
the count it won't seem strange.

PRODUCING THE AH

Count down ten cards, but do so counting backwards from ten. Since you will be taking the card after
the count is completed, counting down to zero flows naturally and is more logical. If you don't like
ending on "zero" you can always take the first two cards as one to start the count and end on "one" or
"ten."

Begin counting down from ten, taking each counted card under the last to maintain stack order. As you
take the card at "five" (3S) stop counting and look at the audience. Say, "Let's build some drama!
Count with me!"

Immediately count the next card (AD) above all the cards in the right hand instead of below like all the
other cards. Look at your audience the whole time as you are coaching them and encouraging them to
count with you, "...four,…great!" Pause after "four" for just a second as you continue, "All together
now..."

Continue the countdown to "one" taking the rest of the cards for the count under the rest of the
counted cards as before. As the last card is placed in the right hand, say, "...and ten cards down we
arrive at the ace of hearts!" Turn over the AH, out jog it, and replace the counted cards on top of the
deck.

Position check: Three aces are face up and out jogged, along with the 10S. The AD is the top card of the
deck.

PRODUCING THE AD

Obtain a little finger break under the top card of the deck and strip out the aces and ten. Briefly place
the four cards onto the deck and then take all the cards above the break and perform the Kosky switch
as before to conclude the routine.

25
 THE
SYSTEM

Producing EVERY
FOUR-OF-A-KIND

26
 The system

Being able to produce any desired four-of-a-kind can be very useful and quite magical. I would like to
share my system for producing any four-of-a-kind from the Aronson stack. When I set out to create this
system I had some very specific criteria in mind. First, I wanted to be able to produce any four-of-a-kind
in the hands (although The System isn't limited to this). I also wanted the revelations of each of the
four-of-a-kind, to be magical and utilize any properties of the stack that might increase the magical
nature of the revelations. Finally, I wanted to have a system whereby every four-of-a-kind would follow
the same basic pattern to simplify the memory work involved.

Amazingly, in developing The System, all of the criteria I originally set for myself were met! Each four-
of-a-kind is produced in the hands and each follows the same basic pattern. Each four-of-a-kind starts
with the same revelations for the first two cards. The revelations for the final two cards differ for each
four-of-a-kind, but they are easy to remember because the revelations typically continue in the stack
order of the cards. Even if the exact "optimal" sequence is forgotten, it is easy to follow the stack and at
least cut the next card of the four to the top and do some kind of revelation.

One of the nice aspects of this system is that not only is it reliable, but it is also a great way to practice
your “jazzing” techniques in a safe environment. Once you get used to the system you can keep things
fresh by using different revelations than the ones I use in the following explanations. You will find
plenty of routine ideas to allow you to really utilize this versatile tool at the end of this chapter.

27
 THE SYSTEM OUTLINE
SET UP

THE CUT: The card with the highest stack value, for the four-of-a-kind is ALWAYS cut to the bottom of
the deck. You can obtain this situation by either using an estimated cut and correction or by taking
advantage of marks and short cards.

THE BREAK: Following the cut, you will ALWAYS obtain a break below the lowest stack value card of the
four-of-a-kind. For instance, if you want to produce the twos you would cut the 2C to the bottom (#51)
and obtain a break under the 2H (#4). How this is achieved depends greatly on the location of the
lowest card of the four. Most often you will use the marks and/or short cards along with a minimum
amount of spread counting to achieve the goal. You can also estimate the location, obtain a break
there, glimpse and correct.

REVELATIONS ONE AND TWO

REVELATION 1: The first revelation is ALWAYS of the bottom card of the

1
deck. To reveal it, use the Swivel-cut revelation. Begin by taking the deck
into your right hand in end grip. As you do, transfer the break to the right
thumb [photo 1]. Continue the motion by contacting the inner left corner of
the cards above the break with the left first finger. Rotate the cards above
the break to the left, using the right first finger as a pivot point [photo 2]. As
the block rotates to the left, contact the bottom card with the tip of your left 2
thumb and push your left thumb up and towards you. This will make the
bottom card slide out towards you. Continue the action allowing the bottom
card to pivot around the deck and end up face up on top of the block and
trapped under the left thumb [photo 3]. Immediately place the cards in the 3
right hand under the left-hand block.

NOTE: In some instances you will catch a left little finger break
between the two halves as this revelation ends [photo 4]. You will
then slip cut the face-up card into the break and out jog it for half of its 4
length.

28
REVELATION 2: The second revelation is ALWAYS with the D’hotel revelation
of the card at the bottom of the deck. This will be the card that is the lowest 5
stack value of the four-of-a-kind. The D’hotel revelation is as follows: Hold the
deck in dealing position in your left hand, but closer to the tips of the fingers.
Turn slightly to your left and position the deck so its back is facing the
audience. The left fingertip contacts the outer short edge of the deck and 6
pulls the bottom card away from the deck slightly [photo 5]. Slowly push the
card towards you. This will cause the card to swing out and up [photo 6].
Finish by taking the animated card into the right hand and turn it face up and
display it to the audience.

NOTE: A variation I add to this revelation when I have a card face-up

and out jogged in the deck is as follows: I use my right first finger to 7
slightly push on the outer edge of the face-up card at the same time I
perform the D’Hotel revelation [photo 7]. This makes it appear that
the animation happens when I tap the face-up card.

REVELATIONS THREE AND FOUR

REVELATIONS 3 & 4: The last two revelations are largely dependent on the locations of those cards and
any properties of the stack that can be used for strong revelations. There is also the freedom to “jazz”
to these final cards if the sequence is forgotten. The particular revelations I use and recommend can
certainly be replaced with others you may discover or favor more.

So the system is pretty easy to master and quite flexible and forgiving. You always start with the same
actions and revelations for the first two cards of the four. This allows for a relatively quick navigation of
the deck for all the revelations. I would suggest that you run through each four-of-a-kind with a
prepared deck in hand to really get a sense of how each four-of-a-kind is produced. As you get
comfortable with the system you will be able to get a feel for the four-of-a-kind sequences you are not
comfortable with and you can either modify the revelations or add extra marks or other aids for certain
four-of-a-kind sets. Of course, you may not care to be able to reveal any four-of-a-kind. You may just
select several of your favorites or certain ones that will allow you to segue into another routine using
your favorite four of a kind.

ALSO

I can’t stress enough that The System I am putting forward here is just ONE approach to the concept and
it can be altered in any way you see fit. This system truly is a framework, a skeleton, not an unbending
law. Be an artist…with a plan! After all the sequences are covered, I will go over ways to use these four-
of-a-kind productions. It isn’t of much value to be able to produce any four-of-a-kind if you don’t put it
in the context of a performance. Thankfully there are some really great ways to use these productions!

29
 PRODUCING THE ACES WITH THE SYSTEM

The System is easy to use, but before I give all the sequences, in a concise form, I think it would be good
to illustrate the process in detail. I will use the aces to illustrate the process and some of the creative
options open to you. Although I have already shared other methods for producing the aces, here is a
nice way to produce them using this system. It is a good example of the general process that is followed
with every four-of-a-kind in the deck.

SET UP

Following the rules of the system, cut the AH (#22) to the bottom of the deck. Obtain a break below the
AS (#6). Use either the short JS or the marked AC to help locate the AS.

THE FIRST TWO REVELATIONS

At this point we won’t concern ourselves with a script. At the end of this section various presentations
and ploys will be given. For the moment, let’s just focus on the overall process for the revelations.

REVELATION ONE: Perform the Swivel-cut revelation to produce the AH (see previous description).
After it is produced, place it on the table.

REVELATION TWO: Snap your fingers and produce the AS using the D’Hotel revelation (see previous
description).

THE THIRD AND FOURTH REVELATIONS

There are many different ways to reveal the last two aces. I will give you my personal favorites and then
discuss other options. This will serve as a good example of the creative decisions that can be applied to
every four-of-a-kind.

Although I could continue to produce the aces in their stack order (AC and then the AD) I have
developed a different sequence that reveals them in the opposite order.

After the AS is produced, cut the top two cards (3H & 6C) to the bottom of 1
the deck.

REVELATION THREE: Perform the classic Drop revelation to produce the 8D.
Briefly, with the deck in the left hand, push the top card (the 8D) over to the
right for about half an inch as you take the deck in the end grip with your
2
right hand [photo 1]. The side-jogged condition of the card is hidden by the
right hand. Hold the deck about twelve inches above the left hand. Drop the
deck into the open left hand. As you do, the air pressure will cause the top
card to flip over and land on top of the deck as the deck is caught in the left
hand. The 8D will now be face up on top of the deck [photo 2].

30
Use a pinky count to get a break under the top two cards of the deck. Take the two
cards above the break as one and insert them in-jogged for about half their
length under the deck [photo 3]. They should stay perfectly aligned and secure 3
in this position. This display lets the audience see the eight the entire time and
also secretly hides the AC which you will reveal in a moment.

Count down eight cards from the top of the deck, taking each card under the last 4
to retain the stack order. Flip over the eighth card to reveal the AD [photo 4].
Place it on the table with the other two aces.

REVELATION FOUR: Remove the in-jogged double, keeping the two cards aligned, 5
and bring the double parallel to the long right side of the deck [photo 5].

Rotate your left hand palm down letting the deck fall onto and align with the
double card. The left fingers gather the double onto the deck. Keep the left
hand palm down. Make a magical gesture and turn the left hand palm up to 6
reveal the AC for a startling final revelation [photo 6].

COMMENTS

FINAL REVELATION OPTIONS: For the final revelation of the AC you can also use the Shapeshifter
change or the pivot color change (also known as the Twirl Change) to visibly change the 8D into the AC.

You may prefer to reveal the last two aces by following the stack order. One option would be to cut the
AC to the top of the deck and perform the Drop revelation for the AC. Perform a false cut and spell
“diamonds” to reveal the AD at the end of the spell. This is just one possibility. Of course you can use a
different series of revelations.

I hope you can see, with this example, how The System gives you a flexible framework for revealing any
four-of-a-kind. Below you will find the specifics for each of the other twelve four-of-a-kind production
sequences. Keep in mind that the system can be modified in many ways to suit your favorite card
productions. Also, after the sequences are taught I will cover ways to use The System in the context of
various performance scenarios. So, grab a deck and let’s get to work…

31
2 1) Cut the 2C to the bottom.
2) Obtain a break under the 2H.
3) Produce the 2C. Place 2C on top of the deck.
4) Produce the 2H.
5) Get break under top 2 cards. Do sandwich revelation for the 9S. Put 9S face down on
deck and countdown to and out-jog the ninth card. Spread the deck more as you ask a
spectator to remove the out-jogged 2D. Spot the mark on the 3C and cull the next card
(the 2S) under the deck to the bottom. You can now perform whatever revelation you
would like.

NOTE: You can also do an estimated cut to bring the 2S close to the top of the deck and
cull force the 2S on a spectator.

3 1) Cut the 3C to the bottom.

2) Obtain a break under the 3H.
3) Produce the 3C.
4) Produce the 3H.
5) Double undercut the 6C to bottom and do the drop revelation to show the 8D (start the
count after the 8D to reveal the 3S). Move counted cards to bottom of deck.
6) Now cull the 3D (7 from top of the deck) and force it on a spectator.
Or: Double lift to show the 7S and turn double back over. Count down seven to reveal
3D.
Or: You can use the shorted 5D to quickly locate the 3D and reveal it another way.

4 1) Cut the 4C to the bottom.

2) Obtain a break under the 4H.
3) Produce the 4C.
4) Produce the 4H.
5) Turn over the top card the KH. Change into the 4D (Top Change, Sandwich followed by
Kosky switch, etc.).
6) Produce the 7C from the bottom of the deck. Count down seven from the top to reveal
the 4S.

32
5 1) Cut the 5D to the bottom.
2) Obtain a break under the 5C.
3) Produce the 5D.
4) Produce the 5C.
5) Spell “Five” and “Heart” and reveal the 5H. Put spelled cards on the bottom of the deck.
6) Spread cull the 5S (use mark or count down eight cards). Force or reveal the 5S.

6 1) Cut the 6D to the bottom.

2) Obtain a break under the 6C (use shorted JS or marked AC to help).
3) Produce the 6D. Insert the 6D face up, out-jogged, into the deck by holding a left little
finger break between the two halves as you reveal the 6D. Slip cut the 6D into the break.
Later this will help you locate the marked 3C easily.
4) Produce the 6C. Place face up on the deck. Spread the deck to the 6D and find marked 3C.
Go up in the deck two cards and hold break there as you strip out the two 6's. Cut to the
break.
5) The 6S is the seventh card down from top. Cull it and reveal it.
6) False cut and turn over the top card (the 10H). Change it into the 6H to end.

7 1) Cut the 7C to the bottom.

2) Obtain a break below the 7D (use the marked AC to help).
3) Produce the 7C.
4) Produce the 7D. Cut three cards to the bottom of the deck.
5) You can count down seven and reveal the 7H or you can proceed with a cull revelation.
6) Double lift to show the 5S and change it to 7S (Top Change, Twirl Change, etc.).

Here is an alternate ending after cutting the three cards to the bottom:
Double-turnover the top two cards to show the 5S. Turn over the double and table the 7S
face down. Count down five and turn over the next to reveal the 7H.
Reveal that the tabled card has changed into the 7S.

33
8 1) Cut the 8H to the bottom.
2) Obtain a break under the 8D (use the marked AC to locate the 8D).
3) Produce the 8H.
4) Produce the 8D.
5) Cut the AC to the bottom and spell "Eight of Spades" to reveal the 8S.
6) Cull the 8C (sixth from the top of the deck) and force it or reveal it.

9 1) The 9D is already in place.

2) Obtain a break under the 9S.
3) Produce the 9D. Hold a break between the two halves. Slip cut the 9D into the break and
out jog it for half of its length.
4) Produce the 9S.
5) Spread down to the 9D and get a break above the 9H as you strip out the 9D and 9S (use
the mark on the 3C to locate the 9H). Cut the 9H to the top.
6) The 9C is six from the top. Do any cull revelation for it.
7) Double lift to show the KS and change it into the 9H.

10 1) Cut the 10H to the bottom (use the marked 3C to locate it).
2) Obtain a break under the 10S (use corner short 5H or marked AC as guides).
3) Produce the 10H.
4) Produce the 10S.
5) Cut the 5D to the bottom (easy since it is a short card). Perform a fancy false cut and turn
over the 7C. Count down seven without the 7C as part of the count. Reveal the 10C. Cull the
10D (4th from top , before 7C is replaced).
6) Do any cull revelation for the 10D.

34
J 1) Cut the JD to the bottom.
2) Obtain a break below the JS (easy since it is a short card).
3) Produce the JD. Catch a left little finger break between the two halves and then slip cut the
face up JD into the break and leave it out-jogged.
4) Produce the JS. Spread deck enough to get a break two cards above the face up JD (the
break will be between the JC and JH). Cut the deck at the break after you strip out and table
the two face-up jacks.
5) Now reveal the last two jacks any way you please as one is on top and the other is on the
bottom of the deck!

Q 1) Cut the QC to bottom.

2) Obtain a break under the QD.
3) Produce the QC. Catch a little finger break between the cut halves and slip the QC face
up and out jogged into the break.
4) Produce the QD. Slightly spread the deck and cull the card two cards above the QC (the
QS) to the bottom of the deck. Strip out the face-up queens.
5) Reveal the QS from the bottom of the deck.
6) Use a cull revelation for the QH (5th from the top of the deck).

K 1) Cut the KS to the bottom.

2) Obtain a break below the KC (use the short JS to find it easily).
3) Produce the KS.
4) Produce the KC.
5) Spell "King" and "Diamonds" for the revelation of the KD. Place the spelled cards on the
bottom of the deck. Cut or pass the short 5D to the top of the deck.
6) Reveal the KH by with a force or cull revelation (it is fourth from the top).

Note: Instead of spelling to the KD you can use the marked AC to locate the KD (four down
from the marked AC) and cull it for a cull revelation and then cut the 5D to the top.

35
 PUTTING IT ALL TOGETHER

How do we put The System to best use in the real world? There are several good ways to utilize The
System, but here are some of my favorites:

THE BIRTHDAY: One way to use the flashy production of the four-of-a-kind is by using the birth month of
a spectator. Here is a quick outline of the routine:

As you casually talk, get the spectators birth month. This can be accomplished by saying, “Did you know
that the deck can be used like a calendar? If you add up all the values you get three hundred sixty-
four and if you add the joker the total is three hundred sixty-five! There are four seasons and four
suits in the deck. I was born in November so that explains a lot! November is associated with the
black suits which represent mystery. That seems appropriate! What month were you born in?” Let’s
say the spectator says it is May. The moment she gives the month, in this case May which is the fifth
month, cut the card with the highest stack number of the correct value (5) to the bottom of the deck (in
this case it would be the 5D).

If she were born in a month usually considered a spring or summer month, like May, say, “Ah, your
month is associated with the red suits which symbolize an adventurous spirit.” As the casual
discussion continues, obtain a break below the five with the lowest stack number (in this case the 5C,
which can be located quickly by using the short JS). Continue, “Well your month is the fifth month so
five is a lucky number for you. I have a feeling that the number five is important, so let’s use all of
them!” Begin to produce the fives as you continue, “And now that we have the fives, I would like you
to…” Here you segue into a routine that uses the four-of-a-kind.

Personally, I like to use the four of a kind for Vernon’s “Twisting the Aces” and then follow up with a
collector’s routine. The important point is that this basic presentation allows you to get control of the
first two cards of the four-of-a-kind before anyone knows what is about to happen. It also has the
benefit that the four-of-a-kind you produce has significance for your helper. Sometimes if you know a
person’s birth month ahead of time then the preparation is even easier. Denis Behr, among others,
have used a spectator’s birthday to good effect for four-of-a-kind productions and for other reasons too!

Incidentally, if the spectators month would be considered a fall or winter month, say, “Ah, you are like
me! Your month is connected to the black suits that symbolize mystery. So I think you will enjoy what
is about to take place!” Continue with the routine as described above.

Also, instead of birthdays, you can use lucky numbers. If you wish to produce a certain four-of-a-kind
you can say that a particular value is your lucky number and then produce that specific four-of-a-kind.

36
ONE OF THE FOUR IS SELECTED: Another approach is to allow for one of the four-of-a-kind to be
selected. It can be a predetermined card that you force and allows you to produce a specific four-of-a-
kind. You can also allow for a free choice of any card, which you learn by glimpsing an adjacent card in
the stack, and then produce the other three cards of the same value by using The System. Let’s begin
with forcing a certain card.

FORCING ONE OF THE FOUR

If there is a specific four-of-a-kind that you would like to produce, you can always force one of those
cards on a spectator and then reveal all the others either as part of the revelation of the selection or as a
finale to the revelation of the selection.

For instance, if you wanted to produce the twos you could force the 2S on a spectator. Have her keep
the card. Pretend to divine the card and as you do, cut the 2C to the bottom of the deck and obtain a
break below the 2H (5th from the top). Finally divine that the spectator selected, the 2S, and then
continue, “Since you picked a two, let’s use all the twos…” Conclude by producing the remaining twos
as dramatically as you can following The System.

You can also have the two of spades replaced at its stack location in the stack and after the appropriate
byplay say, “I think I know what card you chose. It is a two. But it wasn’t the two of clubs, nor was it
the two of hearts…and it isn’t the card that we will find nine cards down in the deck…the two of
diamonds…no, your card was the two of spades. Of course I couldn’t produce it from the deck because
it is in the card box!” Here, after producing the 2D, you cut the 2S to the top of the deck (using the
marked 3C as a guide) and palmed it off. You can now produce the 2S from the card box, shoe, wallet,
etc.

Another option is to have the 2S replaced somewhere in the deck other than its normal stack position to
aid in a different revelation. For instance, have it returned to the deck directly beneath the 2D. In this
way, after the revelation of the 2D, you can palm it off without needing to perform a cut or pass.

A RANDOM SELECTION

With this system it is possible to give the spectator a completely free selection and then produce the
other three cards of that four-of-a-kind. For instance, the spectator picks the 2D by chance. You
determine the card’s identity by glimpsing an adjacent card in the stack. In this instance, proceed with
the normal preparation to produce the twos: cut the 2C to the bottom and obtain a break below the 2H.
Now go into the revelation sequence, but after revealing the 2H move on to reveal the 2S. You just skip
the missing 2D.

The example above allowed you perform the first two revelations as you normally would. If a spectator
selects one of the first two cards you typically reveal then, you can still use The System and adjust the
revelations accordingly. Let’s say the spectator picks the 2C. In this instance, simply cut the 2S to the
bottom of the deck. With the system all you do is cut the card with the highest stack number to the
bottom. Since the 2C (#51) is not in the deck the next highest two is the 2S (#41). With the 2S cut to the
bottom, follow the basic procedure by obtaining a break below the 2H. Reveal the 2S and 2H using the

37
normal revelations for the first two cards and then continue with the normal revelation for the 2D. As
you can see, The System makes this easy.

Here is another example. Let’s say the spectator picks the 2H. Once again follow the basic rules of the
system. Cut the 2C (Highest stack number) to the bottom. Obtain a break under the 2D (#13), which is
now the lowest stack number of the twos in the deck. Produce the 2C and 2D as you would normally
reveal the first two cards of any four of a kind using the system. Finish with the normal revelation for
the 2S.

Here is one last example. If the spectator selects the 2S, simply reveal the first three twos using the
normal sequence of revelations. As you can see, no matter which card of a four-of-a-kind is selected you
can continue with the revelations of the other three without needing to do any real mental gymnastics.
Just follow the rules of The System and you can confidently handle any variation that could arise! With a
little practice The System is pretty easy to navigate, no matter what card in the deck is selected by a
spectator.

MULTIPLE SELECTION CLIMAX: Let’s say you want to perform a three-card multiple selection routine
with three consecutive cards in your stack and end with a flashy production of a four-of-a-kind. For this
example we will use the twos again. So, let’s say you decide to force the 6H, 3C, and 2S and then reveal
them. After the 6H and 3C have been revealed, continue by producing the 2C, 2H and 2D as in the
normal sequence for the twos. The spectator’s will wonder why you have the right value but not the
right card. After the impressive production of the three twos, say, “I had to produce the other twos
because your two of spades is not in the deck…it is in the card box (or in your pocket, under a drink,
etc.)!” Using the production of the four-of-a-kind in this way can really build up the finale of the entire
routine. It also leaves you with a four-of-a-kind that can allow you to segue into a routine that will use
them. This is just one example of how to incorporate the production of a four-of-a-kind into the finale
of a multiple selection routine.

MORE TO EXPLORE: Of course there are even more ways to use The System and I know you will find
some of your own! You can also use the system to produce other groups of cards like a royal flush in
any suit. Read on!

38
 ROYAL FLUSH
PRODUCTIONS

HEARTS
CLUBS
SPADES
DIAMONDS

39
 Royal flush productions

Now that you are familiar with The System, let's take a look at another presentational angle. Instead
of producing four-of-a-kind, we will produce four cards that will complete a royal flush. With the
Aronson stack this is surprisingly easy. Since Simon built so many gambling demonstrations into his
stack the royal flush cards for the Spades and Hearts appear at exactly the same distance apart from
each other. The Diamond suit contains some of this ordered structure and the Clubs are, thankfully,
very manageable as well.

Being able to produce a royal flush in any suit is very impressive to a lay audience. To be able to do so in
a dramatic and magical way is really useful for creating a lasting impression on your audience. Poker is
never far from the minds of most spectators when they watch a magician handle playing cards. It is nice
to be able to tap into that rich source of card lore and fantasy whenever you would like. The Aronson
stack makes this easy because of all the built-in poker and bridge stacks. If you haven’t spent much time
studying what can be done with these imbedded stacks I suggest you get Simon Aronson’s Bound to
Please which highlights many of these properties in his stack and ways to use them for amazing displays
of skill at the card table. With the current interest in Texas Hold’em most audiences are ripe for a
gambling presentation. The Aronson stack works well for Texas Hold’em demonstrations too. See Tom
Frame’s Hold’Em Magic for several Texas Hold’em routines that use the Aronson stack specifically.

For the revelations to follow, one of the Royal Flush cards will be forced and the others will be
produced. This can be modified so that you can easily produce all five if you wish. I have chosen to use,
although sometimes loosely, the basic structure of The System. Of course, as already pointed out, you
can opt to vary the sequences in any way you wish. After the production sequences are given, I will
discuss ways to incorporate these productions into specific routines.

40
♣ 1) Cut the JC to the top of the deck and force AC.
2) Double lift to show JH and change it into the JC.
3) Cut the top two cards to the bottom and perform the D’hotel revelation to reveal the
10C.
4) Spell “The Queen of Clubs” from the top of the deck. Turn over the last card of the
spread to reveal the QC. Place the spelled cards on the bottom of the deck.
5) The KC is fourth from the top. Force it on a spectator or reveal it using your favorite
method.

♥ 1) Force the 10H.

2) Cut the JH to the bottom and get a break under the AH. Perform the Swivel Cut
revelation to reveal the JH.
3) Perform the D’hotel revelation to reveal the AH.
4) False cut and turn over the top card to reveal the 8S. Count down eight cards and
turn over the eighth card to reveal the KH. Replace the counted cards onto the deck.
5) Reveal the QH in any way you wish. It is fourth from the top of the deck.

♠ 1) Cut the KS to the bottom of the deck and force the AS.
2) Obtain a break under the QS (fifth from the top). Perform the Swivel cut revelation
to reveal the KS.
3) Perform the D’hotel revelation to reveal the QS.
4) Cull the JS (fifth from the top) to the bottom and produce it.
5) Now cut the 9D to the top. Reveal the 9D and count down 9 to reveal the 10S or cut
the 9D to the top and spell “Royal Flush” to reveal the 10S.

♦ 1) Cut the 10D to the bottom of the deck. Force the JD (fourth from the top).
2) Obtain a break under the KD and perform the Swivel cut revelation to reveal the 10D.
3) Perform the D’hotel revelation to reveal the KD.
4) Spread cull the AD (fourth from the top) to the bottom of the deck and produce it.
5) Cull the QD (sixth from the top) and force it or reveal it another way.

41
 ROYAL FLUSH routines
I prefer to use these sequences as a seemingly impromptu finale for a multiple selection routine. Here is
how I present this kind of effect:

MULTIPLE SELECTION CLIMAX: Begin your multiple selection sequence by forcing as many adjacent
cards as possible. I prefer a small number of cards. Three or four seems to work well, but this is only my
experience. An important point to consider is that the last card you will reveal should be the card with
the highest stack value of the Royal Flush that you plan to ultimately produce (exceptions will be noted
where appropriate). Because of this, you have two main options.

First, you can force the number of cards between the Royal Flush cards (along with the Royal Flush card
you will force). For instance, there are three indifferent cards between each of the cards that make up
the Royal Flush for hearts. In this way you will make sure not to have one of the other Royal Flush cards
selected.

The second option is to force the Royal Flush card first and then continue with consecutive cards after it.
This avoids the problem. The only modification to be made is to reveal the Royal Flush card last even
though it was the first selected. This isn't a problem and many performers choose to stagger the
revelations so that the order is not the same as the order in which the cards were selected.

So, after all the cards have been forced and the deck has been false shuffled, go through your
revelations. When you finally get to the last one, produce it and say, "So the final card is yours and it is
the Ten of Hearts! Usually after this people tell me they wouldn't want to play cards with me. They
seem to have this crazy notion that if I could do what I just did with these random cards that I could
just as easily find not only the ten of hearts but the queen, king, jack, and ace! That is insane!"
Produce the rest of the Royal Flush in Hearts as you deliver the lines for a smashing finish!

ANOTHER OPTION: You can also offhandedly ask a spectator what their favorite suit in the deck is. Later
you can apparently, as a spontaneous inspiration, produce a royal flush in their favorite suit. How you
do this is largely dependent on your personality and the type of situations you create for yourself. For
instance, let’s say you are in the middle of a multiple selection routine and you are going down the line
producing cards. About half way through the productions you come to the person who much earlier
told you her favorite suit. You start to address her and realize she didn’t select a card. Say, “Oh…well I
don’t want to leave you feeling left out. I’ll tell you what, you like the spades, here’s a royal flush!”
and produce the royal flush for her. Now continue on with the rest of your revelations. Done at a brisk
pace this can be highly entertaining! Of course you can incorporate the royal flush production into
other types of presentations and effects.

42
SOLUTIONS

HYPER PLOP
FAUX FOUR

43
 solutions

In Denis Behr’s Handcrafted Card Magic he shares his method for secretly gathering and then
producing any four-of-a-kind in the Tamariz stack called “Plop” (see pgs. 20-26). As he mentions, the
general principle can be applied to any stack, but depending on where the cards lie in a particular stack
there can be problems. Immediately after the book was published many Aronson stack workers,
including myself, started trying to apply the Denis’s idea to the Aronson stack. Some of the four-of-a-
kinds work perfectly. Unfortunately there are some that don’t work well at all. What follows are my
handling solutions to some of these problem scenarios. One of the interesting things about the Aronson
stack is that there are some four-of-a-kinds that are even easier to gain secret control over than with the
normal Plop technique. I have also developed some other sneaky handlings for certain four-of-a-kinds
as well!

I am not going to teach Denis’s idea here. I am going to be vague, but for those who know Denis’s Plop
technique, this will be very clear. I am only going to focus on problem combinations in the Aronson
stack that I have developed unique solutions to. If you apply Denis’s idea to the Aronson stack, most of
the other values are easy to work out.

The HYPER-PLOP

Here is a nice idea for speeding up the procedure for several of the four-of-a-kinds in the Aronson stack.
The basic idea is to eliminate at least half of the process! There is a trade-off but I don’t think it is a bad
one. In fact it just might have some hidden advantages.

In the Aronson stack there are several four-of-a-kinds where several of the cards are in very close
proximity. For instance three of the jacks are very close together. Only the 10C stands between three of
the jacks (JC, JH, 10C, JD). In the normal Plop procedure you would either need to move the 10C or the
JC and JH bypassing the 10C. With the Hyper-Plop you simply make the pesky 10C vanish! Here is an
example:

WITH THE JACKS: Cut the JD to the bottom of the deck. You’re almost done! Now, cull the JS to the
bottom. That’s it! Proceed with the normal “Plop” handling for producing the jacks from the box.

Now you can simply display the five cards as four to hide the 10C and display your jacks! There are
several different spreads you can use to hide the 10C. See the chapter: False Display Counts, part 2 in
Card College, Vol. 3 for some ideas.

WITH THE QUEENS: This procedure works well with the queens by cutting the QC to the bottom and
then you only need to deal with the QD and QH. This creates a very fast procedure for the queens.

44
WITH THE FOURS: The same is true for the fours. Cut the 4D to the bottom. Getting control of the two
black fours is easy (especially if you use the marked 3C as a guide).

The extra hidden card is irrelevant and can be palmed off and/or secretly added to the deck. You can
then carry on with the four of a kind. The extra card may actually come in handy in certain situations or
can be used to create another effect. If the cards can be kept in order during the display then the reset
is even easier.

FAUX FOUR

This idea is a further simplification of the Hyper-Plop strategy. In this variation the Plop process is either
nonexistent or very minimal. Once again, there is a trade off, but it could also be an advantage in some
routines.

The basic idea is to use a false display to show three-of-a-kind as four while hiding an indifferent card.
This can be used to eliminate any procedure all together. For instance the jacks in the Aronson stack are
a perfect example. You can display the sequence of cards 33-36 (JC, JH, 10C, JD) as the four Jacks.

Hold the four cards face down in stack order. Count the cards face-down one at a time reversing their
order. Now flip the packet face up and Elmsley Count the packet to apparently show the four Jacks.

This idea can also work well with the queens and the fours with only one card needing to move one
position in the stack.

ONE LAST THING

You can use the Plop technique to produce any Royal Flush from the Aronson stack! Since the Aronson
stack has so many poker deals imbedded in the stack, it is very simple to work out how to use the Plop
idea to collect the Royal Flush cards of any suit. Try it!

45
 THE JACKS

A JACK PRODUCTION
THE FREEMAN DISPLAY
THE COVER PASS

46
 The jacks

Because of the unique placement of the jacks within the Aronson stack they inherently have a wide
range of possibilities for productions. Here we will explore several very strong ways to quickly produce
the jacks and discuss ways to use them and return them to stack order efficiently. Because of their
unique positions in the stack, the jacks have become one of my go-to values when I need to produce a
four-of-a-kind.

A SIMPLE PRODUCTION SEQUENCE

So let’s kick things off with what, by now, will be a familiar type of sequence to you. As in The System
and Royal Flush productions already covered, you will perform a series of productions that are all in the
hands. As you will see, the production sequence is fast and efficient. As always, the exact revelations
can be easily replaced should you favor other revelations.

1) Cut the JS to the bottom of the deck and obtain a break under the JC.
2) Perform the Swivel cut revelation to reveal the JS.
3) Perform the D’hotel revelation to produce the JC.
4) Use a Sandwich load and production for the JH.
5) Reveal the JD (second from the top) any way you like (show the 10C, Top Change and reveal, etc.).

REPLACING THE JACKS

Perform the tilt illusion and replace the JD second from the top of the deck.
Place the JH onto the deck and perform an in the hands false shuffle.
Perform a Charlier Cut and “throw” the JC into the cut as it closes.
Cut the 9D to the bottom of the deck. Place the JS on top of the deck and give the deck a false shuffle.

THE STEVE FREEMAN DISPLAY WITH THE JACKS

Joshua Jay pointed out to me that you can do a beautiful production of the jacks, directly from the
Aronson stack, using a wonderful display by Steve Freeman. The fact that this production can be so
easily achieved from the Aronson stack makes it that much more wonderful! For all the details on the
“Freeman Display” see James Swain’s Miracle’s with Cards (pgs. 176-178). I will only give the necessary
details for preparing for the “Freeman Display” with the jacks.

Begin by cutting the JS to the bottom of the deck. Obtain a break between the JH and 10C. This can be
accomplished with the deck face down by using the scallop shorted 5D and counting down eight cards.
You can also use your right thumb to riffle up the back of the deck until you spot the JH.

Divide the deck between the JH and 10C with the left hand taking the upper half. The JC and JH are the
bottom cards of the upper half. The lower half is taken by the right hand. The bottom card of the lower
half is the JS and the JD is second from its top.

47
Position your hands and cards for a standard tabled riffle shuffle. Perform the “Freeman Display”
shuffle with the jacks, but with one slight modification. The last jack that you shuffle will really be a
double card (the JD and 10S). The double stays aligned throughout the display and will not be seen by
the audience. Once the shuffle is concluded you can immediately go into the display!

RESET

At this point you can easily reset the stack by taking the JH out of the right half and putting it on top of
the JC. Continue by stripping out the JD and hidden 10C as one card. Place the double card onto the JH.
Place the right half onto the left half and the deck is reset. You can reposition the JS to the top of the
deck with a double undercut or running a single card before a false shuffle.

OTHER OPTIONS:

If you intend to use the jacks in a follow-up routine, strip out the double card first and collect the other
jacks onto it. You can drop the jacks momentarily on the face up deck to secretly add the 10C onto the
deck and above the 10D so it is back in stack order (minus the JC & JH). Now the jacks can be used
without the 10C getting in the way. You can also secretly use the extra card or palm it off and replace it
on the deck.
THE COVER PASS

You can use the cover pass to bring the four jacks to the top of the deck quickly and invisibly. To do so,
obtain a break above the JC. The cover card for the pass is the JS which is already exactly where it needs
to be. Perform the cover pass to bring the remaining three jacks to the top of the deck and below the
JS. The 10C can be used secretly, hidden, forced, or culled to a position below the jacks or to the bottom
of the deck. If you are unfamiliar with the Cover Pass see Roberto Giobbi’s Card College, Vol. 4 (pgs.
984-985).

48
 CHAPTER 2

DETOURS

(REROUTING THE STACK)

49
 DETOURS

Sometimes changing the order of the stack can be advantageous. In this chapter, every routine alters a
portion of the stack for a specific effect. The alterations are not difficult to do and at the end they are
easily or automatically reset in stack order.

Being able to briefly alter the order of a group of cards has several interesting benefits. First, the altered
state is usually obtained through a brief shuffle sequence of a packet of cards. This necessity can be
utilized as a way to promote the conviction of your audience that the deck is being continually shuffled.
Second, since the altered state is usually undone or “unwound” during the process of the routines, the
audience sees cards legitimately being mixed. Of course the mixing is actually reconstructing the stack!
Finally, the altered states can allow for routines which are not possible in the original stack order.

In the routines to follow, portions of the stack are altered in several different ways. I will give the details
as I introduce each routine. This principle of temporarily altering a portion of the stack to achieve an
effect is an underexplored strategy. If nothing else, I hope studying the routines that follow will inspire
you to engage the stack in adventurous new ways. What untapped resources does the stack contain?
What could be possible if some cards were briefly in a new location or slightly re-ordered?

This is not the first time I have explored this idea. In my previously published routines “CON-T.R.A.S.T.”
and “Tsunami 7’s” I utilized this strategy to achieve goals not normally possible directly in the original
order of the stack. While “Tsunami 7’s” is somewhat complex, the extent of the alteration can be quite
simple. For instance, in “CON-T.R.A.S.T.” the stack order of twenty-two cards is simply reversed.

The first routine, “Rubbed Away” by Joel Givens kicks things off with a very simple alteration of the
order of the cards. Actually you can even do the routine without altering a single card. This will help
ease you into the routines that follow it. Before we are done, the Aronson stack will never look the
same to you again!

50
 RUBBED
AWAY

JOEL GIVENS
With a great idea by JOSH JAY

51
 RUBBED AWAY
AN EFFECT BY JOEL GIVENS

(Including a great idea by Joshua Jay)

This routine loosely fits into this chapter’s theme. It is a nice vanish and reproduction of a selected card.
This routine appeared in Joshua Jay’s Session which is a wonderful collection of Joel Given’s brilliant
magic. I thank both Joel and Josh for allowing me to describe the routine here.

In Joel’s routine a card vanishes and reappears in a most astonishing way. Joshua, who uses the
Aronson stack, realized that there was a convenient combination of cards within the stack that allows
this routine to be performed without any additional set up. I have used this routine continually in my
nightly restaurant performances for years and can attest to its ease of use with the stack and the strong
effect it has on an audience.

SET UP

Cut the 6D to the top of the deck. Here you have a choice, you can either force the six of diamonds,
leaving the black queens on the top and bottom of the deck or you can run the top two cards singly in
the act of a false overhand shuffle to displace the 6D and let a spectator pick any card in the deck.

The only downside to the free selection procedure is the need to replace the selected card and
reposition the 6D. This really isn’t a big deal. Personally I choose to force the 6D unless I am performing
the routine for people who have seen me do it before. I will describe the routine with the force of the
6D.

THE ROUTINE

With the 6D on top of the deck, cut it to the center and hold a break
above it in preparation for the Riffle Force (or use whatever force you 1
like the most). Continue by Riffle-forcing the 6D. Use the right hand’s
packet to lever over the 6D face up onto the left hand packet. Perform
the same actions to lever the 6D back face down. Replace the right hand
packet below the cards in the left hand. The black queens are again on
the top and bottom of the deck with the 6D face down on top of the
deck.

NOTE: If you are letting any card be selected, after a card has been selected, simply place if face up on
top of the deck and continue the routine as described. 1
Push the face down 6D (or the selection) to the right for half of its length with your left thumb. The right
hand approaches the 6D from below and contacts its right side [photo 1]. Use the right hand, once
again, to lever the 6D face up onto the deck, but cover the card completely with the right hand as it

52
turns face up [photo 2]. This is done openly. It is important that your
right hand covers the entire face up 6D as it is turned face up.
2
Now, slide the face up 6D onto the table (or even your thigh if no table
is available), keeping the entire card under the right hand as you lightly
rub it on the table.

After a moment of rubbing, lift the right hand to reveal the 6D is still
visible. Act puzzled. Say, “Hmm, maybe I should try it with the deck
face up.” Pick up the 6D and, at the same time, get a left little finger 3
break under the top card of the deck (the QC). Briefly, place the 6D face
up on top of the deck. Then re-grip both cards above the break by the
right side with the right thumb above and fingers below. Use the
double card to lever the entire deck face up in the left hand. Be careful
to keep the double card aligned [photo 3].
4
Replace the double onto the face of the deck with the double jogged to
the right for half of its length. The left thumb holds the double firmly in
this position. The left thumb is used to obscure the Spade pip on the QS
[photo 4]. Pretend to brush away some dust from the table (to justify
placing the double card onto the deck).

You will now, apparently, perform the same rubbing actions as before 5
with the right hand. Approach the side-jogged double from below with
your palm-up right hand [photo 5]. Flip the double card over as you
cover the entire card with your right hand. The QC is now face up on
the face of the deck with the 6D face down below it [photo 6].

Move the right hand to the right and back onto the surface of the table.
This action should perfectly mimic the flipping and rubbing actions 6
performed just moments before, but this time the right hand is slid off
the deck without a card beneath it. As you move the right hand away
from the deck, use the left thumb to cover the club pip on the QC. No
one will notice the change of the QS for the QC.

Continue to rub the imaginary card on the table and then turn the right
hand palm up to reveal that the 6D has disappeared. Without a pause in the performance, pretend to
pick up the now invisible 6D. Hand the invisible 6D to a spectator as you say, “Here, take your card and
put it in the middle of the deck.”

As the spectator prepares to do so, grip the deck (still face up) from above in end grip with the right
hand. Perform a Swing cut, putting the upper half into the left hand. Extend your left hand towards the
spectator and ask her to place the card on the left hand’s packet. Say, “Oh, that’s upside down,” as the

53
imaginary card is replaced. Continue by dropping the right hand’s cards on top of the left hand’s packet.
The 6D is now reversed in the center of the deck.

Finish with, “But when it becomes a visible card again, it’ll still work.” Turn the deck face down and
spread the cards between your hands or on the table to reveal the reversed 6D!

RESET

If you have used the 6D as the selection then you only need to flip it face down and the stack is reset. If
you allowed for a different selection, it is an easy matter to switch the positions on the 6D and QC as
you insert the selection in its proper place in the stack between effects.

CREDITS

This routine appears in Session by Joshua Jay. Joel’s routine appeared in a slightly different form in The
Trapdoor, Issue 60, 1996, pgs. 1157-1158. Joshua Jay discovered that this routine works so incredibly
well directly from the Aronson stack.

A FINAL COMMENT

When I perform this routine for people who have seen the routine before, I cut the 10C to the top of the
deck. This allows a force of the 10C and the use of the red jacks (now on the top and bottom of the
deck).

54
WHAT THE DEVIL?

AN INCREDIBLE DISPLAY OF CARD

CONTROL WITH A DEVILISH ENDING!

55
 What the DEVIL?

Routines that allow you to show off your skill with cards are frowned upon by some card magicians.
They are about to frown again! While they are busy frowning, you can rock this routine at any time—
directly from the Aronson stack. When a lay audience believes they are seeing a real demonstration of
card cheating skills, they sit up and take notice. In this routine you get all the credit, but without
needing to be the next Steve Forte. The climax of the routine comes as a complete surprise and reminds
the audience you are not just their friendly neighborhood card shark. In fact, they will be left to wonder
about your eternal soul…
EFFECT

The magician performs a series of impressive card cheating demonstrations. The routine ends with
several surprises and a devilish finale!
SET UP

Put a breather crimp in the 4S. The breather crimp can be replaced with a temporary crimp if you can’t
handle serious commitment.

Cut the 10H to the top of the deck. Obtain a break between the JS and KC (this is easily accomplished by
using the short JS). Cull the 6H (second from the top of the deck) between the JS and KC. After the 6H is
in its new location, continue to spread the deck and locate the mark on the AC. Obtain a break below
the AC in preparation for the force to come.

ROUTINE
PHASE 1- RIFFLE COUNTING

The routine begins with an impressive demonstration of skill with cards. This phase also accomplishes
the goal of reversing twenty-five cards which is necessary for the third phase of the routine. After
steering the conversation towards cheating with cards launch into the routine!

Begin by saying, “Just say stop whenever you would like.” Riffle-force all the cards above the break and
take them into the right hand while setting the remaining cards on the table.

Transfer the cards you are holding to your left hand and say, “Here is a crazy example of a skill that
would help a card shark! I'll try to tell you how many cards I have in my hand by simply counting
them as they riffle off my thumb!” Hold the cards up to your left ear and quickly run your thumb down
the corner of the pack with your left thumb.

Continue, “Hmm...I want to nail it exactly. I think...I counted twenty-five. Let's see if I'm right...”
Count the cards one at a time onto the tabled pile thus reversing their order in the process. The
audience will be impressed. At this point the reassembled deck is on the table and you have reversed
twenty-five cards. Say, “Nailed it! I know that might seem like an odd skill, but for a card shark that
kind of sensitivity can come in quite handy.”

56
PHASE 2- TRACK AND FIELD

While phase two is optional, I like including it because it is impressive to lay audiences and it continues
to build on the theme with increasingly more impressive displays of card cheating skills.

Continue, “Let me give you another example from the card sharks arsenal.”

Spread the deck with the faces towards yourself and study them for a moment. Apparently decide on
one of the cards and say, "We will use the ace of clubs for this demonstration." Close the spread.

Say, “Go ahead and cut the deck. Thanks! Go ahead and cut again.” Have the spectator cut and
complete the cut several times.

Continue, “Being able to track a card in the deck is really an important skill. As you cut the cards I kept
track of the ace of clubs. And if I did it right I should be able to cut right to it.” Cut to the breather
crimp and complete the cut. You will know immediately if you have cut to it because you will see the
marked AC. Continue by saying, “It should be right about here!” Turn the AC face up onto the deck.

Say, “Of course, once it is on top, the card shark will want to deal it to himself. He can do so
by...cheating on the deal!” With the AC face up on the deck, proceed by performing two second deals
and then deal the AC to yourself. Cutting to the card and then casually flowing right into the second
deal demonstration is incredible to a lay audience. Allow them to really enjoy the moment! Gather up
the three cards in reverse stack order. Return the AC, face down, to the top of the deck and give the
deck a false shuffle.

PHASE 3- DEALING THE ROYAL FLUSH IN SPADES

Continue, “All right let's combine all of these skills!” As you say this, spread the deck and pretend to
look for a new card to demonstrate with. Really, you will name the AS which is 5th from the top of the
deck. The 4S should be on the bottom of the deck.

Continue, “This time we’ll use the Ace of Spades. Give the deck a cut, and another and just one more.”
Let the spectator cut the deck several times. When they have made several complete cuts take the deck
back.

Say, “Great, this time, I will not only try to locate the Ace of Spades, I will also position it with shuffles
so that I can deal it to myself in a five handed game. This is called shuffle stacking and it combines
tracking the card, counting the cards with my fingers and shuffling it into an exact location!” Cut to
the breather crimp and complete the cut (once again, look for the mark on the AC for verification). With
the AC cut to the top of the deck, continue with the following false shuffle sequence:

Place the deck in position for a tabled riffle shuffle. Cut the upper half of the deck to the left. Now
perform a Zarrow shuffle under the top card (the AC) of the left hand’s portion of the deck.

Cut to the breather crimp and take the upper half to the left. Zarrow shuffle the right hand’s portion
under the top card (the AC) of the left hand’s portion. After this Zarrow shuffle, the deck is back in order
with the reverse ordered twenty-five cards on top of the deck. At the end of the sequence look
victorious and say “...and that should do it!"

57
Take the deck in the left hand in preparation for dealing the cards. Deal four cards, singly, into a pile on
the table as you say, “Let's see, one…two…three…four. These cards don't matter.”

Continue, “What matters is what I will deal myself... The ace of spades!”,
as you turnover the 5th card to reveal the AS [photo 1]. After showing the AS
1
turn it back over onto the deck and deal it in front of you.

Say, “Not bad at all. But I have to be honest with you. I took it farther
than that. My cuts and shuffles were even sneakier than I let on.” As you
talk, deal four cards onto the audience’s pile. As you deal the fourth card
onto the pile, spread the next two cards over to the right with your left 2
thumb. As you drag them back to the left, use your left little finger to
obtain a break beneath the two cards.

Say, “I also controlled the jack...” perform a double turnover to reveal the
JS [photo 2]. After showing the JS turn it back over onto the deck and deal
the top card (the 6H) onto the face down AS. 3
Continue this dealing and double lift pattern to produce the QS and KS as
you continue, “the queen...the king…”

Deal four more cards into the discard pile and turn over the single 10H
[photo 3] as you say, “…and the ten! It is an unbeatable hand!” Don’t look
4
at the 10H as you deliver your triumphant declaration. No doubt, it will be
quickly pointed out that you missed your last card. Act mildly surprised and
like your trying to keep your cool. Flip the 10H face down onto the deck and
second deal the 10S onto the table next to the rest of what the audience
believes to be the royal flush [photo 4].

Continue, “Well, in an actual game there are ways to take care of 5

mistakes. A card shark could even switch a card in his hand if he needed
to…” As you deliver these lines, obtain a break under the top card of the
deck. Double undercut about half of the deck to the top, retaining the
break. Take all the cards above the break and place them on the audience's
dealt pile. Then place the remaining cards in your hand on top of the tabled
deck. At this point the entire deck is in Aronson order except the cards you
dealt to yourself [photo 5]. Pick up the deck and take it into left hand dealing grip.

“…and it would be undetectable!” Dramatically turn the card believed to be the 10H over to reveal the
10S! Place it onto the rest of the “royal flush pile”.

During the reaction to the revelation of the 10S, slightly spread the bottom four cards of the deck and
take a break above them with your left little finger.

58
Slightly spread the five face-down “royal flush” cards on the table as you say, “Of course not all card
sharks use a whole deck. You may have heard of the Monte game played with four cards or less.” As
you say this, take the 10S, show it, and place it on the top of the deck. Cut the cards below the break to
the top of the deck (the 9S is now the bottom card of the deck). Place the deck on the table to your left.

Say, “If you are ever on the street and see someone playing a game
with just a few cards, don’t play. They might even offer you great 6
odds, saying you’ll win as long as you don’t pick the ace of spades.
That’s odds of three to one!” Pick up the four face-down cards on
the table and count them singly into the right hand, reversing their
order. Spread the four cards and cut the bottom two cards to the
top. The order of the cards from the top is now: 6D, 6S, AS, 6H
[photo 6]. You are now set to perform a beautiful diminishing lift
sequence by Tyler Wilson. This process has also “mixed” the cards
so that the audience won’t really remember the location of the AS. 7

Continue, “Of course you will lose your shirt. All I can say is if you
decide to ignore my warning then whatever you do, don’t ever pick
the top card, you will lose. Never ever pick the second card,
everyone picks the second card. Don’t pick the third card it is too
obvious. And whatever you do, never, ever pick the fourth card or
you’ll be doomed.” With the Ace of Spades in third position, show
the top three cards to be the AS using the standard diminishing lift 8
technique: begin by performing a triple turnover and maintain a
break between the triple and the single card [photo 7]. Turn the
triple face down in the left hand and take the top card into the right
hand, holding it in the right fingertips.

Buckle the bottom card and perform a double turnover by using the
right fingertips to turn the double over [photo 8]. Keep a break
between the double and the single card in the left hand [photo 9]. 9
Turn the double face down into the left hand and take the top card
into the right hand, but under the card already in the left hand and
spread to the left.

Use the right fingers to flip over the top card of the left hand packet
[photo 10]. You will now flip the AS face down while holding the
two-card spread in your right hand.
10

59
As the AS makes contact with the bottom card, your right fingers will cull
the AS under the spread to the right (enough to clear the bottom card) 11
[photo 11, with the AS in-jogged for clarity]. As this is happening, your
right hand pushes the spread into your left hand to square up the packet
(which loads the AS on the face of the packet) [photo 12]. The culling
action is performed against the grain (in the opposite direction of the
closing spread) so it might feel awkward at first. With the AS now on the
bottom, you are free to turn the entire packet over showing the face card
to be an AS as well [photo 13].
12
Continue, “After he cleans you out he’ll probably offer to play you
again, but this time for your eternal soul.” Deal the top three cards
singly into a slightly spread face down pile on the table.

Conclude with, “Of course you’ll think he’s just joking…but I wouldn’t
bet on it!” Turn the AS face up in your right hand and use it to flip over
the three tabled cards for the dramatic revelation of the 6D, 6S, 6H
[photo 14]. 13

14

60
 RESET

After the revelation, place the AS face down on the deck and pick
the deck up. Riffle up the back of the deck until you see the QS and 15
cut the cards below it to the top of the deck. Flip the deck face up
and spread the cards towards yourself as you say, “They aren’t
called the Devil’s playthings for nothing!” As you square up the
deck, obtain two breaks [photo 15]. Gain one above the 10H with
the left little finger and the second above the KS with the left ring
finger. At this point you can take the 6H and 6S and insert them in
their proper stack positions. Place the 6D on the face of the deck and
you are reset. Or, you can place the three sixes onto the face of the deck with the order from the face
being: 6S, 6H, 6D and use Denis Behr’s Plop Replacement method to return the sixes to their stack
positions.

COMMENTS

1) Here is an optional sequence for the 10H/10S transformation that is very magical: instead of
performing the second deal, you can show the 10H, and then change it into the 10S using a top change
or a visual change like the Pivot Change. This changes the feel of the demonstration. In this instance
you save the situation with magic. As you reveal the transformation, say, "Agh! Oh, relax! I'm just
messing with you. It is really the ten of spades!"

2) In the introduction to this routine I pointed out that some magicians prefer to never demonstrate
any level of real skill with cards. I respect and understand their position. I, however, don’t share that
view. Instead of defending my position I will simply refer you to the fascinating essay on the topic by
Darwin Ortiz found in his excellent Scams and Fantasies (see pages 211-220). Thanks Darwin!

CREDITS

I would like to thank Tyler Wilson for allowing me to include his beautiful diminishing lift sequence. I am
honored that he allowed me to share it in these pages. Thanks Tyler!

61
 P.A.C.
MAN
POKER

A MULTIPLE SELECTION ROUTINE GETS SCARY

62
 P.A.C. MAN POKER
One of my all-time favorite impromptu routines is Darwin Ortiz's "Pick A Card Poker" (see Card Shark
pgs. 172-174). It is an absolute stunner with an amazing and impossible climax. The following routine
allows you to perform a nice variation of the Ortiz routine with the Aronson stack and end with the deck
back in stack order. You can perform this routine at any time in a card set.

EFFECT

The magician performs a stunning multiple selection routine with five selected cards. The five cards are
then lost in the deck. The magician shuffles the deck and performs several amazing gambling
demonstrations. The pinnacle of which is dealing himself the five selections in a four handed game of
Poker! The magician then turns over his poker hand to reveal that the five previous selections are now a
royal flush!

SET UP

Perform six perfect out faros (for a non-faro method see the comments section at the end of the
routine). These out faros can be done as you casually talk or before you begin your performance.

In the routine you will force five cards. After giving the deck six out faros these five cards are gathered
together. Not only are they gathered together but they are also conveniently located at positions #6-10
from the top of the deck. These cards are: QD, 7H, 4H, JC and 4S [photo 1].

63
 ROUTINE

PHASE 1- THE MULTIPLE SELECTION ROUTINE

Begin by obtaining a break under the QD (the sixth card down from the top of the deck). Cut about half
the deck from the bottom to the top while retaining the break.

Begin by riffle-forcing the QD on spectator one. As you are showing her the QD on the bottom of the
right hand packet, get a left little finger break under the top card of the left hand packet (the 7H). You
can use either a pinky count or use your left thumb to push the top card to the right and then draw it
back while using your left little finger to catch a break beneath the 7H. Put the right-hand packet back
onto the left-hand packet while retaining the new break under the 7H.

Continue by riffle-forcing the 7H on spectator two using the exact same force procedure. Continue this
forcing sequence until you have forced all five cards. After this last card is shown, replace the right hand
packet onto the left hand packet (no break is held). False shuffle the deck and then cut the QD to the
top of the deck (cut the short JS to the top and then the top five cards to the bottom of the deck).

After the cards have been forced and controlled to the top you may now perform any sequence of
revelations you see fit. Just make sure that your revelations leave the rest of the deck in order. I will
offer one piece of advice on your revelations: refrain from revelations where one selection (or an
indifferent card) transforms into a selection. I feel that this type of revelation will weaken the ultimate
climax of the five cards changing into a royal flush.

I prefer to construct my revelation sequences around impossible locations (in my shoe, under a glass, in
the card box, etc.) or revelations where the card is located with fancy cuts, etc. With only five cards to
reveal, you have lots of strong options to choose from. (For those at a loss for how to proceed with such
a routine, see the comments section for a basic five card revelation sequence.)

Perform your five card revelation sequence. As each card is revealed place it face down on the table to
create a pile.

After the multiple selection routine is completed make sure the 3S is the bottom card of the deck.
Depending on the order you chose to reveal the selections you may have to rearrange them into their
stack order (QD, 7H, 4H, JC and 4S). Once they are back in stack order, place them back on top of the
deck as a group. Cut the JS back to the top of the deck.

Perform two perfect out faros, as you say, "Usually after that people say they don't want to play cards
with me!” At the end of the two faro shuffles the deck is back in Aronson order.

PHASE 2- A CARD SHARK DEMONSTRATES

Cut the marked 5S to the bottom of the deck and secretly put a downward crimp in the inner left corner.
This is accomplished by slightly in-jogging the 5S and using your right thumb to press down on the inner
left corner. Finish the preparation by obtaining a left little finger break under the 2S (use the marked 3C
to make this very easy).

64
 A WEIGHING THE CARDS DEMONSTRATION

“Although I am not a card shark, just for fun, let me show you some crazy card shark skills.” Turn to a
spectator on your right and continue, "Just say stop whenever you want. Thanks." Riffle force to the
break and take all of the cards above the break into your right hand. Place the rest of the deck on the
table.

Pretend to weigh the cards in your right hand as you say, "A card shark can probably tell you how many
cards you cut off by their weight. Hmmm...I'd say 19,20...no, wait, I believe it is twenty-one! I will go
with twenty-one." Count them one at a time into a pile, reversing the order of the cards, or let
someone else count them to confirm that there are, indeed, twenty-one cards.

After the demonstration, place the twenty-one reversed cards back on top of the deck.

A SECOND DEAL DEMONSTRATION

Give the deck a brief false shuffle or false cut and say, "And a card shark can do other things too, like
take the top card, in this instance the two of spades and deal it to himself even though he is the last to
get a card!"

Turn the top card (the 2S) face up and place it back onto the deck. Now, second deal twice and deal the
face up 2S to yourself.

Pick up the dealt cards in reverse order and place them back on the deck. Place the face up 2S onto the
deck. Remember that these three cards have been reversed so the order from the top of the
reassembled deck should be: 2S, 3C and 6H.

NOTE: If you are not comfortable with a real second deal you can leave out this demonstration.

PHASE 3- THE FINALE

Continue, "A card shark can also shuffle the deck so that he can gain control of any card he wants and
place them so that he will deal them to himself in the game.” As you deliver these lines, place the deck
in position for a tabled riffle shuffle. Cut the upper half of the deck to the left. Now perform a Zarrow
shuffle under the top card (the 2S) of the left hand’s portion of the deck.

Continue the shuffle by cutting to the crimp and taking the upper half to the left. Zarrow shuffle the
right hand’s portion under the top card (the 2S) of the left hand’s portion. After this Zarrow shuffle the
deck is back in order with the reverse-ordered twenty-one cards on top of the deck. At the end of the
sequence say, “...and that does it! I now have stacked some very important cards to fall to me."

Deal two cards into a pile on the table as you continue, “These cards don’t matter. What matters is
what important cards I have given myself.” As you deal the third card onto the pile, spread the next
two cards over to the right with your left thumb. As you drag them back to the left, use your left little
finger to obtain a break beneath the two cards.

65
 Say, “Cards like Abigail's Four of Spades!” as you perform a double turnover to reveal the 4S. After
showing the 4S turn it back over onto the deck and deal the top card (the 10H) onto the table in front of
you (but separate from the discard pile).

Continue this dealing and double lift pattern to produce the other selections as you continue, “…or
Ben's Jack of Clubs, Carl's Four of Hearts, Danielle's Seven of Diamonds, and even Eugene's Queen of
Diamonds.” This impressive feat will take the audience by surprise!

As the audience reacts, obtain a break under the top card of the deck (the QD). Double undercut about
half of the deck to the top, retaining the break. Take all the cards above the break and place them on
the discard pile. Then place the remaining cards in your hand on top of the tabled deck. At this point
the entire deck is in Aronson order except the cards you
dealt to yourself. Pick up the deck and take it into
left hand dealing grip. 2

Cut about one fourth of the deck to the bottom and

fan the deck with its face towards you [photo 2].
Notice that the cards are spread in such a way that
you can see the cards that are normally adjacent to
the royal flush cards in the stack, in the fan. It is not
hard to make this fan with a little practice. After you
reveal the transformation of the Royal Flush, you will
insert each card in its place in the stack. All you need
to do is put each card into its proper stack position.

Pick up the five cards on the table and fan them face down. Say, “Of course if I was a card shark I might
have picked different cards to deal to myself. Since I am a magician…anything is possible!" Pick up
the cards you dealt to yourself (which the audience believes are the selections). Keep them face down
and fan them. Make a magical wave of the right hand and show the faces of the cards to the audience.

Immediately bring the right hand cards up to the left

hand fan and begin inserting the cards in their proper
3
stack positions but face-out [photo 3]. You will move
right to left:

1) Insert the 10H between the 6H and 3C.

2) Continue to the left and insert the next card, the JH,
between the JC and 10C.

3) Continue by inserting the KH between the 4H and 4D.

4) Insert the QH between the 7H and 5D.

5) Insert the AH between the QD and 8S.

66
When you are done, you should have a very pretty display of
4
the royal flush in the fanned deck. This is your applause cue
position [photo 4].

THE RESET

You have already done 99% of the reset! You can choose to reset the cards in several ways. Here is how
I like to do it:

As you respond to the applause, square up the deck by first closing the fan. Turn the deck over as you
lower the deck so the backs are towards the audience. As you look at the crowd, push the out-jogged
cards flush with the deck. Pause a beat or two and look down at the deck as if you suddenly realized you
did something odd. Spread the deck and smile shaking your head. To the audience it seems like you
simply got caught up in the moment and forgot to turn over the cards.

Now begin spreading the cards from the bottom of the deck into your left hand. When the AH appears
flip it over in its place. Continue this process with the QH, KH, JH and 10H. The deck is now completely
reset in Aronson stack order!

COMMENTS

A MULTIPLE REVELATION SEQUENCE: As promised, here is a sequence of revelations that will retain the
stack order and provide a nice series of revelations. Keep in mind that this is just a basic example.

With the five forced cards on top of the deck, cut the top three cards to the bottom of the deck.

4H: Perform J.K.Hartman’s Popover Move (see Card Craft Pgs. 140-142) to reveal the 4H: Hold the deck
from above in end grip. The right fingers curl around the front of the deck and contact the 4H. Move
the right fingers to the right, dragging the bottom card to the right with them. Your palm-up left hand is
now slipped into the gap between the 4H and the bottom of the rest of the deck. The left hand fingers
grip the bottom half of the deck while the right hand fingers pull the 4H up the front end of the deck
(making the 4H pop out face up). In a continuing action, the left hand pulls down on the lower half of
the deck. The 4H is now guided into the break by the right fingers and the break is allowed to close
(trapping the 4H). Strip out the 4H and place it face up on the deck.

7H: Perform the D'hotel revelation to produce the 7H. Position the deck in the left fingertips. Hold the
deck in your left hand in dealing position (but held more at the tips of the fingers). Turn slightly to your
left and position the deck so its back is facing the audience. The left fingertip contacts the outer short
edge of the deck and pulls the bottom card away from the deck slightly. Slowly push the card towards

67
you. This will cause the card to swing out and up. As you show it, get a left little finger break under the
top two cards.

Take the two cards above the break as one into the right hand onto the card in the right hand. Place the
three card packet on the table without revealing the face down, sandwiched JC.

4S & QD: Perform the Two Card Catch flourish to produce two cards at once (the 4S and QD): hold the
deck in the left fingertips. The thumb is on top and the fingers are underneath the deck. Toss the deck
into the right hand. By using light pressure, you will hold back the top and bottom cards of the deck in
your left hand. Turn the two cards face-up in the left hand. Drop the two cards onto the table.

JC: Finally, to reveal the JC, aim the deck at the sandwiched card and strongly riffle the front of the deck.
The gust of air will move the sandwiched card and reveal the face down card between the face up cards.
Turn it over to reveal the JC for a pleasing finale.

THE NO FARO METHOD: For this version the multiple selection revelation sequence is skipped. You will
just perform the reversal of twenty-one cards and the finale. Begin by cutting the 5S to the bottom of
the deck, crimping it and obtaining a break under the 2S. Proceed with the weighing the cards
demonstration to reverse the stack. Place the reversed stack of twenty-one cards back onto the rest of
the deck.

State that you would like some cards to be selected. Now you will force the five cards while the deck
remains in stack order. Obtain a break below the 4S (the 5th card from the top of the deck). Cut about
half the cards from the bottom of the deck to the top.

Riffle-force the 4S. As the spectator is memorizing her card use a pinky count to get a break under the
fourth card down from the top of the cards in the left hand (the JC). Continue by riffle-forcing the JC. As
you do, once again, use a pinky count to obtain a new break, four cards down from the top of the cards
in the left hand (under the 4H). Continue this process until all five cards have been forced.

Cut the crimped 5S to the bottom of the deck and continue with the rest of the routine as described in
the original description.

A WAY TO GET INTO THE STACK: You can choose to use Michael Close's “Tut-Tut” routine (see Workers
5 for all the details) as a way to do the six necessary out faros in the context of a card effect. His routine
allows you to openly perform the faros as part of the actual effect.

DELAYED FINALE: The final revelations of the spectator’s selections and the transformation into the
Royal Flush can be delayed until the end of a series of effects. You can open your performance with the
multiple selection routine after which you perform two out faros to get into Aronson stack order. You
can then do any other routines you wish. For the climax of the entire performance (or at any time you
wish) reverse the twenty-one cards and end with a call back to the original five selections. This can be
very strong because you have been using the deck for many other effects and the audience has seen it
constantly shuffled. Use the climax of the Royal Flush to end the entire performance.

68
USE A DECK SWITCH: You can also force the five cards from a shuffled deck. Perform a deck switch for a
deck already with the twenty-one cards reversed. At the end of the routine you will be in Aronson stack
order. A great deck switch that works well in the context of unearthly skill with cards is Simon Aronson's
"Shuffle Tracking" deck switch (his routine can be obtained for free by downloading Simon's free e-book,
Memories are Made of This, at vanishingincmagic.com.

69
 A DECK SWITCH
A SWITCH BY GILES CARTWRIGHT

I love a good deck switch and this particular deck switch, developed specifically for the Aronson stack by
Giles Cartwright, is wonderful. It works very well for segueing into many of the routines in this section
from a shuffled deck. One of the nice features of this switch is that you utilize the four aces to provide
cover for the switch. This means that you have a huge collection of ace routines and packet effects that
can be used to transition from a shuffled deck to your stacked deck!

THE COLD DECK SET UP

Cut the AH to the bottom of the deck and give the deck six perfect out faros. The four aces will now be
among the bottom five cards of the deck. Remove the aces because they will not be needed and keep
the KD on the face of the deck. With the deck set up in this manner place it in your pocket (or wherever)
ready to be switched in.

NOTE: Instead of six perfect out faros you can cut the AH to the bottom and then deal out four piles of
thirteen cards each, turning the cards face-up as they are dealt. At the end of the dealing, gather the
packets. The last pile dealt (D) goes on pile C. The combined C/D pile is placed on B. Finally, place all
the cards on pile A.

THE SWITCH

In performance, you prepare for the deck switch by either producing the aces or removing them from
the deck and then using them for a routine like Dai Vernon’s “Twisting the Aces” or a similar type of
routine. It is a good idea to cut the KD to the face of the shuffled deck before the switch.

After the aces are produced, put the rest of the deck in your pocket (or wherever). Continue by
performing an effect with the aces and then bring the cold deck out.

Gather up the Aces in low to high stack order (the AH will be on the face). Place the aces on the face of
the deck. When reassembling the deck slide the KD between the two middle Aces.

Now give the deck two out faros to return to Aronson stack order (AH on face). It is a nice feature to be
able to give the deck several legitimate shuffles after replacing the aces.

COMMENTS

MORE DECK SWITCHES: For other deck switches specific to the Aronson stack see Simon Aronson’s
Bound to Please (pgs. 128-129).

70
 EXPRESS
LANE

THREE MYSTERIES AND

SECRET AGENDAS

71
 EXPRESS LaNE

What follows is a stack created within the stack! It is a unique stack of cards arranged in consecutive
order (A-K) that can be created directly from the Aronson stack and is easily returned to Aronson stack
order after its use. There are many uses for such a stack. Below, you will find my favorite routine and
several other ideas to explore as well.

One of my all-time favorite routines is “Trumped Triumph” by Joshua Jay. In the following routine the
“Trumped Triumph” effect is performed as part of a three phase routine. Amazingly, after all the
shuffles, and the use of this special stack, the deck will end in Aronson stack order!

EFFECT

A card is selected, lost and found in an amazing way (of course)! A second card is selected and the first
selection is used to reveal it during a “Triumph” style effect. For the climax of the routine, the magician
reads the minds of several spectators!

SETUP

Although it is possible to set up the stack quickly and secretly in front of an audience I tend to set it up
before a performance begins. At the end of the routine, I will teach you how to achieve the A-K set up in
front of an audience.

For now, set up the deck as follows: (from the top of the deck) AS, 2H, 3H, 4H, 5C, 6C, 7C, 8D, 9S, 10S, JS,
KC, then followed by the AC and the rest of the deck in Aronson stack order [photo 1]. You will notice
that a queen is missing from the A-K order. The queen will be dealt within the context of the routine.
Also notice that all of the cards that make up the A-K stack, with the exception of the 7C and 4H, are
from the top eleven cards of the Aronson stack. The 7C and 4H are adjacent cards (28 & 29). As you will
see at the finale of the routine, the fact that the A-K stack is created in this way will aid greatly in
returning to stack order

72
 ROUTINE

NOTE: The heart of this three phase routine is Joshua Jay’s “Trumped Triumph.” Joshua’s routine is
available for download at vanishingincmagic.com. In the description to follow I have been purposely
vague regarding the details of Joshua’s routine, but I include all the details about getting into the routine
and resetting the stack afterwards and I also include my entire script.

PHASE 1: THE QUEEN!

The routine begins with a very basic card revelation that can be handled in your favorite way. All that
really matters is that you force the QH. Since it is right above the short 5D, it is always easy to locate.
For the sake of completeness, here is my sequence for the revelation of the queen.

Obtain a break below the QH and riffle force it on a spectator. Begin, "Go ahead and say stop
whenever you would like. Look at the card you stopped at and remember it."

Show her the QH on the bottom of the right-hand half and then reassemble the deck. Do not hold a
break below the QH (the short 5D will allow you to find the queen). False shuffle the deck as you say,
"Every card in the deck is unique. No two are the same. In card lore
every card has its own unique characteristics."
2
Riffle up the back of the deck with your right thumb and locate the short
5D. Obtain a left little finger break above the 5D. Spread to the break
and flip the 5D face up at its place in the spread [photo 2] as you say,
"Take the...five of diamonds for instance.” It should seem that you simply
chose a random card to demonstrate with.

Continue, “It is associated with determination and a balance. The card 3

you chose has its own characteristics as well. Some cards have negative
characteristics, like the nine of diamonds is associated with a curse and
the ace of spades is known as the card of death. I hope you didn't pick
one of those!” As you apparently turn the 5D back face down you will also
secretly reverse the QH in the spread by using Larry Jennings beautiful
Larreverse.
4
Briefly, the 5D is face-up in the center of the deck. Above it is the face down
QH. Break the spread with the face-up 5D on top of the left half. The right
hand holds the upper half still in its spread condition. The bottom card of the
right half is the QH.

To reverse the QH, bring your hands together and push the 5D to the right
5
with the left thumb. Take the 5D under the right hand spread aligned with
the bottom card of the right hand fan [photo 3]. Rotate your right hand
palm down [photo 4].

The spectators will see a face-down card at the face of the spread. Use
your left thumb to drag the double card onto the left hand portion of the

73
spread. It appears that you simply righted a reversed card. And you did! What they do not know is that
you now have a new card reversed in the deck [photo 5 shows the QH exposed]! For a more detailed
description of the Larreverse see Card College, Vol. 4, pgs. 1033-36 or Dai Vernon’s Ultimate Secrets of
Card Magic, pg. 47.

Continue, "Strangely there is one card that’s worse than curses or death but it won’t matter unless you
picked the Queen of Hearts....you DID! I can see it in your eyes!" The spectator almost always reacts
and if they don't someone else will. If no one does, pretend someone did and continue with the effect.

Continue, "Oh, the humanity. I know you can’t imagine how the Lovely Queen of Hearts could be
worse than a curse or death. The queens is much worse...she's high maintenance! Everything revolves
around her. Since that is her character I will use it to find her...as long as she’s not having a bad hair
day." Close the spread and place it on your out stretched palm.
Turn the deck face up and then immediately turn it face down
6
again. Be very dramatic about it!

Say, "Since she likes to have the world revolve around her that’s
what we'll do!" Spread the cards to reveal the face up QH [photo
6]. Remove it from the spread. This is a nice and dramatic
revelation but it can be substituted with your personal favorite. I
like having the queen appear face-up in the deck because I can
call back to it in the next phase.

PHASE 2: TRUMPED TRIUMPH!

Cut the ordered stack to the top of the deck if it is not already there.

Joshua Jay’s “Trumped Triumph” will now be performed. If you are familiar with it, then my instructions
should be more than adequate. If you aren’t familiar with Joshua’s routine then I encourage you to get
it! Now back to the routine:

Continue, “I’ll show you just how much of a control freak she is in a moment. But first, go ahead and
pick a card. Just hold on to it for now.” Force the 8D (It is 8th from the top of the deck). Have the
spectator keep the 8D and instruct her not to let anyone else see it.

Say, “Like I said, the Queen of Hearts is a control freak. 7

To demonstrate I will create a situation that will break
all the rules and drive her mad." Cut the deck into the
three packets according to the “Trumped Triumph”
process. Cut off the first pile (A) by riffling up the back
of the deck with your right thumb until you see the KC.
Place the A-K stack on the table to your right. Make the
C B A
final two piles (B & C) following the normal “Trumped
Triumph” procedure [photo 7].

74
Say, “I’ll shuffle the face-up cards into the face-down cards. Can it get
8
any more mixed up? Yes! I can do it again. Now we have a huge mess
of cards. Some face up and some face down. It is an absolutely
hopeless mess.” Now proceed with the shuffle sequence with the three
piles just as taught in “Trumped Triumph.” At the end of this sequence
you will have about half of the deck out-jogged. The out-jogged half will
be face down [photo 8]. 9
Continue, “I’ll put the Queen of Hearts in there as well. That’s perfect.”
We will now use an idea by Darwin Ortiz. Take the face-up QH and put it
face up into the out-jogged portion of the deck, sliding it flush with the
out-jogged portion of the deck [photo 9].
10
Say, “And now there is no going back.” Now perform the “Trumped
Triumph” shuffle technique.

Continue, “Actually that isn’t entirely true. The queen hates

competition for attention. With all the chaos she just blends in, she
hates that! She won't tolerate it for long. You see, she has made it just as it was a moment ago.
She's the center of attention!" Spread the deck to show that the QH is now, apparently, the only card
face-up [photo 10]. Thanks to Joshua’s application of a certain principle, the face-up A-K cards are not
seen. Everything looks like it did a moment ago when the deck was spread to reveal the face-up QH.

Slide the QH out of the spread and gather up the cards (being careful not to expose any of the face up
cards).

Say, “Since she is such a busybody, she

should be able to help me determine 11
which card you removed from the deck.
Because the queen can’t talk she had to
tell me, in the best way she could, from
this shuffled deck.” Tap the deck with the
QH. Pause a moment, make a magical
gesture over the cards and then spread the
deck from your left to right. As you spread
the deck the face-up A-K stack will appear
interspersed within the face-down deck
[photo 11]. This is a wonderful moment, so let your audience enjoy it! As everyone is looking at the
face-up cards, insert the queen, face up, in the spread between the JS and KS. Leave the queen out
jogged for about half of her length.

75
Continue, “I see that the only value missing is the eight. I also notice that every suit is represented
except she didn’t use any diamonds! I think the queen is trying to tell us you selected the eight of
diamonds!”

Have the spectator show her card for the first time and accept your applause!

At the end of the routine the 8D is

out on the table. With the pack 12
turned face up, the A-K stack is
interspersed within the deck. The
largest portion of the deck (packet
C) is face up. Shuffled within packet
C is packet B. Packet B will usually
be about twelve cards (like the AC
through the AH). So now there are
two chains of cards interwoven (the
large packet C and the small packet
B) [photo 12, with packet B having
black faced cards and the A-K stack
face down].

13

You will secretly cull out packet B as you out jog the face-down cards
[photo 13]. Since packet B is only around twelve cards and the focus, if
there is any, will be on the face down cards, the cull is relatively easy to
get away with. If you have the stack memorized, it will be very obvious
to you which cards need to be culled as
you spread through the deck. The last
card you will need to cull will always be 14
the AC so you will know automatically
when you have finished the cull
procedure. The culled cards ride under
the spread and are culled to the
“bottom” of the face-up deck. The
Aronson stack is now in order with the
exception of the A-K stack [photo 14].

After the cull is completed, strip out the

face-down cards. Turn the deck face-
down and place the A-K stack cards,
face-down on the deck. False shuffle the

76
deck. All that remains is to get the A-K stack back into Aronson stack order.

NOTE: At this point you can end the routine and keep the A-K stack secretly set up, or you can continue
with the third phase to reset the Aronson stack. Of course this third phase can also be the start of a new
performance for a new audience. The routine is modular so you have optimum flexibility.

PHASE 3: RETURN TO ORDER

There are many different ways to finish the routine. I will present my favorite and then give an ample
supply of extra ideas for you to explore as well. In addition to performing an entertaining piece of
magic, you are going to reassemble the deck into stack order. I like to use a card divination effect for
the memorized deck. Its handling is about as simple as you can get, but the effect on a lay audience is
profound. It also, conveniently allows you to re-order your stack in the process of the routine.

With the deck in front of the spectator, have her cut off a little less than half of the deck. Instruct her to
cut less than half of the deck because otherwise it will take too long. All you really care about is that she
cuts off at least fourteen cards (anywhere below the A-K stack). Instruct her to look at the bottom card
of her cut-off portion and remember the card she cut to. Have her shuffle her cards.

Say, “I was able to interpret the queen’s subtle clues! Let me try to demonstrate something even more
amazing. I will try to interpret some clues you will unknowingly send to us. Of course you are a
person capable of…deception so this will be a real challenge! I want you to keep what in poker is
called a poker face—and don’t say a word.”

Take back her shuffled cards and spread them with the faces towards you. As you look at the spread,
look for the card with the highest stack number, ignoring the QH, 7C, 4H. The card with the highest
stack number will be the selected card! Once you know its identity begin to eliminate cards by going in
reverse stack order and starting with the card that is the next highest in stack value. In other words, if
the selected card was 8C (#16), then start eliminating cards with the 7D (#15).

Each eliminated card goes face down onto the deck. As you eliminate cards you will pretend to
interpret the “tells” of your helper. Keep in mind that they may give you legit tells that other people in
your audience will also pick up. Make sure to point this out. It will further legitimize the procedure. As
you eliminate cards say things like: “Your card was either high…or…low. Hmm, I think I can eliminate
these.”

Since the script here is mostly about audience interaction and taking advantage of the situations that
arise I can’t give you a concrete script. Instead, here are some of the other questions I typically ask and
pretend to get clues on during the elimination procedure:

“Your card was either a red card…or…a black card.”

“Your card was either a royal card…or…a number card.”

“Your cards value was either high…or…low.”

77
The important thing to remember is that it is supposed to be entertaining! Pretend to receive
information from obscure “tells” like a slightly raised eyebrow or faster breathing, etc. Also, eliminate
several cards on each question to keep the routine from becoming too long.

Eliminate all the cards in this way until you are left with only the QH, 7C, 4H and the selected card.
Finally, eliminate the three last cards in this order: QH, 7C and 4H. This order makes the final reset of
these cards very simple.

When you are down to one card, say, “I think I have succeeded! If I have interpreted your ‘tells’
correctly your card must be the eight of clubs!” Dramatically turn over the card and take your applause.

To reset the QH, 7C and 4H start with them on top of the deck.
Because all three cards are close together in the stack it is easy
to return them to their positions. 15
Use the short 5D to get a break below the 5D. Slip-cut the 4H
into the break and obtain a break above the 4H [photo 15].
Slip-cut the 7C into the break and then allow the 5D to fall on
top of the 7C. Finally, slip-cut the QH into the break and you
are reset. All that remains is to insert the spectator’s selection
in its proper place in the stack. This reset procedure is easily
done as the applause is quieting down. It can be done without
looking at the deck.

GETTING INTO THE A-K STACK

The A-K order is relatively easy to get into. You can do it casually between routines on the off-beat or
set it up ahead of time. Here is the process:

With the deck face up, cull the 4H and 7C together under the spread and inset them between the KC and
5C. The order from the top of the deck if it were face down is: JS, KC 7C, 4H, 5C,...the rest of the stack.
Following the cull, turn the deck face down. This cull sequence can be done during other activities with
the deck or between routines.

With the deck face down, spread the top cards of the deck and cull the 7th card down (the 9S) under the
spread. Look for the mark on the AC and insert the 9S above it. After the 9S is inserted above the AC,
continue by culling the AC under the card below it (the 10S) and then obtain a left little finger break
below the 10S.

While continuing to hold the break below the 10S, obtain a new
right thumb break below the top two cards (the JS and KC). This 16
break is only held momentarily. Use your left thumb to press down
on the outer left corner of the top of the deck and pull the block of
cards between the two breaks out and to the right [photo 16]. The
JS and KC will now be the top cards of the left hand’s portion of the
deck. Place the right-hand portion back on the left hand’s cards and

78
allow the left little finger to once again obtain a break under the 10S.

Use your right thumb to count up three cards from the break. (You can also do this by spread counting
up from the break.) Obtain a new break at this location (under the 6C).

Slip-cut the top card (the 7C) into the break and maintain a break under the 6C. Use your right thumb to
count up one card and obtain a new break below the 3H.

Slip cut the top card (the 4H) into the break. As you do, take a new break under the 4H. Finally, slip cut
the new top card (the 5C) into the break. Do not continue to hold any breaks.

Reverse the order of the top two cards (the 2H and AS). This can be done as a casual rearrangement or
disguised as part of an overhand false shuffle. You now have twelve cards in sequential order (A-K) on
top of the deck.

Although it may read as somewhat complicated, it actually flows together easily as a few trials will show.
The stack is nicely positioned between the marked AC and the 9D (if the deck is cut) and so you can use
the deck and always know where the special stack is.

COMMENTS

OTHER ROUTINES TO RESET THE STACK: After having the spectator cut off the packet and remember
the bottom card, you can perform a pseudo muscle-reading demonstration by spreading all of the cards
on the table face up. Eliminate the cards starting with the QH, 4H and 7C. Follow with the rest of the
stack. At the end, the stack is completed with the exceptions of the QH, 4H and 7C.

Another option, and one of my favorites, is to perform Bill Malone's "Hands off Memory Test" to restore
the order of the stack. (See his DVD: Here I Go Again, Vol. 3).

You can also perform a simple pseudo memory stunt by having the packet cut off. Have them shuffled
and fanned towards you. You then proceed to name them off in stack order.

OTHER WAYS TO USE THE STACK: There are many ways to utilize the A-K stack. I love Eugene Burger’s
“A Card Stab Routine” from The Experience of Magic (see pgs. 60-67). This stack is perfect for his
routine and the A-K stack remains concealed so you can use it for other routines after the card stab
effect!

THE QUEEN: The “Express Lane” routine handles the QH in a special way, but it doesn’t have to be
handled like that. You can perform one extra cull to add the queen during the set up. I would highly
recommend that it be the QH because if you want to reset the deck, the QH is the easiest to reset.

79
 ROYALLY
ASSEMBLED

JOSHUA JAY’S
“ROYAL ASSEMBLY”
FROM STACK & BACK

80
 Royally assembled

One of my favorite four ace routines is “Royal Assembly” by Joshua Jay. The basic effect is an excellent
ace assembly routine in two phases. The second phase ends with an extremely commercial and
surprising finale. This excellent routine requires a set-up and I wanted to be able to do the routine
starting and ending in Aronson stack order.

What I share here is how to easily get into the required set-up directly from the Aronson stack. After a
lot of work I found the way to order the cards so that at the end of the routine the cards are reset in
Aronson order despite all the journeys the cards travel throughout the routine! An added benefit of this
routine is that the audience sees the cards being mixed, although in reality the “mixing” is actually
rebuilding the stack. If you are not familiar the “Royal Assembly” routine you can view a performance
and purchase the instructional download at vanishingincmagic.com.

GETTING IN

Cut the KS to the top of the deck. Turn the deck face up and cull the 10S between the 8H and 9C. This
cull of the 10S can be done as you remove the four aces from the deck and set them face up on the
table. After the cull, false shuffle the deck.

Spread off the top twelve cards and place the rest of the deck aside. You will now perform a quick and
easy shuffle sequence with the packet to put all the cards in the proper order for the routine and for the
final return to stack order.

Cut the KS to the bottom of the packet.

Perform one perfect out faro (cut the packet at the QS for the out faro).
Run two cards (6S & 6D) and throw the rest on top.
Pull three cards (4C, QC, 8H) as one into the left hand.
Run one card (2C) onto the left hand cards.
Pull two cards as one (10S & 9D) UNDER the left-hand cards.
Run one card (9C) onto the left hand packet.
Pull the next three cards as one (JS, QS, KS) onto the left-hand packet.
Throw the remaining two cards (the 6D and 6S) UNDER the left hand packet.
THE NEW ORDER (from the top down): JS,QS,KS,9C,2C,4C,QC,8H,10S,9D,6D,6S [photo 1].

81
After this shuffle the cards are in order with the exception that the 9C and 2C need to be switched. This
can be accomplished right away, but I prefer to fix the two cards during the first lay-down phase of the
routine.

The routine continues with a switch of the aces. After the switch of the aces and the initial “T”
formation has been made with the “aces” you will put three cards onto each “ace.” Take the top three
cards as a group and put them on the first “ace” (A). As you go to do the same with the next three cards
of the packet, you will switch the order of the top two cards (9D and 2C). This is easily accomplished by
taking the top card singly into the right hand and then taking the next card on top of it. Finish thumbing
off the third card and gathering it under the first two. You have switched the positions of the 2C and 9D.
Drop the three-card packet onto the second ace (B). Continue by placing the next three cards as a group
onto the third ace (C) and the last three cards onto the final ace (D).

Once all the cards are distributed on the “aces,” you proceed with the entire “Royal Assembly” routine
exactly as taught by Joshua, with one minor variation. During the second phase, after you have shown
that each ace has vanished from its packet, place each packet onto
the deck after you show it.
2
The final revelation is handled in a specific way to make the
reassembly of the stack easy and relevant to the routine.

THE FINALE & BACK INTO STACK

To finish the routine, reveal the 10S in your hand. As you do, pick
up the deck. You will need to give the deck a complete cut. The 3
best way to do so is to nonchalantly give the deck a Charlier cut with
the left hand. This happens immediately after the revelation of the
10S and during the audience’s reaction to it [photo 2].

Once the deck is cut give the deck a thumb fan with its faces towards
you. Insert the 10S face-out in its proper stack position (between
the 8D and 5H). Leave it out-jogged for half its length [photo 3].
4
Immediately pick up the four cards on the table that the audience
believes are the aces and fan them in the right hand, faces towards
the audience to reveal the Royal Flush transformation. Immediately
bring the right hand cards up to the left hand’s fan and insert the
right hand’s cards, face out, in their proper stack positions. This is
easy to do by starting with the lowermost AS. Simply continue to
the left and insert the next-lowest card in the right hand in its proper
position as you move left. It is very easy to see where they go by
simply looking for the 9’s and placing the cards next to them 5
[photos 4 & 5].

Once the Royal Flush is in its out-jogged position, pause and give
your cue for applause. Turn the deck face down.

82
All that remains is to turn the Royal Flush cards face down and deal with the aces. In the process of
turning over the Royal Flush cards, you will secretly cull the aces to the bottom of the deck [photo 6,
with the three Aces highlighted with red backs]. The process is straight forward:

1. Spread to the KS and turn it face down. As you continue to spread the cards, cull the card that is
located two cards to the left of the king (an ace).
2. After the first ace is culled, spread over one more card and cull the next card (the second ace).
3. Spread to the QS and turn it face down. As you continue to spread the cards cull the card that is
located two cards to the left of the queen (the third ace).
4. Continue by spreading to the JS and turning it face down. The three culled aces continue to ride
under the spread.
5. Continue to spread to the AS and turn it face down. Immediately cull it under the spread. The
four aces are now secretly gathered together and riding under the spread.
6. Continue to spread to the 10S and turn it face down. Allow the aces to gather on the bottom of
the deck as you square up the fan [photo 7].

This culling procedure is quickly accomplished and the actions are completely justified by the need to
right the Royal Flush cards. Once the aces are on the bottom of the deck, they can be produced in any
way you see fit. Regardless of how you produce the aces, all that remains is to insert them in their stack
positions. I usually use Denis Behr’s Plop Replacement, but you can also simply spread the deck face up
on the table and slip them into their positions before gathering the deck and giving it a nice false shuffle.

83
 SOME ACE REPRODUCTION IDEAS

Vallarino’s “The Great Triumph” routine works very well in this context (see his Close-up Man Lecture ’93
notes). You can also palm them off and produce them from one or more pockets for a surprising finale.
Producing them from the card box or finding the aces under a glass can also fun climaxes for this
routine.

ERIC’S ACE ROUTINE

I typically use “Royal Assembly” as a part of a larger four ace routine. Here is the typical sequence of
routines I like to use. It is a very nice card set that begins and ends in Aronson stack order:

1) Start by producing the aces with “Mockingbird Aces”.

2) Continue with Josh Jay’s “Royal Assembly” following the handling just given.
3) Conclude by producing the aces. My personal preference is Jean-Pierre Vallarino’s “The Great
Triumph.”

These three routines flow nicely together and it is a card set full of strong magic and surprises. There
are, of course, many other options to explore. I think what is important is having some effects in your
repertoire that can be done with the stack order, but are not related to memorized deck work in any
way. In this way you can perform a vast array of magic with the stack and still be able to unleash a
memorized deck effect when the time is right! This collection of ace routines is just one example of such
a sequence of effects.

84
 CHAPTER 3

NAVIGATION

(READING MINDS)

85
 NAVIGATION

The three routines in this chapter are all about mind-reading and imagination. The first two routines
allow you to apparently read a spectator’s mind! I think having these types of routines in your working
repertoire is really valuable. Being able to, at a moment’s notice, spread a deck of cards in front of a
spectator’s eyes and then discover which card they were merely thinking of is strong and doesn’t feel
like a card trick. The first two routines you are about to learn feel like real mind-reading when
performed well.

The first is a reworking of Juan Tamariz’s “The Three Hours” by Paul Thomey. It is clean and is actually
slightly more efficient than the original thanks to the properties of the Aronson stack!

The second routine is a streamlined interpretation of Simon Aronson’s “Simon Eyes” routine with
Simon’s own stack! Simon’s “Simon Eyes” routine is a creation of deep beauty. Jan Forster’s
interpretation is wonderful and doesn’t require the work or set up of the original.

For the third routine we will travel in a different direction. Instead of reading a spectator’s mind you will
use their imagination to do the impossible. In this final routine Tyler Wilson takes on the un-gaffed
Ultra-Mental challenge and the results are stunning. You are in for a real treat with this subtle and
extremely clever handling!

Thank you, Paul, Jan and Tyler for allowing me to share your routines here.

Let’s take another tour. This time it is a tour of a spectator’s mind!

86
 THREE MORE
HOURS

READ A MIND
BLOW A MIND

87
 THREE more hours
DEVISED BY PAUL THOMEY

This is Paul’s solution for using the Aronson Stack to achieve the wonderful effect “The Three Hours”
from Mnemonica (pg. 65) by Juan Tamariz. Tamariz gives credit to Simon Aronson, Ramon Rioboo,
Michael Close and Walt Lee for their ideas regarding his effect.

EFFECT

Three spectators agree on a number from one to twelve, without letting the magician know it. Twelve
cards from the deck are shown to the first spectator and he notes the one lying at the chosen number.
Another twelve cards are shown to the second spectator and she notes the one lying at the chosen
number. The third spectator is shown a third group of cards and notes the one lying at the chosen
number. The magician makes several statements about the characteristics of the thought-of cards and
eventually names them, without making a single wrong statement.

SET UP

This effect is done with the deck in Aronson Stack order. Cut the 2D (card number 13) to the top of the
face down deck. This entire effect uses only cards 13 – 26 in the Aronson Stack.

ROUTINE

In our example we are going to assume that the spectators chose the number six. Show the first
spectator a fan of twelve cards from the top of the deck. These will be cards 13 – 24 in the stack. (2D –
3D) I prefer to show the cards individually as opposed to a fan as it makes it easier for the spectator to
focus on the card at his chosen number. In our example, the first spectator remembers the sixth card,
which is the AD. The cards are replaced and the pack is given a cut or false shuffle, transferring the top
card (2D) to the bottom of the deck in the process.

Now show the top twelve cards (beginning with the KD) to the second spectator in the same manner.
The second spectator will see eleven of the same cards as the first spectator so it is best to shield them
as they are shown. Spectator number two will note and remember the sixth card, which is the 7S. (Each
spectator will remember the card immediately following the previous spectator’s card. This will be true
regardless of the number decided upon by the spectators.) Again the cards are replaced on top of the
pack and it is given a cut or false shuffle, transferring the top card (KD) to the bottom of the deck in the
process.

Show the top twelve cards (beginning with the 7D) to the third spectator in the same manner. Spectator
number three will note and remember the sixth card, which is the 5S (again the card immediately
following the previous spectator’s card). The cards are replaced on top of the pack and it is given a
straight cut to lose the cards in the center of the deck.

88
At this point all the work is done. All that is left is to reveal the three selections, which will be done with
two (or less) statements. Tell the spectators that you will try to pick up some characteristics about their
mentally chosen cards. Ask them to raise a hand when you name a feature that relates to their card.

The 1st statement will ALWAYS be: “I see red cards.” At least one of the spectators (maybe all three) will
raise his hand to this statement. This is due to the fact that in this particular run of cards there will
never be three black cards in a row. Whoever raises their hand gives you clues to all three cards. In
most cases, a second statement will be made determined by who raises their hand to the first
statement.

There are only seven situations that can occur for the 14 looked-at cards. Remember, spectator 1 sees
cards 2D-3D, spectator 2 sees cards KD-7H and spectator 3 sees cards 7D-QH (a total of 14 cards).

Here are the seven scenarios that can occur when you make the statement, “I see red cards” can create:

1. All three spectators raise their hands. The thought-of cards are either: 2D, KD, 7D or 3D, 7H, QH.
The second statement will be: “I see diamonds.” In this case either the all three spectators raise
a hand (2D, KD, 7D) or only the first spectator raises a hand (3D, 7H, QH).
2. Only the first spectator raises his hand. The thought-of cards are either: 7D, 8C, 3S or AD, 7S, 5S.
The second statement will be: “I see spades.” In this case either the third spectator raises a
hand (7D, 8C, 3S) or both the second and third spectators raise a hand (AD, 7S, 5S).
3. Only the second spectator raises a hand. The thought-of cards are 3S, AD, 7S.
4. Only the third spectator raises a hand. The thought-of cards are either: 8C, 3S, AD or 7S, 5S, QD.
The second statement will be: “I see spades.” In this case either the second spectator raises a
hand (8C, 3S, AD) or both the first and second spectators raise a hand (7S, 5S, AD).
5. The first and second spectators raise a hand. The thought-of cards are either: KD, 7D, 8C or QD,
AH, 8S. The second statement will be: “I see diamonds.” In this case either the first and second
spectators raise a hand (KD, 7D, 8C) or just the first spectator raises a hand (QD, AH, 8S).
6. The first and third spectators raise a hand. The thought-of cards are AH, 8S, 3D.
7. The second and third spectators raise a hand. The thought-of cards are either: 5S, QD, AH or 8S,
3D, 7H. The second statement will be: “I see spot cards.” In this case either the first and third
spectators raise a hand (5S, QD, AH) or all three spectators raise a hand (8S, 3D, 7H).

I believe this handling achieves the exact effect that Tamariz outlined in “The Three Hours.” Paul had to
change the first question from black to red, and he had to devise new second questions for the different
scenarios that arise. But, like the Tamariz effect, two of the scenarios don’t require a second question at
all, and there are only three other questions to remember that cover all other scenarios as opposed to
four in the Tamariz routine.

89
 Jan’s EYES

UNSETTLING
HAUNTING
INTENSE

90
 Jan’s Eyes
CREATED BY JAN FORSTER

Jan says: My starting point for this routine was Simon Aronson’s “Simon Eyes” which is found in his
fantastic book The Aronson Approach. He needs around 50 full pages in his book to explain his creation
(and there are only a few diagrams in the description!). I learned his routine in 1997 and still perform it
occasionally when the circumstances are right. I remember well that I was so excited about his thinking
that I literally had sleepless nights...

Simon uses a full deck and a full deck stack which he created especially for this routine. As you’ve got to
go twice through the entire deck his routine is a bit lengthy. So I was looking for a quicker procedure
and the possibility of using an existing stack which may be used in other presentations as well. Barrie
Richardson presents several solutions in his book, Act Two. His solutions speed up the procedure, but
you still use one-stack ponies.

Here I will present my solution. It offers a rather quick procedure. As an added plus, you won’t destroy
your stack order while you perform it. I hope that gets you interested! Nevertheless you should read
Simon’s original at least once if you can. His presentation and his use of language are incredibly subtle!
Seldom have I seen something similar: he proves indeed that language can create reality!

In my routine I use the Aronson stack and only 20 apparently “random” cards. I had to sacrifice Simon’s
“No-No-Fishing” principle, but you never get more than one “No” in any event; and you can almost
always turn that around into a positive statement. As a mind reader you don’t ask– you make
statements about thoughts and impressions that you’ve received. You then proceed to clarify meanings
or reinterpret what you or other people have said or showed involuntarily in their behavior. So
essentially you end up always being right...

EFFECT

One of two participants thinks of any number from 1 to 10. He whispers this number to the second
participant. Both will use this secret number. The mentalist takes a shuffled deck of cards and shows
the top ten cards to the first participant. He remembers the card which falls on his secret number. The
same is repeated with the second participant as the mentalist shows the next ten cards from the deck.
Then the mentalist reads both participants’ minds and tells them their cards.

SET UP

You will need the Aronson stack and a cross index. If you think of “Mutus-Nomen-Dedit-Cocis” you
know how old the idea is. But of course in this presentation you don’t lay out cards at all.

ROUTINE

You should give reasons for your procedure: you use only one number from 1 to 10 to speed things up–
time is money. Both participants use the same number as it provides a certain control. You should
make very clear that you cannot possibly know their number. You use two participants (necessary for
the method) to show that there can’t be confederates or that you were not just lucky a single time.

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Most people have favorite cards (name some...) and you want to avoid the possibility that somebody
will stick with an obvious choice for their card. The procedure ensures that both participants will think
of a random card... I hope that you’ve got enough ideas for your presentation by now.

You can false shuffle the deck before you start. When you show the cards to your participants, do it
slowly. You hold up the deck in front of your face so that the participants and the audience can see the
faces of the cards while the backs are facing you. The left hand holding the deck pushes with the left
thumb one card after the other into your waiting right hand. Keep your right hand motionless. Each
card goes onto the face of the previous shown card. That means you don’t change their order. Count
aloud while you do so.

After you show the first ten cards to participant number one, toss these cards on the table. After you
show the next ten cards to participant number two, put them back on top of the deck. When you then
toss the deck onto the first ten cards your stack is complete and in order again, but the top ten cards are
now on the bottom of the deck. If you bring ten cards from the bottom of the deck back to the top of
the deck later you’re back in starting order. Once you are done, don’t touch the cards anymore and
keep talking about virtual cards only.

Now you start your mind reading. I will give one example now. Further below you will find the system.

Proclaim that you will not ask any questions. Instead you will state what you’ve received. You therefore
ask for confirmation only. The participants can nod or raise their hands when you are correct. In the
beginning, you address both participants simultaneously. By their reactions you learn how to continue
and who is thinking of which card.

Let’s assume that the number unknown to you is “3”; therefore participant number one thinks of the
Five of Clubs (5C) and participant number two thinks of the Two of Diamonds (2D). At the moment, you
don’t know anything. You begin, “... Visualize your cards mentally... there are red and black cards...
just concentrate on your color... that comes through clearly... I receive black...(participant number one
nods or raises his hand) ... very good ... (pointing to participant number two) ...I’ll come back to you in a
moment... (pointing back again to participant number one) ...please draw the little sign for the suit in
your mind... I see the tip of a Club... (participant number one affirms) ... we’ll con-tinue, see the entire
index... I receive a number... (participant number one affirms) ...a Six... (no or negative or hesitating
reaction by participant number one, therefore you continue to speak without pausing or you could use
the ploy “odd versus even” here as well)... or per- haps a lower number, yes, it’s a Five ... (participant
number one affirms)... you are thinking of the Five of Clubs!”

(Point to participant number two) ...“I’ll come back to you now ... (you know already that he is thinking
of the Two of Diamonds, as this is the 3rd card in the second set; the 3rd card in the second set
corresponds with the 3rd card in the first set; stack numbers 3 and 13 belong together)... Sorry, his
thoughts (pointing to participant number one) came through the strongest; I had to go with him first.
However, I see clearly that you are thinking of a Diamond, this is obvious... your ability to concentrate
is actually very strong... were you distracted by some- thing before?... Yes, now I receive a number,
please continue thinking... a small number, an even number...you are thinking of a Two – you are
thinking of the Two of Diamonds!”

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I think that this example is sufficient to illustrate the procedure. The diagrams that follow should clarify
it all further. It only appears to be difficult initially. Everybody who knows his stack cold will master it
within a couple of minutes. Of course you will adapt the words to match your individual diction and
style. And you can always improvise if you’ve got the talent to do so.

The System

P.1.: # 1–10 P.2.: # 11 – 20 (P. = participant, # = stack number)

1. FIRST STATEMENT always “BLACK”: If both “NO” (one case only!) it is #4 and #14; your interpretation:
“... but I see black, and more colors, red, yellow... it must be a court card...” (KD)

2. BOTH participants confirm “BLACK”: You go for SPADES.

BOTH with SPADES: #1and #11

Only participant number ONE with SPADES: #6 and #16

Only participant number TWO with SPADES: #10 and #20

3. Only participant number ONE confirms “BLACK”: You go for CLUBS.

“...I see the tip of a CLUB...”:

– “NO”: #5 and #15 or

– “YES”: “...a number” – “NO” – “... looks like a 4, but it’s a K, a KING...”: #2 and #12 or

– “YES”: “... a number” – “YES” – “... a SIX...” – “YES”: #8 and #18 or

– “...a SIX..” – “NO”*: #3 and #13

(*continue, “...or just below, yes, it’s a FIVE...”)

4. Only participant number TWO confirms “BLACK”: only #17 or #19 are possible!

“... see a smaller number**, odd, a SEVEN...” – “YES”: #9 and #19 or

“...SEVEN...” – “NO” – “...yes, smaller, below, it’s a THREE...”: #7 and #17

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(** Most of the time you can read the participant here by his facial expression. If he thinks of SEVEN you
will see that he is uncertain. SEVEN is not a smaller number for him.)

Comments

You can find a mini-cheat sheet with this system on it in APPENDIX 2.

94
 ULTRA-
MENTALLY
CHALLENGED

UNGAFFED
&
UNBELIEVABLE

95
 ULTRA-MENTALLY
CHALLENGED
CREATED BY TYLER WILSON

Ultra-Mental is an amazing effect. Although it is hard to achieve the clean handling of the original
without a gaffed deck, that sure hasn't kept card magicians from trying! It is quite a mental challenge to
try to overcome all of the hurdles in the quest. This un-gaffed version by Tyler Wilson gets unbelievably
close to the clean and direct handling of the gaffed original. It is incredibly strong and completely
deceptive. Tyler uses several cunning ideas to make this handling really stand out among the numerous
un-gaffed variants. I am so happy he has let me share it here for the first time! I have included a basic
presentation for Tyler’s effect, but I am sure you will have your own favorite way to present the Ultra-
Mental effect.

EFFECT

A card is freely named by a spectator. The named card is found to be the only face down card in the
deck.

SET UP

Cut the 10S to the bottom of the deck. Obtain a break below the JH and then turn all the cards above
the break face up. Place the face-up half back onto the remaining cards. Continue by spreading the
cards. Where the two reversed halves meet, do the following: Take the first face-down card that you
come to (the 10C) and turn it face up. Slide the face up 10C under the face down card below it (the JD).

POSITION CHECK: From the top down, the deck consists of the JH-5H face up, one face-down card (the
JD), the face up 10C, and the rest of the deck face down [photo 1]. The bottom card is the 10S.

96
The reason for this particular set up is to allow for pseudo duplicates (the JH/JD and the 10S/10C) to aid
with the deceptiveness of the switch of the “dummy card” for the named card. Thankfully the Aronson
stack allows for this convenient set up!

Once the deck is prepared, put it in the card box with the JH facing the half-moon cut out side of the
box. Close the flap and you are ready!

ROUTINE

Take the deck, in its box, out of one pocket and pretend to take an imaginary second deck out of
another pocket. Hold them both up and say, “All right, I can tell you have a great imagination! What I
have here is an invisible deck of cards. Please hold onto it. ” Pretend to hand the invisible deck to your
helper. Continue, “This is a second deck, a little more common, being visible! Will you please hold on
to it for now.” Hand it to a second spectator.

Turn to the spectator holding the invisible deck and say, “Take the cards out of the box and give the
deck a nice shuffle. Perfect!” Really encourage your helper to get into the act of pantomiming your
requests.

Once she has “shuffled the deck” continue, “Now, fan them out in front of you and look at their faces.
I would like you to pick any card. It could be the five of hearts or the four of spades…any card at all.”

The named cards are not random cards. They are cards that lie right above the single reversed card
when the deck is spread no matter which way it is orientated. These cards would be really hard to cull
easily and casually, so naming them effectively eliminates them.

Say, “What card did you decide on?” Let’s say it is the eight of spades. Continue, “Take it out of the
deck and show everyone.” Once you know the card’s identity, you need to determine which half of the
deck that card is in. You will need to know how to remove the deck from the box. If the card named
has a stack number from 12 to 34 you will remove the deck with the JH (#34) face up. If the card named
has a stack number from 37 to 11 you will remove the deck from the box with the 10S (#11) face up.
Basically all you need to remember is that the named card must be removed from the box face up. This
can be determined later in the routine, but here you have a lot of time to think about it so you might as
well get this decision out of the way as soon as possible.

Continue, “Great, the eight of spades. I want you to put it back in the deck, but you need to do two
things. First, imagine turning the card around so that when you put it back in the deck it will be
reversed. Second, let’s have you imagine placing it in an exact location. Imagine placing the reversed
card exactly twenty-three cards from the face of the deck.” Guide the spectator through your
instructions. The fact that you want her to replace the card exactly twenty-three cards down is
humorous to everyone and seems to be a ridiculous request. Soon, however, they will understand and
appreciate this crucial detail.

The announcement that the card should be placed at the twenty-third position is not random. If the
card named falls in the half of the deck with stack numbers 12-34 (5H-JH) then you will tell her to

97
replace the card in the twenty-third position. If, on the other hand, the spectator named a card that lies
in the half with the stack numbers 37-11 (4S-10S) then you will tell her to replace the card at the twenty-
seventh position.

Of course, asking your helper to count down twenty-three cards from the face is a bizarre request and
the spectator will typically mime this action considerably faster that it would actually take to do so in
reality. That’s fine and you can point it out in a humorous way by saying, “Wow. You really found your
inner rainman!”

Continue, “Great job! Now close up the deck, put it back in the box, and hand it back to me!” When
the spectator mimes handing it back make a big deal about handling it fairly and openly. Say, “This deck
contains a piece of your wonderful imagination! Please notice I am not doing anything tricky.”

Turn to the person holding the real deck. Have her place the deck on an outstretched hand. Say, “I’m
holding the imaginary deck and you are holding the visible deck. The amazing thing about these two
decks is that I can imagine merging them together!” Pretend to insert the invisible deck into the real
deck. Do this in a slow and dramatic fashion.

Continue, “Perfect! I have just merged pure imagination with fifty-two pure, plastic coated pieces of
paper. The results should be fascinating.”

Slowly remove the deck from the box with the correct card showing on the face of the deck based on
your previous calculation. In this example, the 8S is number 23 and it is in the half that has the cards 12-
34. Therefore, the deck is removed with the JH on the face.

Before spreading the deck take a second to estimate where in the face up half of the deck the named
card will be. In the case of the 8S it will be about half way down in the face up half. When you spread
the deck you will want to be close to the named card so that you can quickly cull it under the spread.

Begin the spread at the estimated location. Ideally you want to spread a few cards above the named
selection. Cull the named card under the spread as quickly and as
casually as you can. 2
TIP: If you are concerned that the outer index corner of the named card
might be seen in the spread you can use your left thumb to cover the
indexes of the cards in that area as you cull the card [photo 2]. Really,
there is not a lot to worry about; the cull happens quickly and the
audience isn’t sure what to even look for at this point. I have never been
caught using this method and I use it for several different routines.

After the card is culled, say, “Imagine if all this were real then we should…” After the card is culled
under the spread, close the spread. This brings the culled card to the bottom of the deck. Your inner
monologue is that you begin to spread the cards and then you remember that you should actually
countdown twenty-three cards because that was a crucial issue earlier.

98
After closing the spread, continue, “Actually, we need to count the cards. I
3
believe you placed the reversed card exactly twenty-three cards down in
the deck. Let’s count…one, two, three…” Here, count down from the top of
the deck, taking each counted card under the last to retain stack order. Also,
as you take each card, allow the cards to spread to the left [photo 3].

Continue to count, slowing down as you get close to the target number,
“…twenty-one, twenty-two, and look at that, the twenty-third card is face down.” When you arrive at
the face down card, push it to the right slightly to expose the face up card beneath it, but do not take
the face down card into the right hand. Instead, use your left thumb to slide it back to the left and
aligned with the cards in the left hand. With the left hand cards squared, turn your left hand palm down
and palm up again, as you say, “One card is the other way around!”

Continue, “Remember when you turned a card over when the deck was
invisible?” As you deliver this line you will gesture with both hands by 4
turning them both palm down and then turning them palm up again
apparently in an innocent display of the cards. As you turn the right hand’s
fan palm down and then palm up you will secretly turn the cards in your left
hand over by using the Carlyle Paddle move. This discrepancy, when done
smoothly, is completely deceptive. The Carlyle Paddle move is as follows:
Curl the left thumb under the cards in the left hand [photo 4]. As you turn 5
your left hand palm down, push up with your left thumb [photo 5]. The
cards will lever up against the finger tips as the hand turns palm down
[photo 6]. What has taken place is that the left hand has rotated palm
down, but the orientation of the cards has remained the same. The cards
are still parallel to the floor and in the same orientation as when they were
6
in your hand palm up.

Now rotate your left hand palm up once more, but keep the cards held
between the left fingers and thumb. The cards have now been secretly
turned over. To the audience it just appears that you were gesturing with
the cards. When you spread the cards in a moment, only one face down 7
card will be seen as before.

Continue, “Well here it is, twenty-third from the face.” Use your left thumb
to out-jog the face down 8S and then spread the entire deck for a clean
display of only the one face-down card [photo 7]. Just make sure not to
spread the last three cards of the deck. You don’t want to expose the hidden face-down card! Because
of the original set up, the spectators, if they notice at all, will see a black 10 under the face down card
just as before and everything will seem completely fair.

Finish by saying, “Take it out and turn it over! You really do have an incredible imagination!” Have the
spectator remove the face down card and turn it over for a great climax.

99
 RESET

After the routine, the deck can be easily reset in the Aronson stack so you can continue using it. The
first phase of the reset is always the same. After the named card is revealed, take it from the spectator
and replace it in its stack position in the fan as you close the spread. Depending on which half of the
deck you culled the named card from, there is a slightly different reset procedure.

JH: If the JH is on the face of the deck then the top card of the deck will be the face-down JD and the
card below it will be the face-up 10C. With the deck face down, obtain a break under the top two cards
and perform the K.M. move to secretly turn over the 10C.

Briefly, obtain a break under the two top cards. Grasp the right edge of the top two cards with the right
fingers below and the right thumb on top. Move the double to the right side of the deck. The left hand
turns palm down as the right hand remains stationary. The left fingers contact the back of the 10S and it
is dragged onto the deck. In a continuing action, the left hand turns palm up. The right hand continues
to hold the face-down JD. You can either use the Tilt illusion to place the JD “into” the deck or you can
simply drop the JD onto the deck and switch the top two cards to return to stack order.

10S: If the 10S is on the face of the deck then after you replace the 8
named card in its stack position you will obtain two breaks. Obtain a
break above the JH and hold the break with your left ring finger.
Proceed by obtaining a second break above the bottom two cards of
the deck [photo 8]. Take all the cards above the JH and place them into
the break between the two cards and the rest of the deck [photo 9].
You are now in the position with the JH on the face and you can finish
the reset as given above. 9
The reset can be done quickly and without looking at the deck. The
reset happens immediately after the routine’s climax. You can also opt
to switch the order of the procedures by re-setting the deck and then
replacing the named card.

OTHER IMPORTANT SCENARIOS

IF THE JH OR 10S IS NAMED: If the spectator names the JH or the 10S, remove the deck from the box
with the opposite face card showing. Perform a half pass of the bottom card and then proceed with the
routine without culling a card.

NOTE: You must add one to the number you normally would give for the exact placement of the
card. If the JH side is face up then you will say 24 instead of 23. If the 10S side is face up then
you will say 28 instead of 27. This is because you are not culling a card out of the face-up
portion of the deck. Don’t forget this! But, if you do forget, don’t panic, just say something like,
“Just like we said, we’d count twenty-three and find a face down card!”

100
IF THE 10C OR JD IS NAMED: If they happen to name the 10C or the JD then you have a really clean
revelation. Simply take the deck out so that the named card will be face down. When you spread the
cards it will be the face down card. Let the spectator immediately remove it. As they are turning it over
and reacting, half pass the face down cards. You are left with a deck completely face up.

To reset the deck if the JD was named all you need to do is cull the 10C to the back of the deck to its
proper stack position. If the 10C was named then the JD will be in its proper stack position after the half
pass.

COMMENTS

Care must be taken if the named card is close to the reversed card. You don’t want to accidently spread
into the face down portion of the deck and expose its true nature. When a card is named that is close to
the face down card, spread slowly and estimate slightly higher before you start to spread. With a little
practice these situations won’t be any more trouble than anywhere else in the deck, but practice them
and use caution.

CREDITS

Ultra-Mental was the brainchild of Joe Berg, who invented it in the1930's. The classic “Invisible Deck”
presentation is the work of the imaginative Eddie Fields.

Here is a brief (and probably incomplete) timeline of the un-gaffed Ultra-Mental effect:

Bruce Cervon had several unpublished versions of un-gaffed routines by 1969. Paul Harris published
“Invisible Rising Card” in Las Vegas Close-Up (1978). Allan Ackerman published several un-gaffed
handlings in Here's My Card (1978). J.C. Wagner published an un-gaffed shuffled deck version in The
Commercial Magic of J.C. Wagner (1987). Scott Robinson created “Riding the Wave” with several
handling variations and published them in Trapdoor (1993). Michael Close published his "Invisible Deck"
in Workers 5 (1996). Paul Cummins created "Beating the Heat" FASDIU II (2002)

Tyler created the subtle use of the extra face-up card below the “dummy” card for his effect “Jiscemah.”
See, Reinventing the Real (2010).

In working on the effect with Tyler, I discovered the set up with the jacks and tens. I also helped with
the counting strategy for the cull and revelation.

101
 SECTION 2

II

DREAM
DESTINATIONS

102
 SECTION 2
DREAM DESTINATIONS

If you master the material in the following chapters, you will be able to get into the Aronson stack from
new deck order (NDO) and also move from the stack back into NDO! These have been dream
destinations for Aronson stack users for a long time and I am pleased to be able to share my discoveries
with you now. Before you begin to explore this section, there are several things I would like to point out
and several inevitable questions that should be answered.

Chapter 4 covers everything you need to know to move from NDO into the Aronson stack. I supply you
with two different presentations that you can use to accomplish your secret agenda in front of an
audience.

Chapter 5 covers how to get from the Aronson stack into NDO in the context of a strong routine. Even if
you are only interested in this particular goal I think it is still best to begin by working through chapter 4.
Being familiar with the process in chapter 4 will help you learn the contents of chapter 5 faster.

Let me address some questions regarding both chapters that are probably on your mind right now:

HOW HARD IS IT?

The process will take some dedication to learn, but I don’t believe that it is hard. I have worked
tirelessly to streamline the process to its current level and I know from experience that it is very
practical and easy to execute. Once you are familiar with the process and begin to practice, you will see
all the individual pieces fall into place. Before you know it, moving into the Aronson stack from NDO
and back will feel very natural.

Of course, no matter what I say, there will be those who complain that there is a process at all! To them
all I can recommend is a deck switch because there is simply no way to avoid having some sort of series
of moves and processes to get from point A to point B with a stack that was not originally created with
NDO in mind!

HOW LONG WILL IT TAKE TO LEARN THE ROUTINES?

Obviously the answer for that will be somewhat different for each performer, but with practice I think it
can come together quickly. I tend to have what I call a “relaxed determination” with things like this. I
just know that with practice I will eventually master anything I set my mind to. I don’t impose time
limits. I do, however, dedicate time each day to practice what I intend to learn—and that makes all the
difference. I encourage you to do the same.

103
 IS IT WORTH IT?

I think it is, but you will have to answer this question for yourself. I think that the answer depends on
many factors. Do you typically start performances with a brand new deck? Have you always wanted to
move from your memorized stack work into a grand finale with the deck in new deck order? Would you
like to secretly exploit some of the properties of having the deck in NDO? Do you need or want to only
work with one deck? Your answers to these questions will help determine how you will spend your
practice time!

I use both processes every day! I always start my practice sessions in NDO and move into the Aronson
stack. At the end of my practice session I move from stack back into NDO. This keeps my skills sharp
and my confidence with the routines high…and I enjoy it!

WHAT SKILLS WILL I NEED?

In this book I have assumed at least average card-handling skills. If you haven’t already, you will also
need to master the Faro shuffle (relax, you will only perform two to get into the Aronson stack and you
won’t need to do any to move into NDO), and the under spread cull. And you’ll need a good overhand
false shuffle (like the H.G. Hunter false shuffle (see Card College, pgs. 259-260)).

IS THERE ANYTHING ELSE I NEED TO KNOW?

Actually, yes! There are just a few more things you really should know before we get started.

THE RED SEVENS

As you will see, there are several switches of cards involved as you move from either NDO into Aronson
stack and vice versa. Obviously the less switching you need to do, the faster and more subtly you can
obtain stack order. In an effort to simplify the process as much as possible, I have actually made one
minor (and completely optional) change to the order of the Aronson stack. I have permanently switched
the places of the two red sevens. I eventually made this change because it easily eliminated one of the
necessary switches for gathering the heart suit and moving in and out of NDO.

NOTE: Switching the sevens is NOT necessary for going into NDO.

The re-positioning of the red sevens is easy to remember because they are the same value and color.
Also, the numbers of these cards in the stack are similar (15 and 25). I found these similarities helped
me permanently change these cards in my mind with a minimum amount of thought. Now when I recite
the Aronson stack from memory the 15th card is the 7H and the 25th card is the 7D.

Permanently switching the red sevens does not disrupt many of the effects that have been published for
the Aronson stack by me or by others. Changing the order of the red sevens does affect the built-in six
card spelling stack. These six cards can be directly spelled to from the top of the deck (the AC, 10S, 5H,
2D, KD, 7D). If you decide to permanently switch the red sevens the 7D will not automatically spell from
the top of the deck. I have never felt that this was a good reason not to switch the red sevens. But if
you really wanted to spell the 7D from the top of the deck, you still can without moving or switching any
cards in the stack.

104
TO SPELL THE 7D (#25) FROM THE TOP OF THE DECK:

Demonstrate how you can spell to any card by spelling to the AC from the top of the deck. Spell, “A-C-E-
O-F-C-L-U-B-S” and turn over the AC on the last card of the spell. Place the spelled cards, including the
AC on the bottom of the deck. Now spell, “S-E-V-E-N-O-F-D-I-A-M-O-N-D-S” from the top of the deck
and turn over the last card of the spell to reveal the 7D.

TO SPELL THE 7H (#15) FROM THE TOP OF THE DECK:

You can spell, “S-E-V-E-N-O-F-H-E-A-R-T-S” from the top of the deck and perform a double turnover of
the “last” card of the spell (the KD and 7H) to reveal the 7H at the end of the spell. You could also reveal
the KD and change it into the 7H via a top change, etc. Also, another option is to do a double push-off
earlier in the spell to get rid of the extra card and thus land cleanly on the 7H.

So, as you can see even the spelling stack is easily navigated. Of course you could temporarily switch the
7H and 7D back to their original Aronson stack positions for a spelling effect if desired.

105
 CHAPTER 4

GPS
(GET the pack stacked)
FROM NEW DECK ORDER INTO THE ARONSON STACK

106
 GPS

L et’s get the pack stacked! Being able to start with a brand new deck of cards and secretly move into
the Aronson stack can be quite a valuable skill to have at your disposal. I like to use this option when I
will be working with only one deck. Very often the deck I carry around is in NDO. From this order there
is so much you can do, from getting into Si Stebbins, Stay Stack, red/black, alternating colors, etc. So,
now on top of all that, I can also choose to move into Aronson order and ultimately back into NDO! I
think it is well worth the effort to learn the process and routines for moving into and out of stack.

WHAT’S NEXT

I’ll begin this chapter by taking you through a overview of the entire process and then we will go on to
look at each stage in detail. Once you are familiar with the entire process I will share two different
performances that will allow you to get into stack right in front of an audience in an entertaining way.
Finally, I will provide you with plenty of tips and practical advice that will help you learn the process
quickly and perform it confidently.

SOME ADVICE

Take your time. Read through the chapter, then take out a deck in new deck order and follow along
with deck in hand. Practice each stage individually and isolate whatever may be difficult for you. Work
on those sections until you are comfortable with them and then move forward. I promise that if you
relax and take your time, it will not be long before you will be performing these routines!

107
 NDO TO ARONSON
(chapter OVERVIEW)

Stage 1: THREE SECRET CULLS

In Stage 1 you will secretly cull three cards to new locations. Each cull will move a card to a new location
within its suit. This applies to the Spades, Clubs, and Hearts. This initial cull sequence is very quick,
simple to remember, and easy to execute.

Stage 2: SHUFFLING EACH SUIT

In Stage 2 each suit needs to be individually shuffled into a specific order. After each suit is shuffled it is
added to, and false shuffled into, the previously shuffled suits until, finally, the entire deck is assembled
and believed to be completely shuffled. These shuffles are accomplished quickly, casually and with
plenty of presentational cover.

Stage 3: TWO FARO SHUFFLES AND FINISHING THE STACK

In Stage 3 you will give the deck two perfect out faros. At the end of the two faro shuffles, the stack is
almost completely in stack order. The cards that are not in order are easily dealt with by a few cull
switches. Once the culls are complete you will be in Aronson stack order!

Two presentations: SMOOTH OPERATOR

After covering the three stages in detail it will be time to wrap them in presentations that justify all of
the procedures in an effective and entertaining way. The two presentations I will teach do that…and
more!

FINALLY: TIPS & FINAL THOUGHTS

I close the chapter with discussions on what to do if you make a mistake and I give plenty of other tips to
help make your performances successful.

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 NDO to ARONSON

STAGE 1: CULLING

Stage one is the simplest of the three stages and it can be accomplished during an initial spread of
the cards after you take them out of the box. We will look at specific presentations later, but it is very
natural to spread through the new deck and show its ordered state. It also is the time you will remove
the jokers and any advertising cards from the deck.

Remove the deck from the box. Begin to spread the cards between your hands. As you spread through
the deck you will secretly relocate three cards (the 9S, 2C, and 7H) using the under the spread cull.

9 of SPADES

As you begin to spread through the deck you will start with the spades. Cull the 9S under the deck and
reinsert it between the KS and QS. Continue spreading the deck after the repositioning of the 9S. You
will continue by spreading past all of the diamonds (no diamond is culled or moved).

2 of CLUBS

When you spread through the clubs, you will need to cull the 3C and 4C under the 2C. I remember this
by thinking of only needing to relocate the 2C to the left of the 5C. Culling two adjacent cards is really
no different than culling a single card. Treat the 3C and 4C as a single card as you cull and reposition
them below the two.

7 of HEARTS

Continue spreading through the deck and cull the 7H and insert it between the 5H and 6H. Finish
spreading through the deck and then remove the jokers and advertising cards [photo 1].

TIP: The culling and repositioning of the cards should be undetectable to your audience. Practice your
culling technique and make sure it is as smooth as it can be. For a great description of how to cull cards
see Card College, Vol. 1 pgs. 187-188.

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 NDO to ARONSON

STAGE 2: SHUFFLING SUITS

Continue by dividing the deck into the four suits, placing each suit (face up) on the table. Begin by
placing the spades to your left. Place the diamonds to the right of the spades, but leave room between
the spades and diamonds for another pile of cards. Finally, divide the hearts and clubs. Take the hearts
in the left hand and the clubs in the right hand. Simultaneously, place the hearts between the spades
and diamonds piles and place the clubs to the right of the diamonds. They are now in the proper order
for the shuffling and assembly of the deck [photo 2].

The shuffling process begins by shuffling each suit individually and in a specific way. This may seem like
a strange way to shuffle a deck, but as you will see later, the process fits the presentations and it doesn’t
seem strange to the audience. Trust me for now! After each suit is shuffled, it will be added to the
previously shuffled suits to create what the audience believes to be a randomly shuffled deck.

It is crucial to have each suit’s unique shuffle memorized and to be able to execute each shuffle casually
and as quickly as possible. At first these shuffles might seem complicated but they are really pretty
straightforward (there is less to memorize for each shuffle than for most packet tricks!).

Each shuffle is performed with the cards face up. Not only does this make learning and performing the
shuffles easier, the spectators also see the cards really being shuffled, too.

On the pages to follow, you will find the details for the shuffles and the progressive assembly of the
deck. I would suggest going through each suit shuffle several times to get a basic familiarity for each
sequence. I will provide some practice tips and mini-cheat sheets in APPENDIX 1 that will help you
cement these shuffles into your mind.

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 SPADES

THE SHUFFLE

Begin by picking up the Spades pile and holding it face up in your right hand in preparation for an
overhand shuffle. Each pile will be held and shuffled from this same starting position.

A. Slip cut the AS between the JS and 10S.

NOTE: This can be done as part of the shuffle by spreading the cards in your hands to display the
spades and obtaining a break between the JS and 10S. Take the cards into the right hand in
preparation for an overhand shuffle, transferring the break to the right thumb. Begin the shuffle
by pulling the AS onto the cards below the break in the action of an overhand shuffle and throw
the rest of the cards on top.
B. Run two cards (2 and 3).
C. Run the 4 UNDER the cards in the left hand.
D. Pull two cards as one (5 and 6).
E. Run one card (7) UNDER the cards in the left hand.
F. Pull five cards as one (8, 10, A, J, Q) and throw the 9 and K UNDER the cards in the left hand.
G. Pull five cards as one (8, 10, A, J, Q).
H. Run one card (5).
I. Run one card (6) UNDER the cards in the left hand.
J. Run one card (3) and throw the rest UNDER the left hand cards.
K. Pull two cards as one (3 and 5).
L. Run one card (8) and throw the rest UNDER the left hand cards.
(Order from top: K,9,7,4,2,6,Q,J,A,10,5,3,8)

THE ASSEMBLY

Once the Spades have been shuffled into the proper sequence, the packet is placed face down, on the
table to the left. Immediately pick up the Heart packet to continue the process.

NOTE: After each suit has been shuffled face up I usually turn the packet face down and do a brief
overhand false shuffle before I place the packet down.

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 HEARTS

THE SHUFFLE

A. Pull two cards as one (K and Q).

B. Run five cards (J, 10, 9, 8, 6).
C. Pull two cards as one (7 and 5).
D. Run one card (4) and throw the rest on top.
E. Pull two cards as one (3 and 2).
F. Pull four cards as one (A, 4, 7, 5) and throw the rest UNDER the left hand cards.
(Order from top: Q,K,J,10,9,8,6,2,3,5,7,4,A)

THE ASSEMBLY

After the Hearts are shuffled into the proper sequence, you will add them to the Spades and then
apparently shuffle the two groups together.

After shuffling the hearts into their order, turn the Hearts packet face down. Obtain a break above the
bottom two cards of the packet (the 4H and AH). Hold the break with the right thumb.

Pick up the spades packet in the left hand and add the Hearts packet onto it. The left little finger takes
over the break (the 4H and AH have been added to the spades below them).

Cut at the break and complete the cut (the bottom card of the combined packets is the 7H).

The Switch Shuffle for the 4H&7S:

[Note: This shuffle is not necessary at this point but it is highly

recommended that it be done now.] 3
With the cards held face down, run one card (the 4H) into the left
hand. Pull three cards off at once and then run one card onto the
left hand cards [photo 3]. The rest of the right hand cards go
underneath the left hand cards.

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[Note: You can follow this up with more false shuffles.]

After the shuffle, cut the 7S and AH back to the bottom of the deck (the AH is the bottom card). Drop
the combined Spades and Hearts pile off to the left and pick up the Diamonds to continue.

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 DIAMONDS
THE SHUFFLE

A. Cut the 8D to the face.

B. Pull two cards as one (8 and 9).
C. Run one card (10).
D. Run one card (J) UNDER the cards in the left hand.
E. Run one card (Q).
F. Run one card (K) UNDER the cards in the left hand.
G. Run two cards (A and 2) and throw the rest on top.
H. Milk-Build the top and bottom cards (3 and K). *
I. Pull two cards as one (4 and 5).
J. Milk-Build the top and bottom cards (6 and J) and throw the rest on top.
K. Run one card (7).
L. Pull three cards as one (2, A and Q)
M. Pull two cards as one (10 and 8) and throw the rest on top.
*The Milk-Build shuffle: Peel off the top and bottom cards of the packet at the same time in the action
of an overhand shuffle.

(Order from top: 7,Q,A,2,8,10,K,3,5,4,J,6,9)

THE ASSEMBLY

After the Diamonds have been shuffled into sequence, pick

up the combined Spades and Hearts pile in the left hand. As 4
you do, use your left thumb to push over the top two cards
(the KS and 9S) to the right and then draw them back to the
left. Simultaneously use your left little finger to obtain a
break below them (or use a pinky count).

Drop the Diamond packet onto the left hand’s cards and then
immediately take all the cards above the break into the right
hand (so the KS and 9S are the bottom cards of the right hand
packet).

You will now run five cards singly onto the left-hand packet. Before you do, use your left thumb to in-
jog the top card of the left hands packet for about 1/4 of an inch [photo 4].

Now run five cards onto the left hand packet. Throw the rest of the right hand cards on top.

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Use your right thumb to obtain a break below the in-jogged
card as you push it flush with the rest of the packet. Take all 5
the cards above the break into the right hand in preparation for
an overhand shuffle. As you take the cards away in the right
hand, use your left thumb to contact the top card of the right-
hand packet and drag it onto the left-hand packet [photo 5].
This is essentially a slip cut disguised as part of a shuffle.

Immediately throw all of the right hand cards on top and finish
with a false shuffle.

A Shuffle Switch for the KD and 5S:

Before moving on to the clubs you will perform a brief switch of

the KD (on top of the deck) and the 5S (about half way down in 6
the deck). [Note: This switch can be put off until after stage
three, but it is recommended that you do it now.]

With the face of the deck towards you, push off about half the
deck. You should immediately see the 5S. With practice you
will not need to spread much of the deck to locate the 5S.
Obtain a break below the face up 5S with the left little finger.
Transfer the break to the right thumb as you begin to turn the
deck face down [photo 6]. Take all the cards into the right hand
while maintaining the break.

Run one card (the KD). Throw all the cards above the break onto the KD. Run one card (the 5S) onto the
left hand cards. The rest of the cards in your right hand go under the cards in your left hand. After the
shuffle, the only change is the positions of the 5S and KD. Follow up with a brief false shuffle. Place the
deck on the table to your left and pick up the Clubs packet.

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 CLUBS
THE SHUFFLE

A. Cut the 9C to the face.

B. Run one card (9).
C. Pull five cards as one (8, 7, 6, 5, 2).
D. Run one card (4) UNDER the left hand cards.
E. Run one card (3).
F. Pull two cards as one (A and K).
G. Run one card (Q) UNDER the left hand cards.
H. Run two cards (10and J).
H. Pull two cards (J and 10) and throw the rest on top.
I. Run one card (A).
J. Pull three cards as one (K, 3 and 8).
K. Run one card (7), but catch a break below it. Throw the rest on top.
L. Cut at the break and complete the cut (the KC is now the face card).
(Order from top:7,J,10,Q,4,9,2,5,6,A,8,3,K)

THE ASSEMBLY

After the clubs have been shuffled into the proper sequence, pick up the rest of the deck in your left
hand and drop the clubs packet on top of the deck while holding a left little finger break below the clubs.
Double cut the club packet to the bottom of the deck.

Obtain a break under the top five cards (use a pinky count or simply spread over five cards and obtain
the break under them).

Cut all of the cards above the break to the table. Take the rest of the deck, except for the bottom two
cards, and drop them on top of the five-card pile on the table. Finish by dropping the two remaining
cards in your left hand on top of the tabled deck [see photo 8 for the order]. Immediately pick up the
deck.

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Now, double undercut the top card of the deck (the 3C) to the bottom of the deck. You will do one last
shuffle switch that is extremely easy. [Note: It is optional to perform this switch of the KC and KS now,
but it is easy to do].

Run one card into the left-hand (the KC). Pull two cards together onto the KC. Finally, run one cad (KS)
onto the left hand cards.

At this point, throw all the right hand cards onto the left hand cards and then cut the bottom card (KC)
back to the top of the deck. The top card of the deck is the KC and the bottom card is the 9D [photo 9].

The deck is now ready for the final stage!

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 NDO to ARONSON

STAGE 3: FARO SHUFFLES

(& FINAL SWITCHES)

Begin by performing two perfect out faro shuffles. Divide the deck at the 6H for the first faro shuffle
and at the 2C for the second faro shuffle.

If you spread the deck after the two faro shuffles you will see that the deck is very close to Aronson
stack order [photo 10]! In fact, you can even utilize many of the stack’s built-in features in this condition
before finishing Stage 3.

10

With the deck spread, you will notice that almost all of the cards that are not in their normal stack
positions are actually very close. Almost every one of them can be fixed by switching it with a card next
to it in the spread! In other words, most of the switches that need to occur only involve moving a card
one position forward or backward in the stack. There are only a few that require you to move a card
two positions up or down in the stack. And finally there is the special case of the 6H and QC which is
easily taken care of, but involves a different kind of switch. All of the switches, except the 6H and QC,
can occur in one run through of the deck.

Note: If you have not permanently switched the red sevens, at some point they will need to be switched
as well.

THE CULLS

To move the deck into complete Aronson stack order you will spread through the deck and reposition
the appropriate cards using quick under spread culls to switch the positions of (usually) adjacent cards.

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Of course, there has to be a good reason for spreading through the deck and you will find several
different ideas coming up in the presentations. I will include my favorite in this description and it does
not require any elaborate set up or presentation. It also eliminates three of the necessary cull switches.

The basic idea is that you announce you will use the aces for a trick. You spread through the deck to find
the four aces. In the process of spreading through the deck to find the aces, all of the switches are
made. At the end you will be left with the deck in Aronson order! It is quick and easy. One of the nice
features of the Aronson stack is that the aces are positioned in the top twenty-two cards of the stack.
This means that when the deck is turned face up you will need to spread through most of the deck to
locate any of the aces. This gives you ample opportunity to correct over half the deck as you spread
through the deck looking for the aces. Also, conveniently, three of the aces are cards that need to be
switched, so by removing them you won't need to worry with those switches (although they are all with
adjacent cards and extremely easy to switch).

Start by turning the deck face up and cut the 6H (third from the face) to the back of the deck [this is in
preparation for the 6H/QC switch to come later].

Announce that you want to use the aces for a trick and begin spreading through the deck. If you have
the Aronson stack memorized then the necessary switches should be fairly obvious to you. Regardless,
here is a brief list of the necessary switches:

6D/QS: As you begin the spread, take the QS into the right hand and then take the 6D on top of it,
continue by beginning the spread of the deck under these cards.

4C: Cull the 6S and KS as one under the 4C.

JC: Cull the 10D and 4D under the JC.

5D/7C: Cull the 5D under the 7C.

Up-jog the aces as you come to them.

(Note: If you are not removing the aces then you will switch the AH/8S, AD/3S, and cull the AC below
the 10S.)

5C/2H: Cull the 5C under the 2H.

JS/KC: Cull the JS under the KC.

At the end of these culls the entire deck will be in order with the exception of the 6H/QC pair. If you
remove the aces, they will be replaced in their stack positions later after performing a routine or two
with the aces. I replace them using Denis Behr's Plop replacement.

Once the culls are completed, strip out the aces and place them either on the table or hand them to a
spectator.

6H/QC: The only switch that remains is to switch the positions of the 6H and QC. The 6H is on top of the
deck. Immediately after the aces are removed, spread the deck until you see the QC and obtain a break

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below it in the face-up deck. Now perform the shuffle switch of the 6H/QC. After the switch you will be
completely in order minus the aces. Unless you have decided not to switch the red sevens, in that case,
another shuffle switch sometime in the future will be needed to bring the deck into complete order.

Now, use the aces in a routine or two and then return them to their normal stack positions.

NOTE: This strategy for using the aces can be applied to other cards as well. Just make sure that at least
one of the cards you will remove is close to the back of the deck. This will provide the necessary excuse
for spreading through the entire deck to locate all of the desired cards.

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 THE PRESENTATIONS

Now that we have covered the basic handling details for moving from NDO into the Aronson stack it is
time to look at how it can be done in an actual performance. When I developed my process for getting
into the Aronson stack I envisioned the process as being an integral part of a performance. I use the
presentation to set the stage for all that is to come. The secret arrangement of the stack is integrated
into a context that, at once, hides the secret process and highlights the overall premise of the entire
performance.

The basic idea in both presentations is that as you shuffle the deck, four audience members are assigned
specific tasks that correlate with the suit that you are showing and shuffling, before it is mixed with the
rest of the cards. In this way the process is completely justified, as it aids in the explanation of the tasks
you gave the audience members.

Later, you will use the results of the audience member’s tasks throughout the entire set or as part of the
finale. This plays big, serves the entire set and provides many possibilities from “jazzing” to
unbelievable predictions and beyond! So let’s look at my favorite presentation first…

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 PRESENTATION 1

WHAT THEY SEE

The magician begins his performance by taking a brand new deck from its box and divides the deck into
its four suits. He hands out four pieces of paper to four different audience members. Each time the
magician shuffles a suit, he asks a different audience member to think of a card of that suit. The
spectators secretly write their thought of cards on their papers and fold them up. The papers are
collected in the card box and kept by a spectator. At the end of this procedure the shuffled deck is
displayed to the audience and the magician begins his performance. At some point in the show the
magician uses the cards that were written on the papers in an amazing way.

WHAT YOU NEED

 A deck of cards in New Deck Order in its box (it can be an unopened deck).
 A pen or pencil.
 Four slips of paper. I use slips that are 3” X 3” square.

WHAT REALLY HAPPENS

STAGE 1: 3 SECRET CULLS

You begin your performance by opening a new deck of cards as you say, "For this special occasion we
will use a brand new deck of cards. This will guarantee that for once I will be playing with a full deck!”
Take the cards out of the box and spread them, performing the first culls (moving the 9S, 2C and 7H).
After these culls are accomplished put the advertising cards and the Jokers off to the side and
immediately transition into Stage 2.

STAGE 2: 4 SUIT SHUFFLES

Continue by dividing the deck into the four suits, placing each suit on the table (from left to right: S, H,
D, C) as you say, “The deck, as you know is divided into four suits. A little known fact is that if you add
up all the values of the cards you get three hundred sixty-four and if you add in a joker as one you can
actually use a deck of cards as a calendar."

SPADES: Hand out one of the four pieces of paper and a pen to a spectator and pick up the spades pile.
Perform the spades shuffle as you say, "I would like you to think of a card, but to guarantee that we
have a complete range of choices represented I would like you to think of a spade, any one that comes
to mind and write it on the paper. Make your life easy and just put the value and the first letter of the
suit. Like if you wanted the Three of Spades you would write the number three and an “S.” So pick
any spade and don’t let anyone see what you write.”

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As you finish, you can fan the now shuffled spades towards the spectator. Look away and false shuffle
the spades as they write down their selection. When you sense that they are done, say, “When you are
done, fold it up and hold onto it for the moment.”

HEARTS: Drop the spades pile, face down, onto the table to the left. Pick up the hearts pile and begin
the hearts shuffle as you say, "So the hearts will be next. Sir, I would like you to take a piece of the
paper and write the name of one of the hearts on it. Keep it your secret for now!"

By the time you are done with these instructions the hearts shuffle should be finished. Pick up the
spades pile in your left hand and “shuffle” the hearts and spades piles together in the previously
described manner. After the shuffle, throw in an extra false shuffle or false cut. Place the combined
spades and hearts pile onto the table as you continue, "Fold it up and hold onto it for the time being."

DIAMONDS: Pick up the diamonds pile and begin its shuffle as you instruct a third spectator (I usually
choose a woman for the diamonds) to think of one as you say, “Diamonds are a girl’s best friend! Pick
any diamond and write it down on your slip.”

As you instruct the spectator to fold up her paper, add the diamonds to the combined spades and hearts
pile as previously described. Place it back on the table and pick up the clubs.

CLUBS: Begin to shuffle the clubs as you ask another spectator to help. Say, “Last, but not least, the
clubs! By now you know what to do, so let me know when you are finished.” Ask him to write one of
the clubs on the paper and to fold it up. When the clubs have been shuffled, combine them with the
deck and double undercut them to the bottom.

Hand the card box to a spectator and continue, "Let's save your choices for later, to keep them safe put
them in the card box. Great! Close the flap and guard the box for now. We will use the papers a little
later." As you are directing the collection of the papers, perform the procedures with the deck. Finally,
cut the 9D to the bottom of the deck.

The process of shuffling each packet and combining the deck makes sense to the spectators because you
want to guarantee one card of each suit has been secretly chosen. The mixing of each packet can be
broken up as you give instructions, pausing mid shuffle to instruct the spectators. Showing the fanned
and shuffled suits is also justified in the context of this process. The spectators have been preoccupied
with the important task of selecting cards and your secret work, if performed casually and confidently
will go unnoticed.

STAGE 3: 2 FARO SHUFFLES & SWITCHES

You must now perform two faro shuffles. Since the faro shuffles are genuine shuffles they can be done
quite openly as you segue into your first effect. Say, “We will use your selections later. Thank you for
your help! For now though you will just have to live in suspense.” The first shuffle is performed.

“I would like to begin this performance with a mystery with four famous cards. Can anyone tell me
what the most popular cards in the deck are?” Immediately perform the second faro shuffle.

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Continue, “That’s right, the aces. Or the bullets as they are sometimes called.” Turn the deck face up
and perform all the culls as you look for the aces. Up-jog the aces as you come to them. After all the
culls are made, strip the aces out of the deck. At this point I proceed with a four ace routine.

Sometimes this is a simple, yet impressive, twisting the aces effect, but sometimes I do more involved
routines using the aces. Once the ace routine is over, replace the aces in their proper positions. The
deck is in complete Aronson order with the exceptions of the 6H and QC.

I hope you can see just how easy it is to get into the Aronson stack using this presentation. There is lots
of room for you to do the secret work. The spectators are more concerned about the secret papers than
your shuffling.

You don’t have to use the aces. Instead you can create other excuses for running through the deck. I
will cover some ideas in a bit.

COMMENTS

THE GOAL: The goal throughout the entire process is to focus on the spectators and their reactions to
your comments. The shuffling of the deck should not be the primary focus of the spectators. Their
focus should be on the selection and recording of cards. To that end, you can engage in much more
dialogue and humor than what I present in the given scripts to the two presentations. Allow your
personality to really shine. Be playful and engaging throughout the process. It is NOT about the deck of
cards, it is about the choices of the spectators and your interaction with the audience.

ON SWITCHES: Sometimes I do not even bother switching the 6H and QC. It just depends on the types
of effects I am using the stack for. If you are just using the memorized stack to get information about an
adjacent card then the switches are not necessary. After some practice you will be able to think through
these minor changes to the stack and use it as if nothing were out of order.

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 PRESENTATION 1: NOTES

In this presentation you make a big deal about having cards recorded secretly on slips of paper and
having them inserted and mixed in a card box. Since you have built up a lot of anticipation you had
better use those slips for something truly amazing! Since there are many different ways to use their
written selections let me give you several ideas.

SINGLE DECK OPTIONS

If you are performing with just one deck then you can utilize these ideas:

OPEN PREDICTION: Because the Open Prediction theme begins with an isolated face-down "prediction"
you have the necessary commitment level to dump the papers out and have one selected by a
spectator. The paper is opened and the isolated prediction card is shown to be the card! This routine is
made possible due to the fact that the deck you hold is in stack order. How you gain control of the
named card and switch it for the dummy card depends on the type of open prediction routine you are
using. I don't have any special handling or routine to share here. I have enjoyed using several of the
methods detailed in Mnemonica (pgs. 91-94). Whatever method you use will need a bit of misdirection
for obtaining the named card and switching it for the dummy card. These secret preparations can be
accomplished during the build up to the climax by having the other papers opened to show that those
cards could also have been easily chosen. When the "prediction card is shown to match, you have a
really strong moment that justifies your opening process.

Variations on this could include showing a prediction envelope on display. Personally, I prefer to use
Tyler Wilson's "Inspector Gadget" to show an envelope before hand and ultimately the secretly selected
card is withdrawn, by the spectator, from the envelope!

The card in wallet is another viable option. There are many different ways to apparently show a
prediction and then later show it is the card predicted.

BRAINWAVE VARIANTS: One of my favorite effects for years has been Michael Close's "Ultra Mental"
handling found in Workers 5 (pgs. 138-142). It allows you to use your memorized deck to perform an
ungimmicked variation of the classic "Ultra Mental" effect. Here is how I use it in this context:

I dump the papers out of the box and instruct a spectator to mix them on the table. While the papers
are being mixed I secretly perform the necessary actions with the deck and place it in the box. After
setting the box on the table, I have one of the papers freely selected and opened, revealing the secret
card. I say, "I have placed the deck in the box so I can't do anything sneaky. Four of you wrote down
cards and then one if you selected one to be used. I think we all can agree that this couldn't have been
any fairer! Let's look at the card you selected. Ah, the three of clubs. Watch, you picked the three of
clubs and if I wave my hand over the deck in the box I believe something amazing can happen!"

The cards are removed from the box and one card is seen reversed in the center of the face up deck. It
is the three of clubs! By following the Michael's handling the named card will be reversed. The climax is
very strong and once again the slips of paper have been completely justified.

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Of course there are several other memorized deck, ungimmicked, "Ultra-Mental" routines that you can
use as well. The important aspect is that the deck is isolated in the box before the card written on the
paper is revealed.

ACAAPN: Here is a nice version I call “Any Card At A Predicted Number.” For this routine I begin with an
ambitious card sequence and then dump the papers out of the box and put the deck in the box. I take a
piece of paper and write a prediction on the paper and place it next to the box. A paper is selected and
opened to reveal a secret card. My prediction paper is opened while the deck is removed from the box.
The spectator reads the number on the card. That number is dealt to by a spectator and the secret card
is found at the predicted number. You can remind the audience that if they had used one of the other
papers, the card and its position would have been entirely different. I use Alan Ackerman’s “Card Case
Shift” (see Las Vegas Blues Lecture Notes, pgs.24-33) and a little math to secretly position the card at the
right number as the cards are dumped from the box and handed to a spectator.

TWO DECK OPTIONS

There are many ways to use a second deck in conjunction with the papers.

"Brainwave": The second deck can be a "Brainwave" deck that you say you have placed a prediction in
for later. Use the gimmicked deck to reveal the card. There are gimmicked decks on the market that
will allow you to predict multiple cards and you can show you predicted two or more of the selections
written down.

OTHER GIMMICKED DECKS: There are many other types of gimmicked decks that allow you to produce
named cards at any location, show predictions, etc. With some creativity these decks can add a really
great finale to your card set.

OTHER IDEAS

There are many other ways to use the folded slips as well. Instead of using the deck (or a second deck)
to aid in a revelation you can employ other methods that don't use playing cards. A prediction can be
written on a slip of paper and later secretly filled out with a nail writer. Consulting books like Corinda's
Thirteen Steps to Mentalism or other mentalism resources will give you plenty if ideas.

BILLET SWITCHES: While on the subject of mentalism, let's talk specifically about billet switches. If you
want to obtain the identity of at least one of the secret cards, then using an impression device (like a
note pad device, etc.) or a billet switch will work nicely.

USING ALL THE SLIPS FOR REVELATIONS (Jazzing): When you are opening your presentation you can
foreshadow the use of the slips in a “jazzing” context. Either at the end or throughout your
performance you can use one of the thought of cards and jazz to it or otherwise produce it from an
impossible location (wallet, shoe, etc.). Juan Tamariz, Michael Close and Eric Mead have all written
about, and are masters at, jazzing with a memorized deck.

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 PRESENTATION 2

This second presentation is different than the first in that there are no other props (paper, pen, card
box) involved to aid in concealing the process of moving into stack order. Instead, the presentation
alone provides the context for all the actions. You involve the audience throughout the process and
utilize humor and interesting facts about playing cards. Obviously, you will want to be very confident
with all of the stages of the assembly of the stack so that you can focus on the audience and your
interactions with them, rather than on the deck and the process.

WHAT THEY SEE

The magician removes a new deck of cards from its box and spreads the deck to display its pristine, un-
shuffled order. After removing the jokers and advertising cards, the deck is divided into four piles by
suit. The deck is shuffled together as the magician describes some of the history behind playing cards
and has four different audience members each remember a suit to represent them. The deck is shown
to be in a completely shuffled, random order and the magician begins his performance. At some point
during the show he uses the audience members who are thinking of the suits in an amazing series of
effects.

WHAT REALLY HAPPENS

STAGE 1: 3 SECRET CULLS

You begin your performance by opening a new deck of cards as you say, "For this special occasion we
will use a brand new deck of cards! This will guarantee that, for once, I will be playing with a full
deck! I just love the smell of a new deck. It’s like that new car smell!” Take the cards out of the box
and spread them, performing the first culls (moving the 9S, 2C and 7H). These culls take just a moment
and immediately transition into the next sequence. After these culls are accomplished, put the
advertising cards and the jokers off to the side.

STAGE 2: 4 SUIT SHUFFLES

Continue by dividing the deck into the four suits, placing each suit on the table (from left to right: S, H,
D, C) as you say, “The deck, as you know is divided into four suits. A little known fact is that if you add
up all the values of the cards, you get three hundred sixty-four and if you add in a joker you can
actually use a deck of cards as a calendar. It is just one of the interesting mysteries surrounding
playing cards.”

SPADES: Pick up the spades packet and perform the spades shuffle as you continue, “I will need
someone to help me later this evening by representing the spades. Will you please represent the
spades tonight? Thank you. By the way, the Spades used to be swords in the ancient decks. The Ace
of spades, to this day, is still considered the card of death.” After the shuffle, drop the spades pile face
down onto the table to the left.

HEARTS: Pick up the hearts packet and perform the hearts shuffle as you say, “I’ll need one of you to
represent the Hearts. Great, thank you.” By the time you are done talking, the hearts shuffle should be

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finished. Pick up the spades pile in your left hand and “shuffle” the hearts and spades piles together, in
the previously described manner, as you say, “The heart suit is, by far, the most popular of the suits.
Interestingly decks from hundreds of years ago didn’t have hearts on them. Instead they had cups.”
After the shuffle, throw in an extra false shuffle or false cut. Place the combined spades and hearts pile
onto the table to your left.

DIAMONDS: Pick up the diamond packet and perform the diamonds shuffle as you say, “I will need
someone to represent the Diamonds. Yes, you sir? Very good! The diamonds replaced coins in the
ancient decks.” Add the diamonds to the combined spades and hearts pile as previously described. As
you are following the process, say, “By the way, it was the French who changed the swords to spades,
coins to diamonds, and cups to hearts. It was an efficient and artistic choice. Almost all modern decks
use the French design. The French haven’t just influenced the fashion world!” Once the diamonds are
added to the deck, place it back on the table and pick up the clubs.

CLUBS: Begin to shuffle the clubs as you ask for one last spectator to help as you continue, “The four
suits are said to represent the four seasons. I have no idea which season the clubs would represent,
but I would like someone to represent the clubs.” When the clubs have been shuffled, combine them
with the deck and double undercut them to the bottom. Finally, cut the 9D to the bottom of the deck.

STAGE 3: FARO SHUFFLES & SWITCHES

You must now perform two faro shuffles. Since the faro shuffles are genuine shuffles, they can be done
quite openly as you segue into your first effect. Say, “We will use your designated suits in a moment.
Thank you for your help! For now though you will just have to live in suspense.” The first shuffle is
performed.

Continue by saying, “I would like to begin this performance with a mystery using the four most famous
cards in the deck. Can anyone tell me what the most popular cards in the deck are?” Immediately
perform the last faro shuffle. At the end of two faro shuffles most of the deck will be in stack order!
Only some very simple card switches will remain.

Continue, “That’s right, the aces. Or the bullets as they are sometimes called.” Turn the deck face up
and perform all the necessary culls as you look for the aces. Up-jog the aces as you come to them. After
all the culls are made, strip the aces out of the deck. At this point proceed with a four ace routine. Once
the ace routine is over, replace the aces in their proper positions. The deck is in complete Aronson
order with the exceptions of the 6H and QC (unless you performed the switch earlier).

ANOTHER OPTION – THE CARD COUNTING STUNT: You don’t need to use the aces for accomplishing
Stage 3. Instead, the actions of the switches can be completely justified by performing a pseudo card
counting demonstration.

Begin by cutting the 6H to the fourth position from the top of the deck. Spread cull force it on a
spectator. Instruct her not to look at the card or show it to anyone. After the force, cut the 9D back to
the bottom of the deck. Say, “I am fascinated with cards and especially how people try to get an
advantage in card games. For instance a card counter actually tries to keep track of all the cards in
the deck to help determine what cards are most likely to be dealt. This skill is used secretly in
Blackjack. I have been working on it and I thought I’d test my progress right now. You have selected a
card. No one knows what it is. I am going to look through the deck briefly and try to determine which

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card I didn’t see. I’ll do this in less than thirty seconds! Someone time me.” As someone times you
turn the deck face up and go through the deck as quickly as possible. Act as if you are using some kind
of mental system to determine the missing card.

Actually, perform all the cull switches as you go through the deck! It is ok if you pause on a cull because
it is logical within the presentation. With practice the cull switches can easily be performed in less than
thirty seconds. After the initial run-through of the deck, spread it quickly one last time and secretly cull
the QC into its stack position.

To end, spread the face up cards in a gesture and get a break above the 10H as you say, “Based on the
system I learned recently I think the value of the missing card was a six. The hard part is that I am not
as sure about the suit. My guess is that it was red and I really think it was the heart. I hope I’m close!
Take a look.” The 6H is revealed and you take your applause. End by replacing the 6H into the break
and into stack order. Give the deck several very good false shuffles and running false cuts.

Congratulations, you are in complete stack order! At this point you can continue with some more
gambling related routines or segue into magic by saying something like, “But that’s skill with cards. Let
me show you something that is beyond skill. Let me show you something…impossible!”

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 PRESENTATION 2: NOTES
Having four audience members each be assigned one of the suits in the opening phases of the process
into Aronson order is purposely vague. There are many ways to use the assigned suits. Depending on
what you want to do once the stack is in order or almost in order will help determine which option you
choose. Here are just some of them:

ACES: When you plan to go right into an ace routine, you can remind each spectator about remembering
their assigned suit. The aces are now treated as their selections corresponding to their assigned suit. If
you produce each ace during a routine, you can refer to each ace by using the assigned spectator’s
name, "Here is Mary's ace, the ace of hearts" and so on. By assigning the aces you have fulfilled the
vague request made early in the set-up process and personalized the presentation.

CALL BACKS/REQUESTS: With the deck in stack order, use the suit assignments to perform named card
effects. When it is time for a card to be named, have one of the people who were assigned a suit to
name a value. After they name a value ask them what suit they were to remember as if you had
forgotten. Continue by using their suit to create the named card. One of the deceptive features of this
strategy is that you can be making any necessary cut and adjustment to position the named card as you
ask for their suit. By the time they have named it, you are done with the necessary work. You can use
this strategy throughout a set, having each individual at different points name a value. However, even
using just one of your four helpers is enough to justify the earlier request to remember the suits.

In a more informal setting, I like to use the four spectators and their suits as sort of a running challenge
throughout the performance. Every so often between other effects I will pause and ask one of the four
to name a value and then use their suit to make a card. I then find their card in the most amazing way
possible. This happens four times throughout the performance and should be presented as seemingly
spontaneous whims. This is a very fun and practical way to work some jazz memorized deck work into
your performance. It can really be built up to an amazing challenge full of drama as you attempt each
new card.

One final thought on this idea. You can have another audience member select one of the four
designated helpers. They could name a value and one of the people. Using that person’s suit you create
a card. Then use your helper to locate the named card. In this way the entire choice is out of your
hands and the spectator who was assigned a suit also helps or even seems to find the named card.

THE GOAL: The goal throughout the entire process is to focus on the spectators and their reactions to
your comments. The shuffling of the deck should not be the primary focus of the spectators. Their
focus should be on the selection and recording of cards. To that end, you can engage in much more
dialogue and humor than what I present in the given scripts to the two presentations. Allow your
personality to really shine. Be playful and engaging throughout the process. It is NOT about the deck of
cards, it is about the choices of the spectators and your interaction with the audience.

ON SWITCHES: Sometimes I do not even bother switching the 6H and QC. It just depends on the types
of effects I am using the stack for. If you are just using the memorized stack to get information about an

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adjacent card, then the switches are not necessary. After some practice you will be able to think
through these minor changes to the stack and use it as if nothing was out of order.

OTHER CARDS: Instead of removing the aces, you can remove other cards as an excuse to spread
through the deck. For instance, the jacks are a perfect example. Three of them are in close proximity
and therefore are easy to reinsert into their stack positions at the end of the routine and the JS is the
top card so you are guaranteed to need to spread through the whole deck to find it.

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 WHAT IF…

Let me now address what is a legitimate concern. What happens if you forget something along the
way or you mess up one of the suit shuffles?

With practice you will be able to achieve all of the needed stages without incident. However, it is always
possible that you will, on a rare occasion, make a mistake. My advice, other than practice makes
perfect, is to relax. At the end of the day the absolute worst outcome is that you are left with a shuffled
deck! That should not scare you. If it does then I suggest you work to have a solid shuffled deck
repertoire. I believe that this is an absolute necessity for good stack work. It makes a huge difference in
how you handle the stack if you are confident you can continue with strong magic if your stack is lost.

Fortunately though, usually if you have made a mistake all is not lost! How you handle any mistakes
really depends on what kind of mistake you have made.

SWITCH MISTAKES: If you forget to switch one of the sets during stage 2 or 3, you will need to fix this as
you make the other switches. “Switch Trick” (see OASIS) or any of the shuffle switch techniques can be
employed to rectify the situation. Missing a switch isn't a huge problem and will become obvious as you
make the other switches during Stage 3.

CULL MISTAKES: Mistakes made during the culling phase are also easily rectified in the same way as
correcting the switch mistakes.

SHUFFLE MISTAKES: What if you totally mess up a stage 2 suit shuffle? This is really the worst kind of
mistake and is definitely something to do your best to avoid. If the mistake only affects two cards in the
suit, it is manageable. But if more than two cards are involved, you are in trouble. Here is my advice:
know the final order of each suit after its shuffle. If you mess up the shuffle you can rearrange it as you
talk to your helper and engage in a discussion where you highlight all of her options in a humorous way.
For instance, as you rearrange the cards, pull out the ones that need to be moved around as you say,
"You can write down any card, like the seven (show it and replace it in its proper place). I'm not trying
to influence you at all...but the seven is lucky. Or...you could pick the five but it is unlucky...but don't
let me influence you in any way!" Continue with this tongue in cheek banter as you order the suit.
Once it is in order give the packet a face down false shuffle.

TOTAL MELTDOWN: If you absolutely blow it and loose the entire stack then you still have several
options. The key is to know them and be confident that you can seamlessly transition into one of them.

1) You can perform “A Subtle Game” (see Encyclopedia of Card Tricks, pg. 402) to obtain stack order
from a shuffled deck.

2) You can perform any shuffled deck routines you desire (or a previously planned set) and still make use
of the cards that were written down. Here are several ideas for using the papers even if you can’t create
the stack:

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 A. The classic Center Tear can be used for a dramatic revelation of one of the cards previously
written down.

B. Use the slips and perform “The Trick That Cannot Be Explained” (see Lewis Ganson, Dai
Vernon’s More Inner Secrets of Card Magic, pgs. 76-81)

C. J.K. Hartman’s CAAN Craft is full of excellent ACAAN routines that utilize a shuffled deck. Many
of these routines could be used in this context.

D. If you are adept at secretly reading and switching billets then you can learn the names of cards
that were written down and add their revelations to your presentation.

I think that there are many ways to salvage a totally lost stack. The main thing required is that you have
previously thought through and practiced what you will do if this situation ever arises. There is a good
chance it never will, but being prepared shows that you are a professional and that you care about your
audiences. Plus it will give you great confidence in your performances. It is nice to know you can
succeed no matter what you might encounter.

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 FINAL THOUGHTS

Before we leave this chapter I would like to develop some ideas that were merely mentioned earlier. I
think they are worthy of considerable thought.

FLEXIBILITY

You have great flexibility on when you decide to perform the final stages of obtaining stack order from
new deck order. You do not have to achieve perfect order immediately after the two faro shuffles. You
may prefer to stagger the process by performing effects between the final stages. Or you can utilize
several effects that allow you to complete the stages in the context of those routines. It really depends
on your performing style and the card magic you are planning to perform.

Here are some strategies and techniques to consider as you find your favorite ways to achieve the final
stages of the assembly of the stack.

STAGGERING

Staggering the final stages is certainly a viable option and is very flexible. You could decide to use three
separate moments, perhaps between routines, to complete the necessary actions. For instance, after
the deck has been given the two faro shuffles, you might perform a routine that doesn't disturb the
order—Perhaps a divination routine where a card is peeked and you reveal it. After this routine you
might use the moment of relaxation after the climax to nonchalantly switch the 6H and QC. Then you
might perform a routine that only requires a force of a card. After that routine, you take care of the
adjacent switches under the guise of removing one or more cards for another routine. At the end of this
sequence, the entire deck is now in stack order and it is easy to replace the cards used in the routine
back in their stack positions.

An important consideration here is that after the two faro shuffles a large part of the deck is already in
stack order. This can be used to your advantage as you consider ways to use the deck as you stagger the
final assembly phases.

It is also important to realize that as you work with the stages of assembling the stack you will find that
you can visualize the stack in its alternate and incomplete stack arrangements. This adds to your ability
to use the deck effectively during these staggered assembly strategies.

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 CHAPTER 5

UNPACKING
(FROM THE ARONSON STACK TO NEW DECK ORDER)

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 UNPACKING

Now that you are familiar with the process on moving from new deck order (NDO) into the Aronson
stack you will find many similarities with the process and routine in this chapter. You will also be happy
to know that moving from stack order into NDO is much simpler than getting from NDO into stack order.

The routine used for secretly gathering all the suits and putting them in numerical order is a variation of
the “Tsunami 7’s” routine from OASIS. The modifications to that routine are slight and at the end you
will have the entire deck in NDO!

Once the deck is in NDO, you can go on to reveal this fact as a dramatic finale to your card routine or
continue to use it secretly. I’ll go into some of the possibilities at the end of the chapter.

As before, I recommend you read through the following instructions and then go through them again
with deck in hand. I believe you will find that after trying it all several times you will see just how
practical it really is. Your investment of time will be well worth it!

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 ARONSON TO NDO
(CHAPTER OVERVIEW)

Stage 1: THE SWITCH SHUFFLE

In this stage you will secretly switch the positions of some cards as you shuffle the deck in a special way.
The shuffle is quick and can be accomplished between effects.

Stage 2: CULL SWITCHES

In Stage 2 you will switch several adjacent cards as you spread through the deck. The reason for
spreading through the deck is completely justified by the removal of the red sevens used in the
“Tsunami 7’s” routine. The routine will allow you to gather all the suits in order!

Stage 3: ASSEMBLING THE DECK IN NDO

At the end of the “Tsunami 7’s” routine the deck is assembled into NDO!

WHAT IF…?: HOW TO HANDLE MISTAKES

I will give you plenty of tips on how to handle the most common mistakes on your way from stack order
to NDO. Relax, everything will work out fine!

NDO!: THINGS YOU CAN DO WITH A DECK IN NDO

Here, I will give you some ideas about how you can use the fact the deck is now in NDO to your
advantage! There are so many amazing possibilities.

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 ARONSON to NDO

STAGE 1: THE SWITCH SHUFFLE

To begin the process of moving from Aronson stack order into NDO there are several switches that need
to be made with cards that are not adjacent to each other. You can accomplish these switches using
routines such as Switch Trick 1&2 (see OASIS) or in other ways, but I prefer to get them out of the way
with a quick shuffling process. This process can be accomplished between effects, on the off-beat. The
whole sequence can be performed at once or broken up into smaller steps. I will describe the entire
sequence I follow. I usually do them all at one time and it can be accomplished quite quickly with some
practice.

THE SHUFFLE SEQUENCE:

4H/7S: Begin by cutting the 4H to the face of the deck. The

4H will be switched with the 7S. Hold the face-up deck in 1
the right hand in preparation for an overhand shuffle. Use
your left thumb to spread the top quarter of the deck until
the 7S is exposed [photo 1]. The 7S is eleven cards down
from the face of the deck. Once the 7S is exposed, begin the
shuffle. Run the 4H into the left hand. Then pull all of the
cards above the 7S into the left hand onto the 4H. Run the
7S onto the left hand cards. Finally, throw the rest of the
right-hand cards on top of the left-hands cards to conclude
the switch.
2
KD/5S: Immediately pull four cards, as one, off the face of
the deck into the left hand. Throw the rest on top. The KD
is now the card on the face of the deck. The KD will now be
switched with the 5S. The 5S is located six cards down from
the back of the deck (47th from the face). Once again, use
your left thumb to estimate the location of the 5S and
spread that portion of the deck until you see the 5S [photo
2]. Leave the 5S exposed and begin the shuffle/switch
sequence: run the KD into the left hand. Pull all the cards
3
above the 5S onto the KD. Run the 5S onto the cards in the
left hand. Throw the remaining right-hand cards on top of
the cards in the left hand. The 4H is now the face card of
the deck.

AC/7C: Continue by bringing the AC to the face of the deck.

The AC is exactly ten cards down from the face of the deck.
Use your left thumb to spread the cards until you see the AC
and take all of the cards above it into the left hand [photo 3].
Throw the rest of the deck on top of the left hand cards.

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The AC is now on the face of the deck.

Now, perform the shuffle switch for the AC and 7C. The 7C is
thirty-five cards from the face of the deck. Like before, use 4
your left thumb to estimate where the 7C is and spread the
cards at that location until you see the 7C [photo 4]. Perform
the shuffle switch to switch the locations of the AC and 7C:
pull all of the cards above the 7C into the left hand. Run the
7C onto the left hand cards, but in-jog it for about an inch
[photo 5]. Throw the remaining cards on top. The 5D is now
on the face of the deck and the 7C is in-jogged.

Now, use your right thumb to press on the back of the in-
jogged 7C and obtain a break at that location. Take all of the 5
cards above the break in the right hand (the AC will be the
face card of this packet) [photo 6]. Run the AC onto the 5D.
Finally, throw the rest of the right-hand cards onto the cards
in the left hand. The 8D is now the face card of the deck. Cut
the 9D back to the bottom of the deck. You are now ready to
move on to Stage 2!

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 ARONSON to NDO

STAGE 2: CULL SWITCHES

I am presenting Stage 2 here for clarity and to make it easier to learn. In reality, Stage 2 takes place
within the context of the performance of the “Tsunami 7’s” routine (Stage 3), although you could also do
Stage 2 before beginning the routine.

For Stage 2 you will spread through the deck and perform a number of switches using the under spread
cull. If you are familiar with the process of moving from NDO into stack then you will already be familiar
with the cards that need to be switched. You will basically be doing the reverse of the switches used to
move from NDO into the Aronson stack. This makes the process much easier and with a little practice it
will become very obvious what you need to do as you go through the deck. Here is a brief listing of the
switches:

6D/QS: Cull the 6D under the QS.

4C: Cull the 4C under the KS.

JC: Cull the JC under the 4D.

5D: Cull the 7S and AC, together, under the 5D.

AH: Cull the 8S under the AH.

AD: Cull the AD under the 3S.

7C: Cull the 5H and 10S, together, under the 7C. (This is similar to what needs to be done with the AC
during the NDO to Aronson stack sequence. Here though, it is the 7C because you previously switched
the 7C with the AC.)

2H/5C: Cull the 2H under the 5C.

KC/JS: Cull the KC under the JS.

At this point all of the cards are switched except the 6H/QC and the KC/KS. These cards can be switched
using the “Switch Trick” from OASIS or another method. You can also employ the shuffle switch for
those cards between tricks.

THE SHUFFLE: With the deck face up get a break below the KS. Maintain the break as you turn the deck
face down and hold it in the right hand in overhand shuffle position. Drag the top card (the KC) into the
left hand. Drag all of the cards above the break onto the card in the left hand. Drag the next card (the
KS) onto the left-hand cards, the rest of the right-hand cards go on top.

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With the deck face up, spread down six cards to locate the 6H and cut it to the back (top) of the deck.
Spread the deck slightly, the QC is about a fourth of the deck from the top. Obtain a break above it as
you take the cards in the right hand for an overhand shuffle. Perform a face down shuffle switch of the
6H and QC to conclude the switches. Cut the 9D back to the face [see photo 7 for the order].

Like I said earlier, this stage is performed in the context of looking through the deck for the red sevens
that play a crucial role in the routine. Because the red sevens will be removed and then replaced in the
deck it is fine if they are in the regular Aronson stack order.

STAGE 3: ASSEMBLING NDO

Stage 3 is the act of assembling the deck secretly into NDO. These secret actions take place during a
strong magic routine. It is interesting to note that Stages 2 and 3 happen in the context of an actual
routine. This means that there is a lot of cover for the necessary actions involved in obtaining NDO.

The following routine, “Tsunami 7’s,” is great for executing your secret agenda due to the nature of the
routine. Once you work through the routine several times you will find that it isn’t very hard to
remember what needs to happen to gather all the suits in order. The work you did in Stages 1 and 2
make Stage 3 fairly simple…with practice!

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 ARONSON to NDO

NDO TSUNAMI 7’s

EFFECT

The magician declares that the two red sevens are the luckiest cards in the deck and removes them. The
spectator selects a card which is then lost in the deck. The spectator inserts the red sevens face up
wherever he would like in the deck. The deck is then dealt into four piles. The face-up sevens land next
to cards that reveal the identity of the spectator’s selection! The mysterious Seven of Spades appears
and locates the actual selection!

SET UP

Perform Stage 1 (including switching the KC/KS and 6H/QC) and then cut the 5H to the face of the deck.
Stage 2 will be performed as you remove the red sevens from the deck.

ROUTINE

PHASE 1- REMOVING THE RED SEVENS AND FORCING THE QH

Begin to spread through the face up deck as you say, “Of all the cards in the deck I believe the sevens
are the most mysterious and magical. The number seven is seen as a very mysterious number in
almost every culture around the world. Let me find them for us.” You will have to spread through the
whole deck to locate the red sevens, in the process, perform all of the Stage 2 cull switches. Out jog the
red sevens when you come to them.

Cut the 5S (third from the top) to the bottom of the deck. Strip out the two out-jogged sevens and place
them on the table as you say, “Seven is widely considered to be the luckiest of numbers. We’ll use the
red sevens in a moment, but first I need you to select a card.”

Obtain a break under the QH (ten cards from the top) in preparation for a riffle force. If you have
scallop shorted the 5D, locating the QH and obtaining the break will be very easy.

Riffle-force the QH on the spectator as you say, “Just say stop anytime. Right here, great. Look at your
card and remember it.” Assemble the deck without holding a break. Give the deck a false shuffle. The
5S should be the bottom card of the deck at the end of this sequence.

NOTE: If you prefer to riffle force the QH from deeper in the deck, cut some cards from the bottom to
the top of the deck before taking your break. Don’t forget to cut the 5S (which is marked) back to the
bottom of the deck as you give the deck some false shuffles and cuts to apparently lose the QH.

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PHASE 2- INSERTING THE SEVENS

At this point you will have the two sevens placed in the deck and the deck cut several times apparently
according to the spectator’s wishes. It appears that the sevens are in random positions in the deck
while, in fact, they go right where they need to be for the effect to work.

Continue, “I chose the red sevens because they are considered very lucky. Red is seen as a very lucky
color. Pick up the Seven of Hearts. I want you to hold it and think about the suit of your card.” As the
spectator picks up the 7H, cut the deck and complete the cut while holding a break between the two
halves.

Riffle-force to the break as you say, “Now just say stop wherever you would like. Place the Seven of
Hearts face up where you said stop. Thanks.” Separate the deck at the break and allow the spectator
to place a red seven on top of the left-hand packet. Drop the right-hand portion back on top without
holding a break.

There are several ways to do the next placement, but I will describe the most direct one and my
personal favorite. If you have prepared the deck with the scalloped short cards, the rest of the
sequence is hassle-free.

Continue, “Now I want you to pick up the Seven of Diamonds and think of the value of your card.” As
the spectator picks up the 7D, obtain a break below the 3D. This is easy to do if you have made the 5D a
short card. Riffle up the back of the deck with your right thumb and get a break above the short card
which will be sixteen cards from the bottom of the deck. Allow three more cards to fall and catch a new
break between the 3D and QH.

Riffle-force to the break and have the remaining 7D inserted face up just like the previous seven as you
continue, “Go ahead and say stop wherever you would like. Place the Seven of Diamonds face up
where you said stop. Perfect. The sevens are now in the deck at locations you determined.”

Have the spectator tell you where to cut the deck with the same actions as a riffle-force as you say,
“Let’s further randomize the situation with a few more cuts. Just say stop whenever you would like.”

Do this several times making several straight cuts of the deck as you point out how this further
“randomizes” the location of the sevens. Once the deck has been cut several times, obtain a break
below the 9D. If the JS is a short card you can obtain a break above it and then let one more card fall
and obtain a new break below the 9D. Once the break is obtained, you will perform one more riffle-
force to cut the deck one last time before the deal. Perform the riffle-force and cut the 9D to the
bottom of the deck. You are now ready to deal the cards into four piles.

PHASE 3- DEALING OUT FOUR PILES

With the JS on top of the deck, deal the deck out into four piles from left to right [photo 8] as you say,
“You have made all the decisions and therefore you have determined where the sevens will ultimately
fall when I deal the cards. I find it fascinating that a deck of cards is so full of bizarre coincidences. For

143
instance, there are four seasons, and there are four suits in the deck. There are fifty-two weeks in a
year and fifty-two cards in a deck…”

1 2 3 4

As the piles are dealt, the spectators will be interested to see where the face-up sevens land within the
piles. Continue, “…It will be interesting to see… oh there’s one seven….and there’s the other! By the
way, if you add up all the values on all the cards you get three hundred sixty-four and if you add the
joker you get the number of days in a year. I could go on, but here we are...”

As you deal, the 7H will appear in pile 3 [photo 9]. The 7D will appear in pile 1 [photo 10]. Continue to
deal out the rest of the cards, finishing the deal quickly as you talk.

9 10

1 2 4 2 3 4

PHASE 4- IDENTITY REVEALED

Continue, “What I am interested in are the cards that the sevens landed on; the cards directly
underneath each one.” You will now reveal the identity of the spectator’s card using the cards located
by the sevens. You will also use the revelations to secretly assemble the entire deck into new deck
order!

Point to pile 3 as you say, "A red seven landed in this packet.”
Pick up pile three and fan it as you continue, “Ah, it was the seven
11
of hearts and it landed on top of this card" Use both hands to
fan pile 3 to reveal the face-up 7H [photo 11]. Clip the two
bottom cards of the fan with the left hand thumb (the 2H and 3H).
Now take the 7H and the card below it along with the right hand

144
portion of the fan to the table. Drop the 7H and the face down card under it onto the table.

Continue, "When you held the Seven of Hearts I asked you to think of the suit of your card, which you
did, but did not reveal at the time." With the right-hand packet still spread, bring it back and place the
two cards in the left hand below the right-hand spread. Hold the spread with both hands and cull the
fourth card from the bottom (the AH) to the bottom of the packet as you close the spread. As you focus
everyone’s attention on the spectator you will quickly reorder the packet in the following way:

Obtain a break above the AC. This can be done using the mark on the AC or counting to the fifth card
from the bottom of the packet.

With the cards face down, you will perform a brief shuffle of all the cards above the break. Take all the
cards above the break into the right hand and hold them in position for an overhand shuffle. Run the
top card off onto the left-hand cards. Pull the next two cards, as one, onto the left-hand cards. Now
pull the next two cards, as one, onto the left-hand cards. Throw the last card on top. Now reverse the
order of the top two cards by running each, singly, into the left hand and placing them back on top of
the packet. Finally, cut the bottom four cards, the A-4H, to the top of the packet and set it on the table
where it came from. The order of this packet now is: 4H-AH, QC-9C, 4C, 2C, AC.

Point to pile 1 as you continue, "A red seven also landed in this pile...” Take pile 1 and fan it to reveal
the face-up 7D. “…the Seven of Diamonds and it landed on this card." Take the 7D on top of the left
hand part of the fan. Drop the 7D and the face down card under it onto the table [photos 12 & 13].
Place the right hand cards back on top of the cards in the left hand.

12 13

You now perform a small shuffle of pile 1 as you say, "When you held the Seven of Diamonds I asked
you to think of the value of your card, which you did. Of course it remains a mystery. The sevens have
both landed on cards that were randomly decided by you when you inserted the sevens into the deck.”

145
The shuffle is as follows: Milk-build the top and bottom cards (the KS and QS) into the left hand. Milk-
build the next two cards (the 9S and 6S). Pull the next two cards (2S and 4S) as one onto the left-hand
cards. Run two cards. Throw the rest on top. Run two cards into the left hand. Pull two cards as one
onto the left hand cards. Finally, run one card onto the left hand cards. Place all the cards in the left
hand back on top of the right hand cards. Set packet a back in its position on the table. The order of
this packet now is: 10D, 8D, 5D, 2D, AD, 2S, 4S, 6S, 9S, QS, KS.

Continue, “You held the Seven of Hearts and thought of the suit of
your card. If this seven is really lucky then the card you are 14
thinking of is a…heart.” Use the 7H to flip over the tabled card
beneath it revealing the 5H. Slide the face-up 7H under the face-up
5H and place them, face up, onto pile 3 [photo 14].

Now focus on the 7D and the card below it and say, “You held the
Seven of Diamonds and thought of the value of your card. I’m
afraid to look. Remember you decided where the sevens would be
before the deal. If this seven is really lucky then your card was 15
a…queen. The Queen of Hearts! The red sevens are so lucky it’s
scary.”

Use the 7D to flip the face-down QD face up. Turn the 7D face down
and slide it under the face-up QD. Take the two cards in the right
hand and pick up pile 1 with the left hand. Obtain a break under the
top two cards of pile 1 (this can be accomplished via a pinky count
or by spreading over the top two cards). Use your left thumb to
16
peel off the face-up QD onto pile 1 and then immediately insert
the face-down 7D onto the break [photo 15] and square up the
pile. Do not keep the break. Place pile 1 back into its position on
the table [photo 16].

146
PHASE 5- THE QUEEN IS FOUND

Continue, “Now that is pretty amazing, but we’re not done. I’m not into numerology but look: the
queen is card number twelve out of the thirteen cards in the suit. Twelve minus five equals seven!
Let’s count down seven in these piles.” Turn the QD face down on pile 1 and turn over the 5H and 7H as
one on pile 3 (the 7H will be the top card of pile 3).

Say, “Now at the beginning I said the sevens were deeply

mysterious, but we have only seen the red sevens, which are 17
known as the lucky sevens. There is also the black Seven of
Spades, known as the mysterious seven.”

You will now count down to the seventh card in both piles
simultaneously [photo 17]. Place the counted cards in front of
piles 2 and 4, in positions B and C, reversing the order of the
cards as you do so [photo 18]. Count down to the seventh card
in each pile and stop. Take the seventh card of each pile in the 18
corresponding hand and hold them face down above their piles. B C
Build up the final revelation by saying, “Look, after all that cutting,
dealing, and counting… here is the mysterious black Seven of
Spades…and it marks the exact spot of your Queen of Hearts!”
1 A 3 D
Turn over the right-hand card to reveal the 7S and then slowly
turn over the left-hand card to reveal the QH [photo 19]! Drop
19
the cards face up on their respective discard piles to bring the
effect to its conclusion.

THE FINAL CLEAN UP: GATHERING ALL THE SUITS

Now you will reassemble the deck, but in the process, you will gather all the suits together!

SPADES

Pick up pile A [see photo 18] and cut the top two cards to the bottom (the 8S and 3S). You will now
perform a quick shuffle of pile A as you say, “Amazing! I can’t believe how lucky the red sevens are!”

147
The shuffle: Milk-build the top and bottom cards (the 3S and 5S). Milk-build the 10S and 8S onto the
left- hand cards. Throw the remaining cards on top of the left-hand cards. Run the top card (the AS) to
the bottom of pile A. Drop pile A on top of Pile 1 and pick up the combined pile.

You will now briefly shuffle this pile and at the end of the shuffle the spades will be in order! Do so as
follows:

Say, “Actually, I can’t believe how lucky YOU are! I think you need to get on a plane and head to
Vegas right now!” As you talk, take the bottom card of the packet into your left hand (the KS). Milk-
build the next two cards (the JS and QS) onto the KS. Run one card by itself (the 10S). Perform four
more Milk-build shuffles and the spades (minus the 7S) will now be in order! Throw all the remaining
cards in the right hand on top of the left-hand cards. Place the pile on the table to your left.

HEARTS

Continue, “Really, why are you still standing here? The queen
should be proof enough! Actually I’m glad you are still 20
standing here.” Pick up pile B. As you do, use your right
fingers to slightly fan the cards to your left. Take the QH and
place it beneath the top card using the Tilt illusion and then
transfer the cards to the right hand allowing the bottom cards
to spread to the left. Continue by picking up pile 3 with your
left hand and spreading the top card to the right. As you bring
the hands together to close the fan and assemble the cards,
allow the bottom card of the right-hand packet to slide under the
top card of the left-hand packet [photo 20]. Square up the deck. You now have the hearts in order!

Pick up the combined diamonds and spades pile to your left and place it onto the pile you are holding.
Immediately cut the bottom three cards of the deck to the top (the 4C, 2C and AC) [see photo 21 for the
order]. Place the deck on the table.

21

148
CLUBS

Move the face up 7S off to the side and pick up pile C as you continue, “Maybe if we hang out with you
long enough some of your good luck will rub off on us. I think I’m going to buy some lottery tickets on
the way home.” As you talk, perform the following small shuffle: Take the bottom card of the packet
into your left hand. Milk-build the top and bottom cards onto the left-hand cards. Place the left-hand
cards on top of the right-hand cards. Take the entire packet into your left hand and pick up pile D with
your right hand.

“Do you consider yourself a lucky person?” You will now feed all the cards, except the bottom two, in
the left hand under the top card of the right-hand’s packet. Do this by pushing the top card of the right-
hand packet to the left. Spread the left-hand packet to the right and feed them under the top card of
the right-hand packet. When you get to the last two left-hand cards, feed them under all the cards in
the right hand. This may sound complicated, but it is actually very simple and to the audience it looks
like you are just pushing the packets together. Finally, run the bottom card (the KC) to the top of the
packet.

As you respond to the spectator’s answer to your question, pick up the cards on the table in your left
hand and push the top card to the right for about half its width. As you place the right-hand’s cards onto
the left hand’s cards, allow the bottom card of the right-hand cards to go below the top card of the left-
hand’s cards (this puts the 3C and 4C in their proper order). Immediately spread the deck and obtain a
break under the bottom four cards of the deck.

Slip the top card of the deck (the KC) into the break and continue with a brief overhand false shuffle. I
also take this opportunity to replace the 7S. I use the marked 5S to make this easy. I do an estimated
push a little lower than half the deck, locate the marked 5S, spread down one card from it and take a
break. Insert the 7S into the break and follow up with a false cut or shuffle. As you replace the 7S, say,
“Man the seven of spades was really mysterious…I don’t think I can sleep in the same house with this
deck…I think it’s possessed!”

At this point you can wait to do the rest of the assembly and perform a routine that perhaps relies on
only forcing a card, etc. Or you can proceed with the last bit of the assembly as follows:

Cut the top six cards to the table. Spread the deck slightly until you see the marked AC and cut it and all
the cards above it onto the pile on the table. The clubs have now been assembled in order! Drop the
rest of the deck on top of the tabled pile and immediately pick up the entire deck [see photo 22 for the
order].

149
 22

DIAMONDS

You will now put all the diamonds in order with a simple shuffle sequence as you say, “Let’s go beyond
luck and jump head long into the world of the deeply mysterious, let’s experience something that can’t
be even remotely possible. It’s time for us to explore deep mysteries…” Milk-build the KD and QD.
Milk-build the 10D and JD. Milk-build the 9D and 8D. Run the 7D singly onto the left hand cards.
Perform three more milk-build shuffles and place the left-hand cards onto the deck. To finish, spread
the top cards and switch the positions of the second and third cards (the 3D and 2D).

YOU NOW HAVE EVERY SUIT IN ORDER!!!

COMMENTS

It is important to quickly and smoothly perform the small shuffles and arrangements that allow the suits
to be gathered. I have given my general script, but it will be up to you to create more of a script where
you need it. The script must be created to fit your personality and the general speed of your execution
of the procedures. Obviously, you should strive for a fast yet casual pace. Only practice will reveal to
you where you will need to add extra lines in the script.

150
 WHAT IF…
What can I do if I mess up the process?
The worst, and highly unlikely, scenario is that you completely fail to order any of the suits during the
assembly phase of the “NDO Tsunami 7's” routine. In this instance you have successfully completed the
routine and now you are simply left with a mixed deck. You can transition into routines from your
impromptu repertoire.

The above scenario is highly unlikely. If you fail to accomplish the assembly of all the suits, chances are
you have still assembled at least one! The heart suit is very easy to assemble, without much of a process
to remember, so you should always be able to assembly the hearts. The spades are also fairly easy to
assemble. So, even if you blow it with the diamonds and clubs you still have two suits at your disposal!

Also, even if you fail to assemble any of the suits in order you may still be able to salvage some unique
features like a divided deck (red and black), etc.

I point this out to stress that there is no fear in failure here. Even gathering one suit can be used to
produce amazing effects and stunning finales. Obviously the more confident and practiced you are with
the process, the less likely it will be an issue. But accidents happen and being able to confidently deal
with them is extremely important.

As you work through all of this you may find that gathering all of the suits is more than you care about.
In that case you can opt to jettison some aspects of the assembly process and only use the processes
that gather the suit (or suits) you care about.

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 NDO! …BUT NOW WHAT?

Now that you have the deck in order, you will want to do something cool with it! Most magicians will
want to show the deck in NDO as a finale to a performance. Magicians disagree on whether this is wise,
despite strong audience reactions to the revelation of the deck in NDO. I recommend that if you decide
to show the entire deck in order, you should wait to do so. Do some other effects with the deck that will
preserve the NDO before revealing the condition of the deck. There are many subtle and powerful ways
to use the secret order of the deck. Here are just a few ideas to get you thinking!

REVEALING THE DECK IN NDO: At the end of Stage 3 the fifty-two cards are in reversed order to Bicycle
brands NDO. This is not a problem in performance because when you reveal the gathered suits the
emphasis is on the magical ordering of the deck. Also, I have never met one layman who knows the
exact order of the cards when they come out of a Bicycle brand deck of cards! It is just not an issue.

However, I like to end in actual NDO at times so that the deck is automatically reset for another
performance from NDO or when practicing going in and out of NDO with the stack. To achieve actual
NDO you have several options. By giving the deck two out-faros and dealing four hands of thirteen
cards will reverse all the cards and keep them in order. You can easily use this idea as a finale to a
performance. You can also simply deal through the deck, reversing its order.

PRODUCING ANY SUIT CALLED FOR IN ORDER: You can cut any suit to the top of the deck and proceed
to produce every card of that suit in order using the same type of productions used in the standard
multiple selection routines.

SECRET USE OF NDO: You can use the order of the deck secretly before using it in a revelation of NDO.
It is possible to use the NDO in a similar way to a memorized stack. You can use estimated cuts,
glimpses and culls to locate any card you wish. Obviously, be careful not to show the faces of the cards!

SI STEBBINS, ETC.: Moving into the Si Stebbins stack is extremely easy thanks to a brilliant idea by
Darwin Ortiz (see At the Card Table, pgs. 137-139).

STAY STACK: From NDO you can go into stay stack order quite easily. There are many great effects that
utilize this unique stack!

DIVIDED DECK/ALTERNATING COLORS: Some wonderful effects rely on having the deck divided into red
and black. This is easy to obtain by simply giving the deck one faro shuffle. It is also easy to achieve a
red and black alternating deck from new deck order.

152
 CONCLUSION

So we come to the end of the tour and the end of my Aronson stack trilogy. The routines in the three
books were born out of the desire to have at my fingertips a variety of routines and tools that I could
use while working with the stack. Most of the routines were created with strolling or restaurant work as
the context. This was because that was where I was utilizing the stack the most. Whenever I wanted to
add a different type of routine to my repertoire, I researched the theme and as many routines as
possible. Then I would look at the Aronson stack and see if I could perform a version of the routine
either using its particular properties or at least keeping it in order. Amazingly this would happen more
often than one would guess. Thus a repertoire was born and this trilogy eventually written.

I have loved every minute of the creative process that has given birth to these routines. Even more, I
have loved performing them for lay audiences and magicians. I hope that these routines find a life in
others’ repertoires as well.

What amazes me the most, really, is the stack itself. Simon's creative genius was in overdrive when he
crafted his stack. While in recent years other stacks have gained great attention, Simon's stack shines
brightly and is more than deserving of careful and thoughtful consideration by anyone desiring to
memorize a stack. The Aronson stack is full of dynamic potential and hidden treasures. There is so
much to explore. This may be the end of a trilogy, but I have a notebook full of ideas to explore and you
can bet I will! I hope you will embark on your own tour of the stack. There are amazing things just
around the corner, I promise! If you discover something wonderful please feel free to share it with me.
I love seeing what the stack can do!

Eric Richardson

richardsonmagic@gmail.com

153
APPENDICES

154
 APPENDIX 1

NDO TO ARONSON
STAGE TWO SHUFFLE PRACTICE TIPS
At first it may seem like a daunting task to memorize the four different suit shuffles, but with just a little
practice you will find that they are not that hard to remember. Below are some practice tips and cheat
sheets that will help you learn the shuffles quickly.

When I began memorizing the shuffles, I would carry a cheat sheet (like the ones on the next page) and
the thirteen cards of that suit with me throughout the day. I would occasionally pull out the cards and
try to do as much of the shuffle as possible from memory. I would use the cheat sheet to help me
remember the sequence or to just check my final result.

Once I had memorized a suit shuffle I would work on the next one. Those practice sessions would
include a review of the other suit shuffles I had memorized. It wasn’t long before I had all four shuffles
memorized.

After getting comfortable with the four shuffles I then began practicing the shuffles along with the
assembly procedures to complete Stage 2. Within a week I was confidently moving through Stage 2
easily, although I still needed to practice more to really smooth out the shuffles. Within several weeks I
was so comfortable with the shuffles I would only look at the cards myself when it was crucial to do so.
Otherwise I could look at other people and engage in conversation.

You may find that these practice sessions take you longer than they did for me (or shorter!). Take it at a
pace that works for you. I revised the shuffles several times to get them to the state they are now. At
least you only have to learn four. In the process of creating the shuffles I memorized over twelve
variations! Count your blessings!

155
 Here are several handy cheat sheets to help you learn the four shuffles for moving from NDO into the
Aronson stack.

HEARTS:

A. Pull two cards as one (K and Q).

B. Run five cards (J, 10, 9, 8, 6).
C. Pull two cards as one (7 and 5).
D. Run one card (4) and throw the rest on top.
E. Pull two cards as one (3 and 2).
F. Pull four cards as one (A, 4, 7, 5) and throw the rest UNDER.
(Order from top: Q,K,J,10,9,8,6,2,3,5,7,4,A)

DIAMONDS:
A. Cut the 8D to the face.
B. Pull two cards as one (8 and 9).
C. Run one card (10).
D. Run one card (J) UNDER the cards in the left hand.
E. Run one card (Q).
F. Run one card (K) UNDER the cards in the left hand.
G. Run two cards (A and 2) and throw the rest on top.
H. Milk-Build the top and bottom cards (3 and K).
I. Pull two cards as one (4 and 5).
J. Milk-Build the top and bottom cards (6 and J) and throw rest on top.
K. Run one card (7).
L. Pull three cards as one (2, A and Q).
M. Pull two cards as one (10 and 8) and throw the rest on top.
(Order from top: 7,Q,A,2,8,10,K,3,5,4,J,6,9)

CLUBS: SPADES:
A. Cut the 9C to the face. A. Slip cut the AS between the JS and 10S.
B. Run one card (9). B. Run two cards (2 and 3).
C. Pull five cards as one (8, 7, 6, 5, 2). C. Run the 4 UNDER the cards in the left hand.
D. Run one card (4) UNDER the left hand cards. D. Pull two cards as one (5 and 6).
E. Run one card (3). E. Run one card (7) UNDER the cards in the left hand.
F. Pull two as one (A and K). F. Pull five cards as one (8, 10, A, J, Q) and throw the 9 and K UNDER.
G. Run one card (Q) UNDER the left hand cards. G. Pull five cards as one (8, 10, A, J, Q).
H. Run two cards (10and J). H. Run one card (5).
H. Pull two cards (J and 10) and throw the rest on top. I. Run one card (6) UNDER the cards in the left hand.
I. Run one card (A). J. Run one card (3) and throw the rest UNDER the left hand cards.
J. Pull three cards as one (K, 3 and 8). K. Pull two cards as one (3 and 5).
K. Run one card (7), but catch a break below it. Throw the rest on top. L. Run one card (8) and throw the rest UNDER the left hand cards.
L. Cut at the break and complete the cut (the KC is now the face card). (Order from top: K,9,7,4,2,6,Q,J,A,10,5,3,8)
(Order from top:7,J,10,Q,4,9,2,5,6,A,8,3,K)

156
 APPENDIX 2

OTHER CHEAT SHEETS

Here is a cheat sheet to help you memorize the shuffle required for getting into Joshua Jay’s “Royal
Assembly” from Aronson stack.

Cut the KS to the bottom of the packet.

Perform one perfect out faro (cut the packet at the QS for the out
faro).
Run two cards (6S & 6D) and throw the rest on top.
Pull three cards (4C, QC, 8H) as one into the left hand.
Run one card (2C) onto the left hand cards.
Pull two cards as one (10S & 9D) UNDER the left hand cards.
Run one card (9C) onto the left-hand packet.
Pull the next three cards as one (JS, QS, KS) onto the left-hand packet.
Throw the remaining two cards (the 6D and 6S) UNDER the left-hand
packet.

THE NEW ORDER (from the top down):

JS,QS,KS,9C,2C,4C,QC,8H,10S,9D,6D,6S [photo 1].

Here is the cheat sheet Jan Forster created to help you learn his “Jan’s Eyes”
Jan’s Eyes – 2 x 10 Cards (Aronson Stack)
1.P.: # 1 – 10 2.P.: # 11– 20
1. 1st statement always BLACK: both NO, reinterpret
King of Diamonds …# 4 + # 14
2. BOTH BLACK: always SPADES: both Spades: # 1 + # 11
only 1.P. Spades: # 6 + # 16 only 2.P. Spades: #10 + # 20
3. Only P.1 BLACK: always go to CLUBS: „see tip of a
Club“ - NO: # 5 + # 15 or „YES“– „number“ – „NO“ –
„…looks like a 4, but it’s a K, a King…“ ‚ # 2 + # 12 or
„YES“ – „number“ – „YES“ –„.. 6 ...“ – „YES“: # 8 + # 18 or
„…6…“ – („NO“) „…right, just below, a 5…“ : # 3 + # 13
4. Only P.2 BLACK (only # 17 + # 19 possible): „…number,
smaller, odd, a 7…“ – „YES“: # 9 und # 19 or „a 7…“ –
(„NO“/also non-verbal) „or below, yes, a 3“: # 7 und # 17

157
 APPENDIX 3

Over the years I have had many Aronson stack users and even magicians who work with different stacks
ask me about my choices and motivations behind my work with the Aronson stack. I thought that I
would share the two most common questions and answer them here. I figure that if I have been asked
these questions so often in person, then it probably isn’t off base to assume some readers will be asking
them as well. So perhaps here are the answers to your questions!

QUESTION 1

Dear Eric,

Why didn't you memorize the Tamariz stack?

Sincerely,
StackMonkey

Dear StackMonkey,

That's a great question that many have asked me. There are really two parts to the answer. First, when
I became interested in memorizing a stack the main details for Tamariz stack were not available in
English. I was aware of his arrangement and of some of its properties. I also was familiar with many of
the other published stacks (Joyal, Nikola, Ireland, etc). Of course, at the time, Simon had published his
stack and both Simon and Michael Close were publishing things that worked specifically with the
Aronson stack. As I studied the built-in features of the Aronson stack I really liked what I saw. So, I
learned the Aronson stack and began performing regularly with it.

When Mnemonica was published in English I was very interested in learning everything I could about the
inner workings of Juan's stack. I spent over a year looking at what Juan had accomplished with his stack.
Of course it is impressive and the Tamariz stack is full of even more untapped potential. During this time
I really was open to switching to the Tamariz as my primary stack. Obviously I decided against it. My
decision to remain with the Aronson stack is based entirely on the fact that the built-in features of the
Aronson stack are very pleasing. I like the potential inherent in the poker and bridge deals, etc. I also
like having the aces in close proximity to each other. The bottom line is that the stack is beautifully
designed for what I envisioned myself doing with it.

If I had to do it all over again, I would like to think that I wouldn't blindly follow the mantra that the
Tamariz stack is the best (a totally subjective view). I hope I would ask the important questions for
deciding on a stack! I believe that even today if I put both stacks side by side I would pick the Aronson
(my completely subjective opinion).

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When other people ask me if I think they should learn the Aronson stack my reply is to study them all
and decide what will be the most important properties in each stack for you and go with that stack. I
also always recommend thinking about designing your own stack.

Sincerely,
Eric

QUESTION 2

Dear Eric,

Do you actually perform all of the routines in your books? If not, why and what DO you perform?

Sincerely,
Stax

Dear Stax,

I don't actually perform any of it. Just kidding! I have performed every single routine in each book (not
necessarily every variation of every routine) for actual lay audiences. I can say that they have all played
very well for me in the right contexts.

I certainly don't have every single routine "up to speed" all of the time. For instance, when I was
performing regularly in restaurants (two nights a week for seven years straight at the same restaurants)
I used the stories, birthday routine, and the “Double Mindreading Deck” (see OASIS) routines all the
time as well as the multiple selection routines from It All Depends.

At the present time my performing venues are quite different, I'm not table hopping and I have more
time and control over my performing environments. My working repertoire from my books is different
now. I very rarely perform the birthday routine or the mini stories. I find myself using Cut to Order Aces
(from It All Depends) and “CON-T.R.A.S.T.” (from OASIS) all the time. I tend to keep my full-deck story
routines sharp. I use “What the Devil” and the routines for going in and out of New Deck Order from
TOUR quite often. Actually, I use a lot of the material from TOUR. These routines suit the venues I find
myself performing in.

So to answer your question, it depends on when you ask me! It depends on the venues I find myself
performing in the most. I constantly go back and "dust off" old favorites. I would never expect
someone to have a huge collection of these routines sharp all the time. I would hope people find some
favorites and work on new items as their venues demand. I think that between the three books there is
a lot of variety.

Sincerely,
Eric

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 MORE MAGIC
FROM
ERIC RICHARDSON

MOMENTUM

Eric’s version of the haunted pack. Impromptu & ungimmicked!

Spread the cards across your palm and the selection
mysteriously moves out of the center of the spread. Your hands
remain completely still. Three routines are taught in this 55
minute download available at vanishingincmagic.com.

IT ALL DEPENDS
IT ALL DEPENDS
This was Eric’s first book of creations for the fabulous Aronson
EXPLORING THE ARONSON STACK
stack. Each effect begins and ends in stack order and the stack
does not have to be memorized to use these routines! You will
find the amazing four-of-a-kind productions, ideas for multiple
selection routines and more. There are over 20 routines and
practical advice for using the stack in the real world. This e-
ERIC RICHARDSON
book is available at vanishingincmagic.com.

OASIS

Eric continues his exploration of the Aronson stack and shares

some of his best kept secrets and routines. For the first time
Eric shares two knockout story routines and several highly
entertaining mini-stories. Eric also shares his diabolical
routine that allows you to perform Josh Jay’s “Trumped
Triumph,” which produces an entire suit in order, directly from
the Aronson stack. Enjoy seven chapters of mind blowing
magic! This e-book is available at vanishingincmagic.com.

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