Fresno magic club

• Introduction — Simon Aronson (p. xvii)

• Preface (p. xix)

• Contributors (p. xxiii)

• PART I

• Chapter One — The Memorized Deck: a Bit of History (p. 3)

• The Key Card (p. 5)

• From Ace to King (p. 5)

• The Mathematical Deck (p. 5)

• The Rosary Deck (p. 6)

• Non-periodical Numerical Decks (p. 7)

• Disguised Arithmetical Decks (p. 7)

• The Mnemonic Deck (p. 7)

• The Mnemonic Deck with Added Properties (p. 8)

• Tamariz’s Mnemonica (p. 10)

• Chapter Two — Tamariz’s Mnemonica (Structure) (p. 11)

• 1. The Order of Mnemonica (p. 13)

• 2. How to Attain This Order (p. 14)

• First Method: With Faros (p. 14)

• Second Method: Without Faros (p. 16)

• Third Method: Direct Setup (p. 16)

• 3. Specific Properties of Mnemonica (p. 17)

• 4. From Mnemonica to Stay-stack (p. 19)

• Chapter Three — Ultra-Rapid Memorization (p. 21)

• Questions and Answers (p. 23)

• 1. The Auditory Method (p. 24)

• 2. The Visual Method (p. 25)

• 3. The Muscular Method (p. 26)

• 4. The Conceptual Method (p. 26)

• 5. The Security Method (p. 27)

• Chapter Four — Tricks Specific to Mnemonica—Tricks with Stay-stack (p. 29)

• 1. Super Poker (p. 31)

• 2. Aces, Kings—and Other Poker Hands (p. 34)

• 3. Everything in Order—an Outstanding Climax (p. 35)

• 4. A Grand Bridge Deal (p. 35)

• 5. Other Tricks (p. 36)

• Chapter Five — Specific Tricks with the Mnemonica Order (p. 37)

• 1. Deal of a Complete Suit (p. 39)

• A. The Heart Suit (p. 39)

• B. Other Versions for Producing the Heart Suit (Cuesta and Tamariz) (p. 41)

• C. The Club Suit (p. 42)

• D. The Spade Suit (p. 43)

• E. The Diamond Suit (p. 43)

• SPELLINGS (p. 44)

• 2. Spelling a Thought-of Card (p. 44)

• 3. Spelling the Color, Value, Suit and Card (p. 45)

• 4. Spelling Four Cards and Four Aces (p. 46)

• GAMBLING DEMONSTRATIONS (p. 48)

• 5. Any Poker Hand Called For (p. 48)

• Pair (p. 48)

• Two Pair (p. 48)

• Three of a Kind (p. 48)

• Low Full House (p. 49)

• Middle Full House (p. 49)

• Four of a Kind (p. 49)

• Straight Flush (Including a Royal Flush) (p. 50)

• Resetting the Stack (p. 51)

• Other Deals (p. 52)

• Observations (p. 53)

• A General Presentation (p. 53)

• 6. Rummy Exhibition (p. 54)

• 7. Blackjack Exhibition (Jim Krenz) (p. 54)

• 8. Flushes and Pluses (Routine by Ariston) (p. 56)

• 9. Back-to-back Deals—After Dai Vernon’s Formula (Cuesta) (p. 60)

• 10. Poker Demonstration for Eight Players (p. 62)

• OTHER TRICKS (p. 64)

• 11. Controlled Pairs (p. 64)

• 12. The Three Hours (Aronson and Riobóo) (p. 65)

• 13. Prediction à la Kruskal (Antonio José Arenillas) (p. 68)

• 14. A Strange Coincidence (Ángel San Frutos) (p. 69)

• 15. The Good Fortune Routine (p. 71)

• Chapter Six—Tricks with the Whole Stack (p. 77)

• FIVE CLASSICS (p. 79)

• 1. Divination (p. 79)

• 2. Any Card at Any Number (p. 82)

• A. The Classic Method with the Pass (p. 82)

• B. With a Different Back (Mago Antón) (p. 83)

• C. Impossible Conditions (Mago Antón) (p. 84)

• D. With False Dealing (p. 84)

• E. With the Tamariz Perpendicular Control (TPC) (p. 85)

• 3. The Three Piles (p. 85)

• First Variation (With a Medium) (p. 87)

• Second Variation (Ideas) (p. 88)

• Third Variation (A Classic) (p. 88)

• 4. Obedient Cards (p. 88)

• 5. Total Memory (p. 89)

• A. The Classic Version (p. 89)

• B. My Version—Triple Threat Memorization (p. 90)

• THREE CROWN JEWELS (p. 91)

• 1. Prediction (p. 91)

• A. The Hofzinser Method (p. 91)

• B. With a Regular Deck and Two Jokers (p. 92)

• C. With a Regular Deck, Without Jokers (p. 93)

• D. With a Stranger Card (p. 93)

• E. A Stage Version: “The Joker” (p. 94)

• 2. All of a Kind (p. 94)

• 3. Mnemonicosis (Tamariz on Ideas by Marlo and Vernon) (p. 97)

• A. Mnemonicosis (p. 98)

• B. Card Control (p. 99)

• C. Mnemonicosis Over the Phone (p. 101)

• EIGHT MORE JEWELS (p. 102)

• 1. Flying Through Thin Air (p. 102)

• 2. Cards to Pocket (p. 104)

• A. With Ray Grismer’s Shuffle (p. 105)

• B. With the Zarrow Shuffle (p. 106)

• 3. Sha-la-la-la-la (A Multiple Musical Location) (p. 106)

• 4. Memorized Brainwaves (p. 111)

• Variation I: With a Waxed Card (Antón López) (p. 112)

• Variation II: With an Ungimmicked Card (p. 113)

• 5. Coincidence with Two Decks and Three Cards (p. 113)

• 6. Control in Chaos (Aronson and Riobóo) (p. 116)

• 7. Carbuquillo (p. 119)

• 8. Cutting the Aces or Any Four of a Kind (p. 123)

• A FEW DIRECT ONES (p. 124)

• 1. The Direct Production of Cards Called For (p. 124)

• 2. Rising Cards (p. 125)

• 3. Double Color Change (p. 127)

• 4. Reversed Cards (Mago Antón and Tamariz) (p. 128)

• 5. Cards Called For to Pocket (p. 129)

• A. One Card (p. 129)

• B. Two Cards (p. 130)

• 6. Thought-of Card to Pocket (with an Added Advantage) (p. 130)

• 7. A Card Vanishes Instantly (p. 132)

• OTHER BEAUTIFUL TRICKS (p. 133)

• 1. Sympathy (Tamariz’s version of a classic) (p. 133)

• First Variation—Through Pencil Reading (p. 133)

• Second Variation—With a Nail-writer (p. 133)

• Third Variation—With a Billet Index (p. 133)

• Fourth Variation—Using a Pass (p. 134)

• A Presentation—Muscle Reading (Oscar Hugo) (p. 134)

• 2. A Star is Born (p. 135)

• 3. The Stop Trick (p. 137)

• A. First Version (With the Second Deal) (p. 137)

• B. Second Version (With Other False Deals) (p. 137)

• 4. Face to Face (Marlo and Tamariz) (p. 138)

• 5. A Grand Triumph (Camilo Vázquez) (p. 139)

• 6. A Predicted Triumph (p. 140)

• 7. The Theft of the Century (p. 141)

• 8. Royal Location (p. 142)

• 9. Double Prediction (Zingone and Tamariz) (p. 143)

• 10. Exact Location (Jordan, Clive and Tamariz) (p. 145)

• 11. Cards from Pocket Stop Trick (Ramblar) (p. 147)

• 12. Named Card from Pocket (Ramblar) (p. 148)

• 13. Card to Number in Pocket (Ramblar) (p. 149)

• 14. Card to Wallet (Ramblar) (p. 149)

• 15. Assembly of Selections in Poker Hands (Leipzig and Tamariz) (p. 150)

• MISCELLANEOUS IDEAS (p. 151)

• 1. A Special Idea: the Eight Mnemonicas (p. 151)

• 2. Stay-stack with Mnemonica (p. 156)

• 3. A Card Index (p. 157)

• 4. An Assortment of Very Beautiful, Loose and Simple Ideas (p. 157)

• 5. An Idea for Magicians: Mnemoncia and Strippers (p. 161)

• THE ART OF IMPROVISATION WITH MNEMONICA (p. 162)

• 1. To Introduce the Subject (p. 162)

• 2. The Techniques (p. 163)

• 3. The Effects (p. 164)

• Chapter Seven—Tricks Specific to Mnemonica Using Stay-stack (p. 165)

• 1. The Missing Card (Marlo and Tamariz) (p. 167)

• 2. Prodigious Memory (Evans, Hull, Annemann and Tamariz) (p. 168)

• 3. The Rite of Initiation (Luis García Soutullo) (p. 169)

• A. Tamariz Version with Faros (p. 170)

• B. Tamariz Version Without Faros (p. 171)

• PART II (p. 175)

• Prologue to Part II (p. 177)

• Chapter Eight—Tricks Unique to Mnemonica Using the Half Stack (p. 179)

• 1. Incredible Card Control (p. 182)

• 2. Total Spell (Dr. Jacob Daley) (p. 182)

• First Version (Classic and Daley’s) (p. 182)

• Second Version (Tamariz) (p. 182)

• Third Version (Tamariz) (p. 184)

• 3. Spelling to Four Cards (p. 185)

• 4. Spelling to the Four Deuces (p. 186)

• 5. Colors on Parade (Based on Scarne, Ascanio and Simon) (p. 187)

• To Reassemble the Stack (p. 187)

• A Good Routine (p. 187)

• Another Routine (p. 188)

• Scarne’s Concept (p. 188)

• Alternated Sequence from Normal Mnemonica Order (p. 188)

• Color Separation (with a Divination) (p. 189)

• 6. Two Stories (p. 189)

• First Story (with the Top Half of Mnemonica) (p. 190)

• Second Story (with the Bottom Half of Mnemonica) (p. 193)

• Chapter Nine—Tricks with the Half Stack (p. 195)

• ONE TO BEGIN WITH (p. 195)

• Memory Jumble (p. 197)

• THREE CLASSICS AND A SEMI-CLASSIC (p. 197)

• 1. Weighing the Cards (p. 201)

• 2. Total Memory (p. 201)

• Version with Faros (p. 203)

• Version with Deals (Antifaros) (p. 204)

• 3. Sense of Touch—and Other Senses (p. 204)

• I. Sense of Touch (p. 206)

• II. …and Other Senses (p. 206)

• a. Eye-scan (p. 206)

• b. Fine Eyesight (p. 207)

• c. Subtle Hearing (p. 207)

• d. A Spectacular Routine (p. 207)

• 4. A Card and a Number (Gombert, Baker and Tamariz) (p. 210)

• Variations (p. 211)

• FIVE ACES (p. 211)

• 1. Any Cards Called For (Jordan and Tamariz) (p. 214)

• Mago Antón’s Variation (p. 214)

• 2. Come and Go (p. 218)

• Variation (p. 218)

• 3. The Liar—a Classic (Dalban, Nyquist and Tamariz) (p. 218)

• 4. Answering Computer (p. 220)

• Other Presentations (p. 222)

• A. The Trip (p. 222)

• B. The Labyrinth (p. 222)

• C. Hangman (p. 223)

• 5. T.N.T. (Finley, Jordan and Tamariz) (p. 223)

• THREE COINCIDENCES (p. 226)

• 1. The Miracle (Chesbro, Thompson and Tamariz) (p. 226)

• 2. Telescopic Coincidence (p. 228)

• 3. Stop at the Same Time (First Version) (p. 230)

• FOUR DIRECT ONES (p. 231)

• 1. A Gambling Demonstration (p. 231)

• 2. Card to Wallet (Daley and Tamariz) (p. 234)

• 3. The Reversed Card (p. 234)

• 4. The Selection Between the Aces (p. 236)

• FIVE DIVINATIONS (p. 237)

• 1. Fingerprints and “Cardprints” (p. 237)

• 2. Double Divination (p. 239)

• 3. Jumbled Divination (p. 240)

• 4. Mnemonicosis with a Half Stack (p. 242)

• 5. Spectator Misses, Magician Hits (p. 243)

• A Different Climax (p. 244)

• FIVE ASSORTED ONES (p. 245)

• 1. Half Sympathy (a Classic with Tamariz Variations) (p. 245)

• 2. Pocket Calculator (a Classic, Variation by Mago Antón) (p. 246)

• 3. Tell Me Who You’re with and I’ll Tell You Who You Are (p. 248)

• 4. Bingo! (p. 249)

• 5. How Many Reds? (p. 250)

• Variant I (p. 251)

• Variant II (p. 253)

• TWO IDEAS (p. 253)

• 1. Mnemonica with the Spanish Deck or with Other Decks (p. 253)

• 2. The Half Stack with the Spanish Deck (p. 254)

• …AND AN ENDING (p. 254)

• 1. Some Time Ago (Dr. Daley) (p. 257)

• Appendix I—Tricks That Improve with Mnemonica (p. 259)

• 1. Neither Blind nor Stupid (Version for a Half Stack) (p. 261)

• 2. The Clock (a Classic) (p. 262)

• 3. Stop at the Same Time (Second Version) (p. 263)

• 4. A Curious Coincidence (Hofzinser?) (p. 264)

• 5. Triumph (Dai Vernon) (p. 265)

• 6. Mnabacus (Jack London) (p. 265)

• Appendix II—About Order and Disorder (p. 267)

• 1. Tricks That Don’t Alter the Stack (p. 269)

• 2. Actions That Don’t Alter Deck Order While Appearing to Do So (p. 270)

• Multiple False Cut (p. 274)

• 3. Resetting the Stack (p. 277)

• A. Resetting One Card (p. 277)

• B. Resetting Two Cards (p. 278)

• C. Resetting a Group of Cards (p. 278)

• D. Resetting the Stack After a Spectator’s Riffle Shuffle (p. 279)

• E. Resetting the Entire Stack After a Spectator’s Overhand Shuffle (p. 280)

• F. Resetting Stack After a Riffle Shuffle and an Overhand Shuffle (p. 282)

• G. Resetting the Half Stack (p. 282)

• H. Resetting the Stack After Several Hands of a Card Game (p. 283)

• 4. Setting Up the Stack in Front of the Audience (p. 285)

• A. Setup from a New-deck Order… (p. 285)

• With Faro Shuffles (p. 286)

• With Antifaros (p. 286)

• Justifying the Open Setting Up of Ace-to-King Order (p. 286)

• B. From a Random Order (p. 286)

• I. In One Stage (p. 287)

• a. The Cardoso Method (p. 287)

• b. The Nikola Card System (p. 287)

• c. Between the Fingers (p. 288)

• d. Stacking a Borrowed Deck (p. 289)

• II. In Two Stages (Half and Half) (p. 289)

• a. Memory Jumble (p. 290)

• b. Biddle Style (p. 292)

• c. Two-pile Divination (p. 293)

• d. Divining One Card Out of Thirteen (p. 295)

• e. Using the Methods for Stacking the Whole Deck (p. 295)

• III. In Three Stages (A Half, a Quarter and a Quarter) (p. 296)

• a. The Clock (p. 297)

• b. The Imaginary Trick (p. 298)

• c. Directly Behind Your Back (p. 298)

• d. Using a Strip-out (p. 299)

• e. Using the Methods for Stacking Half the Deck (p. 301)

• Appendix III—Notes About “Any Poker Hand Called For” (p. 315)

• Appendix IV—About the Structure of Mnemonica (p. 319)

• Appendix V—The Antifaro Concept (p. 321)

• 1. For a Fifty-two-card Deck (p. 321)

• Out-antifaro-1 (p. 321)

• Out-antifaro-2 (p. 321)

• Out-antifaro-3 (p. 321)

• Out-antifaro-4 (p. 322)

• Antifaro-4 Pick-up (Two-handed) (p. 322)

• Justifying the Antifaros (p. 323)

• 2. For a Thirty-two-card Deck (p. 323)

• 3. A Very Important Observation (p. 324)

• Appendix VI—Useful Sleights (p. 325)

• 1. Glimpses (p. 327)

• A. Glimpsing the Bottom Card of the Deck (p. 327)

• B. Glimpsing the Top Card of the Deck (p. 328)

• C. Glimpsing a Card in the Middle of the Deck (p. 329)

• D. The Chorus-line Multiple Top Glimpse (p. 330)

• E. The Chorus-line Multiple Bottom Glimpse (p. 331)

• 2. Finding Cards (p. 331)

• A. With the Charlier One-handed Cut (p. 331)

• B. By Estimation (p. 331)

• C. By Riffling (p. 332)

• D. Learning the Identity of a Selection Without Glimpsing It (p. 332)

• 3. Shifting the Position of a Card (p. 333)

• FIRST OBJECTIVE: To Move a Card Without Altering Rest of Stack (p. 333)

• A. With the Tamariz Perpendicular Control (TPC) (p. 333)

• B. With a Slip Cut (p. 333)

• C. With a Double Break and a Double Cut (p. 334)

• D. With the Hofzinser Spread Cull (p. 334)

• E. With Dai Vernon’s Triumph Shuffle (p. 335)

• F. With the Zarrow Shuffle (p. 336)

• G. With the Side Steal (p. 337)

• SECOND OBJECTIVE: Pretending a Selected Card is Returned… (p. 338)

• Multiple Divination (p. 338)

• THIRD OBJECTIVE: To Exchange Two Cards… (p. 339)

• A. With Multiple Cuts (p. 339)

• B. With an Overhand Shuffle (Ariston) (p. 339)

• FOURTH OBJECTIVE: To Gather Several Cards… (p. 340)

• 4. False Shuffles (p. 341)

• The False Butt-shuffle (p. 342)

• Other Kinds of False Shuffles (p. 344)

• 5. Deck Switches (p. 346)

• A. Seated at the Table (p. 346)

• B. Inside the Pocket (p. 347)

• C. With Gimmicks (p. 351)

• D. Other Switches (p. 352)

• E. Switching Half of the Deck (p. 354)

• 6. Other Useful Sleights (p. 354)

• A. The Corner Crimp (p. 354)

• B. Counting Cards Secretly (p. 355)

• C. Palms (p. 356)

• D. Hofzinser’s Spread Cull (p. 356)

• E. The Tamariz Perpendicular Control (TPC) (p. 359)

• F. The Green Angle Separation (p. 361)

• G. Lorayne’s “Great Divide” and Marlo’s “Fifth Objective” Culls (p. 362)

• NOTE FOR SAILORS (p. 364)

• Bibliography (with Commentary) (p. 365)