TETRA-RED

by Jennifer Gwinn

With Allan Ackerman, Patrick Redford,

Andru Luvisi, Nancy Colwell, Rudy Tinoco,
Woody Aragón, Clark Kjorlaug,
Tim Heinlein, Ivan Mallia,
Jonathan Schumacher, Austin Berg,
Andy Choy, Gerry Grif n, Shay Brunson
& Jack Carpenter.
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 by Jennifer Gwinn

A Living Document Updated Frequently

Check Back for Updates
Revision 0.89.5

May 6, 2024
PLEASE READ: This is a living document. Check back every so often for updates. Observe
the revision number on the previous page when comparing to your old copy you might of
previously downloaded. Check out the Under Construction & Change Log sections for
timeframe of nal release along with what has changed with each revision.

Copyright © 2021-2024 by Jennifer Gwinn

All Rights Reserved

Front page artwork is by George Tait — a.k.a. Patrick Redford.

If you utilize an idea from this book — whether mine or another magician’s — to create
something new, please give the appropriate credit.

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 UNDER CONSTRUCTION
April 3, 2024

Dear Reader,

This book is under construction and will remain so for a few more months. Please check
back every so often for updates. I keep a Change Log in the front of this book. So you can
compare the current revision to the revision you might of previously downloaded, to see
what all has changed. I’ll let you know when it is complete. A lot has been added since the
last letter and more is planned over the next several months. I imagine the book will be less
than 300 pages by the time it is done.

Working on adding Transformative Triumph to the book and will be available soon. It’s a
routine by Woody Aragón and myself to transform from FARO-4 to Stebbins, and vice-versa.

A section on memorizing the deck with mnemonic visuals has been added along with a link
to Rudy Tinoco’s video tutorial on memorizing TETRA-RED with Harry Lorayne’s memory
system. He generated 52 custom images for TETRA-RED based on his PEGs which he shares
in the video. I’ve adopted all of his PEGs and they are listed in the Memorization chapter. All
52 images he has generated for memorizing TETRA-RED are in the appendix.

After recently learning about The Major System, I’m now making use of it to construct
mnemonic visuals for various dials, poker deals, card spellings, etc. For example, check out
the visual mnemonics I’ve created for dealing any of the 36 named straight ushes in
Hold’em for ve players; I no longer need to memorize all the data in the table nor do I need
a crib sheet — it’s all in the scene I have setup for the particular deal. There are 9 visuals total
for all 36 deals.

A few more sleights have been added. A lot has been added to the Card Spellings chapter.
A Miscellaneous Transformations chapter has been added for various transforms and poker
deals for stacks not related to TETRA-RED. A dial has been added to deal any named four of a
kind in ve card poker from TETRA-RED without having to do a faro. All it requires is a single
card swap, which can be easily done with a card swap such as Patrick Redford’s Red sh Card
Swap.

If interested, remember to check back every so often and check the Change Log to see what
has changed. I’ll keep ya posted and let you know when the book is almost complete.

Enjoy,
Jennifer Gwinn

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 February 3, 2024

Dear Reader,

Thanks for downloading this PDF on TETRA-RED. I created TETRA-RED in the fall of 2021. I
wrote much of this PDF back then but a lot of it was just in skeletal form. My health hasn’t
been the greatest in the past couple years so I haven’t done that much since then as a result.
However, I am feeling a bit better now as of late and enjoying nishing this book.

Allan switched to my TETRA-RED memdeck back in the Fall of 2021 soon after I created it.
And in his new book he mentions TETRA-RED, which will be available sometime this month.

So for the past week or so I have been doing a lot of editing, nishing up documenting
sleights and routines, basically focusing on all of the book except for the Poker Deals
section. There are a lot of deals I worked out and there are other deals I knew I could easily
work but just hadn’t done them yet. Well the rest of the book looks pretty good now, so for
the next few weeks or so I am going to focus on the Poker Deals section and get that
nished. There are many holes to ll but there is still currently enough to play around as is;
just keep in mind there could be for now some errors in the deals or could be improved a
bit. The Poker Deals section in this book is as it is on my computer right now, with chicken
scratch and all!

My goal is to nish this book within a month and then have another month for any edits,
then have it catalogued on The Conjuring Archive ultimately.

I just added today a “Change Log” section, starting on the next page. Each time I make
some edits I’ll update the log so you can see what has changed since the last revision you
might of previously downloaded. The current revision number is on the title page.

Enjoy the book and do please check back every so often, especially after about two months,
— let’s say by April 3, 2024. After this book is nished, the “Under Construction” and
“Change Log” sections will be removed.

Warm Regards,
Jennifer Gwinn

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 CHANGE LOG
05-06-2024 Rev 0.89.5 Added Card 51 Arrival entry under Mnemonicosis Ideas under
the Stack Independent Rou nes chapter.

05-04-2024 Rev 0.89.3 Added a video of how I clean up a Hold’em deal under
Patrick Redford’s Hold’em Stack And Strip Technique. Also share how
I subtly tweaked it. Added Mnemonicosis Ideas article under
Stack Independent Rou nes.

04-24-2024 Rev 0.89.2 Added Chinese Shu e Into Reverse Red Stebbins to the
Reverse Si Stebbins section of the Transforma ons chapter.

04-23-2024 Rev 0.89.1 Added Nancy Colwell’s Three Converter Stop Tricks: A Conversa on
to the Transforma ons chapter. For transforming from
Reverse Si Stebbins (or Si Stebbins) to TETRA-RED, or vice versa.
An alternative to dialing with overhand shuf e runs.

04-21-2024 Rev 0.89.0 Restructured the Transforma ons chapter.

04-19-2024 Rev 0.88.9 Made a large number of additions to the NDO to

Reverse Si Stebbins Transform under Transforma ons.
It’s now 5 pages long.

04-17-2024 Rev 0.88.8 Added NDO to Reverse Si Stebbins Transform under Transforma ons.
Very excited about this.

04-12-2024 Rev 0.88.7 Added Transform Between Si Stebbins Based Dialed Stacks to
Transforma ons chapter.

04-09-2024 Rev 0.88.6 Added Alterna ve to Thumb Count from Bo om.

04-03-2024 Rev 0.88.4 Added update letter in Under Construc on section above.

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 FOREWORD BY ALLAN ACKERMAN
I learned my rst tetradistic stack from Erdnase's book, The Expert at the Card Table, fty-
seven years ago. S.W.E. said to take Ace through King, shuf e, throw on the table, and
memorize the thirteen. Repeat the same stack four times, so mates are thirteen cards apart,
and keep like colors twenty-six cards apart. That was about the length of his description,
one short paragraph.

Over the last ve decades, I have written several articles about why I like this stack the best –
the good news is that you can do the majority of memdeck tricks with any stack. But if you
need to cull cards, nothing out there can beat a tetradistic stack. I have two effects I have
been doing for over 56 years: various versions of the Marlo Matching routine from Faro
Controlled Miracles and another effect that I now call Ackerman's Opener. They are two of
the most potent card effects I know, and you can perform them with any tetradistic stack.
About 20 years back, I worked out the A&D sandwich with my friend David Solomon, my go-
to trick for two decades. That effect also works best with a tetradistic stack.

While Tamariz and the Aronson are great stacks, they lack the cull properties that a
tetradistic stack has. So, those two stacks never enticed me to switch. When Patrick Redford
released his Redford stack that could go from Si Stebbins (a tetradistic stack) to a parallel
stack and visa versa, I almost switched to his stack, but when Jennifer Gwinn released TETRA-
RED, I could not resist. She incorporated much of Patrick's great work into a tetradistic stack.
Hence the name TETRA-RED. It is easy to get into from a new deck order. You can use the
Chinese Shuf e from a shuf ed deck to get set up for the stack; you can go from Si Stebbins
to Redford to TETRA-RED and back with a few overhand shuf es.

I have been using this stack for almost three years now, and the cool thing about it is that it
preserves CHaSeD order, but the audience will not see it. See my article, The Thirty Minute
Memorized Deck and Bonus Cull, in All-In Vol 1. The performer can name any card's
location in the deck and vice versa in a couple of hours of practice. S.W.E. said twenty
minutes – it took me two hours. Another cool thing is if you cut the 6S to the face, then
when you go from the 5S … 5D, a run of 14 cards, you have thirteen spellers and one value
you can count to, the 7D. To say I love this stack is an understatement.

I think the reader will nd a lot of great material in this book. There are some excellent
poker and hold 'em routines. A super cool tetradistic routine called Fourgathering and
seeing Jenn's solution to her ungaffed Ultramental handing will put a smile on any
cardician’s face.

Allan Ackerman
January 29, 2024

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 FOREWORD BY PATRICK REDFORD
Tetradistic stacks like Si-Stebbins are powerful in their simplicity. The earliest known written
record of this type of stacks dates back to 1593. Haracio Galasso described such a system in
Italian in the book “Giochi di carte bellissimi de regola e di memoria” which translates to
“Most Beautiful Card Games Based on Memory Techniques.” At the time of that writing, this
type of stack system wasn’t new. The rst trick in this book is one of the earliest known
descriptions of a stacked deck that used a progression much like the well known Si-Stebbins
system uses.

What is now known as Si Stebbins, was published by William Henry Coffrin (a vaudeville and
circus performer) who’s stage name was Si Stebbins. His version was rst published in
William Vino's Card Tricks in 1898. Interestingly this rst description of the stack involved the
values increasing by a value of four instead of what is now commonly a value of three.

If you’re familiar with my own stack deck work, you’re no doubt aware how much of a fan I
am of these kinds of systems. My own personal memorized stack (“The Redford Stack”) uses
a hidden core engine that can transform into (and back from) the Si-Stebbins stack with a
simple series of overhand run shuf es. I’ve also devised a method to take the last quarter of
my memorized system and transform the rest of the stack into what Allan Ackerman refers to
a tetradistic stack (a stack with four repeating run sequences). I call my tetradistic stack the
“Redford-Lite stack.” The advantage for me was that there was virtually no additional
memory needed after having committed the Redford stack to mind. Perhaps my favorite
feature of these kinds of stacks is the ease of extracting any named four of a kind or pair with
minimal memory work. Furthermore, two quick faro shuf es and the stack becomes a four of
a kind stack; a powerful secret card weapon!

Jennifer Gwinn has a thirst for mining the order of a stack to discover every possible secret
that’s contained in that order. Here you’ll nd some wonders that she’s discovered in Juan
Tamariz’s Mnemonica stack, Simon Aronson’s memorized stack, the Redford Stack and her
very own TETRA-RED stack. Because of the way Gwinn has designed her system, the TETRA-RED
stack is very accessible from the Redford Stack if you would like to take advantage of its
sneaky properties. If you’re a fan of poker deals, you won’t be disappointed by the myriad
of routines in the following pages.

Patrick G. Redford
February, 2024

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 ABOUT ME
I am new to magic as of June 2019. I got to a late start at the age of 48! In this short time of
over just a few years I have made many friends in the magic community.

I am obsessed with everything related to memorized deck and stack work for some reason;
it just fascinates me; I have a real passion for it.

I am also familiar with computer programming, and lately I have been having fun exploring
stacks with a program I wrote in Java. It starts with a base stack, and transforms it a myriad of
ways, doing up to about about a billion or so transformations of a single ordered deck. For
each of those billion iterations, I do up 728 deals per transformed deck: 52 cuts for 2 to 8
player Hold’em & Poker deals, searching for certain deal criteria such as royal ushes, four-
of-a-kinds, Dead Man’s Hand etc.. So that’s like 750 billion deals in the course of a day or
two.

I discovered a good transformation with my program for a Si Stebbins based deck. One that
allowed me to end up in a random looking tetradistic stack, which also allowed me to easily
deal royal ush deals of any suit for any number of players. I used Patrick Redford’s method
which is used for getting into The Redford Stack from Si Stebbins, i.e. dialing a phone
number, as explained in his absolutely wonderful book Temporarily Out of Order. This
discovery with my computer program is how I ended up with this stack. I dialed every
possible tetradistic phone number and found one that works well to accomplish want I
needed. You can use this phone number to dial into TETRA-RED from Stebbins as well as dial
back to Stebbins from TETRA-RED.

I do come up with ideas magicians appreciate, but please keep in mind I am new to the
magic community, so please forgive me if there are any missing credits, errors or better ways
of doing things in this document. I will update this document along the way to correct any
errors, omitted credits along with any improvements.

Jennifer Gwinn
September 15, 2021

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 TABLE OF CONTENTS
Under Construction 3

Change Log 5

Foreword By Allan Ackerman 6

Foreword By Patrick Redford 7

About Me 8

Table of Contents 9

Dedication And Special Thanks 14

A Book For Every Memdeck Worker 15

Book Format 17

Introduction 19

Features 21

Randomness 22

Transformation Features 23

Tetradistic Features 25

What Does the Word Tetradistic Mean? 28

Si Stebbins Features 30

Tetra-Red and The Redford Stack 31

Reasoning Behind Creating This Stack 32

Credit to Dan Fishman 34

Tetra-Red Stack Order 35

Getting Into Tetra-Red 36

Getting Into Tetra-Red 37

Dialing and Phone Numbers 38

Chinese Shuf e Into Tetra-Red Directly 39

Poker 41

Hold’em 42

Stack Reset After Hold’em Deal 43

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 Heinlein’s Hold’em Cleanup 44

Hold’em Stack and Strip Technique 46

Hold’em Royal Flushes 49

Hold’em Straight Flushes 52

Hold’em Four of a Kinds 57

Hold’em Full Houses 59

Five Card Poker 60

Stack Reset After Poker Deal 61

Poker Rewind for Two 62

Poker Royal Flushes 63

Poker Straight Flushes 69

Poker Four of a Kinds 70

Poker Full Houses 72

Deals Along the Faro Wheel 74

Card Spellings 75

Card Spellings for Starting Order 76

Card Spellings for 6S Cut To Face 79

Spelling Mnemonic Visuals 81

Spellicosis 83
Two Sick Flies Speller 88

Handy Speller 90

Another Spelling System 92

The 0, 1 or 2 Burn Question 96

Memorization 97

Memorizing The Deck 98

Deck Memorization Options 99

Rote Memorization 100

Memorizing with Mnemonic Visuals 102

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 Memorize the First Bank of Cards 105

Memorize Tetra-Red In Its Standard Order 109

The Major System 111

The PEG Lists 112

The Number PEGs 113

The Card PEGs 115

The Card Value PEGs 116

Transformations 118

Credit to Patrick Redford 119

Tetra-Red 120

Transform To Red/Black Alternating 121

Swapping the Queen with the Two 122

Three Converter Stop Tricks: A Conversation 123

Si Stebbins 129

NDO to Si Stebbins Transform 130

Si Stebbins to NDO 131

Red Stebbins 132

Stop Tricks: Si Stebbins to Tetra-Red 133

Dialing Other Tetradistic Stacks 134

Reverse Si Stebbins 137

NDO to Reverse Si Stebbins Transform 138

Reverse Si Stebbins to NDO 142

Reverse Red Stebbins 143

Stop Trick: Reverse Red Stebbins to Tetra-Red 144

Reverse Red Stebbins to Redford via Mnemonicosis 145

Transforming between Stebbins-based Dialed Stacks 147

Red Stebbins Memorized Stay-Stack 150

Chinese Shuf e Into Reverse Red Stebbins 151

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 Faro-4 152

Bicycle vs. Spanish New Deck Order (NDO) 153

Transformative Triumph 154

Tetradistic Routines 155

Fourgathering 157

Memdeck Mental Topper 161

Acrobatic Anything 163

Dual Stay-Stack Routines 164

Soulmates by Coincidence 165

List of Tetradistic Routines in Print 167

Si Stebbins Based Routines 168

Lucky Sevens Poker Stack 169

Stack Independent Routines 172

A&D Sandwich w/ Extra Cheese 173

Webcam Ultramental 177

Mnemonicosis Ideas 180

Sleights for Memorized Deck Work 182

Gerry Grif n False Cut 183

Gerry Grif n False Cut w/ Glimpse 184

Some History About Gerry’s False Cut 185

Three Packet Glimpse Cut 186

Andru’s Elevator Cut 189

The Spectator Cuts 190

Extra Cover For The Bottom Deal Exchange 191

Smearing Every Beat of a False Shuf e 192

Counting 7 Cards as 5 193

Swapping Cards Via Dialing 195

Concealing Top Stock Reversal With The Red sh False Shuf e 197

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 Corner Crimp with Pinky Pull Down 199

Layman’s Weave Shuf e 200

Alternative to Thumb Count from Bottom 205

Miscellaneous Transformations 206

Tetra-Power 208

Aronson Hold’em Deals 211

Aronson Dead Man’s Hand 214

Memorandum Mixed Luck Poker Stack 215

Memorandum Poker for Two 216

Mnemonica Mixed Luck Poker Stack 217

APPENDIXES 218

Appendix A: Faro Wheel Deals 219

Appendix B: Mnemonic Visuals For Tetra-Red Stack 234

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 DEDICATION AND SPECIAL THANKS
This book is dedicated to all memdeck workers around the world.

Special thanks to Allan Ackerman and Patrick Redford, without them this book wouldn’t even
exist. Also special thanks to Dan Fishman, without him the Redford Stack wouldn’t exist,
which in turns means TETRA-RED would of never existed. I am also grateful to Andru Luvisi for
generously sharing all of his wonderful advice with me; along with allowing me to share his
sleights in this book. Thank you Nancy Colwell for helping improve TETRA-RED with all your
brilliant ideas — it’s very fun working with you. Thanks to Jonathan Schumacher for allowing
me to share his routine Fourgathering in this book. Special thanks to Gerry Grif n for
allowing me to share his false cut here in this book. Thank you Tim Heinlein for inspiring me
to think about Hold’em deals when creating this stack and graciously allowing me to include
your video for Hold’em community card cleanup. Thank you Clark Kjorlaug for your brilliant
mind, continually discovering things about stacks and giving me all sorts of great ideas,
including the Dual StayStack principle mentioned in this book! Thank you Josh Norbido for
allowing me to share your youtube videos of your use of the “Three Packet Glimpse Cut”
sleight in this book. Thanks Ted O’Meara with your suggestions regarding the Swapping
Cards Via Dialing sleight. Thanks to Landmark on The Magician’s forum for help with some
edits on “What Does the Word Tetradistic Mean?” article.

I also want to give special thanks to all those who have helped me on The Magician’s Forum,
Memory Deck Workers facebook group as well as Patrick Redford’s The Redford Stack
facebook group. And warm regards to the owners of these forums: Rudy Tinoco, Sean J
Doolan and Patrick Redford, respectively. Thanks to Socrates on The Magician’s Forum for
steering me in the right direction early on with respect to magic and his continued
mentoring. Also, thank you to Mike Powers. Also thank you Harry Lorayne for all the “good
stuff” in your books. Thanks to JS Magic, Ryan Loyle, David Casas, Sean Hawk & Rocky
Orozco for being supportive and continually encouraging me.

Besides Allan Ackerman and Patrick Redford, special thanks to the many memdeck workers
who have in uenced me with their videos and publications: Woody Aragon, Simon Aronson,
Matt Baker, Denis Behr, David Blaine, John Born, Chan Canasta, Greg Chapman, Michael
Close, Dani DaOrtiz, Dan Fishman, Pit Hartling, Ed Marlo, Eric Mead, Gracie Morgan, Nikola,
Darwin Ortiz, Patrick Page, Juan Tamariz, Asi Wind, and all others I missed.

Thank you to my good friends Donna and Brianna who are always there for me. Thanks to
my guy for tolerating all my magic tricks and playing spectator!

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 A BOOK FOR EVERY MEMDECK WORKER
This book is for every memorized deck worker. This book not only discusses the ins and out
of the TETRA-RED memorized deck / stack but also offers other useful stack-independent
content most any memorized deck worker would appreciate.

There is a Sleights for Memorized Deck Work section which has over a dozen sleights in it which
can be used for any memorized deck. Some of these include: the Gerry Gri on False Cut —
a.k.a. Blind Swivel Cut — as well as a glimpse of the bottom card for it. There is also a
wonderful sleight which is a legitimate estimated cut followed by a glimpse, all in a three
packet ve beat cut: this is called the Three Packet Glimpse Cut. Also included is Andru’s Elevator
Cut for covertly transferring 1 or more cards from the bottom of the deck to the top. I also
have a utility in there for swapping two cards positions called Swapping Cards Via Dialing.
There a few other sleights in this section as well to take a look at.

Under the Poker chapter there are stack independent poker cleanup sleights such as
Heinlein’s Hold’em Cleanup — Tim Heinlein’s method for cleaning up the Hold’em community
cards. Also included is Patrick Redford’s delightful Hold’em Stack and Strip Technique for
cleaning up the player hands. Also include is my Poker Rewind for Two — a two player variation
of Simon Aronson’s Once and Again Display.

Also there is a Stack Independent Rou nes section which has my Webcam Ultramental routine in
it — which includes the Twinklethumbs Turnover sleight. I created this routine only a year
after I got into card magic and only a couple months after I got into memdeck work.

There is also a section on Tetradis c Rou nes, which will work with any tetradistic stack not just
TETRA-RED — e.g. Si Stebbins, 8 Kings, QuickStack 3.0. This includes a wonderful variation of
Harry Lorayne’s Fourtitude called Fourgathering. Also a tetradistic dual stay stack principle is
mentioned along with a routine utilizing it.

Additionally most of the four of a kind and full house poker deals described in this book —
whether dials or with faros — can be applied to any tetradistic memorized deck / stack such
as Red Stebbins, The Hacker Stack, Si Stebbins, QuickStack 3.0, 8 Kings, etc..

For fun I added a section for Si Stebbins Based Rou nes which includes the Lucky Sevens Poker
Stack poker demonstration.

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At the tail end of the book there is a Miscellaneous Transforma ons section where I share some
transformation ideas I came up with for various memorized decks which are unrelated to
TETRA-RED. For example I have some Hold’em deals for the Aronson stack in that section.

I hope everyone nds at least a few useful things in this book.

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 BOOK FORMAT
Style. When referencing subject matter within this book, e.g. chapters, sections, names of
routines as well as sleights, I use the following font: Three Packet Glimpse Cut.
When referencing material outside of this book, e.g. books, sleights and routines of other
magicians I use italicized text: All-In Volume I or Sleightly Out of Order. Ed Marlo’s Bottom
Deal Exchange.

Videos. There are many included videos in this book as it is much easier to explain many
things by a simple video rather than trying to describe it with words. I do describe many
things in detail with words in this book, where the video is supplemental to that. But other
times I pretty much rely on the video to convey things.

QR codes. Being a stickler for books in printed format, I decided to throw in, adjacent to
each and every video in this book, both the full URL link as well as QR code; so one may use
their phone to watch a video if this book is printed out on paper. Once I nish this book I’ll
probably print off a few copies for friends on my color laser printer and spiral bind it. This
way if I am reading it in printed format — and not my iPad — and want to see the video, I can
just pickup my phone, scan the QR code and it will then show me the video.

E-readers. I am fond of page numbers and the printed format so I will never put this in an e-
reader format such as kindle or epub. Also it’s handy for Conjuring Archive to have page
numbers.

About the sh. This is fun to write about. So I google searched for “Tetra-Red” the other day
on March 1, 2024, to see where it might be mentioned. And as you can guess the search
results were ooded with a bunch of cute little red tetra sh — many of them cardinal tetras.
(The stack name is actually based off the words “Tetradistic” and “Redford” as the memdeck
is both tetradistic and compatible with The Redford Stack.) Anyways I thought a tetra sh
would be a neat logo to add to the rst page of the book, and proceeded with a mock up.
George Tait — a.k.a. Patrick Redford — has such a kind heart, he surprised me with a piece of
art he painted for me on March 3, 2024. That’s his painting on the rst page of this book. I
absolutely love it! He based it off of the clipart mock up I had made and turned it into
something truly beautiful. He painted it in a virtual reality environment, with a virtual palette
and easel, VR headset and all — so this is an unusual and special piece of art and I feel
privileged to have it in the book!

The bubbles coming from the sh are in CHaSeD order as you probably already observed.
This tetra sh is actually a Cardinal Tetra sh, which a very common & popular tetra. The

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 name cardinal means deep red like the bird. However, there is neon blue in the sh as well,
but this is okay since it ts in ne with the theme, as many of us — including myself — use
primarily both red back and blue back Bicycle playing cards. I also like that the sh has the
word “card” in it as this is a book entirely devoted to the pasteboards. Card-in-Al tetra. Card-
in-Allan’s tetradistic memdeck? — TETRA-RED is Allan Ackerman’s memdeck of choice.

What’s even more interesting about having a red sh on the cover of this book is there is a
false shuf e by Patrick Redford called “The Red sh Shuf e”. It is a variant of Dan Fishman’s
False Shuf e. I use the Red sh Shuf e extensively in this book. And by the way, without Dan
Fishman both The Redford Stack as well as TETRA-RED wouldn’t exist; read the page titled,
Credit to Dan Fishman.

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 INTRODUCTION
Introducing TETRA-RED, a powerful and exible, yet random looking tetradistic1 memorized
deck which you can shuf e into, from new deck order, in about a minute. TETRA-RED is Si
Stebbins based, but unlike Si Stebbins, it has a random looking pattern, so it displays well
with a spread of the cards. The random looking sequence, is not so random though, as it
packs some excellent features.

For example, the ability to deal any named royal ush for any number of players, in either
Hold’em or poker. You can also deal any named steel wheel. Likewise, you can also deal any
named straight ush — both the high value and suit. Additionally, you can deal any named
four-of-a-kind, full house (named upper value), or three-of-a-kind for either poker or
Hold'em for any number of players.

This stack is tetradistic, hence the “Tetra” in the name TETRA-RED. TETRA-RED has all the power
of a tetradistic stack! See the the Tetradis c Features section of the Features chapter for more
information -- there’s a lot a tetradistic stack offers! The following is a quote from world
renown card expert Allan Ackerman.

“There are several advantages of the tetradistic stack over other stacks. The tetradistic stack is
supercharged for culling. You can cull any named card, any four-of-a-kind, and you can even
cull every four-of-a-kind using the faro shuf e. These are some of the most powerful effects in
close-up magic. On top of that, the memorized deck can turn into a stay-stack by doing a
simple stop effect or weighing the cards. The stay-stack brings many more tricks into your
repertoire. These two attributes make the tetradistic stack a great choice when selecting a
memorized deck.”

TETRA-RED also integrates well with The Redford Stack; hence the “Red’ part of this stack’s
name. Since both are parallel based stacks and share the same Si Stebbins starting order
(9C cut to face)2, you can be working with half Redford and half TETRA-RED at the same time if
you desire. See the section, TETRA-RED and The Redford Stack, for more information.

You can transform from Si Stebbins to TETRA-RED or TETRA-RED back to Si Stebbins in about 25
to 30 seconds using the same overhand shuf e run sequence — a phone number which you

1Peter Kane coined the terms tetradistic stack and tetradism. Allan Ackerman is a well known
advocate of the tetradistic stack.
2 The Redford Stack is actually based o the Si Stebbins stack with JH cut to face, but much more
closely resembles the Si Stebbins stack with 9C cut to face once fully dialed into. See footnote 3 in
the Transforma on Features section.
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remember and dial1. You can transform just half the deck at a time if you like, in half the time.
Since TETRA-RED has easy access to Si Stebbins, you can do all those wonderful circular
mathematical routines you do in Si Stebbins. Being Si Stebbins based, is what allows this
deck to be shuf ed into. Also from Si Stebbins, you can return to New Deck Order (NDO).
See the Si Stebbins Features section for more information.

Figure 1. From Si Stebbins with 9C cut to face, “dial” the following phone number four times:
2124211. You end up with following.

Figure 2. Broken up into the four tetradistic banks.

Interesting story regarding the above photos; they were the ones to be printed in Allan Ackerman’s new
book set “All-In Volumes I & II”, for TETRA-RED. However, the original photos I shared with Allan
right after I discovered the stack ended up in the book — oak teacher’s desk and all. Which I actually
think is cool because they are the rst photos of this stack.

1 As explained in Patrick Redford’s book Temporarily Out of Order and later in this book.
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FEATURES

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 RANDOMNESS
TETRA-RED is a random looking tetradistic stack, with no detectable Si Stebbins pattern.
Notice the four clumps of 3 cards of same color, and the eight clumps of 2 cards of same
color. Notice the number sequence is random looking.

Under close scrutiny you can see a pattern, but it’s not red/black alternating, it’s not in
CHaSeD order, and when calling off cards in a Chan Canasta routine, like David Blaine does
on Fallon, another magician won’t be able to call off the next card before you do -- unless of
course they know this stack as well :)

Figure 1. Displays well with a spread of the cards.

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 TRANSFORMATION FEATURES
1. Can quickly and covertly transform to and from Si Stebbins via the same overhand
shuf e run sequence, also known as, dialing a phone number1.
2. You can easily transform just half the deck at a time. From either TETRA-RED, Red
Stebbins or The Redford Stack, transform either half to the other stack, do a routine, and
when done transform whichever half to end up in the stack you want to be in.
Alternatively you could transform one of the four banks at a time (between TETRA-RED and
Red Stebbins), but I nd the reverse breather crimps on cards 26 and 52 (9C/9S) aid in
transformation -- so I usually transform half of the stack at a time.
3. The Si Stebbins order TETRA-RED is based off of is the same Si Stebbins order The Redford
Stack is based off of.3 i.e. Si Stebbins with 9C cut to face -- which I call Red Stebbins.
This makes it easy to memorize all three decks: TETRA-RED, Red Stebbins and The
Redford Stack, since they share many of the same card locations or are adjacent swaps.
TETRA-RED shares 12 card locations with Red Stebbins and Red Stebbins shares 12 card
locations with The Redford Stack. TETRA-RED only shares 3 card locations with Redford
Stack, but many cards are in close proximity or adjacent swaps, since they are all based
off of the same Si Stebbins stack. I have all three stacks memorized.
However, it’s not necessary to memorize TETRA-RED fully to take advantage of the built in
features. A lot of poker deals can be performed by just knowing where to cut along with
any overhand shuf e run sequences. Also, see the Tetradistic Features section in this
chapter regarding Allan Ackerman’s 30 Minute Memorized Deck & Bonus Cull.
4. Reverse Breather Crimps2 on cards 26 and 52: Both TETRA-RED and Red Stebbins have
the nines in the same card locations. This allows TETRA-RED and Red Stebbins to share
reverse breather crimps on cards 26 and 52 -- the 9 of Spades and 9 of Clubs
respectively. Also the 9C is card 52 in the Redford Stack, so TETRA-RED’s arrangement
works perfectly with The Redford Stack -- allowing immediate access to starting order.
Additionally 9S is card 52 in Woody Aragon’s Memorandum stack, so it’s handy to have
the reverse breather on the 9S for Woody’s stack in case you want to transform to it.
5. Can transform into a random looking red/black alternating pattern -- see the section on it
in this book.
6. You can shuf e directly into TETRA-RED from a shuf ed deck, via The Chinese Shuf e —
discussed later in this book.
7. See all the tetradistic transformation features in the section: Tetradis c Features.

1Terminology created by Patrick Redford used for transforming into and out of The Redford Stack,
mentioned in his book Temporarily Out of Order. Dialing is discussed later in this book.
2See Woody Aragon’s book Memorandum for instructions on setting up a reverse breather crimp on
card 52 of a memorized deck; or see Dai Vernon Chronicles Volume I.

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 Footnotes continued from previous page:
3Actually The Redford Stack is technically based o the Si Stebbins stack with JH cut to face. Patrick
Redford used Brother John’s “The Chinese Shu e” as the Si Stebbins starting point when designing
his stack, which has JH ending up at face. But once Si Stebbins with JH cut to face is transformed to
The Redford Stack, The Redford Stack has very little similarities to it; however The Redford Stack has
a tremendous number of similarities to Si Stebbins with 9C cut to face — which I call Red Stebbins:

The rst 5 cards of Red Stebbins are the rst 5 cards of The Redford Stack; the last card of Red
Stebbins, the 9C, is also the last card of The Redford Stack; which can also share a reverse breather
crimp. There are actually 12 shared memdeck card locations between Red Stebbins and The Redford
Stack, with many more card locations having simple adjacent swaps; it’s pretty easy to memorize Red
Stebbins after memorizing The Redford Stack.

Additionally, for every card in the top half of the Red Stebbins stack, there is a soulmate card in the
bottom half of The Redford Stack, and vice versa.

The Redford Stack could be perceived to be based o of the Si Stebbins stack with 9C cut to face,
but with the top 5 cards of it “pre-cut” to the bottom of the deck after transforming with The Chinese
Shu e or from Bicycle NDO using Patrick Redford’s method described in Temporarily Out of Order.

And in fact when you dial back into Si Stebbins from The Redford Stack, as Patrick describes in his
book, Temporarily Out of Order, you end up in Si Stebbins with 9C cut to face and not Si Stebbins with
JH cut to face.

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 TETRADISTIC FEATURES
The word “tetra” in Greek means four

1. TETRA-RED is both a memorized deck as well as tetradistic stack. Other examples of

tetradistic stacks include Si Stebbins, 8 Kings, QuickStack 3.0, the stacks described by
S.W.E. in Expert At The Card Table, the stacks described in Peter Kane’s routine Tetradism,
etc..
2. A tetradistic stack has four repeating banks of the same value sequence. This means that
for any given card, the other three cards of the same value are 13, 26, and 39 cards away
— no matter where you cut. TETRA-RED is a memorized tetradistic stack. Additionally, no
matter where you cut, the top 26 cards are soulmates for the bottom 26 cards. This
means TETRA-RED is also a memorized parallel stack1 or Power Stack2 as well.
3. Since TETRA-RED is a random looking tetradistic stack, you can perform any tetradistic
routine. See Allan Ackerman’s publications for many great routines/tips/ideas/sleights
using a tetradistic stack, along with later chapters in this book.
4. Reversing top 26 cards puts the deck into a memorized stay-stack3. Reversing the
bottom 26 cards puts the deck into a memorized stay-stack as well. A Weighing of Cards
routine works well for reversing cards -- a tip Allan Ackerman shared with me. (A stop
trick or second deal demonstration, etc. also works well for reversing the cards.) You can
also cut anywhere and reverse the top 26 cards and it will be in a Stay-Stack, although not a
memorized Stay-Stack.
5. This stack, since it is tetradistic, has a pair of stay-stacks. TETRA-RED can be easily
transformed into a memorized dual stay-stack — see Tetradis c Dual Stay-Stack Principle
under Tetradis c Rou nes chapter. So you could do a matching routine with two players if
you wanted. See my Soulmates by Coincidence routine under the Tetradis c Rou nes
chapter in this book.
6. One perfect out faro of this stack results in a memorized stack of soulmate pairs.
7. Two perfect out faros of this stack results in a memorized stack of four-of-a-kinds. This
allows for some pretty nifty effects, such as Fourgathering in the Tetradis c Rou nes
chapter in this book.

1The parallel stack term was created by Patrick Redford to describe a stack where the soulmates of
each card are 26 cards apart, no matter how many times you cut. The Redford Stack is a parallel
based stack, and can easily be transformed into one. This term can describe any stack of this
arrangement.
2The Power Stack term was coined by Denis Behr, describing the FARO-4 Stay-Stack used in both
Mnemonica and Memorandum, where the top 26 cards are reversed. The soulmate of each card is 26
cards apart, no matter how many times you cut.
3 Stay-Stack by Russell Duck rst mentioned in the rst issue of The Cardiste.
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 8. Many “four ace” routines can become “any named four of a kind” routines with just two
perfect faros. E.g. see Acroba c Anything under Tetradis c Rou nes. Alternatively, instead of
two faros you can cull the four of a kind w/ quartets — see “Easy quartets” below.
9. Even though the cards in each of the four banks of 13 cards are not in CHaSeD order,
the CHaSeD order is preserved at the four-of-a-kind level. This makes TETRA-RED
compatible with Allan Ackerman’s color wheel in his 30 Minute Memorized Deck &
Bonus Cull — which has been updated and reprinted in his new book set: All-In Volumes I
& II. With Allan’s method, you can just memorize the rst 13 values TETRA-RED stack. Then
execute a shift of between 1 and 12 cards from the top of the deck to the bottom, all
while making it look like all you are doing is simply removing a joker. Then by utilizing
the color wheel formula, you can bring the spectator’s named card to the top of the
deck, by executing a combination of two in and/or out faros. By doing this, the
spectator’s named card is at the top of the deck followed by 3 cards of the same value —
a full deck of four-of-a-kinds. See Acroba c Anything in the Tetradis c Rou nes chapter.
10. Since this stack is tetradistic, this allows for easy dealing of any named three-of-a-kind,
full house, four-of-a-kind, for either Hold’em or poker. Also, the tetradistic nature of the
stack — along with the color wheel preservation — is what allows for the easy dealing of
any named straight ushes as well as royal ushes in any suit desired. See the Poker
chapter as well as Appendix A.
11. Gilbreath Principle. Since a tetradistic stack has a four bank cyclical value order this
allows for interesting applications of the Gilbreath Principle, which you cannot do with
non-tetradistic stacks.1 For example, have a spectator cut off a packet from the top of a
deck in TETRA-RED order — let’s say for example a packet of 20 to 35 cards. Then have the
spectator reverse all the cards in the cut off packet — e.g. counting the cards in a weighing of
cards routine. Ultimately have the spectator rif e shuf e the reversed cards with the non-
reversed cards. The result is four banks each with unique card values A-K, in random
suits and random order — very chaotic looking. It doesn’t matter how well the spectator can
rif e shuf e, it will always work.
12. Easy quartets. In Handcrafted Card Magic Volume I Denis Behr in the Plop! routine
discusses how you can easily spread cull face down — using the Elmsley 3-3-2-2 spread
count — any four of a kind by memorizing and recalling the distances between each card
of the same value. Pit Hartling calls these Quartets in his In Order to Amaze book and
gives several routines utilizing this excellent technique. Since this stack is tetradistic, the
quartets are automatic with no need to memorize; the distances between every card of
the same value is always 13. Therefore all the quartets are (13, 13, 13).
13. It’s easy to quickly check that the deck is in order since the sequence of values repeat,
four times, over the four banks of this tetradistic stack. That sequence is
2Q-5J-81074A-3K-69. So just picture this in your mind: Two Queens, Five Jacks,

1 See Steve Kyle on page 88 of Doug Dyment’s Calculated Thoughts.

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 “81,074” Aces, Three Kings and Six Nuns. There’s a lot of Aces in the picture here isn’t
there!? They are like the allied army for the three kings. Unfortunately one of the kings
recently lost his wife, so that’s why there is only two queens. There are also 5 jacks and 6
nuns about in this picture. The ve jacks are guarding the two queens, and love The
Jackson Five, by the way! The nuns are praying for the allied troops and tend to their
wounds. Using this method to remember the pattern, I can quickly verify the entire order
of this memorized deck, in the hands, in around 8 seconds.

Allan Ackerman pointed out to me that it is important to memorize the reverse sequence
as well so you can spread the deck the other direction to verify the order, for certain
routines. So this would result in 96K-3A-47018J-5Q-2. 96 Kings, 3 Aces, 47,018 Jacks,
Five Queens and Two nobodies. I don’t have a clever mnemonic to remember this in the
reverse order, but with a few repetitions it should be imprinted into the mind.
14. You can easily Chinese Shuf e directly into TETRA-RED because it’s a tetradistic stack.
15. This is an interesting observation: There is another way to transform the stack. Since the
CHaSeD order is preserved at the four-of-a-kind level, you could actually transform Si
Stebbins to TETRA-RED (or vice versa), by doing 2 out faros, re-arranging the four-of-a-
kinds to the order of the stack you want to end up in, then perform anti-faro-21 or 6 more
out faros, and you are there.

1I swear, someday I am going to learn and master the impossible Christian Engblom’s anti-faro! For
now a routine would have to do.
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 WHAT DOES THE WORD TETRADISTIC MEAN?
In the September 12, 1964 issue of Abracadabra — volume 38 issue 972 — (and later in A
Card Session With Peter Kane), there is a routine by Peter Kane called Tetradism. The word
tetradistic is based off the name of this routine. In this routine, Peter Kane describes setting
up a stack with four repeating thirteen card banks of identical value order, such that when
you perform two perfect faros, you end up with a stack of all four of a kinds. Peter also said
decks such as Si Stebbins and 8 Kings already have this sort of arrangement.

Tetradism is a word Peter Kane made up — which I think is a very clever name to describe this
routine of his. Let’s break this word up into two parts: tetrad-ism. The word tetra means
four in Greek and the word tetrad means a “group of four” — much like tri means three and a
triad is a “group of three”.1 The suf x “ism” means an act, practice, system, process, etc.. So
Tetradism is system or act related to a group of four. This made up word Tetradism is in the
context of playing cards, so I gure Tetradism is a system related to a group of four
repeating banks of cards with identical card value order, such when acted upon with two
faro shuf es, it brings all thirteen four of a kinds together, forming a deck entirely comprised
of four of a kinds, as occurred in Peter Kane’s routine with this name.

We need an adjective to describe this sort of stack used in the routine Tetradism. There is
already a word in the dictionary which is an adjective to describe something characterized
by a group of four, and that word is tetradic; it’s not a common word but it is in the dictionary
nonetheless. So this word could very well be used to describe this sort of stack. I’ve heard
Dan Harlan suggests this is the right word for this sort of stack.

The Greek suf x “ic” is used to turn a noun into an adjective which means “characterized by”
the preceding element.1 So tetrad-ic means “characterized by a group of four”.

However, instead the word tetradistic has become the widely accepted term in card magic
to describe this sort of deck arrangement. The word tetradistic isn’t in the dictionary, but
neither is the word Tetradism, which is what the word tetradistic is derived from. They are
even spelled exactly the same except the “m” was taken off the end of Tetradism and the
“tic” was added to make the adjective tetradistic — much like Buddhism vs. buddhistic.

For the suf x “istic”, the “ic” part usually follows an existing word which ends with “ist”.2 So
for tetradistic to be a word, this means there should be a word “Tetradist” which already
exists — which, in this case, would be a made up word as well. Since Peter Kane’s Tetradism
is a made up word, and to make sense of the word tetradistic, I assume there exists the noun

1 Thank you RollingMax from The Magician’s Forum for help with the etymology.
2 Thanks to Wayne Burrows from the Memory Deck Workers Facebook group for the etymology of
“istic”.
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“Tetradist” which would mean: a cardician who makes use of a stack characterized by a
group of four repeating banks of card value sequences, such that when acted upon with two
perfect faro shuf es it produces a deck of four of a kinds. So making an adjective from the
noun Tetradist, we add the “ic” forming the word tetradistic. So a tetradistic stack would be a
stack which a Tetradist uses to do card magic.

Allan Ackerman is a devout “Tetradist” who has been using tetradistic stacks as his memdeck
ever since the 1960s. He set up his rst stack of this sort using the instructions given in S.W.
Erdnase’s The Expert At The Card Table. But S.W.E. didn’t have a name to classify this sort of
stack, that’s where Peter Kane came in. After reading A Card Session With Peter Kane, Allan
Ackerman thought Peter came up with the perfect word to describe this old stack and
started popularizing the term tetradistic to describe this sort of stack arrangement.

The following is a footnote verbatim from Magic Ma a Effects, a book which Allan Ackerman
wrote in the fall of 1969: “The basic idea of the tetradistic stack can be found in Peter Kane's
book, A Card Session with Peter Kane.” So this word has been used over 55 years in card
magic to describe this sort of stack.

Allan said it is a possibility that he morphed the word Tetradism into tetradistic, but does not
think he did; he believes Peter Kane came up with the word.

A thought of mine. I wonder if Peter Kane humorously thought of Tetradism with some spiritual
connotation? After all he created a tetradistic routine called “The Son of Tetradism”. What did he mean
by that? Did he also have plans to make routines called “The Father of Tetradism” and the “Spirit of
Tetradism”? I am not sure, LOL. There is an old unpopular belief of a Christian godhead of four called
tetratheism vs the common Christian trinity. Four in one; four individual gods but also one. When you
think about it, after two faros, the four gods of each respective bank becomes a gigantic singular god
where all the four gods are uni ed into one, forming a deck of four of a kinds — with the same value
sequence as the individual banks.

Note: When Allan Ackerman refers to a tetradistic stack, he does pay mind to the suit order,
unlike Peter Kane in Tetradism. He’s always set up his tetradistic stacks in a parallel manner,
such that a color mate for every card is 26 cards away. This is very useful in card magic for
color matching routines among other routines and it also aids in memorization of a
tetradistic stack.

In this book when I refer to tetradistic stack, one can assume I mean a parallel tetradistic
stack. Side note: before Allan switched to TETRA-RED, his previous tetradistic stack, although
parallel, was not in CHaSeD order on a four of a kind level unlike TETRA-RED. Further
distinguishing TETRA-RED from some other parallel tetradistic stacks in CHaSeD order on a
four of a kind level, the value sequence in TETRA-RED for any given suit is in perfect
descending order — Si Stebbins shares this same property with TETRA-RED.
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 SI STEBBINS FEATURES
1. Since this stack is Si Stebbins based, you can easily transform back into Si Stebbins in
front of the spectator.
2. Do any circular mathematical Si Stebbins routine, e.g. lie detectors , book tests, CAANDY
etc..
3. Since Si Stebbins is a tetradistic stack you have access to all the tetradistic features
mentioned in the Tetradistic Features section, but with the less random looking Si
Stebbins order.
4. There are many unique poker deals in Si Stebbins.
5. You can shuf e into Si Stebbins from New Deck Order (NDO) and vice versa — see Ge ng
Into Tetra-Red section. The only reason TETRA-RED can be shuf ed into is because you can
shuf e into Si Stebbins. TETRA-RED as well as The Redford Stack are both based off Si
Stebbins.

Transforming Si Stebbins to and from FARO-4

Additionally it turns out Si Stebbins and FARO-4 are quite similar and a two to three minute
routine can quickly transform Si Stebbins to FARO-4, and vice versa. So you have access to
the FARO-4, Memorandum, Mnemonica and 1415 stacks as well, without ever swapping the
deck or having to do 10 out faros. This similarity of stacks is something I discovered and
shared with Woody Aragon back in February of 2021 and he immediately made a most
excellent routine based off my discovery; he showed it to me and my mind was blown!
Woody is an absolute genius! Shortly later he did this same transformation routine for
maestro Juan Tamariz and Woody told me Juan LOVED it — this made my heart melt! This
transformation routine should be available sometime in the future; Woody is saying perhaps
in his next book Memorandum 2.

Update 3/20/2024: Our transformation routine is now going to be published in this book,
under Transforma ve Triumph in the Transforma ons chapter. So we no longer need to wait for
Memorandum 2 for this routine. Thanks Woody for allowing this routine to be published in
this book.

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 TETRA-RED AND THE REDFORD STACK
TETRA-RED was designed to integrate well with The Redford Stack (by Patrick Redford). Since
TETRA-RED and The Redford Stack are both parallel based stacks based on the same Si
Stebbins order with 9C cut to face1, it is possible to just transform half of TETRA-RED to The
Redford Stack or Red Stebbins. You can be working with any of the nine following 50/50 --
26 card/26 card -- combinations at any time:

1. Tetra-Red / Tetra-Red
2. Tetra-Red / Red Stebbins
3. Red Stebbins / Tetra-Red
4. Red Stebbins / Red Stebbins
5. Tetra-Red / Redford
6. Redford / Tetra-Red
7. Redford / Red Stebbins
8. Red Stebbins / Redford
9. Redford / Redford

Also since TETRA-RED and The Redford Stack, are both based off of the same stack: Si
Stebbins with the 9C cut to face3 -- which I call Red Stebbins -- they share many card
locations and makes it possible to easily memorize all three stacks if you wanted.

For every one of these combinations, for every card in the top half of the deck, there is
always a soulmate to that card in the bottom half, and vice-versa.

Please see Patrick Redford’s books on The Redford Stack for information on all the wonderful
capabilities of his stack: Temporarily Out of Order as well as Sleightly Out of Order. I highly
recommend them!

1 The Redford Stack is actually based o the Si Stebbins stack with JH cut to face, but more closely
resembles the Si Stebbins stack with 9C cut to face once fully dialed into. See footnote 3 a few pages
back in the Transforma on Features section for further explanation.
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 REASONING BEHIND CREATING THIS STACK
My main memorized decks are The Redford Stack as well as Red Stebbins. However, The
Redford Stack is not tetradistic. Red Stebbins, since it is Si Stebbins, is a tetradistic stack, but
it has a very familiar pattern, with red / black alternating cards in CHaSeD order.

I wanted a stack that is tetradistic, looks more random, and is compatible with both The
Redford Stack as well as Red Stebbins. I also wanted this tetradistic stack to have a lot of
interesting Hold'em and poker capabilities. (Tim Heinlein of Patrick Redford’s Facebook
Group in uenced me quite a bit regarding working Hold’em deals into memorized decks
and is a big reason why there are so many Hold’em deals in this stack.)

Patrick Redford describes The Redford Stack as a swiss army knife, being able to transform it
into many useful tools. He is correct! And this stack is an extension of that and made to be
compatible with The Redford Stack.

TETRA-RED isn’t meant to be a replacement of The Redford Stack for me, but just another tool
in the Redford swiss army knife. I have all three stacks memorized and as mentioned in
other areas of this document. I can transform half the stack into any of the three stacks on a
whim, or the entire stack. However, it is not necessary to fully memorize TETRA-RED to make
use of things such as the poker features, or Allan Ackerman’s Bonus Cull, you just need to
know where to cut to.

A quote from Patrick Redford from Temporarily Out of Order:

“If I’m going to use a stack of any kind I want it to hold a secret swiss army knife that can
transform itself into as many different tools with minimal effort as possible.”

By the way, I highly recommend Patrick Redford’s books Temporarily Out of Order as well as
Sleightly Out of Order. Both books are on The Redford Stack, but also contain many stack
independent routines, sage advice on working with the memorized deck, explanations of
the The Red sh False Shuf e, various cuts, as well as many other sleights and tips. Patrick
Redford introduced the dialing and phone number terminology in Temporarily Out of Order
and is how I got the idea of transforming Si Stebbins into a random looking tetradistic stack,
packed with a lot of features. Patrick has given me permission to share his dialing and phone
number terminology.

I actually recommend all of Patrick Redford’s books because they are lled with gold. He’s a
blessing to the magic community, especially with respect to the memorized deck and
mentalism with cards.

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Allan Ackerman is a friend and he’s been using a tetradistic stack since the 1960’s; that’s
over 50 years! I love the capabilities of the tetradistic stack he has shared with me. There
are so many fun tetradistic routines! So again I wanted a random looking tetradistic stack
that I can shuf e into and is compatible with Si Stebbins as well as The Redford Stack. Check
out all of Allan’s publications, as he has various memdeck and tetradistic routines
throughout. Allan is coming out with a new book, “All-In Volumes 1 & 2”, which I can’t wait
for, compiling many of his lecture notes into one epic hard cover book! In his book he will
mention TETRA-RED and have a link in it to this TETRA-RED book you are reading now; Allan
switched to TETRA-RED stack back in late 2021, from the tetradistic stack he had been using for
over 50 years.

Doug Dyment’s book Calculated Thoughts is a good read as well, with a section about his
tetradistic stack, QuickStack 3.0. He shares some of the neat features of a tetradistic stack
there.

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 CREDIT TO DAN FISHMAN
Without Dan Fishman, The Redford Stack as well as TETRA-RED would not exist. (TETRA-RED
exists because of Patrick’s work with The Redford Stack, along with Allan Ackerman’s
in uence with respect to tetradistic memorized decks.)

Patrick Redford and Dan Fishman have been friends for a long time. In the Introduction to
the Redford Stack in Patrick’s book Temporarily Out of Order, Patrick shares how Dan
Fishman’s choice of memorized deck, Si Stebbins, in uenced his decision to create The
Redford Stack. At the time Patrick had been using the Aronson stack, but appreciated all the
power and features of the Si Stebbins Dan advocated for — of which there are a great many;
but Patrick wanted a more random looking stack as well. Dan Fishman challenged Patrick to
create a stack which was the best of both worlds. So Patrick accepted that challenge and
started work on The Redford Stack. Patrick gured out a way to transform between Si
Stebbins and The Redford Stack using a series of run sequences — an idea he got from Tim
Conover’s In nity Stack. So The Redford Stack was born, and was born because of Dan’s
challenge and choice of memorized deck, Si Stebbins. So big thanks to Dan here for
helping bring The Redford Stack into fruition and in turn thank you Dan and Patrick for
enabling the creation of TETRA-RED.

Additionally this TETRA-RED book makes extensive use of the Red sh False Shuf e for card
manipulation in the various poker deals as well as in some sleights. The Red sh False Shuf e
is based off the Dan Fishman False Shuf e — with only a slight modi cation — and is a great
tool for manipulating cards. I have no idea how I’d do all this covert card manipulation I do
throughout this book had the Dan Fishman False Shuf e never existed.

Allan Ackerman’s tetradistic stack of choice is TETRA-RED for 2 1/2 years now. But, without
Dan Fishman, most likely Allan would still be using his old tetradistic stack he’d been using
for over 55 years which had the following weaknesses compared to TETRA-RED:
1. Allan couldn’t shuf e into his stack from new deck order (NDO).
2. There was no ability for him to deal straight ushes nor royal ushes.
3. The old stack wasn’t color wheel compatible as discussed in his Bonus Cull with Jokers.
4. He couldn’t transform it into Stebbins for all those great cyclical/mathematical routines.
5. It wasn’t compatible with the Redford Stack.

Thank you to Dan Fishman for all your great works, in uencing Patrick Redford and in turn
in uencing me. I greatly appreciate and admire your intelligence and creativity.

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 TETRA-RED STACK ORDER

1-2S 14-2D 27-2C 40-2H

2-QH 15-QS 28-QD 41-QC
3-5D 16-5C 29-5H 42-5S
4-JH 17-JS 30-JD 43-JC
5-8C 18-8H 31-8S 44-8D
6-10H 19-10S 32-10D 45-10C
7-7C 20-7H 33-7S 46-7D
8-4D 21-4C 34-4H 47-4S
9-AS 22-AD 35-AC 48-AH
10-3D 23-3C 36-3H 49-3S
11-KS 24-KD 37-KC 50-KH
12-6C 25-6H 38-6S 51-6D
13-9H 26-9S 39-9D 52-9C

35
GETTING INTO
TETRA-RED
 Getting into Tetra-Red

GETTING INTO TETRA-RED

1. First get into Si Stebbins:
A. From Bicycle new deck order (NDO), I use my variation1 of Patrick Redford’s method2
for getting into Si Stebbins from Bicycle NDO, which is similar to the Si Stebbins
Secret3 by Darwin Ortiz.
• Spread the deck face up to show spectators it’s a standard deck in New Deck
Order. While doing so, secretly cull the AD,2D,3D under the KD, using the
Hofzinser / Road Runner cull.
• Perform the run sequence: 9-4-6-7
• Execute an out faro -- key card is the Ace of Spades
• Execute an in faro -- key card is the Ten of Hearts
B. From a shuf ed deck, I use the Chinese Shuf e as described by Brother John
Hamman to where the JH ends up at the face of Si Stebbins. This Chinese Shuf e is
described in Patrick Redford’s Temporarily Out of Order as well as The Secrets of
Brother John Hamman. Alternatively you could Chinese Shuf e directly into TETRA-
RED; see the section, Chinese Shu e Into Tetra-Red Directly for more information.
2. Once in Si Stebbins, cut the Nine of Clubs to face, and we are in Red Stebbins starting
order.
3. Dial 2124211 four times, once for each tetradistic bank, by executing an overhand
shuf e run sequence corresponding to this phone number. (The full phone number
being: 2124211-2124211-2124211-2124211.) You can transform just the top half of the
stack rst, do a routine, then transform the bottom half after the routine, to break up the
length of this repetitive shuf ing. A reverse breather crimp on card 26 and 52 are handy
for transforming half of the deck at at time -- I use both 9S/9C reverse breathers as
mentioned above. For an explanation of what dialing is and what phone numbers are,
see the next pages: Dialing and Phone Numbers.
I realize the phone number is much more tedious to dial compared to The Redford Stack, but it’s
the phone number which makes the stack both look random and to work to deal any named
royal lush in Hold’em and poker. Which is why you may want to transform half of the stack at
time in front of a spectator. Or ind some other way to dial the phone number via a routine
instead of overhand shuf le sequence.
4. Congratulations, you are in TETRA-RED.

_______________
123See “NDO to Si Stebbins Transform” under the “Si Stebbins” section of “Transformations” chapter for
more details.

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 Getting into Tetra-Red

DIALING AND PHONE NUMBERS

Terminology. To transform to (and from) this stack, you perform a series of overhand run
shuf es. This series can be notated as a phone number which you dial1. You dial the
number to get into this stack, and you can dial the same phone number again to get back to
the original stack.

Procedure. For each digit in the phone number, run a number of single cards into your hand
equal to that digit. The deck is then tossed on top of those previously run group of cards,
before running the next digit in the sequence. Digits in parenthesis () are not run, but
tossed together as a group, preserving order, from the top to bottom.

Dashes. If the phone number has a dash in it, it means nothing. It’s just there to break up the
longer numbers for you so they are easier to remember. For example, 213-456-2345 means
to run 2 cards, then 1 card, then 3 cards, then 4 cards, then 5 cards, then 6 cards, then 2
cards, then 3 cards then 4 cards and nally run the last 5 cards. The dashes help make these
longer sequences of numbers easier to read as well as memorize.

However, if there is a dash between every single number, then run the number of cards
indicated by that number. So 13-1-7-8-12, means run 13 cards, then 1 card, then 7 cards,
then 8 cards and nally 12 cards.

Special Notation. I’ve also come up with some of my own additional notation for certain
phone numbers:
1. []. Brackets around a digit mean to run the cards into your hand one by one reversing
them as mentioned above, but instead of throwing them to the bottom of the deck, you
place them back on top of the deck. This action can be concealed by the The Red ish False
Shuf le2.
2. {}. Curly braces around a digit means to milk the top and bottom cards into the hand
rst, followed by the usual runs3 after. For example, {5} means to rst milk the top and
bottom cards into your hand. Then run 4 more cards into your hand from the top of the
deck as usual. Then throw those 6 cards to the bottom of the deck.
3. <>. The less than & greater than symbols around a digit are reserved, yet to be de ned.

1 The “dial” and “phone number” terminology was created by Patrick Redford, which I read about in
his most excellent book: Temporarily Out of Order. I got permission from Patrick to share this
terminology.
2See Concealing Top Stock Reversal With The Red sh False Shu e under Sleights for Memorized Deck
Work section.
3 Thank you Wayne Burrows from Memory Deck Workers facebook group for this notation idea.
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 Getting into Tetra-Red

CHINESE SHUFFLE INTO TETRA-RED DIRECTLY

Here is how to transform a shuf ed deck directly into TETRA-RED with the Chinese Shuf e:

Cull No. 1. Start with a shuf ed deck and hold it face up in hands. Spread through the cards
and upjog all of the cards which correspond to the values: aces, twos, ves, sevens, eights,
nines and kings. Strip out the upjogged cards and place them to the rear of the deck.

Cull No 2. Spread through the deck and upjog all of the cards which correspond to the
values: fours, sixes, and jacks followed by ves, sevens and kings.. Strip them out and place
them to the rear.

Cull No 3. Spread through the cards and upjog all of the cards which correspond to the
values: queens and threes then aces and twos followed by fours then sevens. Strip them out
and place them to the rear of the deck.

Cull No 4. Spread through and upjog all the cards which correspond to the values: tens,
eights, jacks, ves, queens and twos. Strip them out and place them to the rear of the deck.

Cull No. 5. For each 4 of a kind, upjog a pair of soulmate cards, which corresponds to the
color of the card value in locations 1 through 13 of the the stack: red nines, black sixes,
black kings, red threes, black aces, red fours, black sevens, red tens, black eights, red jacks,
red ves, red queens and black twos. So red, two blacks, red/black alternating up until the
jacks, followed by two more red, then the black twos. Strip them out and place them to the
rear of the deck.
2 Black Red / Black Alternating : 3 Red
9 - 6 - K - 3 - A - 4 - 7 - 10 - 8 - J - 5 - Q - 2

Cull No 6. Upjog the correct card which corresponds to card #26 down to #1. e.g. the rst
upjog would be the 26th card, the 9 of Spades, followed by the 25th card the 6 of Hearts, all
the way down to the 2nd card the Queen of Hearts and ending with the 1st card the 2 of
Spades. Strip them out and place them to the rear of the deck.

Alternatively you can just think of the suit pattern below when up-jogging. The rst 10 cards
and last 11 cards suit pattern is fairly easy to recall and use. I think of only the suit patterns
up until the 5C. Then I recall the individual memorized cards down to the 6C. Then switch
back to the suit pattern below starting with the KS.
5C 6C
— — — — — —

TETRA-RED is now in order.

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 Getting into Tetra-Red

Here is a video of my Chinese Shuf ing into TETRA-RED directly. I am doing it about half of
the speed I normally do it so it is easier to follow.

[Link]

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 Hold’em

HOLD’EM

This is under construction. This is under construction. This is under construction. This is
under construction. This is under construction.

42
 Hold’em

STACK RESET AFTER HOLD’EM DEAL

After dealing to the card table: the player’s hands, community cards along with the
associated burn cards, the stack order gets really messed up. We often want to restore the
stack order after these deals, to the way it was just before dealing, so we can continue on
with more stacked / memorized deck work.

Cleaning up the Community Cards. The rst thing we need to clean up with a Hold’em deal
are the community cards along with the associated burn cards — as these eight cards are
dealt after the player hands. The eight cards are, in order: a burn card, three ops cards,
another burn card, the turn card, a nal burn card and lastly the river card. See Heinlein’s
Hold’em Cleanup in the subsequent pages on how to display and clean up these community
cards. I also share my variation of this community card cleanup at the end of Tim Heinlein’s
article which is based off Tim’s work, some ideas from Patrick Redford as well as some of my
own ideas — this is the one I personally use.

Cleaning up the Player Hands. The player hands are cleaned up after the community cards
as mentioned above. There are multiple ways to do this:

Hold’em Stack and Strip Technique. I prefer Patrick Redford’s Hold’em Stack and Strip Technique
mentioned in the subsequent pages; it is a very fair looking standard display and very quick
fair chaotic looking cleanup. I share a video in this article showing how I implement Patrick’s
technique.

Once and Again Display. You could display the player’s cards like this if you like, but might
be a little odd looking. I’ll never use this since I feel the stack and strip method utilizes a
more familiar display to people who play Hold’em.

Factorial Reset. After dealing out x hands of Hold’em, collect them from left to right placing
each hand face down on top of the deck as you go. Then quickly deal out two poker hands
of x cards each and again place each hand back on the top of the deck, one by one, from
left to right. So for example you deal 5 hands of Hold’em, collect them to the top as
described and then quickly deal out two hands of standard ve card poker, followed by
collecting them again in the same fashion. I prefer the stack and strip method over this as it
isn’t an extra step and don’t have to justify dealing out two hands of x cards after the
Hold’em deal is done.

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 Hold’em

HEINLEIN’S HOLD’EM CLEANUP

The Community Cards

Tim Heinlein, an administrator of Patrick Redford’s Facebook Group, has been doing
memorized deck work for many years. He switched to The Redford Stack back in 2017. He,
like myself is obsessed with stack transformations and even uses a computer program he
wrote to assist, like I mention I do with TETRA-RED.

Tim created a wonderful Hold’em poker stack — based off The Redford Stack — which Patrick
Redford describes in his book Sleightly Out of Order as the Heinlein Hold’em Deal on page
234. Like I do in this book extensively to transform all or part of a stack via dialing1, Tim
Heinlein does the same to get in and out of his Hold’em stack from The Redford Stack.

Tim’s work in this area of dealing any named Hold’em hand with a transformed stack is what
inspired me to include Hold’em deals into TETRA-RED as part of its design. I not only wanted a
random looking tetradistic memorized deck I could easily transform into/from Si Stebbins, I
wanted to be able to deal Hold’em hands from it directly. In fact by simply cutting any card
with the value of 7 to the face of the deck in TETRA-RED, it results in the named royal ush for
the dealer with a two player deal.

A couple years back Tim made a video sharing his Hold’em stack for Patrick Redford’s
Facebook Group. He went over many things including the cleanup of both player’s hands as
well as the community cards. Tim has allowed me to share how he cleans up the community
cards here and the following is a clip of the video showing how he does this. It’s absolutely
fantastic and very happy he graciously allowed me to share this video clip.

[Link]

1 Dialing footnote to go here

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 Hold’em

A variation with burn cards in separate pile. Here is a variation of the cleanup of community
cards that I came up with today on February 14, 2024. It’s based of of Tim’s work above
along with Patrick Redford’s ideas. The other day Patrick Redford was kind enough to invite
me into a jam session with him and some other very skilled magicians around the world. I
asked Patrick what he’d do if we wanted to keep the burn cards separate from the op, turn
and river. He is so clever, he improvised something immediately and made it look good
with no effort. He put all the burn cards in a separate pile like below in the video, and he
grabbed the rightmost two burn cards with right hand and the left most burn card with left
using it as a scoop — which is an idea from Tim’s work above. I incorporated this aspect into
the cleanup below in the video. Patrick did an interlacing type thing at the end which I was
struggling with so I altered the tail end — as presented in the video below. I shared the
following video with Patrick and he said he likes it.

You can play back the video at a slower speed on youtube to see what’s happening.
Basically with the right hand I am laying the two burn cards — 5 and 7 — back into position
over the 4 and 6 cards. The 5 card now being on top of the 4 card, is scooped up with the
rest of the op cards. The stacked 7 & 6 cards are then placed on top of the scooped up
cards, followed by then placing the nal card, the 8, on top of the 7 card.

[Link]

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 Hold’em

HOLD’EM STACK AND STRIP TECHNIQUE

For Cleaning up the Hands of Hold’em
Patrick Redford

Patrick Redford has graciously allowed me to share his deviously delightful method for
gathering Hold’em poker hands, restoring stack order.

(Before gathering the player hands, rst clean up the community cards and place them on
top of the deck: see Heinlein’s Hold’em Cleanup on previous pages.)

Here is Patrick’s method:

1. When revealing the pairs that make up the hands, display them by upjogging the card of
each set at the back — this may be alternatively done with a sidejog.

I’ve seen Patrick take the top card of the hand, pick it up and use it as a scoop to turn over the lower
card up-jogging it at the same time. Let’s say for example the rst card dealt to player one’s hand is
an Ace and the second card dealt is a Three — both cards are dealt face down. The Three is now
sitting face down on top of the Ace. Pick up the Three card using it as a scoop and go under the Ace
in an up-jogged fashion, turning over the Ace and Three card at the same time. This results in a
face up vertically offset column of cards with the Three card up-jogged at the front of the face.

2. When the cards are gathered, scoop them up working counter-clockwise — starting with
the last hand — placing each face up pair one on top of the next.

3. Strip out the up-jogged cards and place them to the face of the face up pile in your left
hand.

4. Square the cards and place them face down on top of the deck to restore this packet
order.

If you know your stack, the proper placement and procedure should be obvious.

This stack-and-strip technique of Patrick’s is absolutely fabulous. I can’t think of a better way to clean
up the Hold’em hands. I love how much easier Hold’em deals clean up compared to standard ve card
poker — it looks really fair with Patrick’s subtleties. This book with all its Hold’em deals wouldn’t be
nearly as good without Patrick’s ideas on Hold’em cleanup.
How I personally use Patrick’s technique above. I thought about the following tweaks
shortly after learning Patrick’s stack-and-strip method in February 2024. When I turn over
each player’s hand, I grab the two card packet by the outer end of the packet, curling my

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 Hold’em

nger tips over and under the outer end of the cards. As I turn them over, I push the
ngertips in a forward motion pushing the bottom card — now top card — forward about an
inch and a half. At the same time I slide the card over to the right slightly to allow viewing of
the top left pip of the card now below. The cards aren’t quite vertical and not quite
horizontal. This arrangement allows for easy cleanup using Patrick’s technique above and is
a pleasant display. See the image below to see this arrangement I am speaking of.

Looking at player one’s hand above, the AD was originally the bottom card, and the 6D was
the top card. They were both face down. I grabbed the outer end of the two stacked cards,
curling ngertips underneath. Push the AD forward and to the right while ipping and it
results in the above. When I ip the hands over, to save time, I can ip two hands over
simultaneously using both hands.

When I clean up using Patrick’s method above. I start by grabbing player two’s hand (2D/
7D) with my left hand and at the same time start grabbing the dealer’s hand (5D/10D) with
the right hand. I then go in counter-clockwise fashion stacking the cards as Patrick describes
above. So this ends up with 2 stacked hands in the left hand and 3 stacked hands in the
right hand. I then place the right hand stack on top of the left hand stack. I then strip out
the upjogged cards and place to the rear. Then place them on top of the deck. This of
course is all done after cleaning up the community cards — see Heinlein’s Hold’em Cleanup for
that.
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 Hold’em

The following is a video of me cleaning up the card table after a Hold’em deal. I am using
the stack-and-strip method the way I describe it above.

[Link]

48
 Hold’em

HOLD’EM ROYAL FLUSHES

Deal any named Royal Flush for Any Number of Players

You can deal any named royal ush for any number of players in Hold’em. Hold’em was the
primary interest when I created TETRA-RED as far as royal ush deals goes. The two player
deal is automatic, just cut any card with the value of 7 to the face of the deck and deal the
two hands. This same deal can be tweaked to any number of players by cutting to a
sleightly different location and performing a short run sequence before dealing.
The Ace and King end up in the hole. The Queen is produced by the op. The Jack and Ten
are respectively produced by the turn and river, which makes this deal suspenseful!

Two player deal. This simple deal is a totally automatic feature of TETRA-RED.
1. Cut any card with the value of 7 to the face of the deck. The suit of the Royal Flush will
be the soulmate suit of the 7 cut to face. For example, if a Seven of Clubs is cut to the
face, the suit of the Royal Flush will be in Spades.
2. Deal the two hands of Hold’em.
3. Clean up the cards and put them back on top of the deck in memdeck / stack order.

Three to Eight player deals. For simple deals refer to the table below. Otherwise refer to the
more interesting deals which are on the subsequent pages.

1. Determine the number of hands you want to deal.

2. Cut to the face of the deck, a card with the value Hands Face Suit Dial
which corresponds to the face column in the table,
for the desired number of players. 2 7 Soulmate None
3. The suit of the royal ush will be what is indicated
in the suit column with respect to the card at the
3 8 Soulmate 2-2
face. In the case of Previous or Next, that would be
the suit with respect to CHaSeD order. So if a 5C is
cut to face for a 4 player deal, the suit would be the 4 5 Previous 3-3
previous suit in CHaSeD order which would
diamonds — so the Royal Flush would be in
5 2 Same 4-4
diamonds in this case.
4. Dial the mini phone number in the dial column,
with an angle jog break and then throw them back 6 6 Next 5-5
to the top of the deck — this action can be
concealed with The Red sh False Shuf e.
5. Deal out the hands. 7 3 Same 6-6

6. To clean up see Stack Reset A er Hold’em Deal on

previous pages. Then reverse the displacement, 8 4 Same 7-7
followed be-dialing the mini phone number.
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 Hold’em

A more interesting two player deal. In the above two player Hold'em deal, in the op is a
useless card, the 9 of an off suit. If you like you can swap that Nine with the Ace which is
nine cards down.

This will produce four of the cards needed for a steel wheel for the spectator. It can be
exciting, as the turn or the river could be a ve card for a straight, another spade for a ush,
or a ve card of the suit needed for a steel wheel. But unfortunately, all the turn and river
does is provide the dealer a royal ush in the desired suit.

Figure 1. A battle of the steel wheel versus royal ush!

One easy way of swapping the the Nine with the Ace and dealing this:
1. Cut any card with the value of 6 to the bottom of the deck. The suit of the royal ush will
the soulmate suit of the six cut to face.
2. Dial [10]-1-[8] to swap the Nine and the Ace. So the Nine is the first card at the top of the deck,
followed by 9 more cards down is the Ace. So we reverse all ten cards to swap the Nine and the Ace.
Then the Ace becomes card 1 and the Nine becomes the 10th card down. Then we shift the Ace to the
bottom of a deck with single card run. Then we reverse the top eight cards to put them back in
original stack order, leaving the Nine now as the ninth card instead of the Ace — swapping the two.
3. Cut the bottom six cards to top of deck so a 7 is at the face. e.g. Andru’s Elevator Cut
4. Deal the two hands of Hold’em.

To reverse the process. Collect all the cards on the table in order and return to the top of
the deck, restoring the stack order. Cut the top 5 cards to face resulting in a card with the
value of six at the face of the deck. Dial [10]-1-[8] and you are back in TETRA-RED order.
Alternatively dial [10]-1-8 if you don’t mind the last 8 card packet being thrown to the
bottom of the stack instead of the top. (The Red sh False Shuf e can conceal the [] part of
the dial.)

This is one of my favorite Hold’em deals as it is personal, quick and easy.

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 Hold’em

Formula. So, from this example routine above I actually derived a formula for a swapping
any two cards in a stack via dialing, without disturbing the rest of the stack. And I have
documented it in the Swapping Cards Via Dialing sleight in the Sleights for Memorized Deck Work
section of this book.

Four player deal — more interesting. Do the same process as with the regular four player
Hold'em deal above, but instead of just dialing 3-3, dial 3-3-1-1-3 instead. Then throw the
eleven cards back to top1. This results in the following deal — see photo below. Player two
now gets the 6C in addition to the 9H on the op. This gives player two more hope on the
op since all they need is a 5, 10 or 2 more of the same suit to potentially win -- the 6C sure
beats the 2D they would of normally gotten using the four player deal above. But of course
either way, player two gets a straight on the river, which is fabulous! But unfortunately the
dealer got a royal ush.

To restore stack, dial 33113 again but don’t bother with the break, just use the reverse
breather to get the stack back in order.

1 This action can be concealed with The Red sh False Shu e.

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 Hold’em

HOLD’EM STRAIGHT FLUSHES

Deal any named Straight Flush for Five Players

As mentioned earlier, In Hold’em, with TETRA-RED you can deal any named straight ush,
which includes any named steel wheel. This includes both the named high value as well as
the named suit — i.e. all 36 possible straight ushes.
These “any named straight ush” deals are a bit more involved than some other poker deals
in TETRA-RED, as each high value of the straight ush has it’s own 3 to 4 digit mini-dial to
memorize along with a small displacement of 1 to 6 cards (to top or bottom of deck); but as
far as dealing any named suit, that’s just a matter of cutting the right card with a value of nine
to the face of the pack before dialing — which really simpli es things. Then dial with a break,
throw back to top followed by the displacement. Then deal them out.
These straight ush Hold’em deals are for 5 players only. A bonus of these deals being for
exactly ve players is that you know you can always factorial deal two Five Card Poker hands
afterwards to reset the stack if you aren’t using the Hold’em Stack And Strip Technique
presented earlier in this chapter — see Stack Reset A er Hold’em Deal.

If you don’t care which suit the straight ush is in, you can just start by dialing right from
starting order with 9C cut to face — without rst cutting the appropriate 9 to face.
I’ve also added nine mnemonic visuals after the table on the next page. This allows the
magician to just think of the scene image for a given straight ush high value then visually
recall which nine to cut to face, the dial sequence, the displacement and what suit the
named straight ush will be in. These nine mnemonic visuals allow the magician to deal out
any named straight ush for ve player Hold’em — all 36 of them.
After dealing, reset the stack as it was just before the deal by using any of the methods
mentioned earlier in this chapter under Stack Reset A er Hold’em Deal. Then reverse the
displacement, followed by re-dialing the same phone number. Then you are back in TETRA-
RED.
Afterthoughts. This is more complicated but after dialing and displacing, but just before
dealing, these 5 player deals can actually be further modi ed to reduce the number of
players:
2. Two Players: Dial1 (4)-[4]-(2) and deal. To reverse: Dial 2B-[4]-4B
3. Three Players: Dial1 (4)-[3] and deal. To reverse: Dial [3]-4B.
4. Four Players: Dial1 (4)-[2]-2B and deal. To reverse: Dial (2)-[2]-4B.
Note: 2B & 4B mean to cut two or four cards from the bottom of the deck to top, respectively.

1 See Dialing and Phone Numbers under Ge ng Into Tetra-Red.

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 Hold’em

HOLD’EM STRAIGHT FLUSHES TABLE

For Any Named Straight Flush for Five Players

F Suit Dial D DF Other Hands HCL

K 9 M 6767 4T 5 P2: Ace ush pocket

Q 9 N 2925 4B A P2: Pocket Kings, ends up with a King high ush pocket
J 9 N 2-11-7 2B K P1: Pocket Sixes; P2: Straight; P3 Queen ush op

10 8 N 752 2T K P2: Straight pocket

9 9 S 4318 5B 4 P2: Straight; P4: Two Pair pocket

8 9 S 4937 1T J P2: 2 Pairs Q & 3; P3: Wheel Straight — lowball op

7 9 S 692 5T Q P3: Wheel Straight — great lowball hand pocket

6 9 P 2453 6B 7 P2: Wheel Straight; P3: Two Pair 2’s & 3’s (river) pocket

5 9 P 6646 1B 6 P3: Pocket clubs w/ four clubs & straight on op pocket

1. The F column is the card value to cut to face before dialing. Note the 10 high is the only
straight ush which requires a card with the value of eight be cut to face; all the other straight
ushes require a value of nine to be cut to face.
2. The Suit column is the suit the straight ush will be w/ respect to the suit of the card in F.
Suit Key (CHaSeD): M = soulmate suit, N = next suit, S = same suit, P = previous suit.
3. The Dial column is the phone number for the mini dial. After cutting the right 9 to face
proceed with the appropriate run sequence. Dial with a break and throw back to top —
The Red sh False Shuf e conceals this in conjunction with an angle jog break.
Alternatively, if one of the black nines is at face — and has a reverse breather on it — you
won’t have to hold a break and can just cut what you dialed back to the top utilizing that
breather.
4. The D column is the required displacement of the number of cards from top (T) or
bottom (B) of deck. Perform the displacement just before dealing the cards, after the
dial. After the deal has been performed and the cards returned in order to the top of the
deck, undo this displacement before re-dialing — step 3 — to get back into stack.
5. The DF column is the card value which should appear at the face of the deck after the
displacement (D).
6. The column HCL is where the high card of the straight ush is located after dealt.
Keep in mind you can keep things simple and just deal the called for straight ush without
respect to suit, by just dialing from TETRA-RED starting order using the breather on the 9 of
clubs as the break — except for the case of the 10 high straight which needs an eight at face.

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This would be the way to rst learn these set of mini dials and displacements — not having to
contend with estimated cuts, recalling what the suit will be as well as manually holding
breaks as part of an overhand shuf e.

Jack High Straight Flush. Other players get pocket sixes,

a straight and a queen high ush. Great progressive deal.

Mnemonic Visuals. The following are some mnemonics for memorizing the Hold’em Straight
Flushes deals on previous page. This is using celebrities or other well known characters as
PEGs for the values 5 through King along with The Major System for the dials and
displacements — see The Card Value PEGs under the Memoriza on chapter. So a mix of
memorization systems, which seemed appropriate for the complexity of setting up a single
image for these deals.
After dialing the sequence of numbers, displacements to be made from the top will be
related to something at the top of the head. Displacements from the bottom will be related
to the waist down. E.g. haLo is displacement of 5 cards from the top of the deck, since L = 5
and it’s over the head; huLa is a displacement of 5 cards from the bottom of the deck, since
L = 5 and it’s at the waist or below; (vowels and h’s are ignored — refer to The Major System in
Memoriza on chapter.)
Also I incorporate which suit the straight ush will be in with respect to CHaSeD order, with
words or phrases like: “soulmate”, “next”, “points both fore ngers at himself”, “pounding
their chests”, “narcissistically”, “previous”, “old”, “back in time” etc..

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I think it’s pretty cool, you can just memorize these 9 mnemonic scenes an then be able to
deal all 36 straight ushes in Hold’em for ve players, without ever having to memorize an
entire table or data or resort to a crib sheet.
1. King: Elvis, together with his soulmate Priscilla, head out to the SHaKe SHaCK (6767) for
some blues-berry shakes. Elvis takes a big gulp of the shake which tastes so incredibly
delicious the haiR (4T) on his head stands on end; he then grins, gives his hips a shake,
and starts singing “I found my thrill, on blueberry hill!”.
2. Queen: The Scream of Spades (Queen) cannot wait for the next game! She loves to
loudly cheer on her favorite NBa (29) and NhL (25) teams. During the games, she also
loves wearing the adorable mascot slippers she recently purchased, which are shaped
like cute haiRy (4B) animal feet.
3. Jack: Captain Jack Sparrow plans his next journey with the Black Pearl. He decides on
and then heads to the hawaiiaN (2) coast line where he is unfortunately intercepted by
another pirate captain with only one TooTH (11) — run of eleven cards — and a hooK (7) for
a hand. Jack then picks up the jug of pineapple wiNe (2B) sitting on the deck next to his
feet and throws it at the captain knocking him out. Jack then exclaims “This is the day
you will always remember as the day you almost caught Captain Jack Sparrow!”
4. Ten: John McEnroe (Tennis) is challenged to eight rounds of tennis by eight different
competitors — cut any eight to face instead of nine. His next opponent is a CLowN (752)
wielding an oversized tennis racket, with hair woven into a bright orange nest for the
heN (2T) sitting on his head; the hen then clucks and McEnroe just laughs and says
“next!”.
5. Nine: The narcissist Hitler (Nein!) with needle and thread in hand, wants to ReMoDiFy
(4318) his huLa (5B) skirt to try and nally win the next hula dancing contest. He loves to
point both ngers at himself (same suit) while dancing, smiling in self approval, not
noticing everyone turns away. No matter how many times he remodi es it, he never
wins.
6. Eight: The Hateful Eight, pounding their chests (same suit) like animals, angrily off
Quentin Tarantino for their miserable existence. After they off him they sarcastically say:
“RiP aMiGo” (4937); they then each tip off their bloodstained haT (1T) to him chuckling.
7. Seven: The Seven Dwarfs each with a glowing red haLo (5T) over their heads, high on
who knows what, narcissistically (same suit) perform at a heavy metal music concert in
JaPaN (692). Afterwards, they let the fans know just how awesome they were performing
for them and that the fans are lucky to be in their presence.
8. Six: Kenny G (sax) enters time machine and goes back in time — previous suit. He gets
captured by Romans and reluctantly performs for NeRo (24). An imported LLaMa (53)
from some strange distant land, gets excited by the sound and kicks Nero in the face
which dazes him. Kenny G then takes off a SHoe (6B) and throws it at Nero ultimately

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 Hold’em

knocking him out. Kenny G escapes and gets back into to his time machine and returns
home.
9. Five: Michael Jackson reunites with The Jackson Five to perform the old songs — previous
suit. They all do the CHa-Cha (66), barefoot, while performing. They perform too long
and all get a RaSH (46). Distracted by the rash, when Michael Jackson attempts to
moonwalk he trips and stubs his big Toe (1B) and it balloons from the swelling.

Feel free to modify them or come up with your own. Some of these might seem pretty strange unless you
know the The Major System where you are sometimes limited with a small set of words to work with.
But being able to come up with a number phonetically from these words is what makes this all work.

For information see The Major System in the Memoriza on chapter. Also check out The PEG Lists
section in the same chapter.

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 Hold’em

HOLD’EM FOUR OF A KINDS

Deal any Named Four of a Kind in Hold'em

Four players
1. Start with TETRA-RED or any other tetradistic memorized deck / stack — e.g. Red Stebbins,
Eight Kings, QuickStack 3.0 etc..
2. Cut the deck , so the value of the four-of-a-kind you want, is at 5th location from the top
of the deck. (By default, in TETRA-RED starting order, the fth location from top of deck has
a value of 8, which is perfect for Chinese & other Asian spectators since 8 is considered a
most lucky number.)
3. Perform four out faros.
4. Cut 10 cards from the top of the deck to bottom then deal 4 hands of Hold'em. An easy
way to cut exactly 10 cards from top to bottom without using any estimation & glimpsing
— or a pinky count — is to just run 5 cards into your hand, then throw to bottom of deck.
Run another 5 cards and throw to bottom. Then once done with the routine, do the
same again but from the bottom, with deck face up.

For example, say you want to deal Four Aces. The Ace of Spades is card 9 in TETRA-RED and
you want it to be shifted to be card 5. So 9 - 5 = 4. So you have to shift four cards from the
top of the deck to bottom. So you cut the Jack of Hearts to bottom. Then you do the four
out faro. Then you cut the 10 cards from top to bottom, which makes it so the 4S is at face.

The deal is beautiful. It starts with 2 spectators getting pocket pairs. The the op gives
player two a 3 of a kind in Queens. The turn gives no one anything. Player three is hopeless
and most like folded by the
turn. And for the grand
nale the four-of-a-kind is
obtained by the river! The
dealer has pocket Aces
which is nice because only
one Ace was out there in the
community cards by the
turn, and the last one
obtained via the river. For
a n y f o u r- o f - a - k i n d y o u
decide on to deal, they will
all look similar to the way the
f o l l o w i n g i s d ea l t , j u s t
different card values.

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 Hold’em

There are a lot of other deals like this in FARO-4 of tetradistic stacks. You can spend some
time here and explore. But to return back to TETRA-RED, do four more out faros. Also there
are many other deals at various stages of Faro. See Appendix A for a computer generated
list for a large number of these deals.

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 Hold’em

HOLD’EM FULL HOUSES

Deal any Full House of Named Upper Value in Hold’em

(These are just some rough notes in this section at the moment.. just need to get the info in
here to work on this.) <under construction.. insert real text here>

JH cut to face, 3 out faro, Jacks/Kings deals for 2 and 4 players are great. JH cut to face also
gives the great 4 Ace deal in Hold'em at faro 4.

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 Five Card Poker

FIVE CARD POKER

These deals are of the ve cards per hand variety for a variable number of players, with no
shared community cards — unlike Hold’em. Like in most poker demonstrations in card
magic, no cards are drawn, so I guess one could classify this type of poker as Cold Hands
Poker — versus draw poker.
In TETRA-RED you can deal any named royal ush as two, three or four player deals - with the
option of transforming the stack from Stebbins for a ve player deal. I’m particularly fond of
the two player poker deal where the spectator gets a simple straight in two different suits
along with the dealer getting a royal ush in the suit called for. It’s a quick, easy and
personal deal. I use a variation of Simon Aronson’s Once and Again Display for this two
player deal and I share this variation in Poker Rewind for Two which is in the following pages.
Dealing two hands of ve card poker also allows for a simple factorial reset by dealing ve
Hold’em hands.
You can also deal any named straight ush of any suit for ve players — all 36 of them. I’ve
worked out the dials for all of these with the assistance of my computer, which looked for
great deals where other players get something interesting as well.
Since this is a tetradistic stack you can deal any named four of a kind or full houses via the
faro wheel for two, four or eight players. I’ve also included a dial to deal any named four of a
kind to ve players without any faros, requiring a simple swap of two cards using a sleight
such as The Red sh Card Swap — which will be released in Patrick Redford’s upcoming book
Completely Out of Order.
Cleanup. There are various methods for putting the dealt cards back in memdeck order
which are described in the next pages, along with Poker Rewind for Two.

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STACK RESET AFTER POKER DEAL

After dealing a set of hands to the table in the standard ve card poker fashion, the stack
order gets really messed up. We often want to restore the stack order after these deals, to
the way it was just before dealing, so we can continue on with more stacked / memorized
deck routines. There are several ways to accomplish this and are mentioned below.

Once and Again Display. The following summarizes Simon Aronson’s technique from Try
the Impossible; please refer to his book for further details. After dealing the hands of poker
in the standard conventional manner, take the hand of the rst player, face down, and start
dealing their cards, face up, one by one into ve columns on the table. Do the same with
subsequent hands, dealing them into the same columns, in an overlapped manner. This
allows all cards to be displayed in a grid or table. To reset the stack back in to the exact
order it was just before the deal, collect each column, from left to right, and place back on
top of the deck. The stack is now restored to how it was just before you dealt the hands of
poker.

Poker Rewind for Two. This is a two player variation of Simon Aronson’s Once and Again
Display above. See Poker Rewind for Two in the subsequent pages. I like using this for the 2
player royal ush deal I explain later in this chapter.

Factorial Reset. After dealing out x hands of poker, collect them from left to right placing
each hand face down on top of the deck as you go. Then quickly deal out ve hands of x
cards each and again place each hand back on the top of the deck, one by one, from left to
right. So for example you deal 5 hands of ve card poker, collect them to the top as
described and then quickly deal out ve more poker hands followed by collecting them
again in the same fashion. Another example: if you deal out 2 hands of ve card poker,
collect them back to the top of the deck as mentioned and then quickly deal out ve
Hold’em hands — which are two cards each — collecting them again as described.
5x5 5x5, 4x5 5x4, 2x5 5x2, 3x5 5x3, etc..

Dealing Directly Into Columns or Piles. Instead of dealing a card to each player, instead
deal them one by one, face up, into a single overlapped column, or alternatively a pile.
Repeat this again for the next set of cards which would of normally have been dealt to each
player, dealing them into an adjacent column or pile, just to the right of the previous
column/pile. Repeat this for all ve columns/piles. When done collect the rightmost
column/pile and place back on top of the deck and move onto the next rightmost column/
pile and do the same until all ve columns/piles are restored to the stack.

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 Five Card Poker

POKER REWIND FOR TWO

A Two Player Variation of the Once and Again Display
Simon Aronson / Jennifer Gwinn

On February 10, 2024 I read about the Once and Again Display in Simon Aronson’s
wonderful book Try The Impossible. I liked how easy it is to clean up the cards with it after
the poker deals, keeping the memdeck in order, without having to do any factorial dealing
afterwards.

Later the same day I thought of a two player variation to it as I have a two player royal ush
deal in TETRA-RED which I like to deal out — it gives the other player a simple six high straight
and the dealer any named Royal Flush. It’s mentioned in the Deals for Five Card Poker section
under royal ushes.

Rather than deal out each card one by one into columns, I just spread out the cards on the
table with one swipe — I’ll practice this to get better at perfecting the spacing without having
to adjust it much after. I then do the same for the dealer’s row just below player one’s.

I then sort haphazardly pick up the columns stacking them starting with the leftmost and
middle columns, followed by the second and fourth columns. I then gather the last column
and throw to the back.

Seems work out great and I have gotten positive feedback from various magicians.

[Link]

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 Five Card Poker

POKER ROYAL FLUSHES

Deal any named Royal Flush for Two, Three or Four players

In poker, this book currently covers any named royal ush for two, three or four players.
There is also is also a ve player deal if you transform TETRA-RED to Red Stebbins or The
Redford Stack.

Two player royal ush deal — quickest but spectator gets incomplete straight.
1. Cut an Ace of the suit you want the Royal Flush to be in, to the top of the deck.
2. Run ve cards into hand, reversing order, and throw back on top of the deck.1
3. Pass a single card from the top of the deck to bottom — the nine.
4. Deal the two hands. The spectator gets an incomplete straight. The following deal is
much better but requires a little longer dial than 5 cards.
To reset, collect the cards from the table in order and place back on top of the deck. Transfer
the bottom card, the 9, to the top, then run the top 5 cards into hand and throw to bottom.

1 See Concealing Top Stock Reversal With The Red sh False Shu e under sleights section of book.
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 Five Card Poker

Two player royal ush deal — more exciting deal as spectator gets a completed straight.
1. Cut any Seven to face of pack. The suit of the royal ush will be the soulmate suit to the
Seven cut to face.
2. Dial 642 with a break and throw the 12 cards back to top.1
3. Pass a single card from the top of the deck to bottom — the nine.
4. Deal the two hands of poker. The spectator gets a straight.
Restoration:
1. Reset the stack as it was just before dealing out the cards — see Stack Reset A er Poker Deal
earlier in this Five Card Poker section.
2. Cut the 9 card from bottom to top — see Andru’s Elevator Cut.
3. Dial 642 and you are back in TETRA-RED.

Mnemonic visual for this two player royal ush deal. A couple of poker fanatics —
soulmates — get lost and are forced to JouRNey (642) through the hot sunny desert each
wearing a large casino felt green haT (1T) covered with poker chips as polkadots. They
usually wish for luck in getting a royal ush but now they are hoping they will get lucky (7)
just to nd some water soon.
6-4-2: “Six (6) high straight for (4) two (2) players.”
6 is the high card, 4 is the middle card and 2 is the low card of the straight as well.

To instead deal the spectator the royal ush and yourself the straight, second deal to the
spectator every round.
See the photo below of this deal — lovely. If you are into factorial dealing you can reset the
stack order of these two hands by dealing ve player hands in Hold’em.

1 This action can be concealed with The Red sh False Shu e

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 Five Card Poker

Three player royal ush deal.

1. Cut any Ace to the face. The suit of the royal ush will be the same suit as the Ace.
2. Dial 4323 with a break and throw the block of 12 cards back to top.1
3. Transfer the bottom three cards of the deck to the top (3B) — see Andru’s Elevator Cut.
4. Deal the three hands of poker. Player two gets a straight which is a very nice hand.
Restoration:
1. Reset the stack as it was just before dealing out the cards — see Stack Reset A er Poker Deal
earlier in this Five Card Poker section.
2. Cut the top three cards back to the bottom of deck — an Ace should be at the face.
3. Dial 4323 and you are back in TETRA-RED.

Mnemonic visual for this three player royal ush deal. The Three Blind Mice sit down to
play a game of poker. Suddenly out of no where a large uffy narcissistic CaT (Ace of Clubs)
leaps into the face of the mouse dealing the cards — cut any ace to face and the royal ush will be
the same suit as ace. The cat does not want to haRM (43) the mouse even though he is a
natural eNeMy (23). He just wants to be petted and told how cute and uffy he already
knows he is. The cat puts his uffy head under the mouse’s tiny little hand gives off a Meow
(3B). The dealer mouse decides to pet the cat which somehow results in bringing him good
fortune, as he deals himself a royal ush — it also brings him in a lot of cash because the
player two mouse bet a lot on his cold hands straight.

1 This action can be concealed with The Red sh False Shu e.

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 Five Card Poker

Four player royal ush deal — from Stebbins.

You can deal any named royal ush in poker, for four players, by rst transforming TETRA-RED
back into Red Stebbins. After that, just cut any 2 to the face of deck and deal. Dealer wins.
Other players get Steel Wheel and straight ushes. You can make it so another player gets the
royal lush by simple shifting one, two or three cards from top of deck to bottom of deck. After doing
the routine, collect the cards from the table in order and place back on top of the deck. Then
cut the bottom 2 cards back to top of deck and transform back if you like.
If you want to just deal the 4 player royal ush in spades, you don’t have to transform the
entire stack back to Si Stebbins. You can just transform the top half. After transforming the
top half back to Stebbins, cut the 2 of spades to bottom of deck and deal. To restore the
stack, return the cards from the table in order on the top of the deck, then cut the two cards
from bottom of deck back to top and transform the top half of stack back to TETRA-RED.
If you want the royal ush to instead be in clubs, you can instead transform just the bottom
half of TETRA-RED to Si Stebbins. After transforming, follow the same steps as above for the
royal ush in spades with top half of stack.

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 Five Card Poker

Four player royal ush deal — from TETRA-RED.

Perhaps you want a quicker way to dial a four player royal ush, or a deal that looks a bit
more random than the ones from Stebbins. The following royal ush deal results in player
one getting a steel wheel and players two and three essentially getting nothing.
1. Cut any 9 to face — the suit of the royal ush will be the soulmate suit to this nine.
2. Dial 546124 with a break and throw back to top — alternatively use a breather or crimp.
3. Displace two cards from the top to bottom — a Jack should at the face after displacing.
4. Deal the four hands of ve card poker — player one gets a steel wheel.
Restoration:
1. Reset the stack as it was just before dealing out the cards — see Stack Reset A er Poker Deal
earlier in this Five Card Poker section.
2. Cut the bottom two cards back to top — a 9 should be at the face.
3. Dial 546124 and you are back in TETRA-RED.

Mnemonic visual for this four player royal ush deal. The Four Elements sat at a card table
together for game of Poker. It was 9 PM. Mr. Inferno was player one and next to him sat his
beautiful soulmate Mrs. Inferno. Mr. Inferno felt he was on re when he was dealt his Steel
Wheel. The hotshot he was, proudly displayed it as he LuRCHeD (5461) towards the poker
pot, totally uNawaRe (24) the dealer, Mr. Splash had a royal ush in his hand. Mrs. Inferno
was so embarrassed by her husband’s actions — including losing all of their money — that she
grabbed the glass of wiNe (2T) sitting on top the table and drank it all in one gulp.

Figure 1. The 4 Player Royal Flush deal with Steel Wheel dealt to player one.

Five player royal ush deal — one way.

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 Five Card Poker

Transform top half of stack to Red Stebbins, leaving the bottom half in TETRA-RED. Then dial
15454. Cut the 9C to face using breather. Cut 3 cards from the bottom to top. Deal 5 hands.
Player one gets a King high ush. The other players only get a pair each.
To reset, collect all cards in order and place back on top of deck. Cut the top 3 cards to
bottom and dial 15454 to get top half of stack back in Red Stebbins. You are in 50/50 Red
Stebbins / TETRA-RED at this point. Transform however you see it.
<under construction>
Dial directly from TETRA-RED is under construction.
</under construction>

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POKER STRAIGHT FLUSHES

For Any Named Straight Flush for Five Players

F Suit Dial D DF Other Hands

K 9 M 434-5257 3T Q P1: Two Pairs; P2-P4: Pair

Q 9 M 73525 6T Q P1: Three of a Kind; P2: Pair

J 9 N 43384 4B A P2-P4: Pairs

10 9 N 189 0 9 P2-P3: Pairs

9 9 S 3395 5B 4 P2: Two Pairs; P3: Pair

8 9 N 29257 9T 8 P1: Three of a Kind; P2: Pair

7 9 S 1-395-2114 1T 2 P1: Ace High Straight

6 8 S 431936 0 8 P4: Ace High Straight

5 9 P 9363 3B 3 P3: Straight P4: Ace High Straight

1. The F column is the card value to cut to face before dialing. Note the 6 high is the only
straight ush which requires a card with the value of eight be cut to face; all the other straight
ushes require a value of nine to be cut to face.
2. The Suit column is the suit the straight ush will be w/ respect to the suit of the card in F.
Suit Key (CHaSeD): M = soulmate suit, N = next suit, S = same suit, P = previous suit.
3. The Dial column is the phone number for the mini dial. Dial with a break and throw back
to top — The Red sh False Shuf e conceals this in conjunction with an angle jog break.
Alternatively, if one of the black nines is at face — and has a reverse breather on it — you
won’t have to hold a break and can just cut what you dialed back to the top utilizing that
breather.
4. The D column is the required displacement of the number of cards from top (T) or
bottom (B) of deck. Perform the displacement just before dealing the cards. After the
deal has been performed and the cards returned in order to the top of the deck, undo
this displacement before re-dialing — step 3 — to get back into stack.
5. The DF column is the card value which should appear at the face of the deck after the
displacement (D).
Keep in mind you can keep things simple and just deal the called for straight ush without
respect to suit, by just dialing from TETRA-RED starting order using the breather on the 9 of
clubs as the break — except for the case of the 6 high straight which needs an eight at face.
This would be the way to rst learn these set of mini dials and displacements — not having to
contend with estimated cuts, recalling what the suit will be as well as manually holding
breaks as part of an overhand shuf e.
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POKER FOUR OF A KINDS

Deal Any Named Four of a Kind in Poker

Have the spectator name a four of a kind and deal out the named four of a kind.

DIAL METHOD
5 player deal.
When it comes to dealing four of a kinds with any tetradistic stack, magicians think of
performing 2 out faros rst to cull the entire deck of four of a kinds, followed by one more
faro for 2 player deals or two faros to deal four players. This faro method works for both
Hold’em and Poker deals for two, four or even eight players.

However, faro shuf es aren’t the easiest to perform under pressure and are usually of the in-
the-hands variety, as consistent tabled faros are very dif cult. Some spectators nd the in-
the-hands faro a bit suspicious at times as well. Also it requires four out faros to get a 4
player deal and then four more out faros to get back to the memdeck stack. So this does
make dealing four of a kinds a bit of work.

It seems hopeless to deal any named four of a kind without the necessary multiple faros and
I thought so until now. Read on.

The 94149 dial. However, you can without any faros, dial a 5 player deal for any named full
house using the 94149 dial as mentioned in the Poker Full Houses section. The 94149 dial for
5 players — i.e. 27 cards — is just wide enough to group up pairs and three of a kinds across
the four the tetradistic banks. This 94149 dial was discovered by my computer program I
wrote which dials up to a billion different phone numbers and deals hundreds of hands of
poker for each dial looking for interesting deals. I guess brute force is a blessing! But if you
look at the 94149 number it is very interesting. It is a mirror image with a 1 in the middle,
and every hand gets 2 pair or better and one getting a three of a kind even. But the mirror
image does make sense, it’s pushing the three of a kinds and pairs closer to each other from
three different banks in a mirrored fashion.

So since we can deal full house of any named upper value with the above 94149 dial, we
can therefore deal any named four of a kind from within any tetradistic stack including TETRA-
RED. All we have to do is a swap of two cards:
1. The rst card to swap is very easy to gure out. It corresponds to the the value of the
chosen four-of-a-kind which resides in the last tetradistic bank of your memorized deck.
So for example if the spectator chooses a four-of-a-kind in Aces, it would be the last Ace
in your memdeck. In the case of TETRA-RED this would be the Ace of Hearts, card location
48.

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 Five Card Poker

2. The other card to swap with can be either one of two cards. Think of the rst location in
your memdeck which corresponds to the value of the named four-of-a-kind. If the
spectator calls for a four-of-a-kind in Aces, we know the rst Ace in TETRA-RED is the Ace
of Spades at card location 9. Add either 8 or 21 to the location of this value. In the
example with the four-of-a-kind in Aces, this would be either card location 9+8 = 17 or
9+21 = 30, which would be either the Jack of Spades or the Jack of Diamonds
respectively. This is your second card to swap with.
3. So swap the cards from steps 2 and 3 and that’s it, you are setup. Patrick Redford just
showed me today, on February 5th, 2024, a new sleight he has been working on. It
swaps two distant cards almost instantly without suspicion. I was completely blown away
how easy he made it, he’s so brilliant — everyone must buy all his books and videos! So
keep an eye out for his new book Completely Out of Order which will contain this new
sleight, would be very useful here. If you know of another quick method to swap them
under the nose of the audience with ease, then you could use that. Otherwise, perhaps
patiently wait for his new book.

Once the cards are swapped, proceed with the 94149 dial for the 5 player Any Named Full
House deal as described in the Poker Full Houses section. Player one gets a three of a kind
and the other players all get 2 pairs and the dealer gets the named four of a kind!

After done with this routine swap the two cards back using the same swapping method you
end up using.

FARO METHOD

2 player deal. <under construction> deals galore here. see faro wheel in appendix

4 player deal. <under construction> deals galore here. see faro wheel in appendix

8 player deal. <under construction> deals galore here. see faro wheel in appendix

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 Five Card Poker

POKER FULL HOUSES

Deal Any Named Full House in Poker

DIAL METHOD
5 player deal.
1. Choose which full house you want to deal based on the upper value.
2. Think of the card that is just before the rst card that has the named upper value. For
example, the spectator would like a full house dealt with the upper values being the
Aces. The rst card in TETRA-RED that is an Ace is the Ace of Spades at card location 9.
The card just before that is the Four of Diamonds.
3. Cut that card to the top of deck — so in the above example, cut the 4D to top of deck.
4. Dial1 94149 with a break2 between the bottom card of the deck and the 27 cards you just
ran. Utilizing the break, throw the just run cards back to the top of the deck. Notice the
easy to remember mirror image in this dial.
5. Cut top 3 cards to bottom of deck.
6. Deal 5 hands of poker.

Notice there are great deals all around. Player one gets a three-of-a-kind in the value of the
card which precedes the upper value of the full house — the one you cut to the top of deck
before performing the dial in step 4. Players two, three and four all get two pair.

Figure 1. Any named full house w/ dial method.

1 See the Dialing and Phone Numbers section in this book for an explanation of dialing.
2 The angle jog break used in The Red sh False Shu e.
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 Five Card Poker

To restore the stack, gather the cards from the table in order and place back on top of the
deck. Cut bottom 3 cards from the bottom of deck back to top. Dial 94149. The deck is now
back in TETRA-RED order.

Note: this deal could also be used for any named 3 of a kind, which you deal to spectator 1,
but unfortunately you also dealt yourself a full house. The named 3 of a kind in the above
example is the fours. Remember the 4D is the card we cut to the top of deck for this
example deal. So it’s the same exact procedure. The winning full house upper value will be
the value in the stack after the named 3 of a kind.

<under construction>

<chicken scratch>
Note: Some other interesting dials from starting order:
1. 9C (8)99 QS cut to face, deal 5 hands
2. 9C 2434517 5FH9PD , cut bottom 5 cards to top of deck, deal 5 hands
3. 9C 7514243 5FH2PD
</chicken scratch>

FARO METHOD
<under construction>

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 Five Card Poker

DEALS ALONG THE FARO WHEEL

As with all tetradistic stacks, the deals for two pair, three-of-a-kind, full house and four-of-a-
kind are often obtained via the faro wheel. You can traverse the 8 out-faro wheel dealing
various hands in both poker and Hold’em. Eventually returning back to TETRA-RED starting
order after 8 out faros. You can then perhaps end your gambling demonstration back in
Tetra-Red starting order with one of the Royal Flush or Steel Wheel deals of either Hold’em
or poker.

Some excellent full house hands can be obtained 3 out faros from TETRA-RED starting order.

There are excellent 4 of a kind deals at 4 out faros from TETRA-RED starting order.

See Appendix A for a computer generated list of poker deals along the faro wheel for Tetra-
Red with the 9C cut to face.

You can cut any card to face in TETRA-RED before traversing that faro wheel, to change the
values which are dealt in the hands. One decent faro wheel for TETRA-RED is with the Jack of
Hearts cut to face. The JH cut to face makes for a nice Jacks/King full house Hold’em deal 3
faros out; as well as an excellent four-of-a-kind Hold’em deal of Aces at 4 faros out.

I haven’t yet modi ed my program to detect hands with two pairs, going to be doing that
soon to add to Appendix A. <under construction>

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 Card Spellings

CARD SPELLINGS FOR STARTING ORDER

From top of deck:
1. 2S: top card or swap w/ QH below1 for Queen of Hearts to be the top card.
2. QH: double lift or swap w/ 2S above1 and count 2 cards.
3. 5D: triple lift 🎩 🎩 — this card can be perfectly spelled to with 6S cut to face.
4. JH: Spell J-A-C-K.
5. 8C: Spell E-I-G-H-T.
6. 10H: Spell T-H-E-T-E-N or H-E-A-R-T, next card. <name of person>
If their rst name, nickname or last name is ve or six letters long you could
have them spell that instead. E.g. the name A-N-D-R-U or A-L-L-A-N would work.
7. 7C: Count 7 cards.
8. 4D: Spell T-H-E-F-O-U-R, next card or D-I-A-M-O-N-D, next card. <name of person>
If their rst name, nickname or last name is seven or eight letters long you could
have them spell that instead. E.g. the name A-C-K-E-R-M-A-N would work.
9. AS: Spell A-C-E-S-P-A-D-E, next card or Spell A-C-E-S-P-A-D-E-S.
10. 3D: Count 3 cards then spell D-I-A-M-O-N-D.
11. KS: Spell K-I-N-G-S-P-A-D-E-S, next card.
12. 6C: Count 6 cards and spell C-L-U-B-S, next card
or burn rst card2 and spell S-I-X-O-F-C-L-U-B-S, next card.
13. 9H: Spell N-I-N-E-O-F-H-E-A-R-T-S, next card.
14. 2D: Spell T-W-O-O-F-D-I-A-M-O-N-D-S, next card.
15. QS: Burn rst card2 and spell Q-U-E-E-N-O-F-S-P-A-D-E-S, next card.
16. 5C: Burn rst card2 and spell T-H-E-F-I-V-E-O-F-C-L-U-B-S, next card.
17. JS: Burn rst card2 and spell T-H-E-J-A-C-K-O-F-S-P-A-D-E-S, next card.
18. 8H: Burn rst card2 and spell T-H-E-E-I-G-H-T-O-F-H-E-A-R-T-S, next card.
19. 10S: Count 10 cards then Spell O-F-S-P-A-D-E-S, next card.
20. 7H: Spell S-E-V-E-N-O-F-H-E-A-R-T-S-I-S-H-E-R-E, next card
or Spell T-H-E-S-E-V-E-N-O-F-H-E-A-R-T-S, quad lift next card.
21. 4C: Spell T-H-E—F-O-U-R-O-F-C-L-U-B-S-I-S-H-E-R-E, next card
or Spell Y-O-U-R-F-O-U-R-O-F-C-L-U-B-S-I-S-H-E-R-E.

The spectator can arrive to 20 of 21 cards unassisted if the 2C and QH are swapped
beforehand. The issue with spelling to the 5D is resolved in the Spellicosis routine since it can
be spelled to as the last card from the top with 6S cut to face — no magician assistance is
needed whatsoever now in Spellicosis. The reason for the unusual spelling of the last card,

1 See Swapping the Queen with the Two under Transforma ons section.
2 I got this brilliant idea from Andy Choy’s Handy Speller. “It’s not the top card”, then burn it and spell
to their card. See Handy Speller later in this chapter. Also check out the “0, 1 or 2 Burn Question”
mental sleight later in this chapter, which is using Andy Choy’s idea to burn a card when spelling.
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 Card Spellings
the 4C, is that it needs the ability to be spelled to in order for a spectator in Spellicosis to be
able to spell to any of 52 thought of cards.

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 Card Spellings
Spelling/Arrivals FACE UP from the BOTTOM of the deck, starting order:

(Note: this set of spellings are not used in Spellicosis; only spelling from the top of the deck is
used in that routine — previous page — along with the 34 spellings with 6S cut to face —
following pages.)

1. 9C: top card

2. 6D: “1 or 2” question, optionally with criss-cross cut
3. KH: <nil> use a name or something else
4. 3S: Count three cards, next card.
5. AH: Spell A-C-E by counting 4 as 3, next card 🎩
(See Coun ng 7 Cards as 5 under Sleights for Memdeck Work.)

6. 4S: Count 5 as 4, next card 🎩

(See Coun ng 7 Cards as 5 under Sleights for Memdeck Work.)

7. 7D: Count 7 cards

8. 10C: Spell T-E-N-C-L-U-B, next card or T-E-N-C-L-U-B-S
9. 8D: Count eight cards, next card.
10. JC: Spell J-A-C-K-C-L-U-B-S, next card.
11. 5S: Spell F-I-V-E-S-P-A-D-E-S, next card.
12. QC: Spell Q-U-E-E-N-O-F-C-L-U-B-S
13. 2H: Spell T-W-O-O-F-H-E-A-R-T-S by counting 12 as 11, next card. 🎩
(See Coun ng 7 Cards as 5 under Sleights for Memdeck Work.)

14. 9D: Spell N-I-N-E-O-F-D-I-A-M-O-N-D-S

15. 6S: Spell T-H-E-S-I-X-O-F-S-P-A-D-E-S, next card.
16. KC: Spell T-H-E-K-I-N-G-O-F-C-L-U-B-S by counting 15 as 14, next card. 🎩
(See Coun ng 7 Cards as 5 under Sleights for Memdeck Work.)

17. 3H: Spell T-H-E-T-H-R-E-E-O-F-H-E-A-R-T-S, next card.

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CARD SPELLINGS FOR 6S CUT TO FACE

If you cut 6S to face, from the top of the deck you can spell to a consecutive run of 14 cards,
starting with the fourth card down, the 5S. This is the longest run of consecutive spell-to’s in
TETRA-RED. However you can get 17 consecutive spell to’s from the very top of the deck if
you swap out the QC with the nearby 6S. This is handy for routines such as A Close
Encounter by Allan Ackerman — in Allan’s new book All-In Volume II, on page 168.

1. 9D: top card

2. 2H: count two cards
3. QC: triple lift — this is the only card preventing this from being a 17 card consecutive
spell to — starting with the very top card location in the deck. A simple work around is to
swap the QC with the 6S three cards back. Then just spell S-I-X to arrive to the 6S here.
This swap can be done by cutting the 6S to the top of the deck instead of to face and
dialing [4]-1-[2], concealing the [] part with The Red sh False Shuf e — see section on
Concealing Top Stock Reversal With the Red sh False Shu e as well as Swapping Cards Via Dialing
for further information. Just keep in mind for the rest of the routine that those two
memdeck locations are swapped, so if someone calls out the 6S or the QC just think of
the swapped card instead. When you are ready to swap it back you can cut the QC to
the top of the deck and dial [4]-1-2 and you are back in stack.

The fourteen consecutive spell to’s:

4. 5S: Spell F-I-V-E
5. JC: Spell J-A-C-K, next card
6. 8D: Spell E-I-G-H-T, next card
7. 10C: Spell T-E-N-C-L-U-B
8. 7D: Count 7 cards, next card
9. 4S: Spell F-O-U-R-S-P-A-D-E
10. AH: Spell A-C-E-H-E-A-R-T-S, next card
11. 3S: Spell T-H-R-E-E-S-P-A-D-E-S
12. KH: Spell K-I-N-G-O-F-H-E-A-R-T-S
13. 6D: Spell S-I-X-O-F-D-I-A-M-O-N-D-S
14. 9C: Spell T-H-E-N-I-N-E-O-F-C-L-U-B-S
15. 2S: Spell T-H-E-T-W-O-O-F-S-P-A-D-E-S, next card
16. QH: Spell T-H-E-Q-U-E-E-N-O-F-H-E-A-R-T-S
17. 5D: Spell T-H-E-F-I-V-E-O-F-D-I-A-M-O-N-D-S

And might as well throw in the last three for fun:

18. JH: Spell T-H-E-J-A-C-K-O-F-H-E-A-R-T-S, triple lift next card.
19. 8C: Spell T-H-E-E-I-G-H-T-O-F-C-L-U-B-S, quad lift next card.

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Spelling/Arrivals FACE UP from the BOTTOM of the deck, for 6S cut to face:

1. 6S: top card — or QC if you previously swapped the 6S with the QC. Forcing the bottom
card by having the spectator do a criss-cross cut is a pretty powerful option here.
2. KC: The “1 or 2” / “ rst or second” question or the magician cops the bottom card. Or
better yet see Card 51 Arrival in the Mnemonicosis Ideas article of the Stack Independent
Rou nes chapter.
3. 3H: Count 3 cards
4. AC: Spell A-C-E, next card
5. 4H: Spell F-O-U-R, next card; or Count 4 cards, next card.
6. 7S: Spell S-E-V-E-N, next card
7. 10D: Spell Y-O-U-R-T-E-N; or T-H-E-T-E-N, next card; or D-I-A-M-O-N-D. <name>
If their rst name, nickname or last name is six or seven letters long you could
have them spell that instead. E.g. the last name T-A-M-A-R-I-Z would work.
Another solution is to tell them to count to their lucky number seven.
8. 8S: Count 8 cards — eight is a lucky number in Chinese and certain Asian cultures.
9. JD: Spell Y-O-U-R-J-A-C-K, next card; or spell D-I-A-M-O-N-D-S, next card. <name>
If their rst name, nickname or last name is eight or nine letters long you could
have them spell that instead. My name J-E-N-N-I-F-E-R or A-C-K-E-R-M-A-N
would work here.
10. 5H: Spell F-I-V-E-H-E-A-R-T-S or F-I-V-E-H-E-A-R-T, next card.
11. QD: Spell Q-O-F-D-I-A-M-O-N-D-S or swap w/ 2C below and spell T-W-O-O-F-C-L-U-B-S, next.
12. 2C: Spell D-E-U-C-E-O-F-C-L-U-B-S or swap w/ QD above and spell
Q-U-E-E-N-D-I-A-M-O-N-D. Alternatively, magician spells T-W-O-O-F-C-L-U-B-S with
a double lift on last card — see Coun ng 7 Cards as 5 under Sleights for Memdeck Work.
13. 9S: Spell N-I-N-E-O-F-S-P-A-D-E-S, next card
14. 6H: Spell T-H-E-S-I-X-O-F-H-E-A-R-T-S
15. KD: Spell K-I-N-G-O-F-D-I-A-M-O-N-D-S, next card
16. 3C: Spell T-H-E-T-H-R-E-E-O-F-C-L-U-B-S, next card
17. AD: Spell T-H-E-A-C-E-O-F-D-I-A-M-O-N-D-S, next card

In the above as you see for the QD it’s an unusual way to arrive to it. Also the 2C needs the
magician to count the cards with a double lift. However, if you swap the QD with the
adjacent 2C beforehand — e.g. spread cull — the spectator can then spell to both of them
easily. This swap would allow the spectator to arrive to any of the bottom 17 cards
unassisted.

With the QD and 2C swapped along with 6S and QC as well, the spectator can arrive to any
of 34 cards unassisted — 17 from the top and 17 from the bottom — with the KC being the
most dif cult to arrive to (i.e. the “1 or 2” question or the cop). The 10D and JD are the next
weakest spellings but they work — spelling to the name of person is better for these I think.

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SPELLING MNEMONIC VISUALS

<under construction — experimental>
V-A-L-U-E This scene is on the “Ye Olde VALUE”, a small
Card Face T/B Loc PEG sailing ship. Despite it being tattered and
weathered, it has a tall pristine white SaiL in
JH 9C T Exact Jack
perfect condition. There’s also a huge Crack half
8C 9C T Exact CoFFee way up the mast — it’s a wonder why it hasn’t
6S QC T Exact SaSH snapped yet. Flying just above the deck is a
crazy DoVe thinking it is a seagull. The dove is
5S 6S/QC T Exact SaiL
taunting the sea-SiCK CaT below. The cat is
JC 6S/QC T Next Crack both puking and shedding HaiR all over the
8D 6S/QC T Next DoVe deck, while trying to catch the dove. Captain
AC 6S/QC B Next CaT Jack, looking particularly dapper this morn, is up
high in the crow’s nest — 9C cut to face — sipping
4H 6S/QC B Next HaiR
the perfect cup of rum spiked CoFFee trying to
7S 6S/QC B Next SiCK
wake up — the rum is helping with all the ruckus
coming from the cat and dove below.
V-A-L-U-E-O-F-S-U-I-T
Card Face T/B Bu Swap Loc PEG
rn This scene is at a discount dance
9H 9C T — — Next HiP HoP
club which oddly requires the
2D 9C T — — Next DoN
gentlemen to wear suits — “Value of
QS 9C T Y — Next Scream Suit” spelling. The club has an
KH 6S/QC T — — Exact King upper dance deck, a DJ stage mid
level, along with a lower dance oor
6D 6S/QC T — — Exact DJ
below the DJ.
2C 6S/QC B — QD Next CaN Besides wearing interesting out ts,
the King loves DJ’ing! He looks
9S 6S/QC B — — Next SouP
fabulous on the stage and is doing a
KD 6S/QC B — — Next Ding perfect job — exact spellings for both.

Nothing is right up in the upper dance deck — all “next” spellings from
9C cut to face. The Scream of Spades is on FIRE — requires a burn —
dancing wildly to the Hip Hop music playing, screaming in self
approval. DoNald Trump notices and starts doing his YMCA dance
near her.

Below on the lower dance oor, nothing is right as well — all next
spellings. Ding of Diamonds catches notice of this, pulls his bell out of
his jacket and dings it in front of Melania Trump. Melania then catches
Donald and turns as red as a CaN of tomato SouP.
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T-H-E-V-A-L-U-E-O-F-S-U-I-T
Cut
Card Face T/B Loc PEG

5C 9C T Next KiLL
JS 9C T Next Sack
8H 9C T Next HiVe
9C 6S T Exact CaPe
2S 6S T Next SuN
QH 6S T Exact Queen
5D 6S T Exact DoLL
6H 6S B Exact HaSH
3C 6S B Next CoMb
AD 6S B Next DaTe

COUNTING
Cut
Card T/B Swap Loc PEG
Face
2S 9C T QH Exact SuN
7C 9C T — Next CaKe
9C
6S
6S
6S
6S
6S
6S
6S

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 Card Spellings

SPELLICOSIS
Jennifer Gwinn

EFFECT: “Which of the two of you is the most mysterious?” Jack responds that he is and Jill
nods. “Wonderful Jack, we’ll get right back to you in a moment.” Jill is asked pick any card,
to look at it and remember her card — no one sees Jill’s card but herself. The card is then
returned to the deck. The deck is thoroughly shuf ed, cut and handed to Jack. The magician
takes a few steps back away from the deck now sitting in Jack’s hands. “Jack, you said you
were the mysterious type, so here we go! We are going to do things a bit differently with
you than with Jill.” Jack nods. “Jack, I want you to think of any card in the deck. Any card
you like. And after you have thought of one, know that you can change your mind.” Jack
says he has thought of one. The magician asks Jack, “Are you sure you want to keep that
thought of card? You can change your mind if you like.” Jack says, “I’m good and
committed to the card.” The magician says, “Now Jack I want you to connect with Jill and
also think of your card. I want you to cut the deck where you think it might locate both Jill’s
card and the card you are thinking of.” The magician instructs Jack to proceed with the cut.
Jack performs the cut. The magician nods then says, “So Jack and Jill, no one in the world
knows the cards you are both thinking of except yourselves right?” They nod. “I thoroughly
shuf ed and cut the deck and handed it to you Jack. My hands have been off the deck the
entire time talking to you. You made a cut to the deck where you think it might lead you to
both of your thought of cards, even though Jill is the only one who knows her card and you
hadn’t even shared what card you are thinking of with me or the audience.” Jack and Jill
nod. The magician asks both Jack and Jill for the rst time to reveal the cards they are
thinking of to the audience. Jack is then asked to spell to Jill’s card from where he cut, he
does so and Jill’s card is there! Jill is asked to spell to Jack’s card; she does so and Jack’s
card is there!

SPOILERS:
Started on this spelling routine for TETRA-RED on March 6, 2024. It’s very much luck that the
TETRA-RED stack lends itself well to spelling. Turns out the spectator can spell/arrive to every
single card in TETRA-RED with this routine, only needing three adjacent card swaps, which can
easily be covertly done in front of the spectators.

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 Card Spellings
So how does this work? How can any thought of card be spelled to?

The following diagram illustrates how one can spell or arrive to any card Jack is thinking of.
With QC cut to face — after swapping 6S for QC — one can spell to any of 34 thought of
cards, with 17 being spelled from the top of the deck and 17 spelled from the bottom of the
deck. Also in TETRA-RED starting order, from the top, one can arrive to all 21 cards; see Card
Spellings for Star ng Order a few pages back for the details.

In the diagram below, the underlined cards and the arrows indicate the three swaps which
need to be executed before performing the routine — this xes four spellings.

Notice the Four of Clubs — the 21st card — is the last card you can spell to from the top of the
deck in starting order. This just so happens to be the card immediately preceding the AD;
the AD is the last card (17th card) you can spell to from the bottom of the deck with QC (6S)
cut to face. So this barely covers the entire range of 52 thought of cards, which is pretty neat
since I did not design this stack with spelling in mind whatsoever; I focused on making a
random looking Si Stebbins based tetradistic stack with good Hold’em and Five Card Poker
deals. Also in the diagram below, as you can see the overlap of the two sets of spellings is
only three cards: the QH, 2S and 5D.

Besides the above, another total coincidence, and what makes this routine even work, is that
with QC cut to face — after swapping 6S for QC — you can spell to exactly T-H-E-N-I-N-E-O-F-
C-L-U-B-S. I got very excited when I saw this because I know, after spelling 9C, from this
point we are in starting order and can then spell up to 21 more cards from there — see pink
box below.

So as you can guess now, Jill’s card a forced Nine of Clubs. This allows for Jack to arrive to
any thought of card. Sometimes the spectators will need spell Jill’s 9C rst other times it will
be Jack’s spelled rst depending on which card Jack is thinking of. All scenarios are
covered in detail in the subsequent pages. For example, Jack can leapfrog off of Jill’s 9C
spelling, to arrive to his thought of 4C twenty one cards away.

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SETUP:
1. Swap the 6S with the QC which are just 4 cards apart. One way to do this covertly in
front of the spectators is to cut the 6S to the top of the deck and use the Swapping Cards
Via Dialing method described in Sleights for Memorized Deck Work. The dial is [4]-1-[2],
which can be concealed with The Red sh False Shuf e. See Concealing Top Stock Reversal
with The Red sh False Shu e under Sleights for Memorized Deck Work.
2. Then swap the 2C with QD and the 2S with QH. These cards are directly adjacent to
each other and the swaps can easily be done with a single spread cull pass.

METHOD:
1. Using your favorite method, force the Nine of Clubs on either spectator; if the 9C card
leaves the deck make sure it is returned to its original position before proceeding with
the routine, preserving stack order. If the pair of spectators are male and female perhaps it
might be advantageous to force the 9C on the male participant. This is because the Queen of Hearts
is often thought of by female spectators and it just so happens that the QH is the card directly
adjacent to the 9C in this card setup. (Normally the 2S would be the card adjacent to the 9C but the
2S and QH are swapped before this routine begins.)
2. Cut QC to face, in whatever covert manner you choose. This is the 34 speller (17 from top
and 17 from bottom) starting point.
3. Do a false shuf e and false cut and hand the deck to Jack.
4. While Jack is holding onto the cards, have Jack think of any card and allow him to
change mind — see effect description.
5. Ask Jack to cut the deck anywhere he likes by rst cutting off a packet of about half the
deck and sit on the table. Ask Jack to sit the other half next to it and to complete the
cut. See The Spectator Cuts in Sleights for Memorized Deck Work — a sleight which results in
either a false tabled cut or a criss-cross cut. This results in the spectator believing they
cut the deck but they really haven’t. In the odd case where they go for the wrong half when
completing the cut you prompt them to mark the cut and then it becomes a criss-cross cut — either
situation works well for this routine. Again see The Spectator Cuts.
6. Recap the impossibility of it all — see effect description. This builds up the suspense, and
also allows for time misdirection if the cut the spectator made in the previous step ends
up being a criss-cross cut.
7. Have both spectators spell to each other’s cards. Depending on which card Jack is
thinking of the order to do things will vary:
A. Jack’s card is spelled from the bottom. Have Jack spell to Jill’s 9C from the top of the
deck, turning cards face up as he spells. Then have Jill spell to Jack’s card from the
bottom, starting with the QC.

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B. Jack’s card is spelled from the top but precedes the 9C. Have Jill spell to Jack’s card
from the top of the deck, turning cards face up as she spells. Then have her return
the counted cards to the top, resetting the cards exactly as they were before starting
to spell to Jack’s card. This is legit because the magician told Jack to cut where he
thinks it will locate both of their cards, so it makes sense to spell both cards from the
exact same cut point. Then have Jill hand the deck to Jack and have Jack spell to her
card, the 9C.
C. Jack’s thought of card is the 9C, same as Jill’s forced card. Share the impossibility of
this that they would both think of the same card! Have Jill spell to the Nine of Clubs
from the top of the deck.
D. Jack’s card is the QH or 2S. Have Jack spell to Jill’s 9C. Have Jill turn over the next
card for Jack’s QH or count 2 more cards for Jack’s 2S.
E. Jack’s card is the 5D. Have Jack spell to Jill’s 9C rst, turning the cards face up as he
spells. After done have him return the cards back to the top, as they were before just
before he started spelling. Have Jill spell to Jack’s 5D.
F. Jack’s card is spelled from Starting Order (9C):
1. If Jack’s thought of card is more than say nine cards past the 9C — i.e. three of
diamonds or after — and the spectator ended up doing the uncommon criss-cross
cut instead of the false cut:
a) after having the spectator lift the top packet of where they cut to, have them sit
the lower packet on top of it to get the upper packet out of the way — as we are
going to be spelling from the top of where they cut to. This results in a single
pile of cards in unchanged order, as if Jack had cut the deck in the preferred
most common manner described in The Spectator Cuts.
2. Have Jack spell to Jill’s 9C, turning the cards face up as he spells. Then from that
point — i.e. starting order — have Jill spell to Jack’s card.
a) If Jack’s thought of card is the QS, 5C, JS or 8H this requires a burn of the top
card rst1 — the Queen of Hearts — before spelling to it. Actually two cards can
be burned for any of these four cards, which results in a perfect spelling.
Here is one way to handle this which I think might be pretty clever. After Jack
spells to Jill’s 9C, ask Jill if she wants to burn 1 or 2 cards or no cards at all. If
she says “no cards” then ask Jack the same question. Here is how to handle all
three cases.
(1) No cards are to be burnt. If they both say to burn no cards, then the
magician must assist with the arrival to Jack’s thought of card. [There is less
than a 1% chance a magician would need to assist in this routine.] This can
be done with a double lift at the end, or by counting two cards as one with
a push off as described by S.W.E. in Expert At The Card Table. After the
magician spells to the thought of card, remind them that if they had burnt

1This is a great idea I got from Andy Choy from his Handy Speller, which is included in this chapter in
subsequent pages.
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even 1 card — let alone 2 cards — Jack’s card would have been passed up.
This makes it feel like the spectators’ decisions made the outcome possible.
(2) One card is to be burnt. Have Jill burn the card and then have her spell to
Jack’s thought of card. It will be the next card. Remind them if they had not
burned any cards that Jack’s thought of card would have never been
reached.
(3) Two cards are to be burnt. Have Jill burn two cards and then have her spell
to Jack’s thought of card. Remind them if they had not burned two cards
then Jack’s thought of card would have never been reached. If they had
burnt none or even one, Jack’s card would not be reached.

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 Card Spellings

TWO SICK FLIES SPELLER

Shay Brunson

If you start to mess up your stack and want to proceed into shuf ed deck work, here’s a
sequence of six cards in TETRA-RED — close together — which can be easily culled out and
used in the stellar impromptu spelling routines such as Dani DaOrtiz’s Invisible Speller.

Cull the following six cards from this block of seven consecutive locations in TETRA-RED:
Loc Card Length
25. Six of Hearts 11
26. <unused> — (the nine of spades isn’t used)
27. Two of Clubs 10
28. Queen of Diamonds 15
29. Five of Hearts 12
30. Jack of Diamonds 14
31. Eight of Spades 13

And then arrange the culled cards in perfect spelling order, using the mnemonic:
Two sick ies ate Jack and Queen
Two Two of Clubs 10
Sick Six of Hearts 11
Flies Five of Hearts 12
Ate Eight of Spades 13
Jack and Jack of Diamonds 14
Queen Queen of Diamonds 15

As an alternative to culling and sorting by hand, you can just cut the KD to face and then
covertly dial1 [3]21-[2]13. For the digits in [], this action can be concealed with the Red sh
False Shuf e. See Concealing Top Stock Reversal with The Red sh False Shu e under Sleights for
Memorized Deck Work chapter. So this whole process of culling and sorting the cards can be
done face down in front of the audience just by cutting KD to face and recalling the phone
number above. After dialing the bottom six cards are in Two Sick Flies order.

Keep the above packet of 6 cards in order at all times. They are perfect VALUE OF SUIT
spellings. This sequence expects exactly 9 cards to be on top of the deck prior to this set of
six cards in order to be perfectly spelled to. (The spectator can actually spell to their
thought of card before it is even revealed to the magician which card they are thinking of.)
The top 9 cards can be shuf ed and be in totally random order — it doesn’t matter. But it
does matter that this block of 6 cards remains in order at all times and placed directly below

1 See “Dialing and Phone Numbers” under “Ge ng Into Tetra-Red”.

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the shuf ed group of 9 cards. This packet of 6 speller cards can be false shuf ed to maintain
the illusion of the entire deck getting shuf ed — such as with the optical shuf e.

An alternate handling to the above.

After getting the cards into Two Sick Flies order, start with the 6-card sequence on top of the
deck. Then run the 6 cards into your left hand and throw the rest of the deck on top. This
results in the 2C at the face of the deck with the sequence reversed. This would allow you or
others to mix the top portion of the deck like in Dani DaOrtiz’s Invisible Speller, while
preserving the bottom stock. Then when it comes time to shuf e the bottom stock of the
deck, the magician can actually do a run sequence of 6 again (or more depending on how
many cards the magician retains), reversing the cards back into original Two Sick Flies order,
such that the six cards are now on top of the portion held by the magician. Then, proceed as
normal by adding nine random cards above the sequence.

Lift shuf es and/or jog shuf es, which maintain/control the top stock, can also be used to
create the sensation of a well-shuf ed deck if you want to begin or end with more false
shuf es

Check out Dani DaOrtiz’s Invisible Speller routine. He has many chaotic subtleties which
make this routine absolutely unbelievable. Just wanted to create this article to share that
these are a good set of six cards to use for this routine of his or similar. At the time of this
writing, the Invisible Speller routine available for purchase as a video download at Vanishing
Inc.

Utilize the TETRA-RED memdeck order when naming cards. A big advantage of using a
memorized deck in an impromptu routine such as Invisible Speller, is that you can call off
these six cards from the invisible deck in TETRA-RED memdeck order: starting with the 6H,
skipping over the 9S and ending with 8S.

The mnemonic Shay came up with for remembering this

sequence cracks me up! Makes me think of two large
mutant zombie ies wreaking havoc in the palace.

A mnemonic for the transformation dial [3]21-

[2]13. The giant mutant zombie ies Ding (KD)
the King’s dinner bell — cut the KD to face — and
then pursue the Jack and Queen. The zombie
ies love the sweet taste of the royalty’s [M]iNTy
a[N]aToMy — dial [3]21-[2]13. In the Major System
M=3, N=2 & T=1 — vowels are ignored. See The
Major System under Memoriza on Chapter.

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HANDY SPELLER
Andy Choy

The following is Andy Choy’s fabulous mnemonic system for spelling to any card at location 12 in the
deck. Although the following article was written from the perspective of it being with a shuf ed deck,
I’m thinking it could be somehow used in combination with a memorized deck, such as in an adaptation
of the routine previously mentioned: Spellicosis — perhaps instead of forcing the nine of clubs, it is a free
selection. This system could also have its uses for Mnemonicosis if the spectator cuts to a card which is
12 cards away. The entire article below is as written by Andy Choy which was previously published in
Hermit in May of 2023. Thank you Andy for graciously allowing me to include your mnemonic system
in this book.

There are many different methods of spelling to a spectator's selected card. Most require
the deck to be in a known order or extensive memory work. Here is my version that can be
performed impromptu from a shuf ed deck. While it does require some memory work, a
"handy" mnemonic makes it easy to remember.

EFFECT: The Spectator selects a card from a shuf ed deck which is subsequently returned
to and lost somewhere in the deck. The Spectator announces his/her card and the
performer instantly spells to the selected card.

METHOD: Spread cards face down between your hands and allow the spectator to make a
free selection of any card. However, casually upjog the rst 11 cards during the spreading
procedure by pushing over a packet of four cards, another packet of four, and then a packet
of three. While the spectator is looking at his/her card, return the packet of cards below the
upjogged cards to the bottom portion of the deck in the
left hand. Now reach out with the left hand and have the
spectator replace his/her card face down on top.
Sloppily place the remainder of cards reassembling the
deck and square everything together. Done casually, it
should appear that the card was returned to the same
location it was selected from. Proceed with your favorite
false shuf e and false cut.

The selected card is now secretly in the twelfth position

from the top of the deck. We are now going to
determine the number of letters to spell to. A slightly
different spelling procedure will be used depending on
the particular number. Ask the spectator what card he/
she is thinking of and refer to the adjacent mnemonic
diagram.
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Starting with the left thumb touching the tip of the index nger as 9, count to the
appropriate section of the index nger for a short (3 letters), medium (4 letters), or long (5
letters) value adding a count of one each time you move your thumb. Continue moving
your thumb as required to adjust for the suit, adding 0, 1, or 2 to the count. The index nger
represents the rst two suits: Spades has one point and Hearts has two halves. The middle
nger represents "Of Clubs" and is simply the suit remaining as Diamonds are already
associated with the ring nger.
1. If the number is 9, deal out cards singly while spelling the value, 2 cards for the word
"of", and suit of the card. The selected card will be the next card in the deck.
2. If the number is 10, burn the top card by turning it over and announcing, "It's not the top
card." Deal out cards singly while spelling the value and suit of the card. The selected
card will be the next card in the deck.
3. If the number is 11, deal out cards singly while spelling the value and suit of the card.
The selected card will be the next card in the deck.
4. If the number is 12, deal out cards singly while spelling the value and suit of the card.
The selected card will be the last card dealt.
5. If the number is 13, deal out cards singly while spelling the value and suit of the card but
push over the last two letters and drop them on the pile without changing their order.
The selected card will be the last card dealt.

TIP: The rst three values (9, 10, and 11) always result in the NEXT card after spelling while
the last two values (12 and 13) result in the LAST card dealt.

REMEMBER: Clubs always includes an additional two letters for the word “of”.

CREDITS: Spelling effects have long been a staple of card magic with an entire chapter of
Encyclopedia of Card Tricks by Jean Hugard devoted to the topic. Flash Speller by Ed Marlo
and Simon’s Flash Speller by Simon Aronson both accomplish a similar task of arriving at the
length of spelling the name of any card. Ramón Riobóo details a different system whereby
any card can be spelled to in 12 letters in his excellent book Second Thoughts. The speci c
mnemonic device and spelling procedure in this effect are my own innovations and
contributions to this classic plot.

I really enjoy Andy’s method above. I want to add when I use this mnemonic system of his, trying to
recall which nger is what suit, I just think of SHoCkeD Si Stebbins order. It’s an alternative to
CHaSeD. SHoCkeD order is Spades, Hearts, Clubs, Diamonds and is commonly used by European
magicians such as Woody Aragón. It is interesting the “SHoCkeD” mnemonic for remembering this
order has the rst two capitalized letters together, the SH with the other two suits separated. This ts in
nicely with Andy’s system. The rst nger share both Spades & Hearts and are the rst two letters
in SHoCkeD. The middle nger is Clubs and is also the middle letter in SHoCkeD. And nally the
last nger in Andy’s system is Diamonds which just so happens to also be the last letter in SHoCkeD.
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ANOTHER SPELLING SYSTEM

Clark Kjorlaug

This is another fabulous spelling system by Clark Kjorlaug based primarily off Ramon Rioboo’s spelling
system in Second Thoughts, along with others including Andy Choy’s Handy Speller system. Although
this system was designed to be used in impromptu situations, it can have its uses in memorized deck
work. For example if it just so happens a spectator in a Mnemonicosis routine cuts the deck such that
the thought of card is at — or possibly near — location 12 or 41, you can spell to it from top or bottom
respectively; a bit of quick math can help you determine this during the routine. I really like Clark’s
presentational idea of the routine being a lie detector test, seems like a lot of fun. This idea can be
incorporated with Andy Choy’s Handy Speller as well. Now, here’s Clark:

Here is another version/system where a selected card can be located by spelling the name
of ANY card in the deck. I developed this system based on a few different ideas in print,
modifying some of the details to t my preferences and desire to make the system as simple
as possible. This is by no means a revolutionary new system since, as mentioned, the idea is
based on the work of many others with some simpli cations to t into the structure of a few
routines I have been playing with. It is also my preferred method and there are many others
that are just as good, if not better, than this one.

I will rst provide a couple of presentation ideas before getting into the method.

EFFECT: The spectator selects and remembers a card that is then returned and lost into the
deck.
The magician can then use a couple of different ways to locate the card:
1. The spectator names their chosen card and the magician then spells the name and nds
the chosen card at the end of the spelling.
2. The spectator who chose the card or any other spectator is invited to name ANY card in
the deck that they want and the chosen card is found by spelling the name of that
randomly named card.
3. The magician can present the deck as a lie detector and the spectator is asked to name
their chosen card with the caveat that they can lie and name a completely different card
or tell the truth. Despite lying or telling the truth, the selected card is found at the end of
the spelling.

METHOD: This effect uses a spelling system where by spelling any card in the deck, a card
located at position 12 in the deck can be found at the end of the spelling. So the basic
method is to control a chosen card to position 12 in the deck.
This can be done in a variety of ways:
1. Control the card to the top and overhand shuf e run it down to card location 12.
2. Force the card at position 12.

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 Card Spellings
3. Spread over 11 cards in small blocks such as with the common 3–2–2–3 count — or any
easy to remember sequence you prefer — and have the chosen card returned under
those 11 cards.
4. With a memorized deck, shift the named card to location 12. This can be done for
example with a cut or a box shift such as Asi Wind’s.
In other words there are many methods to get the card to position 12.

With the chosen card at position 12, one just has to adjust the spelling of the named card in
minor ways in order to arrive at that position at the end of the spelling. This system is based
on the Flash Speller methods developed by Ed Marlo and Simon Aronson. The basic idea is
that every card in a standard deck of playing cards can be spelled using 10, 11, 12, 13, 14, or
15 letters when using the value, the word “of”, and the plural version of the suit. The table
below illustrates this for all of the cards.

While the above table looks like it can be dif cult to remember, the easiest way is to just
remember the starting number in the rst column in CHaSeD order. Ie Clubs = 10, Hearts/
Spades = 11, and Diamonds = 13. That is the number of letters to spell the cards with the
shortest (3 letters) value names. From there you just add 1 to the number of required letters
as you move to the right in the table for the 4 letter and 5 letter valued cards.

This system is a valuable thing to have in the back of your mind in general as it can be used
for a variety of effects where you may want to get to a certain card at a certain location in the
deck. It can be used to supplement a variety of memorized deck routines such as
Mnemonicosis or the Trick that Cannot Be Explained.

Remember that the numbers in that table assume that you are spelling the name with the
value + of + plural version of the suit. So the next step is how to adjust the spelling so that
you always arrive at the 12th card regardless of the named card. My method was initially
based on Ramon Rioboo’s method outlined in his book Second Thoughts. I adjusted some
of the spellings to simplify it as much as possible for my own desire to avoid things like
having to move cards from the top to the bottom or bottom to top. I have also added an
idea by Andy Choy where you can “burn” the top card prior to spelling to move the chosen
card up one spot in the deck. I wanted to keep the number of possible options to a
minimum for ease of memorization.

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Here is the new table showing how to spell the named card and then whether the card at
position 12 becomes the next card turned over or if the spelling ends exactly at the chosen
card.

At rst the table may look confusing but there are only a few cases that are odd and have the
most adjustment. They are the low clubs (A, 2, 6, 10) and high hearts/spades and diamonds
(3, 7, 8, queen). In general there are only a few rules to remember:
1. You only need to burn one card for the low clubs (A, 2, 6, 10).
A. To burn the card you would show the spectator that the card is not on top or bottom
and then loss that top card in the middle or return to the bottom.
B. This handling of burning a card is from Andy Choy and his spelling system
Handy Speller which is in the preceding pages of this Card Spellings chapter.
2. The word “of” is not used for the high hearts/spades (3, 7, 8, queen)
3. The word “of” is NEVER used for diamonds.
4. The only time the suit is not plural is for the high diamonds (3, 7, 8, queen).

Using the above rules you end up with the following overall condition. This table shows that
by using the above rules you can reduce the number of letters required to spell the name to
10, 11, or 12 and for the case of spelling with 10 letters, by burning a card, you have moved
the selected card to position 11.

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As you can see this will always put the chosen card at the location needed to either be
shown as the next card after the spelling or exactly on the last card of the spelling.

CREDITS: There are several resources that have delved into the subject of spelling systems.
The Encyclopedia of Card Tricks by Jean Hugard has as section on it. Flash Speller by Ed
Marlo and Simon’s Flash Speller by Simon Aronson in his book Try The Impossible cover this
topic. As mentioned my method started with a Ramon Rioboo’s great system outlined in his
book Second Thoughts where his system was used to arrive at the card at position 12. I
recently added Andy Choy’s idea of burning a card to the support the spelling of the low
clubs. This allowed me to x one of the oddest adjustments I originally had requiring using
the word “the” at the beginning of the spelling.

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THE 0, 1 OR 2 BURN QUESTION

Jennifer Gwinn

I learned about the idea of burning a card for certain spellings, from Andy Choy’s Handy Speller
mentioned earlier in this chapter. It’s brilliant! Thank you Andy for giving me the idea to come up with
this little mental sleight.

There are often times at the end of a particular spelling, a magician would need to assist
with a double lift. This would be for spellings which are one shy of achieving a location
where the next card in the deck is their chosen card.

One way of making this hands off is to ask the spectator if they want to burn a card or two.
For example, “Now, would you like to burn a card from the top or not? Heck you can even
burn two if you like, it doesn’t matter.”

If the spectator says they don’t want any cards to be burned, and you are working with more
than one spectator, you can ask a second spectator the same question.

In the case where there is 1 or more cards burned, then the spectator can spell to the card
unassisted. Then after they spell to the card you can remind them, had they not burned any
card(s) then they would have never arrived to their chosen card.

If no cards are to be burned, then the magician would spell to their chosen card EXACTLY —
using whatever sleights whether a lift at the end, gin picking while counting, counting two as
one with a push off as S.W.E. describes in Expert At The Card Table, etc. The magician could
then remind them had they burned a single card, let alone two cards, then their chosen card
would have been passed up.

I use this idea in the Spellicosis routine earlier in this chapter, for the QS,5C,JS, 8H spellings.

Afterthoughts: If you are working with more than one spectator, you can start by saying to
both spectators, “Now before we proceed I am going to ask both of you a question. First Jill,
do you want to burn a card from the top or not? Heck you can even burn two, it doesn’t
matter.” If Jill says, “burn no cards”, then ask Jack the same question and proceed with the
previously mentioned steps. If Jill says, “burn x card(s)” then ask Jack if he is okay with that
or wants to change anything. Depending on Jack’s answer, perform the appropriate steps
as already discussed above. By stating upfront you are going to ask them both a question, it
perhaps makes it look less like you are shing for a burn.

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 Memorization

MEMORIZING THE DECK

Deck Memorization Options

Rote Memorization
Memorizing with Mnemonic Visuals
Memorize the First Bank of Cards
Memorize Tetra-Red in its Standard Order

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DECK MEMORIZATION OPTIONS

I am seeing three different primary paths to memorizing TETRA-RED. Normally there would
be two paths, but since TETRA-RED is a parallel tetradistic stack in CHaSeD order on a four of a
kind level, there is a third option as well. All three are listed below:

1. Rote memorization of the entire stack — brute force with no visuals nor math.
a) This is how I memorized my rst memdeck Mnemonica as well as The Redford Stack.
2. Use fty-two Mnemonic Visuals to memorize the entire stack — no math.
a) For example using Rudy Tinoco’s video for memorizing TETRA-RED — more on this later.
3. Memorize the rst bank of thirteen cards with either method above, then use
mathematical calculations to memorize the rest of the deck.
a) Now I am not suggesting here to perpetually use the stack in this mathematical
manner, but only using math initially for the purposes of memorizing the rest of the
deck — much like PEGs are often used only to memorize a deck. The end goal is to
instantly recall any card or any location for the entire deck with zero math nor visuals.
b) There are lot of routines you can do by just memorizing the rst 13 cards or half deck
with a tetradistic stack in CHaSeD order on a four of a kind level. More on this later.

Since this stack is exible, a reasonable approach might be to start with option three,
memorizing the rst bank of thirteen cards with the mnemonic visuals — or by rote alone if you
prefer. Get to where you can fairly quickly recall both the location and card name with visual
recall. Once you have them down, perhaps make yourself a set of 13 ashcards as I mention
in the Rote Memoriza on section later in this chapter, then quiz yourself with them. Drill
yourself to where you can instantly recall the locations for all 13 of these cards as well as all
the card names for all of the rst 13 locations. By this point you’ll know the rst 13 cards by
rote but also with visual backups — which is a pretty solid base. Then as mentioned use
mathematical calculations to memorize the last three banks based off of your solidly
memorized bank of rst thirteen cards. For more information, see the section Memorize The
First Bank of Cards later in this chapter.

If math is not for you in the memorization process — again not suggesting doing math perpetually
but just for initial memorization of the stack — then perhaps go with options one or two: rote or
the visual mnemonic method, for all 52 cards. In the following pages, there are sections on
both Rote Memoriza on as well as Memorizing with Mnemonic Visuals.

I really do like option 2: to memorize TETRA-RED visually in its entirety using Rudy’s video.
This way we learn 104 reusable PEGs for other purposes as well, such as memorizing poker
deals, various dials, etc. throughout this book.

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ROTE MEMORIZATION
Rote memorization is not for everyone. If it is not for you, go ahead and skip to the next
section on Memorizing with Mnemonic Visuals.

Going rote? Okay. I suggest starting by rst memorizing the rst bank of 13 cards. There
are many routines you can do with just 13 memorized keycards. See Memorize the First Bank
of Cards later in this chapter for more information.

Flashcard deck. To make a practice deck, I write “pips” on the backs of red backed Bicycle
cards, with a black sharpie, which correspond to the card location. The “pips” are written in
the same manner as the card name pips, diagonally with the opposing corners upside down
relative to each other. This allows for the cards to be turned either way to see the location
pip. You can then drill yourself with the cards face down by location, or face up by card
value/suit. You can even shuf e them face to face to drill yourself on a mixture of cards and
locations.

My rote process with a fresh stack. When going rote, I start with the rst bank of 13 cards
and sit the rest of the deck aside. If I am brand new to the stack, I will then slowly go
through them in order 1 x 1 and say to myself — or out loud — for each card, three times:
“<the_value_of_suit> is <location>, <location> is <the_value_of_suit>”. Once done, I’ll
shuf e up the 13 cards face up and quiz myself on the locations. If I get it wrong, I don’t fret
at all as it’s entirely expected; I then repeat the same thing three times again for that card
and then move onto the next. Eventually it sinks in with enough repetition. I then ip them
over and quiz myself trying to recall the card names for the locations I see on the back of the
cards — memorizing in this direction takes some work as well, as it is a different type of
memory recall — it’s important to practice it in both directions equally. Then I mix them up
face to face and drill self on the combination of location recall and card recall.

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After memorizing the rst 13 cards via rote, I start working on the rst half of deck. After a
while work up to all 52 cards. Learn one bank of 13 cards at a time, especially if you are
using math here and there as a backup method for recall — see Memorize the First Bank of
Cards later in this chapter for more information on that.

Stack Master. I later then use The Stack Master1 app for my iPhone for drilling me -- it’s
wonderful, like playing a video game with sound effects and all. You can set The Stack
Master to drill you on say just the rst 13 cards if you like. Then perhaps only cards 14
through 26. Then combine them and have it drill you on cards 1 through 26. Do the same
for the last two banks and then ultimately have it drill you on the entire stack.

Here is the Stack Master App drilling on the top 26 cards:

[Link]

Physical ashcard deck before Stack Master. I believe it’s best when initially memorizing the
stack by rote to use ashcards made from physical cards — like for example in the image
above the Stack Master video. Trying to learn it initially with Stack Master makes me feel like
I am under some sort of time pressure, which is personally distracting for me. I start using
Stack Master when I can start recalling cards and locations with the physical deck rst.

Warning. If you do memorize via rote with no mnemonic visuals, make sure to use the stack
regularly as not using it say after a year, you might forget some cards/locations. An advantage
of mnemonic visuals with a memory system like Harry Lorayne’s, is that you can easily recall the PEGs
associated with locations as well as cards, phonetically via The Major System. So with Harry’s system
it is pretty hard to forget the card/location as you can phonetically reconstruct the PEGs which allow
you to mentally recall the scene image you setup for the particular card/location. See Memorizing with
Mnemonic Visuals in the following pages for more on this.

1Stack Master app by Devious-Monkey on the Apple iPhone App store. I assume this is available for
Android as well.
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MEMORIZING WITH MNEMONIC VISUALS

If memorizing by rote isn’t for you, a set of mnemonic visuals can help out tremendously.
There are various visual mnemonic systems out there for memorizing a stack such as the
great video produced by Rick Lax for memorizing Juan Tamariz’s Mnemonica using a set of
throw away PEGs involving characters, actions and objects. I initially set out to make a Rick
Lax-like system for memorizing TETRA-RED with a unique cast of characters representing the
card values along with generated images for all the card / location combos of TETRA-RED.

However, I instead ended up going with The Major System based set of mnemonic visuals,
which Harry Lorayne teaches in his books The Memory Book as well as How to Develop a
Super Power Memory.

Rudy Tinoco, owner of The Magician’s Forum, surprised me recently with something
absolutely spectacular! Out of the kindness of his heart, along with his interest in the TETRA-
RED stack, generated 52 absolutely gorgeous and unforgettable images representing the
cards at every location in TETRA-RED. Rudy uses Harry Lorayne’s memory system which is based
on The Major System. Most of the PEGs Rudy uses are the same as what Harry shares in his
books, with a intelligent tweaks here and there.

Rudy has recently made available on 3/25/2024 a video teaching Harry’s system along with
the PEGs he uses for both card locations and card values — all with his wife Charlene as a
brand new student to Harry’s system. Rudy shares fty-two images he has generated for all
52 location PEGs and goes over them one by one in the video. He then introduces the 52
card PEGs he uses as well, all in the context of constructing 52 additional images for the
memorization of the TETRA-RED stack.

I had already been thinking of using Harry’s system because I knew several magician friends
of mine use it and I recognized the advantages of the system. I even recently purchased The
Memory Book as well as How to Develop a Super Power Memory. When Rudy surprised me
with this set of images he generated along with the video, I just had to go with it! And so I
set out to learn the system along with Charlene in the video. Thank you so much Rudy!

Publishing the use of Harry’s system for memorizing a speci c stack is not new. Patrick
Redford in Temporarily Out of Order introduces Harry Lorayne’s system, the phonetic
alphabet of the Major System which Harry uses, as well as gives textual visual descriptions
for all 52 cards in The Redford Stack. Gracie Morgan also introduces Harry’s system for her
memdeck, The Hacker Stack, in Harry the Hacker article in her Weapons of Mass Destruction1
book.

1 Gracie published this material under the name of S. Youell.

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However, Rudy is the rst I’ve seen making a video tutorial on the system in conjunction with
beautifully generated AI images, for memorizing a particular stack. His wife joining him and
reciting off cards at locations for my stack within just one hour, from the mnemonic visuals,
really made an impression on me.

I started learning and jumping into this system not only from what Rudy did with the video,
but with my in uence from Patrick Redford, Andru Luvisi, Gracie Morgan and Greg Gleason.
But Rudy surprising me with these 104 PEGs and 104 arti cial intelligence images he
generated in a very short amount of time, really made me embrace the system. He makes it
so very approachable.

A huge advantage to The Major System is that both the location and card PEGs can be easily
recalled phonetically given the location number or card value/suit. So for instance, if you
forget the PEG for card location 22, you can then convert that location number into two
letters — two phonetic consonant sounds actually — and then easily recall the PEG associated
with those two sounds. In this case, in The Major System, the letter “n” is used for the
number 2. So the number 22 is a word with the letters N and N in it. All the other letters
must form only a vowel sound; only consonants are counted and there can only be two
consonants in this case, both N’s. So you then recall the PEG you assigned for 22 is NuN. So
then all you have to do is recall what the NuN is doing in the image you generated and this
gives you the image of the card she is
interacting with.

The adjacent image shows the NuN on her rst

DaTe with the Ace of Diamonds. At card
location 22 in TETRA-RED is the Ace of Diamonds.
NuN is the PEG for card location 22. DaTe is the
PEG for the Ace of Diamonds. For DaTe, the
consonants are D and T. For card PEGs the rst
letter represents the suit, so the D represents
Diamonds. The “t” in DaTe represents the
number 1. So since Ace is the rst card it uses
the “T” consonant. I like Rudy’s PEG for the AD
since the Ace of Diamonds sounds like some
rich hotshot who might often go on a DaTe.

Here are the links to Rudy’s videos where he

teaches the system and how to memorize TETRA-RED with it. He is providing it for free to all
TETRA-RED readers as well as his Patreon subscribers. By the way, Rudy’s Patreon channel is
worth joining, it’s only few bucks a month and he is an excellent teacher and magician. He
recently covered Ramón Riobóo’s Telepathy routine and it blew my mind — I mean the deck
was shuf ed by the spectator!

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Memory PEGs for Numbers 1 - 52

Introduction to Harry’s Memory System / Major System & the 52 location PEGs
Includes 52 generated images to go along with the PEGs for the card locations.

PEGs for Cards 1 - 30

PEGs for the rst 30 cards in TETRA-RED, combined with location PEGs.
Includes 30 generated images for these PEG combos.

PEGs for Cards 31-52

PEGS for the last 22 cards in Tetra-Red, combined with location PEGs
Includes 22 generated images for these PEG combos

The Major System is brie y summarized in the section towards the end of the chapter. The set
of location and card PEGs Rudy uses in the video above are listed towards the end of this
Memoriza on chapter as well.

The 52 AI generated images Rudy created for TETRA-RED are in in Appendix B: Mnemonic Visuals
for Tetra-Red Stack. Please watch the video rst though as it will be the very best way to
approach the system, and so you don’t spoil his revelation of the images during the video.
Appendix B is really there for reference to quickly refresh one’s memory.

I think it’s a good idea to go ahead and memorize the entire stack with Rudy’s video, as one
will learn 104 new PEGs which can be recalled phonetically. I use these PEGs — along with
the Major System in general — for various dials, poker deals, etc. throughout the book. For
example, I can easily visually recall all 36 straight ush deals for ve player Hold’em using
the mnemonics I setup for these deals which I share in that article.

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MEMORIZE THE FIRST BANK OF CARDS

A mathematical approach

By memorizing the rst 13 cards in the rst bank of TETRA-RED this allows for the execution of
some great routines as well as aids in the memorization process when memorizing
subsequent banks of cards.

Effects using 13 keycards. Since TETRA-RED is a tetradistic stack — the card value sequence
repeats every bank for all four banks — in CHaSeD order on a four of a kind level, there are
many routines you can do with just 13 memorized keycards. For example, with only thirteen
cards memorized you can use Allan Ackerman’s bonus cull in the Thirty Minute Memorized
Deck w/ Bonus Cull to pull off some really neat stuff utilizing his Color Wheel Formula and
shifting with the simple removal of a single joker card — see All-In Volume I, pages 41-51.
Also see Acroba c Anything in All-In Volumes I & II as well as this book.

Aids in the memorization of subsequent banks. By just memorizing the rst 13 cards, this
greatly assists in memorizing the rest of the stack. You can then do simple calculations
based off this rst bank when memorizing the subsequent banks of cards.

Memorizing the rst bank (1-13). As mentioned earlier on the Deck Memoriza on Op ons
page, you can start by just memorizing the rst 13 cards via rote or via mnemonic visuals.
Choose which best suits you.

When memorizing this rst bank there will be no math involved; it will be either by rote or by
recalling mnemonic visuals — or perhaps a combination of both, your choice. Once you
have them down quiz yourself with some physical playing card ashcards, as mentioned
earlier in Rote Memoriza on section. See if you can get to where you can instantly recall the
card by location and location by card for all thirteen of them. Then perhaps after that use
the Stack Master app to drill yourself on these thirteen cards. Get these 13 cards down solid
before proceeding as they form the base used in all of the mathematical calculations to
memorize the three subsequent banks.

Memorizing the second bank (14-26). This is the next step. Just focus on these cards after
memorizing bank one; completely ignore the last two banks for now — I explain why later.
Here’s where the math comes in.
1. The value of a card for any given location is the same card value 13 cards back in the
stack. So say you are looking at the back of the playing card ashcard and see location
18 on it. Let’s say you have no idea what the card value is. Before turning it over you can
gure it out though. Just subtract 13 from 18 which results in 5. The value of the card at
card location 5 is exactly the same value as it is at card location 18, which is an 8 since
the Eight of Clubs is at card location 5. And perhaps you then recall which suit the card
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is now that you have recalled the the 8 with math. If not there is a calculation for the suit
as well, which follows here:
2. The suit of the card in the second bank of cards is the next suit in CHaSed order with
respect to the card you recalled 13 cards back. So say you recall the 8C at card location
5, you know that at location 18 it is the 8H since hearts follows clubs in CHaSeD order.
3. The location of a card for any given card is the location of the previous card of the same
value plus 13. So say we see the 3C at the face of our handmade ashcard and we just
can’t recall the location. All we do is recall the card with a value of 3 in the rst bank,
which is the 3D at location 10. So we add 13 to location 10 and we get 23. The location
for 3C is card location 23.

When working on bank two, if you forget a card in bank one, this is where having mnemonic
visual backup is very handy. So that’s why I suggest at least memorizing the rst bank with
visual mnemonics, such as Rudy’s videos he made for TETRA-RED.

My approach to initially memorizing bank two is to use my rote method mentioned in “My
rote process with a fresh stack” under the Rote Memoriza on section earlier in this chapter. I
do a couple passes of this just to get it going. Then immediately start using the
mathematical calculations as backup when I forget a card in bank two. This reinforces the
memorization of the card because you are taking timeout to do all the math, so it just sinks
in; it’s also an incentive to memorize the card since doing math over and over gets repetitive
— same as how it gets repetitive having to recall visual PEGs over and over when using the
mnemonic visual system. The end goal is to have instant recall of both banks one and two,
without having to think about any math or visuals.

At this point 1/2 of the stack memorized. Congratulations! There are many routines one
can perform with a half stack. Also by having the rst half of the stack memorized this
greatly assists in the memorization of the remaining half — as I’ll explain later.

Half stack routines. A couple examples of some cool routines which can be done with this.
1. Patrick Redford’s absolutely mind blowing Ninja Tossed Out Deck card mentalism routine
— which is in Temporarily Out of Order. (Do a YouTube search on this to see Patrick
performing it — the effect is pretty impossible.) You can easily perform this routine with
only the top half memorized. If the spectator cuts to a card which is not in the top half,
just think of its soulmate, and then the next card after that; the soulmate of that adjacent
card is the card the spectator is thinking of. See photo diagram on the next page to see
what I’m referring to.
2. Chan Canasta’s routine in the rst half of Crossing Over in Asi Wind’s Repertoire. This is
the ve card mentalism routine David Blaine did on Jimmy Fallon where he named every
card in Jimmy’s hand including the card the he chose from the hand. To do this, just cut
the bottom 13 cards to the top of the deck and force a block of 5 cards from anywhere in
the middle 26 cards — should be an easy and fair looking force.
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Memorizing the remaining half. Since TETRA-RED is also a parallel stack where every card
value has a mate of the same color 26 cards apart this makes memorizing the last half of the
deck trivial. The math involved is just simple adding/subtracting 26 and thinking of the
soulmate suit. I suggest memorizing bank three next and get that down solid and then
move on to bank four. The good news is they both use the same mathematical calculations.
1. The value of a card for any given location is the same card value 26 cards back in the
stack. So say you are looking at the back of the playing card ashcard and see location
39 on it. Let’s say you have no idea what the card value is. Before turning it over you can
gure it out though. Just subtract 26 from 39 which results in 13. The value of the card
at card location 13 is exactly the same value as it is at card location 39, which is a 9 since
the 9H is at card location 13. The suit of the card is the soulmate to the card 26 back. So
the soulmate card to the 9H is the 9D. The 9D is at location 39.
2. The location of a card for any given card is the location of the soulmate card plus 26. So
when see for example, the KH at the face of our handmade ashcard and we just can’t
recall the location, we rst think of the soulmate to the KH which is the KD. We know the
KD is at location 24, so all we do is add 26 to 24 and we know the KH is at location 50.

Eventually after you have the entire deck memorized you won’t be thinking about the math
or any visuals. You will just instantly know the location of any named card as well as instantly
know the card value/suit at any given location.
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Once you have the entire deck basically memorized with the physical ashcards, I suggest
using the Stack Master app by Devious-Monkey and drilling yourself often with it. It’s a fun
app and plays like a video game. Also know you have a mathematical backup if you start to
forget the cards, as well as a visual backup for bank one if you decided to go that route as
well.

This all said, I still think it’s worthwhile to go through Rudy’s video and memorize all 104
PEGs, as it will not only serve as a mnemonic visual backup for the entire deck, but it will
acquaint you with the 104 PEGs I might use throughout this book for various things such as
dials, poker deals etc.

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MEMORIZE TETRA-RED IN ITS STANDARD ORDER

The standard order is with the 9C cut to face

It’s possible to memorize TETRA-RED in a different starting order, but I advise against it for a
few reasons:

1. The memorized deck as is, was created to be compatible with The Redford Stack. At any
time, you can half-deck swap or transform half of the TETRA-RED stack to Redford and/or
Red Stebbins. For example the top half of your deck could be TETRA-RED and the bottom
half could be Redford, or vice versa. See the section on TETRA-RED And The Redford Stack
for more information on working with two different stacks at the same time, and all the
combinations. If you memorize this stack with a different starting order, you wouldn’t be
able to transform half the memorized deck to Redford.
2. The reverse breather crimp on the 9C is shared between TETRA-RED, The Redford Stack as
well as Red Stebbins. By memorizing in a different order, you couldn’t share the reverse
breather crimp — which aids into instantly getting into starting order in any of these
stacks.
3. A large number of poker deal dials here start with a 9 cut to face. By having the reverse
breather on the the 9C, it helps tremendously with these deals.
4. Between the 21 card spellings from the top of the deck for starting order — 9C cut to face
— and the 34 spellings for 6S cut to face, the spectator can spell to any card in the deck,
all unassisted. These two sets of spellings chain off each other and make one unit. See
the Spellicosis routine in Card Spellings chapter. So this is yet another reason to memorize
this deck in starting order with 9C cut to face. That way you know the top 21 spellings,
from the top of the deck in case you ever want a spectator to spell from there in
Mnemonicosis, Spellicosis or whatever routine.
5. By memorizing TETRA-RED in its standard starting order, it will be much easier to
memorize The Redford Stack as well as Red Stebbins, since all three stacks are all based
off of Si Stebbins w/ 9C cut to face. They are all very similar with many shared card
locations and adjacent swaps — all the cards are in close proximity to each other
comparing the stacks side by side. In fact the top 26 cards of TETRA-RED have a soulmate
card in the bottom half of The Redford Stack, and vice versa.
In Allan Ackerman’s recent book All-In Volume I, under the A&D Sandwich routine, Allan
mentions that he has TETRA-RED memorized with a starting order of 5S as card 52. I knew he
went with this early on — to my disdain lol — and the sole reason for it was to make use of the
5H/Joker double backers he had custom printed for this A&D Sandwich routine; Allan has
been performing this for over 20 years as an opener to his shows and it hits really hard with
his audiences.

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With a starting order where 5S is card 52, this puts the 5D as card 13 and the 5H as card 39 —
the two red ves used in this sandwich routine. So all he has to do to setup this routine is to
swap the 5H for the 5H/Joker double backer. From locations 13 and 39, they serve as
indices to count from to quickly arrive to the spectator’s thought of card just before cutting
and removing the two red 5’s. It’s a potent effect, see it here:
[Link]

This above issue has been resolved though with Ivan Mallia’s stack independent variation of
Allan’s routine called The A&D Sandwich w/ Extra Cheese. This routine is in this book under
Stack Independent Rou nes. There is no reason to memorize TETRA-RED with 5S as card fty-
two. This allows this routine to be easily performed with any memdeck, tetradistic or not. It
simply adds two extra red ves forming a 54 card deck — hence the “extra cheese”. Start with
any memdeck and place the 5D just under the 13th card in the memdeck; then also place
the 5H/Joker double backer just under the 39th card in the memdeck. When the routine is
nished, simply ditch the two extra slices of cheese and you are still in your 52 card
memdeck order — very simple and easy clean up. Alternatively you could go with black 5’s
instead of red 5’s since the 5S/Joker double backer is also commonly available in double backer gaff decks.

I’d love it if Allan re-memorized TETRA-RED in its standard order using the extra cheese x for
his A&D Sandwich routine. He’d have access to 21 spellings from starting order, easier
access to many poker deals along with compatibility with The Redford Stack: to be able to
transform to it for its great routines / properties. I asked Allan the other day if he had
thought about Ivan’s extra cheese idea before he memorized TETRA-RED, if he would of just
instead memorized TETRA-RED in its standard order with 9C cut to face; he said most likely he
would have.

Allan also mentions in his A&D Sandwich routine in All-In Volume I that the Chinese Shuf e he uses for 5S cut to
face very nice. It’s true, the rst cull pass of the six passes is very pleasant, but after that rst cull, subsequent
culls as described in this book under Chinese Shu e Into Tetra-Red Directly seem just as simple to me. I have
included a video of me getting into TETRA-RED directly with the Chinese Shuf e under the section I just referred
to. I have absolutely no problems getting into TETRA-RED with how I do it in the video. (I do it more slowly in
the video for learning purposes, but do it in about 1:45 to 2 minutes otherwise.)

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THE MAJOR SYSTEM

Each number is associated with one or more consonants. (In other words, the link is to the
sound, not the letter. For example, the letters C in "cat", "Cynthia", and "cello" each have
different values in the system – 7, 0, and 6, respectively.) Vowels, semivowels and the
consonant “h” are ignored. These can be used as " llers" to make sensible words from the
resulting consonant sequences. A standard mapping is:

# Letters Mnemonic and comments

0. s, z Zero begins with z. Upper case S and Z, as well as lower case s
and z, have zero vertical strokes each, as with the number “0”.

1. t, d, th Upper case T and D, as well as lower case t and d have

one vertical stroke each, as with the number “1”.

2. n Upper case N and lower case n each have two vertical strokes and
two points on the baseline.

3. m Lower case m has three vertical strokes. Both upper case M and
lower case m each have three points on the baseline and look
like the numeral 3 on its side.

4. r Four ends with r.

5. l L is the Roman numeral for 50. Hold up your hand for a

“high ve” and at the same time make an L with the thumb
and fore nger.

6. j, soft g, sh, ch Upper case G looks like the numeral 6 and lower case g looks like
the number 6 rotated 180°. Lower case script j tends to have a
lower loop, like the numeral 6. For “ch”, if you transpose the “c”
over the “h” it then looks like a 6. For “sh”, if you transpose the “s”
over the “h” and then stretch the “s” vertically, it then looks like 6.

7. hard c & g, k, q, ck Both upper case K and lower case k look like two small 7s on their
sides. G is the 7th letter in alphabet.

8. v, f, ph The loops of a lowercase f looks like the gure 8.

9. p, b Upper case P and lower case p look like the numeral 9 ipped
horizontally. Lower case b looks like the numeral 9 turned 180°.

Vowel sounds, semivowels do not correspond to any number. They can appear anywhere in
a word without changing its number value. These are h, y, w, a, e, i, o, u and silent letters.

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THE PEG LISTS

The Number PEGs

The Card PEGs
The Card Value PEGs

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THE NUMBER PEGS

The following is a reusable set of PEGs for numbers 1 to 52. They are general purpose PEGs
and can be used for any visual mnemonic needs, including representing card locations in a
memorized deck.

The entirety of the following set of 52 PEGs represent each and every card location in TETRA-
RED. This list of PEGs was kindly given to me by Rudy Tinoco of The Magician’s Forum. Rudy
uses these PEGs in his video tutorial on how to memorize TETRA-RED using Harry Lorayne’s
memory system; and I’ve adopted them all. For more information on Rudy’s video tutorial
see Memorizing with Mnemonic Visuals under the Memorizing the Deck section earlier in this
chapter.

1. tie 14. tire 27. neck 40. rose

2. Noah 15. towel 28. knife 41. art
3. ma 16. TJ — Tijuana Joe’s 29. nap 42. run
4. ray 17. tack 30. mouse 43. ram
5. law 18. TV 31. mat / mitt 44. rear
6. shoe 19. tub 32. moon 45. roll
7. cow 20. nose 33. mummy 46. roach
8. ivy 21. net 34. mower 47. Rocky
9. pee 22. nun 35. mule 48. roof
10. toes 23. gnome 36. MJ — Michael Jackson 49. rope
11. tat 24. Niro — Robert DeNiro 37. mic 50. lace
12. tin 25. nail 38. movie 51. light
13. tomb 26. ninja 39. mop 52. lion

There are 15 differences between Rudy’s list above and Harry’s in The Memory Book: 4 rye → ray; 9
bee → pee; 11 tot → tat; 16 dish → TJ; 17 dove → TV; 23 name → gnome; 24 Nero → Niro; 26 notch
→ ninja; 29 knob → nap; 36 match → MJ; 37 mug → mic; 41 rod → art; 42 rain → run; 44 rower →
rear; 51 lot → light.

I also use these PEGs for setting up various mnemonic visuals throughout this book, such as
to aid in dials, poker deals and spellings. They are handy to use for these purposes since if
you already have them memorized you don’t have to use the phonetic alphabet to recall the
two digit number.

A string of six numbers in a dial might instead just become a string of three visual objects
corresponding to three different PEGs in the list above. It’s easy to forget a string of
numbers but not so much three objects you see strung together in a visual scene or story.

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In addition to using the PEGs above, for visually constructing such a string of numbers, I will
use any word in the dictionary which seems appropriate, and then just phonetically recall the
numbers as I perform the dial; e.g. the word ReMoDiFy for the 4318 dial or the word
JouRNey for the 642 dial — I’ll just phonetically spell it in my head as I dial each digit. A tool
which helps assist me in nding words for a string numbers is here:

Major System Database

At the time of writing the above link works; however if later it does not work, just do a web
search on “major system generator” and you should be able to nd it or a similar tool.

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THE CARD PEGS

The following is a reusable set of PEGs for all 52 playing cards. They are general purpose
PEGs and can be used in any mnemonic visuals related to playing cards, including recalling
card locations in a memorized deck.

The entirety of the following set of 52 PEGs represent each and every card in TETRA-RED. This
list of card PEGs was kindly given to me by Rudy Tinoco of The Magician’s Forum, which I
have adopted. (Rudy shared these PEGs in his video tutorial on memorizing TETRA-RED.) I
have only changed two PEGs: The JD is now Drac instead of jack and the QD is now dream
instead of queen. (I need to be able to distinguish between the diamonds and hearts royalty
cards, since I use these card PEGs throughout book for poker deals, spelling, etc. visual
mnemonics — so not just for memorizing the deck.)

I also use these card PEGs throughout the book to construct mnemonic visuals for such
things as spellings, poker deals, etc.

AC — cat AH — hat AS — suit AD — date

2C — can 2H — hen 2S — sun 2D — Don (Trump)
3C — comb 3H — ham 3S — Sam (Uncle) 3D — dam
4C — car 4H — hair 4S — sore 4D — door
5C — kill 5H — hail 5S — sail 5D — doll
6C — cage 6H — hash (browns) 6S — sash 6D — DJ
7C — cake 7H — hockey 7S — sick 7D — duck
8C — coffee 8H — hive 8S — safe 8D — dove
9C — cape 9H — hip hop 9S — soup 9D — dope
10C — case 10H — house 10S — sauce 10D — dice
JC — crack JH — jack JS — sack JD — Drac
QC — clean QH — queen QS — scream QD — dream
KC — cling KH — king KS — sing KD — ding

There are 30 differences between Rudy’s list above and Harry’s in The Memory Book: 4C core → car;
5C coal → kill; 6C cash → cage; 8C cuff → coffee; 9C cup → cape; JC club → crack; QC cream →
clean; KC king → cling; 3H hem → ham; 4H hare → hair; 7H hog → hockey; 8H hoof → hive; 9H
hoop → hip hop; 10H hose → house; JH heart → jack; KH hinge → king; 3S sum → Sam; 4S sewer →
sore; 7S sock → sick; 9S soap → soup; 10S suds → sauce; JS spade → sack; QS steam → scream; 2D
dune → Don; 6D dash → DJ; 8D dive → dove; 9D deb → dope; 10D dose → dice; JD diamond →
Drac; KD drink → ding.

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 Memorization

THE CARD VALUE PEGS

In addition to the 52 card PEGS we’ve already established, we also need a set of thirteen
PEGs to represent all thirteen card values in general. Using a set of thirteen memorable
characters works out well in my poker deals for example, compared to utilizing non-
personi able objects — having heads, feet, limbs, being able to talk, scream etc. helps out a
lot in the visual mnemonic storylines. I use the following cast of characters to represent card
values throughout the book in various poker deals, etc.

Value PEG1
Ace Ace Ventura — Pet Detective!

Two Batman & Robin — The Dynamic Duo

Three Three Blind Mice — “Three blind mice.. see how they run..”

Four The Four Elements — Earth, Wind, Fire & Water personi ed
Mr. Pebbles, Mr. Twister, Mr. Inferno & Mr. Splash

Five The Jackson Five

Six Kenny G — Sax

Seven The Seven Dwarfs

Eight The Hateful Eight — they especially hate Quentin Tarantino

Nine Hitler — Nein!

Ten John McEnroe — Tennis

Jack Jack Sparrow — “Yo ho, yo ho, it’s a pirate’s life for me!”

Queen The Scream of Spades

Pay no mind to her suit, she is too hilarious/memorable to
not use to represent the Queen value in general. (Scream of
Spades is a card PEG Rudy Tinoco created for the Queen of
Spades, but we’ll use her here as well for Queen in general.)
King Elvis

1 Credit to Rick Lax as 7 of the 13 PEGs above are in Rick Lax’s video for memorizing Mnemonica.

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<underconstruction>
Experimental.
This is mostly here for my notes. I may come up with something different.
</underconstruction>

Alternatively using these PEGs to indicate number of players. If a poker deal mnemonic
visual doesn’t need these characters to represent values, they can instead be used to
indicate the number of players for a particular poker deal.

For example, let’s assume we want to deal a royal ush in Five Card Poker; we don’t need
any of these characters mentioned above to represent values, as its always the same values
every deal — the A K Q J 10 of the speci ed suit. However there are two, three, four and ve
player Five Card Poker deals for this same royal ush.

To set up the start of the visual scene for this, you can have a group of characters all sitting
together at a table playing a game of poker. So, let’s say what we want to deal out is a 2
player royal ush. The start of the scene could then be Batman & Robin sitting at the table —
the Dynamic duo — playing a game of poker. If it is instead to be a 3 player deal, it would be
The Three Blind Mice sitting at the table. For four players, The Four Elements. And lastly 5
players would be The Jackson Five sitting at a poker table together.

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TRANSFORMATIONS
 Transformations

CREDIT TO PATRICK REDFORD

As mentioned earlier in this book, I got off to a late start in card magic — and magic in general.
This was in the late summer of 2019. I started learning the typical moves like the double lift,
hindu shuf e force, rif e force, controlling cards, etc. By the end of 2019 this rapidly
progressed into memorized deck work. My rst exposure to a memorized deck routine was
David Blaine performing Asi Wind’s A.W.A.C.A.A.N. on The Morning Show. It blew my mind
he could pull off that routine, having absolutely no clue how he could of possibly done it — it
seemed so very impossible. Later, with the help of some friends on The Magician’s Forum, I
was directed to Asi Wind’s Repertoire book as well as Juan Tamariz’s Mnemonica.

Mnemonica was the rst memorized deck I learned and by Spring of 2020 I was performing
Asi Wind’s A.W.A.C.A.A.N. I started getting into Mnemonicosis as well, as I love that routine.
I even made my own Webcam Ultramental routine using Asi Wind’s box shift. Memorized
deck work has been my passion since then and it is still my passion now.

In the Summer of 2020 I learned about The Redford Stack from The Magician’s Forum. There
were a lot of great things said about it and I had to check it out for myself so I bought Patrick
Redford’s Temporarily Out of Order. A couple weeks later I had fully switched from
Mnemonica to The Redford Stack. The primary reason being all of it’s great transformational
properties. A Swiss army knife as Patrick calls it. I then dove into the stack transformation
rabbit hole, head rst!

I liked that I could shuf e into Si Stebbins from NDO with only two faro shuf es. Once in Si
Stebbins, I could do a routine there, and then quickly overhand shuf e and get into The
Redford Stack. I could easily go back to Si Stebbins as well. I also liked that I could have very
fast access to a memorized stay-stack, whereas with Mnemonica I had to undo an 36 card
partial faro with a routine. Being able to quickly transform to red/black in The Redford Stack
was a real bonus as well.

Patrick Redford has published an extensive amount of transformation features related to The
Redford Stack. His dialing technique with overhand run shuf es. His transformational work
in his O.F.M. and Temporarily Out of Order routines. Also dealing out clumps of cards to
quickly stack the deck, such as in getting into the Redford Memorized Stay-Stack.

Patrick’s work with The Redford Stack has greatly inspired me and is re ected in my work
here in this book and in this Transforma ons chapter.

Patrick Redford is up there at the very top with my favorite memdeck creators / workers of all
time. I greatly admire him.

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 Transformations

TETRA-RED

Transform to Red/Black Alternating

Swapping the Queen with the Two
Three Converter Stop Tricks: A Conversation

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 Transformations

TRANSFORM TO RED/BLACK ALTERNATING

You can transform a single bank, half the stack or the entire deck to red/black alternating
quickly with the following phone number: 21811 — dial once per bank. Interestingly, when
transforming TETRA-RED to red/black alternating this way, it is still a tetradistic stack. E.g. Allan
Slaight’s Sly Stebbins routine works with this arrangement.

Or alternatively, transform whichever banks back to Si Stebbins, which is also red/black

alternating but with the Si Stebbins pattern. Another option is to transform to Reverse Red
Stebbins such as with a stop trick, which is also a red/black alternating tetradistic stack. Or
transform to The Redford Stack and cull.

Mnemonic Visual. Picture a NaTiVe (218) American

wearing a headdress with red and black feathers, as
a TaT (11) on a magician’s forearm.

I went with “native” because the other words for “218”

were endive, notify and handoff. It’s the only word that
made sense in relation to a tattoo. A Native American
with a headdress is much cooler than a tattoo of an endive!

This visual mnemonic is making use of The Major

System. See towards the end of the Memoriza on
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chapter for more on The Major System.

SWAPPING THE QUEEN WITH THE TWO

There might be a memorized deck routine you’d like to perform where it is preferable to
have the Queen of Hearts as card location one.

To accomplish this, before doing the routine you could easily swap the Queen of Hearts with
the Two of Spades. This swap can be done covertly in front of the spectators by simply
running the top two cards into your hand and throwing them to the bottom of the deck with
an angle jog break as the rst beat of The Red sh False Shuf e. See Concealing Top Stock
Reversal with The Red sh False Shu e under Sleights for Memorized Deck Work.

Then you just have to remember the memdeck order has changed: the QH is now card 1
and the 2S is card 2.

If you do swap the two cards, make sure to swap them back before performing any of the
tetradistic or poker routines.

Spellicosis routine in this book expects this swap to occur before the routine begins.

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 Transformations

THREE CONVERTER STOP TRICKS: A CONVERSATION

Nancy Colwell / Jennifer Gwinn

In studying TETRA-RED, both Jennifer and I felt frustrated that the run sequence of 2124211
requires so many one and two card runs. Single card runs straight off the top immediately
followed by a throw are already dif cult to disguise as a normal shuf e. In my opinion,
running only a small number — up to ve cards — is unacceptably suspicious. This is not even
taking into account that the entire deck has to be run through in order for this to work—a
total of twenty-eight distinct overhand shuf es. As such, we wanted an alternate procedure
to convert Red Stebbins into TETRA-RED.

Considering equivalent procedures, I realized that dealing is similar in outcome to a run

shuf e, and can be used to convert Red Stebbins into reverse TETRA-RED. Running small
numbers — especially 1 & 2 – lead to a choppy overhand shuf e, but a relatively snappy
dealing process; while the reverse is true with larger numbers. I deal in a similar fashion as a
nervous tic, so I am personally willing for it to be unjusti ed, but I developed a performance
framework for the sequence and shared this with Jennifer.

She and I were both frustrated by the fact that you end in reverse, rather than standard,
TETRA-RED. I was hoping to develop some alternate dealing procedure that could x this, but
to no avail. She then proposed beginning in Reverse Red Stebbins, which both solves the
problem and led her to explore some very interesting ideas using Reverse Red Stebbins.

Jennifer later shared a routine — Trick Two below — to reveal the selection that also reverses
the order of the deck — allowing you to begin in Red Stebbins and end in TETRA-RED. I then
proposed two variations that I feel extract more dramatic potential from the sequence and
prevent some mild presentational issues.

Re ecting on this trick, I felt that if we were developing it to be more of a trick and less of a
throw-away, then we should get more logistical value out of it than merely ef cient
conversion. I then thought of the appendix in Mnemonica on undoing shuf es and thought
of one of my favorite memdeck tricks — Simon Aronson’s “Some People Think”. I combined
these with a traditional deduction-style presentation and developed a trick that also allows
for the spectator to shuf e the deck mid-process, helping to build a stronger belief that the
deck couldn’t be stacked.

Note: These tricks, with some modi cation, could presumably be used with any dial
conversion of one stack to another. For example, starting with the deck in TETRA-RED and
using 1124212 will put you back into Red Stebbins.

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TRICK ONE
Trick One — Version One (Colwell)
Red Stebbins → TETRA-RED reversed order.

Phase 1 — Stop trick. Start with the deck in Red Stebbins. Deal cards in a pile on the table, in
groups according to the TETRA-RED dial number: 2124211. This means you will push off and
take two cards–dealing them to the table, followed by one card dealt on top, followed by
two, and so on. As you deal through the pack, ask a spectator to call stop at any time.

When they call stop, take the top card of the talon and display it in a vertical position,
displaying it to the spectator. As you do this, point to the face of the selection and, using the
card as cover, perform a bubble peek. Because the cards are in Stebbins, you are easily able
to calculate the identity of their selection — going backward by one according to the Stebbins
system. Remember their selection and continue with the dealing process. If you stopped on
a dial number > 1, which is most likely, you will need to take the other cards of this block
under the selection before dealing to the table. For example, if you stopped on 21[2]4211,
you will need to take three cards under the selection before dealing the block to the table.

Continue through the deck, telling them that if they don’t like their selection they can call
stop elsewhere and change their selection. Once you have dealt all cards to the table, the
deck is in reverse TETRA-RED. Feign dif culty, and name their selection.

You will need to sh in the second phase, so make sure to condition your audience
appropriately.

Phase 2 — Fishing. Say that you will read their mind again, this time without touching the
deck. Ask them to cut off any number of cards, remember the face card, and replace the cut
off cards ush with the pack. While they do so, estimate the position of the cut. Tabled
estimation is best here, since you can slightly turn the head and shield your eyes, still seeing
the tabled cards but not watching while they look at their card. Tabled estimation is also
easier to calculate, since the cards are in reverse TETRA-RED. The cut off portion can, of
course, be estimated instead; subtracting the estimation from 52.

From the position you estimate, consider the surrounding cards and prepare to sh among
them. The range you give yourself can (and should) be exible and responsive to how
con dent you are in the accuracy of this particular estimation. Fish amongst these cards to
name their selection. For example: Let’s imagine they cut leaving what you estimate to be
twenty cards on the table. You believe they have cut to the Four of Clubs — the twenty- rst
card — but are doubtful of your estimation and you suspect it may be heavy. You decide to
give yourself a four card buffer and bias toward your estimation being heavy, which means
you will sh among cards seventeen to twenty-two. Among these (8H, 10S, 7H, 4C, AD)
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 Transformations

almost all are high-value, but you decide to state that their card is low value — hoping that
your estimation was exact. They say no, telling you that your estimation was off by at least
one card. Seeing that most surrounding cards are red, you state that their card is red. If they
say no again, you know that their selection is the Ten of Spades. If they say yes, you will now
sh among the three remaining cards (8H, 7H, AD). Seeing that two cards are very similar
(8H and 7H) you state that their card is a heart. If they say no, you know their card is the Ace
of Diamonds. If they say yes, you now need to sh between the Seven and Eight of Hearts.

You narrow down the range with statements that apply to both (above ve, somewhere
between seven and nine, etc) and thereby gain some belief-capital you can spend on this
delicate sh. Biasing toward your estimation being close, you state with a wavering voice
that their card was a seven, halting your voice and holding tension in your body. If they
react, you nish your statement, declaring their card was the Seven of Hearts. If they seem
disappointed, or are waiting for you to say more, continue your speech by suddenly
changing your mind and con dently declaring the Eight of Hearts. If you couldn’t
distinguish between the two, you continue saying that it was the Eight of Hearts. You have
even odds of either being exactly right or getting the partial credit of being off by one. The
deck is still in reverse TETRA-RED.

Phase 3 — Mnemonicosis. From here, say that you will do the trick backwards. Ask them to
name the card they were thinking of. When they say a card, say that you will now read their
mind. Name the same card back to them. When they laugh, say that this will be the
impressive part–the cutting. Direct them to cut the pack and perform Tamariz’s
Mnemonicosis.

Please note that the deck is still in reverse TETRA-RED. This does not represent a major
impediment on the performance of Mnemonicosis, but you can reverse the order of the
cards in a deal or shuf e before beginning phase three if this proves too burdensome, or if
you wish to begin your next routine in standard TETRA-RED.

Trick One — Version Two (Gwinn)

Reverse Red Stebbins → TETRA-RED standard order.

Start with the deck in Reverse Red Stebbins. Perform the same dealing process as before,
but with the dial number backwards. I.e., use 1124212 instead of 2124211. The performance
of the trick is otherwise identical, with obvious adjustments (going forward in stack during
the bubble peek, calculating the cut position from TETRA-RED instead of reverse TETRA-RED,
etc).

The advantage this version offers is that — assuming you can begin with the deck in Reversed
Red Stebbins — it more ef ciently transitions you into TETRA-RED. Version One above

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 Transformations

compromises what you translate into (TETRA-RED) for the bene t of beginning in straight Red
Stebbins. Version Two insists on starting in Reversed Si Stebbins for the bene t of TETRA-RED,
which depending on your opinion of Reversed Si Stebbins can be anything from a pure
bene t to a disadvantage. Whichever is more important to you — Si Stebbins or Reversed Si
Stebbins — will determine which version is preferable.

TRICK TWO

Trick Two — Version One (Gwinn)

Red Stebbins → TETRA-RED standard order, cut in random place

Beginning in Red Stebbins, have multiple cards selected as in Trick One, Version One via a
stop trick. For the purposes of explanation, we will assume two selections were made. Once
the deck has been dealt through, direct them to give the deck as many straight cuts as they
like. Tell the spectators you don’t know their cards but that you will identify them after a
chosen spectator deals through the entire deck via a nearly imperceptible quaver in their
deal. Hand them the deck face up and direct them to deal the cards to a face up pile on the
table. When they reach the end, announce their cards and give your justi cation — e.g. they
hesitated, inched, etc. The deck is now in TETRA-RED, cut at a random place.

Trick Two — Version Two (Colwell)

Red Stebbins → TETRA-RED standard order.

As in Version One, with two selections. Once the cards are cut, look at the rst spectator and
say you have a suspicion as to what their card might be. Run through the deck with the faces
toward you, remove their card, and place it face down in front of them. Turn to the second
spectator and say you don’t know their card, but that you will identify it as they deal through
the deck by a nearly imperceptible quaver in their deal. Hand them the deck face up and
direct them to deal cards to the table. When they reach their card, stop them. Spread the
tabled cards and ask the rst spectator if they see their card. When they say no, continue to
deal and ask them to look for their card. Intermittently ask if they’ve seen their card as you
deal through the rest of the deck. Once they con rm they did not see their card, have them
name it and turn over the tabled card.

Trick Two — Version Three (Colwell)

Red Stebbins → TETRA-RED standard order.

As in Version One above, two selections. Once the cards have been cut, calculate the position
of the closest selection from the top by using the face card. For Example: Let’s imagine the
selections were the Queen of Spades (15) and the Seven of Spades (33), and after the cuts
the Two of Clubs (27) is on bottom. The Queen of Spades stack number is the closest to the
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 Transformations

stack number of the face card without going over, so it will be the selection closest to the
top. The stack number of the bottom card minus the stack number of the selection is its
position from the top. In this case, 27-15=12. If the stack number of the face card is lower
than any of the selections, then the rst selection from the top will be the selection with the
highest stack number. It’s position is the stack number of the face card, plus fty-two, minus
the stack number of the selection. For example, if the card cut to the face was the Queen of
Hearts (2), then 52+2-33=21.

Hand the deck to the spectator whose card is closest to the face and ask them to deal. Stop
them when they reach their selection.

Pass the deck to the other spectator and say you will identify their card purely through
psychic intuition. Have them deal face down into a second pile. As they do so, silently count
to their card and stop them, having them put the card aside. Turn their pile face-up, place
the other pile on top, and ribbon spread this combined half of the deck. Ask if they see their
card. When they say no, take the talon from them into face-up dealing position. Deal cards
off the face onto the face of the ribbon spread, telling them to say stop if they see their card.
When you’ve dealt the entire deck, have them turn over their card.

Trick Two — Version Four (Colwell)

Red Stebbins → TETRA-RED standard order.

As in Version Three. Once they have dealt to their face down card, take the talon from them
and ask them to reveal the card. While they do this, quickly perform an overhand run shuf e
of the remaining cards. Flip the face up pile onto the face down pile, and drop the cards in
hand on top. Drop their card on top of the deck and cut it into the center. If you cut to a
breather crimp in the Nine of Clubs, the deck is now in TETRA-RED. Otherwise, it will be cut in
a random place.

TRICK THREE

Trick Three — Version One (Colwell)

Red Stebbins → TETRA-RED standard order, cut at random place with one card removed

As in Trick One, Version One, one selection. Once the deck has been dealt through once, ask
them to give the deck a straight cut, a rif e shuf e, and another straight cut. A presentational
touch is to say you will use the “casino standard procedure” of cut-shuf e-cut. Ask them to
cut, then take back the deck and perform a push through shuf e. At this point, pretend to
decide to be even more fair and strip out the two halves—offering them for the spectator to
shuf e together and square. Once they do, direct them to give the deck the nal cut. Once
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 Transformations

they do so, take the deck back from them in face up dealing grip. Say that you will slowly
eliminate cards until only theirs remains. Look at the face card and determine if the stack
position of their selection is roughly within the following twenty-six cards of the face card’s
stack position. If it is, you will deal this card face up in front of them as one of their potential
selections. If it is not, you will put it aside in a face up discard pile. Continue dealing through
the deck, one card at a time. Because the cards were rif e shuf ed once, the deck is in two
interlocking chains. Continue to deal one chain to the spectator as possibilities, and deal the
other chain in a discard pile. For Example: The face card is the Three of Spades (49) and the
selection is the Eight of Clubs (5). The selection is (cyclically) within the twenty-six cards
following the Three of Spades, so it is dealt to the spectator. The next card is the King of
Hearts (50). Since this card follows the Three of Spades in stack order, it is dealt on top of
this card. The next card is the Six of Hearts (25). This card does not follow the last card dealt
to the spectator, so it belongs to the second chain. This card is dealt to form a discard pile.
The next card is the Six of Diamonds (51), which follows the King of Hearts. It is dealt to the
spectator. The next card is the Nine of Spades (26). It follows the Six of Hearts, so it is dealt
to the discard pile. This system is followed until the entire deck has been dealt through. Ask
if their half includes their card.

Turn the discard pile face down. Take the cards dealt to the spectator and hold the half in
face-down dealers grip. Randomly alternate between stud dealing cards in a face up pile in
front of them, and bottom dealing face down cards onto the discard pile. Make sure that you
deal past the selection in the face up pile, so that their selection is there. The bottom deal is
given a triple advantage in this context: you are only doing bottom deals on the supposedly
unimportant cards, you are working with only half the deck, and you can choose both when
to deal bottoms and how many you will deal depending on your comfort. Ask if their card
remains among the possibilities.

Pick up the cards in front of them. Remember the face card of the packet. Spread through
with the faces toward you and place their card face down on the table, cutting the packet.
Pause, then spread through the packet again, removing the card after the key card from the
face. As you do so, cut to restore the packet back to its original position. Place the packet
onto the discard pile. Ask them not to con rm if their card is there, and show the two cards.
Pause, then place the dummy card onto the discard pile. Reveal the selection.

The deck is now in TETRA-RED, cut at a random place, with one card removed. This card can
be returned as is discussed in Tangled Web.

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 Transformations

SI STEBBINS

NDO to Si Stebbins Transform

Si Stebbins to NDO
Red Stebbins
Stop Tricks: Red Stebbins to TETRA-RED
Dialing Other Tetradistic Stacks

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NDO TO SI STEBBINS TRANSFORM

Jennifer Gwinn

I use my variation1 of Patrick Redford’s method2 for getting into Si Stebbins from Bicycle
NDO, which is similar to the Si Stebbins Secret3 by Darwin Ortiz.

1. Spread the deck face up to show spectators it’s a standard deck in New Deck Order.
While doing so, secretly cull the AD,2D,3D under the KD, using the Hofzinser / Road
Runner cull.
2. Perform the run sequence: 9-4-6-7
3. Execute an out faro -- key card is the Ace of Spades
4. Execute an in faro -- key card is the Ten of Hearts

1 My variation ends up with 10H at the face of the deck, whereas Patrick’s ends up with JH at the face.
So my run sequence is very similar to his, in fact I would of never come up with my run sequence
without knowing his, as all I did was tweak his a little to remove the slip cut at the end. Also, the initial
culling method I use — with the Hofzinser spread cull — is almost identical to Patrick’s with respect as
to which cards to cull. I got approval from Patrick Redford to share this variation of his.
2See Patrick Redford’s Temporarily Out of Order page 32. Patrick’s initial cull with the Hofzinser
spread cull is quite di erent than Darwin’s method, allowing it to be performed in a surrounded
environment without the need for any junk cards. Patrick also does this so well I don’t believe any
magician could catch which cards he culled — so it looks exactly like a simple spread of the entire
deck in Bicycle NDO.
3The Si Stebbins Secret is in Darwin Ortiz’s book At The Card Table. Even though my variation is
based o Patrick Redford’s I did get permission from Darwin Ortiz to share this variation.
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 Transformations

SI STEBBINS TO NDO
1. Start in Si Stebbins.
2. Cut AD to face
3. Perform 6 out faros
4. Turn the deck face up and transfer the bottom 13 cards to your right hand as a group —
i.e. the bank of diamonds.
5. Transfer the the JS, QS, KS as a group over to your right hand over the AD
6. Transfer the AS through 10S as a group over to your right hand over the JS
7. Place the lower half of deck, currently in right hand, over the 8H in the left hand.
8. Dial 4976.
9. If you want to be in unmodi ed / original Bicycle NDO:
Place the bank of hearts as a group into your right hand followed by the bank
of clubs, then place the half deck in your right hand to the top of the deck.
You are now in Bicycle NDO.
Otherwise cut the AS to face and you are in modi ed, “soulmate” Bicycle NDO and are
ready to start transforming to a stack such as Memorandum.

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RED STEBBINS
This is Si Stebbins with the 9C cut to face. So when you see a reference to Red Stebbins in
the book this is what this means.

<more details and uses here>

<insert photo here>

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STOP TRICKS: SI STEBBINS TO TETRA-RED

Nancy Colwell / Jennifer Gwinn

<under construction>

See Transforma ons chapter, Tetra-Red section, the article

Three Converter Stop Tricks: A Conversa on.

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DIALING OTHER TETRADISTIC STACKS

You can create your own phone number to transform Si Stebbins into another random
looking tetradistic stack. TETRA-RED is one example. I went with the TETRA-RED dial, because
it looks fairly random and has a lot of great poker deals built in.

However, if you want another random stack, for example, say for a self-working tetradistic
routine — e.g. Fourgathering in this book — where you don’t need to memorize the stack, but
just want something random looking other than Si Stebbins or TETRA-RED, you can
experiment dialing other stacks from Stebbins.

When dialing your own, make sure the number of cards dealt in the phone number are
equal to 13. And repeat that four times. That ensures all tetradistic banks are kept tetradistic
— i.e. every value 13 cards apart throughout the stack.

Apple Jacks. Here is one dial which gives a pretty decent random looking tetradistic stack.
The dial for each bank is 612121. You dial that four times from Si Stebbins to get into this
random looking tetradistic stack. Notice the clumps of three cards of the same color
together, over and over. (Not to be confused with the cereal!)

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Another nice dial. Dial 212611 four times from Red Stebbins and you get the following
random looking stack similar to TETRA-RED.

Redford-Lite. I learned about this tetradistic stack in January of 2024, a couple years after I
created TETRA-RED and this book. Patrick told me it is going to be included in Completely
Out of Order. This stack is identical to the bottom 11 cards of The Redford Stack, and it also
shares the top 2 cards. It has the advantage of shared card locations with The Redford Stack
for easier memorization as well as not having to transform the bottom 11 cards. Another
advantage is that it can be converted to red/black with the spread culling of just 4 cards —
place the 7 between the 5 and 3 in each bank of the four banks. All of the four of a kind and
full house poker deals in this book will work with this tetradistic stack as well as all routines
Tetradis c Rou nes chapter.

To get into Redford-lite from Si Stebbins, cut the 9C to face and dial (2)54(2) four times.
To transform into Redford-lite from The Redford Stack cut 9C to face and dial (5) 575-4186 to
transform the top 41 cards back to Si Stebbins. Cut 9C to face then dial (2)54(2) three times.

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If you’d like to just transform the bottom half of The Redford Stack to Redford-lite it’s a
simple quick process since you only need to transform 15 cards of the bottom 26 cards into
Redford lite.

1. Cut KD to face.
2. Dial [186]-(2)54. This is an all in one dial which rst transforms the to 15 cards to Red
Stebbins then transforms the necessary 11 cards from Reb Stebbins to Redford-lite. The
[] part can be concealed with the Red sh False Shuf e as mentioned many other places
in this book. So all of this just appears as one shuf e sequence with no pauses really.

To transform it back to The Redford Stack, cut KD to face and dial [(2)54]-186.

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REVERSE SI STEBBINS

NDO to Reverse Si Stebbins Transform

Reverse Si Stebbins to NDO
Reverse Red Stebbins
Stop Tricks: Reverse Red Stebbins to TETRA-RED
Reverse Red Stebbins to Redford via Mnemonicosis
Transforming Between Stebbins-based Dialed Stacks
Red Stebbins Memorized Stay-Stack

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NDO TO REVERSE SI STEBBINS TRANSFORM

Jennifer Gwinn / Nancy Colwell / Andru Luvisi
April 17, 2024

This utility transforms Bicycle NDO to Reverse Si Stebbins, covertly in front of the spectators
similar to the Si Stebbins Secret. It results in a SHoCkeD descending order — yet ascending
with respect to suit order — and is identical to starting with Si Stebbins and reversing all 52
cards, one by one.

This is accomplished by reversing the diamonds and spades instead of the hearts and clubs
from new deck order. One advantage of transforming into Reverse Si Stebbins instead of Si
Stebbins is that one can dial1 into TETRA-RED or The Redford Stack without having to reverse
all 52 cards — whether it by overhand shuf e run sequence, reversing them by one by one in
the hands, or dealing them to the table one by one.

This utility makes use of the excellent technique in the Si Stebbins Secret where a run
sequence is used to both reverse and cull the appropriate cards, which is an improvement
over Marlo’s method: where Marlo reversed 26 cards all at once without breaking up the run
sequence, performing the 3 culls afterwards. Marlo’s however was an improvement over
Rusduck’s in that he didn’t have to create piles rst on the table.

In a similar manner to Patrick Redford’s NDO to Si Stebbins transform — along with my

variation of Patrick’s mentioned in Ge ng Into TETRA-RED — this NDO to Reverse Si Stebbins
transformation can be done in a surrounded environment without the need for extra cover
with Jokers / junk cards. Patrick’s initial cull is an improvement to Si Stebbins Secret in my opinion.
All you do is open a fresh pack of cards, remove the jokers/junk cards rst, then spread the
cards face up from AS to AH — you just secretly cull 3 cards when doing so. It’s totally covert
and fair. Properly crediting, this transformation utility was in uenced by the works of Charles Jordan,
Russell Duck, Ed Marlo, Darwin Ortiz as well as Patrick Redford with respect to the NDO to Si
Stebbins evolutionary chain.

Nancy Colwell’s in uence. The reason I even started thinking about this transform is from an
idea Nancy Colwell shared with me for transforming Si Stebbins into TETRA-RED. I had asked
her if she could help me come up with a routine to transform Si Stebbins to TETRA-RED since
the TETRA-RED has such a tedious choppy run sequence for dialing into it: i.e. 2-1-2-4-2-1-1
four times.

Nancy felt that dealing would work better for the TETRA-RED dial1 versus overhand shuf e run
sequence. Her argument is that small numbers — especially 1 & 2 – lead to a choppy

1 See Dialing and Phone Numbers section of Getting into Tetra-Red.

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overhand shuf e, but a relatively snappy dealing process; while the reverse is true with
larger numbers.

She then immediately came up with a stop trick by dealing out small clumps of cards to the
table corresponding to TETRA-RED’s phone number. By the time the entire deck is gone
through — in like 20 seconds — the dealt out stack is in TETRA-RED but in reverse order.

The same thing happens when going from TETRA-RED starting order to Red Stebbins; dealing
out clumps of cards from TETRA-RED according to the 2124211 phone number results in
Reverse Si Stebbins — i.e. Reverse Red Stebbins.

I observed the stack was in reverse TETRA-RED after she initially shared the stop trick with me
in early April of 2024. I then gured we could actually start in Reverse Red Stebbins order,
followed by performing the stop trick using a reverse TETRA-RED phone number, and we
would end up being in standard TETRA-RED order. So I played around with that using the
stop trick to quickly transform into TETRA-RED from Reverse Red Stebbins — as well as the
converse going from TETRA-RED to Reverse Red Stebbins.

Nancy liked my idea of starting with Reverse Si Stebbins then doing the stop trick to get into
TETRA-RED. Both of us simultaneously, yet independently, started trying to work out an NDO
to Reverse Si Stebbins transform — but we didn’t tell each other we were. We both gave up
after a very short time of experimenting. I then found out on April 16, 2024 that she also had
tried to do the same thing in regards to the NDO transform. I then told her I attempted the
same but was having issues and that I had probably given up too easily. Her identical
interest as mine then prompted me to immediately attempt it again — and I told her I was
going to do so right then.

About one hour later I discovered a transform where I shifted multiple hearts in the initial
cull and shared it with Andru Luvisi. We re ned that further but I wanted a better transform
where I only shifted 3 cards and didn’t have to do really any other manipulation. Then I
gured out to shift the clubs instead, but it was late and for some reason I was shifting 4
cards instead of 3 in the clubs bank. I know the offsets are (3,6,9) for the three banks, but I
had been up too long and couldn’t seem to do simple math lol. Andru quickly pointed this
out and we together immediately worked it out to how it is presented in the book now.
Thanks to Andru for his help being a second brain and his tip on jogging the 10C for an easy
subsequent cut before reversals of the diamonds and spades.

I like the idea of Reverse Si Stebbins, as it seems like it has a lot of wonderful uses including
getting into TETRA-RED, The Redford Stack as well as other Stebbins-based dialed stacks. I
also nd transforming from Reverse Si Stebbins back to Bicycle NDO easier than doing so
from Si Stebbins — see Reverse Si Stebbins to NDO in the subsequent pages.

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The transformation from Bicycle NDO to Reverse Si Stebbins.

1. Start in Bicycle NDO.
2. Spread the deck face up to show spectators it’s a standard deck in New Deck Order.
While doing so, secretly cull the JC,QC,KC under the AC, using the Hofzinser / Road
Runner cull. Perhaps subtly jog the 10C, for an easier deck cut in step 3 if there is no breather on
9C.
3. Cut the deck in half, cutting the 10C to face. If there is a breather on the 9C then cut to it and
then run a single card — ten of clubs — from the top of the deck to bottom. 9C is card 52 in TETRA-
RED. A breather can be installed on the 9C from a brand new deck of cards, resealing the deck from
the bottom with clear tape before the routine begins. An alternative to the 10C jog and the breather
on 9C, is to do an estimated faro cut like Nancy does in the video later in this article.
4. Perform the run sequence: 6-7-9-4. The 4S will be at face.
5. Execute an out faro — key card is the Ten of Clubs
6. Execute another out faro — key card is the Seven of Diamonds

The deck is now in Reverse Si Stebbins order. Rusduck calls this Snibbets in Cardiste No. 4 —
which I think is a cute name. There is a long history of Reverse Si Stebbins in card magic.
Reverse Si Stebbins in some ways has easier math calculations compared to Si Stebbins.
Many Si Stebbins based routines can be done with Reverse Si Stebbins instead — lie
detectors, book tests, etc. See Cardiste No. 4.

Reverse Si Stebbins order:

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Here’s a video of Nancy Colwell getting into Reverse Si Stebbins from Bicycle NDO. It’s a
real treat to have her performing this in the video, since this is a backwards stack and she
deals upside down! (She’s a lefty.)

[Link]

Here’s an idea had using my smearing technique from Smearing Every Beat of a False Shu e for
this 6-7-9-4 run sequence. The angle is from the side trying to make it look as deceptive as
possible for the camera.

[Link]

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REVERSE SI STEBBINS TO NDO

April 17, 2024

It’s easier to transform to Bicycle New Deck Order from Reverse Si Stebbins compared to Si
Stebbins. There are less packet rearrangements.

Additionally with a transformation routine I nd it easier to get into Reverse Si Stebbins from
both The Redford Stack as well as TETRA-RED, compared to Si Stebbins — as you don’t have to
reverse 52 cards one by one.

1. Start in Reverse Si Stebbins.

2. Cut 4S to face — if a breather is on 9C, cut to it and shift top 6 cards to bottom of deck.
3. Perform six out faros.
4. Cut deck in half — 10C to face. If there is a breather on 9C cut to it and then run a single card
from the top of the deck to bottom.
5. From a face up deck, cut ten cards, AC-10C into right hand as a block with unchanged
order.
6. Cut the JC,QC,KC to right hand on top of the 10C.
7. Place the 13 cards in right hand back on top of the KH in left hand.
8. Perform the same run sequence getting into Reverse Si Stebbins: 6-7-9-4.
9. You are in Bicycle NDO.

Shifting the JC,QC,KC with a face down spread. Alternatively skip steps 5-7 and hop to
step 8. Follow step 8 with the the deck face down:
1. Spread count 13 cards using the Elmsley 3-3-2-2 spread count — so 3-3-2-2-3.
2. Use Hofzinser spread cull to cull 3 cards under — the JC,QC,KC.
3. Spread count 10 more cards with 3-3-2-2 and place the JC,QC,KC there.

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REVERSE RED STEBBINS

Reverse Red Stebbins is simply Reverse Si Stebbins with the QH cut to face. So when you
see a reference to Reverse Red Stebbins in the book, this is what this means.

Reverse Red Stebbins is the same exact stack as Red Stebbins mentioned in the Si Stebbins
section of this chapter, just with all 52 cards in reverse order. The Red Stebbins stack
arrangement is Si Stebbins with the 9C cut to face, and is the Si Stebbins arrangement which
most closely resembles The Redford Stack as well as TETRA-RED.

Let’s assume you are in Reverse Si Stebbins, have a breather crimp on the 9C, and want to
quickly get into Reverse Red Stebbins — i.e. by cutting the QH to face. This can be done by rst
cutting the 9C to face using the breather crimp; followed by cutting the bottom card, the 9C,
to the top of the deck using Andru’s Elevator Cut. So this is really quick, which is nice since this
stack arrangement is very useful in transforms mentioned elsewhere in this chapter.

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STOP TRICK: REVERSE RED STEBBINS TO TETRA-RED

Nancy Colwell / Jennifer Gwinn
April 14, 2024

<stub — under construction>

See Transforma ons chapter, Tetra-Red section, the article

Three Converter Stop Tricks: A Conversa on: Trick One — Version Two. Phase 1 — optionally
phases 2 and 3.

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REVERSE RED STEBBINS TO REDFORD VIA MNEMONICOSIS

Jennifer Gwinn
April 12-17, 2024

The advantage of transforming into The Redford Stack from Reverse Red Stebbins rather
than Si Stebbins, is that the cards have already been reversed for you. So you can transform
into The Redford Stack without having to reverse cards one by one — whether that be dialing
with an overhand shuf e or a tabled routine.

Reverse Red Stebbins lends itself as an excellent tool to quickly get into The Redford Stack
via a routine such as Mnemonicosis, boxed ACAAN or whatever memdeck routine you like.

Have the spectator think of any card but tell them not let you or anyone else know it. Have
them repeat this card in their mind over and over while trying to read their mind. Lift up the
deck from the table and start holding up clumps of cards — with the card faces towards you — at
the spectator’s head level, looking at the cards cards and spectator interchangeably, seeing
if any of the cards match what they are thinking, discarding clumps into the pile as you go.
You can pass through many clumps quickly discounting them, discarding them onto the pile
on the table. Every so often stop on a card or a clump and ponder. Once the entire deck as
been dealt out into The Redford Stack pile, go through the entire deck all at once spreading
the cards with face towards you; announce you have found their thought of card and that
you are now putting it in a particular location. Now do Mnemonicosis, a box shift ACAAN or
whatever you like.

When I want to get into The Redford Stack from Bicycle NDO, in front of a set of spectators, I
will probably just transform to Reverse Si Stebbins instead of Si Stebbins — see NDO to Reverse
Si Stebbins Transform earlier in this section of this Transforma ons chapter. Followed by a
Mnemonicosis routine or the like. Many routines can be performed in Reverse Si Stebbins
before the Mnemonicosis routine. Most Si Stebbins routines will work in Reverse Si Stebbins as
well. Like Si Stebbins, Reverse Si Stebbins is also a mathematical red/black alternating, suit ordered
tetradistic stack.

Transform into the Redford Stack from Reverse Si Stebbins.

1. Get into Reverse Red Stebbins by cutting the QH to face from Reverse Si Stebbins. This
can be done by rst cutting the 9C to face using the breather crimp; followed by cutting
the bottom card, the 9C, to the top of the deck — see Andru’s Elevator Cut.
2. Hold up a sequence of clumps of cards trying to read a spectator’s thought of card,
discarding them to a pile on the table, rapidly stacking The Redford Stack. Then commit
to the card and put it in a “particular location” and perform Mnemonicosis, boxed
ACAAN or the like. This would then allow one to get into The Redford Stack without

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having to do an overhand shuf e sequence nor having to reverse each card one by one
in a tabled routine.

The sequence of cut points are presented below. For the clump cut points, I nd using a
mnemonic visual easier to remember versus the card names — feel free to create your
own story with this sequence of card name PEGS — see Memoriza on chapter, The Card
PEGs.
I am seeing some ducks on a choppy lake. Then a sailboat goes by with a drunken KC clinging to the
sail with a can of beer in hand. The QD is laying down dreaming on the deck of the boat and the KD
needs her attention and so wakes her up by dinging his bell he keeps in his jacket. She awakens and
gets up from her sack of straw she was laying on. The KD alerted her because the sailboat is
approaching a dam. On top of the dam is a man in a suit trying to wave them down.
a. 9C, 6D — two cards one by one
b. DuCK (7D), SaiL (5S), Cling (KC), CaN (2C), Dream (QD), Ding (KD), Sack (JS), DaM
(3D) SuiT (AS) — cut points for the nine clumps of cards utilizing card name PEGs in a
mnemonic visual.
c. JH, 8C, 5D, 2S, QH — ve cards one by one

I’ve shared this idea with a few magician friends and they feel it’s pretty solid. I know if I want
to get into The Redford Stack from NDO I’ll probably be doing it this way — instead of an
overhand shuf e run sequence or dealing cards singly to the table. It’s also easier to get
into Bicycle NDO from The Redford Stack using Reverse Si Stebbins instead of Si Stebbins —
less packet rearrangements compared to Si Stebbins with AD cut to face.

To go the other way, i.e. to transform from The Redford Stack to Reverse Red Stebbins, the
cut sequence above can also be used, just in reverse; you’d then be using the Reverse Red
Stebbins order for whichever routine. I just repeat the mnemonic visual story line in reverse in my
head.

Alternatively you can stack the clumps of face up cards from the deck into the right hand —
instead of the table — doing the mnemonic visual story line in reverse.

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TRANSFORMING BETWEEN STEBBINS-BASED DIALED STACKS

Jennifer Gwinn
April 12, 2024

Let’s say we want to transform between two Si Stebbins based stacks which are each dialed
into from Si Stebbins. For example, let’s say we would like to transform TETRA-RED to The
Redford Stack.

The rst obvious solution is we could rst dial into Red Stebbins from TETRA-RED with an
overhand shuf e run sequence corresponding to the TETRA-RED phone number. Would
could then get into The Redford Stack from Red Stebbins by dialing The Redford Stack’s
phone number.

Another perhaps more desirable solution would be to adapt Patrick Redford’s great O.F.M.
routine to go from TETRA-RED to Si Stebbins then from Si Stebbins to The Redford Stack.
O.F.M. is in Temporarily Out of Order. Patrick Redford also does a lot of transformations with
is Temporarily Out of Order routine.

We could do this transform with the entire deck or half of a deck at a time.

However, there is another alternative way I discovered yesterday on April 11, 2024 using
Reverse Red Stebbins. I didn’t think about the idea of using Reverse Red Stebbins until I
made an observation of the outcome of a solution to a problem Nancy Colwell shared with
me.

Nancy has been reading TETRA-RED and I had asked her about any ideas she might have
going from Si Stebbins — Red Stebbins speci cally, i.e. Si Stebbins with 9C cut to face — to TETRA-
RED via a routine instead of the tedious 2124211 dial four times.

Nancy felt that dealing would work better for the TETRA-RED dial1 than overhand. Her
argument is that small numbers — especially 1 & 2 – lead to a choppy overhand shuf e, but a
relatively snappy dealing process; while the reverse is true with larger numbers.

She then immediately came up with a stop trick by dealing out small clumps of cards to the
table corresponding to TETRA-RED’s phone number1. By the time the entire deck is gone
through — in like 20 seconds — the dealt out stack is in TETRA-RED but in reverse order.

1Terminology Patrick Redford created to transform all or part of a stack to another stack, using a
series of overhand run shu es, explained in Dialing and Phone Numbers section of Getting into Tetra-
Red.
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The same thing happens when going from TETRA-RED starting order to Red Stebbins; dealing
out clumps of cards from TETRA-RED according to the 2124211 phone number results in
Reverse Si Stebbins — i.e. Reverse Red Stebbins.

I noticed it was in reverse TETRA-RED after she shared the stop trick with me. It occurred to
me if we then did a weighing of cards routine we could easily put it in a TETRA-RED
memorized stay-stack. And if the weighing of cards routine was done yet again on the other
half, it would put the entire deck in standard TETRA-RED order. I also noticed we could rst
start in Reverse Red Stebbins and then do the stop trick with TETRA-RED’S reverse phone
number 1124212 and we would be in the standard TETRA-RED order. So I played around with
that using the stop trick to quickly transform into TETRA-RED from Reverse Red Stebbins. I then
practiced the converse going from TETRA-RED to Reverse Red Stebbins — it didn’t occur to me
at the time this was an ideal setup for transforming into The Redford Stack as well.

I then realized that being in Reverse Red Stebbins — after transforming from TETRA-RED using
this stop trick of her’s — is actually a perfect situation for getting into The Redford Stack.
Although not ideal for a stop trick since they aren’t dealt in small clumps, I simply deal out
the clumps from Reverse Red Stebbins to the table corresponding to The Redford Stack’s
reverse phone number starting with: 1145681, etc. After the pile is dealt, then it is magically
transformed into The Redford Stack. This part is similar to what Patrick Redford does when
transforming from the Redford Stack to Redford memorized stay-stack where he deals out clumps of non-
reversed cards according to a reverse phone number order.

Here is the rst video I made about thirty minutes after discovering this idea. It’s sloppy but
you get the idea. I am transforming just the bottom half of TETRA-RED to the bottom half of
The Redford Stack, all in about 15 seconds. You can go the other way with this as well,
transforming just half a stack or the entire stack.

[Link]

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Use whatever justi cation or reasoning for dealing out to the table in this manner. There are
lots of possibilities.

A memdeck related stop trick, such as Nancy’s, seems to be appropriate going from TETRA-
RED to Reverse Red Stebbins, and vice versa.

A Mnemonicosis or related routine seems appropriate to go from Reverse Red Stebbins to

The Redford Stack. See Reverse Red Stebbins to Redford via Mnemonicosis.

Additionally, Patrick Redford’s O.F.M. routine could be adapted to go between these two
stacks via Reverse Red Stebbins instead of Red Stebbins.

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RED STEBBINS MEMORIZED STAY-STACK

April 10, 2024

To transform into Red Stebbins memorized stay-stack from Reverse Si Stebbins.

1. Get into Reverse Red Stebbins by cutting the QH to face. This can be done by rst cutting
the 9C to face using the breather crimp; followed by cutting the bottom card, the 9C, to
the top of the deck — see Andru’s Elevator Cut.
2. Do a weighing of cards routine to reverse either the top or bottom half of the deck.
3. Perform a non-destructive stay-stack routine if you like.
4. If you like, perform the weighing of cards routine again with the other half and you are in
Red Stebbins — or alternatively a second deal demonstration / stop trick.

A friend of mine pointed out another great way to reverse half the deck is with the Sly
Stebbins routine by Allan Slaight in Semi-Automatic Card Tricks Vol 2.

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CHINESE SHUFFLE INTO REVERSE RED STEBBINS

April 24, 2024

Here is how to transform a shuf ed deck directly into Reverse Red Stebbins with the Chinese
Shuf e:

Cull No. 1. Start with a shuf ed deck and hold it face up in hands. Spread through the cards
and upjog all of the cards which correspond to the values: threes, fours, ves, nines, tens,
jacks and queens. Strip out the upjogged cards and place them to the rear of the deck.

Cull No 2. Spread through the deck and upjog all of the cards which correspond to the
values: aces, twos, and kings followed by threes, fours and ves. Strip them out and place
them to the rear.

Cull No 3. Spread through the cards and upjog all of the cards which correspond to the
values: sixes and eights then nines and jacks followed by aces then fours. Strip them out and
place them to the rear of the deck.

Cull No 4. Spread through and upjog all the cards which correspond to the values: sevens,
tens, kings, threes, sixes and nines. Strip them out and place them to the rear of the deck.

Cull No. 5. Upjog the black queens. Upjog the rest of the soulmate pairs in a red/black
alternating fashion starting with the red twos. Strip them out and place them to the rear of
the deck.

Cull No 6. Upjog the Queen of Diamonds. Upjog the rest in CHaSeD order starting with the
Two of Clubs. Strip them out and place them to the rear of the deck.

Reverse Red Stebbins is now in order.

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FARO-4

Bicycle vs Spanish New Deck Order (NDO)

Transformative Triumph

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BICYCLE VS. SPANISH NEW DECK ORDER (NDO)

<under construction>

Bicycle NDO. When you break open a new pack of Bicycle playing cards, after removing the
two Jokers at the face, sits the Ace of Spades in all of its glory — with an oversized
trademarked spade in the middle of the card.
1. A to K ascending
2. A to K ascending
3. K to A descending
4. K to A descending

<insert image here>

Spanish NDO. Fournier ..

Clubs & Spades swapped etc..

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TRANSFORMATIVE TRIUMPH
Woody Aragón / Jennifer Gwinn

<under construction>

This is a two to three minute long, chaotic triumph routine which transforms FARO-4 to Si
Stebbins, or the other way around from Si Stebbins to FARO-4. It also works for transforming
FARO-4 to TETRA-RED, or from TETRA-RED to FARO-4. It can also probably be adapted to other stacks
which are similar to Si Stebbins or FARO-4.

Coming soon..

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 Tetradistic Routines

TETRADISTIC ROUTINES
The routines in this section will work with any tetradistic stack such as TETRA-RED, Red
Stebbins, Si Stebbins, 8 Kings, QuickStack 3.0, etc..

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FOURGATHERING
Jonathan Schumacher / Jennifer Gwinn

EFFECT: The magician has one spectator freely select a card from the pack and then without
revealing it, sits it aside face down on the table, explaining to the audience it’s a mystery
card and will get back to it later. The magician has a second spectator freely select and take
a card; the spectator shows everyone the card. A third spectator freely chooses another
card; the third spectator shows everyone the card as well. Both cards are returned to the
deck and shuf ed in. The magician then reveals the face down card to be a four and
explains it has magical properties and will locate both of the spectators’ hopelessly lost
cards. The magician sits the 4 card face up on top of the deck, and has the spectators cut
the deck as many times as they like, hopelessly losing the magical 4 card along with both
spectators’ selections. The magician, making it even more impossible, gives the deck a very
thorough shuf e. The magician has the spectators again cut the deck as many times as they
like and then gives the deck a nal shuf e. The magician spreads the cards and reveals that
4 cards away from the magical 4 card, in either direction are the two spectators freely
chosen cards. Not only that, the other 3 cards to each side of the 4 are turned over and
revealed to be the other 3 cards of the same chosen values, forming two four of a kinds!
This four card is truly magical!

This is a variation of Harry Lorayne’s Fourtitude from Close Up Card Magic. This is a must have
book and great for further explanation of the Fourtitude routine this trick is based off of.

Jonathan Schumacher (JS Magic on YouTube) created this effect and shared it with me on
October 12, 2021. I was absolutely blown away by the idea of this effect! (I would have
never thought of it.)

This effect smelled highly tetradistic and we immediately worked out the routine the same
day. I am quite happy that he allowed me to share this in this book!

METHOD:

1. Start with any tetradistic stack — TETRA-RED, Si Stebbins, 8 Kings, QuickStack 3.0, etc.

2. Cut the deck anywhere you like and place an extra 53rd card with the value of 4 at the
top or bottom of the pack. Force this 4 card, to spectator one. So this routine starts with
ive cards with a value of four.
3. Sit that 4 card they “selected” face down, without ever revealing it, on the table
explaining it’s a mystery card and will get back to it later. Or use whatever handling you
prefer for this part of the routine — see Harry Lorayne’s Fourtitude in Close Up Card Magic.
4. Perform a face-down in-the-hands spread and force ANY card not near a card with a
value of 4 nor each of the two cards adjacent to the 4; so force any of 10 cards in any

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tetradistic bank. For example if using Si Stebbins, adjacent to the Four card are the Ace
and the Seven — make sure none of these three card values are chosen. Should be easy to
force a range of 10 cards in any bank. Use a different forcing method if you prefer, just make sure a
four card isn’t selected by either spectator and that the tetradistic stack order is preserved.
5. Cut the deck where the spectator selected the card.

6. With another spectator, force the bottom card with another spread using the Bottom
Deal Exchange1. Alternatively, use whichever bottom card force is most comfortable to you.

7. “Shuf e” in the rst spectator’s card with a false shuf e and false cut. So it remains on the
top and the deck order is undisturbed.

8. “Shuf e” in the second spectator’s card making sure the deck order is undisturbed and it
just ends up back at the bottom of the deck.

9. Show the magical 4 card and explain about its qualities and sit it on top of the pack face
up.

[Link] the spectators cut the deck as many times as they like.

[Link] a straddle faro. When you go to weave you can visually see which is the larger
half; just straddle faro in the smaller half into the larger half. (One half will be 27 cards and
the other 26 cards.)
[Link] the spectators again cut the deck as many times as they like.

[Link] another straddle faro.

[Link] the cards and reveal what the magical 4 card has located the selections four
cards away to each side, as well as all the other values of the selected cards, forming two
four-of-a-kinds.

To restore the stack, remove the added 53rd card and cut the deck where appropriate and
do the last two steps of the Chinese Shuf e for your particular tetradistic stack.

1Ed Marlo’s Bottom Deal Exchange is in M.I.N.T. Volume II page 190. It is also covered in Allan
Ackerman’s book All-In Volume I.
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Fourgathering with a Stranger Deck

A variation by Allan Ackerman

I shared this Fourgathering routine with Allan before publication, and he came up with a
clean/neat variation using a Stranger Deck. He allowed us to share this variation here —
thank you, Allan!

We designed Fourgathering to appear as something very similar to Harry Lorayne’s

Fourtitude. Still, a surprise ending shows that the magical 4 card not only located both of
the spectators’ selections but also astonishingly managed to gather all four cards of each
value. Fourgathering as described above is an excellent effect for a magician spectator
since most card magicians know Fourtitude. They might think the magician is just doing
Fourtitude, but it will surprise them at the end, when they see all four cards of like value
gathered for each of the spectator’s chosen cards.

But for the typical spectator, using a Stranger Deck with a different colored back is probably
preferable. It sure makes for easier handling as you can have the spectator freely select any
card in the deck, whether by selecting it from the deck in a spread or by naming any card.
(i.e., you aren’t limited to 10 cards per tetradistic bank as described in the handling above —
you don’t have to worry about the spectator choosing a four.)

Let’s assume you are using a red-backed deck of cards as your main deck for the routine. A
Stranger Deck would be another 52-card deck with a different colored back — say, in this
case, it is blue-backed.

1. The red deck is in a tetradistic stack, and we will assume the stack is the TETRA-RED
stack; the blue deck needs no setup.

2. You false shuf e the red deck as the spectator shuf es the blue deck. Pick up the
blue pack, run through the deck face up, and get a break below any four. Cut the
deck and bring the four secretly to the top and any X card to the front. Ask the
spectator to do the same with the red deck; their cut can be totally random. You can
even ask them to name a card and cut it to the face.

3. Suppose the spectator cuts the 3S to the face of the red deck. Tell the spectator if
they are happy with their selection, outstanding, but if not, cut the cards again.
Repeat the process until there are satis ed with their choice. Let us assume they are
happy with their selection of the 3S.

4. Turn the blue deck face-down, do your favorite force of the top card, a four, on the
spectator, and leave that card face-down on the table without revealing its identity.

5. Turn the red deck face down, remove the bottom card, and set the 3S face up onto
the table. Do not expose the new bottom card, which will be the AH.

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6. Spread the red cards and ask another spectator to touch any card. When they do, tell
them they can change their mind if they want. When they are satis ed, execute the
bottom deal exchange, forcing the AH. Set the two cards on top of the deck, keeping
their stacked order preserved, AH followed by the 3S. Get a break under the top
card.

7. Execute any false cut that brings the AH to the bottom and the 3S to the top. You
could do a double-undercut. I often cut the bottom half to the top and split the top
half to the left, cutting at the break. Execute Blind#3 from Expert at the Card Table.
This false shuf e was Eugene Burger’s favorite, it de es detection, is easy to do, and
you can do the shuf e without a table.

8. Ask the spectator to cut off a third of the deck. Place that in front of the larger packet.
Have the spectator cut the remaining 2/3rds in half and place them in front of the
other two. Situation check: the rst packet should have the AH for the bottom card,
and the center packet should have the 3S on top.

9. Ask the spectator to place the blue card on the center packet. Place the rst packet
on top of the center and the combined on top of the third. This cut will sandwich the
blue card between the two selected cards.

10. Have the spectator cut the cards as often as they like. Execute two straddle faros;
this procedure will be easy as the bottom card will indicate the mate you need to cut
to execute your straddle.

11.I always remember the bottom card and one of the selections; that knowledge will let
me know the approximate location of the blue card in my deck. I ask the spectator to
cut the cards one more time if it is close to the top or bottom.

[Link] a wide table spread. Turn over the blue card, keeping its exact location, and
count over four to the right and left. Show that the four found the two selected cards,
the AH and the 3S, followed by revealing two sets of four-of-a-kind.

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MEMDECK MENTAL TOPPER

Ed Marlo / Jennifer Gwinn

In M.I.N.T. Volume I there is a fantastic routine by Marlo called Mental Topper — thanks to
Jonathan Schumacher for turning me onto this classic routine. In this routine a magician
divines a spectator’s mentally selected card without asking a single question. And in case of
a “miss” there is a startling climax.

It is a tetradistic based four-of-a-kind routine requiring a prearranged deck in ascending

order. I thought it would be neat if we could use any tetradistic memorized deck with this
routine, e.g. TETRA-RED, Red Stebbins etc. That way there would be no extra setup
whatsoever; additionally the tetradistic memdeck would display well with a full spread,
compared to a deck in ascending order.

In this example we’ll be using TETRA-RED. Note: this isn’t a full routine and expects the
magician reading this to either know the routine already or have access to M.I.N.T. Volume I
or any other resource(s) Mental Topper might be in. (There are a few Youtube videos of
people performing Marlo’s Mental Topper with varying degrees of skill level.)

Follow the routine as Marlo has it written but instead of cleverly cutting a queen to the face
of the pack, cut any card with the value of the last card in your memorized tetradistic stack to
face. For TETRA-RED this would mean to cut any 9 to the face of the deck.

Then as Marlo describes, sit the deck in front of the spectator and have them secretly count
the number of cards which correspond to the value of the card they are thinking of, and
have them place those cards to the bottom of the deck, “programming” the deck or
whatever patter works.

The deck is returned to you to perform some “shuf ing” before dealing the four cards out
for the spectator to select one of — as Marlo describes in the effect of his routine. Part of this
“shuf ing” would rst be a glimpse of which card is at the bottom of the deck — e.g. the
Gerry Gri n False Cut w/ Glimpse works well for this. Observe the card and recall its location
in the deck. The location corresponds to the value of the card the spectator is thinking of. If
the location of the bottom card is greater than 13, do a little math by subtracting 13, 26, or
39 as needed — so the result of the subtraction is a number between 1 and 13 — to gure out
the card value the spectator is thinking of. Cut any card with that value to the top of the
deck.

For example, with TETRA-RED, if you see an 8 of clubs at the face of the pack. You recall this is
card 5 in the memorized deck. So the value of the card the spectator is thinking of is a 5. So
cut any 5 to the top of the deck; e.g. Andru’s Elevator Cut and a classic dribble pass work well
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for this. The deck is now setup to proceed with Marlo’s routine as he wrote it, or whatever
variation you prefer; perform the two faros, deal out four cards for them to select from, and
so forth.

After the routine has nished, to get back into your memorized tetradistic stack, return the
four cards on the table in the correct order to the top of the deck. Then perform 6 out faros
or perform the last two steps of the Chinese Shuf e you use for your memdeck. For the
Chinese Shuf e, make a cut in the proper location depending on which tetradistic stack you
are using — for TETRA-RED this would mean to cut the four-of-kind of Nines to face. Perform
the last two culls of The Chinese Shuf e you have worked out for your particular tetradistic
stack — for TETRA-RED see the section in this book titled: Chinese Shu e into TETRA-RED Directly;
for Si Stebbins use Brother John Hamman’s “The Chinese Shuf e” as described in “The
Secrets of Brother John Hamman” or Patrick Redford’s “Temporarily Out of Order”. To work
out your own Chinese Shuf e for your particular tetradistic stack, see my worksheet for this
in Allan Ackermans new 2 volume book set: “All-In”.

An Allan Ackerman Variation of Mental Topper: “I have done this effect off and on since I was
19. I sometimes tried to make the effect personal by calling it the birthday card trick. Just
think of your birthday month or anyone you know think of their birthday. Then tell the
spectator if you were born in March think of three; if December then 12. Now think of one
of the cards that correspond to the value of the month you are thinking of — that’s your
birthday card. Explain Jacks would be 11, they would represent Nov, Queens would be 12
& represent December. You can think of anyone of the four suits. Then proceed as in the
Tops.“

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ACROBATIC ANYTHING
LePaul / Ackerman / Gwinn

Check out Acrobatic Anything in Allan Ackerman’s new book set: All-In Volumes I & II. It’s a
routine we worked on together. Basically it is like LePaul’s Gymnastic Aces but any named
card along with its four-of-a-kind. Here is a youtube video of Allan performing it shortly after
we discussed it.

You can use any sleight you like to cut this tetradistic memorized deck. Allan is using his
Bonus Cull here with the Jokers. I often use Asi Wind’s box shift sleight in his book
Repertoire. Then two faros to make a deck of four of a kinds. Then proceed with LePaul’s
technique.

Many “four ace” routines could easily become “any named four of a kind” routines with a
tetradistic stack. Since just two faros gets you a stack of four of a kinds. This is a great
feature of a tetradistic stack.

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DUAL STAY-STACK ROUTINES

On January 27th of 2021, Clark Kjorlaug1 and myself together observed there are actually
two stay-stacks2 in any tetradistic stack. You can have a pair of 26 card stay-stacks. This is
pretty obvious when you think about it since there are four repeating banks of cards.

This is fabulous because most memorized decks which have the ability to be transformed
into a stay-stack can only be easily transformed into a single 52 card stay-stack.

Tetradistic Dual Stay-Stack Principle: If you reverse the top 26 or bottom

26 cards of any given parallel tetradistic stack, you not only have a 52
card stay-stack but you also have two 26 card stay-stacks. The top 13
cards and bottom 13 cards form one stay-stack and the middle 26 cards
form the other. A single cut of 13 cards from the bottom to the top of
deck, (or vice versa), results in two stay-stacks: one in the upper half of
the deck and the other in the lower half of the deck; comparing these
two stay-stacks show their value sequences are in reverse order. If the
deck is then cut in half and split into two stay-stack piles, followed by
cutting 13 cards from the bottom of one pile to the top, then both piles
end up being two 26 card stay-stacks with the same value sequence.

I hadn’t heard of this before. I’m sure the applications for this are endless.

On the following page, I’ll share with you a matching routine I quickly thought of and wrote,
utilizing this principle.

1 Clark Kjorlaug of the Memory Deck Workers Facebook Group

2 Russell Duck’s STAY-STACK as mentioned in the rst issue of The Cardiste.
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SOULMATES BY COINCIDENCE
Jennifer Gwinn

This is a routine for a pair of spectators — a couple makes a good pair of spectators.

This is a coincidence matching routine, but with a pair of spectators. This is a non-
destructive Stay-Stack routine. It requires a tetradistic stack like TETRA-RED, Si Stebbins, 8
Kings, QuickStack 3.0, etc..

1. The rst thing you do is get the tetradistic stack into a Stay-Stack by reversing the top 26
cards — from either starting order or make a cut irst anywhere if you like. The stack doesn't
have to be memorized, but I nd it handy to have it memorized because I use a Weighing
of Cards routine to reverse the top 26 cards. Another way is with a stop trick or second deal
demo.

2. Now cut the deck into two equal halves and sit each half in front of each spectator.

3. Then cut each of those halves into two equal halves. There are now 4 piles, 2 in front of
each spectator.

4. Make sure each spectator selects a pile which is opposite suit color from each other, in a
way that it makes it look like it was their choice — but in reality it is magician’s choice. You
could have them both decide on left or right, then once they agree, they each take the
left (or right) pile from their pair of piles.

5. Have them each pick up their pile into their hands and cut off a packet, and have them sit
that packet next to each of the untouched piles, where the cards were before they picked
them up. Then have them pick up the card they cut to — at the top of the packet that is
currently in their hands — and place it face up, criss-crossed, on top of the pile they cut
and sat on the table. Then have them sit the remaining packets in their hands, on top of
the face up card, making their match prediction1.

6. At the last moment , you let the spectators know that they are actually soulmates for each
other because they each predicted a match for each other: swap the two match
prediction piles of each spectator and start turning over the cards for each, showing they
don't match (most of them anyways). When they get to each of their turned over cards,
they both match.

7. The stack can be collected and put back into the Stay-Stack order. I’ll leave it up to you
to gure it out as a fun puzzle— it’s pretty easy to come up with a procedure for this in the

1See Woody Aragon's Memorandum p.172 of High Card routine for another explanation of this —
awesome book, must have! This is where I learned about this method for a matching routine.

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way you pick up the cards. Try to make it as chaotic looking as possible when returning
the cards. Woody describes his method for collecting the cards for two piles in his High
Card routine in Memorandum.

8. You are back in Stay-Stack order. Reverse the top 26 cards to get back into the tetradistic
stack if you like.

Figure 1. They are truly soulmates for each other. No other cards match! (Normally you
wouldn’t display the non-matches as illustrated in photo — you’d discard them into a pile —
as it reveals a pattern, but just showing them to show that there were no other matches —
luckily.)

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LIST OF TETRADISTIC ROUTINES IN PRINT

1. Ackerman’s Opener by Allan Ackerman — Las Vegas Kardma
2. Acrobatic Anything by LePaul / Ackerman / Gwinn — All-In
3. A&D Sandwich by Allan Ackerman — All-In Volume I
4. Any Sandwich by Allan Ackerman — Card Theater
5. Fourgathering by Schumacher & Gwinn w/ Ackerman — TETRA-RED
6. Grandson of Tetradism by Kane / Ackerman — All-In
7. Mental Topper by Ed Marlo — M.I.N.T. Volume I
8. Memdeck Mental Topper by Ed Marlo / Jennifer Gwinn — TETRA-RED
9. Mister EE - Five by Five by Peter Kane — Kane
10. One in Fourteen by Theodore Anneman — Encyclopedia of Card Tricks p. 204
11. Setting the Combination by Gracie Morgan — Weapons of Mass Destruction p. 32
12. Son of Tetradism by Peter Kane
13. Soulmates by Coincidence by Jennifer Gwinn — TETRA-RED
14. Tetradism by Peter Kane — Abracadabra #972 September 12, 1964
15. To be continued…

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BASED ROUTINES
 Stebbins Based Routines: Lucky Sevens Poker Stack

LUCKY SEVENS POKER STACK

Jennifer Gwinn

A fun themed poker stack you can covertly shuf e into in seconds from NDO / Red Stebbins.
All of these deals are self working once in stack.

I'm feeling lucky! (I say as I am shuf ing.) What's your favorite number? Oh seven? That's
mine too! Let's do a poker deal of seven hands. Oh wow look at what I got! Seven hands
bring us a 4 of a kind in sevens!

Shuf e some more. Hey let's do this again. Let's deal out seven hands again. Lucky 7 here
we go. Oh wow! An upgrade from the last hand! The lucky number 7 brings up a four of a
kind in kings!

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Hey let's try it again but let me really mix them up to be fair. (Perform 4 rif e shuf es). Let's
deal out seven hands again! Wow the red 7's bring us a black ROYAL FLUSH in Spades!

The phone number to dial from Red Stebbins is 12-54545-7935(2)1. I wrote a computer
program to dial from Red Stebbins, looking for interesting poker deals. It dialed hundreds of
millions of phone numbers, and dealt billions of hands of poker before nding this one. It
was purely coincidental that the seven happened to be in the center of the kings four-of-a-
kind deal. It was also coincidental regarding the two red sevens from hand six framing the
black royal ush in hand seven. It truly is a lucky deck!

Once done with the royal ush deal you can do three more out faros and get to starting
order. Then run the phone number sequence again and you are back in Red Stebbins.
There is also a 5 player deal of Royal Flush in spades at FARO-0 in case you want to do
anything with that before transforming back to Red Stebbins.

You can get into Red Stebbins in 30-45 seconds from NDO as mentioned earlier in this
book. After that 15-20 seconds to dial in.

See the output of my computer program below for the information of which cards to cut to
face in the faro wheel to perform this routine.

1 See Dialing and Phone Numbers in the chapter Ge ng Into Tetra-Red.

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Starting in Red Stebbins

Dialing.. 1 2 5 4 5 4 5 7 9 3 5 (2)
---------------------P O K E R---------------------
DEALS: ROYAL FLUSH in ♠ (5 plyr) w/ QH at face.
FOUR OF KIND in Sevens (7 plyr) w/ 2H at face.
---------------------------------------------------
QH 5D 2S 7C 4D AS JH 8C 6C 3D KS 10H 8H
5C 2D QS 9H 7H 4C AD JS 9S 6H 3C KD 10S
4H AC JD 8S 5H 2C QD 5S 2H QC 9D 6S 3H
KC 10D 7S AH JC 8D 3S KH 10C 7D 4S 6D 9C

1 Out Faro:
---------------------P O K E R---------------------
DEALS: FOUR OF KIND in Threes (7 plyr) w/ 2C at face.
FOUR OF KIND in Kings (7 plyr) w/ QD at face.
---------------------------------------------------
QH 4H 5D AC 2S JD 7C 8S 4D 5H AS 2C JH
QD 8C 5S 6C 2H 3D QC KS 9D 10H 6S 8H 3H
5C KC 2D 10D QS 7S 9H AH 7H JC 4C 8D AD
3S JS KH 9S 10C 6H 7D 3C 4S KD 6D 10S 9C

5 Out Faro:
---------------------P O K E R---------------------
DEALS: ROYAL FLUSH in ♠ (7 plyr) w/ QH at face.
---------------------------------------------------
QH 6C 9H KD QD 10D 7D AS 5C 9S 8S 6S 3S
2S KS 4C 4H 2H AH 6D 8C QS 3C 2C KC 10C
4D 8H JS JD 9D 8D 5D 3D 7H 10S 5S 7S 4S
JH 2D 6H 5H 3H KH 7C 10H AD AC QC JC 9C

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ROUTINES
 Stack Independent Routines

A&D SANDWICH W/ EXTRA CHEESE

Ivan Mallia / Allan Ackerman / David Solomon
Written by Allan Ackerman

Ivan has devised an excellent solution for performing the A&D Sandwich with any memdeck
with a simple cleanup and uniform counting. This version also uses the 7RS cull, so read the
version in All-In Vol 1, page 61, as it has a complete description of this cull.

EFFECT: The two red Fives are reversed and outjogged. The performer holds the deck face
down in the left hand. The spectator names any card in the deck other than a red Five. The
performer openly removes the red Fives from the deck and, very cleanly, places the two
Fives face down on top of the deck. You state you will make the named card appear
between the two Fives. You spread the cards, and a Joker magically appears between the
two Fives. The performer states, “Haven’t you heard that Jokers are wild?” The Joker then
instantly changes to the named card.

SETUP: I will describe the effect using the TETRA-RED stack with the Nine of Clubs on the
face. (You can use any memdeck.) You will also need a double-faced card with the Five of
Hearts on one side and the Joker on the other, along with an extra mate, the Five of
Diamonds. In the TETRA-RED stack, the Five of Diamonds is at position 3, and the Five of
Hearts is at position 29.

Place the duplicate Five of Diamonds under the Nine of Hearts, position thirteen in TETRA-
RED. The Five of Hearts (double-facer) will go under the Nine of Diamonds, the thirty-ninth
card in the TETRA-RED stack. The nine of Clubs will be the bottom (now the Fifty-fourth) card.

PERFORMANCE: You need to know the location of the Five of Hearts and the Five of
Diamonds in your actual stack. In TETRA-RED, they are the twenty-ninth card and the third
card in your memdeck. (If you use a stack with the Five of Hearts in the bottom twelve
cards, you need to know the card above it, enabling you to push a block at the desired point
and not ash the duplicate when you spread.) Also, remember you can use the original
method if the Five of Hearts is at positions thirty-eight, thirty-nine, or forty by adjusting your
math when doing the 7RS cull, offset by one. In our example, the Five of Hearts is at position
twenty-nine, and there is almost no work to make this handle happen.

Hold the deck face up in your left hand and spread it into your right hand. When you come
to the Five of Hearts, the right hand takes the fourteen cards above the Five of Hearts and
turns palm down; the left hand thumbs over the Five of Hearts, injogs it, and places it on top
of the face-down spread in the right hand, and the right fore nger holds it in place. Now
rotate both hands so that the palms are facing you, giving the audience a view of the back of
the deck, and the upjogged Five of Hearts will remain in their view. Continue spreading,

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and when you come to the Nine of Spades (26th card in the TETRA-RED stack), the right
fore nger presses in on this card to mark its position. Keep spreading; do not let the Nine
of Spades escape your view. Keeping it in sight should be easy as you hold your right
fore nger against the back. Keep spreading until you come to the Five of Diamonds.
Reverse the Five of Diamonds (photo 1 – performer’s view) using the same action.

Place the deck into the left hand with the backs
toward the audience. The right fore nger marks the
Nine of Spades, and you start to square, keeping the
back side always in the spectator’s view. The left
thumb pushes down on the next card about half an
inch, the six of hearts, injogging it. Square the deck
on its long side as you ip it face down into the left
hand. The right ngers pull down slightly on the top
cards, giving a slight spread. At this point, the
performer holds no breaks, the two red Fives are
upjogged, and the slight spread of the top cards
covers the injog. You have marked the 13th and the
39th card with the two outjogged Fives. The
injogged Six of Hearts marks the 26th position. (See
photo 2.)

Ask the spectator to name any card besides the two

red Fives in the deck. Assume they call the Jack of
Spades; calculate its position in the stack. In our
example, the Jack of Spades is the seventeenth card
in the deck. As the spectator names their card, the
right-hand grabs the deck with the right middle
nger at the outer right corner, kicking over the two
red ves slightly to the left. The right thumb picks up
at the injog and gets a break. If the spectator names
a card in the middle of the deck, positions 20-32, you
hold onto the break for a few seconds as you execute
the cull. The example card, Jack of Spades, is
seventeen, so the break is unnecessary and released.

Due to the jogs marking the 13th, 26th, and 39th

cards, the most you will ever have to count is seven
cards away from one of the jogs or the two ends of
the deck. In our example, the named card is the Jack of Spades, four away from the
outjogged Five of Diamonds. Spread the cards left to right, counting four to the left of the
outjogged Five of Diamonds. Break the deck at this point and hold seventeen cards in the

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right hand and thirty-seven on the left (photo 3;
remember you have two extra cards.)

As the right-hand moves forward, the right fore nger

pinches the Five of Hearts and removes it from the
bottom portion. At this point, the left hand moves
forward and pinches the pair of Fives between the left
thumb and index nger while maintaining hold of the
left portion of the deck. Drop the Fives onto the table
and bring the left hand back to its starting position
but raise it slightly above the right-hand packet.
Bring the two halves together and reverse spread
right to left (photo 4). Square the deck into the left hand, secretly placing the Jack of Spades
on top.

Pick up the Five of Diamonds, ash the back, and use this card to scoop up the Five of
Hearts. Square up the two cards, set them face down on top of the deck, and instantly
spread, showing the Joker appearing, apparently between the two Fives. Take the three
cards with the right hand as the left hand set the remainder of the deck onto the table.
Count the three cards in the right hand into the left hand, reversing their order. Square up
the three-card packet and turn them over, bringing the Five of Diamonds into view. The left
ngers buckle the bottom card, and the right ngers side-glide out the Five of Hearts. (You
can use a little nger pull-down instead of the buckle.) Use this card to ip the two cards
face down into your left hand — see video later in this article if there is any question how to do this.
The left ngers push off the apparent Joker outjogged on top of the Five of Hearts. The two
cards in the right hand ip the remaining Five of Diamonds face up and place it on the top
of the two in the right hand. The action should look like you are just outjogging the face-
down Joker. Ask, “Have you heard the statement that jokers are wild?” Let the spectator
remove the Joker and show it has changed into their thought-of card. This procedure is the
method David Solomon and I worked out in 2004 to make the Joker change into their
named thought.

Here is another method to make the change at the end. Spread over the top three cards,
showing the Joker sandwiched in the middle. Set the deck onto the table, square the
packet, do a two-card push-off, and turn over the two red Fives, stud style, into the right
hand. Spread, showing two red Fives, and place the Five of Hearts on the bottom of the
face-down card in the left hand. Then, place the Five of Diamonds on the face-down card,
keeping a spread of three. Square and hold the three-card packet in a right-hand end grip.
Peel the top Five of Diamonds into the left hand; the face-down card will show, and the right
hand turns palm up, displaying a Joker; turn the right hand down again, peel the supposed
Joker into the left hand, and place the Five of Hearts on top of all. Spread and let the

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spectator turn over the Joker; it will now be his named card. While this display is discrepant,
it looks correct, and I nd the extra show of the Joker is worth the effort.

A-1 Multimedia released this routine in 2007 on a DVD I did called Prequel/Sequel. Aimar
Garcia liked the effect and designed the above handle for the last change in the same year.
Gabi Pareras use the discrepant display in his notes Rutinas I. Helder Guimarães, in his DVD,
Small Miracles, also had an effect that used this discrepant display and his own handling for
the gaff card. Each needed a unique way to get into and use the display. I thank Aimar for
developing this handle that ts this routine so nicely

ADDITIONAL THOUGHTS: You split the deck precisely at the calculated number if the
thought-of-card is above or below the outjogs. For example, if the spectator names the Five
of Spades, its position is 42. Then 42 - 39 = 3; you split the deck three cards below the Five
of Hearts. When the designated card is 20–32, use the number of cards above or below the
break held at position 26.

If the spectator names a card in the top seven cards of your stack, you spread over one less
than the position number. If the named card is in the bottom seven, you subtract from 53.
For example, they called the King of Hearts, 50 in the TETRA-RED stack. Subtract 53-50 = 3,
and you count three cards from the bottom. That is where you take your break and execute
the 7RS cull as you remove the red ves.

The cleanup is easy: place your three cards back on the face, the Jack of Spades returning to
its correct position next to the Five of Clubs, followed by the red Fives. Turn the deck over
and place it in the left hand. Execute your favorite bottom palm of the bottom two cards,
and ditch them in your pocket as you put something away, e.g., place the card box in your
pocket. The deck remains in memdeck order.

Thank you, Ivan, for this great idea.

[Link]

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WEBCAM ULTRAMENTAL
Jennifer Gwinn

EFFECT: Spectator names any card in the deck and you give them option to change their
mind. You take the cards out of the box that has been in front of the spectator the entire
time. You spread through them and show them their named card is the only one face down.
I created this stack independent routine to see if I could replace a gimmicked invisible deck
with a routine using a memorized deck. My tool of choice was Asi Wind’s box sleight1 for
the shift — but any box shift sleight will work including Allan Ackerman’s, John Borne’s and
Ken Krenzel’s. Due to angles, this routine works well with the audience directly in front of
you, or for shows via webcam.
1. Ask the spectator to name any card in the deck and allow them to change mind.
2. Shift spectator's card to top of deck, using the box sleight. Details: I say something like
this: "So Rudy, check this out", while I ip open the deck box lid and get ready to rif e
through the deck -- totally hidden from spectator with Asi WInd's box sleight. "Before
this began I went through the deck here.."; this gives me an excuse to look at the deck to
start rif ing to their card. I pause the rif ing and brie y look back to them. “.. and I pulled
out a card out of the deck", which gives me another excuse to look at deck to rif e more
to their card in case I don't already have it. I look back to them and say " .. and turned it
over and put it back into the deck".. which allows me to look at deck again.. by this time
I've rif ed to 1 past their card , so it's at the top when I do the shift. ", making a
prediction". "and you said the 2 of hearts right? Let's take out the cards to see how I
did." I then do the shift while taking the cards out. The spectator's card is on the top of
the deck now.
3. Spread the cards face up towards the audience, in a vertical fashion, parallel to your
body -- like Asi Wind does when spreading the cards in the Christmas 2019 special on
Fool Us — see video below2. This type of spread cull, which I rst saw Asi Wind perform
on Penn & teller, was my starting point for this routine, along with his box sleight.
[Link]

1 As explained in Asi Wind’s Repertoire as well as his video tutorial.

2 I was given permission by Asi Wind to share this link of his performance.
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4. Cull the top card over with your thumbs while spreading.
5. Do the sleight to turn over the card solely with your thumbs, while culling and spreading.
It's a sleight I created and call it Twinklethumbs Turnover1. I had been obsessed with Asi
Wind's box sleight and wanted to see if I could mimic an invisible deck with it. I just had
to gure out a way to turn over the top card while culling it over, and I realized all I had
were my thumbs available, so I came up with this technique. (Make sure to be doing
some patter while you do the turnover since it can make a little noise turning over — I try
to perfect it to make as little noise as possible.) See the video on the next page for
handling of this sleight.

Here is a video of me performing this routine for a Saturday meetup with members of The
Magician’s Forum, about 3 days after I had created it. I created this in the Summer of 2020.

[Link]

1 I showed this Twinklethumbs Turnover sleight I had created to another magician and he said it looks
similar to McClintock Twist; it indeed does look very similar but not exactly the same as mine is done
while spreading the cards providing you with more cover — which is easier to do than McClintock’s.
McClintock is a beast and I shake my head every time in disbelief every time I see him do it — so
awesome! I hadn't seen any sleight like my thumb turnover before I created it, but often in magic
when you create something new it often has already been created by someone else.
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Here is an example video of how to do the Twinklethumbs Turnover sleight with the 2 of
hearts as spectator's chosen card. First I shifted the 2 of hearts to the top of the deck by
while pulling the cards out of the box.

[Link]

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MNEMONICOSIS IDEAS
The magician is hands off. These ideas are all performed by the spectator only.

1. Tantalizer. For cards 22, 35 and 27 in your memdeck, if the spectator names any of those
cards, have the spectator perform Tantalizer from Royal Road to Card Magic for card 22,
and a variant of Tantalizer for cards 35 and 27. This destroys the stack but to me the
effect seems so worth it — very chaotic and fun.
A) Card 22. Have the spectator deal out all the cards between the magician and the
spectator. Discard all of the cards dealt to the magician each pass through. The
spectator is left with their named card — card 22 in the memdeck.
B) Card 35. Have the spectator do the same as above but discard their pile of cards
each pass, instead of the magician’s. The magician is left with their thought of card,
card 35.1
C) Card 27. Have the spectator deal out all the cards into three hands. Each pass
through have the spectator discard both hands not belonging to them. The spectator
is left with their named card — card 27 in the memdeck.

2. Kruskal Count. What is your last card in the Kruskal Count for starting order in your
memdeck? For both Mnemonica and TETRA-RED it interestingly is the 9C, which is card 52
in TETRA-RED. The Redford Stack is the 8D. Memorandum is the QD and Aronson is the
6D. Nancy Colwell introduced me to this principle a few days ago — absolutely love it.

I made chart below of the Kruskal Count Card for the starting order of various popular
memorized decks along with the range of starting cut points you can offer the spectator
to choose from which 100% guaranteed will work — I’ve tested them all. The rst number
beyond the range speci ed below does not work. Note the following table data assumes you
count the court cards by spelling their value, e.g. K-I-N-G and Q-U-E-E-N.

Stack Kruskal Count Card Starting Position

Aronson 6D (49) 1-8

Hacker Stack AD (52)

Memorandum QD (51) 1-39

Mnemonica 9C (44) 1-32

Redford 8D (45) 1-17

Tetra-Red 9C (52) 1-23

1Thanks to Wayne Burrows from Memory Deck Workers FB group for mentioning this could also be
done this way for card 35.
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3. Card 51 Arrival. So the memdeck is sitting in front of the spectator — in starting order —
and the magician is “hands off” from here on out. For the rst time the spectator names
their thought of card, and it just so happens to be the card at location 51. I’ve seen
handlings where the magician asks the “1 or 2” / “ rst or second” question. Also the magician
could cop the bottom card but that wouldn’t be hands off.

I thought the following might be clever: The magician tells the spectator Allan,
“Amazing! I knew you were thinking of that card! Allan, pick up the deck from the table.
Now let’s make things fair, burn the top and bottom cards. Wonderful. Allan you could
of thought of any card but you thought of <card_at_location_51>. Now you’re going to
cut the deck absolutely anywhere you like. But before you do, there will only be a single
cut so make it count — I already know you will cut in the right place. So, now cut any size
packet from the top of the deck and sit on the table. Great. Sit the other half next to it.
Now complete the cut. Wonderful.” (See The Spectator Cuts under Sleights for Memorized
Deck Work — this could result in either a false cut or a criss-cross cut.) Recap the impossibility
of it all to build up the suspense as well as allowing for time misdirection. Have the
spectator turn the deck over and their thought of card — card 51 — is there; or if they
ended up criss-cross cutting instead, show them where they cut to.
4. To be continued..

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MEMORIZED DECK WORK

Sleight of Hand ◆ Utilities

Mental Sleights ◆ Mathematical Sleights
Clever Stuff

There are also a few stack-independent sleights in the

Poker chapter for both Hold’em and Five Card Poker:
Heinlein’s Hold’em Cleanup
Hold’em Stack and Strip Technique
Poker Rewind for Two

Utilities & mental sleights from Card Spellings chapter:

Handy Speller
Another Spelling System
The 0, 1 or 2 Burn Question

Additionally from the Webcam Ultramental routine:

Twinklethumbs Turnover

Some utility routines in the Transformations chapter:

Transformative Triumph
 Sleights for Memorized Deck Work

GERRY GRIFFIN FALSE CUT

Gerry Grif n

Sleight Description by Andru Luvisi as originally

written in the 2009 Weapons of Mass Deception Lecture Notes

1. The right hand holds the deck between the right thumb at the inner end near the inner
right corner and the right second nger at the outer end near the outer right corner. The
right rst nger lifts a third of the deck and moves to the left, causing the packet to pivot
on the right thumb at the inner end. The left hand grabs the packet in the fork of the left
thumb and moves away to the left until the packet clears the cards in the right hand.

2. The left hand moves back to the right, under the right hand, as the right rst nger starts
to cut another third of the deck to the left. The left thumb goes between the two right
hand packets. The next two actions occur at the same time. The right third nger and
thumb grab the packet the left hand is holding (the original top of the deck), and the left
thumb fork grabs the lower packet the right hand is holding (the original bottom of the
deck). The left hand then moves to the left until the left packet clears the right packets.
You are now holding the original bottom of the deck in the left hand, the original top of
the deck between the right thumb and third nger, and the original middle of the deck
between the right thumb and rst nger.

3. The left hand now moves back so that the left thumb1 can contact the inner end of the
upper packet in the right hand (the original middle of the deck). The left hand moves
forward, rotating the packet 180 degrees clockwise between the left thumb1 and the
right rst nger. As soon as the rotation is complete, the rotating packet almost
automatically falls on top of the cards in the left hand. The right hand then drops its only
remaining packet on top of the cards in the left hand.
This cut leaves the deck in its original order, and when performed quickly, looks much more
dif cult than it actually is. The packets can almost seem to y past each other. No one will
have a clue that it is a false cut. One more thing-- the cut has a rhythm to it that only comes
with practice. Once the rhythm is attained (and as I said, it's not nearly as hard as it looks),
you will have a valuable tool at your disposal. This wonderful false cut is the invention of
Gerry Grif n.

The method of cutting packets from the top of the deck is commonly called a Swing Cut. It is
similar to the one handed fancy true cut described in The Expert At The Card Table. It is also
similar to Marlo’s Running Cut from Deck Deception. The idea of spinning part of the deck
around during an in the hands ourish cut is described in The Leipzig Book by Dai Vernon.

_________
1 Alternatively use your left index nger for the swivel. This footnote was not originally included
in Andru’s write up in Weapons of Mass Deception.
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GERRY GRIFFIN FALSE CUT W/ GLIMPSE

Gerry Grif n / Jennifer Gwinn

I really do love the Gerry Grif n False Cut for memorized deck work. It’s easy to execute and
looks wonderful! Shortly after learning this false cut, I discovered I could easily glimpse the
bottom card on the third beat of this sleight — which is described in step three of the Gerry
Gri n False Cut on the previous page.

Thumb swivel. If you angle your left hand correctly, while doing the spin with the left thumb,
you should be able to see the bottom card in the packet in your left hand.

Fore nger swivel. Alternatively, and this is what I do when I want to glimpse, is use the left
index nger for the swivel instead of the left thumb — it’s easier to take a glimpse this way.
You can clearly see the pip of the card between the index and middle ngers of your left
hand. See the photo below; the eight of spades is currently the bottom card of this stack.

What’s nice is since this is a ourish cut with a swivel, you have an excuse to look down at the
deck while performing this ourish.

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SOME HISTORY ABOUT GERRY’S FALSE CUT

Permission was given to me by both Gerry Grif n and Andru Luvisi to use the description of
Gerry’s false cut in this book along with my glimpse for it.

A little background: Andru Luvisi is a friend of mine who I met on The Magician’s Forum who
has taught me so much — he’s awesome! Andru Luvisi was a student of Gracie Morgan’s ever
since he was a teenager. Andru, Gracie and Gerry are all from California.

Gerry Grif n taught Gracie Morgan this false cut sometime before 1991. Gracie liked it so
much she wanted to include it in her PCAM (Paci c Coast Association of Magicians) lecture
notes1 in June of 1991 and Gerry granted her permission. Andru Luvisi wrote the sleight
description in these lecture notes for Gracie, and in those lecture notes they called this false
cut of Gerry’s “The False Spinning Triple Center Cut” — a name Andru had given it.

Later, this false cut of Gerry’s was introduced in the December 1995 issue of MAGIC
magazine as the “Blind Swivel Cut” on pages 74-75, written up by Jon Racherbaumer. (Blind
is another word for False used by various magicians.)

Then later in 2009 Gracie released another set of lecture notes titled Weapons of Mass
Deception1 with Gerry’s false cut in it. Andru Luvisi also wrote up the sleight description in
this WoMD book, which is now duplicated here in this book a few pages back. It was also
renamed slightly to “The False Triple Spinning Center Cut” in WoMD. Andru now owns the
rights to the 2009 WoMD lecture notes and they are for sale by him on [Link], along
with the 2004 Weapons of Mass Destruction lecture notes1; there are a lot of great memdeck
related sleights and routines in these two books and both are well worth picking up. Gracie
is a memdeck worker who also uses a Si Stebbins based tetradistic memdeck like myself. She
calls it The Hacker Stack and you can read more about it in the 2004 WoMD lecture notes.

Thank you Gerry for letting me include your false cut in this book of mine, as I absolutely
love it and is my go to false cut for memorized deck work.

Check out Gerry’s website at [Link] [Link]/ for all his wonderful
material and his blog. Gerry is also the owner of the California Magic Club: https://
[Link]/.

1 Gracie published this material under the name of S. Youell.

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THREE PACKET GLIMPSE CUT

a.k.a. The Triple Spinning Bottom Glimpse Cut
Andru Luvisi / Jennifer Gwinn

In memorized deck work we make an estimated cut then glimpse with various methods to
see how close we are, and then make any necessary adjustments after.

I was wondering if there was a way to use the Gerry Grif n False Cut w/ Glimpse to actually
rst make a legitimate estimated cut, and glimpse at the same time, all making it look like
you were just doing a single fancy set of multiple cuts. Michael Close already did a similar
thing with the Frank Thompson False Cut in his e-book Road to Riffsville — he calls this the
“Plus One F. T. False Cut” — which inspired me to try it with the Gerry Grif n False Cut.

I rst came up with a way by simply doing an estimated swing cut followed by the Gerry
Grif n False Cut w/ Glimpse, all as one ve beat ourish with no pause. I guess it sort of
looked okay but it wasn’t that easy to execute. The following is a video of my attempt :
[Link]

After sharing the above video w/ Andru Luvisi, he quickly came up with a much easier way to
accomplish this, while making it look much better, closer to a running cut. His looks more
like a mix of the Frank Thompson False Cut and the Gerry Grif n False Cut — well because it
is exactly that. Andru’s sleight is also ve beats and ends with step three of the Gerry Gri n
False Cut w/ Glimpse as previously described. Andru’s variation became the Three Packet
Glimpse Cut and here’s how to do it:

1. Start with step one of the Gerry Gri n False Cut — the swing cut. This is your legitimate
estimated cut and wherever you cut to will end up at the bottom of the deck with the rest
of the deck undisturbed — as if you did a simple cut.
2. Swing another packet to left hand, over the other packet, with a break using your left
pinky. These are the rst two steps of the F. T. False Cut, which are the rst two swings of
Marlo’s Running Cut1 with a pinky break at the end.

1 See Marlo’s Running Cut in Deck Deception by Ed Marlo page 14 — circa 1942
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 Sleights for Memorized Deck Work
3. Move the right packet over left packets. Then with your right thumb and right ring nger
steal back the packet you just swung over in step two. Up to this point this sleight is
identical to the F. T. False Cut. But do not release the current right hand upper packet
into the left hand; instead keep it along with the packet you are stealing back. Finally,
move the right hand away a bit while holding onto both right hand packets. You are now
setup for the tail end of Gerry Gri n False Cut.
4. End with step three of the Gerry Gri n False Cut but with a glimpse of the bottom card as
previously described in the Gerry Gri n False Cut w/ Glimpse.

Here is the video of Andru showing me the Three Packet Glimpse Cut right after he created it.

[Link]

I should note that even though Andru tilts the [Link]

deck forward when doing the swivel, it isn’t
necessary to tilt it that much; it can be just a
subtle tilt, just enough to make it comfortable
to swivel it with the left fore nger. The actual
glimpse is the packet in the left hand; it’s not a
swivel glimpse. You can literally swivel it such
that the packet being spun is parallel with the
oor the entire time, but it is perhaps a tad bit
uncomfortable angle — your preference. See
adjacent video showing the two glimpses, top
down from the perspective of the magician.

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A little over a year ago in 2022, I shared this sleight with Josh Norbido — an absolutely
astonishing magician from Australia, who really enjoys memorized deck work. I asked him
recently if he still uses this sleight and he replied to me and said: “I’m so grateful for learning
that move. It’s a staple in my stackwork.” Which made me feel very happy.

By the way, I had originally named this sleight the “Legit Cut Flourish w/ Glimpse” but Josh
helped me come up with the better name for this sleight for the book, “Three Packet Glimpse
Cut”. Thank you Josh!

Here’s Josh doing a couple performances utilizing this sleight.

[Link]

In the video below, the Three Packet Glimpse Cut is at about 18 seconds into the video, during
the rst routine.
[Link]

Check out Josh Norbido’s Youtube channel “Josh Norbido” for all his wonderful magic he
shares regularly! Much of it is memorized deck work!
[Link]

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ANDRU’S ELEVATOR CUT

Andru Luvisi

I was chatting with Andru one day and asked him how he’d handle the transfer of a single
card from the bottom of the deck to the top of the deck, while preserving the order of the
stack, and not looking suspicious.

He immediately told me how he’d handle this:

1. With the deck in your left hand in dealer’s grip, do a pinky pull down of the card at the
bottom of the deck and hold a break with the tip of the pinky.

2. Transfer the break to the right thumb as right hand comes over to do a swing cut.

3. Swing cut over about half of the pack with the right index nger.

4. Pull over the top half of the pack into the fork of the left hand and throw to the bottom of
the deck under the bottom card — with the thumb break is still preserved.

5. Now use the left hand thumb to swivel cut the packet above the thumb break. Do this by
placing the left thumb at the inner left corner of the top packet and swivel it on the right
middle nger to the bottom of the deck.

Comment from Andru: Resist the natural tendency to twist the right hand clockwise to meet
the left hand. That's the reason for using the left thumb instead of the left fore nger for the
swivel. Using the thumb makes it easier to keep the deck in position so you do not ash the
break.

I absolutely love this cut as I am often doing cut ourish cuts anyways while I talk; e.g. the
Gerry Gri n False Cut and Three Packet Glimpse Cut mentioned earlier. So Andru’s cut ts in
well with these.

I asked Andru if there was a name for this sleight and he said it was so simple that it doesn’t
have a name. I thought it deserved a name and it reminded me of the elevator card trick, so
with his permission, I am calling it Andru’s Elevator Cut.

Note: This sleight also works well with transferring a couple cards from the bottom. I
sometimes do two pinky pull downs to get the two cards. I even sometimes transfer 5 or 6
cards from the bottom to top with a thumb count.

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THE SPECTATOR CUTS

A tabled false cut.. wait.. or is it a criss-cross cut?
Allan Ackerman

After handing the deck of cards to the spectator, have them make a cut — say for example
after having them think of any card while the deck is in their hands.

Have them cut about half the deck off onto the table. Then instruct them to sit the remaining
half currently in their hands next to it. Carefully observe which half they sat down last.
Instruct them to complete the cut.

Nine times out of ten they will complete the cut such that the deck order has not changed
whatsoever: i.e. they will start with the half they rst put on the table and not the last half
they just sat next to it. This naturally feels like a legit cut. It’s natural for spectators and even
magicians to complete the cut in this order as it feels like it is being actually cut instead of
undone.

The above sleight is from S.W. Erdnase The Expert At The Card Table.

The following is the part Allan added.

When completing the cut, if the spectator starts going for the half they shouldn’t be going
after — i.e. the last half set on the table is the wrong half — pause them and tell them to mark
the cut at an angle — or criss cross if you prefer. Use whatever clever patter you can think of
when pausing them to make your request sound legit.

The earliest reference I see for the criss-cross cut in the Conjuring Archive is the “Cut Force” in The
Royal Road to Card Magic. Depending on which printed version you have it can be on page 210 or 222
— it’s just before the Justice Card Trick.
So this ends up being either a false cut or a criss-cross cut. This can work perfectly for many
routines, e.g. Spellicosis in this book, where it doesn’t matter if it is either.

Allan told me he has been doing this for years and never published it. I guess because it’s
just a combination of two different sleights. But I would of never thought to do this and is
perfect for my Spellicosis routine. It deserves its own write up and so here it is in this book.

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EXTRA COVER FOR THE BOTTOM DEAL EXCHANGE

Jennifer Gwinn / Jack Carpenter

I don’t know about with you but the typical spreads of the Bottom Deal Exchange1 I’ve seen
have the card to the left of the card the spectator has touched, usually being dead ush with
the rest of the cards to the left of the chosen card.

When I try to perform the Bottom Deal Exchange this way, the top edge of the card I am
pushing over from underneath can ash pretty easily; the same if I push it back too far.

So I got the following idea from the Camou age Spread from Gracie Morgan’s 2009
Weapons of Mass Deception.2

Push the card to the left of the chosen card up subtly as you
stop on the card they touched. If it didn’t get pushed
forward enough you could say, “Are you sure you don’t want
this card?” pushing the left card a little more forward. Also,
the card they touched can be pushed back a little for more
rear cover if you like.

I nd this way the card slides right under undetected every

time. By the time the right side of the card being forced
reaches the past the right side of the cover card, the right
hand cards are over it keeping it from ashing as well.

On February 21, 2024, after asking for some feedback on the above from a few magicians,
Jack Carpenter kindly shared a little video with me of what he does for extra cover for the
Bottom Deal Exchange. He bevels the deck forward rst before spreading, which adds a
considerable amount of cover. This is a most excellent technique! This could be used
instead of or in conjunction with my method. I am going to be practicing Jack’s bevel and
might end up just using that instead — it’s really clever. Thank you Jack for allowing me to
share your method here in this article.

1Ed Marlo’s Bottom Deal Exchange is in M.I.N.T. Volume II page 190. It is also covered in Allan
Ackerman’s book All-In Volume I.
2 Gracie published this material under the name of S. Youell.
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SMEARING EVERY BEAT OF A FALSE SHUFFLE

Jennifer Gwinn

I was playing around trying to make the The Red sh False Shuf e look as sloppy and chaotic
as possible, in attempt to make it look even more fair than it already is. Ultimately I decided I
wanted there to be a smear every single beat of this 10 beat shuf e. This idea can be used
with many false shuf es other than The Red sh False Shuf e and The Dan Fishman False
Shuf e.

Smear the runs, smear the cuts and smear the nal throw. Here’s what I came up with:

[Link]

Here it is in exaggerated slow motion to emphasize I am trying to smear every beat of The
Red sh False Shuf e:

[Link]

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COUNTING 7 CARDS AS 5
Jennifer Gwinn

This sleight is perhaps handy for Juan Tamariz’s Mnemonicosis or the like. I do a rear strike
double lift, so it’s pretty easy for me to count multiple cards as one in this fashion. See the
youtube video below which shows this.

In the video I am using the Mnemonica memorized deck and I counted 7 cards as 5 from the
bottom of the deck, to reach the Jack of Spades. The last eight cards of Mnemonica are: JS,
QD, 7C, QS, 10D, 6C, AH, 9D. So one has to normally count 7 cards from the bottom to
arrive at the JS.

So in the video below I did a single lift of the 9D as well as the subsequent AH. But when it
came to the 6C, I double lifted it so you never see the 10D and they are counted as one
card. I then single lift the QS. After that I double lift the 7C so you never see the QD. After
double lifting the 7C the JS appears at the location the spectator speci ed — “5” cards down.

[Link]

Note the grip in the left hand while doing the rear strike double lift. The sides of the deck
are squared off by the thumb on the left side along with the middle, ring and pinky ngers
on the right side. The left index nger squares off the top of the deck, subtly pushing back
towards you to bevel the inner edge of the deck for an easy rear strike double lift.

To Reset:

1. Throw the counted pile of “face up” cards to the top of the deck face down.

2. Run them one by one into your left hand but for each one you doubled lifted run two
together as one into your left hand. One way to run two-as-one, is rst to subtly tug on
the top card so it barely slides left then move thumb back and pull both cards together.
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If you practice this you can do this without even looking at the deck. You can work the
patter so the pauses look natural when having to subtly tug on the top card rst to get
the pair over.

3. Once all cards — in this example seven — are run into the hand, throw that group of cards
to the bottom of the deck and you should be back in memdeck order.

Practice with cards with values of A through 8 at the bottom of deck to get the hang of
resetting it, as it is easier to see the order.

Below is a video of what I am talking about with respect to running two-as-one for the
double lifts. I am running a total of 7 cards into my left hand with two-as-one where I double
lifted when counting the cards face up for the spectator.

[Link]

I came up with this method for myself on Oct 19, 2021 and shared with some others on the
Memory Deck Workers Facebook Group shortly after. I am not sure if others have counted
cards face up in this manner before — probably have — but I have never seen it.

Afterthoughts: Allan Ackerman told me on 3/25/2024 this sort of double lift is called a Gin
Pick.

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SWAPPING CARDS VIA DIALING

Jennifer Gwinn

Say you have two cards a distance apart and you want to swap them without disturbing the
rest of the order of the stack. One way to do this without any spread culling, slip cuts,
milking etc. is to dial1 it with the procedure below.

I came up with this formula on February 3, 2024 while working out a Hold’em poker routine
wanting to make it a more interesting deal for player one.

Formula.

1. We wish to swap the cards in locations A and B.

2. Let x be the number of cards in the range from A to B, inclusive.
3. Let [] be the special dialing notation2 de ned in Dialing and Phone Numbers section.
4. Cut the deck such that the left most card to swap is the top card in the deck.
5. Dial [x] followed by 1 followed by x-2. The cards are now swapped, stack undisturbed.
6. To swap them back repeat steps 4 through 5.

For example, say we want to swap the 9C with the AS in TETRA-RED. The 9C is card 52 and
the AS is card 9. If you cut the 9C to the top of the deck, the 9C is then at location 1 and the
AS at location 10. The number of cards in this range are 10. So to swap the two cards
without disturbing the rest of the stack execute the following:
1. Cut the 9C to the top of the deck.
2. Dial [10]-1-8 or [10]-1-[8] depending on whether or not you want the last packet of 8
cards on the top or bottom of deck.
To swap the AS and 9C back, cut the AS to the top of deck — as it is now the left most card —
and dial [10]-1-8 or [10]-1-[8] again.

Note: the The Red sh False Shuf e can conceal the [] part of the dial. See Dialing and Phone
Numbers for more information on the [] notation. See Concealing Top Stock Reversal With The
Red sh False Shu e on follow pages.

1Patrick Redford’s dialing method as described in Temporarily Out of Order as well as in the Dialing
and Phone Numbers section of this book. It’s essentially a run sequence of cards with some special
notation to transform all or part of a stack.
2From the Dialing and Phone Numbers section: [ ]. Brackets around a digit mean to run the cards into
your hand one by one reversing them as mentioned above, but instead of throwing them to the bottom
of the deck, you place them back on top of the deck. This action can be concealed by The Red ish False
Shuf le, which is a variation of the Dan Fishman False Shuf le.
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The following is a video of me swapping the QH and KH which span a total of 6 cards.
Notice the A, 2, 3, 4 cards don’t change order but the QH and KH swap back and forth.

I made the video to clearly show what’s going on with respect to the formula mentioned
above. Top stock reversals can be concealed with The Red sh False Shuf e, instead of
throwing them back to the top of the deck like I did in the video — again I did it for clarity to
make it easy to follow. See the next pages for concealing top stock reversals.

[Link]

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CONCEALING TOP STOCK REVERSAL

WITH THE REDFISH FALSE SHUFFLE
Patrick Redford’s Method
written by Jennifer Gwinn

There are times when we might need to reverse the top set of cards and instead of placing
that block of reversed cards to the bottom of the deck we instead put them back to the top
of the deck.

This is problematic as it looks very suspicious, since usually when someone does an
overhand shuf e run of cards into the left hand, they are thrown to the bottom of the deck,
not the top.

The problem above can be totally concealed by throwing that reversed set of cards, which
are currently in the left hand, to the bottom of the deck with an angle jog break, as the rst
beat of the The Red sh False Shuf e1 — a variation of the Dan Fishman False Shuf e. By the
time you nish executing this false shuf e, the reversed set of cards are back at the top of
the deck and it all looks like normal overhand shuf ing to the spectator.

I was introduced to this technique of Patrick’s by watching a video he shared with me a

couple years ago, in a poker deal he was doing. It is so clever. This is a big reason I like the
The Red sh False Shuf e, it not only looks deceptive but is also a great utility for concealing
the manipulation of a series of cards.

Patrick Redford discusses this concealing of top stock reversal, along with many other useful
card manipulation techniques in combination with the The Red sh False Shuf e in his
various workshops. Patrick teaches The Red sh False Shuf e in his Out of Order series of
books as well as the False Shuf e Project1. I learned The Red sh False Shuf e from Patrick’s
False Shuf e Project video.

I do top stock reversals many times throughout the Poker Deals section of this book. I do
them so frequently, I use special dialing notation, i.e. brackets: [] as mentioned in the Dialing
and Phone Numbers section of this book. The brackets indicate the reversal of x number of
cards into the left hand and to then throw them back to the top of the deck instead of to the
bottom.

1 The Red sh False Shu e is described in Patrick Redford’s Temporarily Out of Order and Sleightly
Out of Order books. He also teaches it in his False Shu e Project video available at https://
[Link]/products. The Red sh False Shu e is a variation of The Dan Fishman False
Shu e.
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Any time you see a number or digit inside brackets in a dialing sequence in this book, this
part of the dial can be concealed with The Red sh False Shuf e as described above. For
example, if you see [5]32 that means to reverse the top set of 5 cards and place back to the
top of the deck —- Red sh False Shuf e concealing this — then nish dialing out the rest of
the number as normal by running three cards into your left and and throwing to the bottom
followed by running two more cards into your left hand and throwing to the bottom.

The following is a video of me showing this reversal of top stock and concealing it with The
Red sh False Shuf e.

[Link]

An idea I just thought of and do what you want with it. Say you don’t want to do an
estimated cut to get card 7 to the top of the deck for a memdeck routine. You could do a
top stock reversal in the manner above concealing it with The Red sh False Shuf e. It’s at
the top now for you. Do the routine and place the card back on the top of the deck. Then
reverse it back by repeating what you just did.

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CORNER CRIMP WITH PINKY PULL DOWN

When running a long sequence of cards in a dial — say 26 for example — which need to be
returned to the top of the deck, an alternative to keeping an angle jogged break with The
Red sh False Shuf e, is to put an impromptu crimp on the appropriate bottom card. This
way no breaks are needed and you can just use the crimp to get the dialed cards back to the
the top of the deck.

Just pull the bottom card down with your pinky, and bend it with your pinky. You can make
the bend as sharp as you’d like by pushing diagonally inwards towards the outer left corner
of deck, while pulling it down with your pinky. After done with the crimp, you can bend it
back in place with a pinky pull down followed by bending upwards and diagonally inwards
towards the outer left corner of the deck — you can use the right thumb tip to hold the card
in place after the pinky pull down, while bending it upwards.

I gured out this crimp on my own today out of desperation on February 20, 2024 without
having ever read anything on corner crimps or knowing a pinky pull down was involved.
After I shared what I came up with Andru Luvisi, he informed me George Kaplan does a
similar thing in The Fine Art of Magic. Marlo also has a corner crimp in The Cardician and
there is also a corner crimp in Darwin Ortiz’s Cardshark — however both of these use other
digits for the crimp other than the pinky. Andru also pointed out that Theodore Anneman
did a pinky pull down crimp — page 55 of Greater Magic. Also, Dai Vernon uses a pinky pull-
down corner crimp on page 4 of the Vernon Chronicles, Volume 2 and references Anneman
in Greater Magic. Later on March 18, 2024 I observed Ramón Riobóo wrote about the same
pinky pull down crimp in his wonderful book Second Thoughts.

This sleight can be useful for some of the poker deals in this book, especially the ones with
larger dials.

Andru Luvisi says he doesn’t know who created

the corner crimp but it has been around a long
time. Upon further searching he found a book
from 1552 that mentioned turning up corners on
cards: A Manifest Detection of the Most Vyle and
Detestable Use of Dice Play
[Link]
amanifestdetect00hallgoog/page/n46/mode/1up
“.. some turn up the corners ..”

In the photo above it shows the crimp with one hand, but you can do two hands for more
stability and/or cover. Also when reversing the crimp as mentioned above, it pretty much
requires the use of two hands it seems.
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LAYMAN’S WEAVE SHUFFLE

Jennifer Gwinn

Since I am over 50 years old at the time of writing this book, I have played a lot of card
games since my childhood. Back then, there was no Internet nor streaming services and the
black and white TV was snowy all the time. There were only a few board games back then as
well. As a result there was plenty of interest in and time spent playing card games in my
dad’s household. At the time, I didn’t know how to bridge rif e shuf e on the table well and
often just weaved the cards together by cutting approximately half of the deck and weaving
it into the other half. I did this along with some overhand shuf ing.

Fast forward to my late adulthood, I learned how to faro shuf e from an Allan Ackerman
video a couple years ago. I got to where I do it very well and could cut at 26 virtually every
time without having to look at any key cards. But this can sometimes look awkward to some
spectators. To see both of your thumbs in the middle of the deck cutting it and then
position the two halves carefully in a vertical fashion and start weaving it in.

My sister-in-law called me out once on it, although my brother didn’t. She thought it looked
suspicious even though I cut at 26 without looking at a key card and weaved them in fairly
quickly. I think she thought it was awkward the way I was cutting the deck and holding the
cards. I followed up with a Dan Fishman false shuf e — a really sloppy looking one — and
that appeased her saying it now looked like it got shuf ed. Her remark really bewildered me
since she just saw me bridge and cascade all those cards beautifully showing a very
thorough mix.

I saw a memdeck worker on Patrick Redford’s Facebook group perform Patrick’s Messy
Shuf e in early February 2024. It triggered memories of how I shuf ed as a child:
particularly the angle of the faro along with the messy part — although I did the messy part
differently with either a straight push together, optional tap on side of table, or shaking them
quickly back and forth. It looked more fair than the standard faro shuf e to me. So I started
thinking a few weeks ago, around mid-February 2024, how could I make the way I faro less
suspicious? I started thinking about how I shuf ed as a kid, and started with that. I just took
the cards in my hands and just started weave shuf ing them like remembered.

This began in overhand shuf e position as I’d weave the deck following an overhand shuf e.
After the overhand shuf e I would slightly tilt the deck to the left so the deck was
perpendicular to the oor. I’d then cut at the back end of the deck with my right thumb tip
the at inner right corner. I then got the break and rocked the lower right hand packet
forward to about 20 degrees shy of a perpendicular position in front of the left upper
packet. This grip on this lower right hand packet — see adjacent photo — is with:

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The lower packet grip:

1. my right thumb tip at the inner right corner
2. the middle of my right fore nger hanging over the right side of
the packet just past the middle a little towards the outer corner.
3. my right middle nger hanging over the outer right corner
slanted towards the outer middle.
4. my right ring nger tip positioned towards the outer left corner

I did not ip the deck before doing this; the deck stayed in the
same orientation as when I overhand shuf ed, with the face of the
deck directed towards the right.

So I set out to emulate the above but with a goal of successfully

quickly cutting at 26 and then performing a quick perfect faro.

So the rst thing I needed to do was get used to cutting at 26 from the inner right corner of
the deck. For a conventional faro, I have always been cutting at 26 with both thumb tips
over the middle of the right side of the packets, so I could keep things tight as well as easily
ip to to the correct key card. I was doing it as most everyone does when doing the faro
shuf e — again I learned from an Allan Ackerman video.

Unlike with the above method, cutting from the inner right corner like this requires a perfect
cut at 26 every time, as you can’t ip back and forth easily through the cards looking for the
key card. I had gotten to where I could cut at 26 virtually every single time in the
conventional manner as described in the above paragraph, without ever having to look at a
key card. I need to be able to do the same thing from the end of the deck as well for this
emulation I am attempting. To cut perfectly at 26 without ever looking.

I immediately found the cut was very unreliable unless I moved my left thumb tip across the
right side of the deck towards inner corner to tighten up the end of the deck for more
accurate estimation. I nd my left thumb tip being about 1/3” (about 1 cm) from the inner
end tightened it up well for the cut. One advantage the left thumb tip has in this position —
compared to the conventional faro cutting manner — is that it can conceal the estimated cut
with your right thumb tip; so the spectator never sees you are trying to get a cut until you
actually do it. And to add even more cover you can slightly tilt the deck back towards you to
further hide any bend you might have showing on your right thumb tip when estimating.

I have been practicing this every so often over the past couple weeks and am starting to get
pretty good at cutting to 26. I really think with enough practice I can cut to 26 maybe 95% of
the time. For the remaining 5% of the time, I will never be off by more than one card, and I’ll
be able to see it when I do the weave; so what I’d do in this case is make a small correction
afterwards using the methods Elmsley discusses — milking and so forth.

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When it comes to the weave, I do a bottom up faro which works well for me with the Bicycle
playing cards that I use — this is how I have always done the faro and never did it top down
like most people. I keep my left fore nger over the middle of the outer end of the left hand
packet. I then sit the right hand lower packet — which I just cut — over this left fore nger, in
an almost perpendicular fashion, using the left fore nger as a way to stabilize and to rock
the right hand packet into the left hand packet. As I weave it in, the lower packet is rocking
into a more horizontal position pivoting on the left fore nger.

To further clarify, I am weaving the inner left corner of the right hand packet into the outer
right corner of the left hand packet, in a bottom up fashion, pivoting on the left fore nger
starting in an almost perpendicular position — about 20 degrees shy of perpendicular.

[Link]

After the weave has been established, I then push the cards down and then in, squaring
them off after they are weaved in — sometimes I shake them. Or sometimes perhaps tap the
left edge of deck on table to get them to fall ush. This is how I did it when I was as child.

I realize this weave shuf e idea isn’t for everyone, [Link]

not being able to see a key card, but I am
con dent I can eventually cut at 26 virtually every
time without looking at a key card. For the cases
where I do need to look at a key card for some
reason, e.g. not cutting 26, I can always fall back
to my old way of faro’ing for that instance. But it
seems like every time I need to faro, it is to cut at
26. If all else fails, there’s always the
tabled faro to use and master!

Here is a video of what I have so far. By

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shaking them, it quickly gets air between the cards so the cards even out quickly for the
subsequent faro.

I do really like this shuf e the more I play with it. It got rid of many potentially suspicious
elements of a conventional faro shuf e:
1. There is no repositioning of the deck after an overhand shuf e.
2. The cutting is from the rear corner not with two thumbs tips on the side of the deck.
3. There is no keycard hunting.
4. There is no vertical stacking of the halves.
5. There is no use of a fore nger to keep the two packets lined up for a precision weave.

The packet is just cut all of a sudden from overhand shuf ing position, rocked forward and
then rocked backwards. It is the closest so far to how I weave shuf ed when I was a kid.

After the weave is started, there are a few options to even out the cards:
1. Just push them all the way in and square off a few times
2. Push them in and tap the side on the table
3. Quickly shake them to get air between them as fast as possible for a subsequent faro. I
do this most often.
4. Make them “messy” like Patrick instructs in Faro Shuf e Project. I still have to learn this.
5. Push them down a bit and cascade. I notice Patrick does this.

By the way, my approach here to the faro shuf e is how I originally attempted to faro before
watching Allan Ackerman’s videos on the faro shuf e. It’s natural for a layman to want weave
like this, with the rocking and angled weave.

I’ve been told by a couple people that this looks exactly like Patrick Redford’s Messy Faro.
This faro shuf e I’ve come up with is similar to Patrick Redford’s Messy Faro in that they are
both weaved at an angle instead of vertically stacked. That along with not cascading them
are about the only similarities. The way I am doing it has a different deck orientation which
doesn’t change from overhand shuf e position — Patrick ips his 180 degrees. Also I have a
different cut, from there rear instead of thumbs on the side. There is no option to hunt
keycards with mine unlike with Patrick’s. He has a different grip on right hand packet with
both thumb tips along the sides of the packets; in contrast with my right thumb tip on inner
end of the right hand packet and left thumb tip on the top side of the left hand packet.
Patrick pushes in the angle weave from the rear using his right fore nger as a guide to start
the weave; I have no fore ngers available the way I am gripping the packets and so I don’t
do this — I don’t really need to with the way I am stabilizing and pivoting the lower packet on
my left fore nger; also I angle weave from the front not the back. Additionally, Patrick
doesn’t shake the cards, he pushes them in an almost parallel manner and uses his right
ngertips to go over the side pushing them down, beautifully meshing them similar to a

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Greek shuf e style. In contrast my right ngertips don’t ever go over the side of the deck to
push the cards down mesh style; the top side of the deck is secured in the fork of my left
thumb, and I then use my right ngertips and thumb to quickly and forcefully shake the deck
forwards and backwards to quickly get some air between the cards to get evened out as
quickly as possible for a subsequent faro. Patrick’s Greek style mesh looks very nice and I
am working on learning it and perhaps might incorporate it into this Layman Weave Shuf e,
as it might go better with the Greek False Shuf e. I just recently purchased Patrick’s Faro
Shuf e Project — it only cost me $30 and it’s well worth it. There is over 3 hours of material in
it. I especially look forward to learning tabled faro from it. You can get it here: https://
[Link]/products.

I am going to look into the Greek False Shuf e as it seems like it might be good false shuf e
to use interchangeably with this layman-like faro shuf e. I can probably perhaps modify the
Greek False Shuf e slightly to make it better match this layman-like faro shuf e.

For those who don’t care for this shuf e idea I present above, the following is something
Allan shared with me recently to help avoid any suspicion a spectator might have with the
conventional faro shuf e:

You may want to include this patter line in this article. It's by a friend of mine who we
lost to cancer in 2012, he was only 57 years old. His name was Rod Dee, and his friends
always called him Rod the Hop. He was one of my best friends for over thirty years, I met
him in 1978.

"You know when you go to Las Vegas dealers' school they teach you a variety of ways to
shuf e the cards. From the standard overhand shuf e (demo a false overhand) all the
way to this fancy weave shuf e that they call the interlace shuf e. This shuf e breaks up
every pair that's in the deck. (Demo doing a faro or two.)

I have been doing this line for well over 30 years since Rod told it to me and it works – to
laymen it justi es this nonstandard shuf e.

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ALTERNATIVE TO THUMB COUNT FROM BOTTOM

Jennifer Gwinn

So I was told by those who mentor me to use either a thumb count to get a break of x cards
from the bottom of the deck or do a spread and catch a break.

I’ve been trying to come up with an alternative.

Been playing around with this the past few days — 4/9/2024 — and came up with this idea.

I’ll work on keeping ngers closer to the side of the deck as after video it for the rst time
below, I see they are extended out more than needed — especially the middle nger.
Perhaps I can do this counting with my hand to the side of the deck and the mess ( ngers)
facing the rear — and do this while I talk.

[Link]

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MISCELLANEOUS
TRANSFORMATIONS

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This section is for sharing some ideas I came up with which are for some speci c stacks,
unrelated to TETRA-RED. I have learned several stacks and enjoy them all. I am quite the stack
nerd!

Just wanted to create this section to share some things I discovered in case anyone nds
them useful if they use these stacks.

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TETRA-POWER
A Tetradistic Stack from Power Stack
Jennifer Gwinn

When you take USA Bicycle New Deck Order (NDO) and shift the bank of clubs behind the
bank of hearts, you are in a useful StayStack of soulmate pairs. This is the rst step to getting
into the Memorandum stack; it’s also the rst step for getting into Mnemonica, but with
Mnemonica you swap the Clubs and Spades rst — otherwise it’s the same arrangement.

Then you take the above and perform four out faros and you are in what is called FARO-4.

FARO-4 is a StayStack and when you reverse the top 26 cards it becomes a parallel stack1,
and Denis Behr calls this particular FARO-4 arrangement, the Power Stack.

Let’s assume the memorized deck you often use is FARO-4 based like Memorandum and/or
Mnemonica. First get into Power Stack and then from there within 30 seconds you can
transform Power Stack into a tetradistic stack, for routines such as Fourgathering or
Soulmates by Coincidence in this book.

This quick transform is something I came up with on Feb 27, 2024. I observed that with one
pass of up-jogging the correct cards, and stripping them out and placing to the top of the
deck, followed by another pass relocating 8 cards, you would be in a tetradistic stack. The
whole process takes around 30 seconds to do.

Start in Power Stack — this is Juan’s arrangement with clubs and spades swapped, if yours is
the standard Bicycle NDO format without the spades and clubs swapped, that’s ne too.
The bottom row in the photo below are cards 27 through 52. Notice they are parallel.

1Parallel stack is a general term Patrick Redford started using to describe this sort of arrangement,
where there is always a soulmate to a particular card exactly 26 cards away.
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 Miscellaneous Transformations

Up-jog the following cards, repeating the same pattern twice for both of the parallel banks
of cards. Strip them out and throw to the back — i.e. the top of the deck.

In the following photo this is how it should look after the upjog and strip. Notice the two
banks are very similar. It just requires the relocation of 8 cards a short distance away within
one or two cards. Cull the black fours above the red aces. Cull the red tens above the black
sevens. Cull the black ves above the red twos. And nally cull the red nines above the red
queens.

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 Miscellaneous Transformations
Now you need to rearrange the banks so that they are black red black red, so it becomes a
parallel tetradistic stack. Just take a bank of 13 cards into your right hand followed by 26
more cards and then the last bank of 13.

If you are clever with the Hofzinser / Roadrunner cull, you might be able to relocate these
upjogged cards to the correct banks as you go along with the spread — without up-jogging
and stripping them out as I suggested. This would save the last step of rearranging the four
banks, as they would already be arranged as a parallel stack.

If you are good with the spread cull you can covertly do the card relocations — I’m not that
good yet, but I am sure all of this could be done under the noses of the audience somehow.
If someone can demonstrate they can do this all covertly, I’d so love a video of you doing it
to put it in this article in this ebook to demonstrate this.

I also challenge anyone to improve this, as I just came up with this in a few hours a few days
ago. I am sure it could be turned into something beautiful. I just can’t put any more time
into it right now. Ideally, there would be an easy way to transform this tetradistic stack back
to Power Stack. If you can come up with a great method to do all of this, I’ll update this
article you are reading now in this book, crediting you.

Hope this is useful to someone. I know most people won’t care about this but gured I’d
share it, as I am a stack nerd.

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 Miscellaneous Transformations

ARONSON HOLD’EM DEALS

Jennifer Gwinn

Four of a Kind in Aces for 5 Players. Here is a very nice progressive deal my computer
program found.
1. Cut 2C to face — e.g. Andru’s Elevator Cut from starting order.
2. Dial 645227.
3. Cut 9D to face using breather.
4. Cut single card from bottom of deck to top — e.g. Andru’s Elevator Cut.
5. Deal 5 hands of Hold’em. The are a couple diamond ushes and a full house as well.

To reset the stack exactly as it was just before the deal, please see Stack Reset A er Hold’em
Deal in the Poker chapter under the Hold’em section. Then transfer the ve bottom cards to
the top of the deck, thereby cutting the 2C to face. Dial 645227 again to get the stack back
in Aronson order.

Mnemonic Visual. In the circus audience, Ace Ventura jeers at the performers for their
mistreatment of animals, ipping them off with both hands four times (4-Kind). A clown
throws a CaN (2C) of animal poop at Ace’s face out of anger — cut the 2C to face.
Later, on a raised deck, on a CHaiR (64) sits the mistreated LioN (52).
In goes the clown’s NeCK (27), gets stuck and the clown ends up a cryin’ — dial 645227
Ace breathes in deeply and laughs at the DoPe (9D)
and with a gleeful face he now feels there is hope — cut 9D to face using breather.
Then cut 1 card from bottom of deck to top and deal — this last part needs a major system mnemonic.

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 Miscellaneous Transformations
Royal Flush in Spades for 5 Players. Here is one example of what my program found.
1. Cut the 9H to the face of the Aronson stack.
2. Dial 10-2-4-6 with an angle jogged break, then toss the 22 cards back on top of the
deck.
3. Deal out 5 hands of Hold’em. Two pocket pairs. Three of a kind on the op. A ush in
spades. Dealer wins with royal ush in spades.
4. Clean up the table restoring the Aronson stack, as mentioned before on previous page.
5. The 9H should already be at the face of the deck. Dial 10-2-4-6 again to restore stack.

Note: if you swap the 9H with the 5C before the deal it becomes a four of a kind of nines for
player one by the turn, making this a super exciting deal. This swap actually can be easily
done with Patrick Redford’s swap technique which will be available in his upcoming book
Completely Out of Order.

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 Miscellaneous Transformations
Steel Wheel in Diamonds for 5 Players.
1. Cut the 6C to the face of the Aronson stack.
2. Dial 36617 with an angle jogged break, then toss the 23 cards back on top of the deck.
3. Cut 3 cards from the top to bottom of deck
4. Deal out 5 hands of Hold’em. Player two has a pocket pair of eights and player four has
KD and QD — nice start. Player four is pleased with the op as right off they have an Ace/
King high diamond ush with a chance for a royal ush in diamonds. The dealer is happy
on the op as well since they have a lowball wheel straight and a chance for steel wheel.
For some reason player one holds out and ends up with two pair. Dealer ends with a
steel wheel.
5. Clean up the table restoring the Aronson stack, as mentioned before on previous page.
6. Cut 3 cards from the bottom of deck and re-dial 36617 to restore stack.

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 Miscellaneous Transformations

ARONSON DEAD MAN’S HAND

Jennifer Gwinn

1. Cut 2D to face of deck.

2. Dial 316
3. Cut KC to face of deck
4. Deal 4 hands of ve card poker
5. Turn over the group of cards containing the black aces and black eights, leaving the last
card turned face down.
6. Get the hands back in order and place on top of deck
7. Cut 2D to face and re-redial 316 to restore stack.

A variation dial would be 31[2]6, that would give an Ace of Diamonds in the hole in case
anyone ever wanted to know what was under there: a winning Ace high full house. Restore
with the slightly different 31[6]2 dial. See Dialing and Phone Numbers for an explanation of [].
The [] part of the dial can be concealed as the rst beat of The Red sh False Shuf e — see
Concealing Top Stock Reversal with The Red sh False Shu e.

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 Miscellaneous Transformations

MEMORANDUM MIXED LUCK POKER STACK

Jennifer Gwinn

From Memorandum shuf e — (3) 971-2998 (4). Deal 5 hands of poker and winning hand is
three of a kind in sixes, "666". Say something like "ahh, interesting 666, some people say six
an unlucky number.. just to prove it isn't, I am going to deal 6 hands now." You deal six
hands and get a Dead Man's Hand -- black aces with black eights. "Ooops.. maybe we
should stick with the lucky number 7 instead". You deal 7 hands now and deal a royal ush in
spades.

See the table below where to cut to deal the hands mentioned above. Once done, cut 9S to
face and re-dial the above phone number to get back into Memorandum.

Here is a clever line of patter suggested by Wayne Burrows on the Woody Aragon’s
Memorandum Stack facebook group, after he saw this poker stack: “666 is the devils number
and playing cards have been called tickets to the devil.” I love it! And then perhaps follow with
something like “.. and just to prove this is absolute nonsense, I am going to deal 6 hands
now instead of 5.” And then hilariously the dealer deals a Dead Man’s hand.

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 Miscellaneous Transformations

MEMORANDUM POKER FOR TWO

<Under construction>
Built in Four of Kind deal in Fours
1. Cut 10H to face and deal 2 hands. Spectator gets a full house of Aces over Sevens.
Cut 7C to face if you want to instead have spectator to get the 4 of a kind and the dealer the full house.

The battle of the two four of a kinds: Aces vs Fours

1. Cut 10H to face and dial 377.
2. Cut 9S to face and transfer 4 cards from
the top of the deck to bottom. Both Hands in Poker Rewind for Two Display:
3. Deal 2 hands of poker — see Poker
Rewind for Two if you don’t want to do a
factorial reset. Spectator gets four of a
kind in Fours and dealer gets four of a
kind in Aces. (If displayed in a
conventional manner this deal can be
cleaned up with a factorial reset dealing
ve Hold’em hands.)
4. Put cards back in order on top of deck.
5. Transfer 1 cards from bottom to top.
6. Dial 377 to restore stack.

Four of a
Kind Faro F Dial D DF Spectator’s Hand

2 0 9H 3-3-11 1T 6H Full House: Threes over Fives

3 0 8H 7-1-5-11 8T 6H Three of a Kind in Twos

4 0 10H N/A 0 10H Full house: Aces over Sevens

5 0 KS 11-7-5 9T 3D Pair of Eights

7 0 9S 13374 2T AD Full House: Fours over Tens

10

Q 1 6S 21266 1B 8H

A 0 10H 3-7-7 1T 10H Four of a Kind in Fours

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MNEMONICA MIXED LUCK POKER STACK

Jennifer Gwinn

From Mnemonica shuf e — i.e. dial 335-485-519 (9). Deal 4 hands of poker and the winning
hand is three of a kind in sixes, "666". Say something like "ahh, interesting 666, some
people say six an unlucky number.. just to prove it isn't, I am going to deal 6 hands now."
You deal six hands and get a Dead Man's Hand -- black aces with black eights. "Ooops..
maybe we should stick with the lucky number 7 instead". You deal 7 hands now and deal a
royal ush in clubs — or royal ush in spades if you don’t swap the clubs and spades in NDO
setup.

Here is a clever line of patter suggested by Wayne Burrows on the Woody Aragon’s
Memorandum Stack facebook group, after he saw this poker stack variation in
Memorandum: “666 is the devils number and playing cards have been called tickets to the devil.” I
love it! And then perhaps follow with something like “.. and just to prove this is absolute
nonsense, I am going to deal 6 hands now instead of 4.” And then hilariously the dealer
deals a Dead Man’s hand.

See the table below where to cut to deal the hands mentioned above. Once done, cut 9D to
face and re-dial the above phone number to get back into Mnemonica.

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APPENDIXES
 Appendix A: Faro Wheel Deals

APPENDIX A: FARO WHEEL DEALS

These are a list of the poker deals my program detected for the FARO-8 wheel of TETRA-RED
w/ the Nine of Clubs cut to face — starting order.

PD means progressive deal, that is there is at least one player besides the dealer that has a 3
of a kind or better. The 3 digit numeric code corresponds to the score of the hand — I need
to edit my program code to instead display abbreviations for 3 of a kind, straight, ush, full
house, four-of-a-kind, straight ush as well as royal ush.

Not all of the hands are very good, especially the ones without the PD. Check out the hands
with the PD rst as they are the most impressive deals, although many can be altered a bit
by doing a short run sequence of cards before dealing, like we’ve done with the royal ush
deals in the Poker Deals chapter.

I recently added Seven Card Stud Detection in my program, but don’t really know how useful it is
because the program assumes no one folds. Unlike the poker and Hold’em deals where the outcome
doesn’t change if a player folds, this is not the case with Seven Card Stud. Also the resetting a Seven
Card Stud deal, to get the deck back in order, seems problematic — I have to think about it.

Starting in Tetra Red

---------------------P O K E R---------------------
DEALS: STRAIGHT: Ten high (6 plyr) w/ 2S at face.
STRAIGHT: Six high (2 plyr) w/10H at face.
STRAIGHT: King high (2 plyr) w/ AS at face.
STRAIGHT: Ten high (7 plyr) w/ KS at face.
STRAIGHT: Ten high (6 plyr) w/ 2D at face.
STRAIGHT: Six high (2 plyr) w/10S at face.
STRAIGHT: King high (2 plyr) w/ AD at face.
STRAIGHT: Ten high (7 plyr) w/ KD at face.
STRAIGHT: Ten high (6 plyr) w/ 2C at face.
STRAIGHT: Six high (2 plyr) w/10D at face.
STRAIGHT: King high (2 plyr) w/ AC at face.
STRAIGHT: Ten high (7 plyr) w/ KC at face.
STRAIGHT: Ten high (6 plyr) w/ 2H at face.
STRAIGHT: Six high (2 plyr) w/10C at face.
STRAIGHT: King high (2 plyr) w/ AH at face.
STRAIGHT: Ten high (7 plyr) w/ KH at face.
--------------------H O L D E M--------------------
DEALS: STRAIGHT: King high (5 plyr) w/ 2S at face. PD: 511
STRAIGHT: Six high (3 plyr) w/ QH at face.
STRAIGHT: Ace high (3 plyr) w/ 5D at face.
STRAIGHT: King high (4 plyr) w/ 5D at face. PD: 511
STRAIGHT: Six high (2 plyr) w/ JH at face.
STRAIGHT: Nine high (3 plyr) w/ JH at face.
STRAIGHT: Eight high (4 plyr) w/ JH at face.
STRAIGHT: King high (3 plyr) w/ 8C at face.
FLUSH in Ace high (8 plyr) w/10H at face. PD: 512
ROYAL FLUSH in ♠ (2 plyr) w/ 7C at face.
STRAIGHT: King high (2 plyr) w/ AS at face.
STRAIGHT: Six high (6 plyr) w/ AS at face.
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 Appendix A: Faro Wheel Deals

STRAIGHT: Queen high (2 plyr) w/ KS at face.

STRAIGHT: Six high (5 plyr) w/ KS at face.
STRAIGHT: King high (6 plyr) w/ 6C at face.
STRAIGHT: Six high (3 plyr) w/ 9H at face.
STRAIGHT: Six high (4 plyr) w/ 9H at face.
STRAIGHT: King high (5 plyr) w/ 2D at face. PD: 511
STRAIGHT: Six high (3 plyr) w/ QS at face.
STRAIGHT: Ace high (3 plyr) w/ 5C at face.
STRAIGHT: King high (4 plyr) w/ 5C at face. PD: 511
STRAIGHT: Six high (2 plyr) w/ JS at face.
STRAIGHT: Nine high (3 plyr) w/ JS at face.
STRAIGHT: Eight high (4 plyr) w/ JS at face.
STRAIGHT: King high (3 plyr) w/ 8H at face.
FLUSH in ♣ Ace high (8 plyr) w/10S at face. PD: 512
ROYAL FLUSH in (2 plyr) w/ 7H at face.
STRAIGHT: King high (2 plyr) w/ AD at face.
STRAIGHT: Six high (6 plyr) w/ AD at face.
STRAIGHT: Queen high (2 plyr) w/ KD at face.
STRAIGHT: Six high (5 plyr) w/ KD at face.
STRAIGHT: King high (6 plyr) w/ 6H at face.
STRAIGHT: Six high (3 plyr) w/ 9S at face.
STRAIGHT: Six high (4 plyr) w/ 9S at face.
STRAIGHT: King high (5 plyr) w/ 2C at face. PD: 511
STRAIGHT: Six high (3 plyr) w/ QD at face.
STRAIGHT: Ace high (3 plyr) w/ 5H at face.
STRAIGHT: King high (4 plyr) w/ 5H at face. PD: 511
STRAIGHT: Six high (2 plyr) w/ JD at face.
STRAIGHT: Nine high (3 plyr) w/ JD at face.
STRAIGHT: Eight high (4 plyr) w/ JD at face.
STRAIGHT: King high (3 plyr) w/ 8S at face.
FLUSH in ♥ Ace high (8 plyr) w/10D at face. PD: 512
ROYAL FLUSH in ♣ (2 plyr) w/ 7S at face.
STRAIGHT: King high (2 plyr) w/ AC at face.
STRAIGHT: Six high (6 plyr) w/ AC at face.
STRAIGHT: Queen high (2 plyr) w/ KC at face.
STRAIGHT: Six high (5 plyr) w/ KC at face.
STRAIGHT: King high (6 plyr) w/ 6S at face.
STRAIGHT: Six high (3 plyr) w/ 9D at face.
STRAIGHT: Six high (4 plyr) w/ 9D at face.
STRAIGHT: King high (5 plyr) w/ 2H at face. PD: 511
STRAIGHT: Six high (3 plyr) w/ QC at face.
STRAIGHT: Ace high (3 plyr) w/ 5S at face.
STRAIGHT: King high (4 plyr) w/ 5S at face. PD: 511
STRAIGHT: Six high (2 plyr) w/ JC at face.
STRAIGHT: Nine high (3 plyr) w/ JC at face.
STRAIGHT: Eight high (4 plyr) w/ JC at face.
STRAIGHT: King high (3 plyr) w/ 8D at face.
FLUSH in ♠ Ace high (8 plyr) w/10C at face. PD: 512
ROYAL FLUSH in ♥ (2 plyr) w/ 7D at face.
STRAIGHT: King high (2 plyr) w/ AH at face.
STRAIGHT: Six high (6 plyr) w/ AH at face.
STRAIGHT: Queen high (2 plyr) w/ KH at face.
STRAIGHT: Six high (5 plyr) w/ KH at face.
STRAIGHT: King high (6 plyr) w/ 6D at face.
STRAIGHT: Six high (3 plyr) w/ 9C at face.
STRAIGHT: Six high (4 plyr) w/ 9C at face.
------------S E V E N C A R D S T U D------------
DEALS: FLUSH in ♣ Ace high (5 plyr) w/ QH at face.
STRAIGHT: Seven high (3 plyr) w/ JH at face.
STRAIGHT: Eight high (3 plyr) w/ 6C at face.
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 Appendix A: Faro Wheel Deals

STRAIGHT: Ten high (6 plyr) w/ 9H at face.

FLUSH in ♥ Ace high (5 plyr) w/ QS at face.
STRAIGHT: Seven high (3 plyr) w/ JS at face.
STRAIGHT: Eight high (3 plyr) w/ 6H at face.
STRAIGHT: Ten high (6 plyr) w/ 9S at face.
FLUSH in ♠ Ace high (5 plyr) w/ QD at face.
STRAIGHT: Seven high (3 plyr) w/ JD at face.
STRAIGHT: Eight high (3 plyr) w/ 6S at face.
STRAIGHT: Ten high (6 plyr) w/ 9D at face.
FLUSH in Ace high (5 plyr) w/ QC at face.
STRAIGHT: Seven high (3 plyr) w/ JC at face.
STRAIGHT: Eight high (3 plyr) w/ 6D at face.
STRAIGHT: Ten high (6 plyr) w/ 9C at face.
---------------------------------------------------
2S QH 5D JH 8C 10H 7C 4D AS 3D KS 6C 9H
2D QS 5C JS 8H 10S 7H 4C AD 3C KD 6H 9S
2C QD 5H JD 8S 10D 7S 4H AC 3H KC 6S 9D
2H QC 5S JC 8D 10C 7D 4S AH 3S KH 6D 9C

1 Out Faro:
---------------------P O K E R---------------------
DEALS: STRAIGHT: Six high (4 plyr) w/10H at face.
STRAIGHT: King high (4 plyr) w/ AS at face.
FLUSH in Ace high (7 plyr) w/ QS at face.
FLUSH in Ace high (7 plyr) w/ 8D at face.
STRAIGHT: Six high (4 plyr) w/10S at face.
STRAIGHT: King high (4 plyr) w/ AD at face.
FLUSH in Ten high (7 plyr) w/ AD at face.
--------------------H O L D E M--------------------
DEALS: FLUSH in ♠ King high (8 plyr) w/ 7C at face.
STRAIGHT: Jack high (8 plyr) w/ AS at face. PD: 507 507
FLUSH in ♠ Queen high (5 plyr) w/ 3D at face.
STRAIGHT: Jack high (7 plyr) w/ 3D at face. PD: 507
STRAIGHT: Queen high (5 plyr) w/ 3H at face.
STRAIGHT: Queen high (4 plyr) w/ KS at face.
STRAIGHT: Queen high (3 plyr) w/ 6C at face.
FLUSH in ♥ King high (7 plyr) w/ 4C at face.
FLUSH in ♥ Queen high (6 plyr) w/ AD at face.
STRAIGHT: Jack high (8 plyr) w/ AD at face. PD: 507 507
STRAIGHT: Jack high (7 plyr) w/ 3C at face. PD: 507
STRAIGHT: Queen high (5 plyr) w/ 3S at face.
STRAIGHT: Queen high (4 plyr) w/ KD at face.
STRAIGHT: Queen high (3 plyr) w/ 6H at face.
------------S E V E N C A R D S T U D------------
DEALS: FLUSH in Jack high (3 plyr) w/ 2C at face.
FLUSH in ♥ Jack high (4 plyr) w/ QH at face. PD: 599
STRAIGHT: Ace high (3 plyr) w/ 5D at face. PD: 505
FLUSH in ♣ Ace high (6 plyr) w/ 5H at face.
STRAIGHT: Ten high (2 plyr) w/ JD at face.
FLUSH in ♠ Ace high (3 plyr) w/ JD at face. PD: 505 507
STRAIGHT: Ace high (3 plyr) w/10D at face. PD: 507
STRAIGHT: Five high (2 plyr) w/ 7C at face.
STRAIGHT: Six high (4 plyr) w/ 4D at face.
STRAIGHT: King high (3 plyr) w/ 4H at face.
FLUSH in Ace high (6 plyr) w/ AC at face.
STRAIGHT: Six high (4 plyr) w/ 3D at face.
STRAIGHT: Ace high (4 plyr) w/ KS at face. PD: 505

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STRAIGHT: Six high (3 plyr) w/ 9H at face.

STRAIGHT: King high (4 plyr) w/ 9H at face.
FLUSH in Ace high (6 plyr) w/ 9H at face.
STRAIGHT: Ace high (4 plyr) w/ 9D at face. PD: 512
FLUSH in ♥ Ace high (4 plyr) w/ 2D at face. PD: 512 599
STRAIGHT: Six high (3 plyr) w/ 2H at face.
STRAIGHT: Ace high (3 plyr) w/ 5C at face. PD: 505
FLUSH in ♥ King high (4 plyr) w/ 5C at face. PD: 511
FLUSH in Ten high (6 plyr) w/ 5S at face.
STRAIGHT: Ten high (2 plyr) w/ JC at face.
STRAIGHT: Ace high (3 plyr) w/ JC at face. PD: 505 507
FLUSH in ♥ Ace high (4 plyr) w/ 8D at face.
STRAIGHT: Ace high (3 plyr) w/10C at face. PD: 507
STRAIGHT: Five high (2 plyr) w/ 7H at face.
STRAIGHT: Six high (4 plyr) w/ 4C at face.
STRAIGHT: King high (3 plyr) w/ 4S at face.
STRAIGHT: Six high (4 plyr) w/ 3C at face.
STRAIGHT: Ace high (4 plyr) w/ KD at face. PD: 505
STRAIGHT: Six high (3 plyr) w/ 9S at face.
STRAIGHT: King high (4 plyr) w/ 9S at face.
STRAIGHT: Ace high (4 plyr) w/ 9C at face. PD: 512
---------------------------------------------------
2S 2C QH QD 5D 5H JH JD 8C 8S 10H 10D 7C
7S 4D 4H AS AC 3D 3H KS KC 6C 6S 9H 9D
2D 2H QS QC 5C 5S JS JC 8H 8D 10S 10C 7H
7D 4C 4S AD AH 3C 3S KD KH 6H 6D 9S 9C

2 Out Faro:
---------------------P O K E R---------------------
DEALS: STRAIGHT: Six high (8 plyr) w/10H at face.
STRAIGHT: King high (8 plyr) w/ AS at face.
--------------------H O L D E M--------------------
DEALS: FULL HOUSE: Queen/Five (2 plyr) w/ 2S at face.
FULL HOUSE: Five/Jack (4 plyr) w/ 2S at face.
FULL HOUSE: Jack/Eight (6 plyr) w/ 2S at face.
FULL HOUSE: Eight/Ten (8 plyr) w/ 2S at face.
FULL HOUSE: Five/Jack (3 plyr) w/ 2C at face.
FULL HOUSE: Jack/Eight (5 plyr) w/ 2C at face.
FULL HOUSE: Eight/Ten (7 plyr) w/ 2C at face.
FULL HOUSE: Five/Jack (2 plyr) w/ QH at face.
FULL HOUSE: Jack/Eight (4 plyr) w/ QH at face.
FULL HOUSE: Eight/Ten (6 plyr) w/ QH at face.
FULL HOUSE: Ten/Seven (8 plyr) w/ QH at face.
FULL HOUSE: Jack/Eight (3 plyr) w/ QD at face.
FULL HOUSE: Eight/Ten (5 plyr) w/ QD at face.
FULL HOUSE: Ten/Seven (7 plyr) w/ QD at face.
FULL HOUSE: Jack/Eight (2 plyr) w/ 5D at face.
FULL HOUSE: Eight/Ten (4 plyr) w/ 5D at face.
FULL HOUSE: Ten/Seven (6 plyr) w/ 5D at face.
FULL HOUSE: Seven/Four (8 plyr) w/ 5D at face.
FULL HOUSE: Eight/Ten (3 plyr) w/ 5H at face.
FULL HOUSE: Ten/Seven (5 plyr) w/ 5H at face.
FULL HOUSE: Seven/Four (7 plyr) w/ 5H at face.
FULL HOUSE: Eight/Ten (2 plyr) w/ JH at face.
FULL HOUSE: Ten/Seven (4 plyr) w/ JH at face.
FULL HOUSE: Seven/Four (6 plyr) w/ JH at face.
FULL HOUSE: Four/Ace (8 plyr) w/ JH at face.
FULL HOUSE: Ten/Seven (3 plyr) w/ JD at face.
FULL HOUSE: Seven/Four (5 plyr) w/ JD at face.

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 Appendix A: Faro Wheel Deals

FULL HOUSE: Four/Ace (7 plyr) w/ JD at face.

FULL HOUSE: Ten/Seven (2 plyr) w/ 8C at face.
FULL HOUSE: Seven/Four (4 plyr) w/ 8C at face.
FULL HOUSE: Four/Ace (6 plyr) w/ 8C at face.
FULL HOUSE: Ace/Three (8 plyr) w/ 8C at face.
FULL HOUSE: Seven/Four (3 plyr) w/ 8S at face.
FULL HOUSE: Four/Ace (5 plyr) w/ 8S at face.
FULL HOUSE: Ace/Three (7 plyr) w/ 8S at face.
FULL HOUSE: Seven/Four (2 plyr) w/10H at face.
FULL HOUSE: Four/Ace (4 plyr) w/10H at face.
FULL HOUSE: Ace/Three (6 plyr) w/10H at face.
FULL HOUSE: Three/King (8 plyr) w/10H at face.
FULL HOUSE: Four/Ace (3 plyr) w/10D at face.
FULL HOUSE: Ace/Three (5 plyr) w/10D at face.
FULL HOUSE: Three/King (7 plyr) w/10D at face.
FULL HOUSE: Four/Ace (2 plyr) w/ 7C at face.
FULL HOUSE: Ace/Three (4 plyr) w/ 7C at face.
FULL HOUSE: Three/King (6 plyr) w/ 7C at face.
FULL HOUSE: King/Six (8 plyr) w/ 7C at face.
FULL HOUSE: Ace/Three (3 plyr) w/ 7S at face.
FULL HOUSE: Three/King (5 plyr) w/ 7S at face.
FULL HOUSE: King/Six (7 plyr) w/ 7S at face.
FULL HOUSE: Ace/Three (2 plyr) w/ 4D at face.
FULL HOUSE: Three/King (4 plyr) w/ 4D at face.
FULL HOUSE: King/Six (6 plyr) w/ 4D at face.
FULL HOUSE: Six/Nine (8 plyr) w/ 4D at face.
FULL HOUSE: Three/King (3 plyr) w/ 4H at face.
FULL HOUSE: King/Six (5 plyr) w/ 4H at face.
FULL HOUSE: Six/Nine (7 plyr) w/ 4H at face.
FULL HOUSE: Three/King (2 plyr) w/ AS at face.
FULL HOUSE: King/Six (4 plyr) w/ AS at face.
FULL HOUSE: Six/Nine (6 plyr) w/ AS at face.
FULL HOUSE: Nine/Two (8 plyr) w/ AS at face.
FULL HOUSE: King/Six (3 plyr) w/ AC at face.
FULL HOUSE: Six/Nine (5 plyr) w/ AC at face.
FULL HOUSE: Nine/Two (7 plyr) w/ AC at face.
FULL HOUSE: King/Six (2 plyr) w/ 3D at face.
FULL HOUSE: Six/Nine (4 plyr) w/ 3D at face.
FULL HOUSE: Nine/Two (6 plyr) w/ 3D at face.
FULL HOUSE: Two/Queen (8 plyr) w/ 3D at face.
FULL HOUSE: Six/Nine (3 plyr) w/ 3H at face.
FULL HOUSE: Nine/Two (5 plyr) w/ 3H at face.
FULL HOUSE: Two/Queen (7 plyr) w/ 3H at face.
FULL HOUSE: Six/Nine (2 plyr) w/ KS at face.
FULL HOUSE: Nine/Two (4 plyr) w/ KS at face.
FULL HOUSE: Two/Queen (6 plyr) w/ KS at face.
FULL HOUSE: Queen/Five (8 plyr) w/ KS at face.
FULL HOUSE: Nine/Two (3 plyr) w/ KC at face.
FULL HOUSE: Two/Queen (5 plyr) w/ KC at face.
FULL HOUSE: Queen/Five (7 plyr) w/ KC at face.
FULL HOUSE: Nine/Two (2 plyr) w/ 6C at face.
FULL HOUSE: Two/Queen (4 plyr) w/ 6C at face.
FULL HOUSE: Queen/Five (6 plyr) w/ 6C at face.
FULL HOUSE: Five/Jack (8 plyr) w/ 6C at face.
FULL HOUSE: Two/Queen (3 plyr) w/ 6S at face.
FULL HOUSE: Queen/Five (5 plyr) w/ 6S at face.
FULL HOUSE: Five/Jack (7 plyr) w/ 6S at face.
FULL HOUSE: Two/Queen (2 plyr) w/ 9H at face.
FULL HOUSE: Queen/Five (4 plyr) w/ 9H at face.
FULL HOUSE: Five/Jack (6 plyr) w/ 9H at face.

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FULL HOUSE: Jack/Eight (8 plyr) w/ 9H at face. PD: 511 511 511

FULL HOUSE: Queen/Five (3 plyr) w/ 9D at face.
FULL HOUSE: Five/Jack (5 plyr) w/ 9D at face.
FULL HOUSE: Jack/Eight (7 plyr) w/ 9D at face. PD: 511
------------S E V E N C A R D S T U D------------
DEALS: STRAIGHT: Ace high (5 plyr) w/ 2C at face.
FLUSH in ♥ Ace high (4 plyr) w/ 5D at face.
STRAIGHT: Ten high (5 plyr) w/ 5S at face.
FLUSH in ♣ Ace high (4 plyr) w/ JH at face.
FLUSH in ♥ Ace high (6 plyr) w/10C at face.
FLUSH in King high (6 plyr) w/ AH at face.
STRAIGHT: Queen high (4 plyr) w/ KC at face.
FLUSH in ♠ Ace high (6 plyr) w/ 6H at face.
STRAIGHT: Queen high (3 plyr) w/ 6D at face.
STRAIGHT: Queen high (4 plyr) w/ 6D at face.
---------------------------------------------------
2S 2D 2C 2H QH QS QD QC 5D 5C 5H 5S JH
JS JD JC 8C 8H 8S 8D 10H 10S 10D 10C 7C 7H
7S 7D 4D 4C 4H 4S AS AD AC AH 3D 3C 3H
3S KS KD KC KH 6C 6H 6S 6D 9H 9S 9D 9C

3 Out Faro:
---------------------P O K E R---------------------
DEALS: FOUR OF KIND in Fours (2 plyr) w/ 7S at face. PD: 701
FOUR OF KIND in Fours (2 plyr) w/ 7D at face. PD: 711
FOUR OF KIND in Queens (2 plyr) w/ 2C at face. PD: 803
STRAIGHT: Ace high (7 plyr) w/ 4D at face.
FOUR OF KIND in Queens (2 plyr) w/ 2H at face. PD: 703
FOUR OF KIND in Aces (2 plyr) w/ 4H at face. PD: 711
FOUR OF KIND in Aces (2 plyr) w/ 4S at face. PD: 704
FOUR OF KIND in Fives (2 plyr) w/ QC at face. PD: 799
FULL HOUSE: Five/Jack (2 plyr) w/ 5D at face. PD: 702
FOUR OF KIND in Threes (2 plyr) w/ AC at face. PD: 704
FOUR OF KIND in Threes (2 plyr) w/ AH at face. PD: 710
FOUR OF KIND in Jacks (2 plyr) w/ 5H at face. PD: 802
FOUR OF KIND in Jacks (2 plyr) w/ 5S at face. PD: 702
FOUR OF KIND in Kings (2 plyr) w/ 3H at face. PD: 710
FOUR OF KIND in Kings (2 plyr) w/ 3S at face. PD: 707
FOUR OF KIND in Eights (2 plyr) w/ JC at face. PD: 712
FULL HOUSE: Eight/Ten (2 plyr) w/ 8C at face. PD: 705
FOUR OF KIND in Sixes (2 plyr) w/ KC at face. PD: 707
STRAIGHT: Ten high (3 plyr) w/ KC at face.
FOUR OF KIND in Sixes (2 plyr) w/ KH at face. PD: 709
FOUR OF KIND in Tens (2 plyr) w/ 8S at face. PD: 805
FOUR OF KIND in Tens (2 plyr) w/ 8D at face. PD: 705
FULL HOUSE: Ten/Seven (2 plyr) w/10H at face. PD: 708
FOUR OF KIND in Nines (2 plyr) w/ 6S at face. PD: 709
FOUR OF KIND in Nines (2 plyr) w/ 6D at face.
FULL HOUSE: Nine/Seven (2 plyr) w/ 9H at face.
FOUR OF KIND in Twos (2 plyr) w/ 7C at face.
FOUR OF KIND in Twos (2 plyr) w/ 7H at face.
--------------------H O L D E M--------------------
DEALS: FOUR OF KIND in Queens (4 plyr) w/ 2S at face. PD: 711 711 711
FOUR OF KIND in Fives (8 plyr) w/ 2S at face. PD: 404 404 404 404 704 404
704
FOUR OF KIND in Fours (2 plyr) w/ 7S at face. PD: 703
FOUR OF KIND in Aces (6 plyr) w/ 7S at face. PD: 499 499 499 799 499
FOUR OF KIND in Queens (3 plyr) w/ 2D at face. PD: 411 711
FOUR OF KIND in Fives (7 plyr) w/ 2D at face. PD: 404 404 404 704 404 704
FOUR OF KIND in Fours (2 plyr) w/ 7D at face.
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FOUR OF KIND in Aces (5 plyr) w/ 7D at face. PD: 504 499 504 499
FOUR OF KIND in Queens (2 plyr) w/ 2C at face. PD: 711
FULL HOUSE: Queen/Five (4 plyr) w/ 2C at face. PD: 704 704 704
FOUR OF KIND in Fives (6 plyr) w/ 2C at face. PD: 704 404 704 704 704
FOUR OF KIND in Aces (4 plyr) w/ 4D at face. PD: 499 799 799
FOUR OF KIND in Threes (8 plyr) w/ 4D at face. PD: 402 402 402 402 402 402
402
FOUR OF KIND in Queens (2 plyr) w/ 2H at face.
FOUR OF KIND in Fives (5 plyr) w/ 2H at face. PD: 404 704 404 704
FOUR OF KIND in Aces (3 plyr) w/ 4C at face. PD: 499 499
FOUR OF KIND in Threes (7 plyr) w/ 4C at face. PD: 402 402 402 402 402 402
FULL HOUSE: Queen/Five (2 plyr) w/ QH at face. PD: 704
FOUR OF KIND in Fives (4 plyr) w/ QH at face. PD: 704 704 704
FOUR OF KIND in Jacks (8 plyr) w/ QH at face. PD: 410 410 410 410 710 410
710
FOUR OF KIND in Aces (2 plyr) w/ 4H at face. PD: 799
FULL HOUSE: Ace/Three (4 plyr) w/ 4H at face. PD: 702 702 702
FOUR OF KIND in Threes (6 plyr) w/ 4H at face. PD: 402 402 402 702 402
FOUR OF KIND in Fives (3 plyr) w/ QS at face. PD: 404 704
FOUR OF KIND in Jacks (7 plyr) w/ QS at face. PD: 410 410 410 710 410 710
FOUR OF KIND in Aces (2 plyr) w/ 4S at face.
FOUR OF KIND in Threes (5 plyr) w/ 4S at face. PD: 402 402 402 402
FOUR OF KIND in Fives (2 plyr) w/ QD at face. PD: 799
FOUR OF KIND in Jacks (6 plyr) w/ QD at face. PD: 710 410 710 710 710
FULL HOUSE: Ace/Three (2 plyr) w/ AS at face. PD: 702
FOUR OF KIND in Threes (4 plyr) w/ AS at face. PD: 402 702 702
FOUR OF KIND in Kings (8 plyr) w/ AS at face. PD: 412 412 412 412 412 412
412
FOUR OF KIND in Fives (2 plyr) w/ QC at face.
FOUR OF KIND in Jacks (5 plyr) w/ QC at face. PD: 410 710 410 710
FOUR OF KIND in Threes (3 plyr) w/ AD at face. PD: 402 402
FOUR OF KIND in Kings (7 plyr) w/ AD at face. PD: 412 412 412 412 412 412
FOUR OF KIND in Jacks (4 plyr) w/ 5D at face. PD: 710 710 710
FOUR OF KIND in Eights (8 plyr) w/ 5D at face. PD: 407 407 407 407 707 407
707
FOUR OF KIND in Threes (2 plyr) w/ AC at face. PD: 702
FOUR OF KIND in Kings (6 plyr) w/ AC at face. PD: 412 412 412 712 412
FOUR OF KIND in Jacks (3 plyr) w/ 5C at face. PD: 410 710
FOUR OF KIND in Eights (7 plyr) w/ 5C at face. PD: 407 407 407 707 407 707
FOUR OF KIND in Threes (2 plyr) w/ AH at face.
FOUR OF KIND in Kings (5 plyr) w/ AH at face. PD: 412 412 412 412
FOUR OF KIND in Jacks (2 plyr) w/ 5H at face. PD: 710
FULL HOUSE: Jack/Eight (4 plyr) w/ 5H at face. PD: 707 707 707
FOUR OF KIND in Eights (6 plyr) w/ 5H at face. PD: 707 407 707 707 707
FOUR OF KIND in Kings (4 plyr) w/ 3D at face. PD: 412 712 712
FOUR OF KIND in Sixes (8 plyr) w/ 3D at face. PD: 405 405 405 405 405 405
405
FOUR OF KIND in Jacks (2 plyr) w/ 5S at face.
FOUR OF KIND in Eights (5 plyr) w/ 5S at face. PD: 407 707 407 707
FOUR OF KIND in Kings (3 plyr) w/ 3C at face. PD: 412 412
FOUR OF KIND in Sixes (7 plyr) w/ 3C at face. PD: 405 405 405 405 405 405
FULL HOUSE: Jack/Eight (2 plyr) w/ JH at face. PD: 707
FOUR OF KIND in Eights (4 plyr) w/ JH at face. PD: 707 707 707
FOUR OF KIND in Tens (8 plyr) w/ JH at face. PD: 409 409 409 409 709 409
709
FOUR OF KIND in Kings (2 plyr) w/ 3H at face. PD: 712
FULL HOUSE: King/Six (4 plyr) w/ 3H at face. PD: 705 705 705
FOUR OF KIND in Sixes (6 plyr) w/ 3H at face. PD: 405 405 405 705 405
FOUR OF KIND in Eights (3 plyr) w/ JS at face. PD: 407 707
FOUR OF KIND in Tens (7 plyr) w/ JS at face. PD: 409 409 409 709 409 709

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FOUR OF KIND in Kings (2 plyr) w/ 3S at face.

FOUR OF KIND in Sixes (5 plyr) w/ 3S at face. PD: 405 405 405 405
FOUR OF KIND in Eights (2 plyr) w/ JD at face. PD: 712
FOUR OF KIND in Tens (6 plyr) w/ JD at face. PD: 709 409 709 709 709
FULL HOUSE: King/Six (2 plyr) w/ KS at face. PD: 705
FOUR OF KIND in Sixes (4 plyr) w/ KS at face. PD: 405 705 705
FOUR OF KIND in Nines (8 plyr) w/ KS at face. PD: 708 708 708 708 708 708
708
FOUR OF KIND in Eights (2 plyr) w/ JC at face.
FOUR OF KIND in Tens (5 plyr) w/ JC at face. PD: 409 709 409 709
FOUR OF KIND in Sixes (3 plyr) w/ KD at face. PD: 405 405
FOUR OF KIND in Nines (7 plyr) w/ KD at face. PD: 708 708 708 708 708 708
FOUR OF KIND in Tens (4 plyr) w/ 8C at face. PD: 709 709 709
FOUR OF KIND in Sixes (2 plyr) w/ KC at face. PD: 705
FOUR OF KIND in Nines (6 plyr) w/ KC at face. PD: 708 708 708 708 708
FOUR OF KIND in Tens (3 plyr) w/ 8H at face. PD: 409 709
FOUR OF KIND in Sixes (2 plyr) w/ KH at face.
FOUR OF KIND in Nines (5 plyr) w/ KH at face. PD: 708 708 708 708
FOUR OF KIND in Tens (2 plyr) w/ 8S at face. PD: 709
FULL HOUSE: Ten/Seven (4 plyr) w/ 8S at face.
FOUR OF KIND in Twos (8 plyr) w/ 8S at face. PD: 401 401 401 701 401 701
401
FOUR OF KIND in Nines (4 plyr) w/ 6C at face. PD: 708 708 708
FOUR OF KIND in Tens (2 plyr) w/ 8D at face.
FOUR OF KIND in Twos (7 plyr) w/ 8D at face. PD: 401 401 701 401 701 401
FOUR OF KIND in Nines (3 plyr) w/ 6H at face. PD: 708 708
FULL HOUSE: Ten/Seven (2 plyr) w/10H at face.
FOUR OF KIND in Twos (6 plyr) w/10H at face. PD: 401 701 401 701 701
FOUR OF KIND in Nines (2 plyr) w/ 6S at face. PD: 708
FULL HOUSE: Nine/Seven (4 plyr) w/ 6S at face. PD: 406
FOUR OF KIND in Fours (8 plyr) w/ 6S at face. PD: 403 403 403 403 403 403
403
FOUR OF KIND in Twos (5 plyr) w/10S at face. PD: 701 401 701 401
FOUR OF KIND in Nines (2 plyr) w/ 6D at face. PD: 706
FULL HOUSE: Seven/Four (5 plyr) w/ 6D at face. PD: 403 703 403 703
FOUR OF KIND in Fours (7 plyr) w/ 6D at face. PD: 403 403 403 403 703 403
FOUR OF KIND in Twos (4 plyr) w/10D at face. PD: 701 701 701
FOUR OF KIND in Queens (8 plyr) w/10D at face. PD: 411 411 411 411 711 411
711
FULL HOUSE: Nine/Seven (2 plyr) w/ 9H at face. PD: 406
FOUR OF KIND in Fours (6 plyr) w/ 9H at face. PD: 403 403 403 403 403
FOUR OF KIND in Twos (3 plyr) w/10C at face. PD: 701 701
FOUR OF KIND in Queens (7 plyr) w/10C at face. PD: 411 711 411 711 411 711
FULL HOUSE: Seven/Four (3 plyr) w/ 9S at face. PD: 703 703
FOUR OF KIND in Fours (5 plyr) w/ 9S at face. PD: 703 403 703 403
FOUR OF KIND in Twos (2 plyr) w/ 7C at face. PD: 701
FOUR OF KIND in Queens (6 plyr) w/ 7C at face. PD: 411 411 711 711 711
FOUR OF KIND in Fours (4 plyr) w/ 9D at face. PD: 403 403 703
FOUR OF KIND in Aces (8 plyr) w/ 9D at face. PD: 499 499 499 499 499 499
499
FOUR OF KIND in Twos (2 plyr) w/ 7H at face.
FOUR OF KIND in Queens (5 plyr) w/ 7H at face. PD: 411 711 411 711
FOUR OF KIND in Fours (3 plyr) w/ 9C at face. PD: 403 403
FOUR OF KIND in Aces (7 plyr) w/ 9C at face. PD: 504 499 504 499 504 699
------------S E V E N C A R D S T U D------------
DEALS: THREE OF KIND in Twos (2 plyr) w/ 2S at face.
THREE OF KIND in Fours (2 plyr) w/ 7D at face.
THREE OF KIND in Fours (2 plyr) w/ 4D at face.
FLUSH in ♣ Ace high (6 plyr) w/ 4D at face.
THREE OF KIND in Queens (2 plyr) w/ 2H at face. PD: 403

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THREE OF KIND in Queens (2 plyr) w/ QH at face.

THREE OF KIND in Aces (2 plyr) w/ 4S at face.
THREE OF KIND in Aces (2 plyr) w/ AS at face.
THREE OF KIND in Fives (2 plyr) w/ 5D at face.
FLUSH in King high (5 plyr) w/ 5D at face.
THREE OF KIND in Threes (2 plyr) w/ AH at face.
THREE OF KIND in Threes (2 plyr) w/ 3D at face.
THREE OF KIND in Jacks (2 plyr) w/ 5S at face. PD: 402
THREE OF KIND in Jacks (2 plyr) w/ JH at face.
FLUSH in ♠ Ace high (5 plyr) w/ JS at face.
THREE OF KIND in Kings (2 plyr) w/ 3S at face.
THREE OF KIND in Kings (2 plyr) w/ KS at face.
FLUSH in ♣ King high (4 plyr) w/ KS at face.
STRAIGHT: Six high (6 plyr) w/ KS at face.
STRAIGHT: Ten high (2 plyr) w/ JC at face. PD: 412
STRAIGHT: Ten high (2 plyr) w/ 8C at face.
FLUSH in Ace high (5 plyr) w/ 8H at face.
FULL HOUSE: Six/Seven (2 plyr) w/ KH at face.
FLUSH in ♠ King high (6 plyr) w/ KH at face. PD: 505
THREE OF KIND in Sixes (2 plyr) w/ 6C at face.
FULL HOUSE: Ten/Seven (2 plyr) w/ 8D at face. PD: 405
FULL HOUSE: Ten/Two (2 plyr) w/10H at face.
FULL HOUSE: Nine/Two (2 plyr) w/ 6D at face.
STRAIGHT: Seven high (6 plyr) w/ 6D at face.
FULL HOUSE: Nine/Four (2 plyr) w/ 9H at face. PD: 406
STRAIGHT: Ace high (6 plyr) w/10C at face. PD: 506
THREE OF KIND in Twos (2 plyr) w/ 7H at face.
---------------------------------------------------
2S 7S 2D 7D 2C 4D 2H 4C QH 4H QS 4S QD
AS QC AD 5D AC 5C AH 5H 3D 5S 3C JH 3H
JS 3S JD KS JC KD 8C KC 8H KH 8S 6C 8D
6H 10H 6S 10S 6D 10D 9H 10C 9S 7C 9D 7H 9C

4 Out Faro:
---------------------P O K E R---------------------
DEALS: THREE OF KIND in Twos (2 plyr) w/ 7S at face.
FOUR OF KIND in Kings (4 plyr) w/ 3S at face. PD: 701 707 803
THREE OF KIND in Kings (2 plyr) w/ JD at face.
THREE OF KIND in Fours (2 plyr) w/ 2C at face.
FOUR OF KIND in Queens (4 plyr) w/ 2C at face. PD: 807 803 712
FULL HOUSE: King/Eight (2 plyr) w/ JC at face. PD: 403
FULL HOUSE: Eight/King (2 plyr) w/ KD at face.
FOUR OF KIND in Queens (4 plyr) w/ 2H at face. PD: 807 703 705
FULL HOUSE: Queen/Four (2 plyr) w/ 4C at face.
STRAIGHT: Ten high (6 plyr) w/ KC at face.
THREE OF KIND in Queens (2 plyr) w/ 4H at face.
FOUR OF KIND in Aces (4 plyr) w/ 4H at face. PD: 805 711 709
THREE OF KIND in Sixes (2 plyr) w/ 8S at face.
FOUR OF KIND in Aces (4 plyr) w/ 4S at face. PD: 805 704 809
THREE OF KIND in Aces (2 plyr) w/ QD at face.
FULL HOUSE: Six/Ten (2 plyr) w/ 8D at face. PD: 499
FULL HOUSE: Ten/Six (2 plyr) w/ 6H at face.
FULL HOUSE: Ace/Five (2 plyr) w/ QC at face. PD: 709
FULL HOUSE: Five/Ace (2 plyr) w/ AD at face.
FOUR OF KIND in Nines (4 plyr) w/ 6S at face. PD: 804 709 702
STRAIGHT: Five high (6 plyr) w/ 5D at face.
THREE OF KIND in Fives (2 plyr) w/ AC at face.
FOUR OF KIND in Nines (4 plyr) w/ 6D at face. PD: 404 402
THREE OF KIND in Nines (2 plyr) w/10D at face.

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THREE OF KIND in Threes (2 plyr) w/ 5H at face.

FULL HOUSE: Nine/Seven (2 plyr) w/10C at face. PD: 402
FULL HOUSE: Jack/Seven (4 plyr) w/10C at face. PD: 702 408 401
FOUR OF KIND in Twos (4 plyr) w/ 5S at face. PD: 710
FOUR OF KIND in Twos (4 plyr) w/ JH at face. PD: 410 412
FULL HOUSE: Two/Seven (2 plyr) w/ 3H at face.
FOUR OF KIND in Kings (4 plyr) w/ 9C at face. PD: 801 710 703
--------------------H O L D E M--------------------
DEALS: FULL HOUSE: Two/Seven (2 plyr) w/ 2S at face.
FULL HOUSE: Two/Four (4 plyr) w/ 2S at face.
THREE OF KIND in Fours (5 plyr) w/ 2S at face.
THREE OF KIND in Kings (3 plyr) w/ JS at face.
FULL HOUSE: Two/Four (2 plyr) w/ 7S at face.
FULL HOUSE: Queen/Four (7 plyr) w/ 7S at face. PD: 703 703
FULL HOUSE: Four/Queen (8 plyr) w/ 7S at face. PD: 699 699 411
FULL HOUSE: King/Jack (2 plyr) w/ 3S at face.
FOUR OF KIND in Kings (4 plyr) w/ 3S at face.
THREE OF KIND in Fours (3 plyr) w/ 2D at face.
FULL HOUSE: Queen/Four (6 plyr) w/ 2D at face. PD: 703
FULL HOUSE: King/Eight (2 plyr) w/ JD at face.
FULL HOUSE: Eight/Six (8 plyr) w/ JD at face.
FULL HOUSE: Four/Two (2 plyr) w/ 7D at face.
FOUR OF KIND in Fours (4 plyr) w/ 7D at face.
FULL HOUSE: Queen/King (5 plyr) w/ 7D at face. PD: 703 703
FULL HOUSE: King/Eight (2 plyr) w/ KS at face.
FULL HOUSE: King/Eight (4 plyr) w/ KS at face. PD: 407 703
FULL HOUSE: Four/Queen (2 plyr) w/ 2C at face.
FULL HOUSE: Queen/Ace (8 plyr) w/ 2C at face.
FULL HOUSE: King/Eight (2 plyr) w/ JC at face.
FOUR OF KIND in Eights (4 plyr) w/ JC at face. PD: 712
THREE OF KIND in Sixes (7 plyr) w/ JC at face.
FULL HOUSE: Four/Queen (2 plyr) w/ 4D at face.
FULL HOUSE: Queen/Four (3 plyr) w/ 4D at face. PD: 703
FULL HOUSE: Eight/King (2 plyr) w/ KD at face.
FULL HOUSE: Six/Eight (6 plyr) w/ KD at face.
FULL HOUSE: Queen/Four (2 plyr) w/ 2H at face.
FOUR OF KIND in Queens (4 plyr) w/ 2H at face. PD: 703
THREE OF KIND in Aces (7 plyr) w/ 2H at face.
FULL HOUSE: Eight/King (2 plyr) w/ 8C at face.
THREE OF KIND in Sixes (5 plyr) w/ 8C at face.
FULL HOUSE: Ten/Six (8 plyr) w/ 8C at face. PD: 705 705
FULL HOUSE: Queen/Four (2 plyr) w/ 4C at face.
FULL HOUSE: Ace/Queen (6 plyr) w/ 4C at face.
FULL HOUSE: Eight/Six (2 plyr) w/ KC at face.
FULL HOUSE: Ten/Six (7 plyr) w/ KC at face. PD: 705 705
FULL HOUSE: Six/Ten (8 plyr) w/ KC at face. PD: 409
FULL HOUSE: Queen/Four (2 plyr) w/ QH at face.
FULL HOUSE: Queen/Ace (4 plyr) w/ QH at face.
THREE OF KIND in Aces (5 plyr) w/ QH at face.
THREE OF KIND in Sixes (3 plyr) w/ 8H at face.
FULL HOUSE: Ten/Six (6 plyr) w/ 8H at face. PD: 705
FULL HOUSE: Queen/Ace (2 plyr) w/ 4H at face.
FULL HOUSE: Ace/Five (8 plyr) w/ 4H at face. PD: 404
FULL HOUSE: Six/Eight (2 plyr) w/ KH at face.
FOUR OF KIND in Sixes (4 plyr) w/ KH at face.
FULL HOUSE: Ten/Six (5 plyr) w/ KH at face. PD: 705 705
THREE OF KIND in Aces (3 plyr) w/ QS at face.
FULL HOUSE: Six/Ten (2 plyr) w/ 8S at face.
FULL HOUSE: Ten/Nine (8 plyr) w/ 8S at face.
FULL HOUSE: Ace/Queen (2 plyr) w/ 4S at face.

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FOUR OF KIND in Aces (4 plyr) w/ 4S at face.

FULL HOUSE: Six/Ten (2 plyr) w/ 6C at face.
FULL HOUSE: Ten/Six (3 plyr) w/ 6C at face. PD: 705
FULL HOUSE: Ace/Five (2 plyr) w/ QD at face.
FULL HOUSE: Five/Three (8 plyr) w/ QD at face.
FULL HOUSE: Ten/Six (2 plyr) w/ 8D at face.
FOUR OF KIND in Tens (4 plyr) w/ 8D at face. PD: 705
THREE OF KIND in Nines (7 plyr) w/ 8D at face.
FULL HOUSE: Ace/Five (2 plyr) w/ AS at face.
FULL HOUSE: Ace/Five (4 plyr) w/ AS at face. PD: 404 709
FULL HOUSE: Ten/Six (2 plyr) w/ 6H at face.
FULL HOUSE: Nine/Ten (6 plyr) w/ 6H at face.
FULL HOUSE: Ace/Five (2 plyr) w/ QC at face.
FOUR OF KIND in Fives (4 plyr) w/ QC at face. PD: 799
THREE OF KIND in Threes (7 plyr) w/ QC at face.
FULL HOUSE: Ten/Six (2 plyr) w/10H at face.
FULL HOUSE: Ten/Nine (4 plyr) w/10H at face. PD: 704
THREE OF KIND in Nines (5 plyr) w/10H at face.
FULL HOUSE: Five/Ace (2 plyr) w/ AD at face.
FULL HOUSE: Three/Five (6 plyr) w/ AD at face.
FULL HOUSE: Ten/Nine (2 plyr) w/ 6S at face.
FULL HOUSE: Nine/Three (8 plyr) w/ 6S at face. PD: 402 402
FULL HOUSE: Five/Ace (2 plyr) w/ 5D at face.
FULL HOUSE: Five/Three (4 plyr) w/ 5D at face.
THREE OF KIND in Threes (5 plyr) w/ 5D at face.
THREE OF KIND in Nines (3 plyr) w/10S at face.
FULL HOUSE: Five/Three (2 plyr) w/ AC at face.
FULL HOUSE: Nine/Ten (2 plyr) w/ 6D at face.
FOUR OF KIND in Nines (4 plyr) w/ 6D at face.
THREE OF KIND in Threes (3 plyr) w/ 5C at face.
FULL HOUSE: Nine/Seven (2 plyr) w/10D at face.
FULL HOUSE: Three/Nine (5 plyr) w/10D at face. PD: 402
FULL HOUSE: Three/Five (2 plyr) w/ AH at face.
FULL HOUSE: Three/Seven (4 plyr) w/ AH at face. PD: 406
FULL HOUSE: Nine/Seven (2 plyr) w/ 9H at face.
FULL HOUSE: Jack/Three (7 plyr) w/ 9H at face. PD: 410
THREE OF KIND in Threes (2 plyr) w/ 5H at face.
FULL HOUSE: Nine/Jack (2 plyr) w/10C at face.
FOUR OF KIND in Jacks (5 plyr) w/ 9S at face.
THREE OF KIND in Kings (8 plyr) w/ 9S at face.
FULL HOUSE: Two/Four (8 plyr) w/ 5S at face.
THREE OF KIND in Jacks (3 plyr) w/ 7C at face.
THREE OF KIND in Kings (7 plyr) w/ 7C at face.
FULL HOUSE: Seven/Two (3 plyr) w/ 3C at face.
FULL HOUSE: Jack/Three (3 plyr) w/ 9D at face. PD: 410
FULL HOUSE: King/Jack (6 plyr) w/ 9D at face.
FOUR OF KIND in Twos (4 plyr) w/ JH at face.
THREE OF KIND in Fours (7 plyr) w/ JH at face.
THREE OF KIND in Jacks (2 plyr) w/ 7H at face.
FULL HOUSE: Jack/King (4 plyr) w/ 7H at face. PD: 701
THREE OF KIND in Kings (5 plyr) w/ 7H at face.
FULL HOUSE: Two/Seven (2 plyr) w/ 3H at face.
FULL HOUSE: Four/Two (6 plyr) w/ 3H at face.
FULL HOUSE: Jack/King (2 plyr) w/ 9C at face.
FULL HOUSE: King/Eight (8 plyr) w/ 9C at face. PD: 407
------------S E V E N C A R D S T U D------------
DEALS: FOUR OF KIND in Queens (3 plyr) w/ 3S at face. PD: 803 712
THREE OF KIND in Kings (4 plyr) w/ 3S at face. PD: 401
STRAIGHT: Five high (5 plyr) w/ 3S at face.
STRAIGHT: Ten high (5 plyr) w/ 7D at face. PD: 504

229
 Appendix A: Faro Wheel Deals

FOUR OF KIND in Queens (3 plyr) w/ KS at face. PD: 703 705

THREE OF KIND in Kings (4 plyr) w/ KS at face. PD: 403
FOUR OF KIND in Sixes (3 plyr) w/ 4D at face. PD: 707 799
THREE OF KIND in Queens (4 plyr) w/ 2H at face. PD: 407 403
FOUR OF KIND in Aces (3 plyr) w/ 8C at face. PD: 711 709
STRAIGHT: King high (5 plyr) w/ 4C at face. PD: 509 509 505
STRAIGHT: Jack high (6 plyr) w/ KC at face.
FOUR OF KIND in Tens (3 plyr) w/ QH at face. PD: 805 704
THREE OF KIND in Queens (4 plyr) w/ QH at face. PD: 407
FLUSH in ♠ Ace high (5 plyr) w/ QH at face. PD: 509 505 512
FOUR OF KIND in Aces (3 plyr) w/ 8H at face. PD: 704 809
STRAIGHT: Seven high (4 plyr) w/ 4H at face. PD: 411
FLUSH in ♣ Ten high (4 plyr) w/ KH at face. PD: 411 506
FOUR OF KIND in Tens (3 plyr) w/ QS at face. PD: 705 804
FLUSH in Queen high (4 plyr) w/ QS at face. PD: 506 609
FULL HOUSE: Ace/Seven (4 plyr) w/ 4S at face. PD: 609 611
FOUR OF KIND in Fives (3 plyr) w/ 6C at face. PD: 799 708
STRAIGHT: Five high (5 plyr) w/ 6C at face.
FOUR OF KIND in Nines (3 plyr) w/ AS at face. PD: 709 702
FULL HOUSE: Ace/Jack (4 plyr) w/ AS at face. PD: 705 611 409
STRAIGHT: Five high (5 plyr) w/10H at face.
FOUR OF KIND in Nines (3 plyr) w/ AD at face. PD: 402
STRAIGHT: Nine high (5 plyr) w/ AD at face. PD: 504
FULL HOUSE: Five/Seven (4 plyr) w/ 5D at face. PD: 409
FULL HOUSE: Three/Seven (3 plyr) w/10S at face.
FULL HOUSE: Jack/Seven (3 plyr) w/ 5C at face. PD: 408 401
FOUR OF KIND in Threes (4 plyr) w/ AH at face. PD: 408 406
FOUR OF KIND in Twos (3 plyr) w/ 9H at face.
FULL HOUSE: Three/Seven (2 plyr) w/ 5H at face.
THREE OF KIND in Kings (3 plyr) w/ 3D at face. PD: 410
THREE OF KIND in Sevens (2 plyr) w/ 9S at face.
FOUR OF KIND in Twos (3 plyr) w/ 9S at face. PD: 412
STRAIGHT: Five high (5 plyr) w/ 7C at face.
FOUR OF KIND in Kings (3 plyr) w/ 3C at face. PD: 710 703
STRAIGHT: Ace high (6 plyr) w/ 9D at face.
THREE OF KIND in Twos (4 plyr) w/ JH at face.
FOUR OF KIND in Fours (3 plyr) w/ 7H at face. PD: 701 707
THREE OF KIND in Jacks (4 plyr) w/ 7H at face. PD: 401
FOUR OF KIND in Kings (3 plyr) w/ 3H at face. PD: 707 803
FLUSH in ♠ Ace high (4 plyr) w/ 9C at face. PD: 401 410
---------------------------------------------------
2S JS 7S 3S 2D JD 7D KS 2C JC 4D KD 2H
8C 4C KC QH 8H 4H KH QS 8S 4S 6C QD 8D
AS 6H QC 10H AD 6S 5D 10S AC 6D 5C 10D AH
9H 5H 10C 3D 9S 5S 7C 3C 9D JH 7H 3H 9C

5 Out Faro:
---------------------P O K E R---------------------
DEALS: FULL HOUSE: Ten/Six (4 plyr) w/ 6H at face.
FULL HOUSE: Ace/Five (4 plyr) w/ QC at face. PD: 709 401
FOUR OF KIND in Kings (8 plyr) w/ 3S at face. PD: 809 701 799 707 708 803
804
FULL HOUSE: Five/Ace (4 plyr) w/ AD at face.
THREE OF KIND in Fours (4 plyr) w/ 2C at face.
THREE OF KIND in Fives (4 plyr) w/ AC at face. PD: 403
FULL HOUSE: King/Eight (4 plyr) w/ JC at face. PD: 403 404
FOUR OF KIND in Nines (8 plyr) w/ 6D at face. PD: 803 404 412 411 402 807
FULL HOUSE: Eight/King (4 plyr) w/ KD at face.
FULL HOUSE: Queen/Four (4 plyr) w/ 4C at face.
FULL HOUSE: Ten/Nine (8 plyr) w/ 9S at face. PD: 701 499 410 705
230
 Appendix A: Faro Wheel Deals

FOUR OF KIND in Twos (8 plyr) w/ 4H at face. PD: 499 410 705 709
FOUR OF KIND in Aces (8 plyr) w/ 5S at face. PD: 410 705 709 801
FOUR OF KIND in Aces (8 plyr) w/ JH at face. PD: 410 405 404 412 809 801
FULL HOUSE: Two/Seven (4 plyr) w/ QD at face.
FULL HOUSE: Six/Ten (4 plyr) w/ 9C at face. PD: 701 499 410
--------------------H O L D E M--------------------
DEALS: THREE OF KIND in Aces (8 plyr) w/ AS at face. PD: 405 409
FLUSH in ♥ King high (8 plyr) w/ 2C at face. PD: 403 412
FLUSH in ♥ Ace high (7 plyr) w/ JC at face.
FLUSH in ♥ Ace high (5 plyr) w/ 4D at face. PD: 612 612
STRAIGHT: Jack high (8 plyr) w/10D at face. PD: 407 408
FLUSH in ♥ King high (3 plyr) w/ 8C at face.
THREE OF KIND in Nines (8 plyr) w/ 9H at face. PD: 402
STRAIGHT: Eight high (7 plyr) w/ KC at face.
FLUSH in ♠ Jack high (8 plyr) w/ 4H at face. PD: 406 402
THREE OF KIND in Twos (8 plyr) w/ 4S at face.
THREE OF KIND in Aces (8 plyr) w/ JH at face.
THREE OF KIND in Jacks (8 plyr) w/ 6C at face. PD: 401
------------S E V E N C A R D S T U D------------
DEALS: FULL HOUSE: Ace/Five (3 plyr) w/ 2S at face. PD: 709 401
FLUSH in King high (2 plyr) w/ 7S at face.
FULL HOUSE: Five/Ace (3 plyr) w/ 7S at face.
FLUSH in ♣ Ace high (4 plyr) w/ AD at face.
THREE OF KIND in Fours (3 plyr) w/ 6S at face.
THREE OF KIND in Fives (3 plyr) w/ 7D at face. PD: 403
FULL HOUSE: King/Eight (3 plyr) w/ 5D at face. PD: 403 404
FLUSH in ♣ Jack high (4 plyr) w/ KS at face.
FULL HOUSE: Eight/King (3 plyr) w/ AC at face.
STRAIGHT: Ten high (6 plyr) w/ AC at face.
FLUSH in ♥ Ace high (2 plyr) w/10D at face.
FULL HOUSE: Queen/Four (3 plyr) w/10D at face.
STRAIGHT: Queen high (4 plyr) w/10D at face.
STRAIGHT: Nine high (5 plyr) w/ 2H at face.
STRAIGHT: Ten high (6 plyr) w/ AH at face.
FULL HOUSE: Nine/Seven (3 plyr) w/ 8C at face. PD: 402 407
FLUSH in ♠ Queen high (3 plyr) w/10C at face.
STRAIGHT: Seven high (5 plyr) w/ 8H at face.
FLUSH in ♠ Ace high (4 plyr) w/ 4H at face.
FLUSH in ♣ Ace high (5 plyr) w/ 4H at face. PD: 506
STRAIGHT: Ace high (6 plyr) w/ 4H at face.
FLUSH in ♠ Ace high (2 plyr) w/ KH at face.
STRAIGHT: Jack high (2 plyr) w/ 3C at face.
FULL HOUSE: Two/Seven (3 plyr) w/ 9D at face.
FULL HOUSE: Six/Ten (3 plyr) w/ 6C at face. PD: 499 410
FULL HOUSE: Ten/Six (3 plyr) w/ 8D at face.
STRAIGHT: Ace high (6 plyr) w/ 9C at face.
---------------------------------------------------
2S AS JS 6H 7S QC 3S 10H 2D AD JD 6S 7D
5D KS 10S 2C AC JC 6D 4D 5C KD 10D 2H AH
8C 9H 4C 5H KC 10C QH 3D 8H 9S 4H 5S KH
7C QS 3C 8S 9D 4S JH 6C 7H QD 3H 8D 9C

6 Out Faro:
---------------------P O K E R---------------------
DEALS: FULL HOUSE: Queen/Four (8 plyr) w/ 4C at face. PD: 705
FULL HOUSE: Ace/Five (8 plyr) w/ QC at face. PD: 711 709 402 401 407
FULL HOUSE: Two/Seven (8 plyr) w/ KD at face.
FULL HOUSE: Eight/King (8 plyr) w/ QD at face. PD: 701
--------------------H O L D E M--------------------
DEALS: FLUSH in Ace high (3 plyr) w/ 3S at face. PD: 507
231
 Appendix A: Faro Wheel Deals

STRAIGHT: Queen high (7 plyr) w/ QH at face.

FLUSH in Ace high (2 plyr) w/10H at face. PD: 507
STRAIGHT: Ace high (6 plyr) w/10H at face.
STRAIGHT: Nine high (2 plyr) w/ 3D at face.
FLUSH in King high (3 plyr) w/ 2C at face.
STRAIGHT: Seven high (2 plyr) w/ 9D at face.
STRAIGHT: Ace high (3 plyr) w/ JC at face.
STRAIGHT: Ten high (2 plyr) w/ JH at face.
STRAIGHT: Queen high (7 plyr) w/ 8D at face.
------------S E V E N C A R D S T U D------------
DEALS: FLUSH in ♥ King high (3 plyr) w/ 2S at face.
FLUSH in ♥ King high (3 plyr) w/ JS at face.
FLUSH in King high (5 plyr) w/ 4C at face.
STRAIGHT: King high (6 plyr) w/ 5H at face.
STRAIGHT: Nine high (4 plyr) w/10C at face.
FLUSH in ♠ Queen high (3 plyr) w/ 2D at face.
STRAIGHT: Queen high (6 plyr) w/ 8H at face.
THREE OF KIND in Kings (3 plyr) w/ 9S at face. PD: 404 406
FLUSH in ♣ Jack high (4 plyr) w/ 9S at face.
STRAIGHT: Six high (4 plyr) w/10S at face.
STRAIGHT: Jack high (4 plyr) w/ 3C at face. PD: 505
STRAIGHT: Jack high (2 plyr) w/ 4S at face.
FLUSH in ♥ King high (5 plyr) w/ 6D at face.
STRAIGHT: Six high (6 plyr) w/10D at face.
STRAIGHT: Nine high (4 plyr) w/ 3H at face.
FLUSH in ♠ King high (4 plyr) w/ 2H at face. PD: 508
---------------------------------------------------
2S 8C AS 9H JS 4C 6H 5H 7S KC QC 10C 3S
QH 10H 3D 2D 8H AD 9S JD 4H 6S 5S 7D KH
5D 7C KS QS 10S 3C 2C 8S AC 9D JC 4S 6D
JH 4D 6C 5C 7H KD QD 10D 3H 2H 8D AH 9C

7 Out Faro:
---------------------P O K E R---------------------
DEALS: STRAIGHT: Ten high (3 plyr) w/ 2S at face.
FLUSH in ♥ King high (8 plyr) w/ KC at face.
FLUSH in ♥ King high (8 plyr) w/ QH at face.
STRAIGHT: Ten high (3 plyr) w/ 2D at face.
FLUSH in ♠ Jack high (8 plyr) w/ AD at face.
--------------------H O L D E M--------------------
DEALS: STRAIGHT: Nine high (6 plyr) w/ 2S at face.
FLUSH in ♣ King high (8 plyr) w/ 8C at face. PD: 611 411
STRAIGHT: Jack high (4 plyr) w/ KS at face.
STRAIGHT: Eight high (2 plyr) w/ JS at face.
FLUSH in ♣ King high (5 plyr) w/ JS at face.
STRAIGHT: Eight high (8 plyr) w/ 8S at face.
STRAIGHT: Five high (7 plyr) w/ 7S at face.
STRAIGHT: Seven high (5 plyr) w/ 9D at face.
FLUSH in King high (8 plyr) w/ JC at face.
STRAIGHT: Jack high (4 plyr) w/ 3S at face.
STRAIGHT: Eight high (8 plyr) w/ QH at face.
STRAIGHT: Eight high (2 plyr) w/ JH at face.
FLUSH in King high (5 plyr) w/ JH at face.
STRAIGHT: Eight high (6 plyr) w/10H at face. PD: 506 506 506 506 506
STRAIGHT: Nine high (6 plyr) w/ 2D at face.
STRAIGHT: Nine high (7 plyr) w/ KD at face.
STRAIGHT: Eight high (2 plyr) w/ JD at face.
STRAIGHT: Nine high (3 plyr) w/10D at face.
232
 Appendix A: Faro Wheel Deals

STRAIGHT: Eight high (8 plyr) w/ 5S at face.

FLUSH in ♠ King high (5 plyr) w/ 8D at face.
STRAIGHT: Eight high (6 plyr) w/ 7D at face. PD: 506 506 506 506 506
------------S E V E N C A R D S T U D------------
DEALS: STRAIGHT: Jack high (5 plyr) w/ 5D at face.
FLUSH in Queen high (6 plyr) w/ QS at face.
FLUSH in Ten high (5 plyr) w/ 5H at face.
FULL HOUSE: Queen/Five (6 plyr) w/ 5H at face.
FLUSH in King high (3 plyr) w/ 7S at face.
FLUSH in Ten high (5 plyr) w/ QC at face.
STRAIGHT: Seven high (4 plyr) w/ JC at face.
FULL HOUSE: Eight/Ten (6 plyr) w/10C at face. PD: 703 702 705 701 704
FLUSH in Ace high (3 plyr) w/ 4S at face.
FULL HOUSE: Ace/Three (6 plyr) w/ 3S at face. PD: 705 701 704 707 706
STRAIGHT: Ten high (2 plyr) w/ 4D at face.
FLUSH in King high (2 plyr) w/ 7H at face.
FLUSH in ♠ Ace high (3 plyr) w/ 7H at face.
STRAIGHT: Ten high (3 plyr) w/ 9S at face.
STRAIGHT: Nine high (2 plyr) w/ 4H at face.
FLUSH in ♠ Ace high (3 plyr) w/ 3H at face.
FLUSH in ♣ Ace high (3 plyr) w/ 7D at face.
STRAIGHT: Ten high (2 plyr) w/ AH at face.
---------------------------------------------------
2S 5D 8C 7C AS KS 9H QS JS 10S 4C 3C 6H
2C 5H 8S 7S AC KC 9D QC JC 10C 4S 3S 6D
QH JH 10H 4D 3D 6C 2D 5C 8H 7H AD KD 9S
QD JD 10D 4H 3H 6S 2H 5S 8D 7D AH KH 9C

233
 APPENDIX B: MNEMONIC VISUALS FOR TETRA-RED STACK
Rudy Tinoco

Here are 52 generated images for memorizing TETRA-RED.

This set of images Rudy has created are absolutely stunning! Thank you Rudy for giving me
permission to include them in this book! And thank you for creating the wonderful tutorial
video for memorizing TETRA-RED using Harry’s system along with your PEG list and images.

Two see a list of all the number/location and card PEGs, refer to the tail end of the
Memoriza on chapter.

Rudy and I modi ed two PEGs here which differ from the video:

The Jack of Diamonds. The Jack of Diamonds is The Drac of Diamonds. Out of guilt, he
feeds on mice and rats instead of humans. When he gets hungry he looks pretty frightening,
but after he’s had his ll, he pretty pleasant to be around.

The Queen of Diamonds. The Queen of Diamonds is The Dream of Diamonds. She dreams
of diamonds and is good with the dagger.
ti
fi
fi
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#1 Tie | SuN 2♠ #2 Noah | Queen Q♥

#3 Ma | DoLL 5♦ #4 Ray | Jack J♥

235
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#5 Law | CoFFee 8♣ #6 SHoe | HouSe 10♥

#7 Cow | CaKe 7♣ #8 iVy | DooR 4♦

236
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#9 Pee | SuiT A♠ #10 ToeS | DaM 3♦

#11 TaT | Sing K♠ #12 TiN | CaGe 6♣

237
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#13 ToMb | HiP HoP 9♥ #14 TiRe | DoN 2♦

#15 ToweL | Scream Q♠ #16 TJ | KiLL 5♣

238
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#17 TaCK | SaCK J♠ #18 TV | HiVe 8♥

#19 TuB | SauCe 10♠ #20 NoSe | HoCKey 7♥

239
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#21 NeT | CaR 4♣ #22 NuN | DaTe A♦

#23 gNoMe | CoMb 3♣ #24 NiRo | Ding K♦

240
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#25 NaiL | HaSH 6♥ #26 NinJa | SouP 9♠

#27 NeCK | CaN 2♣ #28 kNiFe | Dream Q♦

241
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#29 NaP | HeLL HaiL 5♥ #30 MouSe | Drac J♦

#31 MiTT MaT | SaFe 8♠ #32 MooN | DiCe 10♦

242
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#33 MuMMy | SiCK 7♠ #34 MoweR | HaiR 4♥

#35 MuLe | CaT A♣ #36 MJ | HaM 3♥

243
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#37 MiC | Cling K♣ #38 MoVie | SaSH 6♠

#39 MoP | DoPe 9♦ #40 RoSe | HeN 2♥

244
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#41 aRT | Clean Q♣ #42 RuN | SaiL 5♠

#43 RaM | Crack J♣ #44 ReaR | DoVe 8♦

245
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#45 RoLL | CaSe 10♣ #46 RoaCH | DuCK 7♦

#47 RoCKy | SoRe 4♠ #48 RooF | HaT A♥

246
 Appendix B: Mnemonic Visuals for TETRA-RED Stack

#49 RoPe | SaM 3♠ #50 LaCe | King K♥

#51 LighT | DJ 6♦ #52 LioN | CaPe 9♣

247