Wosek

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WOSEK CARD. WOSEK DECK. I asked an old shaman if any of this mattered, especially in terms of whether it was really relevant whether it was real or not. His answer was emphatic: NO. Nothing matters at all. The real and the imaginary merge and become authentic. Our mind, the dream, the real and the imaginary is everything and it is indistinct. That's all there was to it. Even if you mix the real and the dream, it's all true. That's how I feel. It was on a trip to Japan, on the island of Sado, that I got my first taste of the Wosek deck. Of course, his name wasn't Wosek. It wasn't even a deck. Also, the information did not come from Japan, but from Mexico. These were ancient symbols, coming from a wisdom that was before any religion. Symbols prior to Vedic Hinduism, the Greek pantheon, Zoroastrianism or even Abraham himself. They were the results of our origins and meaning; all the wisdom gathered in different elements that, combined in a concrete way, showed surprising results, both cognitive and physical. An idea suddenly struck me, and I immediately set to work on it. I adapted and transformed each symbol and one by one it became a card. The feeling that I was creating something that was beyond me ran through me day after day, until finally the work paid off after several months. I remember that at the time of designing the Wosek Deck I was working in a board game shop in Taiwan. Maybe that helped. It's possible, because maybe the development came from the possibility of combining these elements, called archetypes or matrix, adding in an applied way my knowledge of Magic, which had taken me so many years to obtain. Creation was really a journey through mathematical principles, through ordinances and rituals that gave it a unique purpose: to give love. And with a warning: do not underestimate the symbolism of its cards, its arcana and its power. That was the essence of the cards and what gave them their true magic. Madrid 2020. Julio Wosek. CARDS AND USE. The Wosek deck is a deck designed primarily for the art of magic. It has 50 cards, each one with a drawing representing an archetype of humanity, an object, a fruit, an animal or a universal collective imagination, full of meaning. A symbol that goes beyond the drawing that represents it. For example, THE TELESCOPE, in addition to the functions of the telescope itself, refers to Science and technological progress, as well as to the process and the desire of Man to explore and know the world from a scientific point of view. In addition to the fifty cards, the deck includes six gaff cards that can be used for a variety of magical effects. The Wosek deck is ideal for Mentalism, the branch of mental magic, where card divinations become very showy, since, for each person each card represents something different. For

example, I don't feel or imagine the DEVIL the same as you do. That is why each divination becomes something personal and unique. It becomes a simple way of doing mentalism with the great possibilities of card magic. In the same way, it can be used to create certain children's or family effects, as it is made up of images that are ideal for telling stories or making visual transformations. It is a poetic deck, especially for those effects where the cards are transformed beyond the meaning of the simple cardboard. Although the main use of the cards is for entertainment and the Art of Magic, it can be useful for occult use and for cartooning. In short, the Wosek deck is a new tool for the world of magic that opens the door to create new tricks and adapt the classics. On its inner mechanism, the deck is binary, its cards are divided into two types based on a symbol: the Moon and the Sun. It has a mnemonic order, with internal orders for specific magic tricks, cards designed for mental predictions, significant internal numerology and for routines with the numbers of each card. There are cards that are synonymous and antonymous to each other, which gives us the opportunity to create some games with it. In addition, the mnemonic order is designed in such a way that it is possible to order the deck in this order without the need to know the order by heart. It's a ritual deck. A good nickname could be Ritual Deck, since through different movements and "rituals" (sometimes difficult to justify in the world of card magic), you can get to make great tricks full of magic and meaning. Finally, and above all, the Wosek deck is a new tool for the card magician, as it allows you to transform old card magic classics into new tricks, justifying movements through rituals and making amazing coincidences. Get away from conventional card magic with card magic. The Wosek deck is my personal deck that has given me so much joy and that I now share with everyone interested so that it continues to grow, fill with magic, expand its meanings and ultimately impress audiences around the world. The tricks I describe below are just the beginning of an infinite number of tricks that you can create and adapt yourself. There are some unique tricks for this deck, others already classics that you probably know, and many others adapted and invented by myself, some more commercial and others rarer... I have gathered the tricks that work best for me and that I do most with my audience. All of them tested and squeezed until they don't leave a drop (or so I want to believe). The deck is still open to a thousand and one games, a thousand and one styles and a thousand and one adaptations, so these first tricks and properties are only a guide on this long road. And above all... HAVE FUN!

Cards by mnemonic order. .................................................................................................................. 8 THE CARDS. ONE BY ONE IN THE MNEMONIC ORDER. ................................................................... 9 PREDICTIONS, DIVINATIONS AND COINCIDENCES. ........................................................................... 15 DIVINATIONS WITH CARDS AND MATCHES. ................................................................................. 15 PREDICTING WITH MATCHES. ....................................................................................................... 18 CURRENCY PREDICTION. ............................................................................................................... 19 THE CARROT, THE LION AND THE ROSE. ....................................................................................... 21 THE 37TH card. .............................................................................................................................. 22 PRINCIPLE OF RULING OUT A NO. ................................................................................................. 22 MATCH TO THE NUMBER. ............................................................................................................. 23 PREDICTION DRAWN WITH A MIXED DECK. ................................................................................. 25 ONE OF FOUR, LIE OR TRUTH. ....................................................................................................... 26 TRIPLE COINCIDENCE. ................................................................................................................... 29 ZODIACAL PREDICTION.................................................................................................................. 31 YOU DO AS I DO............................................................................................................................. 33 DIVINATION BY DISCARD AND LOVE. ............................................................................................ 34 OF THE SIMPLEST; MY FAVORITE. ................................................................................................. 35 THE WAY........................................................................................................................................ 36 RITUAL DECK...................................................................................................................................... 46 THE RITUAL OF THE DOOR. ........................................................................................................... 46 RITUAL DIVINATION. ..................................................................................................................... 50 I WAS LATE. ................................................................................................................................... 53 IT'S JUST A MATTER OF CALLING................................................................................................... 55 CLOCK SYSTEM AS A RITUAL. ........................................................................................................ 56 VISUAL EFFECTS. ................................................................................................................................ 57 THE GAME OF THREE CARDS. ........................................................................................................ 57 TRICK OF THE SPIDER AND THE SNAKE AND WHY NOT, THE DOVE AS WELL. .............................. 57 PAPIROFLEXIA................................................................................................................................ 58 PREDICTIONS WITH A CHOP CUP. ................................................................................................. 58 PAINTINGS ..................................................................................................................................... 58 MORE VISUAL GAMES. .................................................................................................................. 59 MNEMONIC ORDINATION. ................................................................................................................ 60 PROPERTIES OF THE MNEMONIC DECK. ....................................................................................... 60 HOW TO GET TO THE ORDINANCE QUICKLY. ................................................................................ 60

MNEMONIC RULES FOR MEMORIZING ORDER. ............................................................................ 62 CARD SUN (48) WITH BUBBLE. ...................................................................................................... 65 PROPERTIES OF THE WOSEK MNEMONIC ORDINATION............................................................... 65 DECISION TREE IN card 21. ............................................................................................................ 65 TRANSMISSION OF THOUGHT FROM card 36. .............................................................................. 66 TRIPLE COINCIDENCE. ................................................................................................................... 66 MCARTI'S SUCKER. ........................................................................................................................ 66 MIRROR SHUFFLE. ......................................................................................................................... 67 COINCIDENCES AND TRICKS. ......................................................................................................... 68 TRIPLE MIND READING WITH MNEMONICS. ................................................................................ 69 DESIRE MAX MAVEN Wosek deck adaptation. ............................................................................. 70 TRUSTING THE YIN YANG. ............................................................................................................. 71 TRIOS FISHING. .............................................................................................................................. 72 NUMBERING OF THE CARDS AND EFFECTS WITH THE NUMBERS. ................................................... 73 THE PREDICTION OF FIBONACCI. .................................................................................................. 73 MAGIC SQUARE. ............................................................................................................................ 74 MAGIC SQUARE WITH NUMBER NAMED. ..................................................................................... 75 OTHER MAGIC SQUARES. .............................................................................................................. 76 THE SACRED TRIANGLE.................................................................................................................. 77 THE SIX-POINTED STAR RITUAL. .................................................................................................... 80 POSSIBILITY-PROOF DIVINATION. ................................................................................................. 80 CARD TO THE DESTINATION NUMBER. ......................................................................................... 82 TELESCOPIC SYNCHRONY. ............................................................................................................. 82 SUBTLE MASTERY OF ORDER. ....................................................................................................... 84 DIRE PREDICTION. ......................................................................................................................... 85 OTHER NUMERICAL CURIOSITIES: ................................................................................................. 87 ADDITIONAL CARDS........................................................................................................................... 87 IDEAS AND DETAILS. .......................................................................................................................... 90 ASYMMETRICAL DECK. .................................................................................................................. 90 PLAYING WITH A PENDULUM. ...................................................................................................... 90 BALLOT AND card SYSTEM. ........................................................................................................... 91 PREDICTIONS WITH MUSIC OR PHYSICAL THINGS. ....................................................................... 91 OUIJA. ............................................................................................................................................ 91 GAMES WITH THREADS. ................................................................................................................ 91 MENE TEKEL SORTING. .................................................................................................................. 92 AND LAST BUT NOT LEAST... ......................................................................................................... 92

TELL STORIES! ................................................................................................................................ 92 BASIC GUIDE OF CARDBOARD WITH ARCHETYPE DECK.................................................................... 93 CROSS ROLL. .................................................................................................................................. 94 3 O'CLOCK ROLL IN A ROW............................................................................................................ 95

CARDS BY MNEMONIC ORDER. 1. WORLD

27.WATERMELON

2. PIGEON

28.SPIDER

3. HEART

29.RAINBOW

4. DEATH

30.CARROT

5. HAND

31.LION

6. DEVIL

32.NOTHING

7. TREE

33.APPLE

8. MOON

34.FISH

9. STAR

35.LIGHT

10.DESERT

36.PENGUIN

11.STAIRS

37.ICE

12.EGG

38.KNIFE

13.MIRROR

39.DIAMOND

14.MAGICIAN

40.SNOW

15.BOTTLE

41.UNIVERSE

16.MASK

42.RAVEN

17.CANDLE

43.BRAIN

18.MUSICIAN

44.BIRTH

19.LOVED

45.FIST

20.RAIN

46.ANGEL

21.MERMAID

47.DREAM

22.PEANUT

48.SUN

23.ROSE

49.TELESCOPE

24.LEMON

50.MOUNTAINS

25.SNAKE 26.SHADOW

THE CARDS. ONE BY ONE IN THE MNEMONIC ORDER. CLARIFICATION: It is not necessary to learn the meaning of the cards to be able to do magic with them. However, it is good to have a guide to the archetypal meaning of each one so that your magic tricks can have more texture. With this, it can also be said that each card is free of meaning and can represent different things for each person. Here, a little guide to their possible meanings. 1.THE WORLD (21). The world is an important card. It is the sum of everything we know, in our human habitat. It is a chart of great significance and can be related very well to most charts. Depending on the chart that accompanies it, its meaning may vary, but individually it refers to unity, nature, harmony and peace, it is the world in its ideal, that is, the world in its purity. It is also one of the major arcana of the tarot and from the point of view of cartography can mean both the culmination of some processes of life and the beginning of new ones. 2.THE DOVE (31). A white dove, with an olive branch in its beak. Recognized as a symbol of peace after the wars of the 20th century. This dove is of biblical origin. It appears for the first time in the story of Noah's Ark, being the one in charge of seeing what was the state of the world after the universal deluge. As a card it is a positive symbol that means peace and harmony. 3. THE HEART (22). The heart refers to everything that can be intuitive and passionate. Its meaning may vary according to the cards that accompany it, but generally it is something positive and usually indicates that the path to be followed is the one that our inner self tells us. 4. THE DEATH (34). She's represented by the reaper. It's a major arcane in the tarot deck. It has a very strong psychological symbolism because it is one of the great fears of humanity. It represents changes that have taken place or are yet to come, not necessarily bad or good. 5. THE HAND (23). The hand is an essential part of human beings, with them we work and create tools. The meaning of this card is related to gratitude, collaboration and sincerity. The hand is also a symbol of identity, its marks distinguish us and give us individuality. 6. THE DEVIL (36). Another of the great arcana and symbol in many of the archetypal stories of humanity, always associated with evil. This card is, in fact, associated with suffering, addiction, sexuality and generally, with the lowest instincts. The passions. It can also be related to

intuition, mischief, wisdom and the anti-system, since the devil, in the biblical story, moves away from God and is expelled from paradise. 7. THE TREE (25). The tree chart is represented by the tree of life. It is a symbol that relates to and symbolizes life. . . In the Jewish tradition of the Kabbalah the tree of life indicates the union between humans and God. From a more pagan point of view that God may well be nature. 8. THE MOON (39). It's another of the big, significant cards. It can refer to the internal changes that we humans feel and the different periods of change in our lives. The moon also represents our unconscious; the most intimate and mysterious part of ourselves. 9. THE STAR (26). The star is a card with a positive meaning. It often represents hope or is a guide to the beginning of a journey that is about to begin. In our case, the card is represented by a sixpointed star, which is the Star of David, which has a magical origin: it was hung on the walls to chase away evil spirits, and the alchemists used it to represent the connection between heaven and earth. 10. THE DESERT (40). It represents loneliness, the search for the spiritual, enlightenment, asceticism and also difficulties. There are numerous archetypal stories where the character must cross a desert and its hardships to reach his goal. 11. THE STAIR (29). The ladder means the passage from one place to another higher place. We can develop this with a desire for growth and ascension, as well as physical work and effort to achieve something. 12. THE EGG (44). The egg is a very mystical element and at the same time very everyday. It can represent nothingness and everything. What is to come and what is to be hidden. It is a card that attracts imagination and mystery. 13. THE MIRROR (32). The mirror depicted here with the broken glass refers to bad luck. The mirror also refers to how we project ourselves through the reflections we have on ourselves and others into the world. 14. THE MAGICIAN (47). The magician is another major tarot arcane. In fact, it is the number 1 arcane and one of the most important cards. The magician represented as a sorcerer, druid or sage

represents among other things the power, the ability, the concentration. It is a positive card that represents the two worlds: the everyday and the magical, so it can also be related to intuition and destiny. 15. THE BOTTLE (33). The bottle of wine represents passion, festivity and Dionysianism. 16. THE MASK (48). Masks have been used since the beginning of civilizations by human beings to symbolize the needs, fears and concerns of a community and represent man's desire to hide and at the same time manifest himself transformed, hiding his identity to reveal himself in a different way. 17. THE CANDLE (35). The candle represents the fire that illuminates. This can be interpreted in many ways. In addition, the use of candles is also widespread as a link with the divine, opening a way between the earthly and the invisible world always surrounded by a special meaning. As for example in the classic birthday cake candles, which are extinguished by fulfilling a wish. 18. THE MUSICIAN (50). The musician's charter, besides representing the figure of the musician and the music, also represents the other arts and festivities. The joy and the Dionysian. 19. THE LOVERS (37). This card represents love and emotional relationships par excellence. It also implies the achievement of a possible partner or a possible love affair. It is a major arcane in the tarot. 20. THE RAIN (2) Rain can have a negative meaning associated with sadness or have a positive meaning if we look at it from the point of view that water harbours life. Rain can be related to an inner cleansing process. 21. THE MERMAID (38) Mermaids are mythological beings that are usually linked to a specific natural site. In the case of mermaids, mythology tells that they are found in the ocean and seduce navigators thanks to their song. The mermaid's voice, in fact, has the ability to cast a spell on men. Also the mermaid have been interpreted as false doctrines and as something that despite appearing beautiful and attractive is dangerous and destructive. 22. THE PEANUT (3) Its meaning derives from its morphology, as it is a fruit protected by a shell, which makes it difficult to access. It can mean that an effort is needed to obtain results.

23. THE ROSE (41) It represents the beauty of nature. Furthermore, it also represents by the spiral of its petals the Fibonacci sequence, which explains in a mathematical way the structure of the universe. 24. THE LEMON (4) The lemon as a fruit has a positive connotation, which is related to energy, vitality and health, but it can also be negative as it is an acidic fruit. 25. THE SNAKE (42) The snake is an extremely important totem, and the countless cultures where it is part of myths and legends bear witness to this. The serpent is a totem of transmutation, of immortality, wisdom and the mystery of life. The serpent connects the worlds on a magical level, and becomes the symbol of infinite rebirth. 26. THE SHADOW (6) The shadow is one of the main archetypes of the collective unconscious according to Carl Gustav Jung's analytical psychology. It can be defined as the totality of the unconscious. The secret and the forbidden. 27. THE WATERMELON (43) Watermelon is one of the oldest fruits, as a fruit it is a card with positive value as it represents vitality and health. It also represents the exotic. 28. THE SPIDER (8) The spider is a symbol of mystery, power and growth. The symbol that means spider here serves as a reminder that our choices build our lives. 29. THE RAINBOW (45) A rainbow is an optical and meteorological phenomenon that separates sunlight into its spectrum, and when the sun continues to shine, it shines in the raindrops. The rainbow is used symbolically in many religions and thus acquires a meaning of being a symbol of peace between man and God. 30. THE CARROT (10) The carrot is the most important and most widely consumed vegetable. That's why it's a card that means everyday, cultivation and good omen. It is related to everything natural and the cultivation of the land. 31. THE LION (46) He is represented as the king of the jungle and of the animals. Some of the values related to the lion are: wisdom, power, loyalty, dignity, courage, justice, ferocity, dominance and authority.

32. THE NOTHING (11). It's one of the most curious cards. Nothingness is defined as absence and non-existence of any object. Nothing physical. Nothingness is also related to the Whole as a contrary or synonymous concept. 33. THE APPLE (49) The apple is a positive card as it is a fruit and relates to health and vitality, but it also has a more hidden meaning related to original sin. 34. THE FISH (13) The fish is a symbol used by different religions. The fish, in Christianity is a symbol of abundance and faith, as seen in the biblical story of the fish and the loaves ... On the other hand, in Buddhism, the fish symbolizes happiness and freedom. The fish was also the symbol used as a secret code among the early Christians. 35. THE LIGHT (1) Light is a symbol that represents creation. It's a positive character card. 36. THE PENGUIN (14) The penguin represents the exotic and the extravagant. 37. THE ICE (5) The ice chart represents the ephemeral, something that has a tendency to transform into something else, just as ice melts and quickly becomes water. 38. THE KNIFE (18) The knife is a card that can represent violence and brutality, as well as meaning something positive in the case of being a protective and valuable object. 39. THE DIAMOND (7) The diamond chart is linked to wealth and material goods. 40. THE SNOW (40) Snow can mean adversity, hard times. Referring to a person can mean someone cold and calculating. 41. THE UNIVERSE (9) It is a very important card and of great significance since it refers to everything that has been and will be, to the great immensity of the whole.

42. THE RAVEN (20) Ravens are animals that are often present in the traditional myths and legends of many cultures. They have a mythical status and are mediators between life and death. It is usually related to a bad omen, something mysterious, and to fear itself. 43. THE BRAIN (12) The brain is a card that represents the scientific and mathematical side of people. As well as scepticism and intelligence. 44. THE BIRTH (24) Birth is a very positive card that comes to mean the beginning or start of something new or that is to come. 45. THE FIST (45) The fist is a card with a generally negative meaning, it is an aggressive gesture of violence, as well as that of hiding something. 46. THE ANGEL (27) The angel in some religions is a spiritual being, servant and messenger of God. It is related to goodness, innocence and beauty. 47. THE DREAM (16) The dream is represented as the unconscious, that world of desires and fantasies to which we cannot enter in our daytime life. It also refers to hopes and desires. 48. THE SUN (28) The Sun is a major tarot arcane. It represents fun, warmth in attitude and emotion, success, positivity and vitality, happiness, purity, unions, everything is tranquility and happiness. 49. THE TELESCOPE (17) The telescope represents the technological and scientific side of humanity. New inventions and the drive for discovery. 50. THE MOUNTAINS (30) The meaning of these idyllic mountains is related to the earthly paradise. The feeling of freedom and nature.

PREDICTIONS, DIVINATIONS AND COINCIDENCES. One of the great qualities of this deck is the power of its divinations. It is no exaggeration to say that this is its greatest advantage and effect. The spectator picks a card, the mentalist or magician guesses it. They are not thinking of a value or number, they are thinking of an object, animal or concept that is unique and non-transferable to each person. There are thousands of procedures for guessing cards, with forcing, guide cards, glances, sorting... I will now explain some very practical effects within these categories and sometimes unique to these cards.

DIVINATIONS WITH CARDS AND MATCHES. I want to start by explaining some quick predictions and divinations that can be made with this deck before moving on to more complex effects. They are ideal as opening tricks or for in-between effects. By forcing the following cards, you can make quite striking and subtle predictions, far from the ordinary, where the viewer himself solves the puzzle. I personally like to force the seventh card or force several at once to different viewers and make several chain predictions. -THE HAND. "The cards in this deck are somewhat special. Each one holds an image full of meaning, what Jung defined as archetypes, still images that lie in our unconscious permanently and with which we tell each other our history, ancient and modern myths. Some say that when choosing a card, not only does chance interfere, but so does destiny. Let's give it a little mystery, can you put your hand like this? The magician tells the viewer to put his hand palm down and extend it some distance from the table. "I'm going to be passing cards. Stop me when you want." The spectator stops the magician at some point. The magician puts that card on the table. "Notice you stopped me where you wanted to, a card before would have been the dove or the next the ladder... however, you stopped me here..." The spectator, or several spectators if you prefer, put their hand palm down a few inches above the card. You turn the card over and it's the HAND.

This small effect creates a rather interesting atmosphere of mystery. You can make different versions of the effect with other cards and even combine them. I like after doing this, to make a parade and put the card on top of the spectator's hand and ask him to pass his other hand over the card, "this time, further down, casting your shadow over the card". The card becomes the SHADOW. -THE SHADOW. If the spectator stops in the Shadow, you ask him to put his hand on the card and cast his shadow on the card, or you simply move his hand so that his shadow is on top of it. When you reveal the card it will be THE SHADOW. -THE DEATH. "Stop me anywhere you want. Concentrate on something that scares you, really scares you. Think about it for yourself..." You turn the card and it's the DEATH card. Whether or not the viewer has thought it, the audience will be surprised to think that it was precisely what they were thinking. In fact, it is very likely that it is precisely what the viewer was thinking about since death is probably one of the greatest fears of people. -NOTHING. "I'm going to make a little prediction." The magician takes something out of his pocket and leaves it on the table, asks someone to cover it with his hands so that no one can see it until the end. "I'm going to be dealing cards and I want you to stop me when you want..." The viewer stops at one card, you can show the next and the previous one to show that they are completely different. "Remember that I had made a prediction, raise your hands and show it." The spectator who was guarding the prediction raises his hands, but there is nothing. "There is nothing? Strange... What was the card? " The spectator turns the card and it's the card from NOTHING. -THE SUN.

The magician passes cards around until the spectator stops him. He moves the deck away, turning it over on the table, without attracting much attention. He turns the selected card and it turns out to be The MOON. The magician then looks at the deck that is turned over, showing that the card that shows the deck (at the bottom) is The SUN. A great coincidence!

Note: This trick can be done with several exits, leaving the spectator's choice more free. This is because some of the cards in the deck have several synonymous cards that could be used simultaneously as a prediction. In this case, besides the MOON, we can have prepared THE STAR, THE WORLD, THE LIGHT, THE UNIVERSE and even the SHADOW and the DESERT to compare it with the SUN. The spectator will be surprised by the coincidence. -THE BOX AND THE ROSE. If a viewer has chosen the PINK, I like to use as a prediction a box made of origami that looks like a simple paper box, but when opened it turns into a rose. You can give it at the beginning of your show to finally use it as a prediction and give it to a spectator. If you search a bit in the depths of youtube you will have no problem finding a tutorial on how to make several cards a good prediction to give away. -5 OF DIAMONDS and 5 OF HEARTS. By forcing the 5 of diamonds from an ordinary deck of cards or by using some invisible deck principle like Dani Daortiz's fantastic decks-less versions, you can make the 5 of diamonds prediction with the HAND and DIAMOND or the 5 of hearts with the HAND and HEART. -THE RAINBOW. A good effect I like to do at the beginning is to make a prediction that stays on the table. Two spectators each take a card, it's really a force. I ask them the identity of the cards: One chose the SUN, the other the RAIN. The prediction, of course, is the RAINBOW.

This type of prediction with two spectators can be made with different card combinations, such as The DOVE and the RAVEN with the prediction of THE EGG and many others that you are sure to come up with yourself. -THE OATH. This fantastic prediction is made by Juan Varela by forcing the 5 of hearts. You can force two spectators the cards of HAND and HEART. To another you ask him to put his hand on his chest and his hand up (in the position of swearing) to make an oath. "Promise to help discover the cards the other spectators have taken." You ask him to hold his position for a moment and the cards are revealed. It's a match!

-THE LIGHT. A spectator chooses the LIGHT, the magician concentrates to try to guess the card he chose. He asks him to concentrate. Then the magician brings his hand close to the spectator's forehead and a light appears between his fingers that disappears after a short movement. "What was your card?" THE LIGHT. This effect, as you can imagine, is done using a Dlight. -IPHONE. If a spectator has an iphone and forces the APPLE card, you can ask him to bring the iphone closer to take a picture of the card, bring the iphone closer, and when you turn the card around it is revealed that it is the APPLE that will match the logo of the mobile phone.

PREDICTING WITH MATCHES. After mixing the cards, you secretly place the CANDLE card in position 7. Now you can make a prediction with a matchbox based on Peter Duffie's prediction using Ed Marlo's automatic placement, which appeared in The New Tops. You take out a matchbook or a matchbox containing 10 matches. You ask the viewer to take out any matches they want.

-If the spectator draws a match, you say, "You've left nine" or if he draws nine you say, "You've drawn nine". In either case, you count the cards in the deck in groups of three. The remaining card on Top is the CANDLE. -If the viewer takes 2 or leaves 2, you say "you left 8" or "you took 8". You count 8 cards in groups of two. The top card is the CANDLE. -If the spectator draws 3 or leaves 3, you say he's left or has drawn 7, so you count 7 cards. The seventh is THE CANDLE. -If the viewer gets 4 or leaves 4, you say, "you left 6 or "you left 6." You count 6 cards and select the next one which will be the CANDLE. -If you draw 5 you say, "there were 10 matches", you count 10 cards reversing the order. "And you took 5", you count that pack of 10 cards again, five cards reversing the order. So you'll have the seventh one, the second one below the pack of 5 you just counted. Now you give it to the viewer and you do a discard count. You discard one card and put the next one underneath, you discard one and the next one underneath... like this until there is only one card left which will be THE CANDLE. - The revelation: Now, once we have reached the CANDLE, before revealing it, we take one of the matches and light it, while the fire lasts, we turn the card over.

NOTE: If the spectator pulls out all the matches or none at all, you must tell him to leave one or at least one for the trick to have its grace.

CURRENCY PREDICTION. The original name of this trick is Eddie Fields' Dropsy Diddle. It's very simple to make, but with a great impact and with the advantage that by doing it with the Wosek deck you don't have to glue a miniature card on the back of the coin so you add a touch of naturalness and improvisation to the effect.

EFFECT: The spectator draws a card. The magician loses it in the deck and spreads the deck face down on the table. "I'm going to ask you to use your intuition to choose three cards from the deck. The spectator does this and places any three cards on the table.

"Besides your intuition, let's use some luck. Do you believe in luck?" The magician takes a foreign coin out of his pocket. "This coin here, is my lucky coin... I'm going to pass it over the cards and when you want you'll order me to stop and where I leave the coin, underneath it will be your card." The magician passes the coin over the cards until the spectator tells him to stop. The magician shows the other two cards creating tension and showing that neither of those is the spectator's card.

Now turn the card where the coin is, but it doesn't turn out to be the one. "It's not, but remember, I said that under the coin would be your card... What's your card?" The viewer replies that the fish. The magician spins the coin and on its back is a fish stamped on the coin itself. He puts the coin back on the card that failed. "My lucky coin never fails me..." The magician clicks and now the card that failed becomes the FISH.

METHOD: The card is a forced card. The idea is that you force a symbol from the Wosek deck to appear on the back of some coin. For example, on English 10 pence coins or Finnish 50 pence coins there is a Lion printed, 100 Japanese yen has a rose. If you want to do it improvised you can even do it with a half dollar that has an eagle on it and force the DOVE or the CROWN that also has folded wings. There are many coins that contain the symbols of the deck. You force the corresponding card and control it with the excuse of losing it in the deck at the top. Now you spread the deck and the spectator selects three cards at random (they are unlikely to choose the top card). Now you take out the coin and play as explained in the effect. The discarded cards are left in the middle of the deck. Finally, when you turn the coin over so that everyone can see the prediction on its back, you take the opportunity to make a line and change the wrong card with the chosen card on top. You put it back on the table and after a short pause you transform the card into the chosen one.

THE CARROT, THE LION AND THE ROSE. As Banachek shows us in his magnificent books of psychological subtleties, when asking a viewer the following questions they will most likely answer with these cards: -

Name one jungle animal, the first one that comes to mind... The LION. ...a vegetable... the CARROT. ...a beautiful flower... The ROSE.

A good effect or plus before a trick is to pass cards and when you pass one of these three, pull it out a little from the deck so that it stands out from the rest and ask the spectator the question. "Here I see something interesting... just out of curiosity, if I asked you to

think about a jungle animal, what would it be? Pick the first one that comes to you, that one, don't think too much about it..." If he says the right card, in this case the LION, you pull the card out completely and show it to him, "just as I thought. If he doesn't get it right, you just put the card in the deck, "mmm, interesting answer" and go on with your trick or as I like to do you show the LION and say that normally most people think of a lion, but he has wanted to go further. Using that excuse you pick him for the next trick. This type of prediction is also useful when you want to locate a card in the deck. It's a good excuse to look at the cards and locate the desired one while you do a little work.

THE 37TH card. Another one of these forces, following the same line explained by Banachek, would be that of card number 37. The first one must think between 1 and 5. The next one between 5 and 10. -If it matches, look for the card with the index 37 among the cards, it is the Lovers' card. -If it is any other number, simply draw the corresponding card, make a quick reading about its future using the random card of the chosen numbers and continue with another trick.

PRINCIPLE OF RULING OUT A NO. One of the most powerful divination qualities that can be made with this deck consists of this principle based on a Decision Tree that I have called the Discard No. Principle. Released in the 1950's by Gene Grant used with 5 cards in his trick "Pychorama". The viewer can think of one card in seven and we can guess it through statements. As soon as the viewer says No once, we automatically know which card he is thinking about. There is a ready-made version of this divination in the mnemonic deck, but the combinations are very broad and personal. The subtlety is that it seems that many more cards are shown than we actually show (seven), at least to the rest of the spectators. Once the viewer has one of those cards in his mind you start with divination. If the spectator answers NO at any time, you will immediately know which card he is hiding in his mind. The point is that you can use some excuse or back-up to that NO. You can also do this if you are one of those who uses the art of cold reading well. I have come to use this divination from 5 to 12 cards. Here is an example, although I trust you can get many more. "Here is a deck of cards... but they are not normal cards, they are cards with drawings of wide meaning, what Freud and later Jung called archetypes. This means that each card has a very deep symbolism that represents something imminent and representative in man and in our civilization. I'm going to be passing cards, as you see, each and every one represents a value, object, animal or concept... I would like you to look mentally at one of

these symbols." The spectator mentally selects one of the cards that the magician shows him. "Well," he says. I want you to hold it and witness that you could have chosen any card, I have not forced you to choose any card nor have I been able to influence you... otherwise this would not be any fun. And it is. ” "Visualize the card well in your mind... as far as I can see it's something that's real, it exists in the world we live in, right?" The viewer nods. "Besides, you can touch... you've probably even had one in your hand at some point in your life... or many, yes?" The viewer claims. "Besides, as far as I can see, it's something you can eat, yes, a fruit." The viewer says yes. "Yes, I can see it now... it's sweet, isn't it?" The spectator shakes his head. "Are you sure? Let me try." The magician pretends to put a piece of fruit in his mouth and starts to taste it, then he makes a disapproving face. "Right, it's not very sweet, in fact, it's quite sour. What are you thinking?" The viewer replies that the LEMON. This great divination can be done with numerous cards, in this case we do it with the cards: mermaid, LEMON, WATERMELON, MOON, KNIFE and APPLE. Without any established order and making the following statements. -It's a real thing. If she says she's NOT the Mermaid. -It's touchable. If you say it's NOT the moon. -It's eaten. If he says it's NOT the Knife. -It's a fruit. If he says it's NOT the Peanut. -He's sweet. If he says it's NOT the lemon. -You can grab it with one hand. If he says it's NOT the watermelon. -If he says it's the Apple.

MATCH TO THE NUMBER. Based on a trick of the great Ramon Riobóo with ESP cards described in his book: The thought magic, I came to this interesting game that approaches the famous card to the number, Wosek deck version. I like this trick because it is a high impact coincidence in which the magician barely touches the cards.

The magician carefully mixes and cuts the deck into two packs. "Choose one of these packs. That one? Well, pick it. If you want, you can put your hands on it to make sure I don't touch it. I'm also going to ask you to think of a number equal to the number of cards in that pack... between 1 and 25 or so." Now the magician asks another spectator to take the other pile and make a cut. The magician places the cards in a cross, marking the cut. "Let's recapitulate. We've mixed, we've cut, you've chosen that pack and you've thought of a number. What number did you have in mind? "The viewer replies that 12, for example. The magician asks him to count 12 cards and to leave card number 12 aside without turning it over. The spectator does so. "Also, you cut where you wanted the other pile and the result (taking the card from the cut) is this card..." The magician removes the card from the cut and leaves it next to the card chosen by the other spectator. He turns both cards and they match. One is THE STAR and the other is THE SUN. Method: We need to have a small placement in the bottom half of the deck. In a pile of 25 cards you have to put in the positions: 4,6,8,10 and 12 cards that are synonymous with THE SUN. In this case they would be: LIGHT, DESERT, STAR, WORLD and MOON. Once this package is prepared, put the other package of 25 cards on top with the Sun as the 25th card. After some false mixing, where we only mix the upper half we cut through the chart of The Sun. We ask the viewer to choose one of the halves. Choose the one that has the placements, he has to guard it, so if he chooses the pile with the placements he is told to guard it and if he chooses the other pile, you take it and tell him to cut. This becomes known as the wizard's choice. In any case, he or another viewer is asked to think of a number between 1 and 25. And the other viewer is forced to think of the SUN card on the other pile. I like to use cross-force because of its simplicity and cleanliness, so you don't have to touch the cards again. Personally I find it cleaner that instead of marking the cross cut in the traditional way, you only mark the cut by putting the lower pack over the lower left corner of the upper pack.

Now we ask another viewer to tell us a number between 1 and 25 or so, as this is the approximate number of cards (it really is the exact one) that the pile has in custody. -If he tells you a number between 1 and 12, you count the cards with the deck face down.

If you count the exact number and that same card is the one that will coincide with the chosen one: the SUN. If it is odd, you count the number of cards and take the next one that will match the SUN. -If it tells you a number greater than 12, you count the cards with the deck face up. Don't worry about seeing a similar card, as the revelation is made at the end there is a parenthesis of forgetfulness and the cards seen next to the chosen one are always different. If it is higher than 12 and is even, as in the previous case the spectator stands at the exact number. If it is odd in the card following its number. NOTE 1: If you want, you can have the spectator count the cards himself, this makes it much more impossible. -If he tells you a number less than 3, you ask for a higher one with the excuse that otherwise it would be too easy. NOTE 2: From my experience the cards that come out most are 10 and 8 so we can position in these numbers the cards that we like the most for the match. In this case the MOON and the STAR. NOTE 3: This trick can be done with other cards and matches such as animals, food, or light cards.

PREDICTION DRAWN WITH A MIXED DECK. This is a classic effect of mentalism and cartotomagic. The first time I saw it done was by Max Maven on a Taiwanese TV show via Youtube. Thanks to the properties of the Wosek deck we can make this trick with more ease and several final solutions. The spectator mixes the deck, the magician draws a prediction on a piece of paper. The deck is extended and the spectator discards cards until he reaches a single card that coincides with the magician's prediction. METHOD: The method consists of a forcing of the wizard. The magician takes the spectator to the desired card, making discards according to the magician's interest. For example, the spectator is asked to pass his or her finger over the cards that are spread out on the table. When the spectator wants to stop, he puts his finger on the deck. The magician, seeing on which side of the spectator's finger there are more interesting cards, asks him to discard the cards to the right or to the left. He does this several times consistently until there are very few cards left. And finally, always with the magician's force, until the dear card is reached.

One of the good things about doing this with the Wosek deck is that you can draw a prediction that corresponds to several cards and have more ease in choosing the wizard. An example might be drawing a devil on a piece of paper. The prediction would relate to the card of the DEVIL, SNAKE or ANGEL.

Another example would be drawing a bird, but badly drawn, so that it remains somewhat abstract. It would correspond to the PENGUIN, THE DOVE and THE RAVEN. Also by drawing a circle or even forcing the viewer to draw it with different subtleties or asking him to think of a simple geometrical figure, but not the triangle or the square, which is what everyone thinks. Thus the prediction of the CIRCLE would correspond to piles of cards like: THE WORLD, LEMON, WATERMELON, EGG or SUN.

ONE OF FOUR, LIE OR TRUTH. Based on the mathematical principle of Decision Tree and with the deceptive method of telling the truth or lying, from the trick LIE TO ME by Leo Boudrean, I came up with this trick that can be played with a multitude of cards from the Wosek deck as long as we manage to relate the cards to each other and differentiate them in turn.

It may seem like a complicated method at first, but it's worth it. It's very deceptive and powerful. The magician pulls four cards from the deck. He gives them to the spectator and asks him to shuffle them and spread them face up in front of him. "As you see, I've given you four cards, each with an image of an animal. You have mixed them up and arranged them as you wished, all this so that you see that I do not intend to influence you with a certain arrangement of the cards. Now I want you to think about one of these animals and I am going to try to guess which one you have chosen through several questions that you will answer with a YES or NO. The funny thing is that you can tell me the truth or you can lie to me, which complicates things. "First question... remember you can lie or tell the truth. Does the animal you're thinking of have legs?" The viewer answers yes. "Well, you've done very well. In fact, I have no idea if you lied or not. I'll ask you a second question. If you lied to me in the last one, if you told the truth, tell the truth, see if I can catch you this time... Does the animal you're visualizing have poison in it?" The viewer says no. "You're making it difficult for me. Well done. I'll ask you one last question. If you lied to me, do it again, if you told the truth. Does the animal you have in mind produce a characteristic sound? I mean a loud sound, not like the fish." The viewer says no. "Phew, I see you're hard on your answers, but I think I got it." The magician picks up the cards and leaves one turned over on the table. "Which one were you thinking of?" The snake. "Turn the card." It's the snake. METHOD: The point is that there are four cards, say A, B, C and D with a specific value each. A= 0 and 7 B= 3 and 4 C= 5 and 2 D= 1 and 6 By asking three questions related to these cards, as long as the viewer always tells us the truth or a lie we can get to the card he is thinking about. -The first question relates to the B and C card and if the spectator answers with a YES we win 1 point. -The second question relates to the B and D card and if the viewer answers with a YES we gain 2 points. - The third question relates B and D and if the viewer answers with a YES we gain 4 points.

The result of won numbers is subtracted from 7 and we get the card the viewer is thinking about. To make it deceptive we use the following subtleties: Firstly, the cards can be given directly or forced to the viewer which will make it more deceptive. Then the spectator is asked to shuffle the cards himself and to lay them face up on the table. Now you ask him to think of one of the cards and to concentrate on what it represents. You explain to him that you will ask him certain questions to find out what is in his head, but that he can decide to lie or tell the truth. He can really only decide on the first question, the others you will ask him to lie or tell the truth as he did in the previous question. So to make it effective it may be convenient to put at the beginning or at the end one or two false questions in which we don't care if you lie or not. Let's take a practical example with the cards: A. DREAM B. SNOW C. DOVE D. ICE (It doesn't matter if the cards are in this order or not) After some false questions you are asked the three necessary questions: First question. "You can either lie or tell the truth. You must answer with a YES or NO." Is what you're thinking white? (If the answer is yes, it's worth 1 point.) 2nd question. "If you lied on the first one, do it again, if you told the truth, do it again." Does what you think conveys cold to you when you touch it? (If YES = 2 points) 3rd question. "If you lied in the previous one, do it again, if you told the truth, do it again." That thing you think of when you touch it is solid, is it hard? (If YES= 4 points) If, for example, the viewer was thinking about ice, he would have answered (if he had told the truth) only Yes to the second and third questions, so he would have scored 6 points. We subtract that from 7 and it gives us 1 point. A. B. C. D.

Sleep = 0 and 7. Snow = 3 and 4 Pigeon= 5 and 2 Ice=1 and 6

NOTE: Although the trick may seem very complicated to play at first, once you understand the dynamics with a good presentation it is a good effect of mentalism in which you can show your skills as a mentalist. The example used in the description of the effect: A. FISH= 0 and 7

B. SPIDER= 3 and 4 C. LION= 5 and 2 D. SNAKE= 1 and 6 -First question: Does it have legs? (Yes=1 point) You can lie or tell the truth. -Second question: Do you have any poison? (Yes=2 points) If you lied, lie again if you told the truth, tell it again. -Third question: Does it have a characteristic sound/ make a loud noise? (Yes=4 points) If you lied, lie again if you told the truth, tell it again. You can put a false question at the end to throw him off by telling him to lie or tell the truth again. The answer doesn't matter since we already know which card he chose. -False question, example: Is it an animal that if you had it in front of you would be afraid? * AN EXTRA TRICK. I like to combine this effect with another one, which, despite its simplicity, works very well and allows you to repeat the effect from a completely different method, throwing the sceptical viewer off the scent and away from the mathematical method. While the audience applauds and relaxes with the end of the previous effect, you pick up the cards and secretly order them in their original order: A, B, C and D. Suddenly, you decide to repeat the effect. You give the cards to a spectator and ask him to put one in his pocket and leave the rest covered in his hand. By doing so causally, you can see which card the spectator is holding in his pocket. You have to take a quick and subtle look so that it is not obvious. As soon as the spectator picks up a card and puts it in his pocket, you turn your head pretending not to look and ask him to cover the rest of the cards in his hand. You look at the viewer and ask him a series of questions. He can lie or tell the truth. You finally guess his card.

TRIPLE COINCIDENCE. A great trick to play with this deck is the so-called Robert Harbin Triple Match, in which after making several piles and choosing cards, they end up matching. The magician shuffles the deck and deals cards in three packs. "I will make three packs of three cards, using the power of the number three, a number with magical qualities. And another three packs of three cards for me." The wizard does it. He deals three packs of three cards to the spectator and another three packs of three cards to himself.

"Now I'm going to ask you to take the first pack and without looking at the cards use your intuition to choose one of them. I will do the same with my three cards." You both pick a card at random and leave it on the table. The process is repeated with the other piles. Finally the cards are discovered and they turn out to be great coincidences. For example: in the first package of the spectator the fish came out, in the one of the magician the spider, both animals. In the second one of the spectator the lemon and in the one of the magician the apple. Both fruits. And in the third one, the spectator's shadow and in the magician's, the light. All coincidences. METHOD: As you can imagine, there is a little pre-ordering. You have to take three groups of cards with 4 cards in common, you can be animals, fruits, light cards, mythological beings, daily objects, weather conditions, landscapes or any other you can think of. In my example I chose: Fruits (Apple, Watermelon, Peanut and Lemon), animals (Fish, Spider, Snake and Lion) and light cards (Light, Shadow, Rainbow and Sun). Now you simply have to alternate them one by one so that when you deal the cards. First the spectator gets three packs of three cards and then you get three packs of three cards alternating. In this way, after dealing, the spectator will be left with the cards grouped in their three packs. And in the magician's pack there will be a card that matches the spectator's pack under his pack along with two other indifferent cards. When you and the spectator choose a card at random from your packages, you really always choose yours from below, but with the excuse of using your intuition you can move the cards a little so that this action is hidden.

NOTE: When you and the spectator put aside the cards that are not chosen, since there are two indifferent ones in your piles, you can subtly show them so that it is clear that they are different cards.

ZODIACAL PREDICTION. This trick may not have much impact, but it is curious and serves to create an atmosphere of mystery. "Despite living in the century of mobile phones and precooked hamburgers, we humans still maintain, albeit unconsciously, many of the customs and rituals of our ancestors. We continue to celebrate Easter, the Christmas holidays and the Day of the Dead, but what is the most important day? ... Our birthday. That day marks a special date on our calendar and there are even those who say that in our behavior. In the Chinese calendar you are given an animal according to your year of birth, in the West they speak of the symbols of the zodiac. Whether we believe in this or not, the truth is that we all have a zodiacal symbol. The magician draws a card with different markings that seems to indicate the symbols of the zodiac and the months of the year. "What month were you born in?" The viewer responds. "So what symbol of the zodiac are you?" The spectator responds and the magician turns the card showing various symbols. "This card represents the months of the year, there is a symbol for each month. Can you see your symbol? The viewer does. The magician takes the cards and mixes them up. Now the magician asks the previous spectator to choose someone from the room, if possible someone he does not know. "You don't know each other at all and the cards are freshly shuffled. Perhaps you have many things in common or perhaps not, but what is certain is that you both have a symbol of the Zodiac. His we already know, but what is yours?" The viewer replies that Taurus. The magician counts 5 cards, one for each Taurus card. He shows them by showing that they are all different and separates the next card, also showing the next one to the chosen one and showing that it is an indifferent card. Turn the card and you can see that it is the SUN. "The Sun! An important symbol, after all, that illuminates us and gives us life. Among all the cards it is very curious that this one has come out precisely, since...(pointing to the first

spectator) what symbol are you thinking about" The spectator answers that the Sun, a great coincidence. METHOD: Thanks to the extra card that comes with the deck (see page) we can force the spectator to play the card of the MOON. To do this we need to know in advance the month in which he was born. Once we know this, we only have to turn the card on the side corresponding to the month of his birthday. For example, February.

Regarding the card we need a small initial ordination so that we spell the zodiacal symbol that we always spell a synonymous card and that we can show the previous and the next card as indifferent cards. ORDER: five indifferent cards. SOL. Indifferent. STAR. Indifferent. LIGHT. No matter. MOON. Rest of the deck. NOTE: The good thing about this trick is that we have a 75% chance of getting the first two cards that are the MOON and the SUN that would match the Moon viewer's prediction very well. -If they say: Aries, Virgo, Taurus or Libra. You count 5 cards and leave the following one: it will be the MOON. -If they say: Cancer or Pisces. You count 6 cards and the number 6 is the MOON. -If they say: Gemini or Aquarius, spell 7 cards and take the next one, it will be the SUN. -If they say Scorpio, you count 8 cards and pick up the 8. -That'll be the SOL. -If they say Sagittarius, you spell nine and the next one is the STAR. -If they say Capricorn, you count 11 and the next one is The UNIVERSE. -If they say LEO, you count 3 and ask another viewer to tell you another zodiac symbol (not worth Capricorn and Leo). Count another symbol and you will get to one of the cards. Most likely the SUN.

YOU DO AS I DO. As you all know, the game of "do you like me" is one of the great classics of card magic, where the magician and a spectator have a pack of cards and where, following the magician's orders, both reach amazing coincidences. Like the great classics, it is a trick that has many versions. Very good trick to play with this deck. Here I show you a very simple routine to do in an improvised way with the Wosek deck. EFFECT: The magician asks a spectator to shuffle the deck and once shuffled to cut it into two roughly equal piles. Once done, the spectator chooses which of the piles is for the magician and which is for him. They each mix their pile and swap it. Now the magician asks the spectator, showing him as an example with his pile, to use his middle finger and thumb to remove a pile of cards from his pack and to remember the bottom card of the removed pack and to place it on top of the pack, as if it were a cut. The magician does the same, remembering a card as well.

"You mixed, you cut, you chose which pile was for each one and you saw a card, the one you wanted." As the magician says this, he gathers the piles and shuffles the cards. "You will agree with me that it is impossible for both of us to know each other's card, and yet I have the feeling that there is something special in our random choice. The magician looks in the cards and takes out a card which he then turns over on the table. He gives the deck to the spectator. "Put the card you're thinking of on the table." They both do. The cards are turned over and it turns out to be an amazing coincidence like The Moon and the Sun or the Angel and the Devil. METHOD: This trick is the Make Like Me variant of Kaplan's Wosek Deck. The spectator shuffles the cards and keeps half a deck for himself, giving another half to the magician. The magician shuffles his pack in such a way that he remembers which is the top card, either by shuffling the bottom card or by any other method. Now the spectator and the magician exchange piles. As explained in the effect, the magician tells the spectator how to choose a card at random by taking a small pack from among his cards and putting it on top of the remaining cards. The magician does the same thing by pretending to remember a card, although he does not actually do it. The spectator does and in this way the card chosen by the spectator will stay on top of the guide card you know which was on top of his pack. Now both packages are put together and a fake shuffle or a real shuffle is done, taking care not to mess up the guide card area. Now the magician in the guise of pulling his own card out of the deck locates the guide card and by

looking at the next card he identifies the viewer's card. Now he only has to draw a similar card that matches the spectator's card, for example, if the spectator chose the apple, the magician can draw the lemon. Then the viewer pulls out his card and the match is revealed. An almost automatic trick, but with a lot of impact. NOTE: There are some cards in the deck that do not have a card that relates to them as the LADDER or the BOTTLE, so this version of do-it-yourself might be considered a trick of risk. I like to take risks. If you want to make sure it goes 100% right you just have to separate the cards THE LADDER, MIRROR, BOTTLE, CANDLE, MASK, TELESCOPE AND DIAMOND and put them in the middle of the deck which the spectator shuffles, then you swap piles and he does the procedure explained, this way he will never choose one of these cards. However, if you don't separate these cards beforehand and it's bad luck that the spectator chooses one of those, you can improvise and even if it doesn't come out as a coincidence guess the spectator's card or pretend that in an impossible way you both chose that card. I leave the choice up to you!

DIVINATION BY DISCARD AND LOVE. Effect: The magician mixes a small pack of cards upside down, there are 5 of them. He gives them to the spectator and asks him to say a number from 1 to 5 to discard cards. The spectator says for example 7 number 2, then through the commands of the magician, he passes one and two cards under the pile and turns the next card over, it is for example THE BOTTLE. Pass one and two cards again and turn another one, it is THE CANDLE. "A bottle of wine under a candle light... seems a little lonely." The spectator passes two cards again and turns the next one is THE LOVERS. "Well, well, it gets interesting... the lovers, under the light of the candle with the bottle of wine". The spectator passes two more cards and turns the next one which is the MOON. "Under the moon, how romantic!" Then the magician shows that only one card is left without turning. "And as it could not be otherwise, we are left with this card which is... The BIRTH! Method: It's a practically automatic trick that always causes some smiles, not bad. You have to use the cards of: BIRTH, MOON, CANDLE, BOTTLE and LOVE. You have to mix them up leaving the BIRTH card in the top and that's it. -If they say 1, the BIRTH card is taken as the chosen one and before revealing it you show the others. -If they say 2, 3 or 4, we proceed as in the example. You pass two, three or four down and the next one turns around. Repeat the process until there is only one left. -If they say 5, they go 4 down and the fifth one turns around. You keep doing the same thing until there's only one left.

OF THE SIMPLEST; MY FAVORITE. I'm going to explain one of my favorite divinations to do with this deck, it's practically automatic, but the effect is very strong, of course it also depends on your presentation and revelation skills of the card. The magician asks a female spectator to mix. "Once the cards are mixed I want you to spread them out and choose one that catches your eye, one that you really like... or if you prefer choose one totally randomly." The spectator picks a card and the magician collects the deck, asking her to concentrate on the card. "Now we lose it in the deck and I am going to ask you to shuffle again, as you see, these are impossible conditions, you have shuffled, you have chosen a card, we have lost it and you have shuffled again. I cannot know the card, at least not through the cards, but I can know it through you. The magician takes the deck and begins to throw cards on the table in a random order (about 10). "Is your card around here?" The viewer says no. The magician sets those 10 cards aside and keeps throwing new cards face up and randomly placed on the table. "Is it one of these?" The viewer says yes. "Good. Let me have your wrist if you'd be so kind and I'll proceed to do a pulse reading." The magician measures the spectator's pulse with one hand, while with the other hand he touches the cards or passes over them with his open hand. Little by little, he discards cards or turns them over on the table.

"Your card's still here, isn't it?" The viewer says yes. "Close your eyes now, we'll make it harder." The magician continues to turn the cards until only one is left on the table without turning. "What are you thinking about?" The viewer replies that the ICE "Open your eyes." The card that's left on the table without turning is ICE. METHOD 1: It's something as simple as using a guidance card. After the viewer shuffles and picks up a card you just have to look at the card below and remember it. You ask her to return her card to the deck by putting it on top and cutting it. This way the card above the chosen one will be the guide. Now you ask him to shuffle again. There is little chance that the guide will come off and the chosen one, however, I like to take the risk, it is worth it. Once mixed you just have to put cards on the table and remove piles. Until a group of about 10 or 12 cards comes out the guide. Immediately you will know that the next card is the spectator's card. The rest is just a guess, you can guess it any way you want.

METHOD 2: Another method, perhaps even more subtle, is that used by Kaplan in his trick of "Think". If you are using the SUN card with a crimb or bubble (as I will explain later), you can ask the viewer to shuffle the cards. Then you cut through the crimp card yourself to the bottom. You turn the deck over and pass cards face up.

You explain to the spectator that he will do the same, he will be passing cards until one of them catches his attention and when he has it chosen, he puts the rest of the deck on top. By doing this as an example, the card with the crimb is now on top and when the viewer does the actions you just showed him and puts the rest of the deck on top of his chosen card, it will be on top of the card with the crimb. Now you ask the spectator to make some cuts to lose his card and after that, you only have to cut through the card with the crimb to know that the chosen card is the one that has been left on top to have a look or to continue with a guess thanks to the guide card.

THE WAY. We could say that the ultimate effect we can do with a normal deck of cards is a complete sorting of the cards, after many shuffles and tricks¡s the cards end up in their factory order. Investigating the possibilities of the Wosek deck I came to different conclusions that led to ends where the deck ends with a specific order. The most basic sorting could be the numerical one: all cards end up sorted from card 1 to 50. This ending is good, but it doesn't take advantage of the potential of the Wosek deck. That's why, after much testing, I think the best ending is a scripted story where the cards appear at the wizard's will. However, I wanted to reach another ending where the cards are ordered without the need to tell a story and this is where I arrived at this trick taking advantage of the fact that there are 19 pairs of cards in this deck that match and complement each other, creating a

total coincidence. Taking the path of Dennis Behr, who well says that a trick with a tidy deck is bad, good or a miracle in proportion to what it seems that the deck is really mixed, I designed the following routine following that premise where I took care to create the sensation that the deck is constantly mixed, but where it is really being ordered to our liking. Also, I came up with the solution of getting rid of the 9 cards that don't match in a quite original way. It is a relatively simple trick designed to end a close-up session with this deck, ideal to do after a deck change where you have been really mixing. This is my peak and end of show effect with this deck, I hope you enjoy it as much as I do. EFFECT: After choosing several cards at random and losing them in the deck, the magician finds them to end up with a great match between all the cards in the deck. METHOD AND REALIZATION: As you can imagine, the deck starts with a sorting based on going backwards through the steps with which we are going to finish the trick, in our case, with all the cards that match. All the cards are sorted except the 12 cards that have no partner that are in top and that are: THE MASK (48), THE MIRROR (32), THE LOVERS (37), THE BOTTLE (33), THE DREAM (16), THE KNIFE (18), THE NOTHING (11), THE STAIRS (29), THE ICE (5), THE CANDLE (35), THE DIAMOND (7) and THE RAINBOW (45). Indifferent cards in top:

Sorting out the rest of the deck:

The wizard makes a fake mix. The first 12 cards can be shuffled, so we can drop some so that it really looks like the whole deck is shuffled. "Every story, every life, every experience is a path we take, every decision leads to a point of no return and opens up a new path. The magician throws cards on the table, no more than twelve, creating a path of cards. "Today I would like to walk a path with you that will lead us to decision making, to points of no return and to incredible experiences, but the first thing in every great story is to have a character". The magician collects the cards with which he has illustrated the path and returns them to top. "I'm going to ask you to cut a few cards and count them secretly under the table. That will be the lucky number that will lead us to choose a character that in our case will be a card from this deck". The viewer must cut a pack of less than 12 cards. While the spectator counts the cards, the magician deals cards again on the table illustrating a path. The path must be made up of exactly 12 cards. In this way we force the DOVE, since we will always arrive at it from the number of cards that the spectator counts.

The magician asks what the lucky number is and counts that number on the cards that form the path to a card. When counting the cards on the table, we reverse their order until we reach the selected card. We put aside the chosen card and leave it aside. Now we pick up the cards to which we have just inverted the order and then the rest of the way plus the cards that the spectator has in his possession. In this way, we will have forced THE DOVE and the deck will continue in the same order.

When you turn over the chosen card it turns out to be THE DOVE. "Chance has led us to the character of our adventure who will be a dove, but to make this journey a little more

interesting we are going to look for some travelling companions". The magician deals around the DOVE several piles of cards, almost as if it were a poker trick he deals 4 piles of three cards.

"Now we come to our first final decision of this trip, you're going to have to choose one of these piles, the rest we'll discard forever, there's no going back and your choice will determine the rest of our history". The viewer chooses one of the four piles. The rest are discarded, the magician shows that each one has totally different cards. "In fact, I'm going to discard them completely." The magician leaves the stacks under the mat by discarding them from the trick. In this way, we have discarded the cards with no matches and the spectators have chosen 3 cards plus the dove. The rest of the deck remains in the original order. Now it shows the 3 cards that the viewer has chosen. "These will be the travel companions of our protagonist the DOVE. Let's see, a BOTTLE, very appropriate for a long journey, a CANDLE, is always good to light the way and THE MASK, to be able to hide from the dangers".

The magician takes the cards and loses them through the deck in different places. It is important that the DOVE is always the third one counting from the top. What we really do is control them in top with a four-card draw. Then we lower the first two cards to the bottom and then spread the cards out and disguise the first two cards underneath the next two, i.e. leave card 1 and 2 in positions 3 and 4. This is the way I do the laying, but of course, everyone can do it however they want as long as the cards are ordered with two indifferent cards on top and then the DOVE and a travel companion and two travel

companions at the bottom of the deck. The images show the sequence of the false shuffle and placement.

"Suppose these are our fellow travelers or our targets and even though they're lost in a mixed deck we're going to try and find them so we can go our way, could you just play a random card to one of our partners?" The magician spreads out his cards in his hands and asks a spectator to touch one of the cards trying to find one of the partners. The spectator plays any card, if possible one from the middle of the deck. "This one?" The magician turns the chosen card, but it turns out that he is not one of the travelling companions.

By turning the chosen card what we are really doing is cutting leaving the chosen one between the top and the bottom. We spread the cards out and show that it's not the one. We turn it by doing a "Spred Switch" by Henry Christ where we pretend to leave the card that has just been taken, but where we really leave the bottom card which is one of our "fellow travelers" and we square the deck by making a break on the chosen card.

"Do you believe in second chances? Let chance guide us. Tell me stop when you want." The magician riffle the cards over his hands and the viewer goes where he wants. We really forced him to stop at the card he had just chosen. The magician leaves the pile with the riffle on the table and leaves the card where he has stopped on it, leaving the next pile on top too, making a cut and leaving the chosen card standing out. In this way, the cards return to their original order, as if we had never manipulated them, but we have made a change and the card left on the table is one of the cards we were looking for.

"Can you imagine that this card could be one of ours? Sometimes life surprises us and it even seems that the mistakes we have made were part of an even bigger plan". The magician inserts the card into the deck without showing it. He clicks and the card on the table becomes one of the ones chosen at the beginning. "And what is life? Chaos. And if this deck represents life, it also represents that Chaos. After saying this we are going to perform a "trump" with the slop shuffle that visually simulates mixing cards up and down, but actually separates the deck into two halves, one face up and one face down. While we talk we extend the cards and count by three until we reach the ninth card, then we count another six cards and once we have done this, we start mixing some faces up and other faces down.

After mixing the first nine with the next six we start to do it in groups of three until we reach the last card that is left without a top turn. "In this way we have created Chaos, cards with faces up, cards with faces down, faces with faces and backs with backs" The magician shows by cutting the cards that there are indeed some faces up and some faces down. By showing the back to back, he turns the top pile on the deck.

"But life, even though it is Chaos, does not seem so, that is why we order that chaos into stories and into a path to follow, giving meaning to the stories... giving meaning to Chaos". The magician snaps his fingers and shows how the cards are no longer face up and face down. All but one that he leaves aside. He spreads out all the cards on the table and turns the card that is aside showing that he is one of the companions of our journey.

After the revelation, we cut the deck in half, making sure that the bottom card of the pile we just cut is the raven. Now using the magician's choice we ask a spectator to play a pile. Regardless of which one he chooses, we will always use the one on our left.

"Let's make a new decision now... touch a lot. This one? The odds of our last traveling companion being in this pile are 50%, but life is much more complicated than that." The wizard begins to divide the chosen pile into two piles. "Now the odds are 25%, but we're going to go further." The magician deals the remaining pile again and so on continuously as in the trick of Tantalizer until there is only one card left. Thanks to the arrangement of our deck this will automatically bring the cards into the set order and the remaining card will be the last "traveling companion".

Right now the table looks like this:

Nothing needs to be done anymore, the piles are automatically arranged and one only has to continue as an indication in the script. "When we manage to achieve our objectives, to reach the end of a path, whether it is a lie or the truth, the feeling is that everything is in harmony, yin and yang, everything is in its place and life thanks us with a great ending. The magician turns one of the piles and shows that there is the main card, THE DOVE. "But there's more, much more. Notice that it's a mixed and remixed deck from the beginning, we've even created chaos by mixing upside down and down, but now everything harmonizes and if the dove is here... here it should be..." The wizard turns the other pile and shows that the raven is there. "But not only the dove... now each and every card has found its place and its complement... ALL AND EVERY ONE". The magician passes around cards showing that they all fit perfectly with their opposite, creating an absolute match. The rhythm is in crescendo and the audience bursts with emotion, the road has come to an end.

RITUAL DECK. This deck gives a lot of room for games in which movements are made according to a ritual. We can use the excuse that the original use of this deck is precisely for ritual use and thus camouflage many movements, as well as make tricks in which led by a ritual we can get surprising results.

THE RITUAL OF THE DOOR. By doing an arrangement of four groups of four cards that alternate one by one we can create arrangements that work well with Gilbret's principle. Using this principle and based on Lennart Green's trick of dragons I came up with this arrangement to make a very magical ritual trick. This is one of my favorite tricks to do with this deck. "What we're going to do next is something very special. It's a real ritual to find an ally. Modern times have erased from our memory these practices, but it's something that's still

done in tribes and remote areas. In this case, as our deck works with archetypes we can use it to make one of these allies to guide and help you. That is an ally, a protector, an element that will be yours and only yours and that will warn you, help and guide you when you need it most. But keep in mind that it is difficult to obtain because the ritual is not usually completed in most cases. Let's try your luck. The magician shuffles the cards and leaves them on the table. "Do you consider yourself an odd or even person? "The spectator replies that odd. The magician asks her to cut more or less through the middle of the deck. The spectator does it and the magician counts the cards. There are 28. "In this case, the cards tell us that you are more of an even person, in any case, don't worry, this ritual can help you to clarify these questions. What I am going to ask you now is to mix both packages. Remember that this is a ritual in which you play with chance, if there were any ordination it would stop being funny. The magician offers the piles to the viewer by spinning them and making them easily mixable (Lennart Green's rosette mix.

Once mixed, the magician takes the deck and deals several cards. Three stacks of two cards. "Each of these piles represents a lock. To find an ally you need to open the locks that will lead you to the door. If you go through this one, you can connect with the other side and meet your ally. The magician also leaves two more cards on the sides, face up, on the table. "These will be witness cards in our ritual. And now the door." The wizard leaves four more cards on the table. "Now I'm going to ask you to play one of all the cards in the deck. This will be your ally if you manage to open the door." The spectator touches a card that is sticking out of the deck, but no one can see it yet. The deck with the card sticking out is put aside.

"Let's get started. The first thing is the locks. For a lock to be opened, it must have been a coincidence that one of the cards represents the physical world, something real and tangible, and another the magical, imaginary, intangible world. The Sun, for example, is real, but it is intangible, we will never touch it, so it belongs to the magic category. The magician is discovering the cards of the lock and both coincide with what he has said, one is a fruit that represents the daily world and the other is something intangible or imaginary. The process is repeated with the rest of the locks and all of them are opened. The magician collects the cards from the locks and puts them in a single pile before moving on to the cards at the door.

"We have opened the locks, which is quite unusual, but we still have the door, perhaps the most difficult thing, which separates the world we live in from the afterlife. For the door to open we need destiny, behind the mixes we made, to have left a card of each type: a food, to sustain you on your way. A card of light: to illuminate you in your search. An animal: to protect you and be your companion on your journey and a guide between the two worlds: the card that will guide you and that connects the two worlds, ours and the magical one". The cards are uncovered: An egg, the candle, the devil and the lion. "Congratulations, you have been able to open the door. An almost impossible thing in a mixed and remixed deck. Now you can take your ally card and look at it. It's up to you if you want to show it to us, or you can keep it to yourself."

METHOD: In this case, there are four groups of: Animals, "Light", Food and "Guides of the Two Worlds". In addition to the groups, animals and food are divided as physical and tangible objects and Light and guides as intangible and non-physical. ORDER: LION, DEATH, PEAR, RAINBOW, SPIDER, ANGEL, EGG, LIGHT, SNAKE, DEVIL, LEMON, STAR, CROW, WIZARD, CARROT, SUN, DOVE, MERMAID, WATERMELON, CANDLE, PENGUIN, MUSICIAN, PEANUT, MOON NOTE: Although the order does not matter, it would be convenient to put the candle and the musician between the first two cards or in the last two since by probability the first two cards and the last two of each will be in the door and not in the locks. (We are not interested in having it go out in the locks). NOTE 2: A quick way to sort is to separate the four groups into four packs and start drawing one card from each group and so on until you have the order. The cards can be on the bottom, so you can shuffle the top cards. Then you count thirteen cards and bring them to the bottom, so the sorting of the 24 cards stays exactly in the middle between 13 indifferent cards, the sorting and another 13 indifferent cards. -After you shuffle the cards (with a total false shuffle or only the first few cards), you ask the viewer if he or she considers himself an odd or even person. After he answers you ask him to cut more or less in the middle. Once you have counted the cards in one of the decks you reverse the order with the excuse of counting the cards to see if the viewer is right or wrong. If he is right, he is told that he can continue, if he is not right, he comments

that the ritual will be very good for him. If the ritual meets the whims of fate, the spectator can choose a card that will become his ally and protector for the rest of his life. Once the cards in a deck are reversed, you ask the spectator to shuffle the piles in the American way. If he doesn't know you can do it with a Lennart Green rosette mix or similar, in fact, I like it better as it makes it more mysterious. Once done, and stressing that the piles are mixed up and that it is totally random, you deal two cards at a time to make three piles. These will be the locks. Now, you make two more cards and put them face up on the side. This will simply be "props for the ritual". And then you put in piles of four cards; this will be the door. Thanks to Gilbret's principle it doesn't matter what you mix, you will always get the right combination of cards and the ritual will work out well. *If after the viewer's shuffle you want this cut then you will have to put 12 sorting cards on top and another 12 on bottom from the beginning. Also, when the viewer cuts it a bit more than half so you have to suggest him to cut "a big pack, more or less in half". We say that to open the locks we need a physical card that represents the real world and another one that represents the intangible something that we cannot touch and that represents the other world. Thus we unlock the locks and see that little by little they are opened. We arrive at the door. "If the door opens you can choose a random card from the deck that will become your ally for the rest of your life, but don't forget, all if the door opens and that happens only rarely. For the door to open, we need a fruit that will give you sustenance on your journey, a card carrying light that will illuminate you, an animal that will protect you and a guide between the two sides that will accompany you and give you passage to the other side. The cards are uncovered and the door opens. The spectator picks a card at random from the deck, whether he can show it or not, is his new ally. -It goes without saying that many more arrangements can be made with Gilbret's principle and can be played with this deck as much as for rituals as for coincidence tricks or any other kind of game you can think of.

RITUAL DIVINATION. Under the pretext of an occult deck and its ritual use, I came up with this trick with one of the simplest methods of card magic, but one that creates quite a strong effect. "Cartomancy is the art of divination through cards. Normally the cards of the tarot are used, but other decks can be used" The magician looks among the cards of the deck and takes out a card that he leaves face down on the table. "The spectator shuffles the deck and leaves it on the table. "I don't intend to make a guess about your future, nor do I think I could, but I do think it might be nice to make a demonstration. Cut the deck, first a third, then another." The spectator does it, the magician doesn't touch anything. The deck is separated into three piles.

"Now I'm going to ask you to take the first pile. Since it's the first one, you have to put a card up and down and put a card on each pile, that's what the ritual says. Right. Now do the same with the second one. This time, as the second one, you put two cards down and one on each pile. And with the third one the same thing, but passing three cards down. The spectator follows the instructions. "Normally this would be done with drums and some shaman whispering strange things in our ears, but I think this will do. Remember that originally this ritual is used to answer questions about the future, after mixing a deck and cutting and following certain patterns fate gives us answers or so they say. In this case with these three cards that have been left on top of each pack. The spectator turns the top card of each pile. They are the Sun, the Light and the Diamond. "Okay, I think I get it. The Sun produces light... it's getting into a diamond that acts like a prism... And what does it do?" The viewer responds that the rainbow The magician unveils his prediction. It's the rainbow.

METHOD: You have in TOP the three cards you want to be in the ritual plus one indifferent card at the top. You make a prediction with a card you put aside and make a shuffle by keeping the first 4 cards on top. If you want the spectator to shuffle, you have to splice the first 4 cards and after shuffle return them to the deck. I like to do it this way: I splice the cards and after their shuffle I ask him to leave the deck on the table. With the pretext of pointing out that the cards have been completely shuffled I make an extension returning the four shuffled cards to top and continue with my talk. I do not touch the deck again.

You ask the spectator to cut about a third of the deck on one side, then another third on the other side. Now let him take the first pile (where the cards are not ready) and since he is the first one to insert a card at the bottom and put a card on top of the other piles. Let him repeat the process with the second pile, but this time, as the second pile is lowering two cards. Repeat with the third pile by dropping three cards and one to each pile. That is the ritual, now the result is shown and surprisingly the cards coincide in something and the solution is... the prediction. NOTE: This trick can be made impromptu. When you go looking for the prediction you quickly place the other three cards plus the indifferent one on top of the deck, this move can be made invisible by doing a cull or some similar technique. Combining the trick with Benjamin Ear's OSE Control, well explained in his great book "les is more", it becomes a miracle for wizards and laymen. The OSE control consists (briefly explained) in giving the deck to the spectator and asking him to cut a room on the table and to shuffle. He cuts another quarter and shuffles, he cuts another quarter and shuffles, until he has several piles on the table, giving the impression that the spectator has shuffled all of them, but where he has never managed to shuffle the first pile with the 4 cards prepared in top. Now complete the cuts leaving the room unmixed in top. Now we are ready for the spectator to do the ritual with an apparently mixed deck that the magician has never touched.

Here are some examples of combinations for a three-card prediction, of course there are many more you can create yourself: MOON, SUN, STAR ... the prediction is the WORLD. MOON, LOVE, BOTTLE... the prediction is BIRTH DEVIL, ANGEL, DEATH... the prediction is the DREAM.

RAVEN, DOVE, PENGUIN... the prediction is the EGG. LOVE, PARADISE, TREE...the prediction is SNAKE. SUN, LIGHT, DIAMOND... the prediction is RAINBOW NOTE 2: You can also play this trick without using predictions such as: APPLE, WATER, LEMON or RAIN, SUN, RAINBOW.

I WAS LATE. EFFECT: The magician mixes the cards, after showing their symbols and properties, gives the spectators a choice of several. They take three cards, three spectators. They look at them and remember them and the magician loses them again in the deck. "Once you've lost your cards and the mixed deck, we're going to proceed with a little summoning, sort of a ritual to find your cards... see if I can find the time." The magician deals several cards to the spectators. First he starts dealing from under the deck, with the deck turned over and the cards face up, but after he has dealt a few, he repents and turns the cards over and continues dealing with the right deck. "It's better this way, without seeing them, which makes it more mysterious."

The magician looks at his watch and continues to deal until the spectators have several cards. "Now let's do the summoning." The wizard looks at his watch again. "There's still time. It consists of the following. You have to pass a card up and down. And now discard the top one. You go back down again and discard the next one." The viewers follow the instructions by repeating the pattern until they only have one card left. "Leave that card on the table, that's your call." The magician looks at his watch again as if he were in a hurry. He approaches the first card and smells it a little. Well, interesting... this one seems to be a bit restless, it moves. It's alive. What was your card?" The second viewer replies that the FISH, turns over his summoned card and is the FISH. "There must be something here that is food. What was your card?" The second viewer replies that the LEMON. He turns over the card invoked and it is the LEMON. The magician goes to the third one, but first he looks at his watch. "Still in time. The magician approaches the third card, but he cannot decipher it, it is costing him. "I think I'm a little late for this one. I can't see anything. LEE** I'm late. What was your card?" The viewer responds that the SUN. "I knew it, I was late." The magician turns his invoked card over and it is the MOON.

METHOD: The method consists of forcing several spectators to play a card. In addition to secretly holding the Moon chart. You force one fruit to another animal and the other the Sun. It can be made more subtle by leaving piles prepared with several animals and several fruits so that when the first spectators go to choose cards it can seem a freer choice. However, both draw cards and the third spectator should always choose the Sun. Now you pretend to lose them in the deck, but you actually bring the first two cards up. Along with the Moon. The card from the Sun is actually lost in the middle of the deck. Now you say you're going to perform a ritual to find the cards. You turn the deck over and deal cards face up, one to each viewer. Then you decide to change your mind and deal them face down, so you turn the spectators' cards and shuffle them to continue dealing cards face down, what you really do now is deal their cards, the animal to the first spectator, the fruit to the second and the Moon to the third. So that you have the second one underneath your pile of cards. You keep dealing cards until every spectator has six. You take a few more cards for yourself to illustrate the movements of the ritual. You pass a card down and discard one in the center of the table and so on continuously until only one card remains in the hand of the spectators. What we actually do is an Australian discard count. Since the spectator's card was the second one down it will always be the one at the end. Your card invoked. Without the cards being turned over, each viewer leaves it together like this while we put the rest of the cards aside. You approach the first viewer's card and pretend to predict it. You say it's something that's alive, an animal. The viewer answers yes and reveals it. With the second viewer you say the same thing, you pretend to smell the card and say it's a fruit. The viewer says yes and you reveal it. With the third viewer you try, but you can't guess, you say you're a bit late as you're the last viewer. You try again, but you can't...

you're too late. You ask him what his card was, he replies that the Sun, you turn it around and reveal that it's the Moon, you were late.

IT'S JUST A MATTER OF CALLING. Although this trick is not a ritual itself, it is basically based on spelling, which I will take as a pseudo-ritual. In any case, it works very well. EFFECT: The spectator draws a card that he remembers and that is lost in the deck. "I insist that your card is really lost in the deck. It is important that it is not on top." The magician shows the top card that is not the spectator's card. "And it's not underneath either... so it's lost in any corner of the deck." The magician makes a couple of cuts. "The mechanics of the deck in the hands of a magician may seem a little confusing from a logical point of view, but very effective in practice. If I want to get to a lost card, I just have to call it... for example... the moon, I just have to spell the word L-U-N-A..." the magician does it and the card appears, "Do you want to try?" Now it is the viewer who tries out his card and when he spells it, it appears in the exact position turned around. METHOD: When you lose the viewer's card you must control it at the bottom. At that moment, I make an American mix taking the opportunity to have a look at the chosen card. Now, knowing its identity, I raise it until the second card is at the top. At that moment, I show the viewer the top card, asking if it is his card. When I apparently turn the top card over to turn it back upside down into a top, what I actually do is a double lift as I turn the whole deck over. This covers the card that is now face up in the top, which is the spectator's card of choice.

By turning the deck over I show that your card is not down and by spreading out cards I secretly count the cards corresponding to the word chosen by the viewer. For example, SNOW, I count 5 cards and then I look at the next one at 5, for example MOON, so now I count 4 more cards each corresponding to the word MOON, after seeing this card. This action of counting cards does not last long and is covered with the excuse of showing the viewer that his card is lost. Once the cards are counted, a break is made on the last card counted and a double cut is made to raise that little pile of cards to top. Then, the deck is turned again and everything is ready. Now you tell the viewer that only by naming a card can you make it appear, and you propose to do so in our example with the word MOON. You spell it and it appears. Now

the spectator does it with his card (the SNOW) and when spelling it he appears turned around.

CLOCK SYSTEM AS A RITUAL. Using the system of the classic trick of the clock, in any of its variants, we can make many effects under the pretext of making a ritual. It fits perfectly with the theme of this deck, besides being something very visual thanks to the fact that we play with symbols and concepts. EFFECT: The viewer shuffles the cards. The magician collects the deck and shows that there are many cards, but instead of picking one out in the usual way, he will do it with a ritual. The first thing is that the spectator takes a small pack from the top and counts his cards in secret. That will be his secret number used in the ritual. Now the magician starts to put cards face up in a circle. As he does so, he names them by their position number, one, two, three... The magician asks the spectator to think about the card of his secret number. Now the magician pulls out a pendulum and begins to swing it through the cards. The pendulum is always making circles, but there is one card in which it goes back and forth. It's the spectator's card. METHOD: Actually divination can be different, I like to use a pendulum, but it can be simply named or continuing the story of the ritual. The secret to finding the card thought up by the viewer is as simple as a guide card. After shuffling, you pick up the deck and look at card number 13. You can do this by showing that the cards are shuffled and that there is great variety. Once the spectator picks up cards in a pack, all you have to do is throw cards on the table to form a circle with twelve cards. You count from the first card to the guide card and subtract the position of the guide card from the number thirteen. This will give you the position of the card as thought out by the viewer. Now all that remains is to make a good presentation, perhaps the most important thing of all. I leave it to you.

VISUAL EFFECTS. THE TRICK OF THREE CARDS. One of my favorite card tricks adapted to the archetype deck. I don't really change anything, I just use several cards from this deck. It works very well for children's magic. EFFECT: the magician shows three cards. He shows the back of one, it's an egg. He puts it down and snaps his fingers, turns the top card over and it is the egg again. The magician repeats this until the spectators suspect that all the cards are repeated. The magician recognizes that this is so, shows the cards and they turn out to be all eggs. He asks the spectator to touch one of them. The spectator points to the one in the middle and it turns out to be... An egg! Up to this point everything is normal, then the magician gives a magic pass and the rest of the cards are transformed into The Dove and the Raven. METHOD: The method is the same as the classic trick. By means of double lift you show all the time the card of the egg that goes up to the snap of the fingers. Finally you show the three cards always showing the EGG card as if it were three. You leave the egg card in the middle and ask the spectator to touch one (in 90% of the cases they will choose the one in the middle), show it and it is the egg. Now you make a magic pass and show the other two cards that have been transformed into birds. They've hatched.

TRICK OF THE SPIDER AND THE SNAKE AND WHY NOT, THE DOVE AS WELL. The basic idea is to do something like the famous spider trick where a card with a spider disappears and a spider appears in the spectator's hand. By playing with the spider card we can make this trick. For example: A spectator is forced to play the Spider card. It is lost in the deck and you put the cards away. "We want to forget about the cards, focus on the thoughts." You ask the spectator to open his hand palm up, you bring it to you and at that moment you stick a fake spider on the back of his hand. You ask the viewer to concentrate by imagining that he has a lemon in his hand, for example. "Of course, your card was not the lemon, but this is a test of imagination... now yes, imagine that thing, that concept or object that you have in your mind on your hand. Then the viewer will start thinking about the spider. Little by little you guess it and finally you ask it to turn its hand. He'll be scared to death because he'll find a spider there. If it's a spectator, it will surely scream and laugh. There is another version of this trick with dice and a plastic snake that hooks on your finger and comes out of your fist as if snaking. You can adapt a similar effect with the prediction of the Snake card. And who knows, if you're really crazy, maybe you can even make a real dove appear by forcing the Dove card first.

PAPIROFLEXIA. I loved the idea of making predictions from this deck with origami, an art that is very poetic in itself. I thought about it and came up with a three-card fortune telling routine. The diamond, the dove and the nothing. You force these cards and ask the viewers to concentrate. You take a small square of paper and prepare to do origami. At first, after folding it several times, you create a figure that is a rhombus that corresponds to the DIAMOND. Actually, this figure is only an intermediate step to make the DOVE. You continue with the figure until you get to the next divination, the DOVE. Now you make a false deposit of the paper figure in your hand, as if it were a coin and tell the last viewer to name his card ... is NOTHING. Then you open your hand and the paper is gone.

PREDICTIONS WITH A CHOP CUP. After giving the spectators a choice of cards or after performing a ritual using for example the system explained in "divination by ritual" (Pag...), we arrive at three cards chosen at random. The magician puts a chop cup on the table and promotes guessing the cards. The first card is the NOTHING card, it shows the chop cup and there is precisely nothing underneath it. Turn the next card and it turns out to be THE PEANUT, the magician shows this time the chop cup and from it a peanut appears. The magician turns the last card and it is THE LEMON. It seems impossible, but when the magician discovers the chop cup again there is a lemon. METHOD: As you can imagine the method is as simple as the chop cup trap itself. We need to put a magnet inside the shell of a peanut that we can then recompose with glue. The peanut is hidden in the bottom of the chop cup thanks to its magnet. This allows us to show it empty for the first prediction and then make a peanut appear. For the last prediction we only have to make a load of a lemon when showing the peanut.

PAINTINGS You can do some visual tricks with paint. It may take us away from the power and gore of the deck, but for a specific moment or as a quick effect for children it may be good. An example: It's the HAND and FIST. The hand is shown, the painting is done and as if you close your HAND it becomes the FIST.

MORE VISUAL TRICKS. Being a deck with drawings you can make many visual tricks. I don't want to include many examples as they are far from what I think might be good for the deck, but in justified circumstances they can be effective. Here are some examples. I'm sure you'll think of many if you're interested in this kind of effect. -Mirror card is placed on the table. Now the HAND card is shown with a double lift and is turned over by the FIST face down. Holding it with the right hand, it is placed under the mirror. We leave the deck on the table and with the free hand we make the same gesture as the card, that is, we extend the hand palm down, then we make a fist. We turn the card and it has been transformed into the FIST.

-We can do different versions of Anneman's instant change. For example: With a small order of three cards above the deck of: SUN, MOON, SUN and putting the WORLD card on the table, you show (with a double lift) the MOON card that is left on the table, you are actually leaving a duplicate (included in the deck) of the SUN. Now the G is shown with a double lift, even though you are actually leaving the MOON card you showed before on the table. You leave each one on one side of the WORLD card. We turn the WORLD card from one side to the other and show how the cards have been magically exchanged. -With a wet cotton, squeezing it and the RAIN card we can create a little storm. The same for a cotton ball soaked in lemon juice and the LEMON card. -The card of the CACAHUETE is shown with a double lift, it is separated a little from the rest of the deck upside down and with the other hand with a French joint a real peanut is taken out. Turn the card over and it has now become the NOTHING card. This same effect can be done with the ICE card by making a piece of ice appear that you have previously hidden and preserved. -The spectator imagines the card he chose (we actually forced the EGG card on him) on his hand. He has to make the mental effort to imagine that object, food or symbol on his hand. The magician after a while manages to guess that it is an egg. He takes it, as if it were real and makes the pantomime of cracking it. Suddenly, a real egg yolk falls out. A miracle. And the method? As simple as using a PF containing the yolk of an egg. -We give a spectator a card to choose from (we really force the HAND). Before revealing the card we ask the spectator to put his hand on the card to transfer his energy. The card is turned over and is the HAND. While people recover from the shock, we make a parade

with the next card in the deck which is THE FIST. Now we leave the HAND card on the table upside down again (which is really THE FIST ) and ask the spectator to repeat the process. This time, you ask him to make a fist. You turn the card over and it is transformed.

MNEMONIC ORDINATION. PROPERTIES OF THE MNEMONIC DECK. One of the main advantages of this deck is that it has a mnemonic arrangement based on simple associations. That is, in a relatively short time you can have learned this order in a simple way. The deck with this order allows you to do a multitude of effects just as with other mnemonics in ordinary decks. The mnemonic raises the card magic to the highest level allowing overall control of the entire deck. In addition, the Wosek deck has the advantage that you can order the mnemonic deck in less than two minutes without having to know it by heart. The main advantage is that by knowing the order of memory of the deck you can cut through the card you want leaving many effects ready or by giving the viewer a choice of card to know which card he has chosen by looking at the card below, which would be the classic use. In addition, based on the mnemonic order of this deck there are many tricks ready to be played directly without the need for previous orders. As well as all the classic tricks with mnemonics, card number, named card appearances, threesome fishing, etc.

HOW TO GET TO THE ORDINANCE QUICKLY. Arriving at the ordination is very simple, it takes no more than 2 minutes if done quickly and does not require you to know the mnemonic by heart. -If the cards are already ordered from 1 to 50, just separate the piles into two, according to the Moon or Sun symbol.

Once separated, as the deck was already ordered from 1 to 50, the cards in each pile will be ordered from highest to lowest.

Now you only have to cut into one pile by the WORLD card so that the first one is face up and in the other pile by the DOVE card so that the first one is also face up. Now you have to deal cards with the decks turned over by altering the two packs one by one. That is, first the world, then the dove, and so on, one by one from one pile to another. The deck will be in mnemonic order.

-If the cards are cluttered, just separate them into two piles by the sun and moon marks, now sort each pile from the highest to the lowest by the index number of the card. Repeat the same steps as above. You cut through the world and the dove and alter them one by one.

MNEMONIC RULES FOR MEMORIZING ORDER. Since it is a deck with symbols, objects and animals and since it follows rules, memorization mnemonics do not take too long to learn the order. 1st mnemonic rule: 10, 20, 30, 40 and 50. The decimal cards: 10, 20, 30, 40 and 50 are landscapes or weather conditions. First a DESERT (10), then it starts to RAIN (20) and a CARROT (30) germinates. Then SNOW (40) and after the glaciation a magnificent paradise with lake and MOUNTAINS (50). 10. DESERT. 20. RAIN. 30. CARROT 40. SNOW. 50. MOUNTAINS. 2nd mnemonic rule: from 1 to 13 Cards 1 to 13 follow a mnemonic reminder because of their numerical position or their shape. Come on, that's super easy. 1. 2. 3. 4. 5. 6. 7.

WORLD. (It's the whole, first and foremost that's why it's the one) THE DOVE. (The two is a duckling that evolves into a DOVE) THE HEART. (A three lying down is shaped like a heart) DEATH. (Two crossed tibias are 4 bones. DEATH is bony). Hand (We have five little fingers). THE DEVIL. (6 is the number of the devil) THE TREE (The 7 is a number that represents the sacred and this tree is the tree of life which is also a sacred symbol) 8. MOON (The lying down 8 is the infinite... which is more infinite than the lunar cycle) 9. THE STAR (The new upside down is a 6, which are the points showing star) 10. DESERT 11. The LADDER (a ladder has two sticks, like number 11) 12. THE EGG (because they come in dozens)

13. THE MIRROR (it's a broken mirror, symbol of bad luck... like the 13th) 3rd mnemonic rule from 41 to 50 Knowing the first 10 cards we can know the cards from 41 to 50 since both are related like two reflections in a mirror. 1. WORLD 2. DOVE 3. HEART 4. DEATH 5. HAND 6. DEVIL 7. TREE 8. MOON 9. STAR 10. DESERT

41. UNIVERSE 42. RAVEN 43. BRAIN 44. BIRTH 45. FIST 46. ANGEL 47. DREAM (It is the only one that is related in a more abstract way) 48. SOL 49. TELESCOPE 50. MOUNTAIN

4th mnemonic rule 14-19. *Some of the mnemonic standards designed in Spanish may not work entirely in English, but I'm sure you can find their mnemonics. By transforming the cards into numbers, according to the famous mnemonic rule, you get to memorize the following cards: -1 is an "I", it only has one stick. -2 is an "L", it has two sticks. -3 is an "N", it has three sticks. -4 is an "M", it has 4 sticks. -5 is a "V", like the Roman numeral. -6 is a "G", because it looks like the card. -7 is an "F", because if you reverse the number it looks like the card. -8 is a "B", because it looks like that card. -9 is a "P", because it looks like the card if you reverse it. Now by taking (almost always) that card according to the number of the card you will get to the drawing of the card. 14. THE MAGICIAN. (4 corresponds to the card M) 15. THE BOTTLE (5 is V for wine... BOTTLE for wine) 16. The MASK 17. THE CANDLE (7 is F for fire... THE CANDLE)

18. THE MUSICIAN (This is for the form, one person (1) holding a guitar (8) ... the musician). 19. THE LOVERS By now, you should know more than half the cards in the ordered deck. The following are somewhat more abstract rules, but with some practice it is not too easy. 5th mnemonic rule of cards 21 to 39. These are perhaps the most personal rules as I make them by association. That's why everyone can adapt them to their own mnemonic rules and personal associations. What I do, with most cards, is transform the cards into numbers (this time both numbers) and with the result form a word and make a direct relationship with the card to remember it. *Some of the mnemonic standards designed in Spanish may not work entirely in English, but I'm sure you can find their mnemonics.

21.MERMAID (Just a mermaid playing black jack) 22. PEANUT. (A peanut always goes in pairs... like 22) 23. ROSE. 24. LEMON (24 is LM... LEMON!) 25. SNAKE 26. SHADOW (26 is LG... Can you imagine a SHADOW made of LEGO?) 27. WATERMELON 28. SPIDER 29. RAINBOW. 30. CARROT. 31. LION. 32. NOTHING. (32 is NL... nil, NOTHING.) 33. THE APPLE (if you turn the two 3's of 33 draw an apple.) 34. The FISH. (34 is NM... Nemo the FISH) 35. LIGHT 36. PENGUIN 37. ICE 38. KNIFE

39. DIAMOND (39 is NP, a great DIAMOND in a Nippon temple.) And these would be the mnemonic rules of memorizing the ordered deck. Although it may seem difficult at first, with a little practice you will memorize everything quickly and enjoy all the advantages of a tidy deck.

CARD SUN (48) WITH BREATHER CRIMP. Taking Woody Aragon's idea I read in his fantastic book Memorandum about his mnemonic, he makes a "bubble" in the last card of his order so he can have a more thorough control after some fake mixes and real cuts. I recommend it since it is practically invisible and allows us to always have the cut for the mnemonic deck located from card 1. I like to put it on the card of THE SUN, which is two cards away from THE MOUNTAINS (50) which is the last card of the mnemonic. When you cut through THE SUN you know that by peeling two cards from top to bottom you have the deck in complete order. Also, when you cut through the SUN you have the direct order to do the 7-card forcing and get to the HAND prediction, which is how I like to start my routines with the Wosek deck. Having the SUN card with a bubble helps many other tricks, since it is one of the most used cards. For this reason it comes repeated in the deck itself, so you can have the possibility of having it with bubble and without bubble. The breather crimp or the "bubble" as we call it in Spain, is an artifice of Dai Vernon who learned directly from the card players as Woody Aragon tells us, through the book of The Vernon Chronicles Vol.1 written by Stephen Minch.

PROPERTIES OF THE WOSEK MNEMONIC ORDINATION DECISION TREE IN card 21. With the deck in this arrangement you can show cards by asking the viewer to look at one, we can also offer them or use any other method where the viewer thinks of one of these seven cards. We show you 7 cards from the card in position 21 to 27. MERMAID, PEANUT, ROSE, LEMON, SNAKE, SHADOW, WATERMELON So when trying to guess the card we can use a discard to a NO explained in the section of divinations and coincidences (pag.). Knowing automatically which card the viewer chose with a single NO. You concentrate and as you guess the card you affirm sentences, if any of those the viewer denies it, you know which card he chose. -It's something Tangible. If you answer NO it's the shadow. -Something that exists in the real world. If you answer NO it's the mermaid. -It doesn't move, it's inanimate. If it responds, it is NOT the snake.

-You can eat it. If you answer NO it is the rose. -It's a fruit. If you answer NO it is a peanut. -He's sweet. If you answer NO it's the lemon. If he answers YES, it's the watermelon.

TRANSMISSION OF THOUGHT FROM card 36. Using the same principle with the shuffled deck and showing six cards (can be 5) from card 36 to 41 (Penguin, Ice, Knife, Diamond, Snow, Universe). Choose which one you choose and we can always guess various properties of the card you have chosen. "Try to convey to me just by touching something in your card..." "Think about whether it's something real or something imaginary. Something that exists in this world or if it's something invented that doesn't really exist..." "It's a real thing." "I'd like you to try to convey that concept to a feeling... The magician touches the hand of the viewer. "It's something cold."

TRIPLE COINCIDENCE. If we cut through card 23, leaving card 24 (Lemon) in top, we can make the trick of the triple coincidence, explained above in the section of Divinations and coincidences (pag.)

MCARTI'S SUCKER. This famous card trick, considered as one of the best structured effects of card magic can be done directly from the mnemonic arrangement of the Wosek deck. EFFECT: a spectator chooses a card and without anyone seeing it is left out. Now the magician will try to locate 3 cards that have something in common or that are very similar to the card the spectator has chosen. The wizard locates by cutting up to three animal cards. Which he leaves face down on the table. After this, the magician announces that he is sure that the card chosen by the spectator is also an animal. He turns the card over, but it turns out to be a fruit. The surprised magician decides to fix it with a magic pass that transforms the three animal cards into fruit. METHOD: As you know, the classic method consists of the magician forcing a card that is never seen and a sorting where the cards are shown by means of a double lift. The magician leaves them on the table (actually he leaves fruit cards) and finally when he reveals that the card chosen was not an animal he just has to give a magic pass and these will be transformed. I like to do a cull and pass the APPLE card over the LEMON card, cut through that position and have everything ready.

Starting from the mnemonic ordination you have to force the card in position 33 which is the block. Once this is done, this card is left aside without anyone seeing it. Now the wizard will locate cards that have something in common with the chosen one. After several false cuts, the card you show through a double lift will be the SNAKE, but when you leave it on the table (after the double lift) it will really be the LEMON. Now you only have to continue with the cuts to "locate" the next cards. What you really do is pass the next 2 cards to the bottom. You repeat the process of the double lift this time with the WATER and the SPIDER and after lowering two cards to the bottom with cuts you repeat it with the CARROT and the LION. After this you show that the card chosen was the APPLE. You give a magic pass and the animal cards are transformed into food cards. The great effect of card magic!

MIRROR SHUFFLE. The last 10 cards of the deck are synonymous or antonymous with the first 10 cards, this is a property that we can play with to make a multitude of effects. For example, by reversing the order of the first 10 cards or the last 10 cards, we are prepared to make Edward Marlo's trick: "amazing power of thought" using the principle discovered by Eddie Joseph. We ask a spectator to cut about half the deck. We would now have two halves. You are asked to cut one of the halves, preferably the one in the cut. We tell him to make a "good cut" making sure it's about a third of the deck. We now turn the card of the cut upside down and complete the cut by turning the card upside down. Following Marlo's trick, you just have to pass cards at the same time from both piles showing that none of them coincide with each other, until you reach the card that is turned. The card on the other pile that matches the turned card is corresponding, creating an amazing coincidence.

NOTE: The only card that does not work is if the card in the DREAM comes out matching the TREE. In that case, when the dream card comes out you have to say something like: "What a coincidence that the dream came out, because tonight I had a very realistic dream in which a tree came out". Now when you count the cards the TREE appears. Also, if we are going to make a specific trick with the coincidences we can change the card of the dream (position 47) for the Rose (position 23). This way TREES and PINKS will coincide.

COINCIDENCES AND TRICKS. EFFECT: The viewer chooses cards that create amazing coincidences and revelations. Although these tricks can be played without the need to sort the deck in mnemonics, they can be played directly with this sorting, without the need to place anything. By raising the last two cards to the top and reversing their order, i.e. raising the telescope and the mountains, we can force the seventh card. You tell the spectator to open his hand and place it palm down on the table and stop when he wants. Theoretically it will stop at the seventh card. If there are several spectators, several can do it at once. You turn the card over and it's HAND. A rather disturbing effect. In case you don't stop at the seventh card we have several backups: -If you are stopped sooner or later the DEATH or DEVIL card will come out, so we can ask the viewer to think of something that is very scary. You turn the card around and it's one of these two. -If they stop at 9, we can make another effect, which in fact we can do after the forcing of 7. Put the deck on top of the rest of the cards we have laid on the table and you will have the tree at the top and the mountain card at the bottom. Now we do the psychological forcing of Banachek, asking the spectator to imagine that he is riding in a car and that at

that moment he looks out of the window. What does he see? Most people will tell you that a tree, you turn the top card, is the TREE. Other common things are: a bird, mountains, a lake, landscape, the sun or the moon. If it's the moon you do a double lift because it's the next card to the tree. If you are told mountains, lake, landscape or sun, you turn the deck over and show the card from the mountains that has all those elements. If it tells you something completely different just say that it is very interesting and that now knowing that we know the viewer better. Now you go on to make a guessing effect, for example, without giving importance to the experiment. - If the forcing of the seventh card goes wrong and you are stopped at 9, 10 or 11. You just have to separate that card from the rest and leave the deck apart by turning it over showing the bottom card which will be the SUN. This way, when you reveal the Moon, the star or the desert, people will be impressed to see that in the deck face up is the Sun. -If you are stopped later, don't worry, as the deck is in mnemonic you can tell which card the viewer is watching the next or previous one.

TRIPLE MIND READING WITH MNEMONICS. EFFECT: The magician guesses three cards thought up by the spectators. A good structure for a divination routine from the mnemonic deck is as follows. We give a spectator the choice of any card. We emphasize that it is a free choice. Once the viewer looks at his card we take a look at the previous card, thus finding out the identity of the viewer's card. The card is then returned to the deck. You then pass cards in front of the spectators until you reach the Mermaid's card (21). You ask a spectator on your right to look at one of the cards you are passing. In this way you do a "Discard cards to a NO" as I explained on the page... Once done, you continue passing cards to the viewers until you reach the Penguin card (36), then you ask a viewer on your left to look at one card, this way you only let him see the next five. Once done, you keep passing the few cards that are left in view of the spectators, while asking the first one if he keeps his initial card in mind. You put the deck aside and you're ready to perform the divinations. -Starting with the viewer on the left, the last one to see a card. "I'm going to ask you to try to transform that concept, image or object into a sensation, perhaps the physical sensation that it produces..." The magician stretches out his finger and asks the viewer to do the same. As soon as the fingers meet, the magician separates his as if he had pricked his finger and says that it was cold. He asks the spectator for his card. Whatever card is identified with cold, if it is the knife and the diamond, they are also identified with cold, and they may also be related to the fact that, in separating the annoying finger, the magician had pricked himself with something sharp such as a knife or a diamond.

-The wizard passes to the next spectator, the one on his right. "I'm going to ask you something more concrete. I just want you to try to visualize as much as possible what you're thinking in your head. Take it to the personal, to your own experience, not just to the card. Good." Now the magician makes the discarded NO. "I see that it's something tangible that can be touched..." "Besides, it's something that exists in the real world, you can find it..." At that moment the viewer shakes his head. "Yes, it can be found, maybe not physically, but through books, through imagination." The viewer states. "Maybe a being, a person, but I see it going beyond... a woman or an animal... maybe both. What is it?" The viewer replies that it's the mermaid. -And now the magician is addressing the last spectator, who really was the one who took a card freely at the beginning, but there has been such a big parenthesis of forgetfulness that it is important for the magician to try to put the idea unconsciously that that spectator is thinking of something that he chose in a mental way. "I miss you. You freely thought about what you wanted from the beginning..." Without saying another word, the magician takes out a notebook and a pencil and looking into the eyes of the spectator begins to draw. "What are you thinking about?" The spectator answers, the magician shows his drawing that matches.

DESIRE MAX MAVEN Wosek deck adaptation. EFFECT: Several spectators select the card they want from the deck, leave them on the table face down and mingle with each other. The magician looking at each card is able to find out who the spectator was that chose it. With the last spectator he guesses his card directly without looking at it. You make a false mix with the mnemonic deck and deal it in piles to several spectators (ideally 4 or 5), you deal the deck knowing which area of the deck you are giving to each spectator. It's up to you to do it in order from left to right. Now you ask the spectators to shuffle their cards and select a card that they are excited about or that can represent them. Once the card is selected, you ask them to leave it on the table face down. Once all the cards are on the table, you ask a spectator to pick them up and shuffle them and put them back on the table. "Each of you has chosen a card that has caught your attention in a conscious or even subconscious way, there are others who have even done it at random or more probably much less at random than they may think. To what extent are our actions determined? The magician takes the cards and makes a double lift for himself, looking at the second card. He immediately puts it back on the pack and turns the first one over. This should be an action that takes no more than two seconds. Once the first card has been turned over, the conversation resumes quickly so that there is a sense of continuity with that card and the previous look you made at it. "One of you chose the universe, but who? Who among you has ever been interested in something as profound as the cosmos? The magician continued his talk until he could decipher or guess which of the viewers had chosen this card. In our

example, as the Universe (41) is the card, it will have been chosen by the spectator to whom we gave the last pile. Since you know what portion each viewer had, you can find out pretty easily. Now, in a hidden way like choosing the next card, you pass the one on top (the one you looked at) and take it to the bottom. Unveil the next card and keep guessing which card each viewer chose. Finally, the last spectator, with the excuse of knowing who it belongs to, decides to make it more interesting and without going around the card, guess what card he chose. As you know, you just have to make a good talk and interpretation and turn it into a miracle.

TRUSTING THE YIN YANG. Thanks to the mnemonic arrangement the cards are alternated with the symbols of the Moon and the Sun. This allows us to continue with various tricks that need this principle, as outside this world, neither blind nor stupid and many others. Here I describe a trick that takes advantage of this principle. It is a simple trick, but quite grateful for the audience, especially in situations where magic is done to a single person in a more intimate way. "As you see, the cards in addition to a number have a symbol. One represents the night... with a moon. The magician shows one of the cards with this symbol. "And the others with this other symbol, which represents the Sun according to the symbolism of the horoscope. In any case, they are opposite symbols that represent the duality in the world, the night and the day, the yin and the yang, according to the Asian tradition. Good. If we draw two cards at random from the deck, three things can happen. Let two suns come out, let two moons come out, or let one moon and sun come out. There's a 33.3 percent chance for each possibility. However, I would like to rely on that duality that rules the world. Male and female, water and air, earth and fire..." The magician asks the spectator to cut the deck and mix both piles in the American way or using Lennart Green's rosette mix. In either case, the spectator actually mixes the deck. After doing so, the magician divides the deck into two piles. "Now that the deck is mixed and divided, we only have to trust in fate... by probability we have a difficult time, it is 67 percent against 33 percent... but we have something else... magic" The magician clicks and begins to draw cards from both piles, showing that one of each always coincides: the Moon and the Sun. METHOD: Starting from the mnemonic arrangement, this trick is automatic since the deck is alternated in Moon and Sun and by mixing two piles in the American way, Gilbret's principle comes into play. The cards will always alternate in groups of two cards with the Sun and the Moon symbols. In addition, we have the advantage that we can show the cards without showing the symbols so the viewer will not be able to see the alternate arrangement. The only thing to keep in mind is that when the viewer cuts in two piles, the bottom card of one pile has to be the same as the Sun and the other one the Moon. If this is not the case, after the shuffle, a card has to be moved up from the bottom to the top.

You can also ask the viewer to cut and shuffle with the piles face up so that you can better see that they are a Moon and a Sun.

TRIOS FISHING. This fantastic method by Woody Aragon, described in his book Memorandum, works very well with the Wosek deck, because to "fish" a card through cold reading is not too complicated when dealing with cards with symbols and objects. It is true that it can be a bit complicated if we don't know the mnemonic inside out, but knowing this method is a real miracle. EFFECT: After mixing the deck, we ask a spectator to cut anywhere and memorize the card of the cut. The spectator does it and you hit the card. METHOD: How? By fishing for the card. After making a few fake mixes, we ask the viewer to cut wherever they want and remember the card of the cut. By calculating more or less how many cards he has cut and in what position the deck is, we can get closer to the card of the cut. Now, as the cards in mnemonic arrangement are alternated in a binary sequence of two symbols, Sun and Moon.

We can ask directly to the spectator which symbol is his card and from there we can make a fishing between one or two possibilities. Remember that if the symbol is Moon it is in an even number position and if it is Sun it is in an odd position. Let's say, for example, that you cut approximately through the 30th card. We ask you if your chart symbol is the Moon or the Sun. If you answer that it is the Moon, we know that it is a card in an PAR position in our mnemonic deck, so your card should be 28 (SPIDER), 30 (CARROT) or 32 (NOTHING). We can also do as Woody recommends: in addition to the spectator, two others also take the following cards. Knowing that one or two of them will have a card with one of the two symbols you can easily guess what the rest of the cards are by fishing for information. About Mnemonics and Thoughtful cards.

Mnemonics is one of the most useful tools for card magic. It allows us to perform real miracles. There is a lot of material on mnemonics that we can adapt and use in the Wosek deck. One problem that this deck can have when a spectator names a card is that they don't know the cards, so it is convenient to pre-educate the audience by first showing the deck with some effects that do not imply that they name a card. After a series of tricks like this, the audience will be ready to say cards and concepts similar to those in the deck. Even if they say concepts randomly, there will probably be some card related to them. If someone says umbrella, for example, you can bring out the rain or if someone says dance you can bring out the musician, money is the diamond and love is the heart or the lovers. Another thing you can do is to leave the deck to the spectators so that they look at a card that attracts their attention or that they like especially. Then you get your deck back. You are now ready to tell them to think about their freely chosen card.

NUMBERING OF THE CARDS AND EFFECTS WITH THE NUMBERS. THE USE OF NUMBERS. Having a deck of fifty cards numbered from 1 to 50 opens up a range of possibilities. Without the need to know how to arrange the cards, we can form groups of guide cards, make tricks of impossible locations, force specific numbers, make magic squares, predictions and a long etcetera. Here are some examples:

THE PREDICTION OF FIBONACCI. By forcing the cards: 1 (LIGHT),2 (RAIN),3 (CLOUD),5 (ICE),8 (SPIDER),13 (FISH),21 (WORLD),34 (DEATH) (not necessarily all of them must be forced) and the PINK (41). You can make a sequence of divinations, until you reach the rose that you cannot guess. Then you reveal that the other cards, by their numerical sequence (1, 2,3,5,8,13,21 and 34) are

forming the Fibonacci number, a perfect sequence of nature that can be seen in plants, trees and natural compositions. Then the spectator shows his card: it is the PINK, in which you can clearly see by its illustration a spiral as in the Fibonacci sequence. This prediction gives us a multitude of possibilities. Another option I usually do is to force several cards (5, 8, 13, 21 and 34) and have a prediction prepared consisting of a poem in which the different elements of the cards are named in order. While the spectator reads the poem I turn the cards over. When the poem ends, there is still one card left to guess, so I talk about Fibonacci, about his famous sequence and I show that all the chosen cards form that sequence. Then I reveal the PINK.

MAGIC SQUARE. EFFECT: The spectator chooses a card freely. The magician makes different stacks of four cards and the spectator chooses one. It turns out that the sum of the cards in the chosen pile co-indicates with the index number of the viewer's card. After this, the magician arranges the rest of the piles in a row of 4x4 and a magic square is made, an amazing coincidence of sums that always give the number corresponding to the chosen card. METHOD: By having a deck of cards numbered 1 to 50, one more property is to be able to make the magic square. That is why the cards 8,11,1,7,2,12,3,9,6,10,5,4 have a subtle mark to know where to place them with their corresponding number to make the classic magic square. 8 - 11 - (0) - 1 (-1)- 2 - 7 - 12 3- (+2) – 9 – 6 10- 5 - 4 - (+1) This allows us to prepare, in a certain order, magic square routines where the spectator can freely choose cards from the deck. You have to keep the deck tidy, in three blocks. The first block is the cards from 1 to 12 in the position prepared for the magic square. Carrot (10), lemon (4), brain (12), rain (2), ice (5), shadow (6), diamond (7), nothingness (11), peanut (3). The universe (9), the rain (1) and the spider (8). The second block is the cards from 12 to 33 ordered by their numerical value. And the third block is the cards from 33 to 50 mixed together. This way, by choosing any of the cards above (33-50) you can make a magic square with any of the numbers from 33 to 50. The first block is arranged at the bottom, then the second and finally the third block at the top.

We give the viewer a free choice of card from block 3. We look at the index number of the chosen card. In our example 35 and we secretly subtract 20. 35-20= 15. 15 will be our secret number. Now extending the cards for us is cut by card number 13. Then by the card corresponding to our secret number, in our example 15. Then you would recompose the piles by putting the pack of cards 1-12 on top of the index card 15 and the rest underneath. I'd be ready for the routine by now. Now all we have to do is hand out four piles. And ask the viewer to choose one of the four piles. We spread out the pile he has chosen and check that the sum of the cards matches the number of the card he chose, in our example: 35. Now we rearrange all the cards forming the magic square and discover that all the columns, rows, squares, diagonals and side cards add up to a surprisingly large number of the card the viewer chose.

MAGIC SQUARE WITH NUMBER NAMED. Another variant of the previous trick, which perhaps makes the handling more subtle, is to ask for a number between 33 and 50. Pretending to look for the card corresponding to that number, you cut the cards by the number 13, the first block and then locate in the second block the number corresponding to the subtraction of x-20. Exactly the same as in the previous trick. Finally, after you have prepared the deck, you show, in this example, the spectator's card, number 36: the APPLE. Now you start putting cards on the table and say that you are going to try to do something

special. You make 4 piles, the spectator chooses one and you continue with the magic square explained above.

OTHER MAGIC SQUARES. Another magic square, to make a quicker guess could be done by forcing a card. In these examples: the card The BOTTLE (33) or The FIST (15). "When I was a child, I went to a medieval fair in Galicia. I was very surprised by a gypsy woman who claimed to read the future through cards. I'm going to try something similar to guess your card." The magician starts to throw cards on the table forming a magic square and asks the spectator if the cards tell him something about his choice. "Maybe their symbolism doesn't tell you anything, but maybe their numbers do." The magician adds up the corresponding numbers, showing the magic square that matches the number in the the cards from the viewer. Magic square with number 15:

Magic square with number 33:

THE SACRED TRIANGLE. The magician mixes the cards while explaining that he will try to do a ritual of divination. "To do this, I need one of you to choose a card, but instead of doing it the traditional way, let's do it so that it really is an impossible choice. I want you to take a small pack of cards, shuffle them a bit behind your back or under the table and above all count the number of cards so that you get a secret number. The spectator does it, and when he finishes he leaves the pack on top of the deck. The magician mixes it up to make it all even more random. "Well. Once I have chosen a secret number and the cards are well mixed, I will put them on the table one by one, asking you to look at the card corresponding to your number. That is, if your secret number is one, think about card one, if it is two, think about two. The magician is throwing cards on the table while naming his position. He does this in a strange way by creating a triangle with the cards: 1º 2º 3º

6º 4º

5º

In this way the magician continues, counting 7, 8, 9... so on to the eighteenth. "Is it enough? Perfect. Right now you have something in your mind, it can be an element, an animal, fruit or even something more abstract, but remember, we have done a ritual of divination. If you look closely, the way we have arranged the cards is a triangle. The triangle is a very important and even sacred element in many cultures. The Egyptians built

the pyramids to bury their pharaohs; in the Christian religion the triangle represents the trinity, in general it's a figure that is represented with God, with creation or from a more pagan point of view with nature and the whole. Does it tell you anything?" "If you look closely, the cards that have been left here are the peanut, the ice, the shadow... but I think they don't have much to do with your card, right? However, if we look at the numbers, we can see that if we add up the rows they add up to 9, but this other row also adds up to 9, and this other one... and even the one in the middle adds up to 9." The arrangement of the triangle by the index of the last cards that have been thrown is a magic triangle where all the rows add up to 9:

"9 is the sacred number, turned around it represents as we all know the devil, but with this arrangement it represents God or nature or the whole... What was your card?" The viewer answers in amazement that it is the UNIVERSE. The magician searches among the cards on the table until he finds the UNIVERSE and shows it, the number of his index is 9. A real surprise.

METHOD: It's a very strong trick especially because it's a totally unsuspected force. I was inspired by a forceaje by Ramón Rioboo who explains in his book La magia pensada to create this ritual. The first thing is that it requires a small placement: 12 indifferent cards and then: CHAIN (3), LEMON (4), RAIN (2), THE SHADOW (6), THE LIGHT (1) and ICE (5). In addition, we place the chart of the universe at the top, in top, so that we can control it later. Once placed, the magician can shuffle the cards without messing up the first half where we have them sorted, we take advantage of these moves to lower the card from top to bottom of the UNIVERSE. After several shuffles that convince the spectators that we are playing with a mixed deck we offer a card, but as we change our mind, we ask them to take a small pack of cards from the top, ensuring that this way it is much more impossible. The spectator is told to shuffle his cards on his back or under the table, and imitating the gesture of shuffling with the large deck we pass the UNIVERSE card from bottom to top. Now we ask the viewer to count the number of cards and memorize it, that will be his secret number. Once done, leave the pack of cards on top of the deck and with the excuse of mixing up what we really do is go down or lose the top card in the deck. Thus, automatically, the card of the UNIVERSE will always be in the position of the spectator's secret number. After this, we only have to throw cards and ask him to remember the card corresponding to his number and throw cards in the form of a triangle until we reach the number 18 where our previous order will have been placed. You make the magic triangle and predict its card.

THE SIX-POINTED STAR RITUAL. As a trick of magic, through a ritual with the prepared cards or simply with the ordination as a curiosity, altering the cards so that they form a 6-pointed star with the numbers in the image, a 6-pointed star of David is formed that each row adds up to 26. Coincidentally, card 26 in our deck coincides with the Star.

POSSIBILITY-PROOF DIVINATION. This is a good example of the use of the card numbers as a guide card, with the advantage of being able to show the cards without seeing the order. This trick is of total impact. Well presented it is a miracle. The only catch is that you need a volunteer who knows how to mix the American way, so we can have a good trick to implode the minds of our fellow magicians. The magician shuffles the cards and shows them off showing that it is a deck composed of archetypes. He gives them to a spectator and asks him to cut the deck, then to cut it again. The spectator does this by making sure that the cards are well mixed. The magician turns away from the spectator's movements. He asks him to cut this time and look at the card being cut. Once the deck is square, he asks him to cut and shuffle the cards and cut again. In case there are still doubts about the impossibility, the magician asks the spectator to look for his card, to remove it and to lose it wherever he wants. He can cut the deck again as many times as he wants. The magician turns around, takes the cards and spreads them out over his hands. "You know as well as I do that it is impossible for me to know your card." Despite the claim, the magician immediately guesses the card. METHOD: We need to have the cards ordered numerically from 1 to 50. We can show the cards without showing the order if we spread them out in front of the public on the side of the symbols:

After a few fake mixes we hand the deck over to the viewer. We ask him to cut several times and to cut again by looking at a card. After this, we continue as I have described in the effect. By shuffling, the cards are shuffled, but they do not lose their sequential order, only two numerical sequences are shuffled. When the spectator goes in search of his card to lose it again in another zone of the deck it is practically impossible for him to see the order since besides being divided in two sequences, what calls the attention of the cards are the drawings, so the spectator when he is attentive to find his drawing does not look at the numbers, but the fact that he looks at the deck creates a greater sensation that the deck is really mixed. Once you pick up the cards you only have to spread out the cards and follow one of the sequences, for example 10, 11, 12 ,13... when you see that a card does not appear or there is a strange card in the sequence you will know which card the viewer saw.

A very powerful divination.

CARD TO THE DESTINATION NUMBER. EFFECT: The viewer shuffles and cuts a small pack of cards. He secretly counts them, thus obtaining a secret number. The magician asks him to cover the pack by putting his hand on the little pack. The magician then passes around cards counting them aloud and the spectator must look at the card that corresponds to his secret number. When the magician has counted enough cards, he puts the deck on top and shuffles again. It is impossible for the magician to know what the spectator's card is, let alone its position. Even so, by randomly drawing one of the cards from the pack that the spectator covers and counting so many cards with the index number of the card drawn, the card that the spectator is thinking about is reached. An improvised miracle! METHOD: I arrived at this trick thanks to a mathematical principle in which depending on the amount of cards we show the spectator, his thoughtful card will always be in the position of the deck we want (relatively). It's very simple, you only have to show X cards to the total of cards in the deck, in our case 50 to obtain the desired position. In my case, after the mixes of the spectator I usually cut through the SUN card that has a 28 in its index, since I have the SUN card marked with a crimp and it allows me to cut the deck directly through it. In any case, if you don't have it marked, you just have to leave it on top by the technique you want. Once this is done, you ask the viewer to cut a package and count the cards one by one. When I tell him this, I gesture him to do it on the table, making sure that he turns the cards over and the SUN card is at the bottom. The viewer does this while I'm not looking. Finally I ask him to cover the package with his hand with the justification that I do not want to see it. Now I pass cards around and ask the viewer to look at the card corresponding to his number. Since I want to leave your card in position 28 corresponding to the index of the SUN I have to show 22 cards since 50-28= X, X=22. I count 22 cards face up on the table. When I get to 22 I say that's enough, I turn the pack of 22 cards on the table and put the rest of the deck on top. The intended card will always be in position 28. I like to make a false shuffle after this to eliminate all mathematical thinking. After this, I insert a finger between the spectator's cards and his hand and pull out (as if choosing a card at random) the one at the bottom which is the SUN. You talk about chance, numerology and destiny or whatever you really want, to count as many cards as the index of the card of the SUN, 28.

TELESCOPIC SYNCHRONY. A good use of the principle of guide cards with the numbering of the wosek deck explained in the previous trick could be given in this adaptation of the magnificent trick of

Juan Tamariz "telescopic coincidence" in which he uses his mnemonic deck explained in "mnemonic miracles". Unlike the original trick, we lose the final divination, creating only a great coincidence, but we win, in my opinion, in cleanliness with respect to the card of the second spectator. The magician weaves the two halves of a deck and, by running his finger over the top cards, asks the spectator to stop freely by looking at a card.

After this the magician separates the halves and leaves aside the half in which the spectator has just looked. He takes the second half and gives it to a second spectator to mix. Once he returns it, he asks him to take a card and remember it, once he has done this he returns it to the pile. The magician mixes and leaves both piles next to each other.

"Each of you has chosen a card that represents an object, a symbol, a value. We have mixed them up and lost them in different packages. In fact, I want you to forget the card and focus on your own vision of what it represents. That image now belongs to you. Every time I click, I'm going to ask you to pass a card, I'm not even going to look..." The magician leaves both halves on the table and asks the spectators to pass cards every time I click while he remains turned. The spectators start passing cards every time the magician clicks until he stops them. "I felt something right there... and it's not one card... but two. Two cards lost in different packages, two images, two sensations... but a coincidence." The magician asks what image each viewer has in mind. He turns the cards in the deck and agrees that both are there. METHOD: We need to have the first half of the deck of cards 1 to 25 in order. After some false shuffles by mixing only the bottom half, we cut through card 25 (THE TREE) and

overlap the cards into a perfect lighthouse shuffle without the cards getting mixed up. Now we are passing cards (the ones that the spectator sees are the ones that are not ordered) and we ask the spectator to stop you when he wants in a free way and where he stops you, we make a break.

We removed the top pile and set it aside. Now we cut our pile for the break with the excuse of mixing. We give the pile to the spectator to mix and we look at the number of the card that has been left below, this will indicate us in which position is the card that the spectator has seen from the other pile. The spectator returns the pile to us and we spread it out so that the spectator picks up a card. While doing so we secretly count twelve cards (13, which is the position of the other spectator's card -1). Now when we ask the spectator to return his card to the deck we leave it in precisely that position. We make a false shuffle and place the two piles on the table. Both cards have been left in the same position. Now we just have to keep talking. As we turn around we click as many times as the position of both cards and wait for the applause.

SUBTLE MASTERY OF ORDER. Another example of what can be done by taking advantage of the numbering of the cards is this trick based on another one I usually do with a poker deck where I use Gene Finnel's free cut control. Perhaps of all the tricks I describe it is the one that comes least close to the good use of this deck, since its theme is the arrangement and placement of cards. Nevertheless, it is a good trick. The magician deals a lot of cards to three spectators. They shuffle their pile and choose a card that they lose in impossible conditions without the magician touching the deck. After this, the magician gathers all the piles and decides to find the spectators' cards. To do this, after some shuffles and flourishes he makes three cards appear. To the magician's surprise, none of these cards is the one chosen, to which he replies that while he was shuffling and taking out these cards he had located and placed the chosen cards in the positions that indicate the three cards he has taken out. The indexes of the cards are 15, 27 and 41. The spectator looks for each card in that position in the deck that matches the ones chosen by the spectators.

METHOD: We need to have the cards with the indexes 15, 27 and 41 at the bottom. After making some shuffles, keeping those cards underneath, we give out three piles to the spectators. Secretly we give the first one a pile of 14 cards, the second one a pile of 12, and the third one a pile of 15. By counting the cards in threes it is easy to deal the piles without looking like you are counting. Finally, the remaining cards are placed in front of you. Underneath your pile are the three prepared cards. We ask viewers to mix their piles. You can also do this as an example with your own by keeping the cards ready. Then we ask the viewer on your left to cut wherever he wants and to look at the card that has been left at the bottom of the pile he has cut. And that portion should be placed on your pile. The second spectator does the same and leaves his or her portion on the pile of the first spectator (the one on the left). Now the third viewer repeats the same process, leaving his portion on the second viewer's pile. Once they have done so and after emphasizing that their cards are missing, you ask the viewer on the right to place their cards on the second viewer's pile, this one on the first viewer's pile and this one on yours. In this way, the deck is complete in front of you with the cards with the indexes 15, 27 and 41 at the bottom and thanks to Gene Finnel's control, the spectators' cards will automatically be in positions 15, 27 and 41. Now all you have to do is bring up the 3 cards in the bottom with the methods you prefer without messing up the rest of the deck and reveal the cards in their respective positions.

DIRE PREDICTION. Max Maven explains a force based on the principle of magic squares in his book Violet from the Prisma Collection. He uses a paper with numbers, where in my opinion, the forcing becomes somewhat obvious. Using this same principle, but doing it with cards turned over, he makes himself invisible and results in a dire prediction. EFFECT: "All roads lead to Rome, or so the Romans said... I ask you today, where do our choices lead us?" The magician looks in the deck and draws a card as a prediction. The magician shuffles the cards and deals on the table by rows, creating a 4x4 square with the cards.

"This will be my prediction and these cards will be the different possible paths, which will lead us to different possible points. I'm going to ask you to draw an imaginary line in a row and in any column. The spectator does it and the magician separates the card where both lines meet. The rest of the row and the column are discarded and the cards are put together again for the next spectator to repeat the process. "Now I'm going to ask you to do the same thing and then you will do it. Your decisions will take us to different points from all the possibilities. The spectators repeat the process and at the end there should be 4 cards face down on the table which are the ones chosen by the spectators, 3 chosen and one that ends up being left over naturally in the process.

The magician shows the cards, which at first seem indifferent, but then he draws attention to his numbers. The sum of all of them is 34. "34... a dismal number. And that's because all roads, whatever we do, end up the same." The magician turns the card that was a prediction showing that it is number 34 and that it corresponds to DEATH.

METHOD:

The method is mathematically automatic. All we need to do is make a shuffle where we don't alter the first 16 cards. These first 16 cards are the cards ordered numerologically from 1 to 16. When we put them on the table and forming a 4x4 square, if we follow the instructions explained in the effect, the 4 cards left on the table always add up to 34. In other words, the sum of four independent numbers of different columns and rows in a 4x4 square formed by numbers ordered from 1 to 16 will always add up to 34.

OTHER NUMERICAL CURIOSITIES: The vast majority of the cards are arranged so that the number in their index has some relationship to their image and their symbolic numerology. For example: -The DEVIL is 36, triple 6. -Nothing is 11 (1-1=0). -The LIGHT is 1, as in the genesis, it all started with the LIGHT. -The WORLD is the 21st, as is its correspondence in the Tarot, and it wants to signify the duality of the world and its unity. -The Snake is 42, which according to Google is the meaning of life. The serpent for the Mayans and as an alchemist symbol refers to the cycle of life and meaning. -The Lovers are the 37, 3+7=10 which symbolizes the unity. -And a long etcetera that with a little observation I'm sure you'll be able to identify and know quickly.

ADDITIONAL CARDS. The Wosek deck includes 6 additional cards. -Repeated SUN: A repeated card can be very necessary for many effects. Also, as I was counting on on page ( ) we can use one of the SUN cards as a guide card with a bubble. -The MOON with red back: One of my favorite effects of card magic is "the blushing", with the MOON and the red back you can do this effect and many others based on color changes. - DOUBLE BACK purple: A card also widely used for a multitude of effects and that never hurts to carry around. - DOUBLE BACK purple/red: Ideal for full deck color change effects, card transformations, swaps, etc.

-Double-sided egg/raven: Another essential card for many effects is the double-sided one. A very good starting trick is the one I call What was the Egg or the Raven before? A trick of two-card transposition. To play it we need to have the egg card with the raven on the back and the real egg card in the pocket. We simply swap cards when we have them clamped in a hand. I explain it in this sequence of photos:

-Symbolic forcing card: this card is a very good forcing. The first time I saw it was Rachel, Aldo Colombini's wife with colors. In this case, the forcing always leads us to the symbol of the MOON. We ask a spectator which is his month of birth and we tell him that each month of birth is represented by a zodiacal symbol and in the case of these cards each month represents a specific symbol. Then you turn the card around and ask him to look at his symbol, since each box corresponds to a month starting in January and so on. The viewer will always get to the Moon symbol. How? As easy as turning the card over to the side where your month appears. If, for example, you were born in January, we will turn the card where it says JAN (from January). This way we will always get to the MOON.

Forcing the Moon in a mental way can give rise to many thoughtful card tricks. For example, play the trick of blush where a spectator chooses a card from the deck that is lost and shuffled. Then, the magic happens and a card from the deck is transformed into a red card, it is the mysterious card of the spectator. We actually control the spectator's card in top and the red card is the Moon card, but with a double lift we show it as if it were the spectator's card. We leave the red card aside and ask the viewer who thought of a symbol to tell us for the first time what it is. It is the Moon, precisely the red card we have on the table.

IDEAS AND DETAILS. ASYMMETRICAL DECK. The deck is asymmetrical in its faces, you can see it thanks to the details of the torches, the fires are different, so you can play with that to make impossible divinations with the cards chosen by the spectators. The asymmetry also helps us to know which side looks at the spectators and which side looks at the magician. In this way, to make revelations and show cards we can turn the card so that it comes out in front of the spectators and is more aesthetic.

PLAYING WITH A PENDULUM. A pendulum can give a lot of play with this type of card because of its aesthetics and use. An example could be: after several effects with a pendulum and several cards, the pendulum changes direction when it approaches the card of the MOON. Since the Moon moves the tides and controls certain movements of the Earth

BALLOT AND card SYSTEM. We can make many tricks by combining ballots and cards. For example, with a ballot box containing a drawing of each card, we can work real miracles. For example, a spectator picks up a card. It gets lost in the deck, but with a glance you have identified the card. You take out a piece of paper (from your card index) on which the card chosen by the spectator is drawn, but you only show one of the faces to the audience, which is white. You ask another spectator to open his hand and you put the card, by its white face, on his hand. You give him a pen to draw unconnected lines with his eyes closed. The spectator closes his eyes and does so. What really happens is that the pen you have given him does not work and the spectator does not draw anything. Before he opens his eyes you ask him to make a ball with his ballot and put it in his pocket. Now the spectator who took the card reveals his card, the other spectator opens the ballot paper in his pocket and finds that he drew the spectator's card. An effect.

PREDICTIONS WITH MUSIC OR PHYSICAL THINGS. You can make card predictions using songs where they say something related to the card or make physical predictions like pointing to the sun, THE STAR on a starry night or pointing to a lemon or apple tree by predicting the LEMON or APPLE cards. Also something related to the 4 elements with the cards: CANDLE (Fire), CARROT (Earth), ICE (Water) and DOVE (Air).

OUIJA. A pivot system could be created with the cards so that by putting them in a certain order and with a glass or ring we can make a kind of pivot to answer questions and make predictions.

TRICKS WITH THREADS. Making magic with threads in which the cards are suspended in balance, moving or even levitating works very well with this deck since stories can be told and the game is completely justified. It occurs to me, the floating rose, the dove that learned to fly or with

the classic trick of the ascending card the snake that rises to the hypnotic sound of the flute.

MENE TEKEL SORTING. Another possibility we have with this deck is to do a badly named Mene Tekel ordination. Arranging the cards in pairs, we can make a deck that every two cards are synonymous. It does not work with all the cards, only with 40, but it is very easy to see and a way to explore. For example, the moon and the sun go together, the crow and the dove, the light and the shadow...

AND LAST BUT NOT LEAST... TELL STORIES! It's so obvious that I've preferred to ignore it until the end. This deck allows you to tell stories and make thematic tricks, poetry, stories and improvisations. I'll tell you a method that I like to use to make an improvised story, but with a prepared ending. In my case, I prepare a few cards at the bottom of the deck and give the spectator a card to choose from. Now I really shuffle the top cards (the first half approximately) and I have the deck ready to tell a story. I don't pretend to guess the cards, I just look at them and tell a story. I improvise it until I reach the moon, which is my indicator. "One night (MOON), a magician appeared (MAGIC)... the best in the world (WORLD), he made magic with candles (CANDLE) and made a dove appear (DOVE)... he also made magic with cards and gave a card to a spectator to choose from". Now I look at the following card and let the rest of the viewers know that I have done so. "Suddenly, he turned the cards into an egg." I make a hand movement like trying to turn the cards into an egg, but obviously, it doesn't work. I draw the next card (EGG). "Then the magician asked the viewer what he was thinking, and the viewer said..." The spectator

responds and I transform the EGG card into the spectator's card which is the following... TARAAAAN!

BASIC GUIDE OF CARDBOARD WITH ARCHETYPE DECK. The archetype deck can be used to make readings. It is not as complete as the tarot deck, but it is simpler and very effective for clearer questions as it gives more direct answers. This makes it a good reference deck for beginners and good psychics who with little can say much. It is advisable to make rolls where we do not use many cards since these have individually great meanings being almost all important and representative archetypes. Besides, you only have 50 cards. You can do a multitude of spreads with this deck, from asking a question and drawing a single card to complicated spreads of cartoon and tarot of all kinds. Next, I will explain two basic spins with few cards that are very effective to use with this deck. The cards have to be read with spontaneity and precision. A simple interpretation is better than a complicated one full of great fantasies and confusion.

The imagination for the interpretation of the cards is personal and non-transferable, but like everything, it is practical, error and improvement. Even if it's not your style or you are not interested in the theme of the cards used with this deck, I recommend you to do some "tarot type" test shots because apart from having fun you will become familiar with the archetypal meanings of the cards.

CROSS ROLL. It's a simple, concise and clear print run. It is for clear and concise questions, highly recommended for this type of deck. The cards are mixed, the consultant can do it. Cut with the dominant hand three times and complete. The reader now asks the Consultant to say a number between 1 and 50. Whatever the number is, it is counted and the card occupying that number is left (face down). To choose the second card, the third and the fourth proceed in the same way. Make a cross as shown in the picture. The first card is left, the second card is right, leaving a gap between the two. The third card up between the two cards and the fourth card down between the two cards. Once this is done, the cards are turned over and their numbers are added up. If the result is greater than 46, the digits are added together until the result is less than 46. Once the result is obtained, proceed in the same way. We count cards until we reach the position of the number obtained by taking that card and leaving it in the resulting hole of the cross. The first card is the one on the left of the center row. This card is the one that tells us the main subject of the question. It allows us to focus on the essentials and confirms the final result. The one on the right, which is in front of the first one (the third one in the middle row). It tells us about the difficulties and what is not working well. What needs to be solved. The third position is the top one. It shows us the solution to the problem, the challenge, an advice or a way forward. The fourth card is the one below. It confirms what is going to happen or the final result. And the middle one is the synthesis, a result of everything that always helps to understand the rest of the cards.

3 O'CLOCK ROLL IN A ROW. With the dominant hand you cut into three piles. Close the deck and start drawing cards. The cards are always read from the right, not inverted, or anything like that. cards are dispensed in rows. First 3, then another 3 and another 3 forming a 3x3 square. Then two more cards are placed. Then two more cards are placed, one in the last row with four cards remaining and turning the deck over, with the bottom card in the first row in position one, creating a row of four cards as well. Once placed, they are read from left to right. The card in the center is the one that dominates and falls on the rest of the cards. The first card tells us how the person is, how they are and who they are. The second and third cards give us more information about their character. The second row tells us about his family and his ties and the great influences of this person, since the card in the center is the most important one and row number 3 tells us the final outcome, how these states will be transformed in the course of time. The other two cards that come out should be used as guidance to see what to do or what to change or what to enhance.