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"Oe(!~.te,e Copyright by Al Mann Exclusives 1981 FOREWORD

Once in a century, the world produces a magician who profoundly astounds everyone with card effects. Today we have Olof Jonsson, who has received signed affidavits proclaiming him a true psychic after witnessing his card feats. Joseph Dunninger awed his audiences in like manner and so did Johann Hofzinser. In 1569 (15 years before Reginald Scot wrote "The Discoverie of Witchcraft"), Hieronymous Scotto entertained royalty and performed in the courts of Austria and Europe, mostly with card tricks. (he also did a book test and seeing through a wall). His audiences commenteda "I thought of a card -- and he showed it to me!" "Scotto had cards drawn, and Oh! Miracle! Each drew the card he was thinking of!" "He put four cards into one's hand, then he asked 'What do you want? Four kings, four queens or four jacks?' and whatever you wanted that was it!" "This is no small matter!" The card feats contained in this book have already caused much talk in the viewers. So take heed and do likewise. Secretum secretorum Tu operans sis secretus horum (The secret of secrets Thou that workst them, be secret in them.) T. R.

Ann. 1570

Good luck f. tn/f/ft

Untouchables

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Copyright by Al Mann Exclusives 1981

'1'f g~V1t.4ill: This tractate is devoted exclusively to card effects using a borrowed deck that is shuffled and cut and remains in the hands of your audience always. The deck is never handled by the Mentalist! The Mentalist carries his own deck which comes in handy when instructing the spectator how to hold the deck or what to do. The effects presented in this book assumes that the Mentalist has his own deck with him but the effects can be done without it. There are a number of clasical card stunts that can not be done with a borrowed deck, simply because it is not your deck. You can not do tricks where the cards have to be marked, signed or mutilated. You should not do tricks that depend on an exact number of cards like 52 or 48 simply because you are not sure just how many cards there are in the deck. A card can be marked by using the Easy-on-easy-off removable labels sold in stationery stores. Where an effect calls for turning your back or leaving the room, it may be better to just tell the spectator to place his or her hands under the table to do the secret moves OR the hands may hide behind an open book or picture frame, etc., something that will add mystery to the presentation and which the audience will remember and talk about later. The reader can rest assured that if he masters the type of card effects offered in this book, and presents them properly and regularly, he will be rewarded with fame and perhaps fortunel History has proven it and history can repeat itself. "he (!u4(le~f#-e.: "Mr. Mentalist, can you do a card trick for us without touc~ing the deck? I have heard that mentalist can do just that and I find it hard to believe." "My pleasure!" You say and then proceed to baffle their sences by doing many brain-busting card effects without touching the deck! Many present day Mentalists would find themselves at a loss as to how to meet the above challenge. And although books on card magic do contain effects of this nature, they are generally overlooked. That type of test seems so dull and uninteresting (to us). The fact is that most of us can not resist the temptation of taking the deck and showing the audience how clever we are. Yet audiences are profoundly impressed by the tests offered in this book and will remember the effects for yearsl ,

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THE CHALLENGE ••.•• corrt , • ••... At first glance it will appear that the mentalist is limited to what he can do and to a few tools to do it with, in meeting the challenge. But a second look will reveal that there are many tools and many ways of using them. Just to list a few, we have. 1. The center-tear principle which is first and foremost. 2. The radar pencil also called the ESP pencil, or just a few grains of salt. J. Reflecting surfaces and reducing mirrors. 4. The Swami gimmick. 5. Impression pads and clip boards. 6. The transparency principle. 7. Contact mindreading. 8. a combination of two or more of the above principles, and ••.•.•• Let us assume that you have left home in a rush and have forgotten all your gimmicks. What then? Well we still have the secret of the ancients, which is •.••.•

"But in shewing feats, and juggling with car~s, the principall point consisteth in shuffling them nimblie, and alwaies keeping one certeine card either in the bottome or in some knowne place --- Hereby you shall seeme to worke woonders--" Reginald Scot (1584) The Discoverie of Witchcraft When doing effects with the cards in the hands of the audience the Mentalist has only a few clues to work with. One of the most potent is the sighting of the 'nether card' or the bottom card. This technique has been treated in many books on card magic. Reginald scot called it 'the nether card.' All one needs to do is to just wait. As the deck is passed around for shuffling, someone will surely flash the bottom card. And even if someone notices that you have seen the bottom card, they place little importance to it as they do not know what you intend to do. And after witnessing the 'woonders' that follow, the bottom card is forgotten. Here is an example. The spectators have shuffled and cut the cards several times. As soon as you sight the bottom card, you stop the shuffling. You then take your own deck out to demonstrate what you want done. Tell the person holding the deck to hide his hands behind a screen, book or what have you, and to turn the deck face up so that he can see the cards. Then he is to deal cards face up and as he uncovers each card to stop after he sees one card that he likes. You demonstrate this with your cards. He is to look at the face of the deck only and at each card as it is uncovered. After he chooses a card he is to remember it and then place the dealt cards back on the deck. It really does not matter

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THE NETHER CARD •..••. corrc, • ..... if he puts the dealt cards on top or on the bottom of the deck. He is then to cut the cards and then spread them face up on the table. The Mentalist then reminds the audience that he has not touched the cards and that the cards were shuffled and cut several times so that no one can possibly know the order of the cards. The Mentalist then proceeds to divine the chosen card. NOTE. The 'key' card (the bottom card) which was the first card dealt remained in sight only for a moment and then was covered by the other cards as they are dealt so that the first card is soon forgotten. So no matter how the deck is assembled, the key card will be on top of the chosen card as the cards are sprea~ face upo Gentlemen, let's get down to brass tacks and assume that you have failed in sighting the bottom card as everyone has been very careful. What then? Don't fear as there are several ways of performing miracles with cards without knowing the identity of any card. Here are some.

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EFFECT. The spectators shuffle and cut their own deck of cards and are careful not to flash the bottom card or any other card. They then cut the deck into four even piles. The performer then divines the bottom card of each pile plus a chosen card that has been sighted by anyone! The performer never touches the deck or any of the cards! Sounds like a tall order, doesn't it? In this kind of effect it is usually necessary for the performer to touch some individual cards But here for the first time in print is an idea with an envelope that will obviate the need for touching any of the cards! (see Astral Sight in the Third Ecstasy) 0

METHOD AND PRESENTATION. Have the spectators shuffle the deck and cut it several times. This can be done while you are out of the room although that is not necessary. What you are trying to convey is the idea that you do not see any of the cards, neither the bottom nor the top card! Next have the spectators place the deck face down on the table and have someone cut the deck at about the middle and note the bottom card of the cut portion. You are armed with some salt crystals in your right coat pocket and then reach in and press some crystal on the ball of your right thumb Then you point to the lower half of the deck and as you extend your first right finger, it rubs the salt crystals off the thumb and drop on top of the lower half. When the upper half is placed on the lower half tell the spectator to square the deck. 0

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SIDEREAL VISION •..•.. cont •••.•.• NOTE, The Mentalist should also always carry an ordinary pencil with erasor. This item can be used for pointing at the cards and even for touching them and moving them around. Now if the reader cares to combine the pencil with the salt crystals, he can make an ESP pencil. This is an idea that was donated by Lou Tannen, the NYC magic dealer to the Sphinx. (see VQ1. 51 #2). The ESP pencil is shown in Fig. 1. The 1~P pencil is a wooden pencil with a metal guar~. The guard is filled with salt. When the guard is moved up enough to ItC salt clear the top of the pencil, salt Fig. 1 will come out through the slit. The Radar pencil is a mechanical pencil that uses fine sand. It can be found in most magic catalogues. move guard up Himber's pencil had a hole in the to release salt erasor. These pencils have their merit but believe me, the salt in the coat pocket is as good as any other method. So you have the facedown deck in front of you with some salt crystals below the glimpse card in about the middle of the deck and you are holding a pencil in your hand. So you tell some one to please cut off one/fourth of the top of the deck and place it to your right. As he does that yo~ push the rest of the deck from the sides so as to topple it and the cards spread out a bit and you will notice a larger gap where the cards have separated due to the salt crystals acting like ball bearings. So you tell the person to move the cards above the break also to the right to make a second pile. Have the rest of the deck cut also into two more piles. Now you have four piles of face down cards in front of you and you do not know the identity of any card. All you know is that the glimpse card is the bottom card of the second pile counting from right to left. And what is more beautiful is that the spectators do not know any of the cards either. The person that glimpse the one card near the middle does not know that it now is on the bottom of one of the piles! So you remind the spectators in no uncertain terms that they have shuffled and cut the deck and that it is impossible for anyone to know through normal means the location of any of the cards, You also remind them that you have not touched the cards (except for pushing them a bit with your pencil) and what's more you will not touch the cards ever. "I am going to try a most difficult test that is seldom tried. So I need your full cooperation. Believe it or not, I am going to try to identify five cards purely by tought power."

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5 NO TOCCARE SIDEREAL VISION

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AN AL MANN EX CLUS lYE • .••.•

You now remove from your coat pocket a business size envelope (a letter size envelope may be used also) and place it flap side up-address side down in front of you. Unknown to your audience the envelope has a glassine window as shown in Fig. 2. The amazing thing about this window envelope is that most of your audience will never see the window and those that do will place little importance on it. Most of the Fig. 2 interest will be on the cards and the envelope will show no rational connection ( l.!,l> ) with the impact of the effect! "The first card that I am going to try to locate is the card that was sighted. So please call your card." Spectator says it was the two-of-spades. "We know the card was somewhere near the middle so please, will you (pointing to any person) cut this pile and remove a card but do not look at it or let me see it. Just place it face down here." You pass your hands over it and say, "Sorry, that is not the two-of-spades." This card can be turned over if you wish and discarded or placed back into the deck. It makes little difference. So you tell the person to choose another card from the third pile. Pass your hand over that card and say, "That's better." "Please slide that card into the envelope." When the spectator slides the card into the envelope, he does not push it all the way to the bottom. He just pushes it until it is out of sight, and since the envelope is flat on the table the card remains there. Amazingly enough if you now pick up the envelope, pinching the card in place, the index will show through the glassine window. Then you shake the envelope to get the card to the bottom o That is a normal gesture which arouses no suspicion The spectators doubt that you will succeed anyway and are probably betting that you will fail. You now tell someone to write down the names of the cards. So he writes first, the two-of-spades. "I now have four cards to go!" you say and then start passing your hands over the piles. You choose any pile and say, "The Jack of Hearts is in this pile!" That was the card you sighted through the envelope and you are now miscalling, using the one-ahead system! So have anyone cut that pile and remove one card. But you stop him and say "NO! That's not it." and tell him to show the card and discard it. You were right again! That was not the Jack of Hearts. The spectators are beginning to look at you funny. So tell the person to take the next card and again you say that is not it. So you settle for the third card and have him slide that card into the envelope. Again you glimpse the card through the window. You will find that each card shows through the window as it is put in. But if it does not then you just look into the envelope to check. Again

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SIDEREAL VISION •...•• corrt , • •.•• that is a normal gesture that tells the spectators nothing. You continue in this fashion and pick out the bottom card from the second pile last and have the person slide it into the envelope. You do not have to look at this card. Just pick up the envelope and toss it to anyone and tell them to check your choices against the written record! Climax. And again you will notice that no one checks the envelope or notices the window as it has no bearing at all of what has just happened. "Bear in mind." You say. "That I never touched the cards!" Gentlemen, I am assuning that the reader knows the one-ahead system and the art of miscalling. So let us proceed to better things, namely, the two-ahead system.

Let us assume that while doing the 'Sidereal Vision' you did sight the bottom card. So you proceed in the same way except that now you know the identity of the bottom card of the fourth pile from ri~ht to left and also know that the sighted card (unknown to you) is at the bottom of the second pile! So you ask the spectator to callout her card as you are going to try to locate it. But while you are doing that you also get some very strong vibrations of say the five of clubs, the original bottom card. So you say, "Is anyone thinking of the five of clubs? I am surely getting some strong vibrations on that card and I can feel that the five of clubs is in this pile!~ So you miscall the first two cards and have them slid into the envelope one at a time and you get a peek at them one at a time. Now the dramatic conclusion follows. (One of the spectators has been asked to jot down the cards as they're called.) You say, "I also get some very strong vibrations of two more cards." Here you name the cards just seen, and which are in the envelope. You continue to pass your hands over the piles and then have someone remove the bottom cards from the second and fourth pile which are the glimpse card and the original 'nether' card. So as soon as the cards are in the envelope, toss it to anyone for verification. These effects are very strong and completely shatter the reasoning of the viewers. Some advance thought on the J-ahead system can be found in the "H" Factor using the flip-over wallet. These principles have been known for centuries but they have seen little developement since then. More thought should be spent by magicians on these two very valueble weapons.

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In this effect, the ancient two-pile mystery is used in a very different and disguised version. It is truly amazing the amount of information that is gotten from almost nothing! EFFECT: Mentalist reveals a mentally chosen name and number and the identity of two playing cards glimpse from a borrowed and well shuffled deck of cards that never leave the hands of the audience and which the mentalist never touches. The two-pile mystery is a mathematical card effect that has been printed in almost all the books on card tricks. It is known to many non-magicians and no doubt that if the effect is presented in its original form it would be recognized by lay audiences. The Amazing Joseph Dunninger disguised the mathematical aspects of the presentation by substituting names for the uninteresting numbers. This introduced interest into the presentation as the participating spectators can use their own names or the names of their loved ones •• Dunninger's effect called "Nomenclature" appeared in Jinx #64. Fred Braue, writing on "The Two Pile Mystery" in Jean Hugard's More Card Manipulations No.2, elaborated further by having two cards glimpse instead of one (the bottom card on both piles) and also divining the mentally chosen number! In my version, Gentlemen, we will totally disguise the twopile theme and get away from the "deal two piles of cards to the number of which you are thinking." That last order throws suspi. cion on the effect and indicates a mathematical pUZZle. In this version it appears that only one pile is used or that simply two persons are asked to glimpse two cards at totally different times. METHOD AND PRESENTATION: Let us assume that someone has introduced a deck of cards and have asked you to do something. You refuse to touch the deck and make it clear that you do not do card tricks ordinarily. Turn to a person on your left and say, "Please think of a name, any name. Make it the first name of someone that you know but don't say what it is. Write it here in this piece of paper and don't let anyone see what you write and then fold the paper. Take the folded paper from the first person and then turn to some lovely lady and say, "please think of a number from 1 to 12 and please keep it to yourself. That is going to be the mystic number so please don't forget it. While you are saying that tear up the slip of paper with the name on it and discard it. You have glimpse the name in the process. (I am assuming that the reader can do the center tear. The Mag-Eye move or the Al Baker center tear is recommended) PLEASE NOTE: It is not necessary to do the name divination

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WHAT'S IN A NAME ••••.• cont • • • • • • . part as the effect is strong enough without it. However it does add to the mystery as only one person is asked to write his thought down while the second person thinking of the number does not write anything. Let us say that the lady is thinking of number 8 although you as the mentalist do not know that yet. The lady is told to take the well shuffled deck of cards and to deal cards to her number and to ~ass these cards in a bunch to anyone else (Call this person #1). Person #1 is told to shuffle the small packet of cards and to then look at the bottom card and to place the pack on top of the deck. Tell this person to remember the card glimpse and if necessary he may be asked to write it down. You then state that since the deck is shuffled and you do not know the mystic number you have no way of telling where or what the card is. Repeat again that you never touch the deck! (Say the 6 of diamonds is glimpse). Next tell the person on your left who is thinking of a name to please recall the same name that he wrote down and to take the deck and to deal from the top one card for each letter in the name. You have of course seen the name. Say that it is "John" so the person deals four cards down. He may do this openly or secretly. Since, you say, You do not know the name, the number of cards dealt tell you little. The deck is now passed to a second person who is told to callout a name also and to deal as many cards on top of the four cards already on the table, as there is letters in the name. Say that this person calls out "Mary." A third person is told to do the same. Say that "George" is called. There should now be 14 cards on the table. Tell this person to square the cards neatly. In the act ~ou must glimpse the bottom card of the 14 group. Say it is the Ace of Spades. This group of 14 cards is now returned to the top of the deck. (the Ace of Spades is your key card) The lady who is thinking of the mystic number is now told to take the deck and to secretly (under the table or behind an open book) turn the deck face up and to deal as many cards from the face of the deck as the total of the mystic number. She may shuffle the dealt cards. She is told to place the deck back on the table face down and then to note the bottom card of the small group of cards she holds and to replace the cards facedown on top of the deck. She is cautioned to please remember the card she saw. Let us assume this card was the 9 of clubs. Again you state that since you do not know the mystic number you have no way of telling where the glimpse card is. And again you state that you do not touch the deck. The person who is thinking of the first name, is told to take the deck and to deal cards face-up from the top of the face-

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NO TOCCARE WHAT'S IN A NAME •••.••. cont ••..•.•

down deck, one card for each letter of the name. He is then to continue to deal cards also face-up for the other two names called, Mary and George. After that he deals another row of cards above the 'name' cards until you see the key card, the Ace of spades, and you tell him to stop there. Fig. J, shows the lay of the cards.

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THE NAME CARDS As soon as the dealer finishes dealing the 'Name cards' the very next card is the card glimpse by person #1, the six of diamonds! Here .the mentalist may say, "The next card you are going to deal is the-- (point to the person and tell him to call his card)--the six of diamonds." That is a dramatic revelation, however if the performer wishes he can ignore the card and make believe he does not know any of the glimpse cards and then reveal them later. The person is instructed to keep on dealing 'the extra cards' face up and he is stopped when the 'key' card shows up, the ACE of Spades. The number of 'extra cards' dealt equals to the chosen number "8l" The 8th card from left to right of the 'name' cards is the card glimpse by the lady! The nine of clubs. Next you tell the person on your left the name he is thinking of which is 'John!' This effect seems quite complicated and cumbersome in writing but after a few trials it will become routine and most impressive to the viewers. To complicate matter a bit more the performer may have the 'extra' cards dealt right on top of the last 'name card.' That is the "e" in "George." "And remember, you shuffled the cards and I never touched them! "

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"'J1t,e fi'ti~ 'BtJVfJlA-a This is a version of the previous effect "What's in a Name." The method is well hidden and it appears that the deck was shuffled after the cards are chosen. Proceed exactly as in the previous effect. 1. The lady has chosen a secret number (8). 2. The lady takes the deck and secretly counts 8 cards, places the deck back on the table, and passes the 8 cards to spectator #1. J. Spectator No. 1 shuffles the 8 cards and sights the bottom card and places the pack face down on top of the deck. Say the card is th~ six of diamonds:. 4. Anyone now spells the three names, John, Mary and George. You must know the total number of name cards and since the names have been written down you know the total is 14. You must also know the bottom card of the 14-group. So tell the person to place the deck on the table and to square the name cards neatly. If you do not sight the bottom card then, tell the spectator to turn the pack face up, but as soon as you sight the face card say, "No. Place those cards face down on the deck and turn the deck face-up instead but don't let me see the cards. Keep the deck under the table. 5. Deck is passed to the lady who deals 8 cards from the face-up deck and places the deck back on the table face-down. Then shuffles the 8 cards, sights the bottom card, say the 9 of clubs, and replaces the pack on top of the deck. 6. Now tell someone to cut the deck in half, turn the top half face-up and riffle shuffle one half into the other and then to spread the deck in front of you from your left to right in a long spread. . Usually all the cards you will be looking for will be face-up, unless the names chosen were very long. In this case the 'name cards' were 14 in total and the number chosen was 8. So adding the two numbers you get 22 which is less than half the deck which means that all the needed cards are face-up. So start counting the face-up cards, left to right. Count 14 cards and the next card is the six of diamonds, the first chosen card. Next count from the six of diamonds to the Ace of Spades which gives you 8 which is the chosen number. Then count again from the left of the spread to the eighth face-up card to arrive at the Nine of clubs which is the second card chosen. "And remember," you say, "I never touched the cards and you shuffled them!" If the bottom card is not face-up, it means that it is on the other half of the deck. So count the face-up cards from the six of diamonds to the end of the spread and then have the deck squared and turned over and spread again and continue counting from left to right to the Ace of spades!

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You are on a space ship traveling between Mars and Jupiter. The passengers want to see some spage-age card tricks. To your shock you discover that there isn't any salt aboard and of course no sand either. Then you remember one of the secrets of the ancients and what a stunning effect it is. So you baffle their stellar pants off with ••••••.•

"~(J.tclt,.~ (!ttAe Calchas, the Chief 800thsayer- -who knew things past, present and to come The Iliad EFFECT. The spectators, using their own deck, shuffle it and cut it fairishly, and then cut it into three piles and look at the top card of each pile. The Mentalist, without touching any pile or card, divines all three cardsl METHOD AND PRESENTATION. In this amazing effect, you do not need to know anything. As will be seen you do not need to know the bottom card of any pile nor the top card and you still divine all three cards. However only to clarify a point, let us say that you did glimpse the bottom card of the middle pile and that it is the Ace of diamonds. As shown in Fig. 4, let's say that the three piles are I, II and III. And that the top cards as peeked at by the spectators are I, King of diamonds; II, seven of hearts and III, the three of spades. In Fig. 4, the bottom card of II pile is the Ace of Diamonds

38 KD

KD, 7H and 38 are the top cards. I

Fig. 4

The three piles should be as even as possible without having to count them. Each pile in turn can be shuffled. Knowing the bottom card of the center pile is good for a check only and if desired whoever flashes the bottom card while shuffling the three piles, that person is told to place his pile in the center. Designate the spectators as No.1, 2 and 3 respectively, corresponding to piles I, II and III.

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THE CALCHAS CLUE ••.••.• cont ••••.•. The three spectators have now peeked at the top cards of the three piles. They are cautioned to please do not forget their cards, and to take a second look if necessary or to write the names down. Spectator No. J is now told to take his pile (III) and to turn it face-up and to place it on top of pile II. (NOTE. The above maneuver has placed the

J of spades and the

7 of hearts together, back to back. The J of spades is face-up and the 7 of hearts is face down.)

Spectator No. 1 is told to place his pile face-down on top of piles II and III. The King of diamonds is now the top card of the deck and the Ace of diamonds is the bottom card. The deck is now assembled with a third of the cards face-up in the middle. All you have to do now is to tell someone to take the deck and cut it in half and to riffle shuffle one half into the other and then to cut the deck in half again and complete the cut and then to spread the cards in front of you from your left to right. (Note. The deck is only shuffled once but make no mention of this.) The cards will now look as in Fig. 5.

Fig. 5 Usually the very first face-up card from left to right is the top card from pile III. Very rarely, due to clumsy shuffling it will be the second face-up card from left to right. But it will always be the first face-up card to the right of a long line of face-down cards, so you can't miss it. The long line of face down cards in Fig. 5 starts at the right end of the spread and continues on the left end. If the deck had been cut a second time it would show a very long line of face-down cards! In Fig. 5, the card you want to remember is the J of spades at "A". Please note that the spectators on the other side of the table see the numbers on the cards up-side down. So maybe spectator No. J sees his card and maybe not. The other two spectators do not see their cards because they are face-down. One thing that

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THE CALCHAS CLUE •••••.• cont •••••• they do see is that the deck is well mixed showing face-up cards and face-down cards in haphazard groups. You are making believe that you just want to show them how mixed up the cards are when actually you want to get the iden~ tity of the top card of the III pile. SO as soon as you sight the card have them square the pack again a~d then TURN IT,OVER and spread it again from your left to righ~t. The spread w~ll now look like in Fig. 6.

Fig. 6 The ) of spades is now the first face-down card from right to left in Fig. 6 or the first face-down card to the left of a long line of face-up cards! But of course you know where it was before so again you just can't miss it. This is shown in Fig. 6 "A." Now amazingly, the top card of pile II is right next, to the right of the face-down) of spades. This is shown in "B" Fig. 6. However once in a while the 7 of hearts will be the second or third card to the right of the ) of spades. But you know just about where it is and all you have to do is to ask leading questions like, "Your card is a red one isn't it?" And then, "It has a number greater than 6, doesn't it?" etc. Now you know the identity of two cards. Now for the third card, the top card of pile I. This card is face-up and right in the middle of the spread as shown in Fig. 6 "C." Now if you had a chance of having seen the bottom card of the deck, the Ace of diamonds, you will note that the Ace of diamonds is to the left of the King of diamonds and face-upL These two cards are always together, but may have one or more face-down cards in between. A few trials at home will make you a master at promptly locating all three cards. Try it also with other people specially the ones that do not shuffle too well. You will have a superior edge on the spectators always and there just isn't a way that they can figure the results.

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THE CALCHAS CLUE Once you have mastered the technique of this presentation you may want to use only the spread in Fig. 6 and omit the first spread shown in Fig. 5. To get to the second spread first in Fig. 6, just tell the person to riffle shuffle and then cut the deck in half and complete the cut, turm the deck over and spread it. THE RECAP 1. Have deck shuffled and cut as much as desired. 2. Make three even piles of cards. 3. Have top cards of all three piles peeked and remembered. 4. Turn Pile III face up and place on pile II. 5. Place pile I face-down on piles II and III. 6. Cut deck in middle and riffle shuffle. 7. Cut deck in middle and complete cut. 8. Spread cards left to right. 9. Top card of pile III is the first face-up card to the right of a long line of face-down cards. (3S) 10. Square deck and turn over and spread left to right. 11. The 3 of spades is now the first face-down card to the left of a long line of face-up cards 12. The top card of pile II (7H) is to the right and next to the face-down 3 of spades. If not then ask leading questions. 13. The top card of pile I (KD) is in the middle of the spread and face up to the right of the face-up original bottom card. If you wish to pypass the first spread just skip steps 8 and 9 above. NOTE. In the above steps, when the bottom card is not known just remember that the third card is always in the middle and face up. There are usually only a few face-up cards there so all you need is a few leading questions as to color and high and low value. The effect can also be presented using the one-ahead system! When the first card (the 3S) is face down and no one has seen it, it can be found by passing your hand over it and adding afew dramatics. You always know where this card isl

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AN AL MANN EXCLUSIVE

Your audience only get~ ~he benefit of the effect and know and care nothing of the method used. By the use of the Easy-oneasy-off labels the effect of the Calchas Clue takes on a different hue. The labels add punch to the effect and make it even more enchanting and entertaining with an element of surprise. In this effect, however, the mentalist must know the bottom card of the deck which becomes the bottom card of pile II. Say it is the Ace of diamonds! So you will need some labels about one inch wide by two or three long. These are easy to get at stationery stores. ~~~HOD AND PRESENTATION, Please refer back to Fig. 4 which shows the deck after it has been shuffled and cut and divided into three equal piles. So,

1. Give a label to spectator No. J and tell him to affix it to the face of the top card of pile III and to sign it and remember the card and to place it back face down on pile III. 2. Spectator No.2 is given a label and told to affix it to the back of the top card of pile II and to sign it and look at the card and remember it. J. Spectator No. 1 is told to affix another label to the back of the top card of pile I but to not look at the face of it and to sign the label. 4. Spectator No. J takes pile III and turns it face up and places it on top of pile II. 5. Spectator No.1 takes pile I and places it face-down on top of piles II and III. 6. The deck is now cut in half and riffle shuffled and then cut in half a second time and the cut is completed. Then Mentalist says that he does not want to see the labels so he tells the one holding the deck to turn it over and to spread it on the table left to right as in Fig. 6. Now the cards look exactly as in Fig. 6. The labels are all out of sight. As per Fig. 6, the J of spades is face down wi th the label on its face.' The King of diamonds and the seven of hearts are face-up with the labels on the back. So you know right away where two of the cards are, the ones corresponding to the J of spades and the King of diamonds, so the first thing you do is to find out which was the top card of pile II. This is the only card that you are not certain about. Maybe it is the seven of hearts but then it could be any other of the three cards to the right of it. So with a few leading statements you can determine exactly what card it is and as soon as you do flip over all the three cards to show the labels. Viola! What a pleasant surprise. Remember that ~pe6tator No. 1 does not know what his card is. Yet you do and can if you wish place a label on it (the King of diamonds) and say, "I think this card has a label on its backl And remember you never touch the cards!

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Gentlemen, let's go a step further. Say that you are doing the Calchas Clue effect and that three spectators have already peeked at the three top cards of the three piles shown in Fig. 4. So now you invite a fourth spectator to cut the III pile in half and look at the bottom card of the cut portion and remember it and replace the cut portion. Let's say that the 4th peeked card is the 2 of spades. Let us assume also that you know the bottom card of the center pile (II) and that it is The Ace of Diamonds. as in The Calchas Clue and have pile III So continue turned face-up and placed on top of pile II. Pile I is then placed face-down on top of piles II and III. The deck has been reassembled with 1/3 of the cards face-up in the center and the fourth card is at about the center of the deck but face-up! Instruct someone to cut the deck in half and to riffle shuffle the halves. (the 4th card is now near the top or bottom). Next have the deck cut in half and complete the cut. (the 4th card is near the center of the deck again!) Have the deck turned over and spread as in Fig. 6. This is shown again in Fig. 7. 0

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Fig. 7 You already know the first three cards that were peeked so in order to identify the 4th card you use what Orville Meyer calls "The Principle of Majorities" in his book Magic in the Modern Manner. You know that the 4th card is now face down and near the center of the deck. You know that the Ace of Diamonds, the original bottom card of the deck is in the center and face-up. So the 4th card is near the Ace. Chances are that it is the first or second face-down card to the right or left of the Ace. but you can not be sure. So you remove or have someone remove the first five face-down cards to the right of the ace and also the five face-

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CLACHAS CLUE TWO ••••..•••• cont ••...• down cards to the left of the Ace. Fan these ten cards facing you or have someone spread them face-up. It may be that there are more red cards than black or visa versa. Or more even-numbered cards than odd. Or more high cards (above 7) than low cards. More hearts than diamonds, etc. So you proceed to eliminate all cards except one by 'The principle of Majorities!' Saying, "Your card was a red one?" "It was an even number card!" "It was a high card, above 71" "It was a heart!" etc. For a dramatic climax, once you identify the 4th card then you can just pick out the other three and confront your amazed audience with them. NOTE. The effect with the 4th card can be done by itself and if you wish it can be done without having to turn the III pile face-up. All you need to know is the bottom card which will end up in the center of the spread. However when you do turn one pile face-up, you have actually eliminated 2/Jrds of the deck since now all you have to work with is the l/J of the deck that is face-down! in the spread.

EFFECT. A spectator shuffles and cuts his own deck and then removes the Ace of Spades and sticks the Ace into the deck •• The Mentalist without touching the deck tells the spectator what card the Ace is next to! It is bizarre however you look at it! PREPARATIONSc In your coat pocket, carry a business size window envelope like the one shown in Fig. 2. One that has gone through the mails is best. You get plenty of these every month with your bills. Make sure that the flap is sealed and then tear off one or two inches from the right edge as shown in Fig. 8. Leave the bill or letter inside the envelope. You will also need a swammi thumbtip-writer. METHOD AND PRESENTATION: "I am a bit clumsy with my hands. That is why I do not perform card tricks. However I will let you handle your deck. So please shuffle the cards and cut them as much as you wish and then I will show you what I can do with them but I will not touch them!" "I need a large match box. (who has large match boxes these days?). If one is offered, you say, "No, thank you. That is not the right kind. I'll tell you what. I'll use an envelope in place

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AN AL MANN EKCLUSIVE

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of the match box. Here the Mentalist removes an envelope from his coat pocket and empties it of its contents and places the envelope addressside down on the table. (The audience is not aware that the envelope has a window). "Please remove the Ace of spades from the deck and when you have shuffled the deck to your satisfaction and cut it please place it face down into the envelope so that about one~ half of the deck sticks out. Then take ~ the Ace and stick it face-up anywhere ____________ into the deck and leave half of the Ace sticking out." Fig. 8 When that is done the Mentalist says, "I am going to try to guess just where it was that you stuck the card. I am going to name one card." The Mentalist takes out a business card and writes, "The card next to the Ace of Spades is the -----." This card is placed face down on the table and is not shown. The Mentalist next takes his pencil and pushes the Ace into the envelope so that it is flush with the deck, but what actually happens is that the Ace moved the top portion of the deck only. Now The Mentalist picks up the envelope pinching it so that the cards do not move and just before he shakes it he glimpses the bottom card of the top portion through the window of the envelope! He then says, "You shuffled and cut the cards, so you must agree that no one can tell the order of the cards. However, I took a chance and named a card. I want you to do the same. Please write down the first card that comes to your mind and see how close you can come." Mentalist replaces the envelope window side down on the table and picks up his message card and while the spectator is writing he fills in the card he glimpse with his swammi gimmick! Mentalist then throws his card to the spectator and says, "Let's see how close we came." He then empties the envelope on the table and pockets the envelope. The Mentalist is of course correct and mayhaps the spectator too. Those things do happen! NOTE, The window in the envelope means nothing. You did write the name of the card before you picked up the envelope, didn't you? So even if someone sees the window, it will tell them little! When writing the message above, only the initials are written both for the Ace of spades and the glimpse card. Have Fun,