Carlisle oo - O 7 23 fe MnAuthor’s Preface Most of the effects contained in this work are equally suitable for Jumbo ESP cards as well as the normal Bridge-sized deck, By far the groater majority use but one deck of Rhine Symbols however! 1 will be noted that in some cases we have merely adapted an existing "card trick" but, with the adapted presentation, the impact made upon the audience will prove far more than was possible with playing cards. At a time when there Is a wave of interest sweeping the World in matters which come under the Dlanket-torm of "The Occult", this book will allow the modern magical entertainer to pitch his pre~ sentation in such a manner that he may capitalise upon this state of affairs. ‘We would add but a fow words to advise the reader that all of the effects herein contained have boon audlence-tesied with ful zosul ‘Take up your deck of ESP symbols and let us embark upon some pleasant magical deceptions ~ together - thanks to Dr. J, B. Rhine!Foreword ‘The reader will find that we have not eet out this worl: into sections such as "imprompta", "a little preparation", tthe usage of faked cards", ete, because, by thus mixing these items, It will be found easier to visualise Just how wide the range of effects can be. Secondly, it will enable one to take the effects most favoured hy the individual and form them into effective routines. Nevertheless, we have sttompted to assist by "the star system"; one star by the title of each effect means it 18 completely impromptu and can be performed anywhere at any time, When two stars are used, it means that a slight and easy preparation is to be carried out openly in front of one's audience. Finally, when three stars are beside the title "advance preparation" and/or "faked cards" are used to accomplish the effect deseribed. Looking through our notebooks, we find that this tome may have been “a dry as dust text-book” if we had merely "sorted the effects into each catogory" but, by using this chosen format, the rea- der will find continual excitement as each effect is presented, We trust that this is to your liking, n WORF PB: compl bol to tele "That. take 1 two e: of cor suredwi EFFECT No.1 Guessing Gordon * ‘The deck is thoroughly shuffled and, when a spectator cuts it into three piles, the magictan an- nounces the symbol of the top card of each heap! WORKIN Patterwise, reference is made to "mixing the symbols" and not "shuffling the deck” and it is only necessary for the performer to know the symbol of the top card of the deck! The easiest way to ac~ complish this is to glimpse the bottom card when squaring and mixing and shuffling that known syin— bbol to the top of the deck. Whether a spectator or the performer does the cutting into piles is of little consequence as it is easy to keep track of the top card. ‘We will suppose that it 1s "a circle" and is atop pile No. 1, We point to pile No, # and state, "That is a circle" and take It up without showing its face. Let us suppose it is actually "a cross", We point to pile No, 2 and say, "That is a cross" and take it, placing it atop the card in hand, i.e., nearest the body. If this symbol is, say, "a square”, ‘we now point to the flrSt pile and state "That is a square" but, as it is taken up, it is slid behind the ‘two onrds in hand! aked ae sh todo-te-to. Le vespentive saris pecttve ites ant of course, they'll be the cards which you named, ‘This stratagem demands but a confident and as- sured manner and makes a quick and effective opener to a routine, Pick up this card first v aN ENS ‘Original top card of packEFFECT No. 2 Psycho-Symbol* Do ME ‘Any spectator mentally selects one symbol from the five handed to him and, even though he then mixes the cards, the performer dramatically reveals st ee HETHOD be Toss five cards, one of exch symbol ypon the table top and turn away, Inviting a apectato 9 we thoroughly mix them and then to note the FACE card of the pile. When he acknowledges that he has i done 80, request him to transfer a small number of cards, SINGLY, from top to bottom of the cards hela. : car Ask him to turn the cards FACE UP and count them onto the table, at which time you state that aa no ane present could have pricr Imowledge of his secretly chosen symbol or his secretly decided movement of cards, ete, , and you say, "Tum them FACE DOWN again and, to further confuse the issue, will you now transfer the same number of cards from the top to the bottom ~ EXACTLY AS oth YOU DID BEFORE." This reminds him to doit one card at a time! tor ‘When he has done this, his card is now the top card of the FACE DOWN pile, For the first time you turn towards him and take the cards. Knowing that the top card is his, Bea you can reveal it in many ways! We suggest you tose the cards, singly, in scattered snd irregular "non-pattern', but you still know which Is his! You take from your pocket your "lucky piece” and on pass it across each card in turn and it auddenly drops from your fingers on to the back of one card, sue ‘Ask him to name the symbol in his mind, turn It up ~ elimaxt pac a~ hav 2g justhen has ards hat the AS gular nd ard, EFFECT No. 3 A Five Star Miracle ** ‘The witness selects a symbol and places it into his pocket, Four more cards are dealt FACE DOWN according to whatever freely chosen numbers others give and, when they are turned up, all are "Stars", ‘The spectator removes his pocketed card .,,.. it's the 5th Star! METHOI ‘Whilst idly toying (2) with the deck, all you do is ensure that you bring all the "Stare! to the top of the deck! Whether you overhand shuifle and injog, etc. , or rlifle shuffle retaining top stock, the beginning as far as the audience is concerned comes when you deal a row of 5 face down cards, The spectator takes any one and you gather up the four remaining cards and drop them back on top of the deck. Ask someone else to give a number between 10 and 20 and, presuming that 12 {s called, deal 12 cards onto table (thus reversing them) and pick them up and replace on deck saying "Sorry, I've just remembered that under test conditions that 1s not correct." Actually, this covers up the manoeuvre Which is necessary for you to proceed correctly. ‘You now ask another spectator "to give # number between 10 and 20" and deal off one atop the other that number, then stato, "In fact numerology plays its part so we have to add your two digits together."" And you,lay the talon to one side and take up the dealt cards. Let us suppose "14" was given; you say, "So1+4is 5", ‘Then take the dealt and tabled pile and deal (in this ease) 5 cards onto the deck and the next card is laid face down a foot or so forward, This Is repeated three more times and will result in all four Stars lying face down Im a neat row fon the table, Turn them up one at a time and the extitement mounts as the audience see that eack successive symbol is identical, At this time, tho smarter witnesses may guess what the denouement HAS to be but, by good pacing, you can ask the selectee to lay his freely selected symbol on the table - he does ~ and we have a § Star Miraclo! Obviously, one may use any of the symbols, but, by utilising the Stars in this example, we Justify its title,EFFECT No. 4 The Magical Match-Maker ** ‘The performer takes 10 cards, consisting of 2 of each of the 5 symbols, mixes them places his hands behind his back yet he can bring forward "a matching pair" five times. Perhaps this is not over-exciting, but he also NAMES the symbols BEFORE bringing them into view! ‘The patter here fs about psychometric divination, MpTHODT As the reader will probably already know, the symbols are easily remembered because it takes one stroke to make the CIRCLE; two for the CROSS; three for WAVY LINES; four for the SQUARE; and the STAR has five points, This Is the entire basis of the effect now offered. ‘When each set is taken, it is arranged in order from 1-6 and one set is placed on the other. Quite obviously, each "match" is 5 cards apart and so, although we cut several times, the cards retain their relationship to each othert So, with the cards seemingly well-mixed, when both hands are behind the back, slide the top 5 towards the right and take off the top card of each 5, WHICH MUST MATCH! You bring these for- ward, saying "This pair is a perfect match" because you do not know which symbol they bear! However, once that pair has been brought forward, you'll know EXACTLY what sequence the other four matching pairs will follow. So for the rest, you ACTUALLY name each pair before it is revealed! ‘The effect on an audience is out of all proportion to the simplicity of the method used, MET plain start thes the d next thahis aot kes TARE; is es for itis EFFECT No. 5 Mental Simplicity *** ‘This time, the spectator does take card and concentrates upon its symbol which the performer then "mind-reads", METHOI Prior to the show, arrange the entire deck in its easiest remembered order as previously ex~ plained in effect No. 4, i.e,, Cirele, Cross, Wavy Lines, Square, Star; then repeat four times, No amount of cutting the deck can break this "chain", even though it will have, perhaps, a different starting and finishing point, ‘The deck fs fanned in the normal way, then the performer separates the deck at the point where the spectator removed his card, so that the upper portion is placed under the formerly lower part of the deck. It is only necessary to glimpse the bottom card to know with certainty which symbol will be the next in sequence. i.e,, if he glimpses 2 SQUARE, he knows that the STAR was selected but, should it happen that a STAR is seen, then the next cycle begins so the spectator must have a CIRCLE.EFFECT No. 6 The Double Cross ** Both spectator and performer take a few cards each and eliminates them one at a time until each holds but one card. The climax comes when both tum over thetr remaining cards and it is e¢en that feach holds an identical symbol ~ in this example ~ each is left with a Cross - the perfect "Double Cross!" METHOD: During the performance it is easily possible to bring two identical cards to the top of the deck. We'll presume these are CROSSES, Shuffle the cards (but say you're "mixing them") by any method that allows you to retain the top stock, As only two cards have to stay in position, a simple riffle shuffle holding these cards back will suffice, ‘You will now deal two "hands" of 8 cards each to a spectator and yourself - the spectator gets the first Cross and you get the second and a normal deal ensues, In short, the bottom card of exch pile will bo identical! In a "Do-as-I-Do" manner, the spectator imitates your actions and from face down piles now held in the hand, deal the first card on the table and the second is slid under the pile; this, repeated tuntil but one card is left to you both, means that you'll both retain the original eighth (bottom) eard «50 that when both are turned face-upwards, you have a very strong climax indeed! ‘A 10 perk ING MET ols posit this, two? any « circ rever cards prod ishing card just 2 ing thU each en that ble- ek, aethod titte~ sets each peated card EFFECT No. 7 The Circles of Your Mind ** Here again, surely something more than a coincidence 1s present when both the spectator and the performer choose cards in what must be the fairest way ~ yet ~ they both in fact choose A MATCH- ING PAIR: METHOD: Whilst running through the cards faces towards yourself, you'll come across two identical sym- bbols next to each other. Cut the deck at this point so that they become the Kottom two cards when tthe deck is turned face downwards? Shuffle in anyway that leaves the two symbols in their relative positions and pattor sbout E.8,P. as you do 30. Extend your hand and request the spectator to out off about half the deck and, when he has done this, you both shuffle your respective portions. He does it normally and you ensure that the bottom two matching cards stay where they are, At this point each of you place your eards behind you and you state, "Each of us will now pull out any card from our own portion, bring it forward without looking at its face, exchange cards and, once behind our backs, we'll turn them FACE UP and push them into the middle of our eards, " ‘You bring forward the bottom card and he hands you any card, but when he does as bid, your CIRCLE (in this casey will be face up in his pile. ‘The card he hands to you is Just Isid on top of your eards whilst you take your now bottom card. reverse it and slide it face up somewhere amongst your pile ‘You both bring your cards to the front and you recap on the fairness of it all - then both sets of cards are either run through from hand-to-hand until the reversed cards are seen or, at your own prediction, both sets may be ribbon~spread on the table. Either way it has a very visual and aston- ishing climax! P.S, Whilst it would be a nice touch to have a prediction in evidence, either an actual symbol card or a written prediction, we honestly feel that this would be a case of gilding the lily ~ it's all just 8 little too pat under those cireumstances. But tho reader has the option of utilising or discard- ing that 1dEFFECT No. 8 Ad Infinitum *** ‘No matter what symbol the spectator has, the magician "thought-reads" it again and again in di- verse ways. This is, in fact, a complete routinette utilising just one basie set-up and, although it could be presented as 3 different tricks, in this combination it has great audience appetl. METHO! ‘The set-up is from 1-5 repeated, i.e. , the Circle, Cross, Wavy Lines, Square and Star followed by four further identical sets of $ cards. Either the performer or assistant cuts the deok and com- pletes the cut several times and, from the witness's position, ft would seem that those symbols were ee well-mixed, In fact, as we have noted earlier, the sequence stays the same! ME: ‘Ask spectator to take up the deck, concentrate upon the face /bottom card, then place it in his a pocket and the deck back on the table. d Take the deok and square it, glimpsing the new face card and name the next eard in sequence, cast Climax No. tt, that Card is removed and placed on top of the dock and "out to middle to lose it”'(?), ‘This all aids aoa the Illusion of "s mixed deck" so now you proffer the deck and name another two cards chasen ~ two cards "ide by side." "Be ‘The cards are placed in spectator's pockets, one in his right end one in his left, Although you appear nonchalant, you MUST note which card goes into which pocket! Once you've done that, a om eek at the decks face card tells allt ‘To put it another way, you cut the deck where the selection took place and the two cards are the hnoxt two in sequence to this new face card, By observing which went into what pocket, you can now either touch his pockets in turn and "peychometrise the symbols", or you maj play the old game of asking the spectator to try to guess the name of the cand in one pocket. If he's RIGHT, let him take it out and show it, but if he's wrong you say, "Hmmm - I don't think so - it's probably a SQUARE.” (or whatever you know it to be!) Elther way, you now tell him what symbol is in his other pocket. Each time he brings out a card it 1s added to the top or the bottom of the deck as the case de ‘mands, s0 that you end climaxes 2 and 3 with your deck fully stacked for the finale, Here, we ask him to pull a bunch of cards from the centre of the spread deck. ‘The cut (as be- fore) allows a peck at the new face card so now you stand away and say "Concentrate on your cards ~ Ah, yes, a CIRCLE - the next is a CROSS" - and go through the normal sequence untilhe runs out af cards, Of course if he tosses each card called to the table, in all probability your sequence will be higgledy-piggledy by the time you're through ~ 0 you finish on a high-spot, You've rend his mind on a single card; then two cards; finally "a whole batch of them" and now you've justified the title of this short but telling routine!in al- shit vtlowed ais. aids = wo EFFECT No. 9 Triple Mind Echo *** Another 3-in-1 effect wherein three separate spoctators each take "their cut!" of a portion of the dock and you name them allt pETHOD: ‘The deck Is set-up 1-5/Circle-Star as we have used it throughout in the "stack routines", Spectator A cuts from the top; B cuts again and then C cuts once more, You give the balance "a casual shuffle” in which you ensure the top card is brought to the bottom! A glimpse of that tells you ‘that "C's" card is one behind it in the sequence, so announce It and retrieve his cards which are Groped atop your cards, Follow the same shuffling of the new top card to the hottom and one behind that in sequence is "Bis" symbol, His cards are taken and placed on top and the repest of previous actions allows you to know MA's" symbol. This is very simple to do but has a great effect on the witnesses, asEFFECT No. 10 Mind Patterns ** ‘The spectator mixes the symbols, yet he then 'miraculously' (2) sorts them into two piles, He does not know how and his surprise is the making of this subtle item. ‘METHOD: iz ‘Take all the Cixcles and all the Stars from the deck and arrange them alternately so that they run ie Circe, Star, Cirle Sa, Cree, Star, Chele, Sar, Cnele, Sar, Any goed alee-eue that tains the order of all may be used. 1 ban w-Sollow-this-cerefliy: 1e packet to the-spectator-an 2 4 ‘TWO cards, replacing them on top. Next, he will cut the deck and complete, then furn over the new top TWO cards as before. This, may be done several times at the predilection of the performer but, ca to the witnesses, the symbols seem well-mixed! ” at He is then instrueted to place the packet of cards under the table and, whilat out of sight, slip the top card off and place it on the bottom. He Is to tun over the next card and deal it as it ts onto " the table! ‘This 1s repeated until § cards are on the table, but, face-down oarda in 1 pile and face up cards in the other! ae Immediately he has dealt the fifth card onto the table, suggest, "Let's further mix them shall th ‘we?" and ask him to TURN OVER THE CARDS HE HAS AND MIX THEM! Now he resumes his previous "top card to bottom ~ next tumed over and dealt on the table" and ol he continues until his eards ave exhausted, At this time, there are two piles of cards on the table, one (face-up) has ALL the cards of one fo symbol and all the face-down are in the other! A remarkable feat and the eards are manipulated de ‘throughout by the spectator! 1EFFECT No. 11 Thought Sign * 7 A novelty revelation of a symbol that is "mentally selected" that looks impossible but is almost anton sera meruon: os "Tok G6 SCE ik HRD hh eS Ci i ck, EA A ck pulang at pat be bo, sowuze fan ha bake to men Ga Ae Ae Ee SEH ot SG dosh i cat sare ia! He cous his anber of cards ond remembera Ma secret munber, te ie baw ‘You now state, "I'm going to show you the rest of these symbols and if, for instance, you have 15 rene code, lame emcee teotiantl yee, Ho Gober to fear Sh, FOUN eM z filth symbol, Clear?" 2p Aolding the balance ofthe deck, you show and number 11 card oly, i pause 94 you say, ee ‘Wora.gon G8 tease Raa” feae- Because you deal each card upon the other, you quite naturally reverse their respective positions and go, wn th epotator agrees (ashe must!) tha he la thinking of one patiels® ymbel, tke tp am the dott cards and drop them upon hose left in your hand! th She mah anv. LAE RSG Be URE CR HL 8 A “and sone ‘You now puter tothe effect that he has THOUGHT SIGN in ls mind, so you dea off ons card a SBF ea otto OF THOUGHT STON Tr Earn eae Tro Toon HOTT TTC co down ask forthe THOUGHT SIGN, When itis annomeed fm ever the card in your band = THAT'S Ir! a5EFFECT No. 12 Sensitive Fingertips * After the performer has shuffied 10 cards from the deck, a spectator does the same. The cans are then retaken by the performer and esther placed behind his back or beneath tho table, whichever fs most rultble, “The performer's sensitive fingertips (2) allow him to sort out the two seis of symbols into 6 of cach! In other words, whilst out of sight the cards are separated according to the symbol they represent ~ this has two "Yollow-ups," METHOD. 1) First remove all the "wavy lines" and "stars" from the deck and altemate them "wavy lines, star, det wavy lines, star, ete." Use any convenient false shuffle that retains their order and then the spec ator isarked er mir he peeing the- Cut EeVEYET TIRES = Now he turns over the two top cards and cuts them into the deck and this may be reposted sev- eral times also, TH When the cards are out of sight (behind the back or under the table), turn over each alternate card. An easily-done’thing if you take the top card then tip the second over "sideways" onto it - the ME ‘ird card taken and the fourth flipped over in like memer until the cards are exhausted, ‘The packet is now rfbbon-spread across the table and all of one symbol will be fuce-upward and rer the other face-downward - simplicity itself - but having a uneanay reaction on the witnesses for Climax No, 1! met 2) ‘Then allow any spectator to OVERHAND SHUFFLE the packet and putting the cards once more out of sight, merely push 5 cards off into the other hand, tm ONE packet over and when replaced om the table, each will contain the same number of fxce-up cards ~ but one has "wavy lines" and the other has "stars." Climax No, 2! : 3) Ask the spectator to take the eards from you beneath the table top but, although he sees you take up both spreads and apparently place them together out of sight, you turn one set of 5 over and then hhand them to hit Invite him to shuffle them all and state that you will "besm thought-aetions ta him” 60 that he will succeed in doing what you have just performed - despite the fact that his re-shuffling has altered the order of the symbols, ‘What he does not know of course is that, because of your subterfuge, ALL "stars" will face in one direction and ALL "wavy lines" in the other! He is instructed to hold the packet of cards in his left hand, his right hand taking the top eard and placing it on the bottom, the next card is tumed over and placed on the table, He repeats this four times and if « card is face-up it goes to one side; face-down the other, Now then, when 5 cards are tabled, no matter what position they occupy, ask him to tura over the whole of the remaining cards ~ shufflo them - and then restart the previous sequence of moves. At the conclusion, HE hes a face-up pile of one symbol and a face-down pile of the other. CLEFFECT No. 13 avds Simplex Mindreading *** ot , ‘Tho spectator cuts and completes the out of the deck several simes, lddks atthe top card, then star, deals off six cards and shuffles them together face downward. \ The performer fans the cards, removes one symbol and lays It on the spectator's palm and puts the ctor cards back on the deck, ~ ‘The spectator voices his choice and the magician asks him to look at the card he holds - IT IS THE ONE! “thie METHOI Simply arrange the pack in eyclie sequence i.e., Cirele, Cross, Wavy Lines, Square, Star and and repeat four times. No matter how much the cards are cut, the sequence remains the same, Therefore, when the spectator does as directed, he looks at the ONLY symbol of which TWO ocour in the six he shuffles! the ako will the avEFFECT No. 14 Pick Pocket * Any spectator is asked to remove one of each of the 6 symbols then shuffle them to thelr hearts delight. ‘The performer takes them face-down and places them into his pocket, Anyone calls for any symbol and the magician removes it ~ repeated ad lib! - "til all five are back on the table, bol thr ME WETHOD: ‘The performer already has a set of five in the known order (Circle, Cross, Wavy Lines, Square, Star) in his pocket, The cards are upright! When he takes the rhixed packet from spectator, these are lafd in a horizontal position and thus do not interfere with the access to the vertical pocket. ‘This is ALMOST a direct "steal" from the "Princess Card Trick", We have put this under "one star" because the reader can palm off the five cards during performance of another effect, 18 wa his cu slaEFFECT No, 15 Double Choice *** ‘The performer shows a sot of five Rhine symbols to a spectator who "mentally notes one sym- bol" In the novel way magicians have, he proves he was able to read the spectator's mind, Im- mediately, the spectator takos one symbol away and then, on a prediction that has beea ia view ; throughout, if 1s shown that the performer knew in advance what the second choice would he, ‘METHOD: Prior to the performance, the performor has placed four SQUARES in his pockot Iald on thet long sides, When performing, he removes one of each symbol from the deck and, whilst apparently ‘mixing them, he arranges them in the 1-5 systom wo havo usod throughout i,0., "Circle, Cross, Wavy Lines, Square and Star." These are shown to a spectator and when the performer goes into his pocket with them, he ensures they stand upright, He removes, slowly and singly, four cards face down onto his other hand but these are the for- merly "pocketed" SQUARES, "have but one card left in my pocket, so, will you please tell the audience which symbol you ‘merely thought of, etc." When spectator gives this the performer can remove the correct card. Climax No. i, Ii the symbol Is NOT a square he has It dropped upon the table face up and offers @ choice from The Tice dawn four! Ir the spectator Gia choose a square, ml lf along with the other four before he re-seloots, Either way, this second time he must get the Square you predicted in a sealed envelope or on a slate, etc, , so you either patter to the effect that chance alone has led him to choose the same sym~ bol twice or that you read his mind, or say, tho Circle, but know in advance that he'd choose the Square on his second time around. Either way - you have it made! | BeEFFECT No. 16 Symbological *** remembering it, ‘The deck is re-shuffled by the spectator and handed back to the performer, who fans the cards face towards himself, takes out one symbol card and this proves to be the one thought of by the spectator. ; METHOD: " Prior to the show we place four symbols into the pocket in their memorised order of Circle, Cross, Wavy Lines and Square, Once the performer retrieves the deck, he has only to look through the deck for a Star and this 1s placed openly into his pocket whore it complotes the "eyele of five." No matter what the symbol, performer ean now produce it trom his pocket. Believe it or not, it is the very simplicity of this which makes it so effective! 20 card back ‘back itab on W tors. MEI tot gree sticl ‘The ise. take fake into the aol ra and be «wight ol, EFFECT No 17 Blind Man’s Bluff*** ‘Three spectators think of a symbol and the performor asks each to draw a different design on cards supplied for that purpose; however, the first spectator's white card has a red circle on its bbaolk and the second and third spectators have a yellow and a green spot respectively ‘The lights go out and performer states that he has caught Mr. Retl's thought so, with the lights ‘back on, he writes his impression on a sheet of paper in the pad, tears it out, crumples it and drops It atop the Red Spot card. Lights out and he has second person's thought and does exactly what he did the first time, ‘Another "black-out” and he has No. 3's thought which, with lights back on, he writes and drops oa Mr, Green's card, ‘Turned up, the drawings made by the performer exactly match those made by the three specta~ tors, ‘METHOD: ‘This depends upon two subtleties; first on the well-known "one-ahead" principle and secondly on a seen but unsuspected "gimmick". Prior to the show, you stick red, yellow and green stickers (available from any stationery shop) to the three cards to be used and then take a fourth card and stick a yellow sticker on one side and a ‘green on the other! This "two sided card" is placed in an otherwise ompty pocket with the green sticker closest to the body and the yellow sticker away from it. Now shuffle the deck of Zenner cards and, having glimpsed the bottom card, shuffle it to the top. ‘The "Red" spectator cuts a portion then tho "Yellow" spectator cuts his portion and the final portion TS-CUC ANT COMPTELE OF WT, GEN ‘When you lay out your note pad and pen/pencll, say that you need the lights off. In the dark, take the yellow backed card from the table and turn ft over In your lap. The other hand places the fake eard, yellow side up in Its place! Call for the lights and draw the symbol you know as "Mr. Red's" but, as you do so, you note what symbol fs on your lap! Tear off the drawing, crumple it into a rough ball and lay it on Red's card, ‘As all spectator's looked at their top cards before the deck was shuffled and put away, you KNOW this Is correct, but you also KNOW what "Mtr, Yellow's" symbol is. Lights out again and both hands get busy - take gimmicked card, turn it over and place it where the real green card was - the latter Is now reversed and lapped as before - the real yellow card goes, back in its original position, Ask for ights and you draw "Mr. Yollow's" design and estch sight of "Mr. Green's", crumple drawing and drop on real yellow card, Lights out once more and you atoal the gimmicked card and replace It with the genuine "Green" and, when the lights go up, you complete your effect quite openly! ‘The faked card is back in your pocket and all the cards, your drawings, pad and pen/peneil can bbe examined (If you go in for that sort of thing). But, from ihe witnesses poiat of view, you have ead the minds of all threo of thom without any clues being available to yout ByEFFECT No. 18 Duplicate Thoughts *** After two spectators have thougt ofa symbol, the deck is shuffled and then pocketed by the magi 3 cian, Each spectator "concentrates on his thought form” ard th penformer protuees each card In ado uum, pect METHO Mex Remove one full st of symbols i.e, a Circle, Cross, Wary Lines, Square and Siar from the A deck and use only the remaining 20 symbols. Arrange these 20 cards tn pairs, and these palrs may be Tr iy Sra = enon ‘tne deck is ent several times, then the performer shows that the symbols are well mixed (?)- wee ‘Taig ts aenioved by the simple expodiont of ling up bates of cands in a seemingly haphasard be manner, Whilst doing this, wateh forthe opportunity to find any pair and eut between them, holding fone cut portion in one hand ~ the other in the opposite hand, T Pattering to the effect that the symbols are well mixed, openly complete the cut and the pair you *, separated will be the top and bottom cand . Square-up the deck, tur it face~down and offer the dec to a spectator. Ho Is invited to think of 7 any EVEN NUMBER {ander 10!) then deal tht nanber of cards info a face~down heap onthe table = Jook at the last card dealt and drop the remainder of the deck atop all, a ‘A second spectator runs through tits idential routine and then seems tothe onlookers that there can be no clues left for the performer, in fact, the performer may patter to that effect as he o RIFFLE-SHUFFLES the deck BUT RETAINS THE TOP AND BOTTOM CARDS! can ing The deck is now pocketed without the face card being seen. Remove the empty hand from the pce prcket and ask the first assistant to "THINS HARD" of hg symbol, dive Inco the pocket and remove ‘THE BOTTOM CARD for it is his! rT ‘The same charade is played out with the second helper but this time the hand pulls out THE TOP 1 CARD and you'll be correct once again, “how Yes! It's purely automatic and works itself so all the reader has to do is to sell it effectivel 2 mat F 8 ~ime a2 magi din the amay 2). ataing you snk of able ~ he Top ely! EFFECT No. 19 Just in Time * Based on the well-known "Card Clock", this is an effect in which the spectator notes a symbol and the performer reveals it in a novel and entertaining way; in fact he deals a ‘card clock! and the spectator's symbol is placed at the ACTUAL HOUR arrived at by the spectator himself! METHOD: Allow a spectator to shuifle the deck to his or her own satisfaction then retrieve it, Spreading the cards in a soomingly casual manner, you actually count thirteen cards, but to the onlookers it seems as though you just take a random bunch as you nonchalantly say, "Please take somo", in a tone of voice which suggests that it doosn't matter how many he actually gets. The talon is laid aside, ‘Turing away, you instruct the spectator as follows:~ 1) "Please remove a small number of your cards and place them in your pocket." 2) "Please mix the cards in your hands to your own satisfaction. " 3) "Look at the face card and remember it." 4) "Just drop thote cards back onto the deck please ..... and square tho lot so that ean have no idea of where your card was replaced. CARD AT 12-o-clock, the second at 11, the third at 10 and so on round to 1-0-olook (thus complet~ ing the deal of twelve cards reprosenting a clock dial). Just remember to START at 12 and DEAL ANTI-CLOCKWISE! The balance of the deck is placed in the centre. ‘Tell everyone that the cards represent a clack dial and sor 1) "The spectator is to count how many cards he placed in his pocket for that will determine the "nour" on the “clock dial", i.e. , 1f he has six cards it will indicate six-o-elock ete!" 2) "Whatever the number, will he just count the hours on the clock dial until he reaches his hour ‘and turn up the card he arrives at," He does and finds HIS OWN SYMBOL THERE! Some performers may wish fo do the counting themselves ~ ask the spectator to name his symbol = then flip it over! We prefer the spectator to do it.EFFECT No. 20 The Spectator’s Miracle * After the deci has been genuinely shuffled, cut and mixed to a spectator's satisfaction by him, the performer removes one card and lays it to one side face-downward, ar ‘The spectator fairly deals the deck until he has one card left und that card fs 2 perfect match to your ‘the ‘prediction card! laid to one side before the deal began! ‘METHOI 0 Once the deck is shuftled and returned to the performer, he fans the cards face towards himself and notes the fourteenth card from the left (J.e, if the deck were held face-down - the fourteenth ‘rom the top). He looks into the eyes of the spectator then down to the cards and removes s MATCH ING SYMBOL to that fourteenth card from the fifteenth - twenty-fifth card range, It is just possible that all five symbols are in the first ~ fourieenth card range and if that happens, remove ANY card from the lower range, hesitate, replace it in the first - fourteenth card range and then re-select one of the proper symbols,’ By so doing, the fourteenth card will retain its position, ‘The symbol is not shown but merely laid aside and the balanee of the deck handed back to the spectator who then deals two hands of twelve cards, the first to you, the second to himself in a nor- ‘mal dealing procedure. ‘You will immediately discard "your hand" without looking st the faces and request spectator to deal again. ‘This time you will have six cards each and you discard as previously explained, He deals his cards once more (three each) and you again discard your cards, Invited to deal once more, the first card is yours, the secona we spectator to you ~ he has but one card! ‘and the third comes ‘Yours are discarded without comment but you now reach over and turn up the ‘prediction’ you laid aside. Ask the spectator to now turn over his card (left to him by his own shuffling and desling, remember!) and his symbol is A PERFECT MATCH, It is surprising how much impact this simple nethodology produces, a weAPPENDIX "A" A Simple False Shuffle for 10 Cards , When using 10 cards that aro stacked In known order, use the overhand shuffle and run either 3, 5 or 7 cards SINGLY into the other hand throwing the balanee on top. Repeat this, several times at your own predilection and the cards retain their ALTERNATE order. to If 4 spectator now cuts thet once (or more) it can ony ado the illusion, We oan heartily ree commend ths ploy In "Sensitive Fingertips” a8 explained in tls book vat con cox APPENDIX re ‘i fone To Retain the Complete Deck in Sequence — THE CHARLIER SHUFFLE ~ ling, me ay . SS A good false-shutffle 1s essential to keep a "stacked deck" in sequence and, as the more usual overhand and riffle-shuffles are unsuitable (unless one is truly adept in sleight-of-hand with cards), wwe direct your attention to this easily learned Charlier (sometimes called "Haymow") Shuffle. 25 —————Believe it or not, tho sloppfer you appear to do it, the more convincing to the spectators it seems. This holds a unique position inasmuch as no great proficiency is either necessary or desir= able but the more it is used, the smoother it will become. In what follows it will be far easier if the reader will hold one simple thought in his mind, that, despite the seeming thorough mix-up, at the conclusion the cards will be exactly as if one had merely cut the deck and completed the cut! Holding the deck face-down in the left hand, push off a fow, say, five or six cards with the left ‘thumb into the waiting right hand which tales them between the thumb on top and fingers beneath, Gee Thus. A.) Slightly raising the left hand, the fingers now push off a similar number from the BOTTOM of the deck and these are taken ATOP the cards in your right hand by allowing the right thamb to raise and descend again atop this packet, (See Ilus. B.) By now slightly lowering the left hand again, we allow the left thumb to push off another few cards from the TOP which are taken with the right fingers UNDERNEATH. (See lus. C.) Repeat the previous two "moves" alternately and the end result is a deck in the identical sequence (although perhaps cominencing and fintshing with different cards) to that at the comrencement for, fas we noted above, if done rather slowly and deliberately whilst pattering about mixhig them thorough- ly, any witness would swear that those cards were mixed, yet all we have actually achieved Is to have ‘out the deck! Any time expended upon the learning of this (which won't take long) will be to the performer's, greatest advantage, 26 oft] tion vape less theifthe the eft of ence >rough= ohave Apologia Whether the contents of this work are exhibited as magie tricks, telepathy, predictions, mind reading demonstrations and for close-up or stage-work is up to the reader to decide, but, if we have inadvertently "taken a principle and not given the originator due credit" or "insulted the intelligence of the well-versed magician by using two appendices" - we apologise immediately. However, in this work it was our intention to supply a workable, practical and entertaining collec— tion of magic with ESP cards and, because we are aware that there are many magicians who have the vapours when the term "{alse-shuffle’ 1s used, this book would not have been quite so useful for the less-experienced had we not added them. In certain cases we have utilised "Routinettes!" and the reader will find that many permutations of the other contents make, for their own pleasure and creativity, great possibilities for further per- One item herein has appeared in "The Magigram" and Edwin has kindly consented to allow it to appear amongst this collection, Especially Yours, ‘The Author ®||A |B] aable thw (Ber the (at y. gre Dedication Author's Preface Foreword Guessing Gordon * Psycho-Symbol * APive Star Miracle ** 2... ‘The Magical Mateh-Maker ** , ‘Mental Simplicity #** ‘The Double Cross ** 2... ‘The Circles of Your Mind ** . . ‘Ad Infinitum *** ‘Triple Mind Boho *** 6. ss ‘Mind Patterns ** ‘Thought Sign * Sensitive Fingertips * . A "Routinette” of 3 Simplex Mindreading *"¥_. ss Pick Pocket * Double Choice *#* Symbological *** Blind Man's Bluff *** +s + A"Routinette" of 2 effects Duplicate Thoughts *** 2... Just In Time * ‘The Spectator's Miracle* . ss Appendix A Appendix B . Apologia Index Simple False Shuffle for 10 Cards effects +» ATriple Miracle ‘The Charlier (Haymow) False Shuttle to Retain the Complete Deck in Sequence . 28 10 2 8 u 18 18 Ww 18 19 20 a1 2 23 a 25 25 an 28ERRATUM. Effect No, 9, Stanton Carlisle spologises, profusely, to all those of you who have purchased his latest work entitled, "THE MAGIC OF FSP", because the THIRD EFFECT therein, entitled, "A FIVE STAR MIRACLE" will not work as I have INCORRECTLY deseribed it there, CORRECT INSTRUCTION: Proceed until the paragraph beginning "ASK SOMEONE ELSE TO GIVE A NUMBER" (para, 2) for It is from that point onwards that it ls Incorrect, Instead, state that you are going to ask some= fone to give any number between 10 and 20 and that they may for instance, say, THIRTEEN and then you wish them to deal the cards of the number freely chosen onto the table .., $0 ... and you dem- ‘onstrate with the number "13" then toss them AS THEY ARE back atop the dack, This has 'set up" for what will now happen automatically, NOW hand the deck to a spectator who is asked to give a number and he may say "LA" and when hhe has dealt 14 cards one atop the othor, state that numerology plays its part and 1 plus 4 equals FIVE so he deals FOUR cards back onto the deck SINGLY and the FIFTH is placed forward. In each of the four eases, one LESS than the number arrived at by the addition of the digits ts dealt back onto the deck and the last card laid forward on the table. Even with "19" when 1 plus 9 equels ten, the spectator deals NINE cards atop the deck and the TENTH forward, 18 THES procedure is followed, the effect {s absolutely automatic in its working and will produce fan effect out of all proportion to the simplicity of mothod on all the witnesses ... especially those ‘who assist in the ‘experiment’, ‘This will not ‘make sense! to those who do not possess the hook in question but what it will do is to rectify two stupid mistakes that appear therein for which I alone can take FULL RESPONSIBILITY. Please accept my apology and add this very convinci Stanton Carlisle,