POST OFFICE BOX 144 • FREEHOLD, NEW JERSEV 07728

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~L MANN i8.xc/~ (201) 431-2429
POST OFFICE BOX 144 • FREEHOLD, NEW JERSEV 0772B

lI'Jto "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 witnes-
sing 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 enter-
tained 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 Untouchables

f. tn/f/ft
 1

(201 ) 431 -2429

POST OFFICE BOX 144 • FREEHOLD, NEW JERSEY 07728

1t~ '?o~(!a"e
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 remova-
ble 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 sen-
ces 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 tempta-
tion 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

,
 2
NO TOCCARE AN AL MANN EX.CLUSIVE
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 combina-
tion of two or more of the above principles, and ••.•.••
Let us assume that you have left home in a rush and have for-
gotten 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 bo-
ttome 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. Re-
ginald 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 wit-
nessing 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 shuf-
fling. 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
 J
NO TOCCARE AN AL MANN 'EXCLUSIVE
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 seve-
ral 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 cov-
ered 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 per-
forming miracles with cards without knowing the identity of any
card. Here are some.

SiA,~"~4t 't',:&iD,.,
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 indivi-
dual cards But here for the first time in print is an idea with
0

an envelope that will obviate the need for touching any of the
cards! (see Astral Sight in the Third Ecstasy)
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 po-
cket 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
0

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.
 4
NO TOCCARE AN AL MANN EXCLUSIVE
SIDEREAL VISION •..•.. cont •••.•.•
NOTE, The Mentalist should also always carry an ordinary pen-
cil 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 do-
nated 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
will come out through the slit.
The Radar pencil is a mechanical
pencil that uses fine sand. It can be
---- Fig. 1

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 coun-
ting 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 any-
one 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."
 5
NO TOCCARE AN AL MANN EX CLUS lYE
SIDEREAL VISION ....... corrt , • .••.•
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 en-
velope 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 en-
velope 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 dis-
carded 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 enve-
lope, 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 pro-
bably 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
 6
NO TOCCARE AN AL MANN EKCLUSlVE
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 (un-
known to you) is at the bottom of the second pile!
So you ask the spectator to callout her card as you are go-
ing 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 rea-
soning 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.
 7
NO TOCCARE AN AL MANN EXCLUSIVE

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 au-
dience 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 par-
ticipating 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 two-
pile 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 in-
troduced 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
 8

NO TOCCARE AN AL MANN EXCLUSIVE

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 face-
down 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-
 9
NO TOCCARE AN AL MANN EKCLUSIVE
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.

Fig. J
J
~.
0 H N
..•• •• •.
:.
M A
~.
R Y E

••• • •, .'.:
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 num-
ber "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! "
 10
NO TOCCARE AN AL MANN EKCLUSIVE

"'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 spec-
tator #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!
 11
NO TOCCARE AN AL MANN EXCLUSIVE
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.
38
In Fig. 4, the bottom
card of II pile KD
is the Ace of
Diamonds
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, cor-
responding to piles I, II and III.
 12
NO TOCCARE AN AL MANN EKCLUSlVE
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 men-
tion 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 conti-
nues 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 specta-
tor 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
 i)

NO TOCCARE AN AL MANN EXCLUSIVE

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.
 14

NO TOCCARE AN AL MANN EXCLUSIVE

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 com-
plete 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
 15
NO TOCCARE 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-on-
easy-off labels the effect of the Calchas Clue takes on a dif-
ferent 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 remem-
ber 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!
 16
NO TOCCARE AN AL MANN Eh.CLUSIVE

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 re-
member 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.
So continue as in The Calchas Clue and have pile III
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!) 0

Have the deck turned over and spread as in Fig. 6. This is

shown again in Fig. 7.
remove these cards
//~ ,~/ , ~ \ ~" '~

. ,' rlil I" ~m

. -,

K 7 8 A
• 2 ~I • • +Ii •
Q I
• . c, 1i , •• ' t 'j • i •
.:.' 3 K
• ,~ ?": .~d,
• • II .~6ie+7
S .
• + ....
Ii
4
.
.!
1
" ,~ 1 j i ~ m
,
0

:°
'
:
.
0,;,.
, . ~
•• ~ y+y
y+y
~I ':
-.'.

~ ~ ~ IJ ,1 •',
-• .!l ' .""
"

~
l~ ~4~++·8
-
key
t:
card
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-
 17
NO TOCCARE AN AL MANN EX.CLUSlVE
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
 18

NO TOCCARE AN AL MANN EKCLUSIVE

THE BIZARRE BREAK • • • • • cont • . .
of the match box.
Here the Mentalist removes an envelope from his coat pocket
and empties it of its contents and places the envelope address-
side down on the table. (The audience is not aware that the en-
velope 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,