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POST OFFICE BOX 144 FREEHOLD, NEW JERSEY 07728

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POST OFFICE BOX 144 FREEHOLD, NEW JERSEY 01728

TliB THIRD BCSTASY

POREWORD

At the end of that pleasurable andfasoinating journey through the art of oard magioand after mastering all the fanoy shuffles, outsand flourishes, the novioe has one of two roads tofollow. One leads to the mastery of his art wherethe novice will spend many hours of many days tora number of years in praotice to develope a com-petitive technique to become a card expert andmanipulator.

The other road will take him into thefield of the mentalist. where the long hours will bespent in thought instead of practice. He will usehis imagination to create subtle magic to substi-tute for sleight-of-hand. He will forgo the glamo-rous role of the magician for that of the pensivebut amazing mentalist.

It is the hope of the author that thistractate will assist the stUdent in choosing thecorrect kind of Mental Card Effeots. The amountof mental card trioks that have appeared in printthroughout the years oan fill several volumes. ManyMental Card Effects are not neoessarily entertaining.The student should therefore ohoose card effeotsthat are direot and with maximum impaot.

"Great thoughts reduoed to practioebeoame great aots." Hazlitt

Best \"lishes,

ts/j/kg

1AN AL MANN EXCLUSIVECHAPTBR'IA TRACTATE ON FABULOUS OARD EFli'ECTS FOR THEMbB'rALIST

THE THIRD ECSTASY

THE PROS AND CONS

Most mentalists agree that card tricks definitelydo not belong in a mental prosram. Yet the top names inmagic keep on amazing aUdiences with card effects.

Orson Welles in a recent show (July 1916) did asuperb 15 minute act with cards.

Dwminger in his 1-hour-1 $-minute show "UnveilingMysteries of the Telepathio Mind," did four card effeotsplus his question-answering act, the 16-digit effect andhis telephone book test.

Olof Jonsson continues to prove psychic phenomenawith his colossal card effects.

Unfortunately, a card effect does not go well withevery audience regardless of how it is presented. The smartmentalist does well to know When and where to present one.

The author tried card effeots in his mental programand was called down by members of the audienoe asking, "Whydo you do card tricks?"

Kreskin tailed to impress college students with cardtricks disguised as ESP experiments.

If the mentalist is doing an BSF show, or a questionanswering act, he should not have to resort to card trioksto fill in his program, since there are an abundance of othertests that do not use oards.

Nevertheless, card effects are useful for the drawingroom presentation, tor the casual shoW, a close-up show andfor those spectators that request to see a card miracle.

The mentalist should not hesitate to tlatmt his psiability by doing a poker demonstration, showing that he canalways get the upper hand if he so wills it.

The mentalist must feel out his aUdienoes. Dunn1ngerstayed away from card tricks in his television show, but didresort to card effects in his guest appearances.

In a recent show, the author was asked by a member ofthe audience if he could do card tricks I Card tricks are verypopular with layman. The mentalist must see to it that whenhe does present card tricks, they must be presented as se~gmiracles. A billet test appears staggering by it's own weightbut a card trick must be dramatized to the hilt if it is to b.presented as a form ot psychic phenomena. The feats of' OLaFJONSSON are a prime example.

THE THIRD ECSTASY

00 1 S AND DONITS

2

A Mentalist, when presentang card miracles, must:

1. Never, with a few exceptions, handle, shuffle or cutthe deck. Let the spectator do it and then call atten-tion to the fact that you did not touch the deck, whetheryou did or not. Emphasize the fact that you were tar awayfrom the deck when the experiment was made, whether youwere or not. It may be that you did touch the deck at thebeginning and that you were in the vioinity at the start

of the test but you must point out that the deck was leftin someone else hands and that you were absent in theorucial stages of the test.

A mentalist is not :tooling anyone when he performs cardtrioks as psyohic phenomena in front of the sophisticatedaudiences of the big cities in the U.S.A. where he useshis own deck and shuffles and cuts the deck himself. Youraudiences will give you credit for being a clever chap,very fast with your hands. Theylll sa,. that '1ou paJmed thecard or took it out of your sleeve althOUgh that may notbe the case at all. A mentalist should onl'1 touch the deckor use his own deck in those very rare occassions likewhen doing "Out of This World" or the fan 1'orce, etc.

2. Never do card flourishes, fancy fans and cuts. Leave thatfor the oard expert.

3. Never furnish your own deck. Borrow one or pretend to."Out ot This vlorld" can be done with a borrowed and shuffleddeck I

4. Never show an'1 preparation although the "Thole e1'fect maydepend on exactly that. The e1'fect must appear impromptu I

5. Never overdo card e1'fects. One good dramatic card triokshould be suf'1'icient for one show. Let the audience savorthe effect and talk about it later.

6. Always prefer sUbtlet'1 instead of sleight of hand. Thereare plent'1 of substitutes tor sleights on the books. TheMentlaist needs but to think a bit to change a card triokinto a miracle.

7. Never do an etfect that may fail without having an out. Itthe outcome of an effect is dOUbtful, don't do it. The D8n-talist must always be sure 01' the outcome of an e1'fect andhe must always have a reasonable out.

8. Spare no effort in preparation 1'01' an e1'fect. Pains must betaken to perfect the effect regardless of the amount ot ttmeand trouble necessary to prepare for the presentation. It

THE THIRD ECSTASY .3DO'S AND DONT'S cont.

a da7 is needed, or a week or a month, to set up the garf,then the mentalist must take the time. Miracles will thenbe forthconnningi

Amazingly enough, an7 card trick can be given a mentaltwist. Same people believe, or wish to believe, that withthe power or 70111' mind 70U can teleport a card tram themiddle or the deck to under an ash tray. You can say thatwith the power of 70111' thought 70U will cause the unlalownohosen card to turn cCllLpletel'1 over in the middle or thedeok. A spelling trick can be said to have arrived at thecorrect spot b7 telekinesis or prevision. A stmple locationeffect can be used to demonstrate contact telepathy. Al-bhough when you change the king of spade to a glass of wine,rna"'! be hard to swallow. '

Keep in mind that 'card 1 tests are most popular \'1iththe psychic investigators. Card tests are just right for theESP laboratcb17. One has only to read "The Psyohic Feats ot0101' Jonsson" to realize the impact of this type of tests.

Many psychio investigators claim that they can notbe fooled by 'card tricks' because they are well versed inmagioian's trioks. Little do they realise that the more ane_ knows about magician's tricks the easier one can betooled. It is not unusual to see one card expert baffled byanother card expert who happened to present a familiar etfectin a different dress I

Keep in mind also that there isn't a performer who hasnot tailed occassionaly. And yet, the human mind has a way ofignoring a failure and enhansing success. A well performed seem-ing miracle is rememberd for many years l So it behooves theperformer to perform well and then beat his own drum about hismiracles.

-lH: In the following .tfects where a lIimber-type walletis mentioned keep in mind that two ordinary walletscan be substituted for the Himber wallet simply bymakdri.; a switch of wallets.

THE THIRD ECSTASYCllAPTER II

FLIGIlT OF' THE PSYCARDS

This is the acme of the oard-in-the-wallet effects.No doubt the reader is aoquainted with the card-in-

the-wallet effect and the amount ot thought and printer'sink that has been used on this one test. The author has beenon the quest of this effect tor decades and has bought andtried all the popular versions 01' it that have appeared indealer's catalogues and in books.

Most 01' the effects in print require the palming ota card. Therefor the performer had to torce a oard, oontrolit, palm it and somehow get it into the pocket-book. Oneetfect, the card-in-the-metal-plates, required the use ota large tunnel type chute that was pinned to the inside of thecoat in a most uncomfortable and notioeable bulge.

One ot the most olever methods is Annemann's versionwhere a duplicate card is used and is already inside the po-cket book.

The version that follows is by far superior since thespectators have a free choice of any card and the performerdoes not touch the deck once the deok is given out and thereis no palming.

EFFECT: Arter performer takes his billfold out andplaces it on the table, he hands out a deck of cards and ins-tructs the spectators to spread the deck on the table face up.Three spectators are then given a free choice of any card andare then told to sign their names across the tace ot theirchosen oards. They are then to square the deck faoe down, cutit, replace the three signed cards in the middle of the deCk,complete the out and tie the deck with rubber banda.

Tn, performer then commands the three signedcards to fly invisibly out of the middle or the deck and intohis billrold. When the billfold is openned the three signedcards are fonnd in it I

The performer reminds the spectators that atno time did he touch the deck I

'..lbe ef1'ect is uncanny, Those that have seen the card-in-the-wallet effect will be more amazed since three cardswere teleported and all three cards were signed b7 the spec-tatorsl

HE'l'HOD AND PREPARATION: A Himber-type flip-over billfold iapreferable but not necessary. If the reader does not have ailmber-type billfold and cannot atford one he can still dothe effect with a writing pad except that the cards are tele-ported to some place in the room like under an ash tra'1, etc.

4

atthe

Fig. 1

I

\'Jhen preparing a writir::.g pad, it is better to use baraagnets embedded into the paper and cemented to the back board.

THE THIRD ECSTASY 5PLIGHT OF THE PSYCARDS Gont.

METHOD AND PREPARATION: The billfold. Prepare a Hmber-typebillfol. or any other billfold, by cementing a strip of mag-netic tape to the back on the outside. The magnetic tapemeaaures 1/16 inch thick by 1 inch wide by ~ inches long andhas pointed ends like is shown in Fig. 1.

This kind of tape is sold in hardware stores. In theirlatest catalogue (winter 76) the Edmund Scientific company of660 Edscorp Building, Barrington, New Jersey, 08007 USA lista roll of magnetic tape 1/16 by 1 by 30 inches long for $2.75.

The tape becomes part of the billfold and looks likea decorative piece. However, the back of the B1mber billfoldis never seen.

If the reader does not care to gimmick awallet he can then gimmick the back ot a writingpad in the same way. .

The cards. Make a 'magnetic card' by cementi~ twocards together with razor blades in between. Letthe magnetic card show the 7 of hearts.

Besides the magnetic card you will needa duplicate card of the 7 of hearts.

Sign your name across the face at bothseven of hearts so that the signatures look exactly alike.Place the magnetic 7 of h3arts on top of the deck.Place the ungimmicked 7 of hearts in the lett compartmentthe Himber billfold. It the paper pad is to be used thenduplicate 7 of hearts is not needed.

'l'he lett compartment ot the Himber-type billfold is theside that is exposed when the billfold is openned fram left toright.

A prime requisite when performing this type of magic isthat the deck must be brand new. Your billtold must pick up thedouble magnetic 7 of hearts plus three other cards. This is eaaywhen the deck is new as the cards are quite flat. However if thedeck has been used and shuttled and cut several times, the bill-fold will not pick up that many oards readily even though thedeck may look like-new.

PRESENTATION: Take your billfold out and place it on the table.Have someone spread the deck face up and have two or three per-sons choose cards and sign their names on the faces of the cards.Have someone reassemble the deCk, square it and place it on thetable face down and cut the deck in half. Have each person re-turn his card face down on top of the original top halt of thedeck. The chosen signed cards will now be on top of the 7-ot-hearts, the magnetic cardl

THE THIRD :SCS1'ASY 6li'LIGHT OF' THE PSYCABDS cont.

Pick up 70ur billfold and gesture with it, tellingsomeone to complete the cut. Point to the original bottanhaJ.r and then tap the original top hal.1', thereby stealingthe three signed cards plus the magnetic 7-of-hearts sightunseen with your billfold.

Tell the spectators to ~bber band the deck.Then open up your billfold to the left oompartment

and show the spectators that you also have a signed card,the 7-ot-hearts. Say that the 7-01'- Ahearts 1s your magic card. As you I

show the seven of hearts, your le.ft "':iii;:A:2!:!!!II"fingers are busy pushing the tour ~~ >cards just stolen into the right 1\ ~13

compartment ot the flip-over billfold.Fig. 2 shows the perfor.mer's C

eadge-view ot the rlip-over billfold. Fig. 2A shows the left compartment with the

ung1mmlcked 7-01' heartsB shows the right compartment, unseen to your sudf.eneeC shows the four cards, the magnetic 7-of-hearts plus the

three signed cards, attached to the magnetic strip.Once the tour cards have been pushed into the right

campartmant 01' your billfold, close it, leaVing the 7-ot-heartsin the left compartment. 'l'urn the billfold around so that thebottom edge now points to the spectators. In1'o~ the spectatorsthat you are now goiIg to cause the three signed oards to flyout ot the middle of the deck invisibly and join your magic

7-or-hearts. Tap the deck with the corner of the billfold threetimes and infor,m the spectators that the miracle has now occured.If they are to look for the signed cards in the deck they willnot tind them. When the billfold is openned to the right handcompartment the four cards will be found.

The effect can be dramatized by walking to the oppo-site side of the room and saying that you are tar away from thedeok. Then the teleportation 01' matter can be caused to happenl

It an ordinary billfold is used, then the cards canbe dropped behind a picture or vase, etc. Same it the writingpad is used.

The effect is uncanny. ~e method is almost automatic.The movement of the fingers is never Been and the whole opera-tion is relatively easy.

The etfect should be done only tor very special ooca-sions.

THE THIRD ECSTASY

DOMINATION OP THOUGH'l

The amazing etfect which expounds a synchronicity otooincidence, where a card chosen by the performer is matchedby a card chosen by a speotator by pure chance has now be-come a olassic of magic with cards. This effect referred toas 'The Sy.mpathetic Cards 1 or the 'u do as I do' effect is

found in most books of card magio. It's inventor is unknown.The effect goes back to betore the time of Robert Boudin.

S. H. Sharp is oredited with the best presentation ofthe etfect whioh he called "Domination of '!'hought.11 The etfect1s amazingly done with any two decks of cards and without anypreparation.

7

THE Bli'FECT: A blue and a red deck are shuttled and cut.Both the spectator and the performer choose a card tram theirdecks and both cards prove to be the same I

!he effect is an incredible mJstery to the lay mind. Itcan be pt'esented as same form ot mental control or hypnoticinfluence.

Here is Mr. Sharpe's patter: "Do you think it is possi-ble tor me to influence 'Jour mind 80 that 'Jou will think justas I wish you to think, without you being conscious 01' thefaot? Well, thoUgh everyone thinks he is tree to guide his ownthoughts, there are times when one mind can secretly controlanother. I shall try to prove the truth of this statement bycompelling your thoughts to run in the same ohannel as mine --which can be done under favorable conditions. You doubt mywords? You think I exaggerate? To convice you I shall fur-nish three witnesses. Here are two packs of cards. Now in or-der to get our minds perfectlylttuned, will you please gothrough exactly the same motions as I do. 11

The three witnesses mentioned above were the two chosencards which were identical plus a written predictionl

In the origianl ef!'ect ( which is stil:LaooA), the per-former has to shuttle one deck while the spectator shuttles theother. Then the decks are exchanged and the shuttling is repeat-ed. The per!'ormer notes either the top card or the bottom card01' one deck. Then each chooses a card and places it on top ofthe deck and the decks are cut. The performer ignores the cardhe chooses. The decks are exchanged again and then the chosencards are removed. Naturally the pe!'ormer knows the card cho-sen by the spectator due to the key card, the top or bottomcard that the performer had originally glimpse. The performeractually removes the duplicate of the specta~or's chosen card.So that both oards matchl

THE THIRD ECSTASY

DOMINATION OF THOUGlfl'

oont

8

In the version that follows, the performer need notshuffle the cards or touCh the deok other than to pick oneoard and place it on top of the deck. In this fashion theMentalist beaat. that he does not shurfle or tolich~ deck I

The spectator is told to first shuffle one deok andthen the other. The performer watches the shuf'fling to get a

glimpse at the bottom card of either deok. The author has ~etto see a la7 person, other than a habitual card pla7er, shufflea deck of cards without flashins a card. All the performer hasto do is to watch carefully.

If the performer fails to glimpse a card then heorders that the decks must be cut. He then cuts his own deckand glimpses the bottom card which is relatively simple sincethe spectator is busy cutting his own deck.

For a more sophisticated out-glimpse, when the spec-tator is keeping his eyes on the performer too closely, cut thedeok from the narrow ends and buckle the cut-off half upwardsto get the gltmpse. The right thumb is placed on the middle ofthe narrow edges closest to the performer and the tips of thefingers on the opposite narrow edges. The cards are then cutand buckled upwards just far enough to glimpse the index of thebottom card of the pack. The cut is then completed.

The above out-gltmpse is not deteoted from the spec-tators view and the cutting looks most natural.

Fig. 3 shows the sleight with the tip of the firstfinger assisting to buckle the cut-off paok.The sleight is done quickly.

Once the card is glimpse the pre-sentation proceeds by maneuvering the spec-tator to place his chosen card on top of the

deck whose bottom card is known. T},e decksare then cut and the spectator is told tospread oth decks face up after exchangingdecks. he performer picks out the cardnext to' the glimpse card while the spectatorpicks out his chosen card from the other deck. Pig. 3Both cards matchl

CASTER AND POLLUXby John Smetana

John Smetana, Banker-Magician from Morganville, NewJersey, is a lover of subtle mental card effects which he~resents expertl7~ In the following effect that uses the

Sympathetic" theme, John has taken an old card principlecredited to Annemann and A1 Baker called, "The Magic Thrust"and ha3 oreated an effect that uses two decks and two spec-tators.

THE THIRD ECSTASY

CASTOR AND POLLUX ~ont.

9

Pig. 4.

~ EFFECT' Two spectators are given two stacked decks.he,. each take the bottom card which is the ssme on both

decks and trust it into the middle ot the deck reversei. Thespectators then cut the deck and then spread the deck on thetable. Upon tinding the reversed cards it is seen that bothsucceeded in trusting the reversed card between the sametwo cardsl

The erfect sounds staggering, yet it will fail toimpress the audience unless the patter is deliveredexpertly and the effect is presented assuggested.

The two spectators used should bea husband and wife, two loversL fatherand son or twins if possible. The themeof the effect is that a sJMpathy existsbetween sympathetic minds, etc.

PREPARATION: The two decks are stackedexactly alike. One is red backed and theother blue for contrast. The top tourcards of each deck should be: 8-of-diamondsface down, Ace-of-hearts face down, 5-of-clubs face up and the Ace-of-diamonds facedolm.. See fig. 4

The rest of the deck 1s face downexcept for the seoond card from the bottom.'\olhich is faoe up and the bottom card isthe Jack-of-spades, as in Fig. 5.

PATT&1i AND PR:.SENTATION: "These two decks ofoards are arranged in the same exact order.(here the performer pioks up one deok ineach hand face card to audience) As youoan see the bottom card of eaoh deck is theJaok-of-spades and the top card of eaohis the 8-of-diwnonds. (The performer showsthe top card of each deck by slipping it oftthe deck a bit with the thumb face to audience.)

I lmow the order of the oards, so if Fig. 5you were to Choose! say the 10th card fromthe top or bottom would know what card itwas. But it is very important for the success of the test thatthe order of the cards is not disturbed. Both decks must remainin the same order. ~or that reason the decks cannot be shuffledor mUdd."

Th~ test is best performed at the table so that the speo-tators can put the decks under the table. Before proceeding theperformer places both decks on the table and then illustrates

THB THIRD ECSTj..SYCASTOR AND POLLUX OOD'.

10

what he vants the apeotatora to 40. The performer then pioksup one deok to d..onstrate and aa,.s, ItI want each ot ,.ou totake the bottGDl oard in this raahioD, (performer takea thebottom oard of the deck but is caretul not to tlash the se-oond oard tr. the bottom whioh is facae-up) and thrust itinto an,. part ot the deok. I 40 not want ODe at ,.ou to aeewhere the other placed his oard ao you must do the test with,.our hands under the table. A:ad I don't want you to see whereyour own. card goes in either. You must do it b,. tee1 alone. It

Atter demenstrating the move with the Jack of spades,performer replaces the Jack or spades on the bottom of the deckso that both decks will again be alike.

The spectators are then given the two decks and aretold to ~lace their hands under the table.

'Please take the bottom card and place it on top ofthe deck. Now please take the next bottom card, the tive-of-glubs and turn it over so that it will be upside down andplace it next to the edges ot the cards in the deok. Run thefiye-ot-clubs up and down slowly until you get an impulse totrust it into the deok." (the unknown reversed card will nowbe right side up and lost atter it 1s inserted in the deck)

Please note here that the performer is calling thecard the five-of-clubs althOUgh it is not the five-of-clubsbut an unlci'iown card.

Arter the spectators have trust their card into thedeck tell them to cut the deck, as much as they want to.

"Now will you please spread the deck face down on thetable and look for the five-of-clubs which will be faoe uP."

"Let's see how well you did. This test will tell ityour thOUghts are in sympathy."

Of course the five-of-clubs will be found to be betweenthe same two cards in both decks.

The whole action can be predicted in writing. It aprediction is used it should read something like:

"Due to the law of probability and the synohronioityof sympathy between two minds in harmony, I predict that bothof you will place the five-of-olubs between the s~e two cards."

Here again the mentalist can say that everythinghappened while the dack of cards was in the hands of the spec-tators. Both decks can now be exwnined and everything is 'foundin ordor. The unknown card will be the only one out of plaoe.

THE THIRD ECSTASY

THB DBVASTATORS

It WRB ineyitable that the intriguing plot used in,Domination ot ~ought' would eventually evolve into an eVeD

more amazing effect. Instead of just matobing two cards whynot have the spectator match three cards chosen by the perfor-mer ahead ot time for a climax with three matching pairs irB-tead of ODe'

The following effect, "The Devastators" by theauthor appeared in Vol. 1, no. 1 ot Magic Info, the magazinepublished by International-Unique Hagic Studios of London forMay 1912. This effect bec8Jl1e a dealer item shortly after it'sapperance. It is reprinted here with a slight modification.

Note that again the pertormer does not touoh thedeck once the deck is set on tlB table.

11

THE DEVASTATORS by Al MannA mental card effect that has intrigued me through-

out the years and which causes protound bewilderment on the lay-man, is the effect where three (or two) cards chosen by the per-former are matched or paired by the spectator, by apparentlycoincidental ohoice. The ettect has appeared in practicallyeyery book on card magic under different n8Jl1es and infinite va-riations. I do not belieye a more direct and thought-provokingeffect exists in the whole realm ot card magic, oonsiderixB thefact that no sleight ot hand is evident (since the performernever touohes the deok). No fancy shuffles or cuts or countingof cards, no cards behind the back, etc. IIYerything happensright in front of the spectator.

~e layman is at a loss to reason out the tremen-dous odds against such a coincidence unless there be some strangepower at work.

Unfortunately there is a weakness in the (usual)presentation. Every once in a while same observant spectatorsuspects that the one-ahead system plays a part in it. THE ONEAHEAD SYSTF>1 WITH CARDS IS TOO W:ELL KNOWN AMONGST LAYMEN. I haverepeatedly seen layman that can do a most batfling presentationof this effect (using the one-ahead system), although theirtechnique stops there and they always use only one deck of cardsinstead ot the more advanced test that employs two decks.

Many year~ ago I set out to correct this weakness.It the Magician can divine three cards that will be chosen, thenhe

THE: THIRD ECSTASY

THE DEVASTATORS oont12

BFFBOT: The pertormer takes his billfold (wallet) outand removes a sealed envelope which he places on the table.The spectator then shuttles a paok 01' cards and is told to re-move any three cards and place them on the table. When the en-velqpe is openned it is found to contain the duplicate 01' thethree chosen oardsl

Method: 'lim g1mm1oks used are the 'magnetic billtoldand magnetic card t used in "file Flight 01' the Psycards."

The Set Up: On top 01' the deck are three torce cards.Over the three torce cards is the 'magnetic oardl' In thebilltold is a sealed envelope with the duplicates 01' the threetorce cards.

THE PRESENTATION: Take out the billtold and place thesealed envelope on the table. Have the spectator out the deckin half. Tell him to shuttle the bottom halt (this will con-vince him that he did shuftle the cards) and then to deal anythree cards on top 01' the original top halt. Ask him it heknows what the three cards are. HI, 01' course does not. Tellhim that the sealed envelope contains three cards. With thebilltold tap tle top at the original top-halt 01' the deck,thereby stealing the three chosen cards and the magnetic cardand exposing the three toroe cards, as you tell him to pleasedeal the top three cards face up on the table.

The envelope is then openned to show the smazingolimaxl Emphasize the taot that you never touched the deck I

THE INVADERS

It the reader goes ir. tor intriguing and oomplicatedplots and it a Himber-tyr.e billfold that has been magnetized asper ins tructions in the 'Flight 01' the Psycards" is at hand plustwo 'magnetic cards' one red and one blue then you may want totry the tollowing.

The plot is the same as liThe Devastators ll but two decksare used, a red backed deck and a blue baok. Each deck has threetorce oards on top but ditterent trom the other deckach deckis also tOPRed by a magnetic card.

~be Himber type wallet has one envelope in each com-partment. The lett compartment has the three red backed dupli-cates 01' the red torce cards and the right compartment has theblue duplicates 01' the blue torce cards. Get the picture?

All you have to do next is to go through the sameprocedure with each deck and then give the spectator a choioe01' the red or blue deck. ~hen he chooses a deck, you steal thechosen cards trom the top exposing the torce cards. Then you

THE THIRD ECSTASY

THE INVADERS oont

13

show that you have predioted the ohoice and it he hadohosen the other deck the results would have been oatastrophall

A written prediotion inside the envelope togetherwith the oards would be also apropos.

THE D-BSP-ERADOS

With the advent of ESP oards the plots tor oardeffeots ohanged. Matohing one pair or two or three with adeok of ESP oards doesn It seem to hit the mark. Ruaores hadit that some students under Dr. Rhine had oalled out 25 oardsin order from the ESP deck. So magioian Is had to ohange theirapproaoh to this new type of magio. Hen Fetoh introduoed hisolever "Sptbologic" effeot where 5 pairs of ESP oards arematohed. This test is reoommended to the reader and shouldsuffioe to prove the technique 01' the mentalist.

0101' Jonsson is noted for being able to matoh all25 cards from the ESP deokl

THE THIRD Bl'fASIB

Here is a very mysterious test that is done with anunprepared deok of cards. The operator never touches the deok.The deok is shuttled and out by anyone.

BFli'BCT: Performer opens hi. billfold and takes out anenvelope. 'lhe billfold is otherwise empty. He shows the envelopeall around and may even pass it out for inspeotion. The envelopeis sealed and signed with the psrformerls signature on both sideslThe performer states that the o.aveLope contains a prediotion.Performer places the sealed envelope back into his billfold andleaves the billfold in full sight on the table.

A speotator is then given a deok of oards to shutfleand out as muoh as desired. Next he is to out the deok into 5or six piles. He is then told to ohoose anyone of the piles. ~eprediotion in the envelope is then read. !he prediotiQn reads;

"The. third oard trom the top 01' the pile that ,youohose is the 3 of hearts"

MErllt"D: Although any billfold can be used to produce the effect,the a.tho.r recommends the use of a Himber-type flip-over bill-

fold E'S the advantages add muoh to the mystery.The left compartment of the flip-over billfold contains

a sealed and signed envelope. This is the envelope that ispassed around for examination. The right side or oompartment of

THE THIRD ECSTASY

THE THIRD 8'lAaIB cont.14

~ O1]

. - -

;--.......'I II- -

. the billfold oont ains a duplioate sealed envelope with theprediotion. This envelope is also signed by the performer andlooks identical to the envelope that was examined.

Behind this envelope are three cards faoe down. Thethird card down 1s the 3 of hearts I

'rhe envelope will hide the three cards and the bill-fold will keep the three oards aligned and out ot sight with-out need ot using magician I s wax or tape on the envelopes oroards. Please refer to Pig. 6. fhis shows an outline of theHtmber billfold. with an envelope in the pocket represented bythe straight lines and the oards by the dash lines.

First the prediction envelope is placed into theinside pocket of the right compartment of the billfold as shown.The envelope is pushed all the way down asfar as it will go. The three cards arethen plaoed f~ce down behind the envelopeBUT they are not pushed all the way downbut only tar enough so that they will beout of sight, about 1/8 inoh below thetop edge ot the envelope.

PRESENTATION: Pass the deok outfor shutfling (with the three cards miss-ing) as you take out your billfold andopen it to the left oompartment and takeout the sealed envelope and show it all Fig. 6around on both sides. Throw the envelopeon the table and allow anyone to handle itif they want to. Then pick it up and place back into the billfoldand leave the billfold in full sight.

Have the spectator cut the deck into 5 or 6 piles ofear-ds , Pick up your billfold 811d open it to the right handoompartment and ask the spectator to choose any pile of cardsand tell him he may ohange his mind it desired. After the pileis ohosen take out the prediction envelope with the tips ofyour thumb and first finger, slowly and place the envelope overthe chosen pile thereby adding the three hidden cards to thepileI Tell the spectator to please open the envelope and readthe prediction. Next tell him that you have not touched the deokand that you do not wish to touch it so tell him to very slow-ly turn over one card at a time rmtil he gets to the third oard.

'.rh~ olimax tollows.The illusion is complete since the audienoe oannotas~cc~ate the seoret move with the effect beoause they saw theenvel'Jp- and even handle it and there was nothing seen thatwould cast suspicion on the envelope.

Needless to say, the effect can be done with a borroweddeok simply by stealing three cards and writing the prediction.

THE THIRD mSTASY

ASTRAL SIGHT

1$

Pig. 7

Here is another amazing eftec t that depends on theone-ahead system yet it's presentation and effect are entire17different and the one-ahead system is well disguised.

BFFECT: A spectator shutfles and cuts any deck in-to as many piles as desired (usually four piles). The magicianwithout touching the cards tells the identity of all the bo-ttom cards of all the piles.

The effect is strong as the magician appearsto be able to see through solid matterl

METHOD: lbe magician must secretly glimpse thebottom card of one of the piles and keep an eye on which pileit is. This glimpse must be done while the s~ectator is shuffling

the cards as done in "Domination of Thought.

THE PRBSENTATIeNs Any deck of cards maybe used. The deck is given to a speota-tor for shUffling and outting into se-veral piles, say four.

Let us assume that the fourthpile on the performers right is the pilewith the known bottom card.

The performer passes his hands overthe piles without touching them and thendeoides to name the card on the bottomof the second-from-left pile. Withouttouohing the pile the performer tells thespectator to write down the cards oalled.The performer calls out the name of themown card, say t:re 8 of clubs.

Performer than picks up that pileand deals out the bottom oard face downto the side, but in the process he hasglimpse the identity of the card, saythe 3 of spades as in Fig. 7~.

Fig. 7 shows one of the variussleights used to glimpse the bottom card.A shiner would do even better if thereader is adapt at using one. A deck of

marl~ed cards would also do the trick,but the use of a borrowed deck is more

~p~~s3ive. The presentation is continuedone-ahead until all cards are called.'J:hen ~ ue cards are turned face up to camparewith the notes taken.

The last card that was dealt on the table was actuallythe'first card that was called. A good move is to scoop up

THE THIRD BCSTASYASTRAL SIGHT cont

16

all the cards called with the last card so that they will thenbe in order. In any event, it is better to mix up the cards un-intentionally and then have the spectator read off the cardsthat he wrote down as the performer picks each card and placesit tace up on the table.

The performer never touches the piles until after he hasnamed the bottom cardl '!hat part will be remembered by thespectators.

A niee bit ot business is to name a card and have the spec-tator write it down and then say, "Sorry, I made a mistake inthat one, please erase it." And then callout the correct card.

The pile with the original glimpse card is of course left,til the end. It by chance the performer has gltmpse more thanone bottom card while the spectator was cutting the piles, thenhe can use one of the piles for a special test like having thatpile covered with a book or having the spectator plaoe the pilein his pooket I The magioian can then state that he does not haveto even touch the cards I

THE BOTTOM CARD GLIMPSE: This sleight is very easy. The deckis taken from above by the right hand. The right thumb is placedin the middle of the back narrow edges of the cards where it willact as a Istop' for the sleight, see Fig. 7 1he fingers of theright hand are on the opposite narrow edges.

The deck is then rested on the side of the left first fin-ger. Then the right hand slides the deok forward with a slightpressure on the left first finger. 'l'b:l left hand does not moveat all. The bottom card .1S buckled downward enough to glimpsethe index.

Another Bottom-Oard Pe6k that is useful is shown inFig.8 Here again the deck is buckled downward over theleft first finger while the deck is pointing at an angletowards the floor. The sleight should be done while thespectator's sight is misdirected elsewhere, althOUgh infaot it can be done without the misdirection.Nothing is seen from the spectator'sside other than the buckling of thecards.

Fig. 8

THB THIRD ECSTASY

~ MOUNDS Q! ....IS...lfl'=-AH...17

Gent1emen, the etfect about to be described defiesall rational analysis, unless you give the operator creditfor being a true psychic displaying his powers of telepathyand clairvoyance all at onoe.

i'he etfect expoUnds the seldom used two-ahead prin-oiple.

iPFECTI While the performer is out ot the roam, spec-tators shutfle a deck ot cards and then select four cards andseal them in opaque envelopes.

The perfo~r returns talks about telepathyand clairvoyance and without touching the envelopes or therest. of' the deek, or without asking any questions divines thefour cards t

The ettect is strong. In tact the performer does touchthe envelopes but only atter he has identified the carda in-side and he calls attention to that tact.

For the parpose ot demonstrating telepathy, the spec-tators are told to look and remember two of the cards. To de-monstrate clairvoyance, the perf'or.mer tells the spectators toselect two more cards but not to look at them and to seal themsight unseen.

HEfHOD: Please reter to Fig. 9 , Three envelopes areshown.

A B

Pig. 9

o

~velope8 A and B are totally unprepared. Envelo~e C is adouble compartment envelope. To prepare envelope 0", the flapand address side of one envelope is cut otf and inserted intoa whole envelope. Two known cards are inserted into the backcomtartment of "c" envelope, say the 10-of-hearts and the 5-o~-spades, as per the Fig. Tre two flaps are then sealed to.se-there Ehvelope "c" is further prepared by cementing about ~inch of the front compartment together at the right side aashown by the dash lines.

THE THIRD BOSTASYTHE HoUNDS OF ISHTAR # cont.

18

HOTE: It'ig. 9 sho"l the ten-of-hearts and the five-of-spades caning out of the secret back compartment of en-velope "0" face-up for illustration purposes onl,.. Actuall,.the cards are sealed into the back compartment face-down.

,HE PRESENTATION: Two decks of cards are used, ane red-backand the other blue-back.

Performer hands out the blue deck and leaves theroom. The three envelopes are in plain sight on the table andshould be marked A, B and C.

From the other room, performer instructs spectatorsto thoroughly shuffle the deok and then to spread it down

on the ~able face down. One spectator is then to choose anycardi look at it and remember it and seal it face-down intoenve ope "A".

A second spectator is to do the s~e with a secondcard and seal it face-down into envelope "B".

A third spectator is to choose any two cards but mustnot look at them and seal them f,ace-down. of course, into en-velope "0".

As per the Fig. We will assume that the two knowncards chosen were the 3-of diamonds and the Ace-of-clubs.

Upon returning the performer waves his hands overthe envelopes, without touching them and tells the first,spectator to concentrate on his chosen card. The performerthen removes the 10-of-hearts trom his red deck and placesthe card sight unseen face-down on the table. He then doesthe same with the second envelope "B" and then takes outthe $-of-spades from his deck and places it over the firstcard face down. and sight unao m.

Performer now cuts open the first two envelopes..... "A"and "B" and places the two cards on the table face-up ..heenvelopes are openned with a pair of scissors by cutting offthe right side of the envelope for about 1/4 inch. All en-velopes must be openned in this fashion for consistency.

Performer than oomments that no one knows the nexttwo cards since they were chosen sight unseen so that he mustuse his ~owers of clairvoyance to divine the cards.

fter making a few passes over the "0" envelope with-ou~ touohing it, Performer takes out fram his red deck thetwo cards shOWing face-up on the table. The 3-of-di~ondsand the Ace-of-clubs and places these cards sight unseen overthe two other red cards on the table.

Now the performer resorts to a bit of showmanship.He picks up his four red-back cards from the table and talkssome more of his powers. He remarks that no one knows whatthe two other cards in envelope "0" are but that he has al-

THE THIRD ECSTASY

THE MOUNDS OF ISHTAR oont.19

ready received an impression. During his talk the performerhas managed to place the tWO top oards under the other two.So now he deals tace-down the two top cards in front of thesealed "0" envelope and then he also deals the other twocards face-down in :t"ront of the two :t"ace up cards on the table.

Per:t"ormer then takes envelope "0" and opens it withhis scissors by cutting 1/4 inoh from the right side. Thismaneuver opens up the rear compartment but due to the 1/2inch of cement inside the front compartment, the :t"ront com-partment remains sealed, so that the two force cards oome outonto the table faoe-down.

~erything is now in order. All the oards match.

No doubt that the reader is thinking about the possibleexamination of the materials used. (see bottom of page 21)

I~ impaot and the presentation of. "t.he effect shouldin all probability silence the audience. After all they didhandle and see inside all the envelopes.

Nevertheless, envelopes are always suspect. Many personsknow of 'magic' envelopes with double compartments. So theperfor.mtr may wish to pass out all materials as souveneers.

~o do so you must proceed as followsl

Four envelopes are used instead of three. The performerintroduces a fourth envelope where he plaoes his red oards!

The envelopes used must be self-sealing. They must bemarked with designation letters or marks on the insides of

the flaps so that when the envelopes are sealed they all lookalike. The three envelopes that are used first have their flapsopenned out. It may be neoessary to break the crease of theflaps baokwards so that the envelopes remain with the flap

extended. This will make it oasy for the speotators to insertthe cards into.

The fourth envelope is also seoretly marked with theletter lie".

At the end while the speotators are looking at theoards, the performer picks up the three envelopes and tearsthem up so that they oan be examined, BUT the prepared "0"envelope is held back and pocketed I

The fourth envelope also has a sliver cut from theright sjde like the other envelopes, but this openning isnever seen as the envelope is only handled by the performer I

This effeet oan be done with a borrowed deck providedthe 'perator has time to steal two cards and prepare tm "e"envelope I

THE THIRD ECSTASY 20

!!!! PSYCHIC POKER PLAYERThe plot of this effect was discussed with Richard

Hiaber at the Essex House in New :Cork back in 1959. He agreedthat it had merit and was indeed a practical presentation.

A somewhat stmilar presentation but with a slightlydifferent working was presented by Dr. Hacob Daley. The accountof it is found in Edward Marlo' s booklet "Let's See The Deck. 1I

...

EFFECT: A spectator is invited on stage and is seatedopposite the mentalist on a small card table. The mentalistremoves his coat and rolls up his sleeves and has the spectatorhandcuff hta. Mentalist then requests the spectator to t~{e adeck of cards, examine it, shuffleand cut as desired. He is thentold to deal two hands of poker u'''' Ain the usual way. e- t :

The mentalist nevertouches the deck except for thefive cards dealt to him. Eachplayer may draw as many as threecards to better his hand but inspite of everything the mentalistgets the winning hand. The dealmay be repeated several times but Fig. 10with the same result.

~HOD: A special table is used. The mentalist's sideof the table contaLm a hidden slanted well. Fig. 10 shows anenlarge view of the secret slot in the wooden table. The slotis only large or wide enough to accomodate 5 playing cards. Anenvelope to hold the cards in place is cemented to the slot. Astring with a knoted end is loop~d around the cards, "A" in thefigure. A table cloth (not sho'\o-n) "v~ith an invisible slit overthe well is in place and fixed with spots of cement. The knoton the string sticks out through the slit in the cloth and restsnext to the performer's hands.

For the presentation, let's assume that the 4 acesand one of the kings is hiding in the secret well.

THE PRESENTATION: When the mentalist receives hisfive dealt cards, he picks them up with both hands and at thesame time pulls on the thread and takes out the 5 hidden cards.Thr: 1016 action is oi: course covered in the act of picking upthe r.~rds dealt. Next both players are allowed to discard asmany as bhr-ee cards and are dealt cards in return. The mentalist

i~ actually working one-ahead. He is trying to build a goodhand for the next time around. So out of the five cards dealtto h~ plus the one king card in the well he makes a secondhand and then tries to improve on it on the draw. After the draw

he places his cards on the table face down and at the same t1me

THE THIRD ECSTASY

THE PSYCHIC POKER PIA YER cant.

21

inserts the extra 5 oards back into the well.The mentalist 01' course wins the tirst round with the

tour aoes. On the second deal the mentalist gets another 5cards and as it becomes quite obvious he can hartUy 1'ail towin since he has had 1'our chances to improve his hand whilethe speotator only has two ohances.

Let's assume that in the 1'irst round the mentalistwas able to salt away a pair 01' kings and a pair 01' deuoes.And that on the second round he either received another kingor a pair 01' something else. Now he has three 01' a kind ortwo high pairs or even a 1'ull house. But whatever he has hestill has another ohance to improve farther on the discardl

The table oloth should be made of small cheokers sothat the slit in the cloth will be almost invisible.

If' a thiok table oloth is used then the well can bedispenced with but the working will not be as smooth as withthe well. The important thing is to afford an easy ohute-likegimmick so that the oards can be inserted back into thA wellwith the greatest ease.

Only two hands of poker should be played. More than thatwould be diminishing the c,ffeot.

This presentation may' prove fatal if used for otherthan entertaining purposeslll~!-+:P$$???

NOTE: The deok is exmnined cursorily only, otherwise thespectator may notice that the Aces are missing.Another high hand may be substituted for the Aces,like 4 sixes which are less noticed if missing.

"Personally, I never believe in asking an audience toexamine anything. If' the oonjurer desires that the audienceshould handle any piece 01' apparatus, the better plan is toarrange the trick in sueh a way that they have to handlethe apparatus during the performance. They should not beasked to look at it; the 1'act that they are allowed to haveit in their f,0ssession will convince them that there is notrii.,;l to it. t ItWill Goldston, writ~g in Exolusive

Magical Secreta" P. 55, one of the "locked"books of magic, pUblished Oct. 31, 1912

Pee a drtio .onolusion, ~e ,-,ohio relter n.,..r... es.ap. tr. 'h. haD4outt.1 II I

THE THIRD BOSTASY 22OHAPTER III

FOROES

THE REVERSE FAN FORCE: Joseph Dunninger is creditedwith using this force as a brain buster.

Orson Welles uses it to demonstrate a coincidenteffect where three or tour persons all choose the same card.The reverse fan force is used on ane person. A one-way deckon a second person and a "please pick the 2-ot-clubs It cardis given to a third person together with a deck 01' cards, etc.

In working the reverse tan torce, the cards are tannedin reverse fashion tram right to left so that none of the in-dexes of the cards show. The only card that shows is the cardon the tace 01' the deck. I~e fan is shown to the spectatorwhile he stands behind the magician as the magician winks atthe spectator and instructs the spectator to just think 01'any card he sees. Naturally he must think 01' the one card vi-sible.

3

G

Fig. 11

2

\

THE ISOMERIC CARD:

Fig. 12

An improvement on the reverse-tan-force utilizes I isomeric I cards.

One 01' these cards is seen in Fig. 11.It is made simply by placing indexes inthe upper right hand corner and in thelower lett hand corner also it desired.

Please refer to Fig. 12, 'I'his showsa reverse tan showing the face card, Ace01' spades and also the index 01' the 3-01' diamonds which is an isomeric card.It the joker is placed on the tace of thedeck and the spectator is to]d ~~~~~~~not to settle on the joker, thenhe must settle on the 3-01'-diamonds I

This would be an excellentforce tor a single card force.

The advantage of usingthe isomeric card is thatthe deck can actually beexamined and nothing willb( i'onnd out of place andthe spectator who choosesthe aard aotually believeshe did have a tree choice.

Isol"Jric cards are nota~ilable through dealers sothe reader will have to makeup his own.

THE THIRD BCSTASY

THE REVERSE FAN FORCR SUPREME23

Going one step further, we canutilize a number or isomeric cardsto create a small miracle withcards.

Fig. 13 shows a reversefan showing foUl' isomeric cardsplus the face card to give thespectators a choice ot fivecards.

If a second set or theserive cards are made andplaced into the fan, thenit will appear that a largenumber of indexes are visi-ble.

With this set up theperformer can show the fanto four persons and ask themto choose mentally any card theysee. They will have a choiceor rive cards. It may happenthat two or more spectatorswill choose the same cardor they may all choose the

same card but of course theydo not know this. So the Mentalist can predict or divine thecards ohosen by oalling out four or the cards. 'rhen the spec-tators are asked if their card has been called.

It one spectator is missed then the performer callsthe other unoalled isomeric card.

If two spectator say tnat their card was not oalledthen the performer calls out the one remaining isomeric cardplus any other card! etc.

The above routine can ofcourse be done with a five-bank deck of cards s~ilar to the deck used in Hlmber's Fivestar principle. But the cards can not be examined whereas bythe use of the reverse fan and the isomeric cards, the deckcan be ribbon spread on the table and nothing will be Beenwrong with it.

The performer may wish to turn the face card overso that it's back shows saying that he doesn't want anyoneto choose the face card.

The effect is of course presented at a fast paceso that the spectators do not have a chance to notice thatthe indexes are not where they usually are.

THE THIRD ECSTASY

PORCES cont

~ FORCES WITHIN

AI, BAKER'S CARD CASE: Forcing one or more cards b1the use 01' a box such as a dra"'er-type match box or card boxis a standard trick that bas been used through the years.

The cards to be torced are stuck against the underside 01' the top 01' the box and are held in place by the dra-wer when the box is openned. The deck is taken out and gi-ven tor shurtling and cutting and then the deck is placedin the box and the box is closed. The move naturally addsthe torce cards to the top 01' the deck.

fhe torce is good and can be used to createamamzing card teats.

Al Baker in his excellent book ltpet Secrets, t1 in-troduced a 'torcing card case.'

It the reader takes the trouble 01' building one 01'these gimmicked boxes, he will discover what a valueblepiece 01' appararus it is. The torce cards when placed insidethe box are completely invisible. The box looks unpreparedand can even be given out to the spectators.

The miracles that can be performed with this cardcase are only limited to the imagination 01' the owner.

Fig.

The readers Who own 'Pet Secrets' know what an ex-cellent etfect Al Baker otfers with the use of the gimmickedbox.

Following is ,0D.e of the author's many effects pos-sible with the box.

For the benefit of those who do not own 'Pet Secrets'here is an exaggerated plan for building the box.Two card cases are neededfor making one box.1. cut 01'1' the bottom

panel "A" tram onebox, Fig.14 A

2. Cut the other bo~ inhalt and retain ~he tophalt with flap, bothsides and the trontpanel-part only Fig. 14B

3. Insert section "B" into box through"An and cement at sides only, againstthe top-inside of the box.

4. The Al Baker Forcing Box is now com-plete, Fig. 140 and has a hidden spacebetween the box-parts as per arrow.5. The secret space will be large enoughto hide 3 cards.

THE THIRD ECSTASY

THE FORCES WITHIN t oon The Al Baker tOl'c:1ng card case is unique in that when

the bottan .flap is closed it resembles the bottom of the casebecause there is no moon-out-out for the insertion of the flaplike there is on the top of the box.

We are now l'ead7 to do the effect which we have al-ready called "The Forces Within."

BFFECT: Spectators are given a deok of cards to shu-ffle and out and then to choose three cards and remember them.The deok is then shuffled some more and put back into the case.The performer, who has not touched the deck from the beginningnow divines the three cards freely ohosen plus the three topcards of the deck.

Part of this effect can be worked as a pre-dic'ion. The perfo~er produces an envelope which he clatmscontains three cards as a form of a prediction of the threeoards that the spectators will later choose.

MErHOD AND PRESENTATION: A three-ahead sYstem is used. The per-former already lmows the three force cards that are in the se-cret compartment of the forcing card case. The three cards,sa7 the 2-Qf-spades, 5-of-hearts and king-of-clubs have beenplaoed into the oase so that the7 will be face down when theoase in opennedfram the original top-end.

The oard case with the deok inside is kept in the per-former's coat pooket with the bottom flap already openned.

Tts performer produces the card case and dumps thecards on the table and places the card case also on the tableto one side with the open flELp showing.

Performer also produce~ an envelope and oalls atten-tion to it and then places it aside where it remains in fullsight. He then instructs the spectators to shuffle the deckand cut it and then to piok out three oards and remember themand place them on the table face down.

He then instructs one of the spectators to shufflethe deok some more, to out it in half and to place the twohalves together faoe-to-faoe and return the deok to it's oase.

The performer then plaoes a rubber band around thecard case after closing it and tells the spectator to placethe car-d oase in his pocket.

Performer then recalls ever,thing that has been done.At '~,j~") same time he reaches over and picks up the three cardsthat ~,',ire e'losen by the spectators and asks them if' the7 hada tree o~oice and then ask3 the spectator on his left if' he

2S

THE llHIRD BCSTASY 26

THE FORCES WITHIN eont ,

remembers what his card was and to please name it. When thespectator nsmes his card, performer throws it on the tabletace-up. He then asks the other two spectators to name theiroards and as they do he throws their cards face-up on the ta-ble. He then saY'S, "I just wanted to know it you could remem-ber your chosen cards. Some people torget."

He then reminds the spectators that he never ~riedto influence them as to their choioe and that he did not touchthe deck at all but that they did all the shuffling and cut-ting. He then instructs the spectator with the deck of cardsin his pocket to please bring it out and take the cards outvery carefully and to deal three cards on the table BUT~ "Be-fore you do that I am going to try to guess what those threecards may be. n

The performer now takes out another deck fram hispocket and picks out the three cards that duplicate the threecards that are tace up on the table. He places these threecards face down and then tells the spectator to deal the threecards from the top of the deck one at a time face up on thetable next to the other three face-up carda.

Perfo~er then opens his prediction envelope whichcontains the duplicate of the three force cards that were inthe card case, and dumps the three cards face down onto hisother three face-down cards. He picks his cards up as a bunchand then deals them. out in order! End of miraclel

The description ot the above effect is a bit drawnout but it will give the reader an idea ot what can be danewith the combination of principles used.

The reason why the ds ck was cut in half and thenplaced together face-to-face WBS to prevent anyone from noti-cing that the deck went in tace up and came out face down.or course, when the spectator takes out the deck, he must bewatched so that the deck is not turned over.

NOTE: When the torce cards are inside the secret compartment,they are totally invisible when the bottom flap is openedbut come into view when the top flap is openned.

THE THIRD ECSTASY

FORCES cont.27

~ OUT FORCE

In most cases in a mental progrmn, all that is neededis to force a single card and then the deck of cards is putaway and not used again.

The force of a single card is used in working the"Mental Epic II slate effect; in do1z:g the three pellet trickwhere a card, a word and a number are used; in doing privatereadings as in liThe Threshold of Miracle," etc.

For these occasions the mentalist must resort to thesimplest and most direct method or forcing. Usually the out-force is used. The spectator is told to cut the deck and tocriss-cross the two halves, one over the other. After samepatter the spectator is told to look at the bottom card of thetop half which was the original bottom card of the deck. Thisis a force of the bottom card and we are told that the force isvery deceptic. Perhaps it is deceptive in most of the cases. Itwould be more deceptive if the performer memorizes the top andbottom cards of his deck and then have the spectator cut thedeck into three piles and criss-cross the three piles, one ontop of the other, then maneuver the three piles so that nomatter which pile is chosen it would force either the top cardor the origianl bottom card.

Tm following torce is a8 direot as i. possiblo. Tbedeck used can be switched for another deck it ane 15 needed.otherwise we take into acconnt that the deck will be used torthat one force and nothing else.

In at1'ect 1 The spectator is shown a deck at cardswhich the performeD maY' overhand shutfle it needed but is notrecommended. It is obvious that the deck isa straight one as the pertorme::- shows the oards Jfront and back. The spectator is told to cut about one-third of the deck and to hold theoards over the deck and then turn the cut sec-tion over and look at the bottom card.

The oard is forcedlMETHOD: Take 18 cards and punch two holes ineach with a punching instrumertt as shown inFig. 15. Next take a piece of thread and forme. loop ", "ough the 18 cards and tie them togetherwith R knot. Make the loop a bit loose. Then Fig. 15

rubl)'l:T'c:~~nt a whole card to the front cardand 8I:o'::;Ler to the back card to hide the thread.

~~s makes a pack of 20 oards. If the deck is now cutas abovq stated it will force the face card of the pack.

Tm whole deck can be shown front and back and nothingwill look mnisB since the pack of 18 cards can be fanned a bitl

THE THIRD ECSTASYOHAPTER IV

THE HASTER OF THE OARDS.- ------

A DISOUSSION ON THE PSYCHIC FEATS OF OLOP JONSSON

28

:i.n 1971, the news media carried world-wide headlinesabout an electrifying ESP test done in outer-space betweenA.pollo's Bdgar Mitchell and the Swedish superpsychic Olaf'Jonsson I

Olaf Jonsson stands out as the one persOD who has gonefar perfo~ing card effects. He has proven practically everyfacet af psychic phenomena with a deck of cards and has re-ceived signed affidavits fram prominent scientists and psy$bic

investigators the world over.In 1953 he was invited to visit the USA and was tested

by Dr. ffiline.What Olaf Jonsson does with a deck of cards is not to

be found in magic books. The effects that he creates in theminds of his audience sound like utter impossibilities.

If' this man is not a true psychic, he most certainly isa wizard at the magic arts I

His feats are documented in the book, "The Psychic Featsof Olaf Jonsson" by Brad Steiger, published by Prentice-HallInc., Englewood Cliffs, N.J.

The book is 'must' reading for anyone interested in doingpsychic feats with cards. The book is a revelation of the psy-chic art. Olaf Jonsson has done it all. Seances, levitations,hypnotism, teleportation, telekinesis, flying saucers andyou-name-it.

Olaf Jonsson is in the same class with Uri Geller andHenry Slade. These people make things happen. Tre y prove theirclaims. They give the world what it wants and the world lovesit. 'falking about psychic phenouena is one thing. But provingit is a thing of another world!

&Q! JONSSON'S .Q!ill2 FEATSThe following card effects credited to Olaf Jonsson

are lithe" effect as seen by the eyes and minds of the aUdience.TlB author do.s not pretend to lmow the methods used

by Jansson, however, after each effect, a method will be givenby which the reader can dupJicate the effects by legerdemain.

In his presentation, Olaf Jonsson emphasizes thathe never touches the deck. He insists that he never is, inmost cases, in the room while the experiment is taking place.He lllsists that the deck ot cards used has never been seen byhim before rond that the deok usually belongs to sameone elsel

THE THIRD ECSTASY

OLOF JONSSON' SOARD l'EATS cont.

29

As will be seen, the approaoh to each test and the deli-ver." are totally different than the approa.ch given to cardeffects bJ'magioian's.

Jonsson does not always succeed in his experiments. Hefails sometimes but his failures are soon forgotten. Howeverwhen he does sucoeed which is most of the time the effectis a miracle.

ESP: 0101' is on his way to a TV fi~ing 01' psychic phenomena.Riding with him by car are two other persons. A deck 01'ESP cards are produced by 0101'. The cards are thoroughlyshuffled and sealed in an envelope and pocketed by oneof the passengers. This same deck of ESP oards is laterused in the TV seance and 0101' calls out the first 13cards in order and also the last three I 0101' called out16 correct cards and made a mistake in the other 9 cards.

Modus: Tnt gypsy switch of envelopes while the car ride,the conversation and the oity sights afford themisdirection.

0101' calls out five cards in a row that were seleotedfrom a shuffled deck while his back was turned.Method: Here the reader must read between the linea. This

is one of those effects in print that sound ~possible. The description of the effect was givenby the spectator and is exactly as the descrip-tion given after the one-ahead system is used.The perfor.mer writes down or places cards downahead of time be f'or-e each card is chosen. The~erformer's back's turned only part of the time.his test took place at a Christmas party.

OVER THE TELEPHONE: 0101' intends to do a test over a periodof time. He gives out a deck 01' ESP oards forthorough shuffling. The deck is placed back tn-to it's case and then sealed in an envelope andthe envelope is marked for later identification.The sealed and marked envelope is given to oneper-son to hold. Hours later or days later 0101'is to callout the cards. 0101' oalls out 18 oardstn order, misses the 19th card and correot-

ly names the 20th. Misses on the next four cardsand nwnes the last one correctly. The whole thingis done with much dramatics~~ telephonel

Method: This is anotmr envelope switch. A deck of ESPcards is composed of only 2$ cards and in it'scase makes a small package. Please note that the

THB THmD lOOSTASY

OLaF JONSSON'S CARD F~TS oont.30

envelope is 'marked' tor later identification.In order to mark the envelope it must be turnedover. The Al Baker window-envelope switoh andAl Hann's Gritfin switch fit the description.See Al Baker's Mental Magic and Pallbearer'sReview, Vol. 9, #8.

Missing a tew cards gives the test a touchot authentioity.

SPECTATOR BECOMES THE MINDREADER: Jansson selects ten oardswhich same one shuffles. Jonsson then asks one specta-tor to name the top oard. He then asks other spectatorsto name the other cards. Tl'B y suoce,d without a miss.

Method: This is another teat that sounds impossible. Yetit can be duplioated with an ettect oalled,"Phenomenal ESP Perception." '!'he spectatorsknow the identity of the chosen cards. If a deckof ESP cards is used, the test becomes simpler.The perfor.mer knows the initials of all the per-sons present. A oard is picked up and a personis asked to name it. Say he names the 'cross'but, the card is aotually a 'star.' The perfor-mer pretends to write the initials of the spec-tator on the back of the card but actually writesthe initials of the last person that will be called.Performer next picks up the 'star' and asks asecond person to name it. ~his time the perfor-writes the initials of the first person. Therest of the cards are all initialed one-behindetc. The cards are n0t shown until the test isfinished at which time all the cards are markedwith the correot initials! The test is sold byMicky Hades.

MIND CONTROL: A person is asked to spread out a shuffled deok.He is then commanded to pick out the 4 fives.Person pioks out four cards at random and theyare the four fivesl Fantastic I

ciETHOil: This i~ the four ace trick 1n a beautiful newdress. The four ohosen cards are placed facedown unoeen over a Reader's Digest. Inside thebook are the four fives ready for the switoh.Tarbell #5. Many other switches are also po-ssible.

THE THIRD ECSTASYOLOF JONSSON'S CARD FEATS cont.

31

OLAIRVOYANCE: On page 39 or o~or Jonsson's book is a nottoo clear description of a most elaborate test withcards and anvelopes for which he received a signedaff'idavit. The crux of the test is something like:A spectator pioks four oards at random from a shuffleddeok while Olof' is in another room The oards 8.I'e thensealed in envelopes sight unseen. ~irst the cards aresealed singly into separate envelopes. Then two envelopesare placed flaps against eaoh other, into a thirdenvelope. Th; remaining two envelopes are sealed in likemanner. In full light Mr. Jonsson rustled the envelopesaround a manent and then gave them to two persons.

The lights were extinguished and then Jonssonnames three of the oards and comes close on the fourthcard!

MEl'HOD: There must be a dozen methods to conclude theabove test. First of' all, the cards were notknown to 'the spectators whioh affords for aswitch of envelopes. The perfor.mer oan be absenttram the room while the four cards are chosenand placed into the single envelopes. Next thesingle envelopes can be switched as they are

.insel'ted into the next larger envelope. SeePractioal Mental ~ffects IWhfm of Tituba' page69.However, we will forego an envelope-switch dueto the rest of outstanding clues given in thedescription of the effect. The precise way inwhich the envelopes were sealed, flap-to-flap,makes for a more dramatic and daring presentation.

If a card is inserted sight unseen into anenvelope it must be placed face-down so that theface of the oard is towards the address side otthe envelope. And if two envelopes are sealedflap-to-flap into a third envelope, both cardswill be facing outwards t Al:). the performer has todo while he is in the other room is to get a thumb-tip with holes on the tips and containing a smallpiece of sponge and alooholl Then the perfor.mer oanread the indexes of the cards by the transparancymethod while he is 'rustling' the envelopes. Alittle more rustling and the alcohol will evaporate IThe extin~uish1ng of the lights was no doubt toadd to the atmosphere of the seance.

An amazing test. !he envelopes were definat-1,. c' ',aque and averything can be examined. Yet theperformer can see throllgh two envelO'pe s by placinga small d9b of alcohol on the right spot.

!HE THIRD ECSTASY

OLOP JONSSON'S CARD FEATS cont.32

LBVI'lATIOB: A selected card is shuttled back into the deokby a speotator. The deck 1s set on the table and the se-lected card is found to have risen to the top-card posi-tion. The spectator again shutfles the deck thoroughlyand the deck is again placed an the table and again thechosen card is found to be the top card.

MmHOD: '.Chis is the ambitious card routine with a olevertwist. In this version, the spectator does theshutfling of the cards which makes the effectlook 11ke a miracle. The effect can only be doneby the performer touching the deck as it is pla cedon the table. The performer adcta the chosen cardwhich has been palmed. As the deck is given backto the spectator the top card is paLmed again.Performer claims that he wills the card to the topl

TELEPORTATIOH: 0101' Jonsson requests someone to think of acard and will that card to turn up when the deck is out.Wl~en the deok is cut the ten-of-hearts shows up BUT thespectator cla~s that the card he was thinking 01' was theten-ot-diamonds. Jonsson says that he has caused the ten-of-diamonds to disappear from the deck. The deck is searohedand the ten-of-diamonds is found to be missing. Jonssonthen says that he has the impression that the speotator issitting on the card. TlB oard is found beneath a loosecushion an the chair. Olof has not touched the deck orgone near the person's seat I

HErROD: The ettect sounds impossible the way it is des-cribed, as it is claimed that the operator did nottouch the deok. otherwise the effect sounds exact-ly like Annemann's "A Da'1-Time Nightmare" in hisbooklet 'Card Miracles.' See also Jinx #7.The fact is that the deck is touched but it is donesecretl'1 long before the presentation. An'1 deck oanbe converted into the 'nightmare' deck almost ins-tantly simply by adding the g~ick or by gimmiokingone of the cards. The performer needs a duplicate ofthe ten-or-diamonds which he places under the ohaircushion before the show. The other ten-of-diamondsis cemented to a short black card at one end onl'1for a 1/2 inch strip. We now have a blaok card withthe ten-of-diamonds hiding behind it. This doublecare is then placed in the middle of the deck.

~~e spectator is asked to 'think' of a cardby riffling the deck 01' cards in front of his e'1es

THE THIRD ECSTASY

OLOF JONSSON'S CARD FEATS

33 Teleportation cont.

so that he can get a 'subliminal' image of onlyone card. He is told that in order to do that hemust riffle the cards at a fast pace. The onlyimage that the spectator can get is of the ten-ofdiamonds as that is the only card that shows dueto the 'click-stop' it makes as the short blackcard slips by the thumb and exposes the ten-of-diamonds for a split second but longer than anyother cardl

Now, when the spectator cuts the deck, itdoesn't matter if the ten-of-hearts shows up orthe two-of-clubs. The spectator will say his cardis the ten-ot-diamonds. Now if the deck is examined,his ten-of-diamonds which he just saw a moment agois found missing fram the deck.

At the first oportunity the performer mustremove the gimmick cards fram the deok.

SE~ING THROUGH A BRICK WALL: A spectator goes into anotherroam and picks a card from any deck and holds itagainst the wall faoe out. Jonsson draws a pictureof the card on a sheet of paper in the other room.

METHOD: I will let the reader figure out his ownmethod for this effect. The plot is goodand shows a creative imaginative mind. Thereare a number of methods to accomplish theeffect. Impulse receivers; codes; back rea-ders; peep holes; the swami gimmick, etc.A magician walks through a brick wall but amentalist thinks through one. Dunninger dida book-test thru a brick wall by seeingwhat a oertain word on certain line was ina book beyond a briok walll

SENSATIVE FINGER 'rIPS AND X-RAY EYES: Jonsson asks that hebe given a 'thoroughly shuffled' deok. When one isprovided he spreads it on the table face down. A card

i~ named and Jonsson passes his fingertips over thecards, picks one out and it is the card called. Thisis re;>eateJ several times. For a finale he tells whatthe 5th oard picked will be out of several picked!

METHOD: The deck has got to be a stacked deck or baokreade~. The deck was not shuffled. The operatorjust asks for a tthououghly shuffled deck'.A stacked or memorized deck looks like a shu-trIed deck I

THE THIRD ECSTASY

OLOF JONSSON'S CARD PEATS oont.34

There is no limit to the mnazing plots used by OlotJonsson to present his miracles. He causes transposition otcards in a most uncanny fashion. He oauses cards to moveand jwnp and to vanish and materialize with a technique allhis own which makes the effects unique.

Witness the following force:0101' Jonsson picks out a card from the deck

and asks someone to identify the card."What do you wish this card to be? A number card

or a picture card?" Spectator chooses a picture card."What picture oard?1t Speotator chooses the Queen.The speotator in this case was a male."Which oolor?1t Spectator chose redlItYou are correct, it is the Queen of Hearts. 1I

Most persons will choose a picture card. A man willusually choose the Queen. The color usually ohosen is redsince blaok is not a color. No mention is made of the suit.The whole thing is a beautiful swindle.

DEVELOPING ESP: This is one of the most amazing effectsdone by Jonsson. He instructs a person on how best to deve-lope his ESP. He tells them to first try it by guessing thecards. They are given a deck of ISP cards which they shuffleand then cut several t~es. They are told to try to cut toa 'star'. The spectator tries and fails several ttmes buteventually he developes a knaak tor it, then cuts to astar card everytime. Jonsson and the spectator alternateand eventually manage to 'guess out' all the star cards.

SUggested method: All the star cards are shortcards. The spectator is told to cut the cards until hefeels like stopping and 'will' the star card to turn up.The spectator fails at first but soon developes a 'knack'1'01' stopping at the star cards. He of course does notknow why he has developed the knack other than that hisESP is getting betterl

This 'developing' is accompanied by a lot ofpatter about the subconscious mind, etc. Somettmes when thespectator tails to get a star the performer says, "I'msorry, please try it again. That was my fault. I was think-i.ng of the cross (or whatever the card was).11

THE THIRD ECSTASY

OTHER BOOKS AND EFPBCTS BY THE AUTHOR

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