Al Mann - The Third Ecstasy.pdf

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TliB THIRD BCSTASY
POREWORD
At the end of that pleasurable and
fasoinating journey through the art of oard magio
and after mastering all the fanoy shuffles, outs
and flourishes, the novioe has one of two roads to
follow. One leads to the mastery of his art where
the novice will spend many hours of many days tor
a number of years in praotice to develope a com-
petitive technique to become a card expert and
manipulator.
The other road will take
him
into the
field of the mentalist. where the long hours will be
spent
in
thought instead of practice.
He
will use
his 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 pensive
but amazing mentalist.
It is the hope of the author that this
tractate will assist the stUdent
in
choosing the
correct kind of Mental Card Effeots.
The
amount
of mental card trioks that have appeared in print
throughout the years oan fill several volumes. Many
Mental Card Effects are not neoessarily entertaining.
The student should therefore ohoose card effeots
that are direot and with maximum impaot.
"Great thoughts reduoed to practioe
beoame great aots."
Hazlitt
Best \"lishes,
ts/j/kg
THE THIRD ECSTASY
MbB'rALIST
CHAPTBR'I
A TRACTATE ON FABULOUS OARD EFli'ECTS FOR THE
THE PROS AND CONS
AN AL MANN EXCLUSIVE
1
Most mentalists agree that card tricks definitely
do not belong in a mental prosram. Yet the top names
in
magic keep on amazing aUdiences with card effects.
Orson Welles
in
a recent show (July 1916) did a
superb 15 minute act with cards.
Dwminger
in
his 1-hour-1 $-minute show "Unveiling
Mysteries of the Telepathio Mind," did four card effeots
plus his question-answering act, the 16-digit effect and
his telephone book test.
Olof Jonsson continues to prove psychic phenomena
with his colossal card effects.
Unfortunately, a card effect does not go well with
every audience regardless of how it is presented. The smart
mentalist does well to know When and where to present one.
The author tried card effeots in his mental program
and was called down by members of the audienoe asking, "Why
do you do card tricks?"
Kreskin tailed to impress college students with card
tricks disguised as ESP experiments.
If the mentalist is doing an BSF show, or a question
answering act, he should not have to resort to card trioks
to fill
in
his program, since there are an abundance of other
tests that do not use oards.
Nevertheless, card effects are useful for the drawing
room presentation, tor the casual shoW, a close-up show and
for those spectators that request to see a card miracle.
The
mentalist should not hesitate to tlatmt his psi
ability by doing a poker demonstration, showing that he can
always get the upper hand if he so wills it.
The mentalist must feel out his aUdienoes. Dunn1nger
stayed away from card tricks in his television show, but did
resort to card effects in his guest appearances.
In
a recent show, the author was asked by a member of
the audience if he could do card tricks
I
Card tricks are very
popular with layman. The mentalist must see to it that when
he does present card tricks, they must be presented as
se~g
miracles. A billet test appears staggering
by
it's own weight
but a card trick must be dramatized to the hilt if it is to b.
presented as a form
ot
psychic phenomena. The feats of' OLaF
JONSSON 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 cut
the deck. Let the spectator do it and then call atten-
tion to the fact that you did not touch the deck, whether
you did or not. Emphasize the fact that you were tar away
from the deck when the experiment was made, whether you
were or not. It may be that you did touch the deck at the
beginning and that you were in the vioinity at the start
of the test but you must point out that the deck was left
in someone else hands and that you were absent
in
the
orucial stages of the test.
A mentalist is not :tooling anyone when he performs card
trioks as psyohic phenomena in front of the sophisticated
audiences of the big cities in the U.S.A. where he uses
his own deck and shuffles and cuts the deck himself. Your
audiences will give you credit for being a clever chap,
very fast with your hands. Theylll sa,. that '1ou paJmed
the
card or took it out of your sleeve althOUgh that may not
be the case at all. A mentalist should onl'1 touch the deck
or use his own deck in those very rare occassions like
when doing "Out of This World" or the fan 1'orce, etc.
2. Never do card flourishes, fancy fans and cuts. Leave that
for 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 shuffled
deck
I
4.
Never show an'1 preparation although the "Thole e1'fect may
depend on exactly that. The e1'fect must appear impromptu
I
Never overdo card e1'fects. One good dramatic card triok
should be suf'1'icient for one show. Let the audience savor
the effect and talk about it later.
are plent'1 of substitutes tor sleights on the books. The
Mentlaist needs but to think a bit to change a card triok
into a miracle.
5.
6.
Always prefer sUbtlet'1 instead of sleight of hand. There
7.
Never do an etfect that may fail without having an out.
It
the outcome of an effect is dOUbtful, don't do it. The D8n-
talist must always be sure 01' the outcome of an e1'fect and
he must always have a reasonable out.
8.
Spare no effort in preparation 1'01' an e1'fect. Pains must be
taken to perfect the effect regardless of the amount
ot
ttme
and trouble necessary to prepare for the presentation.
It
THE THIRD ECSTASY
DO'S AND DONT'S •••••
cont.
.3
a da7 is needed, or a week or a month, to set up the garf,
then the mentalist must take the time. Miracles will then
be forthconnningi
Amazingly enough, an7 card trick can be given a mental
twist. Same people believe, or wish to believe, that with
the power or 70111' mind 70U can teleport a card tram the
middle or the deck to under an ash tray. You can say that
with the power of 70111' thought 70U will cause the unlalown
ohosen card to turn cCllLpletel'1 over
in
the middle or the
deok. A spelling trick can be said to have arrived at the
correct spot b7 telekinesis or prevision. A stmple location
effect 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 \'1ith
the psychic investigators. Card tests are just right for the
ESP laboratcb17. One has only to read "The Psyohic Feats
ot
0101' Jonsson" to realize the impact of this type of tests.
Many
psychio investigators claim that they can not
be
fooled by 'card tricks' because they are well versed in
magioian's trioks. Little do they realise that the more ane
_
knows about magician's tricks the easier one can be
tooled. It is not unusual to see one card expert baffled by
another card expert who happened to present a familiar etfect
in a different dress
I
Keep in mind also that there isn't a performer who has
not tailed occassionaly. And yet, the human mind has a way of
ignoring a failure and enhansing success. A well performed seem-
ing miracle is rememberd for many years
l
So it behooves the
performer to perform well and then beat his own
drum
about his
miracles.
-lH:·
In the following .tfects where a lIimber-type wallet
is mentioned keep in mind that two ordinary wallets
can be substituted for the Himber wallet simply by
makdri.;
a switch of wallets.

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