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7 CLOSELY-GUARDED SECRETS THAT ENABLE YOU TO GUESS A CARD CHOSEN BY

SOMEONE, EVEN IF YOU'RE HUNDREDS OR THOUSANDS OF MILES AWAY!

USING THEIR OWN DECK OF CARDS

DIRECT AND EASY TO DO

NO ASSISTANTS REQUIRED

Copyright 2023 by e-mentalism

All rights reserved under all applicable law, including the Berne Convention. No part of
this publication may be reproduced, distributed, or transmitted in any form or by any
means, including, photocopying, recording, or other electronic or mechanical methods,
without the prior written permission of the publisher, except in the case of brief
quotations embodied in critical reviews and certain other non-commercial uses
permitted by copyright law. For permission requests, email to write the publisher at the
address below.

e-Mentalism,

www.e-mentalism.com

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IF EXECUTED PROPERLY THE SECRET TRICKS REVEALED

INSIDE THIS EBOOK WILL MAKE PEOPLE BELIVE THAT
YOU HAVE SUPERNATURAL POWERS.

In the pages that follow, you will embark on a journey of discovery, unlocking
secrets that have remained closely-guarded by experts and performers for
generations. Seven remarkable secrets await you – knowledge that will empower
you to penetrate the bounds of space, effortlessly guessing a card chosen by
someone, regardless of the distance that separates you, whether hundreds or
even thousands of miles away.

Eons of reverence have surrounded these secrets, mystifying and captivating

minds across the ages. Now, the moment has come for you to claim this mystical
knowledge for yourself – to wield the prowess that leaves audiences awe-struck
and enchanted.

These secrets are speci cally designed for solo execution, eliminating the need
for any assistance or accomplices. The greater the distance you establish between
yourself (the performer) and the spectator, the more powerful and impressive
the tricks will become.

ATTENTION: This collection of secrets offers you a range of options for your
stage or impromptu shows. We want to clarify that this booklet does not claim
originality. Instead, we have compiled practical methods that have been long-
used to create legends. Our contribution lies in bringing them together for your
convenience, helping you nd the method that suits your requirements best.

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CONTENTS:

1 The Long Distance Telephone Test by Alan Milan 5

2 Lie! by Unknown 7
3 A Telephone Test by Robert A. Nelson 8
4 Numbers Please by Audley Walsh 10
5 No Questions Asked by Richard Himber 11
6 On The Phone by Charles Schoke and Bert Allerton 12
7 The One by Moonlight Krausse 13

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1 The Long Distance Telephone Test by Alan Milan

For the record, here is a very simple test that I have used many times, and never
failed to get the best possible results. The principle is slightly older than the
proverbial hills, and yet it has consistently puzzled very intelligent people.

EFFECT: Start by arranging for the party at the other end of the phone to have
in their possession an unopened deck of cards. Your rst words should emphasize
the fact that you have never met, are now located many hundreds of miles apart,
and have never seen or touched the deck of cards being used. These statements
should be emphasized as much as possible throughout the entire experiment.

Start by having them open the deck and give it a very thorough shuf e. Make
sure that they get the cards as well shuf ed as possible. Now explain that, owing
to the time element, you will not use a full deck of cards, so ask them to discard a
little over half of the cards leaving themselves with about twenty. Remix the
twenty cards. Have them square up the packet of cards and place them face up on
the table in front of them, and ask them to call the names of the cards quickly,
one at a time, and place each card face down in front of them in another packet,
as they do so.

Tell them to square up the face down packet of cards on the table, reach into the
pack and take out one card, look at it, and remember it. Place the selected card
face down on top of the pack, and cut the pack so their card is lost. Now, cut the
cards again and once more for luck.

At this point, it is important that you rehash the action, get them to admit they
have no idea where the card is in the deck. How impossible it is for you to have
any control at such a distance. Also, stop talking about a chosen card, and start
referring to it as the card that they are thinking of . . . there is a big difference!

Have them take the pack and start calling off the names of the cards from either
the bottom or the top with the instructions that they are to think “That’s mine,”
when they call out the name of the card they are thinking of, but, of course, they
are to give no outward sign. On the correct card, you make a suitably dramatic
announcement, and believe me, they will go home talking to themselves.

SECRET: On the rst run through of the cards, you remember the top and bottom
cards as they are called. The chosen card ends up on top. When the deck is cut, is
in between these two “key” cards. The rest is sheer showmanship!

The greatest majority of people I have done this for, must have known this
principle, but not one of them ever recognized it. I don’t think that this would fool
anyone for a minute in a drawing room, but try it over the phone, and you will be
more than happy. The whole thing should be worked at a snappy pace. If you
must have a reason for having the cards called out the rst time, it is so you will

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know what cards are being used (half the deck, remember), but I doubt if anyone
will ask. Like all good mental effects, the things grow with the telling — and just
wait until you hear a secondhand description of this one!

It is always a good idea to talk to the party at the other end of the line before the
show, give them some idea as to what you are going to do and emphasize the
point that for a success, they must follow your instructions to the letter.

Remember, they want this to go over as much as you do. If you are at all nervous
about the rst time you use it, have a dry run over the phone with them before
the show, but don’t actually reveal the card.

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2 Lie! by Unknown
Since you're doing this with your spectator on the line, it's ideal to begin by telling
him to put you on speaker. It makes it easier for him to deal with the deck while
listening to you. Once you're both ready, tell him to think of a card.

Then have him take the deck and deal the cards face up, one by one, on a table.
All the while, let him mention each card he places.Your objective is to hear what
card he mentions rst; what card is on top. Let's say it's the Queen of Diamonds.
Keep this in mind because it'll be integral to your act.

Now, when he has dealt out around ve or six cards, stop him and ask if he's
holding the deck face down and putting the cards face up. When he con rms, act
like it's a mistake.You can say that you're not used to doing mentalism over the
phone, so you're still working out a couple of kinks.

Have him gather the cards and return them to the deck. Using the phrase, "Put
them back the way they were before," works wonders — it decreases the chance of
them rebuilding the deck differently. Remember, you can't see how he's going to
do it, so stack the odds in your favor every way you can.

Next, ask your spectator to hold the deck face up, go through it, and nd the card
he rst thought of. Have him take it out and place it on the table (also face up).
Now have him set the rest of the cards on the table (face down).

Tell him to take his card and have him focus on it. He has to have a clear picture
of the card in his head — that's what you're going to tap into.

Now tell him to place his card on top of the deck on the table. This means it's right
on top of the rst card he mentioned when he dealt them earlier — the Queen of
Diamonds.

Say that you want to shake things up a bit — having his card on top is too easy, so
have him cut the deck. This move puts your spectator's card in the middle of the
deck. Now say that you're going to go full circle and have him deal out the cards
again one by one, naming each card he places down.

What you're listening for is the Queen of Diamonds. You know that the card right
after it is your spectator's card. When you hear it, don't stop him immediately. Let
several other cards pass before you call his attention and say you're getting the
impression that he's seen his card already. A little drama goes a long way when
you're only talking over the phone, so make sure you build the tension. This way,
you'll get the reaction you're looking for when you do your reveal.

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3 A Telephone Test by Robert A. Nelson

The author has worked this trick several times with editors, reporters and
columnists, and landed in print because of it.

HERE’S THE STUNT: Arrange for the newspaper to telephone you at their leisure
—your only requirement is that they have a full deck of 52 playing cards. (The
Joker should be removed.) Your unseen committee of one is requested to
thoroughly shuf e the cards—to his complete satisfaction.

He then deals four bridge hands of 13 cards, face down. He is then requested to
discard ANY two of the four hands—his own choice. This pile of cards is no longer
used in the experiment. This leaves two hands or piles of cards on his desk. The
reporter is requested to cut approximately HALF of the cards of either pile, right
or left, retaining the cut-off portion in his hand, and silently look at the bottom
card. That portion of cards is then placed on the remaining (larger) pile, and the
cards squared up.

He is then asked to cut off approximately half of the larger pile, and silently count
them off, face down, one at a time onto the other pile. The few cards in the
remaining pile are placed on top of this stack.

Up to this point, the performer does not know the name of a single card—as they
have only been handled by the reporter at the other end of the phone line. The
reporter knows only the name of the ONE card he looked at—and of course, he is
to remember the name of that chosen card.

The reporter is then requested to take the entire stack of cards in his hand,
dealing the cards from the top, face up, onto the table, and exclaiming aloud the
name of each card as they are revealed to him. This is the rst time the reporter
or performer knows the identity of the actual cards used. The object of the effect
is for the performer to ascertain and tell the reporter the name of the chosen
card over the telephone.

The reporter is requested to name the cards over the phone, but before he has
named the entire pile, the performer says, “Stop—you have passed your card—
please think rst of the card, suit, and then the value. Concentrate on it—now
take that card—hold it in front of your eyes—make a mental picture. I see a red
card— hearts—the ten of hearts.” (or whatever the chosen card is.)

As you note, this is tremendously effective, as it is done without confederates and

OVER THE TELEPHONE with a man you have never seen!

If the procedure has been correctly carried out, all the performer need do is to
listen to the cards, as named, and the FOURTEENTH card will prove to be the

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chosen one! However, do not stop on the 14th card, but let the spectator pass this
card by, naming several others—then go into your patter and name the selected
one.

This is not an original effect of the author’s, nor do I know of its origin. However, I
have been able to add a few improvements—and nd it to be MOST effective as a
publicity getter.

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4 Numbers Please by Audley Walsh

Mr. Walsh calls a friend on the telephone and offers to do a trick with cards. The
person called is to shuf e a pack of cards and then look at the bottom of the pack
and note what card is on the bottom and remember it. He is then to count from
the top of the pack, on the table, the same number of cards. Say there was a Five
of Clubs on the bottom of the pack; the person would count ve cards from the top
of the pack onto the table and then place the balance of the pack in hand, on top
of the cards on the table. He is then asked to turn the pack face up and call the
cards from the bottom one at a time, slowly.

After a number of cards have been called Mr. Walsh names the card that was on
the bottom of the pack at the start and remembered by person on other end of the
telephone.

The means used are very simple, yet the person doing the naming of the cards is
thrown right off the track.

SECRET: You have a pad from one to thirteen written on it.

After the person has noted the bottom card and counted the same numbers of
cards to correspond with it and then placed the pack on top of the counted cards
he is to turn the pack face up and call the cards slowly one at a time.

As he calls the rst card, performer does not count this, but as he calls the second
card say, Jack of Hearts, for instance. Performer notes this on pad under number
1, third card under number two, etc.

All performer does is look over list and see what card corresponds with the
number over it. In this case the Five Clubs is under ve so that should be his
selected card, but very often there will be another card under a corresponding
number, say, a Nine of Diamonds appeared under the number nine. Then it could
be one of the two, so you boldly say,
"It was a diamond." If he says "No", you know it was the ve of Clubs.

If he says "Yes", go right on and nish the trick.

It is necessary that you perform or go thru this routine before going to the next
method as the second method will not be confusing after this one is learned.
The part that throws the person off the track is - He is calling names of the cards
and does not know that you are counting and his attention being on the names of
the cards, he does not count.

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5 No Questions Asked by Richard Himber

Call a friend and tell him to take his own cards, shuf e them and deal out two
heaps. He is to deal from left to right and he can stop whenever he likes, as long
as there are the same number of cards in both heaps.

After he has done this, tell him to place the undealt portion of the deck in his
pocket. Then tell him to lift up a portion of cards from the left-hand heap and note
the bottom or face card of the cut portion. He then places this portion on the
right-hand heap.

There will be some cards remaining in the left-hand heap. Have him call them off
to you over the phone. When he's done this, say, "Your card is the -- Wait, I forgot,
your card is in the other heap. All right, call out the cards in the right-hand
heap." He does this and you immediately name the chosen card.

SECRET: When he calls out the cards in the small left-hand packet, list them on a
piece of paper, one under the other.

When he calls out the cards in the large right-hand heap, list them under the
other cards you've written down.

You may have a total of 20 cards. Half of 20 is ten. The tenth card he called out is
his chosen card. The chosen card is always at a position that is half the total
number of cards. If, for example, he called out 24 cards, his card would be the
twelfth card he called out.

As soon as you name the card, hang up. Chances are excellent the spectator will
call you back and ask how you did it!

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6 On The Phone by Charles Schoke and Bert Allerton

Suppose that you call up a friend. Say, "Take a regular deck of cards and shuf e it.
Now give me a number between one and ve. All right. Deal the cards out into
that number of piles on the table, one card at a time. Now stop dealing any time
you want to - only be sure you nish up on your last pile so none of the piles will
be slighted.”

"Have you stopped? Put the rest of the deck aside - it will not be needed.”

"Now cut off just a portion of one of your piles. Remember the card on the face of
the bunch you cut off. Now drop your cut off bunch onto some other pile. Place the
remainder of the cards on top of it, helter-skelter”

"Pick up the whole bunch and read the names of the cards to me from the top
down.”

As soon as the subject has called the rst card, stop him, saying, "Pardon me. I
forgot to tell you to give the cards one complete cut. Have you done that? Now call
them off.”

Unknown to the spectator, you have pencil and paper at hand. You list the cards
in a column as they are called. When the list is completed, count the number of
cards. Divide it by the original number of piles. This is your key number.

Look for the card which the spectator called before you had him make the cut.
This is your key card.

Starting above the key card count upward on your list the number of cards
indicated by your key number. The next card up is the one the spectator chose.

In order to cover the stall while you are going over your list, say, "I thought your
voice might give away the card you are thinking of, but it didn't. You have a lot of
self-control. Would you mind just concentrating on that card for a moment?"

A short pause is now justi ed before you reveal the card.

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7 The One by Moonlight Krausse

The performer lets the spectator lay ve playing cards face down in a row. The
identity of the cards is unknown to the performer. He asks the participant to turn
one card face up and remember it. Next, he requests the participant to tell all the
cards from left to right. He accurately identi es the card the participant thought
of!

SECRET: Carefully listen for any very short pauses before naming a card. If you
detect such a brief pause, it is likely to be the card they thought of because it was
already face up and required no time for them to turn the card face up.
Note: If you cannot hear any short pause between namings, then it's likely that it
is the rst card.

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