Mystic Twelve Recall Audley Walsh

This effect is still baffling to anyone unfamiliar with the principle upon which it is based. In the original version, Walsh used an edge-marked card as a key. However, any kind of identifying device can be used—a crimp, nail-nick, pencil dot, or imperfection marking. The one you use should be based on the sophistication of your audience.

The "natural mark or imperfection" principle to determine a key card is excellent. (See "Time Must Tell" in Phoenix #174 or Cy Endfield's Entertaining Card Magic - Part 3.) This is a variant handling._

Method: Get your key card, recognizable by the marking on its back, to the bottom of the deck. The deck, if possible, should be borrowed. Perform a couple of riffle shuffles and cuts, retaining the bottom key. Spread the cards between your hands and begin dropping out cards from various places in groups of twos and threes. Say, "For this experiment we will need some cards."This selection-procedure should look haphazard.

Scatter exactly twelve cards in one group and then segregate and drop thirteen cards into another group. Pick up one of the cards from the thirteen-group and use it as a pointer as you point to each scattered group of cards. Add, "Which group of cards should we use?"

As soon as the spectator chooses one, gather and hand them to him, saying, "Please further mix them in any manner you choose." While the spectator does this, gather up the rest of the cards, square them, and casually Overhand Shuffle the bottom key to the top. Immediately table the deck and turn your back to the spectator.

Continue: "I want you to keep a few cards that you've been shuffling. Then return a few to the top of the deck. First, however, remove the ones you want to keep and place them in your pocket. Next, shuffle the cards you're going to return to the deck. After shuffling them, note and remember the bottom card." Wait for the spectator to finish as instructed, then continue (with your back still turned): "As you concentrate on your card, pick up the deck and deal some cards in a row."

When you know that the spectator has dealt at least four or five cards, turn around to instruct him exactly how to deal the cards. That is, point out that they are to be dealt into rows and so on. Do not mention numbers at all. When he deals the eleventh card, say, "That should be enough."The spectator should stop after dealing the twelfth card. If he does not stop at that point, it does not matter. You will still be able to calculate the number of cards in his pocket.

As in the Walsh method, you know that the spectator's selection immediately precedes your key card. Therefore, you know its exact location on the table. If you count the number of cards, including your key-card, which were dealt before the selection was dealt, this number, when subtracted from twelve, gives you the exact number of cards in the spectator's pocket.

Suppose that the spectator dealt six cards, followed by the key-card, the selection, and an X-number of cards. The key card turns out to be the seventh card dealt. (12 - 7 = 5.) You now know that the spectator has five cards in his pocket. (In Walsh's method, you count all the cards to right of the key, including the key, to arrive at the appropriate number.)

Knowing the location of the selection, place your left hand on it and your right hand on any other indifferent card. You then apparently further mix the tabled cards by moving your hands around, moving cards in the process. During the action, you have complete control of the selection. You can then place the selection into a centralized force-position—unless you want to use Matt Schulien's Spread Force.

Ask the spectator to turn any card in the spread face up. If he turns his selection face up, you have an opportune miracle. If this occurs, immediately say as he turns the selection face up: "Isn't it uncanny that you've chosen your own card?" Conclude by picking up his selection and looking at it curiously, then add: "This card, oddly enough, tells me that you have_(name correct number) cards in your pocket!"

If the selection is not turned face up, have the spectator hold onto his face-up card. Meanwhile, gather up the cards and maneuver the selection to the bottom. Place this assembled packet on top of the deck and casually Double-Cut the selection to the bottom. Glimpse it during an All-Around Square before tabling the pack. You then know the identity of the spectator's selection.

Take the indifferent card from the spectator and explain, "This is a tell-tale card." If the value of this indifferent card is equal to the number of cards in the spectator's pocket, capitalize on this coincidence. The indifferent card could also have the same value as the selection. If so, incorporate this coincidence into your presentation.

Ultimately disclose of the spectator' s card and the number of cards in his pocket. Needless to say, although it is not as strong, the suit of this indifferent card could be used in some plausible way. If you want to use counting-the-number-of-pips business, remember that each card has two additional pips below the indices. For example, if the indifferent card is a Three and the spectator has five cards in his pocket, you could logically say, "Let's count the pips on this card. One, two, three, four, and five, which is the number of cards in your pocket!"

Finally, name his selection, apparently having determined its identity from looking at the face-up indifferent card. There is a temptation to disclose the actual selection. Although you have it under control, resist this temptation. It will only weaken the effect. Remember: This is a mental effect, not a location trick. Other approaches and presentations may occur to you as you experiment and perform this effect.

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