A N N E III A N N 1 3

M E N T A L

M Y S T E R I E S.

The State Library of Victoria

“A L M A C O N JU R IN G C O L L E C T IO N ”
W ILL ALMA
M.I.M.C. ( L O N D O N )
 2 1
A UUSL AUS.
 A N N E 1,1 A N S “A l State n h
M E NTAL MYSTERIES . C° N j u R IH q 0f v h t0r-
BUS BOOK TEST. ° C o^ , o ^
The beauty of this test is,that throughout the experiment,the
performer apparently does nothing whatever,and TOUCHES NOTHING
UoiiD IN THE TEST. The material used can be throughly examined after
the experiment is fini s h e d .There is the advantage o f being able to
use any book or magazine desired.The cards used are an ordinary
pack £ cards.There are several subtleties used which are practical­
ly unknown to magic previously.
The first requires but a slight arrangement of the DECK
VALUES only--with no detention being paid to the suits.This is so
that any TWO CARDS tfcken together from ANYWHERE WITHIN the pack
will total when the values are added--either 14 or 15.
She arragement in part reads as follows:
SEVEN &EIGHT together TWO & QUEEN together
SIX &NIME B THREE & JACK "
FIVE & TEN 11 FOUR & TEN "
FOUR & JACK FIVE & NINE "
THREE & liUEEN " SIX & EIGHT 11
TWO & KING " SEVEN & SEVEN "
ACE & KING " EIGHT &
&etc .
until the deck is used up.Except for two aces which are left in
the case when deck is taken out of it.
The deck may now be cut indefinitely without disturbing
the order.
Taking the magazine or book to be used,it is opened at pages
14 & 15 WHICH WILL ALWAYS BE FOUND SIDE BY SIDE when book is open.
The first thirteen words on page 14 are written down in a column
and the same done on page 15.
If the same book is to be used indefinitely for
this test,I will say it is best for you to memorize the two list»
of words,each list of course forming a sentence or part of same,
consisting of these 1J words. Then you are ready for the test.
However,if presenting the test impromptu,or nearly co with
BORROWED BOOK or MAGAZINE,where you dont want to bother to
memorize the lists,use a small end opening notebook.On the inside
front cober of this,write the two lists and place book in your
pocket.In this case ,the presentation is the same EXCEPT AT THE
FINISH which I shall take up later.
To PRESENT Have cards and book at hand.Remove cards
from case leaving the tow aces behind.Place deck beside book on
table.Walk away.Ask a spectator to step up and take book-Tell
him that you want him to select a card from the deckbut that you
will never even touch deck or see the card."In fact",you remark
"You had better take TWO CARDS to make sure of getting free
choice".Ask him to cut the deck several times,then to cut onee
and take two cards from somewhere in the deck and go to a far
corner with the cards and book.
ImpresB upon the audience the point that NO ONE CAN
POSSIBLY KNOW THE CARDS HE HAS---and that it i B obvious that he
could have taken any cards in the deck.
 2

■tell Spectator ti> add the values of the cards to gether--Then tell
him to open the book at that page,but to let no one see the page.

Now Pick out another spectator and have him step to table,take
deck and shuffle itZincidenta1ly destroying all order) Have him
spread cards face down on t a b i e .Then to wave his hand over them
and turn face up any card on the table he chooses.Ask him to
call out the v&Qrue of the card to first gentleman with the book.

Performer asks first man to count down to the word at that numbar
On whatever page he has book opened at.Ask him to remember the
word and close the book.
The word is then revealed by any method selected by performer.

But you ask how does performer know which page has been selected
Another subtle point. In any printed matter containing numbered
page s,regardless of what it is,when the book or magazine is open
before you,the even number is always on the left,and the ofld on
the right.The performer knows the word number after 2nd man has
picked and CALLED OUT the card he selected.When the other man
with the book starts to COUNT DOWN TO HIS WORD — Just a single
glance tells performer whether it is right or left page he is
counting on.Thus the performer knows whether it is ODD or EVEN
page.
In case memorised list from your own book is being used,the
effect is concluded by performer apparently reading SPECTATOP(S
] v IIK D ,» n d divulging the word letter by lfetter.
But with the secret list method.The performer asks
spectator to think of the word intently and form a picture of it
in his mind,if possible.
Taking the little book from pocket with pencil,performer opens
front cover up,writes on top pages,tears out same and replaces
book in pocket.
Knowing as he does the page atid word number,it needs but a
glance at COVER when he starts to write,to get the word.Then
performer writes,BThe word that is being thought of is ----".
Then the paper is folded and handed another party 1,0 hold.The
spectator is now asked to say the word aloud,after thich the man
holding paper is asked to read it to all.Thus memory is done
away with,and the secret unknown list,does its work.
Another method is when working in front of a seated audience
where it is possible that you cannot see the book and learn which
page has been selected.In this case,the selection is narrowed to
two words,as you cannot help but know the word number in any case.

Ask the spectator to think of the word.Now in every case but very
rarely,these two possible words will be of varying lengths,
different letters,meanings etc. which greatly fliffer.Kou are
apparently trying to read his mind and after a due amount of
thought you name the first letter of the word.If he says "YES"
you go on and finish it and write it down.If NO ask him to think
harder while while you concentrate again.And this time you give
it correctly.Or you can have him think of the NUMBER OP LETTERS
in the word,state the number,and if wrong,you immediately know
the word iS from the other page.
There are many little kinks that can be used here as
it is only a case of knowing which of the two is the correct one.

THE MENTALIST'S CARD

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THE ME N TA LI ST 1S CARD STAGGERER

It is with both regret and pride that I herein release a genuine

pet trick of mine.
From the first conception of this ddvanced effect,it took over
four months of intermittent work and thought to develope it to
its present unsurpassed form. I want to thank both Mr Ai Baker
and Mr Stuart Robson,both of New York City for various suggestions
and presentation points and also for their patience in watching
me do it over and over in order to improve.
The finished effect has completely fooled more than one
advanced card man.Hone other than T.Nelson Downs commended me
upon it as a beautiful subtle effect,and then used it himself.I
can only ask that you present it exactly as herein described.

In effect ,a pack of cards is shown and shuffled.The spectator

deals a row of give cards face down.Any one of these he looks at
while your back is turned.The five cards only,are picked up by>you
and plaeed into an empty pocket.
One at a time the cards are drawn forth openly from your
pocket until bat one remains.This one the spectator removes himself
from the pocket and finds it to be his own card.
Everything can be examined as there is noting suspicious
to find.
WORKING.
All that is needed is a peek of cards and five extra cards to match.
These five are all DUPLICATES. For example we sEiall call this
duplicated card the ACE of SPADES. First ,take from the deck five
cards,(among which is the Ace of Spades)from pack.Place this Ace
at the face of packet of five cards and place packet in your inside
coat { breast)poeket,faces towards body.Also place in this pocket
several papers or letters.
Have the upper RIGHT VEST POCKET empty.

On top of the deck place the five duplicates and between

the Jrd and 4th cards from top place a contrasting card from the
deck.For instance a red picture card.You are now ready.

First turn deck face up and slowly run through it from front
towards back,showing cards and saying"If{j[ were asked to merely
think of one of these cards,and I found it,it would be a very
wonderful feat.However I have't yet advanced to such a stage,al­
though I am very successful on a Bmaller scale."
By this time you are nearly through deck(although not the last
six) and you close pack up and turn FACE DOV/N.This introduction
serves to show the cards all different and well mixed.It also S UB­
CONSCIOUSLY impresses them with the faot that you are handling "the
cards freely and carelessly.
with deck face down,fiffle shuffle once or t w i c e ,leaving
the top six cards intact and on top.Hand pack directly to a
spectator asking him to deal five cards face down in a row.This
i6 a bold move but a safe one under the circumstances,---and he
unsuspectingly deals the top five cards out faces down.
*jilting deck bt ck fro- hi a rens>.rk th*. t t,hon you turn jour b?.ck you
..ent h i t o turn uj. ; na look ut Ai«X Oi.fc of the five c a r d s he .fieh<;&-
thcn to re.lrce it-then to r;ov« c 11 the c:;rd t; e ;ightly--;*o th: t
•
t:ofcltion of Ci- r<i*. c? n ^,iv*j you no clues.

Ceution hi:; sot to turn uj i. c o r n t h u t night bond it b o that

it ct:n be not iced--but to crcfully turn over the c- rd t-o it Joot
not eh:.n^e it ct s.l 3.
Ac you vi'-y this I n at y ou U»I.U;iVHAXii by turning ur t nd showing
the FQUM'H c.- rd dealt in the row <hich it the corttreet Cf rd/<'ii
jr ou ; rt (bout to return it you t.. n-rentiy ^t.t - n afterthought , puuh
it into duck ; nd deal m o t h e r fre:;h c: ra f roc to, into it* ; li ce.
Ahii, it one of the j-rinci,-lt- joint, of the effect rad nothing it
said uxca; t ne stated, i'ilt CAliuiJ Ili till.110rf Ai.i. ..On A hi. * LlKi> 1.
i.fiturnlly alien you turn your b; ckjono it looked nt end returned.
Although jou do not kno. hich of the five,they ; ro t: 21 the »e no •
iou tick u ; the fivo fi.ee do. n cs- r d a .without c a o r d you hold then
* ith K lU lli' i i k i i U .Jiile y o u r left in nd oj *..nly £ ,o o i into i n s i d e b r cea t }
cout pocket «nd removing .tyere or li.ttera thtrvfrot», leytlic-a &uiae
xAi*i> k>0 x ■)div hlUdT X *0 jiz-w.itjn UdXI->*0n•
Left hand teii.0 enrde und m you ,tert to ,ut the a in * r oekot you
look at I ’Gctetor end ask hin directly if he it thinking ®f the curia
t.ic-t ho looked nt in thw ro&.i'hia ie ;■ non ntcry thought for fill
which tfekeu itt at ion KRoy fro ri your oxnet tctions eithough
£ubc3in.cioutly t n v j notice- nothing.
iour right hand h holding coet o ; t n t bout fivt, inches fr on
body i.nd left iumd s i t f i ci rd:; bet;/, an thunb ; n d forefinger *»t end}
find f u c c h t o rd ;■ b o d y .
Ir.n«>dir.toly turning to.a rd;; right the cont ie opened i little-
further i»0 THAT Tiiii I lit.*1 ill. COAT J'OdKS-.T I i> l a VI h a t nd the eudienco
. EEf. THE HA 1,1) CO ’UliC A,{Alt ^ I Til FH,GKR» COaihG Oil* 0* Tiil^ iOtKaT.
••ut thie ii ..h«-1 •-}»♦ .*udiunce does not i b e , I n that
eecor.d before cont ifi naun^ o,en.«a the left h: nd goee out of
tight into the a ;e.co between co»-1 i-nd ve»t, the curdy :.re pushed
directly do.,n into UI’i’EK I.lUiiT tf£L.T 1 Oe?U,T,i,nc the left free finhere
going into the cost pocket :it-king i- VI.-idl.L. »ULGk,,hich ie
{.lightly noticoblo fror; the (-uaiuiice1 vie-., oi outside.
ih i s. visible bulge of the -ockot i. k on by the i.udiencc
to be evidence of ci . r d v going into brt;tct 4ocke-t.
i)0 I.OT .ihiiTIOu J'OCKKT OK YOU Ak.k jjOIKC » .u ivc your
eudience credit for Uiiiiihti you .ir..-1 unptj our bre»«at ;ocket
.-.n>i ±,0 t h r o u g h 1 evidence of putting the cs.rj.. there.

«ext ftak . o-cti: t or to hold out hie h; ml,end with _,our free
loft hund openly rer ch into | oeke-t s ,n d bring out t o , Cf.ru of henjj
thre.iey it i'ece down on hi i, o; cn hMid.
hcjei t .ith the next three.iio it slocly envt o; enly < ounting thea
Ih r c o ” - "? 0 UItn— no they ere re-so ved.«hen t CUii rre o u t , i;te t<
3 i ,v:j« - *‘
thet but ono ie left in tile pocket.

Tell dontieaen to reach in with hie free in nd end TAKE JlOJ.d

of the one ccrd left but not to IT U U T ...2>.t . n he h<‘e it,i:ek hia
to n: ne for the' firet tino the cs rd he o thinking of.Then here him
dr.*. b out the ct.rd r nd hold it up.It nt tur; Ily he e to be hie c;rd.
 5 -

At once they can examine cards,the cards in his hand and the deok *

YOU HAVE PERFORMED A MIRACLE--------- WITH loOjS CHANGE OF SUCCESS.

THE PSYCHIC WRITING

I have here a really new principal for effects of this nature.It

occured to me in the latter part of 1927 while conversing with
Max Holden on a principal of which he is the originator.
The first thought nas to use the trick as is herein described
'.vith two blank curds of a calling card size,and as a possible
publicity stunt to be used impromjbtu and at random when the opportun­
ity was forthcoming. For a while I used it as a sort of "s elf
introducer" where my own name would appear upon the blank and
numbered cards.Then I discovered it much more effective to use the
observers name when possible,as it takes but a second to get it
ready. I first introduced the effect to magicians at at the 1928
Lima Convention where I was continually loaded for as many as 16
names at one time.So upon meeting a performer I could work the
effect apparently impromptu.
In short,it is the only effect of its kind where the pencil
and two c»ds,four blank sides are shown and numbered,the spectator
actually seeing four blank sides with a different number on each.
Yet a name app ear a,f i 11ing one side of a card and everything may
be kept and examined.There is neither anything else to add nor get
away.
T D P R E P A R E - ---- One side of one card is filled with a name
or a short message written diagonally across it at one corner.The
upper left corner contains the figure on e ' 1 )

The two ceatds are placed together iiITH THE WRITING ON

THE UNDER SIDE OF THE TOP CARD. The numbered end musy be nearest
your body in handling cards--at start. Fig B.
You speak of using a couple of white cards--
Nhhs sioe carelessly fanning them apart— as you ask spect­
F nce oow n
ator to hold out his open h a d d .Explain that
some people think you use three cards and
exchange them.You point out that you use only
TWO.Deal them out(See Fig C.) singly upon his
hand.
THIS REVERSES THEIR POSITION
You at once pick them up again,and place them on
your open left hand.The writing side is now on
underside of hhe BOTTOM card with the numbered
end nearest you.

Taking a pencil you state that you will NUMBER

the sides.Openly mark the figure 111 " in the
upper left corner of top card.Move hand around
showing it so they can see the entire surface of
card,and that it is not covered with any of your
finge r s .
Now follow this with two cards in £our hand.
 — 6

Your left thumb slides top card slightly to RIGHT as if dealing

--your RIGHT takes hold of TOP CARD at the lower right corner,the
ihumb underneath and the forefinger on top (fig D.)
The top card is now turned outward(as if opening a
notebook) see figJ>. which shows the top card in "8a
the act of being iipened over.

When cerid has been completely turned over'and the

thumb is on TOP and FINGER UNDER)---- it is broughtfc
down behind and under the other card (fig F.)
Fingers do not let go corner until c&rd is way down
and left fingers close around cards ud square them
up.

Practice this move over and overas it is the main

move add should be done smoothly and steadily
without jerking and without haste.In fact the whole
effect must be done deliberately and slowly--and
smoothly.

Nov;,a clean surface is facing upwards.(The writing

is now on the underside of the TOP CARD) You are
about to number this card---ahd in doing so,the
left hand comes up to a point near sholder h e i g h t ,
so that the card surface is out of sight of the
SPECTATOR,while the figure 2 is being written on
the UPPER LEFT CORNER.This is a natural move for
writing in the h a n d .Immediately the left hand is
lowered and shows the second numbered side all
around.

When this has been shown,the Left Hand a^ain comes

up to shoulder height,abd the same move is made as
at fir8t--the top card being turned UPWARDand
brought down behind the other one in the hand.This
time for just a second,the writing side can be sem
by you but by no one else.After changing cards--
BEFORE THE HAND IS LOWERED— you write the figure
5 in the upper left corner of top surface. Then
lower hand as before and show around as ”SIDE
NUMBER THREE".

Once more your left hand comes UP

and again the same move is apparently m a d e — but
this time there is a slight d i f fe ren ce,After the
top card is turned outward as before-~instead of
bringing it down behind the other card,it is
brought down in front of it(Fig G.) instead.From
the spectators view the move is just the same as
before,as your hand hides the exact action.From ti
the front the motions look exactly the same as
be fore.
 — 7 —

Thisbrings back to the TOP,tht. B i d e number "1 11 which you

iirot numbered) Fig II. without bringing your hand down you
mention that this is the last nide and you a ;-parently make the
notion for marking the figure A.iiut you actually
01;LY MAKE THOSE l.ECESSARY TO Cltfi^GE THE FIGURE
OKE INTO A PERFECT HUtiBER A. 'Fig I ) The rest
of the figure-'the upright ctroke )not being
needed,i a merely a notion.
At once the hr.nd is dropped exactly as before-m
and cide " b " chown. Hon with the cards utill
-1 down,they are spread just a trifle the top card
/-j to the right)
The figure 1 shows up on the under side (this
being the writing side) and performer states "
i-'ide One and FOUR" Closing then u, and turning
then over together,end for end,they are spread
ag ai n -- and two and throe shows.

The cards ate noa squared up and handed to a spectator to hold

for the finish.
The spectators have actually seen four blank sides
WITH A DIFFERENT UU.<iBER OH EACH. And when the cards are
examined, the four NU^BERE ij sides are all shown properly
numbered--yet a name or message is found on one side of one
of the cards.

IHSTAHTAjlEOUS CARD MEMORY

-t
Heretofore,memory work ha u necessitated a lot of study with
namonics and word key lists.Card work was nude doubly hard
through having to learn two lists and very few have ever
auccesofully accomplished this work although it covers many
wonderful geata.
My new card memory effect is based upon several
subtle ideas and principals which require but a moments understand­
ing.There is nothing to loarn or commit to m e m o r y ,ntid ten minutes
from now you will be able to do it on a few minutes notice.
Hothing but a deck of cards is used and they may be borrow­
ed, providing you have a chance for a three minute -reparation.

EFFECT i The deck is throughly and genuinely shuffled to start with.

Because u;iing the entire pack would make the faat too long,it is
divided into h41f end one half freely chosen by a spectator who
cuts the packet and reads it through onco out loud to the performer
who stands in full view in the centre of the floor.

To prevent signals or cotif edera cy, and so everyone may see the
cards ao named,the performer leaves the room but stays within
hearing distance.
The spectator spreads the cards in a row face up and the performed
successfully names the cards in order both ways.Also the cards at
any number or the number of any card.
This effect is always appreciated by the intelligent class
as a demonstration of pure highly trained.But it is really nothing
but a really cute trick all the way through.

First the arrangement, whi ch will always be different.

Seperate the red and black cards into two h e a p s .Sh uf f1e the red cards
and spread them from left to right faces up.Nov; place your black
cards in a row under the redo with the vilues correeponfling,and
everytime you have a heart above,place a Club of the same value
below. Each time you have a diamond place a spade of the same value
Thus by looking at the sixth card for instance in the red packet
you can name thesixth card in the black packet. Thus either pack­
et will be a copy of the other.Place one on top of the other with
a bridge or break between.
TO PRESENT: Gd.ll attention to the shuffle.Cut at bridge or
break and SHUFFLE THE TWO HALVES TOGETHER with a riffle or dove­
tail shuffle.Of course the dudience doesnt know that one half is
all red and the other b l a c k .Mention that a full deck is too much
and you will divide the pack.Turn deck face up,and deal the cards
one at a time,the reds in one heap and blacks in the other.Now
ttirn the two packets face down.The subtlepoint is that the two
packets are still arranged as at first in regards to each other.
This may be hard to belifeve ,but try it with a p a c k of c a r d B now.

Aok the spectator to take either one of the piles.Upon

selection you carelessly drop the other half in your pocket,out cf
the way.Ask him to cut the packet a couple of times and then
starting at the top,to Bead the cards to you just once.You listen
and remember the LAST CARD NAMED,ONLY.
Step from the room and immediately take out packet from
your pocket.Run through it and cut so that card is at face to
correspond to the last CARD NAMED.Now your packet is the same as
thei r8.
Holding packet face down in your h a n d , d e a l t h e m face up in
a row from left to right and overlapping,naming each as you turn
it up.After every fifth card dealt,jog the next five,either up or
down, a b o u t an inch in t h e row.After you have t h u s gone t h r o u g h
them,ask anyone to name a number and as you have them jogged in
sets of five y o u can locate any n u m b e r instantly a n d name c a r d s
located t h B E e long before THEY CAN COUNT TO IT in t h e o t h e r room.
This same applied when finding a card and telling the location of
it. When finished merely pick up the pack and drop in pocket
before returning.
You have performed a real feat of memory which cannot be
surpassed in effect by the real thing.
The last subtlety of jogging the row of cards makes
your replies dlmost instantaneous.

"PHANTASMA" -- A MENTAL CARD FEAT

This is an effect thit depends mostly upon PRESENTATION-- as

nost of the secret magical operation is practically completed before
the trick 1:. r ^ X I y tr rted. i'o Lho 7 «ri*or -.er* it i •• Very ii, 2 o
both in .rt; u r t - . l i a n <-nJ working,, but it la hi Lc& b i a
ti th 's n n il
<*■3 though »,Tsokii<; ter isi] i u-..ed, it it ■ict n o c; c 1.1.» r y t a
. :-:a.e ior tuv oi'foct.Vory liil’u 1 i■ ft C v il KU r r i t , : . . ; '
-i*.torinl
f. c roltti c'.ao il l t h c!-,frottvi. fa deck a c: r<is: in th*? i ' t : c v nd
nr, ty n i J fe p o c k ft t 1 <:• 1 1 th;,t is u ; c d .
l h « . i « r l ' o r : s t > r * U- r t e b y t t m . o u n c i z i f a t t by ccrv.bii-.iiik
.‘-•inrt roc. d i n g . i l t h c f h> l i d h u h e been i b !<; to trl'or:.! thv
r . o e t s i t a u i u i i i n ^ n r .d v . e l r d 7 r o t 1 g :3s>. * h i r f ur rxir,- t tl.' . 1 c
•1 1. if,to t-ieofffect v.-ht-r«#in f. thought ol c,-.r-i «/: f t i t h e £ ■in;
Sn r c f.nother rv c u r. • r o t ch e ;-. * o t ■

I’-.dfrft../.Ilfn.s i’ir«t is* needed dock of errdc- five 'du; lict- to

enrde t 1 1 different.Sh^ee- ;i»e <■: trc c? rd. i«ro ; 1 ; nted «.•:» follows*
Oat- i rol ltfd «; tightly ttr.d iru>crt« d into o cii.erottc‘ in lita of
tobs-ceo; if- iru wrtcd Lr< cn% t ide of tho ci^;. rotte ct . 0 end
covered with oi^r. rette; , th« Its:t of rhich i*= tho ;rt J.fu j lli.Aln.lii..
the c.-it't- ii, then «iroj-;-ed into left ij.de cot t
■i 1\
- 1iootit-
in n rJt:. f • i1 ft ;ockct. i/it fourth CwTii Xi
. iiic-cd i boutfiftoen frow tnu bottou of tho dock ijid ft,co u. in e~. C 1. j
4 th'., then inverted in cli -o .
fre-vioue to thia tho five Ce rd. 1 C t; of
•hi C f i you hi vt. hi. lie? too,acre- ro ;ovcd t-.nd ,l»‘ced on to/.l'our
otncr in-ilffuroz.t cnr< r*;"ovti4. f ive or ;,ix o r.<in::r I ct tor
ur.velojvoe f.r<j tukon.l'he t‘ l> , catt off fro ^ or.e 'iu*>y
*C» /) w“ n ro mil
faced one y ,the fit-7 faidoc t\r« u, ,sad tho fit lesii o«i«s ;:iaoisd
,n. to, '»'l£, f /u, of thu s oconl wuvoXo 4 o bc-in^turnod Jo.iSi
over the tor 1*1 *.plocfc or.tt«:i'huc tho f ?n j of ift>con« mivoia. e />i-i <iAi'.u
T ;U# ’ iii/ii 01 - ivhV .i'ho four * ;itrt. cRr»w‘ . t.v.-:on fry;*
lifec!: t re : Is cad li. thie ofivolo. o fro.-i the to, •
*’:»<* ;.nci:ct of ar.vflo, e-v :y t rr«sti„cd,ia tiion,JkCoU in t’
.
the inride c t ;o c 1-:e t .1'o u • re no.; r'.udy.

A t 2: l,ont!o.'.'!:K Of: >our ieft.Xi*i:e utck fro;i co-o— f.ocr*:ti;

J coving the bottom or fifth cc r i b&faiad in c.> t e , r;hi ch you clooe
tii.d iro, on in b Jo .ftiff Ie- ohuJTlm ; r. c'/., no I d i*> tur bln-; tho toj f i v«
eer«i: not roveelin^, trtw FAOi U< UAUli ns?..r contro.
1 five cnriiu ft.ee .loan or. h<-n-i of .un.Anh ni;-.; t ^ tarn
his" bncU#look the Oi.rd.- ovor n*,S to iOrely ‘i.iihK of I■n j one- ho
7 1 c y cct.. VUv- rc.H1.iiidftr of d-'Ck ih ce uov.n on t-' bie.Ata ensiitot
^ O h t l e.-scj U on ; o u r rii;k t.
'*lien first :n turn;- round >ith curds,
uftor .*2uki rt>, hit- ;oi t ction, t; ;.*> crriii. in jour
ri&ht hr-.nd— and u .;-j.rent ly in._ t.rt t;u«^. into i->I
onvol o; o, tr.c fin • of x n l e l t i f.-r.rt ly on^n.lhey
r c c i l y ^o i n t o toy fit : .i O t:V; Id ;. : ’ f i •• ) At
t h e ft:-;*: t i no , til- ' I titt, li'iR-i t l y .. to ; r,i; bo vly
tii.d ri^ht
tr . i n c h , by t h o f i t . 7 1 i 7; } i'nu l e f t h* nd r» i o c s .
t!;0 ~tt; f J-: o f OiiVoJo.Ot> Uj- t th<; 1 l . e t o .■1.1 tito
f i n ; . A f t e r t h i r , th#.- r i ^ h t f l n ^ t r s ; r e e c f J r . ;
K -o.f> ,vii Bis-i fi©e 1 i t * tiitv J os. <; b '.'iitj, -i r e an h i ' t h
<j|JOU|;n o u t o f t h o j. n c i;o t f o r t h i i . ^ h t i=.udier;c& ct. n
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sr. I ” too tho ovivlrot ? d id o o f cnvfflo;.® r n J tt ; I 2oafeu f* i r .

t e r son} ini, f I « l dovsn, th*: n iu jf? rj;.u*.k£> < uH unvvlo'- 1> o»t jr
ffii! htnd to nr-n on r i^ h t - - th<» 1 f t rc-turne ttfcCfc o f
OKfttlo, v8 tO i OCkt>t.
*his cn on your r i ^ f t t eides,iio« i n i t i a l # th;: o n v « io * o to
i d e n t i f y end holdtv i i . i h o c o r f o r o e r aoanwhi Io ct- r*?J.on-tly end
n«tur&2 ly brin^is o u t c l ^ e r o t t o cut.--# f.cvl th e ;n-j;'ered
o i ^ u r o t t e ,h o l din^, it* ru i f reudy to li & h t « ? h c ca^c 1«< chut und
d r o j j o d onto t e b l o .
i h u ; e r t’ord or xvvntlor.c sh u t h:. e b*;oft done
and hos th o f i r s t «8 » i e t h i n k i n g o f Gi-.i- uf th o f i v « « s*r4t i n
cnv« 2oj e •
*hen ho f u r t h e r s oa-.leinc t b u t hy u in d r e a d in g he- hue
l»>i'.rn«vi t h v i d e n t i t y o f fcli© e»rU~*t>r»d by uicJL^ht o f hund he
d id fcO;:;t.thtn^ with i t # <?hii« r l ^ h t i n f r o n t o f th^tv*
i'orfor;aor th « n >• -k© th e s econd t*»o« to ©*•«?*» th o
cj*e lo . o und count tho ot>rtfo# ‘‘u nSy i OUtt* .Ari<j tho
<?n*e2o;-© i o un; r o a r e d .
*‘ho ;_*/-*n on 2<?ft i s not* ooked to Duao f o r th e fir<<t
t i a e the card h<» «a» t h i n k i n g t h a t th o re>c,t
of th e Qudiur.ce n^y nj j r o c i c t e tho t?ur- t i e i n ^
cl lor; >. o f t h i o okj o r ir.o n t *" h u doo« t-o r<Hd tho
uen on r i ^ h t d e c la r e s i t is- th o vory ct-rd z.lrt\in&
f r o o th o e n v o io r « ho ho2 i*t.
f
tho p v r f o r n o r d e l i b e r a t e l y »hf*t M>
Uid i i t h th e c*rd tx*d thv f i r t t *:*un fXftdif hie?
tacu& h t >f curd h i -sac I f .
i*&* w ii, U,*>.* •« *«v) f-i*-* A i* * iJ L C ii V»i' A iiL £; X V *.» W . *. JTi •‘J ** ** £+i\&'+
0 *' <1*1 l i «i* ii♦-**m**4 "Lh*'.*♦ it 4mA*<L* ‘i>U

» . J f t h » c r r d nt.itic 1 * i n th o c i ^ u r o t t o ou&o or
c«f rd ci t o, tho j o r fo r .io r c« 1 i « a t t e n t i o n to t h a t
1 X*tlC^<Sf*1**',*‘^'d iiiii i i**».Sirfi^W A Xi> i’ij L -Awil
i i lU

ih-.KOItii *h« th o u g h t o f c« rd Mtv« nct.od.^o enke

fijst<t nun to oj:on tho os,t<«. b o fo r « a l l , a n d u; oii
d^in^, {to tho ecrd io found ths.ro.

--••if th « curd nt r.cc; it. i n tho c i c c r o t t o , f ; t t o n t i u i

is> ■ci;) 1«id to fcict tsmt i t h;M! bo«n in X"u22 vLcst
t-.i.l th o t l r ;o,ftnd no?; uj on b r e a k in g i t o , eti, tin*,
cs. rd ie Qxtrr*ctoU#u n r o l iod und li^ndod to o s n e r .

»' I f ot;ru noneo 3 c- i n tho j,»'ck#th o j orfor,-,ur a , d«

t t t e n t i o n to t h « ;-nck ho It cod on tc bl o f ;.?*»d 1;U, t?
thr. t iihon h i •in i; • o-- rd * th e botr t " ‘.oce iv erotic
o th o r c» r d « . uu t to >mko i t ouc‘ i3y f o u n d t hu n? a
. i-'-cod i t i n i-r.ok f v.o•» u>-» *’h‘jr& i t i«< found*

/s• '^ n d l o w t l y , i f t h © ci r d nt-.;:o& i;; t h o o»-*> i n

y o u r s,> o o !;* b - ~ y o u c ; tt d « l ‘y <;nyon*- t o h i < v « <»oe«
i* o u t o t o y o u r ^ o c k o t t- n y c - f'tu r t b k i o w
c i u e r e t t o o u ^ o o u t # l< / t i c l i tnn b o f o r « c<, r d »t:e
. l l o -.-.od t o r<*t.cU i n f . n d
nti r a o d . * h o :r„M) h if s t f f e l f is- .*■
fin d t h y c u r d th o .r o .
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tnc of foe t i ;* t'.KC.r'iz fov i 4ro ..-X #ti L i t meetly o?«r b&fofCiii r.»}.
f iic teet thet you i»<- v* i'lViu i)An>iw «;^AuI £ i.ov^F =:Ul ( «ctcJ.

t*f course ,i- t t n n t l o n I?- or.lv- *re.#fi to tho ouo - !••• ctt* J o th e rb
f ; ; c e r p e r fe c t!;/ ,: nii-3 ii.iioCci'.t c r t i c i e s by th«n»K t> Van,
r,.’.icU ero » o«r.vt<-vl < TU-r efl'*>ct*
« i t n the -.ro, cr j ru , •„•*;v t ie ? ., t h i t I t ftfconuori’u !
i Jro y iiJi, rua- or c lu b f«.-at«
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