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ACAAN Project Pablo Amirá

“What happens to the hole when the cheese is gone?”

Bertolt Brecht (1898-1956) German Writer.

“Online Sessions with the Any Card at Any Number plot”

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Hi! First I wanna say thanks to God. He gives me the opportunity to do so many things. He gives me purpose in this life. Thanks!!!!! Also thanks to all the contributors for this project, very good ideas from around the world. Also thanks to internet. Wonderful communication tool. And also thanks to you. The life it’s full of mysteries. What happens to the hole when the cheese gone? How a thought card it’s found in ANY thought number? It’s a coincidence? It’s planned before? Psychological abilities? Good sleight of hand? What if I named other number? Or thinking in other card? The purpose of this project its give some ideas in this awesome plot, and promote creativity for new approaches and touches. A lot of magic heroes had a tremendous impact in this works. Of course, the first one its David Berglas and his wonderful Holy Grail. Also Ed Marlo (the inventor of all the card sleights, even the new ones!) , Dai Vernon, Juan Tamariz, and others. And mental guys such as Chan Canasta, Richard Osterlind, Banachek , and others. I hope do you like it this approaches, enjoy all the ideas and contribute with your own thinking Pablo Amirá, 2009

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Contents: 1. ACAAS: Any card at any sentence (Bob Burns) 2. IACAAN: Impromptu any card at any number (Matthew Shepherd) 3. TUCAAN: Two Cards At any number (Mohamed Soliman ) 4. IACAAN #2: Impromptu any card at any number #2 (Paul Carnazzo) 5. ATCAATN: Any thought Card at any thought number (Pablo Amirá) 6. DACAAN: Double Any Card at Any number (Pablo Amirá) 7. A-KHAAAAN!: Star Trek’s ACAAN …. (Mohamed Soliman)

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1. ACAAS Any card at any sentence Bob Burns lives in Montrose, Scotland. He works as a magician, mentalist, hypnotist/hypnotherapist, and professional musician (neo DaVinci) He wanna contribute with this good twist of the ACAAN, giving a more personal meaning, and a very genius method. Effect: (where you read “I”, put your name or anybody’s name, if you don’t like your name…) I take a pack of cards and lay them on the table. Then I ask if there's anyone good at spelling. When I get my volunteer I sit them next to the pack telling them that in a moment I will be asking them to pick the pack up and count down to a card using their ability to spell. I then ask two more volunteers to think of two things (one thing each). The first person is to think of a card and the second any sentence that comes to mind. I go on to say they might want to choose something famous like: "I have a dream" or any famous saying from a movie or something they're mother used to say to them when they were a child anything at all. When they are ready I then ask the first person to name their chosen card. The moment they say it I ask the second for their sentence. As soon as they give it I ask the 'dealer' to spell all the words in the given sentence, face up, onto the table. He deals the table, and found the named card In resume… Any named card it’s founded by any sentence, simply as that

Wow... any!!?

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Method: There are 4 'other' ways I can think of to do this method, most of them know by card magicians but this method is done by... HYPNOSIS. And it's one that makes me smile when I hear other hypnotists (that's correct, actual hypnotists) say that "there's actually no such thing as hypnosis". So in this case I'm talking pre-show of two separate specs. Both sayings (card and sentence) are inserted into their sub-conscious and they are given their post hypnotic suggestions, followed of course by total amnesia. I believe it's possible that at least one of the ways Berglas would have achieved ACAAN might have been by using this method. Comments: The last time I did this particular ACAAN effect was in a pub in Portsmouth and the person said, much to everyone's amusement: "You'll poke someone's eye out with that." The card selector immediately said "The four of hearts" and the card dealer spelt: Y-O-U-L-L P-O-K-E S-O-M-E-O-N-E-S E-Y-E O-U-T W-I-T-H T-H-A-T. and the last card to be turned was the four of hearts. I believe that the whole ACAAN thing that Berglas possessed was due to his wonderful imagination. I don't believe he ever had only one ACAAN but rather he would change the method in order to fool magicians and safeguard his secret. That's what I'd do!

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2. IACAAN Impromptu Any Card at any Number Matthew its a kind magician-mentalist from Leeds, United Kingdom,and He wanna contribute with this piece. Effect: From a borrowed and shuffled deck, a spectator selects a card which is then shuffled back into the deck. The performer does not know the identity of the card. The performer then asks for a number from one to 52 to be called out. The performer counts down to this number and there is found the chosen card. Method: Ask a spectator to shuffle their cards and without you looking to remove any card they wish so that they can burn the image of it into their mind. As they are looking and the card you asked for the deck to be handed around to other people for further shuffling and then finally handed back to you. The selected card is then placed on top of the deck and controlled to second from bottom of the deck. (IT IS IMPORTANT THAT IT IS SECOND FROM THE BOTTOM OF THE DECK!!!!!) The way I usually accomplish this is to ask for the card to be placed on top, I then start to talk about the 52 different card and how they have two colours, four different suits and thirteen different values. This causes a distraction from what I am actually doing. I seem to be giving the cards an overhand shuffle whilst saying this but I actually slip the top and bottom card of the deck off together and then proceed with a standard overhand shuffle. Now some spectators might be aware of this so I sometimes do a few Faro Shuffles while still keeping the bottom two cards as they were. then I “flash” the bottom card whilst talking so that any eagle eyed spectator who thinks the card is on the bottom sees that it isn’t. (Little do they know its only second from the bottom!)

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I then ask someone to call out any number from 1 to 52. Whilst doing this I do a half pass with the bottom two cards so that their selected card is now on the bottom of the deck but facing the other way round as is the one underneath it. It is important that only the two cards are turned over in order for the effect to be successful. When the number has been called out I deal down to one card before their number. For example if they called out the number 37 ,I would deal down to the 36th card. I then look at them in they eyes and ask: “For the very first time, what was your card?” As soon as they look at you and answer your question, you turn the whole deck over so that their card is now “on top” with another card below it which is reversed too. You then say: “So if this card (pointing to the spectators card “on top” of the deck” is yours then we would have a miracle wouldn’t we?” . I then ask the spectator to hold out their hand and place their card face down onto their palm. I then talk about how someone looked at any card, and someone else named any number from 1 to 52 from a borrowed and shuffled deck. (Note: Good point about the use of the word “Any”. Also you can use this linguistic technique to say “Any thought card and number”. This sentences creates a false memorie, hopefully) Whilst I am talking about the above I secretly turn the whole deck over again and do a half pass on the bottom card making the deck normal again. This is just in case anyone wants to examine their deck. I then say to the spectator who looked at the card: “Please turn over your card and see which card your was at that number.” They turn over the card and you await gasps and applause!

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Comments: The presentation sells this effect, because there is a little bit of sleight of hand to do, you must do these in such an offhand manner when you are talking to the audience. If someone names any number greater than 50 you can adjust the effect a little so that it still looks the same however I prefer to just say: “Are you sure you want me to spend ages counting to the 52nd card? I think a slightly lower number would be a little better, what number does your subconscious tell you?”

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3. TUCAAN Two Cards At Any Number Mohamed Soliman lives in Florida. He is a semi professional magician/mentalist and also a school student. Its called it TUCAAN cause I use two cards in the routine, using one effect to set up the next. E-mail: ahmo490@yahoo.com Effect: An ACAAN effect for two people, the first effect being that one spectator locates his card by inserting a joker anywhere in the pack; second effect being that a spectator names a number and that card is located at that number. Method: The setup it’s very easy. Only you need to have one joker in the pack. Have spectators shuffle pack until they want to kill you. As you retrieve the pack, begin to spread the cards face up until you spot the joker, which you cut to the top of the pack with the cover line of "hey look the other way!" or the more preferable "now you there isn’t any particular order to these cards" Turn to the first spectator and have him pick a card, as you turn to second spectator to take a card out, cut yourself short and "have them try something more interesting," have the peek at a card and retain a pinkie break ABOVE the peeked at card; this may be done by spreading the cards as you reiterate the fairness of the peeking predicament. What follows next is a silent mora overhand shuffle control, where all the cards above the break are overhand shuffled to the face of the pack, however in this case, it is important to run the last cards singly to make sure the joker ends up on the face.

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A quick position check will notice that the peeked at card is on top while the joker is at the face. This whole procedure is under the guise of mixing the cards up after the card is peeked. Turn to the first spectator as you cut the cards asking him/her/it to replace the card, making sure that the half with the joker is placed on top as the key card. Another position check will find the peeked at card and the card that was picked to the right of the joker when the pack is spread face up. Which is exactly the next step in this routine, as you spread through the pack in search for the joker, telling the spectators that you hope they didn’t THINK of a joker as one of their cards, because you are going to use it as a marker of sorts. (It’s important that you stress the word think because they will later remember that they thought of cards as opposed to peek or picked the out). Cut the joker to the face of the pack and hand it to the second spectator who peeked at a card-at this point I prefer to spread the pack towards this spectator asking him to just look at the cards and not to memorize any but to let their subconscious mind take over- as the first spectator names his card have the joker inserted into the pack by the second spectator in preparation for Bill Simon's prophesy move which goes as follows, spread the cards to the outjoged facedown joker, all the cards above this outjoged card are taken in the right hand; in a gesture the right hands moved in a counter clockwise position, and with the thumb turn the joker face up as the right hand turns back clockwise and the left hands packet is placed on top. The move is a difficult one to read however an easy one to accomplish if you follow the instructions with cards in hand. The situation is as follows: face up joker outjoged somewhere in the middle with the selected card below it and the peeked at card below that. Spread (lots of spreading in this trick) through to the joker and the card below it reiterating that if they would have inserted it anywhere else they would have been off, drop the joker and the facedown card next to it on the table as you place the left hands cards above the right hands packet this places the peeked at card on top. As all attention is focused on the facedown card on the table. Take this opportunity to secure a pinky break below the top card as you pick up the joker gesturing towards the card on the table, place the joker above the card on the deck picking them up as

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one in the right hand and have them turn the card face up revealing the first card picked.. Hand the deck to the spectator who peeked at the card and have them name a number and deal to that number onto your left hand. When they reach that number, under the motivation of pointing towards them with the right hand, place the joker with the card below it on top of the packet in the left hand; as you then continue the gesture with the right hand towards the first persons card, saying that this time they just merely named the first number to come in their head. Spread the joker off and very fairly remove the top card of the packet and turn it over showing it to be the card they had peeked. Comments: Where to begin?! Well I used to perform this method all the time until I discovered a more hands off approach to ACAAN. Some people might find this method to be very sleight heavy, however I do believe that these aren’t very heavy hard sleights and is well in the range of most average card magicians. I really do like the premise of one effect to set up the next, and the bill Simon move is the perfect misdirection to sneak the peeked at card underneath the joker. The patter in this effect is completely up to the performer, I personally prefer to spread the cards in front of both spectators with the guise of them having the deck somehow remembered subconsciously. Enjoy the trick as it has served me well.

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4. IACAAN #2 Impromptu Any Card at any Number #2 Paul Carnazzo from Boston, Massachusetts, USA send to us his approach to the Anytime, Anywhere miracle with his 52 paper friends . Effect: A deck is shuffled and card is named. The deck is shuffled again, and the deck is given to the spectator. It isn't until the spectator holds the deck that they name a number from one to fifty two, and then the spectator deals to that number. Card is shown to be named card. Method: The method is straight forward and uses a move i came up with originally to use as a force, but works well here to load the card at the correct position. After the card is named, it is out jogged form the deck and shown around. When it is shuffled back into the deck it is controlled to the bottom, and shuffled again, retaining the bottom card. I usually remove the card place it on top, double undercut it to the bottom, and false shuffle. The spectator is instructed to choose any number from one to fifty two (for the 'load' to be effective, they need to pick a number higher than five, so i usually say "pick a random number somewhere in the middle"...for our example, we'll assume the number is 28). The spectator is instructed to deal the cards face down, stopping when they deal to their number. (their card is still on the bottom of the deck) The performer takes the deck back in the left hand and a pinky break is obtained above the bottom (selected) card. The deck is transferred to the right hand, transferring the break to a right thumb break. Very little importance is placed on the deck at this point. Now, naturally the dealt pile is not completely square, so during your patter you square the dealt pile, secretly loading the selected card on top of the pile, as such:

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The dealt packet remains on the table, and the left index finger slightly squares the back (closest to performer) of the packet, as the right hand (still holding the deck and thumb break) goes forward so the right middle finger (still with deck in the right hand) can pull the front of tabled packet back against the left index finger, squaring the packet. It is at that point that the selected card is dropped onto the tabled packet. The right hand immediately goes to the right side of the packet and holds the deck against it, as the left index finger goes to the left side of packet, and both hands square the rest of the packet. That all takes less than two seconds. Now the performer turns over the top few cards of the deck explaining that if the had gone a few more cards it obviously would have been a different card. the deck is tabled (as far from the dealt packet as possible). The spectator is now instructed to slide the card they dealt to off the packet, face down. The performer turns the top few cards of the tabled packet over, explaining if they dealt fewer cards it wouldn't have been their card. The spectator turns the stopped at card to reveal the selected card. Comments: The 'loading' move is called "The Deal down Force”, and is an effective force as well. As far as I know it is original to me. Also, the load may seem bold, but it is done as a simple squaring motion, while pattering about how 'fair' the whole process was. Then, the turning of the top cards of the deck and of the tabled packet provides ample time misdirection. I hope you try it and like it!

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5. ATCAATN Any thought card at any thought number HI!, I’m the guy without life and a lot of time (really I had very few time and literally I need study Social Psychology right now) who took the time to compile all this crazy ideas . I lived in Temuco, Chile, I’m 21 years old, and almost 3 years in magic. This it’s my favourite method for this really awesome and simple plot. I refined this method thru a lot of performance. It’s yet a piece of brute diamond that needs work, but this effect gives me a lot of fun and astonish to my participants. Isn’t a hand off, but looks very fair. The only thing that I don like it it’s the bad name that i choose for this piece… its unpronounceable. Email : pabloamira@gmail.com Effect: From a shuffled deck the participant looks a card. Immediately other participant shuffles again the deck. Other participant thinks in any number and stops the dealing process just one card before the thought number (if he/she thinks on “38”, he stops the procedure in “37”) Fairly the participant flips the face down card and sees the amazing coincidence. Method: I used this effect for doing a good moment to a couple, or talk about Berglas and the amazing Holy Grail, or just present a real strange mystery, all depends in the context. The method has a lot of influences. The thought card its “influenced” (because isn’t forced) via the “Riffle Force” by Chan Canasta. (Also Richard Osterlind uses a lot this technique). Next, immediately put the deck in other hands and other participant shuffled the deck again. Later I said to another participant to think in a number between 1-52. Completely free choice, but next I said that he/she/ thinks in a no so high number, because I don’t wanna that the dealing procedure becomes in a boring moment. Then I take the cards, and with the motivation to show the deck spreading between my hands, I spot the thought card (hopefully) and put in second to the bottom, casually of course.

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Then I explain the dealing procedure, casually showing the bottom card. I take the deck in biddle grip, and do a “Glide” type move, but from biddle grip. ( I always see this strange grip when a magician do the “glide”, and know what he its doing … even laypeople who knows the glide) The move its likely the start move of “Kelly Bottom Placement”, moving the bottom card only a few, leaving the corner moved a little bit. I do a real deal with the bottom card, and next perform this modified glide, stopping whenever the participant said “there”( I used the word “there” and no “stop”, because the first one its more “soft”). The “there “card its put face down near the participant who it’s thinking in a card. I do a recapitulation about the conditions creating false memories for the post effect reactions, and giving a good moment for them. Comments: This is one of my favourite effects. It’s very strong if YOU believe that this experiment it’s nearly impossible. Keep it simple, giving a good moment of astonishment, respect and loved your audience and smile!

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6. DACAAN Double Any Card at Any number There its a new idea. If you can create one amazing coincidence, why not produce two moments? I never listen or see an idea like this in print But maybe Marlo create this one literally before i was born. So… if anybody take credit to this idea, please tell me Effect: A Shuffled pack is dividing in two parts. One participant see a card in one packet, another participant look other card in the other packet. The packets are shuffled and show really mix by the to soon astonish humans. One participant chooses any number between 1-26 for the other, and the other choose any number again for the other. Dramatically the participants deals the cards and in the named number, are the two thought cards. Method: The method had similitude with my ATCAATN, because I influence 2 cards via “Psychological riffle force”. I split the deck in two packets that can of course be shuffled. When the influence its done, the participants of course can shuffle the cards more. I explain that in the subconscious they know where the card is, even if you shuffle the pack. I spread the 2 packs, one by one , and I put the thought card secretly on the top. Next the participants creates a very good moment, a “subconscious telepathy” , where they transmitted the subconscious number to the other person. The situation its this ….. 2 packets with thoughts cards on top, and 2 participants with 2 random numbers. The receiver told the number that he received via “subconscious. telepathy”, and deals the cards one by one .

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Now you will perform a double Andrew’s Gerard “ extraordinary proof force” ( I highly recommend buying this TA project) . Next slowly the spectators can reveal the cards, and matches with their thoughts. Comments: I like a LOT this effect. Its so impossible, and psychologically believed . Work on it, find the subtleties and told me what do you think

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7.A-KHAAAAN! : The Star Trek’s ACAAN

Mohamed contribute with other approach, based in a very strange phrase, and cool mix of methods Effect: Card is named by spectator, cards are given to spec, (short for spectacular) and he deals the cards until whatever number they want, and of course the card is found at that number. Note: This effect requires the knowledge of Andrew Gerard's Extraordinary Proof Force, from the True Astonishment Series Vol.5; I of course am not explaining that force because it is not mine, and I highly recommend picking up the series as it is a fantastic investment, and nothing short of extraordinary. Setup: Have the four 5's on top of the deck in CHaSeD order, with the clubs being on top. Method: This effect makes use of a verbal force of the number 5, as well as a psychological force of the Clubs suit (most convenient) however the outs to this effect leave the spectator with the same memory of the effect The first part involves verbal force of one of the number 5; although this involves a verbal force, the outs are 100% and the spectator will remember the effect as it is. The verbal force of the 5 has many psychological factors in its favour; in my experience when someone is asked to NAME a number out loud between one and ten, the number they named the most was in fact 5.The number 7 seemed to be too obvious as people tend to avoid it, however it is the second most named number if someone is asked to NAME a number between one and ten. The wording is also very important, as you also drop little bits of "pushes" towards the number 5. "Name any number between one and ffff...one and ten" this is said in a very casual manner, almost as if you are thinking what numbers to actually say. Notice how after the word "and" there is a

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whole bunch of f's. This isn’t meant to be vulgar as it is meant to be an F sound; it is almost as if you are going to say five, but then continue on with "one and ten," this is a very important helper to this force and through my experience, I’ve found it to increase the chances of naming a five. Let’s assume they name the 5 for now, as later ill come back to the outs. Now comes the force of the Club suit, as this one is the most convenient of the suits to force (see setup) this one is all about the words used as well as the gesturing and the tone of your voice. “There are four suits in the deck--Extend your left hand as if you were counting the suits on your fingers, making sure not to make eye contact with them yet. Point your right index finger at your left index finger as you say--Hearts--now instead of pointing at your left middle finger continuing the count, break the pattern and point at them as you make eye contact and in a louder clearer voice say--CLUBS--return to pointing at your third finger bringing your focus back to naming the suits in a less clearer voice. Although that may have seemed like a very drawn out explanation, the whole procedure takes a matter of 5 seconds and in my experience will force the clubs 85% of the time. If they happen to name another suit, just simply double undercut so that the proper seven with the proper suit is the one that remains on top. At this point hand them the cards and execute the Extraordinary Proof Force; it is very important that you don’t bring emphasis on the number until they have stopped dealing (those who know the method know what I am talking about) It is at this point that you reiterate that you have not touched the cards (lie) and that they could of named any card and they could of dealt to any number building this moment up all you can until they turn over the card and wet themselves frankly. Now, what if they don’t name the 5 right off the bat, what are you going to do?? Well I always try to lead them back to 5 and there are a number of ways to do that; often by asking if that was their first choice sometimes you’ll be able to talk them back. Suppose you have someone who picks and sticks with their number, don’t panic because they have no idea what is going on; continue on with the suit force (never hurts to practice) so you know the value of their card, and continue on with a very nice subtlety used in the original routine by Gerard which is as follows: spread the deck with faces towards yourself telling the spectators you are going to place a certain card in a position, however you do not want them to know where. What you are doing is simply spreading through till you find whatever card

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they named, cutting it to the top, and then taking the card at the face of the deck and pretend as if you are sticking this indifferent card in a certain position in the deck, when the reality of the situation is that their card is on top of the deck in preparation for the force, which is exactly what you continue on with at this point. Comments: The suit force in this routine is based on Derren Brown’s handling of a similar force from his lecture tape from International Magic. The Extraordinary Proof force is found in the Paul Harris True Astonishment Series Volume 5. The real importance of this routine it’s the memory created by the spectator that the card they named was at the number they wanted, with minimal handling on the magicians part.

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A few Tips from around the world:

1. Maybe you can use a meaning number for the spectator (Birthday number, etc.)

2. Use ambiguous language when you recapitulate the procedure. Sounds a insignificant detail, but really it’s a big difference between a pick a card trick, and a mental miracle.

3. Practice a lot all your moves , talking and imagine the context, and the conversation(do it outside or in your locked room, because in anytime your family can call to the psychiatric clinical)

4. Play the game of the chances. A few times I was playing the “David Berglas” character, and really perform his ACAAN with a borrowed and shuffle packed. Never works yet… but who knows??

5. Always when you can, handed out the deck for shuffle. Used even like a joke …” please shuffle… no more…. More… (Etc…)” If you wanna visual inspiration, search videos from the master Juan Tamariz and his style of freedom in the handling.

6. If you can, use a borrowed pack. Its very satisfied use your own super mega Bicycle vintage 1800 with Dai Vernon’s autograph, but the borrowed deck its more powerful and unexplicable to them.

7. All this tips are from subjective minds and perspectives. All depends on your experiences and work.

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Conclusion: Well… in this last page I wanna conclude this fun project. Sharing its all about right? Create Synergy between all of us. No exposure of the methods, but create good relationships where the basses are the fun and the great art of illusion. Because you know that magic isn’t about methods or tricks. All this approaches are just excuses to give to your participants a good moment, a astonish time in their life’s. Like Paul Harris said “the therapy of the astonishment”. An this plot, personally I think, its very simple to understand and enjoy. I hope do you take this ideas and the most important, shared with the world. Maybe you can change the moment ( or even the life) to a person who needs these new breath on his life , and always remember that the card that he/she named its in the number that he/she named. And who knows? Maybe in a future project you can shared your ideas an be part of this !!!!

Bye!

Pablo Amirá

“Magic isn’t tricks, it’s a Way” Tenkai

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