Hrvt n selectlon 35 you dose the spread usins our left finger

F , *,retiy p^ the reversed card to the right, as if beginning a side which holds the packet in end grip conceals the

VlNEMOMCA y 227

sidejogged card. Turn this hand inward, brinzine ^ , toward the audience, as if you were finish,™ J! , the reversed card, after which you in™«,** pltS • " ^*

Take the stacked half of the deck and secretlv L^,. glimpsed selection (the card that n-^TK^X

break under that card and. bringing your hands and the deck undeT^ table, turn the mate face up. Bnng the deck back into view and spread both halves. Remove the two reversed cards and show that they match •

Phase Two

Ask the spectator to shuffle his half (the unpacked portion) under the table. You pretend to do the same with the stacked half You then exchange the halves under the table and each of you gives his portion a complete cut Still under the table you now switch your half deck for a special pjcket that consists of the twenty-six mates to the cards in the half stack. The backs of these cards have been treated with roughing fluid and are alternated face up and face down. Brainwave fashion. Fig. 31 shows the twenty-six stacked cards and. below /S them the alternated faceup and face-down mates, as follows: face-up 4* (mate of the 44), facedown 2* (mate of the 2*), face-up 7* (mate of the ""♦), face-down 34 and so on, ending with the faceup 5* ( mate of the 54) and the face-down K* (mate of the K4).

Put the gimmicked packet into the card case (which you have brought beneath the table) and leave the packet shuffled by the spectator on your lap. Bring the half-full case into view. Have the spectator perform the same actions as before: cutting several times, taking the top or bottom card, turning it over and inserting it into the middle of the packet, turning over the whole packet and bringing it into view By looking at the card on the face of the packet, you'll know the identity of the reversed selection, since it is

" This is a handling for a marvelous technique bv Edward Mario that appeamJ » TV

t There will be a mate of the card turned by the *«t*or in d* ^¡^¿^ they turn over the b lack Jacks or Sevens, or the red Tens or Acts card of the same ^ alue and a different color and announce it IMfmimmm^

in choosing matching vtlues cf cfpostii«far*'

,,„ %Utk You needn't U»n h hl» half the »fm\AU)r

1 ¿i ' j.vi (hrairú» belvm-n your hand« until you re* h ,i„,

, „,., ihemate II"' W'ir* i/"" ,J"v/n " "'"I

Zn It !" ' "C ,'""r hi,> piKk"'" ',"VVn

„,,, vrond phaw may and, I believe «Hould I»- repeated Ihe »».- ,„, ,((.,j (,,, lurt i ihm »wiUh-'l wllli ihr unitUuked portion that re<>t% In your Up, «fier which y«u can continue with other tricto.

Al lit« nid, when Ih'' tator take» hi"» '»rd </ui of Ihr foc<■ up spread, y>w giiilwr !»"• f• >« "I th>- «pread U> prevent the audlenc- from looking ..i il,, i.vIi i-; pifilblc 11 m i your card, which h the male oí the npe* Hfor'»

J u < Unf{, I dupli'*ted In hh half I <>r rmnpU\ if Ihe npet i-ifor turno oyer

* ,,., v Du- f< irf.fl bul there Im »mother in Ih' f>pe/ l.tlor\

Norn. II

'.', (■< n I'm not carrying the prepared par M v/ilh rne, I u-.e the follow-m/, mi'1h/*l I In pt't 1-iinr tum» over .1 < -ird in the <.t.i< la-d half, and I, after ''"' fHly I'-jffun« Identity .i-, «-xplalrwid, quickly locale the ma le of the •■"i"non („, „„«- ,,„ ,,<|j,i'. (it value of tin- tame nuil; in my half while i/»yiri>: with ihr p* kef or by running <ardu rapidly I (hen f.ike my portion uruh-i th<- i->bl' Ami revert* tin- mate livre, Simple and dir© i. Nrrn III

my v.-, with Val I vam'e, "Mulk-ffc I ( arda," in I'ahular, Vol. 7, M""'1 Al'"l IW2, p. 1006, whi-rc II wa<: d«-v r/bi'd by I'red Kobin-..» ! in my t">'ik /// baraja muUleftelo <lr Val I nan» (1980), where II r-litM "/./ í |l„. Mirar I«»), p, 33.

"> «rtpJc .ffi-ct combining*imuli4íwm» locatten, f ttitv iden<"

Z'ZhZ^'1 ;,,,d ;""J"'<, 10 bri"K 11 u> iU" i'm

( ^ '-Il m top and ¡five the deck in ouWam y/<'"' tompMi-.j, tu« would

((i * V"1 !> ally, v/ilh I he un»f* ked portion nbOVe.

<*it tioriw/fi n "'th< un#Utk«<í next U) the card behind » In «»- km.-, u, " f"",/"""' from falling when Ihr dm k i* held \>y

The Illustrated Key To The Tarot

The Illustrated Key To The Tarot

The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.

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