Vid?T lS Hd3SfC thal neVCr failS t0 P™*"™ 3 Sreal imPaCl- nl Pf°"
"tine along with some variations by Little Tamariz, vintage 1993.
abj^a^8''lanu,0UCheS the faces of the cards with his fingertips, being ^^^ch alone the color, suit and value of each.
Which "JS Jquences-we actually done one single and two double ^ «d« ' L'm 10 a «otal of five single antifaros and restores the origi-
Mnemonic A J 205
Need I explain? I won', insult you. I'll jus, give a full well-™ ^
ROUTINE ' mutme
After thoroughly shuffling the unstacked half of ,he rWt • u turbing the stacked half, bring the latter to the cent 7 <nj' ^
to cut the deck in half. You then glimpse the bottom ~ TA * $PiXWor tion. If it is one of the cards in the staSha^eZh * P0"
complete the cut and ask another specWH
cuts into the stack (wait a year if necessary, There is one addt^T
s,on: There must be a group of six or more stacked cards on the bottom of the cut-off portion (that's another year's wait, if needed)
Run your fingertips over the face of the bottom card of the face-down deck and say, "It seems to be a red card-yes. the ink is lighter." Show the face of the card to prove you are right. Repeat this business with the next card With the third card you say, "Its surface is quite full of ink. It must be a picture card," or "There isn't much ink here. It should be a card with only a few spots," fitting your comments to the facts. You also mention whether the card is red or black.
With the fourth card you get a little more precise, saying something like "It feels as if there are five or six spots. They're pmbably spades."
With the fifth, sixth and seventh cards, you go all the way and name their exact identities, gradually increasing your pace: My fingertips are getting more sensitive." Rub your fingers and blow on your fingertips
You may now take a packet of fifteen to twenty cards from the unstacked portion and hand it to a spectator for a thorough mixing (thus leading him away from the actual method employed). Take back the shuffled cards and name another four or five, this time using glimpses to learn their identities. The best glimpse for this, in my opinion, is the bottom-card belly glimpse, shown in Fig. 12 (and described in Appendix VI, p. 328).*
Now going back to the stacked half, you "transfer your powers to a spectator, so that he can touch the bottom card and tell whether., is red or black. Let him guess. You then draw out the bottom card or use a glide to take the second card from the bottom, to fit your apprentice s proclamation. Do this, naturally, only when you know that the bottom two cards are of opposite colors. ,
' Also sec "With Sigh, Unseen" by L E Duncan*». m ftt, t>ht.r
Effects (1944). p. 233? in which a mirror is hidden between the nogfain methods can be found in Ihe classic works on card mag*
, , ,, ihccards behind your back while facing away from the ' I'c vou. K and (he deck, and rapidly pnv
T "four or five - ard„, M*mlngly by sense of (You
, eood Idea explain Ihal your left hand is more -nsihv, ,han
I ! often haprn. 1 ",10uld fldd>' And USO J™' ,"'<
fi' l cX A. some later point you aH«mp. It with the nhelPR correct Thin convinces your audience that you have a highly »fined seme Of touch and that it's not an ordinary trick (It's really neither of those thing»).
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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.