Here is a similar effect, with a somewhat different method. It was almost the first idea I had for this effect.
Give someone the unstacked half and instruct him to shuffle it and to keep any card. Take back the remaining cards of that portion, corner crimp the bottom one and ribbon spread the packet, making sure that a portion of everv back is visible.
Pick up the stacked half, give it a false shuffle and cut the 4* to the top. Take a card from the middle, look at its face, actually disregarding what you see, and return it to the same position. Square the cards, make a false cut and set the packet aside; or, better still, hand it to a second spectator.
Tell the first spectator to insert his card into the spread. He complies. Eye count to ascertain the exact position of the card in the spread; for example, twelfth from the top (Fig. 35). Ask the spectator to close the spread and to give the squared packet a couple of complete cuts. Pick up the packet and do a Charlier one-handed cut or a pass at the crimp, bringing it to the bottom, and then hand the packet to the first spectator (the one who °° J "rd) ^ spectators now begin to deal cards to the table, one at vo!me' lUmTS °aCh Card face UP' at the rhythm you establish with your tTL .J!"ia"°^rand'an0,,Wr~"and soon, stopping them before they ,um up twelfth card. Feign deep concentration. "I can feel
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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.