the lower left hand corner of the card passes under the thumb of the left hand which Is resting on top of the deck. Because of this position, when you come to the crimped card, you will feel the crimp as It goes under the left thumb. All that remains to do is to stop on the NEXT card which will be the one selected.

Effect At the finish of the first effect you cut the crimped card to the top of the deck. Then have any three cards selected freely and shwon to all Interested. Explaining that you will use just part of the deck to shorten the handling of the cards, start dealing the deck into three face down piles, one at a time, with the bottom card of the first pile being the crimped one. After you have dealt about four cards onto each pile 3top and ask someone to stop you at any time. You continue dealing.

No matter when the signal comes for you to stop you continue dealing that row across. In other words, each pile must finally get the same numberof cards. And as you deal you count. You must know how many cards there are to a pile. Thus, if you finish the row with the 21st card dealt you know that there are 7 In each pile.

Using that number as an example you tell the people with chosen cards to replace them, one on the top of each pile. And while this is going on you casually plaoe the remaining cards in the side coat pocket which contains the known card to match the size of the deck being used. These cards are so placed that the added card beoomes the new bottom or face card of the deck. It's a natural move to put the cards in your pocket for the hands must be free for the handling of the cards on the table. Being blindfolded, it's about the only place one could put cards without fumbling around.

The three piles are assembled in any order and cut several times by you and the audience. And at this time it might be well to caution against the performer making any fancy cuts or shuffles. It is best to appear clumsy in handling the cards throughout the routine. You won't have much trouble doing that if blindfolded and that is the real secret of impressing the audience with what you are doing.

Prom this point the removing of the cards is the same as in Effect No. 1, except that as each card Is removed it is placed back on the bottom of the packet in your left hand. Keep passing the cards in this manner until you come to the crimped card. Following the crimped card is one of the selected cards which you stop on, then lay on the table. Now you pass on seven more cards to the bottom of the packet, and the next card will be another of the selected cards. Stop on It and lay it also on the table.

Pass seven more cards to the bottom. The next oard is the second spectator's selected pasteboards. This you stop on and put with the first two laid out. To "halt" a wise person who may count, or get the impression of sameness In the length of passing, go a couple of cards beyond the last one - say you aren't positive because impressions aren't as clear as at first - ask the selector to concentrate upon each card showing - and, one by one, deal backwards until you reach the proper card upon which you stop and that Is the one you lay down.

With that verified, you pass seven more cards to reach the third and last selected card. Just remember that the numberof cards in each pile BEFORE the selected cards are returned, is the number of cards you pass each time after the rePage veallng of the first selected card which follows the crimp.

Effect No. 3. Replace the selected cards from effect number two on top of the cards in your left hand — and then give them to anyone for >a shuffle and cut. While this is going on you take the rest of the deck from your coat pocket and riffle shuffle thoroughly, but keeping that known card on the bottom. The helpers place the other cards on top of your packet. Then you give the entire deck another riffle shuffle, still keeping your known card on the bottom for 'the finale. This action has served to convince all that the deck has been shuffled well by both you and the audience members. The riffle shuffle Is advocated for it is best suited to conceal the difference In back design of the added card.

And now comes the force of the known card. Hold the pack normally in the left hand and, with the right hand's thumb and forefinger at the sides, pull out a portion from the center of the deck. Run off these cards, a few at a time, onto the top of the left hand in the Hindu

Shuffle manner. You ask, during this, for someone to stop you as he wishes. However, you have timed talk and shuffling off so that you've run out of cards before a command can come. But, without hesitating, you pull out a new section, not from the middle this time but from the bottom portion -- run as many off the top as you can until the "stop" -comes, and immediately turn over the right hand packet to show the face card to those watching.

At this point you aak all to remember that everything has been done before their eyes, and realise the impossibilty of your knowing what card they are looking at. You also recall that you have so far successfully located the cards uoon which they were concentrating -- and add that you want to go a step further.

During this talk, and after they have had a chance to see the card's face you put the right hand packet underneath the left hand packet which keeps the noted card on bottom -- and then you riffle shuffle the deck a time or two — all the time, of course, keeping that important card still on the bottom.

The selector of the card (?) approaches you and you place your fingers upon his forehead. This always entails a bit of difficulty so you naturally drop the deck Into your side coat pocket for the time being and proceed to use both hands. 'vVhile he thinks of his card you do as dramatic a presentation as possible and reveal the identity of the chosen one.

Immediately upon the acknowledgement of this feat you ask for the removal of the blindfold. During this activity you remove the deck from the pocket but minus the odd card. Then the cards and coins, borrowed for the blindfold, are returned to their owners and all is over.

This description hasn't been longwinded - it has been thorough. I've done It for enough years to have realised the 3allent points and find out for myself how well it affects the audience.

There is but one thing to make clear as I see it. As a whole the feat is beat presented as a matter of -extra-sensory perception -- with a perfect-plus (to J.B.Rhine, at least) conclusion as a finale. You, as the performer, receive impressions from the audience - and act upon them. Then, as a last test, you attempt, and succeed in, a revelation of the actual card chosen. It must be "sclentific" — NOT a trick.

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