Altering the final Picture

This can offer the performer l b i!f "T^"" ^ n0t >'K SdW'

final impression to mak T r !l °W °f °PP<™nity » mold thc

^max oFf a»;^,;:™:;;0 ¿rris possib,c -thc absorb it. (Often they also Itell ' SPCCtaiors ™ turn inward other's faces to seeif thcortrn ^ T " °rh«" looki"B '» ment, they will again ,um outwaXwfriA Afc"m vou may be able to subtly Lmpiove . V™ hc P«former. In the interval,

Ju- Tamarij: uses this ¡Ta Jb 'f'^ I*»«-effect where the selection is on ton a PCrf°rn,s ^ Rising Caid forefinger. While the audience is L y°U Push * up with youl rest of the way out and reinserts it i, "|B " rise' he P"ils the card the openly, but the audicnce hardly noti ' f m'idlc °f the deck. He does it , KaU!5l>ft|leir state of mi„d at t J" I Oapier 10: Manipulating Mem«, instant. By the time they refocus on the performer, he can show the S from every angle, the card legitimately sticking out of thc middle, i , becomes the final picture in thc audience's memory. That memory ;ill Ijiock anyone from ever penetrating the secret of the effect.

I do a qu ick poker deal based on an idea shown to me by Roger Klause. | deal a head-up round of draw poker to myself and aspectator. Each of us dearly receives five cards. But, a moment later, when the spectators look up I'm holding a large fan of cards. My poker hand has grown to about thirty-five cards.

This impression is partially created by some photo doctoring. 1 initially add about fifteen cards to my poker hand. (Much more than rhat would be risky, given the method.) I immediately fan these cards and wait fur the spectators to look up at me. When they do, they react with surprise and laughter. 1 seize on that moment ro add another fifteen cards or so to the poker hand and rlbbonspread the cards on thc table.

Thc method that I use for the second add-on is bold, but it simply doesn't matter. It happens in the moment that the audience unfocusci in reaction to thc Initial shock. By the time they refocus, the picture has changed. Of course, they are not conscious of my change in the number of card. However, as they calm down, this stable, clear picture of rhirry-Bve cards is waiting for them. It's the one rhat gets locked ,.,ro their minds, replacing the fuzzy image they saw for an instant befoi* being thrown into

Sh0tis idea of altering the final picture is related ro the »»«P'^ ward time displacement. However, here the notion is used, ° » the effect, but merely ro enhance it. Admittedlyopporrun,„ 0 app ah» idea don't come along often. But, you have to be aware of the concept seize ihem when they do.

fiyPOi"tS . 1 ofall juses, whether incidental, accidental, or

Remember that the god of lU-«. nimp(lrrtnt. Ideally, rhey extraneous is to make important r ^ ^^ ^ ¡ong_

will appear so unimportant as to Keep term memory banks. . . i v w,|l do thc job, ask yourself lfyou'reLsurewheth^:S_ else would bother whether a layperson reco'j s ^ ^ [Mpb wou|d k. ^

ro mention thc »»¿^ ^ movt a padtet of cards out of .he way bother to mention that yo in order to drop a casino chip in its place?) If you're unsure of the answer perform the effect for a layperson and then ask him to recount what yQu' just did. If he doesn't bother to mention the ruse handling, you know that you've achieved your goal.

Finally, I want to stress that, as useful as these techniques of psychological invisibility are, I don't think that, by themselves, they're strong enough to form the basis for a powerful effect. Think of them as tools for putting the final polish on an effect that already rests on a sound foundation of time displacement, disguising proximity and correlation, and solid conceptual barriers. These techniques can add a further layer of deception to an already strong method, making it virtually bulletproof.

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