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acting, you would be best advised to try the effect both ways. Try to perform the trick on one audience without the preliminary error. Judge the reaction and then later try again on another audience and this time include the opening mistake; 1 guarantee you will find the effect ten times stronger.

In this discussion I have already said that one very strong form of misdirection is the mistake. In Step Five mention was also made to show how blindfold routines could be made to appear all the more authentic by the introduction of an occasional mistake.

It may well be thought that it is not a good thing to make a mistake at any time. On the face of it, it is not the right thing—but it all depends very much on how many mistakes you make, and in what direction you make them. In addition to this, there is a certain psychology between the audience and the performer which creates a feeling of sympathy when an error occurs. The audience tend to relax completely and their attention comes sharply off the trick and on to you; a very convenient condition at times!

For those of you that think a mistake of any kind is a bad thing, we can point out that quite often we allow the spectator to make a harmless mistake —or force the spectator to make one. An example of this principle is to be found in the Punx-Mier variation of The Centre Tear (Ref. Step 6). Personally, I do not think it matters if you make a few mistakes as long as it is not overdone.

The next form of Misdirection which is of use to the Mentalist is that which I like to term 44 Demonstrative Misdirection." It can be applied for work with billets, books or cards and the principle, although very simple is extremely good. }

In effect, suppose you want to switch a pack of cards. One^deck is in your hands and one deck in your pocket. You could go into a ballet dance of movement which might enable you to exchange packs, or alternatively you could do it by demonstrative misdirection. You want the spectator to have the deck in his pocket and so you simply say 44 J want you to keep this pack of cards in safe custody, not to open them, not to look at them for the moment— and to be sure that nobody else touches them. Take them please." (You reach forward handing him the pack in your hands and then as he is about to grasp it, take it back and say . . .) 44 No, better still, put them in your pocket like this and put your hand over the outside so that nobody can even get at the pack ..." (Calmly put the deck in your pocket and leave it there, remove the hand and show him how to hold his hand over the outside (44 Demonstrative")—and having finished your explanation, casually reach back into your pocket and remove the second deck handing it to him for safe keeping. The pack is switched.

The above procedure could be used just as well to exchange a small dictionary, box or billet. It requires two things to be good. The key is natural behaviour and because of this, go slow and suit the action to the word. The best way to act the part when doing this sort of thing, is to try and believe yourself; pretend with as much conviction as you can, that what you are doing is simply showing him what is to be done. Forget you are switching a pack of cards, the only time you have to remember this is when it comes to knowing which pack is which. You can stand one on end in the pocket or contrive any sort of simple division to tell you by feel which is which. Such a thing is obvious so we need not discuss it.

The Art Of Cold Reading

The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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