To Perform

Follow the effect as previously described. Remove the cards and fan them so the audience can see that they're all different. Turning the deck face-down, riffle shuffle, keeping the top 14 cards intact. Approach the first spectator, spreading the cards between your hands as you do so. When you spot the pencil dotted card, remove all the cards above the dotted card and hand them to the first spectator. Now approach a second and third spectator, dividing the remaining cards between them. Instruct all three spectators to shuffle their respective portions of the deck. State that you're having the deck shuffled by several members of the audience to guarantee that it is well mixed.

As soon as the spectators have finished shuffling their packets, reassemble the deck in reverse order. In other words, retrieve the third spectator's packet, then the second, and toss the final packet on top (the original 13 card stack). Hand the deck to one of the spectators and ask him to deal a Bridge hand consisting of thirteen cards, face-down, to the spectator seated next to him.

As previously outlined, have the spectator fan the 13 cards so that he and he alone can see their faces. Turn to any spectator and have them call out "red" or "black." Regardless of which color they choose, using the well known magician's choice, have the spectator discard the red cards in his hand. In other words, if he calls "black," state that he is to therefore keep all the black cards he's holding and to discard the reds. If he calls out "red," state that he is to therefore discard all the red cards in his hand.

Have a second spectator call out "Clubs" or "Spades." Using the same procedure, see that the spectator discards the Spade cards he is holding. He will now be looking at the five club cards in the original stack, the AC-4C-7C-10C and the KC. After extreme concentration (?) identify four of the five cards that you previously memorized, all but the KC.

Pretend that you're having a problem getting an impression of the final card. Ask for a hint, "Is the card a BIG one or a SMALL one?" When the spectator says it's a big one, reach under your jacket and remove the giant card with its back to the spectator and the audience. "What card are you holding?" you ask. When the spectator replies, "the King of Clubs," turn the giant card around and hold it high so the audience can see its face. This is a natural applause cue if there ever was one.

feel about the use of playing cards in a rmance?

y know how to steam a guy. I've long been an advocaie of using p

mentalism. The rules are jds. in . the ibrations mtery]

and sweet

. ├╝er.rormance-pT , iew with Robert L. Bluemle xce xce

Use only those effects that obviate a sleight of hand explanation.

Don't use more than one in a performance.

Obviously, a backround in magic is invaluable to the working mentalist. Especially when it comes to using playing cards to perform a mental effect. Now granted, the familiar "Slop Shuffle" is not exactly a normal action when mixing up the cards. But, if it's done in a truly sloppy fashion, and the performer does not exhibit any particular manipulative skill as he handles the cards, it will pass scrutiny. At any rate, I get away with it and hopefully so will you.

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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