the blindfold book

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A vertical and then a horizontal stroke, or vice-versa.

9 ) The circle and stroke.

Again, pretty obvious. Watch for the circle, but make sure that you allow enough time for the vertical stroke before you assume that the spectator has just drawn a circle.

As you can see, there is almost no chance for confusion of the symbols if you simply watch the cues that I've just noted.

The pencil reading is shamefully easy if you use the large markers and small pads I've already described. To convince yourself of the pencil read, and to get in a bit of practice in recognizing the symbols, get your wife or girlfriend (or husband or boyfriend) to draw any one of the symbols with one of the felt markers on one of the pads. Stand about six to ten feet away and forget about the blindfold for now. The aim of this exercise is to build up some confidence.

By analyzing the strokes, you should easily be able to correlate the strokes to the proper design. After a few practice sessions, you'll easily know the symbol by the strokes.

While the pencil reading of the design would, in itself, not be a bad effect, when used in conjunction with a blindfold with the pens as cueing devices and then via the pencil read having the spectator clue you in as to what all four symbols on the card are without his knowledge, the routine becomes an exceedingly strong design/color duplication effect.

I've worked this as a stand-up effect under intimate conditions, though it is equally as strong for stage work.

You don't need any additional props to work this handling — just the cards, markers, pads, and the Apex Stainless Steel Blindfold. The cards do not need to be set up in any particular order.

To begin, show the nine jumbo cards commenting on the profusion of designs and colors. You patter along the line that these symbol and color cards are currently being used by parapsychologists across the country to test the ability of subjects to transmit simple designs and colors to a trained receiver. Comment further that it has been found that these designs and colors allow the most rapid projection. Ask the spectator to look the cards over to make sure that the design/color combinations are not duplicated — that each card is totally different and there are many designs.

After the spectator has done this, have them check out the blindfold. Once this has been done, don the blindfold.

Ask the spectator to hand you one of the pads lying on the table and one of the sets of four markers.

Have the spectator thoroughly mix the nine jumbo cards and then select one. Ask the spectator to place the remainder of the packet onto the table and to remain holding the selected card. Tell the spectator not to expose the face of the card to any of the other spectators — that you want the symbol he will ultimately select to be his thought alone. (And, of course, you want to mpke sure that the spectators know that it has not been exposed to you even though you are ostensibly securely blindfolded and would not be able to see it anyway.) Tell the spectator to fix his attention on just one of the four symbols on the card that he is holding — burning the image of the symbol and color into his mind.

Once the spectator has indicated that he is thinking of a design/color, ask him to place the card into his pocket, or to place it face down on the table. Direct him to pick up one of the pads and the four markers and to stand away from you.

Have the spectator pick up his pad. Tell him to discard the markers that he will not be using either on the table or in his pocket.

Throughout most of this, you should have had your eyes closed to add authenticity to your actions. Open them. Direct the spectator to slowly draw the design on the pad, as large as possible, concentrating on it as he does so to firmly fix the image he has in his mind. Direct him to discard any other thoughts from his mind as he does this. So much of the pen is exposed that you should have no difficulty pencil reading the design the spectator has chosen. And, of course, you know the color of the symbol he has chosen — you can see the marker!

Once you know what the symbol and color are, close your eyes again. Appear to concentrate and then slowly drop the three unnecessary markers into your pocket one by one. Open (he pad, and draw the symbol. Turn to face the audience and ask if you have received the correct image. Keep your eyes closed as you do all of this.

You should be greeted with a round of applause. However, you are not finished yet.

Ask the spectator to look again at his selected card and to think of any one of the other symbols depicted on it As he is doing this take all four markers from your pocket.

Request that the spectator place the card away, keeping the second symbol firmly fixed in his mind. Have the spectator discard the three markers he will not be using onto the table, retaining the one marker that is the color of his second selection.

You turn your back on the spectator and walk away from him for a few steps as you again direct him to draw the second symbol/color on another sheet.

With your back turned, you immediately duplicate the second symbol/color on your pad. How? Remember, you know the color of the second symbol. The symbols are set up on the card in the order already explained — therefore if you know any one of them, you know the others — and you already discovered the first symbol through pencil reading.

Remember, the symbols are in numerical order from 1 through 9 and the colors are always in the sequence red-green-blue-black. By knowing the symbol and color of the first design you duplicated it's easy to count backwards or forwards through the system to the color the spectator has selected the second time and to thereby know the symbol.

It is important in this second phase that you do the duplication while your back is turned — this adds strength and credence to the first test — if you can do it blindfolded, you should also be able to do it with your back turned.

Once you have duplicated the symbol, show the pad to the spectators. Slowly turn around, whip off the blindfold and ask, "Did I get it right? ... I did!"

Retrieve the props from the spectator, thank him, and go on to your next test.

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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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