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Mentali s m o
fa c il

D e J PJ a cqu
ard

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Welcome to Easy mentalism. The techniques and effects revealed
This booklet will allow you to put on a magnificent mentalist display
And mind reading routines that will amaze your friends, family and colleagues. You may
find that after demonstrating your amazing mental powers, people never think of you the
same way again!

Imagine asking someone to select a card at random from a

Deck of cards. Ask them to focus on the design of

lLaotsamrjeútsac. uLl o smeirna s uacloasrao.

jEosn.toEnxcaemsipneadsapzeoqpuoerñpaesdinafzleox, iuosnteesd name the card they
have. First you indicate the color, then the room and finally you indicate the exact card
they chose! All of this is done without ever looking at your chosen card - not even a furtive
glance.

Or how about you ask someone to go through a normal book, then

To read and concentrate on the first line of a chosen page. Again You look into his eyes
and after a short time, scribble something
In a notepad. You ask the person to read the first line aloud. You turn your notebook over,
revealing that you have written the exact same sentence that your volunteer was reading.

These two effects only convince people who can actually read
Minds

You will also learn how to make predictions. For example, you place a sealed envelope
and three coins of different denominations on the table.
The spectator chooses one of the coins and flips it over. You open the
Reveal that you have not only correctly predicted what
Currency they would choose, but also whether they would land
Queues up

Or how about asking someone to draw a simple image and stamp it?

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In an envelope. In another demonstration of his reading mind

Being able to describe the image they have drawn, including
Reproducing it exactly if you wish.

All of these routines and more are fully explained in Easy

Mentalism. You will have seen effects like these done on television
And the stage by famous illusionists. Now you can learn your secret
Techniques and realizing the illusions yourself. you will be amazing
People with their new skills after a few hours of practice And what's more, you will enjoy
the stupid expressions on your
The faces of the victims.
The E-Book is divided into two sections. The first presents a wide selection of mental
illusions and psychological illusions. The Second Part is an introduction to hypnosis.

I'll say it now and I'll repeat it several times throughout the book - the
Secret to performing convincing mind reading is in performance.
Some of the techniques you'll learn are surprisingly simple, plus what you can do in your
operation to distract your audience.

I L nec j lousid d oepeasrea h deacrl h eoa , lmguen j oars . L idae i anst roso d burcec i c ó
ónmao l apu h e i pdneofsr i asseesar his patter
And increase the illusion.

This book focuses primarily on techniques; very little Dialogue or direction. This is because
your personality is the most important element in mentalism. Once you understand the
techniques revealed in this document, think about how you can apply your personality to
the procedures and invent your own patter to suit.

So let's go with some mental wishful thinking...

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Mentali s m o fa c il

Part 1

Illus i on e s
 Page 5

Effect 1 : Simple prediction form

You walk out on stage and place a large card on a chair or easel in front of the audience.
The card has three shapes drawn on it; A square, a triangle and a circle.

You choose an audience member and ask them to stand up. You Explain that when
people are asked to think of a Shape, these are the three most common designs
chosen. You Ask him to choose one of the shapes, in this case he chooses the square.

Then you ask him to reach under his chair where he will find a
Envelope taped below. Ask him to remove the envelope
And when you do, explain that before you did a
Predicting the way he would pick and stick
Under his chair.

When you open the envelope, there is a postcard inside that

It reads "you will choose the square."

This is a nice opening effect and usually works very effectively.

Make a large card with the three shapes drawn on it as described above. On the back write, "You
will choose the triangle." Write to you He will choose the square "on a postcard and seal it in an
envelope.

Before the show, tape the envelope under a chair in the room.

To perform the effect, simply reveal the appropriate prediction

Asking the spectator to remove the card from under his chair or
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Asking him to come up on stage and turn the card over

Reveal the prediction.

If you choose the circle, then your prediction fails but all is not lost.
Point out that most people choose the square or the triangle and
Because he hasn't done it, that makes him an interesting option to participate with an
experiment.

Note that you don't mention anything about the prediction until the Spectator has named his
choice.

A su intunoprmedeicncci i óonn ó essucoprrree d i ctac, io enntaosn í cqeusegnean d i i ael!eSsi en

lo ,md á escespac bi i oon . a A nctae b pae d roe oh b a t sener The person on stage to help with a
sure fire effect if the prediction works or not.

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Effect 2: I will name this card in a single

You produce a normal deck of playing cards and

Spectator to cut the cover wherever they want. They remove the card they have cut
without letting you see it and
Focus on your design.

After a few moments of concentration, you announce the Card you have chosen. You
have read his mind!

You will need a normal deck of cards, but you need to arrange them in
A special order. Mentalists refer to this as a stacked deck.
One of the easiest methods of stacking a deck is the Si Stebbins system. In this system, each
card has a value; A cat is rated 11, a Queen 12 and a King 13. All other cards take their
respective
Value, with an ace valued 1.

The suits are also organized in the order of suits, hearts, spades, diamonds. The easiest way to
remember this is by the word
Pursued

Earts CHS Lubricants PAdES D iamonds.

Start with any club, then for the next card in the stack add 3 to your
Courage and make a heart. For the next card, add 3 again and do
It's a spade For the next card, add 3 again and make a diamond.
When you add 3 to 11, 12, or 13, subtract 13 to get the value
From the following letter. The system is repeated in this way until all the stacked

For example, if you started with the 3 of clubs (3C), the stack

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Order would be:

3C, 6H, 9S, QD, 2C, 5H, 8S and so on.

Place the cards face up as you stack them.

When showing the cover to your viewer, be sure to ventilate

And let them see the faces. Don't make a point of this - just
Air them out like you say "normal deck of cards". Whatever you do, don't do it They say "As you
can see, they are in no particular order!" Statements like This should be implied non-verbal.

This is important later, if the viewer tries to "reconstruct" the

Trick and solve how it was done. If they can remind you
Casually spreading the cards will rule out any theories about the Deck being in a special order or
perhaps the entire card itself.

Place the stacked deck face down on the table and invite a spectator to cut the deck wherever
they want. Have them place the top half of the cover face down next to the bottom half. Invite
them to take the
Bottom cover top card and keep it secret.

Pick up the bottom half of the cover, place it on the top half, and

L T u a e r j g e o ta re en c l g a e c r u l ba ie c r u t b a ie y r h ta ay en u t n er p a a . r A d h e o m ra a t n ie e n
r e as q d u e e h e a ch c a e r r u in this I saw . s Ta úzo to the bottom You can put the cards back in their
box, casually glancing at the bottom card as you do. Better yet, hold the deck in front of you, as if
demonstrating to the spectator how to hold your card. Whether it's
Method will need a simple verbal misdirection such as "now hold your card, keeping it secret and
concentrating on the design."

While they are concentrating, ask them to look into your eyes. Fake it

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They are looking for subtle psychological clues as to the value of your card. Also look at the
micromovements in your facial muscles.

All you need to do to name your card is solve the next one in the sequence. So if the bottom card
was the Ace of Hearts, your card is The Four of Swords. Instead of simply naming your card,
increase the drama and mind-reading effect by slowly revealing it little by little. The color first,
then whether it is a low, high or image card.
Next, name the card in its entirety.

To really game the system, you can subtly suggest that you are
About to read the wrong card. For example, if the spectator's card is The Nine of Clubs, it can be
revealed as follows:

"OK, it's a black card, okay?" Look for visual confirmation.

"Am I getting an 'i'...'I'...five...five? No, it sounds like a five - It's a nine, okay?

"It's definitely not a pal so it must be the nine of the clubs!"

Another method to reveal the chosen card is to draw it on a pad. Keep your drawing hidden, then
invite the spectator to walk around your card and announce the design. Then you can turn
around

His notepad, revealing the same design.

This is a fabulous routine and with a little thought, the Stebbins Si Stack can be used for many
other mind reading effects. What's more, the stack is instantly ready to use again by simply
placing the spectator's chosen card on top of the face-down deck.
After revealing these first two effects, I want to address something you might be feeling.
Disappointment.

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If you are disappointed to discover that you are not divine the chosen By reading body language
or subtle facial expressions,

used to! This is the way all mental illusions work. If it were truly possible to read a person's most
intimate thoughts, feelings or memories in that way, then the interpreter would be decades ahead
of the best psychologists in the field.

Everything is an illusion. You must sell the idea to your audience and
Volunteers through their performance. This is something we're going to do. Back to the whole
book.
 Page11

Effect 3 : Heads or tails ?

E
Yn5 l 0apmeenscae.uEs t lee d spcoe l cotcaadournesliog b ereunsae l d l ae d loasy
munon e 0 d , a 2 s 0
1

And the others are discarded. The chosen coin is flipped to land heads or tails.

The envelope is opened, turned upside down and folded

Piece of paper falls down. The spectator opens the fold
Paper to reveal a prediction. You have correctly predicted the not only the chosen coin,
but also O tails up.

This simple routine introduces two important concepts important to Mind Reading and Mind
Magic.

The first is known as the magician's choice and is used in many mentalistic effects. Although the
viewer seems to be
Free choice, you are choosing exactly the currency you want.

For example, if you want them to choose the 20p piece, invite them
To choose two of the three coins. If they choose the 10p and the 50p, you ask them to push
them aside, leaving them with the 20p.

If they choose 10p and 20p, ask them to bid 50p to one

lEald2o0. pA, dcoignati"nUuascteiódne, lipgíidóaelel s2q0upe. Eenlijtao n ceel s10epseo eesl

e2l0qpu.eSui sealirgeemnos, "
And ask them to push 10p aside. If you choose 10p,
Ask them to push one side and say: "And they keep the 20p.
That's the one we'll use.

Then ask them to flip the coin. See if the head or tail falls

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And ask them to call you.

This is where the envelope comes in and as you've probably

Guessed by now, everything is not as it seems.

This is our second important concept - multiple outputs. We have already

Seen that it was used in the first effect, where two results were covered
For two different predictions. Effects that use this concept have more than one way to end, so you
need to have as many outcomes as possible covered.

You will need two identical brown payment envelopes. take one
Over and trim about 1mm from the bottom and sides. Trim
From the flap so that they are left with what used to be the front of the

s Soo b brr e e . : a rectangle of paper slightly smaller than the

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The cut envelope slides into the other envelope, creating two
Compartments.

You will also need two predictions, one that says "You will choose the
20p and you will land head up" and another who reads the same
But ending "tail up." Place a prediction on each
compartment and stick on the flap.

When the envelope is opened to reveal the prediction,

First and second fingers inside to open the envelope. Like you do
Therefore, push the flap back or forward depending on what prediction you need to reveal. Once the
flap is in place, hold it there with your thumb and finger, then tilt the envelope down.
Drop the appropriate folded prediction.

As the spectator unfolds and reads the prediction, Envelope in his pocket.
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Effect 4 : Remote display

Before the show, ask one of the spectators to draw

design or image, seal in an envelope and keep it with
they. Later during the show, you invite them to think about
The painting and after a certain concentration you draw
Something in a notepad. Ask the spectator to open their
Over and reveal the drawing they made. You turn
Flip the notepad around to reveal a matching drawing.

You need to do a trick to achieve this effect. you need one

One of those clipboards made of cardboard with a plastic coating. Black
is better. You can find these at most cheap stationaries. Using a
Carefully cut along the bottom of the clipboard to open across the entire width.

LPuaepgeol etonmlaepuanr t eroszuopdeeriopra.pDeel csalírcbaólon dyepnétrgouedleo

leansuonlaaphaodjaeldpeoArta4papers up
Completely inside. Now glue the flap closed and use a black marker
Pen, color the cardboard to match the plastic on the clipboard. The trick is ready.

When you ask the viewer to draw a picture, give them the cushion
With a couple of sheets of paper cut out on it and a short little pencil. A shorter pencil forces them to
press harder on the paper, thus creating a lighter carbon impression on the hidden sheet.

inside.
Secretly before starting your show, remove the plastic and carefully remove the paper. The viewer's
drawing will be clearly visible thanks to the carbon paper.

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Most people will draw something simple like a house, a car, or a

Face - so it shouldn't be too difficult to remember. Anyway, it doesn't matter if you get it slightly wrong
- in fact, it may even look more like real mind reading.

Remote Viewing - Performance Tips

Remote viewing is ideal as the second effect in your act. After
Surprising the audience with your first illusion, you explain how you got there
One of them to make a drawing beforehand and ask them to
Produce the envelope. Hold it up to your forehead for a while
Announce "No - I'm not getting it - let's try something else." Place
The envelope somewhere in plain sight and never touch it again. Motion
To other illusions. You can then reveal the drawing much
Later as his penultimate effect, even having another couple of failed Attempts during the demo as a
running gag.

On subsequent attempts, just look at the envelope instead of

Holding it and announce again that you don't have it yet and move on.

Alternative methods for doing this type of experiment include

Observing the tip of the pen or pencil as the spectator makes his
Drawing to learn what even special electronic clipboards are
They transmit the drawing to the performer, who views it on a small screen television.
 Page16

Effect 5 : Book Test

Produce three paperback books and invite a spectator

To choose one of them. Another spectator cuts a deck of
Cards anywhere they want and add the values of the

First two cards in the bottom pile.

Whatever your number, you ask the first spectator to turn to that page in the book and focus
on the first line of the page.

You concentrate and then announce a couple of words.

Next, pick up a notepad and scribble something on it.
Ask the spectator to read the sentence out loud and match what you have written.

Book tests are a basic part of mind reading and there are
Hundreds of methods. This is one of the simplest and uses another
Stacked, called a pil at 14/15.

To create the stack, remove the Ace of Hearts and Ace of Spades
And arrange the remaining cards as follows, with the 7D on the
Below, all the cards face down:

7C 8C 6D 9S 5C 10H 4D JS 3C QS 2D KS AC KH 2H QC 3D JH
4S 10C 5D 9C 6S 8S 7S 8D 6H 9H 5H 10D 4C JD 3S QH 2S KD
AD KC 2C QD 3H JC 4H 10S 5S 9D 6C 8H 7H 7D

SDioenmdperqeusieerraánqu1e4soe1c5o . rten the cards, the first two cards in the bottom pile

You may have discovered that using the wizard's option

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Explained above to force your viewer to choose the book they need.

Book test - Alter n a t iv e managements :

A variation of this effect is to obtain a general impression of what

On pages 14 and 15. You can draw a picture that illustrates the action in the book.

You can also do this by giving the viewer a completely free Book Choice game. Write lines 14 and 15
from each of the three books very lightly in pencil on your notepad. This will not be visible from a
distance but it means that you do not have to memorize each of the six lines

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Effect 6 : Find the Lady

Shows three playing cards, one queen and the other

Two ordinary number cards. Place them face down and quickly and then invite a spectator to
find the Lady (the queen). Sometimes they win, sometimes they lose.
Then, you invite them to shuffle the cards and queen. You win every time.

The cards are turned over and the same thing is

This time with his back turned so he can't see the
Cards. Once again, they are able to constantly predict where the spectator will place the
queen.

Finding the lady was a favorite trick among street hustlers. To do the first part of the routine work, you
need to mark the back of The Queen so that you can always find her. This must be done very

Subtly only you know what to look for. Look at the two cards below:
 Page 19

The card on the right has been marked with a colorful

White birds on the rider's left shoulder to match the backrest. Depending on the back design, you can
mark the card anyway you like - as long as you can easily find the queen.

It is also possible to purchase entire decks of marked cards, but some are quite obvious.

Just remember to only use the cards marked for entertainment - they never involve real money bets in
Find the Lady.

For this effect to really work, you will have to improvise patter
Based on where they place the Lady. For example:

"OK, so you put the queen on the left last time, now most
People will put it in the same place the second time, but you
He doesn't look like most people. I think you put it in the middle."

"So you put the queen on the left the first time and on the
Medium the second time.

A lot of people would go back to the left, but you know

I hope you don't do the obvious, so you should
stuck in the middle.

Except you don't - you suspected I'd know so they've gone the right way! "
PSaer ñ aa a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a a
a a a a a a a a a a a a a a aa a a a a a a a a a a aa a a a a a a aa a a a
aaaaaaaaaaaaahaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa lot who needs ac
onfederate. They

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One method you could use is to have your confederate sit or stand with his
chin in his hand.

Your index finger indicates the position of the queen, as follows:

And, of course, make sure your confederate sits in a position where you can easily see
them without making strange movements. A
Casual glance at the audience should be enough.

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E ffect 7 : E xt r a S e n s o ri a l P e r c e p t i o n

You hand a spectator a sealed envelope, explaining that it contains a prediction.

Ask the spectator to hold Safe Envelope while performing an ESP experiment.

Next, spread 10 ESP cards face down in a row and ask the spectator to pick any
number between 1
Y
Nú 1 m 0 e in ro cl , u e s n iv t e e . g U ar s l t a ed ta c r u je e t n a t y a l v o e lar g la oc do
em la o s
e l a s r í t m as bo a lo d s e el e a g e id s o tr s her.
c

Then ask the spectator to open the sealed envelope and read the prediction
inside. It reads My prediction is that the star will be chosen .

I write My prediction is that the star will be chosen on a piece of paper and stamped In an
envelope.

Place 10 ESP cards (2 of each symbol) face down in a

Table, making sure a star is in positions 3 and 7 (counting left).

The image above is an example of how to place the cards. For the effect, you should look
down.

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When the spectator has chosen his number, count Cards as below.

You will always land on a star.

1 Count O - N - E from left

2 Count T - W - S from left
3 Count 1 - 2 - 3 from the left
4 Count 1 - 2 - 3 - 4 from the right

5 Count F - I - V - E from the right

6 Count S - I - X from the left
7 Count 1 - 2 - 3 - 4 - 5 - 6 - 7from the left
8 Count 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 from the right
9 Count N - I - N - E from the right
10 Count T - E - N from the left

You can then reveal the other cards to be different.

ESP cards, also known as Zener cards, are made up of five Symbols: a circle, a cross,
wavy lines, a square and a star.

L O at s i ecnu d baiesr d taesopcru u o l f t e i ssmioon , apleesroe u stsá t en d dpis u peo d

neib f l á ecs il m ueyn t bea h r a tcoerdes u lopsrospu i rotid b oarseas d mo áegniceo l s
Designs shown above.

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Effect 8 : A coin in the hand

You invite a spectator to take a coin out of his pocket and

Behind his back to hide it in one of his fists. They bring their fists in front and again
and again they correctly guess in which hand they have hidden the coin.

When the spectator puts his fists in view, you are looking
Visuals as to which hand contains the coin. Search for the following:

I. The direction your nose is pointing - seriously!

II. Which fist seems tighter. Look for the whiteness around the knuckles

You won't necessarily get a match on both courts, but since

You already have a 50% chance of getting it just by guessing,
A hit on one of these significantly increases your chances of getting it right.

P Y r f eep li acr it aatreapsauraecsopnesce tag d uoirr , ed s i tce i eunn d oom : " a U lso t cea d
seiosnally. You can make it really good at this!

Also remember to stop while you're ahead. Guessing correctly only 3 or 4 times is enough
to complete the effect. Don't push your luck for carry out - because the spectator will then
try to catch it.
 Page 24

Effect 9 : Mind Reading for Two

You invite two spectators to help you. The first spectator cuts a deck of cards and
removes one card, keeping it secret.
The second spectator takes the next card and similarly keeps it a secret. You are
both asked to remember your chosen Card.

The cover is reassembled and the two

Random locations and the entire deck are shuffled. Then you
Start dealing the cards face down on the table, stopping at
one. That card is moved to the side and the rest of the deck discarded. Pick up a
notepad and scribble something down. You ask the first spectator to name their
card and turn it over on the notepad revealing that you have written the name of
their card. The second spectator is invited to name his card and turns the card
over on the table. It's the card they chose.

This is a complicated routine and will require a lot of practice to get right. But the results
are worth the effort required.

For this effect you need a deck of cards with only one way back.

E Si s lta o ts a ig rj n e it f a ic sa e q p u o in the d l is r e ñ vé os e . n the back of the cards looks

different

The most obvious type of a one way deck is one where the cards have a photograph or a
picture on the back. If you reverse the card, the photograph is upside down. This, however,
would be too obvious for Our purposes. You can purchase one-sense cards from Magic
Merchants, or you could make a small dot in the top left corner of each card in a normal
deck - making sure to hide the dot in the design.
 Page 25

Whichever method you use, you should be able to see the card orientation without too
much effort.

Put all the cards the same way in a Si Stebbins pile, face down on the table in front of you.
Stand between your two spectators and
Invite a spectator to cut the cover and place the top half aside.

Generally, when the spectator cuts the cards, they will put the top stack in the same
orientation as the bottom. If you don't
Need to make a mental note of this so that when you ride again

The deck, all the cards have the same orientation.

Ask the first spectator to take the top card from the bottom pile and the second spectator to
take the second. Then reassemble the cover and vent them upside down.

Ask the first spectator to remember their card and then slide it out of the deck. Then turn
180 degrees to face the second Spectator and ask him to do the same. Turning to face this
Spectator, he is turning the deck through 180 degrees, so the Spectator's card is "upside
down" in relation to the rest of the Deck when he slides it back in.

When you assemble the deck again to shuffle it, you have
Chance to glimpse the bottom card. Once you know the Card background, you know the
spectators first card thanks to the Stebbins If Pile (add 3 and move to the next suit in the
sequence). You also know the second spectator's card, returning the card to the stack.

Deal the cards face down on the table until you reach the one

Page26
It is "backwards" and they distribute it to the side face down. Pick up your
Notepad and write the name of the first spectator's card.

Then it only remains for you to ask the viewer to

Cards they chose and for them to hand in their notepad and
Card on the table.

This effect is based on good management of the spectators to

Cards retain their correct orientation. Without good management
The trick will fail, so pay attention at all times to the orientation of the Cards.

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E ffect 10 : T a r o t Reading

You produce a pack of Tarot Cards and invite your volunteer to mix them thoroughly.
After mixing them,
Pack and deal six cards face down on the table, discarding the rest of the pack.

When you turn each card to reveal its symbol, surprising revelations about your
volunteer will convince you that you can see into their mind and personality.

T aérconticleacututilizas deabapsoar celnaruivnidaetnétcensi,

capscíoqnuoiccoidsaycmomenotalalislteacstuprara en cold. He is a person who believes that
you can read his most intimate thoughts. The statements used are specially designed to sound
personal and yet are so general that they actually apply to a large percentage of the population.
Look at the statements below and see how many apply to you. Imagine if someone who claims
to be psychic told you these things;
Would you believe they had special powers?

1. You need other people to love and admire you

2. You are overly critical of yourself.
3. Has some personality weaknesses, but generally able to compensate for them.
4. It has considerable unused capacity that it does not have, however, became its
advantage.
5. Disciplined and self-controlled on the outside, you are Worrying and insecure on the
inside.
6. Sometimes you have serious doubts about whether you made the right decision or
did the right thing.

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7. You prefer a certain amount of change and variety

8. You pride yourself as an independent thinker and do not

9. U A sct e pd t ahra l aesnc d oenct l raardaoc i oimnpersu de not t erossesr i dnepmr u

aes b iaadsosfara ti ns f caoc t aolrr i eavse . lar
Yourself to others.
10.Sometimes you are extroverted, friendly and sociable, while Other times you are
introverted, cautious and reserved.
11. Some of your aspirations may be quite unrealistic.
12.You feel dissatisfied when you are limited by restrictions AND limitations.
13. Safety is one of your main goals in life.

Now all you need to perform some cold reading is a pack of Tarot Cards and to memorize the
above statements. Make your viewer
Shuffle the Tarot deck and then ask them to deal six cards face down on the table.

Turn the cards over one by one to perform your reading. It doesn't matter
Which cards appear, recite the phrases above and try to personalize them
The sentences as much as you can. You will get much more hits than
Miss And think - how many times have you heard a psychic say
That the images and names of Tarot cards should not be taken literally in a reading? Now you
know why!
 Page29

Effect 1 1: Key Cur v atur e

T
E i s rap s e c u t na a do c r a e n st , id ju a nd to de co ll n a v u e s s te s d o , b p r a er la a e m s e c s
o ge r u vn i a tap s a a re tu ja y
a e in

Bending the keys with the energy of the mind. While they rub their keys on
Vain, announces that one of the keys he has chosen is
Flexion As his spectators watch intently, the bend
It is becoming more and more visible. But when they try to replicate the bend with their
bare hands, they find it impossible. The Explanation - you bent the key with the power of
the mind!

When you choose your keys, take a Mortice style key and a Yal e Style key. When your
spectators become engrossed in rubbing their keys and trying to bend them with their minds,
slide the Yale key into the
Mortice as shown below, covering the movement with your hands.

This provides the leverage you need to bend the Yale key with your hands. Just make sure
everyone absorbs themselves with their own flexion when performing the movement.

Discard the mortise key and hide most of the Yale key with your fingers. As you rub, slide the
Yale key into view, revealing more of the curve as you do. If you hold the key vertically with your
teeth pointing up and turning it down while rubbing, the illusion of movement can be created.
Some viewers will swear they saw the

Bending the key as you rubbed it.

All metal bends, whether keys, forks or spoons, similar method. Despite what some (very
famous) artists claim, it is simply not possible to bend metal with the power of the mind.
Every corner you've ever seen is achieved with sleight of hand and misdirection
 Page30

Effect 1 2 : Sp oon B e n d ing

A spectator holds a teaspoon between his palms. They rub

Page 31
 His hands together and the spoon bends
Psychokinetic power. Taking another spoon, he rubs it gently
with your fingertips until the bowl begins to bend and swing wildly, eventually falling!

First you need to invest in some easily flexible spoons. Like you
They become more like bending spoon that can be moved up
Heavier cutlery, but for now, just buy some cheap stuff.

Prepare a spoon by gently bending it back and forth until you can see stress fractures starting to
appear (as shown in the image

below). The other spoon is not ready.

Explain that you must demonstrate psychokinetic spoon bending.
And approach your spectator holding a spoon in each hand as shown below. Angle your body so
that the unprepared spoon is closer to the viewer and ask them "Which spoon would you like to
use?"

Page 32

Their positioning is a psychological suggestion for them to choose

The unsuspecting spoon and usually they will.

Place the prepared spoon on the table and ask the spectator to hold it in his left palm. At the
same time, release your arm so that
Spoon is next to you. During this action, move your thumb up
Spoon the bowl and press down, producing a slight curve.
This curve remains hidden by the hand.

Place the folded spoon in your outstretched palm and place

Another hand on his at the same time. Ask them to place their
Another hand in the same position as your top hand. Do not delete
your hand until it is in place, covering the bent spoon.

Now I ask them to gently rub their hands (as if rolling a sausage). By doing this, they suggest that
you will begin to feel the spoon warm up. Over time you will feel the heat due to friction.

Now they suggest that the spoon is probably starting to bend and you can even feel the bent
rubbing against your palm. Once again they will make you feel what you suggest.
Ask them to raise their right hand and examine the spoon. A bend may be visible, but this can be
forced by holding it together with the prepared spoon.

eA s h t o r s a p e o x d p e lirq e u s e p q s u ic eou ki s n t é e t d ic d a e s m s o e s c t r e a n r t ár a lo n.
what can be achieved when

Hold the spoon at the ready by the handle and cover the stress fractures with your thumb and
fingers. Now start by gently rubbing your thumb and fingertip together.

Page 33

After a while, they claim that the metal is getting too hot and cracking to bend. Hold the spoon by
the handle and bowl and carefully bend up and down. Then rub some more.

Keep doing this until finally the container falls over. It may imply ealrre ib sapeycata b dao j or .
asking them to hold the cup as or tilt the handle

Foldable Bucket - Alternate Handling

If psychological strength fails and the spectator chooses the prepared spoon, throw directly into
your spoon bending demonstration then use the unprepared spoon to demonstrate what spoon
bending powers they have, explaining that they are likely to be less developed than yours.
 Page34

Effect 1 3 : Chevreul Pendulum

Chevreul was a distinguished chemist and director of the Natural History Museum in Paris. The
simple experiment described below was developed to demonstrate how the unconscious mind can
be

It is used without conscious knowledge.

You will need a small weight (like a ring), a piece of thread about 8 inches (20 cm) long, a pencil, and
a sheet of paper. Tie one of the threads to the weight and the other end to one end of the pencil. On
the sheet of paper, draw a straight line approximately 6 inches (15 cm) long. Hold the pencil at one
end between your finger and thumb so that the weight is suspended directly over the straight line at a
height of about 1 inch (2.5 cm). Concentrate intensely on the straight line and wait...

Have you found that the pendulum began to swing in the direction of the line? If you didn't succeed,
keep trying. You really have to concentrate a lot on the line. In effect, you are entering a light
hypnotic trance, shutting out external stimuli and focusing all your attention on the line. Imperceptible
muscle movements controlled by the unconscious mind produce movement in the pendulum.

Once successful the pendulum will swing low

Unconsciously controlling, move the round piece of paper so that the line is at right angles to its
original position. Over time, you find that the pendulum changes direction and follows the line once
again.
Now draw a second line perpendicular to the first, forming a cross. By repeating the experiment, you
should now find that the pendulum swings along the line on which you concentrate.
On another sheet of paper, draw a circle and see if you can make the pendulum follow the circle
under unconscious control.

This is a simple and powerful demonstration of the unconscious

mind at work. This clearly demonstrates how the unconscious mind can influence our behavior
without us being aware of doing so.

Find a willing volunteer and repeat the experiments described above with them holding the pencil
instead of yourself. Use the sheet of paper with the cross drawn on it and suggest to your volunteer
which line of the pendulum they will follow.
When this is successful, suggest that the pendulum
oscillate along the other line. When this is successful, they suggest to their volunteer that the
pendulum swing in a circle. When you are moving in a circle, suggest that you will soon slow down

and reach a stop.

Here we have demonstrated the power of suggestion, the ability to implant an idea in someone's
unconscious mind. This completely natural ability, which each of us possess, is the main component
of performing hypnosis. The topic of hypnosis will be explored later in this book, but for now, let's
examine an effect that looks like hypnosis, but is actually based on the laws of physics.
 Page35

Page 36

Effe c t 1 4: P s eud o - h ipn o s i s

Invite a man and a woman to participate in this experiment. Place the man and woman
standing facing each other and instruct the man in lifting the woman by placing his hands
under her armpits. He will successfully lift her up.
 Then wave one hand in front of the man's face and suggest to him that the next time he tries
to lift it, he will find it more difficult. The man tries to get up again and, sure enough, this time
he struggles to get her up.

This effect looks like hypnosis, but it is actually based on a mechanical principle at work.

The first time the man lifts the woman, he would have stood them quite close, so the man's arms
bend as he lifts her. After the p u rim ps e e r u a d so c - e h n ips n o o r, s p is a c s o o m e o nts re igu e it . s,
stand in front of the man and carry out

Waving your hand in front of your face, say

"OK, close your eyes for a moment"

"In a moment I'm going to ask you to try to lift this lady up again. On this next attempt, you
will find it much more difficult."

Touch your index finger to your forehead and say

"OK open your eyes and try to lift again."

Here comes the most important part of this effect. gently guide the

Page 37

pair in their position, with the man and woman twice as far apart as before.

This time you will have the man to extend his arms to lift more of her.
Double the difference means double the effort. So even if you can still lift it, it will be more difficult for
you. Your wording has been vague enough ("you'll find it much harder") that whether he picks it up or
not, both results are valid.
 Page38

Effect 15 : ES Prediction

You produce a pack of 25 Zener cards and invite the spectator to cut the pack anywhere
they like. The cut card is placed to the side, face down, as a prediction.

The remaining 24 cards are divided into 2 packs of 12 - one for you, one for the spectator.
You and the spectator begin dealing with your cards simultaneously until a matching pair is
found. Whenever a matching pair is found, the two cards are placed next to the prediction.

When all the cards have been dealt, the prediction card is turned over and bears the same
symbol that the matching pairs found previously. A miracle ESP!

The deck must be stacked so the five symbols repeat in the same order. For example, stars,
squares, wavy lines, and Cross Circle repeated five times. It doesn't matter what order you put
them

in, whenever it is repeated five times.

You can have the spectator cut the cards multiple times because a Forever will be kept.

The cut card is removed, placed aside and the bottom of the cut deck is placed on top of the other
stack.

Now try 12 cards by yourself. This reverses the order of your

Cards. The remaining 12 cards are given to the spectator.
When cards are dealt, two pairs will always match and have the same
symbol as the prediction.

Page 39

Just dress this up to date with what feels good for hitting you and create a
fantastic ESP routine.

Page 40
Effect 1 6 : Numerical Prediction

You produce a sealed envelope and announce that it contains a numerical prediction. When
placing the envelope on the table
For now, hand a small piece of cardboard and a pen to a spectator and ask them to write a
number between 1 and 1000 on the card.

oEtsrtoeehsepcehcota, deol resyploesctiandvoitrapaash a claertalorjemtaismy loá, piz to write its

number below the first. This is repeated with a third spectator before the card and pencil are
recovered.

The card, pencil and sealed envelope are handed to a fourth spectator who is asked to total the
three numbers written on the card. When this has been done, you open the envelope and
discover that your prediction matches the total of the three numbers.

Write three numbers between 1 and 1000 in different handwriting

on a card. Find the total, write it on another card and seal it in an envelope.

A blank card was handed to the three spectators. When he recovers, he will turn his back and walk
towards the table to get the envelope.
This gives you ample opportunity to exchange the card for one you wrote on before. Hand the card and
the prepared envelope to the fourth spectator and the effect is complete. What you must ensure is that
the fourth spectator is seated far away from the other three so that they do not realize the added numbers
are different from theirs.

Page 41

Effe c t 1 7: More Pse u do-hy p nosis

Against his will, a spectator's fingers stick together under mind control.

Ask a spectator to fold their hands together, knitting their fingers

and joining as closely as possible. After a few moments, ask them to raise their two index fingers so they
are facing them, about an inch away.

Now slowly and without touching the spectator's hands, move your hands away from them and say

"Focus on your fingers. Soon they will begin to move together. You can fight it, but you still touch
it! "

Slowly but inevitably, your fingers will begin to move together.

 Page 42

Effect 1 8: Cut the cards by Touch

By producing a deck of cards, you announce that through years of practice you are able to cut
any number of calling cards simply by feel.

A spectator calls out a random number, say 23. Placing your hand gently on the deck, you cut a
pack of cards and give it to the spectator. He counts them and discovers that there are, in fact,
23 of the cards.

This effect requires a little practice, but nowhere near as much as tapping might suggest.

You will need a 'separator' or deck 'wizard' card, available from magic dealers. In a stripper deck, each
card is tapered slightly so that they are wider at one end than the other. If all the cards are the same
round shape, and one card is reversed then you can feel the wider end sticking out where the other cards
are thinner.

H
Dae y c d uoaslqmuiearnerervaesr d tier ccaodna fi gd u ércaimr la tpa l raj t eat f aoromaarrpeagrl a r l l ea
v
caurbaiecrata b oenmp u aeqr t uoest - ecsord t e . four, with each four-pack in the reverse position from
the one next to it.

When the viewer has called your number at random, use your
thumb to count the separate packages to get as close to your
possible number. Keep your thumb at the back, out of the viewer's sight when performing this maneuver.

Once you have roughly cut it to your number, hold the package slightly open with your pinky finger and
then drop or pick it up with your thumb,

Page 43

enough cards to complete the cut.

C o r ta r by T o uch - Al te r nat ive Handling :

Organize your stripper deck in a Si Stebbins stack. Deal 13 cards, reversing the orientation of the first
card to deal out. Now place this packet back on top of the deck.

You can then give your tapping about being able to cut to a certain number of cards. Say something like:

"For example, if I wanted to cut 13 cards, I would do this..."

Cut the first 13 cards by finding the reversed card, count them on the table to show there are indeed 13
cards, then place this pack back on top of the deck. Not only have you demonstrated cutting through
touch, but you now have a perfect Si Stebbins deck ready to perform a mind-reading effect!
 Page 44

Effect 19 : Further from vision

You hand 5 ESP cards, a notebook and a pencil to a spectator.

Turn your back, you are asked as you look through the five designs, choose one that appeals and
draw it on the pad. While doing this, he draws in a notebook of his own.

When the two notebooks are turned over, they have both attracted the same symbol!

This effect is based on two principles:

I. Of the five Zener designs (circle, cross, wavy, square and star lines), the star and wavy lines are
the most psychologically attractive and commonly chosen.
II. The five designs are made up of one, two, three, four and multiple lines, respectively.

By giving the viewer a short pencil, they automatically use more force to draw the design. You should be
able to hear the pencil moving across the notebook and the number of lines you hear drawn determine
which symbol you chose.

If you couldn't hear clearly make a guess between the stars and wavy lines based on what you managed to
hear.

Page45
Effect 20: Do as I do!
Two decks of cards are produced, one for you, one for a spectator. The two of you shuffle your
decks in secret and choose card, memorize it and then cut it in the center of the deck.
Next, change the decks, and each one finds their chosen card and places it face down on the
table. When the cards are turned over, you both have chosen the same card.

This effect can be done with either deck of cards - it will not need to be prepared either way.

Produce the two decks and invite the viewer to choose one of them. It doesn't matter which one he
chooses. Then both shuffle their decks.

Now switch decks, but as you do so, glimpse the card at the bottom of your deck and memorize it. This can
be done very casually as you hand cover over.

Ask the spectator to fan the cards in front of his face, choose one, memorize it and place it on top of the
deck without allowing him to see what the card is.

You do the same but use any card - just keep memorizing the card from before.

Now ask him to reassemble the deck, cut it and complete the cut so his chosen card is lost in the deck. You
do the same.

Switch decks again and ask your spectator to look through the deck until they find their chosen card. ask
you to remove the card and

Page 46

Place it face down on the table.

l Ma i teanrj t eratas i h namceedeiast t oa , m u esn t ete d a b l u ascdaer l eact haar j ed t ea lqa u me

imsmema,ocro iz loac y ánsedoqlo ui b t aoca down on the table .

Now recap what you have done. Say:

"We both shuffled our decks, chose a card, switched decks and then found our chosen card in the
other deck. What they didn't realize is that through the subtle use of body language and writing,
they have unconsciously influenced him.

choose a particular card. The same card I have chosen..."

"Turn over the card..." He does.

"What exactly was the card I chose!"

And turn more than the card to reveal it matches his.

 Page 47

Effect 21: Under the Influence

It is explained that through the subtle use of body language and verbal utterance, it will influence
the behavior of a viewer.

A volunteer enters the stage and covers his hand

Cards. You ask him to shuffle them, which he does, then fan them out with their faces toward you.
Mentally select and remember one of the cards.

The spectator shuffles the deck again and under that

the instruction, he divides it into four more or less equal packages. You ask him to pick up each
packet in turn, look through them, and use his instincts to decide if the chosen card is included.
in the package. If it is not, it is discarded and moved to the next packet.

Once the packet containing your card has been selected, ask once again to act on instinct and
place your chosen card face down on the table. All others are discarded cards.

It asks you for the name of your selected card. When the card is

you have chosen turned or turned over, to match your chosen card.
This effect uses nothing more than a marked deck. Talk your volunteer through the moves above: shuffle
the cards, divide it into four packets, look through each packet and decide if your chosen card is in the
packet. When a packet is left, ask him to once again use his instinct to remove a card and place it face
down on the table.

Page 48

At this point, we look at the marks and declare the card as the one you selected earlier. The volunteer turns
over the card to reveal that's right!

UNDER THE INFLUENCE - ALTERNATIVE MANAGEMENT :

Whichever card your volunteer chooses, name your partner as your chosen card. For example, if you
choose the 8 clubs, name your card as the 8 spades. If he chooses Diamonds Jack, name his card as
Hearts Jack. This makes it seem like the viewer almost got it right!
 Page 49

Effect 22 : Four Thoughts

You produce a stack of forty or more business cards and show them to the audience. The cards
have different instructions to think of a random number, a color, a popular food, famous actor,
politician, country, etc.

Picking up the cards, invite another spectator to take part in the experiment. You ask to verify that
all the cards have instructions to think about different things. He agrees that they do.

Placing the cards face down on the table, you are asked to cut the cards anywhere you like and
take the card you cut to.
The other cards are discarded.
The spectator focuses on the four things that appear on the card. Next, correctly name the four
things you were thinking about.

This effect, based on a principle known as double reality, lacks value but the results are worth it. It means
the reality that the Dual Effect viewer's experience differs from that of the audience but both experiences
are still valid.

Just like taking the guts, this effect also requires a fair amount of preparation - in particular, making up the
special pack of cards with which to perform the trick.

These can be typed or printed with a handheld computer. Choose the method that best suits your acting
style.

The stack is made up of three different types of cards: two

"spectator" cards (shown to the spectators), twenty one "volunteer" cards (shown to your volunteer) and
twenty "force" cards (ultimately, Page50
the card chosen by your volunteer).
The two spectator cards look like this:

For the "voluntary ios" cards, make 10 of the 11 one and the other of the
after two cards:

Page 51

And all twenty "force" cards look like this:

Using a sharp knife or guillotine, cut about a 1mm wide strip along the bottom
edge (longest) of each "strength" card.
They are then stacked face up in the following order (from bottom to top): Strength Card, Volunteer Card,
Strength Card, Volunteer Card, Strength Card, Volunteer Card...

and so on, with the first two cards ending up as two different types of "volunteer" cards. The two "spectator"
cards then go on top, completing the stack.

To carry out the effect, select your volunteer and have him take a seat on the stage. Pick up the stack and
approach the audience, explaining that you have a special deck of cards that instruct someone to think of
particular things, such as numbers, celebrities, colors and so on.

Show the stack face up to the spectators so they can see the top card. Make sure plenty of spectators get a
chance to see the card and how it is

Page 52

To do so, choose from the top card so they can also see the second card. Turn the deck towards you and
remove the second card as well, letting everyone see it.

As you walk back to your volunteer, place the two "spectator" cards

At the bottom of the cover.

Walk up to your volunteer and show him (but do not hand him) the rest of the deck. Choose from the top card
(currently one of the "volunteer" cards) and say

"You don't have the opportunity to see. The cards have instructions so you can think of a famous
actor, a color, a number of things... like that."

Keep the second different card, "volunteer" on top of the deck, show it to him saying

"... And in this card, a famous composer, a country, you get the idea. Forty cards, each asking you to
think about different things."

Here you have set up dual reality: your description of the cards satisfies both the volunteer and the spectators.
The spectators think all the other cards are like the ones they saw, the volunteer thinks the spectators saw the
cards like the ones he can see. There is no reason to think otherwise.

Square the cards and place them face down in front of your
volunteer. Ask him to cut the deck anywhere you like and remove the card you cut towards and place it face
down on the table. Pick up the other cards that are placed in the pocket.

Page 53
Because all the "force" cards have been cleared, your volunteer will automatically cut one of them.

Now turn your back and ask the volunteer to look at your card and think about the things it tells you.

Continuing with the dual reality, the viewers think that the volunteer is going to think of a random number,
country, composer himself.
The volunteer must understand that he or she is going to think about what is written on

your card and because all the cards are different, you must read your mind and find out which card you chose.

To conclude the effect, say "OK I'm getting it - you're thinking of the red one, the country is Sweden, the
composer Mozart is a...
Very popular food indeed - meat and chips! Correct?"

And, of course, you are right!

Four Thoughts - Alternate Management :

I. Reverse the positions of the spectator and volunteers

Cards. This allows you to show the volunteer cards first, then address the audience, cutting the
volunteer cards off the bottom as you do so.

II. Less spectacular but this effect can be done in one fell swoop by removing the spectator cards.
Then show your volunteer only the first two cards as sample cards, before cutting them to the
bottom and starting the effect.
 Page54
III. Holding the cards by the right edge allows you to fan either your volunteer or spectators. At
most, you will see the words "they think of..." on the cards, a powerful psychological
disorientation that makes them believe all the cards are different without having to say it.

Regardless of how to realize this effect, the principle of dual reality is at the forefront of modern mentalism. It
can be used to give the illusion that an artist is divining complete memories of past events; The sights, sounds,
smells, and sensations associated with a particular experience. Once again, with a little imagination and
Imagination, the force card technique used for 'Four Thought' can be adapted to a wide range of mind reading
effects. Have fun!

Page 55

Effect 23 : Wallet , Look at the coin

A healthy volunteer places his wallet, watch and a coin on the table. Turning your back, I
invite you to place each of those objects in your front left and right and one of the back
pockets of your pants.
 Turn around and explain that through the subtle use of body language, you can determine which
object is placed in which pocket. Afterwards, looking up and down for a while, you will correctly name
the location of each object,

For this purpose, an accomplice is needed who indicates where each object has been placed.

You can use a similar system revealed in Find the Lady or one of your own invention. For example, your
confederate bends your arms,
smeañnaoli . z S ac u io v no l 1 u ,n2 t aor i o3 speorcoe l oncúam d eer t or á dse d dee u dso t se d qu y
easpeagmau l eastra in the most superior turn towards the public and its confederate.

You need a volunteer with, of course, a watch, a wallet and some change - at least one coin.

Is that how it works. Ask the volunteer to pick up any object and place it in the left pants pocket. A
predetermined number is assigned to each object.

1 - " W one" equals " W " allet

2 - " T wo" is equal to " T " ime (clock)
3 - " Three " is equal to the coin " Three bits -Penny"

Page 56

Work around the positions in the same order each time you perform this effect: Left front pocket, right front
pocket, either back pocket. So, for example, you ask the viewer to choose an object from a place
in the left pocket of his pants. The spectator chooses the coin, making its Confederate signs "3."

He then asks the spectator to choose an object to place in his right front pocket. Choose the wallet and its
confederate signs
"1".
The third item can go in any back pocket. A sign is not required for the third object.

All you need to do is remember the two-digit sequence: 3, 1 in the example above or it could be 2, 1 if the
watch went in the left pocket and the wallet went in the right. It doesn't matter!

Explaining that the effect is achieved through subtle body language is a nice double entender. You are reading
body language - but it's a secret language between you and your confederate, not the
the viewer! It may also explain that people tend to respond to
certain psychological principles. As an example, you state that most
Most men place the watch in the right pocket of their pants, or most men place the watch in the right pocket of
their pants, whichever may be the case.

Or you can say "Most men place their wallet in their left pants pocket, but you are a little unusual; you have
placed the coin in your left pocket!"
e Rc ro ,! with enough psycho babble

Page 57

Effect 24 - magic square

A spectator gives you a random number and you are instantly able to create a magical square of
numbers in which all the rows, columns, diagonals and curves total your chosen number.

This looks absolutely exorbitant when done well but is technically easy to achieve.

The following diagram shows the basic structure of the plaza:

The numbers shown in the square above will always be present, which is chosen from random numbers. It is
necessary to memorize the
order and positions of those numbers. The gray squares A through D are where you can add additional numbers to
complete the magic square.

Page 58

If like me, you have a terrible memory, write the basic framework of the magic square using a very
light pencil in the corner of your notepad or flipchart. It will be visible to you, but not to your audience.

To start, ask for a random number between 25 and 100. Let's say the spectator chooses the number
37.

Subtract 21 from the given number (in this example, we get 16) and
put it in position A. Then add 1 to this number and put it in position B. Add 1 again for the number in
position C and finally 1 again for the number in D.

In our example, ending with the magic square is shown below:

Look at the resulting square and you will see that all the rows and
columns in total 37 - chosen number viewers. Furthermore, both
diagonals add up to 37. The numbers in each corner also total 37. AND
the four 2 by 2 squares at top left, top right, bottom left and bottom right also total 37 (e.g. 8, 11, 16
and 2; 17, 1, 7 and 12, etc.)!

Actually, there is more! Choose any 3-sided square and numbers

Also in each corner total of 37 (e.g. 8, 17, 3 and 9)!

Although this may seem like a simple concept, Derren Brown used a magic square effect as the
encore for his 2004 UK tour and received a standing ovation!

Page 59
 Page 60

2 5 Effect: Three Minds in One

Three spectators each disassemble one card from a normal deck.

The 3 cards are shuffled by another spectator and then returned to you face down.

Turn over the first card, correctly announcing which spectator selects it.

Then do the same for the second card.

Obviously knowing that he chose the third card, he leaves it face down on the table and picks up a
notepad. After deliberation of the moment when to type something on the keyboard. The third spectator is
then asked to name his card and as he does so, he turns the pad around to reveal that he has written the
name of his card.

Like some of the previous effects, this one requires an accomplice.

Your confederate is the spectator who collects the 3 cards from the side
other viewers, who are genuine. This may be the same person already used because this is the first time they take
an asset and
visible part in the show.

Here are the workings of the effect:

You hand a deck of cards to a spectator to the left of the audience. Mentally label it as 'Viewer 1'. Ask him to
shuffle the cards if he likes, but in any case, remove a card, keep that card hidden from view and pass the deck
over to another spectator to your left. The second spectator ('Spectator 2') does the same and hands the cover to
'Spectator 3'.

Page 61

Now you have 3 spectators, each with a randomly chosen playing card. Ask them to each focus on and remember
their chosen card.

Now turn to your confederate, gesture to him and say,

"You sir, would you mind helping with this experiment? Being able to retrieve each card and bring them to
me, making sure
They are upside down so you can't see them? Carry the rest of the deck too."

His confederate picks up the cards and the rest of the deck.
As you collect the cards, you mark them for you in a particular way.
To mark Spectator 1's card, he presses his index finger and fingernail on the top right corner of the card as he
holds it face down. This produces a slight 'nick'. This can be done quickly and will not be noticed.
With Spectator 2's card, he makes the cut in the middle of the right side, again face down.

Spectator card 3 does not need to be marked.

Once you have collected the cards, ask your confederate to place the rest of the deck on the table and then shake
the palm of your left hand to accept the cards, again face down.

Ask the three spectators to stand. Holding three face cards in the left hand, which reads as follows:

"I'm about to look for a top card. When I reveal this card, please, whoever chose it, do not make noise or
movement of

Page 62

give away Stay calm, motionless and blank faced."

While you are saying this, place your pinky finger above the bottom card and slide it slightly to form a 'break' in the
cards. This will be hidden from the spectators' view by your hand (see photo below).

Now flip the card on top (keeping it on top of the cards in your left hand) and realize it.

"The first card is the three of clubs..."

Holding your right palm facing down, slide your thumb into the break created by your left pinky finger. Place your
fingers across the right side of the first two cards (see bottom photo).

Now raise these two cards as one, turning your right hand by 90 degrees so that the audience can see the face-up
card. This action
 Page 63

reveals the face down second card (in this case, the 8 of Swords). Remember the card - you need it for the final
part of the act.

Turn your hand back and place the two cards on top of the card left in your left hand and say,

"Can the person who chose this card repeat its name over and over in their head - 3 of clubs, 3 of clubs, 3
of clubs, etc."

Pick up the top card of your own and place the remaining two cards tuunpooasliclaiódno. of the other (still face

down) on the table as your return to Look at the card marks to determine which card that spectator chose. After a

little bit of ibration say

"The three clubs were chosen by this gentleman..."

Walk towards the respective spectator and tap him on the shoulder saying,

"Thank you - please sit down"

Now take the third card (the one that hasn't been glimpsed), look at it and present two to the audience.

"The next card is the Jack of Diamonds. Once again, could the person who chose this card repeat your
name over and over in their head?"

Look at the card marks to determine what that spectator chose

Page64
card.
After some deliberation say

"The Jack of Diamonds was chosen by this gentleman..."

Walk towards the respective spectator and tap him on the shoulder saying,

"Thank you too - please sit down"

There is now one card remaining on the table and a spectator left standing. Say

"Now, obviously, you don't need to be a fortune teller to know who chose the remaining card, so I'm going
to try something
different with this one. Sir, could you also repeat your chosen card name over and over in your head
please? "

While you do this, grab a notebook and a frying pan. Look at it for a while then draw the card you interviewed
before. Keep the drawing hidden from your audience then ask the remaining spectator to name their chosen card.

After he has done so, go around your notebook to reveal that you have read his mind and drawn a picture of the
chosen card.

Three Minds in One - Alternate Management

1 - Instead of "nicking" the cards to mark them, your confederate can simply give them to you in a pre-agreed
order, for example, with Spectators 3 the card on top, Spectators 1 in the middle, and Spectators 2 in the middle.
the card of

Page 65

the bottom.

and 2 p - e E dnir l u3geasrp d eect j audgoarreas l paasrcaahr t aacse , rsuenppueeq d ueerñeopdair t b i ru t jaoro j e
t
eassc d riebirv i usn it a word on the back. In this alternative, an accomplice is not necessary. The business cards
can be pre-marked by you and delivered in order.
 Page66

Effect 26 - sit down and stay still

A volunteer is invited to sit in a chair on the stage. When talking to them, they feel more and more
burdensome, to the point that when
They are asked to get up and standing they are not able to do so.

As described, your volunteer has a seat on stage and performs a 'hypnotic induction':

"As you relax in that chair, feel any loss of energy from your
body. You are unable to move; who have no need to move."

Stand in front of the volunteer and place your index finger on her forehead.

"Now when you sit down your whole body becomes heavier.
His arms and legs become weak. This pressure on your
the forehead is growing. So big that it sticks together
to the chair. Now try to stand..."

Keep pressing on the volunteers' foreheads. They will be unable to bear it.
 "Now the pressure is off. That heavy weight disappears..."
Remove your finger from your forehead and let your arm relax.

"The strength returns to your body and you are able to endure.
Get up and stand now please ...................

"Thank you very much for your cooperation..."

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Effe c tuar 27: drench of water

pU u nraemspeenc t teaadgor u ab , embe u easg t uraanqsu i egnsoesp d roepeomrc b ior i naag. u Ae z p .

to be

This is a throwaway trick that can lighten the mood when used properly.

Get an empty wine bottle (and cork) and fill it with water. Invite your spectator on stage, give them a plastic glass
and uncork the wine bottle.

"I want to show you how to save a fortune on buying expensive wine."

Pour some water into your glass.

"This bottle is used to contain wine. But I drank it. This is simply water. Take a sip to confirm that..."

"Not even expensive mineral water, but just tap water, right?"

His viewer confirms it.

"OK. Now in a moment I'm going to ask you to take another

scroer b eom d oes qaugeuae . s T eol d vainvo í a. T t eonm d ra á r uotnrosas b oorbroco..m. tioenee l
aeglumai , spmeorossaubocreqreu b erosion? "

"It tastes the same, but your brain thinks you're drinking wine. Have a very good drink now..."
 Page 68

"This experiment was carried out with large groups of people at a party. Half the group was given alcohol,
the other half water. "In the course of one night, half the drinking water became as drunk as the drinking
alcohol."

"Let's try something. We know that alcohol affects coordination. Here is a very simple test of
coordination."

Extend both arms, holding them about 1 meter away. Now extend each index finger and bring your arms together
so both
touch the index finger. Practice doing this until you can do it very quickly. Demonstrate the movement for your
spectator.

jPurnetgoúcnotneleraapisduezv.oIlnuvnatariraioblpeamraenhtae,ceqruleo smeispmerod.eDráe.ben carry their

fingers

"I don't know how to do this..." and perform the movement again.

Once again they try and fail.

"OK. Take another sip of water. This time your brain knows that its water. The effects of the wine
disappear - the water cleanses the system and returns it to normal.

"Thank you. You can drive home safely now..."

Page69
Effect 2 8 - The finger on the pulse

A spectator joining on stage. You sit in front of the audience

 and the spectator takes the pulse with one hand. With the
Moreover, you tap on a glass or glass with a pencil in time with your pulse.

Breathe deeply, slower and slower. steadily your pulse becomes weaker until it stops completely; the
spectator stops touching the glass. His breathing stops.

Moments pass. Her pulse remains stopped.

Suddenly, a massive breath of air is taken and the pulse

c a o tu m rd ie id no z , a a d le an n nu o er m vo a . li S da u d s . eyes blink open and his statement, slightly

To prepare this effect, take a large handkerchief or scarf and tie a knot in the middle. Then tie the scarf firmly
around your left arm so the large knot rests in your armpit.

By bringing your upper arm gently in toward your body, the knot presses against the inside of your arm. This
pressure stops your legumes. Releasing the pressure allows your signal to return. It will take some practice to get
the knot size and positioning right for you.

To take the pulse in practice, use the first three fingers of

his right hand. Place them along your left wrist, just behind your thumb, with the thumb of your right hand on the
back of your left wrist. In performance, you should direct the viewer to take your pulse in the same way.

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Finger on the pulse - Alternate management

Place a knotted scarf in both armpits. The effect can then be performed with two spectators and allows you to stop
your left pulse, start again and stop your right pulse, and then stop both
together.
That's the mechanics of this effect; the rest is pure spectacle.
 Page71

Efe c tuar 29 - S e le ctio n St o oge C r a ft y

Here's a great way to ensure a desired puppet is selected from a pool, seemingly at random.

Take a bunch of blank cards and apparently draw a cross on one of them. Actually, just scratch the card with your
fingernail - no cross is drawn.

Your puppet already has an identical card with a cross drawn on it.

Shuffle the cards and hold the hand of a spectator in the same row that the puppet is sitting on. They should be
sitting maybe two away from their puppet. Ask him to keep the cards face down, and take one and pass the rest to
the spectator next to him (in the direction of his minion).

Each spectator in line takes a card and passes the rest to the person next to them. Once everyone has a card, ask
the spectators to hand over their card to see who has the one with a cross on it.

At this point, your puppet changes its card to the pre-prepared

card and so it joins on stage to help you with your next effect.

Your puppet can think of a preset number, childhood

memory, country, playing card, city, etc. favorite movie you are
 . ces capable properly divine without anything every time you write

Page 72

Effe c tuar 3 0 - Telepathy for a nds

This is an experiment in telepathy and automatic writing.

Two spectators are used. The first one chooses one of the five
Zener designs. The second one was blindfolded and I gave him a white board and a marker. The first
spectator is asked to
Concentrate on your chosen Zener card and the second spectator lets the light pen drift across the board
producing unconscious automatic writing.

The design drawn by the second viewer matches the card selected by the first!

You need to prepare a couple of tricks for this one. Firstly get 5 A4 size pieces of white card. Using a marker, draw
the five Zener symbols on the cards - one design on each card. If you are in the right hand, do it with the left hand
and vice versa. This makes
Very rough design. Now make a few more lines and splodges across the symbol.

You also need to completely dry out a marker so it no longer writes.

In operation, spectator 1 is seated to the left of the stage and spectator 2 to the right, both facing the audience.
Viewer 1's chair should be positioned slightly more forward than Viewer 2's chair, so they can't look across and
see what is being written.

Spectator 2 is blindfolded and asked to relax.

"The blindfold is to keep out external stimulae and help you

 Page73

concentrated."

As you approach spectator 1, fan out the five face-up ESP cards, ask him to take one and concentrate on the
layout.

At this point, keep in mind which card you take.

On the back of the board, they have the 5 boards prepared in order (circle, cross, wavy lines, square, star) with
the blank side facing the audience. Obviously, they need to be stored off-site. A nailed cardboard folder hanging
down the back of the table is ideal.

Be careful to keep your face blank towards the audience at all times when taking it out.

Rest the card upright on Spectator 2's knees and ask them to hold it with their unwritten hand. Now the hand from
drying to the marker

Spectator 2 and position the pen by simply lightly touching the board.
Explain to the spectator that the pen should rest lightly on the card until automatic writing takes place. Your writing
arm should be carried out without support. Don't let your arm rest on your lap.

"Automatic writing is done by the unconscious mind. Don't think about what to write, don't move your arm
deliberately;
just allowed it to move on its own under unconscious control."

Ask spectator 1 to concentrate on his card and "will" layout for spectator 2. After a while, check the board and say

"There are a few lines, but nothing different. (Viewer 1)

You're doing very well - I'm getting the image very strong.

(Viewer 2) is almost there, but needs a little help. Let's get everyone involved."
Page 74
Ask 1 spectator simply to show his chosen card to the audience.

"Everyone can see what? Well. Now no one must say

 Another thing I want everything to focus on is the design and “Will” to (Viewer 2). Let's go ..."

After a while, go back to spectator 2 and say,

"OK I think it can be stopped. This is really interesting..."

Take the pencil from the spectator and put it in your pocket. Place the white board on your lap, blank side up, and
remove the blindfold. Let your eyes adjust and say

"Hold that card in your lap for a moment please..."

Turn to your audience and say

"Ladies and gentlemen, thank you. everything you have achieved

something really notable about tonight. You all concentrated on the "star" design (or whatever was
chosen) and have
successfully transmitted that thought to another person."

Ask spectator 2 to stand up and turn the white card to show the layout.

"
U Ex n i a st v e e l z a m ev á id s e ! n And c u ia n . D ap a l m a u a s s o y p C a a ra ban n l u l e e s r t o r s o , s g d ra
oc ia s
s b rillantes
volunteers! "

Page 75

easy M en t a lism

Part 2

Hypnosis
 Page76

An introduction to hypnosis

A basic knowledge of hypnosis will greatly improve the way you present your illusions to mind reading. Your
choice of phrasing and use of language can turn a simple mechanical deception into a mind-blowing psychological
illusion. With this in mind (no pun intended!), we will now examine some basic concepts about hypnosis.

The human mind

The human mind is made up of two elements, the conscious and the unconscious. The conscious mind is the
voice in your head, the one that you actively think with. It is critical and analytical, classifying by comparing
information and realizing differences.

The unconscious mind contains your memories and intellect; that contains your emotions and directs your
behavior. The human mind is not physically separated into two; The terms conscious and unconscious are nothing
more than the models of the way your mind works.

You may have heard the term 'left-brain-right-brain thinking', a theory that supports the idea that the conscious
and unconscious minds actually reside in two separate parts of the brain. This is not the case.

In truth, although the brain is divided into sections that perform different functions, these sections are not clearly
defined and do not reside exclusively in the conscious or unconscious.
Depending on the physical, emotional, or mental tasks required of these sections at any given time, they may
switch between

Page 77

conscious and unconscious control. For example, repetitive tasks

They are easy to handle by the unconscious, but any task that requires continuous evaluation and re-adaptation to
circumstances and environment could be better performed by the conscious mind.
Therefore, consciousness is not fixed – it is a spectrum of consciousness that shifts and changes throughout the
day.

The hypnotic state is a natural part of our conscious awareness that we often enter automatically. What you are
going to learn is how to induce this state artificially with the use of hypnotic techniques.

I would like you to take into account how quickly you are able to
tie your shoelaces. It's just a matter of seconds isn't it. Now think about each individual stage required to perform
that
simple task. If I had to describe to someone how to tie a shoelace it would take a long time, since there are an
incredible number of separate operations required.

I imagine you can remember first learning how to tie your shoelaces, the amount of concentration of force
required. And yet now you do it so
How easy it was and even better !
u E ti s li o za en s d po o s rq u u m e e c n u t a en c d o o n t s r c a i t e ón d te e . a F t i a n r a u lm n e c
not r
t e d , ó en ld re e p z e a ti p ti a v to o
The operation was recorded in his unconscious mind and now
It requires no effort or concentration at all. This simple example is an effective demonstration of the extraordinary
power of unconscious thought.

In the Chevreul pendulum experiment, we have learned the power of suggestion; the behavioral capacity
implanted in someone's unconscious mind. This entirely natural ability, which each of us possess, is the main
component of performing hypnosis and is a skill, as you will learn later, that can be developed and improved
through careful practice.

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use of language.

A model of the human mind

You might be careful to imagine the human mind as an office building. On the top floor is the managing director.
Downstairs are the ordinary workers quietly doing what they have to do to keep the office running. The Managing
Director is the conscious mind, the workers are the unconscious mind. Between the two floors is a secretary who
goes under the orders of the
Director of the workers and also provides a summary of what the workers are doing for the Director.

The secretary is very efficient and strict and will only allow orders to be passed if they come from the MD directly.
If an infiltrator, for example, tried to transmit some orders, the secretary would immediately detect them and
destroy them before the workers could see them. The secretary is also very fearful of chaos in the office and so if
something goes wrong, she will not necessarily pass this information to the MD.

Sometimes, however, small errors escalate and before long the secretary, out of panic and anxiety, must inform
the MD. But now the situation is so bad that the MD doesn't know what to do to get it straight.

I have said before that the unconscious mind knows how to solve a problem. What is important here is whether
the conscious mind will allow the unconscious mind to act.

If we consider this in terms of our analogy, imagine that a photocopier in the office has been malfunctioning for a
few

Page 79

weeks. One of the workers asks the secretary to inform the MD, but the secretary decides that the MD is too busy
to be bothered by such trivial matters. Eventually the copier breaks down completely and the worker once again
asks the secretary to tell him the MD. He wants the MD to authorize a repair man to come and fix the copier. The
secretary informs the MD, but he decides MD
that a repair is too expensive or ignores the request. In desperation, one of the workers calls a repair man, but
when the secretary arrives, being efficient and strict, will not allow him

let him go to the office. But the secretary man repairs charms and is finally allowed to go down and fix the
copier.

Therefore, the purpose of hypnosis is to relax the secretary, make him less strict, so orders from outside the office
will be conveyed. The workers have no idea that the orders come from outside, they simply assume that they
come from the MD and thus act accordingly. If the correct orders can be consulted, the workers can act to regain
control of the office. The secretary can then convey the good news to the MDs.

In hypnosis terms, the "secretary" between the conscious and unconscious mind is called the critical faculty. This
is our ability to question, analyze, criticize and compare. Just as the repairman in our analogy charmed the
secretary in him by letting him go to the office, by using hypnosis we can bypass the critical faculty. Once we have
access to the unconscious, we can uncover memories, release repressions, positive suggestions, and even
reprogram unconscious traits responsible for habits like smoking or overeating.

You may not realize it, but you have been in a hypnotic trance
 Page 80

before. While watching television or reading a book, perhaps even reading this, you are often in a hypnotic trance.
From such a state where you become aware of the room and focus around the program or book. It's not until
someone calls their name, or the phone rings, that they realize how deeply they were involved.

Another good example is when you find that you have driven or walked a considerable distance and then
someone or something catches your attention. At this point he realizes that he cannot remember the preceding
part of the trip. You were in a trance state.
The only difference between these types of trance and a hypnotic trance is that the latter is deliberately induced.

What is hypnosis ?
When they come out of their first hypnotic trance, the most frequent reaction is the subject claiming that they were
not hypnotized at all. This arises due to an error of what a

hypnotic trance actually is. In hypnosis, the subject remains conscious, but in an altered state of consciousness. A
trance is unique to the person involved but there are several characteristics
a subject may experience hypnotic. It would be very unusual for
someone to experience all of these but list the most common ones as follows.

I. Feelings of sensory awareness may be more or forcefully numb; Sounds may seem louder, higher, or
quieter.

II. Fixation - The subject becomes fascinated by an idea, a

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the image, the sound of the heartbeat or breathing.

III. Time Distortion - It is common for an hour spent in a hypnotic trance to appear much shorter, perhaps
like only a few minutes.

IV. Logic - Rather like in the dream state, situations and environments, which in the waking state might
seem strange, seem totally logical.

v Amnesia -. It is unusual for a subject to remember clearly

l d oeqsuoer d seuncae d doió and dcuarraennt t ee e d lees d tea t dao ll edse . trance. Recall is likely to be

In addition to these internal changes, there are also several

the external changes that the hypnotist can look for to verify that the hypnotic induction is carrying out as planned.

I. Eyes - during the early stages of induction, when the

The subject's eyes are still open, dilation of the pupils will be observed. As the induction progresses and
the eyes close you will observe the eyelids fluttering. In very deep trance states Rapid Eye Movement
(REM) may become apparent as the subjects visualize.

II. Face - As the subject becomes more relaxed, blood flows more easily to the capillaries on the surface
of the skin, producing a slight flush. There may be slight facial twitching and in general the face will
appear more relaxed.

III. Breathing – Most people usually breathe more slowly and deeply while in a hypnotic trance.
 Page 82

A good hypnotist will observe changes in his subject as they induce hypnosis and comment on them. As we will
see later, by tying these comments to the appropriate suggestions, the hypnotic
State can be deepened. Furthermore, the more times a subject experiences trance, the more marked the trance
experience will be. Previous trance experience helps the development of deeper trance states in the future and
also makes it easier for a hypnotist to induce trance.

Basic hypnotic induction

This basic hypnotic induction follows a classic form, is easy to perform and therefore ideal for beginners.

These are the elements of this type of induction:

to. the topic

The statement at the beginning of the induction is the basic element of a linguistic technique called pacing
and leading. Rhythm is the practice of fulfilling the object of one's experience. Commenting on this, the
hypnotist can use that to guide you into a hypnotic trance.

At the beginning of this particular induction, the subject's eyes are elevated above the normal position.
The eye muscles inevitably tire because they are in an unnatural and tense position. The hypnotist
anticipates this with the comment about eyes becoming tired and eyelids becoming heavy. This suggests
that the subject who is the hypnotist is actually producing the effect. Other commands will now be more
easily accepted.

Page83
second. Rhythm
When hypnotizing a subject, I typically observe their breathing rate and synchronize my own voice and
breathing pattern with their breaths. This is done by watching the chest rise and fall or observing the
nostrils. Furthermore, it is effective in matching relaxation suggestions with the client's exhalations.

As breathing rates decrease, so the hypnotist's speech slows down to match. This is a feedback process
since by decreasing the rate of speech, the hypnotist can also decrease the rate of the subject's
breathing. The hypnotist begins speaking at normal speed and then gradually slows down his speech and
breathing speed as the induction proceeds, until it is approximately 30% of normal.

do. The hypnotic voice

There are two types of vocal delivery used to hypnotize.

The first is monotone delivery, where there is very little voice inflection. The conscious mind is bored by
the hypnotist, while the unconscious mind accepts the

hypnotic orders.
The second type is the undulating delivery, where the voice gently and calmly modulates the client into a
trance.

Your hypnosis voice will emanate from the unconscious and there is no "secret" to this, it will evolve
spontaneously. Just use a calm but authoritative voice that suggests you are confident and know what
you are doing. The words must

Page 84

flow smoothly and easily without awkward pauses. Could be

The best way to memorize the induction so that you can speak it easily

and fluently. Over time, you will discover your own style.
re. Occupying the conscious mind

Counting down 300 is a simple but absorbing task for the conscious mind to accomplish. Because it is
busy doing this, it is less able to detect the hypnotic suggestions being offered. the critical faculty is
omitted. This counting technique can be improved by having the subjects visualize each number as they
count down, making each number a different color. Any technique that engages the conscious mind is
useful in hypnosis, as it helps
the subject becomes increasingly inward focused and ignoring the stimuli around them.

my. The overload of the conscious mind

Despite being busy with the countdown, the conscious mind can still occasionally 'hear' about the
induction. In this induction, confusing combinations of words overload the conscious mind. When tied to
suggestions that it is easier and easier to relax, this just seems like the best way out. Relax, go with it,
suspend conscious thought...

F. Embedded commands
 Commands such as 'relax' or 'your eyes are becoming tired' are preceded by a brief pause. This has the
effect of subtly separating these commands from the rest of the text, although this is only perceived by the
unconscious mind.

Page 85

gram. The use of imagination

Remember, imagination has its roots in the unconscious mind. By encouraging the object to visualize, the
hypnotist encourages the subject to abandon the analytical, critical conscious mind in favor of something
more rewarding. The "Message" contained in the treasure chest is entirely personal to the subject rather
than being imposed by the hypnotist.

husband. LAUNCH / Trance Ending

It is important that the release is carried out correctly if the trance is to be of benefit to the subject. Do n't worry
about taking your time with this part because you ca n't take it any further . co e n o d t e o m c a o s s i t a a d l. a P l a e r n a ti u tu nd s . u
S je a t c o án ed no u lo n s a d m e u m y a p s r i o a f d u o nda Trance is like being violently awakened; disturbing
and traumatic. casting too quickly will destroy the trance effect, so take your time.

During release, you should gradually increase the rate of expression and increase in volume until you
return to normal levels, as you were when you began induction.

From hypnosis
Follow the full script presented below and look out for these seven elements. Next, practice reading the script
aloud, taking into account the eight elements presented above.

If you would like to try the induction out with a willing volunteer, please don't hesitate, but don't try to make your
own alterations.

Page 86

or suggestions for the moment. Stick to the script as it is presented and you and your theme will be perfectly safe.

Your first few attempts will probably be disappointing so keep you upset. Ask for the regeneration of the volunteer
subject. Can
They find that they are drifting out of trance in response to certain words or phrases, so find out when this
happens and next time, modify their pronunciation and delivery to compensate.
 Page87

BASIC HY PNOTIC INduction AND SCRIPT RELAXATION

The first thing I would like you to do...

before going into a trance...

It's to feel comfortable...

sit in a chair with your hands resting in your lap...

and...as you make yourself comfortable...

focus your gaze on a point where the wall meets the ceiling...

Alright ...

just let your eyes rest there...

focused on that particular point...

and they start to relax...

and while you relax...

centered on that place there is...

you may start to notice the changes

that occur here...

you can notice how your eyes are getting tired...

Page 88

how your eyelids are getting heavier...

and...as your eyes get tired and your eyelids heavy...you will notice how your breathing deepens...

How are you starting to relax...

I wonder ...

Have you noticed how one side feels more relaxed...

than the other?

don't worry ...

As you continue to relax...

the other will catch up...

no need to worry about anything...

Just relax ...

so calm...

so peaceful...

You can only close your eyes now...

close your eyes ...

Page 89

rest tired eyes...

and...as the eye muscles relax...

so that relaxation spreads...

and it's easier and easier...

to be more and more aware...

of sensations and feelings inside you...

that would otherwise be overlooked...

you can take time to notice how your entire body is relaxed...
shoulder muscles...
arms ...

back and legs...

everyone is relaxing...

his breathing deepens...

breathe in relaxation...

and exhale tension...

breathe in relaxation...

Page 90

and exhale tension...

and as you continue deep breathing...

try the countdown...in your head...

from 300... like this...

300 ... 299 ... 298 ... 297 ...

continue like this...

and keep breathing deeply...

and continue relaxing more and more...

Alright ...
you're doing it right ...

nobody wants anything...

no one needs anything...

all you need to do is relax...

let your mind drift down...

drifting downward with each exhale...

Alright ...
 Page 91

with your conscious mind busy counting...

your unconscious mind can imagine...

imagine sitting by the seashore...

imagine listening to the calm sound of the waves...

with golden rays of the sun that warm the skin...

feel the soothing heat...

listen to a gentle breeze on the palm leaves...

imagine ...

pick up a handful of sand...

feel the soft, fine grains on your fingers...

dripping...

by your side on the beach...

lying on the soft white sand...

It's an old treasure chest the lock once it breaks sturdy...

you can open the chest and look inside...

 Page
92

do it... ease the lid back...

the inside is a piece of parchment...

with a message written in ancient script...

a message just for you...

and anyone else ...

a calming, relaxing message that it's right for you...

right now ...

reading it ...

remember it ...

It's just for you...

while relaxing on this beautiful beach...

with the sea breaking gently on the shore...

and the breeze brushing through the palm leaves...

and now you look for...

across the sea ...

there is a boat...

Page93

waiting to take you home...

but it does not matter ...

he does not care ...

Because you know that peace has been found here...

can be taken back there...

As a memory ...

and whenever you need it...

you can come back here in your mind...

It won't be the same...

but who will remember the tranquility...

for a moment ...

only when needed...

and you have your special message...

for your tranquillity ...

so come back now...

Page 94

make your way back...

trust what you have learned...

while I count from 1 to 10...

be awake, fresh, relaxed and fully alert...

bringing you with what you need...

and leaving behind what is best left in

the unconscious...

one two three four ...

starting to feel wide awake...

three four ...

come back now ...

Five six ...

wide awake ...

seven eight ...

nine and ten ...

Page 95

the mind and body have returned to normal...

the mind and body have returned to normal...

you are not sleepy...

the mind and body have returned to normal...

it feels very good!

 Page96

Advanced Hypnosis - The Handshake Induction

The basic form of the induction handshake is confusion induction. Simply put, your target expects a certain set of
circumstances to occur and it's confusing when things happen that don't fit what they expect.

This fact, combined with the rhythm and the main cause rapid trance induction which can be deepened by rapid
use of hypnotic language.

Here's how to do it:

Walk up to your victim confidently, make eye contact, raise your right hand towards them as if you were going to
shake hands and say:

"Hello, I am the pleasure of..."

Break the NOW handshake pattern by doing something unexpected:

• Adjust your dumbbell

• Scrape the nose
• Reach for a drink
• Grab your wrist and raise your hand
• Grab the ankle
• Raise your hand to your nose
• Do something unexpected!

BUT DO NOT BREAK CONTACT WITH THE EYES!

By doing this, pretend to fall into a trance, just leave your

Blank mind and let your facial expression follow. They will continue

Page
97
you!

And then continue:

"I'm sorry, I know what you're thinking, you're out of it... everyone
think that when this happens. So just relax. Just sleep.
It's great that you are taking the time to think really hard about it.
It is as if you are unconscious, at this moment, it is doing a trance so that you can sleep.

You are adrift. Relaxing. Listening. And deep breathing...

• As you go into a trance..."

To release this type of trance, you may use a script similar to the one below:

OK...while I count from 1 to 5

be awake, fresh, relaxed and fully alert...

one two

starting to feel wide awake...

Three ...

come back now ...

the four ...

wide awake ...

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and five ...

wide awake ...

be wide awake mind and body have returned to normal...

 Page99

Appendix I : Performance Tips

1 - Most people do not believe in mind reading as a fact but are more likely to believe that they can read body
language or influence
behavior. To help with this, set a mood and enhance your tricks by dressing them up as psychological illusions.

• Turn off the lights

• Dress appropriately in dark or black clothing

• Illuminate the room with candlelight

• Subtly suggest you will pick up the body's unconscious language such as micro-expressions of facial
muscles, tone of voice, body posture and hesitation.

2 - Despite the descriptions used in the brochure, as far as your audience is concerned you are not performing
tricks or illusions.

• You are demonstrating effects not tricks

 • Experiments are being carried out

3 - Take Your Time

• Don't rush any of its effects. It is much more dramatic and realistic to slow things down and reveal your
predictions or revelations piece by piece. In our Test book, for example, instead of reciting the entire
first sentence, only a couple of words were revealed for the first time. So the entire first line shrinks
with each word well-being

Page 1 0 0

Deliberate to maintain the illusion of mind reading and to create suspense.

4 - If things go wrong...

Forget it! These are experiments, so they don't do if things go to plan then just move on. When things
go wrong, complement the viewer; They say they were difficult to read and/or manipulate. This will
not only make them feel good but also tells the rest of the audience that what they are doing is real
rather than magic!

5 - enjoy the experience!

• If you enjoy yourself, your audience will too. Do not embarrass your viewers or audience; They don't
make them look stupid and I don't blame them if things go wrong. If a trick doesn't work the way it's
not planned its Diagnosis - its yours. Learn from experience, practice, practice and practice some
more until you have perfected the art of easy mentalism.

6 - Spectator Selection

• Unlike other forms of magic, mentalism relies absolutely on getting spectators to help you with your
experiments.
Getting your first volunteer to join you on stage to help can be the hardest part of the act. When
choosing a spectator, look them directly in the eye and say "Would you, sir, come up here, please?"
"Phrase this as a command rather than a polite request and quickly follow it with "give him a round of
applause, please," even before
 Page 101

he is out of his seat. When you offer, it's on stage to shake their hand, bow, and say, "Thank you for
coming.
Don't worry, I won't embarrass or make fun of you.
Let's just have some fun...". Having said this,
Be true to your words and other volunteers will be less
Hard to find.

Page 1 0
2
APPENDIX II- FINDINGS AND FINAL CONSIDERATIONS
The effects of this book owe a debt to all the creative minds of mentalism past and present. For further reading
and study I would suggest:

• 13 Steps to M e n t a lism by T ony C o r in da - D R obb in s & Co 1 9 68

Corinda is a complete course in mind reading and mentalism. The 'Test book' presented in this
publication was inspired by the pi 14/15 mentioned in Corinda and 'Extra Sensory Perception' is an
adaptation of the Prediction Network Card.

• P r a c t i c a l y m a g i a m e n t a l by Th e o d ore A n nema n n - D over P b li c a

tion s 198 3

Almost every effect in Annemann's book contains a method that can be adapted or used for a trick of your
own invention. An absolute wealth of information and ideas, the load on used in 'Heads or Tails?' was
adapted from an idea in this book.

'Simple Prediction Form' is based on the ideas contained in Banachek's 'The Psychological Subtleties'.

'Four Thought' was inspired by two effects. The card cutout element was inspired by Max Maven's Mind's Eye
deck, in turn inspired by the classic Svengali deck. The dual reality element was inspired by a direct mind reading
trick in Marc Paul's Mind 2 lecture notes and Mind 2 DVD.

Page 1 0 3

In writing this book, my goal was to bring to the wizard's weekend several principles and concepts that have been
used by

nmueensttarloisstalescdtoersedsedhealcaemdeéncatedamsáys speospiuglaur e ns uytfilaizmaonsdoosh. oday by

some of

Mentalism has undergone a radical change in recent years and is often now presented with reference to
psychological techniques such as NLP, hypnosis and body language rather than any type of psychic ability. Your
audience will decide whether to accept your ability to read minds or you are using psychological techniques.
Leave the choice to them - but never explain.

d Seie d mepcreepecx ió isnteseelprrioe d its u gcoedeenqeu l e l eenc t olar . e C x u paons d icoió t nendgeasthe
secrets of this kind, an air observed how a skilled and talented artist make something that looks like real nanny (or
'body reading language'), it can be disheartening to discover such mundane methods behind of magic

The key to convincing mind reading and psychological illusions is not tricks and techniques, but performance,
something
which is beyond the scope of this brochure. But if you believe in what you're doing and have fun, the audience will
too.
Easy Mentalism E Book Edition by JP Jacquard