Professional Documents
Culture Documents
1
2
Assorted
Thoughts
3
4
Index
Introduction
1. 6th sense
2. Twisting Minds
3. Psychic Insight
4. Glasses Finesse
7. Transparent Finesse
9. Blindfold Cancellation
10.Prayer Peek
12. V.A.K.
16.Living Spoon
5
19.Energy
through
Body
22.Creating a reputation
24.ForceRing
25.Pacing Mindreading
26.Equivoque thoughts
27.Hump System
29.Energetic Blessing
31.Circle Marking
33.A.W. Technique
37.TA(t)ROT
Conclusion
6
Introduction
First
of
all,
thank
YOU
and
your
support.
It´s
very
difficult
to
make
the
decision
to
share
ideas
to
the
community
these
days
due
to
piracy
and
other
issues,
but
the
love
of
the
art
and
hopefully
helping
others
in
their
growth
motivates
me
to
share
all
these
thoughts,
and
I
thank
you
for
understanding
this
and
not
publicly
sharing
this
material.
This
eBook
is
all
about
techniques,
thoughts,
finesses
and
tips
that
I
think
can
give
you
some
new
ideas
to
have
in
your
toolkit.
This
is
a
collection
of
ideas
that
I
gathered
through
several
years
of
performing,
meditating
and
thinking
about
our
wonderful
practice
that
we
as
a
community
call
“Mentalism”.
After
all
these
years
of
writing,
testing
and
playing,
I
think
that
it
is
finally
ready
to
be
shared.
Read
all
the
ideas,
take
whatever
you
feel
is
usable
at
your
present
state
as
a
performer
and
use
them!
7
1. 6th
Sense
This
is
a
line
that
I
use
when
I
want
to
open
a
performance
in
a
manner
in
which
the
focus
is
primarily
on
the
participant
and
the
theme
is
related
to
intuition
and
a
participant´s
empowerment.
The
nice
thing
about
this
question
is
it
presupposes
the
idea
that
anyone
has
this
invisible
sixth
sense
and
the
attention
is
only
on
the
quality
of
that
gift
at
the
present
moment.
2. Twisting Minds
In
PKMB
you
can
find
techniques
that
are
visual
in
nature
(the
spoon
is
visibly
moving,
twisting,
etc.)
or
mental
in
nature
(the
participant
feels
that
the
spoon
is
becoming
hotter
and
suddenly
breaks
in
his
hand).
This
is
one
technique
that
I
use
to
create
the
idea
in
the
audience’s
mind
that
the
participant
onstage
is
feeling
the
spoon
twisting
in
his
hand.
It’s
all
about
language
and
performance.
During
your
routine,
hand
an
already
twisted
spoon
to
your
participant
and
ask
him
to
hold
it,
with
the
handle
towards
his
body.
Now
you
can
give
him
suggestions
while
his
eyes
are
closed
(an
important
tip
that
can
enhance
suggestibility)
and
let
them
experience
different
sensations.
After
a
moment
of
building
up
the
scenario,
stand
on
your
participant´s
left
side.
Put
your
left
hand
on
the
handle
of
the
spoon
(covering
it
completely).
After
this
you
will
start
to
turn
the
spoon
slowly
with
your
right
hand
(on
the
bowl)
saying:
“Yes,
it’s
twisting
in
your
hand.
The
metal
for
a
moment
is
like
gum,
and
you
can
feel
now
how
the
upper
part
of
the
spoon
is
morphing…”
Believe
me,
this
is
far
more
powerful
than
just
placing
the
spoon
on
the
participant
hands
and
just
turning
the
spoon,
as
many
performers
do
it,
and
8
because
you
are
covering
the
whole
spoon
and
just
leaving
the
bowl
visible,
the
audience
and
participant
can
create
a
great
picture
of
ONLY
the
bowl
twisting.
Now
you
can
build
up
a
better
moment
and
be
more
credible
with
this
amazing
demonstration
or
mental
power
using
just
some
blocking
and
good
verbal
finesses.
3. Psychic Insight
During
your
performance,
suddenly
stop
for
a
moment,
close
your
eyes
when
you
feel
that
it’s
right
and
declare
And
just
let
your
intuition
get
connected
and
say
whatever
you
feel
saying.
Maybe
that
someone
is
thinking
about
a
problem
in
a
relationship,
or
something
that
a
female
lost
during
the
day,
or
another
thought.Declare
your
statement,
give
maybe
an
answer
for
that
question
or
issue
and
just
move
along.
You
can
smile
at
the
end
and
say:
“It´s
a
little
confusing,
but
it’s
necessary”.
I
love
to
create
those
types
of
moments
in
my
performances.
They
are
perfect
to
let
the
audience
create
their
own
version
of
reality.
4. Glasses Finesse
This
is
a
perfect
finesse
that
can
be
even
an
indirect
methodology
canceller
if
you
use
a
Q&A
or
blindfold
act
during
your
performance.
In
a
moment
in
which
you
need
to
read
something,
before
the
blindfold
or
Q&A
act,
just
take
a
pair
of
glasses
from
your
pocket,
place
them
on
your
eyes,
and
read.
In
that
way
you
are
indirectly
communicating
that
you
don’t
have
good
sight,
so
when
you
do
your
Q&A
(peeking
the
info
secretly),
the
audience
will
get
the
idea
that
“you
don’t
need
to
read”.
9
This
is
an
idea
that
I
use
after
the
final
climax
of
an
effect.
I
reveal
my
prediction
or
my
revelation
of
a
thought,
I
let
the
applause
die
and
I
say:
“How
that
can
happen?”
while
I
look
directly
at
one
person
in
the
audience.
Saying
that
allows
me
to
become
a
part
of
the
audience
for
a
moment,
planting
that
same
question
in
their
minds.
Another
option
is:
It´s
also
a
funny
line
and
lets
you
bring
leave
the
pedestal
of
being
a
performer
for
a
moment;
a
nice
thing
sometimes.
This
is
an
approach
to
doing
a
quick
reading
as
a
parallel
effect.
In
my
bank
night
routine
(as
an
example
of
this),
I
use
colored
envelopes
and
I
let
my
participant
choose
a
color.
“Ah, Green. A color that tells me that you are a person that is full of life,
“And that´s why I placed a gift for you in the green envelope”
Once a participant told me: “I am not that kind of person”.
I reply:
“Ok, but what if I told you all that just as a process of reverse psychology?”
That
was
a
good
out
because
it
sounds
clever
and
my
participant
kept
his
mouth
closed.
Maybe
for
some
performers
this
approach
isn’t
appealing,
but
my
experience
tells
me
that
it
works
well.
The
bottom
line
of
this
idea
for
me
is
that
10
giving
a
reading
doesn’t
need
to
be
just
a
single
event,
separated
from
a
Mentalism
performance.
Surely
this
isn’t
truly
original,
several
other
performers
in
the
past
mixed
Readings
with
Mentalism,
but
this
realization
will
allow
you
to
understand
an
approach
that
you
might
find
interesting
to
create
something
unique
for
your
audience.
A
variation
of
this
principle
that
allows
you
to
give
a
reading
when
you
want
to
ask
a
participant
to
join
you
in
performance
or
onstage.
This
is
the
script:
“…So
for
this
next
demonstration
in
mind
connection
I
need
someone
that
feels
that
on
a
daily
basis
they
experience
strange
things.
Moments
that
almost
look
like
psychic
epiphanies.
(Look
at
someone
in
particular)
A
recent
life
changing
experience….An
important
female
figure
in
your
life
right
now…
a
lot
of
blue
and
green
in
your
aura….
What´s
your
name?...”
As
you
can
see,
this
simple
moment
of
revelation
can
be
very
meaningful
to
your
participant.
The
method?
Just
use
your
intuition.
It
sounds
abstract,
and
it
is.
Experiment
and
adjust
according
to
what
your
see
at
the
moment.
Obviously
you
can
use
psychological
techniques
to
create
a
more
solid
moment.
As
you
can
see
on
the
script,
the
participant
will
not
have
a
moment
to
refuse
or
dismiss
your
statements,
you
are
going
directly
to
the
question
that
will
lead
to
the
next
part
of
your
routine.
You
can
use
this
simple
and
effective
technique
in
various
moments.
Just
understand
the
basic
principle
and
adjust
if
for
your
own
uses.
7. Transparent Finesse
I
love
the
dry
marker
method.
It´s
so
simple
and
you
can
achieve
so
many
things
with
it.
This
is
an
idea
that
you
can
use
that
has
a
great
indirect
methodology
canceller
in
it.
Canceling
methodology
in
an
indirect
way
is
about
taking
advantage
of
normal
presuppositions
that
we
do
during
our
lives,
and
use
them
to
separate
and/or
cancel
your
own
methodology.
In
this
case
we
will
use
a
transparent
Bic
Pen,
full
of
ink,
as
our
indirect
and
visual
methodology
canceller.
If
you
see
a
pen
full
of
ink
that
means
that
it
can
write,
right?
11
Well,
in
your
case
this
pen
will
be
full
of
ink,
but
the
ballpoint
will
be
glued
and
coated,
so
it
will
not
work.
Another
technique
that
you
can
use
to
indirectly
communicating
that
your
marker
is
working
like
any
normal
marker
is
to
have
a
pre-‐drawn
line
on
your
hand
or
on
a
business
card
and
while
you
are
giving
the
instructions
to
your
participant
about
what
he
needs
to
do
in
your
routine,
just
use
your
hand
(or
a
card)
as
a
visual
aid.
That
will
communicate
in
a
subtle
way
that
the
marker
has
ink,
and
with
that
you
will
cancel
the
idea
of
a
“marker
without
ink”,
and
surely
your
routine
will
gain
a
new
layer
of
mystery.
9. Blindfold Cancellation
This
is
one
of
my
secrets
in
blindfold
work.
A
very
simple
and
indirect
way
to
cancel
the
idea
that
you
are
peeking
in
an
entertaining
way.
Start
your
blindfold
act
and
be
blindfolded
with
all
the
things
that
you
use.
In
my
case
I
use
coins,
duct
tape
and
a
sleep
mask/normal
blindfold.
After
this
I
open
the
act
with
a
piece
in
which
I
just
need
to
peek
one
time
to
get
all
the
necessary
information.
One
example
can
be
demonstrating
remote
viewing
with
playing
cards/symbol
cards
(for
a
Card
Calling)
or
a
magazine
test.
In
that
way
your
participant
and
audience
will
perceive
that
you
can
still
create
amazing
revelations
even
with
your
head
turned
and
clearly
without
seeing.
After
this
and
if
you
perform
this
properly,
your
audience
will
believe
in
the
reality
of
your
performance
and
not
assume
the
logical
idea
of
“seeing
thru
or
via
the
nose´s
gap”
12
10.
Prayer
Peek
This
peek
of
a
business
card/blank
card
is
very
handy
when
you
have
2
cards
as
one
and
you
want
to
secretly
see
the
content
of
one
of
them.I
use
this
peek
in
the
context
of
one
of
my
Drawing
Duplications
called
“Only
2
DD”,
but
you
can
use
it
whenever
you
see
it
fit.
This
technique
is
called
that
way
due
the
hand
position
that
I
take
when
I
do
the
secret
move.
I
use
various
motivations
to
do
it,
just
create
your
own
coherent
one
with
your
effect.
(Photo 1
(Photo 2)
The participant in this case is named Pablo… yes… very cool coincidence).
(Photo 4)
Participant`s POV
13
(Photo 5)
You
can
use
this
with
or
without
the
square
on
the
bottom,
it´s
your
choice.
I
prefer
to
do
it
in
that
way
because
it
allows
me
to
keep
the
information
restricted
in
one
area.
If
you
want
to
learn
a
routine
with
this
technique,
you
can
search
for
my
“Only
2
DD”
piece.
14
11.
Casual
Peek
This
is
another
nice
technique
for
peeking
information
on
a
business
card.
For
this
you
need
a
stack
of
cards.
You
can
use
this
for
several
uses;
just
use
it
according
your
routine.
Let
the
participant
write
his
thought
and
let
him
place
it
in
the
middle
of
the
stack.
Now
you
will
casually
"casually
bring
it
to
the
bottom
of
the
stack
(using
your
favorite
method)
Now
your
actions
and
script
will
cover
your
secret
peek.
If
you
are
following
the
actions,
the
card
with
the
written
information
is
on
the
bottom.
Now
take
one
blank
card
from
the
top
and
say:
“Make
your
mind
completely
blank
(showing
the
card)
and
just
imagine
and
believe
that
your
thoughts
will
become
mine”
As
you
do
all
these,
just
place
the
card
on
bottom,
so
it
will
cover
the
bottom
card.
In
that
way
you
will
have
the
blank
card
as
the
bottom
card
and
the
next
card
will
be
the
card
that
you
need
to
peek.
Take
your
time,
don’t
rush
the
peek
and
whenever
you
see
it
proper,
just
move
the
blank
card
slightly,
so
the
“written
card”
can
be
visible
for
a
moment.
After
that
you
just
need
to
take
your
single
blank
card,
do
a
cut/pass
and
leave
the
participant´s
card
in
the
middle.
An
additional
tip
for
this.
While
you
have
the
blank
card
at
the
bottom,
you
can
grab
your
card
and
the
participant´s
card
for
a
moment.
In
that
way
you
can
flash
the
“second
card
from
the
bottom”
(actually
the
third
from
the
bottom),
in
that
way
you
can
indirectly
prove
that
the
participant´s
card
isn’t
near
your
eyes.
12. V.A.K.
Start
the
routine
explaining
that
people
can
be
categorized
in
3
groups.
Visual,
Auditory
and
Kinesthetic.
Ask
your
audience
to
raise
hands
and
select
your
3
participants.
These
type
of
premises
are
very
interesting
for
your
audience
and
surely
they
will
remember
you
for
this
after
your
performance.
15
After
all
this
you
can
ask
the
“visual
person”
to
make
a
simple
drawing
(you
can
boost
this
with
Idea
#28),
the
“auditory
person”
to
think
of
a
famous
song
and
the
“kinesthetic
person”
to
think
of
a
personal
activity
that
uses
his
kinesthetic
abilities.
You
can
play
with
any
type
of
option.
Now
you
can
use
whatever
method
you
want
to
obtain
the
information
and
create
wonders.
If
you
have
an
imp
pad,
an
idea
is
to
perforate
the
sheet
in
3
sections,
so
the
first
participant
can
draw
and
easily
remove
his
piece,
then
repeat
the
same
with
the
other
2
participants.
If
you
use
this
you
need
to
obviously
place
the
“Visual
Thought”
at
the
bottom,
in
the
middle
the
“Auditory
Thought”
and
at
the
top,
the
“Kinesthetic
Thought”,
This
is
a
fun
way
to
do
readings.
Ask
your
participant
to
make
3
drawings,
one
that
he
could
have
made
in
his
childhood,
one
that
reflects
his
present
life
and
one
that
he
will
do
in
his
final
days.
With
those
3
drawings
you
have
a
lot
to
interpret
and
a
lot
of
conversation.
You
can
compare
each
drawing,
see
similarities,
differences,
see
how
he
sees
his
future,
etc.
Obviously
you
can
use
also
Webster´s
A-‐Z
to
stimulate
your
unconscious
associations
and
keep
the
reading
coherent
with
your
participant.
If
you
are
a
little
skeptical
about
the
power
of
giving
readings,
try
this
and
frame
it
as
a
“psychological
game”,
being
always
positive
with
your
insights
and
empathic
with
them.
This
is
an
idea
that
you
can
use
to
“motivate”
the
use
of
an
impression
pad,
using
a
psychological
reading.
If
you
are
a
‘psychological
mind-‐reader’
and
you
don’t
want
to
claim
psychic
powers
(a
possible
implication
when
doing
readings),
don’t
worry!
Just say:
·
The
participant
thinks
of
a
situation
in
which
they
needed
help
and
where
someone
came
to
their
rescue
(or
at
least
provided
help)
·
They
write
the
name
of
that
person
on
the
pad
and
tear
out
the
paper,
keeping
it
safely
out
of
sight
·
You
take
back
the
pad
and
then
explore
with
them
why
that
person
was
of
help
to
them
·
An
idea
occurs
to
you
–
you
get
them
to
draw
a
picture
which
reveals
something
of
a
current
problem
or
of
how
they
deal
or
see
difficulties
in
their
life
generally.
(Somewhere
around
this
time
you
get
your
peek)
·
Discuss
the
implications
of
how
they
see
problems
and
how
the
person
they
thought
of
before
brought
help
/
might
be
able
to
help
again
/how
they
need
other
help
now
/
how
they
need
to
develop
their
owner
sources
/
etc.,
etc.
·
Somewhere
during
this
discussion,
or
at
the
end,
name
the
person
they
thought
of
Well,
that
is
the
bare
bones
of
the
effect.
How
you
perform
it
exactly
is
up
to
you
and
your
preferred
style
as
a
performer.
As
long
as
you
can
see
the
skeleton
of
the
effect
you
can
clothe
it
however
you
like.
You
can
have
fun
and
play
with
the
details
to
meet
your
particular
needs.
For
example,
you
could
make
this
light
and
quick
and
it
would
be
seen
as
more
of
a
parlor
piece,
or
you
can
give
it
a
much
heavier
personality
profiling
or
psychological
approach.
You
could
just
casually
mention
the
thought-‐of
name
during
the
last
phase
and
let
it
dawn
on
them
that
you
somehow
know
the
name,
or
you
could
make
a
much
larger
play
of
saying
that
you
now
have
such
a
good
understanding
of
the
person
that
you
will
attempt
direct
mind-‐reading
–
and
then
go
into
your
favorite
style
of
acting
to
reveal
the
name.
It’s
up
to
you.
Here
are
some
other
things
I
do
which
may
be
of
interest:
17
I
have
the
participant
think
and
then
write
the
name
of
a
friend
who
reminds
them
of
an
important
moment
or
of
an
important
time
in
their
life.
I
ask
for
a
specific
person
because
it
ties
in
with
the
nature
of
the
“Person
in
the
rain”
test
later.
This
test
was
designed
to
probe
for
inner
feelings
about
stress
moments
(the
rain
being
a
stress
factor
in
life,
supposedly),
so
for
that
reason
I
ask
for
that
specific
feeling
–
but
in
truth
you
could
use
whatever
rationale
you
prefer.
I
have
some
‘notes’
written
on
the
first
page(s)
of
my
pad
in
order
to
communicate
in
an
indirect
way
that
this
pad
is
just
an
ordinary
pad
in
which
I
write
things
(and
thus
not
a
prop).
You can use any excuse you like to get the reading:
· Graphology
· Tree drawings
· House/Tree/Sun pictures
The
reading
part
is
just
an
excuse
to
allow
you
to
use
your
pad
in
a
more
relaxed
way,
and
to
enable
you
to
give
to
the
participant
the
pad
and
ask
for
a
second
drawing.
What
this
means
is
that
you
have
tons
of
time
to
get
your
peek!
You
can
get
it
when
they
are
folding
up
the
paper
and
putting
it
somewhere
safe;
you
can
get
it
while
the
idea
occurs
to
you
to
get
them
to
draw
the
picture;
you
can
get
it
while
you
are
reading
the
picture,
when
you
have
finished
reading
the
picture
and
are
putting
the
pad
away.
As
I
said,
tons
of
time!
For
personal
preference
I
like
to
keep
as
much
time
as
I
can
between
them
writing
the
name
and
me
peeking
it
in
order
to
allow
time
misdirection
to
cover
the
moves.
The
main
thing
here
isn’t
the
fact
that
you
read
the
mind
of
the
participant,
but
rather
that
you
remind
them
of
an
important
person
in
their
life,
the
resources
they
need,
how
they
can
develop
them
and
what
this
whole
thing
says
about
their
character.
In
this
way
your
performance
gains
a
more
profound
meaning
in
the
minds
of
your
audience.
18
15.
More
success
in
performances
Uncertainty
and
curiosity
are
normal
and
natural
participant´s
reaction
after
a
Mentalism
experience
is
lived.
Normally
we
as
performers
practice
our
repertoire
doing
the
necessary
moves
and
choreography
and
our
script,
and
sometimes
we
forgot
that
after
the
proper
performance
a
new
internal
and
external
dynamic
happens
in
our
participant´s
mind,
and
in
my
opinion
it´s
important
to
look
at
this
and
use
it
in
our
favor.
I
am
sure
that
you
have
the
experience
to
do
an
amazing
effect
and
after
the
revelation/climax
one
of
the
audience
members
shouts
a
possible
logical
explanation.
It
feels
very
bad,
right?
Even
when
you
have
a
clever
out
for
an
explanation/heckler´s
throw
off,
you
finish
your
performance
and
you
think:
“What
did
I
do
wrong?”
I
normally
don’t
suffer
from
heckling
for
a
simple
reason.
I
treat
my
audience
and
participant
with
care
and
a
positive
attitude.
No
one
denies
love
and
a
warmth,
and
that
approach
gives
me
the
opportunity
to
touch
emotions
and
feelings
from
the
inside,
and
not
just
thoughts
from
the
outside.
Even
when
you
feel
that
your
participant
will
be
defensive
and
will
not
cooperate,
trying
to
throw
off
everything,
just
move
on,
use
someone
else
but
always
treat
them
as
you
want
to
be
treated.
If
you
present
your
Mentalism
as
a
puzzle
to
be
solved,
we
are
stimulating
the
rational
part
of
the
self.
When
we
challenge
the
conscious/logical
part
of
our
mind,
it´s
obvious
that
after
the
“puzzle”
we
will
receive
a
logical/conscious
feedback/solution,
because
the
rational
part
of
the
self
is
working.
At the end you will still win credit for the performance.
2.
After
the
mysterious
experience,
DON’T
STOP,
rather
keep
the
performance
going.
This
is
a
SIMPLE
idea,
but
believe
me,
it
creates
a
world
of
difference.
An
example:
You
read
the
participant`s
mind
and
you
reveal
his
thought
of
person.
After
the
revelation
and
the
mysterious
internal
burst,
ASK
the
19
participant
about
that
person.
A
sincere
and
warm
question
about
that
person,
how
they
met,
how
many
years
did
he
know
her,
etc.
If
you
incorporate
these
simple
2
realizations,
you
will
realize
that
the
participant´s
present
experience
will
be
more
focused
on
the
fun,
the
enjoyment
of
the
mystery
and
after
that,
the
memories
that
will
be
created
will
impact
them
in
a
deeper
way
and
at
the
end
the
“method”
or
the
“How?”
will
not
be
a
theme,
they
just
will
not
care
about
that.
They
will
just
care
about
how
GREAT
they
feel
with
you.
16.Living Spoon
Try
this.
Put
your
thumb
on
the
bowl
of
the
spoon
and
imagine
that
slowly
the
spoon
will
become
alive,
and
believe
it
or
not,
it
will
start
to
move
as
if
it
was
breathing,
Take
a
few
moments
and
experience
what
your
participants
will
experience
if
you
do
this
correctly.
This
is
a
great
moment
of
mystery
that
you
can
add
to
your
PKMB
routine
or
just
as
a
strange
“energetic”
moment
during
a
dinner.
All
the
sensations
are
caused
by
the
physical
fact
to
feel
our
own
pulse
on
the
spoon.
Imagine
how
powerful
this
can
be
if
you
mix
this
with
good
suggestions.
That
natural
sensation
plus
your
intention
and
guidance
will
create
the
appearance
that
the
spoon
is
full
of
energy
and
is
becoming
alive.
You
can
mix
this
idea
with
other
demonstrations
that
can
be
nicely
routined,
such
as
moving
the
spoon
psychokinetically
using
available
methods
(PK
ring,
elastic
thread
loops,
etc).
This
is
a
powerful
and
simple
idea
that
I
use
whenever
I
use
some
type
of
Psychological
Force.
In
my
country
there
is
a
famous
game
in
which
you
basically
force
a
color
and
a
tool,
to
create
a
fun
revelation
of
a
“red
hammer”,
so
I
work
in
a
way
that
cancel
the
idea
of
using
that
same
type
of
procedure
of
quick
thinking
and
I
came
up
20
with
the
bold
idea
of
cancelling
the
method
telling
them
directly
what
the
method
(roughly)
is!.
Like
several
performers,
I
normally
use
PsyForces
to
create
“Major
Effects”
of
thought
transference,
so
my
script
goes
like
this:
“I
will
try
to
create
something
amazing.
Sending
a
thought,
from
my
mind
to
the
mind
of
each
of
you.
The first one will be simple and concrete. A number between 1 and 10. Now.
Great,
each
of
you
has
a
number
now.
Normally,
by
psychological
factors
the
most
common
number
is
5,
but
I
sent
another
number,
the
number
7.
If
you
receive
the
7,
just
raise
your
hand”
As
you
can
read
in
my
script,
I
state
that
“normally”
people
choose
5
(a
total
lie),
so
the
idea
that
boldly
cancels
that
I
am
NOT
using
that
fact,
when
in
reality,
that´s
one
of
the
factors
on
working
with
psychological
forces.
I
use
this
idea
for
another
piece
using
paintings.
Onstage
I
have
a
painting
with
a
cloth
as
cover
(the
painting
is
the
Mona
Lisa)
I
ask
a
person
to
stand
up
and
quickly
name
out
loud
a
famous
painting.
In
my
experience
the
“Mona
Lisa”
works
as
a
frequently
chosen
one.
If
the
participant
names
the
“Mona
Lisa”,
you
are
done
BUT
if
you
use
the
bold
methodology
canceller
(in
my
experience),
it
places
all
this
on
another
level
of
mystery.
“Interesting.
Normally,
by
psychological
factors
the
most
common
painting
is
the
“Last
Supper”.
How
many
people
were
thinking
of
that?
(You
can
use
that
moment
to
reinforce
the
idea
that
other
people
were
thinking
about
that
painting.
You
can
even
fake
some
raised
hands
ala
Maven)
but
you
decided
on
the
Mona
Lisa…”
What
if
the
participant
doesn’t
name
the
Mona
Lisa?
It´s
all
about
the
Reframing
(as
in
my
effect
called
Casino
Prediction).
“Interesting,
“The
Last
Supper”?
In
here
I
have
several
photos
with
famous
pictures
and
one
of
them
is
the
one
that
you
name.
But
obviously
that
was
conscious.
I
want
to
work
with
your
unconscious,
with
your
inner
mind,
so
just
put
your
finger
like
this
and
touch
one
of
them…”
After
that
you
can
go
with
a
normal
force
and
finish
your
moment
with
a
revelation
of
your
precognitive
abilities.
As
you
can
see,
it’s
a
very
simple
idea
and
for
that
same
reason,
workable
and
fun
to
use.
21
18.
Practical
tips
for
performances
a.
Have
a
spare
marker:
One
time
I
saw
a
close
up
magician
failing
on
this
issue.
He
was
doing
a
card
trick
and
his
marker
was
dry.
Sadly
he
was
not
prepared
and
because
he
was
working
in
a
bar
I
frequented,
I
realized
the
importance
of
having
more
pens/markers
when
performing.
During
walk-‐around
performances,
for
the
sake
of
pocket
management,
I
have
2
markers
at
hand,
but
always,
for
any
performance,
I
have
several
more
markers
and
pens
in
my
case.
b.
Tie:
Maybe
you
were
paid
to
work
at
a
private
cocktail
party
during
the
summer
and
outdoors,
and
you
assume
that
all
attendees
will
wear
light
shirts
and
for
that
same
reason
you
just
use
a
shirt
without
tie.
The
surprise
starts
when
you
realize
that
no
matter
how
hot
it
is
outside,
everyone
is
using
formal
clothes
with
ties.
Now
you
look
like
an
unprepared
performer.
Always
have
a
tie
in
your
case.
A
tie
can
give
you
the
required
formality
that
you
will
need.
c.
Handkerchief:
Sweat
on
your
face
can
be
a
painful
enemy
during
performances.
Have
a
handkerchief
or
a
small
tissue
to
clean
your
face
and
hands
(if
you
suffer
from
sweaty
hands
like
me).
d.
A
LOT
of
business
cards:
Business
cards
are
an
incredible
tool
for
performers
and
especially
Mentalists.
They
work
as
billets,
as
paper
for
your
written
predictions
and
more.
I
literally
do
walk-‐around
mentalism
gigs
with
just
a
pendulum,
a
marker
and
business
cards
and
for
those
occasions
I
have
a
good
stack
of
cards
(50-‐60)
in
my
pocket
and
2
or
3
more
stacks
in
my
case.
It´s
far
better
to
come
back
home
with
your
stacks
than
suffer
from
losing
potential
contacts
because
you
left
your
cards
at
home.
e.
Case:
I
love
to
work
as
a
minimalist
Mentalist.
A
pendulum,
some
cards,
markers
and
a
few
other
things.
No
more,
so
I
can
comfortably
organize
everything
in
my
pockets.
However,
I
always
use
my
case
even
if
“I
don’t
need
it”.
Why?
Because
a
briefcase,
in
a
visual
way,
will
give
you
a
different
and
professional
look.
Obviously
you
will
not
carry
the
case
while
walking
around
during
your
gig,
but
you
can
leave
it
in
a
secure
place
and
entering
and
leaving
your
gig
with
that
case
communicates
professionalism
and
seriousness
about
your
work.
22
f.Water:
In
my
case
I
always
have
a
bottle
of
water.
At
least
for
me
it’s
very
necessary
to
hydrate
myself
and
feel
that
I
will
arrive
with
renovated
energy
to
the
next
performance
area.
Not
alcohol,
but
water.
g.
Band-‐Aids:
One
time
at
a
gig
I
had
a
hang-‐nail
on
my
thumb
and
for
some
reason
it
started
to
bleed.
It
was
very
uncomfortable
and
messy.
I
stained
several
cards
and
from
that
I
learned
that
Band-‐Aids
are
a
necessary
thing
in
my
case.
This
is
an
excellent
parallel
effect
that
I
learned
through
experience
and
from
receiving
feedback
from
a
show.
After
my
performance
I
receive
an
interesting
comment
from
a
member
of
the
audience.
He
was
clearly
a
“new
age”
person,
and
he
told
me
that
during
my
PKMB
act
he
felt
some
vibrations
in
his
body.
I
realized
the
power
of
this
sensation
and
the
conscious
use
of
these
strange
phenomena.
As
a
matter
of
fact
I
feel
this
on
daily
basis,
and
I
assume
that
it’s
my
phone,
and
surely
that
was
the
same
sensation
that
the
audience
member
felt
during
that
show.
I
frame
my
PK
during
performance
based
on
energy
work,
so
a
script
like
this
can
be
very
powerful:
“Now
we
will
see
and
feel
the
power
of
focused
energy.
You
(participant
onstage)
and
even
some
of
you,
the
most
sensitive
to
energies,
will
feel
strange
sensations.
Heat
and
vibrations
on
different
parts
of
your
body.
Even
some
chakras
expanding”
Believe
me,
this
simple
suggestion
has
a
tremendous
impact
due
the
fact
everyone
wants
to
feel
something
special,
everyone
WANTS
to
be
special,
so
be
prepared
to
receive
strange
and
incredible
stories.
At
one
time
during
a
Spoon
Bending
Party
I
was
being
accused
of
bending
metal
from
the
kitchen
AND
was
responsible
for
finding
lost
silverware.
A
neat
idea
that
I
saw
during
a
self-‐hypnosis
moment.
I
enjoy
placing
myself
in
trance
to
discover
new
ideas,
relax
and
enjoy
different
sensations.
I
have
a
quartz
pendulum
on
a
stand
to
look
at
it
and
relax
and
I
once
started
to
suggest
to
myself
that
the
pendulum
was
alive.
Suddenly
I
saw
the
pendulum
move
slightly
23
as
if
it
was
breathing.
After
this
I
started
to
suggest
to
myself
that
the
pendulum
was
actually
moving,
and
surely
enough,
I
SAW
the
pendulum
move.
It´s
a
strange
sensation
and
perception
because
I
knew
that
the
pendulum
wasn’t
actually
moving,
but
if
you’ve
experience
hypnosis
in
the
past,
you
will
understand
how
this
will
be
experienced
by
your
participant.
The
imagination
becomes
more
active
and
the
critical
factor
of
our
logical
mind
becomes
secondary,
so
if
you
pace
and
lead
the
process
correctly,
you
will
let
the
participant
experience
this.
I
suggest
you
(pun
intended)
experiment
with
this
first
for
yourself.
Take
a
pendulum
and
put
it
on
a
stand.
Now
practice
your
script
and
confident
attitude.
“You
can
see
the
quartz
pendulum
on
there.
You
can
see
the
transparency
of
the
stone
and
how
the
pendulum
is
hanging
on
there.
You
can
see
that
the
pendulum
isn’t
moving
yet
but
in
a
moment
and
because
your
unconscious
mind
is
powerful,
you
will
see
and
feel
how
this
will
start
to
move.
Look
at
it
directly
and
feel
how
you
feel
absorbed
by
the
quartz
and
now
you
will
see
that
it
almost
looks
like
the
pendulum
starts
to
become
alive….That´s
right.
And
now
as
you
see
that,
you
will
see
that
the
pendulum
starts
to
move
slightly.
It
will
not
be
a
huge
movement,
but
you
will
see
how
the
pendulum
will
start
to
move.
And
now
you
can
see
it,
can’t
you?
That´s right…”
Obviously
this
is
a
dynamic
process
in
which
you
need
to
be
synchronized
with
your
participant.
If
you
are
new
to
this
type
of
work,
I
will
give
you
a
few
tips
that
will
ensure
your
success.
1.
Compliance:
It´s
necessary
to
create
a
dynamic
of
influence
and
social
guidance.
You
can
do
this
on
1-‐on-‐1
situations
but
for
me
it’s
far
more
effective
when
an
audience
is
present.
The
participant
wants
to
succeed
and
wants
to
feel
special.
You
can
use
this
in
your
favor
and
create
this
reality.
2.Pace
and
leading:
A
classic
concept
in
Ericksonian
Hypnosis.
Basically
you
need
to
be
“on
the
same
rhythm”
as
your
participant,
and
from
there,
you
can
guide
him
to
your
intentions.
If
you
want
to
learn
more
about
this
concept,
find
books
on
Hypnosis
and
specifically
about
Erickson´s
work.
24
3.
Dual
Reality:
If
for
some
reason
you
feel
that
this
type
of
suggestive
work
isn’t
working
properly,
create
the
altered
reality
that
it´s
working.
A
simple
thought
but
very
powerful.
In
this
frame
of
mind,
no
experience
will
be
a
failure.
Everything
that
happens
will
be
used
positively.
“Maybe
you
aren’t
seeing
that
the
movement
is
dramatic
but
you
can
feel
the
sensation
of
absorption,
right?
Excellent,
and
while
you
are
experiencing
this,
just
imagine
that
the
pendulum
is
alive
and
is
responding
to
your
imagination.
Can
you
imagine
that
?Yes…”
As
you
can
see,
the
line
“Can
you
imagine
that?”
is
VERY
powerful.
Anyone
can
imagine
something
and
even
better,
everyone
can
imagine
that
they
can
imagine
something.
Use
this
to
your
advantage.
This
concept
of
using
dual
reality
in
suggestion
work
is
explored
at
a
deeper
level
in
my
eBook/Book
“Mysteries
Anywhere
2”.
I
encourage
you
to
try
this
type
of
work,
it´s
different
and
powerful.
Ask
Kenton
Knepper
and
Fraser
Parker
about
this.
You
can
use
this
strange
“psychic”
phenomena
as
a
dramatic
revelation
during
a
mindreading
piece.
Ask
a
participant
to
join
you
on
a
telepathy
experience
and
use
any
method
to
get
his
thought.
Normally
I
do
this
with
an
“important
person
in
his
life,
whether
they’re
alive
or
not”.
After
some
subtle
revelations
and
before
your
final
revelation
(the
name),
use
the
concept
of
“Face
Morphing”
to
create
an
outstanding
weird
and
dramatic
moment.
“Now
I
will
ask
you
to
focus
as
you
did
before
but
now
start
to
imagine
that
my
face
will
change
slowly
to
the
face
of
the
person
that
you
have
in
mind.
That´s
right,
you
can
see
now
how
every
aspect
of
her
(if
you
already
reveal
that
it
was
a
lady)
is
now
in
my
face.
You
can
see
her
pointy
nose,
her
light
hair
on
my
head,
that´s
right…
and
you
imagine
now
that
you
come
close
to
me
and
say
“Hi….
Joanne”…
“
25
As
you
can
understand,
this
Face
Morphing
Revelation
has
a
lot
of
potential:
1.
You
can
reveal
characteristics
of
the
thought
of
person´s
face,
or
at
least,
create
the
appearance
of
that
to
the
audience.
2.
You
can
REALLY
create
a
Face
Morphing
experience
for
your
participant
if
you
know
how
to
do
it.
3.
The
built
in
drama
that
this
revelation
has
will
give
your
participant
and
audience
a
great
experience
and
they
can
really
feel
it.
For
the
world,
you
are
special.
No
too
many
people
can
claim
such
strange
statements
(I
can
read
minds,
work
with
pendulums,
bend
metal)
and
prove
this
claim.
If
you
perform
and
you
take
your
role
seriously,
you
can
be
seen
as
a
gifted
individual.
It´s
important
to
me
to
BE
special
and
explore
this
world
of
knowledge
and
experiences
with
an
optimistic
attitude
and
by
being
REAL.
By
real
I
don’t
mean
that
you
have
to
be
the
next
meta-‐physical
guru,
but
rather
believe
that
what
you
do
is
relevant
and
credible.I
accomplish
that
by
really
believing
in
ESP
and
metaphysical
phenomena.
I
normally
mix
the
normal
reality
alterations
that
Mentalism
technique
gives
us
with
real
demonstrations
of
strange
mysterious
phenomena,
Readings,
psychometry,
predictions,
real
empathic
mindreading,
etc.
For
that,
I
realized
that
I
do
several
things
during
my
life
that
help
me
in
an
unconscious
way
to
be
that
special
individual
that
people
want
to
met
and
finally
being
that
“Mentalist”,
the
“Magician”
(in
the
true
sense
of
the
word),
the
“Psychic”
and
the
“Gifted
One”.
It
isn’t
about
being
what
other
want
to
be,
but
rather
being
the
one
that
you
enjoy
the
most,
and
personally
I
enjoy
bringing
enjoyment
and
mystery
to
other
people´s
life,
and
this
is
a
extremely
good
way
to
do
it.
1.
Do
true
predictions
during
your
day:
In
normal
situations
during
your
daily
basis
and
while
you
are
with
someone,
tell
them
“
I
feel
that
XYZ
will
happen”.
I
do
this
a
lot
during
soccer
games,
for
example,
even
when
I
don’t
know
anything
about
soccer.
I
just
make
an
educated
guess
and
go
with
my
gut
feeling.
The
cool
part
is
that
if
you
are
wrong,
they
WILL
forget
or
at
least
take
your
statement
in
a
light
way
as
if
it
was
never
a
real
prediction.
But
if
you
nail
the
score
of
the
game,
26
or
the
results
of
the
presidential
votes,
you
WILL
get
the
feedback
from
them.
It´s
a
WIN-‐WIN
situation.
2.
Do
readings
all
day:
You
don’t
have
to
be
a
private
reader
to
do
readings.
If
you
think
about
it,
everyone
does
readings
all
day,
they
just
do
it
internally.
You
have
the
tools
to
look
at
people
and
see
and
feel
their
characteristics
and
from
there
you
can
break
the
space
of
time
and
tell
them
their
possible
future.
If
you
are
with
someone
during
your
day
resting
in
a
park
and
you
say:
“Look
at
that
person,
I
feel
that
this
person
is
a
liberal
thinker,
full
of
potential
and
ideas
that
she
might
look
at
as
being
invaluable
sometimes….”
You
will
be
doing
a
cold
reading
based
on
your
observation
and
being
REAL.
For
this,
I
also
add
some
of
my
ideas
regarding
readings,
and
how
to
mix
them
in
a
subtle
way
with
normal
Mentalism
because
I
realize
the
power
of
this
practice.
It´s
huge.
3.
Read
minds
for
real:
Take
chances,
meet
people
from
the
inside,
try
to
connect
with
them
and
be
emphatic
REALLY
believing
that
you
can
do
this.
You
will
amaze,
maybe
you
have
that
inner
potential
that
just
needed
a
little
bit
of
trust
and
faith.
As
I
told
you
in
“Pacing
Mindreading”
(Idea
#25),
it´s
about
thinking
LIKE
the
person.
Put
yourself
in
their
position
and
make
your
best
decision.
If
you
miss,
it
doesn’t
matter,
as
in
“Doing
true
predictions
during
your
day”,
the
“mistake”
can
be
deleted,
but
if
you
hit,
it´s
one
more
piece
of
evidence
of
your
interesting
talents.
You
can
BE
the
mysterious
and
interesting
person
in
your
life,
and
I
know
that
you
will
enjoy
several
moments
even
off
stage,
as
I
am
doing.
In
normally
do
when
I
suffer
for
migraine.
That
helps
me
a
lot
to
relax.
This,
in
the
right
context,
is
not
just
a
Mentalism
effect,
but
also
rather
an
amazing
ability
that
you
can
use
whenever
you
see
the
right
environment
(if
you
know
how
this
works,
you
will
understand
that).
One
use
that
is
extremely
powerful
is
whenever
you
are
doing
readings
outside,
or
just
a
conversation
with
some
person
who
needs
some
clearing
in
his
life.
27
Frame
the
Cloud
Busting
process
as
a
way
to
eliminate
that
negative
energy
from
that
particular
issue,
focusing
all
that
on
the
target
cloud.
The
moment,
in
which
your
client/participant
will
see
how
the
cloud
will
start
to
dissipate,
he
will
receive
an
amazing
symbolic
moment
that
he
will
never
forget.
24. ForceRing
This
is
a
fun
way
to
force
a
participant
secretly.
I
use
this
on
a
context
of
selecting
a
pre-‐show
participant.
Onstage,
I
select
5
people
to
participate
in
a
game
of
intuition,
in
which
I
take
a
ring
and
place
secretly
on
one
of
my
fingers
and
place
the
hand
with
the
ring
behind
my
back.
Now
let
the
participants
name
one
of
your
fingers,
and
just
like
with
the
classic
ring
flourish,
move
the
ring
from
fingertip
to
fingertip,
maneuver
the
ring
to
the
finger
that
your
“preshow
participant”
names.
In
that
way
it
will
look
as
if
your
participant
was
randomly
selected.
This
is
a
technique
for
creating
empathy
with
my
participant
and
“real
mindreading”
to
the
audience
(and
sometimes
for
the
participant).
Wonderful
creation
of
different
realities.
Imagine
that
I
ask
you
to
visualize
in
your
mind
a
pad
in
which
you
will
write
the
word
that
you
“are
thinking”
of
(the
word
written
previously),
how
do
you
visualize
that?
A blank rectangular pad, a pen on the right side, some rings on top maybe, etc.
You
can
use
those
educated
guesses
as
part
of
your
mindreading.
It’s
simple
AND
if
you
feel
that
the
participant
isn’t
really
seeing
this
in
his
mind,
IT
DOESN’T
MATTER
because
your
statements
will
look
as
if
you
are
just
GUIDING
the
participant
into
the
visualization.
“Now
that
you
are
relaxed
and
connected.
Imagine
a
big
pad
in
your
mind…That´s
right,
rectangular,
white,
a
pen
at
the
side,
right?
…Yes…
The
pad
has
lines?
No
You
are
making
him
feel
good
and
you
are
creating
some
amazing
mindreading
without
even
using
the
information
that
you
got
previously
(the
word
written
on
the
billet).
Also,
as
you
can
see,
in
the
script
I
place
a
delivered
“NO”
from
the
participant.
DON’T
TAKE
THAT
AS
A
MISS,
rather
use
that
to
your
advantage
and
move
on.
If
you
don’t
communicate
that
it’s
a
“mistake”,
it
won’t
be.
With
this
“Pacing
Mindreading”
technique
you
can
create
several
moments
of
mysterious
connection
and
create
a
methodology
canceller
(if
you
use
this
correctly)
about
the
fact
that
you
secretly
knew
the
written
information
in
advance,
because
you
never
peek
the
billet
in
which
the
participant
writes
“I
will
think
of
a
rectangular
pad
with
a
pen…”,
but
rather
the
name
revelation
will
just
be
part
of
this
flowing
dynamic,
not
just
THE
moment
of
mystery.
I
LOVE
this
technique.
I
think
that
it’s
really
fundamental
in
our
practice
for
the
simple
reason
that
it
summarizes
everything
that
a
performer
should
have
in
his
toolkit.
Good
verbiage/script,
correct
use
of
non-‐verbal
communication/subtext,
and
clever
thinking.
In
here
I
will
share
with
you
some
of
my
techniques
to
improve
any
“Equivoque”
procedure.
a. Conscious-‐Unconscious Ploy
This
is
a
ploy
that
I
came
up
independently
but
Kenton
Knepper
told
me
that
he
has
a
similar
idea
in
his
repertoire
for
years,
so
credits
to
the
Wonder
Wizard.
29
If
you
want
to
force
something
on
someone
using
Equivoque,
you
can
add
this
ploy
to
create
a
possible
scenario
of
a
direct
decision
and
not
ambiguous
choices.
With
the
participant
facing
say:
Now, if your participant names the object that you want to force, add:
“Excellent,
that
comes
from
your
unconscious
and
when
you
made
your
decision
consciously
it
becomes
conscious.
It
sounds
strange,
but
it’s
the
process
that
happened
inside
you,
right?”
“Interesting.
And
that’s
from
your
conscious
mind,
right?
Well,
I
don’t
want
to
stimulate
your
conscious
mind
right
now
but
rather
your
unconscious
mind.
You
will
decide
on
a
few
things
just
on
impulse,
without
thinking
consciously,
okay?”
As
you
can
see,
this
question
becomes
an
explanation
about
conscious
and
unconscious
decisions
rather
than
creating
a
selection
from
the
first
response.
So now you can go on with your normal Equivoque procedure.
b. Sure?
The
wonderful
word
“Sure?”
after
a
decision
is
very
powerful.
Normally
in
Equivoque
we
don’t
explain
in
a
verbal
manner
what
the
decision
means,
but
saying
this
word
will
create
the
appearance
that
you
were
specific
about
the
meaning
of
your
statement,
that
the
participant
has
the
option
to
change
his
mind
and
you
can’t
change
the
meaning
of
the
decision,
when
in
fact
decision
is
labeled
afterwards.
So
in
this
case,
you
can
create
the
apparent
idea
at
the
end
of
the
whole
procedure
that
the
participant
EVEN
had
the
opportunity
to
change
his
mind
but
he
didn’t
do
it.
As
you
know,
it
doesn’t
matter
because
if
he
changes
his
mind,
you
will
takeanother
action.
30
This
is
a
cool
way
to
present
the
classic
last
stage
of
an
Equivoque
routine,
in
which
your
participant
has
one
object
in
each
hand
and
one
of
them
is
the
one
that
you
want
to
force.
In
here
you
will
use
the
idea
that
the
participant
for
a
moment
will
be
sensible
to
energies
and
will
sense
a
“different
energy”.
“Now
as
you
have
both
objects
in
your
hand,
start
to
feel
the
weight,
the
form,
that´s
right,
and
even,
for
a
moment,
you
will
sense
energy
coming
from
those
objects,
and
in
one
moment,
at
the
count
of
3,
you
will
hand
me
the
one
in
which
you
feel
that
different
energy.
Just
relax…
1,
2,3…”
As
you
can
understand,
this
simple
action
will
create
the
implication
that
the
participant
REALLY
felt
something,
and
that
by
itself
creates
a
mysterious
moment.
Now,
if
you
read
the
description,
you
will
realize
that
labeling
one
of
the
objects
as
the
one
that
has
a
“different
energy
can
play
for
both
sides.
Lets see an example in which your participant passes you the FORCE item:
“Excellent.
You
feel
that
this
object
has
a
different
energy,
a
special
one,
almost
like
it
doesn’t
belong
to
the
other
one…”
Now
let’s
read
the
other
example,
when
the
participant
hands
you
the
NON
FORCE
object:
“Excellent.
You
feel
that
this
object
has
a
different
energy,
not
a
bad
energy
perse,
rather
it
feels
like
it
isn’t
in
tune
and
didn’t
give
you
harmony”
On
the
first
example,
“different”
is
“special.
On
the
second
example
“different”
is
associated
with
“strange”
and
“undesired”.
If
you
don’t
like
the
premise
of
energy,
you
can
substitute
that
with
“emotions”
or
“feelings”.
Presupposing
an
idea
in
a
sentence
is
very
powerful
and
can
allow
you
to
place
secret
realities
and
thought
with
less
caring
of
scrutiny.
In
the
context
of
an
Equivoque,
I
use
presuppositions
to
cement
the
idea
that
the
participant
really
DECIDED
on
the
object
in
this
manner:
31
“Excellent,
tell
me,
what
did
you
feel
when
deciding
on
that?”
Or
“Tell
me,
why
did
you
choose
that?
You
felt
something
physical,
or
something
more
metaphysical
in
nature?
As
you
can
see,
the
question
is
about
what
the
participant
feels,
leaving
the
idea
of
a
decision
on
a
subliminal
level.
Normally
performers
try
to
cement
the
idea
of
fairness
about
the
decisions
with
the
line:
“Is
all
this
fair?”,
or
“It
was
fair,
right?”
Those
types
of
lines
are
risky.
You
need
to
know
how
handle
them
and
any
possible
reply
that
your
participant
might
give
you.
Honestly
in
most
situations,
I
prefer
to
use
the
presupposition.
It
lets
me
achieve
the
same
idea
but
doesn’t
challenge
your
participant
too
directly.
As
you
can
also
see,
in
the
second
example,
I
gave
the
participant
a
question
and
immediately
some
guidelines
about
his
answer.
In
that
way
he
will
feel
more
comfortable
in
answering
me
and
move
on
with
the
performance.
When
the
routine
allows
me
to
do
it
(in
my
“Decision
and
Intuition”
piece
from
my
“Ideas
about
Pendulums”
book
for
example),
after
the
revelation
of
the
predicted
object
I
give
a
reading
based
on
the
decision
about
the
person.
This
is
powerful
and
elevates
the
moment
from
a
nice
theatrical
and
entertaining
moment
to
a
whole
new
world
of
symbolism
and
synchronicity.
You
can
use
normal
borrowed
objects,
but
if
you
use
objects
that
inherently
have
arcane
visuals
and
meanings,
you
can
create
the
mood
in
a
direct
way.
As
you
know,
Equivoque
is
all
about
controlling
in
a
subtle
and
secret
way.
This
is
a
simple
and
effective
technique
that
allows
you
to
move
the
attention
a
little
bit
from
the
procedure,
giving
a
moment
of
relaxation.
Let’s
see
this
in
the
context
of
a
routine
in
which
you
will
force
a
playing
card
suit
and
you
are
in
the
moment
in
which
the
participant
“decides”
on
the
red:
32
“And
you
can
see
how
this
red
ball
breaks
in
2
like
a
coconut
when
it’s
broken,
and
all
the
red
juice
is
flowing,
and
we
leave
the
hearts
at
the
right
and
the
diamonds
on
the
left.
Be
careful;
a
little
bit
of
red
juice
stained
your
shirt”
As
you
can
read,
in
that
script,
the
attention
for
a
moment
is
focused
on
how
that
invisible
“red
ball”
is
broken
like
a
coconut.
This
is
a
fun
moment
in
which
you
can
play
with
smells,
colors
and
sounds,
and
other
stimulations.
Also
at
the
last
part,
a
fun
moment
is
created
in
which
you
can
focus
attention
again
to
other
ideas
that
aren’t
really
important
to
the
decision,
but
give
the
process
an
entertaining
dynamic
and
doesn’t
give
the
participant
a
moment
to
critically
analyze.
This
is
similar
to
“Focusing
the
attention
to
the
unimportant
“,
the
basic
idea
of
directing
the
critical
mind
to
another
thought.
I
am
sure
that
you
experience
a
moment
during
your
daily
life
when
someone
forgets
a
word
or
can’t
remember
a
name.
It´s
a
strange
moment
in
which
you,
as
a
listener,
feel
like
waiting
and
even
sometimes
helping
the
person
to
finish
his
idea.
Well,
in
here
we
will
use
this
in
our
favor.
I
use
this
technique
mostly
when
the
participant
is
using
both
hands.
If
you
understand
the
basic
principle
behind
this,
you
can
apply
this
technique
to
other
situations.
And
now
with
your
……
(act
as
if
your
forget)
left
hand
(smile)
take
another
object,
obviously”
As
you
can
read,
I
stumble
with
the
word
“left”
almost
like
I
forgot
the
name
of
that
hand.
That
2-‐3
second
moment
will
create
in
the
participant’s
mind,
the
need
of
telling
you
“left”,
and
that
idea
will
help
you
to
put
his
rationalein
another
place
33
27.
HumpSystem
This
is
a
marking
system
for
billets
that
I
came
up
with
some
time
ago
with
the
idea
to
create
a
technique
for
marking
that
could
be
done
on
the
spot,
without
special
liquids
or
gimmicks
that
allows
me
to
hand
out
the
marked
billets
and
without
caring
about
exposing
the
idea
of
hidden
differentiation.
I
played
with
several
things
and
this
one
was
workable
and
simple,
2
characteristics
that
I
search
for
in
my
work.
(Photo 1
As
you
can
see
the
lines
have
differences
in
what
we
call
“humps”.
Because
we
are
dealing
now
with
3
cards,
our
places
for
humps
are
beginning,
middle
and
end.
That’s
your
cue.
After
mixing
those
cards
you
can
still
take
the
cards
and
do
your
desired
effect
(pun
intended).
You can expand this concept for your own uses with a little bit of thinking.
If
you
are
interested
in
a
great
routine
using
this
system,
stay
in
touch
with
my
future
projects.
When
doing
a
drawing
duplication,
ask
your
participant
to
draw
something
that
in
a
way
reflects
his
own
personality
or
other
characteristics
that
will
allow
him
to
put
more
than
just
lines
on
the
card.
34
“Normally
our
inner
world
can
be
expressed
through
drawings
and
I
will
ask
you
that
on
this
card
you
just
make
a
simple
drawing
that
in
a
mysterious
and
maybe
unconscious
way
will
reflect
all
your
past,
present
and
future
characteristics”
On
those
lines
you
can
read
that
the
drawing
selected
by
the
participant
will
have
some
meaning
for
him,
and
that
gives
me
the
opportunity
to
mix
my
mindreading
with
some
readings
and
create
several
moments
of
mysterious
entertainment.
Talking
about
this,
if
you
want
to
have
a
“motivation”
to
ask
for
the
drawing,
when
putting
it
amongst
the
rest
of
the
stack
(you
can
use
my
casual
peek
technique
for
knowing
the
information)
and
you
can
just
say:
“I need your hands in a moment, please put the drawing on here…”
After
this,
go
to
a
brief
palm
reading,
mixing
what
you
are
sensing
and
watching,
creating
revelations
even
before
getting
any
peek.
This
is
powerful
and
one
of
the
secrets
in
the
creation
of
“real
mindreading”
in
Mentalism.
You
can
create
a
great
symbolic
moment
with
a
willing
participant
and
a
pendulum.
You
can
use
a
clearing
sequence
(Neal
Scryer´s
is
fabulous).
After
this
you
can
associate
the
circular
movement
of
the
pendulum
with
the
creation
of
a
“ball
of
white
and
pure
energy”
that
will
be,
in
a
moment,
given
to
the
participant
to
experience.
You
can
create
for
this
a
nice
and
beautiful
ritual
that
will
be
remembered.
One
time
I
met
a
lady
and
the
topic
of
pendulums
was
brought
up
(as
in
several
conversations
during
my
day).
I
gave
her
this
experience
and
she
was
truly
touched
by
the
power
of
that
amazing
moment.
She
felt
the
weight
of
the
energy
and
while
I
was
putting
the
energy
on
her
head,
on
the
7th
Chakra
(like
in
a
baptism)
she
felt
the
warmth
of
the
energy
through
her
body.
Maybe
sharing
this
premise
and
creating
this
dynamic
isn’t
comfortable
for
you.
You
can
just
create
the
ball
of
energy
for
them
and
just
give
it
as
a
symbolic
souvenir.
You can mix this idea with the clever work of Bill Montana and Jerome Finley.
35
30.
E.T.
Haunted
Key
I
will
give
you
a
nice
“new
position”
to
create
movement
for
the
classic
effect
of
the
haunted
key
based
on
the
work
of
Punx
and
Dr.
Jaks
that
I
call
the
“E.T.
Haunted
Key”
and
can
serve
perfectly
before
this
effect.
Ask
for
the
participant´s
right
hand
index
finger
and
touch
it
gently
with
your
right
hand
index
finger.
After
this,
you
will
just
place
the
key
with
the
bit
towards
you.
That
way,
if
you
just
focus
and
think
in
this
movement
(subconscious
response
rather
than
conscious),
the
key
will
move.
This
movement
has
to
be
subtle
and
slow.
Don’t
treat
this
effect
like
a
magic
trick.
This
is
a
powerful
demonstration
in
real
mind
over
matter
(you
ARE
moving
the
key
not
with
real
psychokinesis,
but
with
a
real
state
of
mind
that
allows
you
to
move
your
hand
in
a
subconscious
manner
to
create
that
subtle
movement).
The
nice
thing
about
this
new
position
for
the
animation
is
that
you
will
have
2
anchors
for
your
participant.
You
can
use
the
“Sistine
Chapel”
or
the
E.T.
movie
as
presentational
frames
and
anchors.
This is a method to do your own marked cards with Tally Ho “Circle Back Design”
I
came
up
with
this
marking
system
because
I
don’t
want
to
pay
every
time
for
an
expensive
marked
deck.
I
just
buy
some
decks
and
make
my
own.
This
system
can
be
expanded
to
any
back
design
that
has
several
little
designs
that
can
be
used.
This idea isn’t new at all; several others were playing with similar concepts.
For
this
you
need
just
a
red
backed
deck
and
a
sharpie.
The
only
important
part
for
this
is
this
part.
(Photo
1)
(Photo 1)
36
In
here
you
can
see
the
important
points
(Photo
2)
(Photo 2)
(Photo 2)
Some
similar
marking
systems
instruct
you
to
have
a
value
without
marking.
I
don’t
like
that,
for
that
reason
I
prefer
to
have
each
card
marked.
37
Let’s
see
another
mark
now,
the
2
of
Hearts.
(Photo
3)
(Photo 3)
As
you
can
see,
the
second
dot
to
the
right
of
the
left
flower
and
the
second
petal
on
the
left
flower
is
filled.
(Photo 4)
You
can
see
how
the
first
petal
(as
if
looking
at
1:00
on
a
watch)
and
the
upper
white
circle,
which
tells
you
that
the
card
is
a
club
is
filled.
(Photo
5)
So
now
you
can
take
a
red
marker,
your
Tally
Ho
deck
and
make
your
own
marked
deck
in
15-‐20
minutes.
As
you
know,
an
audience
gives
you
applause
when
they
feel
that
they
need
to
give
you
gratitude
for
what
you
are
doing.
When
musicians
finish
a
song,
they
clap.
When
the
poem
is
over,
they
clap.
In
our
case,
when
something
amazing
happens,
they
clap.
38
The
nice
thing
about
this
opener
is
that
they
WILL
give
you
10
applauses,
convincing
them
in
very
subtle
way
that
you
deserve
those
claps
and
during
your
act
they
will
be
conditioned
to
give
you
applauses,
thanks
to
this
simple
opener.
Get
a
2-‐way
kismet-‐window
envelope
(without
technical
words,
just
an
envelope
with
a
window
and
an
extra
divider).
Inside
of
the
first
section
(the
one
without
the
window)
put
a
business
card
with
the
prediction:
In
the
second
section
(the
one
with
access
thru
the
window)
place
a
card
that
reads:
And
leave
the
blank
space
after
the
“number”.
If
you
need
it,
you
will
fill
that
with
your
trusty
Swami.
Now,
start
your
performance
with
your
personal
way
to
do
it
and
place
attention
on
the
envelope
in
your
breast
pocket.
Tell
everyone
to
relax
and
quickly
think
of
a
number
between
1
and
10.
As
you
know,
this
wording
and
your
non-‐verbal
dynamic
will
create
an
archetypical
response
of
“7”.
Now add:
“I
now
need
a
member
of
the
audience
who
will
be
for
a
moment
the
“”applause-‐
meter.”
Find
someone
and
ask
her
to
stand
up.
Now
tell
the
audience
that
everyone
who
was
thinking
in
the
number
“1”
must
start
to
applaud.
Do
all
the
numbers
until
10
(this
way
you
will
get
the
10
applauses).
As
you
know,
normally
the
decision
will
be
“7”.
If
that´s
the
case
just
ask
your
participant
to
join
you
on
stage,
take
your
business
card
and
read
your
prediction,
let
her
confirm
what
you
read.
39
If
the
number
isn’t
7,
just
fill
in
the
necessary
number
with
your
swami.
While
the
participant
joins
you
onstage,
load
the
writer
on
your
thumb
and
write
it
as
you
do
the
recapitulation.
Obviously
the
participant
can’t
handle
the
envelope,
but
that’s
not
a
problem
at
all.
Several
performers
are
worried
about
these
types
of
things.
The
truth
is
if
that
worries
you,
that
will
be
communicated
and
at
the
end
your
audience
will
care
about
that.
If
you
don’t
care,
they
won’t
care.
If you want to have a double prediction you can add to your prediction that:
AND just a few people will think of the number 10”
As
you
know,
the
wording
that
is
used
“BETWEEN
1
and
10”
cancels
for
most
people
the
number
1
and
10.
So,
if
when
you
ask
for
applause
for
number
1
you
receive
just
a
few,
say:
“That’s
interesting,
so
just
a
few
people
thought
of
the
number
1.
This
will
be
important
in
a
moment”
(Photo 1)
Now,
if
for
some
reason,
more
than
“just
a
few
people”
applaud
on
“1”
but
just
a
few
people
applaud
on
“10”,
you
don’t
need
to
cover
anything.
If
you
use
this
opener,
you
can
use
the
methodology
canceller
explained
in
Idea
#16.
A.W.
stands
for
“After
Writing”,
a
bold
technique
that
allows
me
to
do
great
and
fun
predictions
without
too
much
mechanical
effort
with
some
rather
nice
thinking.
40
Let’s
see
an
example.
You
ask
a
lady
to
join
you
onstage.
After
this
she
makes
several
decisions
and
at
the
end
you
read
your
prediction
that
includes
her
name
and
all
her
“free
choices”,
while
SHE
is
proving
all
the
predictions
right
and
at
the
end
you
can
give
her
the
prediction
as
a
souvenir.
How?
Simple.
I
never
predict
her
name.
I
just
get
her
name
prior
the
performance
while
the
envelope
is
hanging
on
the
stage
or
just
use
Dunninger´s
ploy
to
get
her
name
and
at
the
end
I
just
add
her
name
to
the
prediction.
She
will
have
a
$1
bill
in
her
hand.
She
will
select
from
all
the
symbols
the
Circle
I
see
the
number
502.
You
can
see
that
the
first
line
is
placed
in
a
way
that
you
can
place
your
thumb
casually
to
show
the
prediction
to
your
participant,
so
even
if
she
sees
that,
she
wrote
her
name.
After
the
performance,
she
will
keep
the
will
assume
that
you
prediction
and
will
see
her
name
written
on
it,
so
it´s
the
same.
Also
at
the
end
we
place
a
space
so
when
it
comes
time
to
add
the
signature,
we
can
have
a
place
to
leave
our
name
or
other
message.
In
using
this
technique
it’s
very
important
that
your
participant
is
placed
far
away
from
you,
so
she
will
not
be
tempted
to
read
the
first
part
of
the
prediction
(the
apparent
prediction
of
the
name).
Larry Becker has a great influence in this sneaky technique, so credits to him.
41
“It
would
be
incredible
if
everything
that
you
did
was
written
before
right?
YES (Get close to her) She will select from all the symbols the…. Circle
She will have in her hand a $1 bill… Read outloud with me….. I see the numbers 502.
Those numbers are on your bill? Really the last 3? Amazing!
Today is February, 31, right? I will sign it. A big applause for her”
As
you
can
read,
the
participant
is
confirming
your
2
last
predictions,
so
at
the
end
the
memory
that
can
be
left
indirectly
is
that
she
read
with
you
each
of
the
predictions.
Now
comes
the
bold
moment
of
placing
the
date
and
signature
at
the
end.
In
between
you
will
just
place
the
participant´s
name.
Another
great
use
for
this
technique
is
“The
Prophesy”
from
Corinda.
In
my
version
I
use
a
message
in
a
bottle
(an
iconic
image).
I
use
the
marking
system
that
I
taught
previously,
so
the
participant
can
shuffle
the
deck.
After
that,
I
take
the
message
from
the
bottle
and
I
“read”
the
card
with
the
prediction
in
the
same
way.
At
the
end
I
use
the
same
acting,
creating
an
impossible
souvenir
prediction,
something
that
cannot
be
done
with
the
original.
This
is
one
of
my
techniques
to
create
false
memories
during
a
mentalism
experience.
For
me
a
performance
is
an
experience
that
is
created
in
a
present
moment,
but
also
aimed
to
be
experienced
as
a
past
memory
in
the
future.
By
that
I
mean
that
in
my
opinion
we
don’t
need
to
focus
only
on
what
we
really
do
in
performance,
but
also
what
will
be
remembered
about
what
we
did.
If
we
focus
also
on
the
second
part,
we
can
achieve
AMAZING
experiences.
42
Our
demonstration
can
perhaps
be
a
simple
mindreading
piece
using
a
billet
peek,
but
the
present
experience
can
be
molded,
and
even
easier,
so
can
the
memory
that
the
members
of
the
audience
and
the
participant
can
remember.
You
know
that
by
using
correct
language
we
can
create
ideas
that
can
cancel
the
methodology
used.
For
example
you
can
directly
or
indirectly
suggest
that
the
paper
isn’t
transparent
and
maybe
that
you
never
handle
the
paper,
but
with
this
simple
realization
I
want
to
open
in
your
mind
the
idea
that
if
you
script
your
performance
correctly,
you
can
create
EVEN
the
idea
that
there
was
never
a
paper
in
use.
You
know
that
several
performers
and
pseudo-‐performers
bother
with
the
idea
of
a
“Holy
Grail”
in
mentalism.
We
typically
hear
about
the
“purest”
mindreading
effect,
the
perfect
ACAAN
or
the
definitive
book
test.
Surely,
at
the
present
moment
you
will
use
a
pass
for
placing
the
named
card
in
the
named
position,
or
you
will
force
a
thought…
IT
DOESN’T
MATTER.
You
are
creating
the
demonstration,
you
control
the
actions
and
what
you
want
to
be
deleted
from
the
procedure
and
at
the
end
you
can
create
the
MEMORY
THAT
ALL
THOSE
PERFECT
CONDITIONS
REALLY
HAPPENED.
For that, you can take the direct or indirect path. I will give you 2 examples:
1.
Direct:
Several
years
ago
I
was
doing
the
Hoy
Bold
Book
Test
on
stage.
Before
the
revelation
of
the
thought
I
said:
“Let`s
see
what
happened.
You
took
the
book,
looked
at
a
word,
I
read
your
thought
slowly
trying
to
catch
some
details
and
finally
I
wrote
down
my
impression.
For
the
first
time
out
loud
for
everyone,
tell
the
word
that
you
have
in
mind,
now”
When
I
am
performing
I
generally
have
a
flexible
script,
but
for
my
approach
it’s
very
necessary
to
use
some
lines
at
some
points
during
my
performance,
and
this
is
one
of
them.
A
powerful
script
that
uses
a
concept
that
I
call
the
“XYZ
and
Truth”,
when
all
the
XYZ
statement
can
be
false
in
some
way,but
because
you
are
ending
your
statement
with
a
undeniable
truth
and
plus
you
are
onstage
with
your
participant,
always
influence
them
to
do
whatever
you
want
in
order
to
reach
the
goals
of
your
performance,
he
WILL
accept
those
lines,
and
consequently,
it
will
slowly
erase
the
whole
procedure
and
leave
only
the
golden
mystery.
43
I
remember
that
1
month
later
after
the
performance,
I
met
a
friend´s
cousin,
and
my
friend
description
of
the
book
test
was
that
it
WAS
the
“Holy
Grail”.
“Pablo
passed
her
a
book
and
asked
her
to
look
at
any
word,
and
he
told
her
what
word
she
was
thinking
of!”
Now,
the
indirect
approach
to
create
false
memories
is
using
implications
and
subtle
communicative
actions
to
give
the
message
that
will
create
that
perfect
demonstration
that
you
want.
An
approach
that
can
be
extremely
powerful,
as
we
discussed
previously.
If
you
have
a
normal
“Royal
Magic”
Haunted
Key,
just
leave
it
on
your
keychain
with
other
keys
and
wait
some
time.
You
can
see
that
the
normal
damage
that
it
will
receive
will
give
the
key
an
“antique”
look,
and
a
very
realistic
one.
In
the
picture,
you
can
compare
a
normal
key
with
the
one
that
I
have
on
my
keychain.
Webster´s
Psychometry
from
A-‐Z
is
one
of
the
most
valuable
things
that
I
learned
throughout
my
life
as
a
mystery
performer.
It’s
an
amazing
technique
to
get
inspiration
to
let
your
intuition
run
and
work
for
you
and
others.
Only
with
this
system
alone
plus
your
own
charisma
and
charm,
you
can
create
a
living
and
a
reputation
as
a
psychic.
I
will
give
you
now
a
simple
idea
in
using
this
system.
If
you
don’t
know
what
I
am
talking
about,
I
urge
you
to
learn
this
great
system
from
Richard
Webster.
You
can
use
this
simple
idea
with
Michael
Weber`s
addition
to
Psychometry
from
A-‐Z
from
The
Practical
Psychic´s
Little
White
Book
to
get
great
results
and
more
inspiration
for
your
intuition
to
work.
37.TA(t)ROT
Another
tool
for
the
reader.
In
my
past
psychology
class
I
studied
the
“Thematic
Apperception
Test”
also
called
just
“TAT”.
This
is
a
great
and
frequently
used
projective
(based
on
psychoanalytical
theory)
psychological
test
that
allows
you
to
know
personal
views
of
the
self,
the
world,
and
interpersonal
relationships.
The
psychologist
shows
the
client
a
series
of
ambiguous
pictures
about
which
they
are
asked
to
tell
a
story.
The
main
points
about
the
story
are:
4. What is the main character feeling and thinking in each state.
TA(t)ROT
is
basically
using
the
normal
tarot
deck
of
cards
as
the
provocative
images
in
which
your
participant
will
unconsciously
show
his
inner
characteristics.
As
you
can
analyze,
the
images
from
the
tarot
are
very
cryptic
and
ambiguous,
and
you
can
use
them
in
a
very
interesting
way
with
this
concept.
Now,obviously
the
TAT
has
decades
of
studies
and
refinement.
I
encourage
you
to
play
with
this
idea,
let
the
participant
not
just
be
a
client,
but
rather
an
active
entity
during
the
reading,
giving
you
the
stories
and
you
give
them
the
meaning
that
you
find
coherent
and
most
complete.
1.
Explain
the
premise
using
the
quantity
of
cards
that
you
want
to
use
45
2.
Let
them
to
tell
you
the
story
based
on
the
important
points
to
see
3.
Remember
or
write
the
characteristics
that
you
found
to
be
relevant
and
share
them
with
your
participant
There
is
a
lot
more
to
discover
with
this
simple
idea.
I
will
let
you
discover
them.
The
conjunction
of
the
cards
that
you
can
use
and
even
how
to
mix
classic
techniques
in
tarot
readings
with
this
concept
of
TA(t)ROT
is
very
powerful.
If
you
want
to
learn
an
interesting
and
poetic
approach
to
tarot
you
can
search
for
Tarology
by
Enrique
Enriquez.
Kenton
Knepper
took
my
concept
and
expand
it
in
great
manners.
You
can
check
more
info
in
“Tarot
Without
Memory”
on
his
site
www.wonderwizards.com
46
Conclusion
Thanks
for
reading
all
these
ideas.
I
hope
that
you
can
find
value
in
them.
They
were
and
are
part
of
my
life.
Study
them
correctly,
always
reading
between
the
lines
and
make
them
yours.
Put
your
own
charisma
in
them
and
you
can
see
how
they
will
evolve
and
will
give
you
great
satisfaction
as
a
performer.
I
also
hope
you
don’t
just
use
these
ideas,
but
also
come
up
with
your
own
finesses,
methodology
cancellers,
and
more
important,
ideas
that
can
make
your
demonstrations
entertaining,
credible,
interesting
and
meaningful
to
your
audiences
and
participants.
If
you
have
any
question
regarding
this
material,
you
can
find
me
at
pabloamira@gmail.com
Pablo Amirá
47
48
49