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AMAZING SECRETS
BALANCE AN EGG ON END
On the surface, this may not seem like such a big deal, but challenge friends or family to do this and watch the fun. Some
people can get almost obsessive about this.
Method 1: Before doing this, place a little salt under the table cloth in a small pile. You can balance the egg on the salt. If
this gets detected, or if there is no table cloth around, use method 2 and really wow 'em.
Method 2: You can do this one anywhere without any prior set-up, all you need is a raw egg. Challenge someone to bal-
ance it on end and they will find it nearly impossible. There are people that believe that this can only be done on a sol-
stice. You are about to prove that it can be done anytime, anywhere. The secret: Shake the egg vigorously and then let it
set with the wide end down for a minute or so. This breaks up the yolk that is heavier than the white. When you set the
egg down, the yolk will settle to the bottom of the egg and you will be able to balance it with relative ease. Practice once
or twice at home first, and of course remember to let the egg "rest" on it's wider bottom for a short while before attempting
to balance.
1) SHAKE THE EGG
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2) CAREFULLY BALANCE THE EGG ON IT'S WIDER BOTTOM
THE LEVITATING KNIFE TRICK
Set this up by picking up a table knife and telling your audience that you are going to make it vanish and reappear some-
where else. Total lie, but it will distract them somewhat. Then, when the knife doesn't disappear, you act completely
stunned that it is actually levitating in your hand. Or you can play it up that your hand is magnetic.
Whatever, it's a cute trick and will often fool some of the most intelligent people.
Lay a table knife across the palm of your hand, grasp the underside of your wrist with the other hand as shown. Your in-
dex finger is secretly supporting the knife, but seen from the rear, it looks as if the knife is levitating against your hand.
You also can do this with a pencil. Do NOT use a sharp knife for this trick!
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HYPNOHEAT II
(Note: The original hypnoheat used dangerous chemicals. This version is safe in that it only uses cinnamon found in gum)
You will need;
Two packs of gum, one cinnamon (use Big Red from Wrigley's) the other a different flavor.
Open the Big Red gum and remove a stick. Take the other flavor and wrap it with the aluminum foil of the Big Red gum
and re-wrap it in the other flavor's sleeve. (You want to hide the fact that you are using a piece of foil from a cinnamon
gum.)
WHAT YOU DO
This'll amaze you, but the cinnamon flavor from the wrapper causes the skin to get hot when it gets wet!
Honest!
So, when you are ready to perform this, remove the gum and offer it to your friend. Then tell him you will hypnotize him.
Retrieve the discarded wrapper and wet the inside of the aluminum foil the side with the cinnamon coating, not the
shiny side. You can lick it (yuck!) or, better yet, place it on the side of a glass that has water condensation on it.
Then, just stick the foil on your friend's forehead. It's all acting from here!
You now have about 30 to 40 seconds to "hypnotize" him. Tell him that he is feeling feverish... that he feels hot and that
his forehead is beginning to burn red hot.... etc.
Soon, he will have to rip off the foil as his forehead will feel as if it's on fire!
(You'd better do this to a good friend; a stranger may not be so understanding.)
THE STRENGTH OF A KING
Remove a King from a deck of cards and state that this King is so strong that he can balance a glass of water. After the
laughter dies down, show them the water glass balanced on top of the card.
The Secret: Your audience must be directly in front of you for this one to work. Holding the card with one hand, you lift the
glass of water (about half full is enough) to the top of the card. Unseen by your audience, support the glass with the card
AND the index finger of the hand holding the card.
Just be careful that your audience is seated where you want them to be. It's a great effect that can be easily ruined by a
loudmouth standing where they shouldn't be.
THE AMAZING FINGER LIFT
You can consider this a strength stunt, but I included it in the "Amazing" chapter because it is not a stunt that demon-
strates your strength. It is still a great deal of fun and a great way to pick up a party or gathering.
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Pick a man or a woman who weighs no more than about 140 pounds, and four men of average strength. Tell your onlook-
ers that any one of these men could probably lift this person with no problem, but can all four of them do it with just one
finger?
Sure.
Position the strongest of the men behind the woman and have him place an index finger under each of her arms. Have
two of the others kneel and place an index finger under each of the woman's feet. Have the last man stand in front of the
woman and place his index finger under her chin sideways. At the count of three you all lift and she rises easily from the
floor!
THE EYE DETECTOR
This is not a trick or a gimmick. It is a valuable tool that can be of great assistance in your everyday life. You can use it for
entertainment purposes however.
Researchers have discovered that if you show people photographs of normal everyday items, the pupils of their eyes re-
main pretty much the same. When shown sexually oriented photos of the opposite sex, their pupils would dilate dramati-
cally. Further research showed that whenever a volunteer was shown something that they wanted very much, the pupils
would again dilate. Con-versely, when people are telling a blatant lie, the same thing happens.
You have to be watching very closely to see this happen, but a suddenly dilated pupil can tell you a lot.
How can you use this information? I hope explanation is not necessary as far as detecting lies go. You can of course use
this for negotiations, making purchases, forming partnerships etc. While it can make you more careful and is valuable,
nevertheless, this is not foolproof. You should not accuse anyone of lying unless you are positive. This is just a tool. It is
not 100%. Use it as an indicator only.
It can also be handy in relationships. The next time you are flirting with someone, you might make mildly suggestive com-
ments and study the eyes, watching for a sudden flare of the pupils. Again, be careful and tactful. You don't want to be
sued for harassment.
For entertainment purposes, you might use something like the following. Pick a volunteer and seat them in front of you.
Take four blank pieces of paper or cards and draw a big dollar sign on one of them and leave the other three blank, or
write something benign on them like "pen," "pencil" and "paper clip." Tell your subject that the dollar sign represents one
million dollars that you have just given them. Tell them to visualize the one thing in their life that they want more than any-
thing. Something that they would be able to purchase with that million dollars. Make sure that they have something real in
mind. Tell them to visualize the color, to really see it in their mind's eye. Picture it clearly.
Then you instruct them to pretend that the dollar sign represents the million and it will be theirs to buy their dream, unless.
. . you can tell which card the dollar sign is written on.
Have someone else shuffle the cards or paper, mixing them up. When they are handed back to your subject, they should
be concealed from you. If you are sitting at a table, your volunteer may simply hold them under the table out of your line of
sight. If you are not at a table, use a towel or tray to obstruct your vision, hiding the cards from your sight. You MUST still
be able to see your subject's eyes. Tell them to look at the cards one at a time and to then look at you before going on to
the next one. You may have to ask them to look at one or two cards again. When they look up, you are of course studying
their pupils. When they look up and you notice that their pupils are dilated, you know which card the dollar sign is on. You
then amaze your audience by telling them that the dollar sign is on the third card they looked at (or whichever).
If there is light behind you or the room is somewhat bright, their pupils might become somewhat smaller. This is a telltale
because it tells you that the pupils were larger. They will dilate again as the eyes adjust.
When they are looking at the blank or benign cards, there will be little or no change in the eyes. The card with the dollar
sign will produce a much more noticeable response.
If you think that your subject is going to try and trick you, you might appoint a member of your audience to act as a sort of
watchdog to see that your instructions are carried out. Or to watch for any cheating on either of your parts.
Practice this a few times with friends or family before trying it with an audience. People will think that you can read minds
if this is done correctly.
I am not going to attempt to tell you all of the possibilities that this concept has. Law enforcement agencies, customs offi-
cers, lawyers, personnel officers etc. all have their own uses for this principle. If you just remember it and use it a few
times, you will be amazed at the information this will give you. It can also give you quite a reputation.
Imagine the possibilities.
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KUNG-FU COIN GRAB
Ahh Grasshopper, when you can grab the coin from my hand, you will be a master. Okay, so if you ever saw the old
Kung-fu TV show, you know that Grasshopper had to grab grains of rice. Why nit-pick, this is still pretty good stuff.
Have your victim hold a quarter in the palm of their hand. Hold your hand about eight inches above theirs and tell them
that you can grab the quarter before they can close their hand. Offer to let them try first if they want. It may sound easy
enough, but it is next to impossible if tried legitimately. Fortunately, you don't have to worry about such handicaps.
Here's how you do it: Cup your hand, palm downwards, about eight inches or so above theirs. Instead of grabbing the
coin, sharply strike their hand with yours. This will make the quarter bounce up into your hand. Don't be too overt about it,
you want it to seem like a natural part of just grabbing the coin. Some people will think that the coin is still in their fist. If
you want to make this a little more dramatic, ask them if they still have the coin before you open your hand to reveal your
plunder. Stress how speed is important and how you have practiced for years. It can be very impressive if set up right.
This is one that you will want to practice a bit first, but once you learn it, even when they see how you did it, you can still
beat them.
SMOKE FROM YOUR FINGERTIPS
Ever see someone lick their finger and touch their hips or somewhere and go "Ssssss" like it was sizzling? Want to blow
them away? Show them who is really "hot stuff?"
Are you so hot that just rubbing your fingers together will make smoke?
Of course you are!
Tear the striking surface off one or two books of matches and lay cardboard side up on a piece of metal such as a pie
plate. You can even use a couple of coins if there's nothing else available. The striking surface should be against the met-
al. Now light the cardboard side of the striker and let it burn. After it burns you will notice some dark colored residue on
the metal surface. This is red phosphorus and ignites at a very low temperature. Rub this residue on the tips of your fin-
gers and thumbs and rub them together. . . . . SMOKE!! Now you can prove just how hot you (or someone else?) really
are.
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FIREPROOF PAPER
Put a little water in a paper cup and balance it on the tops of two glasses so there is a gap between them. Using a candle,
or even a cigarette lighter, place the flame under the paper cup and soon the water will begin to boil without damaging the
cup. If you are very careful, you can even hold the cup in your fingers by the rim. The water conducts and disburses the
heat so fast that the paper cup never reaches the kindling point. Of course if the water boils away or if the flame gets high-
er than the water. . . . . POOF!
Hey, didn't your Mommy ever tell you not to play with fire?
A FLAME THAT WON'T BURN
For Crying Out Loud, be careful with fire! All it takes is a little common sense to have a some safe fun.
Make a solution of equal parts rubbing alcohol and water and soak an old rag in it (or maybe those orange pants you have
in the back of the closet). Hold the wet cloth over the sink or some equally safe surface with a long pair of tongs and light
the bottom of the cloth.
It will burn like crazy for a couple of minutes, but when the flame dies, the cloth won't even be singed! There is just
enough alcohol to make a flame, but too much water to evaporate before the flame dies.
BALANCE A COIN ON THE EDGE OF A DOLLAR
This one is so good, I almost hate to share it with you.
My wallet was stolen once. I was about out of gas in my car and I had another 200 miles to go to get home. This little trick
not only gave me gas money, it provided me with an extra two hundred bucks play money! That was more than I had in
my wallet when it was stolen.
There is nothing quite as satisfying as a guy that thinks he knows everything, in a nice quiet little neighborhood bar.
Heh, heh. . .
Take an ordinary dollar bill ( any denomination will do ), the crisper, the better. Now fold it in half lengthwise and lay it on a
table, bar, whatever, so that the folded edge is sticking up and the bill is supported by the two slightly parted open edges.
Now challenge someone to balance a coin on the single exposed edge of the bill. Once they have embarrassed them-
selves, show them how to do it. Fold the bill in half partially so that there is a bend on top of which you place a penny.
Now slowly let the bill unfold on it's own and gently help open it the remainder of the way. Amazingly the penny will find
it's own center of gravity and remain on the edge of the bill!
This has to be done carefully, so practice a little first and give yourself an edge by stating that the penny may fall once or
twice before you get it right. Your mark can't possibly object, since you allowed them to try numerous times.
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You need to be aware that every once in awhile, some loser will creep out of the woodwork and balance the coin on the
bill as pictured in the second picture. If this happens, calmly state that you said you would balance the coin on the SIN-
GLE edge, not edge(s). If you forget to state this, simply declare them the winner and declare that you have never been
beaten at this before, then challenge someone else. They will think they know how to do the trick and probably bet the
farm. This time you emphasize that the coin can only touch one edge at one place. Play it right and you will make 3 or 4
times the money you lost to the smart aleck.
THE COIN CON
Some coins are laid on a table. Some are heads up, some are tails up. While your back is turned, the coins are mixed up.
With your back still turned you gather half of the coins and announce that these coins contain as many heads up coins as
there are heads up coins on the table and the same with the tails. The coins are laid out and you are proven correct!
I know that it doesn't sound like much, but if you think about it, it should be impossible.
Not for you.
This will work with any even number of coins, ten or twelve usually work best. When you lay them on the table, make sure
that exactly half are heads up and half are tails up. Scatter them around and then turn your back to the table and ask
someone to mix them even further (without turning any of them over). They may slide them around as much as they like
but they can't turn them over.
When the coins have been mixed and moved to everyone's satisfaction, you, with your back still turned, gather up exactly
half of the coins and carefully stack them without turning any of them over (this is the key)!
You now ask your victim to stack the remaining coins without turning them and cover them with a cup, glass, napkin,
whatever is handy. You then turn and face the table. Your coins are now behind your back. Secretly turn the stack over
and then bring them into view. Announce that you have as many heads up as they do in their stack and even better, you
also have as many tails up as they do.
And so it will be!
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THE PAPER BRIDGE
Place two glasses on a table about four or five inches apart. Lay an ordinary sheet of writing paper on top of the glasses
so that they are equally supporting it.
Now ask someone if they believe that the paper will support another glass on top of it, between the glasses. Of course
they won't believe it. All you have to do, is fan fold it or corrugate it as shown and it will support the other glass.
end
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SOME WEIRD STUFF!
THE MAGNETIC BOTTLE
For this you need a beer or pop bottle and a room that has been painted with latex paint. Take the
bottle to a corner of the room and, with the label facing out, you rub it rapidly against the two facing
walls in short quick motions.
Friction will heat the paint making it sticky. Once you feel the bottle begins to stick, just leave it hang-
ing there and walk away as the bottle just dangles there. Sometimes they will stick for days.
THE RESURRECTION
Catch a live fly and keep it submerged in a glass or container of water until everyone agrees that the
fly is dead (say five minutes).
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You then simply remove the fly and place it on a small mound of salt and sprinkle a little more salt
over it. In a few minutes the fly will begin to move and then fly away. It was never really dead, the salt
just accelerates the drying process.
THE RUBBER EGG
Soak a raw egg in a cup filled with vinegar for at least twenty- four hours.
Turn it over once or twice so that the entire egg is evenly soaked. It will feel like rubber and will actu-
ally bounce when dropped a short distance.
Drop it too far though and it will break. After your friends feel it and declare it to be a fake egg, cut it
open to reveal the yolk and white inside.
THE VOICE CHOICE
Warning; This is powerful stuff
Give three volunteers a pencil and paper and then tell them, "I'm going to place 5 items on this table.
One is a key ring." Lay the key ring down on the table. Then you take a pen from your pocket but be-
fore placing it on the table, you tell them, "The second is this pen." Point to them with the pen and tell
them that you want them to concentrate on these objects. Casually lay the pen down.
Put three other items on the table and continue to talk about "emptying the mind etc.", just be sure
that you don't mention the word concentrate. The other items can be anything that is found in a man's
pockets or a woman's purse such as a lighter, lipstick, compact, matchbook etc. Just be sure that you
don't say the word "concentrate" when talking about these other items.
Pick up one of the items and again urge them to observe it carefully. Then pick up the pen and say: "I
want you to concentrate, it is important that you concentrate. You must empty the mind and concen-
trate."
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Replace the pen on the table and one by one pick up the other items and ask your volunteers to ex-
amine them carefully.
Now tell your volunteers to step back and to raise their pen and paper in preparation to write. Instruct
them as follows: "When I tell you to, I want you to write the first item on the table that you think of.
Now! Concentrate!"
You now write the word "pen" on your piece of paper.
At least two out of three of your volunteers will write the same word you have, usually all of them.
They will think that you have somehow controlled their choice, and of course, they are right.
Each time you touched the pen, pointed with it or called attention to it in any way you used the word
concentrate. This associated the pen with the word concentrate, which is of course the last word you
utter before they write.
This association does not have to be objects or words. It can also be actions. If you think about it, you
can use this principle in many different ways. I leave it to your own imagination as to how you can
take fullest advantage of this principle.
THE WISHBONE KNOT
The next time you have chicken, save the wishbone and soak it for at least twenty-four hours in a cup
or glass filled with vinegar.
You will then be able to tie it into a knot it will be so flexible. Vinegar is a mild acid that breaks down
the bone making it elastic.
A STRANGE BOTTLE
Ever see a bottle with the label on the inside? Make one up and leave it laying around to cause a stir,
people will be amazed by it.
Here's how you make one: You can use almost any bottle. Start by immersing it in warm water and
soak off the label. Then pour a little water into the bottle and lay it on it's side. Now roll the label
around a pencil and gently pull the pencil free so that the label remains rolled. Now carefully push the
label into the bottle where you want it to be seen. The label will now absorb more water and spread
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out flat again. Once it's floating on the water, gently shake all of the water out, a little at a time until
the label is left adhering to the inside of the bottle.
Voila!
HOW TO MAKE FOG
Ever wonder how they make the eerie fog that is so common in horror movies? Ever want to make
some of this for yourself?
It's so easy to do and it only requires three elements. A container like a can, bucket or pail, some
warm water, and some dry ice. You put the warm water into the container and you put the dry ice into
the warm water. A dense fog will rise out and flow over the sides of the container. Accompany with
some appropriately strange music and you have a great special effect.
WARNING! Dry ice can burn the holy heck out of exposed flesh. Always handle with tongs and heavy
duty gloves for your protection.
Dry ice is frozen carbon dioxide. As it warms through contact with the warm water it becomes carbon
dioxide gas. The cold gas condenses the water vapor in the air and this is what produces fog. This
lovely substance is a mixture of carbon dioxide, air and water droplets and is harmless.
End
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BETS YOUCAN'T LOSE
CAN'T WRITE A NUMBER?
The challenge: Bet you can't write this number down in ten seconds. It's less than one hundred thou-
sand.
Ready?
Eleven thousand, eleven hundred and eleven.
How it works:
11,000 = Eleven thousand
1,100 = Eleven hundred
11 = Eleven
Total - 12,111 is the correct answer, although you could accept 11,000 1,100 11, but no one will be
able to figure that one out in 10 seconds. You win!
THE FOLD
Challenge someone to fold a $20 dollar bill in half, doubling it each time, 8 times. Tell them that they
can keep if it they can do it.
It's impossible.
You can't fold a piece of paper in half (doubling it), more than eight times. Not even something as thin
as toilet paper, or as large as newspaper . . .
It's impossible.
Go ahead, try it.
THE DIME IN THE GLASS
Submerge two high ball glasses in water so that they fill and place them top to top, with the water in
them in front of you.
The Wager: That you can place a dime into the bottom glass without spilling a drop.
The Secret: This one is pretty easy. Take a spoon or knife (provided it's metal) and tap the side of the
upper glass until it moves just enough to slip the edge of a dime between the two glasses. Then you
gently tap the dime until it falls into the glass. The surface tension of the water will keep it from spill-
ing.
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CAN'T DRINK THAT!
Tell someone that you can set a shot glass with their favorite beverage in it right in front of them and
they won't be able to drink it all. Put the emphasis on the "all." Explain to them that you won't touch
them or the drink once it is placed in front of them. Nor will you put anything in the drink. You will sim-
ply set a shot glass of their favorite beverage in front of them and they will not be able to drink it all.
The Secret: Fill the glass at least half full and place a playing card, laminated drivers license (you can
even use a business card with a little practice) over the glass. Holding the card in place, turn the
glass upside down on the bar. If you wish you can now pick up the glass and the card will remain on
and hold the liquid. Air pressure holds it on.
Place the upside down glass with the card under it, on the bar or table in front of your victim and hold
the glass in place with one hand. Quickly slide the card out from under it with the other hand so that
the glass now rests upside down on the bar or table. The bar or table must be smooth for this to work.
Watch them attempt to figure out how to drink it. Some people will even try to slide the glass to the
end of the bar or table. Then crawl underneath it and try to slide it off into their mouths. This is why
you emphasize the "all" part. Someone might try this and actually get some of it in their mouths. This
one is great!
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A variation or simpler trick is just to bet someone that you can set a glass upside down on the bar,
pick it up and not spill it. Just do the same as above except, instead of sliding the card out from un-
derneath, you simply pick up the glass and collect your winnings. You can use a larger glass provided
you have something flat to place over the top. You can use those cardboard coasters some bars
have for a beer or highball glass. Just make sure the glass is a little over half full with at least an inch
of airspace or so at the top. Be sure that the surface you set it on is dry or the card may adhere to the
bar or table instead of your glass. Have fun!
TRANSFER THE BOOZE
Completely fill a shot glass with a "dark" alcohol beverage such as whiskey, brandy, or even dark
rum. It doesn't really matter as long as it's dark. The reason for this is due to it's visibility. Fill another
shot glass with plain water and using the same principle as explained in the last trick, place a card (I
use my driver's license), over the water. Then invert it over the glass of booze, leaving the card in
place. With the glasses thus placed, you bet someone that you can put the water in the glass that has
the bourbon, and the bourbon in the glass that has the water, without lifting either glass or using any
devices such as a straw etc.
The Secret: You gently slide the card between the glasses just until you see the liquids begin to mix,
then stop. The alcohol is lighter than water and will rise to the top, the water being heavier will sink to
the lower glass. Surface tension will keep the liquids from spilling. It will take a little time for the glass-
es to exchange their contents. Amazing!
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THE FAST, FREE BEER
Don't try this one on someone that doesn't have a good sense of humor. Bet that you can drink three
glasses of beer (or soda, whatever), before they can drink one shot glass of whatever. Explain the
two rules carefully.
1: You absolutely cannot touch the other's glass and they cannot touch yours.
2: You get a one beer head start and they cannot start drinking until after you set your first glass
down on the bar. Tell them this is your warm-up.
The Secret: You drink your first beer and then set your empty glass upside down, over their shot
glass. Tell the bartender to keep your third beer cold while you leisurely drink your second. Your vic-
tims can only stand and scratch their heads.
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STACK 'EM
Fill a shot glass to the rim with water. Take a stack of pennies equal to about 3/4 the height of the
glass and challenge that you can stack all the pennies into the glass without spilling any of the water.
The Secret: Carefully dry the top of the glass rim with a napkin or paper towel. Slowly slide the pen-
nies down the edge of the glass into the water, being careful not to get the rim of the glass wet.
Again, the surface tension of the water will keep the water from spilling. If you look at the glass from
the side you can see just how much the water bows out. Practice this one a few times before making
any bets.
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THE SMALLER DOLLAR
The wager: Bet you can put a dollar bill inside a normal bar straw. Not a restaurant size straw, but the
smaller diameter bar straw.
The Secret: Begin evenly to roll up a dollar bill lengthwise. This works best with a bill that is very flat.
As you roll you continue to apply pressure with your fingers, rolling the bill tighter and smaller. Once it
is about the same diameter as the straw, pick up the straw to warm it (this will help it to stretch). Start
the bill in one end as you continue to roll it in the same direction. Roll the straw in the opposite direc-
tion. Continue to roll and gently push. It's amazing how small the bill will roll with a little persistence.
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Practice this a couple of times just to see how small you can make the bill. Once you get it in the
straw, you can use your imagination to have a little fun with it.
HEADS OR TAILS?
You can only do this on a very smooth surface like Formica or glass. You also must use a very new
penny that lacks nicks, cuts or bends in it. Holding the penny upright on it's edge, flick it with your fin-
ger to make it spin on the glass or Formica. It will almost always come up tails. Nine times out of ten
or more.
The reason is simply the way that the weight is distributed on the penny and the shape of the edge.
By the time your opponent realizes that tails is coming up almost all the time, you should have them
down to their shirt. If they think you have a trick penny, offer to use one of theirs. Just make sure it is
relatively new and undamaged.
THE PHANTOM DRINK
Place a drink on a table top and cover it with a hat, bowl, paper sack, etc. Whatever you have around
that will cover the drink completely so that you can't see it. Now bet your sucker that you will drink the
drink without touching the hat. When they accept, put your head under the table and make appropri-
ate gurgling and swallowing sounds like you are drinking. Stand up and say "See for yourself," or,
"Thanks for the drink," or whatever sounds right for the time. When the victim lifts the hat to see for
themselves, you reach down and help yourself to the drink, without touching the hat.
(Harry Anderson on "Cheers")
BRIDGE THAT GLASS
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Set four glasses and four straws in front of your victim. Challenge them to make a bridge on the four
glasses out of the four straws that will support a fifth glass.
The Secret: Interlace the straws as illustrated and then lay them on top of the inverted glasses as
shown.
SUPER SMELL
This is a great bar bet for which you will need to enlist the help of the bartender or waitress. One of
your friends also will do, but it is more impressive with the aid of an employee.
Tell your audience that your sense of smell is so developed that you can tell who was the last person
to drink out of a glass. After they make the bet, you make a production out of sniffing four people
AND the bartender or waitress.
Explain that you must familiarize yourself with their odor since they have handled the glass already.
Tell them that any one the four may drink from the glass, but only one. You then ask the bartender or
waitress to hand the person selected the drink and return it to the table to guarantee this. Of course
they agree. You leave the room and upon your return sniff the glass with as much or as little fanfare
as you deem appropriate to the occasion. Then correctly announce the person that last drank from
the glass.
The Secret: Make a deal with your confederate as follows. When they return the glass to the table
and set it upon the cocktail napkin, they will set it on the napkin so that the position of the glass tells
you instantly who it was that handled the glass.
Use this simple system, or vary it to fit the situation. Middle of the napkin means closest person on
one side, top of the napkin means farthest person on one side. Which side is simply determined by
placing it on that side of the napkin. Tell them to be subtle about this, what I usually do is have the
person helping me place it just off center in the ring left on the napkin by the drink.
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In other words if the person who handled the glass was standing farthest to your left, the glass would
be placed slightly to the left towards the top corner of the napkin.
Now remember, you must be standing or sitting directly in front of the cocktail napkin. Be sure your
confederate understands this.
When you return you simply identify the person by the position of the glass, you know who it was be-
fore you even sit down. The glass need be set only slightly in the area of the napkin representing that
person, it might be too noticeable if placed on the edge of the napkin.
22
FIVE INTO TEN
Bet someone that you can drop a nickel into a hole the size of a dime. Trace a dime onto the middle
of a piece of paper and cut out the hole. Challenge your sucker to put the nickel through the hole.
When they give up, you fold the paper in half so that the hole is neatly bisected. Place the nickel in
the fold and pull up on the ends as illustrated and the nickel will drop through.
ANTI-GRAVITY MATCH
Turn two drinking glasses upside down and place an ordinary match horizontally between them so
that it is held in place by the pressure of the glasses.
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The bet: Turn over one of the glasses without having the match fall from it's horizontal position.
The trick: Light another match and hold the flame against the head of the match between the glasses.
When the match flares up, blow out the flame. The match is now fused to the side of one of the glass-
es. Simply remove and invert the other glass and carefully slide it into position back against the
match. You win!
BLOW THE BOTTLE
Ingredients: 1 empty beer bottle, and a small piece of napkin.
Situation: Hold an empty beer bottle horizontally. (Make sure inside of neck is dry.) Tear off a small
piece of napkin, wad it up into a small ball. Place the napkin wad just inside the lip of the bottle. Hold
the bottle in front of someone's face, and bet them a drink that they cannot blow the napkin into the
bottle.
Here's how it works:
When you blow into the bottle, the air moves over the rounded napkin and "pushes" on the still air in
the bottle. Therefore, when your friend blows, the still air in the bottle will push the napkin out of the
bottle, right back at the face of the blower.
Note: The harder they blow, the faster the napkin will come out. If you get a really gullible person, you
can have them try again for a chance at another drink. You should be able to milk them for at least 3
or 4.
THE QUARTER AND THE BOTTLE
The setup: Place an ordinary quarter on a bare table or bar top and stand an empty soda or beer bot-
tle upside down on top of the quarter.
The Bet: Remove the quarter without touching the bottle, which must remain standing.
The Trick: Using a flat-bladed table knife, bring the blade along the edge of the table and making a
swift sweep, knock the quarter out from under the bottle. Be sure and do the follow through motion so
the knife will not interfere with the falling bottle which will take a tiny bounce but remain standing, up-
side down.
** This addendum was sent in by one of our members - - Rick -
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"This may be a redundant response to this bet....but... since most of us do not have access (in a bar
setting) to a flat blade knife to "swipe" the quarter from the bottle, I've found that a credit card held flat
to the table works easily as well. On top of that....the credit card can be palmed until the last moment,
and with a swift motion, most observers will not be aware what happened to cause the quarter to
"escape" from beneath the bottle. Not only a good bar bet...but not a bad trick if practiced."
Thanks Rick!
THE BILL AND THE BOTTLE
The Setup: Lay a full bottle or glass of water on top of a flat dollar bill on a bar, table or counter.
The Bet: Remove the dollar bill without touching the glass with anything except for the dollar bill
which is already touching the glass.
The Trick: Start rolling the dollar bill from the near end into a compact roll or tube. As your fingers ap-
proach the glass, move them to the sides so that only the bill comes in contact with the glass. The bill
will push the glass away. Just continue rolling until freed from the glass.
THE FREE DRINK
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I love this one, it's so simple, yet it never fails.
The Setup: Line up five glasses, the two on the ends empty, the three in the middle should be filled
with your favorite beverage.
The Bet: Rearrange the glasses so that they alternate empty-full etc., by moving only one glass.
The Trick: Pick up the middle glass and drink it down, replacing it when finished. The glasses now
alternate empty-full-empty etc.
A MAGNETIC MATCH
Balance a nickel on it's edge. On top of this, balance a paper match, bending it slightly if you have to.
Now turn a drinking glass upside down over the whole thing.
The Challenge: Remove the match from the top of the nickel without touching the glass or the table it
rests on.
When your suckers, err. . . victims get tired of trying to figure it out, remove your comb from your
pocket and stroke it through your hair or rub it on your coat sleeve and move it close to the glass. The
match will, . . . well , you'll see for yourself.
Setting up this trick takes a little time and dexterity, take advantage of this time to build up the "trick."
Try holding the comb in different places to see how the match reacts to the change in position.
FACE UP
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Be ready to run when you pull this one. It's always good for a drink, a few bucks or some laughs, de-
pending upon who your sucker is. It is an outrageous swindle so be careful who you pick for your
mark, it could get embarrasing if you pick the wrong sucker.
Hand your mark a deck of cards and have them shuffle it thoroughly. Place the deck on the table in
front of you and bet your pigeon that he will turn a picture card face up before you do. Offer them
odds if they insist.
It doesn't matter who goes first. The two of you alternate taking cards off of the deck and turning them
face up on the table. Everytime you take a card however, you hold it high enough that you can see it
before you place it face up on the table. Don't hide the fact that you are doing this, but don't make a
show out of it either.
If your mark gets a picture card first, collect your money and offer to bet double or nothing on the next
one. If however you get a picture card first, don't place it face up on the table. Instead lay it face down
next to your other stack and draw another card. Almost ten times out of ten, your victim will reach
over and turn the card for you. By doing this he loses the bet since he is the one to turn a picture card
face up before you did.
LIT MATCH BURN
Remove a match out of a book of paper matches and hold it by the very bottom. Now turn your hand
over so that the match is upside down. Make the bet that you can light the match and hold it in this
inverted position for a count of twenty without letting go and without extinguishing the flame.
Anyone who tries it will soon drop it to avoid burning. To win the bet, light the match and hold it in the
inverted position.
Now just move your hand slowly back and forth about eight to ten inches as you count. This slows the
burning process and keeps the flame away from your fingers. Just remember to keep the match in
constant motion. Don't move the match too rapidly or the flame will go out. To cover yourself, stipu-
late that if the flame should accidentally go out you get another chance with another match.
With a little practice, you will find that you can count to twenty easily and as high as fifty if everything
works just right.
DO AS I DO
Challenge anyone to "do as you do."
Each of you takes a drink.
You make a gesture with the glass, as "toasting." Your opponent toasts also.
You drink your drink. Your opponent drinks his drink.
You salute with the glass again. Your opponent does likewise.
You spit a mouthful back in your drink.
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Chances are your opponent has already swallowed.
Source: Harry Andersons Games You Cant Lose
THE COIN IN THE GLASS
This one is kind of tough to set up but is worth it. You will need a glass, an ordinary playing card, a
cigarette and a quarter. Lay the playing card across the mouth of the glass and stand the cigarette
upright on the playing card with the quarter balanced on top. That's the tough part. Be patient, you
can do it.
Make the bet that you can get the quarter into the glass without touching the glass, the card, the ciga-
rette or the quarter. You Don't even have to touch the table or bar where this is all set up.
The solution, like most in this series is simple. As soon as someone accepts your bet, bend down and
give a sharp upward blast of breath to one end of the bottom of the card. The blast of air will send the
card and the cigarette flying, but the heavier quarter will fall into the glass with a satisfying "chink."
FREE LUNCH
When it's time to leave and pay the bill at your local pub or restaurant, tell your partner, "A quick
game, loser pays the bill."
Grab a handful of matches or toothpicks and break them in half. Drop the whole lot into whatever
container is handy, hat, cup, whatever.
Remove a half toothpick and have your sucker also take one. Keep going in this fashion and the per-
son who takes the last match has to pay.
As long as you go first, you'll always win. Should your sucker insist on going first, don't panic. Just
remind them that they can only take one half out at a time, like this. Remove one to illustrate and then
hand them the container so that they can "go first."
Maybe there is such a thing as a free lunch. Just keep track of who you tried this on. Don't want to do
two in a row. Could be hazardous to your health.
DROP A DICE
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Hold three dice between the thumb and middle finger as shown. Challenge your sucker to drop the
middle dice without letting the other two dice fall.
Your sucker will find it nearly impossible. You step in and make it look simple. The secret is that you
secretly moistened your thumb and middle finger before grabbing the dice. This moisture causes the
dice touching you to stay on your thumb and finger when you briefly separate the dice long enough
for the middle dice to fall.
If you want to practice for just a short while, you can achieve an even more dramatic effect. Place an-
other die on top of the middle one. Preferably one of a different color or design. The trick is to drop
the center die and simultaneously catch the off-color die.
The trick is the same, just moisten the thumb and finger beforehand (secretly of course). With a little
more practice you can even stack TWO die on top of the center one and catch either one at your
whim. You can master this trick in less than five minutes and reap rewards for the rest of your life.
end
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GAMES YOU SIMPLY CAN'T LOSE
PICK 'EM UP
For this one you can use toothpicks, coins, matches or whatever is handy. Lay fifteen of them in a
row, side by side. The challenge or game is: Two people play and you remove from one to three
toothpicks each turn. The loser is the player that removes the last pick or coin or match. It's easier if
both of you work from your respective ends at each turn.
How you win: The player who removes the 10th toothpick will win. So pay attention and keep count.
THE MARTINI & THE OLIVE
You can play this one with straws, matches, stir sticks, or toothpicks. First you form a martini glass
using four straws and place an olive in the center. (See diagram)
The Wager: To remove the olive from the glass by moving only two straws.
The Secret: You move the center straw over halfway and use one of the top straws to make the glass
upside down.
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THE SWIMMING FISH
Use eight straws or sticks to make a fish as shown in the illustration.
The Wager: To have the fish swim in the opposite direction by moving only three straws.
The Secret: To move three straws from the top to the bottom of the fish as shown in the illustrations.
31
HOUSE TO TRIANGLE
Use six straws to make a house with a roof on it as shown in the illustration.
The Wager: To make four equal sized triangles by moving only three straws.
The Secret: This one is tough. The reason is simply that the puzzle must be solved in three dimen-
sions. You use the walls of the house to make a standing triangle or pyramid.
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ONLY ONE
Four matches are arranged to form the Roman numeral for 7. VII.
Challenge someone to only move one match and make them equivalent to the number 1. This is a
little tricky and you may have to prove the result. Move one of the vertical matches so that it is hori-
zontal above and centered over the other vertical match, so that it looks like this. VT.
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This is the mathematical symbol for the square root of one. That happens to be +1 or -1 and is there-
fore the equivalent of 1!
THE BAR BALANCE
THE CHALLENGE
To balance 3 empty beer glasses on top of each other on their outer rims, without the help of any oth-
er object whatsoever!
THE SECRET
Firstly the glasses should be empty and identical.
The main secret of this little drink winner is that if you imagine a clock face when you look at the
glasses from above you must remember 10 o'clock and 2 o'clock.
Now the trick in 3 easy steps:
Place your first glass (A) down onto the bar.
Place the second glass (B) on top of (A) in the position of 10 o'clock, .
Now place the third glass (C) on top of (B) in the 2 o'clock position.
This trick will take a bit of practice, but when you get it right a few times it gets easier.
This is a great one to do in a bar just before you leave! it leaves the bar staff bewildered
DIAMOND IN THE ROUGH
Arrange five toothpicks to form a bisected diamond as shown.
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The Challenge: to remove three toothpicks and then put back two toothpicks and still have the exact
same design.
No way right?
Haven't you started thinking like a con artiste yet? Of course you can do it.
Just slide the bottom three toothpicks down a little, thus satisfying the requirement that three tooth-
picks be removed.
To make the same design again, just move the two toothpicks you left behind back down with the
three you just "removed" and VOILA! (that's French for golly or something), the same design is repro-
duced exactly as you specified.
You are mahvelous darling.
THE CARD DROP
At some time in our lives I bet almost all of us have played the old game of trying to toss cards into a
hat or whatever. This is a slight variation on that.
Place a hat upside down on the floor, brim up. Now have your friends hold the cards shoulder high
and try dropping them one at a time into the hat. Tell them that they can point the cards any way that
they want but that they can't fold them in any manner. If you have to demonstrate, be sure that you
point your cards downward before releasing them. This is and should be encouraged. When the
cards are released, they will invariably catch the air and flutter away from the hat.
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When it is your turn however, you simply hold the card flat (parallel to the floor) and let it drop level.
The card will drop and waver slightly but will settle right into the hat!
TRIANGLE LOSER
Challenge your loser to take six matches or toothpicks (whatever) and make eight triangles without
breaking or bending any of them.
After you hook them for as much as traffic will bear, place three matches to form a triangle as shown.
Then place the other three matches on top as illustrated and tell them here's seven more.
There are the two large triangles formed by the matches, plus the six around the perimeter.
Surprise . . . YOU WIN!
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SQUARE DOWN
Using matches, toothpicks etc., make a square with a cross inside it as shown. Now challenge your
sucker to remove any two matches to leave only two squares.
Remove the two matches as shown. Most people will automatically assume that they should leave
two squares of the same size. You didn't say that at all, did you?
Sheesh, you win again. Imagine that.
SQUARE TRICK
Arrange matches etc., into five squares as shown.
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Now challenge your sucker to move only two matches and end up with FOUR squares. Just move the
two matches as shown.
If you should get asked to repeat the challenge, start with four squares and challenge them to make
five by only moving two matches. Confuses them.
If they still persist, do it upside down. Your sucker will be so lost by this time, they'll often offer to pay
you to show them how it's done.
Your call . . . I don't mind. Just don't give it away for free. You'll give the rest of us a bad name.
536. . . I WIN
Place pennies, straws or matches on the table as follows: Row one has 5 pennies Row 2 has 3 pen-
nies Row 3 has 6 pennies They should look like the illustration below.
38
The rules are simple. You take turns, you take from one to all of the coins in one row per move. You
may only take from one row at a time. whoever takes the last coin loses, but you can take from one to
the whole row in one move. But, you can only remove from one row at a time. The secret: Memorize
the following formula; You want to leave the rows in a combination of one of these, after each of
YOUR moves. 2-4-6, 1-4-5, 1-2-3, or matching numbers (2-2, 3-3, 4-4, 5-5, 1-1-1 etc.)
A shorter version is to line up three rows as follows: Two in one row, three in one row, and four in the
last row. Same rules, whoever gets the last coin (match, toothpick, whatever) loses. You may draw
from one to any number of coins in any individual row per turn. The secret: Leave the rows in a com-
bination of 3-2-1, 2-2, or 1-1-1 after your turn. When your opponent is faced with one of these combi-
nations, there is simply no way that they can win.
WIN ON TWENTY
Place 20 pennies or matches or whatever you have handy in a row.You can only remove 1 to 3 pen-
nies per turn. Whoever gets stuck with the last one WINS this time.
The secret: Opponent starts first picking up 1 to 3 pennies. Just make your move total 4 when added
to your opponents move and you win!
39
SQUARE THIS
Arrange four matches into a cross exactly as shown.
Now challenge anyone to move one match only and to make the matches form the sides of a perfect
square. The secret is to move only one match as shown. The square is formed in the center of the
matches. This meets the proposed conditions, it's just that most people won't think in these terms.
You did not specify the size of the square.
40
HOW TO TELL FORTUNES, READ TAROT,
DO HOROSCOPES AND MORE!
FORTUNE TELLING
Ahh, the ancient art of forecasting the future. Be it astrology, tarot, phrenology (reading the bumps on
your head), tea leaves, crystal balls, palm reading or just making predictions, it has been around for a
long, long time and shows no signs of disappearing.
The Bible does it, Nostradamus did it, Jeanne Dixon did it, and so can you.
I don't want to get into to much of a discourse on the reliability of any method, person, book or any-
thing else that might offend you.
Well, maybe just a little. I shouldn't care if you want to be an insecure idiot and you need something
as stupid as this to believe in, but I do. There is so much ELSE out there that is real. Oh well. On-
ward.
Some things like the Bible and Nostradamus are written with such symbolism that they can be inter-
preted to mean almost anything. Everything else is so vague that it too can be subject to interpreta-
tion.
The so-called psychics hardly deserve mention. Any subjective analysis of their accuracy shows them
to be pretty terrible. If I make 100 predictions and 1 or 2 of them come true, does that make me a
psychic? It does if you play it up like some of them do.
Just make a big deal out of your hits and ignore your misses. Pow! you're a psychic.
Congratulations.
Jeanne Dixon, Peter Hurkos etc., are all miserable failures when looked at analytically. Anyone that
reads a newspaper can be as accurate as they are.
41
If you want a really good laugh, get back issues of some of the weekly tabloids (National Enquirer,
Star, Globe etc.), and read some of their predictions for a year that has already passed. Guaranteed
to give you a chuckle or two.
What about some of the disciplines like astrology? Even worse. I know some of you are turning red
and getting mad about now.
Grow up.
The Amazing Randi, scourge of true believers everywhere once did a great demonstration at a col-
lege. He asked all of the students for their name and date of birth. The next day he passed out their
personal horoscopes. After giving them a few minutes to read them, he asked how many thought that
their "personalized" horoscopes were accurate.
Most raised their hands. A number of them said that it was uncannily accurate or right on the money
etc. After letting them be amazed and filled with wonder he told each person to pass their personal-
ized horoscope to the person in front (or behind, I don't remember), and read their neighbor's.
Imagine their surprise when it was discovered that every single person in that class had the EXACT
same horoscope.
People believe what they want to believe. Simple as that.
You can take advantage of this phenomenom if you so choose. Become a rich and famous psychic,
fortune teller, palm reader . . . whatever.
It takes a lot of boldness and a bunch of audacity, but you can do as well as anyone else with just a
little study and practice.
Heck, you might even get your own Television show like John Edward or whoever is the current psy-
chic guru.
What you will be doing is known as the art of "cold reading" and it can be a lot of fun. If you do it right,
you can have people lining up to have you tell their fortune. If you keep at it, you can con a lot of peo-
ple out of their hard earned money, providing you leave your conscience at home or make up some-
thing to justify the fact that you are bilking people out of their money.
Or maybe you'll be one of those that actually get to honestly believing in their wondrous powers. This
will make you more convincing to most people. This will make you pathetic to others.
Your choice.
After all that is one of the concepts that you will have to learn and preach. It is called "free will" and as
a sooth-sayer you will be using that term a lot. It will excuse any inaccuracies or false prophesizing
that you might do.
Example: Suppose your mark (the person you are doing the read for) asks you a very specific ques-
tion and wants a specific answer. Such as, "Will I get the promotion?"
Don't panic.
If you've done a good read, you should have some clues about this already. You should know by now
what they do for a living, you should have an idea of how they feel about their chances just from their
tone of voice and body language, plus you've got a fifty-fifty chance anyway, right?
So, your mark is upbeat, sounds confident and shows lots of positive signs. You tell them that they
will get the promotion. And then you qualify it (qualifying is very important, but if you are good
enough, you don't even need to do that). You tell them that if they are truly ready for the promotion
they will get it. But free will is involved and it is possible that on a psychic level they may not really
want the promotion and the added responsibilities.
This gets you off the hook in case you are wrong.
42
Or, if you told them that they would get the promotion and two weeks later they come storming in and
tell you that they got fired, you can always fall back on free will. After all, you can't control their own
will. Then you placate them and offer reassurances about how this will turn out to be a blessing in
disguise etc, etc, and that a promotion doesn't necessarily mean with the same company for crying
out loud. Free will is involved!
Practice that one, it will save your butt everytime.
Let's get serious. Here's what you need to know to do a cold read. First, you have to be observant.
Learn to watch for signs of approval and disapproval. Get a few good books on body language (watch
the SecretSource site, we will undoubtedly do something about this subject at some time in the fu-
ture). Start playing the guessing game wherever you go. Look at people and make up stories based
on what they look like, act like and dress like. It's nothing more than basic psychology.
If you see a guy in a three piece suit, it's a pretty safe bet that he doesn't work on the sewer system.
But it's not foolproof. Guys that work on the sewer system own three piece suits too.
Are they confident? Do they move with self assurance? Are their shoes shined? Clean shaven or
wearing a beard? A beard is usually indicative of a rebel to some degree. Clean shaven often means
conformity. Is that shirt polyester or silk? Do they make eye contact? Do they have laugh lines or per-
manent creases in their brow from scowling?
Hands can tell a lot about a person. Manicured or rough? Callouses? Blisters? Prominent veins? Dirty
fingernails? Wedding band? Pinkie ring? Scars? Tattoos? How thick are their wrists?
How are their hair cuts? Do they seem educated? If the left arm is tan and the right isn't, they do a lot
of driving. Are they alone or with someone? Do they make eye contact frequently, or are they some-
what shy? What kind of jewelry do they wear? What do their teeth look like?
Clues are everywhere you look but it takes practice to learn how to read them. Spend a couple of
bucks and visit a psychic yourself. Go to a psychic fair and observe. Most psychics won't mind if you
loiter around as long as you don't disturb them or cost them any business. Then observe.
Compare your first impressions with the information that the psychic elicits. They will begin with the
same information that you have. Visual, auditory, and olfactory clues. It's great practice.
Then it gets interesting. This is where you listen real hard. If you have or can afford a voice activated
micro cassette recorder, put it somewhere such as a shirt pocket and turn it on. This is where the real
lesson begins.
Truly good sooth-sayers, fortune tellers, aura readers, palm readers, tarot card readers, whatever
they call themselves are masters at the art of subtle interrogation. For instance they might say, "In
your family I see one ... two ... three ... four ... five people of importance to you." All the while, they are
observing the subject closely for signs of affirmation after each number.
They may give a perceptible nod, or take a breath, look away or conversely look at you when you hit
the magic number. They will almost always give you some sort of visual clue. It just takes practice to
recognize it.
But even if you are wrong, you have a convenient out.
Old psychic saying, "Thank God for variables and gullible people."
If, after the number five, they say something like there are only three people in my family, you can of
course tell them that they are mistaken. 99 out of 100 will then say something like, "Of course we've
always been real close to Uncle Ben and Aunt Edith." Or some such thing.
You have to be very audacious and very confident to be any good at being a psychic.
And you have to be vague without sounding like it. A good psychic can have their mark convinced
that they were incredibly accurate, without saying anything concrete. Again, a lot of this is simply con-
fidence. If you sound like what you are saying is meaningful and relevant, the mark will think that it is.
43
You must also remember that when most people visit a psychic, they are looking for answers that
they usually already know. Your job is to gently dig and nudge until you find out what it is that they
really want to know, and then, by being vague and using generalities, you get the answer from them
and take credit for it.
The following is a true example, taped from an actual session at a psychic fair.
The person seeking advice (referred to as "Mark" or "The Mark"), pays his $40.00 introduces himself
to the psychic and sits down. A couple of minutes of small talk and then the following dialogue takes
place.
Psychic: "A change is possible in your life right now." (Isn't it always?)
Mark: "Yes, I'm concerned about my career."
Psychic: "I do see some changes in that area of your life. A move is definitely possible at this time."
(Notice the vagueness here, "move" could mean relocation or promotion or demotion, almost any-
thing depending on what feedback you get next. But you used the word "definitely," so it sounds like
you have actually said something. You also used the word "possible." This can get you off the hook
later if necessary. All of your bases are covered!)
Mark: "The company has been sold and I want to know if they will retain me or replace me with one of
their own."
Psychic: "I do see another position for you, one that will make greater use of your talents. But it may
not be immediate. There will be a time of adjustment first and it may not be pleasant. You must main-
tain a positive attitude at this time. You are at an important part of your life right now, a cusp (psychics
use that word a lot. In astrology, it means transitional), that may have far reaching effects.
"You have been thinking of a different company (watch for reaction), perhaps even of starting your
own (a pretty safe statement, almost everyone who has ever faced the possibility of losing their job
has thought how nice it would be to start their own business).
Mark: "That's amazing! I have been thinking of starting my own consulting business.
Psychic: "I see the possibility of great success in your pursuits but it will not be easy for you. It will not
happen until you commit yourself completely to what you want. (Like any good psychic, you've just
given yourself an excellent out, you haven't said that success would come with their own business or
with someone else's. The mark will hear what they want to hear, and you have an escape if neces-
sary).
Mark: (Excited now) "This is great! I'm getting ideas even while we talk. I'm gonna do it! I know I can.
Psychic: "Of course you can, but I see some difficulties along the way. Nothing that you can't over-
come. You have the qualities and leadership necessary to succeed if you apply yourself." (vague,
vague, vague. But all true, who wouldn't believe this?).
At this point, the mark is looking very starry eyed. Our psychic continues.
Psychic: "Another person will be very important to your success. This is something that you cannot do
alone. Perhaps a partner or . . ."
Mark: " Jack. Jack has been talking about the same thing."
Psychic: "I think someone else will also play an important role." (This whole line of dialogue is exactly
what I mean. Starting a business is never easy, there are always some hard times and there is al-
most always other people involved. If this guy is married, he probably has a ring on and now would
be a good time to bring up the spousal concern).
Psychic: "Someone very close to you, your wife . . ." (Watches for reaction).
Psychic: "Yes, there is definitely a woman that will have some involvement. Possibly a great deal."
Mark: "My wife is in public relations, she could help a lot."
44
Psychic: "Remember that there will be conflict, especially in the beginning. If you do this, you must
commit yourself totally."
The Mark looks solemn and nods.
Psychic: "There is one other thing of which you should be aware. There will be some frustration and
concern about money for a while. This will affect important parts of your life if you let it. You must be
strong and remember that there will be a time of new prosperity ahead." (Gee, imagine that, this guy
is worried about losing his job, starting a new business - with a new partner, and he wants to get his
wife involved. Wonder what makes the psychic think that there might be some money concerns?)
"That will conclude your reading for today. Be patient with those that are close to you." (The mark is
dismissed while things are going well for the psychic, never let them leave mad or disappointed. It's a
pretty safe bet that there will be some discourse in this guy's life, hence the closing statement about
"those that are close to you.")
The mark thanked the psychic profusely, tipped a ten dollar bill and left convinced that he had been
guided.
I felt good, yet I felt guilty also. Yep, the psychic was me. The above conversation took place a num-
ber of years ago at a hotel in a major city in the Southwestern US.
I was a guest of a woman that played the psychic to the hilt. I had bet her that I could do as good a
job as she did.
I won the bet.
I lost the girl.
It's okay though, I predicted that I would find another one and I was accurate. Also as predicted, she
was even more fun and any more than that you will have to divine yourself.
I am in fact such a good psychic, that I will give you a reading right now. Yes, it's true. You see I al-
ready know all about you.
Let me see, I'm picking up vibrations, sensations. . .
Yes . . .
You are basically a friendly person yet you do not have that many people that you actually consider
good or true friends. Many acquaintances, but the people that you consider true friends are few.
You tend to be over generous at times and can be impulsive. You don't like it when people ignore you
or tend to look down at you. Yet you are respected more than you realize.
You are thinking of traveling. It might be a good idea to think of alternative means to your destination,
perhaps a different route than you had planned.
You sometimes catch yourself worrying over little things or things over which you have no control.
You tend to put off that which doesn't interest you, sometimes to your regret.
You are an emotional person, but you sometimes conceal your emotions from those closest to you.
You sometimes say things that you later regret, but just as often you find yourself regretting the fact
that you didn't say something or didn't think of the right thing to say until it was too late.
There are times when, no matter how many people are around you, you feel alone. At these times
you must draw your strength from within.
This concludes your reading for today.
Jeeez, am I good or what? Just send me your $40.00 and rejoice in the fact that you just got a psy-
chic reading without leaving the comfort of your home.
Next week, I'll channel Elvis and let him give you some advice on the stock market. Huh? What's that
voice? Oh. Elvis says "Buy Low, Sell High."
45
Invaluable information, and you get that one on the house!
Actually, if you just memorized the above "reading" and repeated it back to people, most of them
would be amazed at your insight and power. Try it. Just these few paragraphs can change your life.
Below are some stock fortune telling lines. Most will apply almost anytime, some you won't want to
use unless you have a least a little feedback from your victim . . . Errr, I mean client. Browse and pe-
ruse them, memorize a few and use whatever you think of at the time.
You now possess "THE GIFT!"
Individualism is your outstanding characteristic.
You are creative and you have a pioneering spirit.
You have excellent leadership qualities, but you may prefer to work alone.
You have the courage to carry out your ideas.
Negative traits to watch out for are selfishness and stubbornness.
No matter how good your ideas are, there are times when you must be willing to let other people
have their way. Do it with good grace.
In romantic relationships, you tend to be the more dominant partner.
In romantic relationships, you tend to be the more giving partner. You put more into the relationship.
You prefer a straightforward relationship, and don't want to get involved with someone who doesn't
give you full attention.
When you find the right mate, you put lots of energy into the relationship.
Although you have the skills for a career requiring executive ability or supervisory skills, you may de-
cide you prefer to work on your own as much as possible, perhaps running your own business, or
working at a job that allows you to exercise your inventiveness.
You are gentle and you have an excellent sense of justice and balance.
You can be very persuasive and are good at helping others resolve their differences, but you may
prefer to stay quietly in the background, because you can also be very shy.
Negative traits to watch out for are hypersensitivity and a lack of self confidence.
You must remember to apply to yourself the same sense of balance you use when you look at other
people.
In romantic relationships, you tend to be very warm and affectionate.
You prefer having a mate to being alone, and as a result you may be tempted to rush into unsuitable
relationships.
When you find the right mate, your love and warmth are returned in a harmonious atmosphere.
Although you have the skills for a career in diplomacy, arbitration, or even sales, your shy tendencies
may mean that you will emphasize your more artistic side instead.
You are likely to have musical or artistic talent of some kind.
Youthfulness is your outstanding characteristic.
You are energetic and you have a great deal of creativity, especially in self-expression.
You are outgoing, and probably very popular. Negative traits to watch out for are an inclination to be-
come too self-centered and interested in shallow pursuits.
You will be happier if you are selective in your friends and let people get to know the real you.
46
In romantic relationships, you may have trouble settling down. Achieving other kinds of goals will
probably take priority, at least for a while.
Many people of the opposite sex are attracted by your charm and youthful qualities.
When you find the right mate, it is someone who understands your ambitions in life.
You have so many talents, you could probably succeed in any career you might choose.
Although you are not always highly practical, you are quite bright and a quick learner.
When you concentrate on one thing, you have the ability to rise to the top.
Practicality is your outstanding characteristic.
You are dependable and straightforward, known for your loyalty and honesty.
You are not afraid of hard work, and you have the self discipline necessary to achieve your goals.
Negative traits to watch out for are stubbornness and narrow mindedness. Don't be afraid of new
ideas.
In romantic relationships, you may find that it takes you a long time to find someone to settle down
with.
You probably don't follow any regular pattern in your relationships, but become involved with different
sorts of people at different times in your life.
When you find the right mate, you care very deeply and are extremely loyal.
You are likely to choose a career that requires concentration, such as bookkeeping, or one that uses
your physical stamina, such as construction work.
Whatever you do, you appreciate steady employment, and you are a reliable worker.
You may not rise to a high position of leadership, but you will be rewarded for your skills and endur-
ance.
Change is your most outstanding characteristic.
You like freedom, variety, and travel.
Your mind and body are well coordinated, and you like to test yourself in exciting situations.
People admire your versatility and the cool way you handle dangerous experiences.
Negative traits to watch out for are carelessness and unreliability.
There are times when it is necessary to be more stable.
In romantic relationships, you attract many people throughout your life because of your magnetic per-
sonality.
You may find it difficult to settle down with just one person.
When you find the right mate, it is someone who shares your need for adventure.
You might choose a career that allows you to take physical or financial risks, or one that requires a
great deal of travel.
In any kind of work, you can be counted on to handle an emergency well.
To succeed, you need to curb some of your impulses to plunge into things, and learn to develop more
practicality.
Because you are bright and adaptable, you can do almost anything well if you wish.
Domesticity is one of your outstanding characteristics. You have a warm nature and seek a satisfying
home life.
47
You like to give of yourself to others, and may be involved in charity work or some kind of community
service, as well as serving your family with love.
Negative traits to watch out for are a tendency to be too controlling and to judge others too strictly.
You must remember to love without smothering.
In romantic relationships, your warm personality attracts others.
Although you are eager to settle down, it is best to make sure you have reached the right time in your
life.
When you find the right mate, you build a wonderful home together. You are probably attracted to a
career in which you can help others.
People usually like you, and you are good at providing comfort. You may enjoy teaching, or a career
in social services of some kind. You probably also have some musical talent, and you may want to
develop this further.
In any line of work, you like to keep things running smoothly. Deep thinking is your outstanding char-
acteristic.
You are interested in developing the spiritual side of your nature, and you have the potential for great
wisdom that increases throughout your life. You may be a bit of a loner; don't become isolated and
unhappy.
Remember to listen to other people's ideas. In romantic relationships, you may have trouble express-
ing your feelings.
You intuitively understand those close to you, but they may not be able to understand you as easily.
When you find the right mate, your love can lead to satisfying communication on a deeply spiritual
level.
You will most likely be attracted to a career in which you can use your intuition in combination with
the wisdom of your experience.
You might be happy in a scientific field, or in work that brings you into close contact with nature.
Logic is your outstanding characteristic. You have a well organized mind and a love for justice. Be-
cause of your mental maturity, you get along well with those older than yourself, and serve as a role
model for those younger.
Negative traits to watch out for include a loss of value judgment or an obsession with money. Re-
member that the emotional and spiritual aspects of life are needed to balance the mental.
In romantic relationships, you give a first impression of being somewhat cold and distant, but you are
actually very loving and generous. You may be happiest in a relationship with someone older.
When you find the right mate, your relationship is intensely passionate.
You are probably most attracted to a career that allows you to use your organizational skills to best
advantage.
You could be very successful in business and finance, but any kind of work that allows you to use
logical thinking will be satisfying to you. Unselfishness is your outstanding characteristic.
You have a great love of humanity and a concern for the welfare of others. You have many ideas
about how to make the world a better place.
Negative traits to watch out for are an inclination to daydream or to become power hungry. In roman-
tic relationships you are enthusiastic and exciting.
Your devotion to those you care about might make you blind to their faults. When you find the right
mate, you will share the vision of a better life.
48
You are probably attracted to a career in public service, perhaps even one that involves placing your-
self in personal danger for the sake of others.
You might find yourself in work that places you in the public eye, or in a position to influence people's
opinions. Whatever you do, you approach your work with energy and enthusiasm.
You will find the most happiness when you allow yourself to express your deepest emotions, and to
approach life passionately and sincerely.
You are about to find a solution to something that has been bothering you. When you do, it will clear
the way for a new, more interesting phase of your life.
You must not be afraid to expand your horizons and take on bigger and better things in life.
Your intuition can be a most useful guide to you, especially at a time when you need some new ap-
proaches.
You may feel emotionally unstable now. Do not let yourself become too stressed.
You are about to be rewarded for your artistic or intellectual abilities.
Someone, probably a man, who has been away will return with good news or gifts for you. This could
be the start of a wonderful friendship.
You may find self-expression and originality difficult at this time. Your inner strength will see you
through an unrewarding period.
Bring as much originality and open-mindedness as possible to the decision you are about to make.
Don't confuse creativity with irrationality. Make intelligent decisions, and don't be overly influenced by
feelings of impatience. Outside influences may interfere with your ability to function at your best. Don't
take this personally -- just wait it out.
You may find that you are losing interest in projects you once cared about. Do not despair, as some-
thing new will catch your interest soon.
A new relationship or new undertaking has a good influence on you -- another person will give you
helpful advice.
If you have been sick recently, you will begin to feel better now.
News of a decision in your favor will cheer you up.
Something or someone will inspire you to make a big change in your life style, which will result in im-
proved health and a sense of strength and peace.
A long program of study or exercise will have the desired results if you stick with it.
You must select the correct person to guide you.
Someone has, or is just about to, give you some advice that will benefit you.
You should show your appreciation through a favor or gift.
There is some information of which you are unaware.
It is important to consult with an expert to uncover that which is hidden from you. The result will be in
your favor.
You may be in danger of an accident, or in danger of being exposed to illness. However, your alert
action will protect you.
You may be concerned about the possibility of inherited illness, or problems of the parents that could
be repeated in the children.
You have the strength to overcome emotional or mental stress, not through resistance, but through
understanding and wisdom.
49
You will be able to overcome boredom or depression through your interest in a new project or activity.
Outside pressures such as job and the demands of family and friends may cause you to push your-
self too hard.
It is important to heed the body's warning signals and nurture yourself.
You have a strong life force, but you must not ask more than it can deliver.
You are about to make an enormous change in your life, which will have a significant impact on your
romantic relationships. The change will be good for you, but it remains to be seen whether the rela-
tionships will survive.
You find out something that was a secret, and the information makes it possible for you to improve
the situation with your loved one. It is important not to abuse this knowledge.
Your romantic partner's behavior may be bothering you -- he or she may be asking you for changes
that you don't want to make. Yet, if the relationship is to survive, you must adapt. In the long run, you
will be glad you did.
Someone who cares about you will give you a fine gift.
Someone you didn't take seriously at first becomes very important in your life.
You will solve a problem that has been bothering you.
A vehicle of some kind will play a role in an improvement in your relationship.
You must approach your romantic life with an emphasis on intuition, spiritual values, and emotional
flexibility.
You may find yourself in a May-December romance. This will be a very happy relationship.
Present relationships require much inner strength. Happy results are in the future, after much sincere
effort and plodding along.
You are faced with a decision, but all the issues are not clear. It would be better to wait for more un-
derstanding before making a choice.
You may be tempted to move, or make some other hasty decision. No matter what the issues, acting
suddenly and without proper consideration could be disastrous. Consult all concerned.
Something beyond your control interferes with your romantic relationships. This could be the jealousy
of others, the harassment of in-laws and relatives, pressures caused by work or illness. Whatever the
cause, it is beyond your personal control. Your best course is to be patient and understanding and to
behave with integrity.
Some kind of financial gain comes at this time. It will probably be something quite unexpected, such
as a win on a race horse, but could also be in the form of a payment from an institution, such as a tax
rebate or a pension plan refund.
A journey is indicated. This may not be a distant or long-lasting journey -- in fact, it could be as simple
as a trip to the store. But whatever it is, it is part of a chain of events that will bring about a significant
change in your outlook.
You will make a complete change in yourself. It could be the result of some sudden insight, but is
more likely the product of a long period of inner reflection and increased self awareness. Not every-
one around you will support this change, but it is absolutely necessary for you.
There is some information you don't have, or a secret someone is keeping, that, when revealed, will
be of benefit to you.
A situation that seems unbearable at first will eventually resolve itself and prove to be useful to you.
A legal matter is resolved. This will probably be to your benefit, and may involve winning a lawsuit or
signing a contract in your favor.
50
It is important to understand any papers you sign.
Although it doesn't seem significant at first, a new project or hobby has an important impact on your
life.
Although you cannot control the structure of predestined events, you have the free will to alter your
own behavior within the environment.
Your love life undergoes a radical change. Whether this is to your liking remains to be seen.
This particular phase of your life comes to an end. Although you may feel lost and disappointed in
some ways at first, this ending allows you to start on a new and better path.
Moving or travel is indicated. It may be a move to a new and bigger house, or it could be a new job.
Another interpretation is that the means of travel itself, such as a vehicle, will play a significant part.
You are in danger of causing yourself some physical harm. It is important to take a break and evalu-
ate the situation, modifying your behavior in order to protect yourself.
You must cope with the problems of getting older. Things are not as bad as you may at first think.
You discover your own strength. Physical stamina plays an important role in your ability to turn pres-
ent situations to your own benefit.
You are awaiting a decision. It is important not to push too hard for your own point of view until you
have had more time to study the overall situation.
Something unexpected upsets all your plans. This could be a major disaster, such as a war or hurri-
cane, over which you have no control.
It could also be something at a more personal level, such as illness or crime, but still out of your con-
trol. You must simply accept this, and go on with your life.
Someone you like doesn't like you any more. Or, something that was once an important part of your
life has lost interest for you.
An excursion or journey, probably a very short one, will be very educational for you. You may be visit-
ing a relative or traveling with a relative or close friend.
An enjoyable family event provides food for thought.
Remember that emotional maturity and spiritual wisdom cannot be rushed, but must grow naturally
out of the course of events.
You are entering a particularly productive period in your career. There is also an indication of some
happy social event -- you may attend a large banquet or wedding.
You are undergoing many changes in your life right now, and they will lead to a decision that affects
your career. This may mean a complete change for you, even one that means you will give up money
in order to do something that has a larger personal meaning for you.
You are about to enter into a new partnership of some kind. Many good things, including increased
financial rewards, will result.
You are keeping a secret. How you handle this information will have a direct effect on your job status
and may help you financially.
Changes are happening in your workplace. At first, the changes seem to cause you much inconve-
nience and irritation, but in the long run will lead to better things for you.
Someone who appreciates your work will find a way to help you.
You may feel buried in paperwork. Your handling of certain documents has the potential to bring an
improvement in your position.
51
You will have the opportunity to take on some new responsibility. Although it probably won't seem
important at first, it is the beginning of a change for the better.
You cannot reverse the effects of decisions that were made in other times and places.
You are entering a time when you will want to throw yourself passionately into your work, or become
absorbed in a special hobby or activity.
You are keeping something inside, a secret or something you are not comfortable revealing. You
must consider the feelings of others.
Whether you know it or not, your enthusiasm is noticed and appreciated by the right people.
You are about to solve a problem which has been hanging over you for some time, and which will
now clear the way to changes in your social life.
You may have an opportunity for career advancement, or to participate in social activities which will
make you more visible in the community.
There is a possibility that public transportation will play a part in a move you are considering.
An opportunity to study or learn a new skill will definitely improve your job situation.
Although your work is important, you must not exclude social activities.
You may have an opportunity to take a business trip, or to attend an important meeting.
Your conduct has the potential for opening up many doors to you.
There is definitely an opportunity for advancement, if you are willing to invest the necessary hard
work.
You are faced with a decision -- but it is best to wait for more information before going ahead.
Impatience and impulsive behavior could spoil your chances.
There are larger forces beyond your control -- the state of the economy, consumer trends, govern-
ment regulations, etc. -- that affect your work. You must learn to work productively within these limits.
It is possible that your popularity is waning. Or, it may be that your own interest in people and work
has cooled. Whichever the case, this is only a temporary situation.
Something or someone will inspire you to make a big change in your life style, which will result in im-
proved health and a sense of strength and peace.
Your generosity, and that of people around you, is to be emphasized at this time.
It is important that you are able to keep a secret. A friend depends on your reliability and confidentiali-
ty.
A friend's problems may seem bothersome to you, or someone may be asking you to change your
behavior for their convenience.
It will be worth your while to be accommodating.
You have a talent for placing yourself in a position to receive gifts or favors from others.
Maintaining a positive attitude is most important at this time.
A strong devotion to your friends is one of your most admirable characteristics.
Long-standing disagreements among friends will finally be resolved.
Many changes occur in your life, and may cause you to lose touch with old friends.
A tolerant and flexible attitude is important in getting along with friends, especially in large groups
where not everyone agrees.
You may need to rely on intuition to discover someone's true feelings about you.
52
Although going out, attending parties, and visiting with friends is an important and enjoyable part of
life, you can push yourself too hard.
Getting caught up in the social whirl may cause you to neglect other areas of your life, especially your
health.
It is important to step out of your own age group, and to cultivate friendships among people from all
walks of life.
Other people, especially the older people presently in your life, have experience that can benefit you.
If you have been planning a vacation, this is a favorable time to go.
Even if you have nowhere special to go, this is a good time to get out of the house.
A good friend will need your emotional support.
A friendship that was once very valuable to you seems to become more distant. Probably you and
your friend have simply grown apart.
After a time of turning inward, you are now ready to explore partnerships and new kinds of relation-
ships. You are no longer in the position of a child needing to be taken care of, but that of an adult
seeking equality. This is a time in your life when you want to concentrate on improving your material
circumstances.
Communications of all kinds are favorably indicated.
You have a desire to call old friends, write and receive letters, and express your feelings to those
close to you.
You may be making a decision regarding marriage and family.
This is a time when your interest in parenthood is strong.
You discover new techniques of problems solving and are able to simplify your thinking in many ar-
eas.
After a quiet time of inner reflection, you are ready to bloom socially.
You are developing the spirit of generosity within yourself.
There are many things that you want to keep hidden, secrets about yourself that you do not want to
share with anyone, not even those you care about. Yet, as you begin to step forward and reveal
these things, you find that no harm comes to you -- in fact, by releasing the secrets, you are actually
able to communicate more clearly and function more effectively in the world.
You find yourself resisting change. It is time to let go of your resistance.
Sometimes your sense of expectation and hope for good things in the future causes you to ignore
what is happening in the present.
At this time in your life, you need to develop your concern for humanity -- to go beyond the interests
of a small circle of friends, and concern yourself with larger social problems or politics.
You need to seek new interests. Even trivial-seeming pursuits can offer you the mental variety you
need to stimulate your interest in life.
Love and sexuality are of great interest to you now. You may be surprised at the results.
You are ready to give up some old habits and move on to a more interesting phase of your life.
Change of some kind -- any kind -- just for the sake of change -- this is what you find yourself craving.
You may have psychic abilities that are as yet undiscovered.
Study in all areas of human endeavor leads to deeper self understanding.
53
You are inclined to push yourself too hard, and often emphasize mental values at the expense of
physical needs.
There may be an opportunity for travel. The desire to see other places is strong right now.
There are many rich opportunities available to you now if you are willing to invest the time necessary
to make the most of them.
You may have to choose between working for money or working toward your own growth.
Do not make a hasty decision, since the right answer is not yet clear.
It is important to study the reasons for your impatience and impulsiveness.
You must not allow yourself to be too deeply disturbed by "disasters" which seem to interfere with
your plans or take you away from more pleasant pursuits.
The things that once interested you don't seem quite so important now.
You may decide to leave behind the colleagues who have not grown with you.
You seek emotional protection. This is not necessarily a sign of weakness, but a means of survival.
It may be time to re-evaluate the situation and discover your own strengths.
Your goal is to express your true identity in the world, to stand on equal footing with those around
you, and to carry out your own best potential.
All indications are positive. Both your romantic life and your financial situation promise fulfillment.
You seek a position of emotional stability, and this will help you realize your desires.Nevertheless, it
is also important for you to allow spontaneity, in yourself and those close to you.
Your goal is to find the balance between what is necessary to get along in the world, and what is nec-
essary to fulfill your own true nature.
Travel is indicated, but it may simply be a symbol of your progress in the journey of life.
Social interaction brings you much pleasure, and is one means of self-discovery.
You must be careful not to emphasize too many superficial values.
Your goal is to reach a particular level of understanding and skill in living.
Fertility, both physical and mental, is strongly indicated. You are able to build and create many satis-
fying things. Nevertheless, it is important not to become too concerned with what you can produce in
the world. You also need to receive.
Your goal is to grow beyond the need to live up to external expectations.
Extreme change is indicated. Those who care about you may be disturbed by the direction you seem
to be taking, and they are sincere in their efforts to "save" you.
It is important to evaluate your own deepest needs, apart what anyone else might think is good for
you.
Your goal is to remain considerate of others while acting autonomously for your own well being.
You want results. It is important to remember that what you invest bears a direct relation to what you
eventually get back from a situation.
The harder you work, the greater the results. Your goal is to find the right balance, so that you invest
no more and no less than what is necessary to obtain your best possible reward.
New acquaintances please you. Nevertheless, you must take care not to completely abandon well
established relationships simply for the sake of novelty.
Equal exchange of energy and goods is an important consideration.
Your goal is to assure benefit both to yourself and to those who help you.
54
Secrets abound, both those you keep, and those that are kept from you. Privacy and discretion are
important to you.
An open exchange of information can be of great benefit to you and improve your relationships with
others.
Happiness will come when you least expect it, in ways you had not foreseen. Your goal is to live an
open life in the world, while maintaining autonomy.
Resisting change is one technique for survival. Nevertheless, progress is inevitable, and too much
resistance only makes it more painful.
New ideas, even if you do not adopt them in the long run, will help you revitalize your approach to life.
Your goal is to differentiate between useful changes and harmful ones, so that you can make the
most of each opportunity.
You want more from life, and you may well be able to profit from the generosity of others. Family val-
ues that have been passed on to you enhance your own ability to function and get what you need.
Now is the time to atone for any wrong deeds you may have done.
Examine your conscience carefully. Even a small transgression can have far-reaching effects, so be
prepared to set things right before it's too late. What seems to be a long stretch of bad luck may sim-
ply be the result of your own long-standing habits.
It is time to refresh your mind and body, seek a change of pace, re-evaluate your beliefs.
You can change your luck by changing yourself.
Do not be selfish, but share a good part of what you receive with those near to you. This will increase
your good luck and ability to attract more material possessions.
A sudden change that appears to be good luck may actually conceal bad luck. Do not be afraid, but
examine your new situation from all angles, and act accordingly.
You can take advantage of the good and diminish the bad if you understand exactly what is going on.
A messenger of good news is on the way. Look for men or boys who will be a positive influence in
your life.
Accept help from those who truly care about you. Don't be afraid to take some advice.
Children will be a source of happiness for you. If you do not have children of your own, involvement in
a youth program of some kind is indicated, or you may be in close contact with the children of a
friend.
Insight into your own childhood is helpful at this time.
You are about to receive more: more material goods, more love, more inner strength.Your active par-
ticipation will increase and speed up this process. If you remain passive, you will not get as much.
Don't fall prey to the temptation for revenge. If you return evil with more evil, then your life will fill with
unhappiness.
Don't take the law into your own hands. You don't have to accept someone else's rules of behavior,
but can turn a bad situation around by applying your own values.
Are you going toward something or leaving something behind? Thorough planning and preparation
are essential.
Impulsive behavior will be an invitation to mishaps.
A clear head and a sense of your own courage will get you through many adventures.
A series of choices leads to long term fulfillment of your goals. Impatience will not serve you.
55
You must nourish yourself both physically and spiritually to attain your heart's desire.
This growth does not happen overnight. Gradual improvement can be expected.
The key to success is in your hands, although you may not yet recognize it. But you must take care
not to strive too hard or ignore the demands of your daily life, for illness could ruin all your plans.
Treat your body with care and respect, or you may not have the stamina you need.
Maintain your inner serenity and avoid any potentially violent situations.
Someone seems to have turned against you. There may be more than one person involved. You will
feel a sense of loss.
There may be an actual material loss, or you may be worrying needlessly.
Difficult times require all your courage, especially if someone close turns against you.
You must be patient, you cannot get what you want right away.
End already.
Sheesh, was that enough or what? You want more? find horoscope archives, listen to psychics at
fairs etc., watch some of those idiots on TV.
Remember, if something doesn't ring true, just hurry on to the next one. When your mark acts inter-
ested, pump it up, make a big deal out of it.
It's all in the presentation. Many of these were taken from newspaper and tabloid horoscopes, start
your own collection for new material. Or at least new phrases for the same old stuff. You can take
almost every one of these statements and change them, or elaborate or just let them lead you to oth-
er statements. Have fun, but don't get carried away.
And remember, Karma is watching, dont abuse this knowledge.
End
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HOW TO BE A PSYCHIC!
THE TELEKINETIC PENNY
Tell your victim that you have a limited ability for PK or psychokinesis (the ability to affect or move
objects with your mind). When they naturally demand proof, pull out a handful of pennies and ask
them to pick one. You then announce that you will spin the penny and make it land on tails, not once,
but consistently. I'm not sure what the odds are against that, but they are pretty high.
According to the odds, it has a fifty percent chance of coming up either heads or tails, right? If you
spin it ten times, it should land on heads about five times right?
Wrong.
As long as you use a very new penny, and spin it on a very flat, smooth surface like Formica or glass,
it will come up tails at least nine out of ten times. Be sure that the penny has no nicks or cuts etc., in
it.
If your victim thinks that you have a trick penny, ask for one of theirs. As long as it's shiny and new.
You can explain that a dull colored penny seems to have a negative effect on your powers, that you
need or prefer a nice shiny one. Makes it easier to concentrate. If they don't have a newer penny,
borrow one from someone else. You can always explain that "This penny just doesn't feel right." If it's
not a new one. Play up the "bad vibrations."
THE TELEKINETIC CIGARETTE
Explain as above that you have a limited psychic ability to influence small objects.
To prove this you borrow a cigarette and place it on a table in front of you. Put on a big show of con-
centrating and focusing your "talents" by waving your hand over the cigarette etc. Tell your audience
that you will attempt to make the cigarette move by following your finger.
Explain that this gives you a focal point to concentrate upon. You then place your finger on the oppo-
site side of the cigarette and it magically (telekinetically) rolls after your finger.
The Secret:
You are sneakily blowing on the cigarette just enough to make it roll and you then keep your finger
just ahead of it.
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Practice this so that no one will notice that it is your gentle breath moving the cigarette. You need not
blow hard and before you start, you gently roll the cigarette on the table a few times to make sure it is
completely round.
Practice in front of a mirror so that you don't puff your cheeks or blow hard enough that you are
heard.
You can use the exact same principle to do things to other inanimate objects. I once watched a pro-
gram called "That's Incredible" and a "psychic" demonstrated his ability to turn pages in a book "with
his mind." If you knew what to look for, you could see exactly what he was doing.
He was smooth though. He had evidently practiced quite a lot. He had most of his audience com-
pletely convinced that he was psychic. It helps to have a good line, what the pros call patter. It also
helps if you can distract them somehow.
I occasionally like to spook someone by making some papers move or flutter on a desktop. I always
give them the pitch that I have to concentrate real hard etc., and then I usually tell them that I will try
to move their telephone or something heavy. They watch the phone of course, and are never disap-
pointed when I instead only manage to move a few papers.
I'm just too amazing. Want to join me?
X-RAY VISION
This one baffles even the most intelligent observers and can convince some of the most ordinarily
intelligent people that you have special powers. It is rendered even more effective in that several peo-
ple can be involved, fueling each others wonder. It can even be repeated just to prove that it wasn't
luck. Here's what you do:
Give someone a coin or key (anything that will fit into an enclosed hand will do). Appoint this person
to monitor and see that your instructions are carried out. If anyone objects or says that you might be
using a confederate simply appoint them as your monitor.
When your back is turned, one person is to take the coin into their hand and hold it to their head while
they concentrate on it and send out the right "vibes." They are then to all hold their hands out or place
them on a table or whatever. Moving from hand to hand, You inevitably pick out the hand that has the
coin.
The secret is simple: The hand that held the coin raised to the head will be whiter than the other and
any veins that are visible on their opposite hand will be less visible on the hand that was raised. Sim-
ply look for the hand that doesn't match it's mate. Wow, you're a telepath!
TELEPATHIC DRAWING
There are numerous ways to accomplish this, but here are the three easiest. They still impress peo-
ple and can make you quite a name for yourself.
The first is the simplest. You hand someone a pad and ask them to draw a simple geometric figure,
and then ask them to draw another one inside that. When they are finished, you ask them to concen-
trate on what they have drawn while you try to duplicate it on a different pad from across the room.
Play up the dramatics on this one. Once they have drawn their figures, ask them to tell you when they
have a clear mental image of the symbols. Then you draw your images on your pad. Act like you're
concentrating hard, tell them you're not quite receiving a clear image. Make it look difficult. Make one
drawing and tear it up in frustration and then do another one. Be dramatic as hell if you want.
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When you do produce your drawing, you will ALMOST always be correct. Sometimes you will get one
right and one wrong, (exclaim how you were fifty percent successful), the crowd will still be amazed.
The secret is a simple one that has been used successfully for ages. When asked to draw a simple
geometric symbol, people will almost always draw a circle or triangle. When asked to draw another
one inside the first, they inevitably pick the other. You simply draw a circle with a triangle inside it. If
the symbols are reversed, you are still considered a success. If you get only one of the symbols right,
the test is still seen as impressive.
Want to increase your chances? Look even more dramatic? Give a pad to two people and send them
to opposite ends of the room with the same instructions. When they compare their drawings with
yours, it is virtually certain that one of them will have drawn a circle and one of them a triangle. You
simply explain that you received the strongest impressions about those two symbols.
Want to hedge even more? Subconsciously direct your marks by including a line in your spiel about
how "thoughts radiate outwards in a circular ripple from the mind. Like the waves radiating from a
pond when a rock is thrown." Both the words circular and radiate influence the participant. So does
the mental imagery. One of the symbols is now virtually guaranteed to be a circle.
Aren't you amazing?
Method two
This one is actually even simpler, it just calls for a good line of BS. What the pros call "patter." Hand
someone a pad and pencil and tell them to make a simple drawing of anything. Don't actually tell
them to hurry, but impress upon them that it should be simple and easily recognizable by everyone.
This puts a limit on them that is self imposed but works in your favor.
Start your patter and keep it flowing. You have to distract your audience from what you are doing and
from what you aren't doing. Explain to them how you don't always receive complete images, how you
sometimes interpret mental images differently. Tell them your powers are not always reliable and that
you can't just turn them on or off at will. Blah, blah, blah. "I am incredible, but sometimes I am more
incredible than others." Keep it going, practice, loosen up. You'll be surprised how easy it becomes
after 2 or 3 times.
As you are feeding them this line of bull, have your victim remove their drawing from the pad and in-
struct them to keep it well hidden from you. Tell them to be very careful so that you don't see it. Keep
them distracted here, this is the key.
You have a couple of things going for you at this point. Nine out of ten drawings will be very familiar,
a flower, a happy face, a house, a box etc. Remember, you don't have to be too accurate here.
You've been telling them for the last five minutes that you are great, but even you have bad days
sometimes. If your drawing looks even vaguely like their drawing, you come off a winner.
The next thing you have going for you is that you have the pad right there back in your hands. If you
gave your victim a pen or a pencil as opposed to a crayon or felt marker, there should be a faint im-
pression of the drawing on the top sheet of paper in your hand! Ball point pens work great.
If you use a pencil, be sure that it's not too sharp, you want them to press hard. If you can't quite
make out the image, change the angle of light on the pad while you act like you are concentrating and
thinking hard about it. Simply make a copy of the image you've "seen" (on the pad) and make it look
as close as possible.
Keep the chatter up, tell them to picture the image in their mind and to concentrate on it. At this point,
your mark may even offer you a bonus by holding their drawing so that you can make it out from the
back. Be careful about being discreet when you look that way. Always have a line to deliver to give
you an excuse.
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I actually watched Uri Geller use this exact method to dupe a famous talk show host one night on
television. The impression of the image was so clear, you could make out part of it on the television
screen! Uri had a smooth line and was a master at distraction however, and no one even suspected
that he had pulled a trick that almost everyone has done when they were young. It was SO obvious
that everyone just overlooked it. They were all looking for a different explanation. People usually see
exactly what they expect to see. Or, if you are good enough, exactly what you want them to see.
METHOD THREE
This one is a little tougher to learn, but well worth it if you plan on impressing people everywhere you
go with your psychic abilities. It's a method called "Pencil Reading" and it works like this. Have some-
one sit across from you and draw a simple geometric figure. While they do this, you concentrate on
the movements of the top of their writing instrument. As they draw slowly, move your own pencil as
they do, trying to match their movements. Don't even look at your own paper while you draw, just
concentrate on the movements of your accomplices pen or pencil and try to duplicate them as you
go. With just a fair amount of practice, you can do quite well.
If you practice this just a little and use it in conjunction with one of the other methods, you will be able
to convince almost anyone that you are psychic!
Congratulations, you are amazing! One of the best things about this is the reactions that you will start
getting from people. I once had a guy offer to give me $50,000.00 if I told him where and when to in-
vest in the stock market. It took me almost twenty minutes to convince him I was a fraud. Isn't life
fun?!
TABLE TILTING
Seances have long been a favored place to perform this one. It has been used to convince many
people that there is something supernatural going on. The truth is much simpler, but still a lot of fun.
Four people sit around a table and touch fingers and concentrate. Within minutes (usually), the table
may slide away, bounce, rock or even take off like it has a mind of it's own. Con artists used to use
this to convince people that a ghost was in the room.
To do this you will need a small but sturdy table, like a folding card table. It must be placed on a hard
surface like linoleum or wood. It will not work on carpet.
Four people must be seated around the table and they must have their hands palms down about six
inches from the edge of the table. Their hands must be close enough to the corners of the table that
your volunteers can maintain contact with their little fingers throughout the "experiment." It is impor-
tant that the little fingers of your subjects maintain contact. Once this is done you then instruct them
to press down firmly on the table and concentrate.
Before and during the demonstration you will find it beneficial to plant suggestions to the effect that
the table will move. Tell them that certain powers are at work here and that a feeling like electricity will
spread through their hands etc., etc.,.
Play it up and sound mysterious and of course confident. What moves the table is nothing more than
fatigue and neuromuscular response to suggestion and concentration. You must pick willing volun-
teers. The more eager they are, the faster and more dramatic the effect. With uncooperative people,
it can take up to thirty minutes before you see an effect.
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With the right people you will get an almost immediate effect that can be quite dramatic. Tables can
move clear across rooms and even flip over. They can even act violently, almost as if they have a
personality.
This is a lot of fun and can be incredibly entertaining. Especially on a dark and stormy night with a
few friends.
THE TELEPATHIC READ
Tell your audience that you are telepathic and will read their messages or questions before seeing
them. Or you can answer their questions, sensing the questions just by touching the paper it is written
on. Blah, Blah, Blah.
Johnny Carson used to do a comedic variation on this, remember "The Great Karnak?"
This is called the One Ahead Read and is most often used by magicians, mentalists, tricksters, con
men and even some "religious" fakes who wish to try to impress people with their "telepathic" ability.
Pass around identical slips of paper and some pens or pencils. Ask your audience to write their mes-
sages or questions and to fold the paper twice, or three times, it doesn't matter provided they all look
alike. Explain that they should look the same to eliminate the possibility of your being able to identify
them by their fold and of course so that you won't be able to see them.
After collecting them, you pick one of them out. There are two ways to do the next step. If you have a
confederate, a friend to help you out, then you just pretend to read off any message, ask who wrote it
and have your confederate answer. If you don't have a confederate, you can say the first message is
too personal to read. That you will be happy to talk to the person who wrote it later. Or you can ask a
question. Pretend the first message reads, "When will I have my baby?". Then ask who wrote it.
When there is no answer forthcoming (remember, you made up the message), tell them that if they
won't verify their messages, you might as well stop. But you'll try again.
What you have really done is read the NEXT message. You now pick up another slip of paper and
repeat the message you have just read, acting like it is the message you are now holding, still un-
opened. You pick up the second slip but repeat the message (or answer the question) you have just
read on the first slip. To the audience it will appear as if you are "divining" the messages just by hold-
ing them.
A little showmanship is necessary to make this one a real winner. You can even say you will answer
the questions that they wrote before you even look at the paper. This takes a little gift for gab, but
most questions can be answered with a lot of vague generalities etc. as long as the answer address-
es the message. The people will be so impressed with your abilities that they will not be too demand-
ing about your answers. Use your imagination and you can work a couple of variations on this
principle.
There are lots of ways to actually do this for the most "bang." You can act as if you are "sensing" vi-
brations from the paper and answer the question before reading the answer.
Or you can answer the question in such a way that you can then ask your audience if the person who
wrote the question will speak to you later, that you wish to tell them something that is too personal or
controversial or technical or whatever. Your audience will be most impressed with your kindness and
thoughtfulness. The more dramatic you can be, the greater the impression you will make and the
more influence you will weld.
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There are people that have taken this technique, combined it with one or two others and started
churches, religions, movements etc. The author was personally involved in an exposure of a so called
preacher who claimed special powers.
This guy had a pretty good scam going. He was taking in about $8,000.00 a month, and about once a
month he would get someone to donate their property to his "church." He "owned" almost 13 homes
and 11 vehicles that had been donated by his faithful followers. What a racket, it felt good to pull his
butt back to the ground and expose him as a sham.
A SIMPLE MIND READING TRICK
Tell your audience that you and your partner have an astounding mental link. To prove it you will
leave the room while someone picks a number between one and one thousand and tells it to your
partner. When you return to the room, you place your hands on the temple of your assistant, appear
to concentrate and immediately announce the number. To make this even more dramatic, ask some-
one to escort you out of the room while the number is agreed upon and announced. Upon your return
be sure and tell your assistant to concentrate very hard and ask your audience not to make too much
noise etc.. In other words, play it to the hilt.
How You Do It: As you place your fingers upon your assistants temple, they tighten their jaw muscles
causing the muscles in their forehead to "pulse" against your fingers. You simply count the pulses
and announce the number. For example: If the number is 369, they would tighten their jaw muscles
three times and then pause, six times and then pause, nine times and stop. Ten pulses count as ze-
ro.
AURAS
You know, the color of the light that surrounds every living thing. It can tell so much about you. Basi-
cally, what kind of shape you are in psychically.
What type of person you are, what your mood is, if you have any problems, if you are emotional or
not. Supposedly, your aura can tell all of this about you and more.
Right . . .
Wanna buy a bridge while you're at it? In fact, I can give you a great deal on two of them. Buy one,
get the second for half price. Such a deal.
Some recent studies have been done that shed some light on this subject. Pretty interesting really.
Find two or three people that claim they can see auras, place a barrier between them so that they
can't see or communicate with one another in any way and get them to write down their impressions
of three different people, based just on their auras. One at a time, of course.
The answers seem to be based mostly on how much experience they have at being a so-called psy-
chic. If all three have been at it for a while, in other words, experienced, their impressions will often
resemble each other.
Isn't that amazing? How'd they do that? Turns out it isn't so amazing after all. Take three cops, or
customs officers, or psychologists or teachers and ask them to do the same thing and their answers
will be just as close to each other.
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Notice I didn't say accurate. I said they would resemble each other. A lot depends on what the person
whose aura is being read is doing at the time. If you show three people a guy with a smile on his face,
kind of smug looking, but basically happy, you get similar responses.
Take the same guy, have him take two steps to the right and frown, look worried, shuffle his feet and
act impatient, you will get three more readings that may or may not resemble each other, but they will
damn sure be different than the three readings taken just seconds ago when our subject "wore" a dif-
ferent attitude.
Many of these people are very good at reading body language and picking up subtle clues. It's called
observation. Nothing mystical or psychic about it.
Take the same subject, have him step from the room, change clothes, maybe put on a wig and a
mustache etc., and you will get completely different readings again. Only ten minutes later. Nothing
about the guy has changed except his appearance. Yet the "impressions" will usually be quite differ-
ent.
Okay, I hear some of you out there saying that some people are very emotional and that their read-
ings (auras) are constantly changing, "flowing", pulsing, ebbing etc., etc., so obviously this doesn't
prove anything. What's wrong with this guy anyway?
Hah? Got'cha! When you take those same so called psychics, and ask them to write down nothing
more than the color of the subjects aura, guess what happens?
Wrong. The so called psychics will agree with one another even more often! Isn't that amazing?
Doesn't that prove auras are real?
Hardly.
You see, the color of the aura seems to be directly related to the color of the clothing that the subject
is wearing.
This was the subject of a recent University study. Put someone in a blue shirt and they will see a dif-
ferent aura than if the same person was wearing red or yellow.
Put him/her in yellow clothing for instance and the color of the aura seems to remain the same wheth-
er the subject was relaxed or just hit in the foot with a hammer.
No difference. As long as the person didn't exhibit any physical sign of pain, no one picked it up in
their aura. Not one of them.
Oh well . . .
What should I wear today?
If you really want to test a so-called aura reader, get them to admit that the aura is "generated from
within" and that light has nothing to do with it.
Ask for instance if an aura is the same color in a birght room as it is in a darker room. They have to
say no, or else admit that the environment influences what they see which effectively nullifies whatev-
er claptrap they are spouting.
Anyway. Once they admit that the aura is visible in light or dark, it doesn't matter, you've got them.
Have some friends or family over. Darken a bedroom with an adjoining bathroom (darken the bath-
room as well). By darken, do everything humanly possible to block light from the outside.
Now have your aura reader go into the bath with someone (so they don't try to peek or listen). It's
okay to have a dim nightlight (preferable actually) in the bathroom, just be sure that your confederate
remembers to turn it off before opening the door. After a suitable time has passed (just a minute or
two). Have you psychic come out into the dark room and tell you how many people are there by
counting auras.
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Be sneaky have a person or two laying down, have three grouped in a corner and someone else sit-
ting in the middle. Don't make it easy.
If the reader can actually see auras, he or she should be able to give you a count in the time it takes
them to look around the room.
Wait until you hear the excuses. Oh wait, you mean you heard all of the excuses when you explained
the test and it never got that far?
Imagine that.
REMOTE TELEPATHY
At a party, bar or any kind of gathering, you approach someone and ask them to "pick a card, any
card."
It helps if you have a real deck, but in the event that you don't, you can use an imaginary deck of
cards.
Whichever method is used, be sure and play it up, use a little flash. If you are using an imaginary
deck, act as if you have a real one. Make your victim actually pick a card from the "deck" that you just
flushed and fanned.
Have the person who picked the card announce it to the crowd or even write it down.
You then go to the phone, dial a number, and ask to speak to "Glablock the Great," or "The Wizard"
or "The Sorceress."
Whatever.
You then say, "Sorceress, there is someone here holding a card." Hand the phone to your victim and
watch their face as "The Sorceress" tells them their card.
If you want to really impress them, make it a long distance number that you dial.
I've watched people look for hidden microphones and bugs, check for extra phone lines etc, trying to
figure this one out.
Here's how you do it.
For this one you need what is called a "Confederate." A confederate is a friend who knows the rou-
tine. You can be confederates for each other and reverse roles whenever the opportunity presents.
You use a very simple code.
When you ask to speak to "Glabock The Great" (or whatever name or title you agree on). Your con-
federate starts counting down the cards . . . "Ace, King, Queen" and so forth. When they hit the num-
ber, you say, "Glablock The Great," at which time they start counting down the suit, "Spade, Heart,
Club, Diamond." When the correct suit is hit, you quickly say, "I have a person here holding a card."
You then hand the phone to the victim who hears a mysterious voice say "You have the Jack of
Hearts." Or whatever the card was. They then hang up.
You're simply AMAZING!!
Get this down pat and you can apply it to different things. Such as furniture in a room etc. Just don't
use more than two variables in your code and remember the KISS principle. Keep It Simple Stupid.
One hint; Try to pick a confederate that is home or by a phone on a fairly reliable basis.
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SIGHTLESS VISION
HOW TO SEE THROUGH BLINDFOLDS
Years ago, a sensation was caused in Europe when a woman named Rosa claimed to be able to
"feel" colors and read with her fingers. She was submitted to "exhaustive scientific examination" and
even made stories in both Life and Time magazines.
There have been literally dozens of these people throughout the years claiming to be able to "see"
with their fingers. The above mentioned woman recieved so much press that hundreds of others soon
popped out of the woodwork claiming the same powers. Most of them were caught cheating or ex-
posed as fakes. But Rosa, in order to stay in the spotlight made even wilder claims and was soon
professing to be able to read books while sitting on them!
Butt vision?
Nah.
Peeking?
Yep!
There have been entertainers and so called psychics who have dazzled the world at different times
by supposedly being able to "sense" things, or being able to read the minds of others in order to navi-
gate, read, drive, identify objects etc., while blindfolded.
One of the most dramatic presentations is when one of these people is placed behind the wheel of a
car and drives an obstacle course or steers their way down a city street. Perhaps you've seen some-
thing like this on television.
Big deal.
With a little self experimentation and practice, you will find just how easy it is to foil a blindfold. Provid-
ing of course that you have a nose.
It is almost impossible to make a blindfold capable of cutting off all vision. The bridge of the nose al-
lows a natural gap that lets in enough light to make it possible for almost anyone to perform stunts
such as identifying colors, objects, pictures etc., while blindfolded.
Once you learn to cheat a little, you are virtually guaranteed to impress. No one ever objects if you
make a small adjustment to the blindfold for comfort. Or, if you place your hands to your head to help
you concentrate.
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Of course while you do this, you are slipping the blindfold up just enough to let some light in.
Furrow your brow just a little when the blindfold is being placed. It doesnt' hurt if the blindfold is fairly
tight, especially on the top. Then when you need to peek, just raise your eyebrows a little and the gap
widens.
Even wiggling your ears can help sometimes.
Of course, you want to stage your theatrics so that you have every advantage as well. Play up the
patter, emphasize how you are concentrating, don't be afraid to move around a lot. Everytime you
move your head, you should see something different or better.
Practice in front of a mirror or with a family member or friend to critique when you are too obvious.
Practice once in awhile to keep up your skills and you will be able to amaze and mystify on demand.
Just be sure you don't accept a challenge where you will be working in the dark.
TRICK BLINDFOLDS
There are so many different types of blindfolds sold by dealers that none can be recommended here.
You can get masks, hoods, gauze, almost any kind of blindfold you can think of. If you would like to
consider one of these, go to a local dealer and try some of them out.
Practice is the key here.
BENDING KEYS WITH THE MIND
Uri Geller.
Whether or not you recognize the name will probably depend on your age. This man caused a huge
sensation in the '70's and '80's with his paranormal claims. His greatest claim to fame was his alleged
ability to bend metal with his mind.
But he is still around in the year 2001.
He was supposedly studied by scientists and journalists to rule out any fakery or gimmicks. He fooled
a lot of them. The reason is simple, scientists and journalists are simply not trained to detect trickery.
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Whenever he was invited to perform in front of a professional magician, his powers either failed, or he
stated that he couldn't concentrate with such skepticism.
A professional magician known as "The Amazing Randi" is probably his greatest nemesis. Randi has
not only duplicated every feat that Geller claims, but has often surpassed him.
An appearance on the Tonight Show with Johnny Carson (himself an amateur magician) by Geller
resulted in not a single feat being accomplished because of controls that were set up by Randi.
Simple controls. Geller or his confederates were not allowed to touch or handle anything prior to his
appearance. During his appearance, Geller was asked to accomplish whatever he wanted to do un-
der controlled conditions.
End result.
Zilch, nada, zip, nothing.
There were a couple of young men that claimed paranormal powers, metal bending among them.
They were "exhaustively tested" by the scientific community at the McDonnell Laboratory for Psychic
Research and deemed authentic. "No trickery was involved." "Genuine psychic phenomena."
"Unexplainable." Were some of the terms used by the scientists about these two boys.
They confessed.
It was called "Project Alpha" and the boys were students of Randi. They managed to dupe scientists,
journalists and almost anyone else that saw them for 3 years! They were no more psychic than your
left foot. Everything they did was a simple trick.
Yet when they were deemed authentic, they received lots of press, fan mail, the whole nine yards.
People were willing to pay them for all kinds of things and willing to believe almost anything.
Their confession and explanation of how easy it was to fool the scientific community was barely men-
tioned by the press.
After viewing this and other books, you will be able to duplicate and even exceed Uri Geller and al-
most every other so called psychic out there.
Don't abuse it, have fun, make people wonder and question. Don't set yourself up as anything other
than a trickster.
Believe it or not, even when you tell people that what you are doing is a trick, not psychic at all, some
of them won't believe you.
Randi has a number of books out and I highly recommend them to those of you who are interested.
Keep up the good work Randi!
How to do it!
Bending keys and spoons is incredibly easy and lots of fun. What you must possess in abundance is
a sense of fun and a high level of confidence. A good line of B S (patter), and a little practice will
clinch it.
Go to your local locksmith and ask for his rejects. These are the keys that were miscut and are usual-
ly available for just a few cents apiece. Use these to practice with, and even keep a few around or on
you in case none of your audience has keys that they can afford to have bent.
There are a number of methods you can use to bend keys and spoons. What you must first guard
against, at least until you have a lot of experience, is conditions set upon your performance.
If you are at a party or even if you are just doing this to impress your date, you must always play up
the act that your powers are a tempramental thing and that sometimes it works and sometimes it
doesn't. Conditions have to be just right. Etc., etc.,etc. . . .
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This line allows you to define the conditions and terms and not your audience, who will sometimes
make entirely unreasonable demands.
NEVER LET ANYONE RUSH YOU. TAKE YOUR TIME BENDING WITH YOUR "MIND."
THE FIRST RULE OF BENDING KEYS is to pick keys that are relatively easy to bend. Try to get
keys that are thin or that have deep notches cut into them. Always try to make your bend on the
deepest notch ( see illustration ). It is so much easier this way.
The second rule is that if you are caught without your prop (more about this later), don't despair.
There is always something around.
The third and most important rule is that you can't bend a key with your mind, you usually can't bend
a key with just your fingers (without being obvious). You must use SOMETHING to bend the key on.
I have used tables, the edges of chairs, a belt buckle, and even a beer bottle. All you have to do is
misdirect your audiences attention. One of the best and easiest ways to do this is by using more than
one key.
While you are secretly bending one key, you are focusing your participants attention on a different
key.
You can do this by selecting two or three or even more keys, ask someone to hold the end of one key
while you hold the other. Ask them if they can feel any warmth or tingling. Focus them on that key.
Meanwhile, you adjust your chair, appear to concentrate etc., without being obvious your other hand
is bending a different key.
I used to have a belt buckle that was fairly large and looked like a sun with rays fanning out that were
cut into the buckle. This was perfect for bending keys.
While we were concentrating on one key, I would casually lean in and bend the other key on the
buckle as I brought my hand up. This move was easily concealed by a table or even by my own body.
Remember, the key doesn't have to look like a pretzel, a slight bend is quite impressive. Use the
same technique to bend a key on the bottom of a table or the underside of a chair.
Pressure exerted by the thumb or the side of the index finger is usually enough to place a bend in a
key where there is a good notch. Longer keys provide greater leverage.
Another great way to do it is to use one key to bend the other. Many keys have a notch on the finger
end that you can use to place a part of the other key in and then bend with pressure from the thumb
or finger or even a quick squeeze in the palm (see illustration). This will often have the effect of bend-
ing both keys. Practice.
68
The easiest way to bend keys is to use a gimmick. It is pictured below. Almost any machine shop can
make one for you for just a few bucks. It can be made of steel or brass, anything that won't bend.
Make it to the exact dimensions and it will work perfectly and serve to amaze everyone.
Something similar to this can be purchased at some magic shops. Support your local magic store
whenever possible, they are effectively the "keepers of the flame."
It is exactly the right size to be palmed in your hand, just below the fingers at the top of the palm. If
you've never palmed anything before, practice in front of a mirror so that you will know just exactly
how to hold it, how to work it into your hand so you can use it, and how to covertly ditch it back in
your pocket when the key is bent.
Practice in front of a mirror so that you will know just what angles will work with your audience etc.,
you don't want anyone to spot what you are doing.
You may also want to coat the gimmick in rubber or plastic to reduce the chances of anyone hearing
the key going into the gimmick. There are a number of products in Hardware that will work, from
sprays to solutions that require you to "dunk" the object being treated. Just don't use so much that a
key will no longer fit inside.
69
If you are right handed, palm the gimmick in your right hand. Remember to choose a thin key with a
good deep notch in it. Pick the key up in your left hand and start your acting routine. Act like you are
concentrating, hold the key up to your head or wave it in a circular motion over your head while you
furrow your brow. You are being watched like a hawk right now and need to relax their attention. You
can even ask one of your audience to stroke the key at this time. Ask if they feel anything like heat or
tingling.
Remember, you are taking your time and moving slowly. Take the key into your right hand and slowly
(silently) slip the key into the gimmick, stopping at the deepest notch. With just a little practice, you
will be able to do this instinctively.
Now you have to conceal the actual action of making the bend. You of course do this with distraction.
"Stroke" the large part of the key with your thumb and then hide the action of the bend by either mov-
ing your left hand over the key in your right hand while you "concentrate" or by moving the hand in a
circular motion or even by bringing the key up to your forehead or temple (to focus your concentration
of course).
The whole time you do this, you are naturally carrying on a dialogue about how hard it is etc.,
Once your thumb has made the bend, you must conceal the fact. Act like nothing has happened yet.
You are concealing the bend in your hand.
From this point on there are a number of ways you may proceed. You can take the key and place it in
a spectators palm and rapidly close it into a tight fist so that they can't see or tell that it is already
bent. Then have them hold it to their forehead and concentrate. Again, you play it up "I'm starting to
feel something, the power is beginning to move through me. Tell me as soon as the key begins to feel
warm or tingle." If they don't say they feel anything in just a few moments, grunt or something and
shout "Now!"
Then reveal how the key was bent while they held it.
Another method is to hold the key so that the bend is concealed by the fingers. Stroke and rub the
key with your fingers while you do your act. Hold the key in position so that it looks straight and flat
and then gradually move your fingers back to slowly reveal the bend. If practiced and done properly,
it will look as if the key is bending right before their eyes.
Once the key is out of your possession, either in someone elses hand or laying on a table or whatev-
er, play the patter up and tell them "look, the key is still bending!" More often than not, your spectators
will readily agree with you.
While this is going on, you may even have an opportunity to effect a bend in another key. Especially
while they are all distracted and looking at the first key. If you can do this while no one is looking it
can create a very dramatic effect.
With just a little practice you can learn to do this pretty fast. While everyone is ooohing and aaahing
the first key, quickly palm another one and bend it with the gimmick or under the table or chair and
replace it without calling any attention to it.
Sooner or later, someone else will notice the key and often claim that it is bending right in front of
their eyes (feel free to coach them into believing this).
You then explain that your powers are like that, often affecting other things around you. Have people
check their pockets and purses and see if anything else bent. Surprisingly often, someone will insist
that their keys bent right in their pocket or purse.
It is usually just a slight bend that they haven't noticed before. Lots of keys have slight bends in them
so this can often pay off. And not just keys. I once had a guy insist that I had bent his comb with my
mental powers even though it was quite obvious that the comb was bent from being carried in his
back pocket. No one else seemed to think of this at all.
People simply believe what they want to and see what you lead them to expect to see.
70
Remember to use misdirection, take your time, and be a good actor.
For a truly astounding effect, if you have the right audience, tell them that your powers are strong that
night and then using the same process, straighten a key that you have already bent! Very dramatic.
Just practice a little and you'll be pretty much foolproof. With the proper use of misdirection, you
should be able to get pretty good, bending keys literally right under the spectators nose.
Have fun, but remember not to let anyone worship you. It's tough being the left hand of God. It can be
lucrative though, just ask Uri Geller. If you want a great laugh, read his books after you've read Ran-
di's.
BENDING SPOONS WITH THE "MIND"
Spoons are even easier than keys. With keys you almost always need a device or gimmick. With
spoons, just the pressure from your fingers is more than enough.
Same principle as with the keys. The whole secret is MISDIRECTION!
You can actually bend a spoon while your audience is sitting right there watching you!
Hold the spoon so that the handle is concealed completely by your hand with your right thumb just
below the base. Make your left hand into a sort of fist, holding the other end of the spoon sort of
pinched between the left thumb and index finger so that just a little of the spoon is actually showing.
Stroke the spoon with your thumbs and go into your act. While you are stroking, you can actually
bend the spoon just behind the bowl of the spoon using your right index finger as the leverage point
(see illustration). The pressure on the spoon is actually made by the heel of the hand on the handle
end of the spoon (best leverage), but your audience is watching your thumbs.
The position of the hands will actually conceal the bend.
Again, with a little practice, you can make the spoon actually look like it is bending while you stroke it.
You just slowly move your fingers down the handle, gradually letting the bend you already made
come into view a little at a time.
Take a spoon that is already bent and practice "stroking" so that the bend gradually appears. It's a
great effect and so simple that no one looks for it.
If you're bold enough, you can take a stack of spoons, secretly bend one of them and casually toss
them onto a table. Act like you are trying to bend a different one (make careful mental note of where
the bent one is), then eventually pick up the bent one and act surprised when you discover it is bent.
Using the same technique as described above, concentrate on one of the unbent spoons, acting like
you are having some difficulty. Then pick up the bent one and "spoon" them together. Again, act sur-
prised and state that you must have bent the spoon after all. A little misdirection and some smooth
handwork and no one will notice that it was the other spoon that was bent.
71
HOW TO SNAP OR MELT A SPOON IN TWO
This is very good! People always react strongly to this one. Two different people each hold a different
end of the same spoon. You stroke and wiggle it near the bowl just a little and it suddenly snaps or
separates.
This just has to be set up in advance. You secretly bend the spoon back and forth until it is almost
ready to break with just one or two more bends. A little practice and you will find this quite easy to do.
You can do this bending while you are sitting at a table. Just keep your hands and the spoon con-
cealed under the table. You also want to conceal your movements. When the spoon is just about to
snap, innocently place it with the other spoons.
Now get into your miracle working mode. Pick it up covering the bent portion and have them each
grasp an end. Tell them to announce when the spoon is feeling warmer (it will naturally conduct your
own body heat), then ask them to announce when it is feeling hot. They will usually react with a shout
when the spoon breaks.
I caused quite a sensation at a party one evening. A number of the people that were there believe
quite vehemently and vocally in psychic phenomenon. I decided to freak them out totally.
It worked.
Before the party, I prepped some of the silverware by bending different pieces to different degrees
and a few of them to the point of breaking. I made sure these had a nick or some identifiable mark so
I would know them when I saw them.
After a suitable time (about three drinks), I steered the conversation to "unexplained phenomena."
Naturally someone soon brought up metal bending. I jumped up and shouted that I knew that there
were some psychics present (nearly all of them had told of psychic experiences at one time or anoth-
er), and lets give it a test.
I opened my silverware drawer and unceremoniously dumped it in the middle of the living room. It
didn't take too long before people started shouting out their successes.
Wanting to be the most impressive of course, I snatched up the spoons that were ready to break. A
lot of acting later, and the entire room was congratulating themselves on their psychic abilities. I
eventually led them into a seance where the table danced and used some of the other tricks and cons
availiable on the Amazing Secrets E-books.
Almost all of them told me it was the greatest party they had ever attended.
Ain't I somethin'?
MOVING A COMPASS WITH YOUR "MIND"
This was another favorite of the so called psychics that loved to appear on TV.
It would often take several minutes for them to perform their "miracles." Of course during this time
they always had a good line of patter that served to make them even more believable to the GP
(general public).
Now you know better. The principle for this one is so simple and stupid, I'm amazed that even talk
show hosts would allow this as a demonstration of telekinesis or psychokinesis.
The psychic is placed before a magnetic compass. It doesn't matter what size it is, could be a little
hand held unit or a big floor mounted job.
Whatever.
72
It does help if you know or have an idea of how big it is, but it's not essential.
The psychic then goes into their line of bullstuff and begins making dramatic gestures around and
over the compass while the camera zooms into the face of the compass to record any movement.
Sometimes they may even use a split screen with the psychic taking up most of the screen and a
close up of the compass face in a corner.
On and on drolls the psychic. Concentration is etched upon their noble brow as their hands move
gracefully and dramatically around and over the compass. They lean closer and closer toward the
compass, you can see the effort on their faces and lo and behold, the needle moves ever so slightly.
Miracle of miracles, it moves even more! This is truly a demonstration of psychic powers. This person
moved the needle in the compass with just the power of their mind!
Not.
Pretty interesting stuff they were saying while they were expending this great effort. Some examples.
"Concentrate with me, I cannot make this work without your help. I can feel the energy building, think!
Concentrate! Move the needle with your mind. I am just the channel. It is you that are doing it."
"This is very difficult. I must have absolute silence while I concentrate. It is extremely hard to actually
move or even nudge an object with only the mind. I typically lose about five pounds each time I at-
tempt this."
"Someone is blocking me. I will attempt it again, I think I am strong enough. Yes, I can feel their doubt
fading. I'm getting stronger. It's so hard to do when someone is trying to prevent me. Please believe,
or at least suspend your belief and give me a chance."
Etc. Etc. And all the while they are laying this line of rap on you they are waving arms, making
motions with
their hands, moving their heads closer to the compass.
Why?
I thought you'd never ask. So that the magnet they've concealed will work on the compass of course.
Magnet? What magnet?
In order to make this actually happen, it is best if a magnet is used. Although I have seen the com-
pass needle successfully moved without one. The compass in this instance was a large one intended
for decoration in a den or office. It had a floor stand and was quite functional. All the psychic had to
do was misdirect the audience with his patter and the gesticulation of his hands etc., and the four
very professional people witnessing the act were quite convinced that the psychic moved the globe of
the compass with their powers.
Nothing to it. All I had to do was remove my shoe (slip on type) without being observed and tap on
the bottom of the stand with my big toe. No one thought to look down there, they were all to busy
looking at the globe of the compass.
With a magnet it is even more impressive. Small, powerful magnets can be purchased almost any-
where these days. Department stores, hardware stores, electronic stores, chances are that even your
neighborhood grocery has some somewhere.
Once you have one (pick a small one), it is quite easy to conceal it upon your person somewhere. I
have used the web of skin between my thumb and index finger to palm one. I have used my mouth,
the inside of my elbow, my pants pocket, my shoe, wherever I wanted to at the time.
If you know it's going to happen ahead of time, just tape or bandage the magnet to your knee and
raise it to the compass when appropriate.
73
You will have a better idea of where to conceal it once you know what the compass looks like. All you
need to know is how high or low will it be. Of course no one will expect you to move the needle from
any distance away, especially after you explain that you have to be close enough to see it clearly so
that you may concentrate intently etc., upon it.
One of my most successful attempts at this actually was accidental. I was palming a magnet in my
hand when I dropped it! I had probably had to much to drink that night, but I somehow managed to
catch it on the inside of my elbow. Incredibly, no one saw this happen. So I had to improvise. Instead
of gesturing with my hands, I brought them to my temple. This lifted my elbows to just the right height
to affect the needle of the compass.
Mission accomplished.
It was quite easy to drop the magnet back into my hand and then quickly pocket it once the demon-
stration was over.
If you watch carefully, you will notice that perhaps one hand doesn't quite get as close to the com-
pass as the other. Or that the "psychic" bends a little closer and closer until the compass reacts. This
is very important and must be done properly and with some skill. What the "psychic" is actually doing
is testing the compass to see how close the magnet has to get to affect it. Once a very slight move-
ment is seen, the position of the concealed magnet is remembered and then brought just a little clos-
er to cause movement.
Again, you don't have to make it move much at all to call yourself a success. Any movement can and
should be attributed to your powers. With a really good magnet, you may even be able to get the
compass to spin once or twice.
Just don't get too cocky and make the compass sit up and dance or anything. If you ever want to
challenge someone who claims to have this power, it is quite easy to do. Just float a toothpick or
match (something non-metallic) in a half full glass of water and cover that glass with another so that
the toothpick can't be blown on and moved with the breath.
But be careful. If you challenge me to this, I just might make that toothpick or match skitter across the
surface of the water.
How?
Well you should be able to figure that out by now.
After all, by now you're as good as any psychic out there!
Read my mind!
End
74
SECRETS OF FIRE
Fire Breathing
Let me stress right off the bat that this is a stupid, dangerous stunt and is provided for information on-
ly. Even professionals have been known to have accidents doing this routine and have died or been
left disfigured for life. Fire is incredibly dangerous. Take a tour of the burn unit of your local hospital
sometime, just to get the hell scared out of you.
In real life, the curtains would burn down
When I was in the army, I watched a guy do this and he ended up burning down the barracks. No one
was hurt, but he may still be in the stockade (prison) for all I know.
I know of another guy that thinks he is some sort of entertainer when he has a little too much to drink.
He does what he calls the African Fire Dance and breathing fire is one of his "tricks." He has never
yet done his little dance without burning himself and on occasion, bystanders. But such is our fascina-
tion with fire that he is almost always asked to do his so called dance at parties etc. It is just a matter
of time before he kills himself.
Stupid.
It really is a simple trick to do, and as long as reasonable care is taken, fairly safe. A small amount of
flammable liquid is placed in the mouth and blown toward an exposed flame such as a torch. It must
be blown with enough force to vaporize the liquid and the flame should be held well away from the
body and of course there should be nothing around that might catch fire. It should always be done
outside on a calm day.
I once saw a "pro" at a carnival blow flame only to have a sharp gust of wind blow it right back at him.
He was fortunate that only his hair and eyebrows were burned. Also remember that if there is any-
thing within thirty feet of you that can burn, it probably will. Curtains are especially notorious for going
up with a whoosh.
So what type of liquid is used? I've seen it done with kerosene, naphtha (lighter fluid), various hard
liquors and the highly flammable Everclear. A half teaspoon is all that is needed to produce a dramat-
ic flare up. The flame should be held at almost arms length and the liquid should be exhaled explo-
75
sively towards the tip of the flame, and the flame should be immediately removed by sweeping it
away from the spray. It may sound stupid, but for crying out loud, don't inhale.
Some points to consider. Most flammable liquids taste like something you wouldn't feed your worst
enemy and they can be harmful by themselves. The lining of your mouth was not meant to handle
something like kerosene or naphtha and it may burn just from caustic action. The taste can be so bad
that it may trigger a gag reflex and cause you to swallow the liquid. This is not recommended. Very
bad things can happen to your system if this happens. You may die for instance.
This is not something that should be done more than once or twice in a row. Just the fumes from the
liquid can knock you out with repeated exposure. DO NOT EVER TRY THIS WITH GASOLINE!
YOU WILL BURN QUITE DRAMATICALLY AND HAVE TO SPEND THE REST OF YOUR LIFE
WITHOUT A FACE AND PROBABLE LUNG DAMAGE.
In fact, don't try this at all. Live long enough to buy more of our books. Be content knowing how it is
done.
The Leidenfrost Effect
Oh boy, can you have a lot of fun with this. The Leidenfrost Effect is something you've probably al-
ready seen in your own kitchen. Have you ever gotten a skillet or pan so hot that when droplets of
water hit it they just bead up and dance around before finally evaporating. This is the Leidenfrost Ef-
fect.
Basically, what happens is that because of the high heat, some of the liquid is vaporized and creates
a sort of barrier between the heat source and the liquid.
Here's a great way to have fun with this. The next time you are at a party or gathering where cold
beverages are being served, find a smoker. Press your thumb or finger tip against the side of your ice
cold glass or can (it should be cold enough that it sweats [condenses]. Then take the lit cigarette and
hold it by the ends between the thumb and middle or index finger of the same hand. Be sure to put
the lit end on the finger or thumb that was pressed against the cold glass. You will be able to hold it
for several seconds without discomfort or damage. When it starts to warm up, grab it quickly and
watch the look of amazement on people's faces.
You do have to be careful not to hold the cigarette for too long, but once you try this once or twice,
you'll know just how long to hold it. You can play the patter up on this and tell them how you are im-
mune to pain, or you spent some time with a fire worshipping tribe in New Guinea or something. Use
your imagination. It can be most impressing. Act casual, but be aware of the passage of time. Get
your point across in just a few seconds and "leisurely" remove the cigarette from your fingers.
You can get away with this a number of times at the same gathering if you are suave enough. Just
don't be obvious about your fingers and the glass. This shouldn't be any problem since you will prob-
ably be drinking something yourself and you have to hold it anyway. Just be careful that your drink
doesn't get warm or empty just before you are asked to do this in front of an unbeliever.
I have personally made some nice EZ money betting people I could do this at bars, parties etc.
Variation
Press the same glass against the pad of flesh just below the thumb and you can now put out a ciga-
rette on the "palm" of your hand. Again, just be aware of the passage of time. Extinguish the cigarette
quickly but make it LOOK leisurely. Tell people you spent some time in Hawaii where the people un-
derstand fire.
76
It's this same effect that enables you to snuff out a candle with your fingers, place a lit match in your
mouth without burning ( or a lit cigarette, lit end first). I once won $300.00 in a little bar in New Mexico
by betting that I could hold my hand over one of those candle containers with a lit candle until the
candle went out. These are the type shaped like a small fish bowl with the candle inside. They are
almost round, with a small opening at the top.
The theory was that if you sealed the top well enough, the air would burn up and the flame would go
out. Everyone else tried unsuccessfully and the pot grew a little more each time, I sat with my hand
wrapped around a frosty bottle of Dos Equis.
When my turn came, I used every advantage I could think of. My palm was moist and cold, creating
an airtight seal, but I also squeezed hard on the top, forcing some air out. Just when I thought I
couldn't stand it anymore, the flame grew tiny and died. Three hundred bucks for a few seconds effort
is pretty good money. Needless to say, I bought a few rounds for our table. Always be a gracious win-
ner.
Also be aware that three grown men burned the hell out of their hands trying to do this.
FIREPROOFING
THIS IS PROVIDED AS INFORMATION ONLY! IT IS NOT INTENDED AS A TUTORIAL FOR PEO-
PLE WHO THINK THEY WANT TO BE ENTERTAINERS OR SHOW OFFS. IF YOU ARE STUPID
ENOUGH TO TRY THIS, YOU DO SO AT YOUR OWN RISK AND WILL PROBABLY SUFFER SE-
RIOUS BURNS. BE CONTENT TO KNOW HOW IT IS DONE.
You may have seen carnival performers or other entertainers handle fire or hot objects with seeming
impunity. Red hot irons placed on the tongue, torches passed over the body and flaming coals seem
to have no effect on the person handling them.
An Italian physician and chemist named Sementini found that certain preparations render the skin
insensitive to contact with fire or incandescent materials. His first experiments were with sulphuric
acid. Diluted solution was repeatedly applied to the skin, causing minor burns and the buildup of scar
tissue. He was then able to apply a red hot iron to his body with no apparent pain.
He continued his experiments and found that a solution of alum produced the same effects. He acci-
dentally discovered that soap applied to a hand that had been previously impregnated with alum was
even more effective.
He also discovered that a layer of powdered sugar covered with soap proved to make his tongue al-
most entirely insensible to heat. It also promotes the gag reflex and, if swallowed, vomiting.
FIRE WALKING
Oh what fun! What a way to spend an afternoon eh? Dig a big pit and start a bonfire in it and then
hours and hours later you spread the coals around and go for a little stroll right down the middle of it.
Anthony Robbins, a motivational counselor in California uses fire walking as part of his pitch to im-
prove a persons belief system. Attendance at his seminars and speaking engagements was falling
until he started using this. Then a celebrity or two got involved and his empire was built. Don't get me
wrong, except for minor con jobs like this one, I think he has a great program and some good books
77
out. I just resent anyone taking credit for something that ANYONE can do with just a little knowledge.
It serves it's purpose however and builds the marks confidence.
You could even roast your wienies while you're waiting around for the coals to get hot. A perfect Sun-
day picnic! Don't forget the marshmallows.
Again, the western world freaked out about this and expounded numerous theories ranging from the
Leidenfrost Effect to the production of endorphins to the application of chemicals and so on.
The explanation isn't so complicated. The Germans provided the insight through some valid scientific
measurements. They attached thermocouples to the soles of some fire walkers feet and found that
while the surface of the fire was measured to be about 932 degrees Fahrenheit, the soles of the feet
registered only 356 degrees Fahrenheit. Hot? certainly. Yet as long as you continue moving at a brisk
pace, not hot enough to do any real damage.
You want to use wood that does not retain heat well. Softwoods as opposed to hardwoods. You want
to let the wood burn down to coals. Coals do not transfer energy as well. If you use rocks, use a vol-
canic rock such as lava rock or pumice. Again, they do not retain and transfer energy well.
Watch the color of the flames-yellow is hotter than orange, which is hotter than red and so on.
Rake the yellow and orange glowing coals to the side,leaving the relatively cooler ones in the middle
and walk on these.
Let your feet sweat, the Liedenfrost Effect does help. Stand in grass covered in dew or that has been
recently watered. A hose is usually kept nearby and water will be spilled somewhere, find it and walk
in it.
Again, move briskly. The average firewalker only spends about one and one-half seconds on the
coals.
A distraction helps. Look upward or out and chant or yell something as you cross.
If you want to cheat, try putting some alum on the soles of the feet.
If you fall, you will burn like hell.
Another stupid trick.
SMOKE FROM YOUR FINGERTIPS
Ever see someone lick their finger and touch their hips or somewhere and go "Ssssss" like it was siz-
zling? Want to blow them away? Show them who is really "hot stuff?"
Are you so hot that just rubbing your fingers together will make smoke?
Of course you are!
Tear the striking surface off one or two books of matches and lay cardboard side up on a piece of
metal such as a pie plate. You can even use a couple of coins if there's nothing else available. The
striking surface should be against the metal. Now light the cardboard side of the striker and let it burn.
After it burns you will notice some dark colored residue on the metal surface. This is red phosphorus
and ignites at a very low temperature. Rub this residue on the tips of your fingers and thumbs and rub
them together. . . . . SMOKE!! Now you can prove just how hot you (or someone else?) really are.
FIREPROOF PAPER
78
Put a little water in a paper cup and balance it on the tops of two glasses so there is a gap between
them. Using a candle, or even a cigarette lighter, place the flame under the paper cup and soon the
water will begin to boil without damaging the cup. If you are very careful, you can even hold the cup in
your fingers by the rim. The water conducts and disburses the heat so fast that the paper cup never
reaches the kindling point. Of course if the water boils away or if the flame gets higher than the water.
. . . . POOF!
Hey, didn't your Mommy ever tell you not to play with fire?
A FLAME THAT WON'T BURN
For Crying Out Loud, be careful with fire! All it takes is a little common sense to have a some safe
fun.
Make a solution of equal parts rubbing alcohol and water and soak an old rag in it (or maybe those
orange pants you have in the back of the closet). Hold the wet cloth over the sink or some equally
safe surface with a long pair of tongs and light the bottom of the cloth.
It will burn like crazy for a couple of minutes, but when the flame dies, the cloth won't even be singed!
There is just enough alcohol to make a flame, but too much water to evaporate before the flame dies.
BE CAREFUL. DO NOT DO THIS AROUND CURTAINS OR ANYTHING FLAMMABLE.
En d
79
THE SECRETS OF HYPNOSIS
HYPNOSIS
The following is going to be a brief discussion and a sort of how to guide on how to induce hypnosis.
You may choose to use this information for self hypnosis or in the hypnotizing of others. If you choose
to hypnotize others, I heartily recommend that you do some further reading on the subject and that
you even find a practicing hypnologist to interview and discuss this with. They can be found in almost
any yellow pages. A trained psychologist or psychiatrist might tend to give you more insight.
Before discussing how to induce hypnosis and how it may benefit you, some myths should be dis-
pelled. To begin with, forget almost everything you've read or seen on TB or in movies about hypno-
sis. The Svengali-type image evoked as a result of media stereotyping is completely false.
At no time are you in someone else's "complete control," nor do you at any time lose control of your-
self. You are never unconscious (unless you are completely bored and fall asleep), even in the deep-
est states of hypnosis, there is a part of your mind that remains detached, ready for any emergency.
If you were hypnotized in your home and your baby started crying, for instance, you would probably
wake right up and go and see what the problem was. Only about 4 or 5 per cent of the population is
capable of achieving the deepest states of hypnosis. In most studies, resulting in suggestion being
employed, results were achieved at even the lightest states.
Hypnosis in NOT sleep. At no time do you lose consciousness, In the hypnotic state, the body is re-
laxed, your breathing is even and for the most part the eyes are closed. That is where any resem-
blance ends. In the hypnotic state, awareness and mental processes are actually heightened and
increased. Many people think that they never achieve the hypnotic state because they can still think
and reason. Of course you can, about the only thing out of the ordinary you will notice is the feeling of
extreme relaxation.
Think of hypnosis as an avenue of communication between the conscious and the unconscious mind,
allowing oneself to be receptive to constructive suggestions.
Another myth to be dispelled is the attitude that some people have concerning their ability to be hyp-
notized. They think that they are "too intelligent, too strong willed or too imaginative, etc.," In fact,
these are the very qualities that make for good hypnotic subjects, So forget all of the myths and falla-
cies that you may have heard or seen about hypnosis. It is simply a valuable tool (approved and en-
dorsed by the American Medical Association) that you can to use for your own benefit.
Most people's exposure to hypnosis has been through the movies or television or even stage hypno-
tists. Forget all of this if you have been exposed to any of it. Things are not like what these mediums
portray.
You cannot hypnotize someone and tell them to take their clothes off and expect success. No one will
be in your power, no one will do anything they wouldn't normally do. Some people have used the act
of hypnosis as an excuse to exhibit behavior they would not normally engage in.
It is true that some people will have lower inhibitions while in the hypnotic state, and some people that
are natural or repressed exhibitionists will willingly engage in "abnormal" behavior (stage hypnotists
count on this very fact), but these are the exceptions and rarely encountered by the amateur.
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Your local library can provide you with numerous books on the subject that will serve to give you a
pretty fair education and elaborate on much of the methods, tests, etc., than we will discuss here.
Just remember that hypnosis is a tool and it is not going to give you any power over anyone.
Now we will teach you how to induce self-hypnosis. You should begin by taking a comfortable posi-
tion, either sitting or lying down. Now take a couple of deep breaths as you say to yourself, "relax
now" with the exhalation of each breath.
You should then begin a systematic relaxation of the muscle groups. Begin with your feet. Let the
muscles of your feet go loose and limp, then let this relaxation travel in a slow wave up your ankles
and knees to your hips. Then let this wave of relaxation travel on to your abdomen and back, and
slowly up your torso, relaxing your chest and then your shoulders. Then relax your arms on down to
your hands and even your fingertips, and finally on to your neck and up to your jaw and mouth. Let
your eyes close as the wave of relaxation travels on to your forehead until you are completely re-
laxed. Now say to yourself, "now I am going deeper," and repeat this several times but not out loud,
just think it to yourself. By this time you will be in a very light state of hypnosis. You may not think so,
you will just feel relaxed and tranquil but quite alert. Congratulations, this is exactly what hypnosis is.
An advanced and controlled state of relaxation , it is not a "trance." By this time your breathing should
have slowed and grown a little deeper and your pulse has probably slowed also.
Now, unless you dislike riding escalators or taking stairs, imagine yourself standing at the top of one.
Visualize the steps moving down in front of you and see the railings. Count slowly backwards from
ten to zero, imagining as you start your count that you are stepping on to the escalator and standing
with your hands on the railings as it moves down carrying you down deeper and deeper. When you
reach zero in your count, think of yourself stepping off the escalator as you reach the bottom perhaps
to the cuddly warm comfort of a soft bed. The first few times you try self hypnosis, you might want to
visualize yourself going down three or four different escalators from floor to floor counting backwards
each time as before. After a little practice, you should only need to go down the escalator once. This
is known as visual imagery, and is quite valuable in the art of hypnosis. Actually "seeing" yourself go-
ing down deeper and deeper greatly increases the depth of your hypnotic state.
As a beginner you may be wondering if you are getting any results by now, after all, you can still think
clearly. Think and act positive at this point, you should now be in at least a state of hypnosis deep
enough to accomplish your goals. If you should wish to go even deeper into hypnosis, simply imagine
you are in any peaceful scene of your choosing, at the beach lying in the sun, fishing, lying in a green
meadow or simply at home on your couch. Any type of peaceful visualization will help you to go deep-
er into hypnosis. As you visualize this scene, think to yourself that you are going deeper, becoming
more and more relaxed. For some reason, it seems to work better if you use the word "you," such as
"you are going deeper and deeper" rather than saying "I" am going deeper.
Now is the time to give yourself whatever constructive suggestions you have in mind. The sugges-
tions will need to be repeated three or more times and must be phrased positively. You should use
visual imagery as well as suggestions of physical change. After you have given yourself instructions
or suggestions, you will then tell yourself that hypnosis has been a pleasant experience and that you
will enjoy the next session even more and achieve and even deeper state. When you are ready you
will then awaken yourself. Many people find the state of hypnosis so enjoyable that they are reluctant
to awaken themselves. Don't worry if this happens, at the worst you will just drift off into ordinary
sleep. You should also be aware that while enjoying hypnosis, time may seem to pass very quickly.
What you may have thought were only a few moments may actually be a half hour or more.
I am now going to give you the complete induction, and awakening process. You may either choose
to memorize it or you may read it into a tape recorder an play it back for each session. The best way
to learn self-hypnosis is to find a doctor or psychologist to instruct you, but if that may not be practical
for you, the following should do quite well, As with anything else, you will improve with practice.
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Take any comfortable position either sitting or lying down, with your arms on the arms of the chair or
at your side. Close your eyes relax. The talk follows, it should be repeated very slowly and in a mono-
tone voice:
"Now that you are comfortable, you will listen closely and follow all suggestions given. Your eyes are
now closed. Take a very deep breath an let it out slowly, slowly, relaxing as you breathe out. Take
another deep breath and relax, the more you can relax, the deeper you can go into hypnosis, With
each breath you take, you will become more and more relaxed and slip deeper and deeper into hyp-
nosis.
Let your muscles go as loose and limp as possible. Start with your feet, tighten the muscles in your
feet and ankles, then let them relax. Tighten the muscles in your legs and then let them relax, let
them go loose and heavy.
Now let the stomach and abdominal area relax as this wave of relaxation travels up your body. Mov-
ing upward to your chest and breathing muscles, letting you breathe slower and deeper, slower and
deeper. Now let the muscles of your shoulders and neck loosen up and relax. let all of the tension
flow out with your breath. Now the wave of relaxation is going down your arms, into your hands and
out to your fingertips, relaxing. Even your facial muscles relax and loosen, you feel so pleasant an
comfortable. Completely let go and let the relaxation spread through your body. All tension seems to
slip away from you and you enjoy a sense of listlessness and well-being as you become more and
more relaxed.
As you relax more and more, you will slip deeper and deeper into hypnosis. Your arms and legs be-
come heavier, or you may find that your whole body is feeling very light, almost as though you were
floating. Going deeper and deeper with each breath you take.
Now I want you to imagine you are standing at the top of an escalator. See the steps moving down if
front of you, and see the railings, Now I am going to count from ten to zero. As I begin to count, imag-
ine that you are stepping onto the escalator. Stand with your hands on the railings, hold on as the
steps move down in front of you taking you with them, down into deeper relaxation.
(SLOWLY) TEN - now step onto the escalator and begin going down.
NINE - deeper and deeper.
EIGHT - going down further.
SEVEN - relaxing more and more.
SIX - still deeper.
FIVE - going down further.
FOUR - relaxing still more.
THREE - going deeper.
TWO - still deeper.
ONE more and more relaxed . . . and ZERO. Now step off at the bottom and continue to go still deep-
er. (At the beginning, you should repeat the escalator sequence three times. As you progress and
practice, this should only be necessary once.)
With each breath you take you will continue to go deeper and deeper into hypnosis. You are very re-
laxed and very comfortable, your breathing is deeper and slower.
While you are in hypnosis if something should happen to awaken you, such as a fire or the phone
ringing, you will awaken instantly and spontaneously and be wide awake and fully alert. Your subcon-
scious mind will always protect you and your family."
At this point, you should have your suggestions prepared and ready to insert here. Remember to be
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repetitive and to use visual imagery. Keep your voice somewhat commanding yet speak in a mono-
tone.
Practice using your voice so that you are speaking at a speed of about 45 "beats" or syllables per
minute. Studies have shown this to be most effective for suggestion.
"Hypnosis has been pleasant and enjoyable. Hypnosis has been pleasant and enjoyable and the next
session you have will be even better. Your next session with hypnosis will be even deeper, you will
relax even more.
Now I am going to count to five and you will awaken. You will feel refreshed, alert and wide awake.
You will feel quite pleasant and alert.
ONE - begin to awaken.
TWO - THREE - FOUR -and FIVE - wide awake."
That is all there is to it. Just read al of the above into a tape recorder just as it is printed an use it
three times per week or so.
If you are hypnotizing someone else, there are a number of "tests" you can perform to tell how deeply
they are hypnotized. The simplest is to just ask them. Tell them to imagine a scale of from one to ten.
When they begin the session, that would be one, then ask them where they would be on the scale
now.
To see how suggestible someone is you can use waking suggestion to see how they respond. An
example might be to have them imagine that a steak is frying on the stove and they can hear it siz-
zling in the pan. Now tell them to imagine that they are adding onions to the steak and cooking them
up as well. The steak and the onions are sizzling, the aroma of cooking onions rises to meet you, a
little salt and pepper and you cut a piece . . .
somewhere along here you should see your subject swallow, or lick their lips or open their mouths.
Won't work of course if they are a vegetarian, but the important thing is to use imagery and watch
their reaction. How they respond should give you an idea of how they will respond to hypnotic sug-
gestion.
One you might try is to have your subject close their eyes and look upward. Then ask them to try and
open their eyes and tell them they will find it quite difficult. If a person is "looking" up it can be difficult
to open the eyes.
An even better one is to have them clasp hands and lace their fingers together, intertwining them.
Have them stand the two index fingers up and separate them. Then tell them that it will get harder
and harder to separate their fingers, that they will start to come together. Lo and behold they will.
Simple fatigue, but it helps to instill confidence in the hypnotist.
When you end the session always stress how pleasant and safe the session has been and how the
next one will be even better, more effective etc.
Don't expect miracles, but don't get discouraged either. Each hypnotic session should be a little bet-
ter, a little more effective etc. Always use positive suggestion and never negative (state that you will
have pleasant dreams about things that you enjoy instead of something like "You will no longer have
nightmares.").
If you are really interested in pursuing this subject, read, read, read. It's fascinating stuff and might
lead to some happy changes in your life.
There are many web sites on the net that deal exclusively with hypnosis, just use any search engine
and look for hypnosis or hypnotic induction methods and you will be kept quite busy studying. There
is a hypnosis web ring as well.
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Just remember, you won't be able to hypnotize someone without their knowledge and you won't get
anyone to do anything they wouldn't normally do.
Click here for a link to some great resources, including a free e-book on hypnosis and self hypnosis
Have fun!
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INDUCTION METHODS
HERE YOU WILL FIND A NUMBER OF INDUCTION METHODS - STUDY THEM ALL - DO NOT
USE JUST ONE.
Staircase Relaxation
In a moment I'm going to begin relaxing you further In a moment I'm going to begin counting back-
wards from 10 to 1 again.
The moment I say the number 10, you will allow your eyelids to remain closed
But the moment I say the number 10, you will in your minds eye see yourself at the top of a small set
of stairs
As I say say the number 9 and each additional number you will simply move down those stairs, relax-
ing more completely
At the bottom of the stairs lies a very large feather bed and a very relaxing feather pillow
The moment I say the number 1 you will sink down into that feather bed and rest your head on that
feather pillow
During this time if I touch you or move you this will only serve to relax you deeper
Breathe in deeply, we begin
10, at the top of the stairs, your relaxing and letting go,
10
9, becoming more limp, more loose, more calm,
9
8, sinking into a more comfortable, peaceful and relaxed position
If I touch you or move you this will only serve to relax you deeper
7 way down,
7
6
5 thats fine, your doing perfectly, moving toward that feather bed
4
3
2
If I touch you or move you this will only serve to relax you deeper
5
let loose those neck muscles,
4
3
2 way down,
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3,
2
way down,
3
2
On the next number 1 simply sink into a more comfortable, calm, peaceful and relaxed position
Let your body go more limp and more loose as if you were made from a handful of loose rubberbands
3
2
and 1
way down
thats fine, you're doing perfectly
(Move to hand yardstick test)
Confusion Method
The basic message to this induction is the conscious forgetting, and the subconscious knowing. This
message is drawn out and repeated. Separate directions for the conscious mind, and separate direc-
tions for the subconscious mind. Maintain the subconscious attention, while dismissing the conscious
attention both by the suggestions and the pauses and mental fatigue.
Have the subject sit or lay in a relaxed position, with their eyes closed. Read the text slowly and
rhythmically
Spoken to the subject
(Read only first time, do not repeat) Just close your eyelids and let your mind drift where it will.
You are aware of everything, and yet you are not aware. You are listening with your subconscious
mind, while your conscious mind is far away, and not listening. Your conscious mind is far away, and
not listening. Your subconscious mind is awake, and listening, and hearing everything while your con-
scious mind remains very relaxed and peaceful. You can relax peacefully because your subconscious
mind is taking charge, and when this happens, you close your eyes and let your subconscious do all
the listening. Your subconscious mind knows, and because your subconscious mind knows, your
conscious mind does not need to know and can stay asleep, and not mind while your subconscious
mind stays wide awake.
You have much potential in your subconscious mind which you don't have in your conscious mind.
You can remember everything that has happened with you subconscious mind, but you cannot re-
member everything with your conscious mind. You can forget so easily, and with forgetting certain
things you can remember other things. Remembering what you need to remember, and forgetting
what you can forget. It does not matter if you forget, you need not remember. Your subconscious mind
remembers everything that you need to know and you can let your subconscious mind listen and
remember while your conscious mind sleeps and forgets. Keep your eyes closed, and listen with your
subconscious mind, and when you're listening very, very carefully, your head can now "yes".
As you continue to listen to me, with your subconscious mind, your conscious mind sleeps deeper
and deeper, and deeper, and deeper. Let your conscious mind stay deeply asleep, and let your sub-
conscious mind listen to me.
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(Repeat. Begin at paragraph two)
(Use a deepening technique and test subject)
Deep Relaxation Method
Tell the subject:
You are about to enjoy a very pleasant and a very beneficial experience.
First, be sure that you will not be disturbed.
Second, remove your shoes or any apparel that will interfere with your physical comfort in any way.
Third, now stretch out on your back, with your legs separated, so that no part of your calves or thighs
are touching. Keep feet separated at least 8 to 10 inches; arms extended loosely and limply along-
side your body, palms facing downward and fingers limply outstretched.
Once we begin, you can help by remaining quiet and passive. Our first goal is for you to become un-
aware of your body. You can best achieve that goal by avoiding movement.
The first thing that I want you to do is to fix your eyes at a spot on the ceiling overhead. Pick out an
imaginary spot, and stare at that spot without moving a muscle.
Now, take a deep breath and fill up your lungs. Exhale slowly. Sleep now.
Now, take a second and even deeper breath. Take in all the air that your lungs can hold. Exhale
slowly. Sleep now.
Now, let your eyelids close down. Now, your eyelids are closed down. Please leave them closed
down until I ask you to open them again. You will always be able to open your eyes, unless I were to
give you a direct command and tell you that your eyelids are locked closed. And I don't intend to do
that. Hypnosis is a state of mind, not a state of eyelids.
Now, I want you to mentally picture and imagine that you are looking at the muscles in the tips of the
toes of your left foot. In your imagination, follow those muscles as they move back into the ball of the
foot. In your imagination, follow those muscles as they move back into the ball of the foot. Back into
the arch, and all the way back into the heel. Now, turn all those muscles loose. Let them grow limp
and lazy, just like a handful of loose rubber bands.
Now, as the muscles begin to relax, just let your mind relax, too. Let your mind drift where it will. Let
your mind drift off to pleasant scenes in you imagination.
And now, let the relaxation move on up, into the ankle now. From the ankle, all the way up to the left
knee. The calf muscles begin to grow loose and limp -- heavy, and so relaxed.
All of your tensions are fading away. You're relaxing more with each easy breath that you take. Begin
breathing more deeply, now, just as you breathe each night, when you are deep and sound in slum-
ber. Just imagine that you can see your breath as a white mist, coming from your nostrils. Each and
every time that you exhale this white mist, you are freeing yourself of tension, and going deeper,
deeper into drowsy relaxation.
Now, from the knee, all the way to the left hip, the long thigh muscles are turning loose, easing off,
and just relaxing now. Now, as those muscles relax, just let go a little more, and gently, calmly, easily,
drift on over, into a pleasant state of easy relaxation.
Now let the wave of relaxation that started from the toes of your left foot just a few seconds ago -- let
it move over now into the toes of the right foot, back into the arch, and all the way back to the heel.
Turn all of those muscles loose, and go deeper and deeper into relaxation.
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Into the ankle, the muscles let go. From the ankle, all the way up to the right knee. The calf muscles
are turning loose and letting go.
You're relaxing more with each easy breath that you take. With each sound that you hear. Each
sound carries you deeper, deeper and sounder in sleep.
From the knee, all the way up to the right hip. The long thigh muscles grow limp and lazy. Now, as
those muscles relax, just go all the way down, deeper and deeper in drowsy slumber.
Turn them all loose and go deeper in sleep.
Now, the wave of relaxation moves on up, into the stomach now. Into the solar plexus, the center of
nervous energy. Each muscle and nerve lets loose the tensions, relaxing. You're drifting down, deep-
er and deeper in sleep. Down, deeper in slumber.
Up through the ribs, the muscles relax. Into the broad muscles of the chest. The muscles of the chest
grow limp and loose, and so relaxed. All of your tensions are fading away.
You're relaxing now, more with each easy beat of your heart, and going deeper in drowsy slumber.
Into the neck, the muscles let go. All around the neck, the muscles relax, just as they relax each night
when you you are deep and sound in sleep. Turn them all loose, and go deeper and deeper in slum-
ber. Now let the relaxation start down your back. From the base of the skull to the base of the spine.
Each muscle and nerve along the spine lets loose the tension, relaxing, your drifting down. Deeper
and deeper in sleep. down deeper in drowsy slumber.
And the wave of relaxation spreads out into the broad muscles of the back. All across the small of the
back. All across the back of the shoul ders. Turn loose every muscle and every nerve in the back,
and go deeper and deeper in sleep.
Into the shoulder, the muscles let go. From the shoulders, down to the elbows of both arms. The up-
per arm muscles are turning loose, easing off, and just relaxing now.
From the elbows, down to the wrists on both arms, the forearm muscles grow limp and lazy.
From the wrists to the fingertips of both hands, each muscle and nerve lets loose the tensions, relax-
ing, you're drifting down. Deeper and deeper in sleep.
Into the jaws, the muscles relax. The jaws are parting slightly, teeth not quite touching. All around the
mouth, the muscles let go.
Up through the nose, each nerve gives way. All around the eyes, the muscles are heavy, and so re-
laxed. Even your eyebrows are relaxing now. Across the forehead, the muscles smooth out. Across
the top of the skull. Down the back of the neck. Down through the temples, back around the ears, all
of the muscles are loose, and lazy -- just like a handful of loose rubber bands.
And you may feel now, a pleasant tingling sensation in the tips of your toes, or in your fingertips -- a
pleasant tingling sensation, growing stronger and stronger now, as your entire body is being bathed
in the pleasant glow of complete and utter relaxation.
Now you are completely relaxed. Each muscle and nerve in your body is loose and limp and relaxed,
and you feel good.
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Clasp Induction
Look at me now ... do not look away
In a moment .Im going to continue relaxing you further
(show subjects)
In a moment Im going to tell you to extend you hands straight out in front of you
The moment that you do you'll place your palms approximately 12 inches apart.
After that I will tell you to close your eyes. The moment you close your eyes you'll feel as if there are
magnets in your palms
Your hands will begin pulling and tugging together
The moment those fingers touch you will allow them to interlock and you'll clasp your hands down
tightly
Extend your hands in front of you now, palms 12 inches apart, fingers spread
Your doing fine, your doing perfectly
In a moment I'm going to tell you to close your eyes, the moment you close your eyes it will feel as if
there are magnets in your palms
As I count backwards from 3 to 1 the pull get stronger
Close your eyes ... close your eyelids down tightly ... your hands become tugging and pulling [t & p] ...
close your eyelids down tightly (t&p) (p&t) as if there were magnets in your palms your hands are be-
ing drawn together (t&p) (p&t)
Just as a magnet gets stronger the closer it gets, the closer your hands get the stronger the pull (t&p)
(p&t) locking down, sealed shut, fingers tightly together the moment they touch (t&p) (p&t)
As I count backwards from 3 to 1 the pull gets stronger ... number 3 (t&p) (p&t), 3, 2 (t&p) (p&t), the
next number, number 1 has lock down, sealed shut, clasp down tighter and tighter together.
3, 2, 1, locking down, sealing shut, clasping tighter and tighter together
Thats fine, your doing perfectly
In a moment I'm going to count backwards from 3 to 1 again.
The moment I say the number 1 you will try to unclasp your hands.
The moment you try to unclasp your hands you will find that there is nothing you can do, say or think
that will allow your hands to separate.
The moment I say the number 1 you'll try to unclasp your hands.
The more you try to unclasp your hands the more securely locked down they become.
On number 3 your hands are locking down, sealing shut, clasping tighter and tighter together.
On number 2 it feels as if your hands are carved from a single block of wood.
On the next number, number 1 you'll try to unclasp your hands, the more you try the more secure
they become, number 1.
Try to unclasp your hands, the more you try, the more secure they become, tighter and tighter.
Thats fine, your doing perfectly.
Stop trying to unclasp your hands, allow your hands to remain straight out in front of you.
In a moment I'm going to touch your hands, the moment I touch your hands they will easily and readi-
ly unlock.
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In fact, the moment I touch your hands you will relax every muscle in your body and become limp and
loose as if you were made from a handfull of loose rubberbands.
The moment I touch your hands you will relax every muscle in your body and become limp and loose
as if you were made from a handfull of loose rubberbands.
When I touch your hands relax and let go. [The hypnotist goes from subject to subject pushing their
clasped hands down into their laps and commanding "sleep")
(Move to staircase relaxation)
Dave Elman Method
Spoken to the subject
For the moment, rest your arms limply on your thighs, just like this (demonstrate position to subject).
Now I want you to look out here at my hand. In a moment I'm going to bring my hand up in front of
your eyes like this. (Demonstrate bringing index and middle finger of right hand, in a pointing V posi-
tion, to a position just above their eyebrows) When I do, I'll pass my hand down in front of your eye.
Keep your eyes fixed on my fingers. As I pass my hand down, let your eyelids close down. (Bring
hand straight down, one finger moving down over each eye)
(Move fingers to a pointing V position just above eyebrows so they have to look up at an angle to see
fingertips) All right, now fix your eyes on my fingers. Now I'm passing my hand down in front of your
eyes, and as I do, let your eyelids close down. (Move hand straight down, one finger moving down
over each eye)
Now your eyelids are closed down. I want you to relax every tiny muscle and nerve in and around
your eyelids. I want you to relax them so much that they wouldn't work even if you wanted them to.
Now, when you know that you've relaxed them that much that they wouldn't work even if you wanted
them to, test them; you'll see you've been completely successful. Now, relax them so much that they
wouldn't work even if you wanted them to. Now test them; you'll see you've been completely success-
ful. (If they open their eyes, tell them to relax them again, this time more completely and test again. If
they don't open their eyes, pause three seconds and continue)
All right, that's fine. Now, stop trying and just relax and go deeper now. Now I'm going to raise your
hand. I will do it by grasping your right thumb in my fingers like this. (Grasp thumb between thumb
and index finger -- make sure you grasp the correct thumb) As I lift your hand, just let it hang limply in
my fingers (Optional: slightly rock arm back and forth) Then, when I drop it, let it drop like a wet, limp
rag. When you hand touches your body, as it drops, send a wave or relaxation from the top of your
head all the way down to the tips of your toes. That will double your present level of relaxation.
(Lift hand, optionally rocking it) Now, I'm raising your hand. That's it, let it hang limply. That's good.
Now, when I drop it, let it drop like a limp, wet rag, and as it touches your body, send a wave of relax-
ation from the top of your head to the tip of your toes. (Drop hand) That's good.
Now, we'll do that again with the left hand. Now I'm going to pick up your left hand, and as I take your
thumb, just let it hang limply. (Optional: slightly rock arm back and forth) That's good; now you're get-
ting the idea. When I drop it, let it drop like a wet, limp rag. When it touches your body, send another
wave or relaxation from the top of your head to the tips of your toes and double your present level of
relaxation. (Drop hand) That's good.
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Now, your body is relaxed and I'm going to show you how to relax your mind. Listen very carefully.
The next time I touch your forehead, I want you to begin counting from one hundred backward in this
way: One hundred, deeper asleep. Ninety-nine, deeper asleep. Ninety-eight, deeper asleep, and so
on. After counting just a few numbers, by the time you reach ninety-seven, or ninety-six, or maybe, at
the most, ninety-five, you will find those numbers disappearing. You will find your mind has become
so relaxed that you'll just relax them out of your mind.
All right, get ready now, three, two, one. (Tap subject on forehead) Begin counting. (Listen to them
count down. Based upon the rate of speed, you may say the following statement) Good, slow them
down now. (After each count, say one of the following) good/fine. (After the count of ninety-seven
say) Start relaxing them out of your mind. (After several more counts, based on how the subject is
performing, say) Let them relax out of your mind right now. (After another count) Let them fade away
completely.
(After subject has stopped counting, continue with) That's fine, You've relaxed your body; you've re-
laxed your mind; you've gone into a much deeper state of hypnosis.
(Use a deepening technique and test subject)
Deep Relaxation Induction
Place your feet down on the floor. Place one hand on each leg with your palms down.
Now look down on one of your hands, it doesn't matter which one, just look down at one of your
hands. I want you to watch that hand. I want you to concentrate on your hand. Do not remove your
eyes from your hand.
Now notice the tightness of the skin on your hand. Notice the feel of the material that's underneath
your hand, notice any rings and any jewelry that might be on your hand, just watch that hand, just
concentrate on that hand and listen, listen to my voice only.
Think of relaxation only, any sound about this room other than my voice, let drift into the background,
any thoughts other than relaxation that come about, just let them come and pass.
Just watch that hand, concentrate on that hand, experience everything that you can about that hand
and soon, soon this pleasant drowsiness will come about, perhaps your eyes might begin to sting and
burn, or perhaps they may begin to water. Do not deliberately close your eyes, but don't make any
effort to keep your eyes open, Just let your eyes close whenever they want to, and you'll drift to a
wonderful pleasant place of relaxation. Just let yourself go, as you watch your hand it might become
dark. It might become blurry, it may even disappear from your sight altogether, do not refocus your
eyes on your hand, just let your eyes close whenever they want to and you'll drift to this wonderful,
pleasant place, just let yourself go, as we go along I want you to be aware of your breathing and each
breath you take, each time that you exhale, let your neck relax and let your shoulders drop, just let
them go, it will feel wonderfully good,
I'm going to count from one to three and when I reach three, if you haven't closed your eyes down, I
want you to close your eyes at that time. Now you will always be able to open your eyes if you really
want to, but leave them closed until I ask you to open them. One, two, and three, letting your eyes
close, letting your neck relax, letting your shoulders drop, just let them go, as we go along you're go-
ing to find that your mind has a tendency to wander around to other thoughts and other places, any
time you find your mind wandering about, simply bring it back and focus your attention on my voice,
and you'll drift a little faster and a little more deeply relaxed than you were the moment before.
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To ensure that you're totally relaxed I'm going to mention several muscle groups of your body, as I
mention these groups of muscles I want you to focus your attention there, I want you to concentrate,
focus you attention and relax each group of muscles that I mention.
Concentrate on your face now and let your face muscles relax, you've relaxed your face, now relax
the tiny, tiny muscles around your eyes, you've relaxed your face and your eyes and now your neck,
let your neck relax, you've relaxed your neck and now your shoulders, let your shoulders drop, just let
them go. You've relaxed your shoulders, and now your arms and your hands are beginning to feel so
heavy, so heavy as though lead weights were pulling down on them. Relax your arms and your hands
and your fingers, you've relaxed your arms and your hands and your fingers, and now your chest, let
your chest go, you've relaxed your chest, and now your stomach, you've relaxed your stomach and
now your hips, your hips and your thighs, your thighs and your knees, your knees and your calves,
your calves and your ankles, your ankles and your feet. Every nerve, every muscle, every fiber of
your body is more relaxed right now than you've ever been in your entire life, and you're going to con-
tinue to relax even more as we go along.
I'm going to count to three and when I reach three I want everyone to take a deep breath and hold it.
One, two and three, a deep breath filling your lungs up and now exhale slowly, as you exhale slowly
let all of your muscles relax, just let them go and melt down farther and farther and farther, just let
them all relax and melt.
Let's do that one more time, one, two and three, a deep breath, filling your lungs up with air and ex-
hale slowly, as you exhale let all of your muscles melt right down farther and farther and farther.
To ensure you're totally relaxed I'm gong to go through that relaxation of your body one more time,
very quickly.
Concentrate on your face now and let your face muscles relax, you've relaxed your face, relax the
tiny, tiny muscles around your eyes. You've relaxed your face and your eyes and now your neck, let
your neck relax, you've relaxed your neck and now your shoulders, let your shoulders drop, just let
them go, you've relaxed your shoulders and now your arms and hands are feeling so heavy, so
heavy as though those lead weights we're just pulling down on them, relax your arms and your hands
and your fingers, you've relaxed your arms and your hands and your fingers and now your chest, let-
ting your chest relax.
As we go along I may come by and I may touch you lightly on the side of the neck or I might lay your
head over on the shoulder of the person next to you like we did before, or I may adjust your entire
body position.
If I move you, if I touch you in any way, do not be alarmed, do not be intimidated by my touch, just let
it be your signal to let go and relax and melt down farther and farther and farther as every nerve, ev-
ery muscle, every fiber continues to melt and drop down deeper and deeper and deeper.
As you relaxed your chest and now your stomach, I've relaxed your stomach and now your hips, your
hips and your thighs, your thighs and your knees, your knees and your calves, your calves and your
ankles, your ankles and your feet, every nerve, every muscle, every fiber just melting and dropping, it
feels wonderfully good, it's going to feel even better, even better as we go along.
At this point you're going to find it very, very easy to use your imagination. You're going to find it very
easy to use your imagination, I want you to use your imagination now and I want you to imagine that
its a pleasant summers day, its a pleasant summers day, just let go and relax and melt down farther
and farther.
I want you to imagine that its a pleasant summers day and you're lying in a hammock stretched be-
tween two trees, you can see the sunlight coming down through the leaves of the trees, and you can
see the limbs of the trees as they sway back and forth in the gentle summer breeze.
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I'm going to count down from ten to one and on each number I count that hammock is going to sway
back and forth, back and forth, and each time that hammock swings you're going to continue to relax
and melt and drop down farther and deeper than you were a moment before.
Even if you're in the audience I may come by and I may move you or touch you or adjust your body
position, if I do, just let yourself go and drop way down, just letting go, relaxing and melting and drop-
ping down farther and farther.
You're in this hammock now and this hammock is beginning to swing in the breeze, Ten, and you've
relaxed, 9, 8, 7, it feels warm and safe and comfortable, 7, 6, 5, 4, as the hammock goes B&F, B&F,
just let yourself go, 4, 3, 2 and 1, all the way down.
Now I want you to use your imagination just one more time.
Now, use your imagination just one more time and this time I want you to imagine that you're in an
office building, it's a twenty story office building and you are way up on the twentieth floor, you're go-
ing to ride the elevator from the twentieth floor down to the very first floor, and each floor that passes
by, each floor that goes by, you're going to continue to drop and relax, down farther and deeper re-
laxed than the floor before.
You're in the elevator now and the elevator is beginning to move.
There goes the 19th floor, you've relaxed.
There goes the 18th floor,
There goes the 17th floor, just let yourself go and melt yourself down to the 16th floor.
Down to the 16th floor.
The 15th floor, the 14th floor, your whole body feels like a rag doll as you melt to the 14th floor, the
13th, the 12th, the 11th, the 10th, the 9th, the 8th floor, it feels as if there are magnets in the bottom
of this elevator, those magnets are pulling down on your body, they're pulling you right down to the
very carpet of the elevator.
Just let go and relax down to the 7th floor, the 6th floor, the 5th, the 4th, the 3rd, the 2nd, as the
sound of my voice, even the sound of my voice helps you to relax and helps you to drop down to the
3rd floor, the 2nd floor, and we're almost down to that very first floor, and as soon as I reach that
number 1 floor your body is going to feel like a puppet, your body will feel like a puppet that has
strings attached to your arms and your hands and your feet and your legs, and as soon as I reach
that number 1 floor, it's going to feel like I cut all of your puppet strings at once, you won't even be
able to support your body weight because all of your puppet strings would have been cut.
Get ready to let go, get ready to let go completely, here it comes, 3, 2 and 1, down deeper and deep-
er just letting go, relaxing and melting and dropping.
Now from this point on, from this point on, whenever I count to 3 everyone is going to sit up feeling
great, fresh and wonderful, feeling really, really good.
However if I say the word "sleep", if I say the word "sleep" or if I shake your hand, if I do either one of
those two things you're going to go right back, you're going to go right back to the same wonderful
place that you are right now.
And each time you go back to this pleasant wonderful place you're going to go twice as quickly, twice
as deeply relaxed as you were the time before.
Now I'm going to count from 1 to 3, the lights will come on, the lights will not bother you at all, but this
very first time, just this very first time you're going to feel so heavy, so drowsy, so sleepy and so tired,
you're going to be waiting, your going to be waiting for me to say that word "sleep," or shake your
hand so that you can go right back to the same wonderful relaxing place. One, 2, 3 ... [Move to in-
stant induction]
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Fractional Relaxation
[Deep breathing for a few minutes] [Hypnotist stands still slowly rising and lowering his arms from his
side]
In a moment I'm going to count from 1 to 3
On the count of three, open your eyes, look at me, do not look away, 1 ... 2 and 3
Open your eyes, look at me, do not look away
Breathe in deeply, and now breath out
Thats fine, your doing perfectly
Breathe in deep relaxation, and breathe out all your tensions
Breathe in peace and tranquility, and simply breathe out all your anxieties
Open your eyes now, look at me, do not look away
Open your eyes now wide awake
Breathe in ... and breathe out
In a moment I'm going to begin relaxing you step by step
In a moment I'm going to begin counting backwards from 10 to 1
As I do your eyelids will begin to blink and close down
Simply allow them to do so, you could resist anytime you wanted to, that is not why you're here
As I count backwards from 10 to 1, your eyelids will begin to blink and close down
As you continue to concentrate you will relax the muscles in your neck, in your body, and become as
limp and loose as if you were made from a handfull of loose rubber bands
Breathe in deeply, we begin
On number 10 each and every easy breath you take relaxes your body more and more you're simply
letting go
10,
9 breathe in deeply, eyelids beginning to blink now
Beginning to blink and close down your you're concentrating perfectly
10,
9,
8 way down,
8,
7 way down,
7 eyelids closing down now,
close your eyelids down tightly and concentrate on relaxing the muscles in your neck
close your eyelids down tightly now
let loose the muscles in your neck you're doing perfectly
10,
9,
allow your eyelids to remain closed until I tell you to open them
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10,
9,
8 way down,
close your eyelids down relax the muscles in your arms you're doing perfectly
10,
9,
8,
7 way down,
7,
6,
5,
4 concentrate,
4,
3,
2 way down,
2 way down,
2 way down,
3,
2,
and 1 way down,
thats fine, you're doing perfectly
(Move to staircase relaxation)
Hand Shake Method
Instructions to hypnotist
The following hypnotic induction utilizes all three of the learning modes. The subject will be respond-
ing through hearing, seeing, and feelings. Begin with the subject sitting in a comfortable chair.
Spoken to subject
Would you like to experience the state of hypnosis? (After a yes response, have the subject extend
his or her arm to you as though you were going to be shaking hands)
(Take the subjects hand with your right hand while making sure the subjects arm is straight)
I would like you to look at me for just a moment. As you focus your eyes on me, and listen to my
voice, I would like you to allow things to take place.
(Slowly begin raising and lowering the subjects arm. The up and down movement of the arm should
be about three inches each way)
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As I raise and lower your arm, I wonder if you have noticed yet that there is a drowsy, heavy feeling
beginning to occur in and around your eyes.
Each time I raise your arm upward, that heavy feeling in those eyes will keep becoming stronger.
As the eyes begin to close down, it becomes increasingly more desirable to allow them to remain
closed.
They are closing down all the way now. Let it happen. Want it to happen. Feel it happening now.
(Make a special note to when the eyes begin to blink or start to close. This will be a signal to reinforce
the feeling by raising the arm higher into the air. The subject will quickly associate the raising of the
arm with closing of the eyes)
Hand Yardstick Test
In a moment I'm going to tell you to begin concentrating on one of your hands.
The moment that you do, you may concentrate either on your right hand or your left hand, it really
doesnt matter which
You will concentrate on a hand that is free and unencumbered
[You will concentrate on a hand that is free of you and the person beside you]
The moment you begin concentrating on that hand you will become aware of many things
You will become aware of a [warm, relaxing,] peaceful sensation [flowing] going through your body
The moment you begin concentrating on that hand, that hand will begin to feel light and relaxed
In fact, the more you concentrate, the lighter that hand will seem until that hand and begins rising and
lifting, lifting and rising, relaxing itself right toward the ceiling, as if there were a giant bouquet of heli-
um balloons attached to your wrist
Allow your eyelids to remain closed and begin concentrating now
See that hand in your minds eye, and as you do you become aware of the feeling of the material be-
neath your fingertips
As you concentrate on that hand you become aware of the feeling of the chair beneath your finger-
tips, of the floor beneath your fingertips and that hand begins to feel light and relaxed
As you concentrate one of your fingers will move slightly
It may be your index finger, your middle finger, your ring finger, your little finger or your thumb. One of
your fingers will move slightly and your hand begins to relax and feel light
If I touch your wrist it feels as if I am attaching another bouquet of balloons to your wrist
Its now getting lighter still until it begins rising and lifting, lifting and rising beginning to relax itself right
off of your lap, right off of the chair, right into the air
Each and every time I touch your wrist getting lighter still, `til now it begins rising and lifting, lifting and
rising relaxing further and further up, your concentrating perfectly
Rising and lifting, lifting and rising simply letting go
As I count backwards from 3 to 1 it feels as if those balloons are filling with more helium and are mov-
ing right into the air
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on # 3 rising and lifting, lifting and rising
ballons filling with more helium
3,
2, rising and lifting, lifting and rising
relaxing further and further up
on the next number, number 1 those ballons expand to 10 times their original size relaxing further
and further into the air
on the next number, number 1 those ballons expand to 10 times their original size moving further and
further into the air
3, 2, and 1 rising and lifting, lifting and
rising pulling your entire body along
with it
Thats fine your concentrating perfectly
leave it right there
In a moment I'm going to count from 1 to 3,
The moment I say the number 3 you will open your eyes, you will look at your hands and see just how
well youve concentrated
The moment I say the number 3 you will open your eyes, you will look at your hands and see just how
well youve concentrated
1, 2 and 3
Creating Mental Nothingness/Amnesia
Instructions to hypnotist
This technique can be used for both mind clearing or amnesia. The "Room of Nothingness" can be-
come the "Room of Forgetfulness." The suggestion is given that any suggestions given in the "Room
of Forgetfulness" will not be remembered by the conscious mind, but the subject will act upon them
none the less. The suggestion is also given that the more the subject tries to remember the sugges-
tions, the suggestions will be forgotten.
Spoken to the subject
I want you now to imagine that you are standing in front of a house. This is an unusual house. It's
twelve feet high, twelve feet wide, thirty-six feet long. There are three rooms, one behind the other.
And this structure stands over a basement. There are three steps that lead up to the house.
I want you to walk up and open the front door. As you do, you step into the first room. It's a very un-
usual room because there is only one piece of furniture in the room, a reclining chair.
The carpeting, the walls, the ceiling, and the upholstery on the chair are all a beautiful sunny yellow.
This is the Yellow Room.
The chair looks so inviting that you walk over to it, sit down in it, and push it back into a reclining posi-
tion.
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You feel so relaxed, and as you do, you let your mind drift to a pleasant experience of the past thirty
days. A pleasant experience of the past thirty days. [Fifteen second pause]
And now that memory causes you to feel even more relaxed. But it's time to get up from the chair and
move on to the second doorway and step inside.
This room is almost identical to the first, except the color is gold. This is the Gold room, and there is
that reclining chair in the center of the room.
Since your experience was so good the first time, you walk to that reclining chair again, sit down in it,
and now you just lean back. As you do, you bring into your mind the memory of a very pleasant expe-
rience of the past twelve months - the past year. [Fifteen second pause]
Alright, it's time to get up from that chair, and you move into the third room.
This is the Blue room. It's exactly like the first two, except for the color.
You walk to that chair, you sit down in it, and you lean back. But as you lean back, there's something
very interesting occurring. What's occurring is that the chair now is on a hydraulic hoist, and it begins
to slowly move down. It's going down into that lower level, passing right down through the floor. As
you're going right down, deeper, sitting in a very relaxed, comfortable position. Now it stops, and
you're down into the basement.
Now as you stand up from the chair, there's one door ahead with a sign that says, "The Room of
Nothingness." You walk to the door, turn the knob, and step inside.
As you do, your eyes narrow down and you hesitate, because it's very dim in this room and the door
closes behind you. There a strange feeling beneath your feet, because you're standing on a foam
rubber pad which is three inches thick.
Now the door is closed and your eyes slowly become accustomed to the gloom. There is a kind of a
rosy glow in the room. You take a few more steps in and you decide to just sit down. Now you sit
down and you feel this soft foam, three inches thick, cradling you so comfortably that you just decide
to lay back.
Now all the light is gone and the room is filled with nothingness. As you like there, that nothingness
moves across your mind. You mind is filled with nothingness. [Five second pause]
Reinduction
Spoken to the subject
I am going to give you a signal so you can enter into hypnosis more easily.
I am going to count from one to three. At the count of three, you will open your eyes, remaining deep-
ly relaxed. When I say "Sleep now" and snap my fingers, that will be the signal for your eyelids to
close down and you will go deeper into hypnosis.
All right. One. Two. Three. Open your eyes. (Snap finger)
Sleep Now! Close them down and go deeper asleep. (Repeat both several times)
Signs of Trance
Instructions to hypnotist
99
There are several outward signs of trance that can be observed in all subjects. These signs can not
be simulated by the subject. The subject will exhibit at least one, and in many cases, multiple signs.
Body warmth
Many subjects note a distinct change in body temperature. Many subjects feel cold, and others feel
warm. This is attributed to the lower pulse rate and extreme relaxation of the subject.
Fluttering eyelids (R. E. M.)
Virtually all subjects in trance exhibit a 'fluttering of eyelids'. The subject is actually in R. E. M. state.
(Rapid Eye Movement)
Reddening of the eyes
All subjects will demonstrate a reddening of the eyes once they've entered trance. This phenomenon
is attributed to the relaxation of the muscles in the eyes of the subject, allowing a greater flow of
blood through the veins.
Increased lacrimation
Many subjects, upon entering trance, will exhibit an increased 'tearing of the eyes.' This is attributed
to the relaxation of the muscles surrounding the tear ducts.
Eyes rolling back
Many subjects, upon entering trance, will experience their eyes rolling back in their head. It will ap-
pear as if the subject is looking up through the top of his head.
Termination
Spoken to the subject
(Based on the type of session, you may care to skip this paragraph) Each time that you use this
method for easy relaxation, you relax more easily, more quickly, and more deeply. Relaxation is a
skill that you are easily developing with trance.
Now, I'm going to count from one to five, and then I'll say, "Fully aware." At the count of five, your
eyes are open, and you are then fully aware, feeling calm, rested, refreshed, relaxed.
All right. One: slowly, calmly, easily you're returning to your full awareness once again.
Two: each muscle and nerve in your body is loose and limp and relaxed, and you feel wonderfully
good.
Three: from head to toe, you are feeling perfect in every way. Physically perfect, mentally perfect,
emotionally calm and serene.
On the number four, your eyes begin to feel sparkling clear. On the next number I count, eyelids
open, fully aware, feeling calm, rested, refreshed, relaxed, invigorated, full of energy.
Number five: You're fully aware now. Eyelids open. Take a good, deep breath, fill up your lungs, and
stretch.
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Instantaneous Method
Spoken to the subject
Stand facing me. That's right. Now step forward. (Place right hand on subjects head, supporting the
base of the skull. Grasp subjects right arm at elbow with left hand)
Bring your feet closer together. Closer. That's right. Breathe in deeply. (With a sudden forward pulling
movement of the hands, lightly jerk the subject towards you) Sleep now.
(If the subject's legs begin to buckle) Just as a horse can stand and sleep without losing its balance,
so too your legs are strong beneath you. You can stand and sleep.
(Alternate to horse description) Your legs are stiff and rigid beneath you, supporting your body as you
stand straight and erect.
Rapid Method
Instructions to hypnotist
Begin by having the subject hold their arms stretched out directly in front of them, so that the palms of
the hands are facing each other. Have the hands about 6 inches apart.
Spoken to the subject
You may now lower your hands back to your side. In just a moment I am going to have you bring your
hands back to this position, and you will find it very easy to go into a deep pleasant level of hypnosis
in just a matter of seconds. Would this be alright with you? (You must have the subjects consent be-
fore proceeding any further)
Now close your eyes, and take in a couple of deep easy breaths. Hold each breath for a moment and
then exhale slowly.
In just a moment I am going to have you extend your arms in front of you, just as you had them a mo-
ment ago. When I ask you to move your hands to this position I am then going to have you open your
eyes, and follow my simple instructions.
Remaining relaxed, and at ease, I want you to extend your arms out in front of you just as you had
them earlier.
(After subject extends their arms adjust the distance between the hands to about six inches. Hold
your index finger at eye level, and instruct subject to follow the movement of your finger. Slowly move
your index finger between their hands)
Now I want you to concentrate on my finger. In just a moment I am going to move my finger away,
and I want you to begin to concentrate on the spot where my finger was.
(Quickly move your finger in a downward motion)
You are doing good. Keep concentrating on the spot where my finger used to be.
I am going to begin to count from 3 down to 1. On the count of one allow your eyes to close.
Three, your eyes are feeling heavy, and tired.
Two, they are beginning to water, and tear slightly.
One, so heavy just allow them to close, and relax.
Even with your eyes closed you can still imagine that spot between your hands.
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I am now gently touching your hands, and as I do notice that your hands are beginning to move to-
gether.
In just a moment your hands will touch. As they touch your entire body will feel loose, and limp. You
will be going into a very deep hypnotic state. The hands are moving closer, and closer. The moment
that they touch the whole body becomes lose and limp. You will be going into a very special kind of
sleep. Almost there get ready to let go. The moment that they touch you go into a very deep special
type of sleep.
(As the hands move together, have your hands in a position that will allow you to lightly slap the out-
side of the subjects hands, and thus pushing them together. You must be ready the moment that the
subjects hands touch. At the exact moment when the subjects hands touch, rapidly, and firmly slap
the two hands together while giving the command to sleep. At the same moment lightly apply a down-
ward motion to the subjects hands. This will cause the subject to bend at the waist. Allow the arms to
dangle at the subjects side)
Rapid Method
(Permissive I)
Instructions to hypnotist
Begin with subjects sitting in a straight back chair.
Spoken to the subject
Are you ready to go into a hypnotic sleep ? (Subject must respond with 'Yes')
Close your eyes and take in a few deep breaths and relax with each breath that you take. I am now
picking up your right hand. (Pick up subjects hand as if you were going to shake hands)
In just a moment I am going to have you open your eyes and look at me. I will then count from three
down to one. On the count of one your eyes will close again and your whole body will feel loose and
limp. You will quickly enter a hypnotic sleep. Do you understand? (Wait for a nod or a yes signal)
Now, I want you to open your eyes and try to keep them open until I reach the number one.
Three, your eyes are feeling heavy, try to hold them open.
Two, almost there, on the count of one they may close and feel wonderful.
One, eyes closing and sleep.
(At the moment that the eyes close, firmly pull the right arm in a downward movement, while deliver-
ing the command of sleep).
Delve Deep and Practice!
End
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HOW TO USE THE PRINCIPLES OF NLP
TO GET WHAT YOU WANT FROM ALMOST ANYONE
You speak a few sentences and suddenly your girlfriend announces that she wants to "be with" you..
A short conversation with your boss and he offers to take you to lunch . . . To discuss your raise.
Give your partner a signal that he or she doesn't even recognize and watch as they become amazing-
ly agreeable to your wishes.
A different signal and your partner becomes amazingly affectionate.
Brain washing? No. Drugs? No. Hypnosis? No. NLP is simply a process that takes advantage of as-
sociation and belief systems and nothing more exotic than simple, predictable modes of human be-
havior.
Here's an example of predictable human behavior; You are told that you cannot leave the house for
24 hours. You have often stayed in the house for 24 hours, you may enjoy staying in your house, per-
haps for even longer, you might even have been planning on staying in indefinitely.
But if someone tells you that you HAVE to stay in, all of a sudden it becomes very important to you
that you leave. Pretty soon, all you can think of is how stifling that damn house is and how you can't
wait to get out of it.
Just because someone told you that you couldn't leave, it now becomes important, even imperative
that you now leave. People almost always want what they can't have.
The techniques you are about to learn are no more complicated than this, yet they are incredibly pow-
erful! We appeal to your goodness and common sense to not abuse this newfound gift.
In this amazing report you are going to learn how to use NLP to improve your love life, to get more of
what you want from people around you and you will learn to actually further your relationships with
some of these techniques.
To make things somewhat more basic. You will have a tool to get more of nearly anything you want,
to get your partner or friends to try things new or your way. Almost anything you want is possible.
If you are a woman, you can use these same techniques to get more attention, to have your lover
shower you with affection and to have an advantage over most men in almost any given situation.
You will no longer strive for equality, you will leave the uninitiated in the dust, be they man or woman.
NLP can be an amazing tool, simply amazing. And it can be used for everything from improving your
sex life to closing more sales. Simply use your imagination to make this information valuable in other
aspects of your daily life. Just remember it's power.
The first step in getting what you want from a person is to establish what we call rapport. The basis of
rapport is that when people are like each other, they like each other. When people are not like each
other, they don't like each other.
When you like someone, you are willing to go to great lengths to assist them, to help them get what-
ever they want. You will learn that most communication is purely physiological. Only 38% is tone of
voice. The majority of communication takes place outside our conscious awareness.
That's what NLP is really all about - effective communication. More effective than anything you have
tried or imagined. By establishing rapport, you will gain a persons trust, make them want to help you
achieve what YOU want, and most importantly, they will ENJOY helping you.
There are three primary physical manifestations of perception, called modalities, that exist in people.
Most people are either visual (they remember things in images), auditory (they tend to remember
sounds etc.,) and kinesthetic (physical sensations).
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The first step in establishing rapport is to match your partner's modality. If you're with someone, for
example, who is in high visual, and you're not quite there, sit up in your chair, breathe from the top of
your lungs, and be excited. Or at least act in a way that matches what they're doing. On the other
hand, if you're meeting with someone who is auditory, you want to slow down a bit, modulate your
voice more, and "listen, really listen." If you're meeting with someone who is kinesthetic, slow waaay
dooown. And talk to them about feelings. Actually change your voice tone so that it matches theirs,
and really "get a sense of it."
A good quick way to find what their general modality is, would be to ask them questions that they can
answer in their choice of modalities. Ask someone what they remember most about their last vaca-
tion. Or ask them what they remember most about High School.
There answer will usually reflect their primary modality. If they talk about their vacation in terms of
what they saw, they are visual. If they talk about how great the sun felt, how warm the water was etc.,
they are probably kinesthetic. If they talk about the sounds of the surf, the birds calling in the trees
and so on, they are auditory. Adjust your behavior accordingly.
The following paragraphs are taken from "An Introduction to NLP" by Tad James. Tad is a trainer for
NLP and has written some great articles.
"The second element of rapport is physical mirroring of the individual's physiology. Actually physically
copying their posture, facial expressions, hand gestures and movements, and their eye blinking will
cause their body to say unconsciously to their mind, "Hey, (s)he's like me!" It's undeniable to the ner-
vous system.
The third element is to match their voice: The tone, tempo, timbre (quality of the voice), and the vol-
ume. You can also match their key words. Perhaps they often say, "Actually." You can use it in a sen-
tence several times. Say it back to them.
The fourth element is to match their breathing. You can actually pace someone's breathing by breath-
ing at exactly the same time as they do (matching the in and out breath). By matching their breathing,
by pacing their breathing, you can then begin to lead them out of the representational system they're
in, into another one (editors note: more on this later).
The fifth element is to match the size of the pieces of information (chunk size or level of abstraction)
they deal with. If someone usually deals in the big picture, they will probably be bored with the details.
On the other hand someone who is into details will find that there's not enough information to deal
with, if you only give them the big picture. So make sure that you are matching the content chunks
that the person deals with.
The sixth element is to match their common experiences . This is what's usually called rapport. When
people first meet, often their early relationship is about matching common experiences, common in-
terests, background, beliefs and values, their ideologies and common associations.
Those are the critical elements of rapport. Next, how do I establish rapport, and then how do I know
when I'm in rapport?
To establish rapport, the process is to match and mirror completely, what the other person is doing.
When I'm training people in rapport skills they often ask, "Well how can I do that, they'll think I'm mak-
ing fun of them." You do need to be subtle when doing matching and mirroring, but typically most
people are in a trance when talking anyway. They're so caught up in what they're going to say next
that they are rarely fully aware of what you're doing. And if they do, you can have a good laugh about
it.
Calibration is one way of testing whether you're in rapport with someone. Simply, that means you
need to develop your sensory acuity to such an extent that you can begin to see peoples reactions to
your communication. Watch their eyes, the muscles around the eyes, the lower lip, the color of the
face and hands, the breathing. These are all indicators of rapport.
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In addition there are some indicators that happen in your own body that you can notice. As you begin
to go into rapport, there's a certain, specific physiological feeling that begins to occur in the body. It
happens in the area of the legs, and chest, and could almost be described as a feeling of nervous-
ness or anticipation. The next thing that happens is that you can feel the color in your own face begin
to change. It's a feeling of warmth in the face that rises up from the neck. As you notice this, you can
also notice, within about one minute, the color in the other person's face increases. The change in
color usually happens one minute after you notice the internal feelings. Usually within another minute
or so, the person you're talking to will say something like, "...and (your name), my good friend here..."
or "I feel like I've known you for years..." They may even use the word "rapport" or "trust" to describe
what they're experiencing.
Even if you don't have an experience of these indicators of rapport, there's another way that you can
tell. This process is pacing and leading the other person. After you've matched and mirrored a person
for say, 5 or 10-minutes, you can then begin to lead them to lead their behavior. Successful leading is
another way you can tell if you're in rapport with someone.
Establishing rapport is also important in the case of interpersonal relationships, say with a member of
the opposite sex. What you'd want to do first of all is to establish rapport with them. Get into rapport.
Match and mirror them so that they begin to trust you, feel good about you, and have good internal
representations about who you are. You may recall times that you've done the opposite, I certainly
have. And I'm sure that the other person thought that I was a totally inept person (at best). At worst,
there's no trust. Rapport is an important process in both business and in interpersonal relationships."
End excerpt.
He goes on to explain some exercises etc,. that you can do to master the art of gaining rapport. Here
are some of ours. Basically just practice matching people every day and trying to establish rapport
wherever you go.
Establish rapport with the clerk at the grocery store or video store. See if you can match and rapport
your waiter or waitress.
See if you can establish rapport with someone sitting near you at a restaurant or at the airport.
If you are only going to have a brief contact with someone, at a lunch counter or at the library, see if
you can establish "instant rapport." It really is possible.
Recently, my wife was at a department store and asked a clerk about an item. He barely glanced up,
waved in a sort of westerly direction and said "I think they're over there." This only made my wife an-
gry and she wanted to complain to the manager. I asked her to wait.
I approached the clerk and began to mirror him as soon as I could see him. When he looked up, I
was his exact mirror image. I asked if he could help me. He stopped what he was doing and folded
his arms. I folded mine, asked about the item and was promptly escorted to it's exact location. He
asked if I needed anything else before he smiled and left.
This stuff really works.
With a little practice, you will be able to go into almost instant rapport with ANYONE! Go whole hog
and match movement, eye cues, posture and even breathing.
Don't think that anyone will think that you are making fun of them, 99.9% of people won't even notice,
they will be so busy being flattered. If someone does remark, just play dumb.
"Why are you imitating me?"
"What do you . . . Oh, I guess I was wasn't I? I didn't mean to."
They will see it as harmless and then ignore it. Within just a few minutes you can go back to mirroring
them.
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Another great exercise is to enlist the aid of a friend or partner and practice on each other. Mirror the
other person while they tell you about their day at work or an experience they had that impressed
them. Mirror them completely and pay attention to how you feel as this progresses. See if you don't
find yourself feeling most of the emotions of your partner.
Practice this and you have mastered step one of getting what you want from almost anyone.
The next step is to use rapport and to then lead them into a positive state. A state is made up of an
internal representation and a physiology. An internal representation is what they perceive as a state.
Ask someone to remember a time when they were really happy and they will form an internal repre-
sentation. As they do this, their physiology will change to reflect their memory of happiness. They will
smile for instance.
So, just by asking them to remember a time, you have actually placed them back into that state. This
can be powerful information on it's own if you think about it. Imagine if someone you know is not in
the best of moods. Just ask them to remember a more pleasant time and ask them a few questions
about that time. They will access and merge with that state. With a little more practice, you will be
able to do this almost effortlessly.
Once you have been mirroring someone, even to matching their breathing, you now begin to "lead."
In other words, access the state you want them in yourself and they will unconsciously begin to mirror
you. As they do so, you lead them ever more into the desired state.
If someone is somewhat depressed for instance and you wish to bring them up a little, first establish
rapport. Once you know you are "matched" you can begin to change to get them to adopt the state
you wish. Sit up a little straighter, square off those rounded shoulders and breathe a little more deeply
and energetically.
Begin to change your expression and your animation and even your speech. If you have established
rapport, they will follow you. Now all you have to do is ask them to remember a happier time and then
get them to actually relive that time by imagining that they are back in that time, looking out from their
own eyes at the scene. Use their modality, whether it is visual, auditory or kinetic.
So, three factors are involved to put someone into state.
1. Establish rapport
2. Lead them into the desired state by putting yourself into the desired state
3. And finally, lead them by saying, "Can you remember a time when you were . . . ? Then verbalize
the state you would like them to access.
To lead them into a buying state for instance, you might say something like, " Can you recall a time
when you just had to have something for your business, just knew it would be good for the company
and you really wanted to buy it?"
Obviously, you can't use this on a customer you have just met (well, actually you can, by storytelling -
but that's another section). But you can use this direct approach quite successfully with a customer
you already know. Some other suggestions.
"Do you remember when you first became involved in this business? How strongly you felt about
what you needed? How excited you were about starting?" They will soon link you to this state, associ-
ate it with you.
Or if it's someone you've only recently met. "How exciting to be so involved in the field of ________.
Tell me how great it feels to be doing so well in your business." You can then go on to tell a story or
ask a question. You have now placed them into a state. Use this to your advantage. Associate the
state to yourself if desired. "You could reach that same state of excitement with another product, with
someone standing right in front of you perhaps."
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Or how about, "Have you ever been so fired up and excited about a product or service that you just
had to have it, now?" Now just stay in front of them (especially in their modality) and they will soon
begin to associate you with that state. How fun!
What if your "victim" is resistant?
As long as you establish rapport, this won't even be an issue. In fact, you will be amazed at what you
can accomplish once you have established and can recognize rapport.
This is where what we call framing comes in.
A great way to frame, or set the scenario before putting someone into state is to tell a story or
"remember" an incident. Some examples;
"I remember when Joe with Amalgamated Pontifoons first looked at my products, he thought it was
the same as XYZ. But, when I whipped out the charts and proceeded to show him how our callback
rate was among the lowest in the industry and it didn't have to be adjusted for this region like the
competitors product .Once he got out his calculator and ran the numbers, he realized that my product
was not only better, but less expensive when everything was factored in."
And yes, you can adapt this phenomenon to partners who are relative strangers. "I'm sure you re-
member a time when you thought you were going to say no to someone and it turned out to be the
best thing you ever did was to just listen and learn"?
Use your imagination a little here and the possibilities are virtually limitless. All you have to do is get
your partner to remember a state, get them to actively remember (pay attention to their modality, are
they remembering visually, kinesthetically or auditorial? Encourage their modality).
Once they have accessed that state, you will then need to "anchor it." Anchoring is simple. It is usual-
ly a gesture or word that is used when the other person is at the peak of the state you wish them to
access. You anchor their state, then you can use the anchor to bring them back to that state.
It's pretty simple really. Remember that a state is made up of an internal representation and a physi-
ology. So, you're asking them to make an internal representation of a time (buying or receptive mode)
that puts them right back into that state.
You remember Pavlov's dogs? He would ring a bell just before feeding time and discovered that they
would salivate just from hearing the bell. In other words, the bell (the anchor) would change their
state, inducing hunger and anticipation.
Important point to remember. A spontaneous state is usually more powerful than one that is induced.
When a person is in an intense state, whether induced or spontaneous, at the peak of that state an
external stimulus is applied. It must be specific and unusual enough not to be a common occurrence.
When this stimulus is consistently applied, the state and the stimulus become inextricably linked in
the mind of your subject. This link is what you will use to influence their behavior.
The Four Steps of Anchoring:
1. Put the person in state. Try to encourage full association with the state. Anchoring will be most
powerful when the state is fully associated. This occurs when the person is recalling by "seeing"
through their own eyes as opposed to seeing their body as if they were an observer. The more in-
tense the state, the better for anchoring. You also want to anchor when they are at the peak of their
state - this calls for some observation on your part and will become easier with practice. Watch their
eyes, their breathing and their body language.
2. Just before they peak, apply the anchor. The anchor ideally should last for about 5 to 15 seconds
and should be applied just before the peak state and actually end right at the peak if possible. Don't
get overly concerned with this, you will become quite adept with just a little practice.
To make the state even more intense, practice what is called "stacking" or clustering anchors. And
each time you get a positive state, anchor it. For instance.
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"Do you remember when you felt totally ready to buy (or sexy or open to something new)?" (anchor)
"Can you recall a time when you were so completely (insert behavior here), you could think of little
else?" (anchor)
"Can you remember what it feels like just before you are about to buy something you know you really
need?" (anchor)
"Do you recall how wonderful it feels when you make a decision that you truly believe in ?" (anchor)
And so on. You will be as subtle or as blunt as the situation or person warrant of course.
When you have access to the state you desire, anchor it. Anchor the states by touching the person in
exactly the same way each time (squeezing the ear lobe or elbow for instance). Or, by using a word
or phrase. If you are going to use verbal anchors, find a word or phrase that is not common such as,
quag or snil or even a phrase such as "when beavers fly (that's nonsense of course, but try to make it
different enough to be memorable, but not so different as to be thought weird."
3. The third step is to then change their state, get them out of the state you just wanted them in. Have
them do something physical such as walk around, roll their arms or do deep breathing. Almost any-
thing that distracts will change their state.
4. Test the anchor. Apply it in exactly the same way and see if they go back into state. If so, well
done. If not, anchor again.
One word here. Be sure that the stimulus is unique. If you try to anchor with a handshake or a word
such as milk, it won't be very successful. If an anchor is fired often it will grow weaker with time.
A kinesthetic anchor that is often used is the ear or perhaps the palm of the hand or even squeeze
the thumb or the inside of the wrist. If you need to fire or establish an anchor without the persons con-
scious knowledge, a squeeze on the elbow or forearm should work and is not all that common
enough to be suspect, yet just different enough to work, especially temporarily.
POSITIVE EMOTIONAL STATES
You can use this without your customers/friends/partners even being aware of it if you wish or, you
can talk about it and anchor with their permission. What if you anchored a buying act,even if it was
just Xmas shopping to a state of happiness? What if you anchored intimacy with you to a state of
happiness?
Your partner/customer would soon feel happy about the act you've chosen. Wouldn't that be terrible?
It's really not that difficult to do. Whenever you notice your partner in a happy state, you apply an an-
chor. Always use the same anchor, consistently applied, each time. If your partner is just about to eat
their favorite dish, anchor it just as they take their first bite (and perhaps their next couple of bites as
well). Whenever you see them smiling or enjoying something, anchor it. Their favorite music comes
on, anchor it. They laugh at a joke, anchor it. They get excited about going somewhere, anchor it.
How should you anchor it? Just use your imagination a little. It will probably be different for you than it
would be for me. Kinesthetic anchors can be a little difficult to set if the person is sitting across the
table from you when they take that bite we just talked about. It would be entirely too awkward to get
up, walk around the table and squeeze their earlobe whenever they took a bite.
Your best bet is to set either a verbal or perhaps a visual anchor. But while a visual anchor (this can
be something as simple as touching your ear lobe while they are looking at you) can be set from a
distance, it cannot always be activated or fired properly or at the correct time.
Best bet for an "always available" anchor is to set it verbally. Use a verbal anchor if at all possible for
this association to work. A good verbal anchor is to use a word or phrase that is not too out of whack
for the context, but unusual enough that it won't get fired or applied by anyone else. Or at least it
would be quite unusual for this to happen.
A few that have been used successfully:
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"Son of a Beach Bum"
"That's total amazing"
"Positive plus!"
"Absotively, posilutely"
"You ratchet!"
Remember, it has to be a word or phrase that you can invoke later to set the desired state, and you
have to say it the same way each time, whether you are anchoring or setting off an anchor. Tone and
modulation are VERY important! There is a difference between "I LOVE IT!" and "I looove it" spoken
softly. Choose a tone that will set the phrase apart, make it unique but not so unusual that you can't
easily attach or fire anchors. Once you use it, you MUST be consistent.
Okay, you've set up the anchors, now how do you use them? It's easy. You fire the anchor and put
your friend/customer/partner into a good mood and thus a much more receptive mood just before you
ask for something you want, or just before you bring up a topic about something you want. Using
some of the verbal terms mentioned above, you might try something like the following.
"Mr Johnson, I would love to work with you in the future, I assure you that our collaborations would be
timely as well as productive." (fire anchor)
No demands, but you have just put them into a much more receptive mood. They will now find that
thinking about business with you makes them feel good. They may still have her reservations, but he
or she will be much more "open" to the idea, especially if this anchor is fired and used a number of
times over the course of a week or two. Don't even attempt close until you have fired this anchor and
associated buying from you with happy feelings. Don't associate this anchor with anything else (yet).
What if you are a woman and all you want is for your man to hold you sometimes, to be loving and
affectionate? Again, easy if you think about it. Anchor his happy states and then fire the anchor when
you can get him to hold you and show affection. For this example, we'll use the anchor "I love it so."
When you see him happy, just use the term "I love it so" in some sort of context, just use tone of
voice (tonality) to set the anchor apart. For instance; He is eating his favorite meal - "I LOVE IT SO to
see you enjoying your meal so much." Or his team just scored a touchdown - "I LOVE IT SO when
they score!" Stack the anchor.
Let's say you have just been intimate and you want him to hold you. Just ask him to do so and then
fire the anchor as he does. "That was great honey, would you just hold me a while? I love it so. It
feels so sweet after being with you. Oh yes, I do love it so."
Bam . . . Bam. You have just anchored his happy feeling with holding you. Fire it a few more times
and before you know it, he will be looking forward to holding you because it will make him happy.
You can anchor the happy or desired "feel good" state and then fire the anchor to associate either the
action or the verbalization of the action you wish to associate with happiness.
This is a powerful technique, please use it with care and thoughtfulness. You can use these same
techniques and principals to get your partner to do, or at least try, almost anything you want. Want to
make it even more interesting? Dirty pool?
Anchor their negative states as well. Whenever your partner/customer/whatever gets upset or unhap-
py about something, set another, completely different anchor. This anchor must not even be close to
what your happy anchor is. Again, verbal is probably best, anchor when they are at the peak of their
pain or negativity. Possible phrases are;
"That's way bad"
"That's so not good"
"How terrible."
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Set the anchor just as you were advised for the happy state. Now you can be a sneaky kind of person
and if you ask for the deal and she says forget about it, you can say "That's way bad." Now she will
have terrible feelings about turning you down.
Give them the good anchor before or while you ask for what you want. If you get it, good, if you don't,
as soon as she says no, fire the negative anchor. She will feel terrible for refusing you.
Always find a reason to fire the happy anchor before you leave. Do something that will justify it if nec-
essary, don't leave your partner hanging in a negative state. Get them to feel bad about turning you
down, then change their state again. NEVER LEAVE SOMEONE IN A DEPRESSED OR NEGATIVE
STATE. NEVER.
Got that? Never.
Again, this is very powerful stuff, be very careful how you apply it. You don't want it to backfire on
you. If you say it at the wrong time, you may anchor the behavior you want to negative feelings. Then
you will never get what you were trying for.
For most applications, a kinesthetic anchor will work fine. Just be sure that you will be able to set the
anchor and fire it without getting too weird. If you are just going to induce and change states with con-
versation, a kinesthetic anchor is fine. Just think about it and use what will work best.
THE MOST POWERFUL SCRIPT OF THEM ALL
This one is amazing. It is so effective that I hesitate to even share it with you. Promise you will use
this only for good, promise you will not cause anyone any pain from this lesson.
This powerful hypnotechnique can get you almost anything you want. Again, you are simply taking
advantage of human nature, of natural behavior. You are not brainwashing or using mind control. You
are simply optimizing the receptivity of your ideas and suggestions.
This one is going to take just a little more creativity and commitment. You will have to practice so that
you don't sound too contrived and rehearsed. You want your voice and your mannerisms to be as
natural as possible.
HYPNOCOMMANDS
A hypnocommand is given in a concealed manner. It is an action command that it spoken as part of
normal conversation. For getting something you want from someone for instance, you might say
something like the following. "I had this great dream last night. I dreamt that YOU BOUGHT FROM
ME because you realized how much money YOU COULD SAVE BUYING FROM ME."
To separate the command from the conversation. You use inflection or tonality to make the command
stand out, to make it stronger than the rest of the sentence or paragraph. You say the command just
a little louder, or just a little more forceful to embed it in your partners mind. In the above instance and
any that follow, the command will be in capital letters to separate it from the rest of the sentence.
When you speak, highlight the command with your voice, but be fairly subtle about it. Don't shout for
crying out loud, just make the command stand out without being too obvious.
"The minute I saw you I had this INCREDIBLE FEELING that YOU AND I WERE GOING TO BE
PARTNERS for a long time."
Here's a double whammy - "I have this friend who has a cousin whose girlfriend used to tell him
things like " Can you imagine doing business with someone who would take such good care of you?
Can you imagine that?"
The reason it is a double whammy is because you first distract, confuse and open the mind with the
statement "I have this friend who has a cousin whose girlfriend . . ." This part of the sentence sort of
disengages the brain for a moment, forcing you to think about the relationship of the people involved.
But then the command is given while you are still trying to figure it out. It just serves to make the com-
mand more effective.
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The most important rule here is to always begin your command with a verb, a word that calls for ac-
tion. Some examples:
Take Begin Do Put Give Place Go Help Start Be Imagine Pretend Open Send
and on and on and on. There are lots of choices you can use.
"One of my greatest dreams is for you to DO BUSINESS WITH ME, GET RICH TOGETHER."
"Sometimes you don't recognize what is right in front of you how you might WANT TO DO BUSINESS
WITH THE PERSON YOU ARE WITH NOW, but you don't immediately know it. You might for in-
stance, WANT TO BE OPEN AND COMMUNICATIVE WITH ME, RIGHT NOW, but for your own rea-
sons you don't communicate this."
These embedded commands can be quite effective on their own, especially if they can be used 3 or 4
times on the same person over the course of a conversation. You may have to reword your com-
mands, but you should be able to do so with a little thought and perhaps rehearsal.
HYPNOCOMMAND SCRIPT
How can you hypnotize someone while they are awake and talking to you? It's not only possible, but
amazingly easy when you know the formula. The formula is just this simple.
State 4 truths, give one command
State 3 truths, give two commands
State 2 truths, give three commands
State 1 truth, give four commands
When you state a truth, the mind opens and accepts. Then when you give the command, it is accept-
ed as truth as well. It's a simple formula, that uses the logical mind set, simple human behavior.
It doesn't matter what the truth is either, as long as it is perceived as truth by the other person. "Today
is Tuesday" or "the sun is warm" are pretty much inarguable.
Then you give a hypnocommand just as described in the previous section.
You can use this method of hypnotic scripting in a variety of ways with just a little imagination. Tell a
story, recall a dream, verbalize a fantasy, relate an incident.
You do not have to be so immediately structured as implied. You can spread the story out over hours
and have the same effect if you wish. We just wanted to provide a concrete definitive example that
would best illustrate the basic principles at work.
You do have to remember the basic principle of telling the truth(s) to set the mind of the other person
into acceptance mode and then following the truth(s) with the command(s). Doing the commands in
sets as described above is the most effective, method but is not the only effective method.
If you can only give 1 or two truths and 1 command during the course of your conversation, by all
means do so. An hour later you get a chance to tell a little anecdote and tell 3 truths and give 2 com-
mands - go for it. The effect will be somewhat cumulative. It will not be as effective as if you did the
4/1 scripts, but it will still work. Especially, if it can be embedded repeatedly or on more than one oc-
casion.
Sit down and rehearse a few commands to give your current "target." Imagine what would be the
most effective approach, simple conversation, a dream sequence, remembrances or stories. Use
your imagination and don't worry if it sounds a little silly to you. If pitched right, your "target" will go
right where you point them.
Especially if you establish rapport with them first, make them feel comfortable, trusting and relaxed.
Then pace and lead them into the state you wish.
To review:
Always establish rapport with your target.
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Distract or open the mind before issuing commands
Issue commands in a different pitch or tonality. Use a voice that is commanding without being over-
bearing.
Always begin your command with an action word or phrase.
Just to help get you started, we have listed some commands you might use in certain situations.
"Oh sure, I can just imagine you LETTING ME SELL YOU MY ENTIRE LINE."
"Would you TAKE GOOD CARE OF ME for a million dollars?"
"Could you imagine yourself wanting to GET ON THE SAME PAGE AS ME ON THIS JOB?"
"How often have you ever looked at someone and thought, "I WANT YOU SO BAD, RIGHT NOW."
"Nothing quite describes the feeling when you WANT TO BE FEELING GOOD ABOUT BUYING
FROM YOUR SALESMAN."
"Do you think that you could TOUCH ME romantically, MAKE ME WANT YOU after just meeting me?
Sort of like love at first sight?"
What would you WANT ME AS YOUR SALESPERSON to do?"
And so on.
Use your imagination, practice at home, in front of a mirror, into a tape recorder, think about stories
and examples you can use to issue your waking commands for the maximum effectiveness.
This is an amazingly powerful technique when used correctly and it can lead to some incredible esca-
pades. When practiced and used properly, you will be amazed at how you can and will use it.
End
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SECRETS OF THE MYSTICS
CONTROL YOUR HEARTBEAT
Have someone find the pulse in your wrist. If you want to get really dramatic, have two different peo-
ple, one on each wrist. Tell them to feel your pulse with one hand and to tap out it's rhythm with the
other. Tell them that you will slow and eventually stop your heartbeat all together. As they begin tap-
ping, they are soon out of rhythm with one another, then they gradually get slower until there is no
pulse felt at all. You can really make a big production out of this by acting like you're in a "trance" etc.
The secret: Hide a tennis ball under your arm, inside your shirt before attempting this. when it's time
to slow your heart rate, simply press your arm against your body so that no one notices and the ball
will press against the artery that feeds your wrist. They will feel no pulse!
You can really slow or speed up your heart rate with just a little practice.
Imagine you are in a very peaceful setting. Floating on a pond or in a pool on a tube or raft, just about
to fall asleep. Once you can really imagine this (even feel the sun on your face), Take your pulse. It
will be lower than it was before you started. To speed it up, simply do the opposite. Imagine that your
are in some terrible situation, wolves are chasing you and about to catch you. You are breathing hard
and about to be caught. You run faster but it's no use, they are upon you, ripping and snarling! Now
check your heart rate, It should be considerably faster than it was when you were imagining the
peaceful scene.
With just a little practice and imagination, you can get pretty dramatic with this. It makes a great lead-
in to the tennis ball trick!
THE STIFF
I do not recommend this because you can be hurt by it. It is for informational purposes only.
Have you ever seen some hypnotist or so called Svengali on television, or anywhere else for that
matter, suspend a body between two chairs, head on one end and feet on the other and tell you they
were hypnotized or in some sort of trance.
Nonsense.
Lying with your feet resting on one chair, have the other placed beneath your head, neck and shoul-
ders. Your natural strength will hold you in place quite easily. In fact you could even support the
weight of another person on your chest and abdomen. There is no trick or magic or hypnosis or any-
thing else involved when you see this one. It is simply your own natural strength.
Be warned. While most healthy people could do this with relative ease, a lot of people have been in-
jured trying it. It is included here for your information only.
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THE BED OF NAILS
Have you ever seen the "Mystics" that claim incredible powers of Mind Over Body or pain control etc.
One of the methods that they use to prove this is their incredible ability to lay upon a bed of nails, ap-
parently unhurt.
Golly!
Any 5 year old kid can do this if they know how. It's simple basic physics. You just be sure that you
have a bed of nails where the nails are exactly the same length. No, they do not have to be dull or in
any way altered. They only have to be real close together. You just need to distribute the pounds-per-
square inch.
Think of it this way. . . . Lets say you have a board about 4 inches square, with one nail in it. If you
press on that nail with your hand it will probably pierce it and go through. If you put two nails in it and
press, it will still hurt but not as much. Now put about 10 nails in the board about 1/4 of an inch apart.
Now when you press on it, it doesn't hurt at all, the weight is distributed evenly over a larger area. Yet
if you drop an apple (a common technique used to prove that the nails are sharp) on the board, even
from only six inches in height, the nails will pierce the apple. The smaller surface area of the apple is
what allows it to be penetrated. The more nails you have, the better.
If you took a piece of plywood and put nails a foot apart and tried to lay on it, you would be a bloody
mess. Now put those nails an inch apart and try to lay on it and it will hurt enough to make you stop
soon enough. But if you put those nail 1/4 or even 1/2 an inch apart, you will be able to lay on it all
day long if you wish. It may not be very comfortable, and you will probably have a bunch of red marks
on your body, but you will not be hurt.
HOW TO CHARM A COBRA
First you catch a cobra.
Then you either remove it's fangs or sew it's mouth shut. Which method you use depends on how
long you want the snake to live. If you remove it's fangs, cobras have a pretty limited shelf life. If you
sew it's mouth shut, it'll last a lot longer.
That's the tough part, it's gets a lot easier from here on out. In India, this part is usually done by
someone other than the actual snake charmer. The snake charmer almost always buy their snakes
already gimmicked. They aren't stupid, those snakes can kill you quick!
Oh yea, almost forgot. Be really careful when catching a cobra, they'll kill you! It is always preferable
to buy one that has already been defanged. This is the only method that the author can recommend
since I would prefer that you stay alive long enough to buy more of my disks and/or books.
In all fairness, there are a number of "charmers" that do work with unaltered snakes. Usually these
snakes have been professionally handled long enough that their behavior is pretty much predictable.
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It always helps to keep them very well fed and hence somewhat lethargic. It is also beneficial to "milk"
them on a regular basis. That is, regularly drain the venom from their fangs and poison ducts.
It is also a good idea to spend a few years studying them so that you are comfortable with their be-
havior and able to pretty much predict what they will do.
If all else fails, begin giving yourself injections of dilute (very dilute to start) venom. You will gradually
build up a tolerance (takes years), and will soon be able to survive the bite of the snake whose ven-
om you have been injecting. Sorry, this only works for the one particular type of venom you have
been injecting. If you want to immunize yourself for other snakes, you have to repeat the same pro-
cess with each one.
There's more bad news. Even if you are immune you will still probably get sicker than a dog if you get
bitten. You won't die, but you will be one miserable son-of-a-bunjee jumper for quite awhile. There is
also a danger of tissue damage.
Have fun and kiss a cobra for me!
VARIATION FOR WESTERNERS
Believe it or don't, there was actually a con in the old west that is similar to the above. Since there is
such a scarcity of cobras in the American West, our enterprising cowboy-con men had to use rattle
snakes. Rattle snakes are not very hard to find at all in the west, but in that time it was kind of tough
to find the "glass cages" that were necessary for this to work.
Here's how it worked:
First you catch a rattlesnake, then you sew it's mouth shut or pull it's fangs (sound familiar?). Then
you put it in a terrarium (glass cage). You don't want to handle it too much, it needs to stay a little up-
set with the world for this to work best. Then you take this glass cage containing the slightly ticked-off
rattler into the nearest saloon (cover the cage with a cloth). You need a friend or confederate to go in
either before or after you so that no one will know that you are together.
Have a drink or two as you check out the crowd and identify the "macho" types. Whip off the cloth
cover and challenge anyone in the room to hold their hand against the glass until the rattler strikes.
You bet that they will not be able to hold their hand against the glass without flinching.
Be sure you stress the flinching part, any movement at all and they lose. When they hold their hand
against the glass, it may take a moment for the snake to strike since it responds to body heat and it
could take a while to register the heat on the glass.
Our inborn fear of deadly snakes is so powerful, that 999 out of a thousand will at least flinch a little
even tho' you know that the snake is only striking the glass and not your hand.
Once you've won a few bucks from almost every one that cares to try their luck and the crowd is be-
lieving that it is impossible to do this, your confederate steps in and announces that he'll do it and
cover all bets. Naturally a bunch of these guys will figure that if they couldn't do it, no one can and the
cash will start appearing. Cover all bets and hustle as many as you can.
Your friend will then approach the glass and put on a pretty good show before he begins to place his
hand on the glass. He hesitates and then begins to place his hand against the glass and once again
draws it back. More showmanship (remember there's a lot of money riding on this hopefully). Finally,
your friend approaches again and then says something like "Oh hell!" and instead of touching the
glass, he reaches into the top of the cage and snatches up the snake by the head with his bare hands
and whips him out! Wave him around a little bit like you're scared to death and finally throw him back
and yell something like "I did it!"
They almost always pay off without a whimper.
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Be sure that you take the snake away as soon as possible so no one will have a chance to examine
it.
OH, THE PAIN
Indian Fakirs have mystified western science for years by their apparent ability to block pain. They
have for years dazzled and amazed the western world by sticking pins and thin blades in their bodies
without apparent pain and producing little or no blood. You may have seen pictures of these guys or
even witnessed their feats on television. There is one sect that even has a religious celebration and a
competition based on self abuse.
Scientists have wired these guys up to monitor their brain activities, heart rates etc., to try and find
out how they do this. Some of them have been amazed to find Theta activity while these feats were
being performed. Anyone that meditates frequently can pretty much produce Theta activity at will.
They were so stupidly amazed that they didn't even think to look at the most obvious. The places that
Fakirs choose to pierce themselves on their bodies have fewer nerves to conduct pain. The most
common areas are the cheeks, tongue, skin under the arms and around the abdomen and even the
eyelids.
Don't get me wrong, it still hurts a little, but it is quite tolerable. And if you practice meditation or fo-
cused relaxation you can actually distract yourself and make the pain even less. A plus is that there
are few blood veins in these areas, so that little or no blood is seen. Another wonder!!
It's enough to make me laugh how gullible we can be sometimes.
WARNING!
If you are stupid enough to stab yourself, don't blame me if you get an "owie." I provide this as infor-
mation only. If you attempt this stupid stunt, you will probably get an infection that will get gangrene
and have to have your head cut off or something.
FIRE WALKING
Oh what fun! What a way to spend an afternoon eh? Dig a big pit and start a bonfire in it and then
hours and hours later you spread the coals around and go for a little stroll right down the middle of it.
Anthony Robbins, a motivational counselor in California uses fire walking as part of his pitch to im-
prove a persons belief system. Attendance at his seminars and speaking engagements was falling
until he started using this. Then a celebrity or two got involved and his empire was built. Don't get me
wrong, except for minor con jobs like this one, I think he has a great program and some good books
out. I just resent anyone taking credit for something that ANYONE can do with just a little knowledge.
It serves it's purpose however and builds the mark's confidence. Which is exactly what Tony Robbins
says is the purpose.
You could even roast your wienies while you're waiting around for the coals to get hot. A perfect Sun-
day picnic! Don't forget the marshmallows.
Again, the western world freaked out about this and expounded numerous theories ranging from the
Leidenfrost Effect to the production of endorphins to the application of chemicals and so on.
The explanation isn't so complicated. The Germans provided the insight through some valid scientific
measurements. They attached thermocouples to the soles of some fire walkers feet and found that
while the surface of the fire was measured to be about 932 degrees Fahrenheit, the soles of the feet
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registered only 356 degrees Fahrenheit. Hot? certainly. Yet as long as you continue moving at a brisk
pace, not hot enough to do any real damage.
You want to use wood that does not retain heat well. Softwoods as opposed to hardwoods. You want
to let the wood burn down to coals. Coals do not transfer energy as well. If you use rocks, use a vol-
canic rock such as lava rock or pumice. Again, they do not retain and transfer energy well.
Watch the color of the flames-yellow is hotter than orange, which is hotter than red and so on.
Rake the yellow and orange glowing coals to the side,leaving the relatively cooler ones in the middle
and walk on these.
Let your feet sweat, the Liedenfrost Effect does help. Stand in grass covered in dew or that has been
recently watered. A hose is usually kept nearby and water will be spilled somewhere, find it and walk
in it.
Again, move briskly. The average firewalker only spends about one and one-half seconds on the
coals.
A distraction helps. Look upward or out and chant or yell something as you cross.
If you want to cheat, try putting some alum on the soles of the feet.
If you fall, you will burn like hell.
Another stupid trick.
BURIED ALIVE!
Many of these same Fakirs claim the ability to survive for extended periods of time after being buried.
Big deal.
Again we must get into the values of meditation and focused relaxation. All of these "gurus" are bur-
ied in a coffin that has lots of airspace. As long as you are not claustrophobic and know how to slow
your breathing (a natural result of meditation) you will suffer no discomfort for hours.
You can prove this on a smaller scale to yourself immediately. Take your pulse right now, before
reading another line, go ahead no one is watching you.
Now write your heart rate down.
Now imagine that you are being chased by something in the dark of the night, close your eyes and
feel the terror as you see yourself fleeing from this growling, lunging menace that pursues you and is
catching you, getting closer and closer . . . . IT'S GOT YOU!! Now measure your heart rate again. It's
probably notably higher just from reading that sentence. Now close your eyes and really imagine that
you are being chased, your heart rate will go up noticeably.
Now imagine a peaceful, lazy spring afternoon. You're sprawled under a tree just relaxing and enjoy-
ing the day, knowing that there are no pressures, nothing to disturb you etc.. Breathe slowly and let
your tensions go. Now measure your heart rate again. It will be quite a bit slower.
The same is true of your breathing. With practice you can learn to slow your heart and breathing or
respiratory rate quite dramatically.
This is the simple explanation for the buried alive phenomena.
Houdini used this same principle for some of his more dramatic effects. He became quite adept at
slowing his metabolic rate. He even challenged Rahman Bey, the so called "Egyptian Miracle Man."
Bey agreed to be "buried" underwater for an hour in a sealed casket. He made a big production out of
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going into a trance and was lowered into the water. The emergency alarm that had been installed be-
gan ringing soon thereafter and Bey had to be resurrected after only nineteen minutes.
Houdini was lowered in a sealed casket into the Hotel Shelton in New York. He did not go into a
trance and medical authorities had stated that survival would be impossible after only six minutes.
Houdini stayed down an hour and a half. No gimmicks, no concealed valves or oxygen sources. All
he did was remain calm, slow his breathing and survive on the air trapped in the "coffin." The coffin by
the way, measured 6 1/2 X 2 X 2 feet.
Oh sure there have been records of people claiming to be buried alive for days and even weeks, but
in each instance of prolonged burial, a tunnel was found, sometimes quite elaborate ones, in which
the Fakir could sneak out at their leisure.
MOSE'S STAFF TO SNAKE
In the Book of Exodus in the Bible, we find an account of the magicians who appeared before the
Pharaoh. According to the Old Testament account, the magicians all threw down their staffs and they
became serpents.
Moses was challenged to top this feat, considered to be great magic.
The contest was concluded when Mose's snake ate the others. This is a charming trick that can still
be found in certain parts of India, usually performed by street magicians in a most impressive man-
ner.
The secret to this trick is the kind of snake you choose to use. There is a snake found in the middle
east, called naja haje, and is quite common. When this snake is pressed on the back of the neck, it
becomes as rigid as a stick. When it is thrown on the ground, it seems to come alive and wriggle
away.
Have a good miracle. Perhaps in another book I shall reveal some more "miracles."
THE APPLE, THE SWORD AND THE NECK
Some of the martial arts and so called amazing swordsmen, have dazzled us with a simple trick for
centuries. The scenario is as follows: A man has his hands tied behind his back and kneels on a plat-
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form, head bowed. An apple is placed on the back of his neck and the swordsman steps up and mi-
raculously cuts the apple neatly in half without touching or even nicking the man who supported the
fruit. He strikes downward, looking like he is going to take his head right off.
Variations have been done with a watermelon on the stomach of a man lying prone etc. The sword is
almost always shown to be quite sharp (may cut some paper or something), and people who witness
this are duly impressed with the skill of the swordsman or martial artist.
The secret is quite simple actually. The sword is genuine and quite sharp for the most part. An area
near the base of the weapon is quite dull however and of course is not tested for sharpness. If you
prove that a part of the sword is sharp, people rarely question the rest of the sword.
The fruit is prepared as follows. Using a fairly long needle you pierce the apple (fruit) and move the
needle around so that it effectively cuts the fruit in half without piercing the skin except at the point of
entry for the needle, which is undetectable. Sometimes, whole bowls of fruit will have been so doc-
tored and even presented for inspection. If you don't know what to look for, you will of course never
know that the fruit has been prepared.
The fruit is placed on the assistant, and then struck with the dull part of the blade. The fruit will natu-
rally separate along the path of least resistance, and the person supporting the fruit is in no danger.
The person welding the sword must have a degree of skill of course. One slip and the sharp part of
the sword could decapitate the assistant. He must of course be at least skilled enough to hit the apple
in the correct area.
Please don't be stupid enough to try this yourself. Be content to know how it is done. If you must
demonstrate the principle for yourself, prepare an apple and strike it with a ruler or some equally be-
nign object while the apple is on a table or at best, held in the palm of your hand.
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There's nothing worse than a macho idiot. Except a macho idiot with a weapon in his hands.
SECRETS OF MEDITATION
We've all heard about meditation, especially TM or Transcendental Meditation. Scientific studies have
shown that meditation produces a state of calm alertness. During meditation, the output of the heart
is reduced and oygen consumption is decreased, indicating bodily relaxation. At the same time, the
brain registers an increase in alpha-wave activity which is an indication of increased psychic aware-
ness.
These stages signify a state of bodily restfulness and heightened mental alertness. Meditation seems
to do to the mind what exercise does for the body. Many people have described it as an occasion in
which the body is in a state as deep as, or deeper than, sleep, but you are fully conscious.
Most people who practice meditation report a feeling of greater mental clarity in their everyday life as
well as a sort of tranquility. It is also said to promote an ability to be more objective about things
around us, and is said to help people overcome bad habits such as smoking, alcoholism, drugs, etc.
The benefits of meditation have been proven scientifically and are demonstrable. Almost anyone can
derive some good out of the practice of meditation. Perhaps just providing this small escape from the
frenetic pace of everyday life, relaxing and reflecting for a few moments, can help you to savor and
enjoy this life you lead just a little bit more. We all need a break now and then from the hectic routine
we seem to settle into. Stress seems to be a part of everyday life in this day and age and can lead to
ulcers, heart attack, etc. Meditation can help you to overcome stress and make you better able to
cope with stressful situations. "Be still and ye shall know" is wise advice.
Moments of insight, revelation and inspiration do not happen generally as a result of conscious
thought or effort. To achieve moments of creativity, insights and mystical delights, we need only still
our bodies and allow our minds freedom. Simply step back from yourself and allow this spring inside
each of us to burst forth.
In the modern day world, it seems that we have pressures all around us that must be dealt with and
overcome. Interrelations at the ofice, at home, with the people and events we encounter every day,
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whether it's on the freeway going home from work, or the bills that just seem to keep mounting up, it
can frustrate almost anyone.
Meditation is/can be the tool that will help you to conquer and control your own reactions to these
negative stimuli, and help you to find a new joy in your own life.
Meditation is incredibly easy to learn, it takes only three minutes to master the technique, When Ma-
harishi Mahish Yogi first attempted to introduce TM to the western world, he offered to teach the prin-
ciples for nothing, and was almost ignored.
Then the Beatles gave him much needed publicity and he began to charge for his teachings, It seems
that putting a price tag on his classes was all the western world was waiting for. We seem to believe
that if we don't have to pay for something, it must not be of use. Classes on Transcendental Medita-
tion began to spring up all over the country, and were largely successful. Some one million people
signed up and paid their money. Without the embellishment or ceremony, this is what they learned.
First set aside a regular time and place for meditation. To get the full benefits of meditation you
should set aside at least fifteen minutes a day.
Ideally, fifteen to twenty minutes per session, twice a day should be practiced, Don't worry that you
won't have enough time for this regimen on a daily basis, you will find that, as a result of meditation,
your days will actually seem to have more time in them. This is one of its many benefits.
Learn to be still: You should select a place that is relatively quiet and where you won't be disturbed (
some people may have to lock themselves in the bathroom to do this). After you have practiced for a
while, you will find that you will be able to meditate almost anywhere, including riding to or from work (
not driving! ).
The position you assume while you meditate is not important as long as you are comfortable. The
important thing is to relax physically. Whether you choose the traditional postures such as the lotus
position or kneeling with your hands clasped, or just sitting upright in you favorite old chair doesn't
matter, as long as you are comfortable and at ease.
The Mantra: Teachers of TM will tell you that each person has their own personal mantra selected
especially for them from among thousands, after careful investigation and thought. The truth is, any
one or two syllable word will work as long as it has no semantic meaning for you personally. Teach-
ers of TM will tell you that each mantra is matched to a particular personality. Wrong. The mantras
are given according to the age of the initiate. This is not really fraudulent, it is just part of the
"mystery" that is used to sell a product that is really quite basic and simple.
Following are the "secret" mantras and how they are assigned:
ENG TO 11 YEARS
EM 12-13 YEARS
ENGA 14-15 YEARS
EMA 16-17 YEARS
AENG 18-19 YEARS
AEM 20-21 YEARS
AENGA 22-23 YEARS
AEMA 24-25 YEARS
SHIRING 26-29 YEARS
SHIRIM 30-34 YEARS
HIRING 35-39 YEARS
HIRIM 40-44 YEARS
KIRING 45-49 YEARS
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KIRIM 50-54 YEARS
SHAM 55-59 YEARS
SHAMA 60 AND OVER
You may use the one that would normally be assigned to you or any of the others that might strike
your fancy. Or, if you wish, you may use the more traditional OM, which represents "God in all his full-
ness and power." You may even substitute a word of religious significance such as "Praise God" or
even a short prayer. Saying the rosary is a form of religious meditation. Use whatever you feel most
comfortable with.
Which ever mantra you choose, stick with it. This is the way you use it. Assuming that you are in a
comfortable position and that it is relatively quiet, you simply close your eyes (to shut out distrac-
tions). and begin repeating your mantra over and over to yourself. Repeat the mantra to yourself as
you breathe out, letting the word or words just sort of flow out of you.
Try to think of nothing but your mantra, If you find your mind wandering, or outside thoughts begin-
ning to creep in, simply push them aside, gently putting them out of your conscious mind and return
your concentration to your mantra, Don't worry if you find yourself drifting off into sleep of if you
should actually fall asleep.
With practice this will stop being a problem. After twenty monutes of meditation you may feel that you
are as refreshed as if you had just taken a nap.
Basically that is all that there is to it, except for a few pointers. Don't try too hard, stop striving. We as
a people are so used to making things happen that we rarely just allow them to happen. Relax.
The benefits of meditation are subtle and may not be noticed immediately. We are so conditioned to
"instant" everything that we find it easy to grow impatient. This once, just allow yourself the pleasure
of "letting time be still," and enjoying it for yourself, or itself.
Don't become discouraged if your life doesn't change overnight, practice at least once a day for about
six weeks and then compare the quality of your life, your ability to cope with stress, the way people
inter-react with you, and even your happiness, with the way you were before meditation and you
should be pleasantly surprised.
Through the use of meditation you may find a new relationship with the world around you, the people,
and even yourself. It is not unusual to experience "cosmic union" or a feeling of oneness with the uni-
verse, or even a sense of enlightenment.
Meditation may open many new doors for you. It will definitely have beneficial effects upon your
health and well being, and may help to avert heart attack, ulcers and other stress related diseases.
The secret" has been revealed to you, now it's up to you what you choose to do with it. Good luck
and enjoy!
End
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YOU SHOWOFF
HEADS OR TAILS, CALL IT EACH TIME!
The scam... With your back turned, you can guess whether a spinning coin landed heads or tails up...
and be right every single time!
The secret: Using a knife or a file, put a small natural looking nick on one side of the coin right on the
edge. With just a little practice you will be able to HEAR the difference and pick the correct answer
each and every time!
Of course you have to carry this coin around with you so that you can be prepared. I carry one of
each denomination in my pocket and make it a point to never spend them or mix them up with other
coins. You never know when it might come in handy.
Do it too often in front of the same crowd and you may eventually get busted. As with any good con,
know when to stop.
THE SECRET KNOT TIE
The challenge: To tie a knot in a piece of string that is being held at both ends without letting go of
either end.
The secret: Lay the string or cord on a table. Then simply fold your arms, one above the other, right
hand on upper left arm, left hand under upper right arm. With your arms thus folded, grasp one end of
the string in each hand. Simply pull hands towards each other while maintaining your grasp on the
string, and by the time your hands are separated, there will be a knot in the string.
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DROP THE LIGHT BULB
Tell someone that you can drop an ordinary light bulb onto a concrete floor and it won't break.
Sure, if you drop from only three inches.
Wrong.
Tell them that you can drop it from waist high, no problem.
The secret: Drop it with the metal end down. The metal absorbs the shock and the bulb will not break.
This is a great one to do in a garage or warehouse.
A LIT MATCH WON'T BURN
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Fire of course needs oxygen to burn. If you hold a lit match over a fresh glass of soda or beer, the
carbon dioxide will snuff the match. Carbon dioxide is the gas that gives beverages it's "fizz" or car-
bonation. When these bubbles rise to the surface they are carbon dioxide and carbon dioxide will
snuff a fire.
PUZZLE THEM THIS
The following set of letters is not random. They represent a logical and very familiar sequence. Bet
you can't fill in the blanks.
O T T F F S _ _ _ _.
The answer:
The blank letters are S E N T. Still don't get it? Neither will your friends. The letters stand for the first
letters of the numbers One, Two, Three etc.
TWO BOTTLES AND A BILL
Using two beer or soda bottles that are the same, place one of the bottles right side up near the edge
of a table. Put a dollar bill on top of this one and center it. Then balance the second bottle on top of
the first, sandwiching the bill between them. Now challenge your friends to remove the bill without
touching the bottles.
Here's how: Grab the bill between thumb and forefinger and hold it straight out, just tight enough not
to tip the bottles. Using one or two fingers of the other hand, strike down on the dollar bill as fast as
you can, still maintaining your grip with the other hand. The bill will zip right out leaving the bottles
without even a wobble.
Important! The bottles must be completely clean and dry for this to work. Practice a few times to
make it look really easy.
THE COIN CROSS
Place six pennies in the form of a cross. They should total four one way and three the other way. Now
challenge someone to arrange the pennies so that they will total four both ways.
The Secret: Take the penny that is at the bottom of the cross and place it on top of the penny that is
in the center of the cross. Gotcha!
THE BOUNCING DINNER ROLL
(A great gag)
When sitting at an elegant dinner party, with the table all set, the candles lit... this is the perfect gag to
get the party rolling.
Spot the bread basket and politely ask for someone to pass the rolls. Remove a roll, and pass the
basket along. (Until now, you are the perfect dinner guest. Little do they know....)
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Pretend to throw the roll onto the floor straight down. What you are really doing is catching it in the
other hand! (By the way, when you toss the roll, begin above the table and allow your hand to come
just below the table.)
Now... when you catch it on your other hand, tap or stomp your foot at the same time so as to make it
sound like the roll hit the floor. Wait a split second and toss it back up. This is important: just toss it
with your wrist (it's a light roll, remember); don't allow your arm or shoulder to move in any way. Prac-
tice this until you get it right.
Then, catch the roll as it comes down, tear it open, and butter it.
You'll never be invited back, but then, perhaps that's not so bad after all!
EVERLASTING ASH
A friend is challenged to see who can smoke a cigarette the longest distance without losing any ash.
You win.
You will need a packet of cigarettes and a paperclip
Everything starts off OK, but soon they realise that they are fighting a losing battle as your entire ciga-
rette refuses to let a single piece of ash drop!
It's all in the hidden paperclip!
Simply straighten it out and slide it down the center of your cigarette (taking care not to punch a
whole in the side in the process). Make sure it slightly digs into the filter so as to give it some stability.
Now, snip off the end and push it into the filter enough to hide the wire. This should give you a normal
looking cigarette with no protruding wire(s).
Light up and see for yourself. This looks great in the right context.
Just lighting one up in the pub makes you an instant magnet for girls (& drunk fellas).
Remember you can add the wire to the cigarette at ANY TIME. The cigarette 'tastes' normal (or so
they say) so if someone thinks it is a fake just let them have a drag.
If you are a good play actor then you can pretend to work some mojo upon it.
Remember - Half the battle is in your performance.
PICK A PUZZLE
Make five connected squares out of toothpicks as in the illustration below.
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Challenge someone to remove only three toothpicks and leave three squares. The answer is in the
second drawing.
THE LEVITATING CIGARETTE
Hold a pack of ordinary cigarettes up with one hand, make a few magic passes over it with the other
hand and say a few appropriate magic words and watch your friends faces light up as a cigarette
mysteriously rises from the pack.
The Secret: Before the trick is performed, a cigarette is placed between the cellophane and the pack,
this is the side that faces you. Hold the pack slightly above eye level so that your audience can't see
that the cigarette rises from the rear of the pack instead of from the inside. You make the cigarette
rise with your thumb from the rear of the pack.
DICE EYES
Roll three dice. Add the spots showing and subtract from 21. This will give you the total for the under-
sides of the die.
PSYCHIC DICE
A spectator is asked to drop 3 dice into a glass of water , raise the glass over their head and count
the total of the dice on the bottom.
The spectator then sets the glass back down , the bartender dips his finger in the water , rubs his fin-
ger on his forehead and after a little concentrating , announces the total of the dice on the bottom to
the spectators amazement
You will need a glass of water and 3 dice
All you have to do is add up the total of the numbers on top of the dice and subtract this total from 21.
This will give you the bottom total. Amazing.
MAKE AN EGG FLOAT
Put an egg in a glass that is about 2/3 full of water and watch it sink. To make it float, simply add salt
until it rises. If you're careful, you can put just enough salt in to make it suspend itself about half way
between the top and bottom of the glass.
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CAN'T LIFT A NEWSPAPER
Lay a ruler on a table with about four inches sticking out over the edge. Then lay an open newspaper
over the part still on the table.
Challenge someone that no matter how hard they hit the ruler they will not be able to lift the newspa-
per from the table. No matter how hard they hit it, the paper will stay on the table. Even if they hit it
hard enough to break the ruler.
Stick a Dime to the Door
Just make a nick in the edge of a dime with a sharp knife. When you press the sharp edge of this
dime against a wooden door or wall, the edge should make it stick.
When a friend wants to try it, just hand them a different dime (have it palmed in your hand ).
THE LEVITATING SPICE
The Setup: Spill some salt on the table and on top of the salt, sprinkle a small amount of pepper.
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The Challenge: To remove the pepper without touching the salt. To accomplish this you simply re-
move your pocket comb, run it though your hair a few times and then pass it over the salt. The pep-
per will jump to the comb (because of the static charge), leaving the salt clear and white. Some of the
lighter grains of salt may cling to the comb also, but this should be of little or no concern since the
challenge was just to remove the pepper without touching the salt.
BOUNCE AND BALANCE
This is one of those that can be a lot of fun when you are out to dinner or whatever occasion calls for
wine perhaps? Take the cork from a wine bottle and challenge someone to drop it so that it stands on
it's end.
Can't be done by anyone but you.
The cork is so light and resilient that it will always bounce no matter how you let it drop. The secret to
this is to let it land on it's side and it will often bounce up and stay balanced on end. Please notice
that I said "often" and not always. Don't bet the farm on this one, unless of course you have had
some time to practice and determine the exact height from which you need to drop it.
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HOW TO BURN STEEL WITH A MATCH
Hold a lit match to a steel nail or screwdriver. It will get hot but will not burn. Now tell your audience
that you can make steel burn with just an ordinary match.
How? Loosen up a wad of steel wool and hold a lit match to the fibers and it will burn. The reason is
two fold. First, the steel fibers are so finely divided that oxygen necessary for ignition is touching it on
many surfaces. The second reason is that unlike the nail or screwdriver, there is not enough steel to
conduct the heat away and so the steel will readily reach ignition point where the flame is touching it.
THERE'S MONEY IN TOBACCO
You roll a cigarette between your hands and it is magically replaced with a dollar bill.
Here's how you do it: Prepare a cigarette by placing one on a table and rolling it until almost all of the
tobacco is gently squeezed out. Leave a small plug in the end nearest the filter.
Now begin rolling a dollar bill in your hands. To speed this up, once you start the roll, moisten your
palms and roll it between them, repeat if necessary until you have a tube small enough to fit into the
paper left on the cigarette. Carefully insert the rolled bill into the cigarette and release it. It will expand
to fill the tube. Now place another plug of tobacco in the end to hide the bill and tamp it gently down.
To produce the dollar bill, remove the prepared cigarette from the pack and secretly moisten the
palms of your hands (either on the sides of a glass or use saliva). Now briskly roll the cigarette be-
tween the palms and the moisture will disintegrate the paper into very tiny wads that will be practically
invisible, leaving the money in your hand that can be unrolled and counted as your profit.
You can present this in any number of ways. One of my favorites is to ask a waitress or waiter if they
will accept it as a tip. When they tell me that they don't smoke or don't smoke that brand I "dissolve it"
and tell them that tobacco has always been a great cash crop!
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The Impossible Pickup
Place a dime or penny on a bar or table and place your hand over it. You quickly raise your hand and
close it into a fist. The coin is in your palm. Yet when someone else tries it, the coin remains on the
table.
The secret: Put your hand on the coin so that the coin rests on the ball of your hand just below the
third finger. Now just before you lift it, press down hard and quickly lift your hand. The pressure will
cause the coin to stick to your palm just long enough to grab it as you lift your hand and close your
fist.
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STUNTS OF STRENGTH
THE PUSH
A broom handle or similar object is held parallel to the floor. Two or even more men grasp it palms
up. Drop a piece of paper onto the floor and instruct the men to touch the end of the broom handle to
the paper. Of course they do this effortlessly.
Then challenge them.
State that with only two fingers you can prevent them from doing that again. After they laugh and ac-
cept your challenge, place two fingers just inside the hand closest to the end intended to touch the
paper. When they attempt to touch the paper, they will instead find themselves moving across the
room. The secret? Instead of pushing up as everyone will expect. you push forward, redirecting their
force. Practice a few times at home first.
Variation: Challenge a person as follows. Have your victim take a broom handle or similar object and
hold it in front of them, parallel with their own body, handle end pointed downward. Tell them to grip it
with both hands and push it to the floor. Again, this is done effortlessly. Now tell them that you can
stop them from doing this with only two fingers. Explain to them that they cannot jerk the broom or
use any quick motion. Just a steady pressure.
When they accept the challenge, just place your two fingers near the bottom of the handle, closest to
the floor and when they begin to push down, YOU push to the side, once again re-directing their
force. The handle goes everywhere but down.
Another great one: Pick the largest person in the room for this one. Hold a broom handle in your
hands, parallel to the floor at about chest height. Grip the handle about even with your shoulders.
Challenge this person, saying that no matter how hard they push against the broom handle, they will
not be able to move you backwards. Have them grasp the handle just on the outside of your hands
and explain that they must push with a steady pressure, no quick motions, jerks or shoves. When he
begins to push, you simply redirect the force either upwards or downwards depending on the height
of your challenger. Gets them every time!
THE FIST THAT WON'T FLY
Have the "victim" stand with arms extended, one fist on top of the other. You can easily separate
them with your fingers using a quick strike to the sides of the fists. When they attempt to do the same
with you, they are amazed to find that your fists stay locked.
The secret: When you put your fists together, you sneakily grasp the thumb of your lower hand in
your upper hand.
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Do this so that no one suspects of course, and don't have anyone standing where they can see what
you've done. A little practice in front of a mirror and you will freak out even the biggest man.
BOTTLE BUSTER!
The trick: To break the bottom out of a bottle with your hands. When you know how, you can break
the bottom out of a pop or beer bottle or even a wine bottle with your bare hands. Think about it, or if
you want to set it up so that it looks even more impressive, you can actually drive a nail with the bot-
toms of some of the best known brands.
IMPORTANT--- DO NOT ATTEMPT THIS UNLESS YOU ARE WEARING GLOVES AND GOGGLES
AND APPROPRIATE CLOTHING! It is possible that the bottle could shatter. Not likely, but possible.
Please be careful.
The secret to breaking a bottle with your bare hands is really pretty easy. First you fill the bottle with
water, leaving about an inch of space at the top. Then, grasping the bottle firmly, you hit it sharply
with the palm of the other hand and watch as the entire bottom of the bottle bursts off!
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IMPORTANT!!! Always perform this out of doors or where no one will be endangered by the glass
bursting. It is also a good idea to wear a glove on the hand grasping the bottle, or to at least use a
towel or something to protect your hands. While this trick is normally safe, it IS possible for the entire
bottle to shatter after the bottom pops off. Protect your hand with something.
It works best to grasp the bottle near the neck. ALWAYS pick up the glass that breaks and dispose of
it properly.
This is a very impressive trick that requires a little practice to get it right the first time. You must hit the
top of the bottle sharply with the upper palm of the hand (see illustration). You should hit the bottle
top with the pad of flesh below the thumb, but slightly inward towards the palm.
The bottle bottom breaks out because you are suddenly forcing and capturing air in the bottle creat-
ing a great deal of pressure. You actually force air into the bottle with your hand, and then for just a
split second, create a seal. Because of this rapid increase of air pressure, the bottle can't contain the
forces and breaks at it's weakest point, the bottom.
If at first you don't succeed, give it a little break. Don't bruise your hand. And don't give away where
you hit the bottle on your hand. When others try this, unless they are lucky enough to hit it just right,
they still won't be able to do it!
RIP IT!
Ever try to break an apple in half with your bare hands? I don't mean a karate chop or any kind of
blow. Grab it in your hands and try to break an apple. It's nearly impossible. Be careful though, some
men with real strong hands can do this without any trickery. They are few and far between luckily. I
have only known two men that could do this and they both worked in the construction trades. You
however, can do this once you know the secret.
The secret: One of the ways that you can do this is not a method I care for. What you do is simply slip
a needle or two into the apple right in the core and move it around a little to "cut" the core. This
breaks up the flesh enough to allow most people to break it. This can be dangerous however. A dis-
carded apple can be picked up and eaten by some unsuspecting kid or something, and they could
die. I DO NOT recommend this method for this reason.
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Luckily, there is an even better way. What holds the apple together is the skin. Once you pierce or
break the skin surrounding the apple, the rest is relatively easy. If you have advance time, just take a
sharp knife and make a small slit around the apple from top to bottom on both sides. Don't make it
deep, it only has to break the skin.
If you get caught unprepared, don't worry. All you have to do is slit the skin as illustrated with a
thumbnail, grasp the apple firmly in both hands, twist and watch that apple rip! With a little practice,
you will even be able to slit the apple without anyone being any wiser.
The secret to gripping the apple is to have your fingers turned to opposite sides, one thumb up and
one thumb down. You then twist in opposite directions, as if you were opening a stubborn jar. Re-
member you want to break the apple vertically, from the stem to the core.
THE STRENGTH OF A TORNADO
Almost everyone has heard stories of how a tornado has such strength it has done weird things like
plucking chickens and driving straw through a tree. Well you're not quite that strong, but you can put
a drinking straw through a potato or an apple.
Some straws work full length, but unless you have practiced with that particular brand of drinking
straw, cut it in half. Pick up the straw half in one hand and the apple or potato in the other and slam
the straw into the potato or apple. It will easily penetrate and often go clear through! yet when your
friends try it, all that happens is a lot of broken and crumpled straws.
The secret: As you begin to strike the apple, place your finger over the end of the straw, forming a
seal. The air captured in the straw will make it strong enough to penetrate the apple or potato! Again,
you have to hit it with quite a bit of force. With a little practice, you'll be able to do this without your
audience seeing you place your finger over the end of the straw and will they be amazed at your
strength and speed!
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LIFT AWAY
For this one you want to find the biggest, strongest looking man present. Have them put their hands
beneath your arms and lift you from the floor. They should be able to do so easily.
Once this has been accomplished, tell them that you know the secret "Vulcan" pressure point that
you need only press and you can render a man weak. You tell them that this pressure point is located
on the chin and that you must be careful lest you press too hard and leave your hapless victim uncon-
scious.
Make a big deal out of exploring the victims chin, as if you were searching for the correct spot. Once
you "find it," you put a firm steady pressure right under the middle of the chin with your fingers. This
forces the head back slightly.
Now, when they try to lift you, they will find themselves unable to do so. The reason is simple, with
their head tilted back, they are slightly off balance and can only use the strength of their forearms to
lift with. The harder they try to lift, the harder you push and the weaker they will seem.
When they lifted you the first time they were using the muscles of their arms, shoulders, back, and
chest. This time, with your fingers pressing firmly against the bottom of their chin, forcing their head to
be tilted back, the larger muscle groups become of no use. This is a great effect. Practice it a few
times and you will amaze your friends.
IMPRISONED IN A CHAIR
Have someone sit up straight in a chair, with their spine and head in a straight line ( just like you were
told to as a child ). Now put your finger on their forehead and press lightly. Then tell your friend to try
and stand.
Can't do it.
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Same principle as the last one. The center of gravity is in the butt. In order to stand, the center must
be shifted to the feet. In order to do this, the head must move forward. You and your finger are keep-
ing this from happening.
ONLY YOU CAN TEAR THIS
Twist an ordinary paper napkin repeatedly like a rope and ask your companion to pull the ends and
break the napkin. Any napkin will prove difficult (although not impossible) to tear. When you try it
however, you are able to tear each napkin easily, impressing everyone with your great strength once
again.
Oh yea, I guess I should tell you how to do this huh? When no one is looking, dip your fingers into
your water glass, or just use the condensation that has collected on the outside of the glass, and
moisten the center of the napkin.
You may have to do this a couple of times. Once you have moistened the napkin, the paper is re-
duced to the original pulp and the fibers are so weakened that they will pull apart easily. With a little
practice you will be able to moisten the napkin without anyone noticing while you are twisting it into
the rope-like shape.
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BUST IT ON MY CHEST
I'm sure most of you have seen a strongman performance in which a man is laying prone and a block
of ice or a number of cinder blocks are placed on their chest. Another man approaches with a sledge
hammer and pounds the brick or ice into pieces without harming the "strongman" supporting the ob-
jects. Some people have even done this while laying on a bed of nails (see "Secrets of the Mystics).
This is another simple principle of physics, specifically the law of inertia. The force of the blow is no
longer concentrated in just a few inches. It is instead absorbed by the ice or bricks and spread and
dissipated over an area now comprising feet instead of inches. In fact, the larger the object being
struck, the less force that reaches the person supporting the object.
A simplistic demonstration can be done with an ordinary pencil. Strike the eraser end of a pencil with
the palm of your hand. You can hit it pretty hard before it hurts. The force of your blow is spread over
about a quarter of an inch. Now strike the point of the pencil gently.
The force of the blow is now concentrated upon a very small space and could easily drive the pencil
into the palm of your hand. Now hold twenty pencils in your hand and strike the points with your palm.
You can of course hit this much harder than you can just one pencil, because the force of the blow is
again redirected to a a larger area.
Now that you have lead poisoning, get to a doctor and get a painful tetanus shot.
BREAK EVEN STRONG FISHING LINE WITH YOUR BARE HANDS
This is an invaluable trick that even has some practical application. You can break strong cord and
even most fishing line with your bare hands. This is a great bet as well.
Here's how you do it. Wrap one end of the cord around your left forefinger (right if you're a southpaw)
three or four times and then dangle a loop in your palm, take the cord behind the palm and under the
hand and through the loop as illustrated. With the other hand, grasp the line about a foot below the
loop and make several wraps around your other hand. Now close both hands into fists and bring
them together, one atop the other, then quickly yank your right fist down and your left fist up. The
cord will snap where it bisects the center of the loop.
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By looping the cord, the force is concentrated upon the tiny area where the cords intersects itself act-
ing like a dull knife and cutting the cord.
End
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THAT'S IMPOSSIBLE!
MATCH CHALLENGE
Drop an ordinary book match from a height of about two feet. It will always fall flat, laying on it's side.
Challenge your victim to make it fall on it's EDGE.
The Secret: Bend the match in half and let it drop, it will land on it's edge.
Variation: Take an ordinary book match and with an ink pen draw an H for heads, on one side. Draw
a T for tails on the other side. Then you can make your bet. Tell your victim that if it lands on "heads"
they win. If it lands on "tails" you win, but if it lands on its edge, you win something extra special.
Most people will go for this, thinking it's impossible. Explain to them that you once flipped a coin and it
landed on it's edge, so you've been making that a part of your bet ever since, sort of a hedge. They
almost always go for it.
Bet something silly though so that they won't be too upset to pay off. This one can be a lot of fun with
a little imagination.
CAN'T LET GO?
Place the tips of your ring fingers together (the finger right next to your pinkie). Fold the other fingers
down so that the knuckles touch. Have someone put a penny between the tips of your ring fingers.
Try to open your ring fingers and drop the penny. You may not slide the penny out, it must drop.
THE FOLD
Challenge someone to fold a $20 dollar bill in half, doubling it each time, 8 times. Tell them that they
can keep if it they can do it.
It's impossible.
You can't fold a piece of paper in half (doubling it), more than eight times. Not even something as thin
as toilet paper, or as large as newspaper . . .
It's impossible.
Go ahead, try it.
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THE POWER OF A DOLLAR
Put a dollar bill THROUGH a lime?
No way . . .
Way.
Shove a dollar bill through a lime. Sounds impossible, doesn't it? This one will get their attention.
You take a dollar bill (it helps if the bill isn't too old), and roll it tightly into a conical shape, making a
sharp point at one end.
Start it small and keep it as tight as you can so that the bill looks like a dart. You then press the bill
into the side of the lime and twist the bill in the same direction that you rolled it, so that it gets even
tighter.
Your audience will be amazed as the bill penetrates the lime deeper and deeper until it comes out the
other side.
Don't try to rush it, this trick takes a little time but is well worth the effort and patience.
BREAK A PENCIL WITH A DOLLAR BILL
You fold a dollar in half lengthwise and ask someone to hold a pencil firmly by either end, out in front
of them.
You then announce that you will strike the pencil so hard with the dollar bill, that the pencil will break.
Invite them to try it first if they like.
When you strike the pencil, you secretly place your index finger alongside the dollar bill and it's the
finger that breaks the bill, but only you will know that. Do not use pencils that are too thick or pencils
that are too short.
Be sure and strike the pencil quite fast, you will feel no pain at all.
Practice!
141
ANTI GRAVITY BEER
An annoying person returns from the toilet to find that their bottle of beer has been turned upside
down wthout any beer falling out.
The bottle is then handed to them when the beer spills all over the place
To Do This You Need :
A packet of cigarettes
A full bottle of beer
A beer mat
Sharp scissors or a knife
Fast running shoes.
Take the plastic wrapper off the cigarette packet and cut a circle just big enough to cover the rim of
the beer bottle. Wet the rim and stick the plastic on top of the bottle.
Place a beer mat on top of the bottle (being careful not to move the plastic on the rim) and holding the
beer mat turn the bottle upside down.
Carefully remove the beer mat and the plastic should keep the beer inside the bottle.
When your friend returns , it will look like the beer is defying gravity.
While they are still amazed, ask them to take a seat and hand them the inverted bottle.
Tap the bottom of the bottle gently and run as fast as you can as your friend gets soaked with beer.
SPIN THAT BABY
Invert a glass and place a penny on the bottom of the glass. Challenge anyone to make the penny
spin without touching it.
This one takes practice but is well worth the effort for the effect you get. If you blow sharply and
slightly under the penny, it will stand up on end and spin on the bottom of the glass.
Practice!
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THE BLACK HOLE
This one really is amazing. Tell your friends that you can cut a hole in a playing card, or a 3x5 reci-
pe card, large enough to step through. Yep, that's what I said. A hole large enough to fit over your
entire body.
Of course that's impossible, or is it? . . . .
Fold the card in half lengthwise and make a slit down the center, along the fold, to within about 1/8
inch of each edge. Fold the card in half along the cut you just made. Begin making your cuts from the
bottom to the top, again to within about 1/8 of an inch of the top and about 1/2 inch apart. Turn the
card over and cut between the cuts you have just made, again to within about 1/8 inch of the edge.
Don't cut all the way to the edge
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When you have finished, unfold the card and watch it accordion out to a thin ribbon with the ends
joined. Step into it and pull it up to your waist and even over your head.
The circumference of the ring is equal to the length of all of the cuts you have made. Amazing!
THE CIGARETTE KNOT
Can you tie a knot in a cigarette and not break it? Sounds impossible doesn't it? It's really not that
difficult once you know how.
Take the cellophane wrap from the pack of cigarettes and lay it flat. Lay the cigarette in the middle of
the cellophane so that the cellophane is longer than the cigarette. Now roll the cigarette tightly in the
cellophane so that it forms a tube. Twist both the ends of the cellophane to seal them.
Now tie the cigarette into a knot. You will have to force it, but the cellophane will protect the cigarette
and it will even be in smoking condition when unwrapped, although somewhat bedraggled looking.
NEEDLE IN A BALLOON
Can you stick a needle in a balloon and not pop it? Of course you can! You can even stick a number
of needles in the balloon and it will not pop! We're talking real needles and pins here, real balloons,
not gimmicks.
The method is almost too simple but is sure amazing! After you pass the balloon and the needles
around so that your audience can see that they are for real, you take some ordinary clear tape, such
as Scotch tape, that you have concealed on your hand.
As you handle the balloon and tell your audience how amazing and wonderful you are you sneakily
apply a small strip or two of the tape to the balloon. When you pierce it with the needle or pin, you
pierce the tape that is now adhering to the balloon. The tape keeps the balloon from popping and the
needles or pins can be clearly seen. If you're careful, no one will ever see the tape, as long as they
are not too close.
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Once everyone watching has ooohed and aaahed and made you feel like some kind of modern day
wonder, you simply stick the next pin into an area that doesn't have any tape on it and the balloon
pops!
Aren't you incredible?
VARIATION
Fill a polyethylene (like grocery stores give out for vegetables) bag with water and twist it closed with
a rubber band or tie a knot in it to hold it closed securely. Now jab a sharp pencil through the bag so
that it penetrates clear through both sides of the bag. Leave the pencil in the bag and not a single
drop of water will leak out. Polyethylene has the unusual property of shrinking its molecules when
torn. It's the same principle used in making puncture proof tires.
ANOTHER VARIATION
Carefully place a pin or needle in a balloon, at one of the ends, where the rubber is thickest. The bal-
loon will be darkest here. If the needle is long enough, you can even come out the other side (again
where it is thickest). Finish quickly however, the balloon is now leaking air pretty fast. Just pop it for a
finish.
LEVITATING FORKS
They don't actually levitate, but once your audience sees this effect they will forgive you your use of
the term. You can do this trick at any dinner table, the only things that you will need are two forks, a
glass and a toothpick.
Tell your audience that you can balance two forks on the edge of a toothpick. When the oohs and
aahhs die down, tell them that you will then balance the toothpick and the forks on the edge of a
glass.
Sounds impossible doesn't it?
Take two forks and interlace the tines together so that they look like one long fork joined together at
the center. This may take a little force. Now wedge a toothpick into the approximate center of the two
forks just a little ways. If you want to put on a show, you can now balance the end of the toothpick on
the end of your finger, making it look as if the forks are suspended in midair. Now take the toothpick
and carefully balance it on the edge of a glass. This may take a little experimentation to find the exact
point, but it is pretty easy to do once you've tried it once or twice.
The forks will now be balance on the toothpick on the edge of the glass. If anyone says that it is the
length of the toothpick hanging over the glass that makes this possible, simply set the part of the
toothpick on fire that is hanging over the center of the glass. The flame will burn to the edge of the
glass and go out, leaving the forks suspended!
End
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DAVID BLAINE'S SECRETS OF STREET MAGIC
Penetrating String Trick
The Vanishing Coin
The Card Riffle
Mind Reading 101
Mind Reading 102
Decapitate and Restore a Dove
Card Through Window Trick
Cough It Up!
The Card In The Bottle
Bite Through A Coin
Spontaneous Coin Vanish
The Boomerang Card Trick
Burn and Ye Shall Know
The Levitating Match
Mind Over Watch
Cigarette Through A Quarter
The Balducci Levitation
Levitation of Small Objects
The Three Amigos
Card On Ceiling
Impromptu Card Find
Bookworm
Elevator Card
Twisting Arm Illusion
Ace Shake
The Rising Card
Andruzzi Ascending
Fly Resurrection
Through The Palm
Magnetic Fingers
The Serial Number
Mental Magic Quickies
David Blaine has captured the imagination of the people with his television specials. He does some
pretty amazing things, seemingly scaring the hell out of some innocent pedestrians and inspiring awe
in spectators and passers-by.
Some of his tricks are incredibly simple, involving magic children have learned from cereal boxes or
school library books. Others, especially some of the card tricks, require a great deal of practice and
dexterity to master. We will include some of these just for your information.
We have to warn you however, be sure that you really want to read what follows. The world can be a
magical place and ofttimes, revealing the magic can somehow help to erode the mystery that sur-
rounds us. Be sure you wish to know what follows before you read it. Sometimes, the magic is more
fun and entertaining in the long run.
PENETRATING STRING TRICK
Effect:
The magician is seen to roll some thread into a ball in his fingers.
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The thread is then placed in his mouth and he appears to swallow it.
The magician appears to be in pain , when he bares his stomach and visibly pulls the thread out from
it .
WHAT YOU WILL NEED
Thread , you will need two pieces of the same colored thread .
"New skin" latex clear paint for covering cuts and grazes or other brand of latex paint. This liquid paint
is normally available from pharmacies .
Make up
HOW IT'S DONE
You need to paint a one to two inch square area on your stomach with the latex .When it dries you
can pull it gently away from the skin to form a pocket .
Place one piece of thread in the pocket , leaving a small piece sticking out .
Cover the latex pocket with make up to match the color of your skin .
The latex pocket can alternatively be made by attaching a piece of skin colored latex that has been
cut from a Halloween mask. This could be attached by using the latex paint as glue .
The performance is done by the magician rolling one of the pieces of thread into a ball and then ei-
ther pretending to place the thread in his mouth , retaining the thread between his thumb and finger
or the thread can be placed between the gum and cheek . Then he pretends to swallow the string .
The rest of the trick depends on acting , the pain enhancing the illusion that the thread has pushed its
way through the magicians stomach .
The thread can then be carefully pulled from the latex pocket.
THE VANISHING COIN
A coin is placed in the magicians hand, he makes a few passes over the coin with his other hand and
BAM!, the coin disappears. This can even be done on a volunteer's hand.
It's simple. The coin is a steel slug with a stamped face. He has a magnet attached to an elastic band
concealed in the palm of his hand. The elastic holds the magnet by use of an "invisible" thread looped
over a finger. The magnet is covered with a piece of felt to mask any noise or clinking of the coin.
Once the coin "jumps" to the magnet, the thread looped over the finger is broken or released and the
elastic band pulls the magnet and the "coin" up the sleeve enabling the magician to reveal empty
hands.
THE CARD RIFFLE
Invite a small group or a few friends to choose a card in a deck as you riffle the pack. Tell them to re-
member any card but the bottom card. You hold the deck out in front of you, face cards towards the
spectators. You riffle the deck and ask them to remember a card other than the bottom card.
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You mysteriously name the card they picked.
For this you need a gimmicked deck. Take a memorable face card (King of Hearts) and glue the bot-
tom of the card to the back of another card. Two cards will be glued together at the bottom, but will be
loose at the . Using a pair of sharp scissors, cut the off the front card so that the King of Hearts is
clearly visible.
Now when you riffle the deck, you will pause just long enough on the King of Hearts to make it regis-
ter in the minds of your onlookers. To your spectators, it will not look as if you are pausing at all.
MIND READING 101
Tell your spectator to pick a number between one and fifty but more than 10. Tell them to pick an odd
number and that the two digits of the number must not be the same.
You then ask them if the number they thought of was 37.
Most people will say it was indeed.
You have severely limited their choices after all. What if your person denies that 37 was their num-
ber? Simply ask if someone else was thinking of that number. Of course someone was. Then ask
your spectator if they were thinking of the number 15. That is the second most popular number
thought of.
MIND READING 102
Can you make a spectator a psychic? Of course you can, you are street wise, savvy and magic all
rolled into one awesome package!
You take a tablet and hold it in front of you and write a number, ask your spectator to read your mind
and name the first three digit number that comes to their mind. They choose their number and an-
nounce it. You look astonished, and turn the tablet over revealing the number they managed to "read"
from you mind.
HOW YOU DID IT
Or perhaps, how they did it. Pretty simple actually. Visit your local magic store and purchase some-
thing called a thumb pencil. This is a tiny pencil that fits on the end of your thumb.
When you hold the tablet in front of you, you only pretend to write a number. Hold the pad up, facing
you so that your audience can't see it of course. Grasping the pad on either side, ask your spectator
to "read your mind" and blurt out the first number that comes to mind.
Suppose they say "432." You simply drop your jaw, get this incredulous look on your face and ask
them how they did that. They will tell you something about impressions or mental pictures. While they
are practically congratulating themselves already, you are already using your thumb pencil to write
the number they chose.
This takes almost no practice to get right. All you have to do is conceal your movements with the pad.
Use a pad that is about the size of a steno pad, or at least be sure that when you pretend to write the
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number they are going to choose, you pretend to write on the pad where you can reach with the
thumb pencil.
In a pinch, you can use a piece of pencil lead, either broken from the end of an ordinary wooden pen-
cil or you can use the lead from a mechanical pencil. Simply wedge it between thumb nail and thumb.
If you have a little preparation time, you can (if you are VERY careful) actually super glue a piece of
pencil lead to the of the thumb nail or even use scotch tape. Remember, if you get super glue on
you, the only thing that will remove it is acetone, also known as nail polish remover. Just be sure you
lower your hand and ditch the lead before revealing the number.
PULL THE HEAD OFF A LIVE DOVE, THEN MIRACULOUSLY RESTORE IT.
David Blaine did this and nearly had some girl crying. It's a simple trick that takes advantage of a nat-
ural phenomenon that many birds are capable of . . . Tucking their head under their wing.
When Blaine did this he had a fake head palmed, turned away from the audience for just a minute
and while blocking their view, tucked the doves head under it's wing and held it there securely with
his thumb, comfortably nestled between both hands.
Using his other hand, he "holds" the dove's head in place on the real bird as he turns around. He
quickly yanks the head off the dove to the amazement of the onlookers. With the dove's head tucked
under it's wing, it looks completely headless as long as it is held enclosed by the hand or hands.
To restore the doves head, you simply relax your pressure on the wing and blow on the dove as you
give it a dramatic little jerk. It's head will pop right up.
CARD THROUGH WINDOW TRICK
What You See
Pick a card, any card. The performer asks the spectator to pick a card without him seeing the face
and to then replace it in the pack.
The pack is then shuffled and the performer seems to be unsuccessful in locating the card.
After a few attempts, the magician becomes enraged and the cards are thrown against a window. On
looking at the window, the chosen card is seen to not only be sticking to it, but incredibly, the card is
on the inside of the window.
WHAT YOU WILL NEED
You will need two identical packs of cards and a willing accomplice.
WHAT YOU DO
This trick should be performed in an area with a large window nearby and with the spectators facing
away from the window.
A spectator is asked to choose a card from a pack , memorize it and without showing you, replace the
card in the pack.
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The pack is then shuffled and and a couple of attempts at "is this your card " tried followed by a look
of disbelief when the spectator tells you that it is not their card (act it up, you do not need to know
what is on the card - it doesn't matter to the trick).
After a few attempts you fake an angry outburst and making sure the cards are squared up , throw
the pack broadside at the window , where they will hit the window and fall to the ground with the ex-
ception of the chosen card which is now stuck to the inside of the window.
Your helper was already positioned behind the window and spectator and had an identical pack of
cards. He was able to see the chosen card and took the duplicate from his pack.
A small piece of looped sticky tape or magicians wax was attached to the duplicate card and it was
stuck to the inside of the window while you did your "is this it" act.
Your helper should do this without being too obvious and walk away as soon as the card is attached.
This trick creates a real surprise but remember to pick up the fallen cards quickly and to pocket the
original chosen card.
COUGH IT UP!
This is one of those tricks that you can master, but you will have to practice quite a bit.
Here's how it works.
You will have your spectator select a card and sign it before returning it to the deck. You will attempt
to locate it, feigning great difficulty and making a few mistakes. You will then look terribly uncomfort-
able and actually seem to cough up or regurgitate the signed card.
PREPARATION
You need a pen and a deck of cards
METHOD
Have your spectator select a card from the deck, show it to the audience and sign it.
Once they return the card to the middle of the deck, you move it to the of the deck by means of a
Hindu Shuffle control or a revolving pass (magic book at the library will explain this).
The deck is now held in the left hand as if you were going to deal, chosen card now at the .
Use a finger break under the card and palm it with your right hand immediately.
Now fan the deck in your left hand and offer it to the spectator telling them to shuffle and mix them
thoroughly. Don't let them start looking for their card. Tell them to keep the cards face down so that
you can't see them.
Now turn your back telling them that you want them to mix the cards thoroughly so that there is no
chance of you knowing where their chosen card might be. This will seem completely natural and plau-
sible to them.
Now with your back turned, you are free to (sneakily), use both hands to fold the palmed card as
small as possible and then slip it into your mouth. Conceal it between cheek and gum so that you can
still talk.
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Now turn to face your audience. Make a show out of picking a card and offering it to them, as you
look totally embarrassed and freaked out. Do this a couple of times, building tension. Turn over a
couple of cards saying "And there is your . . ."
Build on this until you judge the time is right. Fake a cough. Make it worse, even acting as if you are
gagging on something as you expel the card into your palm or even dramatically spit it onto the floor.
Open it and watch your audience be dazed and amazed as the chosen and signed card is revealed.
THE CARD IN THE BOTTLE
EFFECT
The spectator is asked to sign a card that is then returned to the deck and shuffled.
The magician then throws the cards at a bottle behind the spectators and of course the signed card
appears in the bottle.
HOW TO DO IT
David Blaine showed the spectators a different trick before this one involving the same spectator
signing a card of the same number and suit that will later be forced. Again, standard magic, research
at your local library.
He then keeps the card and does another trick not involving cards while he slips the card to one of his
assistants. The assistant then puts the card in the bottle while David distracts the audience with the
trick.
Then he goes on to perform the "Card in the Bottle Trick" and the card is forced, signed, and the trick
is completed.
He then throws the cards at the bottle and the card that was recently signed is palmed.
He then tells everyone to look at the bottle as the card is slipped into a pocket.
BITE A COIN
WHAT THEY SEE
You borrow a coin from a spectator and seem to take a bite out of the coin.
WHAT YOU NEED
Take a quarter (most common coin) and file, cut or grind one side of it down into a partial ellipse so it
looks like someone has bitten a chunk of it off.
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WHAT YOU DO
Approach a spectator and ask them to borrow a quarter.
You already have the gimmicked quarter palmed between your thumb and forefinger of your right
hand.
Take the quarter from the spectator and carefully switch the coins (Simple palming - again, go to your
local library if necessary).
Their coin is now slid to the back of your finger/thumb grip.
Pretend to be biting and tearing of a section of what is now your gimmicked coin and eventually tug it
free of your mouth to show the spectator who should look amazed.
VARIATION:
You can buy a gimmicked quarter at almost any magic shop. It has a small spring in it that enables
you to fold the quarter so that it looks like you have bitten it in two. Then when you wish to miracu-
lously make it reappear, you simply snap it back to its original position. Very effective when prac-
ticed.
SPONTANEOUS COIN VANISH
EFFECT
A coin is placed onto the table and it vanishes
METHOD
Put the coin onto the table with your left hand.
Say something like "Observe" and reach over with your right hand.
Then press down on the coin with your middle, index and third finger with your hand and arm parallel
with the table.
Slide the coin towards you remembering that it should be completely covered up
Slide the coin off the table so it falls on your lap without the spectator seeing.
Touch your thumb to your middle finger as if you are picking up the coin as it reaches the edge of the
table.
Keeping your fingers still closed, stare at where the coin should be as you slowly move your hand
away from you, back to about 6 inches from where the coin originally was.
Start moving your thumb in a circular motion as if the coin is disappearing . . .
Slowly turn your hand around and spread your fingers apart.
Now the rest is up to you.
The more surprised you act the more people will believe that they have seen a real coin vanish
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THE BOOMERANG CARD
It just keeps coming back.
This is on of those we warned you about. It takes skill and practice.
David Blaine performed this on his "Ambitious Card" routine. A signed card is placed into the center
of the deck - with a snap of the fingers the cards returns to the .
The card is again placed into the center of the deck, another snap of the fingers and once more the
card returns to the .
The magician now takes the end of the face-up signed card and proceeds to bend it almost double,
he turns the bent card face down, cuts off the bottom half of the deck and holds the deck at eye level
where the bent card can be clearly seen on . Still holding the cards at eye level the magician places
the cut portion on of the bent card, sandwiching it at the center
The magician holds his right hand above the cards, a snap of the fingers and the bent card passes up
through the deck and pops-up on the , it is displayed and seen to be the signed card !
HOW IT'S DONE
Fan the deck face-up and have your volunteer select a card by touching it.
As you close the fan, cut the deck one card below the chosen card and take that portion to the
(bottom).
Turn the deck over and Double Lift the two cards displaying the chosen card. Have the chosen card
signed on the face. Turn the 'double' over.
Openly lift off the card and have the volunteer cut off half of the deck - place the chosen (?) card onto
the bottom portion and ask the volunteer to place his half of the cut deck on .
Ask the volunteer to snap his fingers - turnover the card to show that the signed card has returned to
the !
Place the signed card to one side.
You now have two problems..
One: You must lose the card in the center again.
Two: at the same time you must control the chosen card to a position second from the (in order to
perform the Pop-Up card effect).
Both problems can be solved with one move.....
Hold the deck in the dealing position with a little finger break under the card. The deck is then held
(left hand) with the deck almost at right angles to the floor, in this position use the left thumb to split
the deck halfway saying "That looks like about halfway doesn't it ?" The break held by the little finger
should be hidden by the base of the thumb.
Pick up the signed card and bring it in from the rear, giving the appearance of returning the card at
the halfway split - it is actually returned into the break held by the little finger - beneath the card. [This
move requires much practice in front of a mirror.]
Once the card has been returned, the hands/cards are brought back to a level position.
Have the volunteer snap their fingers and with some flair and a riffle, 'double lift' the signed card and
place it out-jogged (face-up) on of the deck.
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Take the outer-end of the face up ('double') signed card with your right hand and bend it almost in
half, then turn the 'double' bent card face down (leaving it bent).
The right hand now cuts the deck (Biddle grip) and the left thumb openly slips off the bent card onto
the bottom portion of the deck as the right hand (with the portion) is withdrawn to the right.
The right index finger must keep pressure on the bent signed card which is on of the half held in the
right hand.
Hold the left hand portion at eye level where the bent card can be clearly seen. Still holding the cards
at eye level, place the right hand portion on of the bottom half, sandwiching the bent card in the cen-
ter
The left hand thumb and index finger must now take control the deck and hold down the bent signed
card, ensuring that it doesn't pop-up prematurely.
The magician holds his right index finger above the cards and asks the volunteer to snap his fingers,
at that moment the magician releases the pressure on the card and up it Pops!!
Turn the card over, to reveal, once again, the signed card.
BOOMERANG!
BURN AND YE SHALL KNOW
The magician asks a spectator to write the name of someone important to them on a piece of paper.
He turns his back as they write and asks them to fold the paper in half and then fold it again. He turns
and takes the folded paper from them, without unfolding it. He asks for a match and sets the paper on
fire. He then blows out the paper and quickly pulls up his long sleeve and rubs the smoking paper on
his wrist where ashes appear revealing the name chosen. Amazing.
HOW HE DID IT
The magician hands the spectator a small pad of paper and instructs them to write the name of
someone important to them ON THE MIDDLE OF THE PAGE. The magician then instructs them to
fold the paper and then fold it again.
Now here is the part you will never see on Television. If the name was written on the middle of the
page, when the paper is folded into fourths, the name will now be on one corner of the paper, on the
bottom. You now ask them if the name belongs to a man, if they say no, ask them if they wrote the
name or printed it. If they say yes, ask another question, such as is this person a relative. Then ask if
they wrote or printed the name. Whatever they say, tell them they should have done the opposite.
As you state this, you rip up the paper they originally wrote on and drop the pieces on the ground BE-
ING SURE TO PRESERVE THE SMALL CORNER THAT ACTUALLY HAS THE NAME WRITTEN
ON IT. Have them write (or print) the name again as you turn your back and take a few steps away to
"give them privacy" as you hold your arms our in a sort of incredulity. What they don't know is, that
you have palmed the piece of ripped paper that actually has the name on it.
As soon as your back is turned (tell them to concentrate on the name, keeps everyone distracted),
you read the name and use a palmed or concealed grease pencil (inside of jacket or up your
sleeve)to quickly write it on your wrist or wherever you can access easily. Before you turn, you lower
your sleeve (or shirt if you wrote it on your belly) as David Blaine has.
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Return to the spectator and take the folded sheet of paper from them and hold it out while you ask for
a match. Set it on fire and let it burn for a few seconds, blow or wave it out and quickly thrust it onto
your arm and rub briskly, close to the wrist at first, moving up the arm as you raise your sleeve. Done
properly, it will actually look as if the name is appearing as you rub up the arm. Done quickly, it will
not burn at all.
You got ' em again.
THE LEVITATING MATCH
You borrow an ordinary match from someone and place it in the palm of your hand. Ask your specta-
tor to concentrate and it suddenly twitches, then jumps and finally, it raises up and stands on end!
HERE'S HOW
You will need two props for this. One is a small but powerful ceramic magnet and the other is a small
steel rod that you conceal inside an ordinary paper match. Split the paper on a match from the bot-
tom, insert the steel rod or needles and glue the match together again.
You palm it in your hand, pretend to remove it from your spectator's matchbook and place it in the
palm of your hand. The magnet is concealed under your sleeve, near your elbow. Hold it in place with
an ace bandage and wear clothing loose enough to conceal it.
With the match in the palm of your hand, ask your sucker to concentrate and slowly move your hand
up towards your elbow, palm up. As you get the match closer to the magnet, it will begin to jump or
twitch. You can control its action just by how close you allow the match to get. Hold it directly over the
magnet and the match will wobble and suddenly stand straight up. People will walk away convinced
they are psychic. Well done.
MIND OVER WATCH
I think I first saw this trick about 30 years ago. It's been around for awhile.
WHAT YOU SEE
David Blaine did it on his second national TV special. The magician rolls his sleeves up and a watch
is borrowed.
After showing the watch to those nearby pointing out the current time, the magician places the watch
face down in the spectators hand. His hand is closed over the watch. The magician doesn't not touch
the watch again. The magician then asks the spectator to name a number and then to concentrate on
that number and the watch. He opens his hand, turns over the watch and sees that the hands of the
watch have moved that many minutes!
WHAT YOU WILL NEED.
Someone wearing an analogue watch (a watch that actually winds with a long stem)
You will also need to wear a watch of your own with the wrong time.
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Ask your victim for his watch with an excuse like, "I think my time is wrong can I see yours for a sec-
ond?"
WHAT YOU DO
Borrow the watch for a minute and examine it, stating what time it has, and say, "is this the right time,
I need to know."
Now glance at the time on YOUR watch, and draw attention to it by setting its time. While they looking
at you, set the time on your watch.
While their attention is thus distracted, your other hand is moving the stem on the spectators watch
so THEIR time moved forward 25 minutes.
With a little practice, this can be done quite easily and without detection with one hand.
Now have them sandwich their watch between their hands, and ask them to pick a number from 10
through 30. Most people will pick 25. If they pick 20, they won't notice it's off by five minutes when you
reveal that the hands of their watch have moved forward in time.
If they pick something below that number, tell them to make it harder, and pick a higher number. It
gets them every time... just remember to give a nice performance when doing this trick.
Never do this trick twice, someone will catch you.
P.S. There used to be a gimmick sold to help do this trick. Some sort of tube if I remember right. You
were supposed to somehow place it over the stem of the spectators watch. Distraction and patter
work better.
CIGARETTE THROUGH A QUARTER
You borrow a quarter from a spectator and a cigarette from someone else. You then proceed to rub
the cigarette on the quarter and it magically penetrates the quarter. You mover the cigarette back and
forth clearly defying the laws of physics.
THIS ONE IS SIMPLE
Any magic shop carries this one. You palm the fake quarter, borrow one from your spectator and
switch them. Borrow a cigarette and as long as you hold it at the right angle, you can press the ciga-
rette right through the quarter just a foot or two away from them. Switch quarters again (by palming),
and return their quarter and even light the cigarette if you wish.
The quarter is gimmicked of course and has a small portion stamped out that is spring or rubber band
controlled. Practice a little and be careful how you hold it. You'll get ' em every time.
DAVID BLAINE AND BALDUCCI LEVITATION
EFFECT
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The magician raises his arms up by his sides and slowly appears to rise a few inches off the ground
for a little while before returning to earth quickly.
BALDUCCI METHOD
The Balducci method involves positioning your audience about 8 to 10 feet away at a 45 degree an-
gle. You need to keep your audience small so they are within this field of sight.
This is a very restrictive angle trick and it is essential that the angles be practiced, preferably with a
friend or in front of a full length mirror.
The Balducci levitation involves pretending to float off the ground by going on to your tip toes on just
one foot (the one farthest from their view) while the foot nearest them is held level and slightly raised
off the ground.
This looks fantastic as the foot on your tip toe is hidden by your trousers, and the raised foot, fed of
course by the angle they are watching from. You only rise a few inches off the ground but the impres-
sion is fantastic. This trick is all in the presentation with you appearing to rise slowly, hesitate in the
air for a second or two and then return to the ground quickly so the audience will not have time to fig-
ure the trick out.
TELEVISION VERSION
David Blaine used various camera shots in his TV special with the audience reaction being filmed
close up and linked to other clips of him in mid air with some of the angles showing the Balducci levi-
tation.
The special did not show the number of times he mucked up the illusion which is very easy to do.
The view that shows him rise a good few inches in the air and does not show the audience used ca-
bles and pulleys to lift David up in the air. The camera angle would have hidden the props.
This film would have been mixed in with the audience clips in the studios later.
FLOATING BILL AND SMALL OBJECTS LEVITATION
David Blaine demonstrated a classic object levitation on his TV special where he asks a spectator to
watch while he picks up a leaf and causes it to levitate above his hand.
This appeared to be totally impromptu which made it even more impressive.
This type of levitation is performed by using "invisible thread" which can either be purchased from
good magic suppliers, or made by separating some fine polyester thread into individual strands and
using a single strand.
One end of this strand should be attached to some sticky tape and placed in the mouth between the
gum and cheek or looped over a high shirt button while the other end can be placed at the right mo-
ment to a solid object (In David Blaine's case, the tree.) The magician then stands at the correct dis-
tance so that the string is tight and the object (a bill or a leaf) is wrapped around the thread above the
magician's hand.
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This should look like the magician is just scrunching up the note or leaf, or napkin, whatever is being
used, in the palm of their hand.
By using very small movements of the head or body, the magician can then tighten the thread caus-
ing the note to rise. He/she is also able to move his hands around the object to show that it really is
levitating.
The object can then be made to return to the palm and be examined by the spectator.
The magician will now casually walk away, the thread breaking unnoticed and lost forever.
THE THREE AMIGOS
Remove the four Jacks from the pack and place one jack face down on the of the pack
Start the trick by presenting three jacks and make up a story that they are three best buddies and just
can't stand being apart.
Continue to rant on about how one day the three amigos were lost in the desert and decided the best
way to seek help was to go in different directions.
The first one to get help was to return and save the others, so off they went in their different direc-
tions.
Get the spectator to place one jack on of the pack, one anywhere in the middle and the last card on
the bottom of the pack.
Confirm with the spectator that he is happy that the jacks are well separated, then get him to cut the
pack being sure the bottom half of the pack is put on the half.
(This will bring the and bottom jack together with the previously placed jack)
The cards are then turned face up from the of the pack eventually turning over three jacks together
near the center to the spectators amazement.
Conclude your story that in the end the friends were good to their word and all lived happy ever after.
CARD ON THE CEILING
A spectator selects a card, signs it and returns the card to the deck.
The deck is then shuffled, thrown into the air, and the card that they signed sticks to the ceiling while
the others fall.
PREPARATION
You will need a pen, cards and a piece of magicians wax or sticky tape that has been rolled in a loop
with the sticky side out (this should be looped around your finger or concealed within reach under the
table).
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METHOD
Have the spectator choose card. You then return it to the deck and shuffle it to the (favorite method
from almost any magic book).
With their card face down on of the pack you can either slip the double sided sticky tape off your fin-
ger and on to the back of their card or stick a small piece of magicians wax (this is better) to it.
Then toss the pack hard at the ceiling keeping it parallel so that it will strike the ceiling flat and stick
while the rest of the pack will fall.
This trick is very impressive.
Note: Instead of magicians wax, you can purchase sticky putty from almost any hardware store. It is
used to hang small pictures etc., without piercing the wall.
IMPROMPTU CARD FIND
A Card is selected by a spectator and placed back on of the pack. the pack is then cut several times
and handed back to the magician. A pile of cards suddenly fall off the pack leaving the magician hold-
ing the spectators card.
HOW TO DO IT
When the card is selected the card on the bottom of the pack is crimped by the magicians pinky.
The spectator's card is then placed on the of the pack and the pack is cut.
This now places the spectator's card underneath the crimped card.
The pack can be passed around the room to be cut several times and the spectators card will always
be under the crimped card.
The pack is then handed back to the magician who puts his thumb under the crimped card, appearing
to be clumsy and allows the cards above his thumb to fall on the floor. The card under his thumb will
be the spectator's.
The magician can also allow the rest of the cards to fall leaving only the spectators card in his hand.
This trick looks amazing because the audience has seen that the magician has not had a lot of con-
tact with the pack and the whole routine has been totally impromptu.
BOOKWORM
(The Secret)
What you need:
A paperback book.
A small piece of paper.
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Two thin marking pens (like a Flair) the same color.
The Preparation:
Take the paperback book and find a page near the center of the book with words covering the entire
page. Take one of the pens and draw an "X" across the page. Don't be neat; this has to look as if
someone drew it behind his back. (You may even want to draw it off-center!)
Note the word that the "X" intersects and write that word on the small piece of paper.
Take the other pen and dry it out. Some pens allow you to remove the center felt or the ink. Any way
you can dry it out so it no longer writes. Or, just coat the tip in wax or white glue. As long as it won't
write.
To Perform:
Place the prediction in your pants pocket. Put the pen that doesn't write and the "working" pen in your
inner coat pocket. Hand your friend the paperback book and instruct him to hold it behind his back
and to open it somewhere near the center.
When he has done that, tell him to take the pen from you (hand him the one that doesn't write) and to
make a big "X" across the face of the page. Remember, he cannot see what he is doing; he can't see
the page or that the pen isn't writing anything.
After he has done that, retrieve the pen and tell him to close the book, bring it in front, and to hold it
between his hands.
You take the paper from your pocket and pretend to write a word on it. Look as though you are con-
centrating, but don't "ham it up". Put the pen away in the same pocket as the "working" pen.
Now, tell your friend to fan through the book to look for the "X". Ask him to read aloud the word
crossed by the "X". He does and you show him your "written" prediction! They, of course match.
By the way, if you need to use a pen, take out the "working" pen!
ELEVATOR CARD
The card of the deck is turned face up to the audience.
The card is once again turned face down and removed from the deck.
The magician now places this card into the middle of the deck and squares the deck
The magician clicks his fingers and the card returns immediately to the of the deck.
PREPARATION
You will need a deck of cards
METHOD
This trick uses the method known as the double lift.
When showing the card, you actually perform a double lift and show the second from card. You can
use your little or pinky finger to separate the two cards to make this easy. No one will notice as long
as you keep moving and talking.
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Then remove the actual card and place it into the middle of the deck.
The already seen card is still on the of the deck and can be revealed in any way that the magician
wishes.
Make sure that the double lift is clean and bend the cards slightly to ensure that they stay together as
one.
SPEED SWITCH VARIATION
You show your spectator the ace of spades and hand it to them face down, telling them that it is their
card, and to remember it. You then show them the ace of hearts telling them that it is YOUR card.
You keep it face down as well.
With their card held out (face down) you take your face down card and tell them that you are so fast
you are going switch cards with him. You stab at their card, tell them that you have changed cards,
do it again and tell him they are now switched back.
You show him how to do it. You switch cards with him and then give him your card (ace of hearts) as
well. When he turns them over, he finds he is holding two Queens instead.
HOW YOU DO IT.
You stack the deck as follows, card is ace of spades, next two cards are queens, fourth card from
the is the other ace. You hand them their card, the ace of spades, you show your card by turning it
over, but you really turn over three cards using the same method as described above. You have your
three cards separated by "breaking" the deck with your little finger. Instead of lifting one card, you lift
three and they see the ace.
When you pretend to do the switch and hand them your card, they expect the other ace, but instead
are getting one of the queens. You take their card quickly and put it on of the deck, second deal the
other queen while distracting them and return "his" card to him. When he turns them over, he has two
queens instead of two aces.
TWISTING ARM ILLUSION
EFFECT:
After asking a spectator to copy the action of you putting your hand on the table, you are able to twist
your arm a full 360 degrees while others look at you in disbelief
PREPARATION:
All you need is a long sleeve shirt. Everything else is impromptu. But you MUST have a long sleeve
shirt.
METHOD:
THE SECRET MOVE: With the right hand on the table, have your fingers pointing towards your body,
to the left (this may seem a bit uncomfortable, but the effect is well worth it). You should have your
fingers pointing to the left, now turn your palm up (still having the fingers pointing left) but keep turn-
ing the hand over the same way until it is face down again.
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With a long sleeve shirt, it looks as if your hand is just turned sideways to the left (in reality, it's twist-
ed 270 degrees to the right).
METHOD:
Hand on the table (or sidewalk... wherever you want to perform). Tell him to do exactly what you're
doing and start slowly twisting your arm COUNTERCLOCKWISE.
When you begin to rotate your hand, distract him from what you're doing, say something like "you're
doing it wrong; do exactly what I'm doing!" or "maybe you should back up a bit to get a better view of
my directions."
With that, point to his hand or push him away a bit with your other hand, and do the secret move
while his eyes are concentrated on himself. When you have the secret move done, it's a simple mat-
ter of him trying to do what you're doing again. Little does he know you're simply UNTWISTING your
arm instead of twisting it like he is.
By putting a plastic cup or hard cellophane tucked under your armpit, you can make a bone crunching
noise by pressing gently as you twist your arm to add to the effect.
ACE SHAKE
This trick was performed in David Blaine's second special where he made the spectator sign a card,
the card was put back in the pack and was made to appear from between two aces.
SECRET
Give the spectator, the two red aces and tell them to hold them.
Fan out the deck and tell the spectator to touch a card. Square the deck up leaving their card sticking
out to be signed and shown.
This is because you secretly put the card into "palm position" when you square up the deck so you
can later palm the card when necessary.
It must stick slightly out of the lower corner of the pack, touching your inner thumb.
Let them sign the card and then hand them the deck, and secretly palm their card.
After they are convinced that the card is well lost in the deck, ask for the two aces and secretly sand-
wich the face down palmed card between them. Show only the aces face up (their chosen card is
concealed under the ace, held so that it looks like you only have the two cards).
Tell them to hold the deck in their outstretched palm as you begin to shake the aces over the pack.
Tell them to watch as their card rises from the deck into the two aces, shake the two aces a little more
loosely and the card will seem to amazingly appear.
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THE RISING CARD
Using a borrowed deck, a card is selected, signed, and placed back into its box.
The pack is put back inside the box for the spectator to hold. The magic seems to happen in his
hands. Slowly... amazingly... the card starts to rise from the pack. The signed card is immediately tak-
en by the spectator for examination.
YOU WILL NEED:
Buy a spool of invisible elastic from the local magic shop. It won't cost a lot and the effect is well
worth it.
With the elastic, cut off just a short enough thread to make a loop around your wrist. Tie the loop, and
as long as you wear it everywhere you go, you're always ready for this effect.
HERE WE GO
You can borrow a pack of cards or open a new deck in front of your spectator.
Shuffle the pack to prove that they are in no particular order and give to the spectator to cut in two
piles. Allow them to choose any pile they want.
Take the other pile and tell them that they chose the pile they have for a reason and that a certain
card is probably attracting them to it. With your back turned ask them to choose any card from the
pile and to sign it.
When your back is turned, you (secretly) vertically wrap the loop of invisible thread around your half
of the pack
You can tell them that you're turning the other way to keep the selection honest and that there's no
way of knowing which card they would choose.
Take the rest of the cards and put them with your half of the pack
Tell the spectator that their card is simply amazing. It is now charged with their unique energy and
that there is no other card in the world like that one. You then take the card and plunge it into your
half of the deck.
Take all the cards and place them in the card box leaving the open. Then hand the box to the spec-
tator and ask them to hold it and to concentrate on the signed card.
The signed card should slowly rise from the box to the amazement of the spectator.
Take the card and show it to them before it has fully risen. While they are inspecting it, take the rest
of the cards out of the box, remove the invisible thread, and again slip it on your wrist.
Everything is now ready for inspection and you can walk away.
NOTE: You can also buy gimmicked decks at nearly any magic shop, but the elastic works just as
well and lends itself to more "impromptu" magic, which is what street magic is all about.
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ANDRUZZI ASCENDING
WHAT HAPPENS
The magician floats 6 inches off the ground with spectators in front and behind him.
PREPARATION
To do this, you will need to find a pair of hard rubber shoes. Something like a new pair of casual Adi-
das Superstars. Don't use leather shoes, or the prepared shoe will bend during the levitation.
To prepare the shoe, you need to cut a hole on the bottom of your "lifting foot." Make sure there's
about in the front and back of the shoe.
I also recommend wearing black socks during the presentation.
METHOD
Find up to four spectators. Place two of them behind you for the proper angles of the Balducci levita-
tion (see above if necessary). If your lifting foot (the foot inside the prepared shoe) is your right, have
the other two specs stand in front of you, but more to your left, and make sure they can still see both
your feet. It's then a simple matter to slip your toes out of the uncut segment in the front of your shoe,
to do the normal Balducci levitation, come back down to the ground, slip your toes back into the seg-
ment, and walk away.
FLY RESURRECTION
You are walking down the street and casually pick any spectator.
You ask them to come with you to a nearby car and pick a dead fly off the windshield.
You hold it in your hand do a few passes with the other hand as you mumble some mumbo-jumbo
and like you are really concentrating. The fly will slowly come back to life to the surprise of the spec-
tator.
WHADDYA DO?
Freeze the fly
METHOD
Catch a fly and freeze it. This is best accomplished by swatting the fly hard enough to immobilize it.
Then place it in a small container in the freezer.
For even better results, freeze the fly using one of those cans of air you can guy in any office supply
shop. Simply spray the fly until frozen. Transport the fly from your house/wherever to the location of
the trick by carrying it in a small cooler with ice. Just place the fly in a plastic cup that is sunk down
into the ice but still easy to get to.
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Then just place the fly at some easily remembered location IN THE SHADE. This will prevent the fly
from thawing out too quickly.
Now just grab a citizen and take them to the fly. Place the "dead" fly in their hand and do your thing.
The heat of your hand will soon revive the fly as it begins to move and twitch and finally fly away.
A lot of this trick is the theatrics of reviving the fly.
It may be necessary to practice how long it takes for the fly to revive itself.
Freeze the fly with dry ice or one of these aerosol canned air products used for cleaning computers.
This is a better way of freezing the fly since it is quicker and causes less damage.
THROUGH THE PALM
WHAT YOU SEE
Ask a spectator to hold out his or her, hand palm up . You place your hand on of theirs, palm down..
With your other hand you place a. quarter or other coin on of your hand. Explain to the spectator that
with one quick slap, you will make the coin pass through your hand and into theirs!
WHAT YOU WILL NEED
Two identical coins, a small piece of transparent adhesive tape or magicians wax, ( for advanced ma-
gicians, sleight of hand will do )
HOW YOU DO IT
When you place your hand on of the spectators open hand, you will already have the coin in your
palm .Place your hand on theirs quickly enough and the coin will not fall nor will the spectator feel it in
their hand!
It works best if you further distract them by grabbing their hand with your other hand and bringing it to
you before placing your palmed quarter in their hand. They will be concentrating on your grip and not
your free hand.
You then place the "other" coin on of the back of your hand.
In the palm of your free hand, you should have the tape or magicians wax concealed. Then with a
quick motion, you smack the of the coin ,which actually gets stuck to the tape/wax. .
Slowly remove your other hand to let the surprised spectator see how it "magically" passed through
your hand! With a little practice or if you are already skilled, you can simply "slap and grab" the coin
and need not use wax or tape.
THE MAGNETIC FINGERS
It's sounds like hypnotism - but it isn't.
To Perform:
Ask your friend if you could try a little "instant hypnosis" on her. Assure her that it's safe and nothing
harmful can or will happen.
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Next, ask her to fold her hands together, weaving the fingers and clasping them tightly. After a few
moments, tell her to raise her two index (first) fingers so they are sticking up and they should be
about an inch apart ("church and steeple" kind of thing).
Now, slowly move your hands over her hands (don't touch her hands) and say, "Your fingers will
touch. Try to fight it, but they will still touch!"
Slowly, but inevitably, her fingers will start to move together. Tell her to concentrate on her fingers
(just ham it up, okay?) and soon her fingers will touch.
This is self-working, but it should still be practiced! It's a great bar trick, too.
Have fun!
THE SERIAL NUMBER
(The Secret)
This one is, of course, easy to do, but it takes some guts.
What you need:
Dollar bill crumpled into a ball
Paper napkin
Pen or pencil
Some paper
The Preparation:
All you need to do is to memorize the serial number on your crumpled dollar bill.
The Method:
Before you talk to your friend, palm the crumpled dollar bill in your hand (right hand, if you're right-
handed) and palm it. Keep your hand looking natural .
Then, ask your friend for a dollar bill and crumple it into a ball. (Since he doesn't know what you're
planning to do, he won't look at the serial number!)
Next, take a paper napkin or handkerchief and drape it over the ball.
Hand your friend a pen and paper and tell him to write down some numbers you will call out.
Then, slowly and deliberately... looking like you are concentrating... call out the serial numbers you've
previously memorized.
Then, you simply remove the napkin, but do it this way:
Grab the napkin - with the same hand that is holding the palmed dollar - where the ball is and pinch
the ball.
Lift up the napkin (with the dollar bill balled up) and simultaneously drop the palmed ball. This will look
like the ball came from the napkin.
Crumple up the napkin (with your friend's dollar inside) and pocket it.
Now, just open up the dollar and have your friend read off the numbers. They match!
Never repeat this for the same group.
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QUICKY MENTAL MAGIC
* Ask your sucker to pick a number between 1 and 100. Tell them it has to be an even number and
you can't use the same digits twice.
They will almost always pick 68
* Ask them to Pick a number between 1 and 1,000." Eight out of ten will pick 333.
* Ask your spectator to Think of any card, and have them name it. Then play it up with a bit of pat-
ter.
There's no guarantee, but a spectator will almost always think of the Nine of diamonds, Ace of
spades, Queen of Hearts or the Six of Clubs. Have each of those cards concealed somewhere on
your person and reveal whichever one is appropriate.
End