THE SEVENTH

AND ITS PSYCHOLOGICAL COMMENTS

IN THE HANDS OF THE MAGICIAN

We will perform a very clean psychological forcing. We will force the seventh card in the deck, but we
could well force a card from any other place, in the same way.

However, for the example, we will place the card to be forced in seventh position. Now, we will look at the
viewer and say:

- Let's throw cards on the table, one by one.

After these words, we will begin the action. We still haven't told him that he should stop us, so he won't
have any reaction. We will continue throwing cards, one at a time and one above the other, without saying
anything at all (then we will explain why). When we are in the process of taking the fifth card, we will look
at the spectator and say:

- Tell me for!

This mandate is very important the way we exercise it. It must be, neither very noble to not give a sense of
freedom, nor at the same time it seems that we are upset. We simply have to make the viewer understand
that we are waiting for him to stop us.

Now many things happen at once. The viewer has just noticed that we are waiting for an answer from him.
Subliminally he will think that the answer we are waiting for from letter number one, which will create a
feeling of guilt, because the final action depends on him.

The fact that the magician was silent while throwing a letter, increases the sense of time, and with it the
feeling of guilt of the spectator. Therefore, the psychological re-action of this one will be to let one more
letter pass, and stop at the next one. Just forced.

If the forced one is the one in ninth position, then the plot should start later, telling the spectator to stop
us, when we are going to take the sixth card. Also, very important, the rhythm of the first letters must be
greater, so as not to give the viewer time to intuit that we are waiting for an answer from him, and it is he
who asks us.

Another way we could use this forcing is to turn the cards face up on the table, as we throw them. This,
although it complicates the thing a bit more, would express much more sense of conviction and clarity.

 IN THE HANDS OF THE SPECTATOR

Although it may seem more complicated, this time the opposite is true. The fact that the deck is in the
hands of the spectator himself, will generate a great convection in it, giving it great apparent freedom.
This, in turn, makes it the same for the specifier to take one or another card, making it much easier to be
manipulated.

Remember that the letter to be forced is in seventh position. As the actions depend on the viewer himself,
it is very important to leave the guidelines well marked. Then, we will tell you to throw cards on the table,
slowly, face down and one on the other ... but slowly (we finish with this word).

Now we are going to set the pace: As if we were a metronome, we will say: ta-ta-ta… This “ta” will be
reproduced in the form of sound, which the spectator will interpret, as is logical, with the rhythm that the
cards should take ( Approximate half second between each “ta”).

While the spectator casts his cards, we will remain silent. When the specter has left the fourth card, we
say:

- and stop whenever you want, huh!

(The word “eh!” will divert attention from “whenever you want”).

As in forcing in the hands of the magician, the order will be given with the same accent, not expressing
freedom, but not annoying.

The viewer's psychological reaction will be to leave two more cards, and stop at the seventh.

ON THE TABLE

We will carry out the forcing, with the deck extended on the table. Many things will happen here at the
same time, which will psychologically mark the path to the interested letter. The letter is again in seventh
position. Extend the deck on the table, and start, with your index finger, to move one by one, cards to the
right. Remember not to say anything while this occurs (next figure).

He warns in this figure, how the displaced letters form an imaginary path towards the outside of the table.
Move the fourth card, and at that time, re-align the plot of guilt: look at the viewer, and in the tone we
already know, warn the viewer that he must tell us to stop. Again, the spectator's reaction will be to wait
for us to move two more, and stop (next figure below).

Note in the previous figure, made when the sixth card is moved, as it is already on the outer edge of the
table. We have been marking an imaginary path, which has reached the edge. Subliminally we will be
indicating that there is no more space for a seventh card (subliminal path). This, together with all the
subtleties that we already know in this forge, will guarantee its success. In addition, the feeling of freedom
and conviction created by visual perception is fulfilled here, as we will explain in later pages.

 OTHER FORCES
AND ITS PSYCHOLOGICAL COMMENTS

PLC (PERSON, PLACE OR THING)

A fun forge that I use many times. The deck is handed to the specifier, with the card interested in seventh
position. You are then asked to think of any name of person, animal or thing, and spell it on the table,
placing a letter by letter. One over the other. When finished, the next one will be forced.

The secret of this method is that the vast majority of simple words have six or seven letters. On a ninety
percent of occasions they will think the name of a person. Try it and you will see that the vast majority will
fulfill this property. The same thing happens to countries. Perhaps, with the only thing that does not
happen the same is with the objects, but as we classify them as "thing", and also the viewer does not
understand very well what we mean by that, they will never think of any "thing".

If the spectator, when spelling, throws the sixth card on the table, then we will tell him to look at the one
left at the top of the deck. Instead, if he had stopped at the seventh, then we will tell him to look at the last
spelled. If it had stopped at some less or some more, we can do a numerical forcing, or any other
technical exit (double lift for example), to reach the interested letter. The exit to the possible failure will
depend on the final position of the card.

THE MAGICAL BLOW

(AS A PSYCHOLOGICAL FAILURE)

Since this is a classic and familiar subtlety, I will simply describe my idea for the failure to occur under a
psychological concept.

But first, let's go to the classical technique: the chosen card is at the top. It is requested that a number be
named and the magician counts one by one, on the table and reversing the order, as many letters as the
named number. The card is rotated and shown, surprising itself by not being the chosen card. Then, it is
said that he has forgotten the magic breath. All the counted cards (already inverted) are recovered, placed
on the deck, blown, re-counted and now, logically and thanks to the reversal of the order, the card is
already in the named position (the last one counted in the second occasion).

I never liked the excuse of the breath to put the pile back on the deck for counting. I have used this
subtlety in many of my games, with different excuses, and the one I set out below is one of my favorites. It
makes it possible that subtlety can also be used for a forcing, rather than a revelation.

We start in the same way, with the letter to be forced, at the top. Now we ask you to tell us a person's
name but not so normal ... for example a compound name. Once this is done, the first name is
rhythmically spelled, in a row from left to right. Once done, without breaking the dynamic rhythm, we will
spell under the first row, the middle name. But before reaching the last letter, we will create an error that
will make us stop and retell. We will repeat the penultimate letter, twice. Thus, for example, if the name
was Juan Antonio, we will spell: J-U-A-N A-N-T-O-N-I-I-O.

The letter O will not leave it on the table. With her in hand, we will realize that we have made a mistake in
something, we will face doubts and, without giving any importance, we will leave this card on the deck, we
will collect all the letters delighted (the bottom row on the top), and we will leave this pile also on the deck.

Now, we will spell more slowly and remarking the letters well, as if we would not be mistaken, concluding
and delivering the last letter spelled to the specter. It will be forced.

What has happened is very convincing, since by repeating the penultimate letter twice, it has generated an
error in the viewer's own mind. That is to say, whoever was spelling at that moment, upon reaching that
point and listening to the magician spell, will have been confused along with the magician. It is therefore
the spectator himself, who needs the letters to be spelled again, which will generate a great sense of
conviction.

In addition, as the name apparently has not been spelled out, it is not possible that there is any
preparation, since the letters that have been left back on the deck belong to a seemingly incomplete
name. We know that it really isn't. A minimum dose of interpretation in the ruling will completely deceive.

WHEN YOU WANT TO STOP

(APPEARS BAD INTERPRETATION)

The following forcing is one of the most used. It could be the closest thing to what we have explained
about the classic forcing face up, but in the hands of the spectator himself. And I say the closest thing,
because like the other, it also comes from a mixture, but this time, the magician never touches the deck.

We imagine that we want to force the nine of spades. We will then deliver the deck to the viewer and ask
him to mix it. Once done, we will ask you to take the deck face up in your hands, and throw one by one
card on the table, in a single pile. The fact of asking him to hold the cards face up, is because we will have
two visible points: the card he will leave on the table, and the one left at that moment on the deck. For this
forcing, this is a mandatory requirement.

The viewer does not know that he must stop whenever he wishes. We, while we are observing what are
the cards that he is throwing on the table, will be saying ambiguous phrases that we can then use and
imply that we were waiting for the action of choice. Or we simply talk about what will happen, etc.

Right at the moment we see the interested card appear, it is when we tell the viewer that he must stop
whenever he wishes. However, the way we give the order is very important, because it must interpret that
it should have stopped at any time.

The plot that I personally use is the following: I am repeating throughout the game, the following phrase:

- This game can last more or less ...

And I never finish the sentence, I always change the subject and talk about what is going to happen or
where it comes from. Then, when the letter appears, it is when I finish the sentence:

- ... depending on where you stop.

As we have completed the sentence and at the same time his feeling has been to have heard it before,
repeatedly, he will interpret that we expected his decision from long before. What will happen now, due to
reaction time, guilt and decision time, is that he will throw two or three more cards and stop.

We will mentally count the number of letters he throws on the interested one, until he stops, and later,
thanks to a verbal psychological forcing (we will study it in the following pages), we will take him to that
position. For example, if you have thrown two more cards and then stopped, we will ask you for a number
between one and four, which will say three more times, and then we will ask you to look, in the pile formed
on the table, The third letter. It will obviously be the one interested.

Just when the forcing is complete, even assuming that we have had to re-curse the verbal forcing, we will
create a sense of impossibility, saying the following:

- You have thrown letters until you have wanted, you could have stopped sooner or later ... besides, you
could have said another different number. In any of these cases, the card in third position would be a
completely different one.

The worst situation you can find is that, after mixing, the interested card is one of the last to leave, but if
the plot is correct, then you can take advantage of this fact to enhance that it could stop anywhere.

FOR HIGH AND LOW (PREPARED),

FOR TWO SPECTATORS
This is a forge that I like a lot since it gives a lot of appearance of freedom. We will use it to force a
different card to two spectators.

The deck is prepared, at the top, by five cards of medium high value, and one of low average value in
fourth position. Suppose that from first to fifth position, respectively, are for example: 8 of spades, 7 of
diamonds, 10 of clubs, 3 of hearts and six of hearts. The next five cards will comprise an opposite order:
four small values and one larger, in third position. Being, for example, from sixth to tenth place: 2 of clover,
5 of spades, Ace of Diamonds, 10 of Diamonds and 4 of hearts.

The lowest value card in the sequence of high values, and the one of high value in the sequence of minors,
will be forced (interested).

To finish the preparation, place one more low value card, as the top card. We will ignore this letter at all
times. So, we will say that we have, from top to bottom, a small value card, the first group, the second
group and the rest of the cards.

The reason for placing the two interested cards in fourth position in each group (position 5 and 10
respectively), is because it is the time that the spectator takes subconsciously to choose a card. In the first
is the assimilation and decision phase.

He comments that two cards are going to be chosen, but so that they do not match, they must be two
indifferent cards, for example, looking at the spectator on the right, you ask him to notice in one of small
value, and, looking at the one on the left, you ask him to look at one of higher value.

Here a beautiful incongruity of facts is created again: I have put as an excuse that both cards have
different characteristics, so that they do not match, but if you stop to think for a second, you will see that it
is impossible for this to happen, since each spectator will select a Letter from a different point of the deck.
Again the advantage of the magician is fulfilled: as the spectators do not know what is going to happen,
they cannot question or analyze it.

If we now started showing letters to viewers without even mixing, the feeling would be strange. Therefore,
we must come from an action of origin, which will subconsciously eliminate this possible thought of
preparation. To do this, cut the deck in half and keep the separation of both packages with the left pinky
(the deck is in the left hand in the giving position). Now start cutting, passing packets from the bottom pile
and placing them on top (classic cuts on the hand), until the viewer gives you the stop order. Then, match
that order, raising the entire lower package as higher, leaving the prepared group at the top.

Sometimes it is very easy to deduce when a spectator is going to give you the stop order, because there
are a series of subliminal actions that give it away, before it begins to speak. It is something intuitive and
confusing to explain. The reaction time and other factors studied in this book are also present.

Now, to keep the viewer mentally busy on the first card, and not to choose it, we will make the following
plot: We will take the top card, show it to him (only him), while we tell him that he can choose the color
what want ... well if you have a favorite one, then go ahead. We will look into your eyes as we say this,
which will make your mind busy paying attention to what we say. Thus, you will see the letter but will not
look at it (you will not pay special attention). This, together with the fact that the card just shown is the
first, will make the discard one hundred percent safe.

We will have already removed the first card and we are ready to pass the cards of the first group. We will
show them slowly one by one, until we reach the fifth of the group (sixth taught, always keeping the cards
shown in the right hand). The pace of teaching will be increasingly slow, to mark subliminally that we will
not teach many more, only four or five. We ask you now to keep that letter in mind, and we will do exactly
the same with the second spectator, using the same frames used for the first.

Very important, to create a feeling of absolute freedom, once the cards are shown, give the deck to mix.
Here we again enter into the ambiguity of the situation: The fact that the deck is mixed is not important
since the cards have already been forced, but for the spectator, a mixture is synonymous with non-control.

It is an ambiguous idea that they create themselves and that works very well to generate a sense of
freedom.

FORMING A DETERMINED NUMBER

WITH FULL FREEDOM

We will see a psychological forcing that we will use to choose five different values. In this case, we cannot
make sure that they are specific cards, but we can use five values that we can use for some game where
we have to force a five-digit number, although this may be less or more figures.

The choice of the number is a mere ingenious forcing and that we could classify as psychological, thanks
to the time that passes between the actions of the spectator at the time of choosing the cards. For the
example, we will force the number 13,849.

The deck will be ordered from top to bottom, as follows: three cards, the four aces, the four three, the four
eight, the four four, the four nines and the rest of the deck perfectly mixed.

Ideally, the viewer does not know at any time that we want to compose a number, since, if so, their
choices will be more concrete. If the viewer is convinced that the cards he is going to choose are certainly
any cards, he will have no interest in any of them, nor in any particular place.

Hold the deck face down and ask the spectator to stop you at any time, to choose a card. Next, it is very
important that you tell him to choose quickly, because we are going to select many cards (don't tell him
how many). Since you do not have a precise data on the number of cards to choose, you cannot
subliminally estimate the points where you want to make the choice.

Begin to leave cards from the top, one by one and on the table, in a medium-speed pace (neither fast nor
slow). Now this is very important: When you have left the first, stare at the viewer and say: -

- ... when you want, you stop me, quick to give me time.

Finish the sentence with the left of the second letter. In this way we will avoid saying it in one of the first.
While you leave the third top card on the table, trans-curse the process of assimilation of the viewer, which
will also be discarded. The spectator will give the first arrest warrant, in one of the following four letters: An
Ace.

Once done, it can stop you or at the beginning of the sequence, at the end or right in the middle. In each
detention, we can create a sense of freedom. If the card where you have taken us is the one you have
thrown, then we will ask you if you want the one you have cast (the first Ace), or the one you were going to
cast (second Ace still on the deck).

If he has stopped you for example in the second Ace you have in your hand, then you will ask him if he
wants the one you have thrown, the one you were throwing or the one you were going to throw. Whichever
you choose, it will always be an Ace.

Obviously, if it stops you in the last card of the sequence (the fourth Ace), then we will tell you directly to
take it, without giving any other option.

Our mission is to make the spectator always stop us in each sequence, as has just happened in the case
of the Ace. Now we will play exactly the same with the second sequence: That of the three, in our example

But the first thing we will do is force it to stop us in one of the three, of this second sequence. This is very
easy to do, since the viewer knows that he must stop us as soon as possible. However, it is important to
know the following:

If the viewer stopped us at the beginning in the sequence of the Aces, then we must throw the cards that
are already left over from that sequence. We will do this by keeping the viewer's brain occupied. To do
this, if for example you have stopped us in the first letter of the sequence of the aces (in the first Ace),
what we will do is, while we are leaving the other aces one by one, we speak saying something of the
style:

- So, perfect, quickly because many are going to be chosen.

While you speak, the spectator cannot cut you, so we will only leave him a leading role at the moment that
we are directed by the first letter of the following sequence.

If he has stopped you, for example, in the last card of the sequence (the fourth Ace), then, without
throwing any card, we will say something like that:

- Perfect, let's go!

In this way we will move on to the following sequence, in our example, that of the 3, where the forcing will
be repeated. And ultimately this is the procedure of this forcing. We will work exactly the same with all
sequences.

Believe me this method is automatic. If you don't believe me, keep reading.

What happens if they don't stop us within a certain sequence? Nothing happens. If, for example, we are
waiting to be stopped at one of the aces and they have stopped, stopping at a 3, we will take the 3 and
continue with the forge, leaving only four cards on the table. In the end, we will say:

- I think one more is better!

It is here that we will seek and force the Ace with a safe method, leaving it the first of the row of cards on
the table.

Personally, when I do this forcing, I place the chosen cards on the table, as they are chosen, in a row from
left to right. Thus, if, for example, the specter skips the third sequence, then when he stops me in the
fourth sequence, I leave this card on the table, but in the place I would really occupy, leaving the empty
hole of the third card. Then, when I finish the forge and decide to choose one more, once done, it is logical
that I leave that new chosen card in that empty hole, if it is done carelessly.

 WORKING WITH GROUPS

Let's address the issue of small groups. For example, when we need them to choose a particular letter
from a group of four, which may be the aces. Let's look at some of the frames I use for this case.

GIVE THE ORDER BEFORE ANNOUNCING THE PURPOSE

It is difficult for the viewer to select a card thoroughly, if he does not know he has the freedom to do so.
Moreover, it is difficult to choose a letter if we do not announce it before. A more correct definition would
be: The viewer cannot carry out a purpose that has not been indicated. Well, that is relative.

What we will do next will be to tell you to touch a card and then we will explain why it has been touched.
But also, in the selection, he will not be aware that he is choosing. For us to understand each other, let's
move on to practice.

We have the four aces held by the left hand, face down. The one we are going to force will be the second
one to count from above, which will also be slightly more separate than the others, thus attracting more
attention.

We will bring the aces to the viewer and tell him to play. We simply give that order. We will not refer at any
time to the group, nor to a letter ... nor will we name any word that indicates that we are waiting for a
selection. We will simply ask you to play. As the spectator does not know our intention, nor does he know
that his mission will be to choose a card, he will simply touch the group, touching the card that most
attracts his attention and which in our example is the second ace.

Once done, we say: ... and look at the letter!

The spectator will be aware at this precise moment that he has selected a card. Its ability to choose,
although it has been "free", has not been pre-merited, which is precisely what we wanted to avoid.

ONE FOUR ON THE TABLE

This forcing has always been done with the question "tell me a number between one and four", which
subliminally eliminates the selection of numbers 1 and 4 from the viewer's mind. Then, depending on
whether we start counting by the right or left, depending on the viewer has named the number 2 or 3, we
reach the interested party. Well, let's do the same forcing, but making it one hundred percent sure, since
you can actually choose any of the four numbers. For them we will divide the attention of the spectators,
dividing in turn the order given to the viewer in question.

To begin, the four cards will be held between both hands. Each of them will be holding two cards, even if
they remain together, as shown in the following figure. The interested card is the lower one of the right
hand.

Next, we will look at the viewer on the right and ask him to name us a number from one to four. We leave a
moment of attention for the viewer to answer, and as soon as he finishes his sentence, we continue as
follows:

We leave the four cards on the table, each hand leaves two, in a row and separated a few centimeters.
But, if the spectator has named one or four, the right hand reverses in a single movement the positions of
the two cards it holds, pushing the top card to the left, with the thumb. If so, it is the latter that is placed in
third position, starting to count from the left. Let's see this action in the following figure.

While we perform this action, we will say:

- ... And I'm going to ask you to count one by one and take the (here you name the position named by the
viewer) letter.

If the spectator has named the number one or two, then this phrase will be told to the same spectator on
the right, gesturing the bill and pointing to the first letter (the one on the right), while announcing the
previous sentence.

If the spectator names the number three or four, then we will ask the same thing but from a spectator on
the left, gesturing as we say the previous sentence, pointing to the letter on the left.

That is, depending on whether it is the viewer on the right or the one on the left, it will start counting on the
left or on the right. In this way the interested card can occupy the four positions (1,2, 3 or 4), thanks also to
the change of position of the cards of the right hand when leaving them on the table, which we will carry
out according to us.

I will highlight two things about this technique: the first one is the division of attention just at the moment
the cards are left on the table. At the same time to carry out this action, we will be giving another order,
paying attention to what we say and not to what we are doing. In addition, this gesture is very natural and
will not take any attention. A very small hiatus in this moment would be good.

The other part to highlight is that of the spectators account. It is a bit strange to tell the viewer on the right,
indicating as the first letter the most located on his left. That is, the furthest from his body. This is a bit
strange, so here we make use of the viewer on the right or the one on the left, as it suits us, so that they
always start counting from the card closest to him.

ONE BETWEEN 3 ROTATING

FACE UP (THE MAGICIAN NEVER TOUCH)

The three cards are on the table in a row. The interested party is in the center, as the center is the safest
decision for the viewer. Ask him to touch one of them. If you touch the center one, simply tell him to take it
and proceed with the effect.

If the spectator touches any of the sides, then you take the center and the other card not chosen and give
it to another spectator so that, under the table, mix them and take one of them, randomly, which will leave
face up on the table. While this happens, the magician takes the card chosen by the first spectator,
selflessly.

Once the spectator has drawn one of the cards, two things can happen: That is the interested one, or that
it is not. If interested, openly announce that she is the chosen one and continue with the effect. If not,
leave the letter you hold on it, face up, and announce that it shows everyone the card they finally chose
and still holds in their hands, under the table. Having placed one card over the other, you will have
expressed subliminally that these are two eliminated cards. In the first phase, if the spectator does not
touch the chosen one, we will not make reference to this letter, saying that nothing is eliminated like that.
We will simply deliver the other two letters (not chosen), to the viewer, without giving further explanations.
Remember that viewers will question only what the magician has given interest verbally or nonverbally.
With the action of delivering the two cards to the spectator to mix them under the table, we will be
eliminating the feeling that the magician can have any purpose or may be leading the spectator towards a
certain card, since now, neither The magician himself knows nothing about the order of the cards.

 VERBAL FORCES
NUMBERS, LETTERS OR POSITION

As important as the psychological techniques for cards, numerical forcing is very useful, for example to
take the viewer to a certain position in the deck, or to solve a possible failure, among many other utilities.

Most of them, although we can use techniques such as the MC, described in this same work, are directly
selected by the viewer. It is the magician who, through subliminal questions, searches the viewer for a
specific number.

ESTIMATES BY THE SPECTATOR

NUMERICAL ESTIMATE

The viewer has the ability to estimate when we ask for a number of special features. The good thing is that
almost all brains process this information equally, which offers the magician a wide range of possibilities.
However, for the estimate to be as correct as possible, the viewer must have an exact request.

Let's see how these requests work with simple numbers:

• If we ask the viewer for a number between 1 and 10, they will name the number 7 with a higher
percentage followed by 8.

• If we want the number 7 potential, then we will ask you for a number BETWEEN 5 and 10.

• If we want the number 3, we must ask for a number BETWEEN 1 and 4.

There are different techniques to direct the viewer and at the same time, to increase the success rate. The
main technique is to direct it with specific orders. That is, we will not only tell you to tell us a number
between 1 and 10, but we will also ask you to be medium, not very low, etc.

We will be giving an order, but at the same time, we will be guiding it to where we are interested,
subliminally. Thanks to this, we will have many more possibilities:

• If we want the number 2, we will ask for a number that is very, very short.

• If we want the number 9, we will ask for a number from one to ten, but make it very difficult.

• If we want the number 1, then we will ask for a very, very, very small number. When we are named 1, as
is very obvious, we will say: Man, not so small! I mean don't tell me 45. But it doesn't matter, with 1 you
can also. And it continues with the game.

These are several examples of how to lead the viewer without any fear, whatever the number we need.
Although it is true that you will be named the number interested in a greater percentage of occasions, it
also has another lower percentage of failure. However, if they do not tell you the interested number, they
will name one or two above or below.

We can also direct to obtain larger numbers. For this we will operate in the same way: we will simply direct
the viewer. The following are some examples:

• If we want to be called the number 15, then we will ask for a number between 5 and 25, more or less
"medium."

• If we want to be named 48, we will ask for a number from 20 to 50, which is very, very high, to make it
more difficult.

In summary, we will first give you the data so you can estimate (a number between 10 and 20), and then
we will redirect you to the number by a subliminal path (that is short).

As we have seen and structuring this forcing strategy a bit, we can see that the mandate is divided into
three parts:

• What should you do.

• How you should do it.

• Why you should do so.

In the same example above we can see these three requirements:

- Tell me a number from 20 to 50 (What you should do), that it is very, very high (how you should do it), to
make it difficult (why you should do so).

The absence of any of the three parts of the structure could cause the strategy to fail.

Faced with possible failures, we can use two spectators. For example, if we want to follow the number 20
and a spectator has named us number 17, we will ask another spectator to name us a “tiny” number,
between 1 and 4, in search of the number 3, which added to 17 will give 20.

The experience and working hard with this type of psychological forcing will give you great control over
them. Believe me that even if it seems shameless, it is not at all.

In addition, this type of forges fused with the manipulative explained, will give a powerful psychological
weapon to "crush" the viewer's mind.

Always remember that a number or position is forced, it is better not to pass. If we want to force a card
located at position 30, it is better for the spectator to tell us a number less than 30. Then we can count
and force the missing number, to reach place 30. Otherwise, if the second forced number were To remove
already counted cards, the sensation would be to manipulate the number chosen by the first specifier.

 THE NUMBER 18

There are a number of striking numbers that are very easy to visualize mentally. The number 18 is one of
them. Therefore, we are going to force it, taking advantage of this property, also using the previous idea of
the structure of the mandate.To do this, the mandate that we will give to the viewer will be the following:

- Name a number from 10 to 20, which is large, to make it difficult.

POWERING THE NUMBER TWO

What I am going to explain now is a subliminal form of potential that the spectator names the number 2.
To do this, we will ask him to tell us a “very short” number. Now, we will look into your eyes and place your
right hand over your mouth, in the typical gesture of waiting for an answer. But really, we will be dialing the
number two subliminally with our fingers. Look in the next image for the correct gesture. This gesture,
together with the mandate in the sentence, will greatly enhance the choice of the two.

When I do this forcing, I do the following: After having been playing with four Aces, I secretly change them
for four doses, and leave them face down on the table. Now I make the plot explained and ask for a "very
short" number. When the two name me, I turn the four Aces, now transformed into Doses, before the great
impact of all.

If they don't name me number two, I just lose the apparent aces in the deck, because I'm done with them,
and continue with another game and the number named. If the number they tell me is three, then, as I am
playing with the Aces, ask:

- So, what do you have to add to Ace to get to three?

When they name the two, then I turn the aces, now transformed into doses. This half-gag and half-magic
situation gives me time to look for the three and then be able to line them up by the doses, to make the
actual transformation requested.

ESTIMATES OF THE SPECTATOR ON THE BARAJA

Another way of working with the viewer's estimation is with the deck itself. You would be surprised by the
viewer's ability to estimate on the deck. If, for example, we ask you to cut as much as you can to the
center, you will probably only be mistaken for one or two letters, in case you have an error.

But as I have already commented, it is essential that the viewer has the appropriate orders. For example, if
I want the viewer to cut approximately 15 cards, then he will be told to cut a room, or just a packet of
about 15 cards.

We can use this capacity of the viewer with many ideas. In the "Fishing" section that we will see later, we
will take more advantage of this idea.

OF DATA (LETTERS, STICKS AND COLORS)

The strength of the word seems incredible, as we have seen so far. There are very subtle phrases or
questions, which lead you to a single direction or action. Do you remember that, "in case of fire look at the
last page"? It is a very clear example of a statement that in itself is capable of creating curiosity, interest
and a multitude of different factors, all of them usable in magic.

Another example that I use frequently, transformed into effect, is what I call the forcing of regional dance,
transformed into play:

FORCE A VERBALLY LETTER

(FIRST SYSTEM)

One of my favorite forges. Simulate having an imaginary deck in your hands. Make the gestures as if you
were imitating the extending and passing cards in your hands, so that the viewer chooses one of them.
While you are passing imaginary cards, you are randomly naming letters. Just at the moment the spectator
enters the game and makes the gesture of taking a card, at that moment we will match his gesture with
the name of the interested card. Imagine that it is the ten of diamonds. At that time, we say:

- Ten of Diamonds? Take it, take it ... and you don't want it ... (and you name some others, in the imaginary
gesture of continuing to pass letters).

 FORCE A VERBALLY LETTER

(SECOND SYSTEM)

We are going to perform the same technique described above, only in this case we will give more
sensation of Azar. Unlike the previous one, in this case we are going to force a value, being the spectator
who invents the stick. The final response of the viewer will be what gives this forcing of authentic chance.

To do this, we operate in the same way, opening the imaginary deck in our hands, and passing cards,
naming values ...

- Ten, nine, eight, another eight, one two ... touch, touch one (we continue naming values).

When the spectator makes the gesture of picking up a card, we verbally coincide with the interested value,
with the spectator's gesture.

- The four ... the four of?

Let the viewer invent the stick, giving, as I said earlier, greater chance.

This forcing is very valid for purposes where we have to force a card, regardless of the suit. For example,
we can have the four controlled doses in the upper part of the deck, force a two, and depending on which
one the spectator chooses, then use one or the other.

FORCE A VERBALLY LETTER

(THIRD SYSTEM)

Although we will use a physical deck, I wanted to introduce this method in this section, since it is really
verbal forcing, since a non-existent letter is going to be named.

A forge that "came to mind" when Juan Escolano made me a fabulous effect. In the game in question, you
needed a paper, a pencil, write numbers ... and everything to choose a card. This part was fine as part of
the effect, in fact we will see a variation of that game in next pages, but I didn't like it too much if it was
only used to choose a card. Therefore, I devised the following system.

Imagine we have an eight hearts in our pocket. Well, once the deck is recovered after a mix by the
spectator, ask four spectators to memorize each one of the cards you are going to name. Thus, the first
letter whose names will be that of the first spectator, the second of the second, etc.

Mix the deck a little more and now, turning the first card, look at the first spectator and name the card you
are seeing. You can let this letter carelessly see, but without giving too much attention and importance to
it.

Always in a continuous rhythm, turn the next card (with the first still in hand), and looking at the second
spectator name the second card. As before, lets see the second letter carelessly.

Now, always in a continuous rhythm, turn the third card, looking at the third spectator, but on this
occasion name the interested card (in our example the eight of hearts that is in the pocket). Do not miss
this letter. Without giving more importance and with total carelessness, turn the next one, looking at the
fourth spectator.

Now several things can happen: For example, you can make an effect with the four cards chosen, where
one of them travels, for example (eight of hearts in your pocket). Or, ask them to point to a viewer (force
the interested party), and ask them to name the letter they are thinking. We will have forced a card that
was never in the deck.

TOWARDS A BARAJA STICK

When we want to give more interest to a particular stick by asking about one of them, we simply make it
stand out from the rest. We will pronounce the stick a little slower than the rest, and we can even help
each other with a hand gesture.

As a general general, it is known that profane spectators, especially girls, will choose the stick of hearts,
the boys will opt more for spades, while the magicians, in a greater percentage of times, will name a club
of clubs.

However, in Spain we have the opposite that the French deck is not known to everyone, as it can be in any
other country.

TO THE HEART OF THE HEARTS

The plot that I explain below has been used many times. I simply have the spectator name an obvious
stick, apparently making a mistake in it, and taking advantage of that error to create a seemingly random
choice. To explain myself, I will exemplify: The viewer is told:

- What is the stick that a woman would choose?

- Hearts (says the viewer).

- Well, we can use hearts, nothing happens, but the stick chosen by women is the clovers, the flowers
(says the magician). But nothing happens, we can also use hearts.

The sensation created is that we have requested a stick and the spectator has named one that we did not
expect, but that would be equally worth it because the stick was apparently randomly requested.
Obviously we all know that hearts is the stick that a woman would choose, but clovers, justified with
flowers, sounds very convincing.