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• Chan Jun Liang

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RIGHT NOW

INTRODUCTION Hello, You just spent $15.00 to obtain three routines that I perform ALL the time. These are effects that I have been performing for a few years, effects that I can perform ON THE SPOT without props at all, effects that have given me credibility among laymen and also among magicians. These are effects that I have personally developed using techniques that are already available out there such as psychology, misdirection, and of course some trickery. I have used these techniques in such a way to make me feel COMFORTABLE while using them, whilst also employing them deceptively enough for your audience.

The name of the manuscript you are reading right now is: RIGHT NOW. It includes three MENTALISM effects, that you can do anytime, anywhere, to convince people that you CAN REALLY READ THEIR MINDS. These are effects that you can perform whenever someone suggests you: "READ MY MIND RIGHT NOW", which, I don't know about you, but it happens to me very often. The effects included in this manuscript are: ·

HOT

·

BUBBLES

·

THE PURE THING

As you move through this manuscript you will realize how simple the methods are behind these effects, however PLEASE take the time to practice them and t o work them into your presentation. The methods are just GREAT enough if you present your whole routines CONVINCINGLY.

Having said that, I thank you so much for buying this manuscript, thank you for your support. I am sure you will find something new to add to your repertory.

I wish you all the best

Enjoy it, RIGHT NOW!!!!!!!! Nefesch

RIGHT NOW

HOT (Head or Tails) This is a three step routine, in which you ask your spectator for a coin (any coin), you ask them to flip it in the air and to catch it in their hands without letting you see it. You ask them to take a look at the coin, to c h e c k if it landed heads or tails up. You NEVER see the coin and yet you are able to know the result. IT IS THEIR COIN, IT IS THEM WHO THROWS IT IN THE AIR, and it is THEM WHO CATCHES IT. It all happens in their hands, and yet you are able to tell ACCURATELY what it is (heads or tails). If you are thinking that somehow you "track" the flipping of the coin, that is NOT the method (you can do this even looking away from your spectator, to prove you are not glimpsing anything), it is something TRULY PRACTICAL and easy to do.

The presentation: You ask your spectator for a coin, ANY COIN, you now ask them to flip it in the air and catch it in their own hands. Before they look at it, you will ask them to think if it has landed with the head or tails facing up? Now you ask them to take a look at the coin to find out whether or not they were wrong. You ask them to do all this in their head and NOT to say anything out loud. Now you make two revelations: First you reveal if they were right or wrong in what they believed the coin had hit up, and also you reveal what the coin hit up.

You ask your spec now to flip the coin one more time, but this time YOU will catch it, you will also instruct him to say OUT LOUD while the coin is still flipping in the air what they think it will hit up, and you explain in advance that you will make the coin to hit exactly as your spectator has said it will. The coin lands on your hand PRECISELY as your spectator guessed it would, but of course you take the credit for it, as if you CAUSED it to happen that way. In the third step of this routine, you give the coin back to your spectator, you ask them to flip it in the air, to catch it in their fist, and to take a quick peak to see how the coin landed, you ask them to put the coin away, and you are able to tell them exactly how the coin landed.

The method: This entire routines uses 3 different techniques, one for each of the steps. I would advise you to use them the way you feel most comfortable with, and you can skip some of the steps if you prefer, or even to add some steps o f y o u r o w n you once you understand the whole thing.

STEP ONE: For the first step we will use a PSYCHOLOGICAL force, MOST of the people when they flip a coin in the air will say it will land HEADS, this is already a psychological thing, but we will make it even MORE CUNNING, to make sure it is a GOOD HIT. So it all starts with a good script, here is the way it goes: “Flip the coin into the air and catch it in your fist, don’t take a look at it yet, do it, now think what do you think it HIT up, HEADS (small pause) or tails, (don’t pause here) ONCE you have in your mind what you think, DON’T change your mind, take a look at the coin and find out whether or not you were right, but don’t say anything out loud.”

Note here: the words in CAPS must be said a little more strong than the others. So when said properly and at the right speed, you are saying: “Now think what you do think it HIT up, HEADS (small pause) or tails”. In your spectators mind it actually sounds like: “Now think what you do think it HIT UP HEADS”. Since you are IMMEDIATELY instructing him NOT to change his mind, your spectator is thinking of HEADS. Now here is how it goes next: You now instruct your spectator to peak at the coin, and find out whether or not he was right. What I do here is pay careful attention to the gestures my spectator will make while peaking at the coin. If he seems to look disappointed, it means that the coin is TAILS up, and therefore you can now reveal both: you can reveal that he was thinking of HEADS, but that he was wrong for the coin was TAILS. If your spectator seems SERIOUS or a little confident or should I say excited (even just a little) then you can also reveal BOTH: he was thinking of HEADS, and he is right, for the coin is HEADS UP. Now, let me tell you something, I am VERY comfortable doing it that way, to me once I do the suggestive script, and I know that my spectator is thinking of HEADS, it’s just a matter of finding out from his gestures if he was right or wrong, and once you know that you have TWO revelations to make. Now let me go a little bit deeper to make SURE that you will hit on your revelations. Remember your spectator already has HEADS in his mind, which I will always take as a FACT, so now is all just a matter of revealing it in a clever way: When I ask him to find out whether or not he was right, I pay attention to his gestures and:

1) If he makes CLEAR gestures that he is disappointed (and therefore wrong). The gestures here are very subtle, they can be: crushing his mouth a little bit, or turning his lower lip down, closing his eyes a little bit, or raising the eyebrows a little bit. If you read these type of signals, you can make the two revelations immediately. I normally ask them to take the coin away, and then say: - So I have the feeling that you just found out that you were WRONG, the coin was actually showing the other side than the one you were thinking of. I wait for a yes as an answer – and then I add

- For the coin was TAILS up, but you thought it would be HEADS.

2) If he makes CLEAR gestures that he is disappointed at all (and therefore he is RIGHT)

NOT

The gestures here are normally EXTREME, they will either be totally exposed (clearly to show he was right) or absolutely BLANK (no gestures at all) in which case your spectator will normally make NO gestures at all, he will look serious, and his face will be totally relaxed. Now I reveal the opposite of the previous case: - So I have the feeling that you just found out that you were RIGHT, the coin was actually showing the side you were thinking of. I wait for a yes as an answer – and then I add

- For the coin was HEADS up, JUST as you thought it was.

3) If your spectator DOESN’T make it clear with his gestures if he was right or wrong, or you somehow miss it or were not able to find out then I will ask him to put the coin aside and I would go this way:

-

So I believe you were wrong (note here I DON’T say “you ARE wrong”, but “you WERE wrong”) – Here I will wait for a REACTION or an ANSWER. If he says yes, then I know the coin was TAILS up, and of course he was thinking of heads. If he says NO, or makes a gesture indicating that your statement was a failure (which means that the coin was HEAD up, and of course he was also thinking of heads), then I will IMMEDIATELY interrupt him by saying:

- Let me finish, I didn’t say you ARE wrong, I said you were wrong, I have the feeling that you thought the coin was HEADS up, but still you had a doubt in your mind that makes you think that chances were just 50/50, but you see YOU WERE wrong because there was NO reason to doubt. I have a CLEAR vision that the coin was indeed HEADS UP, JUST as you thought it would be.

So there you have the ways to make sure your revelation will be a 100% double hit. Since I have performed this routine so many times, I feel very comfortable keeping it CLEAR and just asking my spectator to think of it, and revealing their thoughts without asking any questions where the answers might guide me a little bit. Nevertheless let me share another way with you to accomplish this first step of this routine. This is so you can start getting more comfortable with the psychological aspects of this method.

All you have to do is to ASK your spectator whether or not they were right. So for instance you ALREADY know he is thinking of HEADS, now you ask him to make a peak at the coin and find out whether or not he was right. Here you ask: - So, were you right or wrong? His answer will tell you EXACTLY what to reveal, if he says he was right, you know the coin was HEADS up. If he says he was wrong the coin was TAILS up, it is SELF WORKING. To your spectator the answer he gave you means NOTHING, for you had to READ HIS MIND, to find out what he was thinking.

STEP TWO For the second step of this routine we will use SLEIGHT of hand. Here is how it goes: You ask your spectator to flip the coin one more time, but this time YOU will catch it. You also instruct him to say OUT LOUD while the coin is still in the air how they think it will land, and you explain in advance that you will make the coin land exactly as your spectator has said it will. The coin lands on your hand PRECISELY as your spectator said it will, but of course you take the credit for it, as if you CAUSED it to happen that way.

Once you have it in the desired position, it is just a matter of opening your hand GRADUALLY but also in a natural looking way. STEP THREE Now let’s move to the third step of this routine, which by the way uses a very evil and very deceptive method.

You need an EXTRA something to accomplish this step, I don’t know you, but this is something I have in my pocket ALL THE TIME, and even if you do not have it I am sure you can get it for just a few pennies. Remember so far YOU have the coin in your possession. Now you give them the coin back, you ask them to flip it in the air, to catch it in their fist and to take a quick peak to check how the coin landed. You ask them to put the coin away, and you are able to tell them exactly how the coin landed. The “dirty” work all happens before you give the coin back to your spectator, AND NO it is not a switch (if that is what you had in mind), it is something more clever, more practical, and MORE INVISIBLE. The answer is: CHAPSTICK! Yep! That is it. So let’s move on to the details: What you are going to do is to apply some Chapstick to one side of the coin to mark it (and it will do the dirty work in a while), either side is ok as long as you remember which side you applied it to (which side you marked). I normally apply it to the HEAD, but either side is ok. Since you only need a VERY SMALL amount of Chapstick to accomplish this step, what I normally do is apply some Chapstick to my lips (which is the normal thing to do with a Chapstick) before I start the whole routine. Once I finish the second step of the routine, I simply and

naturally steal with one of my fingers some of the Chapstick I have on my lips, and then take the coin with the same hand applying the Chapstick I stole from my lips to one side of the coin. Steal some chap Stick from your lips with one of your fingers

And apply it to one side of the coin (make sure you remember which side you applied it to) Now you give the coin back to your spectator and ask them to flip the coin, catch it in their fist, take a peak at it, and then they can leave the coin aside, or hide it, whatever they want. By this time the coin has done its job, and it will be easy for you to find what side of the coin was facing up. So let me explain it to you: Since you have marked one side of the coin (in a totally invisible way, for you have applied only a tiny little bit of Chapstick and also it is totally transparent) one side of the coin is a little bit greasy, which will leave a mark on your spectator’s hand that will tell you how the coin landed.

This mark that you will find on your spectators hand, is invisible for them, it’s just a greasy mark which is so small that they will not find it, they have no idea what has happened, they do not know what to look for, so it is a mark that YOU and only YOU will know what it is, where it is, and what it means. Depending on where and how the

mark on your spectators hand is will inform you of how the coin landed. Let me explain it to you, from now on we will imagine that the marked side of the coin was HEADS. Your spectator tosses the coin, and catches it in their fist, they take a peak at the coin and the coin is placed aside hidden from view. If you find the grease mark on their palm, it means that the coin landed tails up (the HEADS side which was marked landed on their hand and left the grease in their palm). If you find the grease mark on the FINGERS, the coin landed HEADS up (the marked side left its grease on the fingers for it was facing up). A third scenario can happen: THERE IS NO MARK, which will also mean that the coin was HEADS UP (the only way the coin might not leave any mark is that the marked side landed face up and the spectator didn’t fully clench his fist, therefore the mark was not set on his fingers, but still you know 100% that the coin landed HEADS UP)

A Greasy mark in the palm means that the coin landed with the marked side pointing DOWN (the circle shows you the place of the mark)

A Greasy mark in the base of the fingers means that the coin landed with the marked side pointing UP (the circle shows you the place of the mark)

No Greasy mark at all in the hand means that the coin landed with the marked side pointing UP but the spectator didn’t CLENCH the fist. It is still a 100% hit

Normally what I do once the coin has been taken aside, is ask my spectator to give me their hands (both of them) and ask them to think if the coin was HEADS or TAILS up a n d while supposedly taking their pulse I actually take a look at their hands to find out where the grease mark is, and know I play with this info any way I want to finally make the revelation. Note: I DO NOT ASK THEM or tell them that I will take their pulse, I just grab my spectators by their wrist with their palms facing up, look at the spot (in a natural way), look at my spectator into their eyes, and then proceed to the revelation. I leave it to my spectator to wonder if I was feeling their pulse or whatever else they want to believe.

Pretend that you are taking your spectator’s pulse (a good excuse to CHECK where the greasy mark is) Now if you think about it, with this method (the Chapstick method) you can perform this routine with several people at once using several coins (one for each one of your spectator) and you can come up with different ways to present them. It needs no sleight of hand,and is absolutely self working. I hope you have enjoyed this routine, now lets move on to the next effect.

BUBBLES A revelation of a free thought (no forces at all), appears shaped in the bubbles of a fizzy beverage. All objects can be borrowed, and it is almost impromptu, I would love to say it is completely impromptu, but it requires a 2 seconds set up (yes just two seconds).

The presentation:

A borrowed glass, and a borrowed beverage (fizzy beverage, like Coke, Pepsi, etc). You ask your spectator to think of the name of a person, a card, an object or whatever and you ask them to pour the Coke in the glass and to see the bubbles that the fizz creates on the inner side of the glass. NOTHING happens until you give them a spoon (borrowed if desired) and ask them to mix the Coke using the spoon. The bubbles move and begin shaping the initial letter of whatever they are thinking of.

The method:

There are two basic steps to accomplish this routine, the first one is to get the information your spectator is thinking of, WITHOUT him knowing that you know what he is thinking. The second is getting the revelation into the bubbles of the beverage.

STEP ONE: There are many techniques you can use to find out what the thought of the spectator is, I am sure that you already know some of them, so you can feel free to use any one you want; billets, peaks, switches, forces and impression devices, etc. If you do not know any way to find out what your spectator is thinking, let me share an easy way to achieve this that my friend Titanas has come up with: ·

Have a stack of blank business cards

·

Ask your spectator to write on the top card whatever he is thinking of

·

HOLD THE STACK on your hand all the time WHILE your spectator writes on it, keeping your head turned away from the stack (to prove you are not watching)

·

Once your spectator has finished writing his thought, do a double lift and turn the cards as one face down (Still keeping your head turned away from the stack)

·

Now the card with the thought written on it is second from the top

·

Place the top card on the table (your spectator believes it is the card with the thought)

·

Take a peek at the top card of the stack.

·

And you are done.

·

At the end of the routine, switch the card on the table for the top card of the stack (use a top change or any other way you want)

STEP TWO: Once you have the knowledge of what your spectator is thinking, you will reveal it by using a fizzy beverage, and you will LITERALLY make the bubbles of this beverages shape the initial letter of whatever your spectator is thinking of. In order to do this you will need some misdirection and also some CHAPSTICK. What I normally do is take the cap off the Chapstick, then I put the Chapstick in my pants pocket and I am ready to go.

You ask your spectator for a glass (empty and transparent), then you steal some Chapstick from your pocket with your MIDDLE finger (here you will use MORE Chapstick than the amount you used in the effect before - for HOT you only needed a tiny amount, however for BUBBLES you need a considerable b i t more, just give it a few tries and play with how much you need to achieve the perfect result). Once you have stolen the Chapstick (I do this with my right hand) take the glass show the glass all around (I do this in a horizontal position) and then just put your middle finger inside the glass (which has the stolen Chapstick on its tip) and draw the initial letter of whatever your spectator is thinking of, do this while putting the glass aside on the table or on any other surface you want. Here we are using the principle of a big action covering a smaller one, and now all the dirty work HAS BEEN DONE, you just have to concentrate on your presentation.

Don’t worry about shaping the letter PERFECTLY, as long as it looks like the letter you want, then you are done.

Steal some Chapstick

Show the glass all around, and take your finger with the Chapstick to the INNER side of the glass

With your finger shape the desired letter.

When performing, make sure to put the glass (once you have shaped the letter with the Chapstick on the INNER side of the glass) right in front of your spectator but make sure to place the side of the glass that has the Chapstick pointing

at 3 o’ clock from his point of view, which will make the Chapstick INVISIBLE to your spectator (for it is at an angle out of his vision).

This picture has been taken from your spectator’s point of view, the finger is pointing to where the mark remains. When positioning the glass at the 3 o’clock position from your spectator’s point of view the mark becomes INVISIBLE

This picture has been taken from the PERFORMER’S point of view, you do NOT have to sit right in front of your spectator, as long as you position the glass at a 3 o’clock angle from your spectator’s point of view, the mark is INVISIBLE

Now ask to your spectator to pour the Coke into the glass, and call his attention to the bubbles, explaining how they stick to the sides of the glass in a random way, and explain that just as there are people that can read from CRYSTAL balls, you can read THE BUBBLES. Here if you want you can start making some cold reading, or start to reveal some stuff from what you know he is thinking:

“by watching the bubbles I have the feeling you are thinking of an animal” …or a fruit, or whatever. By this time the Chapstick has ALREADY done the job, the bubbles of the Coke have STUCK to the Chapstick, shaping the letter PERFECTLY, making it CLEARY READABLE to anybody. If you want you can just turn the glass and reveal the letter (which now looks just like many bubbles arranged perfectly shaping a letter). What I prefer to do is ask a spectator for a spoon, and ask him to mix the Coke, I ask him to concentrate on whatever he is thinking, and I claim that I will try to read the bubbles again. Let him take the glass and mix the Coke. Here you have a few options: 1) Let him mix the coke, and once he finishes to rotate the glass and let him know that he out something. Your spectator will CLEARLY letter when he has rotated the glass and correct side pointing to him.

ask will see has

him find the the

2) Take the glass and rotate it your self having the Chapstick point to your spectator. Ask his him to mix the beverage and NOW call attention to the bubbles. For your spectator it will look as if the bubbles suddenly shaped the letter WHILE he was mixing them.

3) Ask your spectator to mix the beverage, and once he stops, start looking at the glass, and tell him that you see a letter, reveal the letter, and now SHOW IT TO HIM (before you show it to him, he will believe that somehow you are just MENTALLY seeing the letter, but now that you SHOW IT to him, he will have a HIGHLY VISUAL impact).

Sometimes I psychologically play with my spectator, letting him see the letter in the bubbles, letting him know that I have transferred my ability to read the bubbles to him for a while so he has an idea on how it feels, and later I claim that there was NO LETTER in the bubbles, that it was all a process of telepathic control. Some times I do NOT worry about removing the Chapstick from the glass after performing the effect, for once the Coke is taken out of the glass it is quite hard to detect. If you do want to remove it, all you have to do is to use the SPOON to remove it, just slide the spoon a few times on the side of the glass that has the Chapstick, and you will be done.

Use the spoon to remove the Chapstick once you have finished, although I have to admit that I really don’t mind leaving it like that (because with a few seconds the letter will VANISH by itself), but if you prefer to remove it faster just use the spoon at the end of the routine. If you want to end your routine, you can bend the spoon you are holding. Now if you think about it, all you need to perform this effect is a C hapstick inside your pocket, easy work for this effect, and trust me the result is Visual, Killer and Great. TRY IT !!!!!!

THE PURE THING The revelation of a thought in the MOST pure way, just MIND TO MIND. Here in this manuscript I will reveal how to reveal THE CARD your spectator is thinking of, I use the same technique and handling for revealing ANY OBJECT my spectator is thinking of without asking my spectator to write anything, etc. I will NOT go into details about my handling for the ANY OBJECT routine, I might share it with all of you later. I want you to read ALL the details I am providing here for this effect. It uses a very well known technique, to which I am applying MY PERSONAL handling to make the effect PRACTICAL, USEFUL, ACCURATE and of course DECEPTIVE. Once you have read ALL the details, MAKE SURE YOU TRY IT AND PRACTICE IT, then and only then allow yourself to make conclusions. I use this technique with the handling I am presenting to you, almost EVERYDAY of my life. I do it either in a one to one situation, or even in front of crowds. Since I started using it, I do not care if I am not carrying a deck of cards with me, with this handling I can do a MORE impressive performance, revealing the spectator’s card, without the need of anything else other than my mind, and my spectator’s mind. Every time I perform this, my audience goes REALLY CRAZY, I am always told by them that it makes them BELIEVE I am the real thing. And therefore I named my handling of this technique: THE PURE THING.

Enjoy it!!!!!!!!

The presentation: You ask your spectator to think of a card, now listen to this: He thinks of a card, you NEVER ask him to say the card out loud, you NEVER ask him to write it anywhere, NO PEAKS, no stooges, nothing! This is 100% IMPROMPTU. I know it sounds IMPOSSIBLE, and YES IT IS. But I am being 100% honest here, this is a technique I use ALL THE TIME. You ask a person to: THINK OF A CARD, any card, and then you are able to reveal it PERFECTLY. YOU do not suggest a card, it is a totally FREE selection, NO PSYCHOLOGICAL FORCES AT ALL. This technique is so great that I could write an ENTIRE book about it later to include different routines, and applications for it. It is 100% practical, and requires nothing more that your mind and your spectator's mind. YOU DO NOT NEED A DECK OF CARDS to perform this.

The method: I will go directly to the method, and then we will cover and discuss all the details. The technique we will use is: CONTACT READING. But it goes BEYOND that, if you are familiar with contact reading you already know where I am heading, and I am sure you will like it even more once you keep reading and find out the handling that I use for this effect and all the psychology behind the script.

If you are new to contact reading, I will give you a very small introduction to it, and I will also recommend that you IMMEDIATELY get “Banachek PSI series DVD #3” which is about psychophysiological thought reading, it will take you deeper into what contact reading is, and you will gain a greater appreciation of the wonder behind this technique. So just a small introduction about what contact reading is: It is a technique that will allow you to get information from your spectator by some physical involuntary (THAT IS THE KEY WORD you MUST keep in mind whilst reading this manuscript) responses that he will do depending of what he is thinking of. Having said that if you are new to contact reading, keep reading, and you will understand what I am talking about. The script and what to do: You ask your spectator to think of a card, ANY CARD; he does, so far the you have a 1 in 52 chance of finding his card, we will take care of INCREASING those chances, and believe it or not we will do it IN JUST TWO STEPS. Once your spectator is thinking of his card, you want him to be standing or sitting in front of you facing you. You ask him to place his hands in front of you with his palms facing you. You take the same position in front of him, placing your right palm in CONTACT with his left palm, and your left palm in CONTACT with his right palm. You now COMMAND your spectator to PUSH YOUR HANDS with theirs.

So far you know the color of the card, which means you have increased your chances to 1 in 26, we are going to increase those chances even MORE by finding the SUIT of the card, and even though for YOU as the performer it is a second step, we will make it LOOK as if it is the part of the same FIRST step you just did. Once you find out what the color of the card is (which will take you LESS than 6 seconds) you keep going like this: Let’s say you find out that the card is RED (If the card happens to be BLACK, just reverse the order of the script, what is important is that you continue IMMEDIATELY with the COLOR OF THE CARD they are thinking to find the suit. You say: - If your card happens to be red, think if your card is Hearts (NOW you push your LEFT hand TWICE) - Or Diamonds (Now you push your RIGHT hand TWICE) - Hearts or diamonds (push your hands a few times alternating them) – And just as you found o u t what the color was, you will now found what the suit is. Now you add IMMEDIATELY: - If your card happens to be black, think if it is CLUBS or SPADES (here only keep alternating your hands, for you do not need to collect any information) It is important that you make ALL THIS as one single step instead of two steps. Lets reconstruct the script WITHOUT instructions so you have a better idea of HOW SMOOTHLY it flows.

The script part 1: - Push my hands - And think if your card is RED Or Black

- Think of it and send it to me, RED OR BLACK, RED OR BLACK - If your card happens to be red, think if your card is Hearts Or Diamonds, Hearts or diamonds. - If your card happens to be black, think if it is CLUBS or SPADES When you read it it takes you less than 12 seconds, IT SHOULD TAKE YOU THE SAME TIME when performing it for real. What you have to do is practice it to be able to feel the PHYSICAL response of your spectators. Whichever hand they push harder will lead you to the information you need to get their card. Also remember that the fact that they are pushing HARDER to one of your hands is UNKNOWN by them, it is an INVOLUNTARY response. And you are NOT giving away how you are getting the card, because so far they HAVE NO IDEA of the information you have collected. You got the color of the card, (let’s say it’s red) but then you ask them to think if the card is hearts or diamonds, and even though you collected all the information you needed: YOU STILL ask if the card is Spades or Clubs, which makes them believe you are STILL finding the right information, which also means that they believe you STILL HAVE NOTHING.

And even though they believe you have no information you have actually increased your chances to 1 out of 13 in LESS than 12 seconds and in a totally FAIR and INVISIBLE way.

Now you proceed: - Think also – (NOTE, you DO NOT say “now think” for this suggests that you’ve already collected some information

and that you want to move to the next step, so you say: “think also” which suggests to your spectator not ONLY to concentrate on the suit and color, BUT ALSO the rest of the card) – Of the value of the card, think if it is a HIGH (NOW push your left hand twice) - Or LOW value (NOW push your right hand twice) - High or Low, high or low (push your hands a few times alternating them)

Again by paying CAREFUL attention to the physical responses of your spectator to your hands you will be able to find out whether the card is low or high value, ONCE you have found out, you IMMEDIATELY ADD (lets say you found out that the cardwas a LOW value card, then you will IMMEDIATELY continue talking about the low cards as follows in the script , if you found out that the card was a HIGH value then alternate the script playing IMMEDIATELY first with the high card value part of the script and then the other part): - If you card happens to be low value, think if your card is REALLY LOW like A, 2, 3 (NOW you push your LEFT hand TWICE) - Or in the middle like 4,5,6 (Now you push your RIGHT hand TWICE) - Really low or middle, Really low or middle (push your hands a few times alternating them) – And their unconscious physical response will lead you. Now you add IMMEDIATELY: −

If your card happens to be high value, think if it is REALLY HIGH, or in the middle (here only keep alternating your hands, for you do not need to collect any information if you had found out that the card was LOW value, otherwise reverse the script)

Again it is important that you make ALL THIS as one single step. Lets reconstruct the script WITHOUT instructions so you have a better idea on HOW SMOOTHLY it flows.

The script part 2: - Think also of the value of the card, think if it is a HIGH Or LOW value. - High or Low, high or low - If your card happens to be a low value, think if your card is REALLY LOW like Ace, 2, 3 Or in the middle like 4,5,6 −

Really low or middle, Really low or middle

- If your card happens to be a high value, think if it is REALLY HIGH, or in the middle.

It takes you less than 12 seconds to read it, IT SHOULD TAKE YOU THE SAME TIME when performing it for real. So far in a total of less than 30 seconds, and in an invisible way, which is even less obvious for the rest of your audience – because of the way the script goes which leads the audience to believe that you have gotten nothing, and you are only asking your spectator to be concentrated – you have increased your chances to 1 in 3. Here you have several options on how to continue: 1) You can repeat the same operation with the same technique and procedure one more time to finish finding the EXACT value of the card, by asking him to think if it is an EVEN or ODD value, or by asking if it is a MALE or FEMALE picture card, etc. (I am sure you get the idea)

2) You can use some psychological guidances (which is what I do prefer to use). Let’s say you found out that the card is either a 4, 5 or 6 of a particular suite, you could say something like:

-

I have the feeling that your card is an EVEN number (wait for a reaction) - if I see a sort of a NEGATIVE response to what I am saying then I know it is the 5, and then I would add:

-

but I am not sure about it… (now you know the value is a 5)

If when you say: “I have the feeling that your card is an EVEN number” and she reacts amazed, or ACCEPTS somehow what you are saying, then you add: - I would have said it was a 6 (again wait for a reaction, if she accepts it you have it, if she doesn’t, you then know it is a 4 and you add: “but I am not sure” – of course now you know it is a 4) Some good advice I can give you is that once you have the full information about the card (color, suit and value), DO NOT reveal it IMMEDIATELY, I would say to my spectator: - Good, you are concentrating, KEEP concentrating, keep focused. Then I would go AWAY, and pretend that it is NOW that I am receiving the information, or if you think about it, now that you have the information of the card, you can do ANYTHING you want with it, just lead your audience and your spectator to believe you are receiving the information WHILE you are away from your subject. Something else I could recommend to you is to mix this effect with my PRR effect (another card revelation that goes like this: think of a card, any card - and you are able to

reveal 100 % accurate what the card is, you need no deck of card, no writing anything, etc), which I am not sharing here with you but you can find it in my DVD: The magic of Nefesch Vol. 2 Just so you have an idea of what you can do by mixing these two techniques: You find out what card your spectator is thinking of (using THE PURE THING method) then you ask a random spectator (no stooges, pre-show, nothing, 100% impromptu) to name out loud the card SHE (as the second spectator) is SEEING inside HER mind, and of course both cards match. PRACTICE IT, and when you master this technique, I PROMISE you will realize how easy it is, and how KILLER it is and how you will be able to perform the IMPOSSIBLE anytime, anywhere.

CONCLUSION: Here I have shared with you three effects that have been in my personal repertoire for quite a while. I thank you one more time for purchasing this manuscript, thank you for supporting creativity and originality, I do believe you have found something valuable for your repertory, add your own spice, put your own personality on it. Remember YOUR PERFORMANCE will determine your credibility when presenting this effect, so make sure to practice the effects, the methods, and to present them in a way that fits with you. Some mentalists with whom I have shared the Pure Thing asked me not to release it, not to share it, they use it, they love it, so since I decided to share it with you, please take care of it and give it the respect it deserves. I am sure that by now you understand that the method to perform THE PURE THING, is NOT just contact reading, the method involved also includes psychology in the script, and a different approach and handling for contact reading. Please DO NOT expose or talk openly about any of these techniques when you talk about THE PURE THING in magic or mentalism forums. I have worked so hard putting the words together in the script, to make it deceptive enough, and to put my own handling on it. I AM SURE YOU UNDERSTAND ME AND I APPRECIATE YOUR HELP IN ADVANCE. I would like to invite you now to take a look at my upcomming book: Telekinefesch, which has already gotten Great Reviews from some of the MOST respected mentalists like Banachek and Richard Osterlind. For further information and to read the reviews go to: http://www.leapinglizardsmagic.com/csspages/css_telekinefesch

Finally I would like to thank some people supported me in my career and personal life:

that

have

Vangelis Haralampous (Titanas): Thanks for your friendship, you are the brother I always wished to have, thanks for all your support and advices. Dean Montalbano: Thank you so much for believing in my work and being a good friend Richard Osterlind: Mr. Osterlind as always I remove my hat to salute you, May God always bless you. Banachek: All my respect for you, I wish you success for the rest of your life Sophia Ziva: Thank you for coming to my life, and bringing light to it. I love you. Mathew: Thank you so much my friend for helping me with the text edition of the manuscript. And again Thank YOU: for your support.

Having said that I now wish you the best and success in all your life.

In soul and Spirit:

Nefesch www.nefesch.com [email protected]