“Very well thought out routine outstanding work as always from Nefesch. I love it!

” --Neal
Scryer

Hi Nefesch, thanks for sharing your book. I really enjoyed it - great work!
There is a lot of great thinking here, and I really enjoyed seeing how your mind worked! What I
was particularly impressed with was the way you have supplied different ideas and methods for
presenting the same routine. This enables the performer to decide which method will work best
for him, but also demonstrates that there are often more than one answer to a performance
problem. Link is a wonderful way of presenting demonstrations of mind-to-mind telepathy, and
has many layers and subtleties that elevate above the average. This is great work! I'm sure that
any mentalist or mystery performer will find great worth in this book, and I wish you every
success with Link! All the best & thanks again, -- Paul Voodini

“I love the idea man, it's something I didn't really think too much about in Corinda, but your
addition makes it a real worker!” -- Dee Christopher

"Nefesch did a good job at simplifying Corinda's De Produndis' routine. Especially the
ungimmicked version is very nice and I like the way it plays. Good thinking on that one!" --
Timon Krause

“Link is a solid multi-phase routine. His thinking and approach of effects is very unique and if
you are a fan of Nefesch's thinking process then Link will be great for you.” -- Titanas
 Introduction

It all started many years ago when I read a mentalism

routine that seemed to be very interesting for presenting
on stage, it had a very visual aspect, it seemed to be very
dynamic, it had a very powerful ending, but I was just not
convinced of its method, I just didn’t like the method. I
loved the routine though, as well as the visual aspects it
had; they fascinated me.

So I worked on the method and now it’s a routine that I

present in a similar way as the original. The way I have
designed the routine allows the performer to present a
stage act different levels, it still has the visual aspects the
original routine had and it has in my opinion, a more
convenient method.
The original routine I am talking about is “De Profundis”
by Corinda, which can be found in his “Thirteen steps to
mentalism” book, step four (predictions), page 105.

The original routine goes something like this:

A spectator comes onstage, he holds the end of a length

of rope, and the performer holds the other end. In the
middle of the rope there is a crystal clear box hanging
from the rope by a ring; the box has an envelope inside
it. The performer counts out loud from one to ten and
tells the spectator to call stop whenever he feels a
“mental vibration on any number”, this is repeated a few
times so a three digit number is formed, then the same
procedure is made with the name of a city and the name
of a color. The box is now opened and so is the envelope
which has everything the spectator stopped at predicted
inside (the numbers, the city and the color).
I will not go into the details of the method that Corinda
gives in his book. If you want to know about it just take a
look at pages 105 and 106 of his “Thirteen steps to
mentalism” book.

Just to say a few things, the method that Corinda

describes is a way to gimmick a rope that will force the
spectator to stop at the number that one wants to force.

Quoting him from his book when he starts to reveal the

method, he says: “I shall have to ask you to try this out
before you laugh at the modus operandi and see for
yourself that it really works”. I certainly did not laugh, the
method and the effect seemed very clever, but I really
needed to try to find a way to make everything simpler.
To be totally honest with you I have never tried the
original method that Corinda offers in his book. My
method uses the same principle though, but in a simpler
fashion, which makes me feel certain that Corinda’s
method must work as well; so I insist that you should
take a look at his method if you want to combine it with
what you will find here in my version.

It is the simplicity of the method that makes up the

beauty of this routine. I wish I could say that this routine
is impromptu, but it is not; it requires a very easy setup
that will cost you less than 5 cents, and one minute to be
ready to go.

I hope you pay attention to all the details I will share with
you, sometimes details are the most important thing in a
performance, so take a look at them.
I am sure you will enjoy the taste of material and ideas
that you will find in this book.

Hugs.

Nefesch
 LINK

The routine:

Two spectators are invited on stage; they will help in a

telepathy experiment between them. It’s a linked mind
type of experiment.

The performer displays a length of a rope that is given to

the spectators, each one is asked to hold one of the ends
and to keep the rope straight between them while facing
each other. The performer will now count from one to
ten. He instructs the spectators to keep their mind
relaxed and to focus only on one of the numbers that
they will hear, it should be the number that they feel a
mental vibration on.
When the performer finishes counting up to ten, he asks
the spectators to say what number they have fixed their
minds on out loud. To the surprise of the audience, they
both say the same number out loud at the same time.
This part of the experiment can be repeated as often as
desired.

But now it’s time to take the experiment one step

further. The performer announces that the experiment
has gone very well so far, that he would like to remove
the rope from the scene and this time a direct link
between both of the spectators without the need of any
object in between should be made.

The performer requests the spectators to hold out their

hands (as if they were greeting with an outstretched
hand) while watching each other. The experiment will
happen just as before, but this time instead of numbers,
he will pronounce the names of some cities. They are to
fix their mind onto one of them, the one they feel a
mental touch on.

When the performer has finished naming the cities, he

asks the spectators to name out loud the city they have
decided on. To the surprise of the audience, the city they
both name is the same one. This part of the experiment
can be repeated as often as desired.

Now again is the time to take the presentation one step

further.
The performer announces that since both of the
spectators seemed to have linked their mind very well so
far he would like to try to do this experiment without the
need of any physical touch at all.

He asks the spectators to each stand at opposite ends of

the stage so there is a large distance between them. The
performer gives roles to each one. One will be the sender
of a thought and the other one will be the receiver, he
instructs the sender to send his month of birth to the
receiver; the performer names all the months of the year
out loud. When he finishes he asks the receiver to name
out loud what month he felt. It’s the one that the sender
was born in. The receiver names a month out loud; the
sender confirms that the month named by the receiver is
the one he was born in.
The Method:

As I said earlier, the method I use for this routine is based

on the same principle that Corinda uses in his. In each
one of the steps in this routine, the method varies a little
bit in order to accomplish the desired step, so we are
going to go into each detail for each step of the routine
and then I will share with you a few other variations you
may want to pay attention to in case you want to adapt,
change or modify the routine at your own will.
 The rope 1

I will share with you two methods to achieve the “mind

linking” experiment with the help of a rope being held by
the two spectators that assist you.

If you are familiar with my material, you shall know that

every time I present more than one method to achieve
the same effect, I normally say which of those methods is
my favorite one. Well, in this case it’s really hard to
choose which one I like the most, so what I will say is that
I like them both. I use them both and they both work, the
difference of when I use the first one and when I use the
second one is simply this: I use the first one on stage, the
first method requires a very small set up; and I use the
second one for impromptu situations, close up situations,
etc. The second method does not require a set up at all.
So let’s go into the first Rope Method.

The rope is totally examinable; it is a regular, un-

gimmicked length of rope, it can be borrowed if desired
(although I have realized that lately people don’t bring
their ropes when coming to the theater, so you better
have a piece of rope with you), the rope’s length should
be around 4 to 4 ½ feet long, and it should be thick
enough to be clearly seen from the stage by the whole
audience, I would say that around ½ an inch thick is ok.

When you have your two spectators on stage, you should

place them in this position:

You are in the middle of the stage facing the audience,

both of the spectators are in front of you and facing each
other, holding the rope each one from one end keeping it
stretched. The length of rope is right in front of you, so
you have one spectator a little bit in front of you and to
your left and other one a little bit in front and to your
right.

From this position you will give your instructions to your

spectators, these instructions are VITAL! Just make sure
to use and every single one of the next instructions
within your script and you will be covered.

1) Your spectators must close their eyes (you can claim

that this is needed in order to make sure that they
will be focused on the experiment and no visual
distraction will take place at all).
2) The rope must stay straight, although there is no
need for any of the spectators to pull with strength
at all, so as long as you see that the rope is straight
enough it will be ok (you can claim that the
straighter the rope is, the firmer the link between
the spectators will be).

3) The spectators must not make any number in their

mind in advance; they must hear the numbers and
FEEL which one gives them a “mental vibration” (the
phrase “mental vibration” should be said clearly
within your script).

The Method:

The method is so easy and practical; you just need a

length of THREAD.
All that you are going to do with the thread is to use
it in such a way that it will pull up and down at a fast
speed, vibrating the rope that the spectators are
holding.

In a second I will explain the way that I wear that

thread when I am on stage, you can find a different
way to do it, but you need to understand the MOST
important thing to know when using this method.

Both the rope and the thread must be straight when

creating the vibration; this is because the only way
the vibration will travel from your thread to the
spectator’s hands through the rope is if these
elements are straight.
The way you will use the thread on stage will make it
remain invisible to the audience and the spectators
that have joined you on stage have their eyes closed,
so they can’t see it. A few other ways to avoid the
spectators seeing the thread are:

a) If you don’t trust the spectators keeping their

eyes closed, then you can place them back to
back, holding each end of the rope (so there is
still a gap between each spectator where the
audience sees the rope), so you still instruct your
spectators to close their eyes, and even if they
opened them, the thread is used with their backs
turned, so they can’t see it.

b) Blindfold your spectators, this method has been

used before many times, for both mentalism and
illusions, just claim that you will blindfold them in
order to keep their mind clear of any visual
stimuli.
How to use the Thread:

Thread has been used in thousands of way in

mentalism. In the area of how to use thread to
communicate a message, my friend Paolo Cavalli is
an expert, so if you want some further ideas on this
matter, you may want to contact him.

I will share with you now, the way that I wear the
thread when I am going to perform LINK.

The thread you want to use is any regular sewing

thread that matches the same color of the shirt you
are wearing when performing.

What you want to do is to cut a length of thread of

approximately 75 cm. You want to tie one of the
ends to a button on your shirt, it should be any
button bellow your chest and above your belly
button, on the other end you will place some
magician’s wax, roll it well all around the thread, and
attach the ball of wax to your belt (at the left side of
the belt), so it will be ready to be stolen when you
are going to perform LINK.

When you are ready to perform LINK, just take the

length of rope with you with your left hand (this is
because you will use your right hand to shake your
spectator’s hands when they come on stage; be
polite!) and also steal the wax ball that you attached
on your belt with your left thumb. Now you have
one end of the thread attached to a button on your
shirt, the other end is attached to a piece of wax that
is now attached to your left thumb’s nail, and you
are holding the rope from the middle on your left
hand.
Your right hand is totally free, so you can easily greet
your spectators with a handshake. Place your
spectators in front of you, one to your left and one
to your right, they must be facing each other, give an
end of the length of rope to each of them (keep
holding the rope the whole time from the middle of
it), instruct your spectators to close their eyes and to
keep the rope straight, you will realize now that if
you bring your left hand down, the thread that is
now attached to your left thumb’s nail will now form
a loop around the length of rope, so now the thread
goes from the button of your shirt all above and
around the rope down to your thumb’s nail. From
this position, all you have to do is to give the right
instructions to your spectator, and make the thread
vibrate at the right moment (when you are naming
the number or name you want to force).
The Instructions:

The instructions you will give to your spectators are

simple to follow. Once they have closed their eyes,
you say:

“This rope represents a visual link between each one

of you, keep this link between you strong, by
keeping the rope straight, it’s not a matter of pulling
strongly, is just a matter of having a firm link
between the two of you. In a moment, I will count
from one to ten; you will select one of those
numbers, not now, and not before I start counting,
but while I am counting. It’s not a matter of picking
up a number at random, it’s a matter of selecting the
right number, the number that you feel a mental
vibration on, a number that you feel a good vibe on”
– And now you start counting.
 Making the Vibration

The use of the thread is way easier than one can

imagine. Once your spectators have straightened the
rope, all you have to do is to straighten out the
thread that goes around the rope; this is easily done.
By simply bringing your left hand near your chest
and in order to make everything appear normal, with
no weird movements, I will suggest you place your
hands into a position like this:
This is a very normal position to stand in; it gives the
audience the impression of being RELAXED, which is
really good, because it is NOT supposed to be you
that is processing this experiment, but the two
spectators that are now on stage. At the same time
this position will allow you to make the thread
vibrate and hide the movement that will make the
thread vibrate, this vibration will make the rope
vibrates as well, and will make your spectators feel
that vibration.

From the position shown by the picture above the

thread goes from your left thumb’s nail above your
hands (I mean above your interlaced fingers) and
then all around the rope, your right thumb is hidden
behind your interlaced fingers. From this point, all
that you have to do is to bring your right thumb
above the thread and move your thumb rapidly up
and down to make it vibrate.

Note: YOU MUST ONLY MAKE THE ROPE VIBRATE

WHEN YOU ARE MENTIONING THE NUMBER OR
NAME YOU WANT TO FORCE!

This part can be repeated as many times as desired.

If you like, you can use anything else besides
numbers, such as names, places, colors, etc.
 Three more ways of making the rope vibrate.

I have found the Thread method to be very easy to

handle, maybe I prefer it because it was the method that
I used for long time before coming up with the next ones
I will share with you. All the methods presented next are
easy to do, and they don’t require you to gimmick any
rope.

The handling and the idea behind the method are the
same; you need to make the rope vibrate at the moment
you need to force the item you are naming out loud
whilst doing it with scripting that prepares the
spectator’s mind to understand that a “mental vibration”
will take place, and that it is the rope that is linking their
minds, bearing that in mind, I will focus this chapter on
just giving you the three extra ideas on how to make the
rope vibrate. Remember that in order for these methods
to work the rope MUST be straight.

The first method is an elastic I.T. loop

What you want to do is pre-prepare in advance the rope

by placing the loop in the middle of the rope. During
performance have the two spectators hold an end of the
rope, and place them in the position I have previously
explained. For this method you want to use a SOFT rope,
like soft magic rope (the rope used for rope magic tricks)
Now it is just a matter of picking up the loop once your
spectators have closed their eyes, use the interlaced
finger position explained in the previous chapter, and
make the rope tremble when needed.
The second method is to use Minimax by Eldo

Minimax is a great gimmick! If you don’t have it you may

want to check it out, there are many routines you can do
with this baby.

Just for you to have an idea of what it is and how it

works:

Minimax works as a magnetic detector, basically it

vibrates when coming near to any magnetic item.

Here is what you have to do:

For this method you want to use Soft Magician’s rope.

Wear a PK ring on your left hand, and finger palm
Minimax in your right hand. Whilst naming aloud all the
items, number etc. keep both your index fingers
touching the rope, both of your hands are in an identical
position (they look as if you are pointing to the rope with
your index fingers) it is IMPORTANT that your index
fingers be in direct contact with the rope, it doesn’t
matter if the audience notice that your fingers are on the
rope, cause during the WHOLE routine you will be in the
same position, and there is no move coming from your
hands whatsoever, so to them it just look as if you are
touching the rope, they have no clue about what is going
to happen.

You want to have a gap between your hands, so the

Minimax gimmick won’t be vibrating all the time. When
the right time comes to make the rope vibrate (and to
force the number or item you want) just bring your
hands closer by reducing the gap between them, you
want to rehearse this part to make sure that the
movement of bringing your hands closer looks natural,
simple and undetectable, and also to “mark” in your
mind the right distance that you must have between
your hands to make the gimmick vibrate and to make it
stop.

The third method is to use a small vibrator

About two years ago, I was searching on Google and I
believe I typed something like: “small size vibrator”, a lot
of results came up, most of them related with sexual
toys, I tried some other searches and every time the
majority of the results were related with sexual toys.
Then I thought that maybe there was a sexual toy that
was small enough to palm, after some research I found it,
I ordered it and it resulted to be better than I thought
(not sexually speaking!)
Now, if you are under 18 years old, please disregard this
small section and just go directly to the next chapter.

The name of the item you want to search for is “Hot G

Vibe”

When you put that phrase into any search engine, you
will realize that it will give you results with some adult
content material, if this is too much for your eyes or
mind, then please disregard this section. Otherwise
Google it, take a look at it, check out HOW SMALL it is!
And you will realize that probably the sex industry has
created a GREAT mentalism gimmick at a VERY
affordable price.
The Hot G Vibe is a small latex ring with a small vibrator
on the top of it, it is so easy to palm, so small, and you
can even wear it over two fingers (or a one finger ring
that fits a little loose), hiding the vibrator underneath
them. It has a turn on/off button on its side that can be
easily reached by your thumb whether you are wearing it
as an upside down ring, or if you are just finger palming
it.

Now Grab the rope from the middle of its length using
the same hand that you are finger palming the vibrator,
close your fist grabbing the rope and keeping your thumb
also inside your fist, with your thumb you will reach the
on and off button and make it vibrate when you need to
force an item, it is important that your fist remains in the
same position during all the performance (while
counting) so there is no difference of position or
movement at any point, you will see further on in this
book a beautiful séance routine that me and my friend
Andy Cannon have created with the use of this item.
 The rope 2

As I said earlier, the method I will introduce now is a

method I only use in impromptu close up situations. This
method requires no preparation whatsoever. This
method is not fireproof, I have failed sometimes while
using it, but each time I fail I understand why it was and
what I did wrong, I still LOVE this method, whenever I fail
I just subtly blame it on my spectators, I am sure you will
want to play with it, is something that many performers
have been using already, I am just presenting it in a
different way.

I have never seen someone using the same principle with

a rope, so if I am wrong please forgive me for not putting
the right credits here. If you know of anybody else using
the same principle with a rope please inform me so I can
add the right credit on this chapter. If on the other hand I
am right and there is nobody using this principle with a
rope or any other similar way, you may come up with a
few other routines on how to employ this idea. If so,
then please give the right credits.

The principle behind this method is Muscle Reading, but

it is mixed with the ideomotor effect. If you are not
familiar with this last term, I invite you to research about
this fascinating pseudo-physical effect. However, to
introduce you to it, and make it easier for you, just let me
say that the ideomotor effect happens when
subconscious mind functions tend to be physically
exposed.
For example: if you work with pendulums, then you must
know how this wonderful phenomenon makes
pendulums effects possible.

We are now going to apply the same principles when two

people are holding a length of rope.

The most important thing in this method is that the roles

of the sender and receiver MUST be clearly established.

Once you have established the roles, you just need to

give the rope to both of the spectators that will assist
you with the experiment. You must instruct them to keep
the rope straight; you will inform the receiver that he
must pick a number between one and ten. Once the
number is in his mind, tell him that you will count from
one to ten, and that the job of the sender is to send the
number he selected when he hears the voice of the
performer and to send that number in THAT specific
moment through the rope to the mind of the receiver.
You also inform him that the job of the receiver is to use
the rope as a link to pick up the number that the sender
is transmitting.

You don’t have to only use numbers for this experiment.

Just as in the previous method, you can also name some
places, colors, etc. and perform under the same
circumstances.

What is going to happen is that due to the way you have

put together your script (with the instructions above),
you are activating the psycho physiological response
from the sender, and the receiver (also because of the
instructions) is ready to “catch” that response.

When the sender hears the number he selected, he will

subconsciously make a muscle reflex (this is the way that
muscle reading works).Because a straight (tense) rope is
a very good conductor of vibration, the receiver will
easily catch that vibration which will happen in a fraction
of a second when the number is being told, so the
receiver will know the identity of the number that the
sender selected.

This method is more deceptive than you may believe. If

you have already performed anything related with
muscle reading, imagine what you can do with this
method: you don’t have to “feel” your spectators’
stimulus, you just need to let someone else feel it
(through the rope) and you get the credit.
 The hands

Let’s go back to the stage scenario. You have just

performed the stage rope method once or twice, and
now you want to take the performance to the next level.
In order to do that, you will remove the rope and you will
create a hand-to-hand link between both of the
spectators.

When removing the rope, just grab the rope from the
middle with your left hand, while still holding the rope
with your left hand. Instruct your spectators to grab each
other’s hands as if they were shaking hands, ask them
again to close their eyes.

With their eyes closed, use your right hand to just slide
off the rope from the “loop” you have created with the
thread (the one that comes from your shirt button to
your left thumb’s nail) and just leave the rope aside.

After that, what you want to do is stick the wax ball from
your nail to your belt. This is easily done by just removing
the wax from your nail with the help of your left index
finger, and then just pressing the wax against your belt
(again I do recommend sticking it on the left side of your
belt). This will create a loop of thread that goes from the
button of your shirt to your belt, and now you have both
of your hands totally free.

The instructions are now the same as before:

The spectators must not make up their mind on any

number in advance. They must hear the numbers (or the
names you will name out loud) and FEEL which one
makes them “feel a connection” with the other person, a
true “mental vibration” (the phrase “feel a connection”
should be said clearly within your script).

You will ask your spectators to close their eyes.

Once they have closed their eyes, you want to grab the
thread in such a way that you create a big loop that goes
around both of your thumbs, so now the thread goes
from your shirt’s button, around your thumbs and then
to your belt.

Here is a picture for you to better understand the

position in which you create and hold the “loop”. The top
end is stuck to your shirt’s button; the bottom end is
stuck to your belt.

From this position all what you have to do is to use the

loop of thread you are holding around your hands, to
touch both of the hands of your spectators exactly WHEN
you are naming the number you want them to choose.

This is similar to some PK routines already published out

there, in which thread is used to create the sensation of a
physical touch on a spectator, Lior Manor, Daniel Garcia
and Yigal Mesika have routines in which they use thread
in order to generate a PK touch effect; here we are going
to use the same principle, with the only difference being
that we are not performing a PK touch routine, we are
using a touch in order to ALERT our spectators to make
their selection, and the good thing is that they will NOT
understand how we alert them!

Your script should go something like this:

“Your hands represent a visual link between each one of

you; keep this link between you strong. It’s not a matter
of pressing each other hands, is just a matter of having a
firm link between the two of you. In a moment, I will
count from one to ten and you will select one of those
numbers; not now, and not before I start counting, but
while I am counting. It’s not a matter of picking up a
number at random, it’s a matter of selecting the right
number, the number that you feel a connection on, a
number that you feel a good touch on this link you have
created” – And now you start counting.

The Touch:

There are two ways that I can recommend you make the
touch:

1) The first one is one you may already be familiar with.

It’s the same technique used to generate a PK touch with
the help of an elastic loop, with the only difference being
that this time you will use the loop you have created with
the regular thread you are wearing. If you are not
familiar with this technique, it’s very easy to do, all you
have to do is to use the thread that is between your
hands to touch each one of your spectators hand RIGHT
AFTER you have said the number you want to force. Let’s
say that the number you want to force is the number
five, then you have to touch each one of your spectators’
hands in the gap of time you have between the moment
you said “five” and the moment you will say “six”. Of
course if you ONLY move your hands (to create the
touches with the thread) during this gap, the fact that
your spectators will name out loud the number that you
had just said before you made a “weird movement near
their hands will be suspicious to your audience. That is
why what you have to do is make that same movement
IN EACH GAP in between each number, you mimic the
same movement each time you name a number, BUT you
only touch them for real with the thread when you have
say the number you want to force.
2) The other way I can recommend you use the thread in
order to do the touching, is this one: in the same position
in which I have told you to hold the thread (creating a big
loop around your thumbs) just leave both of your hands
above the your spectators’ hands, and start counting. AS
SOON as you have said the number (or name, or color,
etc.) that you want to force, just relax your thumbs and
let the thread slip off your thumbs. Gravity will do its
work and will make the thread fall down on your
spectators’ hands (hence you had your hands with the
thread right above their hands). This will require a little
bit of practice and is not hard at all, but you have to
practice to synchronize it with the right speed, so
everything happens in the right moment, and also keep
in mind that the thread must fall down in such a way that
it touches both of the spectator’s hands, so just make
sure you practice the movement well.
Of course after you play around with the idea, you may
find another way on your own in order to apply the
touch in an invisible manner to your audience. The
important thing is to create the touch in the right
moment.

Whatever method you want to use to create the touch

with the thread, once you have made the touch, you just
need to let the thread fall down and it will end up in the
very same position as in the very beginning, INSTANT
RESET! Nothing to palm or to get rid of.

You can repeat this part of the routine as many times as

desired.

You can repeat this part of the routine as much times as

desired.
 The invisible link

Now we need to take the routine one step further, this

time there will be no physical link AT ALL!

How do we do that? Well, by this point in the routine we

are halfway closer to achieving this step. How come?
Because we have used the DUNNINGER PLOY at the very
beginning of our routine!

The Dunninger Ploy

The Dunninger ploy is an amazing, practical and easy to

do system that will help you to get information from a
spectator without your audience knowing about it.
If you are familiar with this brilliant mentalism technique,
then it should be enough for me to tell you that what you
have to do is use the Dunninger ploy with your first
spectator when he joins you on stage, and what you
want to ask him is: his birth date (actually just the month
is enough, but the way I always ask is: “what is your
birthday?”) and that is it.

If you are not familiar with this technique, don’t worry I

will guide you through it:

When your first spectator comes on stage, you ask for a

round of applause for him. When he approaches, you
shake his hand and ask him (while muting the
microphone): “HI! What is your birthday?” You let him
answer; you keep the answer in your mind and then you
say,(Unmuting the mic) “thank you, please stand over
here”. To your audience it looks as if you asked him his
name, or maybe they didn’t even notice that you asked
something. With the small audience the round of
applause should cover your voice when asking the
question, for a big audience, muting the microphone
should be enough; now you have a piece of information
that will help you later on.

Let’s imagine that when you used the Dunninger ploy

with the first spectator that joined you on stage, he told
you that he was born in May. You go through your
routine, just as I have explained it so far (Just make sure
not to forget the name of the month he told you), when
you arrive at the third step of the routine (the non-
physical link) you want this first spectator to be the
SENDER of a thought, and the other one will be the
RECEIVER. The roles must be clearly assigned by you in
THAT exact way!

Now place one spectator at one side of the stage, and

place the other spectator on the other side of the stage.

Now you want to give the instructions in the same way

that you have done it previous times, you don’t want to
make it look different. I mean: the only one that really
needs to work (to catch the thought) is the receiver, but
you don’t want to make it look like that, you want to
make it look as if both of them (including the sender
whose work is done) have a job to do.

Here is the way you are going to proceed; in order to cue

the receiver and to make it all look innocent as in
previous times:
You will ask both the sender and the receiver to extend
one of their hands, the sender as if he were sending
something forward with his hand and the receiver as if
he was going to catch it. The sender must place all his
concentration to send the thought to the receiver when
he hears his birth month named. The receiver must stay
alert to “feel a connection” between his hand and the
sender’s hand as if he can feel the thought the sender is
sending falling onto his hand (the phrase “falling onto his
hand” should be said clearly within your script).

You will ask your spectators to close their eyes.

Once they have closed their eyes, you want to grab the
thread from the middle of its length, grab it between
your left middle finger and your left index finger. This
way, grabbing the thread will allow you to make your
hand look natural and to have full mobility with it.

Place your left hand (the one that is pinching the thread
between your index and middle fingers) above the hand
that the receiver has extended to receive the thought
that will come from the sender.

From this position all that you have to do is drop the

thread you are holding and make it fall onto your
receiver’s hand right when you name the month that
matches with the sender’s birth month (which you
already know).

Your script should go something like this:

“Your hands representan invisible link between the two
of you. Even though there is a big distance, a gap
between you, your minds are linked between that gap.
Keep this link between you strong, In a moment, I will
name out loudthe months of the year, you (talking to the
sender) place all your concentration when you hear
YOUR birth month. When you hear it, imagine that
thought flying lightly in the air and landing on the your
partner’s hand (referring to the receiver).You (talking to
the receiver) stay alert to every single sensation, so you
can clearly feel beyond your mind when his thought falls
down from his hand onto your hand, it is not a matter of
guessing, it’s a matter of letting that thought fall down
on your hand and get into your mind. – And now you
start naming the months of the year.
Remember that your audience ignores that you know the
month that the first spectator was born in, so to them it
all looks like pure telepathy between two people that
don’t know each other. Also for the sender: he doesn’t
know that you are cueing the receiver, so to him it is as if
the receiver really found out what his birth month was
and maybe it even feels to him as if he did a very good
job of sending that thought.

Once you drop the thread on your spectator’s hand, your

job is done; the thread will keep falling until it falls down
and hangs again between your shirt’s button and your
belt, just like the way you started. Again, there is an
instant reset and you end up clean.
Now when you have finished naming out loud the
months of the year, ask both of your spectators to open
their eyes and ask the receiver to name out loud the
month he felt (check again, this question: IS NOT the
name he thinks, but the month HE FELT). It’s the sender’s
month of birth. After he names the month out loud, ask
the sender to confirm this, although normally the
sender’s reaction will be enough confirmation.
 The Prediction

So, how to have everything predicted?

You will see that it is way easier than you might think.

As you may have understood already, all the numbers

and names that your spectators have mentioned have
been forced by you, all except the birth month of the first
spectator.

In order to have everything predicted (including your

spectator’s birth month) this is what you have to do:

Before your performance, get a business card and write

on it everything that you will force. Any number you will
force will be written down on that business card; any
name, any color or any other thing you will force will be
written on that business card.

Take that business card and put it into a small manila

envelope, or a coin envelope. This envelope will be
gimmicked; what you will do is to make turn it into a
WINDOW envelope. A window envelope is something
that Annemann used to use very often when utilizing a
Swami writer, which is exactly what we are going to do.

Just cut a small window near the bottom right corner of

the back side of the envelope you will use.Place the
business card inside the envelope with your prediction in
there, just make sure that the orientation is the right
one: When the prediction is inside the envelope, it
should be facing the back side of the envelope. Also
make sure that the spot of the business card that will be
behind the window you have made on the envelope is
EMPTY; so just make sure not to write anything on the
bottomright corner of your business card.

Now seal the envelope with your prediction on it and

take your swami writer and put it in your right trouser
pocket.

When you have your first spectator coming on stage, you

will use the Dunninger ploy in order to get to know his
birth month, as explained in the previous chapter of this
book.

Once you know their month of birth, bring the prediction

into full view and wear your swami writer (you will
realize now that having the thread set up on the LEFT
side of your belt is very convenient because it avoids you
messing up with it when picking up your swami writer
from your RIGHT pocket).

Use the swami writer to write your spectator’s birth

month on the business card through the window you
have made on the envelope.

Call the audience’s attention towards the envelope, and

let them know that you will leave this in full view the
whole time, in advance of any event that may take place
on stage during this experiment. By this time, all the dirty
work is done so you really don’t need to do anything else
with your prediction during your performance.
Now just go through your performance in the way that I
have explained already in this book. When you have
finished with all the performance steps, just call the
audience’s attention again towards the prediction and
open it without letting anybody see the window on the
back side of the envelope. Give this prediction to any of
your spectators that are still on stage, ask them to read it
out loud and you are done. Everything is perfectly
predicted on the business card inside the sealed
envelope that was in full view the whole time.
 Ideas by Nefesch

I want to take up a few lines to give you ideas that are

very simple and easy to do in order to force things to
your spectators during your performance.

Here are a few:

Serial number divination

Ask for someone in the audience to hand you a 1 dollar

bill, asking them to roll it up into a ball and give it to you.
Switch this dollar bill for yours, one whose serial number
you know in advance (because you have memorized it).
Leave the dollar bill in full view, either by isolating it
inside of a glass, or by giving it to a spectator and asking
them to keep a close guard on it. Now bring two
spectators on stage and perform the LINK routine, each
number you will force will be the serial number of your 1
dollar bill (the one you have switched). Ask the person
that is guarding the dollar bill to open it up to find out
that both of the spectators found out the serial number
on it!

Book Test:

Select a book of your choice, finding any page number

you want that has a very nice word as the first word on
the page.

You want to have many books on stage. I would say 7 is a

good number.

Invite two spectators to join you on stage and perform

LINK for them. In this case, what you want to force is:
The name of the book (you just need to name all of the
books you have on stage with you out loud and cue your
spectator through the rope when mentioning the book
that you want to force).Also force the page number and
the first word on it (just mention many different words
and make sure that one of them is the word that appears
as the first word on the page you have forced; force
THAT word).

Now just ask your spectators to open the book THEY

SELECTED, to the page THEY SELECTED and have them
read the first word on it.

Car plate:

Take a picture of any car’s license plate, place it inside an

envelope, and after calling the audience’s attention to it,
leaving it in full view. Bring two spectators to join you on
stage, and force each letter from the number on the car
plate, one by one. When finishing, ask any of them to
open the envelope, the picture predicts everything; it’s a
perfect remote viewing effect! You may want to think of
a nice story about this car’s plate to make your
performance more interesting.
 Extra Ideas by Peter Turner

Trust your instincts (Box variation)

Effect

The performer invites a female subject up onto the stage

and asks her if she is a stooge or a confederate, to which
she replies she is most certainly not and that she has
never had the pleasure of being acquainted with the
performer before now.

The Performer asks her to pick any random male

member of the audience to join her on the stage; the
new participant confirms that he also is not a stooge and
is asked to take a seat.

The female is handed one end of a length of rope that

contains a locked box tied to the center of it and the
performer holds the other end (ensuring neither one can
get to the box without the other seeing it).

The female is now asked to make a few decisions based

on her feelings and instincts. She is asked not to state
anything out loud and just to think of her choices
(keeping them to herself). She is asked to imagine a deck
of cards and then think of what colour card she would
like. Once she has made that decision she gets told to
think of the suit and finally the value.

A deck of cards that has been in full view the entire time
is opened by the male participant. The female is to
imagine she is screaming the card that is in her mind at
the male, but say nothing out loud.

He is asked to go through the entire deck face down one

at a time (so she doesn't react if she sees her card) until
he gets the feeling to stop. When he feels he has to stop,
he is to place that card face down on the table away
from the rest of the cards.

The performer then asks the female to state out loud the
card she selected mentally, the card that is in her mind
alone, she responds

“The Jack of Hearts”

The male is then asked to show everyone what card he

has set aside from the rest of the deck, it matches the
card the female subject had in her mind!

Just as the round of applause dies down, the performer

asks the female to reach and open the box that has been
suspended in the middle of rope the entire time.

Inside the box there is a note that says,

“I would like to thank the sender in advance for thinking
of and successfully transmitting the jack of hearts!”

Breakdown

We need to force a playing card in this routine.

We will use the LINK method for this, in order to make

the rope vibrate you can either use the Hot G Vibe item
by palming it in one hand, or you can use the Minimax
gimmick combined with a pk ring, as explained in a
previous chapter.

Confused? If so, I promise you will know a more when

you read the performance section (there is also a lovely
misdirection).

Now we need to ensure the male subject (the receiver)

selects the card you want him to select, whatever card
you are going to force the female (I use the Jack of
Hearts) purchase a one way forcing deck that matches
the force card.

The second subject is going to be asked to go through the

cards one at a time placing them face down on the table,
whenever he gets the urge to stop, he is to place the card
he stopped at away from the rest (ensuring it is kept face
down).

The great thing about this is no one can question the

deck, as it appears she thought of the card, there is no
way anyone could know what that card is, how can
anyone suspect the deck being fifty two of her card?

The great thing about this routine is that both

participants will freak out. She believes she is mentally
sending a card to him and he finds it, he believes, (like
the audience) that she thought of a random card and he
has found it using his instincts!

Performance

The performer addresses the audience.

Performer: “We are now going to try something based on

feelings, gut feelings to be precise. It is a well known fact
that gut feelings are often proved right and many people
base their lives and the way they make decisions based
on these gut feelings.

How many people in the audience believe in trusting

their gut feelings?”

Wait for a response and select a female from the

audience with her hand up;
Performer: “I would just like you to confirm we have
never met and you are not a stooge or a confederate?”

To which the female responds,

Subject: “No we have never met before now”.

Take the subjects name we will call her Sarah.

The performer then asks her based on gut feeling to

choose a male member of the audience, when he has
approached the stage ask him the same question you
asked the female.

(The stooge question)

After he confirms he is not a stooge, you ask him his

name (we will call him Bob), ask him to take a seat at the
table several feet away and relax for a few moments.
Address the female,

Performer: “I would like you to face the audience, place

your right hand up and point your index finger towards
the ceiling and just relax”.

(Hand the subject one end of the rope with her free
hand).

Performer: “In a moment’s time Sarah we are going to

try something based on feelings, I would like you to close
your eyes for now and just listen carefully.

In a moment you will get this feeling (Make the rope

vibrate) and the feeling (Make the Rope Vibrate) will tell
you what choices to make, use that feeling as a guide to
aid you select”.
{Let’s see what we have accomplished, the subject is
being prompted via the pull of the rope. She thinks she is
following that feeling.

Performer: “I would like you to imagine in your mind a

deck of playing cards, it is essential you say nothing out
loud during any of this as we don’t want to give any clues
away.

I would like you think Red (Make the rope vibrate) or

Black, so that’s Red (Make the rope vibrate) or Black.

Now for the suit (say this slowly) it could be Club, Heart
(Make the rope vibrate), Spade or Diamond just build the
card as we go along.

It could be a Picture (Make the rope vibrate) or a

Number, if it is a picture it could be a Jack (Make the
rope vibrate), Queen or King or if it’s a number you have
from Ace right through to Ten.

Now Sarah, you have the image of a playing card in your

mind, no one else knows that in this room, please don’t
change your mind and your job is to just try mentally
sending that playing card to Bob”.

Ask Bob to remove the deck facedown.

(If you are uncomfortable with this have the deck

already out face down)

Ask Bob,

Performer: “There is no way on earth that you can know

what card Sarah is thinking correct?”

He will obviously respond he doesn‘t.

{This psychologically seals the fact that no one does
know the card identity and ensures the Sarah will
respond the way we want when he finds her card.}

Address Bob,
Performer: “I would like you in a moment’s time, to deal
the cards face down one at a time and when you get the
feeling to stop, just stop at that card”.

Address Sarah,

Performer: “You must not say anything out loud; just

imagine telling Bob what your card is in his ear”.

Address Bob,

Performer: “I would like you to close your eyes and when

you are comfortable begin, imagine you can see the face
of every card and stop when you get the urge to stop”.
Let him stop where he likes and ask him to open his eyes,

Performer: “Keep that card face down for the moment”.

Performer: “Sarah, can you say nice and clear what card
you had in your mind?”

Sarah: “The Jack of Hearts”

Performer: “Bob, you really had no idea what card Sarah

was thinking of or the card you stopped at?”

Bob: “No”

Performer: “Can you please turn the card over, which

you stopped at and show the audience”.

Both participants will be amazed at this point, wait till

the round of applause dies and then turn the audience's
attention to the Box.
Ask her to remove the prediction and read it aloud.

“I would like to thank the sender in advance for thinking

of and successfully transmitting the jack of hearts!”

This will get another rapturous round of applause and

return the volunteers to their seats.

Notes**

The last phrase is beautiful because she thinks you have

told everyone you wanted her to send the jack of hearts,
so she has no reason to talk about things after, the
audience believe it's another hit!
 Extra Ideas from Mauricio Jaramillo

Russian Roulette:

While I’m not a big fan of the Russian Roulette concept, it

can be turned into a nice piece of theatre using Nefesch’s
methodology. The only real roulette I’ve ever seen is Bob
Cassidy’s wonderful presentation, so in reality we will
just be presenting a fun and safe premise. Since you will
be using your spectator’s hands, just have the other
spectator stick an egg underneath one of several opaque
plastic cups. Use whatever methodology you prefer, be it
marked cups, subtly observing where they place it, or the
Dunninger ruse.

Now, simply start out the premise by talking about

Russian Roulette and immediately go on to a more
humorous presentation about how you will just use an
egg AND your spectator’s hand. While there is no
danger, this routine will allow for plenty of suspense as
your spectator avoids the egg. You could easily cue them
in stages, with odd/even cups until you reach the last 2
cups.

PK Touch Thought Transmission: Use whatever PK

Touch Methodology you prefer in order to synchronize
both spectators’ thoughts. Hand them both drawing pads
and markers and name out loud a list of 20 objects. After
being secretly cued, they’ll both draw the exact same
thing. This routine can easily be introduced by talking
about Carl Jung and his ideas on synchronicity.

Lock: Lock up any major prediction using a combination

lock and transmit the digits to one of your spectators one
by one. They will divine the combination and this will also
be a great lead in to a bigger prediction. Alternatively,
you could “chain” one of them to a chair using a
combination lock, allowing the other spectator to set to
the combination to whatever they desire. With the right
presentation, this can be turned into a very fun routine.

Phone: Peek spectator A’s cell phone number using your

favorite billet peek, memorizing the last 2 or 3 digits.
They will be writing this in order to help visualize the
numbers better in their mind. Invite spectator B on to
the stage and ask them to bring out their own cell phone.
Openly ask spectator A to tell you their phone number
except for the last 3 digits. Dial those in on spectator B’s
phone and hand it back to them. Tell spectator A to
transmit each one of those last 3 digits. Spectator B will
dial them in as they feel each number.
Once spectator B feels confident about the numbers they
received, they will complete the longer number and dial
it. Spectator A’s phone will start ringing, leading on to a
very successful conclusion. Obviously have the spectator
raises the volume on their phone all the way and
preferably have someone in the first row holding it for
them so attention will be diverted there during the most
suspenseful moment.
 Extra Ideas from Luca Volpe:

Bank Nite:

So, we can use this concept for a BANK NITE where you
show 5 envelopes numbered from one to five, don’t
announce yet what the envelopes have inside, just make
them think together (with the use of the rope and thread
as explained in the method on this book) of one number
between one and five, give them the envelope that
matches with the number that they said, let them open it
to find out that it is empty, or it has a blank paper inside ,
or to find a scratch card (idea from Osterlind of putting
scratching lotto cards inside), then let them open the
other four envelopes, they will find out that the other
ones have money! Four of them had money, so they had
more chances to win money than not to win anything,
never the less they chose the empty envelope, and is not
as if one of them said the empty envelope, but BOTH OF
THEM DID!

Confabulation Prediction:

You can use the LINK system for a more complicated

prediction as confabulation, you can have a list of
places,transportations etc. From where your spectators
will choose from (while you are naming them out). You
can have an envelope hanging in the middle of the rope,
just taking care that it will be in such a position that it will
not mess the thread working, just have everything
predicted in the envelope.

You can also as a final KICK predict how much money

your spectator has in their pocket, both of their change
combined into one final amount. All that you have to do
is to have inside an envelope hanging in the middle of
the rope, a paper that predicts everything that has been
forced, then have inside also another envelope, this
second envelope is a window envelope, where you are
going to write the total amount you will hear with the
help of a swami writer.

The routine should go as if they both are going to think of

a place to travel to (from the list you are reading) they
both say out loud the same place! (with the use of the
LINK method), then they will select what transportation
they are using to travel there (using the same
methodology), finally you ask them to count the money
they have in their pockets, this you can claim will be the
amount they will spend in their imaginary vacation.
In this case after they have said the place,
transportations, etc. You ask them (before you open the
main envelope) to count how much money they have in
their pockets, then they open the main envelope,
meanwhile they read the main prediction, you have all
the time in the world to nail write the amount of money
they have in their pocket in the envelope they have
found inside.

You can use this confabulation idea with a couple, so

they will decide where to go for vacation!

I Hope you like this idea!

Hugs
Luca
 Extra Ideas from Timon Krause

Before I share with you some routines that you can

perform using the LINK system, I would like to spot some
interesting points that I believe will be useful for you to
get the BEST out of LINK, these are my points after using
the LINK method:

Ideas:
1) Make sure you are standing facing the audience! It's
very obvious you don't want to stand sideways, but you
might want to mention it in your book anyway.

2) When you have the spectators call out their numbers

loudly you need to make sure the moment of surprise is
given. You could do that by either counting from 1 to 3
and on 3 they are to call out their numbers. Another way
would be to have one spectator write down his number
and keep it covert. Then the other spectator will name
the number he is thinking of and only then the first
spectator will turn around what he wrote down before.

3) Make sure the rope is tight enough so you won't see

any movement when you're using the thread on it.

4) If you want to repeat one of the phases of the routine

and you don’t want it to look as if you are repeating it,
but you want it to look different, then instead of you
counting from one to ten, have both spectators count
out loud from one to ten at the same time, and use the
thread to make the rope tremble when they name the
number you want to force. In my mind, this creates
bigger misdirection.
Now, I've found a few ways to vary, adapt or slightly
change the routine described here in this book:

First, you could apply two dual reality methods to this.

Dual reality and Link 1:

The first one would be an adaptation of Banachek's

Psychokinetic Touches or Luke Jermay'sTouching on Hoy.

We will use it here to make sure both spectators believe

they are the receiver of a thought, not the sender, while
the audience will believe one to be the sender and the
other to be the receiver.

Do this by sitting both spectators on stage with their eyes

closed and a little space between them. Now lean in
between them and say "Eyes all closed?", as if checking if
they actually did close their eyes. While you do this, you
touch the shoulder of one of the spectators so the
audience won't see this.

Step out between the spectators and openly touch the

other spectator on his shoulder, then say: "The person I
touched on the shoulder right now - please remain
concentrated and listen to my words carefully. You will
be the receiver of a thought your neighbor will send to
you soon".

Now act as if you were touching the spectator you

touched covertlybefore, but make sure you are not
actually touching him. Say: "The person I touched now
will be the sender of a thought. I want you to focus on
any number between one and ten. Keep it in mind."
The audience now believes one of the spectators to be
the sender and one to be the receiver, while both
spectators believe they will act as the receiver.

Once this set-up is done you can proceed with your

routine as you described and send any number to both of
them. When you are done, follow up with "Keep your
eyes closed for a moment. In a moment I will count from
one to three, then I want the sender (point to the person
the audience believes to be the sender) and the receiver
(point to the other person) to call out their numbers
loudly at the same time. One. Two. Three."

Once they called out the same number, proceed with the
routine or let them take the applause and lead them off
stage. Of course you want the spectators to come from
different audience-regions so they won't easily talk to
each other after the act.

If you'd like to proceed with the routine using the same

principle, you could now make both spectators believe
they are the sender of a thought. To do this, first force
the same card/word/thought to send on both of them.
Say: "Before we proceed, I need both of you to get a
thought in mind. One of you will need to forget this
thought in a moment, but I haven't quite decided yet
who it will be." Next, force anything you like on both of
them separately. It has to be the same thing for both of
them, though!

Now you will have them switch roles.

Obviously you don't need to do the whole set again as
you can just say "Close your eyes again, please. I want
the person who was the sender last time (point to the
person the audience believed to be the sender) to act as
the receiver. The person who was the receiver last time
(point to the other person, while in fact both spectators
now feel you are talking to them) will now act as a
sender. Keep your eyes closed until I tell you to open
them and follow my commands." Now both spectators
will believe they will be the sender of a thought.
Point to the spectator the audience believes to be the
receiver and say: "I want the receiver to just forget about
the card/word/etc he just saw and make his mind go
completely blank". Of course, both spectators will still
have their forced thought in mind.

Tell the sender to send his thought over to his neighbor.

This time you don't even have to give any signals using
the thread.
When they're done, have both of them write down their
thought on a sheet of paper and let them turn it around
at the same time.

Important: Whenever you are talking about the

"receiver" and the "sender", point to the spectator the
audience believes to be the sender or receiver.

Dual reality and LINK 2 (Ideomotor effect):

The second dual reality method will improve the

ideomotor method. Take a pen you can easily rub off
from your skin and write down a number between 1 and
10 in your hand. You will now force the number the first
spectator will think of.
Say: "I want you to both clear your mind for a moment.
One of you will focus on any number between one and
ten in a moment. He will send this number to his
neighbor."

Then walk to the person you want to be the sender and

say: "From now on, don't say a word out loud anymore,
keep everything in your mind only. Look at my hand and
keep this image in mind (your audience believes you
mean the shape of your hand, but your spectator will
keep the image of the number written in your hand).
Focus on that number between one and ten, close your
eyes and don't let anyone know what you are thinking
off. Make sure you are the only one who knows the
number. In a moment I will count from one to ten.
Whenever you hear the number you now have in mind, I
want you to send a mental vibration to your neighbor
using this rope".

The good thing using this is that now the audience

believes the sender chose a number freely and kept it
only in his mind.You could go in and do a triple reveal
now: While the sender is still sending his thought, you
will write down the number you forced before and
therefore prove that you read the mind of the sender,
too.Moreover, when counting from one to ten you can
now put some weight into the number you forced as you
know what the receiver is thinking of. As this is
ungimmicked you want to make sure the ideomotor
effect kicks in for sure.

After you forced the number you will want to rub it off
your skin, of course.
Idea for a routine theme:

Do the routine with 10 songs and use earphones instead

of the rope. You will of course need to use very fine
thread then (same color as the wire of the earphones)
but it would tie in with the routine nicely.

Hypnosis Induction:

I sometimes do a hypnosis-induction called "Cut the

String". When I do this, I tell the subject that the string is
a metaphor for your rational mind tying us to reality. I
then have her hold the string with both hands real tight
and let her imagine, what it would feel like to just let go
and relax. It is a nice metaphor indeed and the script I
use tends to be rather complex, anyway, when I reach
the end of my script I literally cut the string. The tension
releases, her arms shoot to the side and she can go into
deep relaxation. It's a shock induction pretty much,
combined with rapid muscle relaxation.

If you are familiar with hypnosis and you would like to

make a different and visual induction, You could, of
course, do this with both spectators in your routine: have
them hold on to the rope real tight and at some point cut
it and lead them into hypnosis, just make sure there is an
assistant behind each spectator, ready to catch them.

I hope this helped!

All the best

Timon
 Extra Ideas from Pablo Amira

Note: This is a routine that Pablo performs on Stage

using his own methods, next you will find the way he
performs it and then at the end of this section you will
find a paragraph explaining how you can use LINK to
perform the same routine.

Participant as Clairvoyant

Audience and Participant Perception

The mentalist invites a participant onstage to receive for

a moment special sensibility to know the unknown for a
moment.

Another participant from the audience receives a deck of

cards and reverses one card, unknown to anyone. Now,
previous an arcane ritual created for the NeoClairvoyant,
the mystery starts to happen. Weirdly enough, the new
clairvoyant can reveal details about the reversed card,
revealing the secret and creating an astonishing feat.

Effect

Clairvoyance. A participant knows the identity of an

unknown playing card.

You Need

A stacked deck of cards

Memory

“The participant reveals an unknown card”.

How?
In this piece we use an “instant stooge” technique to
create a “dual reality” effect. I like this mix because
normally in “Instant Stooge” effects the participant just
plays along and don’t experience any kind of mystery. In
here is different because although the participant will
understand that you knew which card the participant
reversed secretly, he doesn’t know HOW you get that
info. In this kind of work it´s very important to really
understand what you are doing and the role of subtext in
here, so we will look closely at this.

How do you know the reversed card? Easy, just use a

stacked deck. I use a modified version of O-2 Matica
Stack by Bob Mason, but you can use whatever stack you
want.

And how does the participant will know the information?

Easy, you will cue him the information with a secret tap.
This can be done with the foot (if you are working with a
table) or in his back (if you are working stand up).

So, explain the idea of “Clairvoyance” and find a

participant whom you feel will enjoy the experience.
Now it´s important to led him clearly using subtle
language and tell him he just needs to follow you in
creating a nice experience. In the Possible Dialogue
section you will read a way of doing this.

For more information about this necessary work check

Kenton Knepper´s material.

So, after you dialogue with your NeoClairvoyant,

introduce the deck of cards, hand it to a participant, ask
him to cut the deck, take the top or bottom card and
place it reversed on the pack without seeing it. The card
has to be unknown so the participant can use his
clairvoyant gift.

So now just by looking at the bottom card in a secret way

you can know the reversed card, the apparent unknown
card.

Now comes a very important moment in this piece and

necessary for the NeoClairvoyant (the participant
onstage). Take the deck and say:

“Ok Mark, you will now take the deck in your hands like
this and you will start to feel some sensations about the
details of this unknown information”
And while you say this, mimic the actions. This will create
a possible acceptation of the idea that YOU were the
clairvoyant and you are just cueing the information via
the secret taps. In this way the participant onstage will
also experience some mystery.

Another important part before the cueing of the

information is creating some type of ritual/necessary
moment/dramatic moment to cement the idea that this
can be real, or at least more credible. For this you can
just create your own, use some hypnotic technique,
pseudo hypnotic technique and create an “apparent
important act”.
After all this, go into each detail of the card in a dramatic
and entertaining way using your audience to take note of
each of the steps (color, suit, number/letter, etc.)

After this let the NeoClairvoyant spread the deck and

reveal the card. After the natural applause of this
moments starts to die, create another “important ritual”
to calm the participant´s clairvoyant ability and leave him
in his normal state, but with a positive memory to
remember. Send him to his seat and cue your audience
for other applause. 2 for 1 it´s always good.

Possible Dialogue
Has anyone ever visited a clairvoyant? Some
peoplehave had a nice experience with thesetype of
gifted people because they can deal with some delicate
themes and even some police departments use
clairvoyants.

But what if I told you that one of you can be one of

them for a moment and known the unknown? Could be
fun, right?

(Select your participant. Talk a little bit with him)

We will also use for this parapsychological experiment a

deck of cards. A perfect and balanced portion of
symbols.

Please (to other participant) take this deck of cards and

cut it a few times. Excellent,
In that way you are not only shuffle, but also choosing
an unknown card.

Ok, take the top or bottom card, turn the deck face up,
and place the card reversed, unknown to everyone. (at
that moment just spot secretly the bottom card, that
will cue you to the reversed card)

Excellent, so nobody knows the identity of this, as

sometimes we don’t know what happens in our lives,
but now Mark you will know the unknown.

For this it is important that you just relax, being focused

and being open to all sensations (while you say
sensations, tap the participant´s back secretly), ok?
Look at me (create the “important ritual”) Excellent

Ok Mark, you will not take the deck in your hands like
this and you will start to feel some sensations about the
details of this unknown information.

(Let the participant reveal bit by bit the info. When the
info is completely revealed, take distance from him)

You received the 5 of hearts. That card could have an

important meaning for your present dealing emotions,
and nothing is just chance.

Look at which card is reversed

(Applause cue)
Amazing isn’t? An even while for some this type of
experience can be just an illusion or unreal, this is
certainlysomething symbolic to remind us that maybe
there more than just the physical and the pragmatic.

Look at me (create the “important ritual”) Excellent

An applause for Mark, you did it great

Ideas to apply LINK

Obviously, you can use the method and the dynamic of

Nefesch´s LINK to force the reversed card to your
spectator instead of cueing him with taps, also you can
create a nice visual routine if you place the deck of cards
in the middle of the rope.

Credits and Inspiration

Credits to Bob Mason, Corinda, Kenton Knepper.

Inspiration from the theme of creating a Neo Clairvoyant.

 The Box Prediction

The “missing” part from Corinda’s De Profundis is the box

in the middle of the rope.

My friend Titanas was very kind to let me include in this

book his handling for a very practical way to have
everything predicted inside of a box that is hanging on
the middle of the rope.

The methodology and handling is so simple and practical

that I can guarantee many of you will use it often in your
stage performances.

After playing with his idea for a while this is the best way
I found to have the box gimmicked:
What you need is a carton box that can be opened from
the top of it so the spectators can retrieve the prediction
by themselves, in the middle of the top of the box you
want to have attached a ring to hang the box on the
rope, I have found out that an easy way to do this is by
taking the ring of a Key Ring, make to holes on the top
flap of the box and twirl around the key ring. Since it’s a
carton box and not heavy at all, the key ring will do the
job perfectly.

Once the key ring is attached you want to make a secret

OVER LAP on the bottom of the box.

Take a look at the next picture:

When the Box is opened from its top, it looks like a
regular carton box, the prediction will be found inside.

Now you need to gimmick the bottom side of the box

from the outside, it is going to be easy and it will take
you less than 5 minutes to have it done.
At the left picture above you can see the box turned
upside down, the bottom side (which is pointing up in
the picture) has been taped, after that you have to take a
knife or scissors and cut OFF a small piece of one of the
flaps, you can see in the right picture above the section
that has been colored red, that is the part you have to
cut off.
The part you have cut off from the bottom outside part
of the box will allow you to push up the “B” flap (see
picture above) from the hole you have created and load
the prediction inside the box, then by tilting the box a
little to your left the prediction will arrive on top of the
“A” Lap.

Now the handling goes like this:

Invite two spectators to join you on stage, ask them to

hold the rope each one by one of its ends, the box is
hanging in the middle of the rope. You are holding a
notebook; now it depends what is the routine you want
to perform, but let’s say that you want to make a
imaginary book test, you ask them to invent the name of
a book, to name a page, and finally a word; each time
they name an answer that you want to have predicted,
all you have to do is to use double writing, so you just
write on the notebook each answer they give you just so
you can “have proof” to show what they said later, at the
same time you double write every answer on a small
piece of paper that you have attached to the front page
of the notebook where you are writing; you could use a
post-it for example.

When you have double written everything you want to

have predicted, finger palm the post-it while placing the
notebook aside.
Now you will grab the box with both hands one hand will
be underneath the box (the right hand which is finger
palming the prediction) and the other hand on top of it,
you will slide the box from the middle of the rope to the
spectator that is on your left side (remember you are
facing the audience and you have your spectators in
front of you, one at your left and one at your right, they
are facing each other holding the rope), it is while taking
the box and sliding it through the rope to the spectator
on your left that you will load the prediction through the
hole you have made on the bottom side of the box. You
will also slightly tilt the box to the left so the prediction
ends up on top of the “A” lap.

Now you can let the spectator open the box, take and
read the prediction on his own.
An extra thought:

If you have Dunningered one of the spectators, you can

ask the spectator to open the box, take the prediction
and right BEFORE they read it, you can ask them to say
out loud the piece of information you found when you
Dunningered him, you have already written this piece of
information in the prediction (while double writing the
answers your spectator’s were giving you) so now they
can read the prediction and find that the final answer
(The one given when they were already holding in their
fingertips the prediction paper) was also predicted in the
prediction.
 Séance Pentagram Routine by Andy Cannon
and Nefesch

For this séance you will require either the Minimax or the
“Hot G Vibe” device and you will use the techniques
explained in the previous chapters, we recommend you
to use Soft Magician’s rope and remember that it is
CRUCIAL to make sure the ropes are STRAIGHT so they
can serve as a vibration conductor.

Originally the routine was like this: A séance was to take

place with four people trying to contact the other side
with the help of the medium, the medium provided them
with two ordinary ropes and asked each one of the
people in the room to hold the end of a rope and to
stand in such a way that they would shape a Cross with
the ropes that had been provided (A Cross is a very
religious symbol, so it is logic to use the ropes to create a
cross in order to try to contact a death person).

Take a look at the next picture:

The brown lines represent the two ropes shaping a cross,

the black circles represent the people that will
participate in the séance, each one is holding the end of
a rope, the red circle represents the position where the
medium will stand, the blue circle represents the
junction of the ropes where if the medium applied a
vibration device (either the Minimax or the Hot G Vibe
device) would make the four of the people in the séance
room will feel a vibration, the medium must claim this is
a proof that there is someone from the other side in this
room, or he can make the ropes vibrate each time he has
new information from the other side to provide to the
people in the room

Working more in this technique my good friend Andy

Cannon had a GREAT idea that caused me Goosebumps:
“what if we ask them to shape a pentagram star instead
of a cross” he said, and I LOVED THE IDEA!

So we decided to test it, the first time we tested it we did

it standing OUTSIDE the pentagram, but it was not very
convenient, because I needed to move too much around
the people and the room was not big enough to have
them shape a pentagram and have still some space
around them for me to move around.

But then we find the best idea ever: to place the medium
in the middle of the pentagram, take a look:
Again, the brown lines represent the five ropes shaping a
star, the black circles represent the people that will
participate in the séance, each one is holding the end of
two ropes (one with each hand), the red circle represents
the position where the medium will stand, the blue
circles represent the junctions of the ropes where if the
medium applied a vibration device (either the Minimax
or the Hot G Vibe device) would make four out of five of
the people in the séance room feel a vibration,
sometimes the fifth person will agree that he felt
something even when he did not, this is a psychological
chain reaction.

In order for you to understand better why and how four

people will feel the vibration by applying the vibration
device only to one junction take a look to the next
picture:
I have removed all but one of the junction spots, if you
are the medium in the center of the star and you apply
the vibration, then you are still affecting two ropes at
once (just as in the cross routine) transmitting the
vibration to the two endings of each of the two ropes, in
this case I have placed a small blue line above four of the
black circles, this are the four people that would be
affected in this case, there are five junctions each one
will always affect four people.

We expect you have already some experience in séances

and/or readings, if you don’t then I would recommend
you to read some material from Paul Voodini, Dixie
Dooley, Jerome Finley among others.

You can use the same readings you do and the same
revelations and add an “spiritual sensation” to your
readings using this method which from my experience
makes the audience nervous, anxious, it makes them
believe, I have made people cry while making this
séance.
 UNCLE ABE

An Untested Idea for a Séance using LINK by AC

If the idea for using LINK to conduct a séance appeals to

you then perhaps so might this. I’m not a séance worker
and the follow is TOTALLY UNTESTED.

On small table is a cloth covered photo that hasn’t yet be

unveiled, the photo is announced as being a photo taken
of one of your guides or spirits. Alongside this are
candles, a small box and various ritualistic pendants,
amulets and old bell.

Every takes their position to channel the spirit of you yet,

unnamed guide, blank card is placed into the box and the
veiled photo set on top of the box.
The medium begins to channel and make a connection
with the other realm, suddenly one of the candles goes
out and the bell rings. The medium motions for everyone
to pick up the ropes and pull them straight.

Has someone crossed the veil?

THE ROPES VIBRATE

We would like to know more about who we are

communicating with and verify you are the one I trust
and communicate with … are you male or female.

MALE?

……

Female?

THE ROPES VIBRATE

What is your name?

THE ROPES VIBRATE

Can you spell it?

A ..B ..C .. D ……

THE ROPES VIBRATE TWICE

L … M … N … O .. P … Q ..R ..S ..T ..U ..

THE ROPES VIBRATE

W…X…Y..Z

2 Es and an a V …. EVE someone suggests.

THE ROPES VIBRATE

Questions are continued and ask for more details … age
at death, hair colour,… you then ask where the spirit was
when the photo was taken naming various options and
the spirit vibrates on one.

You announce you believe and can confirm that we have

contacted my Aunt Eve, and pull away the veil on the
photo to reveal a lady representing the channelled
description and the name Eve scribbled on the photo.

Further information is given and questions are asked.

Finally you ask them to leave a message in the box, if
they are able.

Upon opening the box the card is removed with a

message now scribbled on it.

….
The workings are fairly self explanatory … numerous
methods have been published to extinguish candles,
from creating time delays, wick removal and Chris
Taylor’s Real Ghost.

The bell could be rung via a thread or Chris Taylor’s Dead

Ringer.

The spirit writing has an idea I had or Mauricio Jaramillo I

really don’t know who … quite possible it was his and
wrote the idea done like this:

If you write with a frixxon pen on a Business card then

erase the information – if you put that business card on
something very cold like an ice cube or in the fridge The
message re-appears in an pretty eerie way

That could be enough to start some creative thought –

Perhaps having an ice pack on your person with a silver
metal business card case pressed up against it
The name is peeked earlier on and the nasty done on a
piece of paper with a frixxon.

Later during he séance or effect the blank card is placed

in/on the silver business card case and the spirts called –
their icy breathe is felt as the business card case gets
super cold and on the business card a message has been
written: Roooooosebud!
 Conclusion

My vision about mentalism is that it MUST be

entertaining and it also must be powerfully amazing, but
I believe that the most important things are that
mentalism must be SIMPLE to understand for the
audience and simple to follow.

The audience needs to understand what is going on,

what will happen, what your goal is, what you achieved
without a really long, big, fat and boring procedure or
explanation.

It is my belief that if you ask a spectator to throw a die,

remember the die number, then take a card and to
remember it, then to add the die value to the card value,
and to keep it in their mind, then to select a book and to
riffle through its pages, to then count to the line of the
number that they summed up to, and to select a word in
that line, and then to ask him, do I see a letter “a” maybe
they say yes, maybe they say no, then you go I think it’s a
letter “b” and maybe they say yes or no and you finally
find the word they are thinking of. That may be a good
mentalism routine, but it’s NOT as easy to follow for the
audience, and therefore it is my belief that it is not as
enjoyable as something that is smooth, for their eyes,
mind and mood to follow.

LINK falls down into this category of mentalism that

forms my vision: It is easy to follow, it is understandable,
it does not require such a long and tedious explanation
of what is going on, is direct, is entertaining, it has logic,
it has progression, it is in few words digestible for the
audience from the beginning till the end of it.

I am not saying that mentalism that uses dice, and

numbers and cards all mixed up within one single routine
is not good mentalism. What I mean is that whenever
you are putting together a routine you must always keep
YOUR AUDIENCE in mind. Think: will they understand
why I am doing it? Do they know why am I doing it? Do
they understand the effect? How did they perceive it?
Where they able to follow the procedure?, etc.

In a few words: Wear your audience’s shoes, you will find

out that sometimes you will impress them more with
easy to follow routines.
I have seen so many performers that in the middle of
their performance are interrupted by the spectators who
can’t recall the answer of a question, like when the
performer asks him: “What was the number that was
shown on the dice” and they answer: “6” then the
performer corrects them: “No!, the card was the 6 of
hearts, the dice was showing a 3, remember”, then the
spectator answers: “No, I don’t remember, I think yes it
was a three, I am not sure, but ok”.

I have seen other cases in which the performer MUST

make a recall of all the procedure, not that doing this is
bad, sometimes making a recall is very good for when
you are announcing a big finale, etc. But if you MUST
make that recall because there are chances that your
audience will not remember the procedure, then most
than likely there is something to correct in your routine,
at least in my humble opinion.

I hope you appreciate the simplicity of LINK, not only in

its method, but also in the fact that it has the conditions
to be easy to follow, easy to understand, and easy to
accept for your audience.

I would also like to thank to all the contributors in this

book: Timon Krause, Peter Turner, Andy Canon, Luca
Volpe, Mauricio Jaramillo and Titanas.

Special thanks to Mauricio Jaramillo, Andy Canon and

Chris for helping me to proofread this book.

As always, I would like to invite you to contact me with

any doubts or any help you may need. If you are looking
for other original pieces of mentalism for your stage or tv
act, don’t hesitate in sending me a line to request more
information about my FREE of charge magic and
mentalism consulting services.

(www.nefesch.com/consulting.html)

Hugs,

Nefesch