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THINK OF ANYTHING
IN THE WORLD

By

Gerard ZITTA

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 copyright Gerard ZITTA 2014
All rights reserved
No part of this publication may be reproduced, stored in a retrieval system,or transmitted in any form or by any
means without the prior permission of the author. All manufacturing rights reserved. TV rights reserved.

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 Revision history

- 2010-2013: « Think of any object in the room », « UPS1 », « Fair mysteries », « SVP »,
etc.

- January 2014 : Zoom principle using an i-phone, published in « Mimosa » draft ebook.
(« Think of anything in the world »)
- September 2014 : « Trust » ebook published.
- November 2014: this ebook published on www.untouchedmagic.com

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 Contents

- The SVP principle

- The intimate principle

- The trust principle

- The Yin Yang principle

- The UPS principle

Examples of combinations of the principles: « Think of a secret », new method for « heads
or tails » and « PIN divination ».

- The picture principle

Example: How to divine a thought picture card, a spot card, any card.

- The liar principle

- The Zoom principle

- «Think of anything in the world»

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Introduction:

This manual is all about revealing any thought thing in the world. Quite challenging!
Some bits and pieces were already highlighted in previous ebooks. But here you get the full
view, with combinations of principles.
It started with an effect called « Think of any object in the room ». I was using different
methods and sometimes electronic, to guess the object. This effect was so much fun and
with great impact. Over time, it went beyond the walls of the room.

In order to explain the main effect (« Think of anything in the world »), I had to give a brief
overview of already published material. Although it brings some additional ideas, insight,
and history, this does not provide all the workings and methods provided in the previous
ebooks. But the good thing is that everything you need for this routine, is self-contained in
here.
The method uses various principles or psychological subtleties, some well known nowadays
(like dual reality) , combined with new ones (Yin Yang, UPS, Picture, Zoom), or alternatives
to classic ones (like instant stooging, equivoque or misdirection).

Here are the ones used in this ebook:

- The SVP principle
- The intimate principle
- The trust principle
- The Yin Yang principle
- The picture principle
- The Zoom principle
- The UPS principle
- The liar principle

The three first principles (SVP, Intimate, Trust) are rather psychological subtleties related to
instant stooging and dual reality (but slightly different). The three can be used together.

The three next ones (Yin Yang, Picture, Zoom) provide clever ways to reduce the
possibilities for choices or thoughts.
The picture principle is an application of the Zoom principle to pictures (and cards).

The UPS principle is the dumbest one. It uses a simple gimmick to provide misdirection for
revealing any thought or prediction.

In addition to these principles, another one will be used in conjonction with the picture
principle, to find the value of a card (But it can be used for anything else): The liar principle.

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 « The SVP PRINCIPLE »
"Amusing Mysteries can be a fun reading for you and an add-on for your repertoire.
Personally I really enjoy the SVP principle.”
( Pablo Amira, Mentalist and Author.)

This is a new concept for instant stooging. It was already illustrated in my first ebook,
published with the help of Pablo Amira. The name of the principle will give you a clue. SVP
stands for « S'il vous plait » in French, which means: « Please ».
It can also mean: « Smart volunteer protocol (or principle) ».

Basically, you ask a spectator to be «smart», and to not reveal a secret.

Michael Murray sent me this comment about one of the effects in « Phone mysteries »: « I
love the cheekiness of having the spectators open their phone with their own password, my
only concern would be the lack of effect for the participant. »
This is absolutely true. The drawback is that it won't look very magic to this person, (for
them it will look like a gag or they will be confused depending on the effect), but it will be a
mystery for the rest of the audience.
With SVP, the participant will not be part of the audience anymore, he or she will become
your partner, your helper, your accomplice. He or she, will learn something. They will feel
« smarter » by knowing some part of the secret. They will have fun and enjoy helping you to
« fool » their friends in the audience, and not tell them the secret later on.

The difference with an instant stooge, is that an instant stooge, will not realize what is going
on, while a « smart volunteer » will fully understand. He will be in. He will know the secret
or part of it usually.

It sounds bold and ballsy, but it allows effects that are incomprehensible to the audience.

Some applications of this principle are described in the following ebooks:

- Hot mysteries (SVP)

- Phone mysteries (Open Sesame)
- Fair mysteries (Fair prediction)

In addition to the « smart principle », here are two related ones to force the participant to
keep the secret: The « Intimate principle » and the « Trust principle ».

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 « The INTIMATE PRINCIPLE »

This will work for effects where you ask a spectator to think of something intimate, very
personal, private, like a PIN, a close secret, something related to their sexual life, love, their
age (especially with women) etc.
Note that you can always link anything that is not usually a « secret » (color, object, card,
etc.) to something that is personal. For instance, the values of cards can represent the digits
of a PIN code. Telephone numbers, date of births, address, family names, etc. are usually
things that people want to keep secret in front of an audience.
You can also ask them openly to not reveal a « trade secret » , a « secret formula », any
confidential information, or something that is personal to you.

Some applications of this principle are described in the following ebooks:

- Phone mysteries (open sesame)

- Fair mysteries (Fair prediction)

« The TRUST PRINCIPLE »

Ask for somebody you can trust as your volunteer, or who is the most reliable person in the
audience. This will force the participant to keep a secret, and at the same time, it will make
the audience feel guilty to ask the participant to reveal the secret later on.
It can be reinforced by SVP.

Some applications of this principle are described in the following ebooks:

- Phone mysteries (Open Sesame)

- Trust (Trust)
- Bluff

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 « The YIN YANG PRINCIPLE »
"I enjoyed your book and look forward to giving it a whirl" (Michael MURRAY)
------------
"It's a great ebook. Best way I know to force a card on a subtle manner. I own white room by
ran pink and silent running by Harris and I think yin yang principle is by far the best. And
outs are very logical too. If you are working on mentalism without props, you really have to
get it. Best, Luccky (themagiccafe)
------------
"This is very clever!" (Chris W., Lybrary.com)

Yin and Yang is a chinese symbol that represents the opposites forces of the universe around
us. It is a concept that describes the complementarity and duality of things. I discovered this
philosophy a long time ago, when my cousin Pierre was studying macrobiotics at the Kushi
institute in Massachussets.

I noticed that complementary things are not necessarily the same quantities. For instance,
you do not have the same number of men and women on earth. The number of black objects
is different than the number of white objects. There are much more dry objects than wet
objects. There are much more objects outside an object, than outside. The number of
moving things is much smaller than motionless ones. There are less classifications than
things. For instance there are only two genders but there are billions of men and women, or
of male and female animals. Etc. But most of the time, people will confuse them.
If you take digits from 1 to 9, there are five odd numbers, and only four even numbers.
There are much more objects with round shapes, than with angles only.
Etc.

Some applications of this principle are described in the following ebooks:

- Yin Yang V1 (for guessing cards)

- Fair mysteries (Fair guess)
- Trust (Zoom)

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 « The UPS PRINCIPLE »

Like for SVP, the name will tell you all. UPS stands for « Universal prediction system ».
You all know two- way outs or multiple-outs. It all started indeed with two-way outs and my
Janus series. But I wanted to expand my Janus V1 principle to more than 2 or 4 outs,
because I mainly use it close up, and the billet was too thick when using more than four
exits.

"I was fascinated by the ideas and possibilities I read in Janus 1V and have started to put
together several coin experiments with one leading into another."(Neil Somerville)
- "I have a couple of ideas using your Janus concept for my routine from Mnemosign, this
could be quite helpful..." (Patrick Schlagel)

Two way outs are good as you can see, but you are limited to two outs!
UPS allows you to do more. The only drawback is that it does not work one on one. You
need an audience for this.
The first version carries all the exits on the same billet. It is the simplest and boldest one
(and probably the dumbest one!).

The second version uses a mirror as a prediction. This is again a dumb idea but it works,
associated to other principles explained in this ebook ( SVP, Intimate, or Trust principles).
Please refer to the appendix at the end of this manual for more details on the UPS2
gimmick.

The third version uses a smart phone. It is the « Mimosa principle » (I could have called it
UPS3).

Some applications of the UPS principle in general, are described in the following ebooks:

- Fair mysteries (UPS V1)

- Trust (UPS V2)
- Mimosa

Of course, you can also do two-way outs.

To further illustrate some of the principles above, here are three simple effects you can do
with UPS.

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HEADS OR TAILS

After « Coin games », « Cheat hand », « Janus V4 », « hot H.O.T », here is another method
for this simple classic plot. You will need an audience for this one.
The performer places a business card on the table, face down. A participant takes many
different invisible coins from his wallet, only in his imagination. He freely selects one of
them in his mind, and discards all the other ones. He then tosses it in the air. It falls Heads or
Tails side up.
He then takes the same coin from his purse and places it under the prediction without
showing it to the audience.
The prediction is lifted over slowly and shown only to the participant. He can swear it is
indeed his coin with the right side up.

PIN

This is another example of an application of UPS2, the intimate principle, and the trust
principle. Divining something like a PIN code is a strong effet for an audience.
The performer places a business card on the table. It has a prediction written on the hidden
side of the card. You ask the spectator to write his PIN on another business card. Set the
participant at rest: Nobody will know it, and if your prediction is right, you will NEVER
reveal it to anybody.
Both cards are turned over (without showing the audience of course, as this is private
information!), and the participant will swear in front of everybody that it is indeed his PIN
code on your prediction.

THINK OF A SECRET

Again, the performer places a business card on the table. It has a prediction written on the
other side. You ask the spectator to write a close secret on another business card. Again,
reassure them by saying that nobody will know it, and if your prediction is right, you will
NEVER reveal it to anybody.

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 « The PICTURE PRINCIPLE »

Introduction:

I believe this is a new principle. I called it the « Picture principle » because it works best
with pictures, or picture cards. It was already partially described in « Trust » ebook, but here
you will find much more possibilities and applications. It is a nice addition to the Yin Yang
principle1 , but there are plenty of other applications. This is not a « trick » by itself, but
another tool to add to your mentalist's arsenal, and keep in mind for improvising, fishing,
safety net, getting more « YES » from the participant, etc...
I will start explaining how to use it with playing cards, and more especially Bicycle cards.
Then, I will generalize it to something I called « the Zoom principle ».

Secret:

The secret is simple. It is based on observation. The principle will be explained with
standard Bicycle cards, but it can be adapted to other brands, to Tarot cards, to photographs,
pictures, drawings, etc. Other decks or brands will not have the same properties.
So, take a deck of standard Bicycle cards, it will be easier to follow. They have the
following color properties:

All the Bicycle Picture cards look towards the LEFT, except four cards.

Four Picture cards look towards the RIGHT:

- The Spades (JS, QS, and KS)
- The Jack of CLUBS (JC)

Eight Picture cards look towards the LEFT:

- The 6 RED Picture cards: The HEARTS (JH, QH, KH), and the DIAMONDS (JD, QD,
KD)
- The Queen and King of CLUBS (QC, KC)

Three picture cards have only one EYE : JH, JS, KD

Black picture cards:

With YELLOW in the center: JC, QC, JS, KS
With BLACK in the center : KC, QS

Red picture cards:

With YELLOW in the center: JH, QH
With RED in the center: QD

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With BLACK in the center : JD, KD, JH, QH, KH

Another way to describe this, is :

- 4 Picture Cards with YELLOW in the center : JC, QC, JS, KS
- 7 Picture Cards with BLACK in the center : KC, QS, JD, KD, JH, QH, KH
- 1 Picture Cards with RED in the center : QD

Eight Spot cards with BLACK in the center:

AS, 3S, 5S, 9S
AC, 3C, 5C, 9C
They are the ODD Black spot cards.

Eight Spot cards with RED in the center:

AH, 3H, 5H, 9H
AD, 3D, 5D, 9D
They are the ODD Red spot cards.

Twenty-four Spot cards with WHITE in the center:

2, 4, 6, 7, 8, 10 for all suits
They are EVEN spot cards. There are 24 cards.

Here are some additional oddities:

- The King of Hearts is the only picture card to have four hands.
- The Queen of Spades holds a Six of Spades in her hands.
- Most of the picture cards seem to have a moustache (even the Queens!), or a beard, or a
goatee.

Summary for Standard Bicycle cards:

24 cards with WHITE in the center. They are all EVEN SPOT cards.
15 Cards with BLACK in the center.
9 cards with RED in the center.
4 Cards with YELLOW in the center.
KH has 4 hands.
QS holds a 6S.
Most of the picture cards seem to have a moustache, or a beard.

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 Queens
Here is an example that can be used with YIN YANG. It was introduced in the «Trust»
ebook, but here you will get additional ideas. If you do not own YIN YANG, you can use
other methods that force a Queen. (For instance, the one used in « INFERNO » by Joshua
Jay). At the end of the YIN YANG process, the most probable cards will be the Queen of
Diamonds, or the Queen of Clubs. You can use this principle/method for any effect where
the spectator selects or thinks of a Queen (but you do not know which one). You can adapt it
to other values than QUEENS also, but this is the example we will use in this manual.
Here is a way to determine which QUEEN has been selected or thought by a participant.
« Here is a deck of cards. Please look for your card without showing it to me. »
« Look at your card. »
« I see hands. Your card has two hands, correct ?And only two hands. »
Most of the time it will be a YES.
« The figure on your card is looking towards the LEFT. »
Most of the time, it will be a YES again.
« Now, please zoom on your card... Focus on the middle of the card and concentrate on the
color. »
« I see some RED. » (you can add: «... and some black »)
If the reaction is a YES, you know, it is the QUEEN of DIAMONDS.
If the reaction is a NO or hesitation, you add immediately:
« … I can't trust my eyes anymore ... Actually, there is some black and some yellow. »

Now, it should be a YES, and you know the card is the QUEEN of CLUBS.

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 Picture cards

Imagine you forced a picture card, but you do not know which one they picked. Here is the
procedure I use. I always stand in front of the spectator.

1. Phase 1:

« I see a Picture card... It is looking towards the left. »

1.1 If they say « YES », you are left with 8 cards

- The RED pictures
- The QUEEN and KING of CLUBS.

1.2 If they say « NO », you immediately say:

« I meant towards my left, which is actually your right.».
You suddenly have reduced the possibilities to just four cards:
- The Spades (JS, QS, and KS)
- The Jack of CLUBS (JC)

2. Phase 2:

This phase is independant from phase 1. Just remember if you are in 1.1 (8 cards) or in 1.2
case (4 cards). You now declare:
« I see a male ».

2.1 If they say « YES », you can eliminate the QUEENS.

2.2 If they say « NO », you immediately add:

« I don't understand because I see a moustache! Can you check? »

The spectator will agree! Look at the QUEENS: It really looks like they have a moustache
over their mouth.

In any case, you now have eliminated either the QUEENS, or the JACKS/KINGS.
There are four possibilities at this stage.

3. Phase 3:

3.1: 1.1 + Female: The card can only be a red Queen, or the Queen of Clubs.
« Look on the left. I see a flower on the left side. »

- If they immediately say « YES »: it is either the Queen of Clubs QC, or the Queen of
Diamonds QD. To find out which one, you continue your reading with:
« It is a YELLOW flower, with a SQUARE in the center. »

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They will have to watch closer to check.
If they say « YES »: It is the QUEEN of CLUBS.

If they say « NO »: You immediately add: « But there is a big square above it, a red square
above the flower. It is a diamond shape actually. It is the QUEEN OF DIAMONDS.

- If they hesitate, or say « NO » and then « YES », it is because they did not see the flower
pointing down on the left hand side. You add:
« You offer flowers usually to people you love. I think your card is the QUEEN OF
HEARTS. »

3.2: 1.1 + Male: The card is either a red male, or the King of Clubs, or the Jack of
Diamonds.
« Look at the faces, there are two eyes. »

- If they say: YES », it is KH, KC, or JD. To find out which one, continue your reading with:
« I also see a moustache on the face. »

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If they say « YES »: It is the KING OF CLUBS.

If they argue or hesitate: It is either KH or JD. In that case, you add:

« You are right, it looks like a moustache, but it is the mouth actually. »
« Also there is something under the face that looks like a beard? »
If they say « YES »: it is the KING OF HEARTS.

If they say « NO »:
« Well, I am confused because there is something blond like the hair, that looks like a beard,
or rather a goatee. Concentrate on your card as a whole now. Is it the JACK OF
DIAMONDS? »

- If they say « NO », immediately add:

« Watch closely, I said look at the faces, there are two faces, and therefore there are two
eyes, do you agree?»
The card can be the JACK of HEARTS, or the KING of DIAMONDS.
« I see a moustache ».
In this case, it will be true for both cards. But it is consistant with the other cases.

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« I also see a beard ».
If they say « YES »: It is the KING OF DIAMONDS.
If they argue, or have to look closer, or say « NO »: you immediately add:
« Well you are right. My mind is confused, because I see something blond like the hair, that
looks like a beard, or rather a goatee... Concentrate on your card as a whole now. Is it the
JACK OF HEARTS? »

Here is a variant:
« Now, please zoom right in the center of the card, and focus on the symbols... I see RED
SQUARES. »
- If they say «YES»: You add: «RED is the color of passion…According to some authors (*)
the square is a symbol of the heart. You card is a HEARTS, am I correct?I think your card is
the JACK OF HEARTS. »
(*) Rowena and Rupert Shepherd book,1000 Symbols: What Shapes Mean in Art and Myth

- If they say « NO »: Then, you know the card is the KING of DIAMONDS. You can say:
« Well, for some reason, I see RED SQUARES on your card. Actually, there are lots of
ANGLES everywhere. Maybe it's not in the center. I see now, it's a DIAMOND SHAPE. Is
your card the KING OF DIAMONDS? »

3.3 1.2 + Female:

This one is easy. The card can only be the QUEEN OF SPADES.

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3.4 1.2 + Male:
The card is either a black Jack, or the King of Spades. Like in 3.2 section, you say:
« Look at the faces, there are two eyes. »
- If they say « YES »: it can be the Jack of Clubs or the King of Spades.
« There is also a moustache. »
If they immediately say « YES »: It is the KING OF SPADES.

If they disagree or hesitate: It is the JACK OF CLUBS

- If they say « NO », Immediately add:

« Watch closely, I said look at the faces, there are two faces, and therefore there are two
eyes, do you agree? Am I correct? »

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« I think your card is the JACK OF SPADES ».

Final notes:

- With just a few questions, this process nails down the right picture card. I like the fact that
everything can be credibly justified when you get negative answers. It does not look like
you are « fishing » in the classic way. The fact that it uses pictures, colors, shapes, etc. is
more logic than asking direct questions for the suit or the value. It fits perfectly with mind
reading as simple shapes, colors (other than RED and BLACK) and little details like a beard
or an eye, are more plausibly « mentally visible » things. They also allow moments of
improvisation during the process that will provide side comments for misdirection and time
delay. You got the raw presentation above here, but you can adapt it to each situation. The
reading is related to common things like gender, faces, eyes, beard, flowers, jewels, square
shapes, colors, etc. For instance, if you state that you see a moustache, but the answer is a
NO. If there is a man with a moustache in the audience, you can use this as an additional
« explanation ». Same thing for a beard or a goatee.

- The basic procedure is simple: First you find out which way the faces are looking.
Then, if they are Male of Female. And finally you focus on the head.
The reading that comes next, is logical.
If they are Male: You first focus on the eyes. Then the moustache. And finally the beard.
If they are female, remember that women like flowers and diamonds!
You can associate FLOWERS to WOMEN, Or the F of Female to the F of Flowers.

- You can also use a crib sheet, on a notepad. Once you memorized the process, you won't
need it anymore. During the performance, write your impressions on the notepad, like if you
were drawing a portrait, and use this to look at your instructions.
You can also use another deck of cards!

- Just practice... Everytime they say NO or argue, remember to justify why you were
apparently wrong.

- You can also do it over the phone, in that case it is easier as you have nothing to memorize.

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 Spot cards

Eight Spot cards with BLACK in the center:

AS, 3S, 5S, 9S
AC, 3C, 5C, 9C
They are the ODD Black spot cards.

Eight Spot cards with RED in the center:

AH, 3H, 5H, 9H
AD, 3D, 5D, 9D
They are the ODD Red spot cards.

Twenty-four Spot cards with WHITE in the center:

2, 4, 6, 7, 8, 10 for all suits
They are EVEN spot cards. There are 24 cards.

Imagine you forced a SPOT card this time, but you do not know which one they picked.
Spot cards can only be WHITE, RED or BLACK in the center.
Here is the process I use in this case:

« Look at your card. »

« Forget about the value of the card and just focus on the colors you can see. »

« I see some white. »

(Obviously, they will say YES, as all the cards contain some white.)

« Now, zoom inside the card. There is still some white, correct? »

- If they say YES, you add:

« Zoom right in the middle of your card. It is still white.»
If they confirm again, you now know the card is EVEN. You add:
« But I also see some RED nearby. »
If they agree, you know it is a Hearts or a Diamonds.
Otherwise, you add:
« But on the back, it is red and white. It's confusing my brain. Please hide the back of the
card. »
With this well-known subtlety, you now know the card is black.

- If they say NO, you know the card is ODD. You continue immediately by saying:
« Exactly, it is red and white. »
If they agree, you know the card is even, and if it is a Hearts or a Diamonds.
Otherwise, you add, like before:

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« But on the back, it is red and white. Please hide the back of the card. »
You now know the card is black.
At this point, you know if the card is EVEN or ODD, and if it is RED or BLACK.

In order to find the value, I use another principle: The LIAR principle, already published in
the ebook called « BLUFF ».
« If your card is even, I want you to tell the truth. If your card is odd, I want you to lie. »
« Is that clear? »
« Please take a few seconds to interiorize who you are now: a liar or a trustful person. »
« I am going to tell you a card, and you will say YES or NO, but you will lie or not
depending on who you are. Is that clear?»
« Is your card an Ace? »
Let us assume, we know the card is EVEN, and that it is a 2. So we know the participant is
going to tell the truth. So she will answer:
« NO »
« Now, I want you to be the opposite. If you just lied, I want you to tell me the truth and vice
versa. Is it clear? »
Take the time and make sure they understand...
« Is your card a TWO? »
The spectator is now a liar, and as the card is indeed a 2, she will reply:
«NO»
« Now, I want you to be the opposite again. If you just lied, I want you to tell me the
truth. And vice versa. Still clear? »
« Is your card a THREE? »
The spectator will now tell the truth and reply:
« NO »
You got three NO's in a roll so you know the value of the card is the one in the middle, and
therefore that it is a TWO. But do not stop here. Continue by saying:
« This time, YOU decide! Lie or tell the truth. »
« Is your card a four? »
etc.
Up to the KING. ( or just do a few other cards, once you know it.)

You now know the color and the value of the card. For instance, let us say it is a RED TWO.
Take a business card and a pen, and write 2H on the bottom and 2D on top.
Place the business card on the table and say:

« I am committed. For the first time, what was your card? »

Whatever they say, take the card and hold it so that you just show the right card.
(credit goes to Scott GUINN for this).
You can use other methods for the two-way-out at the end.
Another way is to place a UPS2 gimmick card on the table (this can be done at the very
beginning of the routine),
At the end, ask them to put their card face up on the table, close to yours.
Write the card on your main finger with a swami while they look at your card.

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 THINK OR CHOOSE A CARD

Effect:

A spectator thinks of a card and you guess it while she looks at her card.

You can also borrow a deck of Bicycle cards, have it shuffled, and the spectator selects a
card. You never touch the deck or see the card, and you divine it with visual impressions
you get from the spectator.

Method:

This is a combination of the two previous routines. The only additional step, is to find out if
the card is a Picture card, or a Spot card.

The simplest way is to just ask!

Here is another way:

« I have no way to know your card. But I am going to try to connect to your mind, and see
through your eyes. This is called « telepathy ». It greek, it means distant perception. »
« I just know something. Please do not tell me your card:
All I know is that your card is male or female. »

If it is a picture card, they will agree.

If they say NO or do not understand, it is a spot card. In that case, you add:
«Do not tell me anything. Male cards are Jacks, Kings and black spot cards. Female cards
are the four queens and the red spot cards. »

The rest of the routine is identical to above:

If it is a spot card, start by asking them to focus on the colors.

If it is a picture card, ask them to focus on the eyes (which direction).

Final note:

Remember... This effect can be done with another identical deck of cards in your hands. So,
you do not need to memorize all of this. Just remember the process.

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 « The ZOOM principle »

The Zoom principle allows you to reduce drastically the number of possibilities. It was
already « hidden » in « MIMOSA » ebook, with an effect called: « Think of anything in the
world », but using an i-phone.

This principle uses the fact that most of the times, a detail of something (a card, an object,
the part of a body, etc.) will be enough to guess what this « something » is. You just saw an
example with cards (the Picture principle).
A nail for instance can be the result of zooming on a feet or hands.
A nose, or an eye can only be on a face.
Etc.
You get the idea.

And the more you zoom, the more you reduce the possibilities.

Now, let us go to the main effect « Think of anything in the world ».

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 « THINK OF ANY THING IN THE WORLD»

Effect:

The spectator thinks of anything in the world and changes it to something completely
different. They focus on a part of that « thing » and you guess it.
This is not 100% but usually very close, and it will look like a pure mind reading
experiment.

It can be made 100% suresafe with additional principles (outs for instance).

Secret :

Secret 1:

The first part of the secret is psychology, wording (« wonder words? ») and the YIN YANG
principle.

Living things can be classified as such:

Alive:
- Human beings
- Animals
- Micro-organisms
Dead:
- Plants
- Fungi

Non-living things are things that:

- Cannot move by themselves.
- Do not grow.
- Cannot reproduce.
- Do not die.
Those are objects, rocks, minerals, metals, etc.
There are 60,000 vertebrates, 1,200,000 invertebrates, 300,000 plants, and 1,600,000 other
species. There are 4000 minerals. We are more than 7 billion people living on earth today.
It's a lot! So how can we restrict to just a few items?

It is very simple.We are going to force the spectator to rule out all the non-thinking and

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invisible things on earth. Instead of classifying living and non-living things, we classify
thinking and non-thinking. Objects for instance, are « inanimated », « dead », without
conscience, brain, mind, etc., as opposed to human beings or some animals which are alive
and thinking beings.
This will eliminate plants, fungi and all the « non-living » things (objects, etc.).
Then restrict to the ones that are visible. This will rule out all the micro-organisms.
Also, people know more about groups than species, They will often confuse species and
groups.
And finally, they do not know all of the animals, plants, minerals or objects on earth, and
most of the time, they will think of common ones (a dog, a cat, a man, a woman, a chid, a
flower, a rose, a pen, a rock, etc.).

Once we have forced an animal or a human being, there are still 60,000 vertebrates,
1,200,000 invertebrates, and more than 7 billion people living on earth. But now it is very
easy to reduce this to jest a few. Among all those people or animals, only a few of them are
known to us, and more importantly are familiar or close to us.

For human beings it will be our family, or friends for instance. According to an IEEE study,
(http://spectrum.ieee.org/telecom/internet/how-many-friends-can-you-really-have), the
average size of a personal social number is 150 (Dunbar's number).
For animals, it will be pets. The most popular pets can vary from one country to the next,
but on a worldwide basis, house cats and dogs are the most popular pets (400 millions with
approximately two per household in average), and they are generally followed by fish,
rodents, birds and various reptiles.

One way to further restrict this number of pets or people, is to force the ones that are really
close and can bring special affection, love. This will rule out spiders, snakes and other
« uncommon » pets.

Secret 2:
The second part of the secret is the ZOOM principle.
We assume the spectator has now a pet or a person in mind. This is still a range of one to
two hundreds possibilities, and we cannot have a clue of which person or animal it can be.
As you probably guessed, we are going to ask the spectator to zoom on that « thing »
(Remember, for the spectator, we are not supposed to know what they have in mind at that
stage.).
The good thing is that most animals and human beings have common parts of the body. And
with our patter, we can further influence what part of the body they will zoom on.

Secret 3:
This is the part that will get the effect 100% surefire. This is done by showing the « thing »
written on a prediction. There are many ways to achieve this with classic methods like peek,
multiple outs, pocket writing, etc.

Let us start with an overview of the methodology, and then the presentation I use.

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The process:

Ask a spectator:
« Please, think of anything in the world that is VISIBLE. Do not think of an atom for
instance »

At the same time, casually show, touch or take any object around you.
With this subtlety, the spectator will understand « ANY THING » or « ANY OBJECT ».
It rules out the idea to think of a person or an animal. It is bold but it works 100% of the
time.

« Do you want to change your mind ? »

« Once you have made your choice, please do not change it anymore. Focus on this
« thing », whatever it is ».

Now, make sure the spectator listens carefully.

« There are two types of « things » on earth: Thinking and non-thinking ».

« If it is an object, or a mineral, a vegetal, a metal, etc., please change it in your mind to
something that's alive, a living being (like an animal or a person, but it has to be visible
(not a microb or an atom for instance). »
« And vice versa, if your previous choice was a thinking being, change it into an object, a
plant, a rock or whatever. »

Here you can add:

« Think of something positive. Something familiar that you like, use, or see a lot, every day,
something that can bring you happyness, affection, love. Something that is not dangerous,
or something useful.
« Now, forget about the previous thought, and focus on the new one. »

« Any object,or plant, animal, etc. can be divided in many parts. Choose one of them that
you can see usually.»

« Now, Zoom on a part of this object or being that you can see. »

« Zoom again, zoom in, and zoom in, until it is the smallest part that you can see with your
eyes. »

At the same time, you can show with your hands focusing to a tiny point between your
fingers.
« Make sure you zoom enough. »

You can give an example :

For instance, if we zoom on your shirt, it could be the collar, but we can zoom further, and
see a button, and then the sewing thread. We could also decide to zoom on the cloth and see
a tiny part of the fabric whether it is wool or cotton or linen... ».
« But the label for instance, can't be seen because it is inside your shirt. »

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You should now have forced a small part of a human being, or an animal.

I have listed around sixty parts of the body for animals or humans:

Abdomen, Adam's apple, ankle, Arm, ass, belly button, bone, brain, breast, buttocks, calf,
cheek, chest, chin, claw, clitoris, ear, elbow, eye, eyelid, face, feather, finger, foot, feet,
forehead, groin, hair, hand, head, heart, heel, hip, jaw, knee, lip, leg, lung, muscle, mouth,
muzzle, nail, navel, neck, nerve, nose, penis, pore, pupil, scale, scrotum, sex, shell, shoulders,
skin, spine, tail, throat, thorax, thugh, thumb, tongue, tooth, toe, trunk, vulva, wing, wrist

I have included some parts that are usually not visible or never named by the spectator, in
case you want to use the « MIMOSA PRINCIPLE » and add more outs for safety.

And if the participant followed your instructions, they should end up with :

Something to do with the skin (skin, the pores, shell, scale, nail) or ( hair, coat, fur)
Something related to the eyes (eye, pupil, eyelids)
Something related to the limbs, hands or feet (nail, claw)
An orifice or opening (nose, ear, mouth, pore)

Note: Other possible items could be hidden or internal parts of the body, but you should
have ruled them out if your explanations were clear enough.

And if they zoom again, they will see a pore or a hair.

The revelation:

We now have around ten possibilities left. (Remember we started with billions...).
In order to find which part of the body, we will need to do some fishing. This is the most
difficult part, but also the most fun.
One important thing: Do not make this phase too long. If you don't hit, it does not matter.
I usually recap at this point and remind them that it is an experiment to guess something
among billions of things. And then I ask them what it was.
Go to the final section (« OUTS ») for some ideas on how to handle such cases.

Usually, the spectator's reations will guide you. The spectator will not try to hide things or to
lie. They will help you actually.
I will give you some tools and ideas, but you also will have to use your intuition and
presentation skills, some knowledge of body language, etc. Every performance will be
different. You will have to adapt your patter.
You can also try to find solutions with your own language. For the fishing you can use
branching anagrams for instance, or just try to find the first letter of the word they are
thinking of.
You can also fish for colors. There are just a few usually: Pink or black for the skin, red for
the mouth, blue, brown or green for the eyes.

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If they thought of an animal, bird or fish, it can be another color, so you will detect it.
Use the techniques you are the most familiar with.
You could also jump this part of the routine, and go directly to the « outs », but I think it's a
pitty. Personnally, I would rather do the opposite and skip the outs section! I started this
routine without any outs, like for Yin Yang, and I still do it without outs.

Look at the table just above:

They all have one thing in common: they allow us to sense something.
Skin and hair are further related together, and eyes/nose/ear/mouth also (they can be seen as
holes in the skin, and they are all on the face, the head). Based on all this, here is an
example of script:

« Please focus on the part of this object or living being... »

« It's part of something that can move. Something that's alive. Am I correct?»
They should say « Yes ».

« It's a part of a body. »

They should say « Yes ».

« It is a part that is used to sense the environment around us. »

If it's a definite « YES », it is something related to eyes/nose/ear/mouth/skin.
If they think before answering, or are not sure, it is probably the hair or a nail, a claw.
If it's a « NO », say:
« Please zoom more. The thing you are thinking of, is too big. I can't get a clear vision.
Please zoom in again and again, until you get to a smaller part of your thing. It's on the
skin, am I correct? »
« It's kind of a hole in the body, an orifice. »

- If they say « YES», add:

« This thing can be found on our face, our head, … Am I correct? »
If they confirm, continue with:
« Look in my eyes. »
« Listen to me »
« Take a deep breathe with your nose, and exhale through the mouth».

« It has something to do with the eyes... »

Wait a second before continuing, and see if they react. If that's the case, you nailed it.
Otherwise, continue:
« … or the mouth, the ear, or the nose...»
Here, you can use body reading or play with letters. For instance:
« I see a « O » in your word. »
If they say « NO », continue with:
« But it looks like a « O », I see a « O » like a « hole ». Is it an ear? »
If they say « YES »: You can try with « mouth » or « nose ».

Now, If they hesitate, continue with:

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« Maybe I zoomed too much. It is something that can be found around. Is it a hair? »

- If they say «NO»:

« But if you zoom again, you will see very tiny holes... »
If they agree, it is probably a pore. Otherwise, continue with:

« … or something attached to a hole... »

If they agree, it is probably a hair. Otherwise, continue with:

« … or to the skin. It's like a second skin. Is it a nail? A feather? A shell? Scale?»

Notice that the words skin, shell, scale start with a S. (The only one that does not work to
describe the skin is feather...). So, you could also say:
« Please focus on the first letter of the word... Is it a « S »?
If they agree, try the words SKIN, SCALE or SHELL.
Otherwise, try with NAIL.

Notes to the French readers;

In French, it allows some easy fishing with the letters P and O.

La peau ou les pores

Un poil ou un cheveu ou une plume.
un œil, la pupille, la paupière
Un ongle, (ou une griffe)
Une oreille
Un orifice (Oreille, nez, narine, œil, orbite, pore).

I noticed most of the French words above, start with a P ( Peau, Pore, Poil, Pupille,
Paupiere, ) or a O ( Ongle, Oreille, Oeil, Orbite, Orifice).
Also, when you pronounce some of them (Peau, Paupiere), they will sound like 'PO'.

I say something like this (in French, but I have translated it into English):
« Now, focus on the first letter of the word that describes your object. ».
« I see a P »
If they say NO, continue :
« OK it may be because there are many ways to name this part. But it is a living being, am I
correct ? » (You should get a YES here)
« Maybe you didn't zoom enough. If you zoom in now, you will discover a smaller part that
starts with a P. »
« Or maybe it is because it is a part of a living being that starts with a «'P' (Porc, Poule,
Poisson, Piranha, Pitbull, une Personne)
If they say NO :
« Or maybe it's a 'O' ».(OREILLE, ONGLE, ORIFICE NASAL)or a 'Q' (Queue,...)
or a 'B'.
(the letters p,b,q look similar or can be seen with a 'o' inside...)

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You get the idea. This is an example in French, but you can probably adapt it to your own
language.

Do not make the fishing too long. Just ask a few questions. Here is another way. For the
revelation, I start with:

« I see a hole. It's on a body. »

Wait for their reaction.

-If it is a YES, continue with: « It's on the face. ». If it is a YES again, try the MOUTH.
Otherwise try the SKIN (pores).
-If it is not a hole, continue with: « But if you zoom in again, you will see holes. ». If they
agree, try the NOSE, otherwise try a HAIR.

And then stop.

The outs:

If you reach an impasse, do not worry. Just recap what you found for sure, among billions of
things that can be found on earth, and ask the spectator to reveal what he or she had in mind.
Now, listen to me: You will always be able to find justifications, or sometimes the spectator
themself will justify for you!
I noticed that most of the time, they did not zoom enough. They never think of a pore, or a
hair, a pupil, eyelid, etc. but rather of the skin, a hand, a finger, an eye, etc.
One day for instance, somebody told me she was thinking of her maths teacher! What a
zoom! I explained that she should have zoomed more. And she said, she did actually. She
was thinking of the skin because he was black. And bingo, the skin was what I said earlier!

So don't feel disappointed if you don't hit. Try to understand, ask them what was the person
or animal they thought of, and then which part they zoomed in, and why. You will always
find something that can justify your final revelation.
If they thought of an animal, you may have used the wrong word for the same part of the
body. For instance, for animals; the skin can be a shell, scale, coat, or a fur. But it can be
seen as a hit.

You can also carry various outs with you, in your wallet for instance, plus other ones you
previously placed hidden on the table or on your body. It can be under a beer mat, on your
skin (If you have a tatoo with an eye for instance, or a finger, a bird, etc.).

You can use a nail writer, or just a mini sharpie, or a washable ink marker, and once you
know the word, write it or draw it depending on what it is, secretly on the palm of your
hand, or along your main finger. You will have plenty of opportunities at the end, as their
attention will be relaxed. They will think the experiment is over. Finally, show the drawing
on your hand or the tatoo or else, and it will be a big surprise for them. It will really make
them think.
Instead of writing the final « thing » on your hand, you can draw the part of the body (or the

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object, in case the spectator did not think of a living being.)

Another idea, if you have an audience, is to use the U.P.S principle (1 or 2). Personally, I
always carry different U.P.S 2 gimmicks with me, (on a business card, a playing card, a beer
mat).
At the beginning of this experiment, I ask for somebody « smart » (See the SVP principle),
or somebody the audience trusts the most (see the Trust principle).
Ask them to write down the word on a business card, without showing you or anybody in
the audience, and to place the business card face down on the palm of their hand.
Simulate writing something on your UPS2 gimmick (the business card one preferably), and
place it face down, on the palm of your hand. Align your hand close to the spectator's hand.
Then ask her to turn over her card to reveal her « thing ». Slowly lift over yours at 90°, and
ask her to tell the audience if it is the same « thing », YES or NO.
Once she did, put the gimmick in your pocket.
This will be a mystery for the audience, but not for the participant of course. For the
participant, here is something additional you can do.

When you put the gimmick back in your pocket, immediately take a blank business card that
was in the same pocket. Look for the pen, and say:
« I want you to keep this card as a souvenir. »
And then you do double writing on your finger, and on the card: Secretly write her word or
a synonym, on the main finger of your hand as explained previously, but just sign the card,
(do not duplicate the word on the card), and hand it to the participant.
« Please keep this card. Everytime you'll look at it, I want you to remember the word you
see here. »
Point at the business card in your hand, at the same time showing the word or drawing you
just made on your palm or main finger. The audience will think the word is on the business
card.
« Now, look in my eyes. »
Suddenly snap your fingers.
« I want you to forget everything else. Just remember the word, even if you can't see it
anymore. As you are smart, you'll remember it.»
or
« « I want you to forget everything else. Just remember the word, even if you can't see it
anymore. As everybody trusts you here, they won't need to see the word either. They have to
trust you, like I trust you'll remember ONLY the word that was written here. That's all they
need to know, right?»
Casually show again the business card and the word on your hand, and hand the card to the
spectator.
« Whatever question your friends may ask, just tell them this is the word you saw and that
you can swear it if they want! If they want you to swear, or if they want to see this business
card, now, this will be a good way for you to see who trusts you or not!»

Later on, if somebody in the audience wants to see the card, they won't have a clue or will
be confused, as nothing is written on it.
For the participant, you guessed most of his thought during the performance, and at the end,
you made a gag and asked her to be your « smart » partner. You also gave her a way to

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detect who trusts her or not among the audience.

Now, let's get practical. You have got lots of information to digest, and you think it is
difficult. I just wanted to give you more than you need, in case you want to try your own
ideas. Here is the routine I use. The patter differs sometimes to the one used in the
explanations above. Use your own words anyway.

Presentation:

This is the most direct one. It does not use all of the restrictions explained above, and there
are more risks. But it is good for practicing, and for a quick mind-reading experiment with
somebody. This is how I present it anyway. As an impromptu mind-reading test. Note that
the following process applies to humans or animals.
I ask a spectator if she wants to try an experiment.
« Think of any thing in the world. It can be ANY thing. Something that you can see easily.
Not an atom for instance.»
I emphasize the word « any » and at the same time I show an object around us.
« Do you want to change your mind and choose another one? »
« OK, now don't change your mind. »

I continue:
« As you know, on earth, there two types of « things: Alive and dead, thinking and non-
thinking ».

This sentence subtly associates in their mind, alive with thinking, and dead with non-
thinking. It also provides a time delay with the first question, which, kind of, forced them to
choose an object, (a « thing », and not a « being »).

« If you were thinking of something alive, that has a brain, change it into an object, a plant,
a mineral, etc.
« And vice versa, if you were thinking of something dead, that does not move, does not
think, change it into something « intelligent » between quotes.»

At the same time, I draw quotes in the air with my fingers.

« Please forget about the previous « thing » or « being ». »

This time, I say both (thing and being), like if they had the choice at the very beginning.

« If it is an object, change it into an animal or a plant »

« If it is alive, it can be male or female. Change the gender. »

This will not change anything.

« Again, forget about the previous thing or being, and focus on the new one. »

« Imagine this thing or being in its usual environment, in the street or in the nature, for

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instance. It has several parts, am I correct? Choose a part of it, that you like the most, that
makes you happy, or that brings positive energy. »

« Forget about all the other parts. »

« Now, zoom on this part. Zoom in and zoom in, until you see a tiny piece of this part.»

At the same time, I am doing a gesture with my hands in front of my eyes, like if I was
zooming with a camera.

« Can you see it? Keep an eye on it in your mind.»

All the gestures and words like « see » may influence the participant to select an eye, but as
you will see, it does not really matter. It may give you some indication with body signs.

Now comes the revelation. Before going into it, I briefly summarize.

« There is no way I can know which thing you have in mind. There are billions of objects,
animals, human beings, plants, minerals, insects, etc. on earth, right?
You should get a YES. Note that here I name more « things » than they were allowed at the
beginning. Now, say this slowly, and look at the spectator in their eyes:
« Please focus on it. In your mind, try to see it....listen to it.....touch it......taste it.... smell it.»
For each word, I point to my eyes, ear, fingers, mouth and nose.

You might be able to see a reaction for one of them. If YES, then it will give you some
additional information for the final revelation. Otherwise, do not worry.
« I can better see now. I see something that's alive. »
(You should get a reaction).

« It is symetrical, right? »
« It is a part of a body, am I correct? »
You should get a YES for both. If not, go to the outs section.

« I see a hole or something in it or around it. It is something you like a lot. »

(This will get some laughs or smiles, depending on your audience. Labour the point, or look
surprised with a smile on your face!)

Again, you should get a YES. They may have to think a little bit here, but it should hit. Re-
read the sentence: « I see a hole or something in it or around it. ». What you are saying
covers everything! And it flies smoothly, because of the joke.
Continue with:

« It has something to do with the skin. »

Again, you should get a YES. The skin covers almost all the body, about two square meters!

« I don't know why but I see the number « 5 ».

« Like if it was five fingers, or our five senses. »

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« It has something to do with our senses. »
If I have an intuition based on previous observations, it can be confirmed here. Show the
eyes, ear, fingers, mouth or nose. Otherwise, it is probably one of the fingers.
Depending on their reaction, If I have no clue, I take some business cards and two pens (to
prepare for the out).
Otherwise, I just take the plunge and say:
« Is it an eye, or a part of the eye? »
(or whatever part I think is the most plausible based on my previous findings).
The participant will agree or not. If I hit, that's great. Otherwise, I ask:
« What was it? »
As explained previously, I was always able to justify. Usually, I argue that they zoomed too
much, or not enough.

Second method: With the out.

In my pocket, I have a few business cards, and one of them is a UPS2 gimmick with a
reflective surface.
If I have to use the business card, I give a blank one with a pen to the spectator and say:
« Hold on to this for a second. I am going to commit myself first. »
I take the UPS2 business card, making sure I do not flash the mirror, and fake to write or
draw something on it. Then I put the pen and the other business cards back in my left
pocket, and just keep the UPS2 card face down in the palm of my right hand. I place the
card, near the thumb.

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« I have committed my impressions on this business card. Now write the thing you have in
mind, on your own business card. »
When the spectator has finished, I ask her to place the business card face up on her palm.
« We are going to keep our friends here (or the audience) in suspense! It may be something
you want to keep secret.»
I slowly lift up my card towards her, making sure nobody else looks at it,
(the right hand that lifts the card can cover 180° of it), and ask her:

« Can you just tell the audience for now, if YES or NO, this is close to the « thing » you
wrote on your card? »
She should say YES of course. I look at the audience and say:
« Quite amazing isn't it? I think it deserves some applause.»

I take my card, and hand her back her card. At the same time, I reach into my pocket, and
switch the UPS2 card with a blank card in the pocket.
I take the pen as well, and say.
« Let me sign my card as a souvenir. »
I secretly write or draw the « thing » along my main finger, and quickly sign my initials on
the card.
Instead of a sharpie or normal pen, I use a washable ink one (For instance, STAEDLER
Lumocolor, dry erase marker. You can also find other cheap ones in dollar stores). That way,
it will be easier to remove the writing after the performance.

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With the business card still in my hand, I tell the participant:

« Please keep this card. Everytime you'll look at it, I want you to remember the word you
see here. »
Point at the business card in your hand, at the same time showing the word or drawing you
just made on your main finger. The audience will think the word is on the business card.
Then, I hand her the business card.

You can also do some « brainwashing ».

Variation: The cleanup

« Now, look into my eyes. »

Suddenly snap your fingers.
« I want you to forget everything. Just remember the word, even if you can't see it
anymore. As you are smart, you'll remember it.»

or, if there is an audience:

« I want you to forget everything. Just remember the word, even if you can't see it anymore.
As everybody trusts you here, they won't need to see the word either. They have to trust you,
like I trust you'll remember ONLY the word that was written here. That's all they need to
know, right?»

Casually, show again the business card and the word on your finger, and hand the card to the
spectator, or put it in her jacket pocket.

« Whatever question your friends may ask, just tell them this is the word you saw right now
[Point your index at the word or drawing on your other hand]. You can swear it if they want!
But if they want you to swear, or if they want to see this business card, now, this will be a
good way for you to know who trusts you or not!»

Later on, if somebody in the audience wants to see the card, they won't have a clue or will
be confused, as nothing is written on it.

For the participant, you guessed most of his thought during the performance, and at the end,
you made a gag and asked her to be your « smart » partner. You also gave her a way to
detect who trusts her or not among the audience.

Try it, it is really a fun routine that people will remember and enjoy. As already mentionned,
you do not have to use the out.

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 APPENDIX
The UPS2 GIMMICK

This is basically a mirror glued at the back of a business card or a playing card. Instead of a
mirror, I use a piece of mylar sheet or similar reflective material (metallised Polyester,
aluminium, etc.). You have plenty of options here : A foil blanket will allow you to make
hundreds and hundreds of gimmicks for just 1 or 2 dollars.
You can also use the packaging used around some biscuits or candies. (I get them for free
with coffee in some bars or restaurants).

Just glue it on a card, or a business card, index card, etc. and cleanly cut around it. Make
sure no glue or mylar is seen on the sides.

Here are the back and front of two gimmicks made on playing cards. One with the mirror on
the back (with a Joker on the face), and one with the mirror on the face. Do this also on your
business cards, on beer mats. You can do it on paper towels used in the restaurants or coffe
shops where you are performing. It can be done at the last minute...Just go to the toilets and

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prepare your gimmick with some local coasters, napkins or else. All you need is a glue stick.

You can do many more effects with this dumb idea. It can be used as a gag, or as a safety
net. You can also use it to provide some misdirection in some of your existing effects. I
know it is bold, and simple. But it is a powerful, practical and portable tool you can add to
your arsenal for improvising anytime, anywhere.

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Thank you for your continued support.

Keep in touch
magicgerry06@gmail.com
http://www.untouchedmagic.com
Some ebooks available on lybrary.com

copyright Gerard ZITTA 2014

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