JUAN PABLO IBANEZ

7 would like to express my special thanks to Federico Ludueha

for inspiring me in the creation of these routines

-Juan Pablo Ibanez


C Copyright 2019 Vcrnct Magic, Juan Pablo Ibanez
Printed in Argentina
ISBN: 978-987-47316-1 -6
Written by: German Dabat & Michel
Cover design: Adriano Zanetti
Drawings: Damian Rizo
f INDEX t
PROLOGUE
CHAPTER I: THE BEGINNING
Introduction ......................................................................................................... 2
Effect ......................................................................................................................2
Origins....................................................................................................................4
Basic principle...................................................................................................... 6
CHAPTER II: THE THREE STEPS
—
Any card at any number.................
IJ
Book test............................................
vJ’
Lie detector.......................................
i*
A crumpled paper ball....................
'S i
CHAPTER III: THE FIRST STEP 19
Eciuivoaue............................... 50
«
Only one question........
Double tequila..............
rj
rr. sc r-
Thought of card............
ri
Double card to number
n
CHAPTER IV: TRIPLE TEQUILA
CHAPTER V: TWO LIE, TWO TELL THE TRUTH
Even more inbalanccd................................................
Even more inbalanccd with thought of card........
CHAPTER VI: MISCELLANY
Five drinks.................................
o c:
Die...... ......................................
Wristwatch............................................................................................. 42
 BODY MENTALISM - JUAN PABLO IBANEZ

I PROLOGUE*
It gives me great joy to write the prologue of this work. 1 have
known Juan Pablo Ibanez for about 40 years, and 1 can affirm
with certainty that artistically and professionally, he has been
the most successful Magician 1 have seen, in an uninterrupted
way during ALL that time. I do not know an Artist of our genre
more effective than him. Hiring Juan Pablo Ibanez, is knowing
that success is assured.

I here is only one thing that an Artist is not allowed: boredom.

And this is completely clear to Juan Pablo, with whom endless
laughs, entertainment and amazement are guaranteed, all
simultaneously.

I have huge admiration for him, not only because he is the most
successful professional in South America, performing at private
parties, corporate shows, theater and television, but also because he
is one of the most creative and prolific magicians in the world. Do
not think I exaggerate, Juan Pablo’s mind is inexhaustible and ALL
of his creations are brilliant. I have witnessed the creation and
evolution of his incredible magic tricks and routines dozens of
times His enthusiasm is unique. I know because I always receive
lus calls in which he tells me about new ideas, and after the
conversation is over, he will always call again five minutes later
with modifications, one better than the other, and always joyful
because of these new ideas.
 BODY MENTALISM - JUAN PABLO IBANEZ

But above all, he is an EXTRAORDINARY human being.

You have a magnificent work in your hands, with a collection of

marvelous mentalism routines, all of them being very powerful,
practical and extremely adaptable, and for which you will only
need some spectators and practically no items. All of these ideas
have been tested dozens of times, and have proven to be highly
effective for lay audiences or magicians.

“Body Mentalism” is a real gem!

CHAPTER I
Michel, June 2019
BEGINNING

II
 BODY MENTAUSM - JUAN PABLO IBANEZ
t INTRODUCTION 1
“Body Mentalism” is a practical and very versatile mentalism
routine that has great impact on people. It can be performed
anywhere, any time. There is no set up required and works
perfect for Close Up, Parlor or Stage Magic. Almost no items
are necessary and it can be performed with 2 to 7 participants.
The principles applied are versatile and allow you to perform
a single effect or a lengthy routine with various effects of
increasing impact. Being so practical and versatile, “Body
Mentalism” is an ideal tool, both for the amateur and for the
professional Magician.
EFFECT
Five spectators go on stage and the Mentalist gives an object to
one of them. While the Mentalist has his back turned, the
spectators randomly pass the object on among themselves until
one of them hides it inside his pocket. Now the Mentalist
concentrates and tries to discover who is hiding the object.
Finally, the performer starts “discarding” spectators until only
one of them is left on stage, the one who is hiding the object.
This is the basic effect and its method is so versatile that it can
be presented in endless ways.
2 3
BODY MENTALISM - JUAN PABLO IBANEZ
HERE ARE SOME EXAMPLES
• The spectators can pass the object on after they are being
“discarded”.
• It can be presented as a “Lie detector” routine. The spectators
can tell the truth or lie, or even change roles (“honest” or “liar”)
but the Mentalist always finds out where the object is and
reveals the role chosen by each spectator.
• Even though the mentalist does not know how many changes
of the object’s position were made, any spectator may hide the
object, but who has it can always be discovered.
• If the object used is a deck of cards, an incredible prediction
can be made, name a card they have thought of or perform an
“Any Card at Any Number” Routine.
• A book might be used, ending the routine with a “Book Test”.
• A wristwatch can be used and as a climax, a selected time can
be guessed.
• Other options are to use drinking glasses containing different
drinks or to discover the location of five different chess pieces.
• The object may be a crumpled paper ball with the description
of the last spectator remaining on stage, written inside.
The possibilities are endless!
 BODY MENTALISM - JUAN PABLO IBANEZ
ORIGINS
Most of the following routines use the old “parity principle”.
Jack Yates published a version (“Match Miracle”, Minds in
Close Up, 1954) of "Mathematical 3 card monte" by Bob
Hummer, but changed the method used by applying the “parity
principle”. In this effect, four matchsticks were arranged in a
row facing the same direction. A spectator chose one and placed
it facing the opposite side (fig. 1). The Magician then turned his
back and asked for the position of the matches in the row to be
changed. Then, still facing away, he asked to discard matches
until only the chosen one remained on the table.
FIGURE 1
An old principle was used to achieve this effect: you just had
to notice if the chosen match's position in the row was odd or
even. Let's suppose it was at an even position. The Magician had
his back turned and asked a spectator to exchange the chosen
match's position with one that was next to it. He could ask for
this to be done many more times. If the amount of times this was
BODY MENTALISM - JUAN PABLO IBANEZ
done were even, the match would still be at an even position.
I herefore, he could ask the spectator to discard any of the ones
at an odd position because none of them was the chosen match,
to then continue discarding matches until the spectator's chosen
one was the only on left.
When this principle is used, it is fundamental to know the
amount of exchanges done by the spectator. Mel Stover
published a very interesting strategy (New Phoenix, #340,
1957). Various drinking glasses were used, one of them
containing some ice cubes. The Magician turned his back and
asked the spectators to pour the ice cubes into any of the
contiguous glasses. Thanks to the sound made, he could count
how many changes of the ice cubes position had occurred and if
the ice cubes were in a glass at an odd or even position.
Harry Lorayne, John Fisher, Tony Griffith, Karl Fulves,
Banachek, Paul Curry and Woody Aragon, among others,
published other outstanding versions using this principle.
Most of these ideas work great for Close Up Magic. Tony
Griffith effectively came up with the idea to adapt it to be
performed on a stage, w'ith his version called “Person Move”
(“Tony Griffith’s Fantastic Routines” and “Creative Magic
Lecture Notes”) where he, instead of objects, used spectators
who interchanged their positions in the row.
Using these ideas, Paul Green published an excellent
v ariation where the spectators passed on a gift, which ended
up in the hands of the birthday person (“This Gift’s for you”,
Syzygy, #53).
5
 BOAT MENTJ1IJ5M - JU«H PftttLD IBHHEZ RHEY MEHTA!15NT JJAM PADLB ISANEZ

The brilliant Magician Juan Esteban Varela a da pled ill as

principle so the routine could be performed without using arty
objects, but with a lot of audience participation. All the
spectators pass on an imaginary ring front finger 10 linger., and
the Magician finally guesses on which finger the ring is. This
and olhtL fabulous routines are included in bis DVD "Zero
Elements77 {Verner Magic).
Kart is, the great Argentine Magician, came up with many
versions of this routine. Juan Pablo Ibanez learned these
^ersioflS fniil it became rhe starting point in developing tlie
fantastic routines iliac follow.
BASIC PRINCIPLE
STEP 1 Five spectators walk on stage, an object is given to one of
them and ihe Magician explains that when he says so. the
spectator who has the object must pass it to any of the spectators
standing next to him.
a
FIGURE?
g
JL.
Jell lhem to pass the object once. Make a pause to gkc them
enough time to do so, and then ask them to pass it on once again.
Repeat the indication foe a third time and finally request for a
fourth change. Now ask the spectator holding the object to hide
it in his pocket.
As the object started being held by a spectator standing in an
even position, and ii was passed on an even number of times, it
will sliii be held by one of the spectators standing in an even
position (because when two even numbers uni added logethei
i he result remains even). Therefore, the object will be held either
Ij\ spectator ^2 or spectator £4 {Hr. 3)r

They are asked to pass the object on several limes to verify that
they understood the instructions: but for the principle to work,
the object must start being held by a spectator standing in an
even position (spectator t?2 or-4). Now the Magician will stand
facing the audience with the five participating spectators FIGURE 3
standing behind him (fi",.2). Ask the audience to control that ihe
five volunteers actions' are carried out correct! y.
 BODY MENTALISM - JUAN PABLO IBANEZ
STEP 2 Now the Magician states that the two spectators standing
at both ends (spectators #1 and #5) do not have the object with
them and asks them to return to their seats. Again, as the
Magician's back is turned, he requests for the object to be
passed on one more time to someone standing right next to
whom is holding it. As one of the spectators standing at the
ends was holding the object, it will end up being held by the
spectator standing in the middle (fig. 4).
I'M?
FIGURE 4
4 new “change”, unlike the Magician who, because of facing away
STEP 3 The Magician points out that the spectators now standing
at both ends (#2 and #4) are not holding the object.
Finally, he reveals that spectator #3 is the one holding the hidden
object and asks him to show it to everyone.
OBSERVATIONS
If we use the following mathematical rules:
8 9
BODY MENTALISM - JUAN PABLO IBANEZ
Odd number + odd number = even number
Odd number + even number = odd number
Even number + odd number - odd number
I his will allow us to start with the object being held by any
person. The Magician can ask them to pass on the object and
stop doing so whenever they want. Before turning his back, the
Magician should only notice if the object's starting position is
odd or even.
Therefore, he will request the necessary amount of changes so
that the object ends in an even position, in order to start the
routine. If before starting the actual routine the object is at an
odd position, the Magician will have to ask an odd number of
times for it to be passed on so it ends at an even position (odd +
odd = even).
During the routine, you could even ask a spectator from the
audience to shout out “change”, for the spectators on stage to
pass on the object. The advantage is that the audience spectators
can see when the object is being passed on and then ask for a
from the actions, has to ask if the participating spectators have
already made the change to be able to request that they do it
again.
What you should do is simply count the amount of changes
requested and add the initial position, thus knowing the final
position is odd or even. If you still haven't reached the desired
position, an extra change can be required.
This method can be easily adapted to be performed with 4, 6 or
7 spectators on stage.
 CHAPTER II
THE THREE
STEPS
 BODY MEHTALISM - JUAN PABLO IBANEZ
All the routines that follow carry out the three steps of the basic
principle; therefore, the object will always end up in the hands
of the spectator standing in the middle.
This method also works as a wonderful way to force a spectator.
If we previously find out some information about this person, we
will be able to perform incredible effects.
Getting this information before the show is simple; while
chatting with the person who hired you, you can ask about their
children, or about his wife, for example, or find out other facts
as name and age of a certain spectator.
Now you are ready to perform any of these incredible effects:
It ANY CARD AT ANY NUMBER t
Before the show starts, find out the age of a certain spectator (he
or she has to be under 52).
For the routine, ask someone to pick any card from a deck.
Control the card to a position that matches the age previously
inquired. If the age is 22 for example, control the card to
position 22 from the top.
Ask five volunteers to help you on stage, including the
spectator whose age you found out. Make this person stand in
the middle of the row. The object will be a deck of cards
inside its case.
12
BODY MENTALISM - JUAN PABLO IBANEZ
(io ahead with the three steps of the basic principle. The deck of
cards will end up being held by the 22-year-old spectator,
standing in the middle of the line.
Ask the other four volunteers about their ages. Then ask the
spectator holding the deck to tell his age by counting cards from
the top of the deck and showing everyone the card placed in the
position that matches his age. It is the selected card!
You can adapt this by using the spectator's name instead of his
age, and control the card in the position that matches the amount
of letters, thus revealing the card by spelling the name. If his
name is Philip for example, control the card sixth from top.
ft BOOK TESTt
Find out the age of a spectator before the show starts.
From any book, which can be borrowed, remember the first lines
from the page that matches his age.
Make five spectators step on stage, including the one whose age
you have found out, making this person stand in the middle of
the row.
By using the basic principle, this spectator will end up holding
the book. Ask the others about their age. Then ask the spectator
with the book to open it at the page that matches his age (without
13
 BODY MENTALISM - JUAN PABLO IBANEZ
saying his age/page aloud) and to mentally read the first lines of
this page to himself.
Now you can guess what he is reading.
Another option is to write down those lines as a prediction.
You can patter by saying: “Who has ever lent a hook which was
never given hack, and then passed on to other people, and no
one ever admits having it ? Well, there is a way to detect who has
it and recover the hook".
VARIATION MICHEL
You can ask the spectator to open the book on the page that
matches his age and then, by spelling his name, read the line that
matches the amount of letters. Therefore, if Philip were 22 years
old for example, he would read the sixth line from page 22.
DUE DETECTORt
Thanks to the Parity Principle, one knows, in many cases, who
does not hold the object. For instance, after step 1 we know that
the spectators (#1, #3 and #5) standing in an odd position do not
hold the object (figure 3).
A baffling way to perform this is to say that you will ask
questions but with the following indication: the person holding
the object has to always lie when he answers and the rest have to
respond truthfully.
BODY MENTALISM - JUAN PABLO IBANEZ
Now, as if you were using a “lie detector”, you will ask each of
the five spectators if they are holding the object.
What they answer is irrelevant. You will still use the basic
principle and in the first phase, you will “discard” the two
spectators standing at both ends.
Now you will continue with step 2. To baffle them even more,
you can now indicate that if they want they can change their
roles and either lie or tell the truth.
I his is not a problem because what they answer is irrelevant.
f inally, go ahead with step 3, and after asking some questions,
reveal who is holding the object.
I his variation can be applied to the basic principle as well as the
Book Test” or to the “Any Card to Any Number” presentation.
GERMAN DABAT
tA CRUMPLED PAPER BALL*
Before the show, write on a piece of paper, “The person who will
finally hold this crumpled paper hall will he..." and complete
the phrase by physically describing a certain spectator. It is
convenient to choose someone who’s appearance is in a way
different to the others, for example a bald person or someone
who uses eyeglasses. Crumple the piece of paper into a ball. You
will use it as your object. Make five spectators step on stage,
including the described person, whom you will stand in the
middle (fig. 5).
15
 BODY MENTALISM - JUAN PABLO IBANEZ BODY MENTALISM - JUAN PABLO IBANEZ

Use the basic principle and at the end, the spectator standing in
the middle will be holding the crumpled paper ball. Ask him to
read out loud what is written on the paper.

FIGURE 5

FIGURE 6
, ;>:$
..

-*

To avoid pre-show set ups, you can memorize the last two digits
of the serial number of a paper currency note, which you will
crumple into a ball. Then you ask for a borrowed bill of the same
value, and as you crumple this one, exchange it by your own bill.
At the end of the routine, you will use the two serial numbers to
perform the “Any Card at Any Number” or “Book Test” effects.
If you use the middle spectator force after discarding the
spectators from both ends, you will ask the remaining
participants to pass on the object once and then interchange the
positions where they are standing. The instructions seem to be
given at the same time, but you really wait until they pass on the
object once. The middle spectator will certainly have the object,
and then you ask them to interchange their positions. This is
unimportant as long as you remember the appearance of the
middle spectator (fig. 6).
JL
Sometimes if you ask a person about the age ot another spectator,
it is possible he answers one year more or one year less than his
real age. In the case of the Any Card at Any Number routine, if
his real age is one year less, you should count until you match his
age and flip over the following card. If he is one year older, you
should transfer a card from bottom to top of the deck before you
count. For the Book Test routine, it might be convenient to know
what is written, both in the previous and in the following pages
of the page that matches his age. Then, by observing which page
he is looking at, you will know if it is an odd or even page and if
the age that you were told this person was, is correct.

IS 17
 CHAPTER III
THE FIRST
STEP
 BODY MENTALISM - JUAN PABLO IBANEZ BODY MENTAUSM - JUAN PABLO IBANEZ

All the following routines use only the first step of the basic
principle, therefore, the object will always end being held by
spectators #2 or #4 (the ones in an even position. Fig 3.) From
this point onwards, there are many possibilities for your
presentation:
ft EQUIVOQUE*
This idea is based on Max Maven 's “Kurotsuke”. The object that
you will use has to be a small one, so that the spectators can hide
it inside their closed hands (fig. 7). After having done step 1 of
the basic principle, the Mentalist turns his back, points at
spectator #2 and asks him to open his hand. Two situations might
occur:
• The spectator has the object: the routine ends. You could
successfully guess who was hiding the object.
t ONLY ONE QUESTION!
After carrying out step 1 of the basic principle, ask the spectator
who has the object to answer by telling the truth and ask the
others to answer with a lie. Ask various questions to different
spectators. The answers you will get to all of these questions
have no importance at all, but help to conceal the important
question. You'll then ask a key question, which will let you
know who is holding the object:
As you point at spectator #2, you ask spectator #1: “Is he
telling the truth? If the answer is “no”, then spectator #2 has
the object. If the answer is “yes”, then spectator #4 is holding
the object (fig. 8).

• The spectator does not have the object: without any pause, you
ask spectators #1, #3 and #5 to open their hands. None of them
will be holding the object. You finally ask spectator #4 to show
everybody the object he was hiding.
FIGURE 8

m
\ ^

in <» FIGURE 7 H
I " Jl Jl M
20
 BODY MENTALISM - JUAN PABLO IBANEZ
You should then ask some other questions in order to conceal the
importance of the key question you just made, because now you
know who holds the object (apart from knowing which role this
spectator is playing: “honest”).
OBSERVATIONS
When the key question is made, you can for example point at
spectator #4 and ask spectator #5. What is important is to point
at a spectator standing in an even position as you make the
question to one standing in an odd position.
For the Lie Detector routine, as soon as you know who is
holding the object, you may tell the spectators that they may
change his role (“honest” or “liar”) and start lying or telling the
truth. For the Magician this is unimportant because you already
know who has the object.
Once you know who holds the object you can make a question to
a spectator from the audience. This person can lie or tell the
truth. The Magician already knows the correct answer, so he will
know if this person is lying or not and the role he chose can be
guessed.
VARIATION
After step 1 of the basic principle has been completed, you can
let each spectator choose any role. They can choose to be
“honest” or “liars”, but will have to keep their chosen role
throughout the routine.
22
BODY MENTALISM - JUAN PABLO IBANEZ
You then ask each spectator if he has the object. You will have to
pay attention to what the spectators standing at the odd position
answer: who answers by saying “yes”, is a “liar”. It is convenient
to ask this spectator the key question pointing at a spectator in an
even position. As happens in “Only One Question”, with the
answer you get you will know who has the object.
There is a slight possibility that spectators #1, #3 and #5 decide
to answer by telling the truth. In this case, you will continue as
in the “Lie Detector” (pag. 14).
t DOUBLE TEQUILA t
This idea is based on Mark Eldson's “Tequila Hustler”. We
highly recommend you buy this booklet, as it describes in detail
this technique and includes very interesting variants.
You tell the spectators that each one will have to choose a role:
“honest” or “liar”.
They will have to keep the chosen role throughout the routine.
The ones who choose to be “liars” will have to lie each time they
answer a question, and those who choose the “honest” role will
always have to answer telling the truth. After going through step
1 of the basic principle, ask the spectators to interchange
positions among themselves in the row. This is not important as
long as you remember the faces of the two spectators who
started standing in an even position (fig. 9).
 BODY MENTALISM - JUAN PABLO IBANEZ BODY MENTALISM - JUAN PABLO IBANEZ

Turn your back again and say that if they want to, they can make
one change of position within the row.

Now turn to face them again, and ask each one if that change was
made. Remember what the spectator who started standing in
position #2 answers. Now simply take his two answers as true
and you will know who is holding the object.

EXAMPLE 1
FIGURE 9 Mentalist: -“Do you have the object?”
Spectator #2: -“No”
Mental ist: -“Have you changed positions?”
Spectator #2: -“No”
Spectator #4 has the object.

EXAMPLE 2
Mentalist: -“Do you have the object?”
Spectator #2: -“Yes”
Mentalist: -“Have you changed positions?”
Spectator #2: -“No” I
Spectator #2 has the object.

Ask each spectator if he has the object. Remember what the EXAMPLE 3
spectator who started standing in position #2 answers. “Discard” Mentalist: -“Do you have the object?”
the three participants who started standing in an odd position Spectator #2: -“No”
(spectators #1, #3 and #5), saying that they are not hiding the Mentalist: -“Have you changed positions?”
Spectator #2: -“Yes” I
object. You can also reveal what role each one chose to play. The
ones who's answer was “no”, are “honest” and those who Spectator #2 has the object.
answered “yes” are “liars”.

24 25
 BODY MENTALISM - JUAN PABLO IBANEZ
EXAMPLE 4:
Mentalist: -“Do you have the object?”
Spectator #2: -“Yes”
Mentalist: -“Have you changed positions?”
Spectator #2: -“Yes”
Spectator #4 has the object.
OBSERVATIONS
Instead of always paying attention and remembering what the
spectator who started standing in position #2 answers, you can
remember what spectator who started standing in position #4
answers, as long as it is one of the spectators who started
standing in an even position.
tTHOUGHT OF CARD*
Ask a spectator to write the value number and suit of a playing card
on a piece of paper, make him show it to everyone and ask him to
crumple it into a ball. This will be the object to be passed on.
Perform step 1 of the basic principle. Now, using the “Lie
Detector" method, you can know who is hiding the object (he is
also the “liar”). To know what card it is, ask various questions
like “Is it a red card?”, “Is it a court card?” etc. You will always
have to pay attention to what the “odd” spectators answer
because they are the ones telling the truth. Just in case, ask the
same question to various “honest” spectators in order to confirm
it, because they should answer the same thing.
26
BODY MENTALISM - JUAN PABLO IBANEZ
As you make the questions, always alternate, asking one question to
an “honest” spectator, followed by a question to a “liar”, so you get
two different answers. This way, you ask for the card’s suit and the
card's value number. Then ask another “honest” spectator for the
suit and to another, for the value number of the card.
You can reveal who holds the crumple paper ball and finally the
card that they thought of.
Other options: ask for a freely chosen card to be put upside down in
the deck of cards, or to choose any card and fold it in four, or to
write down a lottery number.
VARIATION MICHEL
Start by giving a spectator an Invisible Deck. You then secretly find
out what was his thought of card and show that you had previously
placed one card upside down in the deck. Precisely the card they
had thought of.
* DOUBLE CARD TO HUMBER t
Before the show, find out the ages of two spectators. The result of
adding these two numbers should be close to 52. For example, if we
add the ages 22 and 27, we get 49.
From a deck of cards take out 3 cards so you are left with 49 cards.
Ask them to freely select a card and control it twenty second
from top.
Make five spectators walk on stage and be sure to place both
 BODY MENTALISM - JUAN PABLO IBANEZ

spectators, whom you know their ages, in the even positions in

the row.
Perform step 1 of the basic principle. Use any of the methods
described to know which of the “even” spectator has the object
(the deck of cards).
Ask him his age, make him count out the amount of cards that
matches his age and tell him to show the selected card.
If the 22-year-old is the one who ends up holding the deck, make
him count 22 from the top. If it is the 27-year-old the one
holding the deck, make him count 27 from the bottom. CHAPTER IV

OBSERVATIONS CHAPTER III

TRIPLE
If the five spectators happen to be standing quite apart from each
TEQUILA
other, after completing step 1 of the basic principle, you will
notice that most people in the audience will be staring either to
your right or to your left. It is very likely that they are looking at
where the object is, held be one of the “even” participating
spectators (fig. 10).
 BODY MEHTALISM - JUAN PABLO IBANEZ
This idea is based on “Double Tequila".What is interesting is
that it is not necessary to go through step I of the basic principle.
Any participating spectator can hold the object (the Parity
Principle is not applied).
Three spectators walk on stage. Ask them to choose a role
(“honest” or “liar”) and to keep it until the end. While you are
facing the other way, they will pass on an object, until one hides
it inside his pocket.
Ask each spectator if he has the object with him. Remember
what the middle spectator answers.
Once again facing the other way, tell them that they are allowed
to pass on the object once, making it very clear that they can
only hand it to a spectator standing next to whoever is holding
the object.
Facing them, ask each one if this change was done or not.
Remember what the middle spectator answers.
If both answers given by this spectator are different, he has the
object.
EXAMPLE:
Mentalist: -“Do you have the object?”
Middle spectator: -“Yes”
Mentalist:-“Did you change the object’s position?”
Middle spectator: -“No”
The middle spectator is the one who has the object.
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BODY MENTALISM - JUAN PABLO IBANEZ
But if both answers given by the middle spectator are the same,
it is one of the spectators at one of the ends who has the object.
EXAMPLE
Mentalist: -“Do you have the object?”
Middle spectator: -“Yes”
Mentalist:-“Did you change the object’s position?”
Middle spectator: -“Yes”
One of the spectators standing at one of the ends of the line
has the object with him.
In this case, turn your back, and ask them to change the object's
position once more, passing it on to a spectator standing next to
whom is holding it. As it was someone standing at an end who had
the object, now it will be the middle spectator who will have it.
Now you can ask each spectator if he has the object. If someone
at an end of the row says “no”, then he is telling the truth, and if
he answers saying “yes”, then he is lying. If the middle spectator
answers saying “yes”, he is telling the truth. On the other hand,
if he says he does not have the object with him, he is lying.
That way you can guess the role chosen by each participating
spectator and w ho has the object.
OBSERVATIONS CHAPTER IV
You can perform this routine with five spectator instead of three.
For this, you will have to go through step I of the basic principle
and then “discard” the two spectators standing at both ends.
Then proceed w ith “Triple Tequila”.
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 BODY 4
-JUAN PABLO IBANEZ

The object will end up being held by the middle spectator;

therefore, knowing his name or his age, you can perform, for
instance. Any Card at Any Number or the Book Test from
Chapter II.

The object can also be a freely selected card. That way, as soon
as you now the roles played by each spectator, by asking a few
questions you will find out which is the chosen card (see “Lie
detector” pag. 14).

CHAPTER V
TWO LIE, TWO
TELL THE TRUTH

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 BODY MENTALISM - JUAN PABLO IBANEZ
f EVEN MORE IMBALANCED!
This is an idea based on Atlas Brookings' “Imbalanced” (“The
Intrepid Rogue's Manual of Deception”).
Four spectators walk on stage. One of them, anyone, hides the
object. You now tell them that two of them will have to lie and
the other two tell the truth. Ask them to agree with each other
about the roles they will choose without letting you know. For
this, as you are facing away, two of them can have their thumbs
up (they will be “honest”) and the other two have their thumbs
down (they will be “liars”) (fig. 11).
FIGURE 11
It you ask each one if he has the object, there are only two
possibilities:
• Three of them answer “yes” and one answers “no”.
• One spectator answers “yes” and the other three answer “no”.
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BODY MENTALISM - JUAN PABLO IBANEZ
Therefore, we will only ask three spectators if they are holding
the object, because we will be able to deduce what the fourth
spectator would answer, since we will always get three repeated
answers, and a different answer from one spectator.
EXAMPLE 1
Two spectators says “no” and one says “yes”. The fourth one
would say “no”.
EXAMPLE 2
Three spectators says “no”. The fourth one would say “yes”.
About the spectator who answered or would have answered
differently from the other three (it could be the one to whom you
did not ask anything) you can draw three conclusions:
1) He does not have the object
2) If his answer is “yes”, he is lying; and if his answer is “no”,
he is telling the truth
3) He is playing the same role as the spectator who has the object
If the person who gave the different answer is telling the truth,
you simply must ask him “who has the object?” That way you
will have all the information you need: the person who has the
object is also telling the truth and the other two are lying.
If the person who gave the different answer is lying, you will
have to ask each of the other spectators if the one who answered
differently has the object. Only one of them will say “yes”. That
one is the other “liar” and is the one who has the object with him.
You must ask questions before and after the key questions to
cover the fact that these key questions are the ones that really
matter to you.
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 BODY MENTALISM - JUAN PABLO IBANEZ
OBSERVATIONS
In case the person of the different answer is lying, and the “liar”
who has the object made a mistake, you would have three
negative answers. What you could do is ask each one of the three
persons “who has the object?” The majority will point at the
person who has it. Usually two persons will point at the same
person (these two spectators are telling the truth).
You can perform this same routine with five spectators. Three
will have to choose one role and the other two, the other role. As
you ask each one if he has the object, you might get two
situations: having the same answer from three of them and the
other two answering the contrary; or having four of them
answering the same and the other one answering the contrary. To
the minority who answered the contrary, apply the same three
deductions as the previous routine and continue exactly as in
that variant.
This can also be easily adapted to be performed with six
spectators on stage, using the same principle.
tEVEH MORE IMBALANCEDt
WITH A THOUGHT OF CARD
Four spectators walk on stage. You tell them that two of them
w'ill have to lie and the other two tell the truth. Ask them to
decide who will play each role without letting you know.
3G
BODY MENTALISM - JUAN PABLO IBANEZ
Of a deck of cards offer to freely choose one. Ask everyone to
remember the card and then ask for it to be hidden in one of the
spectator's pockets.
You must ask each participant if he has the card. You only have
to ask three spectators. The fourth answer w ill be deduced (using
the same method as in the previous variant). Thanks to the three
conclusions drawn, you will know' what role the spectator with
the different answer plays. Ask this spectator what the card color
is. If he is playing the “honest” role, remember what color he
answered.
If he is a “liar”, remember the opposite color, contrary to what
he answered.
Using the same method applied in the previous variant, it is
necessary to ask the key questions in order to know what roles
each spectator is playing and who has the card.
Now' you will have to ask about the suit and card value number
to three of the spectators, of which two have to be “liars” and
one has to be “honest”. That way you will get three different
answers. You only have to remember what the “honest”
spectator answers.
Finally, you can say that you know who is hiding the card, the
roles each spectator played and name the selected card.
37
 CHAPTER VI
MISCELLANY

39
 BODY MENTALISM - JUAN PABLO IBANEZ
(FIVE DRINKS)
Instead of interchanging spectators’ positions in the row, you
can use five different drinks that will be interchanged by them.
Place the drinks in a row and memorize their position.
For example, Lemonade, Wine, Coca Cola, Beer and a Martini
(fig. 12).
n FIGURE 12
Explain that when you say so and as you are facing away, they
will interchange the glass of wine with any of the drinks next to
it, and that you will try to discard every drink, except the glass
of wine.
Go through step 1 of the basic principle. Then tell the spectator
to take the one on the left end, which you know is the Lemonade,
and to enjoy his drink. Ask the same to be done with the drink on
the right end (Martini).
Proceed with step 2 of the basic principle. Now tell the spectator
to take the drink on the left, which is the Coca Cola, and to enjoy
his drink.
Ask them to make one more change and then ask them to take
the Beer on the left end, and enjoy the drink.
BODY MENTALISM - JUAN PABLO IBANEZ
Turn around, take the glass of wine, and have your drink.
You have to memorize the position of the drinks. Although it
does not look like, as the basic principle is applied, the position
of the Lemonade, the Coca Cola, the Beer and the Martini will
stay the same. The only drink that will change its position is the
glass of wine.
You can also memorize to whom each drink belongs and ask
each “drink owner” to have and enjoy his.
VARIATION MICHEL
Another possible presentation is to have cold drinks, except one,
which will be a hot drink. One more variant is for the spectator
to be someone who does not drink alcohol. That way you can
play with him having to drink every non-alcoholic drink, except
for the glass of wine.
VARIATION GERMAN DABAT
Use five different chess pieces. Four will be black (a rook, a
bishop, a pawn and the king for example) and one will be white
(a knight for example) (fig. 13).
FIGURE 13
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 BODY MENTALISM - JUAN PABLO IBANEZ BODY MENTALISM - JUAN PABLO IBANEZ

Using the basic principle, you can ask for the pieces' positions crown at the side of the watch case out so you can adjust the
to be interchanged and you will end up locating the position of time. Start turning the crown and showing the watch face and
the white piece. a stop at several times so everyone can see that you are adjusting
the time (fig. 14).
Moreover, using the same method as in “Five Drinks” you can
guess the position of each piece. For this, you only have to
memorize the initial position of each piece.
FIGURE 14
If you want to improvise, you can use pieces of paper and draw
the chess pieces on them.

You could patter about the great chess masters who are able to
know the moves that his opponent will make.
Ask a spectator to turn the crown without looking and to stop
whenever he wants. Look at what time it was set and secretly
push the crown inside, turn the watch so it is now facing
ftDIEft downwards and keep turning the crown, now the time is not
being adjusted (fig. 15).
Using various goblets or dice cups and a die, you can ask for the
die's position to be changed.

Use the basic principle to guess the die's position. Finally, if you FIGURE 15
use an electronic die as ProMystic's “Multi Dimensional”, you
can also guess which side is facing up. i

MICHEL

f wristwatch! Give the watch to the spectator. He will turn the crown until he
decides to stop. Now you pretend you push the crown inside.
The object can be your wristwatch or even a borrowed one (it is Proceed with the basic principle. After guessing who was hiding
important that it is analog, with a winding crown). Pull the the watch you can guess at what time it was set.

43
 JUAN PABLO IBANEZ

t
MENTALISM
‘Body Mentalism" is a collection of more than 16 extraordinary
mentalism routines, using only spectators and almost no
elements. All these ideas are very7 powerful, practical and
extremely versatile.

You can perform these routines for 20 people or a full theatre of

500 hundred seats.

The principles are very versatile, they allow you to perform one
effect or a routine of several phases with an in-crescendo. You
can perform these routines anywhere and anytime.

There are more than 16 routines: “ACAAN”, “Book test ’, “Lie

detector" and many more!

"Body Mentalism" is the ideal tool for the amateur and the
professional!

Juan Pablo Ibaflez is known as one of the busiest

magicians on corporate and private events in
Latin America and has one of the most creative
minds in the world. He's the creator of
best-sellers, like “Roped”, “Cash Flow”,
“BLUFF”, “'fom Card Evolution”, and now-
presents, after 5 years of study and development:
“Body Mentalism”.
w

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