These notes are dedicated to my wife Michelle

for putting up with my obsession for all thing mental.

And to my son Jake

for being my son.

2
 The Corporate Mentalist
A full corporate presentation in your pocket.

Written Edited and Produced

by
Scott Creasey

Web: www.scottcreasey.com
Email: esp@scottcreasey.com

Copyright © 2010, ESProductions. All rights, including all commercial manufacturing, marketing and
distribution rights for the material contained within this publication are reserved. No part of this publication
may be reproduced, stored in a retrieval system or transmitted in any form or by any means: electronic,
electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise, without permission in writing
from the Author.

3
 INTRODUCTION

To date (2010) I have, since Edinburgh in 2004, lectured at 49 societies across the UK
and Europe, which averages out at just over 8 per year in a six year period, I have
driven, flown and humped boxes of stuff, onto trains and planes, travelling thousands of
miles in order to get to towns and cities as far apart as Aberdeen to Southampton and
Madrid to Malaga.

My first lecture ‘Escape the Restraints of Reality’ covered general magic, Mentalism
and Escapology (incidentally handcuffs, straitjackets and padlocks x-ray really well in
your hand luggage). The second lecture ‘Mental(magic)ism’ dealt with all things mental,
from mental magic to psychic entertainment and readings.

This lecture (or teach in if your prefer) is a change from the usual show a trick then
explain it format I have used up until now, it is in fact my corporate lecture, performed,
explained and laid down in print.

This presentation is a reality, it was honed and perfected on various corporate sales
decks within the cut throat world of the time share industry which is still thriving on the
Costa el Sol, it has also been presented at a number of other corporate events in the
UK and is a commercial no nonsense talk/lecture/presentation aimed at the
professional corporate market.

You will find no fancy props, no scantily clad assistants and no finger flinging, there are
no pipe dreams and no pie in the sky unworkable ideas. All you will find here is a solid
30 – 45 minute performance of mentaism which I have used for the last couple of years
to entertain inform and empower corporate audiences.

Better still, it fits in your pocket.

Don’t let the previous statement mislead you because when I originally pitched this
presentation to one of the biggest time share companies on the coast, I first performed
it for 6 sales managers sat at a boardroom table, then two months later after multiple
performances in between, I did exactly the same thing again for the 60 sales reps these
managers control.

It can be played big or small as the situation demands

Before we get to the effects and methods etc. I think it would beneficial if you read the
how and why of its evolution. You can of course skip this bit if you want to jump
straight to the meat, but believe me you will probably miss some of the psychological
points which will help if you ever decide to present this act yourself.

So on we go.

4
Background.
In February 2008 my wife, son and I moved to Southern Spain in search of a more laid
back life style.

The summer season on the Costa del Sol begins officially in May when the coast starts
to fill up with tourists. In the first couple of months after arriving I visited many bars,
hotels, cabaret clubs and Restaurants along the coast in order to sell my stand up
mentalism act. It was relatively easy and from the 2nd of June 2008 straight through up
to and including the 30th December 2008, I worked three nights a week in three
different venues as a Mind Reader and Psychic Entertainer.

Even as the credit crunch started to take hold, life was good. However the winter on
the Costa del Sol is probably something you have not experienced unless like me, your
mother has lived here for almost 20 years.

The place becomes quiet (and yes, cold and wet), many bars, restaurants and other
entertainment venues close for the winter and most entertainers go into hibernation
until the summer season starts again.

It was during this quiet period (winter 2008/2009) I thought I would try to kill three birds
with one stone, so to speak. I wanted to experience some quality training in marketing
techniques, research possible outlets for a corporate presentation I had in mind and
earn some extra winter cash while I was doing it.

I applied to an American run time share company, which just happens to be the second
biggest and one of the longest running companies on this coast, I was accepted and
thrown straight in at the deep end.

What came next was three weeks intensive training in the science of selling followed by
just over two and an half months selling on one of the busiest sales decks in Andalucía.

So what did I learn and what does this have to do with the performance of what is
essentially a stand up mind reading act? Well let me tell you.

1. Time Share is now marketed as vacation ownership.

2. For the last ten years it has been strictly legislated
3. It has the backing of some of the biggest high street banks in the world
4. The Marriot, Hilton Groups and Disney World offer time share options
5. It is massive, trusted and has received next to no bad press in the USA
6. It is a huge growth industry even during a credit crunch

OK so that sounds like I am trying to sell you time share, but these are the sorts of
things you need to know if you want to sell a corporate lecture to a target market. The
next points may seem a bit more relevant.

5
 1. The guy who gave me my training was the best salesmen I have ever met.
2. The psychology involved in the sales techniques was absolutely fascinating.
3. I learned more about reading people in 3 weeks training than in the previous 20
years studying reading techniques published for the magic market.
4. The most successful people I worked with on the sales floor studied hard to be
the best.
5. The same people were positive thinking go getters many of whom travelled
extensively; they also tended to be very competitive.
6. As professional story tellers none of them are easily fooled.
7. All of them want to gain more knowledge about anything that could help them
close more deals.

And the most important thing I learned relates to point number 7.

The management will pay (and often pay well) for a lecture, teach in, training
technique, motivational speaker or anything else which will empower their sales team
and allow them to perform more efficiently and increase profits.

As it happens my 30 years experience as a performer paid off and I did fairly well as a
vacation club (time share) sales man. But performing as a mind reader and psychic
entertainer is what rocks my boat and so as the summer season started I handed in my
notice and began hitting the bars again.

It seems however the credit crunch was keeping the tourists away, two of the clubs I
had worked previously were closed down and the others cut their entertainment
budgets which meant that gigs during the early part of the summer of 2009 were thin on
the ground.

Before I started my training in sales, I already had the outline of this presentation in my
mind but the three months actually working as a time share sales rep allowed me to
fine tune the whole thing and add the finishing touches in order to produce something I
thought would suit that sort of market.

With gigs thin on the ground, lateral thinking came into play (which the need to eat
tends to cause) and so I found myself standing at the head of a board room table
performing and outlining the benefits of my lecture, to the MD and 6 sales managers
who previously had been my bosses.

And the rest as they say ‘Is History’.

So let’s get on with the presentation itself and later we will talk about patter, persona,
dress mental attitude and back of room sales etc.

6
THE LECTURE

(There is no patter included within the following description but it will be discussed at
length later)

The performer steps out in front of his audience carrying nothing more than an A4 pad
and marker pen. After his introductory remarks he uncaps the pen opens the pad and
unseen by the audience writes something in large characters on the first page. This he
removes folds up and seals in an envelope (taken from his pocket) which is handed to
an audience member for safe keeping.

A second member of the audience is asked to join the performer on the platform to
participate in a demonstration of non verbal communication.

The performer then introduces a pack of number flash cards 1 - 50 and displays them
to the audience and volunteer. The single digits 1 – 9 are openly removed and
pocketed until later, the remaining 40 cards are then given a thorough mix.

The onstage volunteer looks at and remembers any of the numbers (10 – 50), then
using the premise of body language and non verbal communication the performer
slowly reveals the number she is thinking of.

This first demonstration it is explained was just a warm up in order for the performer to
get an insight into the volunteer’s body language. Another number is noted and
remembered by the volunteer (unseen by the performer) who is then handed a stop
watch. The performer takes up the pad and pen and turns to a clean page, addressing
the volunteer he explains he is about to attempt to break one of his own records and
asks her to keep repeating the number she is thinking of over and over silently.

After a moment of concentration, the performer tells the volunteer to start the stop
watch, at the same time he begins to write frantically on the pad. After a number of
seconds the performer shouts stop at which point the volunteer stops the watch and
calls out the number of seconds that have elapsed.

The performer excitedly explains that he has actually broken his own record by 6
seconds (or so) and turns the pad to reveal that he has written out 16 random numbers
arranged to form a 4 x 4 grid. Obviously at this point the audience seems less than
enthusiastic, somewhat confused and very sceptical.

Sensing this, the performer asks the onstage volunteer to look over the16 numbers and
confirm if her number appears anywhere on the grid.

It doesn’t and so the performer goes onto explain that not only has he written out 16
numbers in the form of a 4 x 4 grid, he did it without including the number merely being
thought of by the onstage volunteer and he did all this whilst shaving an impressive 6
seconds off his original record.

7
Once again the audience is less than impressed, so the volunteer is asked to reveal for
the very first time the number she is merely thinking of. Let’s say for arguments sake
the number called out is 39. This number the performer writes in a circle underneath
the 4 x 4 grid.

He then explains that actually the grid of numbers was formed by utilizing non verbal
communications and advanced memory techniques, which were then combined with
rapid calculation techniques whilst attempting (successfully) to break his own record.

He then proceeds to openly add together the four numbers which make up the first
vertical column of the grid, these of course total the volunteer’s number 39, the second,
third and fourth vertical columns are given the same treatment each adding up to 39.

He then moves on to the first horizontal row of the grid which once again adds up to the
total 39, the second third and forth rows also total 39, but so do the two diagonal lines
of numbers, so do the four corner numbers and it is also seen that any block of four
numbers will add up to the volunteers total of 39 which was chosen at random and
which she was merely thinking of as the grid was being constructed. The on stage
volunteer is then given a round of applause as she returns to her seat.

After the applause subsides, the performer while shuffling the pack of number cards
approaches three more members of the audience and asks each to look at and
remember a number.

The three audience members with numbers in their minds are asked to stand and look
at the performer while repeating their numbers silently to themselves. Once again the
performer uses the premise of body language and after a few moments calls out three,
two digit numbers, he then instructs the standing audience members to sit down if they
heard their number called. Of course all three members sit at the same time.

At this point the performer turns his attention to the person who was given the sealed
envelope at the start (remember), and the three people who just sat down are once
again instructed to stand. The volunteer with the envelope is asked to look at the three
standing audience members and name one of them (free choice). Once the choice has
been made the other two audience members are asked to sit. The remaining one is
asked to remind everybody the number they were thinking of. Once the audience know
what number he had, the envelope is opened and its contents dumped out into the
hands of the volunteer who opens the folded paper and shows it to the rest of the
audience. Of course on the folded sheet of paper is the same number called out by the
freely chosen audience member.

At this point the performer discusses the plausibility of predicting an outcome of events
when working within set parameters and offers to prove again that it can be done.

A prominent member of the audience is invited up onto the stage and it can be seen he
is carrying another envelope. The performer explains the envelope was handed to the
volunteer some days ago, was signed and dated by the volunteer at the time and has
been in his possession untouched by anyone else since that time. The volunteer
confirms all these details as correct.

8
The nine single digit number cards which were removed from the original fifty at the
start of the show are now reintroduced from the performers pocket and mixed. The
volunteer on stage is asked to nominate three members of the audience to participate
in the final experiment, and these people are dealt three cards each from the mixed pile
of nine, with instructions not to look at which numbers they have, but to mix them face
down.

The performer then returns to the stage, takes up his pad and pen, then points to one
of the audience members holding three number cards, asks him to choose one at
random from his face down pile and call out what the number is.

This randomly selected number the performer writes openly on his pad in the upper left
corner. The second person with cards is asked to choose one at random and this
number is written to the right of the first number, the same procedure is followed with
the third person whose chosen number is written to the right of the other two.

The performer explains this random selection procedure has created a three digit
number, a number produced in a manner which nobody had any control over.

All three audience members are then asked to look at their remaining cards,
consciously decide on one and to call the number they have chosen out loud.

The performer once again writes these numbers, from left to right, under the first set to
create a second three digit number. This number, the performer explains was selected
consciously by the three volunteers themselves.

The numbers on the remaining cards are then called out and written as another three
digit number under the previous two. This number of course the performer explains
has been created by default.

At this stage he draws a line under the three, three digit numbers and adds them
together to create a total which is written under the line. The mathematical calculations
are carried out openly with the assistance of the audience.

Finally the onstage volunteer is instructed to open the envelope that has been in his
possession since before the show, remove the folded sheet of paper from within, open
it and hold it up so the audience can see what is written on it.

There in very large writing is a number in the thousands which matches perfectly the
sum total of the three numbers chosen at random by the three audience members.

Applause.

The End

Everything you have just read is exactly as the audience perceives it; the only props
used are a pad of paper, a couple of envelopes, a marker pen and a single pack of
number cards 1 – 50. The whole presentation can be presented before the same

9
audience at a later date and all the outcomes will be different (which is exactly what I
did for a total of six months).

If at this point you are thinking ‘Yeah right! So how does showing some number
cards constitute a corporate lecture’ then jump to the Psychology section (page
23) before you read any further.

PROPS AND PREPARATION:

We will talk about the props first.

CARDS

You can use any number cards (1 -50) you wish I have written the numbers out on
business cards and index cards before now, however I suggest you buy a deck of
Piatnik 123 cards with blue backs and black numbers on the face. They are available
from most magic dealers for 6 pounds. These are the cards I use for the following
reasons. They handle like a standard deck of cards, you can (and should) call them
number flash cards used in schools and finally the numbers are highly visible even
when performing for very large audiences. (They also come in red backs but the
numbers are also red which are less visible at a distance).

The Piatnik decks are actually supplied with the numbers 0 – 52 and an extra card with
all the numbers printed on it. The 0, extra cards plus the numbers 51 and 52 are not
used during performance as it just doesn’t seem logical to me for a set of flash cards to
run from 0 – 52.

DO NOT take the pack of cards from your pocket in their original box when you perform
(you will see why when you buy a pack). In fact I don’t keep them in the box at all but
just wrap an elastic band round them.

Apart from the stacking of the cards (not a full deck stack and takes seconds) the only
preparation is to make a short card by taking the number one card and trimming a
couple of millimetres off one short end and then re-rounding the corners.

PAD and PEN

The pad is quite simply just that, a writing pad bought from a stationary store but it
should be spiral bound either at the top or along one long side it doesn’t really matter.
The size of the pad however is dictated by the size of your audience. For close up or a
small group you can use a pocket pad or reporters pad, for a medium audience an A4
pad, obviously if you have a very large audience the magic square effect and 3 x 3 digit
numbers for the final effect would need to be written on a flip chart which would require
a bit of memory work or a crib but nothing too taxing.

10
I once actually performed this act writing on clear acetates on an over head projector,
although I wouldn’t recommend it. The following explanation is written with the
performer utilizing an A4 pad during the presentation.

There is some preparation to the pad but it is simply a case of writing on a couple of
pages. The pen of course is dictated by the pad. You need what you write to be visible
so a large marker pen for a big pad and ball point or pencil for close up.

ENVELOPES

Once again the envelopes are dictated by the size of your audience and therefore the
size of the writing on the predictions they contain. The first prediction is real time and
written out on the pad you are using for the performance, so the envelope will need to
be big enough to allow you to easily insert a folded sheet of this paper and tip it out
easily at the required time. This envelope is gaffed (don’t panic, it is quick and easy).I
will explain it later.

The final prediction is handed to someone before the show (it could be posted a week
before) and so can be written out as large as you wish. I usually write it on a flip chart
page fold it up and seal it into an A4 envelope. This envelope is opened on stage by
the volunteer, contains only one prediction and therefore the envelope is not gaffed.

SET UP (Cards & Envelopes)

Basically the first number is forced so you need to decide which number you want to
use and remove it from the deck. The second number is also forced and is used for a
standard magic square. I use a basic magic square (explained later) so you can use
any number between 21 and 50 (in this case) but I tend to keep it in the 30’s 35, 36, 37
etc: you get the idea. Again remove this card from the deck. The three cards which are
chosen by three random audience members are also forced so again remove the ones
you want to use from the pack. Finally remove the numbers 1 – 9 and the zero and
extra cards. The Zero and extra cards including 51 and 52 can be discarded.

Lay your first force card used in the nonverbal communication opening face up on the
table, next goes your second force card the one you will use with the magic square.
Leave out the numbers 1 -9 and the other three force cards for now and shuffle the
remaining cards. Once well mixed place them face up on the two tabled force cards.

The three cards chosen and distributed to the audience are never in the pack so keep
them to one side for now.

The final phase of the act is the prediction effect using the numbers 1 – 9. This is
basically a matrix force which has been in print a number of times, however the way I
utilize the idea allows me to repeat the act to the same audience with a different
outcome.

Take the cards 1 – 9 and mix them well then deal them out in to three rows of three to
form 3 x 3 digit numbers which represent a mathematical sum. If it isn’t already there

11
switch the number one card (shortened) with the card in the top left corner of your sum,
the short card will always be in this position to start with. (See photo no 1).

Photo No 1:

Numbers 1 – 9 dealt out into three

rows of three. The number 1 which is
a short card is placed in the top left
corner of the 3 x 3 grid.

Now add the three, three digit numbers together and write the answer out on a large
piece of paper, this is your prediction so fold it up and seal it into a large envelope. You
can now either send this envelope to the event organiser with instructions to bring it to
the show or approach someone before you start, have them sign the envelope and
keep in with them until you call them to the stage.

You now need to put the 1 -9 cards in to order for the show. To do this you need to
collect them together in columns. Simply place the bottom card of each column face up
on the card above it then put these two cards face up onto the top card of each column,
now put the pile of three on the right face up onto the middle pile without disturbing
their order then these two piles face up on the pile of three on the left.

Basically what you have done is deal the cards out into three rows of three, then added
the sum together and collected the cards up into their columns. If you turn this pile face
down, the number one short card which was in the upper left corner of the 3 x 3 sum
will be on the top of the stack and the number card on the bottom will be the one which
was at the bottom right corner of the 3 x 3 sum. You are now able to give this stack
any number of straight cuts (or a charlier shuffle) and by cutting the short no 1 card
back to the top, you restore the order.

These cards are then returned to the rest of the pack by distributing them evenly but
without disrupting the order. (See photo no 2).

12
 Photo No 2:

Numbers 1 – 9 distributed throughout

the remainder of the pack retaining
their order.

During the performance they will be openly removed retaining the stacked order. This
serves a number of purposes. Firstly it draws attention to the fact that all the cards are
different and mixed without you saying so and secondly it shows the nine cards in a
seemingly random order.

Snap an elastic band round these cards until you need them.

The remaining three force cards in any order are in your left hand trouser pocket with
the numbers facing away from your body, you need to remember the values of the
force cards. Now we need to prepare a gaffed prediction envelope to use with these
force cards which actually offers you 3 outs.

The envelope is a Kismet envelope which is covered quite extensively in T.A. Waters
Mind, Myth and Magic and also in Ted Lesley’s ParaMiracles, however for the sake of
clarity it is an envelope divided inside into three separate compartments.

The size of the envelope you use depends on how big you want your prediction.
In photo no 3 you can see the envelope I use in close up, it is a pay envelope,
measures 11cm x 9cm and is self-adhesive. You will need to make two flaps to go
inside the envelope one shorter than the other and both shorter than the envelope
itself. You make these by trimming the address sides from two more envelopes.

Photo No: 3

A close up prediction envelope

shown here with the two inserts
removed.

For an A4 pad I use an end opening

DL size envelope which allows three
sheets of A4 of paper folded into
thirds to fit nicely without any
noticeable bulge.

13
With the flaps inserted (the shorter of the two closest to the address side of the
envelope), you can put a folded prediction (to match your force cards) one in each of
the separate compartments (remembering which is where) and easily access the one
you need by touch alone.

If you pick up the envelope peel open the flap and insert your fingers into the
compartment you need, you will find you can bow the envelope open with your other
hand and simply shake out the required prediction which, (subconsciously) in the mind
of the spectators proves there is nothing else in the envelope. I can honestly say that in
over twenty five years of performing, nobody has ever questioned the envelope when
using this method.

In performance however you will use this as a real time prediction so need only write
out two of the force numbers on two separate sheets of paper, (taken from the pad you
will use on stage) then fold and insert them into different compartments of the envelope
which you then keep somewhere accessible. (In my case the envelope is in my left
inside jacket pocket).

During performance the force number missing from the envelope is written on your pad,
openly removed, (without showing it) folded up and inserted into the empty
compartment of the envelope which is then sealed and handed to a member of the
audience.

So that’s the cards and envelopes before we set up the pad let’s discuss the Magic
Square.

THE MAGIC SQUARE

The automatic magic square I use is the most basic square shown below and here
contains the letters A,B,C and D as well as the numbers required. (See Fig: 4).

(Fig 4). The letters A, B, C and D represent the 11 8 A 2

squares in which the calculated numbers are added
during the standard magic square presentation,
B 1 12 7
However during this performance the magic square is
already drawn out and the number is forced which 4 C 6 9
means no real time calculation is required.

5 10 3 D

14
For those of you who don’t already know, here is the basic method for an automatic
magic square.

An automatic magic square is a square with 12 fixed numbers and only 4 numbers that
change with each performance (in this case A, B, C and D). The fixed numbers can be
memorized and you could draw the square out real time for example if you were using
a flip chart on a stand, but to make life easier when using an A4 pad and to allow me to
concentrate on presentation, I write out the completed square prior to performance and
leave out the lines of the grid.

Only 4 simple mathematical calculations are necessary to determine the 4 remaining

numbers. What follows are the calculations that can be used for any total above 21
(without having to result to zero or minus numbers).

The calculations are simple. Let’s say you want to complete a square for the target
number 39 as used in the performance description. You simply subtract 21 from your
target number in this case 39 and write the new number in position A, this then acts as
a visual clue for calculating the rest of the numbers.

A is 39 minus 21 = 18

Then

B is A plus 1 = 19
C is A plus 2 = 20
D is A plus 3 = 21

Take a look at Fig: 5 which is the completed magic square for the target number 39.

(Fig 5.)

The completed magic square for the target number 39 11 8 18 2

used in the performance description.

The numbers in bold are the calculated numbers. 19 1 12 7

See how many groups of four you can find that total 39, 4 20 6 9
starting with vertical, horizontal and diagonal lines.

5 10 3 21

15
THE PAD

Although not gaffed we set it up prior to performance for ease of handling. Open the
pad to the first page and write in big digits the number that is on the first card you are
going to force, this is the card on the top of the pack.

Turn to the next page and fill out your 4 x 4 grid as above calculating and filling in the
missing numbers so that your completed magic square equals the second force card
which lies second from the top of the pack. I leave out the grid lines as they really aren’t
needed.

(If you are utilizing a flip chart for a large audience you can forego this
preparation but will need to write out the magic square etc. real time).

Now close the pad. When you open it again during performance to write out your first
real time prediction, you will open it by flipping the back cover right over exposing what
appears to be the top blank page, it is however the back page and your pre-written
force number and magic square remain hidden until you need them.

That’s it you are ready for performance, the above preparations read long and
complicated but once you have grasped the setup it is literally a matter of a few
minutes to get ready.

The position you should be in is this. (What follows is the pocket management I use as
someone who performs in a suit)

 You have calculated, written out and sealed your large prediction into an
envelope which has either been sent to the person who booked you or is in your
brief case ready to be handed over on the night of the show.

 In your left inside jacket pocket is your Kismet envelope with two of three force
numbers written on separate sheets of paper (taken from the pad you will be
using) each in a separate compartment.

 In your left trouser pocket are the three force cards (matching the two numbers
in your kismet envelope and the one you will write out during performance), it
doesn’t matter which order they are in but they should be facing away from your
body.

 In your right jacket pocket is the shuffled deck of number cards with your first
force card on top, followed by your second force card (which matches your
magic square calculations). Distributed throughout the deck are the numbers 1 –
9 in the order they will be removed for the matrix force.

 The pad is closed with the first force number written on the first page followed by
the completed magic square on the second. A marker pen (and a spare just in
case) is in another jacket pocket.

16
  Finally and this is a matter of personal preference, in your right trouser pocket
you need a stopwatch so that you can be timed during the magic square
presentation. I tend to use the stopwatch on my mobile phone which I always
have with me anyway; however you can if you wish just get someone with a
second hand on their watch to time you.

PERFORMANCE

After stepping out in front of your audience and delivering your opening remarks, you
take up the pad and open it at the back by flipping the back cover right over (this is why
you use a spiral bound pad) you expose this blank page for a moment then turn it
towards yourself and write in large digits the force number that is missing from your
kismet envelope which matches one of the three force cards in you left trouser pocket.

You tear this sheet out, fold it up with the writing on the inside, remove your kismet
envelope from your inside left jacket pocket and slip the prediction into the remaining
empty compartment of the envelope which you then reseal and hand to someone at the
front of your audience for safe keeping. Do not close the pad yet, leave it open with the
next clean page exposed and put it on your table, a chair or even the floor.

A volunteer is invited on to the stage and the number deck is introduced from the right
jacket pocket. The elastic band is removed and the cards are spread explaining they
contain the numbers one to fifty and all the numbers in between which are mixed.

You now explain you will only be using 2 digit numbers to start with and run through the
deck face up out jogging the numbers 1 – 9 (see photo no 6). These cards are then
stripped from the deck without altering their order and place openly in the top pocket of
your jacket.

(Photo No 6:)

Out jogging and stripping the cards in this

way serves a few purposes, firstly it
keeps the numbers 1 – 9 in the correct
order for the matrix force, secondly It
displays them in a seemingly random
order, and finally, it displays the rest of
the deck as all different and well mixed.

17
Effect no: 1

You now false shuffle the cards retaining the top two force cards in place and force the
first card on your volunteer.

Note: I am assuming that if you intend to perform a corporate show you have the basic
ability to false shuffle a pack of cards and force one in a natural manner.

However for the sake of completeness, this is what I do, I simply injog shuffle the cards
which retains the top few in place and then Hofsinzer force the top card after the
shuffle, you could however do a full deck false shuffle and do a cross cut force, riffle
force or any other force which you are comfortable with and which leaves your second
force card in place on top of the deck.

Once your volunteer has remembered the number, you hand her the cards and ask her
to hold them between the palms of her hands. This ensures she won’t shuffle the cards
and frees up your hands to retrieve the pad and pen.

The pad should still be open at the back blank page and after some byplay, in this case
the nonverbal communication patter which will be discussed later, you write the force
number on the blank page, ask the volunteer to name the number she is thinking of and
then reveal that you got it correct by showing what you wrote.

As the applause subsides you close the pad and replace it on your table, chair or the
floor, turning it front cover up as you do so.

Effect no: 2

You now retrieve the cards from your volunteer false shuffle them again and force the
second of your force cards which matches your magic square total. Once the volunteer
has remembered her new number, you hand her the cards and ask her to shuffle them.

Note: This serves two purposes, firstly the shuffle will instil a false memory and most of
the audience will believe that she shuffled the cards between each choice. Secondly it
once again frees up your hands so that you can remove and set your stop watch ready
to be timed during the magic square presentation.

Once she has finished shuffling you take back the cards and put them in your left
trouser pocket with the faces of the cards away from your body, this adds the force
cards already there to the top of the deck. At the same time you hand her the stop
watch and explain to her how it works.

You now ask her to repeat her chosen number to herself silently as you pick up your
pad from the table. You open the pad (from the front this time) which exposes the first
number she chose and which the audience thinks you wrote out real time in the
previous effect. In actual fact that number is at the back of the pad and the number
they see is the duplicate you wrote out earlier, beneath this page is your completed
magic square the totals of which match the number she is now thinking of.

18
At this point you turn the pad towards yourself and flip the top sheet over to the back of
the pad which exposes the magic square, but only to you. Now you ask her to start the
stop watch as you pretend to frantically write out the numbers that make up the square.

After a suitable amount of time shout stop and ask her to call out how long it took.

If you follow the original act description you will now be congratulating yourself on
shaving an impressive six seconds off your original record etc. You then proceed to
ask her what number she was thinking of and you write this under the 4 x 4 grid of
numbers and then show how just about any combination of 4 numbers in the Magic
Square will add up to the number she was merely thinking of.

Note: I had never performed a magic square effect until I came up with this corporate
act as I always considered anything to do with maths boring. How wrong I was. I think
you may be as surprised as I was when you see the reaction a magic square can get.

Effect No: 3

The pad is now put aside and the stopwatch is retrieved from the volunteer who is
asked to return to her seat with a good round of applause. All the cards are once again
removed from the left trouser pocket with the three force cards on top of the deck,
these cards if you remember match the three predictions in your Kismit envelope held
by an audience member. You can if you wish (and I do) casually false shuffle the cards
as you approach the audience.

At this stage you force the three top cards on three different members of the audience.
How you do this is up to you, however I usually riffle force the three cards although you
could stick with the Hozinser force if you wish.

Once the cards have been forced noted and remembered, the deck is discarded in your
pocket.

You now have three members of the audience thinking of three different numbers.
these are of course are your force numbers and you know their values, you don’t
actually need to know who has which number as you are now going to do a sort of
tossed out deck presentation without tossing out the deck.

You ask the three people to stand and face you while repeating their numbers silently
to themselves. Once again using the premise of nonverbal communication you attempt
to divine which number each is thinking of.

After a while you call out the three force numbers and ask those people standing to sit
if they heard their number called. Of course they will all sit at the same time.

19
Effect No: 4

Remember your Kismet envelope handed to a member of the audience before you
even introduced the number cards? Now it comes into play. You approach the lady who
has been keeping the envelope and ask her to assist you in another experiment.
The three predictions in their separate compartments of the envelope of course match
the numbers that were remembered by the three randomly chosen volunteers in the
audience. But the audience of course is only aware of one prediction they saw you
write out and seal in the envelope at the start of the performance.

You now ask the three people who just sat down to once again stand. The lady with
the envelope is asked to look the three people over and decide on one who she names
or points to. Once she has made her decision the other two are asked to sit and the
chosen audience member reminds everybody of the number he or she was thinking of.

When you know what it is, you retrieve the envelope from its keeper open the flap,
insert your fingers into the compartment which contains the prediction that matches the
audience member’s number, and dump the appropriate folded sheet of paper into the
lady’s hands. She opens the prediction and holds it up so that the audience can see
your prediction matches the randomly chosen audience member’s number.

As she does this you pocket the envelope which leaves you clean.

Note: I carry a duplicate ungaffed envelope in my left inside jacket pocket and as she
opens the prediction I ditch the gaffed kismet envelope in the same pocket. I have
never yet had anybody ask to see the envelope but I will often, as the applause dies,
remove the ungaffed duplicate, drop a business card in, retrieve the prediction, put it
back into the envelope and hand it back to the lady with the comment that she should
hold on to it because one day it will be worth a fortune.

Effect No: 5

After a short discussion on your views about the possibilities of predicting the future
(discussed later) you invite the person who received the envelope you posted out a
week earlier (or handed over before the show) to join you on stage. You ask him to
show the sealed envelope to the audience and confirm he has had it since before the
show started, that he signed and dated it when he received it and that nobody else has
been near it. (This is all true).

Remember the cards no’s 1 – 9 you out jogged and stripped from the deck before you
started, you now remove them from your top jacket pocket and openly display them to
the audience (without disrupting their order), You point out they are mixed and then mix
them some more so that nobody knows which number is where. You can use any false
shuffle here; I prefer a Charlier shuffle because it simulates exactly how most people
would mix a small packet of cards, looks very sloppy and fair, but simply results in the
packet of nine cards receiving straight cuts. You can of course just give the cards a
few straight cuts and if you wish ask the volunteer on stage to do the same, the choice
is yours.

20
Because the cards have only been given a few straight cuts it is a simple matter to cut
the number 1 card which if you remember is shortened back to the top of the packet
which restores their order. Once done you take the top three cards and hand them to a
person on the left of the audience, the next three to someone near the centre and the
last three are given to someone on the right. You can have these people as close
together or as far apart as you wish, it really doesn’t matter.

These three people are told not to look at the random numbers they have received but
to continue mixing them face down as you return to the stage.

You now take up your pad and pen and turn to the audience.

Three people have been given three different cards each from a mixed packet of nine,
neither they nor the performer it seems know who has which. In this example let’s call
the volunteers A, B and C and say they have the following numbers. (This of course
can change from show to show).

A. 138
B. 276
C. 459

Volunteer A is asked to choose any of his three digits unseen. Once he has chosen
one it is shown to the audience and performer who then writes it in the top left corner of
his pad, let’s say he gives us the number 8. Volunteer B does the same and this
number is written to the right of the first number; let’s say he gives us the number 2.
Finally volunteer C gives us a number which is written to the right of the first two. Let’s
say he gives us the number 5. It is explained to the audience these numbers were
chosen unseen and therefore represent an unconscious choice.

We have just created a new random three digit number which looks like this and is
written at the top of the pad.

825

This procedure is repeated to produce a second three digit number but this time the
volunteers look at the two remaining numbers they hold and choose either, this, it is
explained represents a conscious choice. In this case let’s say the second three digit
number formed is 179 which is written under the first.

825
179

This leaves just one unused number remaining in each volunteers hand, so the final
three digit number would be 364, is formed by default and is written under the first two
as follows.

825
179
364 +

21
If you add a plus sign and a line under the numbers you can see it is now a
mathematical sum.

And if you add the numbers together you will get a total (on this occasion) of 1368
which of course will match the prediction in the envelope sent to, and held by your on
stage volunteer. All that remains is to ask the volunteer to open the prediction, unfold
the large sheet of paper and display it side by side with your mathematical calculation.

It really doesn’t matter in which order each volunteer gives you their numbers or what
three digit numbers are created because you are in reality adding up the columns and
those columns were added together long before you started the show and were forced
on the three volunteers using false shuffles and cuts.

Note: I have to say this is one of my favourite mentalism effects (and I don’t like maths)
I am always amazed at the response it gets but then it really does seem impossible, it
can be done close up and impromptu as well as on the largest stage but uses next to
no props.

END

So there you have it a 30 – 45 min corporate lecture utilizing nothing more than a deck
of number cards a couple of envelopes and a pad and pen.

Over the next few pages I am going to discuss psychology, scripting, dress code and
back of room sales and finally will give the full script of patter I use with this lecture.

PSYCHOLOGY

If you just jumped here after reading the description of the lecture you will now be
thinking (I hope),

Yeah right! So how does showing some number cards constitute a corporate
lecture, how does it entertain, inform, motivate and empower people?

And you would be right, but how does anybody stand up in front of us and motivate or
empower us. For example when I left the Royal Navy at the age of 22 I started work for
an insurance company in Birmingham. At the first sales seminar I attended we were
told Gareth Edwards professional Welsh Rugby player would be presenting a
motivational lecture.

At the time I thought, ‘how can what Gareth Edwards has to say help me sell
insurance’. But I was wrong; he had a lot to say about team work, training and focus, all
important requirements for success.

22
But Gareth Edwards even with his international reputation as a professional athlete was
at a disadvantage in comparison to those of you reading these notes. He wasn’t a
showman, he had no visual aids and his presentation was focused around motivation
for success as an athlete, quite simply it wasn’t that entertaining.

Physical health and fitness are of course vital for a healthy happy life but most of us
don’t aspire to be professional athletes, however in my experience the majority of
people (especially in the corporate world) would like:

 To have a better memory

 To know what people are thinking
 To be able to influence people
 To be stress free and relaxed
 To be more confident
 To be more focused

And these are the concepts you are selling using your lecture as the vehicle to get your
message across. This will become clearer in the script section of these notes, until
then what follows is a snippet taken from the script and included here as an example of
how the cards and numbers themselves, become unimportant and are just a tool used
to demonstrate the techniques utilized during the presentation.

*************
“What I have here is a pack of number flash cards used in schools to teach children to
count. Numbers are an internationally recognizable and easily understood medium
which we all use on a daily basis, so I thought it would be best to use something you
are all familiar with, but try to keep in mind the numbers are simply employed here as a
vehicle to demonstrate practical examples of advanced perception and persuasion
techniques”.
*************

So you see it’s the techniques used, not the props or presentation itself you are selling.

If I marketed this presentation as a magic show (which I could) I would probably

manage to get booked to work the Christmas parties associated with my target
audience. I might land a couple of private parties off the back of the main performance,
but to be honest I would be limiting (in this instance) the commercial opportunities
available within the corporate (particularly sales) environment.

As someone who makes a living as a full time performer my attitude probably tends to
differ from those who perform just for pleasure. I need to make any act I do commercial
and ensure that it appeals to my target audience. Once I have the act together and
have rehearsed it to as close to perfection as is possible, I search for any extra
financial spin offs I can incorporate.

If I pitch this presentation as an entertaining demonstration of advanced psychological

techniques which can be taught and that once learned can enhance the performance of
any work force, I open up a lot of opportunities for spin off lectures and training days,

23
on subjects such as stress management through self-hypnosis and mnemonic memory
techniques.

With this idea in mind it is important to do your research and know what you are talking
about and this brings us onto:

SCRIPTING:

In your pitch to a prospective client, or the patter you use during performance or any
spin off lectures, shows or talks you may negotiate, it is important to have at least a
rudimentary knowledge of what you are talking about. If you tell people you are
interpreting their body language you should be able to demonstrate a working
knowledge of the basics during the lecture or when asked. If you talk about memory
techniques then make sure you can, at the drop of a hat, perform a standard (and real)
big memory test and if you talk about hypnosis make sure you have studied the
subject.

For example the basic magic square is easy to do, so learn it and when asked to
demonstrate it again, do it real time, you will be surprised how impressed people are
even when you don’t read their mind to find out the target number.

I will be honest and say I don't think for one minute the Managing Director I pitched this
presentation to thought it was anything more than a clever and entertaining way to get
across a message about positive thinking, visualisation and mnemonics etc.

I had no intention of insulting his intelligence by trying to convince him otherwise, he is

after all an American salesman at the top of his field with over 40 years of experience
under his belt, however both he and his head trainer could see the possibility of
motivating their staff and convincing them of the benefits of utilizing some of the
techniques (allegedly) involved.

You will notice in the description of the presentation and the script that follows at the
end of these notes that I never mention the words act, show, magic, magician, illusion,
trick, silk, sleight of hand, woofle dust or abracadabra, instead I talk about lectures,
demonstrations, presentations, nonverbal communication, psychology, mnemonics,
waking hypnosis and intuition. I personally believe that everybody has some true
psychic ability but in this environment I only ever use the term ‘advanced levels of
intuition’.

The fact is perception is everything. If the people you are pitching this act to perceive
you as just a magician you will be treated as an entertainer, someone to be booked for
that office party, if however they perceive you as an entertaining speaker who is well
versed in the field of sleight of mind, you will be treated as a professional with skills that
they want to learn.

However if you can’t teach them for real then don’t pitch the extra’s

With perception is everything in mind, let’s talk about:

24
DRESS CODE:

It has been said a thousand times before but I’ll say it again. What you are selling when
you approach a client is not your performance, it is you. If they don’t like YOU, you will
never be booked; you need to speak the same language as the people you are pitching
to. If you go for a job interview it pays to research the company you want to work for, if
you intend to pitch your lecture to a target corporate market you will stand a much
better chance if you are singing from the same hymn sheet and can tell them what you
can do for them. First appearances count and unfortunately people DO judge a book by
its cover, so it should go without saying that if you turn up in the office of the MD for a
large sales company wearing a shiny jacket, playing card tie and a rabbit in a hat lapel
badge, you will not be taken seriously.

Wear the best business suit you can afford for both your meetings and performances,
stick to conservative shirts and ties, you don’t have to be boring but try to look like an
expert in the field of corporate entertainment and training, make sure your shoes are
clean, you are well groomed, stand up straight and speak with confidence.

Remember ‘Perception is Everything’

If you are able to convince your target market that you have more to offer than just a
one off presentation, you will be perceived as a valuable asset which can lead to spin
offs and to be honest the spin offs are often more financially rewarding than the lecture
itself.

These spin offs are often termed:

BACK OF ROOM SALES:

The concept of back of room sales has been covered fairly extensively in much of the
mentalism and psychic entertainment literature that is available and I am surprised that
more general magicians don’t take advantage of the added income these sales can
generate.

If like me you do a lot of Psychic entertainment shows, then you are probably (like me)
selling tarot/palm/numerology readings afterwards, if you are a kid’s magician you are
missing out if you’re not selling magic sets with your own picture on after the show. If
you are a close up magician doing house parties you could create a lot of extra income
by selling booklets of basic card effects written by you, the possibilities are endless.

When I perform this corporate lecture I use it as a vehicle to sell mnemonic memory
technique training courses, stress related relaxation courses and a basic introduction to
perception and persuasion techniques.

But because the whole presentation is based around numbers I also talk about
numerology (the lines I have left out of the script that follows) and offer (for a fee) to
give short readings based on peoples dates of birth. I then sell my ‘You and Your

25
Lucky Numbers’ introduction to numerology pitch book to anybody who wants to learn
more.

I also provide (at an extra cost per person) a spiral bound book of notes which covers
the basics of all the techniques I (apparently) use during my performance. I wrote the
notes myself and the techniques explained are tried and tested. However they are
nothing new, they are widely available for you to research on the internet, you will
however need to put the time in to whittle out what will be relevant to your target
market.

These notes are offered as part of the package I pitch to the prospective client, he tells
me how many copies he wants (one per trainee) and I produce the required number. At
10 euros a head if I have 20 people on a training day, I can make a quick 200 euros on
top of my fee.

If you have bought these notes then you are probably aware that I sell a PDF file
of the teaching notes I sell to a corporate audience, the cover of the notes is left
blank so you can add your own personal details and pitch the notes as your own.

If you don’t have that file then please contact me via email and I will be happy to
sell you a set in ebook format. (esp@scottcreasey.com)

If you don’t think magicians can utilize back of room sales, then take a leaf out of the
books of David Copperfield and Lance Burton, the merchandising of programmes, hats,
tee-shirts, mugs and branded magic tricks after their stage shows probably doubles
their income.

So that brings us on to:

PATTER:

What follows is my script for this presentation. I wasn’t going to give you a script at all
and had intended just to outline a few ideas but I think by giving you the entire thing
you will get an insight into my thinking and the impact this lecture holds for a corporate
audience. I have however left out a number of my favourite lines which I know for
certain won’t work for you and before I give you the script I’d like to make this plea.

PLEASE, PLEASE, don’t use this script word for word if you decide to perform this
presentation. These are my words which suit me, I have no doubt they will seem
strained and unnatural if you use them verbatim and to be quite honest any half
intelligent corporate audience will spot that a mile away.

THE SCRIPT:

Ladies and Gentleman, my name is Scott Creasey and I am a sleight of mind artist!

So what is one of them I hear you think well let me try to explain?

26
What I attempt to do during these lectures is take nonverbal communications,
subliminal influence, observational steering, advanced memory systems, rapid
calculation and a bit of waking hypnosis, which are the technical terms for sleight of
mind, and combine those with a highly developed intuition and big dollop of
showmanship, in order to demonstrate practical examples of advanced Perception and
Persuasion techniques.

However to do what I do I need human minds and that is where you come in, I need
you to answer questions when I ask them and concentrate when I need you to.

Because of that I will make a promise to you all, I promise I will not embarrass anybody
or make anybody look like a fool except myself which I‟m afraid to say happens more
often than not because this is not an exact science, quite simply it doesn‟t always work.

The demonstrations you are about to see are the culmination of over twenty years of
study and practice, almost everything you are about to witness can be taught, all be it
at a slightly less advanced level, and can improve not only your business technique but
your life in general.

I will make no promises however, because although you have been provided with
extensive notes that cover the basics of the systems that I use on a daily basis, you will
have to put the work in to reap the rewards.

So let‟s begin with a demonstration of nonverbal communication.

At this point I close my eyes for a few seconds, pick up my pad and write out the
2 digit prediction number, seal it in the kismet envelope and hand to a lady at the
front.

Sorry I was a little distracted then. You know when you have a flash of intuition
something just pops into your head yeah, that‟s one of the techniques I use in my daily
life, you see intuition is like a muscle the more you use it the stronger it gets and I have
just flexed my intuitive muscle and written down something that just popped into my
mind. We may come back to it later.

Anyway where were we? Oh yes nonverbal communication.

Hi what‟s your name (Carol) Carol would you come up and help me with a couple of
experiments please; Give her a big round of applause.

Scientists tell us that only 10% of our communication is verbal the rest it seems is
nonverbal and includes facial expression, body language, eye motion and even smell,
we use nonverbal communication every day of our lives but very few of us consciously
study and understand what other people are saying to us nonverbally. For example the
guy in the front row there is leaning back in his chair with not only his arms folded but
his legs crossed at the ankles, this is a very closed, non-responsive posture which
literally means in this environment, go ahead prove it to me.

27
However the lady over there is leaning forward with her chin supported between her
forefinger and thumb, this is an „I am very interested tell me more posture‟.

You see what I mean? So Carol will you help me out with an experiment?

As I say these words I take the deck of number cards from my pocket and
remove the elastic band.

Good! Carol what I have here is a pack of number flash cards used in schools to teach
children to count. Numbers are an internationally recognizable and easily understood
medium which we all use on a daily basis so I thought it would be best to use
something you are all familiar with, however try to keep in mind the numbers are
simply employed here as a vehicle to demonstrate practical examples of advanced
perception and persuasion techniques.

They run from 1 to 50 with all the numbers in between. OK first things first, we‟ll take
out the numbers 1 – 9 for now as I want to work with two digit numbers to start with,
we‟ll use the numbers 1 – 9 later.

Let‟s give these a mix and then as I run through them I would like you to touch one,
don‟t take it out just touch one. Good, take a look at it and remember it. Got it good
take the cards and hold them between the palms of your hands and keep saying the
number silently to yourself for a few seconds.

OK Carol this is a two digit number so I would like you to focus on the last digit if you
can, and face the audience. I‟d like everybody out there to see if you can spot the
nonverbal signals that Carol will give off while I am talking.

Carol the last digit of your number could be even or odd, yes? Big nod on odd so we
know the last digit is odd, which means it is 1, 3, 5, 7, or 9 yes? Interesting there was
no raised eyebrows or confusion at all which there would have been if Carol‟s last digit
had been a zero which of course I didn‟t mention.

Carol I‟m going to call out the numbers 13579 and while I do I want you to concentrate
on that last digit.

1,3,5,7,9 good, not a 1 or she would have jumped straight away, she had however
relaxed by the time I got to 7 so we had already passed it so she is either thinking of a
3 or 5, I say again a three or a five.

OK I think I‟ve got it so I‟ll write what I think it is here.

OK Carol concentrate on the first digit, we‟ll do it differently this time, the first digit of
course can only be 1,2,3,4 or 5 because the numbers only go up to number 50 actually
if you think about it, this digit can only be 1 – 4 because we have already established
that the last digit is not a zero so the highest we can go is 49. I am going to ask you to
count from 1 – 4 out loud, can you do that now please. Good now the same again only
backwards.

28
Excellent there was much more emphasis on the numbers 123 but number 4 was
understated as if subconsciously you were trying to make it go unnoticed. I have written
the number I think you were concentrating on here.

At this point I have written out the two digit number and turn my pad so the
audience (but not Carol) can see what I have written.

Carol please call out the two digit number you are thinking of. (Carol calls out 45).

That‟s what I got please give her a big round of applause.

Carol will you stay with me for a bit longer.

What you have just witnessed is a demonstration of how it is possible, by being

consciously aware of nonverbal signals to get an insight into what a person has on their
mind at any particular time and I am sure you would agree that in a sales environment
for example that would be a valuable skill to cultivate.

OK let‟s take it a stage further. Carol I‟ll give the cards another mix and ask you to do
the same as before, just touch one as I run through, don‟t take it out just touch one.
Good, now remember that number keep it in your mind and give the cards another
good mix while silently repeating your number to yourself.

What I have here is my mobile phone which I am going to switch to the stopwatch
facility because Carol is going to time me while I attempt to break a record I set for
myself some time ago. Carol, give me the cards, we don‟t need them anymore just as
long as you remember your number. Let me show you how the stop watch works, this
is how you start it and this is how you stop it. Understand.

Right concentrate on your number and look straight at me. Visualise the last digit as I
count. 1,2,3,4,5,6,7,8,9 and 0, good now the first digit 1,2,3,4,5, excellent now when I
say go start the stop watch, when I say stop then stop. Ready?

Go ………….

Here I have taken up the pad and pen and am pretending to frantically write out
the magic square. (If you are doing this on a flip chart here is where real memory
techniques come in to play as you will need to fill out the relevant numbers real
time)

Stop….....

How many seconds was that, 35, excellent I have shaved 6 seconds off my own
record, thank you very much ladies and gentlemen.

Right correct me if I am wrong but I am picking up nonverbal signals from you that
indicate to me that you are all a bit underwhelmed by me breaking my own record.

29
Let me show you what I have done, I have actually written out 16 numbers to form a 4 x
4 grid and I did it while shaving 6 seconds off my own record, thank you.

Still not impressed? Carol take a look at these 16 numbers, does the number you are
thinking of appear anywhere. NO.

Ladies and gentlemen, not only have I written out 16 numbers to form a 4 x 4 grid and
not only did I shave 6 seconds off my original record, I did it while avoiding the number
Carol is merely thinking of. Thankyou.

Still not impressed, tough group here Carol. OK tell everybody what number you are
thinking of, 39, OK I‟ll write that number here.

Now look if I add the first column together, we get 39, the second column 39, the third
column 39 and the fourth column 39. Save the applause, look if I add this row together
we get 39, same with the second row, third row and fourth row. No stop it please save
the applause. Look if I add the diagonals together we get 39, these four 39, these four
39 and these four corners 39.

In fact within this sixteen number 4 x 4 grid there are 39 combinations of 4 groups of
numbers which when added together total the number that Carol was merely thinking of
which was 39.

So not only have I written out a 4 x 4 grid which consists of 16 numbers while avoiding
the number Carol was merely thinking of, I have also combined nonverbal
communication with advanced memory techniques and rapid calculation in order
produce 39 combinations of 4 numbers which when added together equal 39 the
number that Carol was merely thinking of and I did it while shaving an impressive 6
seconds from my original record.

Ladies and gentlemen, thank you very much.

Carol thank you very much for helping out and will you all please give her a huge round
of applause as she returns to her seat.

At this point I remove the cards from my left trouser pocket with the additional
force cards added to the top of the deck and false shuffling the deck I approach
the audience.

Ok we are going to take this a stage further. It is ok doing this with one person but I am
often asked can it be done with multiple targets? Let‟s give it a go shall we. I am going
to ask three people to choose 3 numbers at random, when you see a number please
say it to yourself a few time silently to make sure you remember it.

Here I riffle force the top three cards one at a time on three random audience
members.

30
So let‟s try to take the technique of nonverbal communication a stage further using
multiple targets.

Please focus on a point between my eyes and concentrate on the last digit of your
number. This digit could be odd it could be even, it could be odd it could be even. It
could be 1,2,3,4,5,6,7,8,9 or even a zero, it could be 1,2,3,4,5,6,7,8,9, or even zero.

Good now shift you concentration to the first digit of your number.

This digit could be odd it could be even, it could be odd it could be even. It could be
1,2,3,4 or 5, it could be 1,2,3,4 or 5.

Good, ok I have three two digit numbers in my mind, they are 15, 27 and 42, if I got
your number would you please sit down..

Thank you very much. Now the three people who just sat down would you please
stand again just for a moment and please don‟t forget your numbers because we are
going to try an experiment in observational steering.

I now approach the lady in the audience who has the kismet envelope given to
her at the beginning of the performance.

Can I ask your name please, (Jenny) Jenny nice to meet you. Earlier in a flash of
inspiration I wrote something on a sheet of paper sealed it in an envelope and handed
it to you for safe keeping. Would you consider yourself as someone who is quite
independent, someone who knows their own mind? Yes then do you think it would be
possible for me to easily influence what you would consider to be a free choice? No
then let‟s give it a go.

Please look at the three people who are standing up, each of them has a number in
mind.

Jenny, I am thinking of one of these three people, and I want you to choose the one I
am thinking of. Obviously there are three of them and the obvious choice would be the
one in the middle, or do you think that would be too obvious? Maybe being a woman
yourself you will choose the only woman of the three, but then maybe you think I
planned it that way! The gentleman on the end is wearing a bright red jumper maybe I
think you are very visually orientated and that is the way you will go.

(Obviously these comments will change according to the three people who are
standing up).

The choice is yours Jenny, please don‟t let what I have said influence you … much.

Now Jenny I want you to look these three over and then in your own mind decide on
one, don‟t let me influence you in any way, I want you to be sure the choice is your
own.

Got one, yes, good, please point to the person you think I am thinking of. Excellent
would the other two please sit down.

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Jenny you are correct that is exactly who I was thinking of, please give Jenny a round
of applause.

Very half-hearted applause, it‟s almost as if they don‟t believe you got it right, Sir would
you please remind everybody of the number you are thinking of (27) Jenny hand me
the envelope I gave you earlier, I don‟t want to touch it myself so will you take the sheet
of paper I sealed in the envelope, unfold it and show it to the audience. The number 27
thank you.

No please hold your applause, think about this, three people chosen at random
thinking of three different numbers once again chosen at random, I told you I was
thinking of one of them and asked Jenny to pick the person I was thinking of. When I
told you she was correct you laughed, but look, the person she chose was thinking of
the number 27, which was what I wrote on the sheet of paper Jenny has been
safeguarding since we started.

Now if she had picked one of the other two people the number would have been
different, wouldn‟t have matched the number in the envelope and I would have looked
like a fool. But she did choose the correct person and the numbers did match, Jenny
picked up beautifully on all the observational steering I used to influence her choice so
please give her a big round of applause.

Here I pocket the kismet envelope as I return to the stage/platform.

Is it possible to predict the future? Well yes it is but you have to think more in terms of
forecasting an outcome than predicting the future. It is possible to forecast an outcome
fairly accurately when you are working within certain parameters such as in this case
with numbers. Think about it this way, there are economic forecasts, political forecasts
and of course exceptionally accurate weather forecasts, we forecast outcomes all the
time.

So wouldn‟t it be great if you could forecast what someone, for example a sales
prospect or client would do, if you understood the way they were thinking and what
motivated them, and then subjected them to a set of parameters dictated by you.

Let‟s have a go shall we.

A week ago I posted an envelope to someone who is in the audience today; sir would
please bring the envelope up to the stage with you and please give him a big round of
applause as he comes up. Your name sir (Steve the MD) Steve, hold the envelope up
so everybody can see it. Can you please confirm you received it a week ago and you
signed and dated it at the time, (yes), good can you also confirm that nobody has been
near it since your received it a week ago, (yes) and finally can you confirm you have no
idea what it contains (no I don‟t), good.

OK keep hold of it, I don‟t want to touch it at all. I will tell you now it contains a forecast,
hopefully a forecast of something that hasn‟t happened yet; it is a forecast which I
believe will be the result of actions about to be carried out under a set of pre-
determined parameters.

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Remember these, they are the cards numbered 1 – 9 which I removed at the start.
They are already mixed but I‟ll mix them again to make sure. Steve will you give them a
cut for me. Good now I‟d like you to nominate a person in the audience, that one good,
sir would you take three of these cards but don‟t look at them yet, Steve nominate
another person, good three for you don‟t look, Steve one more person please, excellent
three for you don‟t look.

At this point I have false shuffled the 9 cards Steve has cut them, I have cut back
to the short card and given three to each of three people nominated by Steve. I
then leave the 9 cards in the audience and return to the stage and take up my pad
and pen.

Please all of you with cards give them a good mix, I don‟t know what numbers you have
and it is important you don‟t know what you have or what order they are in.

Sir would you choose one of you numbers face down at random, don‟t look. Ok got
one please call out the number you chose, good I‟ll write it here, madam would you do
the same choose one and call it out, good I‟ll write that here, finally sir would you do the
same. Good I‟ll write that here.

What we have done is constructed a three digit number, the choice of each digit was
completely random because neither I nor these guys knew what numbers they had.

OK I‟d like you all now to look at the two remaining numbers you have left. And sir
would you choose one, make a conscious decision and call out the number you decide
on. Good I‟ll write that here. Madam would you do the same please. Good I‟ll put that
here and finally you sir, your number goes here.

This time the three digit number was created consciously because each person looked
at and chose the number they wanted to use next.

That leaves one final number each and of course these have been chosen by default
because they are all that are left.

Sir can I have your final number, I‟ll write that here, and yours madam that goes here
and finally yours sir here.

You can now see we have three, three digit numbers created randomly, consciously
and by default. If I draw a line under them all and put a plus sign here, the numbers
become a mathematical sum. Let‟s add them together.

1364 (or whatever) Look if this digit was here, the outcome would be different; if you
had chosen different cards or given different numbers in a different order the outcome
would have been different.

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There are hundreds of combinations and therefore hundreds of outcomes.

Steve would you please open the envelope you have in your hand and that you have
been safeguarding for a week. Remove the contents. It is a sheet of flip chart paper,
please unfold it and hold up so that everybody can see what is written on it.

1364

Ladies and gentlemen thank you very much for your attention and concentration I hope
you have enjoyed what you have seen, if you have my name is Scott Creasey, if you
haven‟t I hope at least it has given you an insight into the capabilities of the human
mind.

Fin.

THOUGHTS:

On reflexion you may feel the last effect is a little too strong or perfect to be accepted
as a demonstration of perception and persuasion techniques and if taken at face value
I would probably agree. However in actual performance I have a very lengthy scripted
pseudo explanation of how I accomplished it. This explanation convinces the audience
they were manipulated toward the final predicted number by multiple subliminal sign
posts which were hidden within the presentation itself. I have not included that
explanation here for a number of reasons.

1. It would probably add another ten pages to these notes.

2. It varies for each repeat performance.
3. It depends on the numbers you force.
4. It utilizes various visual prompts which are hidden in some of the props I use.

FINAL NOTE:

I would like to give you an example of how the information you have read was put into
use over a 6 month period from November 2009 to May 2010.

The lecture was presented to the sales managers and pitched as an entertaining way
to demonstration the use of advanced perception and persuasion techniques. It was
explained that most of the techniques used could be taught at a less advanced level
and could, if employed correctly, increase efficiency within a sales environment and
would be most effective as part of a training schedule.

The 45 minute presentation was then performed two weeks later for a group of 15 new
sales trainees on the third day of their three week training course. However because
the training courses overlap for new trainees I presented it twice a month until the end
of April 2010 for a new group of between 10 and 20 on each occasion, (the turnover of
sales reps in the time share industry is very high) that’s a total of 12 performances in an
6 month period.

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Added to this I sold a couple of hundred sets of notes to accompany the lecture at ten
euros each.

I did multiple private numerology readings for trainees during the lunch breaks at 5
euros a go and sold a good number of my pitch books. I also landed four private
shows and a number of tarot parties from the readings.

On the strength of the introduction to memory techniques in my notes, I was asked to

demonstrate the technique to the whole sales team. (I did the big memory test,
expanded on my notes about mnemonics and then taught them the alphabet
backwards as described in Chuck Hickok’s Mentalism Incorporated).

This led to three mnemonic training days once again with supplied notes.

I was also asked to present a short half hour talk on the subject of nonverbal
communication and body language.

CONCLUSION:

It was suggested I add a section to these notes on how to actually find approach and
pitch this lecture presentation to a corporate client. Unfortunately after hours of thought,
the onset of RSI and a blinding headache, I decided there is no one single formula that
I could possibly give. There are just too many variables to take into account.

For example your target industry, your performance style, your reputation, your
experience, how much money you expect to earn, how far you are willing to travel,
what country you live in etc the list goes on.

The bit of advice I can give is this, pick a target, do your research, get an appointment,
pitch your product and ask for what you want.

One word of warning however, I suggest you don’t try to convince the bosses of your
target market that the presentation is all the real deal. Explain to them that you use a
variety of techniques along with showmanship and misdirection in order to get the
message across in an entertaining manner.

The fact is if you are a professional mentalist then you are already aware the
techniques you are allegedly demonstrating are the real deal and you will, I imagine
already be well versed in memory techniques, body language, visualisation, the
language of suggestion (hypnosis) and more.

And if you are a magician then it goes without saying you should be an outstanding
showman who knows how to not only hold the attention of an audience, but how to
entertain them.

There is a saying in Spain. If you ask and get rejected you are a fool for 5 minutes, if
you never ask, you are a fool for life.

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So go for it and with a little bit of lateral thinking a basic 45 min presentation of
mentalism can become a very commercial corporate endeavour which if you are willing
to put the work in, can and will be very financially rewarding.

All the best

Scott Creasey

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