Imagine being able to read minds. A stranger is thinking of an old friend who lives thousands of miles aw^y. With Think Pink in your arsenal you will be able to descdbe and then name the thought of person. All you need is a piece of paper, a pen and the simple techniques aught in this 15 p4ge manual. Over thirty full color photographs illustrate every move making this ultra clean technique for the center tear so easyto learn. .- Can be performed anytime. Everything looks natural. The secret information is written on the center of the PaPer. -Can be done with business cards, index cards or Post-It notes. - No switching, stealing patming or pteparation. - The paper never leavesthe audience'ssight. You tear the paper to 1,/1,6rhits origind size while your head is tumed away. - Allows you to show the papers from all sides during and after the tear and still accessthe information in a direct but very subde manner. The information appears horizontally, upright and easyto read. - Think Pink is ideal for one-word descriptions,narnes, datesand numbers.
www.secr€tcenter.lnfo
ThinkPink ByBa.n Pink
ThinkPink A clean mettrod for secretly accessinginform.ation
To m5ra,ma,zingfa,mil5r,Uvtng proof that real ma€ic exists.
CoPYri€ht@?'OO4Ran Pink SecondEdition eOOo No Portion of tJnisbook canbe reproduced in arr5r marlner without urritten permlssion of the cop5riglht owner.
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Method Consider...
Abeautifu-l woman is asked to write dourn the name of someone to whom they are close and is not, present. You turn around and remind her to keep the writin€ secret. Tell her to fold up the slip and hand it to you as you will attempt to get "impressions" about this "secret" personby touchin$ and handling the paper. You turn your head away as you receive the paper and you be€lin to reveal details about the .lpersonwho's narne is written inside the paper. The paper is torn to bits as you continue. " The personyou are thinkin$ of is someone who cares deeply about you, someone with whom you have a special connection. I sense this person is quite a bit older than you, am I ri$ht?" "Yes!tt
"Ok, Lets amplify your thougfirts, I'm onty getting so much from the paper. \Mhich of your hands do you feel is more intuitive, right or left?" Left. "Elold the pieces inyour left hand and really try to picture Her. I say herbecause I'm definitely sensing a feminine ener€ly. I really want you to focus, see her, and call out for her in your mind. Ima$ine her walking into thls room. See it in slow motion. I would walk over to her and introduce myself and then she would look me right in the eyes and say'hello, my name is ... Goldie'... Does this make sense?" "Yes, Goldie is my Grandma...but how?" She's convinced you're a mind reader.
This technique allows you to show the papers from all sides durin€ the tear and still access the information in a direct but very subtle marlner. You never look at your hands wlrile the tear is takingiPlace. There are marry brilliarrt methods of fhe Center Tear worth studJrin€|.Corinda's 15 steps to Mentalismwas my introd.uction to secretly readinS!the center of a torn piece of paper. Al Mann, AI Baker, F,ichard Osterlind, Bruce Bernstein, Richard Busch and Barrie Richardson and Docc Hilford have all contributed clever methods to gaining secret information written on a piece paper. I have studied many methods and after spendin5Sconsiderable amount of time sacrificin$ many pieces of paper, I independently carne up with this new technique. This pamphlet will only address a technique' Presentationa,l strategies will onlybe touched upon li$hUy. fhe rest is up to you. The previous example used a classic psychometric premise but the possibilities are endless. Here, I wanted the presentation to be more like an experiment where the paper is the object and the information inside is the soul of this object. By handlin$ the paper I try to get impressions, information or personal traits about the written person rather thap just revealin$ their nalne. At first I'm getting va€lue impressions, $ivingl off the feelinglthat thin$s could go wrong. I strengfthen the effect by usirg cold readinSl techniques. The imBortant point is to reveal information any tJrXleof move.
prior to
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You keep getting closer and closer a,ndfinally reveal the narne. The revelation of the narne could come off almost like an accident, Iike you didn't mearr for that to happen. I highly recommend The F'ulI Facts book of CoId F,eadin€lby Ian Rowland and anfihingby Richard Webster on the subject of cold readingi.
Mechanics I use the cheapest 5x5 lined index cards from the local 99cent store. I say cheap, not because I'm thrifty but because you want index cards that are thin and easy to tear. The writing will be done on the blank side of the index card, when the paper is folded the lines will be on the outside helpinEl to further conceal the writingi. I've a,lsoused business card sized paper without lines. I went to Kinko's and had them cut the thickest paper stock (not card stock) they had and had them cut into business cards. T'frey look exactly like blank business cards only easier to tear. Most standardbusiness cards will work as weII. I have the subject write with a flne point Sharpieo but, any pen will do. Durin$ the tearinEl a,nd handling of the paper your head will be turned away to the side so it doesn't matter if the writin€lbleeds throu$h the folded card. I usually make a point to close my eyes a'sI'm tearing the paper. What I love about Thinfr Pink is that the paper appears to have been torn to I/16 its ori€linal size, before you ever look at it! Since this is a center tear not a peek you mi$ht as well tear the paper to shreds. No one could even ima$ine tJrat his or her secret information is staringlyou riSlht in the face, horizontally, upri$ht and easy to read.
Get,a,nindex card and look at it blank side up. FoId the left side over to the right but don't align the ed$es. The left/top side shouldbe shifted down abit as in photo 2. I've exaflgerated the misalignment for teaching purposes. You carr now see the red line of the ruled index card on top. Rotate 90 degfees clockwise and fold the right side over to the Ieft but don't align. This time you will fold the ri$ht side about a l/8-inch past the left most ed$e (photo 4).
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B,otate 90 de$rees clockwise again and now you're at starting position as in photo 5. The "center" of the paper is on the bottom right corner. Photo 6 shows the l/8-inch "over-fold". Ttris uneven foldin€ creates a long side and a short side. The short side will face tbe audience while the long side faces you (photo 6). You will always be able to get to this positionby touch alone.
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Their initials will barely be visible through the card and should be on the bottom right sector as in photo IO.
I turn the slip over, keepin€ithe open side up and crease on the bottom, as I ask for the subject's initials, which I write on the short side, (the side that will face the audience). This extra step will later guarantee that they refold the paper exactly how you want them to. Unfold the paper initial side dovrn flrst, and then open from ri€fht to left. Draw a line slightly above the center crease and show the subject that they should write the information on top of this Iine by drawing an X there (photo I I). The writin€ that will be available to you will be limited to the space directly above the line. This a,llowsthe pieces to look smaller later. Ha,ndthe subject the pen and instmct that they print some secret information, which they should keep tridden from you. elust make it easy for them and move away to $ive them privacy. \Alhen constrrrctingyour performance it is important to address why the information is written dovrn and why is it torn up.
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Have them fold up the paper. Before receivin6! the paper I tell them to make sure their initials atre on the outside.
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I? Now rotate 9O degtees counterclockwise
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TAIhenI get the paper m5rfrnglers adjust ttrrepaper to the starting position with their initials on the short side facinS!the subject. I tear as in photo 14 with my ri€ht hand pullin€ towards my bodY.
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6 The ri€lht hand pieces go over ontop of the lefthand pieces.
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This is where it starbs to Set interesting. HoId the ri$ht corner tighUywhile in one motionyour left thumb folds t'he flrst layer of paper up and over to the right (photo 19) as you tear in tJre sarne action as tJre first tear (photo PO same move as photo f 4). In photo 19b my risht hand is removed for clarity. This tear is easy if your using;the thinner card stock that I described earlier. Bevel the pieces when using tJricker paper so that you are only tearing through on chunk at a time.
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Once again the right hand pieces go on top of the left hand pieces. Notice we've created a little bandle.
Tear the info-flap and place it on top of the left hand pile then rotate 90 degrees counterclockwise to get into the position shown in photo ?.4/ 25.
e5 EI EIb By slighUy releasing pressure of the right thumb the springiness of the card stock should create an opening for the left thumb to enter (Photo 2I). Open this flap. In photo 2Ib my right hand is removed so you can clearly see the open flap. This flap contains the secret,info. For reference I'Il call it the info-f1aB.
This is where the handle comes into play. The handle is now inside. You ca,n't see it but notice how easy it is to find the one layer that needs to be opened. In photo 85 the top right corner has a large "break" in it due to the fold of the handle. This allows you to freely showboth sides of tlris tiny stack of papers while your talking. Sometimes I casually rotate forvrrard one full revolution while my ri$ht thumb slips into the break.
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The rigfirt thumb enters this break. fhe Ieft hand shouldbe positioned as in photo e6, with the left thumb on top of the "spine". \Mhen the ri€fht flngers sli$hUy pr:ll on the mini pile of papers the info-flap opens. Your left hand fln$ers conceal this. Your head is still turned away: your fingers have had their path lit by clever crearsesand folds.
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This is where I usually ask the subject "a,re you right or left handed?" If I feel €ood I'll peek during;ttris minor distraction. If I want to be safe I'lI read it as I tear one more time before giving it to them. Closin$ the paper is just a matter of puttingf your hands together and pushin€lthe flap closed with the left thumb.
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Tearingf tJris final time is not too difficult \Mith thinner index cards, but is nearly impossible with an5rthing thicker. So, if I'm in abind, I'll just tear tJre info-llap before handingf over the torn pieces. I've erqrerienced people tqfing to put the pieces back together to see if it's all there. I'd rather them not find the info-f,ap intact. I hand them the papers, showing m5rhands clearly empty. Now that you know what's written, relax, Iet some time pass before the final revelation. Keep in mind you should be able to do this tear in less than ten seconds but there is no need to rush. I personally tear twice, talk a little, and finish tearing.
Finaf Thoughts
I know the steps seem complicated at first, but just like ever5rthing else it will become easier the more you practice. Once you get the hang of it you can do this tear on arry paper includin$ Post-It notes. For every method of the center tear tJrat exists there are dovrrnsides.fhat's why it's important to learn what works best for you. Think Pink has never failed me yet. I've tried to make it clear as to how the paper should be refolded a,ndreturned to you. I've made it easy for the flngers to find their way in the dark. During the peek, the pile of papers looks so small it doesn't seem possible thatyou're looking at the secret information. fhe pieces are always visible and canbe shovm on all sides. fhe only limitation is the readable space. Index cards allow for more space but business cards are extremely deceptive because of the tiny pile of papers you are left with in the end. Think Pinlr is ideal for one-word descriptions, narnes, dates, numbers and so forth. I hope you add tils tear to your arsenal of tears. I know I will use it for the rest of my life. Remember the real secret is in the revelation. Take your time withyour presentation and use your actinglabilities to create a truly memorable moment. I would like to tharrk Newell Unfried for editingithis marrual a,nd always aiming me in the right direction. He has taught me so much on the subjeet of mentalism and ma4fick. I'd like to thank Tim Trono at Murphy's Magfic for believing in this from the start. fhanks to Tom clorgenson for his kind wisdom and for the creative brainstorm sessions. I would also like to tharrk Sir clames for his royal sense of humor, cleff Cha,rnbers for sharing his phitosophies on magic and music. And... Thank You. Ran Pink
Look for
Think Pink The Complete Edition
Central Intelligence 65 pages. Limited Hardback Edition The Complete Think Pink contains more than beautiful techniques. It is a dissertation on the psychology and process of using it, which can be applied to so many mentalism routines. The illusttations and text make learning it fun and easy.Not only does Ran include some of his advanced techniques and pet effects but also he has included routines and ideas from some of today's top innovators in mentalism, for a total of 11+ new effects to get your creative juices flowing. If you are looking for a way to achieve mental miracles, just Think Pink!!! "Great Stuffl I LOVE the Scorecardand Empath approach. Brilliant and potentially quite moving and romantic!" - Kenton Knepper "Think Pink is one of the most pou/erful tools you will have at your disposal.These touches thatare offered here are priceless.If you really want someone to think )rou can reach inside their mind and reveal their innermost thoughts, this is the one thing you MUS1' know". - Andrew Gerard "Ran's Think Pink is definitely a weapon you should keep in \'()ur mentalism arsenal.And the book that comes with it not onl\ gre t step by step view of it, but comes with sonrt gives you ^ powerful routines and ideas." - Greg Arce
Available at www. secretcen ter. i n fo / thin kpink
