Mental Note

 A Quantum Leap in Men

 A Quantum Leap in Mental Magic

tal Magic

Drawing Duplication / Mind Reading / E.S.P. Drawing Duplication / Mind Reading / E.S.P.

Remote Viewing / Predictions / Voodoo Remote Viewing / Predictions / Voodoo

by Eddy Ray

by Eddy Ray

Copyright Notice Copyright Notice

Copyright © 2008 Eddy Ray Copyright © 2008 Eddy Ray  All Right

 All Rights Reservs Reserved.ed.

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o! the pu"lisher% Eddy Rpu"lisher% Eddy Ray. ay. Re&uests !or Re&uests !or permission and permission and !urther in!ormation!urther in!ormation should "e addressed to Eddy Ray% '( )eech Road% Mohnton% *ennsylvania should "e addressed to Eddy Ray% '( )eech Road% Mohnton% *ennsylvania +,-0.

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/hile all attempts have "een made to veri!y the accuracy o! the materials /hile all attempts have "een made to veri!y the accuracy o! the materials contained in this pu"lication% the author assumes no responsi"ility !or errors% contained in this pu"lication% the author assumes no responsi"ility !or errors% omission% or contrary interpretation o! the su"ect matter herein.

Introduction

It's often said in magic that there is nothing new under the sun. I tend to believe that's true. Magic is full of variations of variations of old ideas. There are new effects created that rely on old

 principles and there are new principles created to produce classic effects. The truth is that long ago someone created the first magic trick. Everything that has come about since then is just a variation on that original idea, the idea of using deception or artifice to

 produce a seemingly impossible effect.

hat is offered here is an archaic method that has been

moderni!ed to produce a timeless effect. The effect is that of a si"th sense. The method involved has been touched on by

numerous performers through the ages. In actuality it is so old that it has been documented as being performed with broken pieces of  pottery, using a bit of coal as a writing utensil. Eddy #ay has truly  breathed fresh life into this method and created a routine that is as  practical as it is astounding.

Those of you who are familiar with the basic method as I was will surely agree that the use of common, modern props and the

elimination of all gimmicks makes this one of the freshest old chestnuts to come along in ages.

$or the creation of Mental %ote, my hat is off to you Eddy #ay. &nd to the person who created the very first magic effect, whoever you were... we are forever in your debt.

The Mental Note Effect

& spectator is asked to think of any geometric shape, E( symbol or number.

)ou display a stack of post*it notes and proceed to draw a circle on the face.

The note pad is handed to the spectator and they are instructed to take the pen and draw the shape or number they are thinking of in the circle while you look away.

The pad is then passed to a second spectator who is instructed to remove the drawing from the pad, fold it up tightly and put it in their pocket.

)ou are able to reveal the shape, symbol or number that was drawn with +- accuracy

Mental Note Makes The Center Tear Obsolete &mong the drawbacks to using the /enter Tear0

• )ou have to handle the paper 1uite a bit while tearing it

• The paper used isn2t a normal si!e and might draw suspicion • )ou have dirty hands during the routine

 rief "istor# $ The Method

I got the idea for Mental %ote from an effect in 3ill Tarr2s ++ Easy Magic Tricks book called the Telltale /ard. It was a card revelation where the value and suit of the card would appear on the wrist of a spectator.

The trick used a pencil and sugar cube. )ou were to write the  prediction on the sugar cube using the pencil. &fter the forcing of

the card you would reach into your pocket and press against the sugar cube using your finger. It would leave an impression on your finger, which you could then transfer onto the spectator2s wrist or hand, similar to that of the voodoo ash trick.

I took the principle of this and adapted it along with some other subtleties to create a very strong way of garnering information

secretly written. ith my idea the spectator can draw any number, E( symbol or geometric shape inside the circle you drew on the note pad. Then you simply use your finger and press it against the  pad where they had drawn. It leaves a clear impression on your

fingertip of e"actly what they had chosen to draw.

“Why didn’t I think of this? I’m rolling over in my grave!” - Ted nneman

 It2s important to point out that there are several subtleties and bits you will need to learn to present Mental %ote properly. &ll of these important details are given in this manuscript and I suggest reading through it a few times to absorb it all.

Items %ou &ill Need

Even though this effect can be performed impromptu I recommend using the props shown in the pictures. taples brand ticky %otes or any similar (ost*it type note 4+ 5678 9 + 5678: and a mechanical  pencil. )ou could technically use any note pad and pencil but I  prefer to use these.

The 'ost(it Notes

I suggest using any similar (ost;it type %otes as discussed above. These usually come in stacks and many colors are available. In my opinion they work the best and I2ll e"plain why.

This kind of post it note is the perfect si!e as it will really help when attempting to make the impression with your finger because you will know precisely where to place it. It prevents any

fumbling around with your fingers and it almost guarantees you will be dead on. If you attempt to use another note pad that is

larger in si!e it will be more difficult to be as accurate when trying to make the impression. lso since the information the# will be drawin) is relativel# small it will look normal on a smaller note *ad+ <on2t you think it would look funny drawing a tiny circle on a larger post*it note or pad= I do.

The other nice thing about (ost*it %otes is that they are tiny and can easily fit in your pocket. They are easy to carry around and do not take up much room. They are also fairly popular, people are familiar with them and they can be found in many homes and offices.

I use an entire pad when performing Mental %ote. If you use one (ost*it note at a time people may suspect you can see through the  paper. >sing an entire pad insures that there is no possible way to

see through. )ou don2t have to use a new pad every time you do this, it2s just important that you have a fairly nice stack to perform Mental %ote.

The 'ENcil

To get the best and most clear impression I recommend using a mechanical pencil. This is a huge update in my opinion. )ou can use pens or any fine point marker but #our window of

o**ortunit# is ver# short. ?nce the ink starts to dry and settle into the fibers of the paper your chance of getting a good

impression is slim. &lso think about how visible a pen or marker might be on your fingers especially since it isn2t as easy to just rub off

There are many brands and styles of mechanical pencils. earch your local office supply store for them. The brand I2ve had a lot of success with is by (entech. The style of it is called yntech. If you do a @oogle search for it you will find them easily.

&h# use a mechanical *encil as o**osed to a re)ular No+ , <uring the routine you can ask the spectator to take the pen and draw any object inside the circle. Miscalling the mechanical pencil as a .*en/ adds another layer of deception to the routine. Aater on when your audience recalls the effect, the idea of using a pen will stick in their mind.

&nother important point is that a mechanical pencil looks very similar to a pen in appearance. <on2t overlook this small but important subtlety.

If you want to use a regular pencil you can. It works great but you need to make sure it2s a soft type %o. B. %ever use a dull point either, make sure it is sharpened. This will help leave fresh lead on the note pad when you go in for the impression. The softer the

0ettin)  0ood Im*ression

To help get a good impression I recommend wetting your fingertip with a bit of saliva. If your hands are naturally moist or a bit

sweaty then you probably will not have to do this.

hen you wet your fingertip please <? %?T use to much saliva. )our saliva will wet the paper and could ruin or e"pose the method during the routine. If the note pad does get a little wet do not

worry, as it will 1uickly dry up before the end of the routine.

$inding an opportunity to wet your fingertip is very easy. I usually turn away as the spectator draws the object. This is the perfect

time to do it as everyone is looking at the spectator. )ou could also fake a cough and get your fingertip wet. ?nce you work on the presenting the effect I2m sure you will find what suits your style.

If you wish you can use two fingers pressing against the note pad. This way it2s almost impossible to miss )ou only need to apply  pressure to the note pad with your fingers for a second or two. In

this small amount of time you should easily be able to do your dirty work. (ractice drawing different objects and numbers on the note pad until you get the knack of the proper pressure to apply. &fter you present Mental %ote, all you have to do is rub your

fingertips together and the impression will vanish just like magic This is a necessity when repeating it or working a lot of people in a short period of time. If you wish you can wet the fingertip again to help rid your skin of the markings.

I2ve had a person draw lightly on the pad but was able to still get a clear impression on my finger. (ractice on yourself and learn how to apply the proper pressure on the note pad to get the ma"imum impression.

"Eddy, your Mental Note effet truly is a uantum lea in

mentalism# $his is something I%m using## all the time# &o strong and easy to do# 'nneman has got to (e turning over in his

 grave!" 

- Steve Fearson

hen viewing the impression keep in mind that any drawing whether it2s E( symbols, shapes, numbers, letters etc. will be

reversed on your finger 4mirror image:. It takes a little getting use to  but with practice you will be able to read the impression 1uickly and

'icture 1u*lications

(erforming a picture duplication with Mental %ote shows just how versatile it is. I will break this section down into two parts.

Sim*le Ob2ects0 )ou can ask the spectator to think of any simple object as you are going to try an e"periment with them. hen  people think of simple objects they often think of a stick figure,

flower, house, tree or even simple geometric shapes. These are usually 1uite easy to detect when making your

impression. I like to pull out a second pad of post ; it notes to make my drawing as one of the spectators can hold onto theirs. 1etailed 1rawin)s0 If you have been performing mentalism for a long time you know that some of the strongest pieces you can

 perform are where you actually get some things wrong or not +- correct. It makes your performance that much more  believable to your audience.

ith detailed drawings it can get a bit tricky when reading the impression. $irst, the impression will be a mirror image as discussed earlier but this isn2t really a big problem.

The more difficult part about detailed drawings is that the person isn2t drawing a particular object your suggesting. ince you have absolutely no clue what you2re looking at it can be a bit nerve racking at first.

hen you glimpse the impression try and duplicate B or C main features of what they had drawn. If you recogni!e the drawing

right away that2s great. I like to present the picture duplication like this after building them up with more simple objects. I usually

good to start off with more simple thoughts to see how our minds match up. This leaves you open for not getting everything e"actly right later on. ?f course using the word .e3*eriment/ when

 presenting Mental %ote instead of trick or effect will help  psychologically as well.

1i)its and 4etters

&s you probably know by now it2s much easier to read impressions of single digits and single letters. I2d suggest you start off with the simple stuff like this first then build up your confidence.

The ne"t obvious step to take is to have a spectator think of

someone close to them and have them write the initials down. Try e"perimenting with this and get accustom to reading letters in

reverse. Aogically you could move onto actual names of a person or pet

ith numbers I2d suggest not going any higher then four digits as this would make you have to glimpse at the impression a bit longer to read the reversed digits.

lindfolds

If you wish to add in another layer of deception simply wear a blindfold. ?f course you still need the area around your nose to peek down and glimpse your

fingertip but I thought I2d throw this idea out there so you can e"periment with it.

T

Even though you are blindfolded I would still keep the note pad face down as normal when you go to make the impression. & lot of acting comes into play when wearing a blindfold. $or most of the routine try actually closing your eyes. $umbling around

naturally will make people truly believe you cannot see. imply open your eyes and peek down your nose to glimpse your fingertip when you feel it2s a good time to do so.

Mental Note5 The Sim*le 'resentation $ "andlin)

glimpse the impression. It is straightforward and re1uires only one spectator.

Im*ortant 'oints

The finger touches the drawing only momentarily and the pad is

immediately rotated up to face the spectator. Tell them, D?f course I am unable to see through the pad8 as you glance directly at the fingertip. They will not suspect a thing since it appears as though you simply directed your eyes towards the pad for a moment.

&sk them to stare at the drawing and concentrate on it as you attempt to read their thoughts. Then simply reveal what they've drawn as dramatically as  possible. )ou can do this verbally, or you may want to duplicate their

drawing on the back of the pad and turn it around slowly for a dramatic revelation.

 %otice how even when making the impression your hand is completely natural. This is the e"act way you would hold the pad when taking it from or handing it to a spectator.

)ou may prefer to lay the pad down before the revelation, it's up to you. )ou could also use this handling to display the drawing to another spectator or the rest of a group before placing the pad aside, or handing it to someone else. teve performs it just as described though to great effect.

&orkin) &ith Two or More S*ectators

hen taking the pad to make your impression this should happen as you ask another spectator their name. This gives you that

second or two of misdirection you will need. Then you can ask them to hold onto the note pad and keep it secure. )ou can now have them tear off the top note, burn it, fold it or just keep it as is. My preference is to have the Bnd spectator fold up the paper and  place it in a pocket.

It2s important to script your words carefully during the routine to have the most impact. It is always good to recap what has taken  place so they know there is no possible way you know what they

are thinking.

&fter you leave the performance your spectators will be totally devastated. hen they try and remember back to what happened they wouldn2t even remember you handling the note pad.

One on One

<oing Mental %ote one on one is just as strong. )ou could take the note pad and set it down, place it in a sealed envelope or just about anything.

)ou could also take the pad briefly and ask them to take a match or lighter and light it. and the pad back to them and ask them to

remove the paper from the notepad and burn it in the awaiting

ashtray. &s they do this you can turn your back once again so they know you won2t look as the paper is being set abla!e. hen your  back is turned simply look at your finger for the impression.

Edd# 6a#7s In The "and 0lim*se

This is my version of taking a glimpse at the impression. &fter making the impression the note pad is handed to another spectator. I then remove another note pad and use it to draw the thoughts I receive from them while attempting to read their mind.

ince I am left*handed the impression is made on my left inde" finger. I hold the pencil in the same hand that I have the

impression. I2ll look them in the eyes and then look down at my note pad to draw.

 %ow all I have to do is simply look at the fingertip and draw what I see. The nice thing about this, as with teve2s glimpse, is that

there are no weird looking moves, you aren2t looking in such a way that people would be suspicious.

6evelation On Their "and

Aet's go back to that old effect involving the sugar cube for a moment. Imagine someone drawing an E( symbol on the note  pad. )ou would then ask them to hold both hands out with palms

towards the floor. They drop one hand to their side leaving one still out stretched. They are asked to close their fist and

concentrate on the symbol they had drawn. &s they turn over their hand and open up, a matching symbol is seen on their own skin. imple, simple, IM(AE )ou could in affect have F*sugar cubes setup for multiple outs. Each cube will have one of the E(

symbols drawn on them with a pencil. )ou could have the sugar cubes in separate pockets or in a case if you2re doing standup. I toyed with having more than one symbol on the cube but it gets tricky. I suggest putting the symbol on each side of the sugar cube this way you do not have to worry about which side has it.

<o your regular Mental %ote impression and take your glimpse. Take a breath and rela". The only thing you need to remember is how you have the sugar cubes setup. )ou can place your hands in your pockets naturally and casually during the routine. Make sure you script your patter so everything flows smoothly. ?nce you know which sugar cube has the correct symbol for what you need, make the impression with your finger.

&sk them to hold out both hands with palms facing the floor. Tell them to raise their hands a bit higher and as you say this your

hands help guide them in position. <uring this time your finger  presses against their hand leaving the mark 4symbol: in the palm of

their hand. Mirror and press with both hands to keep things uniform.

&sk if they are right or left*handed. hich ever they say drop the hand that does not contain the mark. ave them think about the E( symbol in their mind and then have them slowly turn over and open their hand. Timing is important here.

E3tra Thou)hts

)ou need a reason to go in your pockets. (erhaps you could go in looking for a packet of E( cards or something. I suggest having one sugar cube in each front pocket, back pocket and finally the last one can be in a breast pocket.

)ou can setup the sugar cubes in each pocket and easily remember the locations. tart with your left hand pants pocket as + G /ircle , left rear pants pocket B G /ross , right hand pants pocket C G Three wavy lines , right rear pants pocket H G 1uare and front breast  pocket F G star.

 %ow all you have to do is remember how the numbers are oriented. #emember, each number stands for the amount of lines that make up each symbol. The star is the only one that2s different. $ive  points on the star is how you can remember that.

If during the routine you2re not comfortable pulling this effect off, simply reveal the symbol more directly.

If you2re not interested in having five multiple outs setup like this then just use one of the symbols. Aeave them a free choice of the five E( symbols and have them draw it on the note pad. If it

happens that they drew what you have on your sugar cube go in for the kill

If you2re new to magic and mentalism these are the five ener E( symbols.

Sim*le ES' 'rediction

If you simply want to predict what E( symbol a spectator will draw this is as straightforward as you can get. (lace an E( card in each pocket. &ll you have to do is remember which card is where. Then remove the correct card that matches the one they had drawn. I suggest using teve2s glimpse detailed earlier. It works awesome with this.

3uild up the prediction in your presentation and patter. )ou may want to seal each card in its own envelope for added effect. The  powerful part about such a simple prediction is the spectator has a

totally free choice of which symbol to choose and in their mind you had no way of knowing what they thought of.

Sealed 'rediction

This ne"t idea is from Ted &nnemann. Imagine having a sealed  prediction of something the spectator has just thought of. It2s  possible when combining the following techni1ue and Mental  %ote.

The idea is to have a blank paper in an envelope that2s lined with carbon. Then you would take your thumb writer 4without the

lead: and secretly write on the outside of the envelope as you display it. <oing so will make a carbon impression on the paper inside.

&ll you have to do is perform Mental %ote to secretly obtain the information from the spectator. I suggest using simple shapes, E( symbols or numbers as usual until you get well rehearsed. &fter you make the impression and take your glimpse, pick up the sealed envelope that was in view the entire time. ?btain your thumb writer and as you recap what has taken place make your carbon impression.

The idea of having a sealed prediction like this will blow your spectators away.

Feelin) The 8oodoo 'ower

&nother cool way of using Mental %ote is this. Instead of drawing a circle you could draw a small voodoo doll on the note pad. Jeep it relatively the same si!e, as you would usually make the circle.

The spectator is asked to take the pen and make an 9 anywhere on the dolls body. &fter this is done you take the note pad and hand it to someone else to secure from your view. The way I like to reveal knowing where they made the 9 is to act like that particular part of my body is in pain.

E"ample0 Aets say they made an 9 over my left arm. I would then start breathing heavy and act as though something weird is

happening. $inally I would grab my left arm acting as though I2m in pain without saying a word. &t this point people literally freak out

I like using post*it type notes + C678 9 + 5678 for this. The shape of this pad is more rectangular in shape and helps when drawing the voodoo doll.

hen making the impression you can do it so the voodoo doll appears sideways on your finger or I would suggest the following. >sing two fingers, you can make the impression and keep the

voodoo doll upright. This might make it easier for you to glimpse where the spectator has made their 9. In my opinion this option makes it easier to keep myself oriented. Aook below to see what each impression will look like.

8oodoo 1oll 'ro*

&fter the spectator has made their 9 and you read the impression it would be the perfect time to introduce an actual Koodoo doll. &t this point you could display a large needle, which represents the 9 they had drawn on the note pad.

This makes the routine play much bigger as more visual props

come into play. Even though only a few people might know where the spectator had made their 9, the reaction during the clima" of the trick will play well for any si!e audience.

#emember the mirror image It may look like they 92d my right arm but it2s really the left The red dot highlights the 9.

)ou could also play this up as a muscle type reading e"periment where you Dwill8 the spectator to lead you to the correct spot or vice versa.

If you want to play this up with a bit of comedy you could dress up the Koodoo doll so it looks like you or a celebrity.

Closin) Thou)hts

I want to thank you for purchasing mental note. I truly believe this is a real gem and I think you will find it to be as well once you add it into your repertoire.

#ead through these pages over and over as you may miss

something with your first reading. Mental %ote is a powerful weapon for mental magic and I hope you enjoy it.

&ll the best,

Eddy

S*ecial Thanks

Mental %ote would not be possible without the help from my good friends in magic @eorge Meehan, #ay 3rodan, Tony 3ialy, teve $earson and &ndrew Mayne.

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