Imagine being able to read minds. A stranger is thinkingof an old friend who lives thousands of miles aw^y. WithThink Pink in your arsenal you will be able to descdbeand then name the thought of person. All you need is apiece of paper, a pen and the simple techniques aught inthis 15 p4ge manual. Over thirty full color photographsillustrate every move making this ultra clean technique forthe center tear so easy to 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-Itnotes.

- No switching, stealing patming or pteparation.

- The paper never leaves the audience's sight. You tear thepaper to 1,/1,6rh its origind size while your head is tumedaway.

- Allows you to show the papers from all sides during andafter the tear and still access the information in a directbut very subde manner. The information appearshorizontally, upright and easy to read.

- Think Pink is ideal for one-word descriptions, narnes,dates and numbers.

ThinkPinkByBa.n Pink

www. secrtcenter.lnfo

To m5r a,ma,zing fa,mil5r, Uvtng proof that realmaic exists.

ThinkPinkA clean mettrod for secretly accessing inform.ation

CoPYriht@ ?'OO4 Ran PinkSecond Edition eOOo

No Portion of tJnis book canbe reproduced in arr5rmarlner without urritten permlssion of the cop5riglht

owner.

www.secretcenter.inforan@secretcenter.info

.t

Pagfe 2

Consider...

Abeautifu-l woman is asked to write dourn the name ofsomeone to whom they are close and is not, present. Youturn around and remind her to keep the writin secret. Tellher to fold up the slip and hand it to you as you will attemptto get "impressions" about this "secret" personby touchin$and handling the paper. You turn your head away as youreceive the paper and you belin to reveal details about the.lperson who's narne is written inside the paper. The paper istorn to bits as you continue. " The personyou are thinkin$of is someone who cares deeply about you, someone withwhom you have a special connection. I sense this person isquite a bit older than you, am I ri$ht?"

"Yes!tt

"Ok, Lets amplify your thougfirts, I'm onty getting so muchfrom the paper. \Mhich of your hands do you feel is moreintuitive, right or left?" Left. "Elold the pieces inyour lefthand and really try to picture Her. I say herbecause I'mdefinitely sensing a feminine enerly. I really want you tofocus, see her, and call out for her in your mind. Ima$ineher walking into thls room. See it in slow motion. I wouldwalk over to her and introduce myself and then she wouldlook 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.

PaSe 5

Method

This technique allows you to show the papers from all sidesdurin the tear and still access the information in a directbut very subtle marlner. You never look at your handswlrile the tear is takingiPlace.

There are marry brilliarrt methods of fhe Center Tear worthstudJrin|. Corinda's 15 steps to Mentalismwas myintrod.uction to secretly readinS! the center of a torn piece ofpaper. Al Mann, AI Baker, F,ichard Osterlind, Bruce Bernstein,Richard Busch and Barrie Richardson and Docc Hilford haveall contributed clever methods to gaining secret information

written on a piece paper. I have studied many methods andafter spendin5S considerable amount of time sacrificin$ manypieces of paper, I independently carne up with this new technique.

This pamphlet will only address a technique' Presentationa,lstrategies will onlybe touched upon li$hUy. fhe rest is up to you.The previous example used a classic psychometric premise butthe possibilities are endless. Here, I wanted the presentation to

be more like an experiment where the paper is the object and theinformation inside is the soul of this object. By handlin$ the paperI try to get impressions, information or personal traits about thewritten person rather thap just revealin$ their nalne. At first I'mgetting value impressions, $ivingl off the feelinglthat thin$s couldgo wrong. I strengfthen the effect by usirg cold readinSl techniques.

The imBortant point is to reveal information prior toany tJrXle of move.

Pagfe 4

You keep getting closer and closer a,nd finally reveal thenarne. The revelation of the narne could come off almost likean accident, Iike you didn't mearr for that to happen. I highlyrecommend The F'ulI F acts book of CoId F,eadinl by IanRowland and anfihingby Richard Webster on the subject ofcold readingi.

Mechanics

I use the cheapest 5x5 lined index cards from the local 99-cent store. I say cheap, not because I'm thrifty but becauseyou want index cards that are thin and easy to tear. Thewriting will be done on the blank side of the index card, whenthe paper is folded the lines will be on the outside helpinEl tofurther conceal the writingi. I've a,lso used business card sizedpaper without lines. I went to Kinko's and had them cut thethickest paper stock (not card stock) they had and had themcut into business cards. T'frey look exactly like blank businesscards only easier to tear. Most standardbusiness cards willwork as weII. I have the subject write with a flne pointSharpieo but, any pen will do. Durin$ the tearinEl a,ndhandling of the paper your head will be turned away to theside so it doesn't matter if the writinlbleeds throu$h thefolded card. I usually make a point to close my eyes a's I'mtearing the paper.

What I love about Thinfr Pink is that the paper appears tohave been torn to I/16 its orilinal size, before you ever lookat it! Since this is a center tear not a peek you mi$ht as welltear the paper to shreds. No one could even ima$ine tJrat hisor her secret information is staringlyou riSlht in the face,horizontally, upri$ht and easy to read.

Paie 5

Get, a,n index card and look at it blank side up. FoId the leftside over to the right but don't align the ed$es. The left/topside shouldbe shifted down abit as in photo 2. I'veexaflgerated the misalignment for teaching purposes. Youcarr now see the red line of the ruled index card on top.Rotate 90 degfees clockwise and fold the right side over tothe Ieft but don't align. This time you will fold the ri$ht sideabout a l/8-inch past the left most ed$e (photo 4).

Pa,ge 6

B,otate 90 de$rees clockwise again and now you're atstarting position as in photo 5. The "center" of the paperis on the bottom right corner. Photo 6 shows the l/8-inch"over-fold". Ttris uneven foldin creates a long side and ashort side. The short side will face tbe audience whilethe long side faces you (photo 6). You will always be ableto get to this positionby touch alone.

I turn the slip over, keepinithe open side up and creaseon the bottom, as I ask for the subject's initials, which Iwrite on the short side, (the side that will face theaudience). This extra step will later guarantee that theyrefold the paper exactly how you want them to. Unfold thepaper initial side dovrn flrst, and then open from rifht toleft.

Page 7

Their initials will barely be visible through the card andshould be on the bottom right sector as in photo IO.

Draw a line slightly above the center crease and show thesubject that they should write the information on top of thisIine by drawing an X there (photo I I). The writin thatwill be available to you will be limited to the space directlyabove the line. This a,llows the pieces to look smaller later.Ha,nd the subject the pen and instmct that they print somesecret information, which they should keep tridden fromyou. elust make it easy for them and move away to $ivethem privacy. \Alhen constrrrctingyour performance it isimportant to address why the information is written dovrnand why is it torn up.

Pa6fe 8

Have them fold up the paper. Before receivin6! the paperI tell them to make sure their initials atre on the outside.

TAIhen I get the paper m5r frnglers adjust ttrre paper to thestarting position with their initials on the short sidefacinS!the subject. I tear as in photo 14 with my rihthand pullin towards my bodY.

The rilht hand pieces go over ontop of the lefthandpieces.

PaSe 9

I?Now rotate 9O degtees counterclockwise

This is where it starbs to Set interesting. HoId the ri$htcorner tighUywhile in one motionyour left thumb folds t'heflrst layer of paper up and over to the right (photo 19) asyou tear in tJre sarne action as tJre first tear (photo PO samemove as photo f 4). In photo 19b my risht hand is removedfor clarity. This tear is easy if your using;the thinner cardstock that I described earlier. Bevel the pieces when usingtJricker paper so that you are only tearing through on chunkat a time.

I8T4t5

I9 r9b

6

Page IO

eo eob

Once again the right hand pieces go on top of the left handpieces. Notice we've created a little bandle.

EI EIbBy slighUy releasing pressure of the right thumb thespringiness of the card stock should create an opening forthe left thumb to enter (Photo 2I). Open this flap. In photo2Ib my right hand is removed so you can clearly see theopen flap. This flap contains the secret, info. For referenceI'Il call it the info-f1aB.

Page 11

26Tear the info-flap and place it on top of the left hand pilethen rotate 90 degrees counterclockwise to get into theposition shown in photo ?.4/ 25.

e5

This is where the handle comes into play. The handle isnow inside. You ca,n't see it but notice how easy it is to findthe one layer that needs to be opened. In photo 85 the topright corner has a large "break" in it due to the fold of thehandle. This allows you to freely showboth sides of tlristiny stack of papers while your talking. Sometimes Icasually rotate forvrrard one full revolution while my ri$htthumb slips into the break.

Page le

The rigfirt thumb enters this break. fhe Ieft hand shouldbepositioned as in photo e6, with the left thumb on top of the"spine". \Mhen the rifht flngers sli$hUy pr:ll on the mini pileof papers the info-flap opens. Your left hand fln$ers concealthis. Your head is still turned away: your fingers have hadtheir path lit by clever crearses and folds.

This is where I usually ask the subject "a,re you right or lefthanded?" 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 beforegiving it to them. Closin$ the paper is just a matter of puttingfyour hands together and pushinlthe flap closed with the leftthumb.

Page l5

50

Tearingf tJris final time is not too difficult \Mith thinner indexcards, but is nearly impossible with an5rthing thicker. So, ifI'm in abind, I'll just tear tJre info-llap before handingf overthe torn pieces. I've erqrerienced people tqfing to put thepieces back together to see if it's all there. I'd rather themnot find the info-f,ap intact. I hand them the papers,showing m5r hands clearly empty. Now that you knowwhat's written, relax, Iet some time pass before the finalrevelation. Keep in mind you should be able to do this tearin less than ten seconds but there is no need to rush. Ipersonally tear twice, talk a little, and finish tearing.

51

27e6

Finaf Thoughts

I know the steps seem complicated at first, but just likeever5rthing else it will become easier the more you practice.Once you get the hang of it you can do this tear on arrypaper includin$ Post-It notes. For every method of thecenter tear tJrat exists there are dovrrnsides. fhat's why it'simportant to learn what works best for you. Think Pinkhas never failed me yet. I've tried to make it clear as tohow the paper should be refolded a,nd returned to you. I'vemade it easy for the flngers to find their way in the dark.During the peek, the pile of papers looks so small it doesn'tseem 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 allowfor more space but business cards are extremely deceptivebecause of the tiny pile of papers you are left with in theend. Think Pinlr is ideal for one-word descriptions, narnes,dates, numbers and so forth. I hope you add tils tear toyour 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 timewithyour presentation and use your actinglabilities to createa truly memorable moment.

I would like to tharrk Newell Unfried for editingithis marruala,nd always aiming me in the right direction. He has taughtme so much on the subjeet of mentalism and ma4fick. I'd liketo thank Tim Trono at Murphy's Magfic for believing in thisfrom the start. fhanks to Tom clorgenson for his kind wisdomand for the creative brainstorm sessions. I would also like totharrk Sir clames for his royal sense of humor, cleff Cha,rnbersfor sharing his phitosophies on magic and music. And...Thank You.

Ran Pink

Look for

Think PinkThe Complete Edition

Central Intelligence

65 pages. Limited Hardback Edition

The Complete Think Pink contains more than beautifultechniques. It is a dissertation on the psychology and process ofusing it, which can be applied to so many mentalism routines. Theillusttations and text make learning it fun and easy. Not only doesRan include some of his advanced techniques and pet effects butalso he has included routines and ideas from some of today's topinnovators in mentalism, for a total of 11+ new effects to getyour creative juices flowing. If you are looking for a way to achievemental miracles, just Think Pink!!!

"Great Stuffl I LOVE the Scorecard and Empath approach.Brilliant and potentially quite moving and romantic!"- Kenton Knepper

"Think Pink is one of the most pou/erful tools you will have atyour disposal. These touches thatare offered here are priceless. Ifyou really want someone to think )rou can reach inside their mindand 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\gives you

^ gre t step by step view of it, but comes with sonrt

powerful routines and ideas." - Greg Arce

Available atwww. secre tcen ter. i n fo / thin kpink