PDF

The method is described in full detail with powerful psychological subtleties included.

A number of effects demonstrating this wonderful method are fully described.

Effects Include：

Changing Minds：

Appear to bestow a volunteer with the ability to read your mind with extraordinary detail and accuracy.

More than Freud：

Simulate being able to predict human behaviour and movements， clearly demonstrating an astounding knowledge of psychology.

Hand of Glory：

Predict the number of fingers a person is holding up on their hand while it is hidden from view. They then strangely have the ability to predict whatever number of fingers that you hold up without being able to see your fingers.

Reading Minds：

Parallel the ability to know intimate details and personal information from any audience member. This information is so personal that no amount of pre-show snooping into the background of the individual could possibly be the answer

There are other effects included within this book and also focused strategies to create other equally or even increasingly powerful effects using this technique.

The effects presented in the book have a presentation best suited to stage/group work. However， that is just the presentation; it is possible to use this method with a smaller numbers of people.

110 page， perfect bound soft cover book.

All books will be signed by the author.

Buy This Book

Reviews & Comments

“I’ve always loved one particular “sneaky move” for really wowing audiences. Like most mentalists I’ve known about this method， but been nervous each time I put it into action， even though it garners the most powerful reactions from participant and audience. In his book， Paul has taken the bull by the horns， taken the hard work out of it， and produced something that – used properly – has the potential to turn the average mentalist into somebody who works miracles.

You may just find yourself starting a cult after reading this!”

– Drew McAdam， Professional Mentalist， UK

“I received a copy of The Gift earlier this month， and it is sterling stuff. Paul’s use of psychology shines through， it is clear that the effects are born of performance， not armchair bound navel gazing. Paul has obviously worked the effects， and ironed out the crinkles.

A powerful and underused technique.”

– Phill Smith， Author of ‘Mitox’， UK

“This book is intelligently and clearly written， and if you perform stage mentalism， it’s something you really should read. No one is a stooge. No one is aware of the method. That’s the strength behind this work. Once set up， the effects you perform are method free and， dare I say it， “Naked” as far as both the audience AND the spectator perceives them.

Each effect comes with its own tight script and an excellent section on the various subtleties to employ. These are comprehensive， and it’s obvious that they’ve come from experience. Paul’s a psychologist， but he’s also an experienced entertainer， and it shows.

Unlike some works on the same subject that assume many aspects of the process， Paul goes into great depth. The Gift is a full approach and philosophy， which leaves you smiling and thinking “you clever， clever sod!”



– Jon Thompson， Author of ‘Naked Mentalism’， UK

“Perhaps the most provocative aspect to The Gift is in its title， “the 14th step to mentalism.” That was a very bold line， indeed. I figured the author of something that presumptuous had to be either horribly misguided or on the threshold of something truly remarkable. After reading it， I think this “14th step” would sit perfectly well along side of Corinda’s original 13.

He creates a door to many hard-hitting and direct mentalism effects. “

– Chris Conner， Mentalist， USA

“One of the best purchases I have made this year. The effects are very strong and Paul goes into a lot of detail. The effects are fully explained and fully scripted too.

Some strong mentalism is contained within.”

– Aaron Henry-Webb， Mentalist， UK

“As previously mentioned the gift takes an age old principle and applies new twists and a logical thought process to it’s utilisation. For example， when and how to apply the threories and how to routine your performance with regards to wording and ‘honesty’. This， I found very useful as it’s always been an area in which I’d been interested but never confident enough to try in a real environment. For this alone it has been worth the asking price， as to my mind there isn’t a comprehensive approach to it in publication.

As far as the title goes， I was apprehensive at first. But， after reading I truly believe that it is indeed the 14th step and wonder why Corinda left out this chapter， as there is enough material to cover many lifetimes of performing when approached correctly.”

– James Went， Mentalist， UK