数字心灵魔术(大全) 十二种数字预言术教学

数字心灵魔术之 一 数字预言术(先在纸上写下了预言数字6760)

⑴ 在纸上写下6760预言数字后折起来请对方保存。

⑵ 请对方在200—1000之间选择一个数字键入计算器。

⑶ 加831。

⑷ 减1000（记住目前的数值）。

⑸ 将所选的数字减去上面得到的那个数值。

⑹ 乘以40（即等于预言的数字6760）。

例：对方选 345；345＋831＝1176；1176－1000＝176；345－176＝169；169×40＝6760

数字心灵魔术之 二 数字预言术(先在纸上写下了预言数字1089)

⑴ 在纸上写下1089预言数字后折起来请对方保存。

⑵ 请对方在0-9中选三个数字排列成一个三位数，数字要成递减方式，如 851、743 等。 ⑶ 用该三位数，减去其反向的数字，如 851－158＝693。

⑷ 得出的值再加上其反向的数字，即得所预言的数值1089（693＋396＝1089）

数字心灵魔术之 三 数字预言术(先在纸上写下了预言数字8)

(1) 在纸上写下了预言数字8折好，放在关众手里

(2)然后将1-10写在另一张纸上 问鹳众1 3 5 7 9和2 4 6 8 10选一组.

不论观众说选那组.口中立刻说..好….这组你不要然后拿笔快速将13579那组划掉 (因事先并没告知关众选的是要删还是留)只是让选择

(2) 再问关众246跟8 10选那组

观众选246那组.口中立刻说..好….这组你不要然后拿笔快速将246那组划掉

众选8 1刻说..好….这组你要然后拿笔快速将246那组划掉

(3) 再问关众8跟10选那组0那组.口中立

观众选10那组.口中立刻说..好….这组你不要然后拿笔快速将10那组划掉

观众选8那组.口中立刻说..好….这组你要然后拿笔快速将10那组划掉

(4) 然后请观众打开纸-预言数字8

备注:别小看这招.这招叫(强迫选择法)用上述招式练好你的强迫选择法胆气

数字心灵魔术之 四 用10张普通#9@k变一个超神奇的心灵魔术

表演者拿出十张#9@k牌给观众，让观众任意切牌。然后表演者把牌放到背后，在不看牌的情况下从已经被观众切乱的牌中一对一对的抽出五对牌来。这个魔术很简单但是效果不错的，而且不用练习。有兴趣不妨试一试

其实这个魔术很简单，事先从一副牌中找出五对花色一样的牌来。比如一对 A 、一对 2 、一对 3 、一对 4 和 一对 5 这样的十张牌。按照顺序排成两罗，就是 A 、2 、3 、4、5 、

A 、2 、3 、4 、5 。排好后给观众切牌，观众可以切任意次直到他认为牌已经被切乱了。（注意：切牌的时候千万不能从中间抽出牌切，只能把牌分成两罗上下的切换，切换几张都行）最后把牌放到背后的时候，牌面冲下数出上面的五张分成两罗，牌面都冲下。然后一次抽出两罗牌最下面的一张，就成了！

其实这个魔术的关键就是不管观众切几次牌，牌的顺序都不会乱,不信可以试试哟!

数字心灵魔术之 五 (算电话号码)

举例：对方电话号码为 2395-7928

步骤

一:请对方将电话前四码键入计算器

二:X 80 =

三:+ 1 =

四: X 250 =

五:+ 电话号码后四码 =

六: + 电话号码后四码 =

七:- 250

八: 请对方确认屏幕上数字是否为正确的电话号码﹝当然不是﹞

九:收回计算器将数值除 2交还计算器给对方看你算出他的电话号码。

键入前四码 2395 ﹝七码则只键入前三码 ﹞

举例对方电话号码为 2395-7928

2395 X 80 = 191600

191600 + 1 = 191601

191601 X 250 = 47900250

47900250 + 7928 = 47908178

47908178 + 7928 = 47916106

47916106 - 250 = 47915856

49915856 / 2 = 23957928

数字心灵魔术之 六 (搞笑预言术)

首先拿出一张白纸跟一只笔，并且告诉观众，你要将你的预言写在这张纸上，请观众猜猜你的预言是否正确。(观众议论纷纷中.....)

接着便在这张纸上写下\"不知道\"三个字，将纸小心折好不要让观众看见内容，折好后放到旁边或者请观众保管。

以上动作完毕后，神秘的问一下观众，你知不知道我刚刚预言了什幺东西呢?(语气缓慢且神秘)

观众回答:不知道。

此时请观众自行慢慢的打开刚刚的那张预言，里面写着\"不知道\"三个字，这时候记得要赶快逃，因为已经有观众开始脱鞋子了。

这招蛮适合在表演前当成轻松愉快的开场白，先把观众的心情提升起来，接着再开始接下来您精采的表演。

注意：表演时的营造气氛很重要喔，气氛掌握的好的话，效果觉得超乎你的想象。我觉得气份很重要，如果表演这魔术搞的观众都很开心的话，也算是一种成功。

数字心灵魔术之 七 (非常神奇能猜出关众心里想的数)这招很玄.我推荐一定要学

流程及效果：先叫观众随意的在心中记住一个五位数，然后叫这位观众将这个数字再随意组合成另外一个5位数，然后将这两个五位数相减（大减小），《注：在次过程中魔术师是不知道这五个数字的》，这样就会得出一个答案，叫观众再这个答案中随意的选择一个数字记住，也同样的不要告诉魔术师，将其余没有记住的数字交给魔术师，魔术师静想几分钟后，在纸上写下个数字，竟然和观众心想的数字一摸一样。

教程：这是个简单的数字原理，将观众交个你拿的那几个数字相加，如果是个两位数，那就再将这个两位数的十位和个位再相加一次那样就得出一个个位数，再用9减去这个个位数，那就是观众心里的数字。

注意事项：大家千万别因为这个魔术的原理简单而不去表演或练习，这个魔术只要大家能发挥你们的想象力，那幺这个魔术就可以成为一个非常震撼人心的表演。如果能加入降霊或透视心灵这样类似的气氛，那将让看你表演的人认为你是个超能力者。尤其要注意的就是不要把从观众那里拿回数字的这个动作做的过于明显，要将观众把视线从这上面引开，这就是魔术真正奥决：大家加油了，努力了！

例：

五位数一：57429；五位数二：24957；

相减得：32472；心中记7；余下3242；

表演者3+2+4+2=11；1+1=2；9-2=7

数字心灵魔术之 八 数字预言术(超好的数字魔术预言.先在纸上写下了预言数字9)

效果：让对方在心里从２－９随便想一个数别说出来 然后我进行加减乘除各种运算 最我说出了结果是多少

方法：先解释一个词＂横加＂就是十位和个位相加 如：１９ 横加就是１＋９＝１０ 因为２－９之间的任一个数和９相乘后再横加都等于９，所以让对方想好一个数后你进行加和减运算 记住一定要使你作的运算等于零 就相当于你根本没做运算 结果还是对方心里的那个数 然后你说乘９再横加结果大家多应该知道了 就是９ 然后幺你就可以再９的基础上进行各种运算了 然后很轻松的告诉她结果

例如：她心里想的数是：２ 然后我说加１减６减１０加３减８加１１加９（２＋１－６－１０＋３－８＋１１＋９）还等于２ 然后幺乘９再横加＝９ 接着的就留着你去发挥吧

数字心灵魔术之 九 (三张纸牌的预言)

效果:魔术师从牌盒中取出3张牌,梅花2,黑桃4和红桃Q,让观众检查三张牌,然后将三张牌摆在桌上,拿出一把笔,让观众用笔点出他所想要的牌.(比如他点了红桃Q),观众点完牌后，魔术师翻开红桃Q．发现牌下有张纸，上面写着：你会选择红桃Q，而翻开其它两张牌时，下面却没有纸片！！

开始前要准备三张一样大小的纸，上面分别写着：你会选择梅花２，你会选择黑桃４，你会选择红桃Q，把第一张纸放到牌盒里．第二张对折后放进笔里，第三张放在口袋里．

表演时，将三张牌给观众看时偷偷从口袋里拿出第三张＂寓言纸＂．在取回三张牌时，将纸放到红桃Q下面，一般人都会选红桃Q．然后将三张牌排到桌面上，应对观众的三种选择拿出对应的＂预言纸＂

１．选梅花．问观众＂你确定吗？＂＂不改吗？＂＂那好，你知道你为什幺会选这一张吗？其实是我控制的，答案就在牌盒里．＂然后打开牌盒

２．选黑桃．前面说的是一样的，就是在说观众选牌的原因时，说＂其实是我通过笔控制你选牌，原因就在笔里！！＂然后打开笔

３选红桃，那就直接翻开牌，话就随便说拉

数字心灵魔术之 十 数字预言 (先在纸上写下了预言数字4 ) 答案永远就是4

1.先在纸上写下了预言数字4

2.请大家1~10想一个数好了吗？

3.OK，先乘2再+8再除2再减去原来(想)的数好了

4. 你的答案是4(因答案永远就4)

5.ok纸上写下了预言数字 4 那就直接翻开

数字心灵魔术之 十一 (7张卡片1到127任意想一个数) 这是一种很有趣时髦的魔术哦

这是一种很有趣的魔术哦而且有一点时髦的特点。

效应：让观众从1到127任意想一个数。然后给观众7张卡片（在底下），然后问问他们有哪些卡片出现了他们想的数，你就能马上说出那个数字！

准备工作：准备7张卡片或者你也可以拿一张纸抄下来哦

（我写的数的顺序不要打乱哦）不是卡片顺序

7张卡片1到127

表一

1 3 5 7 9 11 13 15

17 19 21 23 25 27 29 31

33 35 37 39 41 43 45 47

49 51 53 55 57 59 61 63

65 67 69 71 73 75 77 79

81 83 85 87 89 91 93 95

97 99 101 103 105 107 109

103 105 107 109 111 113

115 117 119 121 123 125 127

表二

2 3 6 7 10 11 14 15

18 19 22 23 26 27 30 31 34 35 38 39 42 43 46 47 50 51 54 55 58 59 62 63 66 67 70 71 74 75 78 79 82 83 86 87 90 91 94 95 98 99 102 103 106 107 110 111 114 115 118 119 122 123 126 127

表三：

4 5 6 7 12 13 14 15 20 21 22 23 28 29 30 31 36 37 38 39 44 45 46 47 52 53 54 55 60 61 62 63 68 69 70 71 76 77 78 79 84 85 86 87 92 93 94 95 100

101 102 103 108 109 110 111 116 117 118 119 124 125 126 127 表四

8 9 10 11 12 13 14 15 24 25 26 27 28 29 30 31 40 41 42 43 44 45 46 47 56 57 58 59 60 61 62 63 72 73 74 75 76 77 78 79

88 89 90 91 92 93 94 95

104 105 106 107 108 109 110 111 120 121 122 123 124 125 126 127

表五

16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95

112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 表六：

32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 96 97 98 99 100 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 表七：

64 65 66 67 68 69 70 71

72 73 74 75 76 77 78 79

80 81 82 83 84 85 86 87

88 89 90 91 92 93 94 95

96 97 98 99 100 101 102 103 104

105 106 107 108 109 110 111 112

113 114 115 116 117 118 119 120

121 122 123 124 125 126 127

完了之后你就发灰表演天付了，说一些台词，把一张张的卡片递给关众，记住哪一张有他说的数。看一下每张卡片左上角的数（也就是每张开头的那个数）有几个记几个，把所有数字加在一起，就是总答案哦！！

解释:

例如:想的数是3那6张卡里只有第一张跟第2张有3

这两张开头的数分别为1及3那(第一张开头数1+第2张开头的数2答案就是3)

我的表演心得:

我为了使得这个戏法显得更加玄妙，故意把每张卡片涂上各种不同的颜色。他我只需记住每种颜色所代表的数。例如，红卡片代表1，橙卡片代表2，黄卡片代表4，绿卡片代表8，蓝卡片代表16，紫卡片代表32（可依据彩虹的诸色顺序）于是，我站在大房间的一头，请人想好一个数字，并且把上面有此数字的卡片置于身旁，即可根据那人身旁的卡片的颜色随口说出观察心中所想的数字。

数字心灵魔术之 十二 数字预言(先在纸上写下了预言数字18 ) 过程全部让观众完成

1. 先在纸上写下了预言数字18

2.一付52张的牌交给关众观众任意洗牌

3.然后请观众任意分成两份，(52张牌分2堆牌.要观众分的平均点?其中一堆要在20~29之间)我表演多次(随便平均分一般都会是)

4.请关众2堆任选一堆

5.这时要用到强迫法既关众选到那堆若太少或太多就叫它将选到那堆丢掉数另一堆.若选到张数约在20~29那堆.直接进入下一阶段

5.请关众数(那堆牌)的张数

6.然后要求关众将(那堆牌)的张数.数字减去他的个位和十位。

例: 牌张数23-2(十位)-3(个位)=18 备注: 张数20以下29以上会破功(确记)

7请关众说出(得)出的数字，（整个过程全部让观众完成）

8.打开预言纸预言数字“18”

备注:此表演过程是我eastking自创.利用此原理你也可以自行创意表演过程

后记:

备注:请关注此帖若发现或想到新的数字预言术我会添加于此…2009.04.30发表

我用心搜集整理.再敲键盘详细解说教学.没苦劳也有心劳卖5分真的不贵啦

第二篇：高级心灵魔术教学

PK Touches

By Steve BANACHEK

Back when I first started performing, I read a book by Milbourne Christopher that described a psychic by the name of Achille D'Angelo who became famous for his "psychic cures". In one description of his "powers" D'Angelo claimed he found out he had strange powers when he was at the age of sixteen. One day a voluptuous girl in a summer dress was walking down a street a dozen or so feet away. He found the desire to touch her verwhelming. D'Angelo made a caressing gesture and was amazed when she swung around ready to slap the face of her molester. When she turned and saw that no one was close enough to have touched her, she fainted.

D'Angelo claimed he could perform the invisible hand feat in a lighted room. And so he did. There were limitations to his powers though and he would only perform it for four people at a time. Also he could not perform the effect surrounded. Milbourne Christopher tried the effect for himself and found it worked quite well under these conditions.

I then took the effect and added a few touches (pun intended.) I found out that I could perform the effect surrounded if needed by making a few adjustments. Instead of "jabbing" the subject with my fingers, I tapped the subject in the secret manner l will explain later.

For many years I performed the effect for many reporters, magicians, and at the end of parties when requested to do one more before I left. Still the effect did not find a place in my regular show. Most likely because I had not found a suitable Routine for it.

Then came the Weerd Weekend in 1994. At this particular gathering I lectured on 'Impromptu PK'. I covered my various original techniques for metal bending (see Al Mann's 'The Alpha Files', 1995" and other impromptu PK effects, closing with 'Psychokinetic-Touches'. The guys and girls in attendance love it, most of all they were first fooled by it and then loved the psychology behind the effect when I revealed how it was accomplished. They talked about it so much that I decided to use it on a two hour special I was taping in Tokyo, Japan. Despite the language barrier, the effect killed. The tape of the show started to circulate in the U.S. and then the calls started coming in asking how I was able to accomplish it and could they use the effect with the routine supplied.

At this point I should say "I hope you like it" problem is, without being humble, I know you will love it.

Mentalist talks about a deceased uncle. Mentalist proves the uncle's ghost is still around by having the ghost tap a seated spectator while the performer stands at the other side of the room and simultaneously taps another. That's right, the seated spectator actually feels two solid taps although no-one is near him, proving beyond all doubt that the uncle's 'spirit' does exist.

Mentalist is seated on a chair the whole time he tells the first half of the story. This enables the mentalist to be dramatic at the second half of the story by moving around. The beginning should be told in a somber manner, the effect you are trying to create is one where emotional people might even cry.

"When I was a boy, I had a favorite uncle, uncle Charlie. Uncle Charlie used to take me

fishing, hunting, horse back riding. We did everything together, in fact, we were best friends. We always played little pranks on one another. Our favorite prank was what we came to call 'the trick of greeting'.

Often uncle Charlie would creep up behind me on my left and tap me on the right shoulder (Mentalist indicates the back area of his shoulder). I would turn to my right, no-one would be there and uncle Charlie would be laughing on my left, I knew uncle Charlie had tricked m me again. Whenever the opportunity arose, I would play the same trick on uncle Charlie, it became our way of greeting each other. 'The trick of greeting’.

When I was fourteen, uncle Charlie passed away. It was my first real major loss in my life, my parents were not sure how I would take it. I suppose that at the time I was in denial.

"UNCLE CHARLIE WOULD ALWAYS BE THERE FOR ME!" My parents let me go to the viewing of uncle Charlie's remains.

Knowing how close I had been to uncle Charlie, my family let me go into the room by myself. They closed the door behind me. Up ahead was uncle Charlie's coffin. "I'm not going to cry" I told myself. "Uncle Charlie would not want that, he would want me to think of the good times."

Slowly I walked up to the coffin, when I reached it, I looked upon my uncle Charlie. "I'm not going to cry!" Uncle Charlie looked so peaceful, he had a smile upon his face which caused me to smile.

I started to tell uncle Charlie how thankful I was for all that he had done for me through the years when suddenly I felt a tap on my right shoulder. "My imagination" I thought aloud. Then I felt another. I turned around to my right (STAND UP DRAMATICALLY AT THIS POINT) and no-one was there.

I started to turn around to my left thinking that maybe my father or brother had crept up behind me and had tapped me on my shoulder playing the greeting game on me, but no-onewas to my left either. In fact, no-one else was in the room at all.

Slowly I turned around and looked upon uncle Charlie's smile. Again I smiled as a tear rolled down my cheek, uncle Charlie would always be with me."

Pause, as if the end of the story. If you have a glass of water available this is the time to take a drink. You want to let what you have said sink in. Then you dramatically tell the rest of the story like a mad man.

"At first I thought I was going slightly crazy, but the thought of uncle Charlie becoming my 'Guardian Angel' was comforting. It wasn't until a few years later that I realized that uncle Charlie was truly protecting me.

"On my eighteenth birthday I stepped in to the path of an oncoming ISwheeler. I felt a powerful force push me out oftheway and back on to the curb. No-onewas around, yet someone, something, had pushed me back just in time.

"At the age of 261 was boarding a plane but could not find my boarding-pass at the last minute. I knew I had placed it in my inside jacket pocket, yet it was gone.

Immediately after the plane taxied away from the runway the boarding-pass reappeared where I knew it had been all along. The plane crashed. 52 passengers were lost, uncle Charlie had saved me again, and still daily, I am greeted by uncle Charlie with two taps on my shoulder.

"The great thing about my uncle Charlie is I can prove he exists. To do this Iwill need a man and a lady."

Mentalist seats man in a low backed chair or low stool and stands lady at other side of the room. Mentalist stands by the Lady.

"To enable uncle Charlie to pass from the land of the dead into the living and communicate with this gentleman I will need to cleanse his aura.

"Sir, sit up straight and close your eyes. Please concentrate on every physical experience that happens to you in the next few minutes, do not smile or move at all, do not get scared, but feel every sensation whether it be a tickling sensation, hot, cold or any other sensation."

Mentalist makes passing motions completely around the man standing about afoot or two away from him at all times. It looks as if the mentalist is cleansing the man's aura.

Mentalist then walks to the other side of the stage and taps the lady twice, openly on the right shoulder and makes throwing motions towards the man seated on stage. If he wants he can gesture to an invisible man as he taps the lady on the shoulder once, gesturing to the invisible man as if to say "That's what I want you to do to him " then tapping the lady a second time.

Make sure the audience sees that there are two distinct taps on the lady's shoulder. Wait a few seconds then ask the man to:

"Please open your eyes”. "Did you feel anything at all?"

"Taps" replies the man.

“How many?" "Two?"

"Which shoulder did you feel them on?"

"On my right!"

"I did not touch you sir, in fact I tapped the lady and uncle Charlie tapped you!” Please

give both of my helpers a round of applause.

"How about showing my uncle Charlie how much you appreciate him."

This is strange indeed. Do not be fooled by the simplicity in the method. This has fooled everyone I have shown it to including some of the best guys in the business including, Tim Connover, Charlie Buckner, Docc Hillford and it even had my good friend and mentor James Randi going for a while. As said before, this can be performed without the story, however, if you do not use the story to set up what is going to happen, you will not want to tell them in advance that they will feel taps. You will also have to change the questions at the end from "Did you feel any sensations at all?" to "Did you feel any taps on your shoulder?" Then ask "Which one?" then "How many?"

The bold and beautiful secret is that you actually tap the spectator as you "Cleanse his aura."

Because the man's eyes are closed he has no idea that you are moving around him and he has no idea as to when you tap the lady.

Having him close his eyes as you give him his instructions further confuses the amount of time for him.

Even if the man knows you moved around him, he has no idea when you walkover to the lady and tap her. The audience is not aware that he feels the taps at a different time. Believe me, I have performed the effect up to five times for the same group and still they did not catch on.

First you need to learn how to make the cleansing gestures. These are made as you would if you were applying suntan lotion, only your hands are held about a foot to six inches away from the man's body.

Start by waving your hands in the front of the man's legs, move up his lap, then the head, back down to the chest, as you walk to his right side. Then then wave your hands over the right shoulder then over his back, step around his back and then over his left shoulder coming

around to his left side then over his head again and then over his chest and the front of his legs again again.

If need be, the second tap of the two taps can be made on a second pass around the man which can be made immediately after you tap the lady twice and come back to the man to make more passes then go stand back by the lady as you ask the man to open his eyes. No one will be the wiser when he says he felt two taps. The fact that the taps were far apart is not information the audience gets. I prefer to make both taps on the first round.

As your hands move in a jerky motion back and forth, your left hand's middle finger simply releases a tap towards the back of the shoulder. (See fig 1.)

As you wave your hands up the man's right breast your left hand comes up over the shoulder and his back, then up over the same shoulder and down over the right breast again, then back up his front, then over the shoulder back to the back. The first tap is made with the left hand as the right hand moves up the front and then over the shoulder. The second tap is made with the right hand as you step behind the man and the left hand comes into view in front above the spectators left shoulder and the right hand passes over the right shoulder.

The second tap is made by the right hand in the same manner as the first tap. The tap is not discernible to anyone so long as the person is notwearing very loose clothing. Try it for a friend as you have another watch from behind. They can not see it even though it happens right in front of them. Even so, I have routined the effect so that the moves are hidden, even if they could be seen due to the angles. I have performed this surrounded many times using this method and timing. Usingthis timingwill make the beginner much more comfortable and will enable you to perform the effect for a TV camera without the fear of 'the slow motion detectives.'

I will cover the TV performance later.

The taps should be made at the back of the shoulder, high enough so it is still on the shoulder but not considered the back. You will notice in the routine that you do not ask where the taps are felt but rather if any were felt and which shoulder they were felt on.

Tell the crew that they will get a better shot if they include the woman over the man's shoulder and that they should not cut away as you do not want anyone to think you did something during the cut. Make sure the camera includes the whole man. Your body will block your taps. The camera needs to show a clear shot of when you tap the lady's right shoulder. Remember, it is the timing that will fool them.

1. The spectator's chair should either be a low stool or a chair with a low back so his shoulders are above the chair. It is important that the man sit up straight.

2. Do not speak during the 'cleansing' of spectator one or tapping of spectator two. Only speak prior to telling spectator one to remember all his sensations and when/after you ask him to open his eyes.

3. Lady should stand up straight at an angle facing man on stage but in such a way that her right shoulder is visible to the rest of the spectators.

4. Remember that the tap is made as the hands are in motion, more of a quick sliding tap rather than a direct tap.