MINDHAUS Passkeys By Lewis Le Val

No part of this publication may be reproduced, distributed, or transmitted in any form or
 by any means, including photocopying, recording, or other electronic or mechanical
               methods, without the prior written permission of the author.

                   Copyright © MINDHAUS, All Rights Reserved.
                  PASSKEYS
Welcome to Passkeys! Let’s get started, shall we?

Along with this PDF, you’ll have received six les.
They are in .pkpass format, which means the moment
you open them on your iPhone, you’ll be given the
option to add them to your Apple wallet.

You can AirDrop them to your phone, or simply go to
www.mindhaus.co.uk/get-passkeys from your phone
and you’ll nd a download link there. You’ll also see a
video there, but please read this PDF rst. The
password for the page is: open

Once added to your wallet, you can access them by
double clicking your lock button, just as you normally
would to access your Apple wallet.

Now let’s take a look at how they can be used,
starting with “Travel Buddy”.
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TRAVEL BUDDY
     Travel Buddy is almost like a mini book test. It’s super
     easy to do, and you don’t have to remember all kinds
     to make it work.

     Open Travel Buddy and casually show it to your
     spectator. In your own words, explain that it is a travel
     coupon or some sort of discount card for tourism.
     Don’t go into too much detail. It should seem o -the-
     cu , as though you’ve randomly decided, in the
     moment, to use it for your demonstration.

     “There are plenty of tourist destinations and
     landmarks listed here, I’d like you to take a look and
     think of one that you’d recognise if you saw a photo
     of it.”

     This encourages them to pick one they are at least a
     little bit familiar with. If, for example, they chose Rialto
     Bridge but have no idea what it looks like or where in
     the world it is, the e ect might not work.

     Give them just enough time to choose one, and once
     they’ve got one, take your phone away.

     “Have you got one? Great. Let’s broaden this a little,
     and I’d like you to think of the country that it’s in.”

     Look at the options yourself and continue with,
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“So… Mount Fuji would be in Japan… Big Ben would
be England, just think of the country your chosen
place is in.”


This is a miscall. Mount Fuji and Big Ben don’t appear
in the options, but you’ve mentioned them whilst
looking at your phone. Doing this just makes it seem
as though there are more countries available than
there actually are. Your spectator will simply assume
that Mount Fuji and Big Ben are also on there, with
plenty of others that they didn’t choose.

On closer inspection, you’ll see that while there are
many places listed, they are only from three
countries; Italy, France and Egypt.

Take a moment to look at your spectator as though
‘tuning in’ to them. Continue with,

“Ok this is good. Just think of the rst letter of that
country, I’ll try and draw it in the air as I’m starting to
see it.”

Now here’s the secret. They can only be thinking of
Italy, France or Egypt. Notice the rst letter of each
country: I F E.

To draw an E, you must rst draw an I, which then
becomes an F, which nally becomes an E.
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 All you have to do is point your nger and draw an I in
 the air, in the space between yourself and your
 spectator. Pause for a moment and begin to smile
 slightly. Behave as though you’ve nished the letter
 you were drawing.

 If they react or respond here, you know they were
 thinking of the letter I and Italy.

 If there is no response, continue to turn that
 imaginary I into an F by drawing the top two
 horizontal lines. Remember to draw it backwards for
 yourself so it’s the right way around for your spectator
 opposite you, allowing them to see and visualise it
 better.

 Again, pause here to see if they respond to the F. If
 they do, you know they were thinking of France.

 If there is no reaction, or they are slowly starting to
 react, nish drawing the F into an E, and there’s your
 answer, Egypt.

 Remember, they are only thinking of one letter, and
 they are guaranteed to recognise you beginning to
 draw it with 100% accuracy. They won’t realise other
 letters silently forming in the process. It just looks like
 you are slowly drawing one letter as you begin to
 ‘see’ it in your mind. Once complete in the air, it’s
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complete in their mind. This is why I chose those
three countries. It would be di erent if you drew an S
then tried to turn it into an A, but I, F and E ow
together nicely.
To summarise:

Show the options and ask them to choose one they
would recognise in a photograph.

Then ask them to ‘broaden’ the experiment by
thinking of the country their choice is in (it could only
be Italy, France or Egypt).

Miscall some examples if you want to.

Focus on your spectator.

Tell them to think of the rst letter and that you’ll
begin to draw it in the air.

Slowly draw the letter I, wait for any reaction,
indicating Italy.

If no reaction, smoothly turn the I into an F, wait for
any reaction, indicating France.

If no reaction yet, or they slowly start to react as they
anticipate what’s coming, turn the F into an E by
drawing the last horizontal line. A reaction here
indicates Egypt.
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If all goes wrong and they think their chosen
landmark is somewhere that it isn’t, outright ask them
what they chose. Other spectators will correct them
and it will still seem like you were heading in the right
direction with your letter. This is why it’s important to
ask them to think of somewhere they would
recognise.

If you take your time and judge their reaction
correctly, you’re all good.

Stress COUNTRY and not city. Once or twice I’ve had
somebody think of Ei el Tower, and they were
thinking of Paris instead of France, but that was my
fault for not stressing COUNTRY. This is also why it’s
a good idea to miscall some examples to help them
mentally recalibrate if needed.

If you’ve drawn the F and they are starting to react,
but in the moment you’re unsure as to whether you
should go into an E or not, say, “I think that’s it?” As
though you’re asking. If yes, you’ll get an immediate
“Yes” from them. If there’s even a second of
hesitation from them, quickly jump in with, “Oh
wait…” and turn the F into an E.

Once you’ve got the letter, it can be tempting to
reveal the country immediately, and this is ne,
however, you may want to consider making the reveal
a little longer.
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          My thinking is this. If it were true that I started with
          nothing then slowly began to see a single letter, how
          could I then instantly see all the rest? If it took me a
          moment to get one letter, why would the rest of them
          suddenly blink into my awareness afterwards?
          Instead, I treat the list as though there really are many
          more options. An E by itself, for example, shouldn’t
          be enough to tell me the country they have in mind, I
          need to at least ‘see’ another letter or two before I
          can announce the country I believe it to be.

          If you make it seem easy, they’re going to think it’s
          easy.

          After nding the rst letter, consider then asking them
          to focus on the last letter, and beginning to draw that
          in the air too. You already know it, but take your time,
          let this moment mirror the rst. This also allows you
          to correct anything you didn’t like about revealing the
            rst letter; let the reveal of a second letter become
          how you want them to remember what you did.

          And that’s it! A super simple mini book test, great for
          casual moments or even as a lead in to other
          routines.

          Notable creators (that I know of) who’ve also utilised
          limited categories with larger sub-categories in a
          similar way include Peter Turner, Michael Weber,
          Jerome Finley, Jose Prager and Michael Murray.
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LOUVRE
Well look at that! Your very own annual pass for one
of the most famous art galleries in the world! It won’t
grant you access, but it certainly looks like it will!
‘Amis du Louvre’ or ‘friends of the Louvre’ is also the
actual name of the Louvre’s pass package options,
which includes an annual pass. If you live in a country
that’s too far away from the Louvre to make use of an
annual pass, they also have online programs, events
and exhibitions that you could seemingly use it for.

It contains some classic psychological forces made
popular by Banachek in his Psychological Subtleties
book series. Alex Ng and Henry Harrius also made
good use of these forces in their brilliant release,
‘Totem’, I highly recommend checking it out!

I know a lot of people worry about using
psychological forces in case they don’t work, or seem
too obvious, but their use here is nicely justi ed, and
it doesn’t matter if they go wrong, as you’ll see.

Open the Louvre pass and do not show it to them yet.

“Before we begin, we’re going to test your intuition. It
doesn’t matter too much if you’re right or wrong here,
I just want you to see how di cult this can be. I have
on my phone an annual pass for quite a well known
art museum. On the pass there is an image of a
famous painting. Don’t think too much about it, but
just using your intuition and gut feeling, what is your
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      rst thought when I ask you, what painting is it?”

     Of course, you’re hoping they’ll say Mona Lisa. The
     scripting here encourages them to go with their rst
     thought, and to not overthink their choice. Given too
     long, they will consciously search for some other wild
     option, and you don’t want to give them time to do
     that.

     Whether they’re right or wrong, continue with,

     “Alright, and there’s another image on here of a
     beautiful ower. Again, just using your intuition, your
      rst thought, what’s the ower?”

     Again, hoping they’ll say a rose. This is not
     guaranteed (none of them are), but by pushing them
     to go with their rst thought, they are more like to go
     with the most common or expected option.

     If they did choose Mona Lisa for phase one, you
     could say, “Ok, Mona Lisa. So now imagine the Mona
     Lisa holding a single ower… Do you see that in your
     mind? What ower is she holding?” Now it is much
     more aesthetically obvious to imagine the Mona Lisa
     holding a red rose than a little daisy.

     Some other alternatives for the ower line, regardless
     of their phase one choice, are:
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          “Imagine I’ve given you a single, beautiful ower, what
           ower did I give you?” Roses are the most commonly
          gifted ower, especially singular roses.

          “Imagine I’m holding a beautiful ower… What ower
          am I holding?” With your empty hand, mime holding
          the stem of a rose. After saying “beautiful ower…”
          tilt the imaginary rose towards your nose and gently
          inhale through your nose as though you are smelling
          the ower before you continue speaking. Roses are
          known for their long stems, so keep plenty of
          distance between your hand and your face and
          suddenly it becomes very easy for their mind to ll in
          the blanks.

          Finally, whether they’re right or wrong, continue with,

          “Ok great. This pass allows me to take a couple of
          other people too. I can’t go with a large group, but
          how many people do you feel are allowed in with this
          pass?”

          This may be a little too ‘on the nose’ for some, notice
          how the line is “to take a couple of other people
          too…” You’re practically telling them that two more
          people can go with you. If you don’t want to say that,
          you could instead say,

          “Ok great. This pass allows more than one person to
          go. I can’t take a group with me, but how many
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people do you feel are allowed in with this ticket?”

The most important thing is that you make it clear
that a large group or even a group of people can’t go.
You need to subtly suggest that they choose a small
number.

Of course, you’re hoping they will say three.

An alternative line could be,

“Around seven or eight of us plan to visit. We can’t all
get in with this ticket so we’ll have to buy some more,
but how many people, do you feel, can visit the
museum with this ticket?”

Now, your spectator has either gotten all of them
correct, one or two of them correct, or none of them
correct. Here’s what to say for each situation.




All correct:

“Now, you haven’t actually seen this yet, you’ve been
using your intuition to determine what’s on there, and
you said the Mona Lisa, a rose and three people are
allowed. You’re not going to believe this, but take a
look. You were absolutely correct every time.”
One or two correct:

“Now considering this was a warm up, I wasn’t
expecting you to get any of these correct. Although
you didn’t get them all, you managed to pick up on
the… and the… It may not seem like much but this is
a good indication to me that you are in touch with
your intuition, and you are absolutely the kind of
person I could work with. You see, due to the nature
of what I do, if a person is completely closed o to
their intuitive feelings, I cannot establish a necessary
connection with them.”

From here you would proceed to show them any
other mentalism routine. In this way, it seems as
though the Louvre pass was used for spectator
selection, or a test to see if they’d be suitable for
what you have planned next. This kind of borrows
from the old fortune teller trick of, tell people they’re a
bit psychic and they’ll believe you and want to hear
more.

None correct:

“Now like I said at the beginning, I just wanted to
show you how di cult this can be, because even
when the answers seem like they’d be easy to guess,
it only feels that way when you know what the
answers are. I’d like you to keep this in mind for the
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      rest of our time together, and know that anything I ask
      you to think of isn’t made any easier for me by how
      simple it is. So if I asked you to do a drawing, a
      stickman would be equally as di cult for me to pick
      up on as if you had drawn the Mona Lisa.”

      Now this has been reframed into an example of how
      di cult it actually is to read minds, make predictions
      and so on. It puts them right in the hot seat and
      shows them rst hand the di culties you face when
      trying to read their thoughts. Now when you get into
      your other routines, they should understand that the
      name John is no easier to guess than the name
      Zephyryan; a stickman is no easier to guess than an
      accurate depiction of a Renaissance masterpiece.

      This should prevent most people from trying to catch
      you out by drawing ‘a breath of air’ for example, for
      your drawing duplication. Equally, it elevates any
      mundane choices they may make too, as we all know
      there’s nothing more boring than performing a
      drawing duplication in which they’ve decided to draw
      a house. It should stop them from worrying that their
      choices are too obvious or simple. The amount of
      times I’ve asked somebody to think of the name of an
      important person in their life and they’ve chosen their
      Slavic colleague for no other reason than their
      unusual name with a complex spelling.
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I hope my intentions with this are clear here. My goal
is to make even the smallest reveals be perceived as
something greater, by demonstrating that everything
bears the same level of di culty.

I wouldn’t usually recommend it, but if you are in a
casual setting and don’t intend on performing much
more, in this particular outcome (three incorrect
answers), you could go right in to performing Travel
Buddy, with the above script potentially strengthening
the reveal even further.

If you do intend on performing more, you could add
to the above script,

“I’m going to demonstrate what’s possible with
enough focus on developing and strengthening
intuition, and by the end you may even nd your own
‘further’ senses heightened, which we’ll put to the
test.”

Then end your set with any routine in which your
spectator becomes the mind reader or seer.
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                           PEEK
     This is quite possibly the part of Passkeys you’ve
     been most excited about, which is why I saved it for
     last!

     The remainder of the passes are used for peeking.
     There’s Esperium Institute, Mindhaus Artiste, Delta
     boarding pass and easyJet.

     Esperium and Artiste utilise the same peek method,
     and the boarding passes use an alternative method.

     I made a video demonstrating the peeking methods
     to spare myself the agony of trying to explain them in
     writing, and to spare you the frustration of trying to
     interpret my attempts.

     Before you watch the video, there are some things
     you should know rst.

     Esperium and Artiste, essentially, turn your phone
     screen into the perfect ‘shiner’. You’ll notice your
     screen automatically brighten when you open them.
     Brightness is the most important thing here, as your
     screen’s normal brightness also matters. If, on your
      rst practice attempt at the peek, you’re unsatis ed
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          with the clarity of the peek, simply adjust your
          brightness before opening the pass. This will help you
           nd the ‘sweet spot’ to ensure your brightness is at
          before performing.

          The white banner on the Esperium pass illuminates
          the business card or billet, and its re ection can be
          seen in the large black space which takes up around
          two thirds of the pass. The same also goes for the big
          red “Artiste” on the other pass, it is there to illuminate
          the business card.

          Worry about angles, but not too much. A spectator
          stood or sat opposite you will not be able to see their
          drawing re ected in your screen due to the way light
          re ects. To them, it’s just black. They will also be
          preoccupied by the words on the passes. It’s human
          nature to read words when we see them, they won’t
          be looking at the black space.

          The pass you use is personal preference. I prefer the
          Artiste pass as it is more ‘art academy’ than ‘clinical’,
          it suits my style better.

          If using Esperium, I point out the quote, read it, and
          say, “Where minds converge, potentials emerge.
          Notice how it says ‘where’ and not ‘when’, indicating
          a space or a place that can be found or created where
          minds can converge. That’s what we will attempt to
          create now and hopefully something beautiful will
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      happen.”

      If using Artiste, I often say, “You’ll see that my
      recognised specialties are mind reading and
      in uence, and I’m about to demonstrate both. First,
      in uence.”

      Of course now my peek is done and I will use it as a
      one-ahead to do something else that looks like
      in uence, then come back to the peeked drawing for
      mind reading.

      You’ll hear an alternative to this line in the video.

      Finally, this peek shows you a mirrored image of what
      your spectator has written or drawn. Unless you’re
      good at reading backwards, I recommend mostly
      using this peek for drawings.

      If you wish to peek writing, I recommend using
      Speedy Boarding, the boarding pass peeks.

      I understand that Delta and easyJet won’t be
      everyone’s preferred fake boarding pass airlines,
      however, your spectators will know they’re not real
      passes once you start pointing out information on
      them during the peek, so the airline won’t matter. The
      reason why I went with boarding passes was to
      simply let them blend in when not in use. They sit in a
      di erent portion of the Apple wallet and at a glance,
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they look normal; they’ll be ignored when I want them
to be ignored.

It’s also a weird feeling to see something that seemed
so normal at a glance, but on closer inspection
something is di erent or unexpected. It’s all designed
to keep their attention from what you’re actually
doing during the peek.



   [ TAP HERE FOR THE VIDEO ]

              Password: open
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                       END?
Passkeys is something I originally made for myself,
but with the rise in popularity of EDC magic and
mentalism (EDC being something I’m obsessed with),
I decided to make this available, knowing that others
might also enjoy the fun of having a couple of reliable
mentalism secrets living in their Apple wallet.

Until this point, I have never seen anywhere the use
of cards, tickets or coupons added to the Apple or
Google wallet for magic or mentalism use, but with
the release of Passkeys, you can bet your bottom
dollar we’ll start seeing more of this now, something I
am personally excited about.

I have a couple more passes in my phone that I
haven’t shared yet in case I decide to do a part two of
Passkeys, but for now, stay curious!

Until next time,

Lewis Le Val, 2024.