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So any of you that know, of course, what we do with social engineering, it seems like a logical progression that we would get together with someone like Apollo, someone who is a master at getting close to people without them feeling uncomfortable, and then being able to do all sorts of fun stuff.

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And we know for the entertainment value, like take things off of you, but there's so much more value to it psychologically from a social engineering perspective, from a security perspective.

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Getting close to people and having them not feel uncomfortable is something that really can work for us.

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So Apollo was part of a crew that made a short film, right?

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That was never released for the general public.

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So he's got a clip of that.

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As soon as we get this projector running, we're going to open up this session with a little piece of that video so you get a sense of what we're going to be talking about here today.

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And then we're going to do some Q&A and some other things about the talk.

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The title of the talk is 60 Minutes in the Mind of a Grifter.

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And we'll talk about what that is, how that applies to us.

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I think it's 52 minutes.

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52 minutes?

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So it is now 51 and a half minutes in the mind of a grifter.

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We'll see how that works.

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It looks like our projector is now living.

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Awesome.

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A couple of things.

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That's natural.

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It looks like that's what the mirroring would work like.

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Everyone get a mirror and turn around and watch this screen.

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On this side, pull out your mirrors and watch.

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I want to be out here so I can chat with you a little bit closer.

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Suckers.

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This is kind of a test also because if I speak here later on, I want to see.

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Half of my body is cut off so for the guys in the back it might be hard for them to see.

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Anybody that can't see me very well, can you raise your hand just so I know who you are and I'll play to you.

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So we have a couple, two, three, okay, I don't care about you guys.

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We can just deal with these guys.

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The nature of a con, most of you are probably familiar with when you hear the term con artist, con stands for confidence.

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But the idea of the confidence is how do you get the confidence of your mark?

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How do you get them to be convicted about what they're doing?

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The difference between belief and knowing something.

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You can believe something, I think it might be this, but if you can get somebody to be absolutely sure that they'll doubt their assumptions, they don't have any doubt, they'll move forward.

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That's really what a con is.

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It's how to get them so concrete about what you're presenting to them that they have no doubt.

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What's great about that for the social engineering is there's a lot of overlap.

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The social engineering is trying to take that into a science versus something that's been based on intuition in the past.

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I don't even know if I can add anything to that.

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That might make me cry.

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That's exactly, you guys know, how many people here, I always hate when I ask this question, because then I get one hand and I feel stupid.

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How many people here listen to the podcast?

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Oh, good, more than one.

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There's like five of you.

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Okay, so you know what we do on the show, right?

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Every month we're trying to analyze psychologically the principles behind how bad guys get to do the things that they do.

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And that's why this is such an important talk, because it's not just intuition, it's not just sleight of hand, it's not a magic trick.

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It's actually understanding what happens up here when you do the things that Apollo does and why it works.

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If we can understand that, then we can duplicate it and we can also defend against it since we are supposed to be the good guys.

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So this is really a valuable lesson for all of us here, especially those of us that do this for a living and have to defend networks.

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If you don't, you still got to defend your family.

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And the last 18 months, guys, what's been going on?

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It's like non‑stop, right?

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Every day is another...

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It's set up for reverse projection right now.

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I'm going to say three.

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So it's just the reverse projecting set up right now.

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Can I make a suggestion?

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Do you mind if I borrow this mic?

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I do not mind.

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This was actually supposed to be a Q&A, so the big part of that is you guys.

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So is there anybody here who has any questions for me that might be familiar?

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And as you notice, we're kind of skipping past any kind of background on what I do.

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You've heard that apparently I steal things or I run cons.

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But we can ask some questions now and kind of do that while we give some time for those guys.

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Hey, Apollo, I wonder how you break people's psychological space without them getting super suspicious.

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Or is it just all a matter of redirecting that suspicion elsewhere once you're in there?

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Because you're right, you're touching people, you're right up against people you don't even know and that don't know you.

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That changes based on context.

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So when I perform and I'm doing a show, I oftentimes, when you've seen videos of me, I use something like a bit of magic or I might use something else that allows me to get inside that space.

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But when you interact with someone, there are different zones.

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Edward T.

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Hall wrote a great book on this called Hidden Dimension.

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He coined the term proxemics.

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Now parapersonal space is often what's referred to.

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Would you mind standing for me for a second?

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Read it this way.

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I saw the big flinch.

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Go ahead and turn straight toward me so we can just see you face to face.

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So as I walk closer to him, you have your social space that's in a larger area.

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You have your personal space, which is a little bit... then you have an intimate space.

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And the difference between the intimate and the personal is you can almost see, I mean, here he was actually kind of exaggerating it with straightening right up and then going back to shifting his center of body weight.

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But if I want to get into those, if you think of it like paying a toll, like you're on a bridge, I'm paying a toll to bypass this one, to bypass this one, to get inside that space.

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And the way I pay that toll is making a logical excuse that's natural to the environment.

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So a lot of times when I'm performing, I have that through my performing persona to get in and speak to him.

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But on the street they have to come in with other reasons.

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So it may be assisting you with asking a map or it might be something as simple as asking you for the time.

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But you notice here by turning I'm relaxing him a lot more.

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Now, the space that he has is shaped like an egg.

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It's larger, not just yours personally, everybody's is.

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It wasn't a personal thing, man.

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So it comes out like an oval here in the space.

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It's smaller on the sides and then in the back.

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And to get into that, that means I can get inside.

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It's much more comfortable for him, which is you can see kind of where we're defaulting to.

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But go ahead and face straight up to me again.

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Now, watch, as I walk towards the space, I'm at it.

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Now, I can make him much more comfortable simply by breaking eye contact and stepping inside of his space.

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On to the side.

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But if I keep eye contact as I walk into his space, it's a lot more tense for him.

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I wish you guys could see what I see.

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It's a little bit more bright.

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All right.

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But same thing, if I don't want him to focus on something I'm doing here, I can bring my face up and I'll pull his attention up like I just did there.

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Just because I'm in that zone.

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Now, imagine one of the current problems you would have is if you wanted to try some new RFID reader because you're inside of a space and you wanted to have a rational way to how do I get close to his badge?

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In this case, what would be an excuse for why you can come inside and get close to his badge with an RFID reader?

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Well, to have a closer look, see what it says, squid?

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I definitely remember you, though, if you have a closer look.

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And on the street they call that kissing the dog.

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So kissing the dog means I spent a lot of time with him and he remembers my face.

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Oh, you mean the guy that was looking at my badge just came up to me in the coffee shop.

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So context means a lot.

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So here it would make sense that you could look at the badge.

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So you might say that's interesting.

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But if I wanted to be under the radar and have him not remember that, I might use something else.

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If I'm serving hors d'oeuvres, if I'm holding something nearby, or I might ask somebody else a question, have my backpack behind me.

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And now this makes it a lot lower.

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Or if I'm holding something else that's a tray, I ask him if he wants something, have it underneath the tray or have it underneath a stack of books.

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Sorry, could you hold this for me?

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Giving him something to hold on to, he's holding it right in front of his badge while I'm doing something over here and I just say thank you very much.

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But I don't ask his permission, you notice this.

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I might just say hold on to this for me.

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Or just here and do this.

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And then afterwards I apologize for why I was doing it.

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So those are some different ways to bypass to get inside of space.

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Obviously depends on a kind of a recipe of context mixed with plausibility.

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We're still ‑‑ that one shot the dust on the projector.

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Did we do a call of death tone on the projector?

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So one other question?

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No, we can do questions or we can also play on the side.

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But I'm feeling like for ‑‑ thank you, man.

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By the way, just a round of applause.

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Thank you, man.

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You're a good sport.

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I appreciate that.

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Out of the folks that we have here, quite a few of you can't see this screen at all, can we?

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You can't see this screen?

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You can't see it?

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Just for the first few rows that can't, there's a bunch of seats over here if you want to move over.

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And then for the rows that can see it, you can stay.

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But there's a bunch of seats and we can actually start.

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If you want to come over to the front row.

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Come on, Christina, Michael, come on.

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It's okay.

145
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I would love for you guys to ‑‑ I have visuals to show you on this.

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But obviously speaking about it, I'm worried that some of you guys can't see for the context of what we're saying.

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Other questions?

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Anybody with a hand right here?

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That's right.

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So assuming we'd like to learn more about the techniques and what you're doing, nothing malicious, of course.

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What resources do you have or can we find online?

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What resources do I have?

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The only thing that's coming up right now, I did a TED talk about a month and a half ago at TED Global.

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It's coming up in a week and a half, two weeks.

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Some of what I was going to show there, I was going to show here as well on visuals.

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But as far as materials, I can point you to things if you'd like to.

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That book I mentioned, Hidden Dimension, is a great resource.

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If you're interested in a lot of the work that I do is taking advantage of false assumptions, fallacies, cognitive biases and heuristics in general, mental shortcuts.

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If you are interested in reading about some of that, besides any book on critical thinking that jumps into fallacies, there's a great book by Daniel Kahneman called Thinking, Fast and Slow.

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And it talks about the idea of two systems, how our minds work.

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And most of us, especially in this group, a lot of us would probably pride ourselves on being critical thinkers, wouldn't you say?

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That we don't get affected, we try to keep our head inside of logic versus stepping out and being ruled by emotion.

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His book talks a lot about how we automate certain tasks because otherwise we would go insane.

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If we try and we react faster through instincts, how we can quickly respond to something because we've automated that skill set.

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And the fault with that is when you've automated that skill set, you're subject to biases and responses and shortcuts that you might not have been aware of.

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Which is great for what we're trying to do here.

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Because if I can identify what you've automated, I know that somewhere along those lines you've made assumptions.

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And those assumptions are my building block for designing a deception.

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Any other questions?

170
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I'm

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going to run.

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Keep your hand up.

173
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Where were you?

174
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There you are.

175
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Hello.

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Does humor can somehow help you getting closer to people while keeping them comfortable?

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Yeah.

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Humor is amazing because it's so hard to fake.

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I used to use that for drawing crowds in a trade show environment.

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Applause you can kind of get.

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But humor, people wonder would I laugh at that?

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And so it's something that you think is an authentic response.

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So if you can artificially laugh and it seems very genuine inside of a situation, it's very engaging as far as that context.

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I'll give you an example.

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A friend of mine used to run a con called The Drawer.

186
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And he would use this for selling either guns or a drug paraphernalia.

187
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And it would be set up in an old motel.

188
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He'd be working with a partner.

189
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Sorry, is my mic too quiet for you guys?

190
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Can you see okay?

191
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And in this context, his partner would be dressed in a robe, was a very gregarious guy, and his main ability was making people laugh.

192
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They seemed very likable, like some of my friends here.

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And when they would come to do a purchase at the motel, they would arrive apparently early.

194
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They'd knock on the door, he answers, he's in his robe, all of his bath materials are laid out on the bed.

195
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And he'd say, I'm sorry, my partners aren't here right now.

196
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You guys are a little bit early.

197
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But he lets the guys who are purchasing the guns or the drugs to come in the door.

198
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When they come in the door, he has a conversation with them, says, do you have the cash, everything?

199
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I don't want to count, we'll count it later, just stick it in the drawer.

200
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They stick it in the drawer of the dresser, he chats with them for a bit, says, listen, I like you guys, how about I'll just go and get the stuff and I'll bring it in, are we cool?

201
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They say yes.

202
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He steps out of the room, leaves them in there with their money, with all this stuff, his luggage, everything.

203
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Goes to get the stuff from another room, from his partner's room.

204
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And he never comes back.

205
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At some point, they wonder why he's coming back, so finally they decide, you know, let's just take our stuff and go.

206
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They open the drawer, it's empty.

207
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What my friend had done was he was in the room next door, they had opened up, cut a hole in the wall, cut a hole in the back of the dresser and pulled everything from inside the drawer and taken it out.

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They said the ability of that guy with his humor was his main thing that made them feel at ease.

209
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He's in his robe, his luggage is here, but when they open the luggage, it's empty.

210
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When they look at the stuff, it's just throw away dollar stuff they could have bought and under his robe were his clothes when he left.

211
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That was one of the cons they used to run.

212
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Any other questions?

213
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This might be an oddball question, but what do you think about shows like The Mentalist and the character Patrick Jane?

214
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The Mentalist is a very cool area of study.

215
00:14:25,990 --> 00:14:30,270
For myself, my wife is a mentalist.

216
00:14:30,950 --> 00:14:41,950
If any of you have seen this movie recently, Now You See Me, they have the archetypes there in magic, illusionist, sleight of hand artist, mentalist.

217
00:14:41,950 --> 00:14:43,610
It is a different category.

218
00:14:43,630 --> 00:14:45,770
It's psychological manipulations.

219
00:14:46,030 --> 00:14:49,010
And there's this interesting thing, a mentalist and a psychic.

220
00:14:49,890 --> 00:14:50,490
Awesome.

221
00:14:50,490 --> 00:14:51,390
You guys are great.

222
00:14:51,390 --> 00:14:52,890
Thank you so much for doing that.

223
00:14:54,650 --> 00:14:56,910
Mentalist and psychic are a flip of a switch.

224
00:14:56,910 --> 00:15:08,230
It's basically psychic is someone who says that they can tell you, or especially a medium, someone who talks to the dead, is someone who says they have these abilities, but that they came from some supernatural way.

225
00:15:08,230 --> 00:15:13,410
A mentalist is someone who ethically says I can do these things, but it's a skill that I've learned.

226
00:15:13,730 --> 00:15:17,350
And they are using some kind of trickery to create the perception that they're doing that.

227
00:15:17,350 --> 00:15:25,810
In that character on the mentalist there, he has the ability of cold reading, hot reading, profiling and those tools that he's using to help the police.

228
00:15:25,810 --> 00:15:30,130
And those things are very real and that's very personal to my life with some of the things I work on.

229
00:15:31,050 --> 00:15:31,910
Are we ready to begin?

230
00:15:31,910 --> 00:15:33,130
We are ready to begin.

231
00:15:33,290 --> 00:15:35,350
We can hold some questions after maybe.

232
00:15:35,390 --> 00:15:37,510
Let's get started with the real show.

233
00:15:38,250 --> 00:15:39,830
So just a little setup on this.

234
00:15:39,830 --> 00:15:42,830
This is a short film I worked on for a company in Montreal.

235
00:15:42,830 --> 00:15:50,070
It's about ten minutes long, but it lets you see a little con and a little bit of stealing all happen.

236
00:15:50,470 --> 00:15:54,370
I worked with them to try to make it a con that would happen in ten minutes.

237
00:15:54,530 --> 00:15:59,110
So make your assumptions about where it's going to go and let's see how well it works.

238
00:16:03,920 --> 00:16:07,220
Let's make sure that this plays up on both screens for you as well.

239
00:16:21,030 --> 00:16:23,290
It's waiting for the DVD to load.

240
00:16:23,690 --> 00:16:24,430
And that's all on me.

241
00:16:24,430 --> 00:16:25,390
That's not you guys.

242
00:16:34,640 --> 00:16:38,500
It's one of those things that happens when you really look for something and...

243
00:16:40,200 --> 00:16:40,680
Okay.

244
00:16:40,680 --> 00:16:43,060
And we need to pull that over to the other screen for you.

245
00:16:47,960 --> 00:16:49,060
There you go.

246
00:16:51,340 --> 00:16:52,760
That's a fun game.

247
00:16:54,040 --> 00:16:55,000
And play.

248
00:17:03,760 --> 00:17:04,720
No, no, no.

249
00:17:04,720 --> 00:17:05,740
That's the one I want.

250
00:17:05,740 --> 00:17:08,880
The automatic zoom item.

251
00:17:08,880 --> 00:17:11,420
Unfortunately, they're all gone.

252
00:17:11,420 --> 00:17:12,920
What do you mean all gone?

253
00:17:12,920 --> 00:17:13,720
Gone.

254
00:17:13,720 --> 00:17:14,420
Gone.

255
00:17:14,420 --> 00:17:14,980
Bye-bye.

256
00:17:14,980 --> 00:17:15,980
No more.

257
00:17:15,980 --> 00:17:17,180
It's the magazine.

258
00:17:17,180 --> 00:17:19,060
Everything must go.

259
00:17:23,160 --> 00:17:25,520
What does it say here?

260
00:17:27,440 --> 00:17:30,720
Saturday, February 19.

261
00:17:30,720 --> 00:17:31,520
Exactly.

262
00:17:31,520 --> 00:17:32,760
That's today.

263
00:17:32,760 --> 00:17:34,120
Yeah, today.

264
00:17:35,000 --> 00:17:37,080
It's 9.02 a.m.

265
00:17:37,080 --> 00:17:39,880
The sale started two minutes ago and the DVX is already gone?

266
00:17:39,880 --> 00:17:40,580
Yes.

267
00:17:40,580 --> 00:17:42,840
But did you notice what's written here?

268
00:17:43,680 --> 00:17:44,720
Where?

269
00:17:45,420 --> 00:17:46,780
There.

270
00:17:50,500 --> 00:17:53,120
Why even start?

271
00:17:53,120 --> 00:17:56,940
At only 4,089, I'll tell you, people didn't wait for the sale.

272
00:17:57,420 --> 00:18:00,860
However, I will tell you a secret.

273
00:18:06,740 --> 00:18:11,180
You, sir, deserve much better than the DVX.

274
00:18:14,230 --> 00:18:17,530
The SCX.

275
00:18:18,990 --> 00:18:21,730
This baby does it all.

276
00:18:21,870 --> 00:18:26,010
And to top it off, it has the same zoom as the DVX.

277
00:18:26,030 --> 00:18:27,910
And that's what you want.

278
00:18:28,970 --> 00:18:31,370
Come on, feel how heavy it is.

279
00:18:43,010 --> 00:18:45,830
Oh, man, I hate you.

280
00:18:45,830 --> 00:18:46,890
I know.

281
00:18:47,810 --> 00:18:49,610
Who does this to me?

282
00:18:50,870 --> 00:18:52,870
I've done it for you.

283
00:18:52,910 --> 00:18:54,670
Who do you think deserves this?

284
00:18:54,670 --> 00:18:55,790
Can I help you?

285
00:18:55,790 --> 00:18:56,710
Yes.

286
00:18:56,890 --> 00:18:59,090
My son is a thief.

287
00:18:59,090 --> 00:19:04,850
He stole my friend's credit card and then he came here and bought a $5,000 camera.

288
00:19:04,910 --> 00:19:07,290
The SCX.

289
00:19:07,290 --> 00:19:08,970
The SCX?

290
00:19:10,750 --> 00:19:16,210
How could you sell a 12-year-old kid a $5,000 camera with a credit card?

291
00:19:16,210 --> 00:19:18,430
No, no, no, that's impossible.

292
00:19:18,430 --> 00:19:18,930
It's a...

293
00:19:18,930 --> 00:19:21,090
Then what is this?

294
00:19:26,720 --> 00:19:28,800
So what do you want me to...

295
00:19:28,800 --> 00:19:30,860
I'd like you to give me back my money.

296
00:19:30,860 --> 00:19:33,280
Yeah, unfortunately, all sales here are final.

297
00:19:33,380 --> 00:19:34,820
What do you mean, final?

298
00:19:38,620 --> 00:19:40,680
What you've done is illegal.

299
00:19:40,680 --> 00:19:41,080
Lady...

300
00:19:41,080 --> 00:19:42,020
Illegal!

301
00:19:42,180 --> 00:19:44,760
Well, if you're so unhappy, I can always call the police.

302
00:19:44,760 --> 00:19:47,240
I'm sure they'll make it legal for you.

303
00:19:48,180 --> 00:19:52,280
Do you see the mess you have gotten me into?

304
00:20:01,500 --> 00:20:04,100
I'm so sorry.

305
00:20:04,100 --> 00:20:05,420
Here, here, come on.

306
00:20:05,420 --> 00:20:07,680
You good?

307
00:20:07,680 --> 00:20:08,640
Yeah.

308
00:20:09,340 --> 00:20:11,280
Are you okay?

309
00:20:11,280 --> 00:20:13,280
I'm okay, I'm okay.

310
00:20:13,600 --> 00:20:15,600
Do you see what's happened?

311
00:20:15,600 --> 00:20:17,440
God, what have I done to deserve this?

312
00:20:17,440 --> 00:20:18,500
That's enough, lady.

313
00:20:18,700 --> 00:20:20,660
Enough with the screaming and hitting.

314
00:20:20,660 --> 00:20:22,100
What do you care, Loomis?

315
00:20:22,100 --> 00:20:23,560
I can't live without my phone.

316
00:20:23,560 --> 00:20:25,360
You have no right to hit your child like that.

317
00:20:25,440 --> 00:20:27,460
No wonder he's dealing with a mother like you.

318
00:20:27,460 --> 00:20:28,080
Hello?

319
00:20:28,080 --> 00:20:28,880
Do you want to fight?

320
00:20:28,880 --> 00:20:29,800
Is that it?

321
00:20:29,820 --> 00:20:30,240
Huh?

322
00:20:30,240 --> 00:20:31,520
Do you want to fight?

323
00:20:32,340 --> 00:20:33,140
Honey?

324
00:20:33,540 --> 00:20:34,700
All right, lady.

325
00:20:34,860 --> 00:20:35,800
Go ahead.

326
00:20:35,900 --> 00:20:36,960
Slap me.

327
00:20:37,620 --> 00:20:38,620
Wait, please!

328
00:20:39,580 --> 00:20:44,760
But seeing someone abuse a child like this makes me want to kill them!

329
00:20:44,920 --> 00:20:49,520
Listen, there is no way I can give you back your money.

330
00:20:49,520 --> 00:20:53,240
The best I can do is exchange it for something that you do want.

331
00:20:53,240 --> 00:20:57,720
But come hell or high water, you're going to have to give that man back his $5,000.

332
00:20:58,340 --> 00:20:59,380
Great.

333
00:21:01,420 --> 00:21:03,260
Good choice, sir.

334
00:21:03,260 --> 00:21:06,120
$5,099.99.

335
00:21:06,120 --> 00:21:09,780
At that price, it's a real steal.

336
00:21:10,840 --> 00:21:12,760
Thank you.

337
00:21:13,340 --> 00:21:14,980
David Brown.

338
00:21:14,980 --> 00:21:16,520
Same name as my boss.

339
00:21:16,520 --> 00:21:17,100
Really?

340
00:21:17,100 --> 00:21:18,900
I want that one.

341
00:21:18,900 --> 00:21:20,120
The AG Beta?

342
00:21:20,120 --> 00:21:22,700
Nah, that's way more expensive.

343
00:21:24,060 --> 00:21:25,800
I will get you a new one.

344
00:21:26,240 --> 00:21:27,780
I'll get you a bag.

345
00:21:34,860 --> 00:21:36,200
Here's your new camera.

346
00:21:36,200 --> 00:21:38,060
Now just give me yours and it's all settled.

347
00:21:38,060 --> 00:21:39,520
Look, it's completely new.

348
00:21:39,520 --> 00:21:40,780
It hasn't even been unwrapped.

349
00:21:40,780 --> 00:21:41,920
Yeah, yeah, great.

350
00:21:42,220 --> 00:21:43,580
Oh, just one more thing.

351
00:21:43,580 --> 00:21:44,240
Come here.

352
00:21:45,000 --> 00:21:46,740
Please, come again.

353
00:21:49,760 --> 00:21:53,120
Now I want you to apologize to the man for causing him all that trouble.

354
00:21:53,120 --> 00:21:53,780
Look, that really...

355
00:21:53,780 --> 00:21:55,000
I want to teach him a lesson.

356
00:21:55,220 --> 00:21:56,220
Say sorry.

357
00:21:56,220 --> 00:21:57,680
Sorry for the confusion.

358
00:21:57,680 --> 00:21:58,980
Oh, no, it's okay.

359
00:21:58,980 --> 00:21:59,940
I'll buzz you out.

360
00:21:59,940 --> 00:22:00,420
Sorry .

361
00:22:01,520 --> 00:22:02,120
Apologize?

362
00:22:02,120 --> 00:22:03,180
For real?

363
00:22:03,520 --> 00:22:04,860
I'm sorry.

364
00:22:04,860 --> 00:22:07,040
This is the last time I'm going to ask you.

365
00:22:07,040 --> 00:22:07,920
I'm sorry.

366
00:22:08,200 --> 00:22:09,500
I'm sorry.

367
00:22:13,120 --> 00:22:14,340
I'm sorry.

368
00:22:14,340 --> 00:22:15,200
Yeah, yeah, that's fine.

369
00:22:15,200 --> 00:22:16,840
Just give me the bag.

370
00:22:16,880 --> 00:22:17,700
I'm sorry.

371
00:22:17,700 --> 00:22:18,340
Okay.

372
00:22:18,340 --> 00:22:19,020
I'm sorry.

373
00:22:19,020 --> 00:22:20,080
Okay, that's enough.

374
00:22:20,080 --> 00:22:21,820
Here we go again.

375
00:22:22,180 --> 00:22:24,680
Okay, lady, if that's the way you want it...

376
00:22:24,680 --> 00:22:25,980
Stay out of this.

377
00:22:25,980 --> 00:22:26,860
I'll handle it.

378
00:22:26,860 --> 00:22:28,780
Don't worry, kid, I'll get you out of this.

379
00:22:28,780 --> 00:22:30,380
I'm calling the police.

380
00:22:31,740 --> 00:22:33,140
My phone!

381
00:22:33,140 --> 00:22:33,760
What?

382
00:22:33,760 --> 00:22:34,860
The door.

383
00:22:35,780 --> 00:22:36,980
Stop!

384
00:22:37,980 --> 00:22:39,520
It's him.

385
00:22:39,540 --> 00:22:41,940
The little crook stole my phone.

386
00:22:43,140 --> 00:22:44,900
Hold on a minute.

387
00:22:45,400 --> 00:22:47,100
What's your phone number?

388
00:22:47,620 --> 00:22:48,220
555...

389
00:22:48,220 --> 00:22:49,140
555...

390
00:22:49,140 --> 00:22:49,880
66...

391
00:22:49,880 --> 00:22:50,660
66...

392
00:22:50,660 --> 00:22:51,520
65...

393
00:22:52,560 --> 00:22:53,160
65...

394
00:22:57,460 --> 00:22:58,900
It's my phone.

395
00:22:58,900 --> 00:22:59,560
You see?

396
00:22:59,560 --> 00:23:00,940
It wasn't him.

397
00:23:00,980 --> 00:23:02,420
What the hell's going on?

398
00:23:02,420 --> 00:23:03,380
I don't know.

399
00:23:03,380 --> 00:23:04,820
Things keep disappearing.

400
00:23:04,920 --> 00:23:06,860
That's my credit card.

401
00:23:06,860 --> 00:23:07,840
My wallet.

402
00:23:07,840 --> 00:23:09,320
My wallet, too.

403
00:23:09,320 --> 00:23:11,260
Oh, it's the boy!

404
00:23:38,740 --> 00:23:42,220
Saturday, February 19th.

405
00:23:42,220 --> 00:23:44,220
Exactly, that's today.

406
00:23:44,220 --> 00:23:44,960
Yeah.

407
00:23:44,960 --> 00:23:47,080
It's 9.02 a.m.

408
00:23:47,080 --> 00:23:50,260
The sale started two minutes ago and the DVX is already gone.

409
00:23:54,580 --> 00:23:57,160
Did you notice what's written here?

410
00:23:57,280 --> 00:23:58,500
You see?

411
00:23:58,500 --> 00:23:59,100
Give it back!

412
00:23:59,100 --> 00:24:00,980
Give it back to me, you jerk!

413
00:24:15,490 --> 00:24:17,730
You're so smart!

414
00:24:36,170 --> 00:24:37,010
Give it to me!

415
00:24:37,010 --> 00:24:37,710
Give it to me!

416
00:24:37,710 --> 00:24:41,350
Go ahead.

417
00:24:43,090 --> 00:24:44,610
Allow me.

418
00:24:48,930 --> 00:24:50,970
It's a real steal.

419
00:24:51,670 --> 00:24:51,990
It's a real steal.

420
00:24:51,990 --> 00:24:53,170
David Brown.

421
00:24:53,250 --> 00:24:54,710
It's him, it's my phone.

422
00:24:55,430 --> 00:24:57,510
Let me get you back.

423
00:25:02,430 --> 00:25:04,060
Say sorry.

424
00:25:04,730 --> 00:25:06,670
Sorry for the confusion.

425
00:25:10,030 --> 00:25:11,590
Sir?

426
00:25:14,630 --> 00:25:16,870
Let's get out of here.

427
00:25:46,690 --> 00:25:47,910
Yes, hello?

428
00:25:48,750 --> 00:25:49,710
My son!

429
00:25:59,480 --> 00:26:01,080
I know that took a little bit of our time.

430
00:26:01,080 --> 00:26:03,260
We only have a little bit of time left together.

431
00:26:03,900 --> 00:26:09,400
But I wanted to give you kind of a concentrated element so you can see all these dinner-related cons all kind of used together.

432
00:26:10,300 --> 00:26:12,360
I thought I'd give you an opportunity for you to take a lead on this.

433
00:26:12,360 --> 00:26:14,940
If you have some questions for me and we can fill that back.

434
00:26:25,840 --> 00:26:28,020
These two are, if you want to come over this way.

435
00:26:29,120 --> 00:26:30,000
There you go.

436
00:26:30,040 --> 00:26:33,340
So maybe what you could do first is explain, what is a grifter?

437
00:26:34,940 --> 00:26:37,200
Generally a grifter is a non-violent criminal.

438
00:26:37,200 --> 00:26:39,760
So that expands beyond just con artists.

439
00:26:39,760 --> 00:26:49,160
It expands into thieves, cat burglars, anything that they're using an element of wit or technique, generally, is the world of grift in general.

440
00:26:49,320 --> 00:26:53,420
So we had an interview once with a guy named Dr.

441
00:26:53,420 --> 00:26:54,020
Paul Zack.

442
00:26:54,020 --> 00:26:56,860
He studies oxytocin and releases it in the brain.

443
00:26:56,940 --> 00:26:59,040
And he said that he was conned once.

444
00:26:59,060 --> 00:27:05,840
And after he started doing this research, he realized that con men work because they make you feel that they trust you.

445
00:27:05,840 --> 00:27:07,520
Not that you trust them.

446
00:27:07,520 --> 00:27:09,300
How was that done psychologically?

447
00:27:09,300 --> 00:27:16,180
How was it that you make other people feel that you trust them in such a way that they're now not looking for the deception?

448
00:27:16,180 --> 00:27:17,760
Like we saw in that video.

449
00:27:18,660 --> 00:27:24,240
I think there's a big misnomer about liking associated with trust.

450
00:27:25,240 --> 00:27:27,840
I think liking is a cherry on top.

451
00:27:27,840 --> 00:27:29,280
If you like me, that's great.

452
00:27:29,280 --> 00:27:31,600
But I don't really care in a con.

453
00:27:31,600 --> 00:27:34,140
What I want you to do is understand me.

454
00:27:34,140 --> 00:27:37,540
I want me to be transparent to you.

455
00:27:37,720 --> 00:27:49,560
So the more that you think you understand my objectives, what I want, what I don't want, and you can size me up, the more likely you are to feel that I can trust you, both in the sense of what you're doing.

456
00:27:49,560 --> 00:27:58,520
But what that does, if you think about an example of a friend that you have, you might not trust them to do something that's really important just because they're your friend.

457
00:27:58,520 --> 00:28:00,780
Because you also know their mistakes and what they're capable of.

458
00:28:00,780 --> 00:28:05,220
And if they're not capable, even if they're a friend and you like them a lot, you won't trust them to do the job.

459
00:28:05,260 --> 00:28:10,640
On the other hand, this guy that you don't like, but you know he's very capable, if they can get the job done, you're going to give it to him.

460
00:28:10,820 --> 00:28:13,220
So, same thing with a con in a lot of ways.

461
00:28:13,260 --> 00:28:21,160
It's the ability for me to give an artificial level of transparency that I'm the authority, I'm the one who can get this job done.

462
00:28:21,320 --> 00:28:27,920
And then, as part of that transparency, one of those levels is for me to put you as the lead.

463
00:28:27,920 --> 00:28:29,800
And that's where I think you're referring to.

464
00:28:30,440 --> 00:28:38,260
And the combatives that I've worked with, I've done some work with special forces, and they have a phrase that they use, feeder-receiver.

465
00:28:38,360 --> 00:28:42,620
So, in any kind of fight or interaction, you have the feeder of the fight, you have the receiver of the fight.

466
00:28:42,620 --> 00:28:47,740
The strongest position that you could be in is to appear to be the receiver when you're actually the feeder.

467
00:28:48,240 --> 00:28:51,240
So, that's what you're referring to, which is a more advanced technique.

468
00:28:51,320 --> 00:29:03,440
That if I can be steering this situation, while you believe that you're the one that's in the lead, that I trust, I need your help, that's even better, because it keeps the suspicion level way below radar.

469
00:29:03,840 --> 00:29:05,000
Yeah, that's valuable.

470
00:29:05,000 --> 00:29:11,000
So, I think, for us, because we're all practitioners here, we like to do this either as a hobby or because we work.

471
00:29:11,240 --> 00:29:20,680
So, in our classes, we teach very similar, different names, but very similar concepts, especially when you were down here talking about body language, making people feel comfortable.

472
00:29:20,680 --> 00:29:22,500
That's really valuable stuff.

473
00:29:22,500 --> 00:29:29,820
But now I get close, what's the next skill I need in order to be able to take something from you without you feeling it?

474
00:29:29,820 --> 00:29:31,900
Because it's more than just trust at that point.

475
00:29:31,900 --> 00:29:32,700
It is.

476
00:29:32,700 --> 00:29:34,440
It's the reason that you're touching them.

477
00:29:34,580 --> 00:29:36,740
I'm going to show you a couple of visuals on here.

478
00:29:36,760 --> 00:29:39,740
This is the complex way that I think of the mind.

479
00:29:41,740 --> 00:29:43,340
Let's bring this up.

480
00:29:43,340 --> 00:29:45,220
Let me know if this comes up for you guys.

481
00:29:48,840 --> 00:29:50,420
And that should go through.

482
00:29:50,420 --> 00:29:53,360
So, you have all your senses coming into one input.

483
00:29:55,140 --> 00:30:02,220
But in my mind, rather than that being a specific part of the brain, that is a little security guard sitting inside the head.

484
00:30:02,220 --> 00:30:03,520
I like to call him Frank.

485
00:30:04,380 --> 00:30:06,160
Frank has really cool equipment.

486
00:30:06,160 --> 00:30:10,060
He has the eyes, the ears, and those are a lot like cameras and audio equipment.

487
00:30:10,060 --> 00:30:15,560
But he's taking all of these inputs from your perceptions and he's processing what to do with them.

488
00:30:15,560 --> 00:30:25,960
What's important to know when you're going to steal something or take something from somebody or just get inside their space, that most people misunderstand, is that perception is not the first step.

489
00:30:25,960 --> 00:30:27,780
Attention is the first step.

490
00:30:27,780 --> 00:30:31,040
Attention is the security fence around that person.

491
00:30:31,040 --> 00:30:35,000
It's the thing that decides what perceptions are going to be dedicated to it.

492
00:30:35,260 --> 00:30:39,000
So, if they're not attending to something, they can't perceive it.

493
00:30:39,480 --> 00:30:44,560
But even if the cameras are pointing the right way, if you're looking at me, it doesn't mean you're going to see what I do.

494
00:30:44,560 --> 00:30:46,340
You can look at it and not see.

495
00:30:46,340 --> 00:30:48,460
So in this case, the security guard is looking straight at it.

496
00:30:48,460 --> 00:30:54,580
But if I ask him the correct question, or something that's more important to him as priorities, he'll turn around and look at the file.

497
00:30:54,580 --> 00:30:55,940
He'll rewind the tape.

498
00:30:56,260 --> 00:30:59,300
And there's an illusion that most people have that they can multitask.

499
00:30:59,300 --> 00:31:00,300
They can't.

500
00:31:00,360 --> 00:31:08,480
And while they're rewinding the tape, even though they're looking at something and they're interacting with you, if they're thinking and have an interior dialogue, they can't process what's happening right now.

501
00:31:08,480 --> 00:31:14,380
So that allows me, in an extreme sense, not just to take a wallet or watch, but sometimes to take their glasses and change their vision.

502
00:31:14,440 --> 00:31:16,160
And they don't realize that that's happened.

503
00:31:18,320 --> 00:31:18,720
So...

504
00:31:20,040 --> 00:31:21,060
Say again?

505
00:31:21,380 --> 00:31:22,240
Real life example.

506
00:31:22,240 --> 00:31:23,760
Real life example of stealing?

507
00:31:23,940 --> 00:31:25,120
Would you guys like to see that real quick?

508
00:31:25,120 --> 00:31:25,680
Yes.

509
00:31:27,700 --> 00:31:32,860
I actually found myself checking my glasses and my cell phone as he was saying that.

510
00:31:32,860 --> 00:31:34,880
And I want to say I'm missing my underwear.

511
00:31:35,160 --> 00:31:36,140
No, just kidding.

512
00:31:36,260 --> 00:31:37,820
Have you seen me work before?

513
00:31:37,860 --> 00:31:39,280
Do you have anything in your pockets?

514
00:31:39,340 --> 00:31:39,960
Yes.

515
00:31:39,960 --> 00:31:40,180
Good.

516
00:31:40,180 --> 00:31:41,300
Can you stand up for me real quick?

517
00:31:42,080 --> 00:31:43,740
And you have seen me work before or not?

518
00:31:44,220 --> 00:31:44,720
Okay.

519
00:31:44,720 --> 00:31:45,180
Cool.

520
00:31:48,640 --> 00:31:50,980
Now, the disadvantage is we don't have any real estate on stage.

521
00:31:50,980 --> 00:31:52,040
But if you could stand over this way for me.

522
00:31:52,040 --> 00:31:52,600
What's your name?

523
00:31:53,100 --> 00:31:53,580
Greg.

524
00:31:53,580 --> 00:31:53,860
Greg .

525
00:31:54,360 --> 00:31:55,400
Can I check a couple things?

526
00:31:55,400 --> 00:31:57,020
So you have a watch, but this is a buckle watch.

527
00:31:57,020 --> 00:31:57,880
So it doesn't come off very easy.

528
00:31:57,880 --> 00:31:58,980
Close your hand kind of tight.

529
00:31:59,060 --> 00:32:00,540
So that wouldn't let it come off this way.

530
00:32:00,580 --> 00:32:04,080
Yet when you walked past me, did you check to see where your wallet was?

531
00:32:05,120 --> 00:32:06,180
Your front pocket.

532
00:32:06,240 --> 00:32:07,000
This side right here.

533
00:32:07,000 --> 00:32:07,660
What was in there?

534
00:32:07,660 --> 00:32:08,640
The watch is gone.

535
00:32:08,640 --> 00:32:10,260
Do you have anything inside your front pocket?

536
00:32:11,440 --> 00:32:11,880
Yeah?

537
00:32:11,960 --> 00:32:12,880
Is it still there?

538
00:32:14,880 --> 00:32:15,980
Can I show you?

539
00:32:15,980 --> 00:32:16,660
Now, this is odd.

540
00:32:16,660 --> 00:32:17,360
A lot of you don't know.

541
00:32:17,360 --> 00:32:18,400
Does this look familiar to you?

542
00:32:18,400 --> 00:32:19,540
What's inside the piece?

543
00:32:19,540 --> 00:32:20,320
Is that yours?

544
00:32:20,320 --> 00:32:20,820
No.

545
00:32:20,860 --> 00:32:21,140
No.

546
00:32:21,140 --> 00:32:21,600
Okay.

547
00:32:21,700 --> 00:32:23,020
Step over this way for me for a second.

548
00:32:23,020 --> 00:32:24,680
You're realizing your cell phone is gone now, yes?

549
00:32:25,340 --> 00:32:26,960
So those are two items.

550
00:32:27,320 --> 00:32:32,380
But you can see this is much more adversarial than you ever have in a context where somebody doesn't know who you are.

551
00:32:32,820 --> 00:32:36,400
So here he knows, and he's seen videos of me working, so he knows the nature of them.

552
00:32:36,400 --> 00:32:40,740
So I'm going to hold the things up when I hold them over to the side, and I can steal a watch like this.

553
00:32:41,340 --> 00:32:42,120
Here you go.

554
00:32:44,980 --> 00:32:45,800
Thank you.

555
00:32:54,090 --> 00:32:58,410
Thanks for asking for that, because I think it shows how the questions are important.

556
00:32:58,410 --> 00:33:00,150
It's not about the technique that I use.

557
00:33:00,150 --> 00:33:01,850
I mean, that's a portion of it, maybe 20%.

558
00:33:01,850 --> 00:33:04,750
But 80% is the questions I asked him.

559
00:33:04,750 --> 00:33:14,490
So I said, as you walk by that wallet that you had in your pocket, that's his security guard saying, oh, jeez, am I already behind the game?

560
00:33:14,710 --> 00:33:18,250
And when he switches in that interior dialogue, that's when I remove the watch.

561
00:33:18,250 --> 00:33:26,270
I've already got the moves, but if I didn't say those things, if I didn't ask that question, he would just film me unbuckling his watch, just like you would.

562
00:33:26,270 --> 00:33:31,470
So it's not about a Jedi technique that I can do that I have light fingers.

563
00:33:31,470 --> 00:33:34,730
It's that I'm able to get inside of his head and suppress his perceptions.

564
00:33:35,130 --> 00:33:37,790
So you use psychological misdirection?

565
00:33:37,790 --> 00:33:39,170
Very much so, yes.

566
00:33:39,730 --> 00:33:41,630
So, Paulo, I have a quick question.

567
00:33:41,630 --> 00:33:47,410
I think within the community we pride ourselves in being very vigilant and being very aware of these kinds of things.

568
00:33:47,410 --> 00:33:55,250
And I guess my question is, one, do you have any experience with security professionals and whether or not we are, in fact, better at detecting deception?

569
00:33:55,250 --> 00:33:58,950
And two, if you have any advice for us, anything that we can learn.

570
00:33:58,950 --> 00:34:00,630
Be careful with your answer.

571
00:34:02,110 --> 00:34:08,070
A while back, I performed at Caesar's Palace here in Las Vegas for about five years.

572
00:34:08,070 --> 00:34:11,190
And a detail of Secret Service agents came through.

573
00:34:11,490 --> 00:34:16,250
And I realize some of this audience knows me very well and they've heard these stories multiple times, so sorry for being redundant.

574
00:34:16,550 --> 00:34:20,830
But the Secret Service are highly trained in different ways for the protocol.

575
00:34:20,830 --> 00:34:24,630
Wheels up, wheels down is often one of the phrases they'll use.

576
00:34:25,550 --> 00:34:34,350
And because of the protocol and the way that they're trained, one of the trainings that they go through is called Kim's Game, which means keep in mind, but it's a memory system perception there.

577
00:34:34,350 --> 00:34:44,390
But you still have to dedicate your cognitive resources to the task that you're doing, which means if I'm going to spend my attention dollars on one thing, I'm going to have an atrophy in another area.

578
00:34:44,390 --> 00:34:49,170
So I just have to know where they're spending it, and I understand that there's going to be a deficit somewhere else.

579
00:34:49,250 --> 00:34:50,630
So I have to identify that.

580
00:34:50,630 --> 00:34:57,070
In their case, when I would go into their space, they would square up to me, and they would keep occupied space and wouldn't let me get close.

581
00:34:57,590 --> 00:35:00,590
So I had to pretend that I wasn't interested in this room.

582
00:35:00,710 --> 00:35:02,850
It would be very difficult, but I could do something to you.

583
00:35:03,430 --> 00:35:09,030
And now this person just let me inside their space because I'm doing it to him, supposedly.

584
00:35:09,030 --> 00:35:14,210
So I changed the game to be about him, and this agent let me inside their space to steal their things.

585
00:35:15,290 --> 00:35:19,190
So if you can understand what their protocols are, you can violate past those.

586
00:35:21,010 --> 00:35:22,390
It was a treasure chest.

587
00:35:22,390 --> 00:35:23,590
What was that?

588
00:35:24,690 --> 00:35:26,430
I mean, he didn't steal your...

589
00:35:26,430 --> 00:35:29,490
I might give you a couple things very quick as far as a visual.

590
00:35:29,490 --> 00:35:33,830
If you look at this, could all of you hold your right hand in the air?

591
00:35:34,530 --> 00:35:36,890
Now, this is a perception test, but it's one you might not see.

592
00:35:36,890 --> 00:35:38,230
It's one that we use for the military.

593
00:35:39,090 --> 00:35:43,370
And I'm going to show you two photos, and there's going to be a change between those two photos.

594
00:35:43,470 --> 00:35:47,110
When you see the change, just put your right hand down, and we'll know how fast it takes effect.

595
00:35:47,110 --> 00:35:51,990
So we have a mixture of security professionals here, and if you haven't seen the video, you'll get to see the realtime results of this.

596
00:35:54,390 --> 00:35:56,890
So this image is going to toggle back and forth between the two.

597
00:35:56,890 --> 00:36:01,330
Don't say anything to your neighbor, but when you see the difference between the two photos, put your hand down.

598
00:36:05,720 --> 00:36:07,600
That's kind of an answer to your question.

599
00:36:09,320 --> 00:36:21,940
Now if I start giving you hints, and I tell you people have a tendency to get tunnel vision, they start looking at the windows, they start counting the shoes, then that gives you a hint that maybe it's something less obvious than that, or more obvious.

600
00:36:21,940 --> 00:36:24,880
In this case, they won't be going anywhere without this.

601
00:36:26,120 --> 00:36:28,440
And once you see it, you can't help but not see it.

602
00:36:31,620 --> 00:36:38,480
For the rest of you, look under the wing of the plane, and you'll see that the engine is appearing and disappearing.

603
00:36:39,580 --> 00:36:42,240
And now, put your right hand up if you feel stupid.

604
00:36:43,680 --> 00:36:46,300
Well you shouldn't feel stupid, what you should feel is human.

605
00:36:46,540 --> 00:36:50,060
Because I myself am susceptible to the same things that I do.

606
00:36:50,060 --> 00:36:52,860
But the difference is that I know that I'm susceptible to it.

607
00:36:53,060 --> 00:36:55,540
When you know something, that's when you should be scared.

608
00:36:55,540 --> 00:37:02,320
When you feel like you know your techniques, your protocol, and your absolute, that's when you should be scared, because that means you have no room for doubt.

609
00:37:02,340 --> 00:37:03,940
And doubt is what makes us secure.

610
00:37:05,800 --> 00:37:09,520
There's another example if you don't mind, I'd like to show just a little model of how I use deception.

611
00:37:11,040 --> 00:37:12,820
This is how I think about deception.

612
00:37:15,780 --> 00:37:17,880
Let me grab this here, it'll be easier.

613
00:37:18,060 --> 00:37:25,020
If you think of everything that's happening right now, this is a micro, what we're doing right here, with me on stage, with you guys.

614
00:37:25,020 --> 00:37:27,860
But, it's also how you perceive the world.

615
00:37:29,820 --> 00:37:35,940
Tennessee Williams, the playwright, said that most playwrights when they write a play, they forget one character.

616
00:37:36,080 --> 00:37:38,140
And that's the role of the audience.

617
00:37:38,160 --> 00:37:43,420
Because when the audience views the play, the movie, whatever it may be, they forget that the audience is the detective.

618
00:37:43,580 --> 00:37:47,580
Whether it's a drama, whether it's a mystery, or whether it's a comedy, they're trying to solve that.

619
00:37:47,580 --> 00:37:50,120
And we're doing that every day, we're looking for patterns.

620
00:37:50,240 --> 00:37:53,800
We're trying to identify what is the situation, what's happening to me right now.

621
00:37:53,800 --> 00:37:58,220
So as you watch me walk from the stage and walk close to you, all of that's being processed.

622
00:37:58,220 --> 00:37:59,560
It's just like a play.

623
00:37:59,700 --> 00:38:02,660
So, I'm on stage, in front of you.

624
00:38:02,800 --> 00:38:05,820
Right now, this is a very good example of a spotlight.

625
00:38:05,820 --> 00:38:11,120
But your spotlight here, in a very real sense, is controlling most of your focus.

626
00:38:11,200 --> 00:38:16,000
So the dimmer areas, you wouldn't know if I had a team working on you right now, stealing from the back of the room.

627
00:38:16,000 --> 00:38:17,880
Or setting up things I might do later.

628
00:38:18,640 --> 00:38:23,280
In the same way, you have a certain budget of where you're going to spend your attention in everyday life.

629
00:38:23,280 --> 00:38:28,480
When it comes to deception, there's a separate reality that's happening simultaneously.

630
00:38:28,480 --> 00:38:30,060
That's running on a separate channel.

631
00:38:30,060 --> 00:38:32,140
In this sense, it's backstage.

632
00:38:32,360 --> 00:38:37,740
It's kind of like in the Matrix, when you saw the spoon bending and you realize that there's something that's a bigger reality.

633
00:38:39,080 --> 00:38:41,240
They got a peek behind the curtain.

634
00:38:41,680 --> 00:38:46,060
Now, when you get a peek behind the curtain and you have some kind of suspicion, this doesn't make sense.

635
00:38:46,080 --> 00:38:50,320
When that moment happens, you start going on the chase for deception.

636
00:38:51,300 --> 00:38:57,440
If I'm on the other side, and I'm the one designing this deception, what I would teach you to do is to build a secondary...

637
00:38:57,440 --> 00:38:59,140
Well, first, sorry, there's a director.

638
00:38:59,260 --> 00:39:02,640
So, obviously, if you know there's a deception, you know somebody's trying to deceive you.

639
00:39:02,640 --> 00:39:06,320
And that's a big thing to identify who is the wolf that's doing that.

640
00:39:06,980 --> 00:39:08,260
This is what I would teach.

641
00:39:08,260 --> 00:39:09,760
To have a secondary curtain.

642
00:39:09,820 --> 00:39:10,660
A ploy.

643
00:39:10,800 --> 00:39:15,540
So that if you see behind the curtain, it's the second thing that gives a plausible reason why that happened.

644
00:39:15,560 --> 00:39:18,360
A great example of that is Victor Lustig.

645
00:39:18,360 --> 00:39:19,680
Does anybody know who that is?

646
00:39:20,440 --> 00:39:23,020
He's the man who sold the Eiffel Tower twice.

647
00:39:23,460 --> 00:39:24,980
He sold the Brooklyn Bridge.

648
00:39:24,980 --> 00:39:26,660
He cheated Al Capone.

649
00:39:26,680 --> 00:39:30,500
He talked the Secret Service into letting him go after they had arrested him.

650
00:39:31,360 --> 00:39:35,000
He was very arrogant when they first arrested him and they were going to take him to prison.

651
00:39:35,660 --> 00:39:40,160
The press was interviewing him saying, how do you feel about going to this maximum security prison in San Francisco?

652
00:39:40,300 --> 00:39:42,080
He said, I'm not going to get a chance to see it.

653
00:39:42,160 --> 00:39:43,280
He said, but you're leaving tomorrow.

654
00:39:43,280 --> 00:39:44,640
He says, I won't be here tomorrow.

655
00:39:45,580 --> 00:39:48,000
And then when they go to his prison cell, he had vanished overnight.

656
00:39:48,840 --> 00:39:50,200
How did he do it?

657
00:39:50,200 --> 00:39:55,380
He had picked up a squeegee that nobody thought or was suspicious about.

658
00:39:55,600 --> 00:40:02,440
And he made a cliche rope out of his bed sheets, climbed out of the window, and pretended to be cleaning windows as he was going down.

659
00:40:02,440 --> 00:40:05,260
So whenever the security guards saw him, they thought, oh, that's just the window cleaner.

660
00:40:05,340 --> 00:40:06,240
And he got away.

661
00:40:08,120 --> 00:40:10,640
He was a master student of human nature.

662
00:40:10,700 --> 00:40:13,600
He understood how to hide things by the radar.

663
00:40:13,600 --> 00:40:15,160
And that's really the same thing.

664
00:40:15,160 --> 00:40:21,700
When our mind, when that little security guard, Frank, sees things in reality, he's seeing, he's categorizing and saying, is this relevant?

665
00:40:21,700 --> 00:40:22,440
Is it important?

666
00:40:22,440 --> 00:40:24,440
If it's not, if it is, then I'll encode it.

667
00:40:24,440 --> 00:40:27,000
If it's not, it's going to go under the radar and I'll forget about it.

668
00:40:27,000 --> 00:40:33,180
And for you guys, if you can decipher what makes things relevant to the person, you can make things invisible to them.

669
00:40:33,180 --> 00:40:35,060
You can make them not perceive them.

670
00:40:35,620 --> 00:40:38,000
Great example of Victor Lustig using the ploy.

671
00:40:38,000 --> 00:40:44,800
When he was selling the Eiffel Tower, he was selling it as junk metal during a time when the Eiffel Tower didn't have the esteem that it did before.

672
00:40:44,800 --> 00:40:46,300
It was after the World's Fair.

673
00:40:46,720 --> 00:40:48,580
The husband, how are we doing on time?

674
00:40:48,800 --> 00:40:50,140
Finish the story and...

675
00:40:50,140 --> 00:40:50,960
I'll wrap that up.

676
00:40:50,960 --> 00:40:51,420
All right.

677
00:40:51,420 --> 00:41:01,980
When he was selling the Eiffel Tower, the wife of the bidder was suspicious that Victor Lustig might not be who he said he was or might not be legit.

678
00:41:01,980 --> 00:41:05,200
He had a variety of scrap metal workers bid on the job.

679
00:41:06,120 --> 00:41:07,440
But this wife smelled a rat.

680
00:41:07,440 --> 00:41:09,100
She smelled something behind the curtain.

681
00:41:09,440 --> 00:41:17,160
The way he dealt with that was he told her and her husband when he had dinner, he says, listen, if you want this deal to happen, you're going to need to give me a kickback.

682
00:41:17,400 --> 00:41:19,080
Now, they think he's a city official.

683
00:41:19,140 --> 00:41:21,260
So she thinks that's the rat she smells.

684
00:41:21,400 --> 00:41:22,320
That was his ploy.

685
00:41:22,320 --> 00:41:23,560
That was his second curtain.

686
00:41:24,760 --> 00:41:26,700
They hate him, but they say, all right.

687
00:41:26,700 --> 00:41:30,160
They give him the kickback and they go to buy the contract.

688
00:41:30,740 --> 00:41:38,940
And in that exchange, he was able to keep the contract and make more money than he had planned before because he was able to identify what she needed.

689
00:41:39,020 --> 00:41:42,060
So that's a little example in the construction of the deception.

690
00:41:42,760 --> 00:41:43,800
Any questions?

691
00:41:44,920 --> 00:41:47,460
Guys, we want to thank Apollo for coming in, right?

692
00:41:47,460 --> 00:41:48,040
Come on.

693
00:41:48,040 --> 00:41:49,020
Thank you, guys.

694
00:41:52,660 --> 00:41:53,380
Thank you.

695
00:41:53,380 --> 00:41:54,060
Thank you.