New-York-Lecture-Notes-by-Peter-Turner.pdf

Copyright © 2018 by Peter Turner All rights reserved. No part of this book may be reproduced in any form without written permission from the author. For television rights and further information, please contact: [email protected]

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Introduction Welcome to the second in this mini-series of booklets. As with the first booklet “The Midas Touch” this booklet is inspired by the classical booklets shared to the community by such giants as Annemann, Berglas and Corinda. I always loved the ascetic qualities of those booklets and wanted to produce a similar looking series of booklets. When I held The Midas Touch booklet in my hands I was so happy that I had ticked an item off of my bucket list I celebrated by getting all my Annemann booklets out and re-Binged on the content. If you have them I recommend you do this - I find something new every single time. This booklet is an updated version of the late 2017 lecture lecture notes from my trip to New York City – which was cancelled due to personal circumstance. My advice when reading these routines (as always) is to customise the routines to fit your style. Don’t perform this material verbatim - what works for you, might not work for me (and vice versa). These routines are simple in nature and yet require little to no setup - I hope that you get as much enjoyment out performing these routines as I do. Anyway, to save me rambling enjoy the content.

Peter Turner 2018 (Spain)















Blurred Reality I sat whilst writing these notes and wondered the best place to start. I never tend to have a structure to my lectures and perform the routines as I see fit in the heat of the moment. These notes however have to have an air of structure so let’s begin with two powerful effects that revolve around one principle. This is a principle coined by Mark Chandaue, it is used to describe a routine that is not quite dual reality (in the flimsy sense) and not quite reality - it blurs the line between the two. The realities (even though they go off on different paths) meet at the tail side of the routine to create one reality for everyone.

Double bluff This routine looks staggering - it requires an intermediate amount of audience management and literally enables you to achieve what looks like a grail type technique! Note to reader*** this was is my solution to the first letter divination when performing Ted performing Ted K’s ‘ MOABT MOABT ’ ’. I will explain my handling in the additional thoughts section (Detailed after the routine). End of note***

Effect The performer asks the participant to think of any word that they desire, the only rule is that it must be a word that the audience















about the participant also. The performer asks the participant to focus on the first letter in the word and transmit it mentally to the performer. The performer starts to divine the participants thoughts, writes down a letter and shows it to the participant - who confirms that the performer is correct! This process is repeated to divine more letters, the performer after doing this stares into the participant’ participant’ s eye and successfully divines the word that the participant is merely thinking of... of.. . And then for good measure reveals their star sign also!

Breakdown The breakdown of this effect is frightfully simple simple in execution but requires focus on the details. For this this routine you must have knowledge of my “Raise” anagram – anagram – Before Before you groan at the slight amount of cross over here read this carefully because the way that is executed is unlike anything I have seen. From the audience’s perspective there is no anagram, it’ s completely invisible. Note to reader*** For those that do not know ‘Monkeying Around’ it enables you to be able to divine a star sign by picking up on the letters in the participant’ participant’ s sign one by one. This anagram is explored in detail at the end of this booklet. End of note*** The setup of this effect takes a few seconds. Start by taking a stack of billets and on the face of the stack write “Your star sign has these letters in correct?”















perform this routine. Let’s imagine that imagine that you are acquainted with the participant and the routine is being detailed from that point. Address the participant, Performer: “If I asked you to think of a word, then looked you and outright told you what it is would that impress you?” Participant: “Of course”. Performer: “I “I honestly honestly think though that it’s almost impossible to be able to do that without first knowing about the person that you are working with. If I can pick up things about you, those things in turn will lead me to know how you think and that of course makes it easier for me to guess the word its logical right?” Participant: “Yeah”. Performer: “T ake ake your time to think of a random word for me, make it nice and lengthy but something the audience will have heard and feel free to change your mind a couple of times so you’re not settling on something common and trite”. Participant: “Ok I’m thinking of one”. The performer displays the blank billet to the participant and audience. Performer: “Imagine your word written largely here here in bold block capitals”. capitals ”. Note to reader*** this is an excuse to casually flash fla sh a blank billet, naturally without saying “This is blank, look at it”. it”. It creates an organic moment that highlights the blank billet in a logical way whilst simultaneously having the participant think of their word written letter by letter again without outright asking them to. End of note*** Performer: “Imagine the first letter in your word, imagine it being larger and bolder than the rest, as it grows larger and larger. In your mind alone imagine sending me that letter and I















As you are saying this casually take the blank billet off of the face of the stack, place the blank to the back of the stack bringing your prepared billet to the face and uncap your pen. Ensure that you keep the prepared billet hidden from the audience. Alternatively, you could have the prepared billet on the bottom of the stack and simply rotate the whole lot whilst talking - either way ensure that the prepared billet it is now on the face. End of note*** Stare at the participant and write down an “R” on the billet (you are following the star sign anagram here). If you do not know what the anagram is this probably won’t make sense until you read ‘Monkeying Around’. But when you do this is one of those moments where you will smile at just how cheeky this is! Performer: “Would I be correct in saying that this t his is right?” right?” Note to reader*** Turn the billet towards the participant and place your index finger next to where it says “These letters are in your star sign correct?” Let them read it and casually slide your finger down to the letter R. Ensure the rest of the audience do not see it. The participant will answer “ yes” yes” or “no no”” in regards to your question. If you are worried that your participant is a talker simply say “Yes or no, nothing else as I don’t want you giving anything away - Would I be correct in saying that this is right?” If you get a “no” (which I actually prefer) you can instantly move to the revelation phase by casually saying “I told you it would be near impossible!”

















participant merely thought of. Follow up by saying “Knowing this letter in no way tells me the word you are thinking of though that’s important” the participant will eagerly confirm that you are correct. “Back to this” - point to the card again, this moment is very throwaway and is just flippantly executed. It draws the attention of the participant back to the star sign, remember the audience never know that you are talking about the sign but it is clear for the participant. Write an “A” - “This letter is in there also right?” Speed up more quickly and get to the end of your anagram. When you hit the “no” in the anagram simply say “Don’t say anything or give anything away, I’m sure that letter is in there in your mind just jus t go back over the letters, don’t say a word keep word keep a complete poker face and just double check as I think I am right”. right ”. The audience will now never think you are wrong as you have muted the participant and when you nail the word in a moment (as they think that’s what you were deducing) they will assume that you were right and the participant had spelt it wrong in their mind – mind – washing washing away the “no” in the anagram. Be really clear that the participant must not say anything or give anything away, if they talk at this point then you’ve not delivered your instructions instructions clearly enough. It’s sometimes more important to stop the participant talking to serve your cause than it is to let them talk – talk – But But always make it seem like the reason they are not talking is to make things more impossible. End of note***

















Fold the billet and place it on the table in front of the participant. End of note*** Performer: “What was the nice long long interesting word that you made up?” up?” Participant: “Supernova”. Performer: “No one ever does, does, but would you like to change your mind?” Note to reader*** It really doesn’t matter whether the participant does or doesn’t change their mind. My preference is that they do as it makes things a lot more interesting. But this question sets the foundation for the moment about to come. Whichever path the participant takes you make out as though you didn’t expect them to. If they do or don’t say “Ok, everything everythin g I thought I knew about you just went out of the window!” If they do want to change then ask the participant the new word - you need it! Point to the billet and let them reach down for it, just before they pick it up interject by saying “In “In-fact, -fact, I’m torn between two because of your decision to change (or not change if they didn’t change the word) let me see if I can get your star sign”.

















from the audience’s perspective, they have just seen you write something and then cross it out. When the billets are opened later and the star sign has a line through it is completely constant with the process. Fold this billet so that it is identical to the first billet and throw it down next to the first. End of note*** Performer: “Pick those up and hand them to someone someone you trust”. trust ”. Note to reader*** Of course this will obscure the order of the billets switching them for you. You can also drop the billets into a wine glass so when the glass is tipped out it mixes the billets. I also occasionally if time permits pencil dot the back of the star sign billet in each of the four quadrants q uadrants (before the performance) so I can identify which billet contains which piece of information. As the star sign is the lesser impressive piece of information I personally like that to be opened first. Let’s imagine you you have marked them and know the order - just because it’s the ideal scenario. What star sign are you? Let them answer - you know it will be on the billet you just don’t know if it’s the one with the line through it or not.

















Brown the drawing duplication with the cat where this exact thing happens - the audience still go wild. Remember though you have a secret weapon! The word that the participant thought of to bring the routine to a conclusion. End of note*** Performer: “I’m going to be honest I wasn’t even close with the word that you were thinking of”. The performer points to the billet. The participant opens it and the performer finishes with, Performer: “I was bang on!” Note to reader*** This is of course nothing more than a one ahead mixed with an anagram and dual reality. But the dual reality is so subtle in this case that there really is no need to talk about it afterwards and even if they do talk it doesn’t matter as you’ve still outwardly achieved the exact same effect as they describe. You do not need to use a star sign anagram for this routine, you can use any anagram you like – Run a quick google search of “best anagrams magic café” (or similar searches) and you will find lots of sources to look at and use in place of the star sign anagram.

















Ask the participant to focus on their star sign before you go in for the one ahead, remember that this is the first time that the audience know you are asking the participant to focus on their star sign. When you use the cups principle, ask the participant to go back to focusing on their word and now instead of writing the word write the star signs as before. The only difference in this case is that if you got a no for the letter R and the cups confirm that it is a short word you know it is LEO and you are going to hit.

Bonus idea - MOABT “Mother of all book tests” tests” is something that we all know and most of us have at some point utilised. As promised here is a dodge I created some years ago and used to divine the first letter. To get the first letter - Simply perform the first letter dodge as outlined above (so that the audience believe you have hav e nailed the first letter in the word from the book when in reality you have guessed the first letter in the participant’s sign) sign ) and then say “Openly tell the audience the the first letter in the word you selected so that the audience can see if they can guess the word from just that first letter”. letter”. Now the participant will openly state the first letter out loud which the audience believe you deduced anyway) and now you know the word using the MOABT principle. Ask the audience to try and guess the word using that one letter which re-instils just



















Proceed to say “I now know how you think about letters let’s try the impossible impossible and go for the word”. Nail this out right with no anagram or further fishing! BOOM! You have a clean way of getting the first letter.

The almost perfect drawing duplication Let it be known that t hat I haven’t written about these type these type of effects for a long while. You see, 9 years ago being a lot younger and more easily influenced than I am now I took advice from Kenton Knepper to write a book based on a specific area of Mentalism that was little explored and whilst I adored the book as a result of that earlier (less experienced) point in my career and not being able to properly express myself I feel my reputation took a hit. I think people assumed that I was only schooled in one particular area of Mentalism and that couldn’t be further from the truth. In-fact like any technique I use the principles that you are about to read very sparingly. If you can find the correct time/



















Effect The performer has a stack of cards each card detailing one random object, item or drawing upon the face. Littered generously amongst these cards are also cards that say “Think of anything you like” on like” on the face. These cards are openly shown to the audience to be all different and it is pointed out that each card also has h as a set of instructions on the face detailing how to best imagine whatever is written upon the card. For example, let’s imagine the image image upon the face of was an apple, the instructions would be “Instructions Imagine holding the apple in your hands, physically squeezing it and finally imagine taking a bite. Do all of this with a poker face not giving anything away”. These cards are openly displayed to the the audience and again just



















participant confirms that they did. This makes the performer’s task infinitely more impossible. “We don’t need these then” the perf ormer ormer says dismissing the stack of cards. The performer continues, Performer: “F “First irst I need to get to know you and how you think in order to divine the drawing”. With no fishing the performer divines the participant’s star sign and any other private piece of information (This information is not written on the card - it literally can be anything). The audience can even nominate the information that the performer attempts to divine. The performer then finishes by divining the drawing that the participant is merely thinking of - again with no fishing!

Breakdown Before getting into the mechanics of this routine I remember posting on a forum some years ago that the drawing duplication



















“Instructions Imagine being 7 years old, envision yourself picking up a random coloured crayon and drawing a stickman over and over again”. again”. On the other quarter of the first stack write the words “Think of anything that you like”. For the instructions on these “Anything you like” cards write “Keep a poker face, don’t give anything away and simply answer any questions asked with a yes or a no”. Mix these cards up and on the very last card in this half stack of random images and anything you like cards I write something very specific (this is important) – important) – the the instructions I write, “If asked any questions about about yourself or the image on the face of this card (from the moment this card goes back in the stack) ALWAYS TELL THE TRUTH” Below these instructions I draw the simple image of a car. For clarity sake, the first stack of cards are a random ran dom mixture of



















until the performer says “I’m sure I now know your drawing” and then you will go back to telling the truth”. Repeat this over and over until you complete the stack. When this has been completed place these cards face down on top of the first stack. Again for clarity sake, if you picked the entire stack up and ran through them from the face it would be random drawings and “anything you like” cards and then after getting halfway through it would be a stack of repeated images and instructions. One last thing before going out to rock this. Locate the truth teller card (the last card in the random images and anything you like stack), on the card before this last truth teller card place a noticeable dot in the upper corners of this cards face. The reason for this will become apparent in moment. You are now ready to perform.





















Because they will have taken a moment or so to look at the first set of cards they (as well as you) will want to move on fairly sharpish. When you are displaying the cards and come to a “anything you like” card spend an extra few seconds displaying this card and ensure that the audience are aware awar e that if any one of these cards are chosen the participant can literally think of anything you like. End of note*** When you see the dots on the upper corner of the prepared card you know that the next card is the truth teller card. Turn towards the participant you want to work with obscuring the view of this card (so the participant you are wanting to work is the only person who can see it) and address this participant,





















Performer: “Did you pick a card that told you, you could think of anything you like?” 

Of course the participant is going to lie, we know they picked a card with an image on so we know they are ar e going to answer that they DID choose a card that told them they could think of anything they liked. Think of this from the audience’s perspective. They do not know the participant is lying.

Continue, Performer: “That’s why I’m struggling, we don’t need these then” The participant will

of

think that

have





















After this second hit continue, Performer: “Even though I think in your head you told a few white lies to throw me off, I am now sure I know the drawing you are thinking of ”. ”. 

As you say this touch the particip participant’s ant’s arm. This will tell the participant to stop lying now. Analyse this paragraph carefully, if the participant’s partner is sat in the audience (or a relative who knows they are not a Sagittarius) they will take this sentence to mean that you picked up on the fact the participant was lying to throw you off the drawing and a nd they will now give you credit for working out the lie giving you an extra bonus hit and cleaning up any potential taking later. From the participants perspective they will think you figured out





















Life with a unique twist Effect A participant is asked to take out their mobile phone and create a pin code at random using numbers from their private life. After a random pin code is generated the performer asks the performer to think of any digit in that pin code. The performer reveals the number! After revealing a second digit from the pin code the performer stops in disbelief, exclaiming “After reading you, you are never





















principle I expanded upon and named “The life equation” in my 2014 project “Jinxed”. The language and nuances I apply within this routine really disguise the method making this effect feel completely hands off and impossible to back track. To set this up begin by taking your calculator, type in your current year and multiply it by 2 (in this case - 2018 x 2 = 4036). This is important to note, n ote, if you are in the first f irst half of the year yea r (Jan - June) take one off of the total - the reason will become apparent in a moment. If however it is the second half of the year (July - Dec) then leave the total as is.























Here is an example of how to use the hanging statement - in my case (with the total being 4035/ 4036) I would say, Performer: “The last digit IS a 5 (pause)... Note to reader*** You are pausing here for a reaction if you get it you’ve got a hit!





















If you are coming into this routine on the backside of a star sign divination you will know if the participant’s birthday has passed or not. Again casually asking, as far as the participant is concerned nothing has happened yet and asking the star sign seemingly has nothing to do with the performance.





















That way I can ‘force’ the audience to choose this participant later (I will outline the force later) and I’m instantly down to three star signs. Likewise if I am performing this without the phone revelation on the back side and I choose to go for a verbal or written revelation the last digit will always tell me if the participant’s birthday has passed or not. This is particularly useful in the first three and





















For example purposes I will outline my preferred way to perform the routine. As you are reading this take your phone out and follow along and see for yourself how easy and quick this is.

Full performance





















The second part of the process is the participant adding a special year to the year they were born. Notice how I am killing the dead time while the participant is typing. Think about your routines, when a participant is writing or drawing these areas are the most important times to be talking to the audience. They keep the routine fresh and























how many years ago your special year happened? Press the plus









































You will be impressed at how this hits, it just does and the





















Add one to the last digit in your code - type in a random code





















Bonus idea

























































































































































































































































New-York-Lecture-Notes-by-Peter-Turner.pdf

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