Peter Turner Dare to Be Bold

Please read this before opening the book I would just like to offer a few words before you open Dare to be BOLD, If you have not read my previous material ‘Devious Realities’ you may not, A. Be accustomed to my style and the way I think. B. Probably not appreciate the work inside this book as much as you should, hence the need to read this little pre-face. Upon reading some of the effects inside you may feel a little disheartened with the ‘method’ and do not believe the effect worthy of performance. All I have to say to the people that do this, is don’t be narrow minded! The EFFECT is what is important to an audience, the method is just a means to achieve said effect and the audience as a whole will never see it. You wouldn’t be worried about what under garments you were going to wear, if there wasn’t going to be anyone seeing them and this is the same. I thought about the EFFECT and thought about the cleanest methods of achieving the effects without having to use impression devices, pre-show and the need for the subject to write information down (so we can peek it). To replace the peeks, pre show, writing things down, sometimes (not all) we have to employ techniques that are normally frowned upon. This is in my opinion is not a problem, the methods in this book are tried and tested live (over the space of a tour), went down a storm and these are the ones I liked best. All the greats adhere to this way of thinking, if it is good enough for Derren, Jermay, Kenton, Docc Hillford, Annemann, Dunninger it should be good enough anyone!

Representation of thinking ⃝ A. (This is the start of the effect), ⃝ B. (This is the end of the effect). ⃝ A. ----------------------------------------------------------------------------------------- ⃝ B. Above is a representation of actual mind reading (if it was possible), this of course is never going to be achieved, so we must add variables and the idea when writing effects is to get from A.-B. With as little stops as possible. In this book this is the route I took, ⃝ A ------ (effect) ------------------ (variable here) -------(effect)----------------- ⃝ B. You can clearly see I have spent the time on the effect, the presentation the psychology and all sealed up with as little clues as possible (preventing lay to pick them apart). This is the conventional route, ⃝ A ----- (sub writes something)-----(peek happens)----(effect)--(variable)-----⃝ B. There is so much going on here, the writing (one variable),the peek (another variable) the presentation cannot be properly incorporated till towards the end of effect, the essence of performance is lost and there is so much to be picked apart. If you are at all worried about what an audience will think, record yourself performing the effects, play them back and revel at how clean the effects look! Please don’t try use all effects in one show just pick your favourite and try it, then use another effect at another show, they are miracles if used in moderation S>L>I>M (sometimes less is more). Thank you for purchasing this book and any questions on any of the material please don’t hesitate to contact me at [email protected] Credits/Inspirations for my way of thinking, Derren, Kenton, Annemann, Dunninger, Corinda, Docc Hillford, Chris Rawlings and Luke Jermay (If I have missed anyone I am really sorry)...Pete

Dare to be BOLD? - Peter Turner


Warning All Rights Reserved. ©2011 by Peter Turner. For personal and private use only. Not for distribution in any manner whatsoever. This work is protected in accordance with the Berne copyright convention and is protected worldwide for and by Peter Turner.

The effects that follow are BOLD in method, if placed in the wrong hands could be classed as dangerous to a performers act. You will find this literature is a variety of singular effects, please don’t use every effect in one routine, rather, use one or two of the effects and then rotate them. You will also find some principles are used twice, they are used twice to create different effects, please do not criticise this fact, they are essential to make the effect work, just as essential as a Double Lift is to a card performer.


I would like to dedicate this book to my beautiful wife Rebecca Ellis, for being patient with me throughout the writing process and believing in me. She is one of life’s greater rarities and not only my partner but a best friend also. This is for you thanks x


Introduction When Peter Turner approached me in august 2010, introducing himself, his work and stating that he liked my material, I looked him up and instantly liked what I saw; I could already see that we thought in a similar way. Reading his brilliant first book ‘Devious Realities’ before it was released, confirmed my hunch. We continued to chat and share ideas, opinions and experiences and I truly believe that because of this we are both much better performers. Now March 2011, me and Pete chat on a regular basis and have some fantastic and exciting plans for the future, both separately and together. Pete is a good laugh and a genuinely good person. It is a pleasure to be able to call Pete a friend and to write this introduction. The man is a genius when it comes to creating; he approaches ideas boldly, solidly and whole heartedly. His methods are a construct of many hours of thought and testing. His Mentalism is hard hitting, impossible to figure out and yet simple for audiences to follow. His presentations are contemporary and most importantly...interesting. I look forward to working with Pete more and more in the future, get your hands on anything with his name attached whilst you can, you won’t regret it. So sit back and enjoy this book of strong Mentalism and then get out there and perform it! If you don’t, you will be missing out.

Chris Rawlins. (Mind experiments with Kenton Knepper)


A few words from the author Firstly I would thank you for purchasing this book; I am sure you will enjoy reading the effects as much as I enjoyed writing them. Contained are methods I have kept close to my chest for sometime and feel they are now needed to be shared to get the appreciation they deserve. The material upon first glance may appear a little too daring, I have performed these effects live many times, they are very much practical and provoke massive crowd reaction (always good I may add). Please read, then re-read all the information in this book several times, it is the principles contained within that I think you will find ultimately important. Use the contained principles as a ‘seed’, to sow then grow into your own creations. When reading any instructional material one can tend to dismiss the essentials, classing them too bold, a little blatant and none practical. I have to admit I have been suspect to this, writing off valuable pieces of information that have later proved to be essential to myself not only as a practitioner but as a performer. I end this section few words on creating, one should take influence from as many sources and fields as applicable, if there’s a box think outside of it, if there’s a circle try to find the corners. Many of my best creations are brought to life by thinking of the end result and working backwards to find a method. I hope the ideas you find inside this book prove to be useful, not only to expand your knowledge but to be fundamental towards your future way of thinking. To make your read more of an entertaining experience, while reading each of the effects I urge you to try to work out the methodology for yourself, this will not only prove self gratifying if oneself is correct, but broaden the minds capacity also.


I leave you with a couple of quotes that come to mind, quotes based upon using this creative thorium; one offered by myself and the other, never wiser words written by a genius amongst the highest of thinkers, ‘If one struggles to find the answer to an equation, it is generally because they have misread the formulae’ Peter turner ‘Once you eliminate the impossible, whatever else remains no matter how improbable must be the truth’ Sir Arthur Conan Doyle

I hope you enjoy the effects


You will notice upon reading these pages that I have placed certain effects into certain categories, this I have done for the purpose of reference. While some effects could be placed into other categories I have placed them into the positions I deemed fit. Most of the people who have purchased my previous workings will know I am a big fan of dual reality; dual reality for those who do not know, is a way to make two people watching the same effect, see two entirely different effects (a form of perception control) where both parties often leave baffled. Here I offer a couple of effects and then a principle to which I hope you find ultimately useful.

Trust your instinct Effect The performer invites a female subject up onto the stage and asks her if she is a stooge or a confederate, to which she replies she is most certainly not and that she has never had the pleasure of being acquainted with the performer before now. The Performer asks her to pick any random male member of the audience to join her on the stage; the new participant confirms that he also is not a stooge and is asked to take a seat. The female is now asked to make decisions based on her feelings, she is asked not to state anything out loud and just to think of her choices. She is asked to imagine a deck of cards and then think of what colour she would like, once she has made that decision she gets told to think of the suit and finally the value.


A deck of cards is then produced and handed to the seated male; the female is to imagine she is screaming the card that is in her mind at the male, but say nothing out loud. He is asked to go through the entire deck face down one at a time until he gets the feeling to stop, when he feels he has to stop, he is to place that card face down on the table away from the rest of the cards. The performer then asks the female to state out loud the card she selected mentally, the card that is in her mind alone,

‘The Jack of Hearts’ The male is then asked to show everyone what card he has chosen out of the deck, it matches the card the female subject had in her mind!

Method Although the effect mentioned sounds to be complicated to perform, it is one of the simpler in this book; this effect is based on an aggregate of simple nuances. Firstly to get the card into the female subjects head, I applied Theodore Annemann’s slate principle but put a fascinating spin on it, (I always use a picture card to which you will understand more later) while holding the subjects wrist, you give it a little squeeze when you want her to select something. Confused? If so, I promise you will know a more when you read the performance section. Now to ensure the male subject selects the card you want him to select, whatever card you are going to force the female (I use the Jack of Hearts) purchase a one way forcing deck that matches the force card. The second subject is going to be asked to go through the cards one at a time placing them face down on the table, whenever he gets the urge to stop, he is to place the card he stopped at away from the rest (ensuring it is kept face down).


The great thing about this is no one can question the deck, as it appears SHE thought of the card, there is no way anyone could know what that card is, how can anyone suspect the deck being fifty two of her card? Both participants will freak out here, as she believes she is mentally sending a card to him and he finds it, he believes, like the audience that she has thought of a card and he has found it by gut feelings.

Performance The performer addresses the audience and states,

‘Now we are going to try something based on feelings, gut feelings to be precise. It is a well known fact that gut feelings are often proved right and many people base their lives and the way they make decisions based on these gut feelings. How many people in the audience believe in gut feelings or inside intuition?’ Wait for a response and select a female from the audience with her hand up;

‘I would just like you to confirm we have never met and you are not a stooge or a confederate?’ To which the female responds,

‘No we have never met before now’. The performer then asks her based on gut feeling to choose a male member of the audience, when he has approached the stage ask him the same question you asked the female (the stooge question). After he confirms he is not a stooge, you ask him to take a seat at a table several feet away and relax for a few moments. Address the female,

‘I would like you to face the audience, place your right hand up and point your index finger towards the ceiling and just relax’.


Take the subject left wrist in your right hand pull them forward a step, keep hold of the wrist and state,

‘In a moment’s time (insert subjects name) we are going to try something based on feeling, I would like you to close your eyes for now and just listen carefully. In a moment you will get this feeling (squeeze wrist whilst simultaneously waving your free hand past the subject’s hand that points to the ceiling) and the feeling (squeeze wrist) will tell you what choices to make, for example if it was the number two you was to select, when I count you will get the feeling (squeeze wrist) on the number two. One....Two (squeeze wrist) Three Use that feeling as a guide to what you are to select’; Lets see what we have accomplished, the subject is being prompted via the squeeze of the wrist, thinking she is following that feeling, the audience believe the feeling is going to happen around the extended finger facing the ceiling. (You are forcing the subject using an invisible force, I have performed this live lots of times and not ever been questioned on it, it really is invisible) Proceed,

‘I would like you to imagine in your mind a deck of playing cards, it is essential you say nothing out loud during any of this as we don’t want to give any clues away. I would like you think Red (squeeze wrist) or Black, so that’s Red (squeeze wrist) or black. Now for the suit (say this slowly) it could be Club, Heart (squeeze wrist), Spade or diamond just build the card as we go along.


It could be a Picture (squeeze wrist) or a Number, if it is a picture it could be a Jack (squeeze wrist), Queen or King and if it’s a number you have from ace right through to ten’. ‘Now (insert female subject’s name) you have the image of a playing card in your mind, no one else knows that in this room, please don’t change your mind and your job is to just try mentally sending that playing card to (insert male subjects name)’. Approach the male subject, remove the cards from the card case and hand him the deck face down. As a little psychological ploy so the audience believe the deck is all different, I place a different card to the one way force deck on the bottom. When I pull the cards out of the card case (before I hand them to the male subject) I hold them up for the audience to see the bottom card. Ask the male,

‘There is no way on earth (insert the male subject’s name) can know what card (female subjects name) and you don’t do you?’ He will obviously respond he doesn’t, then hand him the cards. (This psychologically seals the fact that no one does know the card identity and ensures the female subject will respond the way we want when he finds her card).

‘I would like you in a moment’s time when I say, I would like you to deal the cards face down one at a time, then when you get the feeling to stop, just stop at that card’. Walk back to the female,

‘You must not say anything out loud; just imagine telling (insert male name) what your card is in his ear’. Address male,


‘I would like you to close your eyes and when you are comfortable begin, stop when you get the urge to stop’. Let him stop where he likes and ask him to open his eyes,

‘Keep that card face down for the moment’. Collect the rest of the cards put them in the deck then state,

‘(Insert female name) can you say nice and clear what card you had in your mind?’ She responds ‘The Jack of Hearts’

‘(Male name) you really had no idea it was that card’? He responds ‘No’

‘Can you please turn the card over, which you stopped at and show the audience’. Both participants will be amazed at this point, close the effect by having them return to their seats.

Seated/close up presentation To perform this effect seated/close up, just change one variable, ask the person to sit feet flat on the floor, hold out their index finger and close their eyes and instead of squeezing the wrist gently stand on their foot. As this all goes on underneath the table no one will be any the wiser, use the same performance just replace (squeeze wrist) with (stand on foot). Notes* for stage I would recommend the use of a JUMBO one way forcing deck.


Dunninger vs. Annemann Effect Everyone in the audience is asked to think of a three digit number, a random member of the audience is selected via the throw of a paper ball and is asked to join the performer on the stage. It is then explained that they are going to play a game, based on the three digit number that she chose at random. The performer explains they are going to play three games in total and the game will be referred to as ‘the Finger Game’. It is explained that if for example she chose ‘123’ as her three digit number, when she plays the first game she is to hold one finger up for the audience to see, the second game two fingers and the third game three fingers. Once she understands the game a second subject is chose in the same manner and invited up onto the stage also. The performer places the second subject facing the audience and blindfolds him, then places the first subject behind him also facing the audience (the second subject has his back to the first subject). When the performer says ‘go’ the first subject is to hold her fingers up so the audience can see them and the second subject is asked to guess how many fingers he believes she is holding up. The performer turns around also, so he has his back facing the subject holding up the fingers, this eliminates anyone thinking he is somehow secretly prompting the blindfolded subject. The performer says ‘Go’. She holds up an amount of fingers and the blindfolded subject is able to correctly identify the amount of fingers, this is repeated three times in total all three time the second subject gets it right!


Method This game is an oldie but I love it! As with all my effects, I try to make them look like they have that impossible feel to them and this one certainly has. The original method used a pre showed stooge; in this book I have tried to demonstrate as many ways as possible to make a subject on stage a stooge without knowing he/she is. The reason this effect is impossible to figure out, is the performer has his back to the subject that holds up the fingers, thus making it impossible to know how many fingers she is holding up. This sells the fact he couldn’t possibly be prompting the blindfolded subject, (unless he has a stooge in the audience, which I do not like the idea of at all). The fact is simple the performer is prompting the subject via the wrist squeeze mentioned earlier. But how does the performer know how many fingers the female subject is holding up to prompt the second subject? He asks the whole audience to think of a three digit number at the start and when he invites the lady up onto the stage, he uses Dunninger’s principle. (Asking her under the guise of the loud applause what her number was)! See end of effect for close up alternative. Notes* this effect plays really big if presented in the correct manner, please do not overlook the use of the principles offered, this is a second use of this method just to show you how versatile this principle can be as use of a force if used properly.

Performance ‘This is the part in the show when we forget about all the educated stuff and play a fun game, I would like everyone in the audience to think of a three digit number I will give you a few seconds to do this’ Leave them five seconds or so then state,


‘I am going to throw this paper ball over my shoulder the person that catches it will be a random member of the audience’ Throw ball behind your shoulder.

‘Everyone happy that was a random choice?’ Wait for response,

‘Can I have a loud round of applause then please’? Lead the subject to the stage (for purpose of demonstration we will say it’s a female) under the guise of applause ask;

‘What was your number?’ She responds ‘325’

‘Fantastic, please do not forget your number and I will explain more in a moment’. Address the audience,

‘We are going to play a game based on the three digit number that (insert subjects name here) has in her mind, it is a game known as the finger game, a lot of you will have played it when you was in primary school. Where one person holds up an amount of fingers and a second person who is facing in the opposite direction tries to guess the amount of fingers on display. Now the reason for thinking of a three digit number is this, we are going to play three games and say for example (insert subjects name here) had chosen ‘123’, the first game she will hold up one finger for everyone to see the second game two fingers and the third game three fingers’. Make sure she understands,


‘As it would be a little boring watching me guess, that’s all I have been doing all night after all, we need another random volunteer’. Throw the ball again Invite the member up onto the stage (for purpose of demonstration we will say they are male), address him.

‘I would like you to stand at the front here and we are going to blindfold you so that you can’t rely on visual clues, you will have to go with your feelings on this one’. Position the female subject facing the audience also, but behind the male so she is looking at his back (ensure that the audience can see her clearly). Address the female subject,

‘(insert her name here) in a minute when I say go I would like you to hold up the amount of fingers that corresponds with your number’ Stand facing the audience next to the male (your back is also facing the female) take the males wrist and say,

‘(Insert male name here), it is essential you make your selections based on feeling, you will just get this feeling (squeeze wrist) when you are to select something. Trust your feelings, when you get this feeling (squeeze wrist) select that number, so for example for the number two, when I count out loud you will get this feeling (squeeze wrist) when I say the number two and you will know that is the number you must go with’. Make sure he understands and then address the female,

‘(Insert female name) get ready to show the audience the amount of fingers that corresponds with the first number in your three digits but please say nothing out loud as to give any clues away.


Go! Show them the amount now’. Address audience,

‘Now you all know the number lets see if (insert name) can pick up n it based on feelings’. (We know the first number is three so we just squeeze the wrist on three)

‘Right (insert male name), one.... two.... three (squeeze wrist) four.... five’. Address audience,

‘If (insert male name) gets this right, let’s have a massive round of applause to show him he was correct. (Insert male name) what number was it’ He responds ‘Three?’ The crowd will applaud; repeat the process two more times and close effect.

Close up presentation I know upon reading effects from books often one can become dishearten because the effects are described in a stage style presentation, this does not mean the effects cannot be performed close up! Here whilst offering the alternative method for making this effect a close up presentation, I would like to offer a quick lesson on how to turn any stage piece into a close up routine. Firstly let’s take a look at the one reason this effect (the stage presentation) and the reason why it couldn’t be used as a close up effect. After reading over the effect you will see it’s soon see it is the use of Dunninger’s principle. Q.What is Dunninger’s principle used for? A. As a means to extract data from a subject without the audience knowing.


We as performers extract data all the time, names, numbers you name it we extract it and that’s all you need to do to make this particular effect work in a close up sitting. Use a peek, a switch whatever method you feel comfortable using, extract the three digit number and then proceed with the routine in an intimate manner. All you need to do is spot the variable in these effects that make the effect unworkable close up and substitute them with a tried and tested method you are comfortable using close up.

White Board Dual reality I chose to place this here before you got to the next section of the book; this principle is one you should find ultimately invaluable. It is not an effect in itself but more a nuance to add at to the end of your effects. When you create an instant stooge and they have a piece of information you have forced upon them (i.e. the trust your instincts effect in this literature) and you have asked the subject to keep their eyes closed. Look at them and draw the image or piece of info (you forced) on a whiteboard, hand the white board to someone in the front line of the audience and walk back over to the subject in the stage. Address the person with the board,

‘Please write on the board what the image is as the drawing may not be clear enough and hold it up and show everyone what you have got there.’ Let’s take a look at things the audience have seen you draw an image you just asked someone to think of, you handed the whiteboard to someone in the front line. The subject hears you stood next to them (their eyes are closed) and hears you ask the person with the board to label the image and show everyone what


they have got; making the seated subject believe the person in the audience has drawn the image. Using this principle they are a multitude of possibilities, (for example) you could use the squeeze principle to force a subject a three digit number and tell them they are going to try transmitting that number around the room and see if it can be picked up. Make a thing of asking everyone in the audience if they know what number the subject is thinking off (they wont) and then ask the subject to close their eyes. Apply this principle and the ‘stooge’ will be shocked when the reveal takes place as they believe they have successfully sent the image to someone in the audience, whilst the audience believe the subject just thought of a number and you (the performer) has just looked and guessed it!

Instant stooging is a technique in which an onstage subject (who has never met the performer) is practically forced into becoming a stooge, a lot of the time without knowing they have.

‘Instant stooge - Just add patter’ – (Eddy R) This is a principle that often fools many working professionals in the industry, when reading these effects please imagine the effect from the audience’s perspective. You too will see just how easy it is; I tried to cover all the psychological aspects to make each move and routine logical in its workings.

Subject to subject book test Book tests are not a new ploy to the mentalist, all seeming to follow a similar pattern with the same outcome; a subject selects a book at random then


chooses a page and finally a word, the performer is then able to correctly predict the word that was selected at random. I wanted something a little different, here is my presentation, I hope you enjoy.

Effect As seen by the audience; Two subjects are asked to come up onto the stage, they are handed a book, a white board and a pen. They are then asked to turn to any page they desire within the book, select a word that stands out to them and write it down. Both ensuring their word is kept private from the other subject, each subject is then asked to imagine they are the other subject, imagine they are flicking through the others book and to visualize the word that they think the other has selected. When they both confirm they have done this and settled upon a word, the first subject is asked to state out loud what word he thinks the second subject has chosen, the second subject is asked to state out loud what word she think the first has chosen. Both the boards are turned around to show each subject has correctly predicted the others word! Note* the subjects can choose any page at complete random, the words that are selected are different to each others, two different books, there is no preshow work required and the mentalist never intervenes the subjects do all the work.

Method The method involved here is very simple but bold; look at this effect from the audience’s perspective. Please read the performance section of this effect, you will see the real workings, this is the just mechanics. Take one of the two books, turn to page five and use a sharpie marker and apply as shown in the picture,


Repeat for each page; (You will notice there are arrows drawn on the pages, one page the writing is on the top, the other page it is on the bottom). The reason for the arrows on each page is so the subject can clearly read the writing. As the ink leeks through the pages, the only ink that will bleed underneath the writing on the next page is the arrows. In the second book, use the marker and apply in the manner shown in photo two.

(See picture)


Repeat for each page;

So lets have a look at what we have, one book says,

‘Play along your word is DREAM the other persons is GUITAR’ The other book says,

‘Play along your word is GUITAR the other persons is DREAM’ This is what the audience will see,

(See Picture)


The cover hides the secret writing inside the book, the subject really can turn to any page now; the patter described in the performance section will ensure the subjects follow what you need them to.

Performance ‘We are now going to turn our attention to a psychological issue that I have put a lot of thought into recently, how many people in the audience have been writing something down, then somebody in the room has mentioned something or interrupted and have accidently wrote what that person said in place of what was originally intended? This got me thinking, would it be possible to make somebody read something that wasn’t there if interrupted at the right moment? Or think what someone else is thinking if the circumstances are portrayed correctly?


Then I came up with this to portray my findings, I need two easy going volunteers that are happy to just go along with what I ask, it is essential for this to work’ This will ensure that the two people selected follow what you have written on the inside of the books, the audience will interoperate this as the demonstration will only work if they follow the instructions closely. After getting the two volunteers onto the stage state,

‘In a moments time we are going to attempt something you will find easy, though to the audience will appear to be an astounding feat. All I need you to do is pretend, just pretend you can do this believe you can. I’m not going to make a fool out of you or embarrass you; this will go perfectly if you just do what is asked of you, please go and take a book each off of the table’. Hand them a whiteboard and pen and ask them to take a seat facing the audience, (this will ensure the audience does not see the pages that are marked).

‘You are going to choose any page at random, keep the book held so we cant see the pages and at no time shall you look at the other person sat on the stage. When you flick through the pages keep a straight face at all times as not to give anything away to us’. (Classic dual reality here the subject thinks we mean the secret hidden in the book, the audience believe we mean the psychological cues).

‘On the page you select you will notice one word that stands out, that word is YOUR word, YOUR word is the going to be the word you will write on the board.


When you have that in your mind I would also like you to imagine being the other person, imagine THE OTHER PERSONS WORD get it into your mind and please don’t forget it. This is all about pretending and playing along, you must think you can in order for this to work’. I think after reading the dialog you can understand how something that seemed a little daring at first becomes a somewhat simple feat.

‘Please close the books lay them on the floor at the side of your chair and write YOUR word on the white board, making sure you keep it hidden from each other. Keep the boards toward your chest so no one can see what is on them, please join me on the stage and face the audience if you will’. Address subject one,

‘Now what I would like you to do is imagine you are looking in the book, seeing your word, go past your word until you come to THE OTHER PERSONS word, see it in your mind, make it large and bring it to the front of your mind, when you think you have it in lights tell me out loud THE OTHER PERSONS word’. ‘GUITAR’ Ask subject two to turn their board around sure enough it says GUITAR, I usually stop the round of applause here and address subject two,

‘Please can you do the same, make the word you have in your mind bright and bring it to the front of your mind when you have done this state it out loud’. ‘DREAM’ Ask subject one to turn around their board it matches,


‘Loud round of applause for these two subjects’, Address the subjects under the guise of the applause

‘You were absolutely fantastic. If anyone asks you how you did this tell them you don’t know, trust me people will be more fascinated by the fact they can’t do it themselves, thank you again’

Simon says (Drawing duplication) This effect makes use of the instant stooging method in a very obscure fashion, the whole audience are stooges and not one of them knows it!

Effect A subject is invite up onto the stage handed a white board and a newspaper is asked to stand facing the audience, they are to draw any image that comes to mind and wrap it in the paper to ensure no possibility of anyone seeing it. The performer faces away the entire time while this takes place, when the subject has completed the drawing and wrapped it up he claims he will try to reproduce the image. The performer seats the subject looks at him and after a few moments’ draws an image on a large white board, the drawing is removed from the newspaper and is verified to match!!! No peeks, no preshow no impression devices and the performer draws the image before touching the subjects!

Method This method occurred to me a long time ago and I never really got to make an effect fit it, until now. This effect I thought was a little too good to put into a book but after better judgement I gave in. There is one variable most performers take for granted and that is audience reaction.


Think of this, if a subject was standing behind a white board, a drawing was drawn on the white board and the subject was asked to name anything in the world out loud, how would the subject know what he had said matched what was on the board without looking? Answer: The reaction from the audience! I then added a few nuances, came up with an effect and here is my presentation. You will need a regular small double sided white board and two sheets of newspaper. Draw with a permanent marker on one side of the white board the image of a car (or any image you can draw) but draw it so it looks like someone else’s drawing. Place the white board drawing side down on top of the newspaper then place these items together on a table you are ready to begin. You will see how the paper is used as a mask, hiding a cheeky utility switch swapping a random drawn image to the one you had drawn before the show.

Performance Invite up a member of the audience (via any means you see fit) state,

‘I am about to attempt something that may not work, I really hope it does as it will be a lovely visual treat for you the audience’. Address the subject.

‘I would like you to think of any image in the world please make it something I could never know and not something simple like the image of a house or a stickman. Hand them the board (with the paper under it) ask them to keep the drawing towards their chest and when they are done to fold the paper around it so there is no way anyone can see what you have drawn.


Demonstrate how to wrap it around, (retaining the paper on the back of the white board it folds around the front (so the white board is sandwiched in the middle of the paper. (See pictures for demonstration of fold)

As you can see the paper is under the white board, all ready to be folded. (See Picture Two for sandwiched board)


This is a little bold but really sells the fair fact, turn facing the audience (back to the subject), ask the subject to tell you when he has folded the paper round hiding the image from sight. Ask the participant to verify you can’t see through the paper and there is no tell tale signs that give away what the image is (he will say no). Ask him to place the board and paper on the table and ask him to take a seat stating,

‘There is no way on earth I could have known what you were going to draw and you up until a few moments ago didn’t either correct’? ‘Yeah’ ‘You verified that it is well sealed in opaque paper and that there is no way I could just guess that image’ He responds

‘Correct’ ‘I would like you to sit and just mentally repeat your image over and over again in your mind, imagine shouting the image to me’ Seat the subject at the back of the stage (well behind the white board at the front of the stage) ensuring he can’t see what you drew. Walk over to the front of the stage and pick up your white board, draw something and then scrub it off (while shaking you head) claim it is a difficult one to get. Ask the subject to make the image larger in their mind, state to the audience they must say nothing out loud and on the white board draw a car (or the image you drew in permanent marker on the little board). Address the audience,

‘I think this is the image I would like you all to remember, this is the image I think (subjects name) settled on, when I show you what


(subjects name) drew if the images match I would like a massive round of applause to let (say the subjects name) know that I got it correct. Does everyone have this image in their minds now’? Wipe the image off of the board Address the subject,

‘I drew an image on that white board, in front of an audience full off people and I never came anywhere near your drawing, hopefully the two images will match’. Pick up the newspaper with the board inside and walk to the front of the stage, (make sure your image is facing the audience) state,

‘If this image matches the one that I drew just a moment ago please let (subjects name) know with a loud round of applause’. Hold the image above your head open the front flap of the paper revealing the image (the one you drew long before the show) to the audience; ensure the back of the image is still covered by paper as the seated subject is behind you (the paper prevents him seeing his image). This is the bit where the entire thing is sewn up in the subjects mind; Close the paper (sandwiching the board again) and bring the sandwiched board back to waist height, when you turn around toward the subject, remove the board his drawing side up and place your drawing face down back on top of the paper. Hold the whole lot in your left hand (don’t state anything about the drawing just let him see it casually) and shake his hand (your body and the back of the paper will hide these actions. The subject has seen his image has no need to question anyone in the audience; the audience has no need to question the subject as they are the stooges in this effect and have all seen the image.


Ask for a round of applause for him as he takes a seat, this effect is all about presentation the method is so simple it will go undetected and the cheekiness of facing the audience while he draws it, using the audience as stooges without them knowing (which I believe has not been in print before) is devious. Notes* I would recommend marking the side of the paper with a little sticky dot, this ensures you know which way round to open the paper when you get to the front of the stage. The last thing we want is the audience seeing the random drawn image.

Lost and found The idea of this effect came to me early one morning, you all know the time, when there is nothing on the T.V and the hours you are awake, your mind is working over time preventing you from sleeping. As I stated at the start of the book I usually come up with an effect in my head, then work backwards to figure out the methodology and straighten out the creases after. After thinking long and hard about this effect, there was only one method I deemed would work. Although the original principle was used in a different manner, I would never have been able to offer this effect to you now if I didn’t have that ‘Seed’. So I dedicate this effect to my good friend Chris Rawlins, author of the fantastic book ‘Mind Experiments’ and innovator of the Reverse Bank Night effect from where this ‘seed’ came from.

Effect The performer invites a subject up onto the stage and asks them to think of the last name of a person that they went to school with; to choose someone that meant something to them and make sure that it’s a name no one else in the room is going to know. The performer explains that he is not going to perform this effect and that someone from the audience will be selected to do his job.


The performer asks the subject to whisper the last name into his ear, ensuring no one else hears it and the performer writes the name (hidden from the audience) on a business card and then presents five pay envelopes. After it is verified that the envelopes are in fact opaque, there is no way they can be seen through, the word is sealed inside one of the envelopes and handed to the spectator who mixes them behind their back, so even the performer cannot know the order. A second subject is invited to the stage, he confirms he has not met the first subject or the performer before and he has no idea which envelope the contents are in, let alone the name written on the card. The envelopes are then fanned out in front of the subject, he is asked to take an envelope he doesn’t believe the word is in and tear it to reveal that envelope is empty. This is repeated three more times until one envelope remains, the subject is then asked to close his eyes and imagine the name, let it come to the front of his mind and when it is bright and clear say that name out loud. He responds ‘Greenwood’ The envelope is opened to reveal the name is in fact Greenwood! The subject has not only predicted the correct envelope but the name also!

Method The five envelopes are in fact very opaque, the secret lies on the face side of one envelope.

(See picture)


(For the purpose of demonstration I used a large envelope, in performance use a pay/penny envelope). On the address side of the envelope you can see it clearly see it says IT’S IN HERE, THE NAME IS _______ (which is a blank underlined space) Write this template onto one envelope. To get the name on the underlined space is simple; when it is whispered in your ear you double write the name on the card and the envelope. Here is a ploy I use to make the double writing go unnoticed; I write it on the underline space on the envelope first then move the business card on top (covering the whole of the writing on the envelope and state,


‘I’m just going to make it a little bolder so it can be seen clearly later on’ Slide the business card on top of the writing on the envelope and then write the name large and bold across the card. This ensures the double writing will go unnoticed.

(See Picture)


To psychologically seal the fact there is only one name written, when the card is on top of the envelope covering the secret writing, invite the second subject to just check the name is spelt correctly and is clear enough to see. I think you can see how this sews up the psychological factor.

Performance ‘This is the part of the show for me I enjoy the most as I get to have a little break from being the thought reader, to which I am sure you will understand more in a few moments’. Choose a volunteer from the audience by whatever means you see adequate and when the volunteer is on stage address her,

‘Can you please get a name into your mind, not just any name but someone that you went to school with and that meant something to you’.


Go over to the table; pick up the stack of envelopes, the one with the secret writing is placed on top. Keep them towards yourself as you walk over to the subject, remove a business card from your breast pocket and place it horizontally on top of the secret writing.

‘Now you have the name in mind, I would like you to whisper that name to me and please be careful so that no one else hears it.’ When the subject whispers the name, hold the cards towards your self, slide the business card up and write on the envelope. Then state,

‘In fact I will make it a little bolder as that may be a little difficult for the audience to see’ Boldly write the name on the card and invite the subject to see it,

‘Is that spelt correctly?’ (Wait for response)

‘It should be bold enough for everyone to see later on, I would like you to turn your back while I seal the card inside an envelope, just so this is entirely fair and you do not know which envelope the card is in’. (Of course this is so the subject doesn’t see the secret writing) Once the envelope is sealed and all of the envelopes are address side down, the subject is asked to turn back round and you hand the subject an envelope, ask the subject if the envelopes can be seen through and to verify that they cannot. Then fan them towards the subject flap side facing them, hidden writing facing you and state;


(This is the side you will fan towards the subject and the audience).

‘There are five envelopes here; your word is sealed inside one of them, I’m going to get someone to come up and not only predict what envelope the name is in, but predict the name you have in your mind’. The real reason for fanning the envelopes towards the subject and the audience is to sell the fact they are completely sealed and cannot be seen through when held up. It just psychologically says there are no special marks on the envelopes even though we know differently. Hand them to the subject face down and ask the subject to mix them up behind their back, demonstrate this process (you don’t want them turning the envelopes over so some are address side up and some are flap side up).


‘You don’t know which envelope the card is inside and now there is no possible way I could, whilst you are doing this I will invite another member of the audience up’. Ask the new subject you invited up if they are a stooge, if they have any idea what the word is or which envelope it is in, they can only reply they do not. Address the new subject which we will call ‘JR’

‘In a moment’s time you will know which envelope the word is in, not only that you will know the word. I know what you are thinking, that you won’t be able to, it’s impossible, if you trust me and follow what I say, I promise you can and will. Keep emotionless throughout the selection process it is absolutely essential; you must keep a straight face and concentrate. Follow your instinct and trust me’. Stand him facing the audience and the first subject. When the subject is in position fan the envelopes towards him this is what he will see.


‘I can tell by looking at you already have an idea which one the is inside, I would like you to take one that you believe it is not inside’ When you have taken the envelope please tear the envelope up to reveal it is in fact empty.

‘I would now like you to concentrate and choose two envelopes, again two envelopes you just know in your mind has no contents then tear them up to reveal they are in fact empty. There are just two envelopes left now and its 50/50 please take your time now as there is no rush, remove the envelope you believe has no contents and again tear it to show it is in fact empty’. Address the audience

‘Loud round of applause (JR) has managed to correctly identify which envelope contains the card! But wait’. Cut the applause here,

‘Let’s take this one step further; you were left with this one envelope’. (Show ‘JR’ the envelope; this is a totally natural motion in the eyes of the audience, this is what he alone will see.)

(See picture)


Place the envelope writing side down on the table address JR,

‘Please close your eyes for me, you have trusted me so far and you correctly got the right envelope, you will have the idea of a name in your mind already, you need to slowly make it very bright and large in your mind. I will give you 5 seconds to do this in which the audience need to remain absolutely silent’. Address the audience,

‘Please remain absolutely silent for five seconds’. Hold five fingers up reduce it from five to one each second,

‘JR please open your eyes and state clearly what name you think is inside the envelope.’


JR responds

‘Greenwood’ The subject that whispered the name to you should freak out at this point; open the envelope, ensuring it is kept writing side down and bring out the card very openly. Show the card to the audience and enjoy the applause you deserve, close the effect up in the usual manner.

Inside Intuition This for me is my favourite effect that I have shared in this book, the reason it’s my favourite is the absolute cheekiness that goes on underneath the judge’s nose.

Effect The performer states he is going to demonstrate a feat which can only be described as impossible; he invites a random member of the audience up onto the stage and verifies they have not met before. He hands a Manila envelope to the subject and states the reason she has been invited onto the stage is to make sure nothing suspicious is going on and is asked not to lie for the performer on any account. From now on she will be referred to as the Judge she is asked to inspect the envelope, make sure it is not see through, there are no slits, secret holes or marks that give away the contents. She is asked if she knows what the contents are, she states she does not and then is asked to invite another member of the audience up onto the stage. The performer then tells the audience that inside the envelope is a picture and no one in the room knows the contents of the envelope is signed and then handed back to the performer.


He addresses the subject that the Judge chose and asks them to concentrate very hard and build the picture up in their minds that they believe is inside the envelope. The new subject is handed a white board and a pen and asked to draw the image they have in their mind, when they have completed this the envelope is opened and inside is a picture that matches the image they drew. A subject that was chosen at random has successfully duplicated a picture that is in an examined, sealed opaque envelope whilst the whole thing is judged!

Method This is such a cheeky method; it relies on an envelope switch that is done so openly it goes completely unnoticed. You will firstly need to prepare a pay / penny envelope by placing inside it a picture, I use a famous landmark that everyone knows and can easily be drawn. For the purpose of demonstration we shall use The Eiffel tower. On the outside of this envelope (on the address side) write It’s a pic of ‘the Eiffel Tower’


Now take a duplicate envelope and seal inside any picture, (this envelope never gets opened) don’t mark it in anyway or write anything on it just seal it. Now for the switch, prepare by placing the gimmicked envelope under your left armpit (inside your jacket), and place a marker pen on the outside of the left pocket as shown in the photograph.

The clip on the pen lid is inside the pocket holding it on the outside of the pocket, flap side of envelope is towards your body. And you are all set to perform the switch, close the jacket so no one is aware the envelope is there or the pen. When you have handed the un-gimmicked envelope to the subject and it has been fully verified to be opaque and not marked, take the envelope back of off them in your right hand. Then state,

‘In fact just so this is ultra fair we will have you sign the envelope’.


Bring your right hand up to your right lapel with the envelope and reach in for a pen in the right jacket pocket (we obviously know its not there). (see picture).

This is the cheeky part, grab your left lapel with you left hand open the lapel slightly and reach your right hand (still holding the envelope) straight into left breast pocket, drop the envelope, on the way out grab the pen and envelope from under the armpit in one smooth motion. (See picture)


(On removal ensure the address side is hidden all the time) Then say,

‘Ah here we go’. Place the envelope address side down on the table and get the judge to sign the envelope and leave just leave it there. Sometimes as I’m walking with her (when she gets the new participant) I undo the buttons on the jacket and let the jacket open. The envelope is in the pocket it’s not going to fall out and this psychological sells the fact the jacket is empty I promise once you have done this in the comfort of your own company once, you will use this switch for so much more; it is so simple and fast to perform.

Performance ‘I am now going to perform a feat that is considered Impossible by all accounts. I firstly need to find a member of the audience, let me see’. Ask a female member of the audience to assist you on the stage, explain to her she is going to be known as the judge from now on and her job is to ensure that nothing suspicious happens and she will be the eyes of the audience.


Hand her the manila envelope,

‘Please ensure this envelope is completely opaque, it can’t be seen through in any way at all and there are no marks or ways of indicating what the contents are. Have you any idea what is inside the envelope?’ She will respond ‘No’.

‘I will tell you the contents of the envelope, inside is a photograph, you couldn’t feel that it was a photograph?’ She can only respond ‘No’.

‘You have had long enough to play with it as well, I’ll take that back’. (Take it back)

‘In fact just to make sure there is no funny business or that the envelope gets swapped later on I would like you to sign it, I will just get a pen’. Perform the envelope swap and when the ‘Gaffed’ envelope is address side on the table, ask her to sign the envelope make sure signed largely so she will recognise her signature easily. Point to where she should sign this will ensure she doesn’t pick the envelope up and then cheekily ask,

‘You verified this envelope is not see through, it’s been on show the whole time and I haven’t touched it and now you have signed it largely so it cant be swapped later on’. (Very cheeky, but it adds a false memory, when they tell the effect to their fellow peers they will mention the envelope was never touched at all).

‘Ok we will leave that there; I want the audience to ensure that no one touches that envelope. The judge is going to choose a


participant, can you select someone from the audience completely free of choice’. When that person comes up address them,

‘You have no idea what the photograph is of inside the envelope?’ He will say ‘No’.

‘Ok in a moment you are going to pretend for me, you will act as a psychic medium and you will get a vision of what the image is, go with what you can see, trust what you see’. Position the subject facing the audience, the judge is asked to take a seat at the front of the audience and keep a hawk eye on all events to ensure fairness. Address the onstage subject,

‘Remember just go with what you see’. Say this as an off the cuff comment as you pick up the envelope openly then state,

‘It’s in this envelope’ Hold the envelope so the address side faces him and he can see the secret writing.

‘Get the image in your mind, you are going to be asked to draw it in a moment, Feel the envelope while you imagine drawing it’ Give them a few seconds to register what is written on the envelope and then hand them the envelope to feel it. After a few seconds or so take it back, drop it onto the table top address side down and pick up the white board and pen. Hand it to the subject and say,

‘You know what the image is; now just draw it on here’


As he is drawing the image, pick up the envelope approach the judge and ask her to verify that it is the same envelope and that it is her signature. Make sure the subject on the stage has finished drawing, tear open the top of the envelope and pull the picture out a little bit, then ask the judge to remove it the rest of the way and tell everyone what is on it.

‘The Eiffel tower’ Ask the subject on the stage to turn around his drawing it matches!

Time delay principle This is a piece of advice when ‘Instant stooging; I call it the time delay principle and have not yet in print (to my knowledge) seen anything on this subject. You have forced your subject a piece of information (via the many techniques outlined in this literature) the aim is to psychologically make it appear as though the image is the subjects choice, when you are no where near, this really sells that fact. The subject has the image in their mind (force is completed) walk away from the subject and turn towards them while stating,

‘You have an idea of what the image is in your mind, but it is not a clear picture as yet, please close your eyes, bring the image to the front of your mind, think of some descriptive words to describe that image and take a few seconds to do so. When you have done that, take a deep breath in and when you let the breath out slowly open your eyes’. Now this is a simple dual reality ploy where subject believes they are making the image you gave them clear and bright in their minds, the audience think the subject is just thinking of the image (while you are on the other side of the stage) and making it clear and bringing it to the front of their minds. This little variable makes all the difference, it sells the fact everything is ultra fair and because there is a five second delay before the effect commences the


audience believe this is the important time (after the work is actually already completed).

Here is where I think it best I intervene, for which I do apologise. I would like to share a few words based on some of MY findings and encounters and then back to the juicy content. Please note the opinions expressed here are just opinions and are not a point for argument.

Logic Logic for me is a massive MUST, if something is logical then it doesn’t need an explanation it explains itself, let me elaborate on this; (For example) The age old one ahead (which is a fine technique, I am not saying anything about the method here) lets see if you can spot the flaw in logic, made by the performer. Routine, The performer places a deck of playing cards down on the table as he speaks,

‘I would like three volunteers in this room to come and help me with an experiment’. They come up, are seated and the performer removes three blank business cards, writes something on one and places it places it face down on the table. He tells the group he has written a persons name on the card and would like the first subject to concentrate on what she thinks that name is. She responds aloud,

‘Jean’


He says he will come back to that later, proceeds to the second card and writes something and drops it on the table and tells the group he has wrote an image on that card. He asks the second person to guess the image; To which he responds,

‘Pencil’ Then the performer writes on the final card, places it on the table and states there is the name of a playing card wrote down. The performer would like the third person to remove the cards from the card case and run through them till he wants one and take it out and tell everyone what it is.

‘4 clubs’ The business cards are picked up and numbered so they can’t be swapped around, they are turned over to reveal the first says ‘Jean’ the second ‘Pencil’ and the third ‘The four of clubs’. Did you spot what was wrong logically? I bet a lot of readers will not, here it is; He asked the first person to THINK of a name, the second to THINK of an image so then why did the third person have to SELECT a playing card and not just THINK of one? This may go unnoticed a good number of times, but there will always be one astute lay that questions this fact and you will have to at some point make up some Bull explanation. It doesn’t flow consistently and the fact is simple, when it is questioned, it makes the other two predictions look less special and will lead to people seeing the whole thing as a trick as apposed to a miracle. If we make believable moves from the off, we don’t need to make up stories for them, here is another.


I know I will receive a lot of hate for this comment, without sounding stuck up, I am a nice guy, it’s time someone said it and this is only MY opinion. ‘Centre tears’ for me are the most illogical premise I have come across, you have to make excuses for the move. Here I share are a few quotes people have spat at me in regards to this subject,

‘You have to make the logic yourself!’ Or

‘You have to make the move believable!’ Whatever excuse you make and I have heard/seen thousands, it doesn’t make the move any more logical. Here are just a couple of my favourite excuses,

‘Show a few people the name you wrote on the paper and we shall dispose of the evidence (perform centre tear)’. This forces people to think elsewhere, I.E. the paper was shown to a few people, one of the people must be a confederate or helper.

‘Write it down and stare at it, it is a fact when you read something it burns the image mentally into your mind, you done that? Fantastic we shall tear it to prevent me from seeing it’ The subject thinks

‘Ok that’s great but why didn’t I tear it’? ‘Why didn’t I keep hold of it and place it in my pocket’? ‘What was the need for writing it down, if it was just going to be ripped up?’ And finally my favourite;


‘You are just writing it down as an insurance for me and you, so the audience don’t think you were just agreeing with me and also so there is no way you can change your mind, not that you are the sort to do that I have just had that happen before’ I really, really have heard performers say that before, and then tear the paper up! If that happened to me I would be confused and if it reads confusing imagine it to a lay! There are kids teaching this on you tube and I have also heard from several reliable sources that they sell this in children’s magic books! Derren hit the nail on the head when he talked about compromise, if you ever write anything down, that is a compromise and if you are going to make visual compromises you have to make them logical. For anyone that believes there isn’t more reliable logical methods, all you need to do is open Richard Busch’s ‘Peek Encores’ fantastic book. Another alternative is the use of dual reality, if anyone has read my first book you will see I tried to avoid the need for writing things down, I want the effects to look as close to mind reading as possible and dual reality is one of the most fantastic methods of achieving that (Reference Kenton Knepper)

Trust This mistake at some point we have all been suspect to, it’s become a pet hate of mine, performers making their jobs more difficult than they have to be, by psychologically creating suspicion. (Example) The performer removes a deck of cards whilst peeling the wrapper of states

‘This is a new deck I will just give them a shuffle’ He shuffles,

‘Please examine them’


This is patronising as the lay is not stupid; they can see you are un-wrapping the deck you don’t need to tell them and then to ask them to examine them?!? This is what goes on in the lays mind at this point,

‘Why would a fresh deck of cards have something wrong with them?’ If he’s saying there could potentially be something suspect about the cards what about the pen? What was that he did there that looked a little suspicious’ You are creating a suspicion and a need for them to examine everything else, you will be watched more closely and ultimately the essence of performance will be lost. Your job is to build a rapport with the lay, prove your credentials from the off and be trusted. This separates a good performance from a good performer and a bad performance from a performer who has excellent material. Please think when writing your material, creating effects or just performing do my actions create logic? If the answer is no (be honest with yourself) then go back to the drawing board. Logic makes belief, belief makes trust and trust eliminates that one prat who tries to be awkward thus ensuring everyone appreciates your hard work. So let’s get rid of playing cards to force page numbers in books, centre tears and having to rely on visual compromise and move together as a unit, let’s make this industry move forward and flourish its feathers like the once proud peacock it was! All my ramblings aside lets get back to the material.


I thought as I had previously stated about abolishing centre tears, it would only be fair to offer a few alternatives that achieve the same effect in a fairer manner.

Peek a boo Effect A performer places a stack of business cards behind his back and asks a subject to draw an image or write a name (or any piece of information) on a business card, sign the card and seal it in an envelope that is sat on a table behind the performer. The performer then discards the rest of the stack into his pocket and is quickly able to divine the contents of the sealed envelope! The drawing/writing is done behind the performers back, the card is signed so it can’t be swapped, the subject places the card into the envelope and seals it themselves all while the performer is facing in the opposite direction.

Method The method should be apparent by the title there must be some variable in order to peek, the idea is a very simple utility switch behind the back. Take the stack of business cards of the table, make a break underneath the top two cards and explain to the subject what he/she is to do (write on the card etc). Place the cards behind your back ask them to write/draw on the card, while saying,


‘WE will just have you sign that so you know it cannot be swapped’. (Very cheeky as you are swapping it anyway) Flip over the two top cards (like turning over a double lift) have them sign, when you feel the pressure of the pen come off (they have stopped writing). In their minds you have turned over their card and they have signed the back, in reality their card is now face down and is the second card down. Now pick up the card they have signed and fold it in half so their signature is on the outside (still behind the back, I promise you it’s not as fiddly as it sounds). Tell them to take it and place it in the envelope that is on the table next to them, and seal it (this is a little ballsy but they wont open the billet why would they?). When the subject is done ask them to come round front with the envelope, as they are coming round flip over the top card (their info will now be face up on the stack) and bring your hands round, keeping the writing towards yourself peek at it as you place it into your breast pocket. In their minds it is still sealed in the envelope, they are not going to look for you peeking make the motion a casual one and practice the move a few times, you will soon find the right time to peak. Notes* I will choose a peek over any kind of Tear I cannot stress enough the importance of owning anything by Richard Busch he is a fantastic writer and a devious, devious man

Envelope peek A large manila envelope is placed on the table and verified opaque, a smaller envelope is removed from inside the envelope on the table and that is also verified opaque. The subject is asked if he knows the contents of the smaller envelope to which he replies he doesn’t, the envelope is emptied to show a business card which is also verified opaque.


The subject writes something or draws something on the business card and places it face down on the table while the performer looks away. The card is then sealed in the smaller envelope, is again verified opaque the smaller envelope is sealed in the larger envelope and is also deemed opaque. The performer is able to deduce the contents under seemingly impossible conditions.

Method Firstly I will explain how the peek works and then I will get into the mechanics of setting it up. The method is hidden in the smaller envelope a slice a slit the width of the business card on the address side.

Fold the flap on the envelope over this will hide the slit, all you do is when you ask if this side of the envelope is opaque make sure the flap covers the slit (they will only look at this side of the envelope for about the time it takes them to say no).


The peek occurs when you load the card into the envelope you let it go into the slit, the card will look like its going in the envelope in effect its going in the straight out the slit. You will hold the envelope up and ask them if they would like to lick the flap (they won’t and if they do claim it wouldn’t be hygienic), I will show you it from the subjects view first and then what we see.

(See picture)


Would you like to lick the seal?

You can clearly see what they wrote/drew from our view.


The performance is the ultimate tool in making this flow smoothly, this is so simple and is all over in a few seconds once you perform this you will appreciate the use of two envelopes.

Performance Write on a business card on the top edge any word, place the card face down in a pay envelope (the writing will be face towards the slit in the envelope) fold the flap over the slit and then place the pay envelope into a manila envelope. Place this nest of envelopes in your pocket for later. When in performance remove the large manila envelope from your inside jacket pocket and drop it on to the table while asking the spectators,

‘Can anybody here see what is inside this envelope by looking at it’? They can only answer no flip the envelope over and ask again; again they will respond they cannot. Now remove the smaller envelope holding the flap down (covering the slit), asking the same question and then turn it over and drop it on the table (slit side will be face down on table now) once again asking for confirmation that looking at this side of the envelope you cannot see what’s inside. Let’s see what we have achieved here psychologically; a subject will believe his own judgement before he believes something he has been told to believe by someone else, he verified that the envelopes were opaque and has good as examined them. Finally this is the mentalist/performer destroyer; remove the business card from the pay envelope and if you have done the above correct it should be face down, place it on the table. Ask the subject if they can see what is written on the business card while it is face down once again they will say no, flip the card over and reveal whatever word you wrote on the top of the business card.


This is where you will ask the subject to write a word or an image on the card while you look away and when they have done that they are to place the card face down on the table. (Look away and making sure you ask them to tell you when the card is face down on the table). Turn to face the subject again load the business card into the envelope (letting it come out of the slit) and hold it up ask them if the would like to lick the seal (this is where you will get your peek). Making sure the subject never sees the card out of the back of the envelope place this envelope inside the larger manila envelope and seal it (I use tape on the flap this eliminates anyone thinking you somehow looked when you licked the seal). I usually hand it to be passed around at this point, close in any manner you are happy with as you have your info.

Prediction production This is a fantastic way to make any and I mean any prediction come from inside a locked box, the principle I accredit to Docc Hilford as that’s the first place I saw this fantastic idea. I have incorporated some dual reality, twisted the use of the effect and added some verbal nuances I hope you enjoy.

Effect A locked box is introduced at the very start of a show and handed to a member of the audience, the show is played out and there are several random events that happen throughout the show (they really could be anything images, phone numbers, random members of the audience name anything). The box is opened at the end of the show and inside is a little black bag, the subject is asked to open the bag and state what is inside,

‘A white handkerchief’


The subject is then asked to remove the contents and she is to read what is inscribed on the handkerchief, it is all the random events that took place throughout the entire show!

Method I am sure everyone here has heard of prediction chests? They cost thousands of pounds/dollars, are at the best of times none practical. This method will cost you next to nothing and you may already own the things needed for this to work.

· A locked money box ·Two little white silk hankies ·A thumb tip ·A little black marble bag/glasses bag Take one of the hankies write on random letters and numbers with a sharpie, place it inside the marble bag and seal the bag into the locked box. Hand out the box at the start of the show. Now this is the simple but a little BOLD, at the interval of your show write all the random info that has happened throughout the show onto the other handkerchief with a sharpie, load it into the thumb tip. Introduce the keys, ask the person with the locked box to come up onto the stage hand them the keys, tell them to open the box and bring out the contents. While they are doing this put on the thumb tip while bringing a pen out of your pocket stating, ‘This box has been in this lady’s possession throughout the entire duration of the show (while gesturing towards the audience that your hands are empty) ask the subject to open the bag but do NOT remove the contents’.


They open the bag and ask them;

‘Can you please state what is inside there?’ They will respond,

‘A hankie’ Hold your hands out (as though to display they are completely empty) take the bag off of the subject (thumb inside fingertips on the outside) pull the thumb tip off and pull out the little white hankie a little and ask the subject to pull the out the rest of the handkerchief. The bag hides the thumb tip which is thrown off to the side, anyone who has read Koran’s medallion will know this next line, ‘Can you please read out what is INSCRIBED on the hankie?’ That audience will believe it is stitched in! What really sells the fact the prediction was there from the start, is you ask her what is inside the bag before you ever touch it (this little nuance has had a good number of performers I know).

The Rain Man Effect/Map test Effect After a random member of the audience is handed a Phone Book, the performer invites someone to help him on the stage. The assistant is asked to think of any page number and write it on a business card, then to think of how many entries down the page they would like and write this also. When they have completed in writing the page/line numbers, (the performer is allowed to see what is written) they sign the back of the card so it can’t be switched and then hand it to the person with the phone book. The performer asks the assistant to remain on stage and explains the reason that someone else is holding the phone book is to ensure the performer cannot get a secret glimpse of the page somehow.


he then asks the audience member with the phone book to turn to the page the assistant has selected, go down to the line number and look at the name of the person and phone number that falls in that position. The performer then sits for a few seconds and is able to reel off not only the name but the phone number as well! This can be repeated, there are no stooges and it is simple to perform with hardly any memory required at all

Method You may be ahead of me on the method used here; If not then you are in for something so simple you probably overlooked it. This method can be used for an untold amount of effects and if employed properly will never get questioned. A switch, a simple business card switch in which the subject signs the switched card in place of their own, I know the principle of the switch is as old as the hills, but the first place I saw this switch employed was in Corinda’s work so I accredit him with this method. If you have read my previous book you will have seen it make a brief appearance in their also, there are so many uses for this switch. The basis is simple, firstly you must go through the phone book and find a page somewhere just off centre (for example 146) and go down about 15 entries remember the name and number. Get Four business cards, on one of the business cards write 146, 15 place this card face up second from the top of the stack. Now to practice the switch, if you write random numbers on the top card, perform a double lift and flip over two cards and sign the back, you will in-fact be signing the card with the ‘Pre arranged’ digits and the random numbers you just wrote will be hidden face down when you remove the signed card. Once you have the switch down fluently your work is over, the secret here is in the performance. I often remember two numbers and names just in case I get asked to repeat the effect.


*added note, flick to the back of the book and remember the exact number of pages and if you can the rough amount of entries on a page this will be essential as a convincer later on.

Performance This is the way that I like to perform the effect, please use this performance as a guideline it is the nuances and verbal principles that need to be followed with close scrutiny. I always start this effect with a question, I address the audience and ask them for a show of hands as to how many people have seen the film ‘Rain Man’, (wait for a show of hands) then state;

‘For the people in the audience who haven’t seen the film; it’s a film about a man with poor social skills but an exceptional memory, the most memorable feat in the film is when Raymond remembers a full telephone directory. When I was a child I was a bit of a film fanatic, always trying to replicate the stunts and amazing feats portrayed by my on screen heroes, often to no avail. After watching Rain man I was taken in instantly, I became obsessed with the fact that it was possible to memorize mass amounts of information and reiterate it at a later date. I started small, remembering small itemized lists and the places of objects I had hidden, after building up my skills I could eventually remember a deck of cards even after they was shuffled. After years of learning mnemonic systems I am finally able to memorize phone books, dictionaries anything with mass information in about 1 hour, I will attempt to demonstrate this feat tonight. I won’t put you through the bore of having to sit here for an hour; I memorized the book before I arrived’.


Hand the phone book to a member of the audience near the front and ask them to thoroughly examine it.

‘You will see it is a standard phone book for this area, I now need someone to assist me on the stage to ensure test conditions with this experiment, I will explain a little more in a moments time’. Pull up a volunteer from the audience, (try to aim for someone away from the person with the phonebook, try ensuring they are not from the same social group).

‘Firstly I would like you to think of a page number, that particular phone book I know is exactly’ (State how many pages the book has, this reassures the audience you have remembered the book.)

‘I would like you to write it down on here followed by a comma’; Hand them the stack of cards, point to the top card and then ask this innocent question.

‘Is that amount of cards sturdy enough to rest on do you need any more?’ Wait for response then say,

‘I would like you to write an entry number down after the comma, each page has exactly (state the amount of entries they are on a page) phone numbers on. It is ok if I see the numbers; this is a memory feat not a prediction after all. Just to prove this is your card, with your numbers on please sign the back of it’. Perform switch, point to top card let them sign it while saying,


‘Earlier I stated we were going to perform this feat under test conditions; let’s review how fair the circumstances have been thus far. A member of the audience has held the book the entire time, I have asked someone to write random numbers down, sign the back of the card so it is impossible to switch and these numbers will be handed to the person with the book. The reason I don’t want the person on the stage holding the book is I don’t want to be accused of peeking or secretly looking at the chosen page, it will all be checked several feet away, entirely fair by all accounts’. Lift up the signed card by the bottom corner between the first and middle finger tips with the right hand, whilst discarding the stack into the breast pocket with the left, making sure the signature stays facing the subject on the

‘Can you please verify this is your signature?’

Of course they will reply yes, hold the card at the finger tips the whole time,


Make sure everyone in the audience including the subject can see it at all times (keep the signature facing the subject) walk slowly towards the person with phone book hand it to them.

‘Please turn to the page stated on the card, then go down to the entry number, look at the name and phone number. Ensure it is kept totally private so I can’t see it and let me know when you have done so’. I leave silence here to build ambience, wait for the response then place your fingers on your temples, show your concentration,

‘Ok, let me see in regards to the page number, the section of the book will be (state the first letter of the Name here) is the name (state the name you remembered)’ Look confused until they respond with a ‘yes’, Smile then reel of the number at a fast pace. The audience will go mental. Finish up in any manner you see adequate, make sure you take the card back off of the audience member with the phone book, I usually collect the book and card when asking for a round of applause for the subject on the stage. Notes* I also perform this with an A-Z map; it can be performed in the exact same manner described.

Three heads are better than One This is the last effect in the book; this one involves a little bit of practice and will need reading a few times to get the full effect into your mind.

Effect The Performer invites two random subjects onto the stage and states he will demonstrate how simple it is to replicate telepathy using psychology. He asks both subject’s to close their eyes and indicates one of them will pretend to be psychic and try to mentally send an image to the other.


The performer draws an image on a white board and displays it to the audience, he then tells the sender to get an image into their minds and imagine sending it mentally to the receiver and the receiver must imagine seeing the image build slowly in their minds. Both of the subjects are then asked to open their eyes one at a time, handed a white board and draw the image that is in their mind. They are instructed to keep the board against their chest to hide the image from anyone else and then come up and join the performer. The performer states they will all turn their boards around on the count of three, One....Two....Three the boards are turned to face the audience and all three images match! The image can be any image in the world and there is no preshow work involved in this effect.

Method The main principle employed here is multiple reality, everyone within this effect will be impressed, while both subjects believe the other duplicated their drawing, the audience will believe a three way drawing duplication has taken place. Firstly you need to make both subjects aware of the image without either subject knowing that the other does and ensure that the audience indefinitely is not aware that either subject knows what the image could be. This is how I accomplish that seemingly impossible feat; For the first subject I use a reverse Dunninger principle, when I invite the first subject up I ask for a loud round of applause and under the guise of applause (while I’m leading the first subject to position) I secretly say;

‘Get the image of A BOAT in your mind; you will understand in a moment’s time A BOAT ok’ For the duration of this effect this person will be referred to as Subject One, this is important later on.


Now I invite Subject Two onto the stage without telling them the image, I just point to where they need to stand on the stage. This serves a purpose it makes the first subject believe that they are the only person that knows the image. To get the image into the second subjects mind I use my ‘Mind plant’ principle from my first book. For those unaware of what that principle is, I basically write the word BOAT on the bottom of my left palm, when I touch the second subject on the head to close their eyes I let them see the word while stating;

‘I want you to get the image in your mind as I touch you on the head, please close your eyes’ (You will understand when you read on when to perform this principle; it is not when you first ask the subjects to close their eyes.) The second main principle is that you need to get both subjects to believe they are ‘the sender’ I achieve this by using Jermay’s ‘touching’ principle (‘touching on Hoy from Coral Fang’). After seating both subjects a few feet apart, I ask them to close their eyes when I snap my fingers, under the guise of checking their eyes are closed I touch Subject One on the shoulder firmly a couple of times, (enough so they feel it but it doesn’t make them jump) this ‘touch’ goes on unbeknown to the audience. I then approach Subject Two, repeat the checking of the eyes minus the secret touch and then blatantly touch Subject Two on the shoulder (so the whole audience can see) while stating,

‘The person that just felt the touch on the shoulder firmly twice is going to be the sender’ Now both Subjects believe they are the sender, the audience believe Subject Two is the sender.


This next move is so important for this routine to work, but will totally be forgotten by the audience, I state;

‘The sender is going to try sending the image to the receiver in a moment’s time; I’m just going to move the participants a little further apart’ Ask Subject Two to open their eyes move them across the stage a little further away from Subject One reseat Subject Two and perform the ‘mind plant’ here. Now both subjects know the image and they both think they are the sender, the rest of the workings are in the performance. In print this seems like a lot of methods to remember, in practice it isn’t, the moves are over in a matter of seconds. I know upon first glance this seems bold or daring but it isn’t too bold by any stretch.

Performance ‘Telepathy is a technique used by many individuals worldwide as proof of psychic phenomena, the results appear to be so startling that even the government used secret operations to train their soldiers in the art of telepathy. As many of you know I myself am not a believer in such feats, I am of the belief that most if not all psychic feats can be reproduced using psychological principles. I am going to attempt to demonstrate telepathy for you the audience this evening. For the people in the audience that are unaware or unfamiliar with telepathy, it is a process where one individual sends an image mentally to another or a group’. Invite a random subject onto the stage, I usually invite a woman, (women cooperate a lot better when employing the reverse Dunninger principle.) Employ Dunninger’s principle as described in the method section, look around the audience for a second subject (take a few seconds to do so).


Now if it is possible, try use someone from a different social group as the first subject, it saves them tipping the method later. Ask for a round of applause and direct them to stand 6 feet away from Subject One. This is a little daring but worded right its fine;

‘Neither of you are working for me or being paid to go along with what I say, stooges in other words’? You will notice the way it is worded they will have to respond ‘No’ even though the dirty work is partially complete. Now ask the subjects to take a seat, make sure Subject One is sat in the chair on the left as it is essential for the next part to work.

‘I would like you both to close your eyes tightly when I snap my fingers and keep them closed until further instructed. The person that I tap on the shoulder is going to be the Sender they will know who they are bust must keep their eyes closed’. Check that each subject’s eyes are closed solidly, while applying the ‘secret touch’ to Subject One, after checking the subject’s eyes, blatantly hold your hand above Subject Two’s shoulder and tap them a couple of times so the audience believe that Subject Two is the sender.

‘The sender is going to try sending the image to the receiver in a moment’s time; I’m just going to move the participants a little further apart’ Move the Second Subject (the one in the right chair) a few more feet to the right and say;

‘You must concentrate, relax get the image in your mind’ (Apply the my mind plant method) The subjects both have their eyes closed just like a moment ago, the only difference is the distance the chairs are apart and the fact they both have the image they are supposed to send in their minds.


‘The sender should already have the idea of an image in their minds, but they need to make it clear to be able to successfully send it to the receiver. I need the sender to see the image brightly in their minds, I want them to imagine themselves drawing the image on a ball and throwing it to the receiver who in turn will catch the ball and see the image in their minds. I will give some time for this imaginary process to take place in which I will remain silent’. This is where you look at Subject Two (the one you tapped), frown a little then proceed to draw the image of a boat on your white board placing it face down on the table while stating;

’There is no possibly way either one of the subjects can know what is in the others mind, that is an obvious fact now the participant I touch I would like them to open their eyes’ Touch Subject One

‘Here is a white board, draw the image that is in your head, then keep the image toward yourself.’ Touch Subject Two

‘Please open your eyes and draw the image that is in your mind again keeping it to yourself’ Address the audience while walking to the front of the stage,

‘The facts of the matter are very obvious ladies and gentleman, one of these participants were told to get an image into their mind and then try send the image to a second participant via mental thoughts alone.


Can both participants join me up here at the front of the stage, bring your drawings but please keep them to yourself. Now if this has worked, we should all have matching images’. Pick the whiteboard up at this point keeping the image to yourself;

‘On the count of three we will all turn our images around, One.... Two.... Three!’ Let the audience gasp

‘All three images match! Can I have a loud round of applause for these fantastic participants’?

Final thoughts Thank you for following me on this mental rollercoaster ride, hopefully you found the information in this literature use full and I would like to see a couple of these effects in your act soon! You will soon see after performing a few of the effects that although they appear bold in methodology, they are nothing more than simple when you practice the scripting. It’s all in the patter! scripting is essential and carefully placed words make all the difference in this book. To find out just how important words can be check out ‘Wonder Words’ by Kenton Knepper a fantastic wizard who is highly versed and heavily called upon when it comes to word placement by performers the world over. Again, thank you and if you have any questions regarding the effects please don’t hesitate to communicate with me at [email protected].


THE END


People I would like to thank The hardest working man I ever knew, I would like to thank you for showing me that hard work pays off. - R.I.P Dennis Turner x The epoxy resin that held us together when things fell apart, I would like to thank you for showing me that no matter how poor a background one comes from, anybody can be somebody if they believe - R.I.P Delith Kenny x The Godfather (nana), for not only raising her own offspring but raising me and my siblings also, buying me my first magic book, handkerchief, packet of cards and listening to endless hours of magical nonsense - Pat Kenny x Anyone that has believed or inspired me – x

Lastly, the constant light that shines, my most fantastic creation and smiling inspiration.- Zachary Dennis Turner x

Peter Turner Dare to Be Bold

Recommend Documents