Welcome to this month‖s instalment in which we will be taking a peek (mind the pun) into Billet work. Billet work has long been the secret of many psychic reader/ mediums in order to gain information there is no way they should possibly know. The notion of switching/ peeking billets long long pre-dates pre-dates ―mentalism‖ and similar techniques shared shared in this document document have been used in the past past by several people (I will not name) to gain cult like status. In the wrong hands these techniques could potentially be dangerous, because of the amount of mystery that surrounds surrounds these these techniques I have have decided it would would be a good subject to to focus this month‖s document document on. I have (up until this point) for the most point kept my thoughts upon billets and the psychology psychology of all things things surrounding surrounding billets behind billets behind closed doors. doors. It‖s been something something I have not not really discussed, discussed, not because I don‖t use or utilise billets but because it‖s it‖s something I have kept for myself. I was taken aback by aback by how incredible incredible billet work can be after reading ―Peek Performances‖ and ―Peek Encores‖ by Richard Busch (two articles on the subject I highly recommend) and have been obsessed ever since. When you read this document the ideas are a re incredibly simple, so simple that they are very easy easy to overlook overlook as relevant because of how straightforward they are in terms terms of mechanics. mechanics. As I mentioned mentioned earlier, these these types of techniques have helped helped people gain cult like status and therefore therefore it would be a foolish mistake to make to dismiss dismiss any of the the information you read in this document as not worth your time. I completely mean that in the least egotistical sense possible. In this document you will find a multitude of peeks, presentations and justifications which will enable you to go out and start using billets in your mentalism performances. I have mixed classical techniques with modern principles to create real world working material and I hope you find my twist on things and the contributions by other artists an interesting read. I hope you really hope you enjoy this month‖s edition,
The most important important aspect of billet work is the psychology behind behind the motivation for peeking; the participants mind set, the justification (if any) and placement of the billet within a routine. Let‖s start with the participants partici pants mind set, there should never be a suspicion in your participant‖s mind that anything is happening outside of what you are telling them is happening and that boils down to the participant‖s believability in you. I have heard comments batted around when giving advice on peeks to people who are unfamiliar with peeking that range range from – “If “If you can get away with it” to they “ w ill ill never catch you you doing it” These comments not not only place you you (the performer) performer) into the wrong mind mind set but they also make what you are doing a game in which you are expecting to be caught at some point and therefore your actions will never be natural or subtle. There is an artistry artistry to billet work, work, the idea is to be as natural as possible and remember that that a massive proportion proportion of billet work is not not even about the billet! Which sounds counter intuitive, but if the participant believes in your ability a bility and they feel that that you really are reading them, then then why would would they even suspect that you would peek at the billet? In the participants mind there should never even be an inclination that you could peek, they should just see what you are doing as a facilitation to reach the conclusion. If you can make the billet seem as irrelevant and and non important as possible possible then that‖s the way your participant will feel about the the billet also. There are a few subtle ways to control the participants thinking thinking in order to make them believe the billet is irrelevant. One is to never refer to the billet as a billet, billet, card or piece of paper. This is only tiny and you may think it makes no difference but it really, really does. The reason you should never refer to the billet as a billet or or paper or piece of card is once you name something you give it an importance. Once you label the billet (Whether (Whether you call it a card or piece of paper) paper) it becomes something something that the participant participant will remember remember as it is an integral integral part of the routine you are performing.
So what should should you call billets in performance? performance? I always refer to billets as a s ―this‖ or ―that‖ - “Take this and write…” write…” “I “I want you to take hold of ―that‖ and write”, it makes the billet meaningless as it doesn‖t have a name and is seemingly unimportant to you and therefore it will become unimportant unimportant to them. This This is a very small small change, but an accumulative of small changes amount to a big difference. I think I remember saying in an older piece of work that two small changes amount to a regular sized change, you will notice in this document how many subtleties are used in combination to have a drastic effect on the the outcome of your routines. Another way to make the billet seem irrelevant is to guess things that are a re not on the billet and make the participant feel that you know the entirety of their thoughts and not just what what they wrote on on the billet. Things that surround surround what they have written on the billet are just as important as the the information they wrote. Let‖s Let‖s look at an example of things of things we can get for free free that stem from/ surround what the participant has written inside the billet. - THIS IS ONE OF THE MOST IMPORTANT IMPORTANT SECTIONS IN THIS MONTHS DOCUMENT For the purpose purpose making this easy to envision envision let‖s imagine we are going to ask the participant to write something something on a billet – Performer: “I Performer: “I would like you to take this this and write something something that means means something to you. Make it something that no one would be able to instantly guess this could could be the name of a person, person, a pet, a number, number, the name of a place… anything that stands out as being impor tant tant but remember remember nothing that is instantly guessable”. guessable”. Take note here, without without doing anything we have have opened up the opportunity opportunity to get a hit on the the category the participant participant decided to select. For the purpose purpose of this document let‖s imagine let‖s imagine that the participant has written Spain‖ Spain ― ‖ on the inside of the billet. We will peek this information (using one of the peeks outlined outlined later) and will will instantly know it is a place that the participant is thinking of BUT this is not going to be the first thing that we reveal. Let‖s look Let‖s look at how much information I would be able to reveal from this simple/ singular piece of information, first I will outline the script so you can see how it is going to play out in full and then after that I will break down each section and outline exactly what is going on in my head and then the participants.
Performer: “Right “Right now I have no idea what it is you are a re thinking of, your thoughts are so so vast and deep and there are so many things things that you could could have been thinking of. I will just tell you what I am receiving and you can translate it for me should I need you to help me. This is about your mind communicating with mine. The first thing that I am feeling feeling is that that there are a lot of positive memories connected to this thought. Therefore Therefor e I really don‖t think it could be a number as normally normally thoughts connected to a number to me feel cold and this has a really warm beautiful feeling connected to it. I don‖t know if you will understand what I mean I mean by this, oddly I‖m feeling this is somethi ng ng that you could touch but in my head its saying saying you don‖t don‖t touch this or you you can‖t touch this and what that usually represents represents is a person person that is no longer longer with us , , or a place… Ok, this is larger than the depths depths of my vision vision so I am going going to go with a pl ace, ace, this is a place right?” Participant: “Yes”. Performer: “You are doing amazingly, just keep telling me in your mind what you want me to pick up on. Instantly I am seeing a photograph with you and another person person in the photo, photo, you have your arm around around this person. person. Have you got this photo photo on display at at home?” Participant: “Yes!!” Performer: “Let me describe what I am seeing, (this is where I would close my eyes) in eyes) in the photo photo you are wearing wearing light coloured coloured clothing, I can‖t see much of the background in the photograph photograph but the clothing clothing leads me to believe this place is warm as you are not wrapped up. As soon as I said warm, I instantly got a really vibrant positive feeling from you, in the picture you you are in front or close to water as I am feeling a cool breeze but only subtle not harsh. This is a place I am not familiar with, with, so I am going to assume assume this is not not in England as it just just feels different. different. Let‖s rewind Let‖s rewind the memory slightly to help me envision what it is you are sending to me. I want you to imagine getting on the plane in England and focus on your feeling while you started boarding. You didn‖t go from Manchester airport did you?” Performer: “Yeah I did”. Performer: “Imagine the journey and landing in the new country, imagine seeing the place you are thinking of written as you walk into the airport
after landing. See See those large large white letters letters with the name printed upon it. Are you doing that?” Participant: “I am”. Performer: “Ok I am feeling this was a rather short flight, 3 or 4 hours…Be honest, did you imagine the white writing of this place on a blue background?” Participant: “Yes I did”. Performer: “Send it to me one last time….Ok I think I have this”. This is where you would reveal reveal the place in whatever manner manner that you desire. desire.
Let‖s Let‖s take an in-depth look at what is going on here. Performer: “Right now I have no idea what it is you are thinking of, your thoughts are so so vast and deep and there are so many things things that you could could have been thinking of. I will just tell you what I am receiving and you can translate it for me should I need it. The first thing that that I am feeling feeling is that that there are a lot of positive memories memories connected to to this thought. thought. Therefore I really don‖t think think it could be a number number as normally normally thoughts connected to a number to me feel cold and this has a really warm beautiful feeling connected to it. [Straight out of the gate, I am reminding them implicitly that they could be thinking of absolutely absolutely anything. anything. I also tell them them that they might need to help me at points as I am not going to understand everything I am seeing – Why would I ever mention this if I wasn‖t seeing anything? I also get a hit from stating it is not a number, by discounting something I already know it not not to be I am getting a hit! hit! It couldn‖t be asier, easier, this is a really important point and I am about to make a cliché comment but I feel to be very true in this case, this tiny little subtlety is worth the entire price of this t his pdf, really think about the information you dismiss as irrelevant. irrelevant. What something something is not is also information that you you can get a hit hit from! You have to remember that the participant does not know that you know what category their thought belongs to and therefore why not point out what it is not to get a free free hit? You can fit this type of thinking into any type of performance, performance, if you know k now the participant is thinking of a playing card for for example (this (this is just an
easily imaginable example) – Let‖s say you know it is a heart they are thinking of you could say – Performer: “Ok, I am feeling that you changed your mind a couple of times… I can tell straight away that you dismissed the spade subconsciously and therefore I 100% know it is not that”. - That is a hit. Peroformer: “I feel a warmth surrounding your thought, warmth is usually associated associated with a brighter colour instead of a darker colour… You are thinking of a red red card right?” right?” - That is a hit. Performer: “Indefinitely a heart”. Again a hit, you can see the point I am making, I have used what it is not to get a hit right right at the start for free. It is is very easy to overlook this type of way to reveal as we are too quick to try get to the definitive outcome. - Back to the breakdown breakdown of the billet billet work scripting. scripting. This type of scripting scripting all adds to making it seem to the audience audience you are all knowing. It couldn‖t couldn‖t be simpler, simpler, take a look look at the way that I revealed the information as that that is also something something that is very important. important. “I really don‖t think think it could be a number as normally normally thoughts thoughts connected to a number to me feel feel cold and this this has a really warm beautiful feeling connected to it.” I pointed out that the thought FELT warm and a nd normally numbers FEEL cold to me. This is implicit that you are feeling their thoughts, it helps make the participant feel what you are doing is real. You will notice all the time I am trying to elicit that that response from from the participants, participants, I want to take them on a journey where they see me whittle in on their thought while letting them know how I am feeling/ thinking. “I don‖t know if you will underst underst and and what I mean by this, oddly I‖m feeling this is something something that you could could touch but in my head its saying saying you don‖t touch this or you you can‖t touch this and what that usually represents represents is a person person that is no longer longer with us or a place. Ok, this is larger than the depths of my vision so I am going going to go with a place, this is a place right?” [Notice how I don‖t jump straight into saying this is a place, the JOURNEY JO URNEY is the key factor here, here, I know I keep saying that but it really is is important. I
want the participant to feel that I am translating their thoughts and feelings bit by bit and it is not instantaneous instantaneous for me (this is implicit that some some thoughts are more difficult that others). I start by saying it could could be one of two things - This itself is a minor hit and and then I hone hone in on what what category I believe the participant‖s thought participant‖s thought pertains to, more importantly WHY I believe it pertains to that category and and I take the hit hit from that.] Participant: “Yes”. Performer: “You are doing amazingly, just keep telling me in your mi nd nd what you want me to pick up on… Instantly I am seeing a photograph with you and another person in the photo, you have your arm around this person. Have you got this photo on display at home?” Participant: “Yes!!” [This is where I employ something that other mentalists shy away from or dismiss – Like I have said a lot of times in the past, this is the way that I do things and it is merely an opinion and there is no right or wrong. You will notice that I tell t ell the participant that they are doing amazingly … … For doing nothing, nothing, the reason reason I do this is it suggests suggests that they are doing SOMETHING. I am not doing this to be condescending condescending or patronising patronising towards towards the participant. I want my participant to feel that they are sending information for me to receive, by telling them they are doing amazingly and proving I am receiving their thoughts and relaying the information to them not only creates a great rapport with the participant BUT it helps them believe in my ability and they will be more inclined to be excited and forthcoming forthcoming with information. This also aids in conditioning them to respond respond with positive positive affirmations should I want to move into prop-less material later or during these type of routines (such as a star sign divination). You will notice I start to use a use a very typical psychic psychic reader‖s technique; technique; I talk about an object that they have at home home that relates to the participants participants thought. I use a photograph; photograph; notice how I imply that the details of the photo are vague and that I cannot cannot see the person person they are are with inside the photo. Think Think about every holiday or trip you have been on, did you take a photograph with someone? Of course you did. We usually store these photos on our mobile phones, females are more inclined to print these off and have them hanging in frames.]
Performer: “Let me describe what I am seeing, (this is where I would close my eyes) in the photo you are wearing light coloured clothing, I can‖t see much of the background in the photograph photograph but the clothing clothing leads me me to believe this this place is warm as you are not wrapped up. As soon as I said warm, I instantly got a really vibrant positive feeling from you, in the picture you you are in front or close to water as I am feeling a cool breeze but only subtle not harsh. This is a place I am not familiar with, with, so I am going going to assume this is not in England as it just just feels different. different. Let‖s rewind Let‖s rewind the memory slightly to help me envision what it is you are sending to me. I want you to imagine getting on the plane in England and focus on your feeling while you started boarding. You didn‖t go from Manchester airport did you?” [During this part of the process I close my eyes, I have made a conscious effort up until this point not to close my eyes so when I do and start to portray what I can see it really helps sell that I can actually see things when I block out visual things out around me. I have in the past (not so much recently as I haven‖t thought about it for a while) pointed out why I have closed my eyes. It‖s nice It‖s nice sometimes to paint a picture in the participants mind of a process that doesn't exist, by simply saying “I am going to close my eyes in a moment, I am not doing this to be rude or ignorant, I am doing this so I can block out everything around me that could potentially potentially act as a distraction distraction and just envision what it is you are sending to me to be able to deliver a clearer translation.” This is a simple script script but from from a presentational presentational view point point can add so much. much. I also know that the people in the photo are going to be wearing light coloured clothing and not wrapped up as it is a warm country. There is a high probability that there is going to be water close to where the participant is. Notice how I said, “ said, “you you are either in front of or close to water” water ” this this again is suggestive that you can see things that there is no way you should be able to see/ know and further takes the participant away from the billet. I also use the principle I mentioned earlier taking a hit from something that most would consider irrelevant and overlook. I point out that this is a place I do not recognise and get a hit from saying it is not in England, this from your perspective (as performer) knowing the information seems ridiculous but again remember the participant doesn‖t know that you know the information. So to them this is a hit and one more piece of of information that you can use to your advantage… I know I am repeating myself here but really take your time to think about the the information that you overlook overlook and can use for free. I finish with the closed question;
“You didn‖t fly from fly from Manchester did you?” you?” I ask this as a question, I know based on probability that close to me this is the airport that that they will fly out of. There is a valid reason reason I change the pace and ask this as a closed question question if the participant says that they they didn‖t fly out of whatever airport you call out, you simply counter with, “For fullness of vision and just just to help me share your memory, where where did you get on the plane?” plane?” It will seem like a question to help you build your vision, NOT like you were trying to make a deduction; deduction; it will never never seem like a miss. If they confirm that they did fly out of the airport you called out, you have opened yourself up for another hit for free. All you need to do is know the airport closest to where you are, again not earth shattering in terms of methodology but all of these small details come together to aid in creating something something beautiful in the long run.] run.] Performer: “Imagine the journey and landing in the new country, imagine seeing the place you are thinking t hinking of written as you walk into the airport after landing. See See those large large white letters letters spelling out out the place.” place.” [This is the section where I am simply asking them to imagine the writing of the place, there is a really, really really important key point here that that is very important not to to overlook and something I consider a mistake mistake that is very easy to make. I have myself been suspect of making this mistake in the past. We have taken the participant so so far away from from the billet that that it would be a crying shame to bring their attention attention back to the billet at this point. point. If I said to the participant “Imagine the place that you wrote down for me” or “Imagine this place you wrote down written largely in largely in the air” the air” the participant‖s thoughts will instantly will instantly go back to the piece of card that they have written on. I really don‖t want this. As an alternative I give them a natural context in which to imagine the writing, a context in which naturally fits into their memory, further taking them away from the billet and placing placing their focus focus firmly on their their memory (not (not the billet) Performer: “I am feeling this was a rather short flight, 3 or 4 hours…Be honest, did you imagine the white writing of this place on a blue background?”
[You know the country hence you will know the rough amount of time the participant took to get to the destination they are thinking of, this is again something you can get for free that you don‖t need to take a guess at – It isn‖t hard to roughly roughly know the time it takes takes to get from England to other other countries. Hopefully you can see just how much information we pass over without thinking about, this gives a lot of food for thought and is the main focal point of a lot of my attention these days. I tend to obsess about specific areas of mentalism mentalism and this area area is one I have always been obsessed obsessed with. It‖s very strange saying this being that this is a pdf about billets, but the least important thing about a routine in which utilizes a billet peek is the billet. The idea is to try and take the participants participants focus away from the billet all together. Another little subtlety I have shared here is guessing the wall that is behind the letters. I know for a fact fact the wall is not going to be white as I asked them to imagine large white letters letters upon the the wall, when have you ever seen seen white letters letters on a white wall? It just doesn‖t factor into our heads. Had the country been Ireland I might have gone for the guess of a green background but for the most part people will think of blue. blue. You can see clearly that the utilisation of the billet in this routine and the information upon upon it really only only play a small part. part. This really opens up so many options in terms of direction you can take ta ke a routine in and a nd this is the area I feel should should be practiced the most. Learning Learning what hits you can get for free in the heat of the moment. One question that that will will be going through a few readers minds is, that‖s all well and good but how how did you get the information information they have wrote down? The next couple couple of peeks I am going to share share I have released released in previous previous publications , , some of you will have seen them others won‖t. Don‖t skip them as I have added new subtleties and additional ideas.
A performer places a stack of business cards behind his back and asks a participant to draw an image or write a name (or any piece of information) on a business card, fold the piece of card and sign it so it can‖t be switched at switched at any point. The performer then discards the rest of the stack into his his pocket and looks at the participant for for a few seconds, seconds, without any fishing whatsoever whatsoever the performer is able to divine the participant‖s thoughts.
I really like this peek; it‖s peek; it‖s probably one of my favourites in terms of quickness and ease and is totally reliable. reliable. Before we we take a look at the the breakdown of the the peek let‖s let‖s first take a look at (and at (and go off on a little tangent) a question question that has caused caused controversy controversy for the longest longest of time – Can playing cards be used in mentalism? The answer to that question is whatever you you make it (as mentalism is a purely subjective art form) BUT if you answer no‖ no ― ‖ they shouldn‖t shouldn‖t be used , , don‖t dismiss learning card slights. You might be thinking to yourself - how does learning slights benefit me in anyway shape or form as a mentalist? Let‖s take et‖s take a look at a couple of examples of playing card slights and how they fit hand in hand with billet work. The first is the top change, this this age old classic classic serves as a good good example of of why slights can be so benefitting in any billet routine. I am a m going to explain what the top change is, as I know that a lot of people reading this will have shied away from these types of slights and therefore might not be aware of what it is. The top change is pretty much exactly what it sounds sounds like; the top playing card of the pack held in your left hand is going to be exchanged for a playing card you are holding in your right hand (without the participant seeing). Let‖s imagine Let‖s imagine you are holding the deck of cards in your left hand (or right if it is more comfortable comfortable for you) you) holding the, the, as though you you would deal them them around a table when playing a game of cards (this is known as ―dealers grip‖ grip‖ or ―dealers position‖ position ). ‖ For practice purposes purposes hold hold a playing in your right hand hand (or left if you are holding the deck in the right), hold the card just like you would if you were to deal the card onto the table (holding the long side of the card) instead of the top side.
Move your hands together and then move the single card towards the deck (like you are returning it onto the top of the deck), under the cover of this card thumb over the card on the top top of the deck. deck. You are essentially essentially moving the the card on the top of the deck over underneath the card you are returning to the top of the deck. deck. Push the single card you were holding on its own onto the top of the deck whilst thumbing the top card from the pack into the hand the single card came ca me from. Essentially you are changing the top card on the deck for the single one in your hand (that‖s probably the easiest way to describe it). This is done on the offbeat while while asking a participant participant a question, usually the question asked while while performing performing a top change change is - “Are - “Are you right right or left handed?” – This – This type of question question is a pet peeve of mine, mine, it‖s a typical question question that makes absolutely absolutely no sense sense in the context context of the routine routine you are performing. Another question like this (that I hate even more) is when using a nail writer, it‖s really strange how we are all conditioned to all ask the exact same question during the context of a nail writing routine - “Why - “Why did you go for that number?” or “Why did you go for that?” that?” This question is typically asked during the moment of writing the the information with the nail writer, It‖ It‖s one of them questions that really gets to me – If just because of my ocd. I love looking at the tiny t iny moments in mentalism that get overlooked and pulling them to pieces and rebuilding them. This is one of them questions I have taken apart and rebuilt… The aforementioned aforementioned nail writing question writing question for me makes no sense and this is why At the moment you are going to nail write asking a question directs attention towards you, all eyes eyes are on you you and therefore therefore even logically when you think about it this doesn‖t make any sense. I hate these type of awkward moments, no matter how much you practice it isn‖t it isn‖t ever going to feel smooth in performance and for me stands out like a sore thumb (no matter who you are); this this is because it lacks lacks thought, construction and choreography. choreography. It‖s even worse when it is being recorded and played back as the focus is on on you. Here is a simple fix, let‖s pretend let‖s pretend we have got to the point of using the nail writer, the context of the routine in which we will imagine is that the participant is going to guess a two digit number you are thinking of (Spectator as mind reader or you influencing them). You have handed the participant the pencil and you are being very open handed and you are holding the billet in your right hand at head height, Address the participant.
Performer: “For the first time can you tell everyone here what you think the two digit number is I am thinking thinking of?” Participant: “23”. DO NOT NAIL WRITE YET Performer: “The really interesting thing is just how unique a thought is, IF I had of asked anyone else in this room they would have gone for a completely different number, to press my point what number would you have gone for?” Point at someone with your left hand (the free hand) Everyone‖s attention attention for a for a few seconds goes to that random member of the group. Random: “17” As he says seventeen write in the digit your participant said (In this case it was 23), pass the billet into your left hand (numbers still facing away from the audience) and hold the billet billet at the tips of your first and middle finger finger above your head – This will make it seem totally out of the way and is implicit that you cannot cannot tamper in anyway with it. Then with your right hand point point to someone someone else at random, random, Performer: “How about you?” Random #2: “96”. Performer: “If I had of chosen anyone else els e their answers would have been totally different and the outcome outcome would have been been entirely ifferent”. different”. Bring the billet down down and hand hand it to the participant participant face down. It‖s a very simple change that change that makes a massive massive difference, the attention is deflected away from you, not directed towards you and you have actively involved more members members of the audience and seemingly seemingly made the effect a little bit more impossible impossible by pointing out how different different the outcome outcome could have been if you had of chosen chosen anyone anyone else right before before the moment moment of the reveal. The left hand is the hand that is handing the billet to the participant participant is clean and extended above the body meaning you can cleanly ditch the nail writer from your right hand without having to give it a second thought as all of the focus is on the left hand and the billet. Note*** If your left hand is
your dominant hand then you would use opposite hands to the ones depicted above, this is described described for the right handed handed performer. All in all you can see how it makes the presentation much nicer and makes the performance simpler for the performer performer leaving you more time to clean up because of the choreography. choreography. I apologise for the tangent, but it is billet related so forgive me! Back to the top change, change, it is the the same asking a question question that is directive towards your hands hands for me makes no sense sense whatsoever – If there is a pen on the table ask them to take the pen and uncap it, then then sign the back of the card. The participant‖s attention attention is away for a few seconds seconds and it is in this moment moment the change should should be made, it should be gentle gentle and elegant and not look like like anything has happened happened at all. I know I am still talking about the top change being used with playing cards but replace the playing playing cards with with a stack of billets billets and you can still perform the same move, they are roughly the same size and handle more or less the same (they are just less slippery). slippery). Imagine from this point if the participant takes the stack of billets signs what they believe is their billet and then caps the pen and places the billet they believe to be theirs face down down on the table. They have left left their actual billet on the top of the stack for for you to access in your own own leisure. In shore what has just happened is - You pick the participants billet up keeping it facedown, facedown, start to place place the billet on the the top of the the stack, this is the moment where where you would would ask the participant participant to pick up the the pen and uncap uncap it. You execute a Top ― change‖, change‖, dropping the ―dummy billet‖ (A dummy billet is a billet with nothing nothing on, one you have switched in place of the participant‖s billet) onto the top of the stack stack and hand the participant participant the full full stack asking them to sign sign the back of their card. Things are interesting interesting when you look at them them from the participant participant‖‖s perspective. You have picked the card up from the table, they have picked up the t he pen, you place that card on the top of the stack and then hand them the stack asking them to sign their card. That split second is all it takes to change their reality, reality, which I think is a totally crazy thing in itself. Something as simple as this can change someone‖s someone‖s entire reality!?!?
Wh at‖s at‖s even crazier is that this is this is all because we have utilised a playing card slight. Take a look at these types of slights, honestly this is where the gold resides. Look at simple playing card changes, palms and switches I promise you, you won‖ won t ‖ regret it. Let‖ Let‖s get back to the peek I was meant to explain before I got off on a tangent. This peek is another another peek that uses uses an old playing playing card technique, technique, and as I said earlier it is a favourite of mine for its sheer simplicity and ease of use. For brevity of explanation explanation lets imagine imagine you have become acquainted with the the participant and you are at the point of asking them to write writ e something down. Take a stack of business business cards; hold them in your left hand in dealer‖s position/ grip (described earlier) and make a break underneath the top two cards with your pinkie. There is no rush while doing this do this while you are talking to the participant. Place the cards behind your back and ask the participant to write/draw on the card. When the participant has finished flip over the two top cards as one (like turning over a double lift) while saying, Performer: “Sign it so it can‖t be swapped at any point” Point to where you want the participant to sign, remember this is still all going on behind behind your back. [There is a subtle dual reality going on at this point because the audience never see you flip the cards, cards, so they assume assume you are just just asking the participant to sign the card. There are a re further layers of deception in a moment.] The participant believes believes that they are signing the back of their card in reality their card is the second card down they are signing the back of a dummy. After they have signed the back of the dummy billet, pick it up and fold it in half. Extend the folded billet to the participant, Performer: “I want you to take this and fold it and then keep it held tight in your hand”. [This is again another subtle layer of dual reality as the audience believe that the participant participant has picked up the billet and folded folded the billet themselves. themselves.
The way the audience audience perceive what what has just occurred occurred is that the participant has written on the billet, signed it and folded it themselves. I have had a couple of people express concern that the participant will open the billet and see see that it is blank. Why would they they ever do that that if they believe it is their billet? If you give the participant clear instruction to fold it and hold it tight they will do exactly exactly what you ask them to do. It is all about audience audience management. The participant is now holding a dummy billet and you are holding the stack with their their card on the top.] This is where you go through through the process process of ―reading ―reading the participant‖. participant‖. In reality, all you are doing is taking the participants card from the back of the stack and moving moving it to the face and when you you bring the cards cards back from around your back you you will know the the information that the participant participant is thinking of by looking at the card card on the face. The one issue I had with this this peek initially was the the clean-up, the participant is still holding holding the dummy and if you guess the the information verbally there is always the chance that they could open the billet. Here are a couple of ways to tie up the peek so you end the routine cleanly. The first way is to guess what the participant participant is thinking and and take the folded folded billet back and pocket it – Which is not very appealing and not recommended. The second way - the way I always do this now is, whilst whilst the stack is still still behind my back, the participant has taken the folded folded dummy, I flip flip over the top card (the participants participants card) so so it is face up on the top of the stack. stack. When I bring the cards out from around my back, I keep the stack facing me the entire time and pocket the cards. In the motion of looking at my pocket to guide the stack in, that‖s that‖ s where I get my peek. After ―reading the participant‖ I reach into my pocket pulling one card out, ensuring that this isn‖t the participant‖s card and write whatever the participants thought is (the information I peeked). I then fold the card into quarters (the same as the dummy billet the participant is holding) I hand them my billet proclaiming I have committed and extend my hand hand to take the billet they have signed (the dummy). dummy). I open the dummy billet keeping it towards me (as I know it is blank) I then rotate the billet, like I have opened the billet upside down – I do this because it is an implicit action, action, why would would I rotate the billet if there was nothing on it?
I then call out whatever information I know the participant is thinking of, like I have just read it off of the dummy billet. I then tear up the billet into pieces, and pocket the pieces, pieces, ask them to open what what I committed to. Of course it matches! matches!
If you want to appear to be hands off during this effect take some lip balm or double sided scotch tape (if you are going to use scotch tape ensure it is not the ridiculously ridiculously sticky stuff, stuff, de stick it by touching touching the tape a few times this will ensure ensure that it will hold hold two cards cards together but that that those cards can be separated with little force) and apply either the the tape or the the lipbalm to the face of the dummy billet. This means that that you don‖t need need to hold the the break you can hand the stack stack to the participant have them write whatever he/ she wants and then they place the stack back into your hands and you can cleanly flip the two cards over and have them sign the back. This all still takes place behind your back. It‖s the openness of the flipping of the cards and the fact that you can let them hold the cards when writing that makes makes the difference. difference. It‖ It‖s only a small difference, but as I have said a multitude of times its the smallest differences that make the biggest changes in the long run.
Credit Astronomical – Tony Corinda
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 participant is asked if they know the contents contents of the smaller smaller envelope to to which they reply they don‖t , , the envelope envelope is emptied to show a business business card which is also verified opaque. The participant writes writes or draws something on the business business card and places it face down on the table while the performer looks away. The card is then sealed in the smaller envelope; envelope; the smaller envelope is sealed in the larger envelope envelope and is handed to the the participant. The performer is able to deduce the information under under seemingly seemingly impossible conditions.
This is a peek that that is great for a one person person Q+A, pre-show pre-show work and the additional clean up I have added ensures ensures that everything everything is examinable examinable now in the end. Firstly I will explain explain how the the peek works and then I will get into the mechanics/ choreography. The secret to this this peek is hidden hidden in the smaller smaller envelope, the the smaller envelope envelope is a ―coin envelope‖ envelope‖ or ―penny ―penny envelope‖ to prepare this envelope place a billet inside the coin envelope and lay it onto a table address side up.
Fold the flap of the envelope back on itself, underneath the flap is where you are going to make make a slit. The flap flap is the key to making the envelopes ―examinable‖. Make the slit wide enough to slide a business card in and out. Take a billet and write write the word hello upon it. Slide this card into into the envelope; envelope; remember remember which side you orientated the the writing as this is going to be essential later on. Then fold the the flap so it is covering the slit and then place this penny envelope inside the larger envelope. You are ready to begin.
Performance We will go from the point that the performer is acquainted with the people he is performing for. The performer addresses the participant, Performer: “You are going to act as the eyes of the group, firstly, by looking at this envelope envelope (the performer performer hands the envelope to the participant) can can you tell me what is inside?” Participant: “No, there is no way”. The performer removes a smaller smaller envelope from the larger larger one. [The flap is held down covering the slit.]
Performer: “The same goes for this envelope right?” The performer holds it up to the light, displaying both sides. sides. Participant: “There is no way to see through it”. The performer slides out of the envelope a business card. [Ensure you slide it out so the word hello is face down.] Performer: “Finally, can you tell me what is written on the reverse side of this piece of card?” Participant: “No”. Performer: “I think we have proven beyond any shadow of a doubt that each article displayed is entirely opaque, what what I am about to show you you is going to be demonstrated under under strict test test conditions”. conditions”. The performer turns over the the card to display display the word Hello. Hello. Performer: “I would like you to take this and write a piece of information you don‖t think I could just instantly guess and then place t i t writing side side down back onto the table when you have have finished”. finished”. The participant writes writes some information information on the business card and places it face down on the table. When the participant has written the information and placed the billet face down on the table reach down and slide the billet into the envelope but instead of letting letting it ride down the inside of of the envelope let it go through through the slit and proceed proceed to push the card – To the participant it will look like you are sliding the card inside the envelope they have just verified. Close the flap on the envelope so it looks like you are sealing the billet inside the penny penny envelope. Just so you can see what this is going to look like from both perspectives here are two photos. The first is from the t he participants perspective perspective the second is from the participants. participants.
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As you can see looking at the photo you will get a huge peek here that is completely hidden from the participant‖ participant ‖s perspective meaning you get all the time in the world world to peek. This penny envelope envelope would then be sealed inside the larger envelope, I usually usually wait until I am guiding the penny envelope into the larger envelope to get my
peek, this is because the peek is naturally in my line of vision at this point and I am not oddly looking for for the peek at the wrong moment causing causing a suspicion in the participant‖ participant ‖s mind. This should be the same for any peek, waiting waiting until there is a logical moment moment to look at the billet. Don‖ Don t ‖ rush this, wait till the billet is in a natural position to peek it. Don‖ Don t ‖ ever force the the direction you look in and don‖ don t ‖ be scared to get close to the information written on the billet, hitting by association – This will be taken as a hit and at the same time, why would you purposefully not hit if you had seen the information? For example if the the participant wrote the word word France‖ France ― ‖ and you picked up on the Eiffel tower tower this would be associated and never never be classed as a miss. Anyway back to the peak. After placing the penny envelope in the larger envelope seal it. You are now free to reveal the information in any way you choose. To clean up so everything everything is examinable, keep your your eye on the way you place the penny envelope envelope into the the larger envelope. envelope. Remember the side the the slit is at. When you are ready to confirm to the audience that your thoughts were correct, tip the large envelope envelope so that that the smaller one inside falls to the bottom and then tear the large large envelope envelope open ensuring ensuring that you are are tearing the coin/ coin/ penny envelope simultaneously simultaneously along (or as close to) the slit as possible. In short when you tear the large envelope, e nvelope, you will tear the coin envelope also and therefore therefore all the pieces pieces can be displayed displayed as the slit envelope envelope will be destroyed.
This is by far the the simplest of of all of the peeks that will be outlined in this document. It is so simple in nature bit nature bit don‖t overlook overlook the power of of this peek. Start by folding the billet in half BUT don‖t fold it down down the middle of the billet place the crease crease about 10mm from from the center. center. Fold where I have placed the dotted lines. lines.
This is a view of the billet on its edge, notice how there is a bubble.
You will notice that if you hold the billet between your first and middle finger it remains closed.
The participant is going to write write on the top top half of the billet, the bottom bottom half you are going to fill out (as described later). The bottom half I placed an ex (this is from the participant‖s participant‖s perspective). perspective).
If you close the billet (after the participant has wrote their information) Then turn the billet towards yourself yourself holding the billet loosely loosely you will notice that the billet opens giving giving you a window window of opportunity opportunity to peek. peek.
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The movement when peeking is very important orchestrate orchestrate the peeking motion nice and slowly there is no need to rush. You would orchestrate orchestrate the peek when handing the billet from one participant to another. It is done simply on an offbeat, if you are worried about the peek you could always ask the participant participant to hold their hand out, lift lift their hand with with your left hand so it is above your hands and then apply the billet peek underneath their raised hand while going to place the billet into their hand. hand. I understand that sounds completely confusing the best way to describe it is imagine saying to a participant to to extend/ hold hold their hand out (their hand is about 3 foot off off of the table) and then picking picking a coin up off off of the table and placing the coin into the participants outstretched hand. Imagine that when the participant extends extends their hand it goes over the top of the coin (which (which is laid on the table) you reach down and pick the coin up and then place it onto their palm, that is essentially the the same. Their Their extended arm will cover the peek. I never really worry about such things t hings remember the participant is never expecting you to look and so the move will totally go unnoticed. One last thought, thought, earlier I mentioned mentioned restricting restricting the participant participant to writing writing in the top half of the billet, this is achieved by giving giving your participant participant an example of how you want them to write in the top half. I will write in block capitals ca pitals the word ―Hello‖, this ensure the participant can clearly see where/ how I want them to write and at the same time ensure they cannot write in the bottom half of the billet. This is a simple yet yet elegant way to kill two birds birds with one stone, stone, if you find find that you have a peek you already use use where you you need to restrict restrict your participant, this is the perfect justification for restricting the participant in a natural and simple simple way.
Why this was named the lotus leaf I do no t t know as it doesn‖t doesn‖t resemble resemble a lotus leaf at all. This is a peek that I haven‖t used for a very long time, but it works and like all peeks there is a right time to use it and a wrong time (it‖ (it‖s situational) The motivation for for this peek is very juvenile in thinking thinking but tha t‖s t‖s why this works so perfectly and will totally be overlooked by the participant. The context of the routine that I fit this peek into is the thing that makes makes the peek fly under under the radar, there is no real skill required in getting the information and the area of the billet that you you get a peek of is of a good proportion. This peek is not not for everyone everyone for those those who try this; you will love it as it is simple and totally totally effective. For those who do not, you might get some some inspiration out of it in some some sense.
The performer proposes to take the participant participant back in time to their school days, days where the participant was young wild and free. The performer asks the participant to to write down the name of their first kiss and pass it under under the table to one of their friends friends sat at the table, just like they they would when they were passing passing on notes notes in secret in the classroom. After the participant hands the note to a friend of theirs the friend is asked to open it and keep the content content of the note note to themselves. themselves. The performer starts to describe describe the participants participants feelings at the time of the first kiss, he starts to describe what the participants date at the time looked like and finishes by revealing the first and last name of the participants date!
The method for this is ultra-simple; ultra-simple; the presentation presentation (listed after the peek) is where the subtleties really come into play. First start by taking a billet
Fold in half, length length ways
Essentially you have have just folded the billet in half. half. After you have folded the billet in half, it‖s time to fold the the both edges edges back on themselves. themselves. To get this to make sense imagine the billet in two halves pretend pretend each half of the billet is a different entity. Take the first first half and fold fold the billet in half again (back on itself) then do the same to the other side. This is very difficult to describe in words hopefully looking at the next photo you will understand.
What you have now is a billet that almost resembles the letter ―T‖
The participant is going to write write on the inside inside of the letter T, when the billet is closed it looks looks like this.
If you fold the billet inside out from the front it will look the exact same from the participant‖s perspective as perspective as it did when folded (details on how to fold inside out after the next two photos). This next photo is the billet folded inside out, you can see how much it looks the same as the folded folded billet.
But from the performers performers perspective this is is what he sees, sees, note** you would be holding the billet vertical vertical so you can see the participants information they they would be seeing seeing the folded folded front. This photo is literally literally to show you the size of the peek area.
As you can see you get a nice large peek of what the participant has wrote. To fold the billet inside out, let the flaps fold flat – This would be done one handed in performance.
Play with folding and unfolding the billet - If you place your thumb inside the the billet (where the participant‖s participant‖s writing is – inside the letter letter ―T‖ ) and let it roll naturally around your thumb, you will notice the billet turns inside out and you have essentially essentially enabled yourself yourself to access the peek. If you put your thumb back into the participants writing writing and push push the billet will close itself again. In performance the actions are going to completely be justified and will fit into the context context of the routine routine as you will will be using a table to hide the peek. peek. This can be done in the open but requires more more work. Let‖ Let‖s take a look at how this type of peek fits into performance.
Performer: “ Performer: “ One thing that that I find interesting interesting is memories, we all try to find ways to share our memories with our friends, and we take photos of everything from food to footwear just to be able to let people look into our world at almost any time of the day. There are a series series of memories memories that we never never capture on camera, sometimes sometimes things that are so incredible we we wish we had had caught just to be able to share them in vivid detail that words can‖t describe. describe. How many many people here here have ever wished they were fast enough to capture a moment on camera and completely missed it?” The group all agree agree it has happened happened at some some point to them. Performer: “What if I told to ld you that there is a way to access those memories, it‖s a little unconventional unconventional but I promise you the results are incredible. Which Which of you would be happy to try this try this out?”
One member of the group nominates nominates himself to share a memory memory with the group. group. Performer: Performer: “Let‖s make “Let‖s make this as interesting as possible, let‖s go let‖s go back to a memory that even you haven‖t thought thought of for a long long time. Your very first kiss, kiss, I want you to imagine going back in time to being the rough age you were when you experienced your first kiss. I want you to take your time to think of the name of your first kiss. If you can remember her first and last name great, if not just focus on the first name. Take your time to remember what she looked like and how you remember remember her, her, use all of your senses in symphony symphony to re-create re-create this memory in your mind. I want you to take this (the performer hands the participant the billet); we are going to pretend pretend we are in a school classroom. classroom. I want want you to write write the name of your first kiss on there. Remember Remember at school when when we used used to take notes and place them under the table and pass pass them around?” around?” [This is where you will get the peek, as you say “Remember at school when we used to take notes and place them under the table”. You are going t o place the billet under the table and then open open it up (rotate it as described in the peek photographs) photographs) bring the billet back out facing the participant, to them it will look the exact same as when you placed it under the table but you are peeking at the information information while they still still think they are are seeing the same side of the billet. Don‖t make it overly obvious you are looking at the information; remember the rule of placing the billet into a natural line of sight when looking at the information. When you place the billet under the the table make a conscious conscious effort to look into the eyes of the group, this will be implicit you you are not looking looking at the billet in anyway.] anyway.] Performer: Performer: “I want you to hand hand this to anyone under the table, whoever whoever receives it I want you to open it up and take a look at the information, this means there are two people that know the information and me and the rest of the group are in the dark”. The participant hands hands the note to someone underneath the the table, that person person opens the billet and reads the information on the inside and folds it back up. Performer: “The first thing I am feeling is that in that in this memory memory you are about 12/ 13 and this memory took took place outside right?” [This is a very simple verbal swerve, guessing the age of the participant is the riskier guess guess out of the two statements, statements, based on probability there is a massively higher chance of the kiss being outside than inside (I determine this data based on the amount of times I have performed ―first kiss routines‖). By placing the age statement first and then continuing to talk without asking for
confirmation for the age and then finishing by asking if the memory took place outside (which wi will ll give you a yes, trust me) the participants ―yes‖ from the audience‖ audience‖s perspective will confirm both of the statements! I call this principle the ―Confirmation principle‖ principle‖ I have gone into detail in my other literature on how to use this principle in much greater ways. You can use this in many other ways, I urge you to experiment with it and see how many different ways you can come across uses for it. ] Performer: “I feel an air of nervousness as you shyly look at each other, I want you to be honest with me and I don‖t intend this in a rude way as way as I understand it‖s been a long time were you torn between two names?” [Let them answer yes or no, we are hoping for a yes here as it gives us some leniency when we try to guess the description of the t he first kiss. If you get a no, then move move straight onto onto to the next section of scripting scripting and skip trying trying to guess the description, being being honest I will always take the bolder option and go for the guess, guess, I am not afraid of missing. missing. If you ask the participant not to say anything out loud and just listen, then give them a description description and ask them to focus focus on the name name without asking asking for confirmation of the description you can then nail the name and have the audience assume your description was right based on the participant‖s reaction toward you guessing guessing the name. name. I have in the the readings document document outlined how this technique can be used in depth. depth. This is a simple way to get around around having to guess guess the description description but in all honesty you can‖t go far wrong. This is how I deal with the the description (if the participant participant has admitted that they are torn between between two names names – Which you will find is the case most of the time.) Performer: “You‖re not thinking of the dark haired female right now are you?” [Lead with a closed question while smiling, this enables you to be able to use another verbal swerve swerve – If the person says yes they are thinking of the dark haired female this is great, you respond with “I thought so” if the participant says ―no‖ you then quickly counter with “ah so you‖re thinking of the female with the hard (or soft depending on the name) first letter of the name”. Remember this is an easy out that requires little work; it is up to you to determine what you would consider hard or soft sounding letters. I would class B, D, P and letters like this to be harsh sounding sounding and S, C, U to be soft soft sounding.
If the participant decides to be awkward and says they are not thinking of a name with a hard or soft sounding sounding letter (dependant (dependant on which which you determined determined it to be) which shouldn‖t happen happen - but its best to prepare for every eventuality, respond by saying “So the first letter is not X” (replace X with whatever the first letter is from the name you peeked). IF you got a yes for the dark haired line, follow up by saying – Performer: “Fairly small, maybe dancer or singer as I am seeing choreography of sorts, she has a soft (or hard depending on what you peeked) sounding first letter in her name doesn‖t she?” [Again we are using the ―Confirmation principle‖ they principle‖ they will confirm the soft/ hard sounding letter and the audience will perceive the rest to be accurate also. I outlined in the Portugal notes notes the exact exact way to be able to reveal someone‖ someone‖s hobby as a child, this would fit perfectly here.) The participants memory will be vague anyway, dependant dependant on the age of the participant it will have been a while since they even gave this memory a thought and when when put put under pressure they don‖t want to appear to have forgotten, a lot of the time they will let you fill in the blanks for them to save them looking stupid. Don‖t rush in rush in and reveal the name instantly, instantly, it would be a wasted piece of information. Think about your own own experience experience with your first kiss; think about about how you felt at the time, if you describe the way that you felt at the time of your first kiss, the likeliness is that your feelings will match the participants. This is called ―Subjective ―Subjective memoria‖ principle, in particular situations your feelings will be the same as the participants and by describing your own feelings you are not only able to deliver the information credibly but comfortably also as its not information you are having to fish for but information that that you already know. Take your time to really paint a picture picture of the scene, scene, and then proceed by addressing the the participant, Performer: “I want you to close your eyes for me; I want you to imagine all a ll the thoughts that were running running through through your head at the time this this memory took took place. Slowly open your eyes and look tow ards me”. This is where you decide how how you want to proceed, if you are going for for the tada style performance, performance, write the name down down on a billet and slide it forward forward facedown. Ask the participant what the name is and let them turn around the piece of card to reveal your thoughts were correct.
If you want to come across as a reader or more esoteric performer then simply reveal the name verbally. This has a more real feel to it, choosing who you are as a character is the deciding factor in how you choose choose to reveal the information.
The performance performance of this type of piece is great, even just for the versatility. If there are a few audience members on the table there is an interesting thing you can do from a performance point of view. After you have gained the information via a peek, you can get everyone on the table involved in trying to read the participant. participant. Instead of you deducing if the memory was outside or inside, put it to a vote for the audience members at the table – Performer: “I want you all to use your feelings to feelings to share this memory, take your time to feel whether you think this memory took place indoors or outdoors. How many of you feel this memory took place indoors by show of hands?” hands?” Let the audience vote. Performer: Performer: “How many people think it occurred outdoors?” Ask the participant after the voting process to say if the memory took place indoors or outdoors. outdoors. Do this for the colour of the first kisses hair - light or dark. Anything you can think of that is a binary opposite that pertains to the first kiss that you can get get the participants participants to vote on do as it gets everyone involved. This keeps keeps the members members of the audience audience interested in what is going on and at the same time it alleviates you from any misses that could occur during the guessing of the memory. The readings document document should have all the information information you need on reading a participant to add to this type t ype of routine. Another additional thought for the ―Lotus leaf peek‖ peek‖ that adds an extra fooling layer is to get the participants to make a simple drawing on each of the flaps on the billet like a shape or something that they will recognise. So when you fold it inwards on itself the drawings will still still be on the outside of the flaps – This just adds a further convincer when executing the peek that the billet is still closed.
The next section of this document document is dedicated to looking at several several peeks shared by good friends of mine from within the mystery arts. Each one of them has a very different way to do things; I feel this can only be a good thing for you the reader as it gives you a versatility of different thoughts thoughts to process and pick and choose from to fit your style. I hope you enjoy their thoughts as much as a s I do.
This is a great peek peek by a creative genius. genius. More of Pablo‖s ideas Pablo‖s ideas can be found here – www.Amirasideas.com www.Amirasideas.com This peek of a business business card/blank card/blank card is very handy handy when you have 2 cards as one and you want to secretly secretly see the content content of one of them I use this peek peek in the context of one of my Drawing Duplications Duplications called “Only 2 DD”, but you can use it whenever you see it fit. This technique is called that way due the hand position that I take when I do the secret move. I use various motivations to do it, just create create your own coherent one one with your effect. effect. First of all, I hold hold 2 cards as 1, keeping the participant‖s participant‖s card reversed reversed on the bottom of the stack. (Photo 1 , 2 and 3)
(Photo 1)
(Photo 2)
The ( participant in this case is named named Pablo… yes… very cool coincidence). coincidence).
(Photo 3)
Now you need to simply lift your top card secretly and peek the information. In the action of putting the hands together like a prayer, you will bend the top card.
(Photo 4 and 5) The angles are very good using this move.
(Photo 4) Participant`s POV
Exposed View (Photo (Photo 5)
(Photo 5)
Your devious peek (Photo 6 and 7)
(Photo 6)
(Photo 7)
You can use this with or without the square on the bottom, it´s your choice. I prefer to do it in that way because it allows me to keep the information restricted in one area. If you want to learn a routine with this technique, you can search for my “Only 2 DD” piece. piece. PETER‖S NOTES*** This is a very simple, simple, but very effective effective peek when we read read these peeks on paper they almost seem too easy to work in the real world or bold but in reality they do work and are simple. The moment you worry about peeking or
create an awkward action is the moment the participant will feel/ know something is wrong. Another thing I want to mention about this peek is you will notice the participants card is face up whilst the rest of the stack is facedown. There are a couple of ways to achieve this and both are again brought over from the playing card world. One is the half pass and the other is the flop switch or flop turnover. turnover. The flop switch is the easier of the two moves; the participant participant places his his card face down on the top of the stack of billets. On an offbeat as you go to place the cards onto the table turn your wrist over over flipping the the entire stack. And ignore the cards for a few seconds, while you start to deduce the participant‖s thoughts, without eve n n looking at the card (this will will be described later). It‖s a simple case of picking the cards up off of the table and applying the peek. peek. In this scenario you can as a s an additionally subtlety use the flop switch and ask them to sign sign the back of the the card tha t‖s t‖s on top of the stack (they (they will assume this is their card) – With this type of peek signing the card has its advantages and disadvantages. disadvantages. One advantage is that when you go go to apply the the peek the participant participant thinks they are seeing their signature, signature, you cover the the cards and then remove your hands (applying the prayer peek) and they still see their signature because the move has lasted just a few seconds in their mind literally nothing has happened. The disadvantage is that you are left left with a dummy billet billet with a signature signature on it and therefore therefore have to add a phase to clean the routine up at the end. You can use the same ending as the ending in ―Peek a boo‖ to clean this up, but again it is adding an additional phase. phase. The half pass variation variation would essentially be where you ask the participant to place their card on the table and you place the stack on top of the participant‖s card. When you go back to the stack of cards, ca rds, you essentially under the cover of putting your hand over the top of the stack to apply a pply the prayer peek under the cover of your hand that is going onto the top of the stack flip over the card on the bottom of the stack (the participants card) so it is face up. Then after you have flipped the card, don‖t keep your hands hands on the top top of the stack move your hands off of the stack again and address the participant. Performer: “Focus on your thought for a few seconds”.
Then go back into the praying position. position. The reason for not applying applying the prayer peek after the flip is that you you would need your hands hands over the cards cards for an extended extended period of time, it‖s time, it‖s better better to break the peeking process down into two stages stages and seemingly seemingly only have your hands over the card for just a few seconds.
This is another nice technique for for peeking information information on a business business card. For this you need a stack of cards. You can use this this for several several uses; just use use it according your routine. routine. Let the participant write his thought and let him place it in the middle of the stack. Now you will casually "casually bring it to the bottom of the the stack (using your favourite method) Now your actions and script will cover your secret peek. If you are following the actions, the card with the written information information is on the bottom. Now Now take one blank card from the top and say: “Make your mind completely blank (showing (showing the card) and just imagine imagine and believe that your thoughts will will become mine” As you do all these, just place the card on bottom, so it will cover the bottom card. In that way you will have the blank card as the bottom card and the next card will be the card that you need to peek. Take your time, don‖t rush the peek and whenever you see it proper, just move the blank card slightly, so the “written card” can be visible for a moment. After that you just need to take your single blank card, do a cut/pass and leave the participant´s card in the middle. An additional tip for this - While you have the blank card at the bottom, you can grab your card and the participant´s card for a moment. In that way you can flash the “second card from the bottom” (actually the third from the bottom), in that that way you can indirectly indirectly prove that that the participant´s participant´s card isn‖t near your eyes.
Bullet peek – Morgan Strebler I've played with many peeks over the years. I think with any peek there needs to be a justification to write information information down. I've seen many many performers performers ask people to write down there best friends name, birth date, or star sign, This is all information that the participant participant would never never forget. Framing, Framing, here is important how many people have have forgotten a playing card minutes minutes after selection? I like to have them think of two random things such as an animal and then to give give the animal a crazy name. Now you have a justification justification to have them write it down so they don't forget the information. The peek that I'm I'm going to teach you has severed me well well over the years. It's a full peek with no boxes drawn on the card. You fold the card in half with the side facing you about a quarter of an inch lower than the top of the card. ca rd.
Next you fold the card in quarters to the right.
That's all the set set up that you need to perform perform the peek. I have the audience audience member write whatever it is I instruct them to down. I then have the participant fold it up in quarters. I hold my hand out in a gesture, as if requesting them to hand me the card. I then say "I didn't want you to hand it to me. Please take the card and sandwich sandwich it, to make make sure there is no way possible that I can see inside." At this point you have the peek and it‖ it ‖s so clean and calculated it ALWAYS goes over their their head. Now for the Method. By folding the card the way you did it gives you a smooth fluid fluid motion to open and shut the card and get the peek. You left thumb is on the outer right corner
You right thumb is on the inside corner of the card next to the left thumb. Now in one movement pull down with the right thumb simultaneously simultaneously pushing up with the left thumb sandwiching the completely unfolded card between the palms of your hand.
The point when you get the peak is so bold bold they never see see it coming. I have the card between my two palms and I say "I want you to sandwich sandwich it between you hand hand so there is no way can peek peek at it" Its at that moment that I open my hands and get a clean FULL peak.
At that point come up with your right palm shutting the card in half while using the left thumb to finish folding it. This VERY quick and natural in movement in motion. The audience member then follows your instructions, and you reveal the information.
This is the only only peek that I've I've used in 20 20 years. I hope hope you get the the mileage out of it that I have Enjoy!
For more information information on this peek, check out Dee‖ Dee‖s incredible penguin lecture here - penguinmagic.com/p/6131
Let me introduce you to one of my recently favoured techniques for gaining information; I use several different different techniques techniques in close up performances. performances. This gimmick in particular can be brought into into play with your your block of blank blank cards, straight from your pocket, or left behind if you wish to use another technique before or or after you use use this one. one. The block peek combines combines a simple gimmick and a direct direct technique to discover discover hidden information, written on a business card, or a blank card. All you need to put this together together is a stack of blank (or business) cards, cards, a couple of rubber bands and either some double-sided double-sided tape, or some some glue. This gimmick will take you approximately one minute to construct and will last you many performances; not that replacing it is a difficult or expensive thing thing to do. The peeks are very easy easy to do, but this method does does offer the the option of peeking several several pieces of information once you become a little more dexterous with it. I carry a stack of blank cards around in my inside jacket pocket, secured with a rubber band as my business cards are double sided. I chose aesthetics over application when working on my my business cards, cards, but if you have have a space on your business cards in which a participant can write a thought, you ll just have to make a gimmick from your business card, not unlike the gimmick I present in the explanation. The only thing you need to remember is that the visible band needs to be on the side your participant usually writes on. ʼ
While that sentence is complete gibberish to you right now, it will all make sense once you ve obtained the full method. If you have laminated or thicker stock business cards, you gimmick will rarely need to be replaced, but I d recommend keeping some extra rubber bands and tape in your gig bag, just to be safe. ʼ
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The gimmick is extremely extremely simple to construct; the devil, as always, always, is in this simplicity. It s logical, justified and nothing is out of place. The gimmick It s self is based off a card magic concept that I discovered several years ago,but never had a use for. A close close friend of mine released an ebook using this method to create an illusion in which a selected card visually penetrates a ʼ
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strip of duct tape that s been wrapped around the box from the start. While the ebook describing this close up effect is no longer available and remains underground underground once more, some other beautiful pieces by the author are available here: ʼ
http://danielmadison.co.uk/Anthology.html Basic card magic knowledge knowledge will be required required for the handling handling of this gimmick, but all will be explained. explained. If you are more talented talented in card technique, technique, you ll probably be able to design some of your own handlings for this, I will detail some alternate ideas involving more complicated moves later on. ʼ
The Block Peek gimmick gimmick comprises of one rubber rubber band and two blank blank cards. There is also some double-sided tape involved. The rubber band is wrapped length ways around one of the cards, this will cause the the card to bevel. As As we need it it to remain flat, another card (or two cards ca rds if necessary) is taped or glued to one side of the card, sandwiching the rubber band in between. This is your gimmick. If you hold your gimmick gimmick in a standard dealer s grip position, (photos are on the next page) with the rubber band side up, you will notice that it looks like the band is wrapped wrapped around the cards. By holding holding your gimmick with the reverse side side up, it looks like there is no no band at all. The only discrepancy is when you look at the short side of the card head on, you can see a small bit of the band going in between the two cards. This is remedied by holding your first finger on top of that discrepancy. It won t be noticeable when the the gimmick is added to a stack of blank blank cards, but working in situations where angles are constantly changing (i.e. nightclubs or mix and mingle corporate events) has taught me to cover every possible angle and discrepancy, where possible. Have a look at the following images to solidify the information you ve just read. ʻ
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The basic handling is very easy to do; I will first first explain the mechanics, then I will discuss discuss the logic logic and justifications, justifications, as well as the benefits of using this gimmick over just a regular stack of cards. I won t discuss my routines with this gimmick in this manuscript, as this is what I use for casual performances, meaning that I don t have specific routines written written and scripts in place. ʼ
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This gimmick is extremely extremely versatile versatile and doesn t need justifying in the audiences mind, so it s what I use for jazzing routines. If I m in a rock bar; I might have someone think of their favourite band, if I m in a corporate environment; I ll perhaps have the participant think of how much they got paid per hour in their first job as a kid. When it comes to casual and seemingly impromptu mentalism demonstrations, you should use your environment to inspire you, not the framework framework of something something that you you ve read in a book. ʼ
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You will begin by placing your gimmick on the bottom of your stack of black cards. The rubber band side will be facing up, so that the band contacts the card above it; this means that whichever way the gimmick is orientated, a blank side is visible. visible. Wrap a normal rubber rubber band around around the whole stack, including the gimmick, lengthways. This ensures that when you take the stack out of your pocket, the audience is forced to understand that this is the normal state for a stack of cards to be in when in your position. position. Some people will choose to wrap a rubber band twice around the width of a stack of cards, ala Out To Lunch whereas you prefer to wrap your cards lengthways. I initially made the gimmick gimmick by wrapping wrapping the band twice across the width, width, but it wasn t long before before the pressure pressure caused the band band to rip through through the card it s mounted on, thus destroying the deception. ʻ
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You will hold the deck in dealer s grip and remove the rubber band, placing it on the table, or back in your pocket. You remove the top top card (I ll explain why as I discuss the subtleties and logic later) and hand it to the participant. ʻ
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Now remove your pen and hand that to them as you explain what you would like lik e them to write – If they re thinking of an image, have them draw it, if they re thinking of a name, name, they will write write it on the card to commit commit to their thought thought so that there is evidence to come back to later. ʼ
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As they are writing their thought, you should perform a half pass on the gimmick. If you are not familiar with with this technique, technique, it s described in several magic books, but I favour Aaron ʻ
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Fisher s Gravity Half Pass from his book The Paper Engine. Engine. ʼ
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Follow the pictures pictures to get used used to that motion. motion. It s very easy to do and everyone s attention is on the card being written on at this point, so you need not worry about anyone catching the the move. The reason this move is employed employed is simply to expose the rubber band portion of the gimmick. You should still use your finger to cover, the gimmick s rubber band is sat against your palm with the packet still in dealer s grip at this point. ʼ
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Following this move, simply wait for the participant to finish finish their writing or drawing and take back the pen. You don t want to see the thought, thought, so ask them to hold it it face down. You You will then lift all the other other cards off off the gimmick and ask them them to place their their card there, right back in the middle of the stack. We are aware that this is, of course, course, not the middle middle of the stack; stack; your participant will not question this as it s standard practice and perfectly logical as a motion. ʼ
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The card with the the thought written written upon it is now sat at the the bottom of the stack of normal cards, directly above the gimmick. You will now take the normal rubber band band from where where ever you stashed stashed it previously previously and you will will apparently wrap it around the the whole stack. In reality, you will wrap the band around the entire block of normal norma l cards, including the card with the thought thought upon it, but excluding excluding the gimmick. To ensure this action is as smooth as possible, just riffle the back of the t he stack of cards to allow the gimmick to pop off the stack, and place your little finger in the gap causing a break. You just need to slide the rubber band into this gap, rather rather than around the whole stack. stack. Be sure to to wrap the band band just once and lengthways, so that it matches the visual your gimmick presents perfectly. Now, thanks to the gimmick, as long as your finger and thumb cover either short side of the stack where the break between the two rubber bands is, you can show the stack from all angles and it looks perfectly normal. ʻ
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The standard peek of one card is the peek that that I use the most with this this gimmick and is the the peek that you are most likely likely to use the most too in casual situations. I ve named this The Fall Peek because of the action, the gimmick falls away from the stack as you rotate the whole block to show either side. This peek is done directly after the band is wrapped around the stack – It s almost part of the same motion. motion. It is in fact fact not so dissimilar dissimilar to the drop concept concept which has also been explored explored by Madison. ʼ
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Wrap the band around the stack of normal cards, above the gimmick, as discussed before. Ensure that the band is in the correct position so that it matches the gimmick in its position on the stack. Now, you must grip the whole packet from above in a biddle grip , which is simply the same grip I mention on the t he picture page discussing the half pass. Grip the packet with the fingertips fingertips of the the right hand hand (reverse if you you are more comfortable dealing cards left handed) and lift the packet up, rotating your wrist to show the audience the band of your gimmick. You should of course ensure that the fingers cover the gap in the band. The action will look as if you re just showing the packet from either side to demonstrate its opacity as completely solid and not transparent in any way. This is a very casual move, I simply say; ʻ
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“Now the stack is secured and you cannot see through it from from any angle.” angle.” Once you ve shown the audience the band of the gimmick, you will reverse the action, but continue continue rotating to show the rubber band that that s wrapped around the stack from the top. ʼ
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As you rotate, you will allow the gimmick to fall into your waiting left palm, which holds it in a gambler s cop style grip. ʼ
The peek is made at this point, and then you simply place the the stack back on top of the gimmick and you can begin your reading. The pictures on the next couple of pages will demonstrate the action from the front, and in an over the shoulder style view. ʻ
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(Spectator s View) ʼ
(Performer s View) ʼ
This is a peek that that I never really really use, but it is useful to know know in case you need your left hand for something something at the the time you wish wish to peek. It s more angle-sensitive than the fall peek so should only be performed one-on-one. I m including it here for completeness. The motion for this is essentially an application of the the Cardini change in card magic, but from the other axis. You will grip the stack in the biddle grip once more and the action will appear the same, but without without the left hand. As you rotate the packet packet from parallel parallel with the floor to perpendicular, at the same point you would do the peek normally, you will will increase pressure pressure with your pinky on the top right corner corner of the rubber band side of the gimmick. As you rotate the packet perpendicular to the floor, you will allow the pinky to slide/peel the gimmick gimmick from the the stack, clipping it in place. This is a slightly knacky motion to get the hang of, but I m sure the slight of hand lovers will enjoy practicing it. ʼ
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I mentioned earlier the idea of peeking multiple pieces of information from the stack. Again, referencing card magic as there can be a lot of of cross over between working with decks of cards and stacks of blank/business blank/business cards, cards, I started with playing around with using the gimmick as a cover card for Clipshift variations. By all means, test out that theory, the texture of untreated blank cards makes this difficult to do, but it s definitely possible as long as you have have shade and you you set up the the stack in the way way I discuss in the following paragraphs. paragraphs. If you would like to look into the Clipshift , you can find out more information at ʻ
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http://www.DanAndDave.com Setting up the the cards for multiple multiple peeks is much the same as for the fall peek in that you will wrap the band around the stack, stack, excluding the the gimmick. The difference here is that you will also exclude the cards with thoughts written on them. ʻ
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You will hand one card to each of two participants. They will write whatever thought you have have asked them to and you will will break the stack and have them replaced, one after another in the middle of the block. You should start with the rightmost participant during during this replacement replacement process. process. (I ll explain why in a moment.) Of course, these cards will go directly above the gimmick as before. before. ʼ
Now, before picking up the rubber band to wrap the stack; you will riffle the back of the cards, but rather than than just letting the the gimmick pop off the stack to get your break, break, you will pop the gimmick plus the two cards with thoughts written on them so that you can ca n wrap only the normal, blank cards. The cards ʻ
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with thoughts on them are loose, just like the gimmick is, however, this will be invisible to the the audience as long as your finger finger and thumb cover cover the break in the band as discussed discussed before. before. To peek the multiple multiple pieces of information, information, you should do do the standard fall peek but you will view the first piece of information and direct your scripted sentence to the person that is stood rightmost out of the two (or more) people that wrote thoughts. You will ask them to verify that they cannot see through the card, before turning turning to the left and asking the next person person that wrote a thought if they can see through the card, or verify that it s solid. As you turn, you will repeat the fall peek motion, dropping the first card with the information on it on to the gimmick to reveal the second second card. This can be repeated as many times as necessary, but I wouldn t recommend doing doing the whole whole room in one go as it will become a little suspicious; two or three is fine. ʻ
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The beauty here is that you can do this to each person person that wrote wrote a thought, thought, and each time you are peeking the person s thought that you are directing your question to. This allows you to easily easily anchor the image image or word to that person, person, so that you don t get muddled up during the the reading. Rather than having to reveal all the thoughts at once, you can show your skill of understanding which thought is coming from who, or read their minds one by one. This is a vast advantage that allows you to look much more credible. ʼ
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There is one important important thing thing that I haven haven t touched upon yet; how to show show the original card the spectator wrote upon and how to reset. This is very easy and only uses motions that you ve already learnt. You will pinch the normal rubber band with your right right fingertips fingertips from the top of the stack stack and drag it to to the right, thus pulling it off the block. Place the band back on the table and if you ve written a reveal, draw attention to that, if you ve already said your reveal in your wording, you can make eye contact with someone, drawing the attention away from from the stack so so that you can perform another another half pass so that the gimmick s band is now touching the ink on the thought-card. You can then say something something along the lines of; “You wrote a thought down down on one of these cards as a commitment at the start of this process.” As you say “one of these cards” you you should push push off a few few cards with your your left thumb into your right hand demonstrating your words. Replace these t hese cards on the bottom, instead of the top of the block, directly below the gimmick. ʼ
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Now you will turn the whole stack over in your hands and thumb through the cards until you reach the one with ink upon it. It is directly below your gimmick, but your gimmick just appears appears to be another another normal card. card. Remove the thought-card and and cut your gimmick gimmick to the bottom. bottom. You re now ready to go again. ʼ
There are several benefits to favouring favouring this method over just controlling controlling a card to the bottom of the stack, or using a double lift to peek the thought. t hought. A lot of mentalists will quote the classic phrase; “Don t run when you re not being chased” at any possible opportunity. opportunity. I agree with this this idea, to a degr degree, ee, but I think that what is truly truly important to remember is that that if we can create create something more deceptive and better hidden within the realms of logical and visually correct situations, we are simply being lazy when we don t employ them. A stack of cards would rarely rarely be left loose in anyone s pocket, or office. It would either be in a holder, or wrapped by a rubber band to keep the stack safe, tidy and together. For peeks using holders, holders, I can recommend recommend some fabulous products by friends of mine: The UPD by Pablo Amira and The Business by Romanos. ʼ
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Both of these can be bought bought from your favourite favourite magic dealer dealer and are wonderful solutions with similar methods, but different aesthetics. This is the closest to perfect solution that I ve found for doing this with a rubber band wrapped stack. Other notable methods that I ve come across include The PAC Stack by Paul Carnazzo, which is an amazing solution for drawing duplications, but it takes a lot more arts and crafts and something a little ʼ
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extra that makes writing a little difficult to read, especially if it s messy handwriting that s difficult to read as it is! You can find Paul s work here: ʼ
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http://www.MentalVoyage.com When you wrap a stack of cards in a rubber band, they feel like a unit and it s casually suggested that there is no way to access the thought without unwrapping the stack. It s a very powerful suggestion that isn t in place when when the cards are loose; loose; especially if the audience knows knows that you are dexterous with playing cards. This is the reason I always just hand the first card on the pile to a participant, participant, I never never mix the blank card, refer to them as a deck deck or a pack and I use untreated cards, so they don t flow and spread spread beautifully like playing cards do. ʼ
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Now, it s time for you to put together your own Block Peek gimmick and start practicing the motions. It s a lovely thing to use and I m sure you ll have much success with it! ʼ
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To find out more more about Dee Christopher Christopher s other publications; visit the following websites: ʼ
http://www.DeeChristopher.com http://www.angelsXdevils.com
This is one question question I cannot cannot answer for YOU. Each one of us has our own way to do things. things. I can however however list a series series of different different options for you to take take into account when using billets in any routine. Let‖ Let‖s start with justifying the use of a billet. A lot of pre-existing justifications I have found to be ludicrous (as have others) hence people avoiding wanting to justify at all. I personally personally feel where you use a billet in a routine I.E start; middle or back end should dictate whether you use a justification. If you are using a billet in the middle of a routine and the billet contextually fits in the context/ premise of the routine a justification will only draw attention to the billet. If you hand someone a billet at the start of a routine and ask them to write something down (without the premise of the routine surrounding the billet I.E. Sneak Thief) I feel there should should be a logical reason for the billetbillet- A justification for why they are writing something and place the focus on the surrounding surrounding factors of the billet (as outlined in the first part of this document.) If the billet is wrote on at the back end of a routine (this is a rarity) 90% of the presentation has already existed and therefore there really is no need n eed to have anything anything justified as the the billet is merely acting as a tool to to show a match. So let's look at a few of these these areas in depth depth First let‖s take a lo look at where a billet naturally fits into the context of a routine and therefore needs no justification. If you are utilising a billet at the very start of a routine and the focal point during the routine is geared around the billet (or billets) then trying to justify the billet billet brings the wrong attention to it. A great example of this is ―Sneak thief‖, the billets are on display throughout throughout the entire routine routine and therefore therefore there is no need to try and create a justification for the billets being in play as the routine is self-explanatory. self-explanatory. One routine I really like is Seven Seven Keys to the baldpate, I remember remember reading this effect and loving the concept. concept. One thing thing I didn‖ didn t ‖ like was having to carry the lock and keys, here is my take on that concept – This is outlined to give you an idea of ways to use billets in which they don‖ don t ‖ need a justification.
The performer sits with a participant participant (we will call her Mary). After becoming acquainted, the performer asks Mary to remove her mobile phone. He takes the mobile from Mary and realises it has a password locking it. The performer looks at Mary and and asks if she she would be happy happy for him to to try divining the code. Of course, she doesn‖t mind. The performer removes five of his business business cards and asks Mary to write her her phone code upon one, to write four fake codes on the remaining cards and to mix them up until even she doesn‖t know k now where her actual code is. The performer closes his eyes (he could even even be blindfolded). blindfolded). He asks Mary to lift up the cards to his forehead one at a time, with the numbers facing her, and to lightly hold hold the card a couple couple of centimetres centimetres from your your forehead (never making contact). The performer‖s performer‖s eyes are closed closed the entire time during this process. The performer says No to the the first card and and asks Mary to place the card to one side, discarding it; the next is also a No that is also placed to one side. On the next card card the performer performer is a little hesitant, claiming a “maybe,” and the card is placed face down onto onto the table in front front of the performer. The next is a No, the next a Maybe (which is placed placed face down in front of the performer) and the final card a No. The performer now opens his eyes. He tells Mary he is about to flip the cards, cards, but she is not not to give anything away. The cards are flipped and the performer performer holds his hands over each of the t he cards for a few seconds, finally picking up Mary‖s phone and unlocking it! The cards can be left left with the participant participant and examined examined completely! completely!
This effect is best best suited as an opener to a routine that is going to use the participant‖s mobile telephone (like Isabella‖s Star 2– Shameless Shameless plug!). plug!). That way there is a beautiful beautiful following point from this effect as it it segues seamlessly seamlessly straight into another effect. Firstly, you will have have realised that that I reduced the the number from from seven to five. five. This was purely to keep the presentation entertaining. entertaining. Now you must be thinking:
“How can you locate locate the card if it has no markings?” markings?” The honest truth truth is that the cards are marked, just just not visually! To mark the card, simply simply take a business business card and spray it with a perfume or aftershave spray. spray. Just lightly spray the card and then let it dry out. That‖s right; the cards are marked via the smell!! Therefore, you will know exactly which card it is even with your eyes closed. Whenever the prepared card is run past your nose, as long as you are breathing through through your nose nose when the card is brought brought up to your forehead, you will be able to smell the perfume. The method couldn‖t couldn‖t be simpler. Since you are going to be asking the participant to place the cards up to your forehead, you will know exactly when to breathe. This technique is ultra-reliable. ultra-reliable. I was in London with Myke Phillips and I had 'Prepared' the Ace of Hearts. I used a classic force on Myke (which I know he spotted). I asked him to mix up the cards and asked him to quickly go through the entire deck (placing (placing each card to my forehead). I got down to two, and a nd without even turning over the cards, I located the Ace of Hearts Hearts (I am sure he didn‖t know how that was done!). That‖s my random tangent over. over. Back to the effect. The strength of this effect effect lies in the presentation. presentation.
(I am going to assume a ssume that you are already acquainted with the participant.) Performer: Performer: “I want you to think about this t his for a few seconds. If you could read minds, what would you want to read from someone‖s mind?” Pause a few seconds. Performer: “Everything “Everything you are thinking of right now I have probably tried at some point. I certai nly nly do know when someone someone is lying to me.” (The last statement is said off the cuff. Women that are in relationships most of the time think: “I wish I could know when my partner is lying.” Never make a huge point when using using the throwaway throwaway line; let them them decide if you really did did read that that is what they were thinking. A lot of the time they will vocally
let you know that that is what they were thinking. Say the line enough so that even if they they weren‖t thinking thinking that, the line will never seem out of place.) Performer: “Have you got a mobile phone that I could borrow for a couple of moments?” The participant pulls pulls the phone phone out of her her pocket and one of two things is going to happen: happen: 1. She is going to hand you the phone. 2. She is going to go to unlock the phone before she hands it to you. If she hands it to you straight away, then proceed into this routine. If, on the other hand, hand, you notice that she is going going to unlock unlock it, stop her. her. Performer: “Has it got a lock on it? That‖s not a problem. Do you mind if i f I try to divine the code?” code?” She will obviously obviously say she doesn‖t doesn‖t mind. (I find it really, really strange the psychology that goes on in participants when they see someone performing —it‖s —it‖s surreal! A random person person walks up to group at a table and they start to hand them bank notes, notes, phones phones and share random information with them! It really is daunting when you think about it. Sorry, another tangent down.) Hold out your hand for the phone. Even if the participant had any reservations about handing it to you, you are already halfway there, so it psychologically seems easier for her to hand you it. Place it to your left. Ensure you know where it is, because the last thing you want to do is knock it off of the table when you close your eyes. Remove a stack of business cards from your pocket (the prepared card is on the face of the stack is therefore the one they will write on first). Performer: “I want you to write down your actual phone code on that piece of card, whilst I look away. When you are done, place it face down onto the table.” (Make sure you say the word “actual.” It prevents them from writing down a fake code. I have had this happen before, and when it comes to the revelation, it is not pretty. Changing one word can make make such a difference difference in the way way the participant acts.) Performer: “Now I want you to write a fake four-digit four-digit code onto each of the other cards.”
Again give them a few seconds to do this, and turn around when they have done it. This process, process, on paper, may may seem lengthy, lengthy, but in performance, performance, trust me, it is over very quickly. quickly. Performer: “Pick up the cards up and a nd mix them until you are satisfied that even you don‖t don‖t know the order of the cards.” The cards are mixed. mixed. Performer: “In a moment I am going to close my eyes. When I close my eyes, I want you to pick a card up when I tell you and to hold it in front of my forehead. Always ensure the numbers are facing you.” (This is where things get really easy. Obviously all you have to do is ask the participant to place the card in front of your forehead and start to breathe in slowly through through your nose. nose. You want to make sure that when the card with the smell comes up to your forehead, forehead, you act act hesitantly and point point with your your right hand where to place it in front of you. This is essential. Because you have your eyes closed, you need to know exactly where the card is being placed. The second card should be placed to your left, so direct the participant with the left hand. If you haven‖t noticed the smell by the fourth card, place the fourth card to your left and the fifth card to your right.) Open your eyes. eyes. Obviously you know know where the the card is, so the the rest of this is about taking your time and really making making it seem like you are divining divining the card. Address Mary: Performer: “Mary, I am going to flip over these cards. It is essential that you don‖t give anything away at this point.” Flip over the cards cards and start to hold your hands hands over both the cards in turn, turn, and then pick up the mobile telephone telephone and hold hold it toward yourself. yourself. The last thing you want want at this point point is Mary seeing seeing the first number you type in, because she will react react prematurely and that‖s it, effect effect over. Yo You want her to react to the moment the phone opens.
George M. Cohan Cohan - Seven Keys Keys to Baldpate (1913) (1913) Annemann - “Seven - “Seven Keys Keys to the Baldpate” Baldpate” Henry Fetsch - “Lock - “Lock and Key,” Key,” Jinx, n 34, July 1937 º
Pablo Amira - Intuition Key
Lee Earle/Larry Becker - Stunners Max Maven - “Key - “Key to the the Future,” VideoMind, VideoMind, Vol. 2 Barrie Richardson - Theatre of the Mind Mark Strivings - Penguin Lecture John Archer - “Soundbox,” - “Soundbox,” Further Education Richard Osterlind - “Seven - “Seven Keys Keys to the Baldpate,” Baldpate,” Easy to Master Mental Miracles, Vol. 1 Jack London - Superb Mentalism of Jack London You can see reading this routine that the billet is naturally part of the routine and therefore it is the focal point of the audience‖s the audience‖s attention. attention. There are a few reasons reasons why the method is so well hidden, one is that there there are several billets and therefore the one with specific and relevant information gets hidden amongst amongst the rest making it seem seem hidden (even (even though it is in plain sight). Another thing is that the billets have been painted red – The attention has totally been drawn to the billets, making making the audience feel like there there is nothing to hide hide as you've shown them everything there there is to see. (Note the billets are not physically physically painted red, red, it's an expression expression for drawing attention to something something and I'm not sure the expression expression exists outside outside the U.K.) I have never really sat and thought about this sort of thing, it is something that I have sort sort of done subconsciously subconsciously - justification is something something that is totally situation dependant dependant (for me) which sort of counters (somewhat) (somewhat) what what I said earlier. If it needs a justification I‖ve just I‖ve just sort of done it and known when I need to do it. Take your time to look at your routines, when creating a billet routine does the billet need a justification? If it stands out as not being normal to the situation I would recommend recommend it. Here is a justification for the use of a billet in performance, I have outlined it in case you want want to justify the use use of a billet in performance. performance. Performer: "Right now I'm not really picking anything up from you as a person, we have only just met and therefore the connection our minds share is just foundational at best. With your permission I would like to try and deepen that connection, thoughts are very private things things and I don't don't want to impose impose without your permission". permission".
[Notice one thing here, I asked for permission. This is something so tiny but it is implicit that I am going to be climbing into their mind. I have never see see anyone ask this question a thought thought is a very, very private thing. thing. All the things that your your friends/ family tell you in confidence are stored stored there. Every secret you have ever kept kept is stored there. there. I think sometimes sometimes it is such a beautiful thing to ask someone if you can climb inside their mind. mind. This is also a great great little subtlety because the audience‖s the audience‖s focal focal point is aimed on this and not the billet. The billet should be the least important part of the routine (in terms of audience audience attention). attention). Performer: “I can tell from the off that you a re the sort of person that is the go to person person in times times of a crises. I also know you you are the sort sort of person that is good natured, natured, so good natured that you would never want anyone to look stupid in any situation. I know k now that your friends know that also, therefore even if I guessed what you were thinking of, the likeliness is that your friends will think you were just agreeing with me to make me not look stupid. I want you to take this, write (whatever you want them to write) this will act a ct as a tool of confi confirmation rmation later on IF I manage to pick up on your thoughts”. Look at the simple yet elegant nature of this, you in the nicest sense started to read the participant participant before you you introduced the the billet and the the only reason you are introducing the billet is because it is merely to act to confirm what you are saying to the participant‖s friends. Not to the participant because the participant is going to know if you got it right or not. This also works with sceptics You would use a different script to the one outlined above, this is to be used when you have someone who is butting heads with you and a nd the response you know they are going to give give when you introduce the billet is one of refusing to use the billet and or questioning questioning your motives motives for using using the billet. Performer: “One thing I think t hink we all know for sure is that no matter how many thoughts I guess of yours you will come up with with the most convoluted convoluted explanations as to how I arrived at them thoughts. That‖s not a bad thing I feel with you, you are the sort of person that questions everything and wants an explanation why. why. I also feel that because b ecause of your thought process even if I guessed what it is you were thinking of the likeliness is you wouldn‖t admit to it. So I am going to give you this, this, I want you to take it and write write (whatever you want want them to write) upon it. This just means that A) you cannot change your mind at any point and B) That That will act as insurance IF I get your thought”.
- Again simple but elegant. The aim is to work work with participants participants not to rub rub up the wrong wrong way and create bad rapport. This is to be used very sparingly sparingly when you do get the occasional occasional idiot that refuses refuses to quit. Another little subtlety is making a guess about what the participant has wrote before ever implementing implementing a peek, peek, just so it feels to the participant participant like you don‖t need to handle the billet as you have already started to pick up on their thoughts. This is where you will start to guess before before they make the the drawing/ write write the word. I mentioned above that this type of routine is one that is not utilised very often and the billet is not implemented until the last moment of performance. I will give you an example with a drawing, if the participant is asked to think of a drawing drawing the likeliness is that they will think of one one drawing and then change their their mind to another before before they commit. So a statement statement that almost always hits is Performer: “I feel with you that you changed your mind between a couple of drawings before settling on the one that you are thinking of now, right?” This will hit a lot lot of the time time as people tend to think before before they act, it really doesn‖t matter if the participant says “no I haven‖ t” t” - it just makes your job slightly harder as you don‖t have the second/ third drawing to wash wa sh away the misses in a moment moment but guessing is still very possible. possible. Like I said most of the time people will admit to the fact that they did change their mind a few times. The T he probability of them doing this can be heightened by simply implementing this line before asking them to think of a drawing, Performer: “Feel free to change your mind a few times, you don‖t have to if you don‖t want but I want to ensure the thing you are thinking of is entirely a free choice”. This will make them them think a little bit about the choice choice they are going to make. I would usually then start to prod at what it is they are thinking of, whilst trying my best to to make out as though I genuinely genuinely am picking up up on the participant‖ participant‖s thoughts. Performer: “Ok the thing I am feeling at the moment is that you went for something that is fairly abstract instead on intricate and detailed, to me it feels like this thing is something that is composed of a few simple shapes. If this is not the the image you are thinking of right now, it might have been one
of the ones you are still focusing on that you changed your mind from. I am correct so far right?” The participant will likely be inclined to say yes that you have picked up on specific elements; this is where you can add aanother nother line. Performer: “The drawing you are thinking of is not some thing thing that would would be found outside is it?” This is a closed question, closed question, it really really doesn‖t matter about the participant‖s participant‖s answer (the closed closed question is discussed discussed in detail in the readings readings document). Performer: “ Performer: “ Take this and draw the drawing drawing you are thinking thinking of so it is at the forefront forefront of your mind as other thoughts thoughts are getting getting in the the way. I need to make sure that that one thought thought is singled out from every every other thought thought” . ” This is where the participant will make a drawing drawing on a billet. After the participant has made the drawing you will get your peek, don‖ don t ‖ reveal the information straight from here. You need to implement some of the procedure first outlined in this document. During this type of routine you can always hand someone else at the table the billet and apply your your peek here, the justification for showing showing someone else else the billet it is so that two minds are thinking of the information heightening the probability of you being able to make an educated deductions. deductions. If you really wanted you could after getting the information use a one ahead in order to be able to get one one of the drawings drawings that the participant changed their mind from from meaning you you are opening up two hits for the price of one. A few simple sentences that are implicit towards the fact that you can read the participant without without the need need for the billet billet is all it takes to convince them of your abilities and the heat completely goes from the the billet. This sort of thinking transcends into many other areas of mentalism. Your most valuable asset as a mentalist is you! Let your props/ tools/ principles work for you not the other way around arou nd … In … In other words, don‖ don t ‖ put the entire emphasis on those things; things; put the emphasis emphasis on you and your participant. It is such a simple theory but very, very effective.
I think the title totally sums up the point I am trying t rying to express, more or less every single aspect of mentalism could be performed using a billet peek, but I totally think think it would be a mistake mistake to do so. so. I really think time should be taken to find out WHEN a billet should be used. It should be used in conjunction with prop-less prop- less material. I don‖t think the two could or should exist without the other. If you consistently use billet peeks for everything you do it is only going to to be a matter of time time before a participant participant or your your audience wonder wonder why you always have to resort resort to having having them write write something down. There is an interesting interesting story story that presses presses this point point but I will save save that for another time. Learn to focus where in a routine a billet is going to become utilised, make sure the spot is the logical spot for the billet to be used within the routine and ensure the the clean-up is perfect perfect also. Remember Remember the billet is there only to aid you in gaining the information information from the participant and should should be seen as such. I don‖t want to spend too much time on this point and the opinions I am am expressing are purely my own, remember there is no harm in experimenting.
This is a point I don‖t feel I should have to make but I will as I was suspect to making this error error and I am so glad I managed managed to get out of it. Using plain blank card stock in close close up performance, performance, in stage this is fine as you can be a lot more lenient with props (I don‖t know whether billets whether billets should be classed as props props or not, not, or who decides this stuff but I‖m sure I‖m sure you understand me). In close up scenarios I think think taking a totally blank card ca rd out of your pocket or your wallet screams irregularity. There is a simple simple way around this this Go around collecting collecting company business cards from from companies that people will recognise or if there is a particular gsm/ finish you like to use from a company that provide your billets have businesses printed onto the front of the card stock leaving leaving the reverse reverse side blank. I have over the years collected enough to last me some time, Vista print will send you a few hundred cards for nothing but the postage price! Keep the
design on the face simple, taxi/ private hire companies are great as they are cards you would naturally keep inside your wallet and no one would ever suspect a thing. If you are in the U.K these bad boys are things of beauty –
The trusty train ticket, innocent and instantly recognised recognised wherever wherever you go in the U.K. This will sit in your wallet and no no one would bat an eyelid if you asked something to write on the back of this train ticket. That is not why they are so beautiful beautiful though, the reason these these are so amazing is because of the back of the ticket…
Isn‖ Isn t ‖ that a thing of beauty? I probably obsess over things I shouldn‖t but anybody who performs the Acidus Novus or Busch‖s Billet will look at this and realise just why it is so amazing! For those who don‖t instantly instantly realise a lot of the time you you need to restrict restrict the participant to to a specific part of a billet in order order to facilitate the peek, this train ticket does does that without without having to add any extra work work or scripting scripting to the routine. It is truly simple and elegant, ask friends and family to save these tickets t ickets for you when they return from a journey and soon you will have a good number for free. free. If you are outside of England, this is the exact type of thing you are looking for, as it is something to aid you in utilising billets that seems natural. I personally never use 3x5 index cards as they are something that are so out of place over here that they don‖t even e ven fit naturally into everyday life and trying to peek with them is for me like trying trying to play basketball basketball with a medicine ball…Just not happening. If you want to use your own business cards in performance, think about the back design, how does it coincide with with the peek that you going to use? If you are restricting the participant to the bottom of the card (in the peek you are using) have a quote printed on the top half, there is nothing better than a restriction that is natural like this. There are pros and cons to leaving leaving the participant participant with your business business card – t‖s It‖s a gre at at thing to aid in promoting your your business but a bad thing if you you are trying to get get them to forget forget you had them write something something down. - Choose your battles. Anyway this brings us to the t he end of this month‖ month ‖s document, it is 5.33am I have not slept for for the last few days and I am now realising I have a cold coming coming on … What … What luck! I want to thank you guys for taking the time out to read this document and I really hope you get a lot of it. Thank you for following and being a part of my story.
THE END
