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I would just like to offer a few words before you open Dare to be BOLD, If you have not read my previous material ‘Devious Realities’ you may not, A. Be accustomed to my style and the way I think. B. Probably not appreciate the work inside this book as much as you should, hence the need to read this little pre-face. Upon reading some of the effects inside you may feel a little disheartened with the ‘method’ and do not believe the effect worthy of performance. All I have to say to the people that do this, is don’t be narrow minded! The EFFECT is what is important to an audience, the method is just a means to achieve said effect and the audience as a whole will never see it. You wouldn’t be worried about what under garments you were going to wear, if there wasn’t going to be anyone seeing them and this is the same. I thought about the EFFECT and thought about the cleanest methods of achieving the effects without having to use impression devices, pre-show and the need for the subject to write information down (so we can peek it). To replace the peeks, pre show, writing things down, sometimes (not all) we have to employ techniques that are normally frowned upon. This is in my opinion is not a problem, the methods in this book are tried and tested live (over the space of a tour), went down a storm and these are the ones I liked best. All the greats adhere to this way of thinking, if it is good enough for Derren, Jermay, Kenton, Docc Hillford, Annemann, Dunninger it should be good enough anyone!
Representation of thinking
⃝ A. (This is the start of the effect), ⃝ B. (This is the end of the effect). ⃝ A. ----------------------------------------------------------------------------------------- ⃝ B. Above is a representation of actual mind reading (if it was possible), this of course is never going to be achieved, so we must add variables and the idea when writing effects is to get from A.-B. With as little stops as possible. In this book this is the route I took, ⃝ A ------ (effect) ------------------ (variable here) -------(effect)----------------- ⃝ B. You can clearly see I have spent the time on the effect, the presentation the psychology and all sealed up with as little clues as possible (preventing lay to pick them apart). This is the conventional route, ⃝ A ----- (sub writes something)-----(peek happens)----(effect)--(variable)-----⃝ B. There is so much going on here, the writing (one variable),the peek (another variable) the presentation cannot be properly incorporated till towards the end of effect, the essence of performance is lost and there is so much to be picked apart. If you are at all worried about what an audience will think, record yourself performing the effects, play them back and revel at how clean the effects look! Please don’t try use all effects in one show just pick your favourite and try it, then use another effect at another show, they are miracles if used in moderation S>L>I>M (sometimes less is more). Thank you for purchasing this book and any questions on any of the material please don’t hesitate to contact me at Peterturnermind@hotmail.com Credits/Inspirations for my way of thinking, Derren, Kenton, Annemann, Dunninger, Corinda, Docc Hillford, Chris Rawlings and Luke Jermay (If I have missed anyone I am really sorry)...Pete
Dare to be BOLD? - Peter Turner
use one or two of the effects and then rotate them. Not for distribution in any manner whatsoever. The effects that follow are BOLD in method. ©2011 by Peter Turner. This work is protected in accordance with the Berne copyright convention and is protected worldwide for and by Peter Turner. . please don’t use every effect in one routine. if placed in the wrong hands could be classed as dangerous to a performers act. For personal and private use only. You will find this literature is a variety of singular effects. rather. just as essential as a Double Lift is to a card performer. You will also find some principles are used twice. please do not criticise this fact. they are used twice to create different effects.Peter Turner Warning All Rights Reserved. they are essential to make the effect work.Dare to be BOLD? .
Peter Turner I would like to dedicate this book to my beautiful wife Rebecca Ellis. This is for you thanks x . for being patient with me throughout the writing process and believing in me.Dare to be BOLD? . She is one of life’s greater rarities and not only my partner but a best friend also.
his work and stating that he liked my material.Dare to be BOLD? . So sit back and enjoy this book of strong Mentalism and then get out there and perform it! If you don’t. Pete is a good laugh and a genuinely good person. (Mind experiments with Kenton Knepper) .interesting. confirmed my hunch. impossible to figure out and yet simple for audiences to follow. Reading his brilliant first book ‘Devious Realities’ before it was released. His Mentalism is hard hitting. solidly and whole heartedly. opinions and experiences and I truly believe that because of this we are both much better performers. We continued to chat and share ideas. me and Pete chat on a regular basis and have some fantastic and exciting plans for the future. both separately and together. His methods are a construct of many hours of thought and testing. It is a pleasure to be able to call Pete a friend and to write this introduction. he approaches ideas boldly. I looked him up and instantly liked what I saw.. The man is a genius when it comes to creating. His presentations are contemporary and most importantly. Chris Rawlins. I look forward to working with Pete more and more in the future. get your hands on anything with his name attached whilst you can.. you will be missing out. you won’t regret it. I could already see that we thought in a similar way. Now March 2011.Peter Turner Introduction When Peter Turner approached me in august 2010. introducing himself.
The material upon first glance may appear a little too daring. . while reading each of the effects I urge you to try to work out the methodology for yourself. a little blatant and none practical. Please read. if there’s a box think outside of it. to sow then grow into your own creations. Many of my best creations are brought to life by thinking of the end result and working backwards to find a method. this will not only prove self gratifying if oneself is correct.Peter Turner A few words from the author Firstly I would thank you for purchasing this book. I have to admit I have been suspect to this. they are very much practical and provoke massive crowd reaction (always good I may add). one should take influence from as many sources and fields as applicable. Contained are methods I have kept close to my chest for sometime and feel they are now needed to be shared to get the appreciation they deserve. classing them too bold. then re-read all the information in this book several times. I have performed these effects live many times. it is the principles contained within that I think you will find ultimately important. I end this section few words on creating. not only to expand your knowledge but to be fundamental towards your future way of thinking. but broaden the minds capacity also. When reading any instructional material one can tend to dismiss the essentials.Dare to be BOLD? . I am sure you will enjoy reading the effects as much as I enjoyed writing them. I hope the ideas you find inside this book prove to be useful. if there’s a circle try to find the corners. To make your read more of an entertaining experience. Use the contained principles as a ‘seed’. writing off valuable pieces of information that have later proved to be essential to myself not only as a practitioner but as a performer.
quotes based upon using this creative thorium. never wiser words written by a genius amongst the highest of thinkers.Peter Turner I leave you with a couple of quotes that come to mind. one offered by myself and the other. it is generally because they have misread the formulae’ Peter turner ‘Once you eliminate the impossible. ‘If one struggles to find the answer to an equation. whatever else remains no matter how improbable must be the truth’ Sir Arthur Conan Doyle I hope you enjoy the effects .Dare to be BOLD? .
the new participant confirms that he also is not a stooge and is asked to take a seat. While some effects could be placed into other categories I have placed them into the positions I deemed fit.Dare to be BOLD? . is a way to make two people watching the same effect. Most of the people who have purchased my previous workings will know I am a big fan of dual reality. dual reality for those who do not know. to which she replies she is most certainly not and that she has never had the pleasure of being acquainted with the performer before now. she is asked not to state anything out loud and just to think of her choices. The Performer asks her to pick any random male member of the audience to join her on the stage. this I have done for the purpose of reference. see two entirely different effects (a form of perception control) where both parties often leave baffled. The female is now asked to make decisions based on her feelings. . Trust your instinct Effect The performer invites a female subject up onto the stage and asks her if she is a stooge or a confederate.Peter Turner You will notice upon reading these pages that I have placed certain effects into certain categories. Here I offer a couple of effects and then a principle to which I hope you find ultimately useful. once she has made that decision she gets told to think of the suit and finally the value. She is asked to imagine a deck of cards and then think of what colour she would like.
it is one of the simpler in this book.Peter Turner A deck of cards is then produced and handed to the seated male. The second subject is going to be asked to go through the cards one at a time placing them face down on the table. the card that is in her mind alone. it matches the card the female subject had in her mind! Method Although the effect mentioned sounds to be complicated to perform. he is to place the card he stopped at away from the rest (ensuring it is kept face down).Dare to be BOLD? . The performer then asks the female to state out loud the card she selected mentally. (I always use a picture card to which you will understand more later) while holding the subjects wrist. but say nothing out loud. . ‘The Jack of Hearts’ The male is then asked to show everyone what card he has chosen out of the deck. He is asked to go through the entire deck face down one at a time until he gets the feeling to stop. the female is to imagine she is screaming the card that is in her mind at the male. you give it a little squeeze when you want her to select something. whenever he gets the urge to stop. he is to place that card face down on the table away from the rest of the cards. Now to ensure the male subject selects the card you want him to select. this effect is based on an aggregate of simple nuances. when he feels he has to stop. I applied Theodore Annemann’s slate principle but put a fascinating spin on it. I promise you will know a more when you read the performance section. whatever card you are going to force the female (I use the Jack of Hearts) purchase a one way forcing deck that matches the force card. Firstly to get the card into the female subjects head. Confused? If so.
‘I would just like you to confirm we have never met and you are not a stooge or a confederate?’ To which the female responds. you ask him to take a seat at a table several feet away and relax for a few moments. It is a well known fact that gut feelings are often proved right and many people base their lives and the way they make decisions based on these gut feelings.Dare to be BOLD? . when he has approached the stage ask him the same question you asked the female (the stooge question). Address the female. ‘Now we are going to try something based on feelings. there is no way anyone could know what that card is. How many people in the audience believe in gut feelings or inside intuition?’ Wait for a response and select a female from the audience with her hand up. as she believes she is mentally sending a card to him and he finds it. . ‘No we have never met before now’. how can anyone suspect the deck being fifty two of her card? Both participants will freak out here. The performer then asks her based on gut feeling to choose a male member of the audience. After he confirms he is not a stooge. Performance The performer addresses the audience and states. as it appears SHE thought of the card. place your right hand up and point your index finger towards the ceiling and just relax’. ‘I would like you to face the audience. he believes. like the audience that she has thought of a card and he has found it by gut feelings. gut feelings to be precise.Peter Turner The great thing about this is no one can question the deck.
. thinking she is following that feeling. Now for the suit (say this slowly) it could be Club. keep hold of the wrist and state. ‘I would like you to imagine in your mind a deck of playing cards. I have performed this live lots of times and not ever been questioned on it. I would like you to close your eyes for now and just listen carefully. it is essential you say nothing out loud during any of this as we don’t want to give any clues away. Lets see what we have accomplished.Two (squeeze wrist) Three Use that feeling as a guide to what you are to select’.. ‘In a moment’s time (insert subjects name) we are going to try something based on feeling. In a moment you will get this feeling (squeeze wrist whilst simultaneously waving your free hand past the subject’s hand that points to the ceiling) and the feeling (squeeze wrist) will tell you what choices to make. for example if it was the number two you was to select.Peter Turner Take the subject left wrist in your right hand pull them forward a step. the subject is being prompted via the squeeze of the wrist. it really is invisible) Proceed. the audience believe the feeling is going to happen around the extended finger facing the ceiling. Spade or diamond just build the card as we go along. (You are forcing the subject using an invisible force. so that’s Red (squeeze wrist) or black. when I count you will get the feeling (squeeze wrist) on the number two.Dare to be BOLD? . I would like you think Red (squeeze wrist) or Black. One. . Heart (squeeze wrist)..
Queen or King and if it’s a number you have from ace right through to ten’.Dare to be BOLD? . if it is a picture it could be a Jack (squeeze wrist). then hand him the cards. When I pull the cards out of the card case (before I hand them to the male subject) I hold them up for the audience to see the bottom card. . Ask the male. just stop at that card’. ‘I would like you in a moment’s time when I say. no one else knows that in this room. As a little psychological ploy so the audience believe the deck is all different. please don’t change your mind and your job is to just try mentally sending that playing card to (insert male subjects name)’. (This psychologically seals the fact that no one does know the card identity and ensures the female subject will respond the way we want when he finds her card). then when you get the feeling to stop. Approach the male subject. remove the cards from the card case and hand him the deck face down. ‘There is no way on earth (insert the male subject’s name) can know what card (female subjects name) and you don’t do you?’ He will obviously respond he doesn’t. Address male. I would like you to deal the cards face down one at a time. ‘Now (insert female subject’s name) you have the image of a playing card in your mind. Walk back to the female.Peter Turner It could be a Picture (squeeze wrist) or a Number. just imagine telling (insert male name) what your card is in his ear’. ‘You must not say anything out loud. I place a different card to the one way force deck on the bottom.
close the effect by having them return to their seats. Notes* for stage I would recommend the use of a JUMBO one way forcing deck. As this all goes on underneath the table no one will be any the wiser.Peter Turner ‘I would like you to close your eyes and when you are comfortable begin. ‘(Insert female name) can you say nice and clear what card you had in your mind?’ She responds ‘The Jack of Hearts’ ‘(Male name) you really had no idea it was that card’? He responds ‘No’ ‘Can you please turn the card over. stop when you get the urge to stop’. which you stopped at and show the audience’. Seated/close up presentation To perform this effect seated/close up. Both participants will be amazed at this point. Collect the rest of the cards put them in the deck then state. . ask the person to sit feet flat on the floor. just change one variable.Dare to be BOLD? . hold out their index finger and close their eyes and instead of squeezing the wrist gently stand on their foot. Let him stop where he likes and ask him to open his eyes. use the same performance just replace (squeeze wrist) with (stand on foot). ‘Keep that card face down for the moment’.
The performer says ‘Go’. She holds up an amount of fingers and the blindfolded subject is able to correctly identify the amount of fingers. based on the three digit number that she chose at random. Once she understands the game a second subject is chose in the same manner and invited up onto the stage also. When the performer says ‘go’ the first subject is to hold her fingers up so the audience can see them and the second subject is asked to guess how many fingers he believes she is holding up. It is explained that if for example she chose ‘123’ as her three digit number. The performer explains they are going to play three games in total and the game will be referred to as ‘the Finger Game’. this eliminates anyone thinking he is somehow secretly prompting the blindfolded subject. the second game two fingers and the third game three fingers. a random member of the audience is selected via the throw of a paper ball and is asked to join the performer on the stage. then places the first subject behind him also facing the audience (the second subject has his back to the first subject). The performer places the second subject facing the audience and blindfolds him.Peter Turner Dunninger vs.Dare to be BOLD? . Annemann Effect Everyone in the audience is asked to think of a three digit number. so he has his back facing the subject holding up the fingers. this is repeated three times in total all three time the second subject gets it right! . The performer turns around also. when she plays the first game she is to hold one finger up for the audience to see. It is then explained that they are going to play a game.
he uses Dunninger’s principle. thus making it impossible to know how many fingers she is holding up. please do not overlook the use of the principles offered. The fact is simple the performer is prompting the subject via the wrist squeeze mentioned earlier. Performance ‘This is the part in the show when we forget about all the educated stuff and play a fun game. which I do not like the idea of at all). This sells the fact he couldn’t possibly be prompting the blindfolded subject. this is a second use of this method just to show you how versatile this principle can be as use of a force if used properly. But how does the performer know how many fingers the female subject is holding up to prompt the second subject? He asks the whole audience to think of a three digit number at the start and when he invites the lady up onto the stage. (unless he has a stooge in the audience. The original method used a pre showed stooge. Notes* this effect plays really big if presented in the correct manner. I try to make them look like they have that impossible feel to them and this one certainly has.Dare to be BOLD? . in this book I have tried to demonstrate as many ways as possible to make a subject on stage a stooge without knowing he/she is. is the performer has his back to the subject that holds up the fingers. I would like everyone in the audience to think of a three digit number I will give you a few seconds to do this’ Leave them five seconds or so then state. The reason this effect is impossible to figure out. . (Asking her under the guise of the loud applause what her number was)! See end of effect for close up alternative.Peter Turner Method This game is an oldie but I love it! As with all my effects.
the first game she will hold up one finger for everyone to see the second game two fingers and the third game three fingers’. ‘We are going to play a game based on the three digit number that (insert subjects name here) has in her mind. a lot of you will have played it when you was in primary school. .Dare to be BOLD? . Where one person holds up an amount of fingers and a second person who is facing in the opposite direction tries to guess the amount of fingers on display. Address the audience. ‘What was your number?’ She responds ‘325’ ‘Fantastic.Peter Turner ‘I am going to throw this paper ball over my shoulder the person that catches it will be a random member of the audience’ Throw ball behind your shoulder. it is a game known as the finger game. Now the reason for thinking of a three digit number is this. we are going to play three games and say for example (insert subjects name here) had chosen ‘123’. Make sure she understands. ‘Everyone happy that was a random choice?’ Wait for response. please do not forget your number and I will explain more in a moment’. ‘Can I have a loud round of applause then please’? Lead the subject to the stage (for purpose of demonstration we will say it’s a female) under the guise of applause ask.
you will just get this feeling (squeeze wrist) when you are to select something. ‘I would like you to stand at the front here and we are going to blindfold you so that you can’t rely on visual clues. Trust your feelings. Address the female subject.Dare to be BOLD? . but behind the male so she is looking at his back (ensure that the audience can see her clearly). ‘(insert her name here) in a minute when I say go I would like you to hold up the amount of fingers that corresponds with your number’ Stand facing the audience next to the male (your back is also facing the female) take the males wrist and say. you will have to go with your feelings on this one’. Position the female subject facing the audience also. Throw the ball again Invite the member up onto the stage (for purpose of demonstration we will say they are male). Make sure he understands and then address the female. ‘(Insert female name) get ready to show the audience the amount of fingers that corresponds with the first number in your three digits but please say nothing out loud as to give any clues away.Peter Turner ‘As it would be a little boring watching me guess. so for example for the number two. . when you get this feeling (squeeze wrist) select that number. that’s all I have been doing all night after all. it is essential you make your selections based on feeling. we need another random volunteer’. when I count out loud you will get this feeling (squeeze wrist) when I say the number two and you will know that is the number you must go with’. address him. ‘(Insert male name here).
this does not mean the effects cannot be performed close up! Here whilst offering the alternative method for making this effect a close up presentation. three (squeeze wrist) four.. Address audience..What is Dunninger’s principle used for? A. one... Close up presentation I know upon reading effects from books often one can become dishearten because the effects are described in a stage style presentation. I would like to offer a quick lesson on how to turn any stage piece into a close up routine. (We know the first number is three so we just squeeze the wrist on three) ‘Right (insert male name).. . (Insert male name) what number was it’ He responds ‘Three?’ The crowd will applaud.. ‘If (insert male name) gets this right. Q. After reading over the effect you will see it’s soon see it is the use of Dunninger’s principle..Dare to be BOLD? . let’s have a massive round of applause to show him he was correct. Firstly let’s take a look at the one reason this effect (the stage presentation) and the reason why it couldn’t be used as a close up effect. Address audience. As a means to extract data from a subject without the audience knowing.. two. repeat the process two more times and close effect. ‘Now you all know the number lets see if (insert name) can pick up n it based on feelings’..Peter Turner Go! Show them the amount now’. five’.
you handed the whiteboard to someone in the front line. When you create an instant stooge and they have a piece of information you have forced upon them (i.e. hand the white board to someone in the front line of the audience and walk back over to the subject in the stage. The subject hears you stood next to them (their eyes are closed) and hears you ask the person with the board to label the image and show everyone what .Dare to be BOLD? . It is not an effect in itself but more a nuance to add at to the end of your effects. Use a peek. All you need to do is spot the variable in these effects that make the effect unworkable close up and substitute them with a tried and tested method you are comfortable using close up. ‘Please write on the board what the image is as the drawing may not be clear enough and hold it up and show everyone what you have got there. Look at them and draw the image or piece of info (you forced) on a whiteboard. extract the three digit number and then proceed with the routine in an intimate manner. White Board Dual reality I chose to place this here before you got to the next section of the book. names.’ Let’s take a look at things the audience have seen you draw an image you just asked someone to think of. the trust your instincts effect in this literature) and you have asked the subject to keep their eyes closed. this principle is one you should find ultimately invaluable.Peter Turner We as performers extract data all the time. a switch whatever method you feel comfortable using. Address the person with the board. numbers you name it we extract it and that’s all you need to do to make this particular effect work in a close up sitting.
You too will see just how easy it is. making the seated subject believe the person in the audience has drawn the image.Peter Turner they have got.Just add patter’ – (Eddy R) This is a principle that often fools many working professionals in the industry. ‘Instant stooge . Apply this principle and the ‘stooge’ will be shocked when the reveal takes place as they believe they have successfully sent the image to someone in the audience. a subject selects a book at random then . when reading these effects please imagine the effect from the audience’s perspective. Using this principle they are a multitude of possibilities. whilst the audience believe the subject just thought of a number and you (the performer) has just looked and guessed it! Instant stooging is a technique in which an onstage subject (who has never met the performer) is practically forced into becoming a stooge. all seeming to follow a similar pattern with the same outcome. I tried to cover all the psychological aspects to make each move and routine logical in its workings. a lot of the time without knowing they have. Make a thing of asking everyone in the audience if they know what number the subject is thinking off (they wont) and then ask the subject to close their eyes.Dare to be BOLD? . Subject to subject book test Book tests are not a new ploy to the mentalist. (for example) you could use the squeeze principle to force a subject a three digit number and tell them they are going to try transmitting that number around the room and see if it can be picked up.
. you will see the real workings. Both the boards are turned around to show each subject has correctly predicted the others word! Note* the subjects can choose any page at complete random. a white board and a pen.Dare to be BOLD? . select a word that stands out to them and write it down. they are handed a book.Peter Turner chooses a page and finally a word. this is the just mechanics. Please read the performance section of this effect. the performer is then able to correctly predict the word that was selected at random. the second subject is asked to state out loud what word she think the first has chosen. When they both confirm they have done this and settled upon a word. I wanted something a little different. Method The method involved here is very simple but bold. each subject is then asked to imagine they are the other subject. there is no preshow work required and the mentalist never intervenes the subjects do all the work. Take one of the two books. Two subjects are asked to come up onto the stage. I hope you enjoy. They are then asked to turn to any page they desire within the book. here is my presentation. look at this effect from the audience’s perspective. Effect As seen by the audience. imagine they are flicking through the others book and to visualize the word that they think the other has selected. Both ensuring their word is kept private from the other subject. two different books. the words that are selected are different to each others. the first subject is asked to state out loud what word he thinks the second subject has chosen. turn to page five and use a sharpie marker and apply as shown in the picture.
use the marker and apply in the manner shown in photo two. one page the writing is on the top.Peter Turner Repeat for each page. As the ink leeks through the pages. (You will notice there are arrows drawn on the pages.Dare to be BOLD? . the only ink that will bleed underneath the writing on the next page is the arrows. the other page it is on the bottom). (See picture) . The reason for the arrows on each page is so the subject can clearly read the writing. In the second book.
So lets have a look at what we have.Peter Turner Repeat for each page. ‘Play along your word is DREAM the other persons is GUITAR’ The other book says. (See Picture) . one book says.Dare to be BOLD? . ‘Play along your word is GUITAR the other persons is DREAM’ This is what the audience will see.
Dare to be BOLD? . then somebody in the room has mentioned something or interrupted and have accidently wrote what that person said in place of what was originally intended? This got me thinking. the subject really can turn to any page now.Peter Turner The cover hides the secret writing inside the book. Performance ‘We are now going to turn our attention to a psychological issue that I have put a lot of thought into recently. the patter described in the performance section will ensure the subjects follow what you need them to. how many people in the audience have been writing something down. would it be possible to make somebody read something that wasn’t there if interrupted at the right moment? Or think what someone else is thinking if the circumstances are portrayed correctly? .
(Classic dual reality here the subject thinks we mean the secret hidden in the book. When you flick through the pages keep a straight face at all times as not to give anything away to us’.Peter Turner Then I came up with this to portray my findings. please go and take a book each off of the table’. After getting the two volunteers onto the stage state. though to the audience will appear to be an astounding feat. the audience will interoperate this as the demonstration will only work if they follow the instructions closely. ‘In a moments time we are going to attempt something you will find easy. I’m not going to make a fool out of you or embarrass you. the audience believe we mean the psychological cues). ‘On the page you select you will notice one word that stands out. YOUR word is the going to be the word you will write on the board. keep the book held so we cant see the pages and at no time shall you look at the other person sat on the stage. Hand them a whiteboard and pen and ask them to take a seat facing the audience. (this will ensure the audience does not see the pages that are marked). I need two easy going volunteers that are happy to just go along with what I ask. this will go perfectly if you just do what is asked of you. .Dare to be BOLD? . it is essential for this to work’ This will ensure that the two people selected follow what you have written on the inside of the books. just pretend you can do this believe you can. All I need you to do is pretend. that word is YOUR word. ‘You are going to choose any page at random.
‘DREAM’ Ask subject one to turn around their board it matches.Peter Turner When you have that in your mind I would also like you to imagine being the other person. Keep the boards toward your chest so no one can see what is on them. I think after reading the dialog you can understand how something that seemed a little daring at first becomes a somewhat simple feat. when you think you have it in lights tell me out loud THE OTHER PERSONS word’. . make the word you have in your mind bright and bring it to the front of your mind when you have done this state it out loud’. I usually stop the round of applause here and address subject two. see it in your mind. seeing your word. please join me on the stage and face the audience if you will’. make it large and bring it to the front of your mind. go past your word until you come to THE OTHER PERSONS word.Dare to be BOLD? . ‘Please close the books lay them on the floor at the side of your chair and write YOUR word on the white board. imagine THE OTHER PERSONS WORD get it into your mind and please don’t forget it. This is all about pretending and playing along. making sure you keep it hidden from each other. Address subject one. ‘GUITAR’ Ask subject two to turn their board around sure enough it says GUITAR. ‘Please can you do the same. ‘Now what I would like you to do is imagine you are looking in the book. you must think you can in order for this to work’.
Peter Turner ‘Loud round of applause for these two subjects’. trust me people will be more fascinated by the fact they can’t do it themselves. no preshow no impression devices and the performer draws the image before touching the subjects! Method This method occurred to me a long time ago and I never really got to make an effect fit it. until now. The performer seats the subject looks at him and after a few moments’ draws an image on a large white board. This effect I thought was a little too good to put into a book but after better judgement I gave in. they are to draw any image that comes to mind and wrap it in the paper to ensure no possibility of anyone seeing it. . when the subject has completed the drawing and wrapped it up he claims he will try to reproduce the image. There is one variable most performers take for granted and that is audience reaction. thank you again’ Simon says (Drawing duplication) This effect makes use of the instant stooging method in a very obscure fashion.Dare to be BOLD? . the drawing is removed from the newspaper and is verified to match!!! No peeks. If anyone asks you how you did this tell them you don’t know. the whole audience are stooges and not one of them knows it! Effect A subject is invite up onto the stage handed a white board and a newspaper is asked to stand facing the audience. The performer faces away the entire time while this takes place. Address the subjects under the guise of the applause ‘You were absolutely fantastic.
‘I would like you to think of any image in the world please make it something I could never know and not something simple like the image of a house or a stickman. how would the subject know what he had said matched what was on the board without looking? Answer: The reaction from the audience! I then added a few nuances.Peter Turner Think of this. ‘I am about to attempt something that may not work. if a subject was standing behind a white board. a drawing was drawn on the white board and the subject was asked to name anything in the world out loud. Draw with a permanent marker on one side of the white board the image of a car (or any image you can draw) but draw it so it looks like someone else’s drawing. hiding a cheeky utility switch swapping a random drawn image to the one you had drawn before the show. Place the white board drawing side down on top of the newspaper then place these items together on a table you are ready to begin. came up with an effect and here is my presentation. I really hope it does as it will be a lovely visual treat for you the audience’. Address the subject. Performance Invite up a member of the audience (via any means you see fit) state. You will need a regular small double sided white board and two sheets of newspaper. Hand them the board (with the paper under it) ask them to keep the drawing towards their chest and when they are done to fold the paper around it so there is no way anyone can see what you have drawn. .Dare to be BOLD? . You will see how the paper is used as a mask.
all ready to be folded.Peter Turner Demonstrate how to wrap it around.Dare to be BOLD? . (retaining the paper on the back of the white board it folds around the front (so the white board is sandwiched in the middle of the paper. (See Picture Two for sandwiched board) . (See pictures for demonstration of fold) As you can see the paper is under the white board.
this is the image I think (subjects name) settled on. ‘There is no way on earth I could have known what you were going to draw and you up until a few moments ago didn’t either correct’? ‘Yeah’ ‘You verified that it is well sealed in opaque paper and that there is no way I could just guess that image’ He responds ‘Correct’ ‘I would like you to sit and just mentally repeat your image over and over again in your mind. state to the audience they must say nothing out loud and on the white board draw a car (or the image you drew in permanent marker on the little board). Address the audience. ‘I think this is the image I would like you all to remember. draw something and then scrub it off (while shaking you head) claim it is a difficult one to get.Peter Turner This is a little bold but really sells the fair fact.Dare to be BOLD? . when I show you what . Ask the subject to make the image larger in their mind. turn facing the audience (back to the subject). Walk over to the front of the stage and pick up your white board. Ask the participant to verify you can’t see through the paper and there is no tell tale signs that give away what the image is (he will say no). imagine shouting the image to me’ Seat the subject at the back of the stage (well behind the white board at the front of the stage) ensuring he can’t see what you drew. Ask him to place the board and paper on the table and ask him to take a seat stating. ask the subject to tell you when he has folded the paper round hiding the image from sight.
hopefully the two images will match’. in front of an audience full off people and I never came anywhere near your drawing. Close the paper (sandwiching the board again) and bring the sandwiched board back to waist height. ‘I drew an image on that white board. The subject has seen his image has no need to question anyone in the audience. . (make sure your image is facing the audience) state. Pick up the newspaper with the board inside and walk to the front of the stage. ‘If this image matches the one that I drew just a moment ago please let (subjects name) know with a loud round of applause’. Hold the whole lot in your left hand (don’t state anything about the drawing just let him see it casually) and shake his hand (your body and the back of the paper will hide these actions.Peter Turner (subjects name) drew if the images match I would like a massive round of applause to let (say the subjects name) know that I got it correct. when you turn around toward the subject. Hold the image above your head open the front flap of the paper revealing the image (the one you drew long before the show) to the audience. This is the bit where the entire thing is sewn up in the subjects mind. the audience has no need to question the subject as they are the stooges in this effect and have all seen the image. remove the board his drawing side up and place your drawing face down back on top of the paper. ensure the back of the image is still covered by paper as the seated subject is behind you (the paper prevents him seeing his image). Does everyone have this image in their minds now’? Wipe the image off of the board Address the subject.Dare to be BOLD? .
. to choose someone that meant something to them and make sure that it’s a name no one else in the room is going to know. then work backwards to figure out the methodology and straighten out the creases after. when there is nothing on the T. So I dedicate this effect to my good friend Chris Rawlins. Lost and found The idea of this effect came to me early one morning. you all know the time. this ensures you know which way round to open the paper when you get to the front of the stage. After thinking long and hard about this effect. As I stated at the start of the book I usually come up with an effect in my head.Dare to be BOLD? . using the audience as stooges without them knowing (which I believe has not been in print before) is devious. Effect The performer invites a subject up onto the stage and asks them to think of the last name of a person that they went to school with. author of the fantastic book ‘Mind Experiments’ and innovator of the Reverse Bank Night effect from where this ‘seed’ came from. Notes* I would recommend marking the side of the paper with a little sticky dot.Peter Turner Ask for a round of applause for him as he takes a seat.V and the hours you are awake. The last thing we want is the audience seeing the random drawn image. I would never have been able to offer this effect to you now i f I didn’t have that ‘Seed’. your mind is working over time preventing you from sleeping. this effect is all about presentation the method is so simple it will go undetected and the cheekiness of facing the audience while he draws it. Although the original principle was used in a different manner. there was only one method I deemed would work. The performer explains that he is not going to perform this effect and that someone from the audience will be selected to do his job.
A second subject is invited to the stage. After it is verified that the envelopes are in fact opaque. ensuring no one else hears it and the performer writes the name (hidden from the audience) on a business card and then presents five pay envelopes.Peter Turner The performer asks the subject to whisper the last name into his ear. This is repeated three more times until one envelope remains. so even the performer cannot know the order. let it come to the front of his mind and when it is bright and clear say that name out loud. let alone the name written on the card. (See picture) . he is asked to take an envelope he doesn’t believe the word is in and tear it to reveal that envelope is empty. he confirms he has not met the first subject or the performer before and he has no idea which envelope the contents are in. The envelopes are then fanned out in front of the subject. He responds ‘Greenwood’ The envelope is opened to reveal the name is in fact Greenwood! The subject has not only predicted the correct envelope but the name also! Method The five envelopes are in fact very opaque. the word is sealed inside one of the envelopes and handed to the spectator who mixes them behind their back.Dare to be BOLD? . the secret lies on the face side of one envelope. there is no way they can be seen through. the subject is then asked to close his eyes and imagine the name.
. On the address side of the envelope you can see it clearly see it says IT’S IN HERE. I write it on the underline space on the envelope first then move the business card on top (covering the whole of the writing on the envelope and state.Peter Turner (For the purpose of demonstration I used a large envelope. in performance use a pay/penny envelope). THE NAME IS _______ (which is a blank underlined space) Write this template onto one envelope. when it is whispered in your ear you double write the name on the card and the envelope. Here is a ploy I use to make the double writing go unnoticed. To get the name on the underlined space is simple.Dare to be BOLD? .
Dare to be BOLD? . (See Picture) .Peter Turner ‘I’m just going to make it a little bolder so it can be seen clearly later on’ Slide the business card on top of the writing on the envelope and then write the name large and bold across the card. This ensures the double writing will go unnoticed.
Dare to be BOLD? . Performance ‘This is the part of the show for me I enjoy the most as I get to have a little break from being the thought reader. . Choose a volunteer from the audience by whatever means you see adequate and when the volunteer is on stage address her. I think you can see how this sews up the psychological factor. to which I am sure you will understand more in a few moments’. when the card is on top of the envelope covering the secret writing. invite the second subject to just check the name is spelt correctly and is clear enough to see.Peter Turner To psychologically seal the fact there is only one name written. not just any name but someone that you went to school with and that meant something to you’. ‘Can you please get a name into your mind.
I would like you to turn your back while I seal the card inside an envelope.Peter Turner Go over to the table. remove a business card from your breast pocket and place it horizontally on top of the secret writing.Dare to be BOLD? . ‘Now you have the name in mind. the one with the secret writing is placed on top. pick up the stack of envelopes. slide the business card up and write on the envelope. (Of course this is so the subject doesn’t see the secret writing) Once the envelope is sealed and all of the envelopes are address side down. the subject is asked to turn back round and you hand the subject an envelope.’ When the subject whispers the name. hold the cards towards your self. I would like you to whisper that name to me and please be careful so that no one else hears it. Keep them towards yourself as you walk over to the subject. . ‘Is that spelt correctly?’ (Wait for response) ‘It should be bold enough for everyone to see later on. ‘In fact I will make it a little bolder as that may be a little difficult for the audience to see’ Boldly write the name on the card and invite the subject to see it. hidden writing facing you and state. Then state. Then fan them towards the subject flap side facing them. just so this is entirely fair and you do not know which envelope the card is in’. ask the subject if the envelopes can be seen through and to verify that they cannot.
Hand them to the subject face down and ask the subject to mix them up behind their back. your word is sealed inside one of them.Dare to be BOLD? . It just psychologically says there are no special marks on the envelopes even though we know differently. ‘There are five envelopes here. but predict the name you have in your mind’. The real reason for fanning the envelopes towards the subject and the audience is to sell the fact they are completely sealed and cannot be seen through when held up. demonstrate this process (you don’t want them turning the envelopes over so some are address side up and some are flap side up). I’m going to get someone to come up and not only predict what envelope the name is in.Peter Turner (This is the side you will fan towards the subject and the audience). .
Dare to be BOLD? . . I promise you can and will. Ask the new subject you invited up if they are a stooge. whilst you are doing this I will invite another member of the audience up’. they can only reply they do not. if you trust me and follow what I say. you must keep a straight face and concentrate. if they have any idea what the word is or which envelope it is in. not only that you will know the word. it’s impossible. Keep emotionless throughout the selection process it is absolutely essential. When the subject is in position fan the envelopes towards him this is what he will see. Follow your instinct and trust me’. I know what you are thinking.Peter Turner ‘You don’t know which envelope the card is inside and now there is no possible way I could. Stand him facing the audience and the first subject. Address the new subject which we will call ‘JR’ ‘In a moment’s time you will know which envelope the word is in. that you won’t be able to.
Dare to be BOLD? - Peter Turner
‘I can tell by looking at you already have an idea which one the is inside, I would like you to take one that you believe it is not inside’
When you have taken the envelope please tear the envelope up to reveal it is in fact empty.
‘I would now like you to concentrate and choose two envelopes, again two envelopes you just know in your mind has no contents then tear them up to reveal they are in fact empty. There are just two envelopes left now and its 50/50 please take your time now as there is no rush, remove the envelope you believe has no contents and again tear it to show it is in fact empty’.
Address the audience
‘Loud round of applause (JR) has managed to correctly identify which envelope contains the card! But wait’.
Cut the applause here,
‘Let’s take this one step further; you were left with this one envelope’.
(Show ‘JR’ the envelope; this is a totally natural motion in the eyes of the audience, this is what he alone will see.)
Dare to be BOLD? - Peter Turner
Place the envelope writing side down on the table address JR,
‘Please close your eyes for me, you have trusted me so far and you correctly got the right envelope, you will have the idea of a name in your mind already, you need to slowly make it very bright and large in your mind. I will give you 5 seconds to do this in which the audience need to remain absolutely silent’.
Address the audience,
‘Please remain absolutely silent for five seconds’.
Hold five fingers up reduce it from five to one each second,
‘JR please open your eyes and state clearly what name you think is inside the envelope.’
Dare to be BOLD? - Peter Turner
The subject that whispered the name to you should freak out at this point; open the envelope, ensuring it is kept writing side down and bring out the card very openly. Show the card to the audience and enjoy the applause you deserve, close the effect up in the usual manner.
This for me is my favourite effect that I have shared in this book, the reason it’s my favourite is the absolute cheekiness that goes on underneath the judge’s nose.
The performer states he is going to demonstrate a feat which can only be described as impossible; he invites a random member of the audience up onto the stage and verifies they have not met before. He hands a Manila envelope to the subject and states the reason she has been invited onto the stage is to make sure nothing suspicious is going on and is asked not to lie for the performer on any account. From now on she will be referred to as the Judge she is asked to inspect the envelope, make sure it is not see through, there are no slits, secret holes or marks that give away the contents. She is asked if she knows what the contents are, she states she does not and then is asked to invite another member of the audience up onto the stage. The performer then tells the audience that inside the envelope is a picture and no one in the room knows the contents of the envelope is signed and then handed back to the performer.
You will firstly need to prepare a pay / penny envelope by placing inside it a picture. The new subject is handed a white board and a pen and asked to draw the image they have in their mind. sealed opaque envelope whilst the whole thing is judged! Method This is such a cheeky method. I use a famous landmark that everyone knows and can easily be drawn. when they have completed this the envelope is opened and inside is a picture that matches the image they drew. A subject that was chosen at random has successfully duplicated a picture that is in an examined. For the purpose of demonstration we shall use The Eiffel tower. it relies on an envelope switch that is done so openly it goes completely unnoticed. On the outside of this envelope (on the address side) write It’s a pic of ‘the Eiffel Tower’ .Dare to be BOLD? .Peter Turner He addresses the subject that the Judge chose and asks them to concentrate very hard and build the picture up in their minds that they believe is inside the envelope.
and place a marker pen on the outside of the left pocket as shown in the photograph. .Dare to be BOLD? . take the envelope back of off them in your right hand. Then state. And you are all set to perform the switch. flap side of envelope is towards your body. (this envelope never gets opened) don’t mark it in anyway or write anything on it just seal it. Now for the switch. When you have handed the un-gimmicked envelope to the subject and it has been fully verified to be opaque and not marked. ‘In fact just so this is ultra fair we will have you sign the envelope’.Peter Turner Now take a duplicate envelope and seal inside any picture. prepare by placing the gimmicked envelope under your left armpit (inside your jacket). close the jacket so no one is aware the envelope is there or the pen. The clip on the pen lid is inside the pocket holding it on the outside of the pocket.
grab your left lapel with you left hand open the lapel slightly and reach your right hand (still holding the envelope) straight into left breast pocket. (See picture) . on the way out grab the pen and envelope from under the armpit in one smooth motion. (see picture). This is the cheeky part. drop the envelope.Peter Turner Bring your right hand up to your right lapel with the envelope and reach in for a pen in the right jacket pocket (we obviously know its not there).Dare to be BOLD? .
it is so simple and fast to perform. Ask a female member of the audience to assist you on the stage. Sometimes as I’m walking with her (when she gets the new participant) I undo the buttons on the jacket and let the jacket open. . let me see’. explain to her she is going to be known as the judge from now on and her job is to ensure that nothing suspicious happens and she will be the eyes of the audience. I firstly need to find a member of the audience. Performance ‘I am now going to perform a feat that is considered Impossible by all accounts. The envelope is in the pocket it’s not going to fall out and this psychological sells the fact the jacket is empty I promise once you have done this in the comfort of your own company once. ‘Ah here we go’.Peter Turner (On removal ensure the address side is hidden all the time) Then say. you will use this switch for so much more.Dare to be BOLD? . Place the envelope address side down on the table and get the judge to sign the envelope and leave just leave it there.
‘You have had long enough to play with it as well.Peter Turner Hand her the manila envelope. but it adds a false memory. (Take it back) ‘In fact just to make sure there is no funny business or that the envelope gets swapped later on I would like you to sign it. Have you any idea what is inside the envelope?’ She will respond ‘No’. ‘Please ensure this envelope is completely opaque. it can’t be seen through in any way at all and there are no marks or ways of indicating what the contents are. I want the audience to ensure that no one touches that envelope. you couldn’t feel that it was a photograph?’ She can only respond ‘No’. ‘Ok we will leave that there. it’s been on show the whole time and I haven’t touched it and now you have signed it largely so it cant be swapped later on’. ask her to sign the envelope make sure signed largely so she will recognise her signature easily. I’ll take that back’. ‘You verified this envelope is not see through. when they tell the effect to their fellow peers they will mention the envelope was never touched at all). ‘I will tell you the contents of the envelope. I will just get a pen’. inside is a photograph.Dare to be BOLD? . (Very cheeky. The judge is going to choose a . Perform the envelope swap and when the ‘Gaffed’ envelope is address side on the table. Point to where she should sign this will ensure she doesn’t pick the envelope up and then cheekily ask.
‘Get the image in your mind. the judge is asked to take a seat at the front of the audience and keep a hawk eye on all events to ensure fairness. Say this as an off the cuff comment as you pick up the envelope openly then state. When that person comes up address them. ‘Remember just go with what you see’.Peter Turner participant.Dare to be BOLD? . Address the onstage subject. you will act as a psychic medium and you will get a vision of what the image is. can you select someone from the audience completely free of choice’. After a few seconds or so take it back. you are going to be asked to draw it in a moment. drop it onto the table top address side down and pick up the white board and pen. Feel the envelope while you imagine drawing it’ Give them a few seconds to register what is written on the envelope and then hand them the envelope to feel it. ‘It’s in this envelope’ Hold the envelope so the address side faces him and he can see the secret writing. Position the subject facing the audience. go with what you can see. Hand it to the subject and say. trust what you see’. ‘You know what the image is. ‘Ok in a moment you are going to pretend for me. now just draw it on here’ . ‘You have no idea what the photograph is of inside the envelope?’ He will say ‘No’.
but it is not a clear picture as yet. The subject has the image in their mind (force is completed) walk away from the subject and turn towards them while stating. Make sure the subject on the stage has finished drawing. please close your eyes. this really sells that fact. it sells the fact everything is ultra fair and because there is a five second delay before the effect commences the . I call it the time delay principle and have not yet in print (to my knowledge) seen anything on this subject. When you have done that. take a deep breath in and when you let the breath out slowly open your eyes’. You have forced your subject a piece of information (via the many techniques outlined in this literature) the aim is to psychologically make it appear as though the image is the subjects choice. bring the image to the front of your mind. then ask the judge to remove it the rest of the way and tell everyone what is on it.Peter Turner As he is drawing the image. ‘The Eiffel tower’ Ask the subject on the stage to turn around his drawing it matches! Time delay principle This is a piece of advice when ‘Instant stooging. pick up the envelope approach the judge and ask her to verify that it is the same envelope and that it is her signature.Dare to be BOLD? . Now this is a simple dual reality ploy where subject believes they are making the image you gave them clear and bright in their minds. think of some descriptive words to describe that image and take a few seconds to do so. when you are no where near. tear open the top of the envelope and pull the picture out a little bit. This little variable makes all the difference. ‘You have an idea of what the image is in your mind. the audience think the subject is just thinking of the image (while you are on the other side of the stage) and making it clear and bringing it to the front of their minds.
Logic Logic for me is a massive MUST. if something is logical then it doesn’t need an explanation it explains itself. for which I do apologise. ‘Jean’ . I am not saying anything about the method here) lets see if you can spot the flaw in logic. writes something on one and places it places it face down on the table. The performer places a deck of playing cards down on the table as he speaks. Please note the opinions expressed here are just opinions and are not a point for argument. are seated and the performer removes three blank business cards. Routine. She responds aloud. I would like to share a few words based on some of MY findings and encounters and then back to the juicy content. He tells the group he has written a persons name on the card and would like the first subject to concentrate on what she thinks that name is. (For example) The age old one ahead (which is a fine technique.Dare to be BOLD? . ‘I would like three volunteers in this room to come and help me with an experiment’.Peter Turner audience believe this is the important time (after the work is actually already completed). They come up. made by the performer. let me elaborate on this. Here is where I think it best I intervene.
we don’t need to make up stories for them. ‘4 clubs’ The business cards are picked up and numbered so they can’t be swapped around. but there will always be one astute lay that questions this fact and you will have to at some point make up some Bull explanation. here is another.Peter Turner He says he will come back to that later. ‘Pencil’ Then the performer writes on the final card. they are turned over to reveal the first says ‘Jean’ the second ‘Pencil’ and the third ‘The four of clubs’. here it is. The performer would like the third person to remove the cards from the card case and run through them till he wants one and take it out and tell everyone what it is. when it is questioned. It doesn’t flow consistently and the fact is simple. the second to THINK of an image so then why did the third person have to SELECT a playing card and not just THINK of one? This may go unnoticed a good number of times.Dare to be BOLD? . Did you spot what was wrong logically? I bet a lot of readers will not. proceeds to the second card and writes something and drops it on the table and tells the group he has wrote an image on that card. To which he responds. places it on the table and states there is the name of a playing card wrote down. it makes the other two predictions look less special and will lead to people seeing the whole thing as a trick as apposed to a miracle. He asks the second person to guess the image. . He asked the first person to THINK of a name. If we make believable moves from the off.
it is a fact when you read something it burns the image mentally into your mind. you done that? Fantastic we shall tear it to prevent me from seeing it’ The subject thinks ‘Ok that’s great but why didn’t I tear it’? ‘Why didn’t I keep hold of it and place it in my pocket’? ‘What was the need for writing it down. ‘You have to make the logic yourself!’ Or ‘You have to make the move believable!’ Whatever excuse you make and I have heard/seen thousands . I am a nice guy. one of the people must be a confederate or helper. you have to make excuses for the move. Here are just a couple of my favourite excuses. the paper was shown to a few people. it’s time someone said it and this is only MY opinion. ‘Centre tears’ for me are the most illogical premise I have come across. ‘Write it down and stare at it. if it was just going to be ripped up?’ And finally my favourite. I. This forces people to think elsewhere.Dare to be BOLD? . it doesn’t make the move any more logical.Peter Turner I know I will receive a lot of hate for this comment. without sounding stuck up. Here I share are a few quotes people have spat at me in regards to this subject. . ‘Show a few people the name you wrote on the paper and we shall dispose of the evidence (perform centre tear)’.E.
For anyone that believes there isn’t more reliable logical metho ds. not that you are the sort to do that I have just had that happen before’ I really. by psychologically creating suspicion. performers making their jobs more difficult than they have to be.Peter Turner ‘You are just writing it down as an insurance for me and you. if you ever write anything down. all you need to do is open Richard Busch’s ‘Peek Encores’ fantastic book. Another alternative is the use of dual reality. (Example) The performer removes a deck of cards whilst peeling the wrapper of states ‘This is a new deck I will just give them a shuffle’ He shuffles. if anyone has read my first book you will see I tried to avoid the need for writing things down. I want the effects to look as close to mind reading as possible and dual reality is one of the most fantastic methods of achieving that (Reference Kenton Knepper) Trust This mistake at some point we have all been suspect to. ‘Please examine them’ . that is a compromise and if you are going to make visual compromises you have to make them logical. so the audience don’t think you were just agreeing with me and also so there is no way you can change your mind. and then tear the paper up! If that happened to me I would be confused and if it reads confusing imagine it to a lay! There are kids teaching this on you tube and I have also heard from several reliable sources that they sell this in children’s magic books! Derren hit the nail on the head when he talked about compromise. really have heard performers say that before.Dare to be BOLD? . it’s become a pet hate of mine.
.Dare to be BOLD? . creating effects or just performing do my actions create logic? If the answer is no (be honest with yourself) then go back to the drawing board. This separates a good performance from a good performer and a bad performance from a performer who has excellent material. centre tears and having to rely on visual compromise and move toge ther as a unit. let’s make this industry move forward and flourish its feathers like the once proud peacock it was! All my ramblings aside lets get back to the material. Please think when writing your material. Logic makes belief. prove your credentials from the off and be trusted. belief makes trust and trust eliminates that one prat who tries to be awkward thus ensuring everyone appreciates your hard work. they can see you are un-wrapping the deck you don’t need to tell them and then to ask them to examine them? !? This is what goes on in the lays mind at this point. Your job is to build a rapport with the lay. So let’s get rid of playing cards to force page numbers in books. you will be watched more closely and ultimately the essence of performance will be lost.Peter Turner This is patronising as the lay is not stupid. ‘Why would a fresh deck of cards have something wrong with them?’ If he’s saying there could potentially be something suspect about the cards what about the pen? What was that he did there that looked a little suspicious’ You are creating a suspicion and a need for them to examine everything else.
Peter Turner I thought as I had previously stated about abolishing centre tears. Take the stack of business cards of the table. make a break underneath the top two cards and explain to the subject what he/she is to do (write on the card etc). the idea is a very simple utility switch behind the back. The performer then discards the rest of the stack into his pocket and is quickly able to divine the contents of the sealed envelope! The drawing/writing is done behind the performers back. Place the cards behind your back ask them to write/draw on the card.Dare to be BOLD? . while saying. the card is signed so it can’t be swapped. sign the card and seal it in an envelope that is sat on a table behind the performer. it would only be fair to offer a few alternatives that achieve the same effect in a fairer manner. . Peek a boo Effect A performer places a stack of business cards behind his back and asks a subject to draw an image or write a name (or any piece of information) on a business card. Method The method should be apparent by the title there must be some variable in order to peek. the subject places the card into the envelope and seals it themselves all while the performer is facing in the opposite direction.
Dare to be BOLD? . In their minds it is still sealed in the envelope. in reality their card is now face down and is the second card down.Peter Turner ‘WE will just have you sign that so you know it cannot be swapped’. In their minds you have turned over their card and they have signed the back. as they are coming round flip over the top card (their info will now be face up on the stack) and bring your hands round. The subject is asked if he knows the contents of the smaller envelope to which he replies he doesn’t. devious man Envelope peek A large manila envelope is placed on the table and verified opaque. . When the subject is done ask them to come round front with the envelope. and seal it (this is a little ballsy but they wont open the billet why would they?). the envelope is emptied to show a business card which is also verified opaque. when you feel the pressure of the pen come off (they have stopped writing). (Very cheeky as you are swapping it anyway) Flip over the two top cards (like turning over a double lift) have them sign. Notes* I will choose a peek over any kind of Tear I cannot stress enough the importance of owning anything by Richard Busch he is a fantastic writer and a devious. keeping the writing towards yourself peek at it as you place it into your breast pocket. a smaller envelope is removed from inside the envelope on the table and that is also verified opaque. they are not going to look for you peeking make the motion a casual one and practice the move a few times. Tell them to take it and place it in the envelope that is on the table next to them. Now pick up the card they have signed and fold it in half so their signature is on the outside (still behind the back. you will soon find the right time to peak. I promise you it’s not as fiddly as it sounds).
is again verified opaque the smaller envelope is sealed in the larger envelope and is also deemed opaque. The performer is able to deduce the contents under seemingly impossible conditions. The method is hidden in the smaller envelope a slice a slit the width of the business card on the address side. .Dare to be BOLD? . The card is then sealed in the smaller envelope. Method Firstly I will explain how the peek works and then I will get into the mechanics of setting it up. Fold the flap on the envelope over this will hide the slit. all you do is when you ask if this side of the envelope is opaque make sure the flap covers the slit (they will only look at this side of the envelope for about the time it takes them to say no).Peter Turner The subject writes something or draws something on the business card and places it face down on the table while the performer looks away.
the card will look like its going in the envelope in effect its going in the straight out the slit. (See picture) . You will hold the envelope up and ask them if they would like to lick the flap (they won’t and if they do claim it wouldn’t be hygienic).Dare to be BOLD? .Peter Turner The peek occurs when you load the card into the envelope you let it go into the slit. I will show you it from the subjects view first and then what we see.
Peter Turner Would you like to lick the seal? You can clearly see what they wrote/drew from our view.Dare to be BOLD? . .
Now remove the smaller envelope holding the flap down (covering the slit).Dare to be BOLD? . When in performance remove the large manila envelope from your inside jacket pocket and drop it on to the table while asking the spectators. ‘Can anybody here see what is inside this envelope by looking at it’? They can only answer no flip the envelope over and ask again. place the card face down in a pay envelope (the writing will be face towards the slit in the envelope) fold the flap over the slit and then place the pay envelope into a manila envelope. Finally this is the mentalist/performer destroyer. place it on the table. Ask the subject if they can see what is written on the business card while it is face down once again they will say no. again they will respond they cannot. remove the business card from the pay envelope and if you have done the above correct it should be face down. . Place this nest of envelopes in your pocket for later. this is so simple and is all over in a few seconds once you perform this you will appreciate the use of two envelopes. flip the card over and reveal whatever word you wrote on the top of the business card. asking the same question and then turn it over and drop it on the table (slit side will be face down on table now) once again asking for confirmation that looking at this side of the envelope you cannot see what’s inside . Let’s see what we have achieved here psychologically. Performance Write on a business card on the top edge any word. he verified that the envelopes were opaque and has good as examined them. a subject will believe his own judgement before he believes something he has been told to believe by someone else.Peter Turner The performance is the ultimate tool in making this flow smoothly.
Effect A locked box is introduced at the very start of a show and handed to a member of the audience.Dare to be BOLD? . phone numbers. twisted the use of the effect and added some verbal nuances I hope you enjoy. close in any manner you are happy with as you have your info. The box is opened at the end of the show and inside is a little black bag. Prediction production This is a fantastic way to make any and I mean any prediction come from inside a locked box. Making sure the subject never sees the card out of the back of the envelope place this envelope inside the larger manila envelope and seal it (I use tape on the flap this eliminates anyone thinking you somehow looked when you licked the seal). I usually hand it to be passed around at this point. the principle I accredit to Docc Hilford as that’s the first place I saw this fantastic idea. (Look away and making sure you ask them to tell you when the card is face down on the table). ‘A white handkerchief’ . random members of the audience name anything). Turn to face the subject again load the business card into the envelope (letting it come out of the slit) and hold it up ask them if the would like to lick the seal (this is where you will get your peek). the show is played out and there are several random events that happen throughout the show (they really could be anything images. the subject is asked to open the bag and state what is inside. I have incorporated some dual reality.Peter Turner This is where you will ask the subject to write a word or an image on the card while you look away and when they have done that they are to place the card face down on the table.
ask the person with the locked box to come up onto the stage hand them the keys. Introduce the keys. · A locked money box ·Two little white silk hankies ·A thumb tip ·A little black marble bag/glasses bag Take one of the hankies write on random letters and numbers with a sharpie. load it into the thumb tip. ‘This box has been in this lady’s possession throughout the entire duration of the show (while gesturing towards the audience that your hands are empty) ask the subject to open the bag but do NOT remove the contents’. . Now this is the simple but a little BOLD. are at the best of times none practical. at the interval of your show write all the random info that has happened throughout the show onto the other handkerchief with a sharpie. it is all the random events that took place throughout the entire show! Method I am sure everyone here has heard of prediction chests? They cost thousands of pounds/dollars. place it inside the marble bag and seal the bag into the locked box.Dare to be BOLD? . While they are doing this put on the thumb tip while bringing a pen out of your pocket stating. tell them to open the box and bring out the contents. Hand out the box at the start of the show.Peter Turner The subject is then asked to remove the contents and she is to read what is inscribed on the handkerchief. This method will cost you next to nothing and you may already own the things needed for this to work.
The performer asks the assistant to remain on stage and explains the reason that someone else is holding the phone book is to ensure the performer cannot get a secret glimpse of the page somehow. ‘Can you please state what is inside there?’ They will respond. is you ask her what is inside the bag before you ever touch it (this little nuance has had a good number of performers I know).Dare to be BOLD? . When they have completed in writing the page/line numbers. the performer invites someone to help him on the stage. anyone who has read Koran’s medallion will know this next line. ‘A hankie’ Hold your hands out (as though to display they are completely empty) take the bag off of the subject (thumb inside fingertips on the outside) pull the thumb tip off and pull out the little white hankie a little and ask the subject to pull the out the rest of the handkerchief. then to think of how many entries down the page they would like and write this also. ‘Can you please read out what is INSCRIBED on the hankie?’ That audience will believe it is stitched in! What really sells the fact the prediction was there from the start. The assistant is asked to think of any page number and write it on a business card. (the performer is allowed to see what is written) they sign the back of the card so it can’t be switched and then hand it to the person with the phone book. The bag hides the thumb tip which is thrown off to the side. The Rain Man Effect/Map test Effect After a random member of the audience is handed a Phone Book.Peter Turner They open the bag and ask them. .
Get Four business cards. but the first place I saw this switch employed was in Corinda’s work so I accredit him with this method. there are no stooges and it is simple to perform with hardly any memory required at all Method You may be ahead of me on the method used here. The performer then sits for a few seconds and is able to reel off not only the name but the phone number as well! This can be repeated. go down to the line number and look at the name of the person and phone number that falls in that position. 15 place this card face up second from the top of the stack. the secret here is in the performance.Dare to be BOLD? . Now to practice the switch. there are so many uses for this switch. The basis is simple. I know the principle of the switch is as old as the hills. a simple business card switch in which the subject signs the switched card in place of their own. A switch. you will in-fact be signing the card with the ‘Pre arranged’ digits and the ran dom numbers you just wrote will be hidden face down when you remove the signed card. perform a double lift and flip over two cards and sign the back. If you have read my previous book you will have seen it make a brief appearance in their also.Peter Turner he then asks the audience member with the phone book to turn to the page the assistant has selected. firstly you must go through the phone book and find a page somewhere just off centre (for example 146) and go down about 15 entries remember the name and number. on one of the business cards write 146. This method can be used for an untold amount of effects and if employed properly will never get questioned. I often remember two numbers and names just in case I get asked to repeat the effect. if you write random numbers on the top card. Once you have the switch down fluently your work is over. If not then you are in for something so simple you probably overlooked it. .
Peter Turner *added note. always trying to replicate the stunts and amazing feats portrayed by my on screen heroes. . I will attempt to demonstrate this feat tonight. after building up my skills I could eventually remember a deck of cards even after they was shuffled. it’s a film about a man with poor social skills but an exceptional memory. I address the audience and ask them for a show of hands as to how many people have seen the film ‘Rain Man’. I started small. I memorized the book before I arrived’. When I was a child I was a bit of a film fanatic. I won’t put you through the bore of having to sit here for an hour.Dare to be BOLD? . I always start this effect with a question. After watching Rain man I was taken in instantly. I became obsessed with the fact that it was possible to memorize mass amounts of information and reiterate it at a later date. flick to the back of the book and remember the exact number of pages and if you can the rough amount of entries on a page this will be essential as a convincer later on. ‘For the people in the audience who haven’t seen the film. often to no avail. Performance This is the way that I like to perform the effect. dictionaries anything with mass information in about 1 hour. please use this performance as a guideline it is the nuances and verbal principles that need to be followed with close scrutiny. remembering small itemized lists and the places of objects I had hidden. (wait for a show of hands) then state. After years of learning mnemonic systems I am finally able to memorize phone books. the most memorable feat in the film is when Raymond remembers a full telephone directory.
point to the top card and then ask this innocent question. point to top card let them sign it while saying. (try to aim for someone away from the person with the phonebook. Just to prove this is your card. this reassures the audience you have remembered the book. I now need someone to assist me on the stage to ensure test conditions with this experiment. ‘Is that amount of cards sturdy enough to rest on do you need any more?’ Wait for response then say. Hand them the stack of cards. that particular phone book I know is exactly’ (State how many pages the book has.) ‘I would like you to write it down on here followed by a comma’. ‘I would like you to write an entry number down after the comma.Peter Turner Hand the phone book to a member of the audience near the front and ask them to thoroughly examine it. It is ok if I see the numbers. with your numbers on please sign the back of it’. Perform switch. Pull up a volunteer from the audience. this is a memory feat not a prediction after all. . ‘You will see it is a standard phone book for this area. try ensuring they are not from the same social group). I will explain a little more in a moments time’. each page has exactly (state the amount of entries they are on a page) phone numbers on.Dare to be BOLD? . ‘Firstly I would like you to think of a page number.
A member of the audience has held the book the entire time.Peter Turner ‘Earlier I stated we were going to perform this feat under test conditions. let’s review how fair the circumstances have been thus far. Lift up the signed card by the bottom corner between the first and middle finger tips with the right hand. whilst discarding the stack into the breast pocket with the left. it will all be checked several feet away. making sure the signature stays facing the subject on the ‘Can you please verify this is your signature?’ Of course they will reply yes. hold the card at the finger tips the whole time. entirely fair by all accounts’. I have asked someone to write random numbers down. .Dare to be BOLD? . sign the back of the card so it is impossible to switch and these numbers will be handed to the person with the book. The reason I don’t want the person on the stage holding the book is I don’t want to be accused of peeking or secretly looking at the chosen page.
I leave silence here to build ambience.Dare to be BOLD? . look at the name and phone number. this one involves a little bit of practice and will need reading a few times to get the full effect into your mind. show your concentration. it can be performed in the exact same manner described. Ensure it is kept totally private so I can’t see it and let me know when you have done so’. ‘Please turn to the page stated on the card. wait for the response then place your fingers on your temples. Three heads are better than One This is the last effect in the book. The audience will go mental. ‘Ok. Effect The Performer invites two random subjects onto the stage and states he will demonstrate how simple it is to replicate telepathy using psychology. Notes* I also perform this with an A-Z map. Finish up in any manner you see adequate. make sure you take the card back off of the audience member with the phone book. I usually collect the book and card when asking for a round of applause for the subject on the stage. then go down to the entry number. He asks both subject’s to close their eyes and indicates one of them will pretend to be psychic and try to mentally send an image to the other.Peter Turner Make sure everyone in the audience including the subject can see it at all times (keep the signature facing the subject) walk slowly towards the person with phone book hand it to them. . Smile then reel of the number at a fast pace. the section of the book will be (state the first letter of the Name here) is the name (state the name you remembered)’ Look confused until they respond with a ‘yes’. let me see in regards to the page number.
. ‘Get the image of A BOAT in your mind. while both subjects believe the other duplicated their drawing. Both of the subjects are then asked to open their eyes one at a time...Two. when I invite the first subject up I ask for a loud round of applause and under the guise of applause (while I’m leading the first subject to position) I secretly say.. They are instructed to keep the board against their chest to hide the image from anyone else and then come up and join the performer. he then tells the sender to get an image into their minds and imagine sending it mentally to the receiver and the receiver must imagine seeing the image build slowly in their minds. This is how I accomplish that seemingly impossible feat. . Method The main principle employed here is multiple reality. Firstly you need to make both subjects aware of the image without either subject knowing that the other does and ensure that the audience indefinitely is not aware that either subject knows what the image could be. the audience will believe a three way drawing duplication has taken place. handed a white board and draw the image that is in their mind. everyone within this effect will be impressed. One.Three the boards are turned to face the audience and all three images match! The image can be any image in the world and there is no preshow work involved in this effect. this is important later on.Peter Turner The performer draws an image on a white board and displays it to the audience.Dare to be BOLD? . you will understand in a moment’s time A BOAT ok’ For the duration of this effect this person will be referred to as Subject One... For the first subject I use a reverse Dunninger principle. The performer states they will all turn their boards around on the count of three.
I ask them to close their eyes when I snap my fingers. ‘The person that just felt the touch on the shoulder firmly twice is going to be the sender’ Now both Subjects believe they are the sender. This serves a purpose it makes the first subject believe that they are the only person that knows the image. repeat the checking of the eyes minus the secret touch and then blatantly touch Subject Two on the shoulder (so the whole audience can see) while stating. After seating both subjects a few feet apart. For those unaware of what that principle is. I just point to where they need to stand on the stage. the audience believe Subject Two is the sender.Dare to be BOLD? . when I touch the second subject on the head to close their eyes I let them see the word while stating. please close your eyes’ (You will understand when you read on when to perform this principle.Peter Turner Now I invite Subject Two onto the stage without telling them the image. To get the image into the second subjects mind I use my ‘Mind plant’ principle from my first book. (enough so they feel it but it doesn’t make them jump) this ‘touch’ goes on unbeknown to the audience. under the guise of checking their eyes are closed I touch Subject One on the shoulder firmly a couple of times. . ‘I want you to get the image in your mind as I touch you on the head. I basically write the word BOAT on the bottom of my left palm. it is not when you first ask the subjects to close their eyes. I then approach Subject Two.) The second main principle is that you need to get both subjects to believe they are ‘the sender’ I achieve this by using Jermay’s ‘touching’ principle (‘touching on Hoy from Coral Fang’).
I know upon first glance this seems bold or daring but it isn’t too bold by any stretch.Dare to be BOLD? . Invite a random subject onto the stage.Peter Turner This next move is so important for this routine to work. I am of the belief that most if not all psychic feats can be reproduced using psychological principles. look around the audience for a second subject (take a few seconds to do so). I’m just going to move the participants a little further apart’ Ask Subject Two to open their eyes move them across the stage a little further away from Subject One reseat Subject Two and perform the ‘mind plant’ here. . For the people in the audience that are unaware or unfamiliar with telepathy. In print this seems like a lot of methods to remember. it is a process where one individual sends an image mentally to another or a group’.) Employ Dunninger’s principle as described in the method section. the results appear to be so startling that even the government used secret operations to train their soldiers in the art of telepathy. in practice it isn’t. Performance ‘Telepathy is a technique used by many individuals worldwide as proof of psychic phenomena. the rest of the workings are in the performance. I am going to attempt to demonstrate telepathy for you the audience this evening. but will totally be forgotten by the audience. ‘The sender is going to try sending the image to the receiver in a moment’s time. I state. As many of you know I myself am not a believer in such feats. (women cooperate a lot better when employing the reverse Dunninger principle. Now both subjects know the image and they both think they are the sender. the moves are over in a matter of seconds. I usually invite a woman.
try use someone from a different social group as the first subject.Dare to be BOLD? . Ask for a round of applause and direct them to stand 6 feet away from Subject One. make sure Subject One is sat in the chair on the left as it is essential for the next part to work. . while applying the ‘secret touch’ to Subject One. I’m just going to move the participants a little further apart’ Move the Second Subject (the one in the right chair) a few more feet to the right and say. the only difference is the distance the chairs are apart and the fact they both have the image they are supposed to send in their minds. it saves them tipping the method later. relax get the image in your mind’ (Apply the my mind plant method) The subjects both have their eyes closed just like a moment ago. ‘Neither of you are working for me or being paid to go along with what I say. ‘The sender is going to try sending the image to the receiver in a moment’s time. This is a little daring but worded right its fine. after checking the subject’s eyes. ‘You must concentrate. Check that each subject’s eyes are closed solidly. stooges in other words’? You will notice the way it is worded they will have to respond ‘No’ even though the dirty work is partially complete.Peter Turner Now if it is possible. blatantly hold your hand above Subject Two’s shoulder and tap them a couple of times so the audience believe that Subject Two is the sender. ‘I would like you both to close your eyes tightly when I snap my fingers and keep them closed until further instructed. Now ask the subjects to take a seat. The person that I tap on the shoulder is going to be the Sender they will know who they are bust must keep their eyes closed’.
’There is no possibly way either one of the subjects can know what is in the others mind.’ Touch Subject Two ‘Please open your eyes and draw the image that is in your mind again keeping it to yourself’ Address the audience while walking to the front of the stage. I will give some time for this imaginary process to take place in which I will remain silent’. draw the image that is in your head. .Dare to be BOLD? . I want them to imagine themselves drawing the image on a ball and throwing it to the receiver who in turn will catch the ball and see the image in their minds. that is an obvious fact now the participant I touch I would like them to open their eyes’ Touch Subject One ‘Here is a white board. This is where you look at Subject Two (the one you tapped). ‘The facts of the matter are very obvious ladies and gentleman. then keep the image toward yourself. I need the sender to see the image brightly in their minds.Peter Turner ‘The sender should already have the idea of an image in their minds. one of these participants were told to get an image into their mind and then try send the image to a second participant via mental thoughts alone. but they need to make it clear to be able to successfully send it to the receiver. frown a little then proceed to draw the image of a boat on your white board placing it face down on the table while stating.
. It’s all in the patter! scripting is essential and carefully placed words make all the difference in this book.co. thank you and if you have any questions regarding the effects please don’t hesitate to communicate with me at Openfire@hotmail. Three!’ Let the audience gasp ‘All three images match! Can I have a loud round of applause for these fantastic participants’? Final thoughts Thank you for following me on this mental rollercoaster ride.uk. Two. they are nothing more than simple when you practice the scripting.. One..Peter Turner Can both participants join me up here at the front of the stage..Dare to be BOLD? . Pick the whiteboard up at this point keeping the image to yourself. Again... Now if this has worked. To find out just how important words can be check out ‘Wonder Words’ by Kenton Knepper a fantastic wizard who is highly versed and heavily called upon when it comes to word placement by performers the world over. hopefully you found the information in this literature use full and I would like to see a couple of these effects in your act soon! You will soon see after performing a few of the effects that although they appear bold in methodology. we should all have matching images’. . ‘On the count of three we will all turn our images around. bring your drawings but please keep them to yourself.
Peter Turner THE END .Dare to be BOLD? .
I would like to thank you for showing me that no matter how poor a background one comes from.I.R.Dare to be BOLD? . my most fantastic creation and smiling inspiration.P Dennis Turner x The epoxy resin that held us together when things fell apart. for not only raising her own offspring but raising me and my siblings also.R.Peter Turner People I would like to thank The hardest working man I ever knew. .Pat Kenny x Anyone that has believed or inspired me – x Lastly.P Delith Kenny x The Godfather (nana). the constant light that shines. handkerchief.I.Zachary Dennis Turner x . packet of cards and listening to endless hours of magical nonsense . I would like to thank you for showing me that hard work pays off. buying me my first magic book. anybody can be somebody if they believe ..
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