LeechNinja Emma Wooding Remastered Volume One

Remastered Volume One
Billets
Emma Wooding
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Copyright © 2018 by Emma Wooding
All rights reserved. This book or any portion thereof may not be reproduced or used in
any manner whatsoever without the express written permission of the publisher except
for the use of brief quotations in a book review or scholarly journal.
First Printing: 2018
ISBN 978-0-244-42616-3
WOTBOT Pty Ltd

PO Box 3431
Erina, NSW AUSTRALIA 2250
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Contents
Acknowledgements .....................................................................vii
Preface...............................................................................................ix
Introduction ....................................................................................xi
Typhon ...............................................................................................1
Abaddon.............................................................................................7
Sixty Sixty Peek .............................................................................13
TOP....................................................................................................19
Ten Star Mind Explosion............................................................21
Red Pill, Blue Pill ..........................................................................27
Deactivating Forever ..................................................................31
The Broken Triangle 2.0............................................................33
The Single Envelope Test...........................................................41
The Single Envelope Test (Star Sign).....................................47
The Single Envelope Test (Folded).........................................53
Tin Machine Envelope ................................................................57
The Obsolete Principle ...............................................................63
The Dreamers (Obsolete)..........................................................67
Positive vs Negative (Obsolete)...............................................71
Elementary (Obsolete) ...............................................................73
Appendix 1 – Performance Ideas ............................................75
Appendix 2 – Justifications .......................................................79
Appendix 3 - Faith ........................................................................83
Notes.................................................................................................85
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Acknowledgements
Where do I start? This book has been for me the biggest project I have
ever done. I honestly couldn’t have completed this project without the
help and push my friends and family have given me.
I’d mainly like to thank my father. He taught me proper formatting skills

and helped me out massively along the way with this project and it
would be the work of evil if I wouldn’t thank him. I’d like to also like to
thank my partner for helping me out by pushing me to continue working
on this project.
Finally, I want to give a big thanks to you! Thank you so much for your
support in the art of billets. I sincerely hope you enjoy this volume.
Many thanks,
Emma.
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Preface
Thank you so much for purchasing Remastered Volume One. This is a

three-volume set where I delve deep into three of my favorite areas of
mentalism.
My goal with writing and releasing this book, the first in a three-volume
series, is to share my passion for mentalism, through teaching some of
my favorite routines and to show you don’t always need big gimmicks or
impression devices to perform jaw dropping mentalism.
This book focuses on billets. I will share a new billet tear, a brilliant
peek, new routines, new performance ideas, some suggestions on
justifications, two new gimmicked envelopes and an insane list routine. I
hope you enjoy learning, practicing and performing these routines just as
much as I have.
If you have any burning questions, don’t hesitate to contact me at

woodingem@gmail.com.
Good luck and good thoughts.
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x
Introduction
What is a billet? What are some billet techniques?

Billets are used all around the world by mentalists. A billet is a folded-up
piece of paper, typically billets have something written on them. I’d like
to now go into brief detail on all the different classic billet techniques.
Billet Switch
A Billet Switch is a move that utilizes two billets.
Generally, the performer will secretly palm a billet (we call the
palmed billet a dummy billet) and will ask the spectator to write
something on a billet. Once folded, the performer conducts a
switch with the dummy billet and the billet with information. It
never appears to the spectator that the performer is switching
anything.
Billet Peeks
A Billet Peek is a move where the performer while doing a
natural action, such as holding the billet, tearing or burning, can
see what the spectator wrote. It never appears to the spectator
that the performer is doing anything special with the billet.
Center Tear
In a nutshell this is a move that allows you to see what a
spectator wrote on a piece of paper, by tearing it in specific
areas. Utilizing a ‘CT’ allows you to literally divine anything.
Drawings, words, numbers, places, names, math equations and
more in a justified and natural movement.
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Introduction
Misreading
Is a technique where the performer will read a word (for
example ‘Apples’). But will pretend it’s another word. One
example is, when opening a billet, the performer will read apple
but will say “banana” this will give the illusion that one of the
spectators wrote ‘banana’. This is a great technique that can be
used for routines with multiple billets.
Writers
Nail Writer (NW) or Swami is a gimmick that allows the
performer to secretly write a word on a billet. A Nail Writer is
generally a piece of plastic or metal that has a piece of graphite
on it. The NW sits on the performers thumb or nail allowing
them to write whatever message they need to by moving their
finger against a piece of paper. A Nail Writer routine appears like
this, “I wrote down a word on this paper, name a word”. In reality, you
haven’t written anything. The spectator names the word ‘pipe’.
The performer then would reply, “any reason why you named that
word?”. As the spectator answers, the performer Nail Writes the
word pipe.
Pocket Writing
This is essentially Nail Writing but instead of using a Swami, you
are using a tiny pencil in your pocket.
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Billet Knife
This is a device that allows you to load a folded billet inside a
knife. This allows the performer to cut open an envelope and
then load the billet inside the envelope.
Billet Index
This is exactly what it says. An index for your pocket where you
can put billets in. A Billet Index allows you to predict numbers,
words, countries and much more.
Pencil Mark
This can help the performer know which billet is inside which
envelope. Generally, a Pencil Mark is a little dot in the bottom
right corner of the envelope. The most popular utilization of a
Pencil Mark is in a living and dead test demonstration. Where
the spectator or performer must figure out which envelope
contains the only alive person (in a group of five envelopes) or
which envelope contains the only dead person.
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Introduction
Window Envelope/Window Principle

The Window Envelope is an envelope that has a square cut on
the back of an envelope.
This will allow you to read any piece of information that is written down
on a billet. This principle has been adopted by many mentalists and has
been utilized in formats such as, wallets, cards and books.
As you can see there are a lot of billet techniques and envelope
techniques. Now that you have learnt the basics, we can move onto
learning the routines.
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Typhon
This is a tear that I regularly use that allows you to have full access of
the center of the billet. If you follow these steps you will be able to
know the information that is written in the middle of the paper. Take
note that the size of paper I use is 7cm by 4cm.
Step One: Ask the spectator to write a word in the box.
Step Two: Ask the spectator to fold the billet up into quarters.
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Typhon
Step Three: Tear the billet in half downwards. Make sure that the actual
fold of the paper is on your right facing down.
Step Four: Take the two pieces and place the right side on top of the
left side, then rotate both pieces Clockwise once.
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Step Five: Unfold the top piece of paper facing you in half. You
should be able to do this by simply peeling it to your right
Step Six: Tear the billet’s left side.
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Typhon
Step Seven: Place those torn pieces on the side facing opposite you.
Tear the paper at the other end (right end) of the billet.
Step Eight: Turn the stack Anti Clockwise, unfold the piece of paper,
by peeling it again.
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Step Nine: After peeking at the word the spectator wrote, tear it in
half and either place the pieces in your pocket or ask the
spectator to squeeze the pieces in their hand.
Step Ten: Once you have torn the billet, reveal the information. I
suggest taking your time revealing the information. Reveal
slowly letters, then the number mount of vowels and then
the word. Take your time and don’t rush the reveal.
Take Note: Typhon should only appear to the spectator, that the
performer is merely tearing up a piece of paper.
As you can see, Typhon is a funky, easy spin on the Classic Center Tear.
There are many different routines you can perform utilizing the Typhon
technique. I encourage you to start creating presentations utilizing this
tear. I suggest you don’t focus on the idea of asking the spectator to
write down a word and then immediately tell them what they wrote
down. Bring them on a journey. Start to reveal other things about this
word. For example, number of letters, specific letters, number of vowels,
if the word is something manmade or otherwise. Near the end of the
book I will go into detail on different things you can reveal utilizing
billet peeks and tears but for now, perfect and practice this billet tear.
This billet tear isn’t difficult to memorize however, it’s still a tear you
need to remember. The way I memorized this tear was by continuously
practicing it. The best way to know if you are ready to perform this
move is if you can do this tear BLINDFOLDED. The reason is, if you
can do this tear blindfolded then you are able to do this tear without
looking at your hands when performing to a spectator. As soon as you
look at your hands, the spectator will look at your hands.
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Typhon
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Abaddon
The spectator is shown three billets, the performer writes the word
“dead” on two of the billets and then the spectator writes the name of a
living person on the third. The spectator shuffles all three billets. The
spectator then randomly chooses a billet and the performer instantly
tears and eliminates that billet. This is done one more time leaving the
spectator with one billet. The performer then asks for the spectator to
hold the billet tight in their hand, the performer then reads their mind
and tells them the name of the living person they had written on the
billet.
What a routine! Rarely do I perform or even like mentalism with

multiple phases, but this is the perfect routine for it.
I produce three billets. Two with the word “dead” on them. The final
billet is left empty.
The reason why I have two billets with “dead” on them is because I
don’t want to particularly focus on the previously departed as it could
put me in a potential uncomfortable situation where the spectator asks
me to contact the dead. Writing “dead” also makes the effect less dark
and more enjoyable because I’m not putting real names of people who
have passed away down on the paper.
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Abaddon
“Here are three pieces of paper, note how two of these papers have the word dead on
them, what I want you to do is take the paper that has no words and write down an
alive person, this can be a celebrity, friend or even a family member”. At this point
I hand them the billet and I fold the other papers with the word “dead”
into quarters. The reason why I fold the “dead” papers into quarters is
to (1) provide an example to the spectator of how to fold the paper and
(2) it also allows me to not just stand there.
“Perfect now make sure I don’t look at what you are writing but fold it into quarters.
Shuffle the papers up so there is no way that I or you could know which paper
contains the name of the living person. Perfect, now hand me any paper that feels
wrong”. The spectator hands the performer a billet.
“Perfect we are on the right track”. At this point I conduct a center tear.
I peek the billet. Take note that whatever the billet says you continue
through the routine, in this case the billet reads “dead”. However, if the
billet reads the name of the living person that the spectator wrote,
continue the routine as if nothing has happened.
As you tear the billet, there can be some awkward silence. To make sure
that doesn’t happen I often say, “what did you feel? Did you feel any weird
emotions or did the paper just not feel right?”. I say this while I tear the billet
and as they speak, I peek at the billet.
“Hand me one more piece of paper that doesn’t feel right”. At this point I
conduct another center tear. This paper reads “Brian Hark”. “Perfect now
to recap you wrote down any living person, shuffled up the papers and eliminated two
random papers, leaving us with one”.
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“Now focus your mind on the person you wrote down. I am going to write something
on my hand”. At this point I write Brian Hark. “Now let’s see what you have
left us with”. I take the billet from the spectator. “hmm Brian Hark”. I
misread it. In this case the billet reads “dead” however when I open it
up I say, “Brian Hark”. That way, it looks like the spectator got rid of
two papers and by intuition they left the paper that has the living person.
Take note that the spectator won’t think you have misread anything as
they don’t think you know the name.
“But you see that was your intuition on your part. Remember when I asked you to
focus on the name and I wrote something on my hand? Look”. At this point I
show the spectator my hand.
If you conduct the CT (center tear) on the two billets they chose and the
two billets you tore both say dead then simply say, “you chose any two,
wouldn’t it be crazy if the paper in your hand was the alive person.
Check it out”.
As you can see, no matter what. This routine is a killer feat of intuition.
Don’t forget, you don’t have to use the two words “dead” and a person
who is alive. You could use numbers, like “0000” and the spectators
passcode. That’s not the only thing you could do with this principle.
You could use, colors, songs, movies, tv shows, pets and more. This is
only limited by your imagination.
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Abaddon
I sent Abaddon to the incredible legend Richard Osterlind for his honest
thoughts and he and I worked and tinkered on this idea for a while. He
came up with the idea of erasing the miscall entirely and to tear all three
billets. From there we both came up with our own ways to present the
routine and new little unique twists. I’m excited to share with you a
variation of Abaddon with help from Richard Osterlind.
Two spectators are requested to join the performer. “I have three pieces of
paper here, two with ‘dead’ written on them and one with nothing. What I’d like you
to do is simply write down on the empty paper a name. Someone that’s alive that you
know personally. Once you do that, fold the paper into quarters”. While the
spectator writes the name and folds the paper into quarters, I fold the
other two billets into quarters. “Done? Awesome now take these two other
papers and simply shuffle them up, so there is no way you or I could know the order
of these papers”. The spectator does so.
“Hold all the papers into your fist and I want you to choose a paper that you get a
bad energy or vibe from”. Spectator hands one of the papers. “Alright. Perfect,
now did you feel an energy, vibe or did it just not feel right?”. As I say this I
conduct a center tear and peek the word ‘dead’. The spectator responds,
‘It just didn’t feel right’. “Fair enough. Can you hold onto this paper with your
hand?”. I point to the second spectator and they hold onto the pieces in
their hand. “Now go through again and find another paper that doesn’t feel right”.
The spectator does so. “Now was this a different feeling or the same?”. As I say
this I conduct a center tear and peek the word “dead”. I turn to the
other spectator again. “Hold onto these pieces as well with your other hand”.
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I turn to both spectators “Alright now throughout this you have been feeling all
the energy, but I also have been feeling negative and positive energy from each paper.
I’m not 100% sure if I have this correct. I have to feel the energy of the final paper to
be sure”. At this point, the spectator hands me the billet and I tear it up.
While I tear it up, I pretend I’m feeling for energy. I peek the name
David. “Alright please hold these pieces”. I hand the third torn billet to the
first spectator. “I’m going to just check one more time”. I hover my hand over
all three fists. “Hmm”. I continue to hover over the fists. “I have a feeling
that it’s inside this fist. But before we check I’m going to try and do something more
difficult. Focus on the name”. The spectator does so. “D-d-david?”. The
spectator freaks out. “Open up your fist, let’s see if we got the energy on the right
paper”. I now point to the fist that David is in. The spectator opens up
their fist and like a jigsaw, they find the two middle pieces and reveal
that the performer successfully found the billet.
This is such a beautiful opener for a which hand routine. There are
many which hand routines on the market. I highly suggest Tequila
Hustler or V2.
Enjoy!
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Abaddon
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Sixty Sixty Peek
This is a fantastic little peek that is inspired by the classic “Acidus

Novus”. The Acidus Novus isn’t mine to teach. However, I strongly
suggest you check out Acidus Plus by Millard Longman
What’s great about this peek is the spectator folds the billet a bunch of
times before the performer is able to reveal the thought of word or
number. What is also fantastic about this peek is, the peek happens
under a natural movement.
Without a further ado, let’s get into this peek!
There isn’t much preparation needed to perform this routine, in fact you
could prepare the billet in front of the spectator. Take the billet and
write on the left side a “17”. On the third quarter area draw an equal’s
sign. Below it, draw a house. On the far right, write the word “Wild”.
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Sixty Sixty Peek
Then fold the billet like so.
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Once you have folded the billet, squeeze the billet, creating a tube. Look
down into the tube. If you can see the equals sign as the very first image,
draw a line on that half of the back of the billet.
If you can’t see the equals sign, simply turn the whole tube upside down.
Then look into the tube and you will see an equal sign.
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Sixty Sixty Peek
When you see the sign, draw a little line on the back of the billet. If the
spectator sees the line they will just think that it is part of the influencing
of the number and nothing more. This line will serve as an indicator as
to if the spectator has folded the billet correctly and if the billet is right
side up or upside down.
Once you have written the important information. You are ready to
perform.
“I have a piece of paper here, as you can see, there is the number seventeen, a house,
the word wild and an equals sign. All these images are designed and placed in a
specific way to psychologically implant a number. What I would like you to do is,
write down a two-digit number inside the equals sign and then fold it up in fourths
but don’t think of 17 as that is already on the paper”. At this point
I demonstrate folding the paper from right to left. In the same way as
I previously displayed to you on how to prepare the billet.
The spectator writes down the number twenty-nine and folds the paper.
“Awesome now just focus on this number. Look at me”. At this point I hold the
billet by its sides and squeeze creating a tube-like shape.
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Once you have squeezed the billet into a tube, fold it in half from top to
bottom. Please note that this should all be done while you talk to the
spectator.
“I believe that, in fact. Yes. I don’t think you are easy to influence. You haven’t gone
for the number I tried to implant. That’s okay though just focus on this number for
me”.
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Sixty Sixty Peek
At this point I squeeze the side of the top half of the folded billet.
Creating a tube again. I then clip the billet between my index finger and
middle finger.
“One of the numbers are odd and the other number even, correct?”. This is simply a
guess. It doesn’t matter if you are right or wrong. If the spectator says,
“yes!”. It appears like you just received an important detail of their
thought of number. If the spectator says, “no”. Simply reply, “that’s okay,
focus on this”. “Place out your hands and hold the paper for me. Even though
whatever you wrote is somewhere randomly in the paper, I don’t want you thinking
that I can see it or something like that”. As I say, “place out your hands and hold
the paper for me”. I get my peek. The peek is simply looking down, inside
the tube.
I then reveal the thought of number. I do hope that this peek will serve
you well. I really enjoy performing this routine because it seems like a
psychological test until the very end
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TOP
The spectator thinks of two random shapes; the performer then shows it
was predicted from the very start! The performer then performs a
routine where the spectator writes down a number, the performer tears
up the paper and reveals the thought of number!
I thought I should add this routine as it is a beautiful segway for a billet

tear.
“Name two simple shapes, like a square but don’t go for that”. This is a
Psychological Force, usually the spectator will name Triangle and a
Circle. “Now imagine one inside the other, what is inside what?”. This is another
Psychological Force; the spectator will usually go for a Triangle inside a
Circle. At this point I unfold the prediction and the spectator is amazed!
Now I can conduct a center tear using the prediction! Now because this
is a Psychological Force, it won’t work all the time so please take note
that when you are performing this routine you are creating a risk. This is
what the billet should look like after the spectator writes on it.
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Top
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Ten Star Mind Explosion
The spectator names ten letters. One by one the letters are written
down. Once they are written down one by one they are eliminated in a
fair and easy to follow manner. The spectator focusses on the final letter
and thinks of a name that starts with the letter. The performer then asks
them to turn over the paper that they have been writing on from the
start to reveal the thought of name was predicted.
This routine blows peoples f*#king minds! I’m serious! Once you learn
this routine, I know you’ll be excited to perform this jaw dropper. I’m
serious when I say that this is one of the best routines I have ever
created. So, I’ll stop hyping you up and let’s get straight into the history.
THE PATEO FORCE.
The Pateo Force is best explained in an example of a performance to

you.
Take note that in this scenario, D is the force letter. “We have A, B, C and
D. Name two. Out of those two I’ll pick one to eliminate. Then I’ll name two and
out of those two, you pick one to eliminate”. As you might be able to see, all we
must do is not say the letter D. If the spectator says “D and C” we
would pick C because D is the force letter. We would never put D up
for elimination. So instead we would put any two other letters for
elimination. Like A or B or C, A or B, C.
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I’ll say it again.
THE PATEO FORCE.
Fast forward to around March of 2018, I sat down in a library and for
some reason the Pateo force just popped up in my mind. I immediately
said “no”. But then I realized. The Pateo force doesn’t just work for
physical objects, it also works for letters! When I realized that, it
immediately became this chain reaction of ideas.
I refined and worked on the routine for an hour in fact between the two
of us, I literally went out of the public library, walked up to a lovely
woman and asked if I could show her a mental experiment, AND IT
WORKED!
I kept working on this routine and refining it.
I am over the moon to present to you The Ten Star Mind Explosion. Let’s
get into the method/script.
Before you start the performance have a stack of billets. On the top
billet write “Daniel” and turn it over facing down.
On the bottom of the stack of billets write “David”. That’s the setup!
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“Now, I want you to name ten letters but let’s do it one by one”. The spectator
won’t keep count of the letters they name which is part of this method
to force the letter D. All we do is write down four letters at the top
column of the billet and five letters at the bottom column. If we get to
the fifth letter of the bottom column and the spectator hasn’t said “D”.
We write down “D” on fifth position in the top column and we write
down the fifth letter on the bottom column. If the spectator gets to the
ninth letter and they have already named “D”. They have done the work
for you! Simply ask for one more letter, fill the fifth spot and move onto
the next stage.
From here we follow the Pateo Force. “What will happen here is you’ll name
two letters and I’ll cross out one of the two then I’ll name two and you cross out one of
them, we will keep doing this until there is only one left”. At this point we Pateo
Force them to D.
“This leaves us with D. Think of a male name that starts with D”. If we asked
the spectator to think of a name that starts with D. We run the risk of
even more names to put into outs such as, Danica, Deborah etc.
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Every Scenario
Mentalist Spectator Mentalist
Turn over the paper that we

What is the name? Dan
have been writing on
Turn over the stack of papers
What is the name? David that have been here since the
start
Interesting. Name two other
names starting with ‘D’
What is the name? Damien
(Spectator names David and
Donatello)
Chances are if I ask them to name three male names starting with D
either David or Daniel will hit. At this point I conduct Equivoque.
“Imagine two floating up in the air, which two?”. If the spectator names
“Damien and Donatello”. I reply, “Leaving us with David”.
If the spectator names “Damien and David”. I reply, “Perfect and imagine
one floating towards me, which name?”.
If the spectator, then names “David”. I reply, “perfect David it is”.
If the spectator, then names “Damien”. I reply, “leaving us with David”.
As you can see, no matter what we will be left with David or Daniel.
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Some other names you can utilize are:

 Gary/Greg
 Liam/Lucas
 James/Jacob
 Ethan/Elijah
If you want to go outside of the context of using names, you could use
words. This does create more of a risk than using a name however it
does create a stronger effect. However, I wouldn’t say to the spectator,
“think of a word starting with that letter”. Instead I would ask the spectator to
think of a three-letter word starting with that letter. This will immediately
improve your chances of correctly predicting the thought of word.
If you don’t want to ask the spectator to think of a three-letter word,

you could go as far as saying, “think of a number from one to four. Whatever
number you are thinking of, that will be your number of letters. Think of a word
starting with (insert forced letter) that has that number of letters”. By saying
“think of a number from one to four” will Psychologically Force the spectator
to the number three.
Some words you could use are,

 Cat/Cow
 Dog/Dad
 New/Now
 Man/Mad
There is so much you can do with this routine. So, enjoy creating and
performing your own variations on this incredible effect.
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Red Pill, Blue Pill
The spectator is shown a prediction. The performer asks the spectator

to either decide on choosing a red pill or a blue pill. After deciding
which imaginary pill to take, the spectator then imagines the pill in one
of their hands. Once the spectator decides which hand the pill should be
in. The performer unfolds the prediction to reveal that not only did the
performer predict which pill the spectator imagined taking but which
hand they hid it in.
What’s great about this routine is not only is this routine 100% sure fire
but it feels like a psychological test to the spectator.
To set-up this routine take two billets and write on one of the billets,
“Red Pill. You chose the Red Pill, I was left with the Blue Pill. You hid the pill in
your right hand which was funny because I hid my pill in the same hand”.
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Red Pill, Blue Pill
On the other billet write, “Blue Pill. You chose the Blue Pill, I was left with the
Red Pill. You hid the pill in your right hand which was funny because I hid my pill
in the same hand”.
Fold both billets into quarters then place the red pill billet down onto
the table. Palm the blue pill billet in your hand. “I have a prediction on the
table here. What I would like you to do is imagine in my hand that there is a red pill
and a blue pill just like The Matrix. I’d like you to imagine for me taking one. If
you take the red pill you will be painfully aware of your surroundings and know the
truth of the world. Where if you were to take the blue pill, you are happy and
blissfully unaware about everything. Which pill do you take?”. If the spectator
names ‘blue pill’. Continue to palm the billet. If the spectator names ‘red
pill’. Place the billet back inside your pocket.
28
In this scenario, the spectator chooses ‘blue pill’. “So, you chose the blue pill.
That leaves me with the red pill”. At this point I pick up the prediction and
conduct a switch while saying. “Keep in mind this prediction has been here from
the very start”. I then place the billet back on the table. “Now let’s do one
more test. Place your imaginary pill behind your back and shuffle it up in your hands
done? Awesome I’m going to do the same and in fact, shuffle your pill up a bit more
and while you and I shuffle, imagine actually placing this pill in your mouth. I want
you to imagine which hand you would use to place the pill in your mouth. Whatever
that hand is, imagine the pill in that hand”. Because most of the population
are right handed, they will imagine taking the pill using their right hand.
However, even if they imagine taking the pill with their left hand the
trick will still work.
“Now bring out both hands and from the count of three we are going to turn over the
hand that we have hidden the pill in”. At this point I bring out both fists and
the spectator does the same. “3-2-1”. Whatever fist the spectator turns
over, I turn over the same fist. Note, you must be fast, as soon as they
move their fist, turn the same fist. “Wow same hand!”. If the spectator
turns over their right fist say, “to recap you chose any pill then you chose which
hand to hide the pill in. Has this been fair? Open up the paper. Read out loud what
it says”. If the spectator chose the left fist say, “to recap you chose any pill
then you chose which hand to hide the pill in. Has this been fair? Let me show you
what I wrote”. I then unfold the paper and hold my thumb over the word
‘right’.
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Red Pill, Blue Pill
I then read the prediction but when it comes to the sentence where I
say, “You hid the pill in your right hand”. I misread and say, “you hid the pill in
your left hand”. As I say ‘your’. I turn the billet to myself, stare at the
paper and misread the word right for left. I continue to hold the billet
covering the word ‘right’ and I continue to read. Saying, “which was funny
because I hid the pill in the same hand”.
There are many applications to this routine such as, choosing a penny or
a dime and then hiding the coin in one of the hands.
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Deactivating Forever
The spectator thinks of their favorite coffee. It’s revealed that the
thought of coffee has been predicted from the very start on a coffee
cup!
This is an incredibly easy routine you can perform with your Nail Writer.
Your only set-up is to take an empty coffee cup with no writing on it
and to place on your nail writer. Once you have done that you are ready
to perform.
“Coffee is literally my favorite drink in the world. Now I just ordered this coffee
about an hour ago but when I was at the area where I order, I chose a completely
different coffee to what I normally go for. But I think I now know why. But I must
check. Out of curiosity, what coffee do you usually drink?”. The spectator replies
“I have a Skim Latte with 2 sugars”. We would then translate this in our
head as Sk L 2s.
“How long has it taken for you to come up with that order? Has it always been your
order? Or have you gone by trial and error?”. As the spectator responds, I Nail
Write on the cup Sk L 2s. “Fair enough. Well I find this funny because I always
go for the complete opposite. But I felt a premonition to order this. Take the cup.
Check it out”. At this point the spectator snatches the cup from your
hand and examines the cup. While they examine the cup take this as a
chance to ditch the Swami gimmick in your back pocket or your purse.
I’m now going to go into detail on the different drinks the spectator may
name and what we write down.
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Deactivating Forever
 Skim – Sk
 Full Cream – FC
 Almond – A
 Soy – Soy
 Cappuccino – Cap
 Latte – L
 Long Black – LB
 Mocha – Mo
 Macchiato – Ma
 Espresso – Es
 Americano – Am
 Flat White – FW
 1 Sugar – 1
 2 Sugar – 2
 3 Sugar – 3
 4 Sugar – 4
I hope this crib helps. This is certainly a different take on the Swami
gimmick however, that’s what makes it so fun and fresh. I hope you
enjoy performing this as much as I do.
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The Broken Triangle 2.0
The spectator is shown a list of twenty different movies. They decide on

a movie. The performer slowly begins to divine the movie revealing
impossibly accurate information. The performer then divines perfectly
the thought of movie.
I released The Broken Triangle in late 2017, it quickly became many

performers #1 trick. The original routine utilized songs instead of
movies. The problem with that was I couldn’t reveal as much
information as I would have liked to. This is because there is only so
much information you can reveal about a song, until it seems
unnecessary. However, with movies you have scenes, film scores, actors
and directors and so much more.
I’m so excited to teach you my go to list routine. What’s great about this
list routine is it uses no forces, peeks and no anagrams.
The method is essentially a list with two sides and on one side ten
famous movies and on the other side of the list, five famous movies and
five fake made up movies. All we must do is force the side with five
famous movies. Once we do that, we strategically read the spectators
body language to discern the movie they selected. This may sound like a
pipe-dream, but I promise you, this is 100% accurate.
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Now to create your list take a double blank business card, billet or
double blank playing card. You can even glue two business cards
together if you need. Once you do that simply write on one side of the
card the following titles:
As you can probably see, the fake movies are, The Girl With The Star,
Time, Pink., Ongoing Wheel and The Overworked. The spectator will
never question the titles. However, if in some weird scenario they do say
something along the lines of, ‘there are some weird titles in this list’. You
can easily cover it up by saying, “yeah there are some indie films in this list”.
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Now that you have created your list/gimmick. You are ready to perform
this jaw dropping feat. So, let’s get into the scripting and the method.
“We have a list here with twenty of the world’s most popular movies. You may know
some here such as”. At this point I show the spectator the list with the ten
normal movies. “The Godfather, Young Frankenstein, Avatar. You get the
point. And on the other side we have, Saw, The Conjuring, Time. Now what I
would like you to do is take this card and think of a movie that you have seen”. I
simply hand the card to the spectator with the side of the five fake
movies and five real movies facing them. This will make them choose a
movie from that side. “Got a movie? Perfect. Imagine screaming this at me like
Ocean’s Eleven, Ocean’s Eleven, Ocean’s Eleven”. If the spectator reacts in
shock, then it will appear to the spectator that you just told them what
they were thinking. If they don’t react, it’s one of the other four movies.
“Alright, I’m seeing different scenes all at once, but I keep getting this feeling of being
scared?”. If the spectator replies “yes!”. Then it is either, Saw or The
Conjuring. If the spectator replies “it isn’t scary” it would be, Up or
Despicable Me. When the spectator replies “it isn’t scary”, reply “really?
That actually makes sense as I was feeling more suspense. Focus on this movie”.
“Focus on the movie title. Imagine the whole title in the air. First to last. Just focus
on where the first letter is. And now the last”. If the spectator chose a long title
their eyes will make a notable movement from right to left. Take note,
this isn’t a small minute movement. You will actually see their eyes move
from right to left. If they chose a shorter title, their eyes won’t make
such a notable movement. Once you know if it’s short or long. You
know the title!
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“Focus on now the letter in the middle. Yes, okay this is becoming quite clear. You
are thinking of (insert movie)”.
I’ll quickly run through the routine one more time.
Step Mentalist Spectator
Ask the spectator to select a

One
movie from the list
Say “Imagine screaming the If they react, then you
movie title repeatedly, like know the movie they
Two
Ocean’s Eleven, Ocean’s selected is Ocean’s
Eleven, Ocean’s Eleven Eleven
If they agree, then it’s
either ‘Saw’ or ‘The
Say “I am getting a feeling
Three Conjuring’. If they don’t
being scared”
agree then it must be ‘Up’
or ‘Despicable Me’
If they make a notable
eye movement, you know
it must be either ‘The
Say “Focus on the first
Conjuring’ or ‘Despicable
Four letter… and now the last
Me’. And if no
letter”
noticeable eye movement
it must be either ‘Saw’ or
‘Up’
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Finally, once you know the movie you can reveal it in any way that you
would like! You could slowly reveal iconic scenes from the movie, actors
and actresses, writers and plots! It’s all up to you! Make sure you take it
slow and don’t reveal everything all at once. Nothing worse than a
performer speedily and nervously saying “the actor was (insert main
actor) and the plot was (insert plot)”. Make sure you take your time, as if
you are struggling to divine this thought.
Two Person Version:
“I have a list full of movies here, as you can see there are about twenty”. At this
point I show the spectators the normal un-gimmicked side. “Now as you
can see, there are movies like, Forrest Gump, The Godfather and Pan’s Labyrinth
and on the other side movies like Up, Saw and Ocean’s Eleven”. I turn to the
first spectator, I show them the un-gimmicked side. “Think of a movie on
this side. Make sure it’s a movie you have seen”. The spectator does so. In this
scenario, they are thinking of the movie “Forrest Gump”. Once they
think of a movie, I turn to the second spectator and show the
gimmicked side. “And on this side, think of a movie. Make sure it’s one that you
have seen. The reason why I’m asking you two to think of movies from two different
sides is because I don’t want to create a risk of you two thinking of the same movies.
Have you thought of a movie?”.
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At this point the second spectator nods. I grab out a stack of billets and
turn to the first spectator. “Focus on your movie. Okay this is. I feel that there
are a mix of emotions associated with this movie”. This is simply a Barnum
Statement. This works for every movie because every movie produces a
mixture of emotions. I turn to the second spectator. “imagine screaming
this at me like Ocean’s Eleven, Ocean’s Eleven, Ocean’s Eleven”. If they react,
the answer is ‘Ocean’s Eleven’. If there is no reaction, continue the
routine.
“For your movie I feel this immediate gut drop, almost as if you chose a scary type of
film”. The spectator nods in shock. “Focus on your movie. Imagine it in the air,
imagine where the first letter is... and now the last letter”. At this point I see that
there is no notable eye movement, which means they are thinking of
‘Saw’. “Okay hmm, I’m not getting this. I’ll get back to you in a minute”.
I turn to the first spectator. “Think of your movie from first to last. Okay you
are a lot easier to read. This is what I am getting”. At this point I write down
‘Saw’ on one of the billets from the stack. I then fold the billet into
quarters, hand to the first spectator and say, “Hold onto this paper”. I give
a three second silent pause to place away my pen. The reason I do this
is, so I can give full attention to the spectator and because we are
utilizing a one-ahead principle. The last thing we want is for the
spectator to think that we are writing down what they are thinking,
immediately after they say their thought. Holding a pen and paper while
they talk could non-verbally tell the spectator that’s what is happening.
“Out of interest, what was your movie?”. At this point the spectator answers,
‘Forrest Gump’. As soon as they reply, I grin from ear to ear.
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“Awesome, I’m glad I stuck with my instincts. Keep holding the paper, just for a
second”. I turn to the second spectator. “Focus on your movie again for me.
Okay this is a bit more-clearer. Still foggy”. I pull out my pen and billets and I
write down ‘Forrest Gump’ and I fold the billet into quarters. I hand the
billet to the second spectator. “Hold onto this paper and squeeze it nice and
tight. What was your movie?”. The spectator replies ‘Saw’. I again smile
from ear to ear. “Now to recap, you both have thought of two different movies,
I then wrote down something on two different papers. Has this been fair?”. Both
spectators nod. “Awesome, open up your hands”.
I grab both papers from them and place the papers into a little stack,
placing Forrest Gump on top of the Saw billet. I then turn the stack
around so now Saw is on top of Forrest Gump and say, “Actually why
don’t you unfold them. I don’t want you guys to think I am switching the papers or
something like that”. I hand the second spectator the billet on the top of
the stack (Saw) and I hand the first spectator the remaining billet
(Forrest Gump).
As you can see, there are many ways you can present The Broken
Triangle 2.0. Have fun coming up with your own presentations and
routines.
Don’t forget the ‘focus on the first letter and now the last’ could even be
utilized as a two-way reductive out. Of course, it won’t work for
every word. But any word that has two or three letters and any word that
has more than seven you can utilize this as a brilliant two-way reductive
out.
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The Single Envelope Test
The spectator is shown twenty-four different symbols, all written on an

envelope. They think of one and -draw it. The spectator places the
thought inside the envelope and the performer successfully divines the
thought of image!
In early 2017 I released my first release The Emma Wooding 2017

Lecture Notes. In these Lecture Notes, I taught a variety of routines.
But the first routine I ever taught was The One Envelope Test. It was a
simple and easy routine where the spectator thinks of a word and they
write it down and place it inside an envelope which has a ‘?’ written on
the outside of the envelope. The performer can then successfully divine
the thought. The problem with this is, the ‘?’ felt out of place. You can
still perform The One Envelope Test and it’ll work however, the
presentation is not the best.
Even though this is merely an update on my original routine, it is a

major shift from what it once was. This routine now makes logical sense
and can be nicely choreographed.
Now, let’s get into what the envelope appears like to the spectator.
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Step One: Start by writing twenty-four different images on an

envelope. I drew a sun, star, bowtie, weird symbol, circle,
square, plus, pill, three wavy lines, arrow, umbrella and
cloud on one side and on the other side of the envelope an
hour glass, triangle, full stop, candle, exclamation marks,
weird symbol, heart, question mark, person, diamond, lol
and a sad face. I have also included images below, so you
can fully understand what these would look like on an
envelope. In order to follow my routine, I recommend
one square contains a ‘?’.
Step Two: Take a playing card and some scissors (or a craft knife).
Place the playing card inside the envelope. When we are
cutting the envelope, the playing card will stop you from
cutting all the way through the envelope.
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Step Three: We are now going to create a door on the square with the
‘?’ symbol. Take the craft knife and cut the ‘?’ square on
the top of the border, left side and bottom of the border.
You will now have a door.
Step Four: Take a billet and copy what is written below.
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Step Five: And on the other side write the following.
You have now created a Door Envelope. This allows you to show the
spectator the entire envelope (360 degrees), even when information is
inside the envelope and still successfully read the information that is
inside the envelope. This works because the sharpie/pen on the
envelope camouflages the cuts.
Once you have created your gimmick, you are ready to perform! Let’s
get into the scripting and presentation of the routine.
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Before we start the routine make sure you have the billet inside the
envelope. “I have an envelope here with twenty-four different drawings on it. As you
can see they are all different and all very easy to copy. Think of any one of these
drawings. Got one?”. I make sure I show both sides of the envelope. When
I am showing the spectator the gimmicked side, I make sure I hold the
door closed with my thumb.
“Awesome take this paper”. At this point, I open the envelope on the
un-gimmicked side and pull out the paper. “Alright sign the back here, so
that I won’t be able to switch the paper or anything like that”. I hand the
spectator the billet and point to the x. The reason why I ask the
spectator to sign the back of the envelope, is later when we are
placing the billet back inside the envelope, we want to make sure we can
peek at the correct side of the spectator’s billet.
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“And, now on the other side just draw that drawing the best you can. This way if I
successfully read your mind I have proof if that makes sense. Now make sure I don’t
see”. The spectator does so. “Awesome”. At this point I take the paper,
making sure the signature half is facing me and I place the paper inside
the envelope (again making sure the signature half goes inside first).
“Now focus on your drawing. Imagine drawing each line one by one”. As the
spectator imagines drawing the picture line by line, I unfold the flap and
get my peek. You can achieve the peek as you place it inside your
pocket. However, I like to have the envelope in full view the entire time.
So, I simply peel open the door and look down at the peek. Once you
get your peek, fold back the door and place the envelope on the table or
continue to hold it. “Alright so I keep getting this feeling of -insert drawing”.
Don’t forget, do not rush the peek. If you rush it, you might not see it
properly or even worse, the spectator will suspect that something is
happening.
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The Single Envelope Test (Star Sign)
This is a funky variation on the Single Envelope Test, using Star Signs.
Step One: Start by drawing six-star signs on each side of the

envelope, this means all twelve-star signs are used.
Step Two: Take a playing card and some scissors (or a craft knife).
Place the playing card inside the envelope. When we are
cutting the envelope, the playing card will stop you from
cutting all the way through the envelope.
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Step Three: We are now going to create a door on the square with the
‘?’ symbol. Take the craft knife and cut the ‘?’ square on
the top of the border, left side and bottom of the border.
You will now have a door.
Step Four: Take a billet or business card and copy what is

written below.
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Step Five: And on the other side write the following.
The presentation I use for this routine is, “a lot of people know their star-sign
however, not many people know the image of their star-sign. I have an envelope here
with every single star-sign image. Think of the image your star sign has. Don’t tell
me. Make sure you remember it!”.
I then show the spectator both sides of the envelope slowly, while
holding the peek door in place. “Now I have a piece of paper here. Just sign
here. This way I can’t switch the paper or anything weird like that. Now draw the
image on the paper so we have proof that I was able to read your mind later-on”. At
this point, I hand them the billet and they draw the sign. “Perfect and I’ll
just place it in the envelope for you”.
I make sure that the signature side goes in first. This way I will be able to
properly get my peek.
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“Focus on this now. Image drawing each line”. As the spectator imagines the
drawing, I get my peek. “Okay now, I’m going to try and replicate this drawing”.
At this point I grab a pen and paper and replicate the drawing. “Hold
this”. I hand them the paper face down. “Don’t look at it yet but let’s see what
you wrote”. I open the envelope. “Oh, that’s a cool sign! Look at what I drew!”.
50
If you are scared to peek into envelope because you feel people will
notice you are peeking it or it feels unnatural, just remember it does not
appear like you are peeking into the envelope at all, because there is no
way you could! However, here are two ways to peek the envelope
without looking down at it.
 “Could you lick the tab for me”. At this point, the performer unfolds
the secret door and holds the envelope up to the spectator for
them to lick the tab. The peeking is done while the spectator
licks the tab.
 “Now I want you to focus on what you drew inside here”. At this point
the performer holds the envelope to their eyes, secretly unfolds
the door and points at the envelope.
I never feel the need to get rid of the evidence of the gimmicked
envelope (after I give the spectator their paperback). However, I know
many performers do like to get rid of the evidence. Here are two ways to
get rid of the evidence.
“Let’s see what you wrote”. At this point, the performer opens the
envelope and pulls out the billet. “We don’t need this anymore”. The
performer then tears up the envelope. “Show everyone what you wrote”.
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Before starting the routine, have an exact duplicate of the envelope

without the gimmick door. Place this ‘un-gimmicked’ envelope in your
left back pocket. “Let’s see what you wrote”. At this point the performer
opens the envelope and pulls out the billet. The performer then
places the envelope in their right back pocket. After the spectator shows
everyone what they wrote, the performer says, “and I’ll give you the
envelope, so you will always remember this moment”. The performer pulls out
the duplicate envelope from their left back pocket and hands it to the
spectator. Successfully switching it in plain sight!
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The Single Envelope Test (Folded)
The Single Envelop Test can also be used for retrieving folded up billets.
“Think of a word. Got one? Write it down on the paper and fold it into quarters for
me”. The spectator writes on the billet and folds it. “Perfect and just dump it
inside the envelope”. At this point I squeeze both sides of the envelope with
the un-gimmicked side facing the spectator. “Now focus on your word”. At
this point I open the door and with my thumb I guide the folded-up
billet out of the envelope and into my left hand.
I unfold the door with my right hand and hold the envelope in my right.
At this point the billet is palmed into my right hand. I then can at any
point, reach into my pocket, unfold the billet and hold it behind a stack
of
billets. This allows me to (whenever I’m ready), peek at the billet.
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This envelope is also a great tool for a Nail Writer routine. For example,
“I have an envelope here with a prediction inside it. Now, out of curiosity. If you were
to name a random two-digit number what would it be?”. Spectator replies
‘fourteen’. “Interesting is that your favorite number or is it just the first number to
pop inside your head?”. While I am asking the spectator and as they reply,
I open the flap and Nail Write ‘14’ on the billet contained inside the
envelope. “It’s actually really interesting how we come up with numbers in our
head. Now what I’d like you to do is pull out this card that has been in the envelope
the entire time”. At this point I open the envelope flap and pull out the
billet half way out. Allowing the spectator to finish pulling out the billet.
“Turn it over!”. The spectator does so and drops the billet in shock.
But know this. The envelope can do more. Including placing

information inside it. “I have an envelope here. Out of curiosity if I asked you to
name a word, what word would you name?”. The spectator names ‘Pink’.
“Interesting that you said pink, let me show you why”. At this point I write
down the word pink on the billet facing me. As I write the spectators
word I mumble “Mysterious”. Giving the appearance that the word I am
writing is the word mysterious. “Now this may appear like nothing to you, but
the word pink tells me a lot about you, it tells me mainly that you like the idea of
being mysterious, you owned a diary once or twice when you were little, and you get
angry at weird things”. These are simply just a few Barnum Statements.
Barnum Statements are statements that sound specific, but, it’s a very
broad statement that can work for anyone.
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As I say the Barnum Statement, I bring the billet to the top of the stack
and mercury card fold the billet. If you aren’t aware of the mercury card
fold, it is taught in a multitude of card books and I recommend you read
a few of these books and learn about this unique fold. It’s an
important tool that will allow you to secretly fold billets into quarters
whenever you want.
“Now do those traits make any sense to you?”. As I ask the spectator this
question, I pick up the envelope, secretly open the door with my thumb
and slide the billet inside. I then close the door and I open up the
envelope from its tab. “Awesome! Well could you cup your hands for me?”. At
this point I squeeze the envelope by its sides (un-gimmicked side facing
the spectator) and I allow the billet to fall out. “Unfold it and check what I
wrote from the very start”.
I sincerely hope that this section has taught you a lot, not only how to
secretly peek at information, but how to peek at billets folded and
unfolded, to predict information with incredible accuracy and how to
perform a simple and easy star-sign divination.
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56
Tin Machine Envelope
This is an envelope that allows you to have multiple outs. This is an

extension of the classic double envelope. I have fixed the main-problem
of the double envelope which was whenever opening the envelope the
performer would have to hold the envelope open or they would reveal
the secret. However, with this envelope you are able to squeeze the sides
of the envelope and show that there is nothing left inside the envelope.
If you are familiar with my W.H.P (Which Hand Prediction) routine, you
can utilize this envelope for it. Any routine that needs two multiple
outs, you can utilize this envelope.
The envelope is essentially just a double envelope with two-tab envelope

openings glued together. This may sound confusing, however as I
explain how to make this gimmick you’ll fully understand how this
properly works.
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Step One: Grab three envelopes, scissors/precision craft knife and a

glue stick.
Step Two: Unfold three of the envelopes like so.
Step Three: Cut the side and bottom tab on two of the envelopes.
58
Step Four: Glue the cut-up envelopes together. Creating a double side
face.
Step Five: Cut of the top flap of the third envelope.
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Step Six: Grab the glue stick and slide it across the bottom of the
third envelope.
Step Seven: Glue the envelope back up again and place the double
sided piece on the third envelope.
Congratulations! You have successfully made the Tin Machine gimmick!
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Here is a photo of what it should look like.
As you can see this is a gimmick that allows you to store two different
pieces of information, while allowing it to appear as a normal everyday
envelope that can only store a single piece of information.
Let’s imagine you are performing the red pill, blue pill routine. The setup
would be to
1. Place the blue pill in one side of the envelope

2. Place the red pill in the other side of the envelope.
3. On the side where the red pill billet is, use a black pencil to place
a dot in the bottom right hand corner of the envelope. This will
help notify you where each pill is.
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While performing the routine, if the spectator chooses the red pill
simply open up the envelope on the side with the black pencil dot. If the
spectator chooses the blue pill, open the envelope on the non-pencil
dotted side. What’s great about this, is after taking out the information,
you can squeeze the envelope by its sides and it will appear empty,
looking like nothing has been left inside.
You could even use this as part of your Ten Star Mind Explosion
routine or you could utilize this as a part of your Red Pill, Blue Pill. It’s
really up to your imagination. Enjoy.
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The Obsolete Principle
We are going to go in-depth on the multiple applications of this

principle but for now let’s talk about this in its most basic form.
Imagine taking four playing cards and having three red and one black.
Place the black card on the top. Ask the spectator to tell you when to
stop as you slowly deal the cards one by one. If the spectator tells you to
stop after dealing the first card, then hand the spectator the second card
(the card on the top of the pack). If the spectator tells you to stop after
dealing the second card hand them the third card (the card on the top of
the pack). So on and so forth. The only way the spectator can make you
stop on the black card is to say “stop” before you even start to deal. But
as soon as they stop you there, you can frame it as “you could have told me
when to stop anywhere. But you told me when to stop on the only black card”. Then
you would turn over the top card.
However, with in saying this. I have performed this force for two years
straight and I have never experienced the spectator telling me to stop
before I start to deal. Once you have eliminated one card, the only reset
is to say, “we are going to do the same thing where I deal down, and you are going to
tell me when to stop”. As I say this I deal down each card again. This will
bring the black card back up to the top.
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I do this force one more time allowing me to have only two cards left in
my hand. One red and one black. I again reverse the order of the cards,
so the black card is now on top and instead of dealing down the cards
on a table, I simply transfer the top card in my left hand to my right and
then I place the card in my right hand below the card in my left. I then
place the top card and transfer it to my right hand and then place it
below the card in my left. This will switch the cards back and forth.
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I continue to simply swap the cards around until the spectator says
‘stop’. If the spectator tells me to stop while I am holding a black card, I
hand them the red card. If the spectator tells me when to stop while I’m
holding a red card, I hand them the red card.
When I hand them the red card I don’t say “oh this leaves us with this card”,
or “you chose this card”. I just say “okay”. I then finish by saying, “you
stopped me three times to eliminate three cards. Would you be impressed if you
eliminated three red cards leaving us with one black card? Take a look”.
Again, this is this principle at its very core. One rule to follow when you
are creating your own routine utilizing this principle, is to make sure you
don’t use more than six cards. Any more than that will become repetitive
and boring. I have over the years created so much material utilizing this
principle and I’m so excited to share all of it with you!
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The Dreamers (Obsolete)
The spectator is shown ten business cards. On each card is a dream. The
spectator thinks of a dream. The performer then begins to eliminate
cards until five are left. The spectator then one by one eliminates each
card until there is one left. The performer divines the thought of dream
and then reveals that the card the spectator chose to keep is the
spectators dream!
I am a massive fan on divining dreams. I have a whole closeup act

revolving around divining dreams (some may be familiar with it. It’s
called The Signal). This is one of those quick routines that you can
perform that will really blow the spectators mind. Before you perform
this routine, you will need to create twelve cards. Simply take ten
business sized cards and write a different dream on the face of each
card. In this example I have written,
- Being Chased
- Flying
- Death
- Out of Control Car
- Being Naked
- Falling
- Water
- Teeth Falling Out
- Tests
- Fire
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Once you have written those ten dreams on ten cards, you are ready to
perform!
“I have a ten different business cards here and each card has a dream on them. I want
you to take the cards. I’ll look away and find a dream you have dreamt and take it
out of the pack. Then place the card face down on the table”. The spectator does
so. They pull out the card ‘Fire’. “Perfect now is this an actual dream you have
dreamt or just a cool idea for a dream”. As I speak, I place the selected card
into the pack and I control it to the bottom. I honestly just do a double
undercut.
“Now what I’m going to lay each card down one by one and I’m going to hover my
hand over each one and see if I can pick up maybe a vibe or energy”. As I say this I
simply hold the pack, so the bottom card is facing me, I simply gesture
towards the table and I can get my peek.
I now deal each card down and hover my hand over each card. “It’s not
this one, or this one, or this”. I continue to eliminate five cards. Making sure
I’m not eliminating the spectator’s card. “In fact, let’s change this a bit.
Instead of me trying to find your dream why don’t you?”.
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At this point I grab all the cards and place the fire card on the top of the
pack. I then utilize The Obsolete principle and allow the spectator to get
rid of each card leaving us with just one. “You and I eliminated each card
leaving us with just this one dream. Look at me. Be honest are you thinking of
Fire?”. Spectator confirms. “Turn over the card”.
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Positive vs Negative (Obsolete)
The performer presents four cards. On three of the four cards there are
negative words such as, gross, no and stop. On the fourth card there is a
smiley face. The spectator shuffles up the stack of cards and one by one
each card is eliminated until one is left. The performer turns over the
last card to reveal that it is the smiley face.
This is a really nice close-up opener, utilizing The Obsolete. The only
set-up for this routine is simply grabbing four business cards and writing
on each card a negative word or picture. In this case I wrote, gross, no
and stop. On the final business card, I drew a smiley face. (Something
positive). Start the routine with the smiley face card on the top of the
stack.
“I have a few of my business cards here. What I would like you to do is tell me when
to stop and one by one together, we are going to eliminate some cards. So, tell me when
to stop”. The spectator does so. “Awesome and we will do this again”. As I say
this, I deal down the cards again. Allowing for me to reset the position
of the smiley face. Once I do that I then say, “Tell me when to stop”. The
spectator tells me when to stop. “Awesome and one final time”. I take the
top card and transfer it to my opposite hand. I continue to do this until
the spectator says stop. I get rid of the card that is not the smiley face.
“Okay. Turn over all three of the eliminated cards. All negative correct? Well look at
the card that you kept”.
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With this routine you can do a lot. You can go very inspirational and talk
about how the spectator will be put through some rough times but as
long as they keep smiling and focusing on the positives they will do
great.
Also know that those four words and pictures aren’t the only four words
and pictures you can use. However, try not to make any of the words
specific like, fat or ugly. Because it could make the spectator feel
uncomfortable. Try to keep it as light as you can.
Please also note that if you are performing for an adult audience you
could utilize swear words.
If you are performing to children (nine-year old’s) I wouldn’t suggest

performing this routine and instead perform the following routine
‘Elementary’.
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Elementary (Obsolete)
The spectator is shown four cards with fire, water, earth and air symbols
drawn on each card. The performer presents a prediction. The spectator
one by one eliminates each card until one is left. The prediction and the
chosen card are turned over to reveal that the chosen card was predicted
from the very start.
This routine is again a fun and simple routine that you can perform
utilizing The Obsolete principle. Start by having a prediction with the
word “fire” written across the billet. Then take four cards and write on
each card an element. I wrote the four main elements fire, earth, water,
air. Make sure that fire is at the very top of the stack.
“I have four element cards here. Fire, earth, water and air. Now, we are going to
eliminate a few so tell me when to stop”. The spectator says ‘stop’. “Alright
perfect. I’m going to deal down again, and I just want you to tell me when to stop
again alright?”. At this point I deal down the cards again, reversing the
order, making sure that fire is now at the top of the pack. “Tell me when to
stop”. The spectator again says ‘stop’. “And one more time”. I then take the
cards and transfer them one by one hand to hand. The spectator tells me
to stop and I place down on the table the card that isn’t fire. “Okay. Now
you have thrown away three of the four cards. Let’s take a look at my prediction”.
At this point I reveal that the prediction matches.
I hope by presenting to you the variety of effects, you can perform

utilizing this principle will help you create and perform new routines
with this principle.
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Appendix 1 – Performance Ideas
Even if you want to perform a routine, off the cuff and quick. You can
use billets! Here are some cool performance ideas to spark some
creativity.
Pet Names. I normally say, “think of a bunny in front of me, think of

the name”. They write down the name and I divine it,
I also divine the color of the fur and eyes of the bunny.
The way I do this is, I always find the spectator thinks of a
bunny with white fur and red eyes. This is called a
Psychological Force. Because the reveal of the color of
fur and eyes aren’t going to work 100% of the time,
I make sure I reveal them first and then reveal the name.
This way I end on a high note.
Drawings. I usually ask the spectator to, “draw something you own”.
I then slowly reveal the properties of the object. For
example, if the spectator is thinking of a dollar bill I can
reveal that their thought of object is thin and portable. If
the spectator thinks of a boat I would reveal that it’s big
and travel related. All I am doing is revealing a property of
this drawing (like whether it’s food, travel related etc.) and
the size of this drawing. (Car would be big where a bag
would be small).
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People. I normally say to the spectator, “Think of a person you

know and write their name on this piece of paper”. I then
begin to divine minute details of what their personality is
like. The way I do this is I always say the following. “I feel
that this person is a really sweet person but at the same
time you don’t want to get on their bad side”. This works
for everyone however it sounds specific for the person.
This is called a Barnum Statement.
Colors. I normally ask the spectator to think of a color and then

write down the thought of color. I then begin to reveal if
the color is dark or light. If the color is something like,
orange, pink and yellow the participant will be thinking of
the color being light. The rest of the colors will be dark.
Such as, red, blue, green and purple. After revealing if the
color is light or dark, I reveal the thought of color.
Drinks. “Think of a drink and write it down”. At this point I tear

up the paper and get my peek. It’s “Fanta”. “Focus on this
drink focus on how it tastes. Focus on how it makes you
feel when you drink it. I’m getting a lemony taste. Wait it’s
beginning to change wait. It’s like orange”. At this point I
don’t reveal that their thought of drink if Fanta. “Is this
some sort of orange juice or orangey drink?”. This is more
powerful than saying “this is Fanta isn’t it?” Because it
now appears that you were able to get the exact taste that
they were just thinking of. If they are thinking of 7-Up or
Sprite I would reveal lemon water or lemon juice. If they
are thinking of apple juice I would reveal apple cider,
orange juice would be Fanta.
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If they choose tea or coffee I would simply reveal how many sugars they
are thinking of placing in the tea or coffee. The way I do this is by saying
“do you like this strong?”. If the spectator says,
“Yes!” there is no sugar.
“In the middle” there is one sugar.
“Sort of” there is one sugar.
“Not really” there is two sugars.
“No” there is two sugars.
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Appendix 2 – Justifications
Hear me when I say that you don’t need to justify a billet tear or justify
getting a spectator to write down information. I personally don’t justify.
However, I know for certain that there are many mentalists that don’t
feel comfortable performing billet-based mentalism without
justifications. So here are a few justifications you can use for getting the
spectator to write down information on a billet.
 “Write it down so after I read your mind I can check that you aren’t lying”.
 “Think of a word. I’m finding you to be a bit tricky to read so to put this
word at the front of your mind just write down the word here”.
If you are familiar with justifications, then you already know these and
probably know many mentalists who use these justifications.
I know a lot of mentalists who utilize justifications for CT’s. Personally,

I don’t see the necessity and let me explain why. It makes perfect sense
for the performer to get rid of the paper, so they can’t secretly grab it
and read it later. The only other sane way to get rid of paper is either put
it in a trash bin which isn’t ideal for street performers and on stage you
don’t have that option.
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Using a business card for a CT is not only unprofessional but it tells

your audience that you don’t really care about what you are doing. Don’t
get me wrong, sometimes we want to perform a CT and we only have
business cards. If you are in that position, then conduct a billet peek.
The reason why CT’s on business cards are unprofessional is because it
risks you not giving the client your important contact details, it shows
that you don’t need them as a client (why else give the participant your
business card, then take it back and rip it up?) and it tells the participant
you don’t care about your business.
So, use billet paper for a CT!
If you aren’t sure what billet paper to use, I suggest either cut with
scissors or rip the billets from an A4 sheet of art paper. Repeat this until
you have your desired number of billets. I use Pocket Index’s a lot in my
act, so it’s important that I can make billets swiftly.
A lot of performers shy away from PI’s because “they are too hard to
memorize which billet is in which position”. But apparently memorizing
dozens and dozens of anagrams is okay?
I’m not saying don’t memorize anagrams and learn the PI instead. But
don’t complain about it when you are a perfectly capable performer. I
even know some performers who complain about the size of a PI, which
shocks me because normally those performers wear tight jeans, have
three different packs of cards and a stack of billets all in their pockets.
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In addition, the PI isn’t actually bulky. I will always suggest Christopher

Taylors because it’s made from incredible material that will keep it
lasting for a long time.
Back to the business cards though. Handing out your business card is
equally important as performing. Here are some tips on how to properly
hand out your business card and get genuine clients.
 Never hand it out immediately before you begin performing. Let

them know who you are.
 Never hand it out at the very end, it’ll feel to them that you are
giving the card out as an afterthought.
 Always hand it out with a smile. Make them feel comfortable.
If you are performing two routines, then in the second routine USE the
business card. Whether it’s to write down what they are thinking of or to
be a part of the effect such as, my routine The Signal.
Now I’d like to quickly touch on a technique that I created when I first
started handing my business cards out.
When you hand out your business card say, “oh in fact, I’m going to write
down a better email, you’ll be able to contact me quicker there”. By writing down a
different email you are not only making the spectator and future client
feel special and unique. You are making them feel like you want to work
with them instead of just quickly handing it out.
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I hope this section of the book has really helped you focus in on your
own mentalism and begin to work off that and help your mentalism
personality grow and grow.
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Appendix 3 - Faith
The phrase “Faith can move mountains-misdirection moves them

back again” is a quote from the legendary Tony Corinda. Corinda is a
legend because he wrote what is considered to be the bible for
mentalists back in 1961, titled ‘The 13 Steps to Mentalism’. If you don’t
own this book. I highly suggest you visit your favorite magic retailer and
purchase it.
In 13 Steps to Mentalism, Corinda teaches billet tears, card routines,

billet routines, sound reading, muscle reading, billet switches and so
much more but to me the most valuable piece of information was his
tips on what to do when switching, peeking and revealing information.
Here are the tips that Corinda himself teaches us.
 Be able to do your switch when your eyes are closed. So that you
don’t need to look at your hands.
 Go steady. Not fast and not slow. A sudden quick move which
noticeably changes the tempo of your performance is the
deadliest way to inform your audience that something is being
done. They may not know what-but they know something has
happened. It is better to go slower than faster.
 The best way to learn billet switching is to perform with billets

until you have made every possible mistake and general blunder,
that will teach you more than fifty books-and you will
remember what matters!
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Appendix 3 – Faith
 Wait your time for the switch. Many a clumsy switch is caused
by lack of good timing. When you take a billet from somebody
THEY EXPECT YOU TO DO SOMETHING WITH IT
otherwise why would you take it? So, you do nothing. Take it
hold it and show it whilst you talk-and then switch. Never fall
head over heels trying to do the switch as soon as the billet
arrives in your hands.
 Never forget that misdirection can do more for you than

anything else. Faith can move mountains – and misdirection will
move them back again-neither time will you see them go! Learn
six stock questions or requests like, “do you mind If I use that
ashtray over there?” and “will you see what you have in your
right jacket pocket and remove it please…”. These stock
questions and requests are your standby to put the spectator off
his guard for the switch. Do not wait until you are performing,
learn them first-they don’t always come to mind when you have
other things to think about.
 Have faith in yourself. Never worry-you cannot do Mentalism in

any shape or form without confidence. Remember they are at a
disadvantage all the way-they do not know what you are going to
do-whereas, it is hoped that you do! Always remember that an
occasional FAILURE makes things look much more legitimate
than consistent success. You can afford a mistake-it’s good
publicity.
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Notes
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LeechNinja Emma Wooding Remastered Volume One

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Remastered Volume One

First Printing: 2018

WOTBOT Pty Ltd

I’d mainly like to thank my father. He taught me proper formatting skills

Thank you so much for purchasing Remastered Volume One. This is a

If you have any burning questions, don’t hesitate to contact me at

Good luck and good thoughts.

What is a billet? What are some billet techniques?

Window Envelope/Window Principle

Step One: Ask the spectator to write a word in the box.

Step Six: Tear the billet’s left side.

What a routine! Rarely do I perform or even like mentalism with

Sixty Sixty Peek

This is a fantastic little peek that is inspired by the classic “Acidus

Without a further ado, let’s get into this peek!

Then fold the billet like so.

I thought I should add this routine as it is a beautiful segway for a billet

Ten Star Mind Explosion

THE PATEO FORCE.

The Pateo Force is best explained in an example of a performance to

I’ll say it again.

THE PATEO FORCE.

I kept working on this routine and refining it.

Turn over the paper that we

If the spectator, then names “David”. I reply, “perfect David it is”.

If the spectator, then names “Damien”. I reply, “leaving us with David”.

Some other names you can utilize are:

If you don’t want to ask the spectator to think of a three-letter word,

Some words you could use are,

Red Pill, Blue Pill

The spectator is shown a prediction. The performer asks the spectator

The Broken Triangle 2.0

The spectator is shown a list of twenty different movies. They decide on

I released The Broken Triangle in late 2017, it quickly became many

I’ll quickly run through the routine one more time.

Step Mentalist Spectator

Ask the spectator to select a

Two Person Version:

The Single Envelope Test

The spectator is shown twenty-four different symbols, all written on an

In early 2017 I released my first release The Emma Wooding 2017

Even though this is merely an update on my original routine, it is a

Step One: Start by writing twenty-four different images on an

Step Four: Take a billet and copy what is written below.

Step Five: And on the other side write the following.

The Single Envelope Test (Star Sign)

Step One: Start by drawing six-star signs on each side of the

Step Four: Take a billet or business card and copy what is

Step Five: And on the other side write the following.

Before starting the routine, have an exact duplicate of the envelope

The Single Envelope Test (Folded)

But know this. The envelope can do more. Including placing

Tin Machine Envelope

This is an envelope that allows you to have multiple outs. This is an

The envelope is essentially just a double envelope with two-tab envelope

Step One: Grab three envelopes, scissors/precision craft knife and a

Step Two: Unfold three of the envelopes like so.

Step Five: Cut of the top flap of the third envelope.

Congratulations! You have successfully made the Tin Machine gimmick!

Here is a photo of what it should look like.

1. Place the blue pill in one side of the envelope

The Obsolete Principle

We are going to go in-depth on the multiple applications of this

The Dreamers (Obsolete)