T. S.

PRINCPLE

Material Created & Written By

Luke Jermay

Edited by

Tara Whittaker

Cover Artwork by

Danor Shtruzman

Photography by

Northern Comfort

WWW.JERMAY.COM
T. S PRINCIPLE - LUKE JERMAY
Copyright 2020 (C) Luke Jermay, All Rights Reserved.

All legal owners in possession of an original copy of

this manuscript have the right to perform these effects,
presentations and methods in all performance settings.
They are not permitted to teach, sell, resell, lecture,
manufacture, translate, or otherwise use the contents.
 INTRODUCTION

The T.S Principle is an answer to a question I have asked

myself for some time. A question that arose from the
plentiful, impressive material available to the mentalist
that utilises blank cards with words or images printed on
them as a selection field.
Something about this as an object simply doesn’t
work for me. I know this is subjective but I have always
struggled to imagine myself introducing a stack of cards
with words or images printed on them. Something about
it just feels too contrived and preprepared for my taste.
I have always struggled to see what this selection
field connects to in the larger world that justifies its use at a
deeper level than being needed for the trick.
This resulted in me not performing many of the
great routines that have been created which call for such a
selection field to be used.
I asked myself how could I introduce a set of words
or images to allow me to perform some of these routines.
The answer is the T.S Principle.

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 It is a simple and fun solution that allowed me to
overcome my personal hesitancy with introducing a stack
of preprepared cards with images on them. A wonderful
side effect was realising that the solution also allowed me
to create a highly deceptive method to automatically sort
the ‘selection’ field I was introducing into a known stack.
From here the creative performer will have all they
need to create endless routines. Included in this short
manuscript are three routines to get you started.
However, for many, the most useful thing will be the
template and instructions teaching you how to design your
own custom props allowing you to bring many wonderful,
original and unique routines to life.
As always, thank you for supporting my work. I
sincerely hope this simple idea finds a place within your
own performances and brings with it lots of fun.

Luke Jermay

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 THE PROPS INCLUDED

Included with this instructional manuscript are three print ready

props, each designed to accomplish different things. The three effects
covered are intended as examples of what you can create using the
T. S. Principle but are in no way exhaustive of the potential
performance pieces possible with the principle.
We will look at each of the three props and what effects
they can achieve in the following section. I hope they serve as
jumping off points to inspire you to design your own routines
utilising the principle.

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 PSYCHIC SPIES

The performer displays a print out of an article he

recently read online. It tells the fascinating story of the
Star Gate Project; a government research effort into
‘weaponising’ a psychic power called ‘Remote Viewing’. After
commenting on the information within the article the
performer points out that the website included a set of
instructions to test your own remote viewing abilities. At
the conclusion of the article is a series of 24 pictures.
The performer tears the paper into small pieces, so
each piece contains one picture. The stack is casually
mixed and placed into the hands of the spectator, who is
instructed to hold the combined stack of pictures in their
cupped hands, keeping them hidden from view. Following
the suggestion of the article the performer has the
spectator name a number between 1 and 24.
The performer focuses his mind, closing his eyes
and seemingly ‘travelling’ somewhere beyond his own
consciousness.
After a moment or two he opens his eyes and
begins describing what he ‘saw’ as he attempted to ‘remote
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view’ which image appears at the chosen position in the
stack of papers held by the spectator.
After he has given a detailed verbal description, the
stack is placed on the table and the spectator carefully
counts to the chosen number. Amazingly, the performer’s
remote vision is shown to be 100% accurate.

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 24 FILMS TO SEE

The performer displays a print out of an article he

recently read online. It features a list of 24 films to ‘see
before you die.’ The performer suggests trying a test of
telepathy utilising the movie posters contained within the
list inside the article.
He tears the article into smaller pieces so each piece
contains one movie poster. The stack is given a casual mix
and the spectator is asked to select one poster from the
stack of papers; without the performer seeing.
The spectator is then asked to think about the
movie and, if they can, remember an especially
memorable moment or scene from the movie in question.
The performer focuses his attention on the
spectator and after a moment or two is able to connect to
their thoughts and describes the movie scene his intuition
is presenting to him.
Finally, he is able to name the movie itself.
Amazingly the performer is 100% accurate.

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 INSTANT MEMORY

The performer explains he has been improving his

memory based on the 6 tips he learned about in an article
he recently read online.
The performer displays a print out of the article.
The article includes a series of images it suggests you print
and use to test your memory skills. He asks if the
spectator would be willing to help him test his memory.
The performer tears the paper into small pieces so
one image is visible on each piece of paper. He mixes
them and then has the spectator remove one without him
seeing it.
The performer has the spectator time him as he
looks at the images one-by-one and deals them onto the
squared pile on the table. Amazingly he is able to
accurately announce which image he ‘did not remember seeing’
as he dealt them.
He has the spectator name a number between 1
and 24. The performer is able to announce which picture
is at this position.
He then has the spectator take the entire pile of
paper and he turns his back to them.

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The performer is able to perfectly recite from memory the
exact order of the images.
Each of these memory demonstrations can be used
alone. Personally, I would suggest simply performing the
third phase of the complete demonstration described
above as a self contained item. I think it works very well
as an isolated demonstration that is powerful and concise.
However, all three phases are included here for the
sake of forming a more complete routine with multiple
phases all utilising the T. S Principle.

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 WHAT DOES T.S STAND FOR?

T.S stands for ‘Tear Stacking’, indeed, it is the central

principle that all of the routines detailed operate on.
In short, the articles included have been designed
not only to appear to be from an online source but also so
that when a set series of tearing actions are followed, the
images will automatically be delivered into a known stack
in a neat combined pile of papers in your hand.
This series of actions is highly deceptive and
counter intuitive. You seem to tear the paper in a
nonchalant fashion, in the same way anyone would to
create the smaller pieces, it appears to be uncontrolled and
natural and yet it is literally building a stack in your hands
before the spectator’s eyes in an innocent appearing but
devious fashion.
To understand how this works, please print out the
“24 Movies To See Before You Die” prop included with this
download and follow the instructions below using it.

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Print the “24 Movies To See Before You Die” prop
now! Follow the instructions with the prop in
hand.

The page you are now holding is design to allow

you to tear it into small pieces, which result in one movie
poster per piece. During the tearing process the pieces are
automatically stacked in Alphabetical order with A (Alien)
at the top of the face down packet and X (X-Men) at the
bottom of the face down packet.
The concept of alphabetical stacks is very old and
in recent years has seen a rise in popularity with several
commercial releases using it to assist in creating stacks
from otherwise unrelated information. It is an excellent
solution to create your own selection fields, when you
come to design your own props and effects.
Simply connect each letter of the alphabet to the
first thing that comes to your mind naturally when thinking
about the letter and the theme of the routine you are
creating.
In this way there is no need to remember the
information/stack as you already know it! Using the most
natural and personally connected information will always
be better than memorising information that doesn’t feel
natural to you. Indeed, this is how I have created the
stacks contained in the props included. If, for some

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reason, one of the items I have picked doesn’t seem to
work for you, I suggest spending some time designing your
personal version of the prop that is perfectly suited to your
natural mode of thought. I have made an effort to select
movies that are very well known and images that are
archetypal and basic. This is primarily for the benefit of
the spectator and the effect itself but also, I hope, makes
my selections of movies and images natural to others when
it comes to remembering the alphabet lists.
My original contribution to this concept is the
manner in which the selection field is introduced to the
audience; within an internet article and importantly the
process in which the paper is torn; automatically
delivering the images into a known stack, allowing the
performer to utilise the stack of images in the same way as
a stacked deck of cards. The creator of the alphabet stack
concept sadly appears lost to time.
The tearing/stacking is very counter intuitive and
serves almost as a false shuffle by itself.
Once the tearing process is complete, in many
routines, the pieces can be given a complete cut, since it is
a cyclical stack. I usually repeat the cutting process several
times, spreading the pieces between my hands, which, with
the correct pacing, looks like a sloppy mix that is well
suited to the items in hand and serves well to convince
they are mixed. When needed I ensure that the top most

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paper has a crimp in the corner so I can cut it back to the
top of the packet when I am finished with the mixing.
I suggest printing the props on a heavier paper
stock to give them a little more ‘form’ allowing a slightly
easier handling in performance. This is a matter of
personal preference and careful attention should be given
to the paper stock you select.
If printed on paper which is too thick or heavy it,
for some reason, begins to feel less real to the spectator.
You goal should be to select paper that offers a balance
between the type of paper normal people have in their
home printers and paper that offers some form to assist in
handling with ease.

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 HOW TO TEAR THE PAGES

I will use the “24 Movies To See Before You Die” as the
example in these instructions. However, this process
remains unchanged for all included props and is the
process that the template included requires.

Always use this process with the tearing to ensure

the images are sorted into the stacked order we
desire.

Rules: Always begin with the posters oriented properly to

you. Always place what is in the right hand onto that
which is in the left hand, meaning what is in the right
hand is placed onto the left with the printing facing out so
the printing on the right hand packet becomes the ‘face’
of the newly combined packet, visible to you. Always
rotate the packet a quarter to the right (clockwise) when
instructed to. Always return the packet to ‘reading’ like
the page of a book when instructed.

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 The Tearing Process Step By Step

This will feel complicated at first. However, after running the actions
with prop in hand a few times it will become easy and natural.

1. Begin by introducing the page and placing the third

page, which contains links and such, to one side. Letting
the spectator see this, really helps sell this is a webpage that
has been printed. Now, tear the ‘headline’ text away from
page 1 and place it aside.

2. Drop the bottom part of page 1, that part which

contains 2 rows of movie posters, to the table. Place this
to the table oriented as if you were reading it as if a page
in a book.

3. Now, pick up page 2 and rotate it a quarter turn

clockwise so it is held in a landscape orientation and tear
along the vertical centre. Tearing between the movie
posters “Cabaret” to the right and “Hocus Pocus” to the left.
Place what is in the right hand onto what is in the left
hand and reorient so the pages are once again as if
reading the page of a book. Drop them onto the part of
page 1 on the table. You now have 3 pieces of paper on
the table in a packet, all oriented as if reading them.

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4. Pick up all 3 pieces of paper on the table, as a combined
packet. Holding them as if reading the page of a book,
tear down the vertical centre, tearing between “The Usual
Suspects” and “L.A Confidential”, and place what is in the
right hand on top of what is on the left hand.

5. Rotate the packet clockwise a quarter turn and tear the

packet along the vertical centre, tearing between “L.A
Confidential” to the right and “Fight Club” to the left. Place
what is in the right hand on top of what is in the left hand.

6. Turn the packet so it is once again as if you were

reading the page of a book and tear along the vertical
centre, tearing between “X-Men” on the right and “L.A.
Confidential” on the left. Place everything in the right hand
on top of that which is in the left hand. “X-Men” will be
on the face of the combined packet, which is now around
the size of one of the movie posters.

7. Turn the packet over, so the printing is facing the floor

(face down). The first paper of the packet will be the
movie poster for “Alien” and all posters will now be
stacked in alphabetical order from the top down. It’s
almost a magic trick in itself, just for you!

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Please note that not all pieces will show a complete poster,
some will appear to have torn slightly through the design
itself.
This is by design. I believe this helps sell the idea of
an uncontrolled result arriving from the tearing. After all,
this is apparently an article that was written and designed
to be read, not turned into a mini deck of cards. With this
in mind, if the resulting packet were too perfect I feel it
wouldn’t read as authentic and genuine.
However, unless you are especially messy with
tearing, all titles should be visible on all posters. In my
experience there is no need to use scissors for the process.
I am confident with some practice you will be able to tear
a neat packet that functions as we need it to. However,
should you wish to use scissors it will make the process
easier, it’s just not to my taste.
Now you have learned the process that delivers the
images into stack, we will address each of the example
routines separately to explain how they work.

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 PSYCHIC SPIES METHOD

This is a very, very straightforward and direct method to

apply to the stacked papers. Simply translate in your head
the number chosen to a letter in the alphabet. I personally
do this by placing my right hand on my leg. As I appear to
be ‘focusing’ I internally, and silently; in my head, run
through the alphabet, pressing my fingers and thumb onto
my leg; one for each letter, until I reach the chosen
number. I now know which letter rests at that position and
consequently what image I will reveal.
Below you will find the alphabetical list for the images used
in Psychic Spies.
These are the first things that come to mind when I
think about the letter they start with. This might, in itself,
reveal something about me as a human! I hope they are as
naturally connected for you. However, if they are not, feel
free to use the template to create your own collections of
images that are easy and natural to your own thinking.

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 Psychic Spies Alphabet Stack List:

A: Apple M: Mountains
B: Butterfly N: Nurses
C: Cat O: Oranges
D: Door P: Plane
E: Elephant Q: Queen’s Crown
F: Fireworks R: Race Car
G: Golden Gate Bridge S: Skeleton/Skull
H: Hat T: Train
I: Ice Cream U: Umbrella
J: Jam Jar V: Violin
K: Kangaroo W: Waterfall
L: Lighthouse X: X-Ray (Hand)

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 24 MOVIES TO SEE METHOD

Another very direct and very simple routine to perform is

themed around revealing a chosen movie. To accomplish
this simply have one of the posters/pieces of paper chosen
and glimpse the paper that is beneath it. I suggest having
the stack of papers on the table, in a squared pile and
having the spectator cut them randomly, completing the
cut and removing the top paper for themselves as the
selection.
Now, take the remaining pile back and as you place
it into your pocket sight the poster on the bottom. You
now know that the poster in the spectator’s possession is
one along in the alphabet from that which you saw on the
bottom of the pile.
It is also very simple to glimpse the bottom poster
as you hand the packet to another spectator, who could
repeat the actions to select a poster for themselves.
Thanks to the cyclical nature of the stack any number of
complete cuts will not affect your ability to identify which

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has been selected. However, with the poster pieces being
removed from the stack and retained by the spectator,
personally I would not use this with more than two
spectators in case you run into an issue of the stack being
out of order due to hitting a point which should be
occupied by a selection which has been removed. If this
happens, of course you are aware of it; since you know it
is with the spectator, however, it tends to start getting a bit
complex and I prefer to avoid it and keep things simple,
straight forward and easy.
When it comes time to reveal the movie, I suggest
adding in a simple presentational addition, first shared by
the great Bob Cassidy, and then shared by countless
others, sadly most often with no reference to Cassidy.
To do this you will need to watch all 24 movies on
the list above. I suggest a plentiful supply of popcorn.
Welcome back. Now that you have seen them all,
in performance, you can ask the spectator if they have
seen the movie they have selected. If they have, ask them
to focus on a memorable scene. Now, inside your own
mind simply describe the scene that instantly comes to
your mind from the movie you know has been chosen.
In most cases the highly memorable scenes will be
the same for most people; you included! It is a good
example of how, very often, all we need to do in order to
add moments of ‘real time’ mind reading into a routine is

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think as if we were experiencing the routine. By thinking
as if we were the spectator we are able to reveal what they
are most likely thinking at those moments. It is a very
simple but far reaching way of adding additional moments
of mind reading that appear to be happening in real time
describing the inner experience of the person we are
working with, beyond the outer experience of the
selections and choices they have made. Such small
touches are often what separates the good from the great
in mentalism.
In the very rare occasion this does not hit, simply
move on and reveal the name of the movie in some
dramatic fashion to conclude the trick.

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 24 Films To See Alphabet Stack List:

A: Alien N: No Country For Old

B: Back To The Future Men
C: Cabaret O: One Who Flew Over
D: Die Hard The Cuckoo’s Nest
E: Edward Scissorhands P: Pulp Fiction
F: Fight Club Q: Quadrophenia
G: Ghost R: Ring
H: House On The S: Seven
Haunted Hill T: The Game
I: Independence Day U: Taxi Driver
J: Jaws V: V for Vendetta
K: Kill Bill W: Willy Wonka & The
L: L.A Confidential Chocolate Factory
M: Mad Max X: X-Men

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 INSTANT MEMORY METHOD

This time the tearing process (which always remains

unchanged) does not deliver the images into alphabetical
order!
While this could have been an option, when calling
the final order of the images aloud, especially astute
spectators might have noticed the alphabetical nature of
the images being named one after the other. I am not sure
I have ever met such a spectator but I assume they are
everywhere. By making such assumptions it forces the
methods I choose to use to address such issues with more
deceptive and elegant solutions. So, while it might have
been possible to use the alphabetical approach here, I
think it is better not to.
Instead the tearing will deliver the images into an
order which is known to the performer but has no outward
connection between the information, allowing the images
to be used as any other stacked deck would be.
The order is known either thanks to memorising
the simple sentence below or thanks to the crib that is
hidden within the text of page one of this prop, which the
performer places aside, easily within their sight, at the
beginning of the routine.

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 The crib features the ‘secret’ sentence that connects
all of the information into a stack. The sentence requires
that you skip any letter that is not in bold text.
The page also features, in the link at the bottom of
the page, a translation of numbers to letters. This is
utilised in the second phase of the routine.
To easily access the crib, without appearing to be
reading or straining to see something, utilise the classic,
and one of my favourite, simple technique that gives so
much more than it takes; the ‘Gypsy Glimpse’ as you
apparently visualise and search inside your own mind to
access the information you have apparently remembered.
The sentence is (remember to skip letters not in
bold): Waltz Job Vexed Quick Frog Nymphs. This
sentence uses all the letters of the stack (A to X) with
minimal number of repeated letters. The repeated letters
are skipped, indicated by not being in bold typeface on the
article itself. Personally, I found it easy to remember this
sentence and do not make use of the crib. However, it is
nice to have it built into the prop in case, during
performance, you are hit with a brain freeze and for
whatever reason find you cannot remember it.
To perform, after the standard tearing process, give
the packet a series of complete cuts. During this process
crimp/fold the corner of the top paper so, at the end, you
are able to cut that point back to the top of the packet so

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the stack runs from A to X from the top down. This is not
like handling playing cards, indeed the paper stock affects
the handling. However, with a little experimentation with
the props in hand you will see it is easy and natural.
With the proper pace complete cuts will appear to
be a shuffle of sorts.
Next, have the spectator remove one of the papers
by cutting into the packet, without completing.
Now, claim you will remember the order of the
images. One by one deal the pieces to the table face up,
dealing ‘stud’ so as not to change their order.
During this dealing process you learn which has
been removed by running the alphabet along with the
images as you deal them to the table, inside your mind.
You will learn which has been removed as the alphabetical
sequence will ‘jump’ ahead one at the point where the
selection should be.
Another approach that I particularly like is to have
the spectator remove one of the images without me seeing,
either by holding the combined packet beneath the table
or with my back turned from wherever they wish. I simply
have them reach into the packet and pull one out at
random as if selecting a card from a spread deck.
I now deal the packet one by one to the table as I
apparently memorise their order but in reality run the
alphabet in your own mind.

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 When you come to the position the selection should
appear in, create a step in the pile you are dealing to the
table, so you can easily replace the selected image into this
position in a moment. Announce the selected image,
claiming you did not remember seeing it.
During the off beat of the reaction, take the
selected paper back and place it back into the stack;
returning the stack to a complete and correct order.
Next, have the spectator select a number. Using the
crib at the bottom of the page you placed aside at the
outset, reveal which image appears at this position in the
stack. Remember to utilise the ‘Gypsy Glimpse’ to overcome
any tells that you are reading or focusing on the the
hidden crib.
Deal to the announced number and reveal your
accuracy being careful not the change the order of the
papers as you do.
Finally, square everything back up and hand the
face down packet to the spectator and turn your back, so
as not to be able to see the packet they hold.
If you are feeling especially dramatic, hand the spectator the
packet. Instruct them to remove their phone from their pocket. Place
your coat on and leave. Call the spectator and conclude the revelation
of the information that you have ‘remembered’ over the phone.
To conclude ensure you have the crib within sight if
you have not memorised the sentence. Now, simply call
the images aloud, one image for each letter of the
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sentence, remembering to always skip those letters which
do not appear in bold. The image list used for this effect
is the same as that for ‘Psychic Spies’ and appears once
again on the next page.

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 Psychic Spies Alphabet Stack List:

The same images used in ‘Psychic Spies’ are used here to reduce the
likelihood of confusion. I suggest when creating your own layouts you
stick to one set of images constantly.

A: Apple M: Mountains
B: Butterfly N: Nurses
C: Cat O: Oranges
D: Door P: Plane
E: Elephant Q: Queen’s Crown
F: Fireworks R: Race Car
G: Golden Gate Bridge S: Skeleton/Skull
H: Hat T: Train
I: Ice Cream U: Umbrella
J: Jam Jar V: Violin
K: Kangaroo W: Waterfall
L: Lighthouse X: X-Ray (Hand)

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 THE TEMPLATE/GUIDE

The most exciting aspect of the T. S. Principle is the

immediate ability for a creative performer to make original
routines themselves using readily available desktop
publishing tools and resources. A certain level of
familiarity is needed with said tools but in very basic
terms. Included with this download is a ‘guide’ file in PDF
form. It shows you where each letter on the stack images
should be placed in the layouts you create. Additionally
an interactive Adobe InDesign template is included.
If using the guide, I suggest literally using it as a
‘map’ inside your normal desktop publishing software;
place the image as an overlay and then lower the opacity
of the image and use it to guide the design you create.
Before printing simply delete the guide image.
Simply follow the guide in order to place the proper
image in the proper position to ensure that when the
tearing process is followed the images are automatically
stacked in alphabetical order in the end combined packet
from the top down.
Any other stack could be used. I have used
numerical stacks based on memory system associations, for
example, image one begin a drawing of a gun and image
two being a drawing of a shoe and so on. I have also

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explored the use of playing cards in stacks I already know,
such as a memorised deck, which translates the cards to
images. For example: The 4 Of Clubs becomes 4 golf
clubs and so on. These days I really like and have settled
into the alphabet approach. It seems hard to beat for ease
of use and the widely different images and concepts that
are invisibly connected using it.
I hope you will find great fun and usefulness
with the T.S Principle and use it to create original and
exciting routines of your own.

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