Devious Realities - Peter Turner (with Kenton Knepper)
Devious Realities
Peter Turner
Devious Realities - Peter Turner (with Kenton Knepper)
Kenton Comments As you know, I am rather fond of unusual methods and premises. When someone can use my principles and mix them with your own, they get my attention. Peter Turner is one of those kinds of people. He embraces my principles, especially dual reality, and applies these in new and quite realistic ways. Naturally my fans are bound to appreciate these applications. Yet that is only part of why this book came into being. The truth of the matter is, Peter fooled me badly with a couple of the pieces in this book. As we talked about what he was doing, I couldnʼt help but add my own touches here and there. This interaction grew until we both agreed that a book should come of it. Ask anyone I have ever helped be known by working on a manuscript for them and they will tell you, itʼs not easy. Be it Luke Jermayʼs first book (7 Deceptions) or this latest one, I am always upsetting creators in the process. I push material back at them saying, “Done that before” or “seen it” or “quit trying to be Derren Brown.” Authors and creators can understandably be disheartened during the process as I demand better and better work from them. The good news is that in the end authors always feel grateful for the process and that I do not settle for something that is common or trite. Perhaps that is why so many people I help get off the ground become more well known. I want a creatorʼs light to really shine. Itʼs good for the author who wants to make a name for him or herself, and itʼs really good for the reader of these creatorʼs works too. I am happy to say that Peter Turner has survived the grueling process I insist upon. The result of this work are new methods to classic plots, novel presentations, entirely different uses of principles, and more than a few pieces any mentalist should want to perform right away. Best of all, Peter Turner is just damn devious. His solutions are often very simple. Be attentive. If you read a method before you get the real essence and atmosphere of the performance you may miss material that could be featured moments in your own show or television appearances. Just so you know, Peter is from the UK which you will soon realize. Subtle yet bold might be the best two terms for this material. You should not however find the boldness too daring by any stretch, and the subtle nuances, well, keep a keen mind and eye out to catch them all. Weʼll begin with a piece that will be worth the price of this book for many. Youʼll do it right away too. From there, please keep reading carefully. Picture these effects from the audienceʼs viewpoint and you will become as thrilled as I about the many possibilities herein. Peter Turner has a unique twist on things. I know you will value that as I do.
Kenton Kne!er
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February 2011
Devious Realities - Peter Turner (with Kenton Knepper)
A No Brainer Calculation We know many will first purchase this book because it contains the following secret. Yes, it is very exciting. Practical too. That said, both Kenton and I hope that you will also read carefully the other material in this book. There are some real gems here that make for stand out performances. You will be fooled by some of this material in other peopleʼs shows if you donʼt read the rest of this book closely. That said, we know you will want to be working with this first bit right away. Here is how to make a standard scientific calculator into a trick one without any effort, rewiring, remanufacturing or anything else nasty. It will only cost you a few pounds or dollars too. Kenton recalls trick calculators in the 1970s and of course such things have been repopularized currently. Essentially trick calculators were meant to be a modernized version of Pad-I-Add or Add-A-Number where the total is forced. Such trick calculators have become very expensive when originally only two wires or two buttons had to be switched. Pushing the = sign would trigger what was stored in the calculatorʼs memory. In this way any total could be set and forced electronically. Now for the good news. I learned that most scientific calculators could be used in a similar fashion. Scientific calculators can be obtained inexpensively. Scientific calculators have certain keys other calculators do not have, such as keys with beginning and ending parentheses. You will need the key with the “ ( ” symbol on it to turn your scientific calculator into an impromptu tricked one. Yes, thatʼs all there is to it. Be certain you get a scientific calculator with the beginning parenthesis key. Type the total you want to force on your calculator. Then press + 0 x ( in that order. Once you type in your force number, just hit the plus sign followed by zero multiplied by the beginning parenthesis sign. The calculator will go back to 0 automatically! After this, no matter what numbers are added or subtracted, when the equal sign ( = ) is pressed to get the total, it will give the total you wanted to force! Just like that, you have an Add-A-Number force calculator for cheap. Keep the secret to yourself. If you want to tell others about it, tell them to buy this book, if you please. Otherwise you are the one getting ripped off by telling others how to do it. There are a couple of things you need to pay attention to though when getting a scientific calculator. First, remember it must specifically be a scientific type of calculator. Not all scientific calculators are exactly alike either. So, second, you need to be sure it is a scientific calculator with a ( button on it.
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Devious Realities - Peter Turner (with Kenton Knepper)
Third, you want to be sure it is a calculator that does NOT have multiple lines or screens. If you can scroll down the screen it may be that it is a calculator that will not zero out. It might keep an entire equation in view on the screen. This you do NOT want. Kenton got a decent scientific calculator and it was too decent of a quality. When he typed in 123456 as his force number then + 0 x ( the screen showed precisely: 123456 + 0 x ( Not what you want at all. Usually a screen will go to zero when you type in the formula rather than leave it all on screen. This situation is unusual but you should be aware when you go hunting for the right calculator that it is not multi-line or multi-screen. When you add, multiply, subtract and so on the new total should show each time, not the entire equation. So be sure that your scientific calculator does NOT scroll to the right, left or up and down. Best for you to find the cheapest scientific calculators that you can and try them out ahead of time to be sure the secret formula returns the screen to zero. If you are borrowing calculators for a challenge effect, get many different ones brought in so you can find those that work easily. Most will. I find plenty at the One Pound Stores here and Kenton says you can find the correct ones at the Dollar Stores in the States too. The usual shops will have scientific calculators. Stay away from multi-line or multiscreen types though. I asked three friends randomly for three different scientific calculators and they all worked perfectly, as did another one that a peer gave me from lab work. Still, we wanted to alert you to potential issues so you can find the proper units. Kenton mentions that a scrolling multi-screen unit can be used in a different way which we will talk about in a moment, in case you get stuck with one. For now though, I would like to share with you my routine using this calculator. You can of course do any of the usual Add-A-Number tricks with this calculator that you may know. Put a piece of tape or something to cover the display so “I cannot see.” This naturally hides the fact that the total is not the same as the running total, in case anyone is paying close attention. Have a subject remove the tape after they total the numbers (push the = sign) so they can see the final result. It looks of course as if you are preventing cheating by using the tape on the display screen when in truth you are preventing others from seeing you are cheating. Now to my use of this calculator. I believe the following is an unusual premise and I know it to be a memorable effect for the audience.
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Devious Realities - Peter Turner (with Kenton Knepper)
An Educated Guess, I Guess
“A wisdom of crowds was a theory used to guess the weight of an ox. Many people have seen contests in which they win a prize if a single person can guess the number of items in a barrel or jar. This is because guessing on your own can deceive you. Working with an average of many minds often gets you closer to the truth.” A jar is displayed that is filled with Lego toy pieces (or sweets). Eight people call out their guesses of the amount of Legos in the jar. A subject acting as judge writes down the guesses called out. The judging spectator adds up all the numbers called out and gets a large sum, such as 984. The judge then divides this large sum by the number of people who called out numbers and gets a new total. In this example, 123. The judge then opens the jar (or someone else may do so). Inside the jar, on top of the Legos is a paper with the true amount of Legos in the jar written on it. Amazingly the total is 124! When the audienceʼs wild applause dies down, the performer spins the jar around to show that the back label on the jar reads OFF BY ONE. The calculations help both to bury and excuse the use of the calculator. We will use the scientific calculator and method as just described. Letʼs use the numbers and items exactly as described in the example from my show the other night. I took the amount of Legos (123 pieces) and deciding to have eight people call out their guesses from the audience, so I did this equation: 123 x 8 = 984 Considering this I used 984 as the force number, and input it into the calculator for the force number as previously discussed. During the show eight people shout numbers out and someone writes these down. The person who wrote the numbers down is told to add them together. This is when the person is given the pre-programmed scientific calculator. They add in all the numbers and hit the = button, thus arriving at the total 984. State that the wisdom of crowds theory is that this number divided by the eight people calling out their guesses should be close to the total. Have this person use the calculator to divide 984 by 8. 5
Devious Realities - Peter Turner (with Kenton Knepper)
In this way the calculator is indirectly proved to be normal and ordinary. It is very subtle and you may have to think about this to see the power in it. When the person divides 984 by 8 they get = 123! Rather than be too perfect, Kenton suggests being a little off and using his classic OFF BY ONE on the back of the jar for a surprise additional kicker. You get two finales in one this way. Of course you could be “Off By Four” or anything else you like. Kenton uses the Off By One so it matches up with other potential classic effects in his own show. Some nights these can turn into a running gag - mentalism style! What is essential here, is not necessarily the effect but the principle I offer you. The possibilities are endless and I donʼt believe the chance to borrow a calculator from a subject has ever been offered in print before. With this method you can borrow many scientific calculators and do things “under test conditions.” That should get performers of mentalism going in new directions with our number tests. One night Kenton had some famous performers from Las Vegas in his home. He learned of the birthdate of one of the people whose real birthdate was not publicized. Kenton picked up his calculator and set the total to force the real birthdate in one long number: 22984 Kenton went on to say that he had read how numerology is supposed to reveal age, but it was a very complex and strange theory that he had read which purported to do this. He put a piece of electrical tape over the display after it had been shown to be at 0. He had each person add in their favorite number, weight, real weight, favorite age, any four three digit numbers, any two three digit numbers they wanted to subtract, and so on. Kenton continued to suggest that people could add or subtract any of what they put it. While this made things seem fair, it actually made it impossible for anyone to know who added and subtracted which numbers, or keep a running total mentally. Nice touch. Kenton had the person with the secret birthdate press the = sign and take off the tape to read the total out loud. Slowly, it dawned on those present that the total was an arrangement of the secret birthdate. You better believe that got people talking, especially when Kenton swore it was an ordinary calculator fresh from a scientific lab. He offered to let them take it home. Not a bad idea for any larger performance to allow someone in the audience to keep the calculator. That takes away all suspicion; certainly worth a little money for the drama and punch to any mentalists or doubters in the audience. For the record, the number shown in this example is not the actual birthdate used, so quit trying to figure out who was at Kentonʼs home when he performed this one. I do hope my presentation, and my method, will be highly useful to you.
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Devious Realities - Peter Turner (with Kenton Knepper)
An Unscientific Calculation Kenton Hereʼs something that can work with everyday calculators. The calculator is examined, memory cleared, entry cleared, and handed out to the audience. Three or four people (it can be an infinite number) put two or three digit numbers into the calculator, pressing the + sign to enter their number before passing it to the next person. Each person must of course remember their own number. The last person is told to press + and then 0 to zero out the total. Ask and be sure that the screen now shows zero. The calculator is handed to you who shows that indeed when you press CE (clear entries) and MC (memory clear) the screen remains showing only zero, so there is no way you can know the numbers or total. You can even push MR (memory recall) and show the answer is zero, thus proving all evidence is gone. Holding the calculator by the very tips of the fingers the calculator is given to another person to add the numbers as they are called out. The performer shows a board and writes out the numbers as they are called and has these confirmed. The calculator and the addition made on the board of course match up. The audience members agree that these are their numbers and the last person may recall the exact total before they zeroed the total out too. All is as fair as can be. You donʼt even need to hide the display with tape. Yet the prediction in your pocket, sealed inside a chest, envelope, wallet or written on the back of the board has accurately predicted the total. The way this works is based upon a twisted bit of logic. Once you know it, it will seem obvious perhaps, but chances are you missed what was going on as you read the description. The calculator begins zeroed out with no secret numbers entered. The audience adds in numbers as usual, putting in their number and then pressing the + sign before giving the calculator to the next person. The last person is to remember the total on the screen, and then hits the + sign followed by the 0. This leaves a zero result on the screen. By all appearances the calculator has been zeroed out or erased. To be sure, you may find that you can press the buttons CE, MC or even MR and get nothing showing other than a zero result. The one button your do not want to press is the ON/C button as this will really zero things out. M+ or M- may also make the total appear. Calculators vary but a little experimentation will show you what can and cannot be done with each brand and model. The only thing that will change is whether you can use the CE, MC or MR buttons to show all is still zeroed out. The calculator is barely touched as you hand it to another participant casually to add up the called out numbers. However, in this brief moment the total is glimpsed. Hereʼs how. The = is usually near the edge of any calculator. Sneakily press the = sign, spot the total on the screen, and then as your other hand gives the calculator to a new participant, have that hand secretly tap the ON/C button. Now you know the total and the calculator can be entirely examined as the calculator is really zeroed out.
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Devious Realities - Peter Turner (with Kenton Knepper)
Pick up the board and as you give instructions secretly write on the back of the board or the pad of paper the total you just glimpsed. No one should know that you made the writing at this point. The idea is that the prediction was made before the show began. You do not have to use the back of the board or pad as your prediction. Simply execute any live sealed prediction effect that you know. You could use a card in wallet to do a sealed prediction in wallet. You could stick the total on a paper and shove it into your prediction chest as you write the numbers on the board. You will have plenty of distraction and movement to do almost anything you wish. Students of my Mind Reading Lessons from my website will know of many such options. The back of the board can hold the paper you write the total on before you steal it off and load it into your prediction device. Use whatever you like. "I made a prediction here before we started which I will show you in a moment. But first, just to be sure I don't have one of those tricky magic electronic calculators or something, let's check our math. You (point to the person in the audience with the calculator) add the numbers one more time to be sure we get a proper total using the calculator. I will write the numbers here on this board so the entire audience can check the addition too." The numbers are called out, openly written on the board, added on the calculator again, and when all the numbers agree with the total the last person saw, the prediction is revealed to be entirely correct (or Off By One). As you know the total long before the audience sees the numbers and total, it is easy to nail write the total too. Yes, I know that saying, “...just to be sure I donʼt have one of those magic trick calculators” ruins it for those who do have them...but this is why knowledge is more powerful and worthwhile than mere props. You can leave the calculator as a souvenir in the audience, to drive this point home. I fooled myself with my method for a while when I came up with it. Donʼt ask me how I do such things. Eventually I realized the bit of psychological flaw that allows this to work. Considering I did not realize it for a while, and I am the one who created it, chances are no one else will spot what is really going on either. It is unique to have the audience be able to verify their own numbers and addition. It takes all importance away from the calculator and you can do what cannot be done with any typical tricked calculator. Before we leave the topic of electronic calculators, I would like to share a tip with you concerning those pesky multi-screen or multi-line calculators next. After that, we will move on to the many other wonderful developments by Peter.
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Devious Realities - Peter Turner (with Kenton Knepper)
Multi-Line Telepathy As we mentioned, sometimes we get stuck with a multi-line scientific calculator. The one I got first was by Texas Instruments and is the TI-30X IIS 2-Line Scientific Calculator model. This allows the entire equation to show, which does not work for Peterʼs original handling. It does do something else interesting, however. You will notice in the photo that on the upper right of the calculator are blue arrow buttons. These move the display screen up and down, or right and left. This feature gives us a new way of Knowing the seemingly impossible. Various members of the audience are told to add or subtract numbers on a calculator as they desire. When all are satisfied the = button is pressed and an accurate total of the numbers, as well as the equation of all the numbers calculated, are displayed. The participating members are told to remember their own number, and the last person is to remember the total of all as well. The CLEAR button is pushed by an audience member to clear away from the display the total as well as all the numbers. All is as it should be, and done by the audience. Once the calculator is cleared (and the screen is entirely blank) the mentalist turns away and begins punching numbers into the calculator. The performer gives the calculator to a new audience member stating “By using my intuition I typed in an equation I believe will be correct. We shall see. I have not yet punched the total in, but you can do that in a moment.” The performer has audience members call out their numbers, whether their numbers were added or subtracted, and so forth. The equation formed by the audience is written on a board for all to verify. Amazingly, this is precisely the equation the performer entered sight unseen in the calculator. The = button is pushed and this is indeed the total (naturally) that the audience created. The secret is the multiple line screen. When the audience pushes the clear button this does indeed clear the screen.
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Devious Realities - Peter Turner (with Kenton Knepper)
Rather, pushing the CLEAR brings up a new clear, blank screen. The original screen with the equation and total by the audience still exists. By pushing a down or up arrow, or one of the side arrows (depending on the calculator and length of equation) the original equation shows in its entirety. 27 + 92 - 34 85 (This second line is the total.) All you need to do is hand the calculator to someone after CLEAR has been pressed and covertly push the up or down arrow button in the process to read the whole equation. You could secretly read it, memorize the information and make this into a demonstration of telepathy. You could turn this into a prediction as previously discussed. I sometimes create the equation sight unseen. To do this, simply bring the equation up and tap your fingers on the screen to make it sound as if you are punching buttons quickly without looking. Then hand the calculator to someone to read. The total will not show until they hit the = sign again, which subtly makes it seem as if you recently punched in the equation, as it is yet unfinished. If you cannot act as if you are convincingly typing in a new equation, then it may be better for you merely to peek the numbers as you put the calculator aside, or hand it back out into the audience. Be sure to press the CLEAR button before handing the calculator out again. This particular scrolling calculator (“scrolling screen” is another way these are sometimes advertised) will allow you to access several different screens using the up arrow. This means you can access a great deal of information, know of several equations made in the audience, and preset an equation or two, forcing an entire equation on the audience. To force an entire equation, make one and then press CLEAR. Hand out the calculator with tape over the screen and have people randomly punch numbers without looking and then press the + or - sign before handing the calculator to someone else who does the same. This is continued for a while. Eventually take the tape off to have someone look at the strange string of numbers punched in at random. As you take the tape off, secretly push the up arrow until you arrive at the force equation. Show a participant the equation (make it with a lot of numbers and as strange looking as possible) and have them total it all by pushing the = button. The equation and the total will match of course, the total being predicted long in advance, in the midst of the audience too, if desired. I believe this, along with the other two calculator offerings in this book, will give you more than you will ever need when it comes to trick calculators. Best of all, there is nothing tricked or altered in any way about these calculators. It simply canʼt get better than that. Or less expensive. Letʼs move onward now to entirely different material from Peter, with a few added bits by myself here and there. Yes, weʼre just getting started!
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Devious Realities - Peter Turner (with Kenton Knepper)
IPI: Instant Pseudo Induction Ambience is an important factor in any type of performance, and one underused by most. Mentalism is a process which the most knowledgeable of lay people struggle to understand. In my view, our job is to create understanding, using visual representation as a tool, thus making enigmatic processes clear. This is one example. Effect The performer stands facing a subject, tells the subject to relax, and within literally a few seconds the subject is inducted into a hypnotic sleep. This isnʼt really hypnosis. It is a classic case of Kentonʼs dual reality and trance illusion, that leaves the audience believing the subject is induced. This is not an effect in itself, but an essential tool to add at the start of any effect that requires the subject to close their eyes. A few such effects are included in this book which is why I teach my method here. Method/Performance Being no stranger to hypnosis, I wanted to make sure I had a subject in a trance without pre-show or the long drawn out process of some inductions. This effect perfectly describes dual reality. You never tell the subject to close their eyes, but the subject believes you have done so. Place the subject facing the audience. You face the subject. Your back will be facing the audience. You can angle this a bit so that you do not entirely block the subject, but it will not harm the overall effect if you happen to do so. Tell the subject to follow what you do, whilst taking nice deep breaths. “When you feel your eyes want to close, just keep them closed.” If the subjectʼs eyes happen to close right away, have the subject keep their eyes closed and place their feet together. Otherwise simply have the person put their feet together and continue. With your hands at your side, wiggle your fingers. If the subjectʼs eyes are still open they should copy your hand motions. If they do not follow you, simply tell them to do as you do. Repeat vocally “When your eyes happen to close, just keep them closed.” Stop your fingers wiggling and they will stop wiggling their fingers. “...and just...relax...breathing deeply...staying as you are now until told otherwise.” Thatʼs what the audience hears, but the subject sees a little more.
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Devious Realities - Peter Turner (with Kenton Knepper)
As you say, “...and just” flutter your eyelids and close your eyes. The subject will copy you, closing their eyes. As they are closing their eyes you are saying, “...relax...breathing deeply...staying just as you are now until told otherwise.” You never say the subject must close their eyes. What the subject believes has happened is that you asked them to close their eyes, relax whilst breathing deeply, and keep their eyes closed. The audience believes you have told the subject to relax and breathe deeply, and the subject automatically goes into a trance. Position yourself correctly, so the audience can see the subjectʼs eyes whenever possible. If this is impossible, the audience will realize the situation as soon as you step away from the subject. When it comes to asking the subject to open their eyes, imagine that you are waking them from a trance. As Kenton speaks about in his book “Ultimately Under” and in other of his trance illusion works, you want to make it appear as if you are really taking the person out of a trance for a variety of reasons. Some people may well trick themselves into a trance, so it is best if you bring them out of a trance illusion effect just as if it were the real thing. “When I count from five to one, slowly open your eyes, feeling fully refreshed and wide awake, bringing your normal awareness back into the room, and all of you working perfectly, better than ever before!” As in any real suggestion or trance work, what you say must be considered very carefully. It is important that you bring a person out of the trance illusion with these or other well chosen words, ensuring that the subject is back to normal, or better, with all of their being intact and working perfectly well. You will find this IPI method to be a useful visual tool for audiences anytime I mention in this book that a subject is to close their eyes. Obviously you may apply IPI to many of your own effects. In my next effect we will be applying IPI to create a multilevel dual reality or multiplereality as Kenton has been known to call it, all at once.
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Devious Realities - Peter Turner (with Kenton Knepper)
Drawing Out Personality Effect The performer asks a random subject to think of an image, ensuring that they do not choose something obvious like a car, but something more obscure. After asking for the subjectʼs full name and what this person aspired to be when they were younger, the performer is able to correctly draw what the subject has in mind and learn more about the subjectʼs personality in the process. The subject writes nothing down and there is no pre-show work. Method All you need to perform this effect is a foldable clipboard folder and four childrenʼs flash cards (I use a car, hat, boat and umbrella).
Lay the clipboard open on the table and glue the four cards on the left hand side of the clipboard, near the top. This is the left inside of the clipboard when it is opened towards you. Once you have these cards secured, close the clipboard. Youʼre ready to perform. In performance you will lay the clipboard in your left hand and reach to open it like a book with the right, rather than opening it as you would a conventional book. Keep hold of the front flap with the right hand and use the left hand to swivel the bottom half (the back) of the clipboard around.
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Devious Realities - Peter Turner (with Kenton Knepper)
The left hand completes the rotation so the CLIP is now face up and the flash cards have faced the floor the entire time (hidden from view.) Practice the move slowly so that you get it right, without flashing, before you progress to full speed. The move should be performed on an offbeat while approaching the audience.
The photo at the left is what the subject sees in performance. The photo on the right is what the audience sees. In a real performance of course a pad of paper would be under the clip to write on. The pad of paper was removed for clarity of the photos only. Performance “We are drawn to certain people based on a number of subtle factors. Childhood dreams, societal influence, artistic perception, all play parts in making up our personality. Psychology has developed various tests in which seemingly simple choices tell us much about a personality. Iʼd like to get to know someone better by using such a simple test tonight.” Have someone come up to help. Position them so that they sit facing the audience.
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Devious Realities - Peter Turner (with Kenton Knepper)
“In a moment you are going to think of an image at random. Please donʼt do this yet. I need you to follow my instructions precisely.” Perform IPI described previously. “Relax and when I ask you to open your eyes please do so. Until then, keep your eyes closed and just stay relaxed.” Pick up the clipboard, performing the move whilst walking towards the audience as you say “By asking just a few simple questions, one can differentiate what sort of choices a person will make. Now before you open your eyes, let me say that when you get the opportunity to select an image please keep a solemn face as you do so, so that no one knows what you are thinking about.” Awaken the subject and them they may open their eyes but “stay relaxed.” “Can you please state your surname out loud? (Write down the response on the pad of paper on the clipboard.) Now what did you aspire to be when you were younger?” Lift the clipboard towards yourself as you write this response, so that the subject can see the flash cards. The audience only sees you writing. “I would now like you to think of an image but as your personality is a little more of an imaginative nature than the average person, please donʼt think of something obvious such as a car, but something a little more obscure like an umbrella. But please donʼt pick THAT as Iʼve stated that one.” I name these two cards from my flash card set on the secret side of the clipboard. I place the car in last position and the umbrella in first. I casually point over the top of the clipboard above each card as I name them. The audience of course is unaware of such references. “Please nod when you have chosen one.” Wait for the nod and then close the clipboard by executing the move in reverse so the cards stay hidden from the audience. Set the clipboard aside and out of view. Out of sight, out of mind. “Just in your mind alone, nothing out loud please, think of the image that was picked and its relevance for existence. For example if you picked an umbrella the image would be a barrier, to protect oneself from the rain.” There are only two choices the subject could make as two of the four flashcards have been named. The two flashcards not named that I use are a HAT and a BOAT.
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Devious Realities - Peter Turner (with Kenton Knepper)
“This image is a combination of straight lines and a sort of curve...I hope itʼs waterproof...is it?” If the subject replies affirmatively or with something such as, “I hope so!” then you know the image they have in mind is the boat. If the person looks confused or says, “Sure, I guess so...it could be” then you know they are thinking of a hat. Your comment seems to be an aside and unimportant, as if you are commenting on the image coming to you. In truth their reaction tells you all you need to know. Another way to approach this is more obvious to the subject, but not to the audience. “The image you chose...see it as a word written out...hmm...it doesnʼt have a letter ʻOʼ in there does it?” Of course if the answer is affirmative then their thought is of a boat, and if not, they are thinking of a hat. In any event, donʼt just blurt this out. Walk over to a pad or easel and draw whichever image they are thinking about. I usually explain why I believe this subject might have picked the image and how it has relevance to what they wanted to be when they were younger. The focus needs to be on tying their childhood desire to the image that they chose. Kenton says the subject should experience this as a personality test. Their choice of image tells you something about the subject, as well as how this relates to their desires as a child. However you do not state that you already know what image the subject chose. You claim to be making a drawing based upon the subjectʼs personality. For instance, if you now know the person is thinking of a boat, and they mentioned they wanted to be a fireman as a child, you talk about how their grown-up choice would likely be the opposite of a fireman. For instance, a fireman tends to have a special helmet or hat. This suggests that their current choice would not have a hat and that their hair might be blowing around freely. Firemen must use heavy protective gear, and so as this was their childlike choice their more grown-up choice would likely be for more freedom and much less clothing. Rather than fire, they might just want warmth. Perhaps they are a warmer personality now and not as angry or fiery in nature as they were when they were younger. They might like things to be less dramatic and calmer now. You would say all of this as you are drawing the boat on water. The audience can see what you draw but the person you are reading cannot see the picture you are making yet. When you are finished drawing, ask what image it was that the subject chose to hold in mind. The audience will respond enthusiastically.
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Devious Realities - Peter Turner (with Kenton Knepper)
Show the drawing to the subject saying “Sometimes you have to draw out the personality of people to get to know them a little better!” This double meaning will be taken as merely cute perhaps, but it indirectly tells the subject that you used the drawing and choice they made as a way to get to know them better. “Now that we know a little bit about your personality I would like to take things to the next level and try something more impressive.” Continue to a second effect that is more impressive to the audience and that fools the subject as well. The subject will leave feeling like you have read their mind in the end based upon what you learned about them in this first personality test. The focus on learning about a person based on choices they make is the premise of most readings, be it psychological or divinatory device. It seems possible then that this is what is happening from both the reality of the audience and that of the subject. Obviously the effect is less of a psychic miracle to the subject, but it is of more interest to the subject as the focus is on the subjectʼs childhood dreams and personality. Both audience and subject feel engaged and impressed in this presentation, albeit for quite different reasons. If you like the idea of associating things during a revelation as Kenton suggests here, you will want to get a copy of Backlash 2010 from which this and many other related revelations, have been inspired. My next effect and multiple methodology have fooled name mentalists, including Kenton himself. You are about to learn why, and how you can perform this piece too.
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Devious Realities - Peter Turner (with Kenton Knepper)
Geminus Cogito
Kenton Comments This fooled me when I saw Peter perform it. I thought it was the old telephone trick but the people involved seemed too natural and swore they were not in on it all. Honestly no one is in on the workings. This method uses principles very different from what is typical. If you think that it cannot work as described I can vouch that it does work indeed, just as described, and the effect fooled me more than once. I was happy I got to add a little twist in the technique once I was let in on it to make it even more deceptive. You will use this effect, or at the very least some of the novel methods, applied here. Effect Twenty information cards are placed on a table. These cards have names of different people on one side and personal information about each person on the other. A subject chooses a name at random. On the backs of the name cards there is a little description about that person, such as their favourite television programme, favourite drink and hobbies. The subject is asked to pretend for a moment that they are the person they chose. For example, they select the name of Becky and try to get into character based on the cardʼs information. The performer places a deck of playing cards and personal phone on the table saying “Now that you know a little bit about Beckyʼs personality. I would like you to imagine the colour of playing card that you think Becky would choose.”
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Devious Realities - Peter Turner (with Kenton Knepper)
For instance, the subject states that Becky would pick a black card. The performer asks the suit of the playing card, and the subject says Becky would choose Spades. Finally the subject chooses the value of the playing card she thinks Becky would choose. The subject chooses the Four, making the Four of Spades. The performer has the subject set the phone to speakerphone and call Becky. When Becky answers the performer asks Becky if she is a stooge or if anything has been set up. She states that she has no idea what is going on. Becky is then asked to think of any playing card and name it out loud. She responds with the Four of Spades! This effect I use mainly for radio and video presentations although it certainly can be performed for a close-up group, large or small. There are no vocal cues, stooges or actors used in this presentation. The person who imagines being Becky is not told what card to name. They choose the card themselves based upon basic information on the back of the name card. Of course many other names might be chosen. If you do not wish to use a telephone, here is an alternative effect described after a card is named by the subject. Alternative Live Performance The subject has named the Four of Spades. The performer asks the subject to pick up the deck of cards and take out the Four of Spades. After going through the deck the subject cannot find the Four of Spades. “I sat with Becky last night. I asked her to place a card into an envelope and seal it. Reach into my pocket and take out that envelope.” The subject reaches into the pocket and removes a sealed envelope containing a playing card...the Four of Spades. This might be under the very chair on which the subject sits instead. Method This effect is very, very simple in its workings. There are several methods however at work, and this is what throws off even seasoned performers. I believe these to be novel methodologies for the most part. There are ten male name cards and ten female name cards. The male name cards each have a different name on one side, and entirely different information on the other side. Each female name card has a different name on one side but the same description on all the backs. 19
Devious Realities - Peter Turner (with Kenton Knepper)
This is what I have printed on the back usually, but you can choose almost any information: Favourite television programme: Coronation Street (You can use any show of course. As I am from the UK, everyone knows this show.) Favourite drink: Tea with sugar Lucky number: 7 Hobbies include gambling, cards in particular. If asked their favourite playing card they WOULD NOT go for the BRIGHTLY COLOURED ones or the PICTURE CARDS as these cards would seem too obvious. They like something a little more obscure. Remember that while the information on the backs of the female name cards are identical, the front of the cards have all different names written on them. The cards are placed in a random manner name side up on the table, casually alternating the male and female cards as they are laid out. Psychologically as every name is different, everyone will assume each description is different. To further reinforce this, pick up a few male cards and hand them to people to read out loud. “John dislikes television, his favourite drink is cider, he finds the number twelve lucky and his hobbies are racing cars and hunting.” A few cards read suggest that each has a brief and unique description. You can casually pick up a few other male names and flash the backs as you say “Different names, different likes and dislikes.” Donʼt mention that the cards you pick out are male names. The ones you hand out to the audience will obviously be male names as the audience members will say the name on the card and read the information about them on the other side. This also subtly sets into motion the idea that when a free choice is allowed a subject is likely to choose female names, as male ones have already been called out. We will use equivoque in any case to force the female names, but this ruse tends to cause a subject to state they want to use the female names when you say “This must be completely your own free choosing, do not be influenced...we will do some elimination...so your choice now...male or female?” Usually a subject will now choose the female names. 20
Devious Realities - Peter Turner (with Kenton Knepper)
If a subject says, “Male” simply reply “Fine, then we will eliminate the male cards.” Because you said, “...we will do some elimination...so your choice now...male or female” this elimination of the male cards seems logical and as you originally stated. As the female name cards all have the same information on the back, we have forced the important duplicate information. This information will help us mentally force a card on the subject in a devious way. The description of the person eliminates the RED AND PICTURE cards. Lucky number: 7 Hobbies include gambling, cards in particular. If asked their favourite playing card they WOULD NOT go for the BRIGHTLY COLOURED ones or the PICTURE CARDS as these cards would seem too obvious. They like something a little more obscure. We want to mentally force the Four of Spades. By saying, “Please donʼt just go for that personʼs lucky number” this will eliminate the Sevens, practically forcing them to go for a Three or a Four. The number Eight is too close to Seven, as is Nine. Also PICTURE CARDS being mentioned in the information tends to eliminate any high numbered cards. To further dissuade someone from picking a high number the information ends with “They like something more obscure.” Threes and Twos are lower numbers that might be chosen, but these are not “obscure” when it comes to cards likely to be chosen. Seven being an odd number and named as the personʼs lucky number tends to force people towards unconsciously choosing an even number. Twos are too low to be chosen in this situation. All of this is at work for you to mentally force the card, and most of it is written as information on the card, so you need not say anything much to make the force hit. As the subject is told to look over the information about the person they chose, and take it all in thoroughly, the force works almost automatically. I know what you are thinking. What if it doesnʼt work? No worries. You are covered. Here are the outs I use that play very strongly indeed if needed. The outs do not require the use of your cellphone at all, which is used in the usual presentation. A large X is marked on the back of the Three of Clubs in a deck on the table. “I sat here with Becky last night and I asked her to select one of these playing cards. Can you deal them face down one at a time. (Eventually the X on the card will show.) You may have noticed that one card is different from all the others. Can you remove that card and keep it face down for now.” 21
Devious Realities - Peter Turner (with Kenton Knepper)
Show that the rest of the deck is normal. Have the subject turn over the X card to reveal the Three of Clubs. Let them take the deck home. They will never forget the experience. If the subject selects the Four of Clubs: You have secretly taped an envelope containing the Four of Clubs to the underside of the subjectʼs chair before they arrived. (You might instead put this envelope in your breast pocket if you cannot set up a chair in advance.) “It was essential that you chose this card as when Becky sat in that very chair she selected a card too...the same one you chose. Please reach under your chair, remove the envelope, and see for yourself.” The final out is for the Three of Spades: On the underside of the card case stick a white label and write the Three of Spades on it. “When Becky last played cards she stated that the Three of Spades was her favourite card too. You donʼt believe me. Iʼll prove it to you. You also probably thought you had a free choice...but when I introduced the card case I flashed it towards you to subliminally implant this card in your mind...Look and see for yourself. Isnʼt it amazing how quickly your subconscious picks up on things?” As you can see this effect is very strong on its own without the use of a telephone. The telephone effect employs pre-show preparation, but if you donʼt like such things please read on, as there is one principle you may be able to make something out of anyway. Letʼs assume that the force will hit and the subject will choose the Four of Spades. To finish setting up the usual effect with the phone, you need to do some preparation. Visit a female friend long before your performance. Have her choose a playing card from a deck and physically force her the Four of Spades. Say to your friend “Donʼt let me see it. I am going to get someone to guess that playing card mentally later so please pick up tonight when I call you. Donʼt let me see your card. Just keep it somewhere so you can see it all day and burn it into your memory.” In your cellphone save this female friendʼs number ten times but under ten different names. These are the female names that you use on your name and information cards. Be sure to use names not actually in the real calling list of your cellphone. No matter which female name card the subject chooses, when they call that name in your cellphone calling list it will always dial the friend who has the forced card in mind! You should grasp the essentials now. A female friend is forced a card long before you perform this effect. You could use a friend who always names the same card, but I like the fact that both people are fooled in my version. I use equivoque to get rid of the male cards on the table if needed and have the subject freely choose any female card. 22
Devious Realities - Peter Turner (with Kenton Knepper)
The information on the back of the card mentally forces the Four of Spades. They call the female name in your cellphone list and it secretly dials your friend who names the same card that they were forced. Everyone is impressed and no one can explain it. As the performances of several outs have been previously mentioned I will now detail the main telephone effect as it usually happens. Performance “In front of you are twenty cards with different names printed upon them. On the backs are various details about the person whose name is on the card. Here, take a couple of cards and read them aloud so that everyone knows the situation...Good. There are ten male names and ten female names. For purposes of elimination please select either male or female...Fine, we will eliminate the male names then, and we will work with the females tonight...They are often more intuitive anyway. Now select any name at random. This is also completely your own free choice? Good...Becky, it is. Read Beckyʼs description to yourself and when you have it all in your mind, place the card down in front of you.” Remove the deck and phone as though you are merely emptying your pockets onto the table. “Now I would like you to play a little acting game. Could you please try to get into Beckyʼs mindset. Act as you think Becky would, based on the information you read about her. If you need to peek at the information at any time, to get into her mind or essence, you may do that. Imagine making the choices Becky would make in any given situation. For example, if Becky were asked to think of a colour in regards to playing cards what color would she choose, red or black?” “Black.” “...and the suit?” “Spades.” “...and finally the value of that card. Please donʼt just go for Beckyʼs favourite number.” “Four.” “So that makes it the Four of Spades. Please take my phone, go into the phone list there and find Becky listed. Call her number and place it on speakerphone so we can hear the dial tone and conversation.” (A woman answers the phone) “Hello?”
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Devious Realities - Peter Turner (with Kenton Knepper)
“Hi itʼs (state your name). Iʼm here at the moment with (state subjectʼs name) and we are conducting a psychological experiment. I was wondering if I could have your help.” “Sure, no problem.” “Now (subjects name) chose your name absolutely at random from twenty names and she has been told a little bit about your characteristics, all good I might add.” Here we are yet again using a form of dual reality. The woman thinks her specific name was chosen. As the voice is female, the subject called her, and you have stated that her name was chosen, no one questions that this is the person on the name card. Both people involved assume that what happened and what is happening is just as you claim. “Imagine I stood in front of you with a deck of cards and you took a card out of the deck. Think of its colour and value - focus on that. Can you now name the suit of the card you chose? “Spades.” “Fantastic and the value?” “Four.” The audience will usually gasp at this point. The phone is on speakerphone so everyone will hear what is spoken. Turn to the subject and ask “Can you please say what playing card you thought she would choose?” “The Four of Spades.” “Wow. Amazing...you both did fantastically well. We are going to have to hang up now but we shall talk later! Bye for now (hang up).” Turn to speak again directly to the subject “You are remarkable. Very impressive to say you have only been doing this for five minutes! May I have your number for the future?” One last note on this for those who might be especially nervous types. If you are concerned about someone naming the number Nine, simply pick up a female card and misread it. “Priscilla finds luck from the number Nine, I do apologise, she finds luck from the number Nineteen.” This will eradicate the number Nine from ever being chosen. You should find several interesting principles at work here for you to apply. I know the effect stuns audiences and peers, as even Kenton will attest. Now you know why.
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Devious Realities - Peter Turner (with Kenton Knepper)
Overlooking The Obvious Effect Four subjects take a seat with the performer on stage. One person is nominated by the group as the Sender. The Sender is asked to sit with their eyes closed until otherwise instructed. The performer introduces a small stack of blank business cards and passes the stack to the first subject who writes a two digit number. The stack is then passed on to a second subject and they too write a two digit number next to the first personʼs number. This is repeated with a third subject. The third subject signs the back of the card to ensure the card cannot be switched and places it signature side up on the table in front of the nominated Sender. The Sender opens their eyes and picks up the card. The Sender is asked to look at the card and state what is on the card. The Sender states aloud, usually shaking their head and laughing “My phone number!” You can use someoneʼs pin code instead, although I find this a little too personal and seemingly unsafe. Other numbers could certainly be used. In some countries there are more numbers in a phone number. Obviously you need to adjust the amount of people or numbers accordingly for your area. Method Perhaps you are already ahead of me here. In print the working may seem very simple but in performance itʼs a true crowd pleaser. All you need for this effect are some blank opaque business cards and a marker. The effect itself relies on dual reality. Please try this effect out on a real audience before shunning it. On one card write, “My Phone Number!” Place this writing side up on top of the stack of business cards. Then place a blank card on top, so that the card with the writing on it is writing side up, second card down from the top. The method for the switch used is credited to Tony Corinda. After the third subject has written his two digit number you momentarily hold the stack and perform a double turnover. Take a pen and look as if you will sign the back of the card, but then stop short of signing it saying “One or all of you sign the back instead. That way you will know we canʼt exchange it for any other card.” Instruct the last person signing the back to place the card signature side up in front of the Sender so no one else can see the numbers yet. Take the stack back from the third subject casually and pocket the cards as all focus is now on the signed card and the Sender. The Sender is awakened from his or her trance. They look at the card and are asked to read to everyone, in a loud clear voice, what is on the card.
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Devious Realities - Peter Turner (with Kenton Knepper)
“My phone number!” “You did it!” you say to the Sender. “No one knows how you could have done that...not even me.” Performance “I would like to demonstrate how simple it is to distort perception, when we take simple variables of free choice and throw in obvious fact, making it somewhat easier for me to employ deceit, as the obvious facts are often overlooked. I would like to demonstrate this by calling four subjects up to help. Now I have never had the pleasure of meeting the four of you before, correct? I would like all of you to agree on one person who is going to be the Sender for this experiement. Are you certain? Fine. I would like you all to take a seat here...” Ensure that the Sender is the only one sitting with their body towards the rest of the committee and segregated. Do the IPI false induction. Address the Sender now saying “I would like you to keep your eyes closed until further notice and just relax...The more you relax the better this will work. Just relax and go with the flow.” Turn to the rest of the subjects stating “Here is a stack of white business cards. I would like you, Subject One (address each person by their proper name of course) to take the stack and write a random two digit number on the top card. Good. Now pass the stack of cards to the next person. Subject Two will write a two digit number next to the first subjectʼs number, so that we get a four digit number. Excellent. Hand the stack to the third person now and the process will be repeated one last time...so that we end up with six digits all in a row.” When the third subject is finished take the stack and perform the double turnover as you feign beginning to sign the card. Stop yourself and suggest that the other members perhaps ought to sign the card on the back to be sure it cannot be exchanged in any way. Once it is signed, toss this card, signature side up, in front of the Sender saying “Can you please open your eyes now...but stay relaxed and in the flow. The facts are obviously that this card you see before you has not been touched and there is no foul play on my part such as swapping the card (get the group to confirm). I would like you to pick up the card and read its contents but donʼt say anything yet. Remember this information as best you can. Do you have it in mind now, you think? Are you sure? You seem rather confident...almost amused. Interesting. Fold the card up so I cannot see it and just to be sure, letʼs put it away entirely. I was going to do a bit of Mind Reading but instead I think something more interesting has happened here...that is my sense. I might be wrong, but judging from your reaction...could you please state out loud what was on the card?” 26
Devious Realities - Peter Turner (with Kenton Knepper)
“It said, ʻMy phone number!ʼ” “Your phone number? Good thing I put it away rather than saying it out loud then! We will keep that a secret between us...Strange stuff. Excellent job.” The audience will think this means you will keep the subjectʼs phone number private, while the Sender will understand this to mean you will both keep the secret. “As you can see a perfect display of deceit by a display of obvious facts! Letʼs have a loud round of applause for these fine subjects!” I know what you are thinking...You have done something like this before using an “It” card. The wording here is very important as well as Kentonʼs dual reality concept. I have not taken the time to point out every subtlety but here are a few to keep in mind. “I would like you to keep your eyes closed until further notice and just relax...The more you relax the better this will work. Just relax and go with the flow.” Ending on the line “just go with the flow” later turns into a different meaning. At first “just go with the flow” seems to suggest a sense of relaxation. When this person sees the words rather than numbers on the card the “just go with the flow” line means “just do as I say and donʼt make any trouble. Relax, take it easy and go with what is in front of you.” When the Sender is asked to look at the card this line is reinforced as you say, “Can you please open your eyes now...but stay relaxed and in the flow.” The comments once the Sender is reading the card also contain multiple meanings and suggestions. “...I would like you to pick up the card and read its contents but donʼt say anything yet. Remember this information as best you can. Do you have it in mind now, you think? Are you sure? You seem rather confident...almost amused. Interesting.” The words match both what the audience expects and how the Sender reacts. If any reaction seems strange at this point it will soon make perfect sense to the rest of the audience. Apparently the Sender is trying to remember all the digits but is finding something humorous about these...or maybe struggling to try to recall all the digits! “Fold the card up so I cannot see it and just to be sure, letʼs put it away entirely. I was going to do a bit of Mind Reading but instead I think something more interesting has happened here...that is my sense. I might be wrong, but judging from your reaction...” These words incorporate any unusual reaction the Sender might make. The evidence is gone and soon it will make sense why ditching the evidence was needed too.
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Devious Realities - Peter Turner (with Kenton Knepper)
All the moves and reasoning makes good sense to the audience and committee. The Sender does not really know what happened and even if the Sender later tried to explain it to friends it would seem as if the Sender was hallucinating or saw a really impossible trick. After all, the audience saw that the card could not be switched while the Senderʼs eyes were closed as the committee signed the card. The closing lines also seem to expose the situation without exposing it at all. “As you can see a perfect display of deceit by a display of obvious facts!” This is a line both confusing and true. It usually gets a laugh and the effect garners a great round of applause, simple as it may be to execute physically. To performers this may seem the simplest form of dual reality. To the audience it appears that three random people wrote random digits but the person called the “Sender” made them write down the Senderʼs own phone number. The more an audience ponders this situation the stranger it gets for them. Try to see this effect from the audienceʼs point of view, and not based upon your own experience with such word play. Kenton Comments I do hope you will carefully consider this from the audienceʼs perspective. It plays much stronger than it may read. Students of Wonder Words will realize of course the main premise, but the nuances of the wording in this instance are of real, solid, value. The audience and committee perceive this as an audience member sending his or her phone number to the committee telepathically while in a trance. Play up the trance element as a way of giving the Sender extra abilities. “As you relax deeper now your unconscious mind will telepathically imprint information into the minds of the committee. Donʼt think about this consciously. Just relax, relax and go with the flow. When I awaken you later do not worry about any confusion. It is natural to be confused or see things in a more symbolic manner when you try to integrate back into typical consciousness.” This sort of talk makes the effect clearer to all, while explaining away an apparent hallucination as viewed from the Senderʼs experience. Follow this effect by having the committee return to their seats and keep the Sender up to try one more test. Perform a prediction effect that fools all involved, and label the prediction “the target” that the Sender is to send out to people in the audience. The Sender will then feel that they are sending out something in a mysterious manner to others and will have no explanation for what has happened.
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Devious Realities - Peter Turner (with Kenton Knepper)
Mind Plant Effect After making claims that it is possible to send an image, word, or number telepathically, the performer sets out to demonstrate this feat. A subject is instructed to close their eyes and think of an image. The performer asks three simple questions that have no relevance to what the subject is thinking. After the subject answers the three questions the performer is able to draw the image, number or word that was in the subjectʼs mind. No pre-show required and as direct as it can get. Presentation #2 Two subjects are seated facing each other six feet apart. Subject One is asked to close their eyes and think of a two digit number. Subject Two is then blindfolded and given a board with a marking pen. Subject Two is to let their hand move of its own accord across the board. The performer removes the board and when Subject One is asked what two digit number they were thinking of, it matches the number squiggled on the board by Subject Two! This is impromptu, no pre-show or peeks. Subject One never writes anything down. Method This can be performed totally impromptu and requires no hard work on the mentalistʼs part other than a little sleight of mouth. The effect employs a simple idea: Write a word near the bottom of your left palm. The only thing you need to do is keep that portion of your palm hidden, in a natural manner.
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Devious Realities - Peter Turner (with Kenton Knepper)
Alternatively you may write the word on a Post-it note, cut down to size. The sticky part sticks the note to your hand. As you reach for a marker to hand the marker to the second person, secretly ditch the note in your pocket. That is the basic working. Of course the psychology and words make this simple idea into something far more miraculous in appearance. If you merely read the method you have almost stopped reading this and think you know all about this piece. You will be surprised when someone fools you with it, as you will have no idea that anything like this simple method could be involved in the effect due to the way that it is incorporated. Dual reality and Wonder Words turn a basic method into an entire reworking of modern mentalism. Performance Iʼm going to explain this effect as a stage piece, although you can perform it in a living room and such too. Invite a random subject up to help saying “In a moment you are going to pretend to be a telepathist. For those who donʼt now what this is, it is a person that has the skill to send and receive images mentally. You have to play along and pretend to be a psychic for this to work. It is essential that you donʼt say anything out loud or make any obvious expressions as the audience is going to receive your mental images. All I need you to do is follow my instructions and we will see something strange occur.” Sit this person facing the audience. “When your eyes close, just keep them closed until I ask you to open them again.” Turn to the audience next saying “It is usually images that telepathists transfer mentally. This is what this subject is going to attempt to do tonight. This person will mentally send information and all of you in the audience must try to receive it.” Now face the subject and say “Please donʼt say anything out loud and only answer when asked, OK? I want you to get an image into your mind...see it...imagine this clearly...keep this image locked firmly in your mind. It may be a while, so make a strong image of this in your mind so that you will remember and be able to send it out clearly.” As you say this, touch the subject on the forehead with your middle finger. This will allow the subject to read the word on your palm. To be sure that the subject sees the word clearly, print the word and make it an obvious word, such as “King.”
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Devious Realities - Peter Turner (with Kenton Knepper)
Touch the subject on the head and do the IPI eye closing. Do this slowly and gently so the subject has plenty of time to see and remember the word. Kenton says he never worries if someone squints or giggles a bit at this point because the audience takes such things as a reaction to being tapped on the forehead or being hypnotised. The audience will believe you asked the subject to think of any image and then touched the subject on the forehead to get them to close their eyes. The subject believes you are having them focus in on a word they are to send to the audience, and that is why you have hidden it from everyone but their view. Say to the subject (use their name so they know you are addressing them as their eyes are closed) “Keep your eyes closed until I tell you to open them. I need you to keep repeating the image in your mind. Iʼm going to ask you a few questions just to warm the audience up to the idea of getting information from you mentally.” Ask the audience to sit with their feet flat on the floor and relax. Ask the subject to think of their month of birth. Have the audience concentrate on the subject and go with whatever feelings they get in regards to a month. Ask the subject to state out loud the month in which they were born. Perhaps it is October. This is a convincer for the seated subject that the audience is guessing what the subject is thinking. There is a high probability that many people in the audience will get the month correct, based solely on probability. Ask for a show of hands how many people correctly picked up on the month. Some who failed will still raise their hands because they want to look as if they are psychic or successful too. Turn to the subject and say “Can you please think of your favourite colour, next?” Repeat the process and the show of hands to see how many audience members pick up on the correct colour or close to it. Turn to the subject again saying “Please think now of that secret image you have in your mind...imagine walking around the audience and telling everyone the name of that image loudly. See yourself shouting the imageʼs name, but please say nothing out loud. Just so the audience will know how difficult this feat is, this image could potentially be any image in the world.” This is classic sleight of mouth mixed with an acute case of dual reality. The audience believes that you donʼt know the image and that it is going to be difficult to know it. This also reassures the subject the audience is going to guess the image. 31
Devious Realities - Peter Turner (with Kenton Knepper)
Pick up a whiteboard and draw an image of a car. Show the audience. Pause and look at the board as if you made a mistake. Erase the board and draw a CROWN instead. “Iʼm going to single someone out near the front of the audience to help me here. Iʼm going to hand you this board and pen. When you receive it, donʼt let me anywhere near you.” Hand the board and pen to someone and then walk back over to the subject. “The person who has the board and pen in the audience...can you write what the image is...put a name to it...under the drawing? Just in case the drawing is a bit indistinguishable for the rest of the audience. Thank you. Hold it up so the entire audience can see what you have there.” This is for the benefit of the subject. The subject will hear you near them, will assume the person in the audience has drawn an image on their own, and is holding their image up for the group to see. “Please keep your board and drawing facing the audience behind you, and be sure not to let our telepathist up here see it.” Have the subject onstage open their eyes and snap them out of their supposed altered state. “Please state aloud what image you have in your mind!” “KING.” The whole audience will gasp nearly in unison. “Please turn the board around so we can see it up here too. Itʼs a crown. A King and his crown. Iʼm taking that as a hit. Letʼs have a round of applause for both helpers. They have been excellent!” This last comment seems casual but it will seal the desired effect for the audience and the subject. The effect in this case is even better to the secret helper than it is to the audience. You can count on the helper being amazed in this effect. The reaction from the secret helper will be in line with what their reaction ought to be. You canʼt say that about most “stooged” tricks. Kenton says that he is in awe of the deviousness in this routine. It plays like a real bit of Mind Reading no matter what reality you have as your viewpoint.
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Devious Realities - Peter Turner (with Kenton Knepper)
Presentation #2 Invite two subjects to the stage rather than one. Instead of writing the word “King” on your palm, write a two digit number (I use 27 as it is easy to read). Perform in the same manner as previously described, but instead of asking three questions, walk over to the second subject and blindfold them. State that this second subject is going to attempt to receive the thoughts of the first subject. Place a board or other writing surface in the second subjectʼs left hand and a marker into their right. Have the nib of the pen touching the face of the writing surface so they know where to write. “This process is known as automatic writing, or psychography, where an individual lets their hand move of its own accord, creating squiggles and such. If conscious thought isnʼt used when the hand is moving then that personʼs subconscious thoughts should come out within the squiggles and doodles.” “Start moving your hand with the marker. Please do not think of what you are writing. Ignore it...block it out. Just listen to my voice. Keep your eyes closed and say nothing out loud. Our friend over here...imagine yourself screaming your number to the other person...yell that number to them over there but only in your mind.” After a moment or two, have both subjects stop what they are doing. “Subject One you can open your eyes, Iʼm going to take the pen from Subject Two and remove the blindfold. I would like you both to join me at the front of the stage now. Subject Two, keep your scribbles facing you please. Now Subject One what number did you have in your mind? Twenty-seven. Subject Two can we please have a look at your automatic writing?” When they turn the board around everyone will see doodles and scribbles made by the blindfolded subject, but within this will also be something that looks very much like the number 27. The reason for this of course is that you wrote the number 27 on the board or pad before the show began. Once Subject One closes their eyes to concentrate and Subject Two is blindfolded, the second person is given the pen and board to hold, facing towards themselves only. The prewritten number 27 is not seen by anyone. The second person is simply scribbling blindfolded over the number you wrote on the board ahead of time. When you hand the second subject the board or card on which to write, make a show of getting the pen out of your pocket and placing it into their hands. This eliminates any thought of your writing the number in the process of handing this person the pen and writing surface.
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Devious Realities - Peter Turner (with Kenton Knepper)
You can see in this photo how realistic this supposed automatic writing appears using this approach. It may take a moment for the audience to view the number within the scribbles. Give them a few beats to try to see it and then help point out the number. A more common way of doing this of course is to use a dried out marker. The number is already written on the writing surface, squiggled, but still readable. To prepare the marker, leave the cap off so that the ink dries out. When you hand the blindfolded subject the writing surface, place the marker in their hand. They can now squiggle to their heartʼs content as the marker doesnʼt work. Before the person reveals the number on the board, take the pen from the subject and place the cap back on it. Put the pen in a pocket where you have a duplicate pen that works. The working pen has a little bit of blue tack on it so that you can feel which is the working pen. After the revelation and the applause, remove the working pen from your pocket and sign the board or card as a souvenir. Kenton prefers the first approach as using a pad of paper and a marker that works throws off the wise ones. In any event, the psychological aspects with dual reality make this dodge more believable and impressive than ever. Kenton feels this effect will fool most working mentalists today who do not know this secret and handling. So far that has certainly been our experience. He also suggests using a Sanada gimmick to show a word or number rather than a Post-it scrap. Good thing you read closely.
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Devious Realities - Peter Turner (with Kenton Knepper)
Chain Game Effect The performer displays an envelope with a prediction sealed inside and places it for all to see. The performer invites the front row of the audience to play a game of word association. The performer asks the first person in the audience to start the chain off with a random word. For example the first person might say, “Father.” The whole front line of the audience name random words, right up to the last person and the chain happens to end on the word “Dry.” The performer then asks the spectator who said the word “Dry” to open the envelope and reveal its contents. Sure enough it is the word “Dry.” Please read the performance as that is where the main methodology lies. Preparation and Partial Method Usually this is done pre-show, though I will give you another option in a moment. You will make up a set of word cards by writing a single word on the back of each business card. The words you write can be any words at all. There needs to be a force word among these cards. In this example the force word will be the word WET. See the end of this description for other words to use. WET is a binary word in that it has a clear opposite word. What is the opposite word that comes to your mind when I mention the word WET? Yes, chances are the first word that comes to your mind is the word “dry.” The opposite of the binary word that you force is what makes up the prediction. In this case we are going to predict the word “dry” but turn it into a sort of company slogan or fake company logo. DRY Goods Inc. perhaps might be the name of the company you predict in the envelope. You might instead predict DRY Diaper Company or DRY Eye Solutions Inc. Have some fun creating a logo or imaginary company name. If you are working for a company you might see if their name or any of their slogans might be incorporated instead as the prediction. You will force the opposite word (in this case WET) from your deck of word cards on someone in the audience before your show begins. As you do so say “Later I am going to play a game based on a chain of words and I was wondering if you could help me out. As I am going to attempt to guess a word from your mind later on, I would like you to select one whilst I look away. Good. Now remember the word on that card. Repeat it in your mind being sure you recall it. When we play the word game and you are asked to state your word say that word only. It is essential you donʼt write it down or tell anyone else what your word is until I ask you to say a word. Until then, just keep that word in your mind alone. Got it?” 35
Devious Realities - Peter Turner (with Kenton Knepper)
With that done and your prediction made, you are set to perform the effect anytime during your act. If you do not wish to use a pre-show force then Kenton suggests using an old ploy by Dunninger. Go out to the audience and grab people to help you in this demonstration. You will want an even number of people from four to eight in all. When no one is paying much attention, take one of the helperʼs arms, or steady their shoulder, and say quietly to them “Your word is the word WET. Just say WET when it is your turn...Iʼll explain it later.” In context of this routine this sort of prompting of a helper will not be seen as stooging an audience member. Just be sure that this one person hears you clearly but not other people nearby. You want this single person to hear what you say, and no one else. Ask for a round of applause for each person and then quietly state your instructions to the helper under cover of the applause. The routine is about how corporations and advertisers use one or two people to say something that influences their peers and the Public as a whole. As you explain this openly to the audience, the helper who was prompted understands that you are exposing the method, as it were, and so has nothing left to expose. Performance and Additional Methodology The performer states to the audience that when you perform as a thought reader, there is a certain amount of influential psychology that has to be involved. Influencing people is essential to making sure a chain of events go correctly and the outcome is one that the performer has predicted. “Psychology and influence used to be applied by the select few. Today corporate influence and sales shills secretly make comments about their product in social situations to get others to talk about that product. It seems as if a group of peers have gathered in a casual setting, but the truth is that one or two peers are being used by companies to mention a product trait during the conversation. This influences others until everyone starts talking about the product the company wants the Public to talk about. The Public starts doing the advertising work for the company without their knowing participation, and the company only needs to pay one or two people to get mass advertising going the way that they wish. Devious, isnʼt it?” Whether an audience has heard of such advertising influence or not they tend to find this idea fascinating, if not somewhat disconcerting. “I will influence a member of the audience to think of a seemingly random word which will ensure a chain of events will go as desired...using a technique known as ʻcorporate positioning.ʼ Youʼll see what I mean. It happens so quickly and casually...but there is real power in it. To demonstrate, I need to choose some appropriate helpers.”
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Devious Realities - Peter Turner (with Kenton Knepper)
Go into the audience and get four, six or eight people to help. If you did not do pre-show this is the time to go into the audience and use the Dunninger Ploy to influence one of those you have come up to help you. Move the people helping you into a row, facing the audience. As you do so, secretly position the person with the known word into the second to last position in the line. “Now a real secret helper or influencer never reveals who they are, what their secret is, or what company they work for...unless a law makes them tell you. There is no law enforcement up here and you all came at random from the audience, but just to be sure...let me ask you - do you work for me? Are you in on it?” Go down the line asking each person, including your helper “Do you work for me? Are you in on it?” You might also add “Did you write down a word ahead of time or tell anyone else a word?” Even though you forced a word on the secret helper they never wrote a word out nor should they have told anyone. If the secret helper at this point says that they are the secret helper, the audience will laugh. Be sure to laugh and shake your head as if you find this hilarious too saying “Uh, I hate to tell you this but secret helpers never says they are one. Nice try though. I could tell you were going to be trouble...I am keeping my eye on you!” This gets an additional laugh and sets you up for other uses of this gag as the routine goes on. “For this to work we have to work in pairs, a bit like each pair is on a date. This is an artificial situation of course, but thatʼs how the influence is generally structured for social settings.” As you group people, ensure the second to last and last person are together. You do not need to physically group people into pairs but rather simply point out the pairs as they stand next to one another in the row. “To play the association game the first person says a word, then the second person of the pair says something that is associated with that word. Each new pair starts a new set of words. At anytime the first person of a pair can change the subject or direction of the words. The first person of a pair is the leader and the second person is the follower. The second person simply must say something associated with the first personʼs word. Understand? Just a game of association.”
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Devious Realities - Peter Turner (with Kenton Knepper)
“For example if the first person says, ʻOpenʼ the second person must try to say the opposite associated with the word, such as ʻClosedʼ in this case. If I were to say, ʻNightʼ the next person of the pair must say? Audience? Thatʼs right...ʻDayʼ! You see how the game is played tonight then? Good. Letʼs begin.” The first person of the row can say anything at all. You do not care what anyone says, but pretend that each word means something or is somehow what you expect. When the game gets to your secret helper be sure to remind them subtly by mentioning “Fine...now say your word.” You might sprinkle a few such comments in before getting to the secret helper so that the reminder is less obvious. The helper will say the word “Wet” and this will lead the last person to say the force word “Dry.” Sometimes the words, based upon the principles of association and meaning, seem to make sense so that the helperʼs word blends in naturally with the word spoken before his or her planted word. However, if it seems to stand out, you might frown, shake your head and say something such as “Oh, I had a feeling youʼd be trouble!” This will get a laugh and nicely suggests this person is a troublemaker, rather than a secret helper. When the last person says, “Dry” ask whether all the people helping felt that they were under your influence. The secret helper usually wonʼt say they felt influenced either, but if they do, use the “I told you they were trouble!” running gag as a retort. This will suggest yet again that this person is not a secret helper by your blatant interaction with this person. Reiterate that the last word in the game was DRY and then reveal the company name or product prediction. All will be duly impressed, often including the secret helper. “How did I do it? I didnʼt! THEY did...and thatʼs the reason it is so devious and successful! Give all of my helpers a huge round of applause!” The truth is right in front of everyone and no one believes it. An audience may try to push the last person to see if they were in on it, but after constant prying they will be convinced that this person has no clue about the situation. You may offer two hundred thousand pounds to anyone who can prove the last person was the secret helper, if you so desire. Be sure you say, “...who can prove” it, and consult a legal professional before making any such offers of course. Wording can be tricky when it comes to such things. 38
Devious Realities - Peter Turner (with Kenton Knepper)
You may change the prediction each show by using a new secret helper and a new binary set of words. Here is a list of a few binary oppositions you might use for the second to last person: Hot/Cold Dark/Light Up/Down Left/Right Black/White Day/Night Open/Close Cat/Dog Plus/Minus Good/Bad Uncle/Aunt Win/Lose Life/Death Happy/Sad Fast/Slow Read/Write Dark/Light Tall/Short Front/Back Yes/No Asleep/Awake Fast/Slow Male/Female First/Last Question/Answer High/Low Clean/Dirty In/Out Finally, for those ever-doubtful types, just wear a nail writer and hold a blank business card so you can write in a final answer if it happens to be different from your planned upon prediction. If you make the rules clear, you wonʼt have any problems at all. Corporate or advertising influence is highly topical and as a search of these matters show social interactions as secret influence is a powerful and often used tool. It only makes sense that a mentalist or expert in influence would use such things as well.
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Devious Realities - Peter Turner (with Kenton Knepper)
At The Heart of Destiny Effect This effect has a poetic feel to it. There is no stronger feeling than love and I really feel that when I perform this piece, as does the couple participating in the effect. So many effects having to do with couples rely on cards. This is a romantic and rather oldfashioned, lovely, bit of mentalism. “Some people believe love is a virtue, representing all of human kindness, compassion and affection. Others see love as the basis for all being. As Emerson stated, what lies behind us, and what lies before us are tiny matters compared to what lies within us.” The performer invites a couple to participate whom he has never met before. The performer asks the names of the couple and writes these on a Post-it note. The Post-it note is stuck to the front of a bag that has been in full view from the start. The performer asks the feminine partner to remove a rose from the bag as that is a gift to them from the performer. The performer turns next to the masculine partner and says “Coincidence is a funny thing. People might say that it is a coincidence the way you met your partner, the way you fell in love or even your decision to come to this show this very evening together. I disagree with coincidence. I think everything happens for a reason. I see such things as destiny. Destiny is the reason that you and your partner met, fell in love and why you came to this show together this evening. You might doubt that, but please reach into the bag...there is a gift in there for you too.” From the bag is removed a paper heart. The performer asks what is written on this heart. Written on the heart are the coupleʼs initials...just as they might have once carved on a tree or written on an old-fashioned Valentine card! Method Buy a double Post-it notebook (thatʼs two little blocks of Post-it notes next to each other). Alternately, cut a piece of cardboard the width of two blocks of paper and mount the two blocks on it next to each other (see picture).
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Devious Realities - Peter Turner (with Kenton Knepper)
Have a heart cut out of red cardboard. Write “Destiny” on the heart near the top, or on the other side of the heart. Near the center place a + sign. Be sure to leave plenty of space above and below the + sign on the heart. Put this heart on top of the block of notes, slipping one edge of the heart under some of the top sheets to hold it in place.
You can put this setup heart side down on a nearby table, or put it all into your jacket pocket. You will also need two pens. Pick up the Post-it pad set, keeping the heart hidden from all, with the bottom or board side of the pads towards the audience as you ask for the names of the couple.
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Devious Realities - Peter Turner (with Kenton Knepper)
Write the initials of one person above the + sign and the initials of the other person below the + sign. Donʼt let anyone see what you are writing yet.
DESTINY JD
+ KT Frown a bit as you do so. Stop and shake the pen as if the ink in it is dry. Toss this pen aside. “Sorry about that. Need a better pen.” This is a wonderful dodge by Andy Nyman. Remove another pen and ask for the names of the people again. This time write their full names on a Post-it note. This is a doublewriting dodge that will go entirely unnoticed due to the quick writing of the initials with the first pen. Remove the Post-it note, showing the names to the audience. At the same time the hand holding the double Post-it note block picks up the bag up and secretly drops the heart into the bag, as you stick the Post-it note with the names to the front of the bag. Set the Post-it board pad side up so that it may be casually seen as ordinary after you secretly drop the heart in the bag. Your secret work is done. Have the feminine half of the couple reach into the bag and remove the rose from inside the bag. Finish your talk about destiny and love, and then have the other half of the couple reach into the back and remove the gift that is in the bag for them. They will remove the heart. Ask this person what is written on the heart. Be prepared for a big sigh of “Awwww” from the audience, followed by the couple hugging or kissing, and a very good round of applause...not to mention goodwill towards you. I usually have the bag on a chair near my table from the start of my set, so people believe the heart has been in the bag before the show began. Do as you feel is best for you of course. It may seem a small thing, but try it out once or twice and you will see why it has true senti-mental value.
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Devious Realities - Peter Turner (with Kenton Knepper)
A Gift From Me To You A volunteer shuffles a deck of cards. The performer is given the cards and holds them behind his or her back. The audience can see the deck yet the performer cannot. The performer rifles through the cards and asks the subject to stop wherever they choose. The card stopped upon is removed. The performer whilst still facing away, asks the subject to place the card back in the centre of the deck and reshuffle. Once this is completed the performer turns around and, after looking at the subjectʼs psychological cues, is able to state the colour, suit, and finally the value of the card. This is merely the beginning. The performer explains that rather than card counting, which the performer finds tedious, the performer has developed a system of reading people instead. The performer teaches an audience member the system with a quick lesson. Again, the first subject shuffles the deck and stops at a card. The card is hidden away from the performer and the second subject who has learned “the system.” The performer has the second subject use the system and sure enough, this subject is able to guess the first subjectʼs card. NO, the spectator is not told what the card is...they really use “the system.” Performed and executed as described, this destroys magicians and mentalists alike. Method I am about to share with you one my most treasured effects. I have impressed more people with this than any other effect I have ever performed. First things first. You have to get a glimpse or peek at the top card. After the subject has examined and shuffled the deck, the way you take the deck back is essential. If you hold out your hand palm up, the subject will place the cards back flat into your hands. However, if you hold your hand in dealing position and rotate your hand 90 degrees clockwise, so the thumb is on top in a vertical dealing position (like shaking hands), they will hand you the deck long side up. When receiving the deck, bring both of your hands back towards your body.
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Devious Realities - Peter Turner (with Kenton Knepper)
Place the first finger of the other hand on the back of the deck and thumb on the short edge of cards (the side nearest you). Raise one card just enough to peek the index at the corner closest to you. The photo shows an exaggerated lifting.
This takes but a moment and appears that you are steadying or squaring the deck. I normally perform the move whilst saying “So youʼve shuffled the cards whilst I was facing away and no one could know the order, correct?” Now that you know the top card, youʼre set to perform. Next you will force the top card. You can use any force you like, but here is what I do. It is essentially a Slip Force but done behind the back. 44
Devious Realities - Peter Turner (with Kenton Knepper)
This force is a rather unorthodox version of the Slip Force. The major difference between this and the Slip Force is the deck is kept flat the whole time - no turning it on its side. Because the deck is kept flat, the force card fires flat onto the bottom half at a much faster speed. Hold the deck in dealing position in the left hand. Riffle the back edge of the cards with the right thumb. The photos show the hands in front of the body so that it is easier to see the hand positions and moves. In reality this is done behind your back.
Put pressure on the top card with the middle finger. When the subject stops you, remove the top half of the deck, retaining the top card.
If you pull your middle finger of the left hand inwards, it will fire the top card onto the bottom half (where the subject supposedly stopped). 45
Devious Realities - Peter Turner (with Kenton Knepper)
Push this card forward with the left thumb and have the person take the card. Now to the real heart of the secret. It happens as you train the subject in the supposed system. You need to be sure your subject can follow simple instructions, and that you give the instructions clearly to the subject. Here is how you teach the system to Subject Two. Talk to the person quietly but openly as follows. “All of it is in the eyes. If they look this way (point left) the card is red, if they look this way (point right) the card is black, you get that?” (Wait for a response.) “After you have the colour, if they look (point up) it is a rounded suit, a Club or Heart. If they look (point down) it is a sharp suit, a Spade or Diamond. Just remember the word CHASED (repeat the pointing process for the suits: Clubs-Hearts, Spades-Diamonds) Do you have that?” “Now if they look up and across itʼs a picture...Iʼll ask them if they can picture their card in their mind. If they say they can picture it, then it is probably a picture card. That and their eyes move across and up. I know you might think this is a lot to remember, so I will help you out when needed...ignore the number cards for now. I will guide you through those later if the card happens to be a number.” “It is a little difficult to explain, but if they choose a picture card, you need to imagine looking at the three picture cards, laid out on a table...Jack, Queen and King in that order. If they are thinking JACK their eyes will go up and left...a QUEEN, their eyes will stay in the middle, and a KING will be up and to the right...got that?”
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Devious Realities - Peter Turner (with Kenton Knepper)
Run the subject through the system again quickly. It is irrelevant where Subject Oneʼs eyes go, but it appears to be the actual working of the system all the same to Subject Two. Performance Have the deck shuffled. Peek the top card and force it on Subject One. Go into some supposed psychological clues and reveal the card you forced. Now talk about how you use a secret system that allows you to do this, and claim you will teach someone else your system. Once Subject Two knows “the system” continue as follows. Force Subject One the Queen of Clubs and have them hide the card away. State to Subject Two “Iʼm going to help you out as the movements are very subtle. Donʼt say anything out loud, other than when asked.” This is where the real magic happens. Subject Oneʼs back is more towards the audience and you along with Subject Two are facing the first subject. From this position you can see Subject Oneʼs eyes and see Subject Two. Say to Subject One “Get the colour of the card into your mind.” Turn to Subject Two saying “You see the eyes move in a direction now...what colour is their card?” (Point your right hand to the right as you make this statement.) Usually they will respond to your mannerism and state this means the card was black. Next say to Subject Two “Remember that word ʻChasedʼ? Get the system into your head...Clubs, Hearts and Spades, Diamonds.” (Point appropriately.) Turn to Subject One saying “Now repeat the suit of the card in your mind...Think of the suit and how you would draw it mentally.” Point upwards at Subject One and say to Subject Two “The suit...what is that suit?” Subject Two will respond that it is a Club. This is great fun as the second subject will see the eyes of the first subject actually move up. 47
Devious Realities - Peter Turner (with Kenton Knepper)
Say to Subject One next “Imagine yourself taking your card out of a deck that is spread face up...Stare at it. Can you picture it?” The subjectʼs eyes will naturally go up and to one side. Point from side to side as you ask Subject Two “Is it a picture or a number?” They will respond that it is a picture card as the eyes move to the side. As you are not giving Subject Two more information about how to read numbers, it simply must be a picture card anyway! Turn to Subject One and say “Remember try not to give anything away. Try to be motionless.” This will stop Subject One moving their eyes. Turn to Subject Two and remark “Remember JACK (point up and left) QUEEN (point to the middle) KING (up and right)...Which is it?” As Subject One isnʼt moving their eyes, they will stay in the middle, indicating the QUEEN. “Queen!” “So then itʼs the Queen of...?” “Clubs.” Have Subject One remove the card from their pocket and show everyone that Subject Two has indeed learned the secret system. Miracle accomplished. The only question that ever gets asked of the second subject is “How did you do that?” to which they respond “I donʼt know exactly” or “I guess it was the system but I donʼt understand it.” They wonʼt remember the system well enough when they try it again. Proof of that is when they try it later on their own and fail!
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Devious Realities - Peter Turner (with Kenton Knepper)
Performance Patter “I would like to try to show you a display of a perfected gambling technique, that will beat any casino or croupier in the land. To demonstrate this I will need someone who is adequate at shuffling a deck of cards. I will turn my back as this is being accomplished, to keep everything clean. Hand the cards back to me when you are finished. Just to verify these are well shuffled, fair to say? Excellent. I am going to turn my back and I want you to stop anywhere you fancy. Fine. Take the card you stopped on and remember it well. Place it back in the deck and reshuffle them. I will remain facing away. Have you done that?” Turn back around at this point. The subject will try to hand you the deck but refuse saying “No, keep hold of them as I donʼt want to touch them now that you have shuffled the deck. You took a card out, replaced that card, and reshuffled the deck (wait for response). I didnʼt touch the cards at all. Please look at me...Can you place your feet together whilst saying the card in your mind only? Donʼt give anything away vocally. I donʼt know if this is going to...wait...is the colour (name the colour of whatever card you forced)? Now think of the suit...Maybe...no...itʼs a (name the suit).” If it is a number card that you peeked say “Think of the number in your mind alone (they will nod)...You nodded...that tells me it is a number, not a picture. Now imagine the position of the card in the deck. (Move your hand in a clockwise motion.) It is somewhere near a Seven or Eight...is that it? The Eight?” If it is a picture card you peeked say “Picture your card in your mind (they will nod). You nodded, so that tells me it is a picture card (this provokes a little reaction).” Reiterate the full card name and have this subject verify that you are correct. Although this is a simple force, it gets a very good response. Pay close attention to some of the linguistics that generate the supposed clues and cues in this first demonstration. Next talk about how there is a secret system to this and when you were younger you quickly found that it was easier to read people than try to remember copious amounts of cards like the old card counting methods. Claim that you devised your own system and that you will share with someone how to use it too. Continue using the method as described previously to get the second subject to guess the second playing card this person selects for the impossible finale.
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Devious Realities - Peter Turner (with Kenton Knepper)
This effect seems very realistic and believable. More than a few people will ask to learn the system from you. Tell them that only one lucky person per show gets to know it, and then you brainwash them as they leave you so that they cannot recall how to make it work. Youʼll be offered all sorts of bribes from people who insist on learning the system better. In the performance, teach the system openly, yet not loudly. It is fine if others in the audience hear the system as you teach it to your subject. It is your directing the subject with your pointing, comments, and any natural eye movements the other subject makes, that allows the second person to figure out the card. I have never had someone fail to do so, but if they happen to misstate something I would simply remark “No, they moved in a way that indicated ______ that time.” That would cover things, no matter what. After all, you know what the card is, so you simply must be correct in the end, even if your “student” blows it entirely. They always seem to guess properly because it isnʼt a guess. They simply follow your directions and pointing, and take the very clear hints. This is my most cherished effect and I hope you will find that it is one of yours as well. I cannot think of a better way to end this first work by Peter Turner. It is bold, yet subtle, sneaky and realistic, the way most of Peterʼs work tends to be.Throughout this book have been items you may have glossed over thinking you understood the method at a glance. I urge you to go back and read carefully all the details in this work. The nuances Peter uses make for major miracles, including those which have fooled me. You will be well rewarded for your payment of attention. Catch up with Peter personally at his links below. http://www.facebook.com/profile.php?id=100000492857658 http://www.facebook.com/pages/Peter-Turner-Psychological-Mentalist/ 162300773815993 Email Peter Turner at:
[email protected] Dedicated to my son Zachary Dennis Turner. Special thanks to my family, friends and Kenton Knepper (for pushing as well as writing and inspiring me).
WARNING All Rights Reserved. ©2011 by Kenton Knepper. For personal and private use only. Not for distribution in any manner whatsoever. This work is protected in accordance with the Berne copyright convention and is protected worldwide for and by Kenton Knepper.
Exclusively available through www.wonderwizards.com WonderWizards.com The Official Website Of Kenton Knepper 50
