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Snap
Copyright: © 2011 Peter Turner All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publish 3
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Snap Written by Peter Turner Cover Art by Pablo Amirá
Thanks for respecting this art and keeping this document to yourself.
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Interested in more ideas?
Interesting themes and ideas for performers.
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Index Introduction 1. Mind Plant: A subject thinks of a word, number or picture and you are able to reveal it. Nothing is written down and no preshow. 2. Drawing out Personality: A very sneaky drawing duplication that will have you wondering why you never thought of it! 3. Essay: Thoughts in working with DR and IS. 4. Simon Says: This D. D. a thing of beauty! Even the audience is under the instant spell of the performer. 5. Just 2 DD (Pablo Amirá): 2 business cards and a very direct and clean drawing duplication Conclusion 8
Introduction Some time ago I got in contact with Peter because he released a few of his ideas with Kenton Knepper. Recently he told me about this project and I happily offered him my help and support. I did this because of one thing, after reading Peter´s ideas I realize that we have a very similar approach to mentalism. Peter focuses a lot on the premise and presentation; as you will soon see his methods are truly unique. The best way to describe them, are Bold and direct. Don’t be disappointed when seeing the simple paths he takes, rather take it in and realize that the real secret of this arcane art is based on your persona. The way you communicate your performances, how YOU can mold the experiences and thoughts of your audience and participants. Not because of a method 9
or an electronic gimmick, but because YOU are a competent performer onstage. In “Snap”, Peter share with us 3 methods for achieving
classics
in
mentalism,
although
the
principles and finesses that you will find in here can be expanded in your own repertoire. The 3 main effects have come from ‘Devious Realities’
and
‘Dare
to
be
BOLD,
previous
publications from Peter. My DD contribution is an unpublished routine, until now. Obviously don’t use all this effects on one show, rather mix some “classical” mentalism methodology with the effects that you read in here. Read this man´s thoughts, be ready to be bold, and enjoy. Pablo Amirá, 2011
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The human mind treats a new idea the same way the body treats a strange protein; it rejects it. P. B. Medawar
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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 subject´s mind. (Here is a very early rendition of this effect, performed in a social sitting).
http://www.youtube.com/watch?v=mkxm6sHeE60 13
Presentation #2 Two subjects are seated facing each other six feet apart. Subject 1 is asked to close their eyes and think of a two digit number and subject 2 is then blindfolded and given a board with a marking pen. Subject 2 is to let their hand move of its own accord across the board. The performer removes the board and when Subject 1 is asked what two digit number they were thinking of, it matches the number squiggled on the board by Subject 2! This is impromptu, no pre-show or peeks. Subject 1never writes anything down.
Method This can be performed totally impromptu and requires no hard work on the mentalist´s part other than a little sleight of mouth. 14
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. 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.
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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 Verbal Finesses turn a basic method into an entire reworking of modern mentalism.
Performance I´m 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 don`t know what this is, it is a person that has the 16
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 don`t 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.”
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Now face the subject and say “Please don`t 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.” Touch the subject on the head and ask him to close them. Do this slowly and gently so the subject has plenty of time to see and remember the word. The audience will believe you asked the subject to think of any image and then touched the subject on the 18
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. I`m 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 19
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: 20
“Please think now of that secret image you have in your mind...imagined walking around the audience and telling everyone the name of that image loudly. See yourself shouting the image´s 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 don`t 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. 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.
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“I`m going to single someone out near the front of the audience to help me here. I’m going to hand you this board and pen. When you receive it, don’t 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.
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“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. It’s a crown. A King and his crown. I’m taking that as a hit. Let’s 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 23
being amazed in this effect. The reaction from the secret helper will be in line with what their reaction ought to be. You can’t say that about most “stooged” tricks.
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 subject’s 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. 24
“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 isn’t used when the hand is moving then that person’s 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, I’m 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.
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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.
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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. You can see in this photo how realistic this supposed automatic writing appears using this approach.
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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 heart’s content as the marker doesn’t 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 the working pen is.
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After the revelation and the applause, remove the working pen from your pocket and sign the board or card as a souvenir. (After performing this piece many times, I only ever use the marker in the palm described earlier. We know not not everyone will be bold enough to use that so Pablo offers an alternative.)
Notes 1. Pablo Amirá’s comments: a. If you don’t want to use your palm to cue your participant, you can use your fingertips for short messages (numbers, 2-5 letter words, etc.) . In that way after the moment in which you show the word to the participant, you can flash your hand casually. b. Your Post it Note idea that cue the participant to think in a word, plus some deeper layers of 29
methodology can convert this Instant Stooge piece in a Dual Reality one, allowing the participant to also experience some mystery. Palm the post it with 4 words. The participant will decide on one but you will reveal the thought as well. How? The words are related in a way that you can progressively fishing for the correct one. A quick example: Wheel, Sun, Glass, Love. You are thinking in something round? Yes: Wheel or Sun Mmmm: Glass No: Love That´s the basic approach. The intelligent reader will take it and work it their own way
Credits Kenton Knepper and Dunninger. 30
I want freedom for the full expression of my personality. Mahatma Gandhi
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Drawing Out Personality So, that guy is a “HORSE” type of 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 subject’s full name and what this person aspired to be when they were younger, the performer is able to correctly draw what the subject has 32
in mind and learn more about the subject’s 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 children’s 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 33
top. This is the left inside of the clipboard when it is opened towards you. Once you have these cards secured, close the clipboard. You’re 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. 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.
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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. 35
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. I’d 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. “In a moment you are going to think of an image at random. Please don’t do this yet. I need you to follow my instructions precisely. Relax and when I ask you to open your eyes please do so. Until then, keep your eyes closed and just stay relaxed.”
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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. 37
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 don’t think of something obvious such as a car, but something a little more obscure like an umbrella. But please don’t pick THAT as I’ve 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 38
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. “This image is a combination of straight lines and a sort of curve...I hope its 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 39
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 doesn’t have a letter “O” 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, don’t 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 40
younger. The focus needs to be on tying their childhood desire to the image that they chose. You can treat all this also as a reading, 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 subject’s 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 41
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. 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!”
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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
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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 subject’s childhood dreams and personality. Both audience and subject feel engaged and impressed in this presentation, albeit for quite different reasons.
Credits Kenton Knepper and Larry Becker
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Essay: Thoughts in working with DR and IS After chatting with Pablo, we thought it best that we took care of a few worries concerning ‘Dual Reality’ or ‘Instant Stooging’. We have used these techniques many, many times in close up/stage situations and the effects using these techniques are truly stunning if performed correctly. Here are a few questions we have been asked regarding these subjects; we will attempt to answer as best we can, putting to bed some of the worries people have when using these techniques. 45
If the two subjects talk after the show, will the methods be rumbled? We have tried our best to answer this question; please be attentive with the answer we provide and you too shall no longer have to worry. In clear cut black and white the answer is yes; BUT (and it is a big but) if you follow these guide lines there should be no reason for the subjects to talk about the method after and they will only comment on how amazing the performance was. Make the force or dual reality principle part of a process; it is the first and most important step. Make a subject aware they are going to help out in an experiment and that they are going to follow ‘a few simple instructions’. That one line really is the key to getting things rolling. 46
The subject does not want to appear stupid; you have told them the instructions are simple and they do not want appear as though they cannot follow them. This makes it almost impossible for them not to follow what you are asking them to do. Now to make sure the subject has no reason to mention the force process later on. We will for example sake say the subject is called ‘Zach’. You have to make it appear as though the audience know you have given Zach an image to think about (when in reality you haven’t). Address the audience; ‘I have given Zach an image to think about and there is no way anyone in this room could know what that image is correct?’
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They will of course say no; but what you have achieved here is a small piece of vocal mastery. The audience just believes you are just going over what has occurred; while the Zach believes you have informed the audience that you have shown him an image to think about. Why would Zach need to mention these processes later if he believes the audience are already aware of it? If you are performing on stage select people from different parts of the audience, this will definitely ensure they are not going to talk after. If you are performing in a close up environment be bold, courage is all you need take someone to the point of feeling there is no need to mention how fair things were just by pointing out the steps of process to everyone there.
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A lot of the time a subject that has helped you, will not understand fully what has gone on and therefore will not want to look stupid asking questions later. They will often exaggerate what has happened. They will try claim the effect would have worked with anyone and will often exaggerate to a degree that makes the effect sound more fantastic than it actually was in the first place.
What happens if the subject does not follow what you are asking? This honestly happens a lot less than you would imagine; if you make sure you are using a decent subject that is not a vile sort before you start, then you should not have any problems. Here are a few ways to ensure you have a decent subject.
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Ask the subject their name; if they give you a funny remark there and then, you know they are going to be difficult to work with later on. Ask them a couple of questions/get them to follow a few simple instructions and if they answer in a respectful manner/ follow your instructions then there will be no problems. I always open my shows like this; Wait for the applause to die down after the introduction and address the audience after a few seconds silence. ‘I would like to thank you all for coming out this evening and I would just like to say a couple of things before we proceed with tonight’s show. Firstly if you are lucky enough to be a participant in tonight’s show I will not embarrass or ridicule anyone in anyway. Secondly if I ask anyone a question this evening, please answer to the best of your ability do not respond with WELL 50
YOUR SUPPOSED TO BE A MIND READER as I have heard it a thousand times before and it is no longer comical’.
The reason I have decided to point this out, is just to over emphasize the point that if you eliminate something of the bat, it really will ensure it doesn’t happen later. Do you think anyone is going to use the age old line ‘Well you’re supposed to be the mind reader’ on me? The answer is obviously no.
In the event that the subject really does not follow what you ask and the effect falls flat do not worry. This can often make everything else you have performed seem more credible, here is a line you can use in case of any effect (not just dual reality) falling flat.
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‘Round of applause for (say subject’s names) as they take a seat; this proves that everything I am doing tonight is very much real and will not work on everyone. Nothing is 100% when it comes to the human mind, it is not like a band that can rehearse or a comic, every mind is different and I think you can appreciate that you can’t read all the minds all the time’.
Then just move on; people will not remember the misses, just the hits and if anyone tries to debate this point all I have to reference is psychics. People always leave after a reading, just remembering what the psychic got right and going back to something mentioned earlier they will often exaggerate to make the reading seem more credible.
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What if a subject says something on stage that they shouldn’t? Just take a look at the aforementioned points; you can eliminate them doing this before they have chance. It doesn’t take five seconds to tell a subject that they mustn’t say anything out loud and to keep a straight face at all times. All you have to do is make sure you make it clear to a subject what they must / mustn’t be doing; after all you are in charge.
I think you can see there really is nothing to worry about when performing dual reality or instant stooging. Maybe you can remember back to when you performed your first double lift, coin switch, or slight they could have easily been spotted or called upon but you had to
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get over that hurdle at some point and it is the same with this. Do not over do it with dual reality or instant stooging; use it tastefully amongst other effects and it can be a really strong to have in your arsenal.
Remember practice makes perfect!
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Simon says: bleed Demolition Man
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Simon Says This effect makes use of the instant stooging method in a very obscure fashion, the whole audience are stooges and not one of them knows it!
Effect A subject is invite up onto the stage handed a white board and a newspaper is asked to stand facing the audience, they are to draw any image that comes to mind and wrap it in the paper to ensure no possibility of anyone seeing it. The performer faces away the entire time while this takes place, when the subject has completed the drawing and wrapped it up he claims he will try to reproduce the image.
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The performer seats the subject looks at him and after a few moments’ draws an image on a large white board, the drawing is removed from the newspaper and is verified to match!!! No peeks, no preshow no impression devices and the performer draws the image before touching the subjects!
Method This method occurred to me a long time ago and I never really got to make an effect fit it, until now. This effect I thought was a little too good to put into a book but after better judgment I gave in. There is one variable most performers take for granted and that is audience reaction. Think of this, if a subject was standing behind a white board, a drawing was drawn on the white board and 57
the subject was asked to name anything in the world out loud, how would the subject know what he had said matched what was on the board without looking? Answer: The reaction from the audience! I then added a few nuances, came up with an effect and here is my presentation. You will need a regular small double sided white board and two sheets of newspaper. Draw with a permanent marker on one side of the white board the image of a car (or any image you can draw) but draw it so it looks like someone else’s drawing. Place the white board drawing side down on top of the newspaper then place these items together on a table you are ready to begin.
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You will see how the paper is used as a mask, hiding a cheeky utility switch swapping a random drawn image to the one you had drawn before the show.
Performance Invite up a member of the audience (via any means you see fit) state, ‘I am about to attempt something that may not work, I really hope it does as it will be a lovely visual treat for you the audience’. Address the subject. ‘I would like you to think of any image in the world please make it something I could never know and not something simple like the image of a house or a stickman.
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Hand them the board (with the paper under it) ask them to keep the drawing towards their chest and when they are done to fold the paper around it so there is no way anyone can see what you have drawn. Demonstrate how to wrap it around, (retaining the paper on the back of the white board it folds around the front (so the white board is sandwiched in the middle of the paper. See pictures for demonstration of fold:
As you can see the paper is under the white board, all ready to be folded. (See Picture Two for sandwiched board) 60
This is a little bold but really sells the fair fact, turn facing the audience (back to the subject), ask the subject to tell you when he has folded the paper round hiding the image from sight. Ask the participant to verify you can’t see through the paper and there is no tell tale signs that give away what the image is (he will say no). Ask him to place the board and paper on the table and ask him to take a seat stating, ‘There is no way on earth I could have known what you were going to draw and you up until a few moments ago didn’t either correct’? ‘Yeah’ ‘You verified that it is well sealed in opaque paper and that there is no way I could just guess that image’
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He responds ‘Correct’ ‘I would like you to sit and just mentally repeat your image over and over again in your mind, imagine shouting the image to me’
Seat the subject at the back of the stage (well behind the white board at the front of the stage) ensuring he can’t see what you drew.
Walk over to the front of the stage and pick up your white board, draw something and then scrub it off (while shaking you head) claim it is a difficult one to get). Ask the subject to make the image larger in their mind, state to the audience they must say nothing out loud 62
and on the white board draw a car (or the image you drew in permanent marker on the little board). Address the audience, ‘I think this is the image I would like you all to remember, this is the image I think (subjects name) settled on, when I show you what (subjects name) drew if the images match I would like a massive round of applause to let (say the subjects name) know that I got it correct. Does everyone have this image in their minds now’?
Wipe the image off of the board and address the subject, ‘I drew an image on that white board, in front of an audience full off people and I never came anywhere near your drawing, hopefully the two images will match’.
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Pick up the newspaper with the board inside and walk to the front of the stage, (make sure your image is facing the audience) state, ‘If this image matches the one that I drew just a moment ago please let (subjects name) know with a loud round of applause’.
Hold the image above your head open the front flap of the paper revealing the image (the one you drew long before the show) to the audience; ensure the back of the image is still covered by paper as the seated subject is behind you (the paper prevents him seeing his image). This is the bit where the entire thing is sewn up in the subjects mind; Close the paper (sandwiching the board again) and bring the sandwiched board back to waist height, when you turn around toward the subject, remove the board 64
his drawing side up and place your drawing face down back on top of the paper.
Hold the whole lot in your left hand (don’t state anything about the drawing just let him see it casually) and shake his hand (your body and the back of the paper will hide these actions.
The subject has seen his image has no need to question anyone in the audience; the audience has no need to question the subject as they are the stooges in this effect and have all seen the image. Ask for a round of applause for him as he takes a seat, this effect is all about presentation the method is so simple it will go undetected and the cheekiness of facing the audience while he draws it, using the
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audience as stooges without them knowing (which I believe has not been in print before) is devious.
Notes I would recommend marking the side of the paper with a little sticky dot; this ensures you know which way round to open the paper when you get to the front of the stage. The last thing we want is the audience seeing the random drawn image.
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“It only takes one tree to make a thousand matches; it only takes one match to burn a thousand trees” Kelly Jones
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Just 2 DD Apparently just with 2 business cards and a pen, create a very direct demonstration of mindreading in a close-up scenario
Participant and audience perception A participant draws a drawing on a business card hides it between his palm. After they have completed this, you take your business card and start to draw a few impressions you receive. You check his drawing and he checks your drawing. Both match!.
Effect Telepathy. A drawing is read from the participant´s mind. 68
You Need 3 business cards Pen
Memory “I draw a drawing on a card, I keep it in my hands and he reveals it”
How? This piece is one of my solutions to the “Just 2 Drawing Duplication” challenge. Several performers don’t like to use a stack of cards for drawing duplications, or they just want to have other reliable method just using 2 cards, apparently.
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I said apparently because you are using a third card, a dummy that will allow you to do the workings.
Handle the cards freely and casually. (Photo 1)
(Photo 1) You can use some indirect lines to communicate that you have 2 cards: “In here I have a pair of cards. One for you and one for me”
In the above line you can see I let them know two times that I have 2 cards but indirectly. 70
Double lift with your right hand and ask the participant to draw something while you hold the card. After the participant finishes the drawing, ask for them to hold their right palm out. In that moment you will deposit the double on your left hand, giving the participant a dummy while you retain the drawing in the left hand. Now you will have two cards in your left hand. On the top you have the participant´s drawing and on the bottom your blank card. Tell the participant to put his hand over the top his card but do not touch it. If he presses the card as a sandwich, the pressure can causes the card to turn over, and because he is holding the dummy, it isn’t a very nice thing.
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Now you need to know the drawing and you will do this in a very simple and bold way that I called the “Prayer Peek” (for the hand position). Show the blank side of your card and say: “I will put my hands the same as you. In that way we have something in common…”
After this you will say: “Put your hands higher” And in that action, you will use your thumb to lift for a moment the top card on your hand (your blank card and peek the participant´s drawing in a concealed manner. The video will show you the peek in action:
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The angles are very good using this move. Now, you know the drawing so you can create mindreading, reveal the information in a mysterious and entertaining way. Use the pen to draw a duplicate of their drawing on the blank card in your hand and say: “Ok, give me your card and let me check what you drew” With that you communicate also that the card that the participant have in his hand IS the drawing. Put the card on top and as an afterthought say: “And take my card” (Photo 2)
Taking your card from bottom. (Photo 2) Now you have the dummy on top, in a right hand biddle grip position 73
(Photo 2) In here you have 2 options for “cleaning” the double. You can do it now or after you see the drawing. I normally do it now, just directing the attention to the recapitulation of the events and just palming the top card (the dummy).You can ditch the card on your pocket now. (Photo 3)
(Photo 3)
If you have an audience you can show the drawing and comment a few details. If you are working one on one just look it yourself and say something about the drawing.
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Now the participant will see your drawing and see the duplication of his thought. If you didn’t ditch the card before, now is the perfect moment to just go to your pocket and leave the dummy.
Possible Dialogue Introduction (Premise) Everyone thinks of memories as images during their life. Let me read your mind with something in a simple way. (Conditions) Here I have a pair of cards. One for you and one for me Please draw on this card something simple, something that comes to your mind now. While will look away.
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Excellent, now please put your right hand flat (deposit the double) and put your left hand on top of your drawing as well. I will put my hands the same as you. In that way we have something in common .put your hands higher (do the Prayer Peek)
Middle (At this moment I normally do some movements with my participant, just creating some apparently important ritual) Also I jazz in here about the drawing. Remember to be interesting, entertaining and always creating mystery)
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Conclusion You thought of the first drawing that came to mind, no one in the whole world knows this, correct? I take 2 cards from my pocket (During all this you can palm the top dummy card and ditch it) and start the experiment, correct? Yes Ok, give me your card and let me check what you drew, and take my card. But I tried to read your mind and let me see if I was in some fashion correct. (Check the drawing, amaze yourself, and comment a few things a let the participant see your duplication) Thanks for your thoughts, you did it brilliantly (End)
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Idea 1. You can have your stack of business cards on your right pocket, so if you are working with “Instant Reset” conditions you can see that this piece is very practical. You just take “2 cards” (3 as you know), leave the other cards on your right pocket and go with the mechanics. At the end you just need to ditch the dummy to your pocket and you will be completely reset for the next table/group.
Credits and Inspiration The inspiration comes from the challenge to do a drawing duplication just with 2 visible cards.. Other similar handling is published by Docc Hilford. 78
Conclusion I dedicate this book to my son Zachary Dennis Turner, everything I do, I do for you. I would like to thank the readers for purchasing this material, I hope the ideas you find inside this book will open you up to a world of new principles and get your creative juices flowing. Please be attentive when reading the material and take in the small nuances, after all it is these nuances that make for miracles. I would like to thank also Kenton Knepper for his dual reality work, if it wasn’t for you and your teachings I would have never have found my character
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and also to Pablo Amirá, for his time working on this book and his contributions to my work.
If anyone would like to contact me with questions about the material within this manuscript please do not refrain from emailing me at
[email protected]
Peter Turner, 2011
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