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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

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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

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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
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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

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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.

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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
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 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

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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

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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:

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 “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

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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.

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 “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

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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.

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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

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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
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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.

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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.

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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
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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

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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
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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
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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.

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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.

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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

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 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
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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)

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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

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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

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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.

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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.
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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
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(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.

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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 Openfire@hotmail.co.uk

Peter Turner, 2011

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