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THE SUBLIMINAL PEEK A PROFESSIONAL BILLET READING SYSTEM BY JEROME FINLEY

All rights reserved. No part or portion of this manuscript may be reproduced or transmitted in any shape or form by any means, electronic or mechanical, including photocopy, recording, or retrieval system without prior consent and permission in writing from the author. Thank you.

THE SUBLIMINAL PEEK ***

This specific set of techniques and the resulting billet reading system which follows is one that I’ve worked with rather intensely and developed for my own use, purposes and career spanning over nearly two decades. Born in the real world and fine tuned in the trenches, my “Subliminal Peek” is practicality at its finest and boldness at its best. I’ve never once been caught using these various peeks, folds and replacement techniques – truly, when executed correctly (and even haphazardly) it is perfectly invisible from all sides and performance angles. Further, my “Subliminal Peek” system gets rid of any overt or covert need for folding, tearing or switching billets in order to access the information and process the method successfully. In other words, you can use these methods without ANY prior set up or preparation and, with it, employ nearly any piece of paper including billets, business cards, index cards, playing cards, receipt papers, dollar bills, prayer cards, handwritten letters, Post-It notes, maps, book pages, magazine excerpts and photographs.

The most remarkable thing about these techniques and the various methods associated with my “Subliminal Peek” which follow is that nothing remarkable or suspicious is happening at all and that is where the greatness in its power hides. Nothing happens. Or so it seems. “TSP” is all about entering a state of flow, calming your internal environment and maintaining a certain mental attitude even as you work under heavy fire. Supporting ideals such as flexibility, efficiency, economy of motion, having available options, your level of confidence during performance and conversation, projecting an air of casualness and direct simplicity during the process, embodying the essence of boldness and maintaining an aura of absolute innocence are all vital components. My billet reading system is more than just a set of invisible and effective reading and peeking techniques – the requisite psychology behind it all is equally important. “The Subliminal Peek” has over a dozen flawless variants and I use them all in a number of situations, performance conditions and real world circumstances ranging from and including close up intimate mind reading and direct thought sharing, high end psychic home parties, very serious private readings, formal stage performances for big corporations and in my professional walk around/roving work and services. The following methods, approaches and techniques are all incredibly flexible in their use and beyond deceptive in both practice and application. I’ll even go so far to say that UNLESS you’re purposefully and intentionally presenting yourself as a trickster, magician or fake mind reader of sorts and your audience members and participants are actively EXPECTING you to “try something” in order to trick, fool or deceive them – you’ll have it made using this beautiful peeking system and each of the phenomenal variations of “TSP” as laid forth in this book. Some people might look at the mechanics behind my work on “The Subliminal Peek” billet reading system and be underwhelmed at first. These are the same people who are almost always searching for the holy grail and whatever the next touted biggest and best, latest and greatest gaff, gimmick, middle-routine,

breathtaking opener or closer, that final show-stopper and guaranteed standing ovation generator, repeat booking magic bullet – that one piece that will, on every occasion, make everyone else watching and close enough to see, hear, feel and experience this non-existent and unnamed miracle to fall on the floor and roll around in holy awe and descending waves of sheer disbelief. These same folks might well skim over “TSP” and immediately think it too simple for their tastes, not gimmicky or flashy enough, too bold/risky/daring for them or even that it’s just too plain & casual to use under constant-fire and heavy duress in the real world, for real people and with real money on the line. Good I say! Wonderful! Those people would be mistaken and they are free to continue working at a marked disadvantage with their gaffs, gimmicks, impression pads, peek wallets and other means of gaining hidden or secret information. The fewer professionals we have out there using this system, the better. The following billet peeks are the ones I use on a daily basis and constitute the body of my work known as “The Subliminal Peek Billet Reading System” Unlike most billet work that goes backwards…TSP is different in that we use a full UNFOLDED billet which can then be folded in half, in quarters, burned to ashes or torn into little pieces should you wish to go in that direction. This changes the moment, psychology, personal freedom and established mechanics which normally require folding or tearing in order to access the information. This is and always has been totally illogical for me to have someone write down a thought or piece of personal information which we then immediately begin handling, folding, tearing, destroying and making endlessly odd excuses for.

TSP METHOD #1 *** This is my first preference in terms of technique when it comes to “The Subliminal Peek.” My reasons for this are numerous and, briefly, I use this peek because it’s simple, 100% surefire, totally innocent, completely casual, the angles are perfect and there is absolutely NO WAY to “get caught.” My instructions to the client/sitter/participant are very simple… “I want you to simply jot your thought down on that piece of card, while I look away. When you are done, just place it face down on the table here and we’ll begin.” OR… “Quickly write down your (X) and place the card face down onto the table for me here. I might see what’s on it later, but right now while you are doing this I’ll just look in the opposite direction. Just give me a nice clear *yes/ready/OK* when you have done that for me.” I use this first peek the majority of the time whether I’m standing up, sitting down or moving around on stage. The secret handling here is simplicity and directness incarnate. You’ll begin by having a piece of information written down on a full sized business card, playing card or 3X5 index card (which I typically prefer cut in half for this particular handling, but which is entirely optional and up to you!). This information is recorded “sight unseen” (usually while I have my eyes closed in meditation) for a few simple reasons depending upon the routine and presentation I’m using it for. Once the “isolated thought” has been properly recorded and committed to writing, the card is either tabled or placed face down on my outstretched left hand (palm up).

For the sake of our demonstration, let’s say my participant has brought to mind the name and memories of a departed loved one which she has just jotted down for posterity’s sake on the back of one of my business cards.

The card and writing is placed FACE DOWN on my (palm up) left hand and this will be your starting position. I take several moments in this free and open position before I make any attempt to cover (or “feel the vibrations”) of the card I’m holding.

At this point I’m going to start a short reading, apparently getting my unique “psychometric vibrations” (think “chi power & life force energy!”) from the card in my hand. As I do this my free hand (right hand) hovers over the card, comes

down to touch it or rub it lightly at times and the routine progresses the moment I start hitting with my reading at which point I cover the card and encourage more direct participation from my volunteer.

During my conversation, intuitive reading, energetic analysis or biofeedback session (pendulum dowsing, applied kinesiology and muscle testing, etc) I go ahead and cover the card completely EXACTLY as I normally and naturally would were I to *purposefully conceal* something (anything!) between the palms of my hands.

This position will be called our “neutral position” in preparation for the peek.

It should look perfectly natural, calm and relaxed…and it does.

As I continue with my reading, conversation or “revelation” I make an invisible gesture as if TALKING WITH MY HANDS. Often I’ll point directly at my client, sitter or participant with my hands cupped in a gesture asking them to hold their hands out in the same way… “Like this…”

At this point my peek is already finished and my hands are literally re-clasped.

Immediately after I get my peek, both of my hands open and the face down card is seen laying innocently on my open palm as I continue speaking.

How? The mechanics are simple…here’s an exposed view.

The card is placed (writing side down) on my open left palm. My right hand comes over the top and sandwiches the information between my closed and tightly sealed palms.

You can see the card is perfectly sealed from every angle. It truly is…

BUT… For a split second those hands open just a tiny fraction allowing me to glimpse a full card/billet and all the information written upon it.

The peek happens on the off-beat as I’m gesturing towards the participant or gesturing to an object (such as a pendulum, a pack of Tarot cards, a spot on the stage or in the seat next to me, etc). As soon as I’ve made my peek my hands come back to a full close and draw in CLOSER to me (closer to my body) as I relax and open my fingers to expose the face down card. The entire process literally takes less than one second, at which point the card can be set down again (tabled), given back to my participant to hold/fold/pocket, placed inside of an envelope for sealing, lit on fire and burned to ashes, torn to shreds or set above or beneath a healing crystal, bent spoon, Yantra, mandala, tarot card spread and so on. It’s a fantastic utility and it flies right by 100% of everyone that I’ve ever used it for. They never see it coming and they do not EXPECT anything to happen! The key is not acting suspicious, not telegraphing guilt, not running when you’re not being chased, not presenting or being presented AS a “magician” or “trickster” and other obvious points that I’m sure you can work out for yourself. Nobody sees this peek coming because NOBODY IS EXPECTING A PEEK or “chicanery” of any kind to ever take place. This is quite a normal process in the real psychic world and arena – all I’ve done is capitalized on it for my entertainment uses and a razor sharp performance edge & advantage.

TSP METHOD #2 *** Though my first method and technique for peeking a lone billet or business card is by far my preference, this next part of “The Subliminal Peek” is devastatingly effective as well, is quite a bit more casual in its mechanics and works really well in those off beat situations where the viewing audience, group or active participant(s) are already at ease, in rapport with you as a person, involved with the process or experience at hand and may well be distracted by other events, exercises, phenomena occurring and the various activities or conversations (readings!) taking place around you. Just like “TSP Method #1” taught before this, my second method of peeking can be done standing, sitting or while in the process of moving around your environment though you’ll have to be more conscious, aware and mindful of your angles and anyone surrounding you as you employ it. What really separates this method from “TSP Method #1” is that instead of us (the performer) holding the billet cupped between our own hands in the beginning phase, we’re going to simply use the empty and patiently waiting hands of our client, audience member or participant as the necessary physical misdirection and appropriate psychological “shade” (cover) while executing the move. Once the information I want has been recorded for later verification (if needed or desired) I’m going to do a few things… First, I ask my participant to hold BOTH of their hands out (cupped) “LIKE THIS!” as I use my empty left hand to demonstrate the correct position.

Second, with the (face down) billet held in my right hand a number of things are about to take place here. In this handling, like the others, the billet and written information should appear to stay FACE DOWN the entire time. The peek itself happens in the fraction of a second. The simple and totally innocent “adjustment” we use to move and reposition the client’s hands is where our opportunity lies. As I raise their cupped hands just a little higher (or lower/closer) I use my open LEFT HAND (and fingertips) to nudge gently at the bottom of my participant’s waiting right hand. Likewise, my RIGHT HAND (holding the face down billet) is going to mirror this innocent action and request by using the back of my right hand and fingertips to raise both hands slightly, simultaneously.

In doing this a natural action and resulting effect occurs, that is, the billet with our participant’s written information will briefly come up to face us during this repositioning of the client’s hands and as it does so we get our full billet peek. This “repositioning move” and the resulting peek is totally invisible from the front where our client is sitting and both the right and left sides (the billet is blocked by our moving hands!

Our participant’s own hands provide most of the cover for us! From the opposite side of the stage or table, reading and performance nothing at all has happened, nor is anything even suspected. Keep in mind that not only do people NOT know exactly what you’re doing, but they are NOT suspecting trickery or any sort of deception at this point (much less a direct peek!). Further, when the full billet peek occurs it lasts just a split moment and that “moment” comes at a point in the handling in which nobody besides you can even know what to watch, predict or prepare for! You can adjust the angles, peeking position and spectator’s hands by “coming in” at different angles. Also, by making a few invisible and minor adjustments in the billet itself and/or grip used to hold it we can get different peeks…for example, in the photo below I’m coming in MORE from the participant’s LEFT HAND/LEFT SIDE:

Splitting attention between several points, utilizing multiple layers and methods, moving between multiple moments and invisible tools for misdirection, creating false memories, employing other tests (etc) are all working in full effect here. Immediately after I’ve obtained my peek and know the necessary info, I place the face down billet into the waiting hands of my participant…

…and continuing with the flow of movement (a natural economy of motion features heavily here, remember!) I end by using my LEFT HAND to help cover the now “sandwiched” billet resting between their palms.

TSP METHOD #3 *** The “Basic Holding Position” used for peeking the billets and business cards is simple… In the “Basic Holding Position” your billet and the writing it contains will always be held FACE DOWN until the moment of your peeking. In this third handling of “The Subliminal Peek” all you’re going to do is tilt/tip the billet TOWARDS YOU and do a few things simultaneously… 1). Peek. 2). Turn your head AWAY from the billet (to either side, extreme right or left). 3). Your FREE HAND instantly comes up and begins to fold and help crease the billet as shown.

My full peek, turning my head in the action of intentionally looking away and folding the billet in half (or quarters) is all taking place together at the same time. Notice too how my LEFT THUMB is only there as a physical “guide” which helps us to fold and crease the billet by feeling alone (i.e. while not looking at it!).

My head is already turned away immediately after the peek occurs and I’m looking at someone else or something else entirely as I complete the process of folding. I often use this moment following the peek to make gentle eye contact, ask a direct question, make a special request or give further instructions, reposition something (etc) and then further distract, disarm and psychologically lead the participant’s thought process and focused (in)attention by handing them back their billet very cleanly and casually while I continue with my reading, presentation or demonstration.

TSP METHOD #4 *** This is the super-casual gesture version of my cherished “Subliminal Peek.” Again, the mechanics behind this peek are simple in execution and yet they WILL fool you in real world practice, especially if you don’t yet know them through my work and offerings here! I begin by holding the face down business card in my right hand (neutral position). My LEFT HAND gestures towards the subject’s RIGHT HAND as I ask for them to hold it out for me, palm up “like this” (as I demonstrate exactly what I wish for them to do). As the participant is EXTENDING their right hand as per my request, my LEFT HAND reaches out to grab it and gently “guides it” in whatever way, direction or speed and distance that I wish it to. As I do this, my RIGHT HAND (holding the billet) takes advantage of this split level of attention and makes a quick and casual gesture to my sitter’s LEFT HAND as I hold the business card, gently reach out with the card and peek it (!) while I nonchalantly *point* for their other hand to “get involved too.” Now I want to touch my participant’s hand and reposition it if needed but I’ve got this face down (& freshly peeked!) billet in my right hand…so what do I do? I set the billet down, of course! Whether it’s rested in my free left hand, set on the table, placed beneath some object or even sandwiched between the participant’s palms to finish, AFTER I PEEK THE CARD my only goal is to set it down again (get rid of it confidently and don’t rush or run!) and free up my right hand for other tools, tasks and activities.

You can see very quickly how natural and unencumbered these billet peeking methods and techniques actually are. Also notice how each peek handling and basic method is modular in nature. If for any reason you miss a peek, you can follow up with another angle, handling and version instantly and end your demonstrations with the ultimate success.

TSP METHOD #5 *** This variation of “The Subliminal Peek” is another preferred version I use constantly alongside all the others as my situations, circumstances, audience members, venue/environment and performance focus changes. In this handling you’re going to use another object (such as a wallet, book or envelope) to provide cover and misdirection while you obtain your peek and remove another object from your wallet (a dollar bill, credit card receipt, playing card, written prediction, etc). We begin with the billet or business card in our RIGHT HAND (neutral position) as we remove the wallet with our left hand. The wallet is opened (with the opening or “mouth” towards you) and the right hand inserts the facedown billet. I usually place this card between some paper money (obtain my peek!) and IMMEDIATELY remove another item or object from the wallet. This peek method flies right by everyone.

I begin by having the billet placed face down on my open palm OR starting from a tabled/held position. The RIGHT HAND prepares to place the face down business card into the wallet, cleanly and fairly.

The wallet comes out…

The billet or business card goes in…

Everything is pushed flush and hidden completely…

You’re already half-way home now…

With the billet or index card placed securely into the wallet, I aim to leave it in place and FORGET ABOUT IT FOR A MOMENT as I move to peek and then immediately remove something else from my wallet (leaving the billet in its place).

The wallet is turned to face me in a natural action. To get the proper hang of this, simply practice placing a billet into your wallet (face down), peeking at it as the wallet turns upright again (mouth facing the ceiling) and another object is removed such as a dollar bill, receipt, movie stub, photograph, playing card, etc.

Below is an exposed view from the rear of the wallet (performer’s angle)

As soon as I get my peek I allow the remaining dollar bills to fall over the peeked card as I immediately remove another object, close the wallet and either table it or hand it to another person to hold for safekeeping.

TSP METHOD #6 *** For this particular handling you’re going to need a few envelopes and you’ve got a TON of artistic license and creative leeway here. Instead of an envelope you could even also use a borrowed book or magazine (hardcover or soft). Once again the basics are simple, direct and brutally effective!

For teaching and instructional purposes I’m going to work with just TWO envelopes. You can perform this technique with a single envelope or a few, an entire stack and even other objects as I mentioned earlier.

The face down business card or billet appears to go directly inside of the envelope…

In reality the business card is being slid (face down) beneath the top envelope. Once hidden and effectively out of view, I pull the envelopes “flush” together with the business card/index card/billet while getting ready to separate them during my natural movements…

…and gesture openly while I continue with my reading, program or demonstration.

Next I turn my RIGHT HAND palm down in preparation to lift off the top envelope and pull that business card hidden beneath it UP and AWAY so I can get my peek. As you can see from the exposed view in the photograph below, the billet and hidden information is now staring me in the face.

TSP METHOD #7 *** In this handling of “The Subliminal Peek” we use just ONE billet and ONE envelope. With this variation the billet actually does go inside of the envelope (as opposed to beneath it as seen in the #6 TSP method). This is very nice because on the off chance that you missed your first envelope peek (Method #6) you can change directions using the billet and an envelope that you’re already holding and peek the card all over again. Like I’ve been shouting from the rooftops, this billet reading system is incredibly flexible and effective. Here we go…

This is an exposed view of the face down billet going inside of the envelope…

Once the billet is secured inside of the envelope (the opening facing you), you’re going to use your dominant hand to jam your thumb inside while pressing down and backwards, allowing the envelope to open and the index card to “bow” slightly allowing for your peek.

Viewing your work from the front, it all looks exactly like it should look…

Now we can either lick the envelope to seal and close it up tight as we get our peek OR peel off the adhesive “sticky-strip” and peek in a similar manner.

And finish by handing it off to another audience member, the sitter or your active participant.

TSP METHOD #8 *** The final method I have to share with you is a variation on the envelope peek using your business cards and a single coin envelope your billet or business card can fit into easily with a bit of room to spare.

Just as before with TSP Method #7, the face down card is inserted into the small manila envelope…

And now we raise it up to lick it shut, seal it or simply close it again with the card inside…

And as we do we obtain our peek!

The envelope is immediately sealed and tabled or handed back to the participant. These next 4 billet peeking methods to follow are all unique in that they are “hands off” for the most part which makes the NO TOUCH nature, psychology and residual effects of the process very strong when recalled later.

TSP METHOD #9 *** This 9th method is a classic technique and a staple in my professional work and both public & private performances. To execute the “Gypsy Glimpse” properly is simple and beyond effective for several of our uses, goals and intentions here. Briefly, you’re going to turn away from your participant and appear to close your eyes while your opposite free hand comes up to your face and shields or covers your (already closed) eyes. It is in this action and faux cover that you’ll receive your peek. This method is bold, tried, true and dynamic in its use. Of course with the “Gypsy Glimpse” and the impromptu peeking techniques shown here, both of your eyes APPEAR 1). “Closed” and 2). Not only are your eyes apparently closed, they are also covered with one (or in my case BOTH!) of your hands. This “cover” allows you to open one eye beneath the shade of your shielding palm and gets you a very clear view of whatever happens to be taking place with your participant including seeing which of several objects are being chosen, drawings made, people selected, writing (names, numbers, words, etc) and all other manner of sneaky business. Classically “The Gypsy Glimpse” was used with one hand and can still be executed as such. After years of working with this peek I started introducing BOTH hands in the shielding process, a principle I was currently using with my “Bare Hands Blindfold” on stage and during parlor work with multiple audience members joining me to create a human shield with their hands overlapping, hiding my eyes and covering my face. It’s a bold, beautiful, deceptive, tried and true technique I think you’re really going to love. The scripting and instructions I employ are equally simple…

“I’m going to close my eyes and count aloud from 1 to 10. What I want you to do is write down your (X, Y, Z) on the back of my business card and then turn it over again so I can’t see anything by the time I’m done…sound good? By closing my eyes and forcefully sealing off/shutting down my physical vision, I’m better able to see all of the small, subtle, invisible things only the heart can truly know. “Usually when I do this it is for academic research, ongoing peer review studies and clinical trials in very sterile settings for boards of doctors, scientists, psychologists, engineers and all manner of human PSI & ESP researchers…and when we conduct these tests in a laboratory setting, I’ll have my eyes sealed with metal plates, duct tape, surgical gauze and black pillow cases in order to seal off as much external light as possible (so I can focus, pray, meditate and go deeply within myself for visions, answers and solutions from the Higher Consciousness in the darkness, peace, silence and stillness within) which allows for the researchers and those conducting our tests, experiments and resulting demonstrations to observe the happenings in full light – so we get the best of both worlds. They get to see everything and I don’t, nor do I want to…that’s not what this is about. What this is about…is obviously we’re not in a laboratory and I probably shouldn’t even be doing this without at least a notary public, a journalist or some other professional witnesses here to back up what you’re about to see, but let’s try it anyways…nothing fancy, I’ll do what I always do and close my eyes for now, cover them with my hands, turn around and begin my deep-inner meditation while you’re finishing up with your part. Sound good?” Below is a photograph and visual instructions for the original “Gypsy Peek” with one hand only:

My left eye is legitimately CLOSED. My left hand is cupped just slightly and my RIGHT EYE is open and peeking across the table. Notice how my head is turned away slightly. You can reposition your head in either direction to attain your peek. Here is the peek from another angle:

Obviously you should close BOTH of your eyes well before your hand comes up to cover them. It’s only beneath the cover of your cupped hand that your peeking eye will open and take its glimpse.

While deceptive and very effective, my preference is to use BOTH of my hands to cover my eyes and still obtain the “Gypsy Glimpse” in this double-handed position thus:

You can see we begin in more of less the typical (original) “Gypsy Peek” position with one eye closed (our hand covering them both) and currently my right eye is open beneath my cupped left hand and I’m peeking briefly across the table to check and test my visual range of motion.

Now my other (right) hand is going to come up to my face as well, providing what looks like more impossible conditions and true cover but in reality, it’s only serving as a grand convincer and the peeking method remains perfectly intact with both hands working together. Check it out…

Now this looks and FEELS so much better…it’s an incredible illusion and really appears as though there is no possible way for you to see. Not only is nobody expecting you to peek (remember, they shouldn’t even be sensing deception here on any level), but the natural blindfold is so utterly convincing you guys are going to have a blast just playing around with it. A nice subtlety here (and how I kinesthetically “double check” my proper positioning before I open my active/peeking eye again!) is to touch the thumbs of both hands near my third eye. Having used this technique for years I know exactly when I’m under perfect cover and because of the natural position of your forearms, this can actually be done totally surrounded or even incorporate another 1-2 people to place their hands over your face as well (I do it on stage all the time – it’s stunning).

In the above position I’m peeking about half the table in front of me. Likewise, another variation on this technique is to employ a makeshift blindfold as seen in the pictures below. My preference in terms of method order is the “Gypsy Glimpse” (with my subtleties and additions) followed by Annemann’s “rolled handkerchief” which can be made from just about any cloth handy and, finally, an excellent impromptu BF made of tinfoil (and I often combine these later two blindfold methods as seen below).

If going the blindfold route and not “The Gypsy Peek” I use tinfoil and a simple rolled kerchief ala Annemann.

Here then is the first layer finished…

Next comes the borrowed (and rolled) handkerchief or dinner napkin…I tend to use whatever is handy –

And just like the tinfoil was before it, the handkerchief is used to cover my already shielded eyes and further cements the illusion…

From this position I still have NEARLY PERFECT “straight ahead” vision and it’s more than enough to peek a number, drawing or other piece of information. To roll up a piece of cloth and still retain an ideal straight peek is simple. With the handkerchief laid out in front of you (obviously you want to do this prior to putting on the tinfoil if you use it!) begin by folding the opposite corners towards the center as shown.

Repeat the above steps once or twice as desired…

The end result is a convincing impromptu blindfold that you can use by itself or in conjunction with other means of cover including silver coins, duct tape, medical gauze and bandages, etc. I prefer tinfoil and as mentioned before, I usually combine the two.

TSP METHOD #10 *** Basically, you’re going to ask your participant to record their thought on your billet or index card and then either rest the card face up in their open hands in front of them while they focus or just place it face up on the table so they can stare at it and see it clearly…and to tell me when they’ve done this. As this is happening I turn around and move myself away from the participant while they write and explain I don’t want to see the specific thought until it clairvoyantly appears or “telepathically travels” from their mind directly into my own mind, thoughts and consciousness. As the participant jots their thought down on the card to help focus, I turn around briefly as I step a foot or two horizontally and pivot to face behind me (nonchalantly glancing over my shoulder while repositioning myself) as if “checking” my position briefly. Nobody even notices this action when done correctly and the timing is everything here. I actually turn around as I’m stepping further away to look for a split second as I glance over my shoulder as though MAKING SURE I’m not about to start “bumping into anything” or going to knock someone or something over. Also, I aim to get my peek BEFORE my client, spectator or participant has finished writing down their thought. Remember, it’s just a brief glimpse that nobody ever questions, suspects or follows – nobody is looking for deception at all at this point. Often I’ll only be able to get the first part of a name and can put it together from the clues offered by the first 2-3 letters only. This is also great for drawing duplications as simply knowing a few innocent lines will confirm what the basic nature and image of their drawing is.

TSP METHOD #11 *** This next “TSP” method is fun to use, invisible and nearly impossible to detect. I’ve nick-named it “The Slick Peek” (TSP) because it’s so simple and yet so incredibly deceptive. It requires a shimmed billet (business or index card) and a PK ring. Instead of using shimmed business card stock or making my own, I often use a staple or paperclip and employ this peek when I’ve had 2 or more pieces of information recorded on 2 different billets. Usually this is the participant’s zodiac sign (which I divine not using a peek, but a suitable anagram) and the card with a name, number, word or drawing that I wish to peek on the bottom. Alternatively, you could use as many as 3-5 cards and this method will still work perfectly. This is ideal for a classic “Living & Dead” test which I’m also a big fan of and employ frequently with this peeking method. The mechanics here once again are straightforward and requires nothing more than a book, magazine, note pad, napkin/table cloth/handkerchief (etc) to cover the participant’s face down packet of (paper clipped) billets.

Once the billet-pack has been covered, we use the PK ring and cause the shimmed card to adhere to the BACK of the “cover item” (in this case a magazine).

The magazine is set atop the billets as I move into my presentation. Many times I do this in conjunction with a book or magazine test (or an “automatic writing demonstration” if using a legal notepad, etc). By laying your hand on top of the magazine and connecting the PK ring to your shimmed card(s), the entire packet becomes lifted off the table for a brief moment allowing you to glimpse the needed information (now staring you in the face) –

The peek is made in one of two ways as we either make a casual readjustment of the card beneath the cover object or point out a specific piece of information on the page. As stated above, an easy to way to shim your cards in an impromptu setting is by using a staple or a paperclip. The paperclip method is my preference and works just as well with a single card as it does with a small stack of cards (3-6) such as when performing the classic “Living & Dead” test.

The entire book/magazine/notepad is lifted off the table (to point out a picture, word or important paragraph, etc) and the peek is completed.

By setting the cover object (magazine) down again and simply moving our hand, we release our magnetic hold on the billet and can move into our reading, book/magazine/word test and so on.

TSP METHOD #12 ***

As usual the face down billet is placed (or put) onto our extended PALM UP hand.

By simply removing the billet with our opposite hand in a natural motion the billet moves briefly into an optimal peeking position as shown below –

If one is so inclined, you could simply continue to set the billet down elsewhere, reposition it, move into another “TSP” method or commit to practicality as usual and just place the peeked billet beneath another object (such as a book, crystal point, pendulum, etc).

Finish by laying the book atop the billet, business or index card and reveal in whatever manner you wish according to the audience, venue and performance type.

TSP METHOD #13 *** Now over a dozen methods into my professional billet reading system, I trust “The Subliminal Peek” has more than proven its flexibility, power, simplicity, efficiency, potential and real world effectiveness in your professional working repertoire and AAA arsenal. These last two methods both use a book and a billet. Not only do you receive your peek info with perfect accuracy, you’ll also get one helluva book test out of the equation with this final TSP technique! In this case the billet is used to record a private thought or some piece of personal information by your client, sitter or onstage participant. Once this is done a book of your choice is introduced for a brief psychic “thought sharing” experiment and the billet is used as a sort of bookmark, placed into the book by your audience member as the pages are being flipped through to secure a random spot and page in the book. With the book facing my participant I turn my head to look away (!), hold the book in my RIGHT HAND and begin riffling/flipping through the pages, asking my spectator to say “STOP!” at any time they want…and that’s the exact place we’ll place the card inside to secure their position.

The face down billet is inserted into the book at the client’s place of choosing…

As the billet is being inserted into the book face down, I might use this opportunity to get FAR AHEAD in my demonstration and glimpse the first word/first line or longest word at the page stopped on, though most of the time I keep my head turned AWAY and peek the billet and first word/first line at the same moment. Once the billet has been inserted the rest of the pages are allowed to fall, burying the billet and secret information deep within the book and its covers.

Once the billet has been placed into the book and the book closed, my LEFT hand is going to TURN THE BOOK OVER so it’s face down and set it on the table in front of me. This effectively turns the face down billet “face up” so we can get our peek. It’s absolutely beautiful!

The book is closed and immediately turned over as it gets set down!

Like so…

To get our peek and clean up the situation afterwards is bold, beautiful and deadly in its application. I love ALL of these peeks because of how exceedingly clean, natural and above suspicion they are and this one is another personal favorite for several great reasons! From this neutral position you’re going to open the book at the billet or business card which is keeping a natural place. Remember, we’re treating this AS A BOOK MARK (of sorts) and none of these actions need to be hidden or disguised further.

Whenever you’re ready to proceed, the book is opened by gently flipping through the pages (let gravity do all the work here!) and stops at the index card…

From this position the book is providing you with all the cover you could ever want, need, use or hope for. From the position of your audience members, your head-on sitter for a reading or active mind reading participant there is absolutely nothing they can see. Keep in mind too that nobody is paying any attention to the orientation of the billet. The book is closed and turned over so casually that nothing appears to have happened, thus when we re-open the book the secret information recorded on the billet is presenting itself to us directly and staring us in the face.

It’s actually NOW that I peek at the full billet as well as note the first word/first line on the selected page simultaneously. The peek(s) all happen again as the book is picked up with that same right hand and TURNED OVER AGAIN as I push it towards the participant like so…

As the book is opened FACE DOWN and pushed gently towards my participant, the billet is once again turned face down through this very innocent, motivated and natural action.

This is one smooth fluid motion and both looks and feels spectacular. Record yourself rehearsing this technique on video and it’s very likely that you’ll fool yourself as the conscious mind struggles and cannot keep track of the billet or how it was placed (oriented) into the book. Your ending position will be a face down book (covering a face down billet), both of which you have peeked under the closest scrutiny if need be and still remains perfectly invisible.

This is hardcore mind reading at its finest…have fun with it!

SHADES OF MIND/INTO THE WHITE COMBO *** The following routine is perhaps my favorite to do with ANY peek and it was taught to me and offered up here by my close friend, mentor and beloved teacher, Mr. Paolo Cavalli. EFFECT: The mind reader asks the participant to just THINK of a person close to them; an important friend or family member – someone familiar they may have seen or spoken with recently. Using a pen and business card, the participant writes down the FIRST NAME of the person they have in mind and as they write about this person, they are to THINK about this person. Before the name revelation begins, a short series of ‘calibration exercises’ are employed and the effect of mind reading and mental telepathy is IMMEDIATE. (NOTE: These calibration exercises are done well before the billet/business card is ever retrieved and happen to be quite impressive!) After the calibration exercise to attune their two minds is finished, the mind reader and participant WORK TOGETHER as the mentalist gives personal details about the person in mind and eventually reveals their name.

THE METHOD This routine is a lesson in psychological subtleties, getting the very most from the very least and magnifying a very small effect into a MAJOR MIRACLE. As mentioned prior, the method you use to get the name is up to you. ANY method that allows you access to a person’s first name will work and there are a plethora of options for the well rounded mentalist to choose from. We will consider this showpiece in TWO PARTS. Part 1 is the calibration exercise and ‘warming up’ sequence. Part 2 is the actual revelation of the name, drip by precious drip.

PART 1: THE COLOR REVELATION Before revealing the name is ever approached you offer a short exercise to ‘attune your minds’, ‘calibrate’ and ‘connect’ with the participant. In this phase it does NOT matter if we are right or if we are wrong. As the name revelation and our ultimate success is assured we can be free and unafraid of the outcome here. I find the psychological forces, their structure and framing incredibly effective and potent. AFTER the participant has locked a person in mind and committed that person’s first name in writing the tests begin. ‘Before we begin we’ll start with a short test to put our minds in sync. I want you to SIMPLY think of a color . . . not RED because people tend to jump on that color right away, but simply RELAX and allow a color to enter your mind now. I can see you’ve already done this (!), so just focus and concentrate on your color . . . send it to me IN YOUR MIND.’ After proper build up, eye contact and concentration the mentalist replies, ‘Hmmm. I want to say . . . BLUE!’ We will stop right here for a moment. With the above scripting and timing you will often be correct with the answer ‘blue.’ I slightly emphasize the word ‘SIMPLY’ in my script because when doing so I know the participant will choose a common, basic color and not something like ‘fuchsia’ or ‘scarlet brown’, etc. I immediately rule out ‘red’ by asking them NOT to think of that color and there are a few outcomes here as well. If the participant DID happen to think of red very quickly, I have another minor ‘hit.’ If not, I proceed accordingly. ‘but simply RELAX and allow a color to enter your mind now.’ Wording my command like this, I can almost always count on blue or green which are both relaxing, soothing colors.

This psychological force is something I term a ‘hanging force’ meaning if you do not get an immediate reaction with ‘blue’ we shall immediately continue. A proper explanation of this follows below using an example with a person choosing ‘green.’ If and when you do hit on ‘blue’ at this point, consider it a success, congratulate the participant and ‘try something else.’ Here is what Cavalli does when the participant has NOT thought of the color ‘blue.’ ‘Hmmm. I want to say . . . ‘BLUE’ (not getting an immediate reaction we instantly follow up with) . . . BUT(!) I also saw veins of another color too, almost like GREEN streaks and bright glitter or sparkles . . . in this case I would say GREEN!’ Here you will usually get a hit on ‘green’ if the participant has not thought of ‘blue.’ Remember, due to the phrasing, timing and delivery of our script, the most likely two choices are blue and green. There is a miniature ‘out’ for other colors as well. You claimed to see veins of another shade, ALMOST LIKE GREEN with glitters of other colors! Working in such a fashion we may always appear to be very close and since this is only a ‘warm up’ exercise it doesn’t matter if we get this portion exact or not. Experience has shown that if you don’t hit on blue or green directly, claiming to receive a “bluish-green” hue or color with brightly colored sparks superimposed over the image (covering red, orange and yellow) will nearly always work and is considered a direct hit to the active participant and anyone watching. Regardless of the outcome (even a total miss & failure!) we move on with another exercise!

WARM UP PART II – THE NUMBER FORCE After the color divination you will either take share credit with the participant and enjoy your first solid ‘hit’ in the routine OR reply with something along the lines of, ‘Very interesting! You might be a more analytical person than an emotional type one so let’s try something a bit different using NUMBERS.’ Of course if you hit on either ‘blue’ or ‘green’, congratulate the participant/sender and exclaim, ‘Wonderful! Have you ever done this kind of thing before? Let’s try something a bit more difficult.’ ‘Take a deep breath and clear your mind again . . . there you go, that’s perfect. I want you to THINK of a number between 1 and 10. Lock one into your mind. You already have it, correct? Perfect. Now some people might think EVERYONE naturally chooses the same number . . . they don’t (!) but just to make certain, I want you to CHANGE YOUR MIND and think of a different number. Got one? And before we settle there, when I snap my fingers I want you to change your mind again, one more time to make absolutely certain. Now! (snap fingers). Hold that number in your mind . . . look at me and project your thought. Okay, I’m not 100% sure . . . send it to me once more, just see it in your mind . . . is this an 8?’ Again we shall stop right here and discuss the above events, script and possible outcomes. Paolo discovered this unique number force through application and noticing his various outcomes. He found that if a person initially/originally thought of a high number between 1 and 10, when asked to change their mind they would switch to a lower number. If asked to change their mind again and think of a DIFFERENT number still, they made the jump back to a high or mid-ranged number. Alternatively, if they originally chose a low number, they would jump to high (er) and then again to a lower number than that one.

This process of having them change their mind is a natural ‘out’ (you’ll see why in a moment) but also serves to focus the participant on either 8 or 5 as their final outcome! It does NOT matter which number they begin with. By following the script and process above 8 and 5 are the most common outcomes. Paolo discovered this and I affirmed these results over hundreds and hundreds of performances with this piece. Trust us or better yet, try it for yourself! Like the above ‘color force’, this bit with the numbers is ‘hanging’ and can have different outcomes. Let’s look at these now. ‘Okay, I’m not 100% sure on this one . . . project that number to me once more; is this an 8? (participant either reacts immediately or says ‘no’) ‘That was probably the number you thought of before it (pause, BRIEFLY) . . . a 5!’ This last statement is beautiful. It’s not a question that needs an answer, just an outward thought. Before the participant has a chance to think about it or give an answer, I pause for a moment and then point at them and say, ‘A 5!’ A few things can happen here. I either hit directly on ‘8’ or miss but as an afterthought get the number in their mind correct by exclaiming 5! Or I miss completely. We’ll talk about that next though for now just remember your FIRST GUESS SHOULD ALWAYS BE AN 8 OR 5! It doesn’t matter which one you go with because you don’t know which number they started on. Use your intuition and natural knowing and give them an answer of 8 or 5. It works the exact same in reverse . . . ‘Send that number to me . . . is this a 5? No! That was probably the number before it . . . 8!’ Let’s take a deeper look at this. By asking a person to think of a number between 1 and 10 you automatically rule out 1 and 10! It’s BETWEEN 1-10. Second, since we are potentially naming two numbers we DOUBLE our chances of being correct. Third, due to the psychological nature of this force our chances go up even further still. I think you will find this as devastating in application as I have.

Lastly, if we do not hit on 8 or 5, no bother. We can play it off to being slightly confused with all the numbers floating around the subject’s mind and it’s very rare that during this process the participant did NOT think of an 8 or 5 at SOME POINT. This routine is played as the real deal and misses are of no consequence to us. So what happens if we get the number (and/or the color) wrong? No worries! We’re about to reveal the name they have in mind in a spectacular fashion and besides that, these ‘warm up’ exercises were simply a ‘calibrating process’ to attune two minds. It doesn’t matter if they hit or miss. More often than not, they hit! Though these two simple forces read long in explanation, you only really need to remember blue/green and 8/5. Simple. I believe it is extremely important to use these two forces before the name revelation begins. The reasons for this are many. We are blurring the lines of reality for a person by revealing information they have NOT written down, it exists only in their mind and helps us create a false illusion later of the NAME never having been written down either. The two ‘calibration’ forces also lend the vital PROCESS to our mind reading experience. They get us ‘warmed up’, in tune and connected. I play this as something that NEEDS to happen for the MAJOR portion to be effective. In the event we miss one (or on really bad days, BOTH forces) I do not mind at all. ‘Very interesting! Though we didn’t do EXTREMELY WELL during the warm up process, I have a good idea now regarding HOW you think and I FEEL this COULD STILL BE a major success yet. Let’s move on now . . . get that name in mind . . . I sense it’s there in your thoughts already . . . very good!’ Realize how powerful and effective this process of ‘warming up’ is to your performances of mentalism. You can use this structure and series of forces effectively before ANY thought divination and revelation; before a book test, drawing duplication, ‘Thought Channel’ and countless other routines. They are simple to follow, pack a nice punch and are great opening sequences. This concludes the ‘warm up’ prior to the name revelation.

THE NAME REVELATION It’s important for you to realize what a piece of psychological genius this routine is. We’ve warmed up with two psychological forces and these forces actually add a lot of weight and impact to the demonstration as a whole. Consider them both opportunities for ‘free hits’ and love them! Some might be tempted to leave them out. This would be a grave mistake. I NEVER perform this routine without warming up first with the two above forces and bits of business. The ‘warm up’ exercises also provide us with another crucial element – time misdirection! The way Paolo originally performed this routine had a similar but different structure to what I’m doing and performing here. My small changes are not the exact, original work but my slightly different take on it. Paolo originally had the routine structured like this . . . he would warm up with the two psychological forces and then no matter what the outcome would take these ideas a step further and have the participant focus on a person close to them and write their name down to help concentrate. The difference in what I do is thus: I have the participant write the name down first and THEN use the psychological forces. I find this works better for me personally. It also lends more advantages as mentioned above, the major two being mind reading information that has not been recorded, time delay and psychological AND mechanical misdirection. Think about this . . . if using a center tear to obtain the name, have the participant write the name down, fold up the billet and hand it (folded and secure) to you. By starting with the psy-forces we take the heat off the billet and our handling of it. As Armando says, ‘When they expect something, give them nothing.’ When a mentalist takes a card or slip back bearing a participants personal/secret thoughts, ALL the heat is on that billet. With that in mind, if we can engage in another different yet related, relevant and necessary process BEFORE we do anything with or to the information, it’s so much better and more effective.

In the case of tearing, I will do this AS/in the middle of the ‘calibration’ exercise. The forces provide a crucial time delay between retrieving the information and revealing it. In my case, the name is replaced in a stack of business cards and tabled. It’s so clean and all the heat goes away naturally. When the cards sit innocently upon the table and the warm up begins, the participant is led exactly where I want them to be led. I give them a picture; a mental photograph in their mind - I’ve not handled the information and EVERYTHING is fair and above board, just as it should be. I haven’t even got my peek at this time. This extremely fair nature can be sensed and felt by the participant. They KNOW nothing fishy has happened and when it does, it’s already too late (their guard and suspicions are down and gone completely) and we’re half way through the demonstration. Dirty work is never SUSPECTED. The only thing that is felt is pure, unadulterated mind reading, as it should be. NOW we come to the actual revelation of the name. Again, the structure and revelation incorporates numerous psychological forces and ruses. It is beyond brilliant. I will say this again, the work you are reading here is the BEST WAY to reveal secret, hidden, ‘thought of’ personal information – a name especially. The name revelation has so much impact because it is so clean when handled properly, has inherent emotional hooks as we’re asking our participant’s to think of the name of a close friend or family member, someone to whom they have a strong emotional bond to and a variety of other reasons we’ll be discussing as I progress through the explanation. We already know the name in mind through a method of our choosing. To begin the revelation Paolo starts by feeding KNOWN information back to the participant. For our example we’ll say the participant has thought of the name ‘Landon.’ ‘I see you have the name in mind again already, perfect! Focus on whether this person is a male or female . . . male or female . . . I believe I’m sensing a male presence (energy) here, is that correct?

‘Imagine this name written out so you can see all the letters (bringing my right and left hands up together and spreading them apart, indicating the space before me) and I want you to go right into the middle of their name and imagine the letter there. Yes! Very good! You’re doing fine – how do you feel? Is this okay? Alright, continue to focus . . . imagine seeing this person’s name written out in your mind and I want you to go right into the middle of their name and imagine the letter there. Please do that for me now. Ok, got it. Wonderful . . . I’m actually picking up on two different letters here – like you saw them both and THEN thought of one of them. There’s an ‘n’ and . . . I think . . . that’s a ‘d’, correct? Yes! A ‘d’? Yes, you’re right! Good, perfect. I couldn’t do it without you! Let me stop briefly and interject here. Depending on your experience level you may or may not fully understand all the subtle tactics in play here. I use phrases and statements that make it seem like I can deduce the participant’s thought process. Simple things like, ‘Think of the person (pause) . . . that’s good! I can see you already have their name in mind now’ are devastating and easy to use. You might also notice how I compliment and re-assure the participant throughout the process. This extends further than good manners and will have a severe impact at the end. I also ask the participant how they FEEL. This subtle suggestion implies they might feel ‘different’ somehow, that something ‘different’ or paranormal might really be taking place and it could have some affect or impact upon them in some

way. It’s a small touch that makes a big difference. I treat this like a huge ordeal and ask my participant if they feel okay and if I’m fine to proceed. I also use statements such as, ‘it’s almost like you saw a few letters and THEN thought of one of them’ which seems like an obvious statement BUT the participants agree completely every time! Of course the participant saw a few letters; I asked them to see the name in their mind! Like cloud busting, I take credit for every little mental process and my being able to observe it. I know these things are going to happen every time I perform this routine, so I get the most out of it by describing the exact mental process. In our example the name is ‘Landon.’ Obviously going ‘right into the middle’ and thinking of a letter they see there, we are presented with an even lettered name and there will be two possible choices. Re-read the above script during this presentation and you will see I get credit for BOTH of them, not just one! I am also not asking the participant to confirm the letter they are thinking of, but the letters which are THERE! It’s a seamless illusion. I could never get the Banachek name scramble and letter revelation to work consistently for me, so, I have the participant imagine the name, go right into the middle (gesturing in the air with my hands – my finger begins at my right, moves across the space horizontally to the left, stops in the middle and drops down) and go right into the middle of the name and ‘think of a letter’. This SEEMS in hindsight like they could have thought of ANY letter but again, my gesture clarifies what I MEAN, not what I SAY. This is the natural way a person would read or see the name written in their mind and the non-verbal instructions make the verbal commands crystal clear. If instead the name were something like ‘Ann’ I would get the easy hit on the N. Whether it’s an evenly spaced name or odd lettered name with a clear middle letter does not matter. It’s a bit more dynamic, I feel, when there are two letters to choose from as in our original example, ‘Landon’ as I can squeeze another free ‘hit’ from such a name.

All the same, when I get the letter I always reveal it, get the reaction and then CONFIRM what I just said, doubling the reaction! In ‘Ann’ I would say, ‘this seems like either an ‘m’ or an ‘n’ (gets reaction, now I’m going to confirm it and get another reaction) – ‘it’s an ‘n’, correct?’ Correct! The reason this routine provides such a great lesson in mentalism is through following Paolo’s structure we get the very most out of everything we say and do in this routine, all from a simple name. With my additional touches being added here, even more so! We milk the process and feed the information back to them drip by precious drip – nice and s-l-o-w. THIS is mind reading. Moving on . . . Before we reveal the name we still have quite a few hits to garner. A few more psychological forces and some cold reading round out this demonstration before we get to the name in mind. Picking up where we left off, ‘I take it you’ve been to this person’s house?’ The answer here is extremely likely to be a ‘yes’ answer because our initial request called for the participant to THINK of a person close to them, an important friend or family member and someone they may have seen recently. The reasons we’ve made such a request are multi-fold. We want a person to whom the participant has a strong emotional connection, we want a person who is living so we don’t bring up memories of the deceased and possible severe emotional attachments (which is fine with me, you may wish to keep it to living people though) and for this next bit to work the very best, we want the participant to be familiar with the person’s home and where they live. This of course is far more likely when thinking of a friend or family member. If the participant has NOT been to their house don’t worry. We’ll simply skip this phase. If they HAVE been to their house (again, VERY likely) proceed as written below: Yes I have (says participant)

‘Wonderful, I thought so! I want you to imagine walking to the front of their abode and looking out the window. Notice the first thing you see as you look out there. Are you seeing trees when you look out the window? Yes! In their front yard they have a huge Willow tree! I thought it was a Willow or perhaps a large Oak tree, that makes perfect sense; and can you see a car out there? I do! How do you know these things? This is incredible! Thank you! Like I said before, I couldn’t do these things without your beautiful mind to help me . . . I’m also seeing a number 2 now . . . is there a 2 in this person’s phone number by chance? Let’s see . . . no, I don’t think so. Hmmm. In his address perhaps? Uh, yes, there is a 2 in his address! Good, so that’s where it came from! Amazing! I can’t believe this . . . Again we’ll stop here and look at all that’s transpiring. You’ll notice Paolo’s very different use of the Ted Karmolovich ‘Car/Tree’ subtlety. Instead of reading or projecting a thought (as Bob Cassidy often does) we instead use the bit to describe the outdoor scenery of a person’s home or apartment. If the person lives in the city, it’s a safe bet that ‘car’ or ‘cars’ (their own or from an adjacent parking lot) will deliver a solid hit. To this add the psychological nature of the ‘car/tree’ force and we have another piece of information about this ‘person in mind’ we can seemingly reveal. If it’s a more rural area, going with the ‘tree’ first is a good idea. Again, use your own natural knowing and intuition here as much as possible.

After we gain a ‘hit’ with the car/tree force and subtlety we apparently receive a mysterious number. Paolo and I normally go for a 2 or 3. I always ask first if there happens to be a 2 in the person’s phone number. More than likely there is but if NOT, I change directions easily and naturally asking if it’s in their address instead. You see how we always double our chances of being correct while still maintaining the illusion of complete accuracy? In the event neither the phone number or address contain a 2 we change directions saying, ‘The number 2 still seems significant here somehow, I feel this person is the type who might have two cards, two jobs, two major loves in their life or two important hobbies and interests they’re involved in.’ Now we go into a very short cold reading about the person. ‘I feel this person is going through some type of change right now. I sense the energies of cleansing and transformation around them; do you understand what I’m saying?’ Yes, I do. The two very short readings Paolo incorporates here are as follows, you can use either one or even both of them if everything seems to be going well (and it will!). - Important decision to make or has just made one they feel doubtful about. - This person is going through some changes at this point in their life. You could also use ‘The Psilent Psychic Reading’ here from my ‘Thought Dial’ manuscript, or any other reading lines and technique of your choice. At the end of my reading lines I normally make statements such as, ‘Does this make sense to you? Or ‘Do you understand what I’m saying?’ The latter question has a lot of merit and something I regularly incorporate in my audience readings. The lines that come prior to this question are NOT OBJECTED to when we end with the simple question, ‘Do you understand what I’m saying?’ The reason is we are not asking if the reading fits, only if the person hearing it can UNDERSTAND what we are saying! It’s very simple and effective. Moving on:

‘Perfect. Tell me, when I asked you to think of a person, did you think of another person first? It seems like a few people flashed through your mind and THEN you thought of this person.’ This is a given. Very rarely do I ask a person to get someone in mind and they INSTANTLY do. I always observe the participants thought process in the beginning. It’s easy to tell if they imagine a person very quickly or if they jump around a bit. Regardless, go back and read how I pace my statements and TAKE CREDIT for this mental process. . . . (speechless at this point) ‘Do me a favor and begin repeating their name again, over and over in your mind. Don’t say anything out loud, just think of their name and start silently repeating it. Ok . . . it’s kind of hard to make out, say it just a bit louder please, in your mind only and don’t move your lips!’ Hmmm. Is this like a ‘Brandon’ or a ‘Landon?’ Going back to my earlier essay, ‘Look Ma, no hands!’ you might remember I said when revealing a name I NEVER get the name 100% accurate. I feel it’s just a bit too much and too unbelievable most times. In the above example I have named TWO different names, the correct one and one very similar. This adds volumes of weight, power and believability to the demonstration. Many times I will miss the name completely and get very close, claiming I hear ‘Brandon’ (or ‘Pam’ instead of ‘Ann’). Even though I miss the actual name, I get extremely close! This rules out any ideas of possible trickery because if what I did was just an illusion, surely I would have got the name 100% accurate, right? Wrong! Being off by just a little cements the illusion. Following is a typical reaction after I perform this routine. Holy shit! Yes! It’s my best friend Landon, oh my god! Your incredible! How long have you been a psychic? I’ve never met anyone who can do what you do! I’ve never seen anything like that before in my life . . . can I please take one of those business cards?

Thank you, thank you. I might ask you the same thing! I’ve been psychic all my life and I can’t do these things without people like you. You’re extremely clear and easy to work with and I really appreciate it! Of course you can have a business card. I already know you’ll call me soon! Here then is the last subtlety. When I give someone (the participant) a business card, other performers might think it’s a good idea to give the card back the participant wrote on. This would be a mistake, not a fatal one, but a mistake nonetheless. So much happens in the participants mind during this routine. Every little phrase and statement I make, every hit I garner, each little piece of information seemingly comes directly from their own mind. This is the illusion and final picture I want them to be left with. Giving them the card with their writing helps to destroy that illusion. They immediately recall writing the information down and will think about it later. It still won’t provide them with answers, but, it’s not as clean as giving them a new, blank business card. In the latter case they might still remember writing the name down and I really do not expect them to forget it, but they likely WILL eventually, handled in the manner I have described above. When I’m asked for a business card I make the small joke of, ‘I already know you call me soon!’ which gets a chuckle but is taken in all seriousness. After this routine people THINK I know everything! It’s also a great affirmation and suggestion for them to call me. Notice as well how I congratulate and share the credit with my participant. This is important! It’s not uncommon for my participant to get on the phone immediately and call their friend or family member to share this experience. Sometimes I’ll even get on the phone with them and say hello, give a short reading or reveal their zodiac sign! The sheer power and reactions to this piece are absolutely incredible. It’s one of my favorite routines in all of mentalism, one of the strongest and I’ve performed it hundreds upon hundreds of times - it never fails me. There is no way to fail! I promise if you perform this full routine exactly as described even once you will keep it in your working repertoire for the rest of your life and performing career.

You’ve never got so much for so little and we have the wonderful Paolo Cavalli to thank for it! Re-read this routine until you understand it completely. There is a lot going on here and though it reads very long, the piece is very simple to perform (not easy, simple) and flows seamlessly from one ‘hit’ and portion to another. Flawless transitions keep the entire demonstration on track and the final result takes a person’s breath away. Few things are stronger. - Jerome Finley, 2014