Welcome to this month‖s instalment in which we will be taking a peek (mind the

pun) into Billet work. Billet work has long been the secret of many psychic
reader/ mediums in order to gain information there is no way they should
possibly know.
 The notion of switching/ peeking billets long
long pre-dates
pre-dates ―mentalism‖ and similar
 techniques shared
shared in this document
document have been used in the past
past by several
people (I will not name) to gain cult like status.
In the wrong hands these techniques could potentially be dangerous, because of
 the amount of mystery that surrounds
surrounds these
these techniques I have
have decided it would
would
 be a good subject to
to focus this month‖s document
document on.
I have (up until this point) for the most point kept my thoughts upon billets
 and the psychology
psychology of all things
things surrounding
surrounding billets behind
billets behind closed doors.
doors. It‖s
 been something
something I have notnot really discussed,
discussed, not because I don‖t use or utilise
 billets but because it‖s
it‖s something I have kept for myself.
I was taken aback by
aback by how incredible
incredible billet work can be after reading ―Peek
Performances‖ and ―Peek Encores‖ by Richard Busch (two articles on the subject I
highly recommend) and have been obsessed ever since.
When you read this document the ideas are
a re incredibly simple, so simple that
 they are very easy
easy to overlook
overlook as relevant because of how straightforward
 they are in terms
terms of mechanics.
mechanics. As I mentioned
mentioned earlier, these
these types of
 techniques have helped
helped people gain cult like status and therefore
therefore it would be
 a foolish mistake to make to dismiss
dismiss any of the
the information you read in this
document as not worth your time. I completely mean that in the least
egotistical sense possible.
In this document you will find a multitude of peeks, presentations and
justifications which will enable you to go out and start using billets in your
mentalism performances. I have mixed classical techniques with modern
principles to create real world working material and I hope you find my twist
on things and the contributions by other artists an interesting read.
I hope you really hope you enjoy this month‖s edition,
 The most important
important aspect of billet work is the psychology behind
behind the
motivation for peeking; the participants mind set, the justification (if any)
 and placement of the billet within a routine.
Let‖s start with the participants
partici pants mind set, there should never be a suspicion in
your participant‖s mind that anything is happening outside of what you are
 telling them is happening and that boils down to the participant‖s
 believability in you.
I have heard comments batted around when giving advice on peeks to people who
 are unfamiliar with peeking that range
range from – “If
 “If you can get away with it”
 to  they
“ w ill
 ill never catch you
you doing it” -
 These comments not
not only place you
you (the performer)
performer) into the wrong mind
mind set but
 they also make what you are doing a game in which you are expecting to be
caught at some point and therefore your actions will never be natural or
subtle.
 There is an artistry
artistry to billet work,
work, the idea is to be as natural as possible
 and remember that
that a massive proportion
proportion of billet work is not
not even about the
 billet!
Which sounds counter intuitive, but if the participant believes in your ability
a bility
 and they feel that
that you really are reading them, then
then why would
would they even
suspect that you would peek at the billet?
In the participants mind there should never even be an inclination that you
could peek, they should just see what you are doing as a facilitation to reach
 the conclusion. If you can make the billet seem as irrelevant and
and non-
 important as possible
possible then that‖s the way your participant will feel about the
the
 billet also.
 There are a few subtle ways to control the participants thinking
thinking in order to
make them believe the billet is irrelevant.
 One is to never refer to the billet as a billet,
billet, card or piece of paper. This is
only tiny and you may think it makes no difference but it really, really does.
 The reason you should never refer to the billet as a billet oror paper or piece
of card is once you name something you give it an importance. Once you label
 the billet (Whether
(Whether you call it a card or piece of paper)
paper) it becomes something
something
 that the participant
participant will remember
remember as it is an integral
integral part of the routine
you are performing.
 So what should
should you call billets in performance?
performance?
I always refer to billets as
a s ―this‖ or ―that‖ - “Take this and write…”
write…” “I
“I want
you to take hold of ―that‖ and write”, it makes the billet meaningless as it
doesn‖t have a name and is seemingly unimportant to you and therefore it will
 become unimportant
unimportant to them. This
This is a very small
small change, but an accumulative
of small changes amount to a big difference. I think I remember saying in an
older piece of work that two small changes amount to a regular sized change,
you will notice in this document how many subtleties are used in combination
 to have a drastic effect on the
the outcome of your routines.
Another way to make the billet seem irrelevant is to guess things that are
a re not
on the billet and make the participant feel that you know the entirety of
 their thoughts and not just what
what they wrote on
on the billet.
 Things that surround
surround what they have written on the billet are just as
 important as the
the information they wrote.
Let‖s
Let‖s look at an example of things
of things we can get for free
free that stem from/
surround what the participant has written inside the billet.
-  THIS IS ONE OF THE MOST IMPORTANT
IMPORTANT SECTIONS IN THIS MONTHS DOCUMENT
 For the purpose
purpose making this easy to envision
envision let‖s imagine we are going to ask
 the participant to write something
something on a billet –
Performer: “I
Performer: “I would like you to take this
this and write something
something that means
means
something to you. Make it something that no one would be able to instantly
 guess this could
could be the name of a person,
person, a pet, a number,
number, the name of a
place… anything that stands out as being impor tant
 tant but remember
remember nothing that
 is instantly guessable”.
guessable”.
 Take note here, without
without doing anything we have
have opened up the opportunity
opportunity to
 get a hit on the
the category the participant
participant decided to select.
 For the purpose
purpose of this document let‖s imagine
let‖s imagine that the participant has written
 Spain‖
 Spain
― ‖ on the inside of the billet. We will peek this information (using one of
 the peeks outlined
outlined later) and will
will instantly know it is a place that the
participant is thinking of BUT this is not going to be the first thing that we
reveal.
Let‖s look
Let‖s look at how much information I would be able to reveal from this simple/
singular piece of information, first I will outline the script so you can see
how it is going to play out in full and then after that I will break down
each section and outline exactly what is going on in my head and then the
participants.
 Performer: “Right
“Right now I have no idea what it is you are
a re thinking of, your
 thoughts are so
so vast and deep and there are so many things
things that you could
could
have been thinking of. I will just tell you what I am receiving and you can
 translate it for me should I need you to help me. This is about your mind
communicating with mine.
 The first thing that I am feeling
feeling is that that there are a lot of positive
memories connected to this thought. Therefore
Therefor e I really don‖t think it could be
 a number as normally
normally thoughts connected to a number to me feel cold and this
has a really warm beautiful feeling connected to it.
I don‖t know if you will understand what I mean
I mean by this, oddly I‖m feeling
 this is somethi ng
 ng that you could touch but in my head its saying
saying you don‖t
don‖t
 touch this or you
you can‖t touch this and what that usually represents
represents is a person
person
 that is no longer
longer with us ,
 , or a place…
 Ok, this is larger than the depths
depths of my vision
vision so I am going
going to go with a
pl ace,
 ace, this is a place right?”
Participant: “Yes”.
Performer: “You are doing amazingly, just keep telling me in your mind what
you want me to pick up on. Instantly I am seeing a photograph with you and
 another person
person in the photo,
photo, you have your arm around
around this person.
person. Have you
 got this photo
photo on display at
at home?”
Participant: “Yes!!”
Performer: “Let me describe what I am seeing, (this is where I would close my
eyes) in
eyes) in the photo
photo you are wearing
wearing light coloured
coloured clothing, I can‖t see much of
 the background in the photograph
photograph but the clothing
clothing leads me to believe this
place is warm as you are not wrapped up. As soon as I said warm, I instantly
 got a really vibrant positive feeling from you, in the picture you
you are in
front or close to water as I am feeling a cool breeze but only subtle not
harsh.
 This is a place I am not familiar with,
with, so I am going to assume
assume this is not
not in
 England as it just
just feels different.
different. Let‖s rewind
Let‖s rewind the memory slightly to help
me envision what it is you are sending to me. I want you to imagine getting
on the plane in England and focus on your feeling while you started boarding.
You didn‖t go from Manchester airport did you?”
Performer: “Yeah I did”.
Performer: “Imagine the journey and landing in the new country, imagine
seeing the place you are thinking of written as you walk into the airport
 after landing. See
See those large
large white letters
letters with the name printed upon it.
Are you doing that?”
Participant: “I am”.
Performer: “Ok I am feeling this was a rather short flight, 3 or 4 hours…Be
honest, did you imagine the white writing of this place on a blue background?”
Participant: “Yes I did”.
Performer: “Send it to me one last time….Ok I think I have this”.
 This is where you would reveal
reveal the place in whatever manner
manner that you desire.
desire.

Let‖s
Let‖s take an in-depth look at what is going on here.
Performer: “Right now I have no idea what it is you are thinking of, your
 thoughts are so
so vast and deep and there are so many things
things that you could
could
have been thinking of. I will just tell you what I am receiving and you can
 translate it for me should I need it. The first thing that
that I am feeling
feeling is
 that that there are a lot of positive memories
memories connected to
to this thought.
thought.
 Therefore I really don‖t think
think it could be a number
number as normally
normally thoughts
connected to a number to me feel cold and this has a really warm beautiful
feeling connected to it.
[Straight out of the gate, I am reminding them implicitly that they could be
 thinking of absolutely
absolutely anything.
anything. I also tell them
them that they might need to help
me at points as I am not going to understand everything I am seeing – Why
would I ever mention this if I wasn‖t seeing anything?
I also get a hit from stating it is not a number, by discounting something I
 already know it not
not to be I am getting a hit!
hit!
It couldn‖t be  asier,
 easier, this is a really important point and I am about to make
 a cliché comment but I feel to be very true in this case, this tiny little
subtlety is worth the entire price of this
t his pdf, really think about the
 information you dismiss as irrelevant.
irrelevant. What something
something is not is also
 information that you
you can get a hit
hit from!
You have to remember that the participant does not know that you know what
category their thought belongs to and therefore why not point out what it is
 not to get a free
free hit?
You can fit this type of thinking into any type of performance,
performance, if you know
k now
 the participant is thinking of a playing card for
for example (this
(this is just an
 easily imaginable example) – Let‖s say you know it is a heart they are
 thinking of you could say –
Performer: “Ok, I am feeling that you changed your mind a couple of times… I
can tell straight away that you dismissed the spade subconsciously and
 therefore I 100% know it is not that”.
-  That is a hit.
Peroformer: “I feel a warmth surrounding your thought, warmth is usually
 associated
 associated with a brighter colour instead of a darker colour… You are
 thinking of a red
red card right?”
right?”
-  That is a hit.
Performer: “Indefinitely a heart”.
Again a hit, you can see the point I am making, I have used what it is not to
 get a hit right
right at the start for free. It is
is very easy to overlook this type of
way to reveal as we are too quick to try get to the definitive outcome.
-  Back to the breakdown
breakdown of the billet
billet work scripting.
scripting.
 This type of scripting
scripting all adds to making it seem to the audience
audience you are all
 knowing. It couldn‖t
couldn‖t be simpler,
simpler, take a look
look at the way that I revealed the
 information as that
that is also something
something that is very important.
important.
 “I really don‖t think
think it could be a number as normally
normally thoughts
thoughts connected to a
 number to me feel
feel cold and this
this has a really warm beautiful feeling connected
 to it.”
I pointed out that the thought FELT warm and
a nd normally numbers FEEL cold to
me. This is implicit that you are feeling their thoughts, it helps make the
participant feel what you are doing is real. You will notice all the time I am
 trying to elicit that
that response from
from the participants,
participants, I want to take them on a
journey where they see me whittle in on their thought while letting them know
how I am feeling/ thinking.
 “I don‖t know if you will underst
underst and
 and what I mean by this, oddly I‖m feeling
 this is something
something that you could
could touch but in my head its saying
saying you don‖t
 touch this or you
you can‖t touch this and what that usually represents
represents is a person
person
 that is no longer
longer with us or a place.
 Ok, this is larger than the depths of my vision so I am going
going to go with a
place, this is a place right?”
[Notice how I don‖t jump straight into saying this is a place, the JOURNEY
JO URNEY is
 the key factor here,
here, I know I keep saying that but it really is
is important. I
 want the participant to feel that I am translating their thoughts and feelings
 bit by bit and it is not instantaneous
instantaneous for me (this is implicit that some
some
 thoughts are more difficult that others). I start by saying it could
could be one of
 two things - This itself is a minor hit and
and then I hone
hone in on what
what category
I believe the participant‖s thought
participant‖s thought pertains to, more importantly WHY I believe
 it pertains to that category and
and I take the hit
hit from that.]
Participant: “Yes”.
Performer: “You are doing amazingly, just keep telling me in your mi nd
 nd what
you want me to pick up on…
Instantly I am seeing a photograph with you and another person in the photo,
you have your arm around this person. Have you got this photo on display at
home?”
Participant: “Yes!!”
[This is where I employ something that other mentalists shy away from or
dismiss – Like I have said a lot of times in the past, this is the way that I
do things and it is merely an opinion and there is no right or wrong.
You will notice that I tell
t ell the participant that they are doing amazingly …
 …
 For doing nothing,
nothing, the reason
reason I do this is it suggests
suggests that they are doing
 SOMETHING. I am not doing this to be condescending
condescending or patronising
patronising towards
towards the
participant. I want my participant to feel that they are sending information
for me to receive, by telling them they are doing amazingly and proving I am
receiving their thoughts and relaying the information to them not only
creates a great rapport with the participant BUT it helps them believe in my
 ability and they will be more inclined to be excited and forthcoming
forthcoming with
 information.
 This also aids in conditioning them to respond
respond with positive
positive affirmations
should I want to move into prop-less material later or during these type of
routines (such as a star sign divination).
You will notice I start to use a
use a very typical psychic
psychic reader‖s technique;
technique; I talk
 about an object that they have at home
home that relates to the participants
participants
 thought.
I use a photograph;
photograph; notice how I imply that the details of the photo are vague
 and that I cannot
cannot see the person
person they are
are with inside the photo. Think
Think about
every holiday or trip you have been on, did you take a photograph with
someone? Of course you did. We usually store these photos on our mobile phones,
females are more inclined to print these off and have them hanging in
frames.]
 Performer: “Let me describe what I am seeing, (this is where I would close my
eyes) in the photo you are wearing light coloured clothing, I can‖t see much of
 the background in the photograph
photograph but the clothing
clothing leads me
me to believe this
this
place is warm as you are not wrapped up. As soon as I said warm, I instantly
 got a really vibrant positive feeling from you, in the picture you
you are in
front or close to water as I am feeling a cool breeze but only subtle not
harsh.
 This is a place I am not familiar with,
with, so I am going
going to assume this is not in
 England as it just
just feels different.
different. Let‖s rewind
Let‖s rewind the memory slightly to help
me envision what it is you are sending to me. I want you to imagine getting
on the plane in England and focus on your feeling while you started boarding.
You didn‖t go from Manchester airport did you?”
[During this part of the process I close my eyes, I have made a conscious
effort up until this point not to close my eyes so when I do and start to
portray what I can see it really helps sell that I can actually see things
when I block out visual things out around me.
I have in the past (not so much recently as I haven‖t thought about it for a
while) pointed out why I have closed my eyes. It‖s nice
It‖s nice sometimes to paint a
picture in the participants mind of a process that doesn't exist, by simply
saying “I am going to close my eyes in a moment, I am not doing this to be
rude or ignorant, I am doing this so I can block out everything around me
 that could potentially
potentially act as a distraction
distraction and just envision what it is you
 are sending to me to be able to deliver a clearer translation.”
 This is a simple script
script but from
from a presentational
presentational view point
point can add so much.
much.
I also know that the people in the photo are going to be wearing light
coloured clothing and not wrapped up as it is a warm country. There is a high
probability that there is going to be water close to where the participant is.
Notice how I said, “
said,  “you
you are either in front of or close to water”
water ” this
this again is
suggestive that you can see things that there is no way you should be able to
see/ know and further takes the participant away from the billet.
I also use the principle I mentioned earlier taking a hit from something that
most would consider irrelevant and overlook. I point out that this is a place I
do not recognise and get a hit from saying it is not in England, this from
your perspective (as performer) knowing the information seems ridiculous but
 again remember the participant doesn‖t know that you know the information. So
 to them this is a hit and one more piece of
of information that you can use to
your advantage… I know I am repeating myself here but really take your time
 to think about the
the information that you overlook
overlook and can use for free.
I finish with the closed question;
 “You didn‖t fly from
fly from Manchester did you?”
you?”
I ask this as a question, I know based on probability that close to me this is
 the airport that
that they will fly out of.
 There is a valid reason
reason I change the pace and ask this as a closed question
question -
 if the participant says that they
they didn‖t fly out of whatever airport you call
out, you simply counter with,
 “For fullness of vision and just
just to help me share your memory, where
where did you
 get on the plane?”
plane?”
It will seem like a question to help you build your vision, NOT like you were
 trying to make a deduction;
deduction; it will never
never seem like a miss.
If they confirm that they did fly out of the airport you called out, you have
opened yourself up for another hit for free.
All you need to do is know the airport closest to where you are, again not
earth shattering in terms of methodology but all of these small details come
 together to aid in creating something
something beautiful in the long run.]
run.]
Performer: “Imagine the journey and landing in the new country, imagine
seeing the place you are thinking
t hinking of written as you walk into the airport
 after landing. See
See those large
large white letters
letters spelling out
out the place.”
place.”
[This is the section where I am simply asking them to imagine the writing of
 the place, there is a really, really
really important key point here that
that is very
 important not to
to overlook and something I consider a mistake
mistake that is very easy
 to make.
I have myself been suspect of making this mistake in the past. We have taken
 the participant so
so far away from
from the billet that
that it would be a crying shame to
 bring their attention
attention back to the billet at this point.
point.
If I said to the participant “Imagine the place that you wrote down for me” or
 “Imagine this place you wrote down written largely in
largely  in the air” the
air” the
participant‖s thoughts will instantly
will instantly go back to the piece of card that they
have written on. I really don‖t want this.
As an alternative I give them a natural context in which to imagine the
writing, a context in which naturally fits into their memory, further taking
 them away from the billet and placing
placing their focus
focus firmly on their
their memory (not
(not
 the billet)
Performer: “I am feeling this was a rather short flight, 3 or 4 hours…Be
honest, did you imagine the white writing of this place on a blue background?”
 [You know the country hence you will know the rough amount of time the
participant took to get to the destination they are thinking of, this is again
something you can get for free that you don‖t need to take a guess at – It
 isn‖t hard to roughly
roughly know the time it takes
takes to get from England to other
other
countries. Hopefully you can see just how much information we pass over
without thinking about, this gives a lot of food for thought and is the main
focal point of a lot of my attention these days. I tend to obsess about specific
 areas of mentalism
mentalism and this area
area is one I have always been obsessed
obsessed with.
It‖s very strange saying this being that this is a pdf about billets, but the
least important thing about a routine in which utilizes a billet peek is the
 billet. The idea is to try and take the participants
participants focus away from the billet
 all together.
Another little subtlety I have shared here is guessing the wall that is behind
 the letters. I know for a fact
fact the wall is not going to be white as I asked
 them to imagine large white letters
letters upon the
the wall, when have you ever seen
seen
white letters
letters on a white wall? It just doesn‖t factor into our heads.
Had the country been Ireland I might have gone for the guess of a green
 background but for the most part people will think of blue.
blue.
You can see clearly that the utilisation of the billet in this routine and the
 information upon
upon it really only
only play a small part.
part. This really opens up so
many options in terms of direction you can take
ta ke a routine in and
a nd this is the
 area I feel should
should be practiced the most. Learning
Learning what hits you can get for
free in the heat of the moment.
 One question that
that will
will be going through a few readers minds is, that‖s all well
 and good but how
how did you get the information
information they have wrote down?
 The next couple
couple of peeks I am going to share
share I have released
released in previous
previous
publications ,
 , some of you will have seen them others won‖t. Don‖t skip them as I
have added new subtleties and additional ideas.
 A performer places a stack of business cards behind his back and asks a
participant to draw an image or write a name (or any piece of information) on
 a business card, fold the piece of card and sign it so it can‖t be switched at
switched at
 any point.

 The performer then discards the rest of the stack into his
his pocket and looks at
 the participant for
for a few seconds,
seconds, without any fishing whatsoever
whatsoever the
performer is able to divine the participant‖s thoughts.

I really like this peek; it‖s

peek; it‖s probably one of my favourites in terms of
 quickness and ease and is totally reliable.
reliable. Before we
we take a look at the
the
 breakdown of the
the peek let‖s
let‖s first take a look at (and
at (and go off on a little
 tangent) a question
question that has caused
caused controversy
controversy for the longest
longest of time – Can
playing cards be used in mentalism?

 The answer to that question is whatever you

you make it (as mentalism is a purely
subjective art form) BUT if you answer  no‖
 no
― ‖ they shouldn‖t
shouldn‖t be used ,
 , don‖t dismiss
learning card slights. You might be thinking to yourself - how does learning
slights benefit me in anyway shape or form as a mentalist?

Let‖s take
et‖s take a look at a couple of examples of playing card slights and how they
fit hand in hand with billet work.

 The first is the top change, this

this age old classic
classic serves as a good
good example of
of
why slights can be so benefitting in any billet routine. I am
a m going to explain
what the top change is, as I know that a lot of people reading this will have
shied away from these types of slights and therefore might not be aware of
what it is.

 The top change is pretty much exactly what it sounds

sounds like; the top playing
card of the pack held in your left hand is going to be exchanged for a
playing card you are holding in your right hand (without the participant
seeing).

Let‖s imagine
Let‖s imagine you are holding the deck of cards in your left hand (or right if
 it is more comfortable
comfortable for you)
you) holding the,
the, as though you
you would deal them
them
 around a table when playing a game of cards (this is known as ―dealers grip‖
grip‖
or ―dealers position‖
position ).
‖ For practice purposes
purposes hold
hold a playing in your right hand
hand
(or left if you are holding the deck in the right), hold the card just like you
would if you were to deal the card onto the table (holding the long side of
 the card) instead of the top side.
 Move your hands together and then move the single card towards the deck (like
you are returning it onto the top of the deck), under the cover of this card
 thumb over the card on the top
top of the deck.
deck. You are essentially
essentially moving the
the
card on the top of the deck over underneath the card you are returning to the
 top of the deck.
deck.

Push the single card you were holding on its own onto the top of the deck
whilst thumbing the top card from the pack into the hand the single card came
ca me
from. Essentially you are changing the top card on the deck for the single
one in your hand (that‖s probably the easiest way to describe it).

 This is done on the offbeat while

while asking a participant
participant a question, usually the
 question asked while
while performing
performing a top change
change is - “Are
- “Are you right
right or left
handed?” – This
– This type of question
question is a pet peeve of mine,
mine, it‖s a typical question
question
 that makes absolutely
absolutely no sense
sense in the context
context of the routine
routine you are
performing.

Another question like this (that I hate even more) is when using a nail writer,
 it‖s really strange how we are all conditioned to all ask the exact same
 question during the context of a nail writing routine - “Why
- “Why did you go for
 that number?” or “Why did you go for that?”
that?”

 This question is typically asked during the moment of writing the

the information
with the nail writer, It‖
It‖s one of them questions that really gets to me – If
just because of my ocd.

I love looking at the tiny

t iny moments in mentalism that get overlooked and
pulling them to pieces and rebuilding them. This is one of them questions I
have taken apart and rebuilt… The aforementioned
aforementioned nail writing question
writing question for
me makes no sense and this is why -

At the moment you are going to nail write asking a question directs attention
 towards you, all eyes
eyes are on you
you and therefore
therefore even logically when you think
 about it this doesn‖t make any sense.

I hate these type of awkward moments, no matter how much you practice it isn‖t
it  isn‖t
ever going to feel smooth in performance and for me stands out like a sore
 thumb (no matter who you are); this
this is because it lacks
lacks thought, construction
 and choreography.
choreography. It‖s even worse when it is being recorded and played back as
 the focus is on
on you.

Here is a simple fix, let‖s pretend

let‖s pretend we have got to the point of using the nail
writer, the context of the routine in which we will imagine is that the
participant is going to guess a two digit number you are thinking of
(Spectator as mind reader or you influencing them).

You have handed the participant the pencil and you are being very open
handed and you are holding the billet in your right hand at head height,

Address the participant.

 Performer: “For the first time can you tell everyone here what you think the
 two digit number is I am thinking
thinking of?”

Participant: “23”.

DO NOT NAIL WRITE YET

Performer: “The really interesting thing is just how unique a thought is, IF I
had of asked anyone else in this room they would have gone for a completely
different number, to press my point what number would you have gone for?”

Point at someone with your left hand (the free hand)

 Everyone‖s attention
attention for a
for a few seconds goes to that random member of the
 group.

Random: “17”

As he says seventeen write in the digit your participant said (In this case it
was 23), pass the billet into your left hand (numbers still facing away from
 the audience) and hold the billet
billet at the tips of your first and middle finger
finger
 above your head – This will make it seem totally out of the way and is
 implicit that you cannot
cannot tamper in anyway with it.

 Then with your right hand point

point to someone
someone else at random,
random,

Performer: “How about you?”

Random #2: “96”.

Performer: “If I had of chosen anyone else

els e their answers would have been

 totally different and the outcome

outcome would have been
been entirely  ifferent”.
 different”.

 Bring the billet down

down and hand
hand it to the participant
participant face down.
It‖s a very simple change that
change that makes a massive
massive difference, the attention is
deflected away from you, not directed towards you and you have actively
 involved more members
members of the audience and seemingly
seemingly made the effect a little
 bit more impossible
impossible by pointing out how different
different the outcome
outcome could have been
 if you had of chosen
chosen anyone
anyone else right before
before the moment
moment of the reveal.
 The left hand is the hand that is handing the billet to the participant
participant is
clean and extended above the body meaning you can cleanly ditch the nail
writer from your right hand without having to give it a second thought as all
of the focus is on the left hand and the billet. Note*** If your left hand is
 your dominant hand then you would use opposite hands to the ones depicted
 above, this is described
described for the right handed
handed performer.
All in all you can see how it makes the presentation much nicer and makes the
performance simpler for the performer
performer leaving you more time to clean up
 because of the choreography.
choreography.
I apologise for the tangent, but it is billet related so forgive me!
 Back to the top change,
change, it is the
the same asking a question
question that is directive
 towards your hands
hands for me makes no sense
sense whatsoever – If there is a pen on
 the table ask them to take the pen and uncap it, then
then sign the back of the
card.
 The participant‖s attention
attention is away for a few seconds
seconds and it is in this moment
moment
 the change should
should be made, it should be gentle
gentle and elegant and not look like
like
 anything has happened
happened at all.
I know I am still talking about the top change being used with playing cards
 but replace the playing
playing cards with
with a stack of billets
billets and you can still
perform the same move, they are roughly the same size and handle more or less
 the same (they are just less slippery).
slippery).
Imagine from this point if the participant takes the stack of billets signs
what they believe is their billet and then caps the pen and places the billet
 they believe to be theirs face down
down on the table. They have left
left their actual
 billet on the top of the stack for
for you to access in your own
own leisure.
In shore what has just happened is - You pick the participants billet up
 keeping it facedown,
facedown, start to place
place the billet on the
the top of the
the stack, this is
 the moment where
where you would
would ask the participant
participant to pick up the
the pen and uncap
uncap
 it.
You execute a  Top
― change‖,
change‖, dropping the ―dummy billet‖ (A dummy billet is a
 billet with nothing
nothing on, one you have switched in place of the participant‖s
 billet) onto the top of the stack
stack and hand the participant
participant the full
full stack
 asking them to sign
sign the back of their card.
 Things are interesting
interesting when you look at them
them from the participant
participant‖‖s
perspective.
You have picked the card up from the table, they have picked up the
t he pen, you
place that card on the top of the stack and then hand them the stack asking
 them to sign their card.
 That split second is all it takes to change their reality,
reality, which I think is a
 totally crazy thing in itself. Something as simple as this can change someone‖s
someone‖s
entire reality!?!?
 Wh at‖s
 at‖s even crazier is that this is
this is all because we have utilised a playing card
slight. Take a look at these types of slights, honestly this is where the gold
resides. Look at simple playing card changes, palms and switches I promise you,
you won‖
won t
‖ regret it.
Let‖
Let‖s get back to the peek I was meant to explain before I got off on a
 tangent.

 This peek is another

another peek that uses
uses an old playing
playing card technique,
technique, and as I
said earlier it is a favourite of mine for its sheer simplicity and ease of
use.

 For brevity of explanation

explanation lets imagine
imagine you have become acquainted with the
the
participant and you are at the point of asking them to write
writ e something down.

 Take a stack of business

business cards; hold them in your left hand in dealer‖s
position/ grip (described earlier) and make a break underneath the top two
cards with your pinkie. There is no rush while doing this do this while you
 are talking to the participant.

Place the cards behind your back and ask the participant to write/draw on the
card.

When the participant has finished flip over the two top cards as one (like
 turning over a double lift) while saying,

Performer: “Sign it so it can‖t be swapped at any point”

Point to where you want the participant to sign, remember this is still all
 going on behind
behind your back.

[There is a subtle dual reality going on at this point because the audience
 never see you flip the cards,
cards, so they assume
assume you are just
just asking the
participant to sign the card. There are
a re further layers of deception in a
moment.]

 The participant believes

believes that they are signing the back of their card in
reality their card is the second card down they are signing the back of a
dummy.

After they have signed the back of the dummy billet, pick it up and fold it in
half. Extend the folded billet to the participant,

Performer: “I want you to take this and fold it and then keep it held tight in
your hand”.

[This is again another subtle layer of dual reality as the audience believe
 that the participant
participant has picked up the billet and folded
folded the billet themselves.
themselves.
 The way the audience
audience perceive what
what has just occurred
occurred is that the participant
has written on the billet, signed it and folded it themselves.

I have had a couple of people express concern that the participant will open
 the billet and see
see that it is blank. Why would they
they ever do that
that if they
 believe it is their billet?

If you give the participant clear instruction to fold it and hold it tight
 they will do exactly
exactly what you ask them to do. It is all about audience
audience
management. The participant is now holding a dummy billet and you are holding
 the stack with their
their card on the top.]

 This is where you go through

through the process
process of ―reading
―reading the participant‖.
participant‖.

In reality, all you are doing is taking the participants card from the back of
 the stack and moving
moving it to the face and when you
you bring the cards
cards back from
 around your back you
you will know the
the information that the participant
participant is
 thinking of by looking at the card
card on the face.

 The one issue I had with this

this peek initially was the
the clean-up, the participant
 is still holding
holding the dummy and if you guess the
the information verbally there is
 always the chance that they could open the billet.

Here are a couple of ways to tie up the peek so you end the routine cleanly.

 The first way is to guess what the participant

participant is thinking and
and take the folded
folded
 billet back and pocket it – Which is not very appealing and not recommended.

 The second way - the way I always do this now is, whilst
whilst the stack is still
still
 behind my back, the participant has taken the folded
folded dummy, I flip
flip over the
 top card (the participants
participants card) so
so it is face up on the top of the stack.
stack. When
I bring the cards out from around my back, I keep the stack facing me the
entire time and pocket the cards.

In the motion of looking at my pocket to guide the stack in, that‖s

that‖ s where I get
my peek.

After ―reading the participant‖ I reach into my pocket pulling one card out,
ensuring that this isn‖t the participant‖s card and write whatever the
participants thought is (the information I peeked).

I then fold the card into quarters (the same as the dummy billet the
participant is holding) I hand them my billet proclaiming I have committed
 and extend my hand
hand to take the billet they have signed (the dummy).
dummy).

I open the dummy billet keeping it towards me (as I know it is blank) I then
rotate the billet, like I have opened the billet upside down – I do this because
 it is an implicit action,
action, why would
would I rotate the billet if there was nothing
on it?
 I then call out whatever information I know the participant is thinking of,
like I have just read it off of the dummy billet. I then tear up the billet
 into pieces, and pocket the pieces,
pieces, ask them to open what
what I committed to.

 Of course it matches!

matches!

If you want to appear to be hands off during this effect take some lip balm
or double sided scotch tape (if you are going to use scotch tape ensure it is
 not the ridiculously
ridiculously sticky stuff,
stuff, de stick it by touching
touching the tape a few times
 this will ensure
ensure that it will hold
hold two cards
cards together but that
that those cards can
 be separated with little force) and apply either the
the tape or the
the lipbalm to the
face of the dummy billet.

 This means that

that you don‖t need
need to hold the
the break you can hand the stack
stack to the
participant have them write whatever he/ she wants and then they place the
stack back into your hands and you can cleanly flip the two cards over and
have them sign the back.

 This all still takes place behind your back.

It‖s the openness of the flipping of the cards and the fact that you can let
 them hold the cards when writing that makes
makes the difference.
difference.

It‖
It‖s only a small difference, but as I have said a multitude of times its the
smallest differences that make the biggest changes in the long run.

Credit
Astronomical – Tony Corinda
 A large manila envelope is placed on the table and verified opaque, a smaller
envelope is removed from inside the envelope on the table and that is also
verified opaque.

 The participant is asked if they know the contents

contents of the smaller
smaller envelope toto
which they reply they don‖t ,
 , the envelope
envelope is emptied to show a business
business card
which is also verified opaque.

 The participant writes

writes or draws something on the business
business card and places it
face down on the table while the performer looks away.

 The card is then sealed in the smaller envelope;

envelope; the smaller envelope is sealed
 in the larger envelope
envelope and is handed to the
the participant.

 The performer is able to deduce the information under

under seemingly
seemingly impossible
conditions.

 This is a peek that

that is great for a one person
person Q+A, pre-show
pre-show work and the
 additional clean up I have added ensures
ensures that everything
everything is examinable
examinable now in
 the end.

 Firstly I will explain

explain how the
the peek works and then I will get into the
mechanics/ choreography.

 The secret to this

this peek is hidden
hidden in the smaller
smaller envelope, the
the smaller envelope
envelope
 is a ―coin envelope‖
envelope‖ or ―penny
―penny envelope‖ to prepare this envelope place a billet
 inside the coin envelope and lay it onto a table address side up.
 Fold the flap of the envelope back on itself, underneath the flap is where you
 are going to make
make a slit. The flap
flap is the key to making the envelopes
―examinable‖. Make the slit wide enough to slide a business card in and out.

 Take a billet and write

write the word hello upon it.

 Slide this card into

into the envelope;
envelope; remember
remember which side you orientated the
the
writing as this is going to be essential later on. Then fold the
the flap so it is
covering the slit and then place this penny envelope inside the larger
envelope.

You are ready to begin.

Performance
We will go from the point that the performer is acquainted with the people he
 is performing for.

 The performer addresses the participant,

Performer: “You are going to act as the eyes of the group, firstly, by looking
 at this envelope
envelope (the performer
performer hands the envelope to the participant) can
can you
 tell me what is inside?”

Participant: “No, there is no way”.

 The performer removes a smaller

smaller envelope from the larger
larger one.

[The flap is held down covering the slit.]

 Performer: “The same goes for this envelope right?”

 The performer holds it up to the light, displaying both sides.

sides.

Participant: “There is no way to see through it”.

 The performer slides out of the envelope a business card.

[Ensure you slide it out so the word hello is face down.]

Performer: “Finally, can you tell me what is written on the reverse side of
 this piece of card?”

Participant: “No”.

Performer: “I think we have proven beyond any shadow of a doubt that each
 article displayed is entirely opaque, what
what I am about to show you
you is going to
 be demonstrated under
under strict test
test conditions”.
conditions”.

 The performer turns over the

the card to display
display the word Hello.
Hello.

Performer: “I would like you to take this and write a piece of information you
don‖t think I could just instantly guess and then place  t
 i t writing side
side down
 back onto the table when you have
have finished”.
finished”.

 The participant writes

writes some information
information on the business card and places it
face down on the table.

When the participant has written the information and placed the billet face
down on the table reach down and slide the billet into the envelope but
 instead of letting
letting it ride down the inside of
of the envelope let it go through
through
 the slit and proceed
proceed to push the card – To the participant it will look like
you are sliding the card inside the envelope they have just verified.

Close the flap on the envelope so it looks like you are sealing the billet
 inside the penny
penny envelope.

Just so you can see what this is going to look like from both perspectives
here are two photos. The first is from the
t he participants perspective
perspective the second
 is from the participants.
participants.

(See next page)

 As you can see looking at the photo you will get a huge peek here that is
completely hidden from the participant‖
participant ‖s perspective meaning you get all the
 time in the world
world to peek.
 This penny envelope
envelope would then be sealed inside the larger envelope, I usually
usually
wait until I am guiding the penny envelope into the larger envelope to get my
 peek, this is because the peek is naturally in my line of vision at this point
 and I am not oddly looking for for the peek at the wrong moment causing
causing a
suspicion in the participant‖
participant ‖s mind.
 This should be the same for any peek, waiting
waiting until there is a logical moment
moment
 to look at the billet. Don‖
Don t
‖ rush this, wait till the billet is in a natural
position to peek it. Don‖
Don t
‖ ever force the
the direction you look in and don‖
don t
‖ be
scared to get close to the information written on the billet, hitting by
 association – This will be taken as a hit and at the same time, why would you
purposefully not hit if you had seen the information?
 For example if the
the participant wrote the word
word  France‖
 France
― ‖ and you picked up on
 the Eiffel tower
tower this would be associated and never
never be classed as a miss.
Anyway back to the peak.
After placing the penny envelope in the larger envelope seal it. You are now
free to reveal the information in any way you choose.
 To clean up so everything
everything is examinable, keep your
your eye on the way you place
 the penny envelope
envelope into the
the larger envelope.
envelope. Remember the side the
the slit is at.
When you are ready to confirm to the audience that your thoughts were correct,
 tip the large envelope
envelope so that
that the smaller one inside falls to the bottom and
 then tear the large
large envelope
envelope open ensuring
ensuring that you are
are tearing the coin/
coin/
penny envelope simultaneously
simultaneously along (or as close to) the slit as possible.
In short when you tear the large envelope,
e nvelope, you will tear the coin envelope
 also and therefore
therefore all the pieces
pieces can be displayed
displayed as the slit envelope
envelope will be
destroyed.
 This is by far the
the simplest of
of all of the peeks that will be outlined in this
document.
It is so simple in nature bit
nature bit don‖t overlook
overlook the power of
of this peek.
 Start by folding the billet in half BUT don‖t fold it down
down the middle of the
 billet place the crease
crease about 10mm from
from the center.
center. Fold where I have placed
 the dotted lines.
lines.

 This is a view of the billet on its edge, notice how there is a bubble.

You will notice that if you hold the billet between your first and middle
finger it remains closed.
 The participant is going to write
write on the top
top half of the billet, the bottom
bottom
half you are going to fill out (as described later). The bottom half I placed
 an ex (this is from the participant‖s
participant‖s perspective).
perspective).

If you close the billet (after the participant has wrote their information) -
 Then turn the billet towards yourself
yourself holding the billet loosely
loosely you will
 notice that the billet opens giving
giving you a window
window of opportunity
opportunity to peek.
peek.

(See next page)

 The movement when peeking is very important orchestrate
orchestrate the peeking motion
 nice and slowly there is no need to rush. You would orchestrate
orchestrate the peek when
handing the billet from one participant to another.
It is done simply on an offbeat, if you are worried about the peek you could
 always ask the participant
participant to hold their hand out, lift
lift their hand with
with your
left hand so it is above your hands and then apply the billet peek underneath
 their raised hand while going to place the billet into their hand.
hand.
I understand that sounds completely confusing the best way to describe it is
 imagine saying to a participant toto extend/ hold
hold their hand out (their hand is
 about 3 foot off
off of the table) and then picking
picking a coin up off
off of the table and
placing the coin into the participants outstretched hand. Imagine that when
 the participant extends
extends their hand it goes over the top of the coin (which
(which is
laid on the table) you reach down and pick the coin up and then place it onto
 their palm, that is essentially the
the same. Their
Their extended arm will cover the
peek.
I never really worry about such things
t hings remember the participant is never
expecting you to look and so the move will totally go unnoticed.
 One last thought,
thought, earlier I mentioned
mentioned restricting
restricting the participant
participant to writing
writing in
 the top half of the billet, this is achieved by giving
giving your participant
participant an
example of how you want them to write in the top half.
I will write in block capitals
ca pitals the word ―Hello‖, this ensure the participant can
clearly see where/ how I want them to write and at the same time ensure they
cannot write in the bottom half of the billet.
 This is a simple yet
yet elegant way to kill two birds
birds with one stone,
stone, if you find
find
 that you have a peek you already use
use where you
you need to restrict
restrict your
participant, this is the perfect justification for restricting the participant
 in a natural and simple
simple way.
 Why this was named the lotus leaf I do no t
 t know as it doesn‖t
doesn‖t resemble
resemble a lotus
leaf at all. This is a peek that I haven‖t used for a very long time, but it
works and like all peeks there is a right time to use it and a wrong time (it‖
(it‖s
situational)

 The motivation for

for this peek is very juvenile in thinking
thinking but tha t‖s
 t‖s why this
works so perfectly and will totally be overlooked by the participant.
 The context of the routine that I fit this peek into is the thing that makes
makes
 the peek fly under
under the radar, there is no real skill required in getting the
 information and the area of the billet that you
you get a peek of is of a good
proportion.
 This peek is not
not for everyone
everyone for those
those who try this; you will love it as it
 is simple and totally
totally effective. For those who do not, you might get some
some
 inspiration out of it in some
some sense.

 The performer proposes to take the participant

participant back in time to their school
days, days where the participant was young wild and free. The performer asks
 the participant to
to write down the name of their first kiss and pass it under
under
 the table to one of their friends
friends sat at the table, just like they
they would when
 they were passing
passing on notes
notes in secret in the classroom.
After the participant hands the note to a friend of theirs the friend is asked
 to open it and keep the content
content of the note
note to themselves.
themselves.
 The performer starts to describe
describe the participants
participants feelings at the time of the
first kiss, he starts to describe what the participants date at the time looked
like and finishes by revealing the first and last name of the participants
date!

 The method for this is ultra-simple;

ultra-simple; the presentation
presentation (listed after the peek) is
where the subtleties really come into play.
 First start by taking a billet
 Fold in half, length
length ways

 Essentially you have

have just folded the billet in half.
half. After you have folded the
 billet in half, it‖s time to fold the
the both edges
edges back on themselves.
themselves. To get this
 to make sense imagine the billet in two halves pretend
pretend each half of the billet
 is a different entity. Take the first
first half and fold
fold the billet in half again
(back on itself) then do the same to the other side. This is very difficult to
describe in words hopefully looking at the next photo you will understand.
What you have now is a billet that almost resembles the letter ―T‖
 The participant is going to write
write on the inside
inside of the letter T, when the
 billet is closed it looks
looks like this.

If you fold the billet inside out from the front it will look the exact same
from the participant‖s perspective as
perspective as it did when folded (details on how to
fold inside out after the next two photos). This next photo is the billet folded
 inside out, you can see how much it looks the same as the folded
folded billet.
 But from the performers
performers perspective this is
is what he sees,
sees, note** you would be
holding the billet vertical vertical so you can see the participants
 information they
they would be seeing
seeing the folded
folded front. This photo is literally
literally to
show you the size of the peek area.

As you can see you get a nice large peek of what the participant has wrote. To
fold the billet inside out, let the flaps fold flat – This would be done one
handed in performance.
 Play with folding and unfolding the billet - If you place your thumb inside
 the
 the billet (where the participant‖s
participant‖s writing is – inside the letter
letter ―T‖ ) and let it
roll naturally around your thumb, you will notice the billet turns inside out
 and you have essentially
essentially enabled yourself
yourself to access the peek. If you put your
 thumb back into the participants writing
writing and push
push the billet will close itself
 again.
In performance the actions are going to completely be justified and will fit
 into the context
context of the routine
routine as you will
will be using a table to hide the peek.
peek.
 This can be done in the open but requires more
more work.
Let‖
Let‖s take a look at how this type of peek fits into performance.

Performer: “
Performer: “ One thing that
that I find interesting
interesting is memories, we all try to find
ways to share our memories with our friends, and we take photos of everything
from food to footwear just to be able to let people look into our world at
 almost any time of the day.
 There are a series
series of memories
memories that we never
never capture on camera, sometimes
sometimes
 things that are so incredible we
we wish we had
had caught just to be able to share
 them in vivid detail that words can‖t describe.
describe. How many
many people here
here have ever
wished they were fast enough to capture a moment on camera and completely
missed it?”
 The group all agree
agree it has happened
happened at some
some point to them.
Performer: “What if I told
to ld you that there is a way to access those memories,
 it‖s a little unconventional
unconventional but I promise you the results are incredible. Which
Which
of you would be happy to try this
try this out?”
 One member of the group nominates
nominates himself to share a memory
memory with the group.
group.

Performer:
Performer: “Let‖s make
“Let‖s make this as interesting as possible, let‖s go
let‖s go back to a memory
 that even you haven‖t thought
thought of for a long
long time. Your very first kiss,
kiss, I want
you to imagine going back in time to being the rough age you were when you
experienced your first kiss. I want you to take your time to think of the name
of your first kiss. If you can remember her first and last name great, if not
just focus on the first name. Take your time to remember what she looked like
 and how you remember
remember her,
her, use all of your senses in symphony
symphony to re-create
re-create
 this memory in your mind.

I want you to take this (the performer hands the participant the billet); we
 are going to pretend
pretend we are in a school classroom.
classroom. I want
want you to write
write the
 name of your first kiss on there. Remember
Remember at school when
when we used
used to take
 notes and place them under the table and pass
pass them around?”
around?”
[This is where you will get the peek, as you say “Remember at school when we
used to take notes and place them under the table”. You are going t o place the
 billet under the table and then open
open it up (rotate it as described in the peek
photographs)
photographs) bring the billet back out facing the participant, to them it will
look the exact same as when you placed it under the table but you are peeking
 at the information
information while they still
still think they are
are seeing the same side of the
 billet.
Don‖t make it overly obvious you are looking at the information; remember the
rule of placing the billet into a natural line of sight when looking at the
 information. When you place the billet under the
the table make a conscious
conscious effort
 to look into the eyes of the group, this will be implicit you
you are not looking
looking
 at the billet in anyway.]
anyway.]
Performer:
Performer: “I want you to hand
hand this to anyone under the table, whoever
whoever
receives it I want you to open it up and take a look at the information, this
means there are two people that know the information and me and the rest of
 the group are in the dark”.
 The participant hands
hands the note to someone underneath the
the table, that person
person
opens the billet and reads the information on the inside and folds it back up.
Performer: “The first thing I am feeling is that in
that  in this memory
memory you are about
12/ 13 and this memory took
took place outside right?”
[This is a very simple verbal swerve, guessing the age of the participant is
 the riskier guess
guess out of the two statements,
statements, based on probability there is a
massively higher chance of the kiss being outside than inside (I determine this
data based on the amount of times I have performed ―first kiss routines‖). By
placing the age statement first and then continuing to talk without asking for
 confirmation for the age and then finishing by asking if the memory took
place outside (which wi
will
ll give you a yes, trust me) the participants ―yes‖ from
 the audience‖
audience‖s perspective will confirm both of the statements!
I call this principle the ―Confirmation principle‖
principle‖ I have gone into detail in
my other literature on how to use this principle in much greater ways. You can
use this in many other ways, I urge you to experiment with it and see how
many different ways you can come across uses for it. ]
Performer: “I feel an air of nervousness as you shyly look at each other, I
want you to be honest with me and I don‖t intend this in a rude way as
way  as I
understand it‖s been a long time were you torn between two names?”
[Let them answer yes or no, we are hoping for a yes here as it gives us some
leniency when we try to guess the description of the
t he first kiss. If you get a
 no, then move
move straight onto
onto to the next section of scripting
scripting and skip trying
trying
 to guess the description, being
being honest I will always take the bolder option and
 go for the guess,
guess, I am not afraid of missing.
missing.
If you ask the participant not to say anything out loud and just listen, then
 give them a description
description and ask them to focus
focus on the name
name without asking
asking for
confirmation of the description you can then nail the name and have the
 audience assume your description was right based on the participant‖s reaction
 toward you guessing
guessing the name.
name. I have in the
the readings document
document outlined how
 this technique can be used in depth.
depth.
 This is a simple way to get around
around having to guess
guess the description
description but in all
honesty you can‖t go far wrong.
 This is how I deal with the
the description (if the participant
participant has admitted that
 they are torn between
between two names
names – Which you will find is the case most of the
 time.)
Performer: “You‖re not thinking of the dark haired female right now are you?”
[Lead with a closed question while smiling, this enables you to be able to use
 another verbal swerve
swerve – If the person says yes they are thinking of the dark
haired female this is great, you respond with “I thought so” if the participant
says ―no‖ you then quickly counter with “ah so you‖re thinking of the female
with the hard (or soft depending on the name) first letter of the name”.
Remember this is an easy out that requires little work; it is up to you to
determine what you would consider hard or soft sounding letters. I would class
 B, D, P and letters like this to be harsh sounding
sounding and S, C, U to be soft
soft
sounding.
 If the participant decides to be awkward and says they are not thinking of a
 name with a hard or soft sounding
sounding letter (dependant
(dependant on which
which you determined
determined
 it to be) which shouldn‖t happen -
happen  - but its best to prepare for every
eventuality, respond by saying “So the first letter is not X” (replace X with
whatever the first letter is from the name you peeked).
IF you got a yes for the dark haired line, follow up by saying –
Performer: “Fairly small, maybe dancer or singer as I am seeing choreography
of sorts, she has a soft (or hard depending on what you peeked) sounding first
letter in her name doesn‖t she?”
[Again we are using the ―Confirmation principle‖ they
principle‖ they will confirm the soft/
hard sounding letter and the audience will perceive the rest to be accurate
 also. I outlined in the Portugal notes
notes the exact
exact way to be able to reveal
someone‖
someone‖s hobby as a child, this would fit perfectly here.)
 The participants memory will be vague anyway, dependant
dependant on the age of the
participant it will have been a while since they even gave this memory a
 thought and when
when put
put under pressure they don‖t want to appear to have
forgotten, a lot of the time they will let you fill in the blanks for them to
save them looking stupid.
Don‖t rush in
rush in and reveal the name instantly,
instantly, it would be a wasted piece of
 information.
 Think about your own
own experience
experience with your first kiss; think about
about how you
felt at the time, if you describe the way that you felt at the time of your
first kiss, the likeliness is that your feelings will match the participants.
 This is called ―Subjective
―Subjective memoria‖ principle, in particular situations your
feelings will be the same as the participants and by describing your own
feelings you are not only able to deliver the information credibly but
comfortably also as its not information you are having to fish for but
 information that
that you already know.
 Take your time to really paint a picture
picture of the scene,
scene, and then proceed by
 addressing the
the participant,
Performer: “I want you to close your eyes for me; I want you to imagine all
a ll
 the thoughts that were running
running through
through your head at the time this
this memory took
took
place. Slowly open your eyes and look tow ards me”.
 This is where you decide how
how you want to proceed, if you are going for
for the
 tada style performance,
performance, write the name down
down on a billet and slide it forward
forward
facedown. Ask the participant what the name is and let them turn around the
piece of card to reveal your thoughts were correct.
 If you want to come across as a reader or more esoteric performer then simply
reveal the name verbally. This has a more real feel to it, choosing who you
 are as a character is the deciding factor in how you choose
choose to reveal the
 information.

 The performance
performance of this type of piece is great, even just for the versatility.
If there are a few audience members on the table there is an interesting thing
you can do from a performance point of view. After you have gained the
 information via a peek, you can get everyone on the table involved in trying
 to read the participant.
participant.
Instead of you deducing if the memory was outside or inside, put it to a vote
for the audience members at the table –
Performer: “I want you all to use your feelings to
feelings to share this memory, take
your time to feel whether you think this memory took place indoors or
outdoors. How many of you feel this memory took place indoors by show of
hands?”
hands?”
Let the audience vote.
Performer:
Performer: “How many people think it occurred outdoors?”
Ask the participant after the voting process to say if the memory took place
 indoors or outdoors.
outdoors.
Do this for the colour of the first kisses hair - light or dark.
Anything you can think of that is a binary opposite that pertains to the first
 kiss that you can get
get the participants
participants to vote on do as it gets everyone
 involved. This keeps
keeps the members
members of the audience
audience interested in what is going
on and at the same time it alleviates you from any misses that could occur
during the guessing of the memory.
 The readings document
document should have all the information
information you need on reading a
participant to add to this type
t ype of routine.
Another additional thought for the ―Lotus leaf peek‖
peek‖ that adds an extra fooling
layer is to get the participants to make a simple drawing on each of the flaps
on the billet like a shape or something that they will recognise.
 So when you fold it inwards on itself the drawings will still
still be on the
outside of the flaps – This just adds a further convincer when executing the
peek that the billet is still closed.
 The next section of this document
document is dedicated to looking at several
several peeks
shared by good friends of mine from within the mystery arts. Each one of them
has a very different way to do things; I feel this can only be a good thing
for you the reader as it gives you a versatility of different thoughts
thoughts to
process and pick and choose from to fit your style.
I hope you enjoy their thoughts as much as
a s I do.

 This is a great peek

peek by a creative genius.
genius. More of Pablo‖s ideas
Pablo‖s ideas can be found
here – www.Amirasideas.com
www.Amirasideas.com
 This peek of a business
business card/blank
card/blank card is very handy
handy when you have 2 cards
 as one and you want to secretly
secretly see the content
content of one of them I use this peek
peek
 in the context of one of my Drawing Duplications
Duplications called “Only 2 DD”, but you
can use it whenever you see it fit. This technique is called that way due the
hand position that I take when I do the secret move. I use various motivations
 to do it, just create
create your own coherent one
one with your effect.
effect.
 First of all, I hold
hold 2 cards as 1, keeping the participant‖s
participant‖s card reversed
reversed on
 the bottom of the stack. (Photo 1 , 2 and 3)

(Photo 1)
 (Photo 2)

 The
( participant in this case is named
named Pablo… yes… very cool coincidence).
coincidence).

(Photo 3)

Now you need to simply lift your top card secretly and peek the information.
In the action of putting the hands together like a prayer, you will bend the
 top card.

(Photo 4 and 5) The angles are very good using this move.
 (Photo 4)

Participant`s POV

 Exposed View (Photo

(Photo 5)

(Photo 5)

Your devious peek (Photo 6 and 7)

 (Photo 6)

(Photo 7)

You can use this with or without the square on the bottom, it´s your choice. I
prefer to do it in that way because it allows me to keep the information
restricted in one area.
If you want to learn a routine with this technique, you can search for my
 “Only 2 DD” piece.
piece.
PETER‖S NOTES***
 This is a very simple,
simple, but very effective
effective peek when we read
read these peeks on
paper they almost seem too easy to work in the real world or bold but in
reality they do work and are simple. The moment you worry about peeking or
 create an awkward action is the moment the participant will feel/ know
something is wrong.
Another thing I want to mention about this peek is you will notice the
participants card is face up whilst the rest of the stack is facedown. There
 are a couple of ways to achieve this and both are again brought over from the
playing card world.
 One is the half pass and the other is the flop switch or flop turnover.
turnover.
 The flop switch is the easier of the two moves; the participant
participant places his
his card
face down on the top of the stack of billets. On an offbeat as you go to place
 the cards onto the table turn your wrist over
over flipping the
the entire stack.
And ignore the cards for a few seconds, while you start to deduce the
participant‖s thoughts, without eve n
 n looking at the card (this will
will be described
later). It‖s a simple case of picking the cards up off of the table and
 applying the peek.
peek.
In this scenario you can as
a s an additionally subtlety use the flop switch and
 ask them to sign
sign the back of the
the card tha t‖s
 t‖s on top of the stack (they
(they will
 assume this is their card) – With this type of peek signing the card has its
 advantages and disadvantages.
disadvantages.
 One advantage is that when you gogo to apply the
the peek the participant
participant thinks
 they are seeing their signature,
signature, you cover the
the cards and then remove your
hands (applying the prayer peek) and they still see their signature because the
move has lasted just a few seconds in their mind literally nothing has
happened.
 The disadvantage is that you are left
left with a dummy billet
billet with a signature
signature on
 it and therefore
therefore have to add a phase to clean the routine up at the end. You
can use the same ending as the ending in ―Peek a boo‖ to clean this up, but
 again it is adding an additional phase.
phase.
 The half pass variation
variation would essentially be where you ask the participant to
place their card on the table and you place the stack on top of the
participant‖s card. When you go back to the stack of cards,
ca rds, you essentially
under the cover of putting your hand over the top of the stack to apply
a pply the
prayer peek under the cover of your hand that is going onto the top of the
stack flip over the card on the bottom of the stack (the participants card) so
 it is face up.
 Then after you have flipped the card, don‖t keep your hands
hands on the top
top of the
stack move your hands off of the stack again and address the participant.
Performer: “Focus on your thought for a few seconds”.
 Then go back into the praying position.
position.
 The reason for not applying
applying the prayer peek after the flip is that you
you would
 need your hands
hands over the cards
cards for an extended
extended period of time, it‖s
time, it‖s better
 better to
 break the peeking process down into two stages
stages and seemingly
seemingly only have your
hands over the card for just a few seconds.

 This is another nice technique for

for peeking information
information on a business
business card. For
 this you need a stack of cards. You can use this
this for several
several uses; just use
use it
 according your routine.
routine.
Let the participant write his thought and let him place it in the middle of
 the stack. Now you will casually "casually bring it to the bottom of the
the stack
(using your favourite method)
Now your actions and script will cover your secret peek. If you are following
 the actions, the card with the written information
information is on the bottom. Now
Now take
one blank card from the top and say:
 “Make your mind completely blank (showing
(showing the card) and just imagine
imagine and
 believe that your thoughts will
will become mine”
As you do all these, just place the card on bottom, so it will cover the bottom
card.
In that way you will have the blank card as the bottom card and the next card
will be the card that you need to peek. Take your time, don‖t rush the peek and
whenever you see it proper, just move the blank card slightly, so the “written
card” can be visible for a moment.
After that you just need to take your single blank card, do a cut/pass and
leave the participant´s card in the middle.
An additional tip for this - While you have the blank card at the bottom, you
can grab your card and the participant´s card for a moment. In that way you
can flash the “second card from the bottom” (actually the third from the
 bottom), in that
that way you can indirectly
indirectly prove that
that the participant´s
participant´s card isn‖t
 near your eyes.
 Bullet peek – Morgan Strebler
I've played with many peeks over the years. I think with any peek there needs
 to be a justification to write information
information down. I've seen many
many performers
performers ask
people to write down there best friends name, birth date, or star sign, This is
 all information that the participant
participant would never
never forget. Framing,
Framing, here is
 important how many people have
have forgotten a playing card minutes
minutes after
selection? I like to have them think of two random things such as an animal
 and then to give
give the animal a crazy name. Now you have a justification
justification to
have them write it down so they don't forget the information.

 The peek that I'm

I'm going to teach you has severed me well
well over the years. It's a
full peek with no boxes drawn on the card.

You fold the card in half with the side facing you about a quarter of an inch
lower than the top of the card.
ca rd.

Next you fold the card in quarters to the right.

 That's all the set
set up that you need to perform
perform the peek. I have the audience
audience
member write whatever it is I instruct them to down. I then have the
participant fold it up in quarters. I hold my hand out in a gesture, as if
requesting them to hand me the card. I then say "I didn't want you to hand it
 to me. Please take the card and sandwich
sandwich it, to make
make sure there is no way
possible that I can see inside."

At this point you have the peek and it‖

it ‖s so clean and calculated it ALWAYS
 goes over their
their head.

Now for the Method.

 By folding the card the way you did it gives you a smooth fluid
fluid motion to
open and shut the card and get the peek. You left thumb is on the outer right
corner
 You right thumb is on the inside corner of the card next to the left thumb.

Now in one movement pull down with the right thumb simultaneously
simultaneously pushing up
with the left thumb sandwiching the completely unfolded card between the
palms of your hand.

 The point when you get the peak is so bold

bold they never see
see it coming. I have
 the card between my two palms and I say "I want you to sandwich
sandwich it between
you hand
hand so there is no way can peek
peek at it" Its at that moment that I open
my hands and get a clean FULL peak.
At that point come up with your right palm shutting the card in half while
using the left thumb to finish folding it. This VERY quick and natural in
movement in motion. The audience member then follows your instructions, and
you reveal the information.
 This is the only
only peek that I've
I've used in 20
20 years. I hope
hope you get the
the mileage
out of it that I have

 Enjoy!
 For more information
information on this peek, check out Dee‖
Dee‖s incredible penguin lecture
here - penguinmagic.com/p/6131

Let me introduce you to one of my recently favoured techniques for gaining

 information; I use several different
different techniques
techniques in close up performances.
performances. This
 gimmick in particular can be brought into
into play with your
your block of blank
blank
cards, straight from your pocket, or left behind if you wish to use another
 technique before or
or after you use
use this one.
one.
 The block peek combines
combines a simple gimmick and a direct
direct technique to discover
discover
hidden information, written on a business card, or a blank card. All you need
 to put this together
together is a stack of blank (or business) cards,
cards, a couple of rubber
 bands and either some double-sided
double-sided tape, or some
some glue. This gimmick will take
you approximately one minute to construct and will last you many
performances; not that replacing
 it is a difficult or expensive thing
thing to do. The peeks are very easy
easy to do, but
 this method does
does offer the
the option of peeking several
several pieces of information
once you become a little more dexterous with it.
I carry a stack of blank cards around in my inside jacket pocket, secured with
 a rubber band as my business cards are double sided. I chose aesthetics over
 application when working on my
my business cards,
cards, but if you have
have a space on
your business cards in which a participant can write a thought, you ll just
ʼ

have to make a gimmick from your business card, not unlike the gimmick I
present in the explanation. The only thing you need to remember is that the
visible band needs to be on the side your participant usually writes on.
While that sentence is complete gibberish to you right now, it will all make
sense once you ve obtained the full method. If you have laminated or thicker
ʼ

stock business cards, you gimmick will rarely need to be replaced, but I d
ʼ

recommend keeping some extra rubber bands and tape in your gig bag, just to be
safe.

 The gimmick is extremely

extremely simple to construct; the devil, as always,
always, is in this
simplicity. It s logical, justified and nothing is out of place. The gimmick It s
ʼ ʼ

self is based off a card magic concept that I discovered several years ago,but
 never had a use for. A close
close friend of mine released an ebook using this
method to create an illusion in which a selected card visually penetrates a
 strip of duct tape that s been wrapped around the box from the start. While the
ʼ

ebook describing this close up effect is no longer available and remains

underground
underground once more, some other beautiful pieces by the author are available
here:
http://danielmadison.co.uk/Anthology.html
 Basic card magic knowledge
knowledge will be required
required for the handling
handling of this gimmick,
 but all will be explained.
explained. If you are more talented
talented in card technique,
technique, you ll ʼ

probably be able to design some of your own handlings for this, I will detail
some alternate ideas involving more complicated moves later on.
 The Block Peek gimmick
gimmick comprises of one rubber
rubber band and two blank
blank cards.
 There is also
some double-sided tape involved. The rubber band is wrapped length ways
 around one of the cards, this will cause the
the card to bevel. As
As we need it
it to
remain flat, another card (or two cards
ca rds if necessary) is taped or glued to one
side of the card, sandwiching the rubber band in between. This is your
 gimmick. If you hold your gimmick
gimmick in a standard dealer s grip  position,
ʻ ʼ ʼ

(photos are on the next page) with the rubber band side up, you will notice
 that it looks like the band is wrapped
wrapped around the cards. By holding
holding your
 gimmick with the reverse side
side up, it looks like there is no
no band at all. The
only discrepancy is when you look at the short side of the card head on, you
can see a small bit of the band going in between the two cards. This is
remedied by holding your first finger on top of that discrepancy. It won t be
ʼ

 noticeable when the

the gimmick is added to a stack of blank
blank cards, but working in
situations where angles are constantly changing (i.e. nightclubs or mix and
mingle corporate events) has taught me to cover every possible angle and
discrepancy, where possible. Have a look at the following images to solidify
 the information you ve just read.
ʼ
 The basic handling is very easy to do; I will first
first explain the mechanics,
 then I will discuss
discuss the logic
logic and justifications,
justifications, as well as the benefits of
using this gimmick over just a regular stack of cards. I won t discuss my
ʼ

routines with this gimmick in this manuscript, as this is what I use for casual
performances, meaning that I don t have specific routines written
ʼ written and scripts
 in place.
 This gimmick is extremely
extremely versatile
versatile and doesn t need justifying in the
ʼ

 audiences mind, so it s what I use for jazzing routines. If I m in a rock bar; I

ʼ ʼ

might have someone think of their favourite band, if I m in a corporate

ʼ

environment; I ll perhaps have the participant think of how much they got
ʼ

paid per hour in their first job as a kid. When it comes to casual and
seemingly impromptu mentalism demonstrations, you should use your environment
 to inspire you, not the framework
framework of something
something that you
you ve read in a book.
ʼ

You will begin by placing your gimmick on the bottom of your stack of black
cards. The rubber band side will be facing up, so that the band contacts the
card above it; this means that whichever way the gimmick is orientated, a
 blank side is visible.
visible. Wrap a normal rubber
rubber band around
around the whole stack,
 including the gimmick, lengthways. This ensures that when you take the stack
out of your pocket, the audience is forced to understand that this is the
 normal state for a stack of cards to be in when in your position.
position. Some people
will choose to wrap a rubber band twice around the width of a stack of cards,
 ala  Out To Lunch  whereas you prefer to wrap your cards lengthways. I
ʻ ʼ

 initially made the gimmick

gimmick by wrapping
wrapping the band twice across the width,
width, but it
wasn t long before
ʼ before the pressure
pressure caused the band
band to rip through
through the card it s ʼ

mounted on, thus destroying the deception.

You will hold the deck in dealer s grip  and remove the rubber band, placing
ʻ ʼ ʼ

 it on the table, or back in your pocket. You remove the top
top card (I ll explain
ʼ

why as I discuss the subtleties and logic later) and hand it to the participant.
Now remove your pen and hand that to them as you explain what you would like
lik e
 them to write – If they re thinking of an image, have them draw it, if they re
ʼ ʼ

 thinking of a name,
name, they will write
write it on the card to commit
commit to their thought
thought
so that there is evidence to come back to later.
As they are writing their thought, you should perform a half pass  on the
ʻ ʼ

 gimmick. If you are not familiar with

with this technique,
technique, it s described in several
ʼ

magic books, but I favour Aaron

 Fisher s  Gravity Half Pass  from his book  The Paper Engine.
ʼ ʻ ʼ ʻ Engine. ʼ
 Follow the pictures
pictures to get used
used to that motion.
motion. It s very easy to do and
ʼ

everyone s attention is on the card being written on at this point, so you need
ʼ

 not worry about anyone catching thethe move. The reason this move is employed
employed is
simply to expose the rubber band portion of the gimmick. You should still use
your finger to cover, the gimmick s rubber band is sat against your palm with
ʼ

 the packet still in dealer s grip at this point.

ʼ

 Following this move, simply wait for the participant to finish

finish their writing
or drawing and take back the pen. You don t want to see the thought,
ʼ thought, so ask
 them to hold it
it face down. You
You will then lift all the other
other cards off
off the
 gimmick and ask them
them to place their
their card there, right back in the middle of
 the stack. We are aware that this is, of course,
course, not the middle
middle of the stack;
stack;
your participant will not question this as it s standard practice and perfectly
ʼ

logical as a motion.
 The card with the
the thought written
written upon it is now sat at the
the bottom of the
stack of normal cards, directly above the gimmick. You will now take the
 normal rubber band
band from where
where ever you stashed
stashed it previously
previously and you will
will
 apparently wrap it around the
the whole stack.
In reality, you will wrap the band around the entire block of normal
norma l cards,
 including the card with the thought
thought upon it, but excluding
excluding the gimmick. To
ensure this action is as smooth as possible, just riffle the back of the
t he stack
of cards to allow the gimmick to pop  off the stack, and place your little
ʻ ʼ

finger in the gap causing a break. You just need to slide the rubber band into
 this gap, rather
rather than around the whole stack.
stack. Be sure to
to wrap the band
band just
once and lengthways, so that it matches the visual your gimmick presents
perfectly. Now, thanks to the gimmick, as long as your finger and thumb cover
either short side of the stack where the break between the two rubber bands is,
you can show the stack from all angles and it looks perfectly normal.
 The standard peek of one card is the peek that
that I use the most with this
this
 gimmick and is the
the peek that you are most likely
likely to use the most too in casual
situations.
I ve named this  The Fall Peek  because of the action, the gimmick falls away
ʼ ʻ ʼ

from the stack as you rotate the whole block to show either side. This peek is
done directly after the band is wrapped around the stack – It s almost part of
ʼ

 the same motion.

motion. It is in fact
fact not so dissimilar
dissimilar to  the drop concept
ʻ concept  which has
ʼ

 also been explored

explored by Madison.
Wrap the band around the stack of normal cards, above the gimmick, as
discussed before. Ensure that the band is in the correct position so that it
matches the gimmick in its position on the stack.
Now, you must grip the whole packet from above in a  biddle grip , which is
ʻ ʼ

simply the same grip I mention on the

t he picture page discussing the half pass.
 Grip the packet with the fingertips
fingertips of the
the right hand
hand (reverse if you
you are more
comfortable dealing cards left handed) and lift the packet up, rotating your
wrist to show the audience the band of your gimmick. You should of course
ensure that the fingers cover the gap in the band. The action will look as if
you re just showing the packet from either side to demonstrate its opacity as
ʼ

completely solid and not transparent in any way. This is a very casual move, I
simply say;
 “Now the stack is secured and you cannot see through it from
from any angle.”
angle.”
 Once you ve shown the audience the band of the gimmick, you will reverse the
ʼ

 action, but continue

continue rotating to show the rubber band that
that s wrapped around the
ʼ

stack from the top.

As you rotate, you will allow the gimmick to fall into your waiting left palm,
which holds it in a gambler s cop style grip.
ʼ

 The peek is made at this point, and then you simply place the
the stack back on top
of the gimmick and you can begin your reading. The pictures on the next
couple of pages will demonstrate the action from the front, and in an over ʻ

 the shoulder  style view.

ʼ

(Spectator s View)
ʼ
 (Performer s View)
ʼ
 This is a peek that
that I never really
really use, but it is useful to know
know in case you
 need your left hand for something
something at the
the time you wish
wish to peek. It s moreʼ

 angle-sensitive than  the fall peek  so should only be performed one-on-one.
ʻ ʼ

I m including it here for completeness. The motion for this is essentially an

ʼ

 application of the
the Cardini change  in card magic, but from the other axis. You
ʻ ʼ

will grip the stack in the  biddle grip  once more and the action will appear
ʻ ʼ

 the same, but without

without the left hand. As you rotate the packet
packet from parallel
parallel
with the floor to perpendicular, at the same point you would do the peek
 normally, you will
will increase pressure
pressure with your pinky on the top right corner
corner
of the rubber band side of the gimmick. As you rotate the packet perpendicular
 to the floor, you will allow the pinky to slide/peel the gimmick
gimmick from the
the
stack, clipping it in place. This is a slightly knacky motion to get the hang
of, but I m sure the slight of hand lovers will enjoy practicing it.
ʼ

I mentioned earlier the idea of peeking multiple pieces of information from

 the stack. Again, referencing card magic as there can be a lot ofof cross over
 between working with decks of cards and stacks of blank/business
blank/business cards,
cards, I
started with playing around with using the gimmick as a cover card for
ʻClipshift  variations. By all means, test out that theory, the texture of
ʼ

untreated blank cards makes this difficult to do, but it s definitely possible
ʼ

 as long as you have

have shade and you
you set up the
the stack in the way
way I discuss in the
following paragraphs.
paragraphs. If you would like to look into the Clipshift , you can
ʻ ʼ

find out more information at

http://www.DanAndDave.com
 Setting up the
the cards for multiple
multiple peeks is much the same as for  the fall peek
ʻ ʼ

 in that you will wrap the band around the stack,
stack, excluding the
the gimmick. The
difference here is that you will also exclude the cards with thoughts written
on them.
You will hand one card to each of two participants. They will write whatever
 thought you have
have asked them to and you will
will break the stack and have them
replaced, one after another in the middle of the block. You should start with
 the rightmost participant during
during this replacement
replacement process.
process. (I ll explain why in
ʼ

 a moment.) Of course, these cards will go directly above the gimmick as before.
before.
Now, before picking up the rubber band to wrap the stack; you will riffle the
 back of the cards, but rather than
than just letting the
the gimmick pop  off the stack
ʻ ʼ

 to get your break,

break, you will pop  the gimmick plus the two cards with thoughts
ʻ ʼ

written on them so that you can

ca n wrap only the normal, blank cards. The cards
 with thoughts on them are loose, just like the gimmick is, however, this will
 be invisible to the
the audience as long as your finger
finger and thumb cover
cover the break
 in the band as discussed
discussed before.
before.
 To peek the multiple
multiple pieces of information,
information, you should do
do the standard fall
ʻ

peek  but you will view the first piece of information and direct your
ʼ

scripted sentence to the person that is stood rightmost out of the two (or more)
people that wrote thoughts. You will ask them to verify that they cannot see
 through the card, before turning
turning to the left and asking the next person
person that
wrote a thought if they can see through the card, or verify that it s solid. As
ʼ

you turn, you will repeat  the fall peek  motion, dropping the first card with
ʻ ʼ

 the information on it on to the gimmick to reveal the second

second card. This can be
repeated as many times as necessary, but I wouldn t recommend doing
ʼ doing the whole
whole
room in one go as it will become a little suspicious; two or three is fine.
 The beauty here is that you can do this to each person
person that wrote
wrote a thought,
thought,
 and each time you are peeking the person s thought that you are directing your
ʼ

 question to. This allows you to easily

easily anchor the image
image or word to that person,
person,
so that you don t get muddled up during the
ʼ the reading. Rather than having to
reveal all the thoughts at once, you can show your skill of understanding
which thought is coming from who, or read their minds one by one. This is a
vast advantage that allows you to look much more credible.
 There is one important
important thing
thing that I haven
haven t touched upon yet; how to show
ʼ show the
original card the spectator wrote upon and how to reset. This is very easy and
only uses motions that you ve already learnt. You will pinch the normal rubber
ʼ

 band with your right

right fingertips
fingertips from the top of the stack
stack and drag it to
to the
right, thus pulling it off the block. Place the band back on the table and if
you ve written a reveal, draw attention to that, if you ve already said your
ʼ ʼ

reveal in your wording, you can make eye contact with someone, drawing the
 attention away from
from the stack so
so that you can perform another
another half pass  so
ʻ ʼ

 that the gimmick s band is now touching the ink on the thought-card. You can
ʼ

 then say something

something along the lines of; “You wrote a thought down
down on one of
 these cards as a commitment at the start of this process.” As you say “one of
 these cards” you
you should push
push off a few
few cards with your
your left thumb into your
right hand demonstrating your words. Replace these
t hese cards on the bottom, instead
of the top of the block, directly below the gimmick.
Now you will turn the whole stack over in your hands and thumb through the
cards until you reach the one with ink upon it. It is directly below your
 gimmick, but your gimmick just appears
appears to be another
another normal card.
card. Remove the
 thought-card and
and cut your gimmick
gimmick to the bottom.
bottom. You re now ready to go again.
ʼ

 There are several benefits to favouring

favouring this method over just controlling
controlling a
card to the bottom of the stack, or using a double lift to peek the thought.
t hought. A
lot of mentalists will quote the classic phrase; “Don t run when you re not
ʼ ʼ

 being chased” at any possible opportunity.

opportunity. I agree with this
this idea, to a degr
degree,
ee,
 but I think that what is truly
truly important to remember is that
that if we can create
create
something more deceptive and better hidden within the realms of logical and
visually correct situations, we are simply being lazy when we don t employʼ

 them. A stack of cards would rarely

rarely be left loose in anyone s pocket, or
ʼ

office. It would either be in a holder, or wrapped by a rubber band to keep

 the stack safe, tidy and together. For peeks using holders,
holders, I can recommend
recommend
some fabulous products by friends of mine:  The UPD  by Pablo Amira and  The
ʻ ʼ ʻ

 Business  by Romanos.

ʼ

 Both of these can be bought

bought from your favourite
favourite magic dealer
dealer and are
wonderful solutions with similar methods, but different aesthetics. This is the
closest to perfect solution that I ve found for doing this with a rubber band
ʼ

wrapped stack. Other notable methods that I ve come across include  The PAC
ʼ ʻ

 Stack  by Paul Carnazzo, which is an amazing solution for drawing

ʼ

duplications, but it takes a lot more arts and crafts and something a little
 extra that makes writing a little difficult to read, especially if it s messy
ʼ

handwriting that s difficult to read as it is! You can find Paul s work here:
ʼ ʼ

http://www.MentalVoyage.com
When you wrap a stack of cards in a rubber band, they feel like a unit and
 it s casually suggested that there is no way to access the thought without
ʼ

unwrapping the stack. It s a very powerful suggestion that isn t in place when
ʼ ʼ when
 the cards are loose;
loose; especially if the audience knows
knows that you are dexterous
with playing cards. This is the reason I always just hand the first card on
 the pile to a participant,
participant, I never
never mix the blank card, refer to them as a deck
deck
or a pack and I use untreated cards, so they don t flow and spread
ʼ spread beautifully
like playing cards do.
Now, it s time for you to put together your own  Block Peek  gimmick and start
ʼ ʻ ʼ

practicing the motions. It s a lovely thing to use and I m sure you ll have
ʼ ʼ ʼ

much success with it!

 To find out more
more about Dee Christopher
Christopher s other publications; visit the
ʼ

following websites:
http://www.DeeChristopher.com
http://www.angelsXdevils.com
 This is one question
question I cannot
cannot answer for YOU. Each one of us has our own way
 to do things.
things. I can however
however list a series
series of different
different options for you to take
take
 into account when using billets in any routine.

Let‖
Let‖s start with justifying the use of a billet.

A lot of pre-existing justifications I have found to be ludicrous (as have

others) hence people avoiding wanting to justify at all. I personally
personally feel
where you use a billet in a routine I.E start; middle or back end should
dictate whether you use a justification.

If you are using a billet in the middle of a routine and the billet
contextually fits in the context/ premise of the routine a justification will
only draw attention to the billet.

If you hand someone a billet at the start of a routine and ask them to write
something down (without the premise of the routine surrounding the billet I.E.
 Sneak Thief) I feel there should
should be a logical reason for the billet-
billet- A
justification for why they are writing something and place the focus on the
surrounding
surrounding factors of the billet (as outlined in the first part of this
document.)

If the billet is wrote on at the back end of a routine (this is a rarity) 90%
of the presentation has already existed and therefore there really is no need
n eed
 to have anything
anything justified as the
the billet is merely acting as a tool to
to show a
match.

 So let's look at a few of these

these areas in depth
depth -

 First let‖s take a lo

look at where a billet naturally fits into the context of a
routine and therefore needs no justification.

If you are utilising a billet at the very start of a routine and the focal
point during the routine is geared around the billet (or billets) then trying
 to justify the billet
billet brings the wrong attention to it.

A great example of this is ―Sneak thief‖, the billets are on display throughout
throughout
 the entire routine
routine and therefore
therefore there is no need to try and create a
justification for the billets being in play as the routine is self-explanatory.
self-explanatory.

 One routine I really like is Seven

Seven Keys to the baldpate, I remember
remember reading
 this effect and loving the concept.
concept. One thing
thing I didn‖
didn t
‖ like was having to
carry the lock and keys, here is my take on that concept – This is outlined to
 give you an idea of ways to use billets in which they don‖
don t
‖ need a
justification.
 The performer sits with a participant
participant (we will call her Mary).

After becoming acquainted, the performer asks Mary to remove her mobile phone.
He takes the mobile from Mary and realises it has a password locking it.

 The performer looks at Mary and

and asks if she
she would be happy
happy for him to
to try
divining the code. Of course, she doesn‖t mind.

 The performer removes five of his business

business cards and asks Mary to write her
her
phone code upon one, to write four fake codes on the remaining cards and to
mix them up until even she doesn‖t know
k now where her actual code is.

 The performer closes his eyes (he could even

even be blindfolded).
blindfolded). He asks Mary to
lift up the cards to his forehead one at a time, with the numbers facing her,
 and to lightly hold
hold the card a couple
couple of centimetres
centimetres from your
your forehead
(never making contact).

 The performer‖s
performer‖s eyes are closed
closed the entire time during this process.

 The performer says No to the

the first card and
and asks Mary to place the card to
one side, discarding it; the next is also a No that is also placed to one side.
 On the next card
card the performer
performer is a little hesitant, claiming a “maybe,” and
 the card is placed face down onto
onto the table in front
front of the performer. The
 next is a No, the next a Maybe (which is placed
placed face down in front of the
performer) and the final card a No.

 The performer now opens his eyes. He tells Mary he is about to flip the cards,
cards,
 but she is not
not to give anything away. The cards are flipped and the performer
performer
holds his hands over each of the
t he cards for a few seconds, finally picking up
Mary‖s phone and unlocking it!

 The cards can be left

left with the participant
participant and examined
examined completely!
completely!

 This effect is best

best suited as an opener to a routine that is going to use the
participant‖s mobile telephone (like Isabella‖s Star 2– Shameless
 Shameless plug!).
plug!). That way
 there is a beautiful
beautiful following point from this effect as it it segues seamlessly
seamlessly
straight into another effect.

 Firstly, you will have

have realised that
that I reduced the
the number from
from seven to five.
five.
 This was purely to keep the presentation entertaining.
entertaining. Now you must be
 thinking:
 “How can you locate
locate the card if it has no markings?”
markings?”

 The honest truth

truth is that the cards are marked, just
just not visually!

 To mark the card, simply

simply take a business
business card and spray it with a perfume or
 aftershave spray.
spray. Just lightly spray the card and then let it dry out.

 That‖s right; the cards are marked via the smell!! Therefore, you will know
exactly which card it is even with your eyes closed.

Whenever the prepared card is run past your nose, as long as you are
 breathing through
through your nose
nose when the card is brought
brought up to your forehead, you
will be able to smell the perfume.

 The method couldn‖t

couldn‖t be simpler. Since you are going to be asking the
participant to place the cards up to your forehead, you will know exactly when
 to breathe. This technique is ultra-reliable.
ultra-reliable.

I was in London with Myke Phillips and I had

'Prepared' the Ace of Hearts. I used a classic force on Myke (which I know he
spotted). I asked him to mix up the cards and asked him to quickly go through
 the entire deck (placing
(placing each card to my forehead).

I got down to two, and

a nd without even turning over the cards, I located the Ace
of Hearts
Hearts (I am sure he didn‖t know how that was done!).

 That‖s my random tangent over.

over.

 Back to the effect.

 The strength of this effect

effect lies in the presentation.
presentation.

(I am going to assume
a ssume that you are already acquainted with the participant.)

Performer:
Performer: “I want you to think about this
t his for a few seconds. If you could
read minds, what would you want to read from someone‖s mind?”

Pause a few seconds.

Performer: “Everything
“Everything you are thinking of right now I have probably tried
 at some point. I certai nly
 nly do know when someone
someone is lying to me.”

(The last statement is said off the cuff. Women that are in relationships most
of the time think: “I wish I could know when my partner is lying.” Never make
 a huge point when using
using the throwaway
throwaway line; let them
them decide if you really did
did
read that that is what they were thinking. A lot of the time they will vocally
 let you know that that is what they were thinking. Say the line enough so
 that even if they
they weren‖t thinking
thinking that, the line will never seem out of
place.)

Performer: “Have you got a mobile phone that I could borrow for a couple of
moments?”

 The participant pulls

pulls the phone
phone out of her
her pocket and one of two things is
 going to happen:
happen:

1. She is going to hand you the phone.

2. She is going to go to unlock the phone before she hands it to you.

If she hands it to you straight away, then proceed into this routine. If, on
 the other hand,
hand, you notice that she is going
going to unlock
unlock it, stop her.
her.

Performer: “Has it got a lock on it? That‖s not a problem. Do you mind if
i f I try
 to divine the code?”
code?”

 She will obviously

obviously say she doesn‖t
doesn‖t mind.

(I find it really, really strange the psychology that goes on in participants

when they see someone performing —it‖s
 —it‖s surreal! A random person
person walks up to
 group at a table and they start to hand them bank notes,
notes, phones
phones and share
random information with them!

It really is daunting when you think about it. Sorry, another tangent down.)

Hold out your hand for the phone. Even if the participant had any
reservations about handing it to you, you are already halfway there, so it
psychologically seems easier for her to hand you it.

Place it to your left. Ensure you know where it is, because the last thing you
want to do is knock it off of the table when you close your eyes.

Remove a stack of business cards from your pocket (the prepared card is on the
face of the stack is therefore the one they will write on first).

Performer: “I want you to write down your actual phone code on that piece of
card, whilst I look away. When you are done, place it face down onto the
 table.”

(Make sure you say the word “actual.” It prevents them from writing down a
fake code. I have had this happen before, and when it comes to the revelation,
 it is not pretty. Changing one word can make
make such a difference
difference in the way
way the
participant acts.)

Performer: “Now I want you to write a fake four-digit

four-digit code onto each of the
other cards.”
 Again give them a few seconds to do this, and turn around when they have done
 it. This process,
process, on paper, may
may seem lengthy,
lengthy, but in performance,
performance, trust me, it
 is over very quickly.
quickly.

Performer: “Pick up the cards up and

a nd mix them until you are satisfied that
even you don‖t
don‖t know the order of the cards.”

 The cards are mixed.

mixed.

Performer: “In a moment I am going to close my eyes. When I close my eyes, I

want you to pick a card up when I tell you and to hold it in front of my
forehead. Always ensure the numbers are facing you.”

(This is where things get really easy. Obviously all you have to do is ask the
participant to place the card in front of your forehead and start to breathe
 in slowly through
through your nose.
nose. You want to make sure that when the card with
 the smell comes up to your forehead,
forehead, you act
act hesitantly and point
point with your
your
right hand where to place it in front of you. This is essential. Because you
have your eyes closed, you need to know exactly where the card is being
placed. The second card should be placed to your left, so direct the participant
with the left hand.

If you haven‖t noticed the smell by the fourth card, place the fourth card to
your left and the fifth card to your right.)

 Open your eyes.

eyes. Obviously you know
know where the
the card is, so the
the rest of this is
 about taking your time and really making
making it seem like you are divining
divining the
card.

Address Mary:

Performer: “Mary, I am going to flip over these cards. It is essential that you
don‖t give anything away at this point.”

 Flip over the cards

cards and start to hold your hands
hands over both the cards in turn,
turn,
 and then pick up the mobile telephone
telephone and hold
hold it toward yourself.
yourself. The last
 thing you want
want at this point
point is Mary seeing
seeing the first number you type in,
 because she will react
react prematurely and that‖s it, effect
effect over. Yo
You want her to
react to the moment the phone opens.

 George M. Cohan
Cohan - Seven Keys
Keys to Baldpate (1913)
(1913)

Annemann - “Seven
- “Seven Keys
Keys to the Baldpate”
Baldpate”

Henry Fetsch - “Lock

- “Lock and Key,”
Key,” Jinx, n 34, July 1937
º

Pablo Amira - Intuition Key

 Lee Earle/Larry Becker - Stunners

Max Maven - “Key

- “Key to the
the Future,” VideoMind,
VideoMind, Vol. 2

 Barrie Richardson - Theatre of the Mind

Mark Strivings - Penguin Lecture

John Archer - “Soundbox,”

- “Soundbox,” Further Education

Richard Osterlind - “Seven

- “Seven Keys
Keys to the Baldpate,”
Baldpate,” Easy to

Master Mental Miracles, Vol. 1

Jack London - Superb Mentalism of Jack London

You can see reading this routine that the billet is naturally part of the
routine and therefore it is the focal point of the audience‖s
the audience‖s attention.
 attention. There
 are a few reasons
reasons why the method is so well hidden, one is that there
there are
several billets and therefore the one with specific and relevant information
 gets hidden amongst
amongst the rest making it seem
seem hidden (even
(even though it is in plain
sight).

Another thing is that the billets have been painted red – The attention has
 totally been drawn to the billets, making
making the audience feel like there
there is
 nothing to hide
hide as you've shown them everything there
there is to see. (Note the
 billets are not physically
physically painted red,
red, it's an expression
expression for drawing
 attention to something
something and I'm not sure the expression
expression exists outside
outside the U.K.)

I have never really sat and thought about this sort of thing, it is something
 that I have sort
sort of done subconsciously
subconsciously - justification is something
something that is
 totally situation dependant
dependant (for me) which sort of counters (somewhat)
(somewhat) what
what I
said earlier.

If it needs a justification I‖ve just

I‖ve just sort of done it and known when I need to
do it. Take your time to look at your routines, when creating a billet routine
does the billet need a justification? If it stands out as not being normal to
 the situation I would recommend
recommend it.

Here is a justification for the use of a billet in performance, I have outlined

 it in case you want
want to justify the use
use of a billet in performance.
performance.

Performer: "Right now I'm not really picking anything up from you as a
person, we have only just met and therefore the connection our minds share is
just foundational at best.

With your permission I would like to try and deepen that connection, thoughts
 are very private things
things and I don't
don't want to impose
impose without your permission".
permission".
 [Notice one thing here, I asked for permission. This is something so tiny but it
 is implicit that I am going to be climbing into their mind. I have never see see
 anyone ask this question a thought
thought is a very, very private thing.
thing. All the
 things that your
your friends/ family tell you in confidence are stored
stored there.
 Every secret you have ever kept
kept is stored there.
there. I think sometimes
sometimes it is such a
 beautiful thing to ask someone if you can climb inside their mind.
mind.

 This is also a great

great little subtlety because the audience‖s
the audience‖s focal
 focal point is aimed
on this and not the billet. The billet should be the least important part of
 the routine (in terms of audience
audience attention).
attention).
Performer: “I can tell from the off that you a re the sort of person that is
 the go to person
person in times
times of a crises. I also know you
you are the sort
sort of person
 that is good natured,
natured, so good natured that you would never want anyone to look
stupid in any situation. I know
k now that your friends know that also, therefore
even if I guessed what you were thinking of, the likeliness is that your
friends will think you were just agreeing with me to make me not look stupid.
I want you to take this, write (whatever you want them to write) this will act
a ct
 as a tool of confi
confirmation
rmation later on IF I manage to pick up on your thoughts”.
Look at the simple yet elegant nature of this, you in the nicest sense started
 to read the participant
participant before you
you introduced the
the billet and the
the only reason
you are introducing the billet is because it is merely to act to confirm what
you are saying to the participant‖s friends. Not to the participant because the
participant is going to know if you got it right or not.
 This also works with sceptics
You would use a different script to the one outlined above, this is to be used
when you have someone who is butting heads with you and
a nd the response you
 know they are going to give
give when you introduce the billet is one of refusing
 to use the billet and or questioning
questioning your motives
motives for using
using the billet.
Performer: “One thing I think
t hink we all know for sure is that no matter how
many thoughts I guess of yours you will come up with
with the most convoluted
convoluted
explanations as to how I arrived at them thoughts. That‖s not a bad thing I
feel with you, you are the sort of person that questions everything and wants
 an explanation why.
why.
I also feel that because
b ecause of your thought process even if I guessed what it is
you were thinking of the likeliness is you wouldn‖t admit to it. So I am going
 to give you this,
this, I want you to take it and write
write (whatever you want
want them to
write) upon it.
 This just means that A) you cannot change your mind at any point and B) That
That
will act as insurance IF I get your thought”.
 - Again simple but elegant.
 The aim is to work
work with participants
participants not to rub
rub up the wrong
wrong way and create
 bad rapport. This is to be used very sparingly
sparingly when you do get the occasional
occasional
 idiot that refuses
refuses to quit.
Another little subtlety is making a guess about what the participant has wrote
 before ever implementing
implementing a peek,
peek, just so it feels to the participant
participant like you
don‖t need to handle the billet as you have already started to pick up on their
 thoughts.
 This is where you will start to guess before
before they make the
the drawing/ write
write the
word. I mentioned above that this type of routine is one that is not utilised
very often and the billet is not implemented until the last moment of
performance.
I will give you an example with a drawing, if the participant is asked to
 think of a drawing
drawing the likeliness is that they will think of one
one drawing and
 then change their
their mind to another before
before they commit. So a statement
statement that
 almost always hits is -
Performer: “I feel with you that you changed your mind between a couple of
drawings before settling on the one that you are thinking of now, right?”
 This will hit a lot
lot of the time
time as people tend to think before
before they act, it
really doesn‖t matter if the participant says “no I haven‖ t”
 t” - it just makes
your job slightly harder as you don‖t have the second/ third drawing to wash
wa sh
 away the misses in a moment
moment but guessing is still very possible.
possible.
Like I said most of the time people will admit to the fact that they did
change their mind a few times. The
T he probability of them doing this can be
heightened by simply implementing this line before asking them to think of a
drawing,
Performer: “Feel free to change your mind a few times, you don‖t have to if
you don‖t want but I want to ensure the thing you are thinking of is entirely
 a free choice”.
 This will make them
them think a little bit about the choice
choice they are going to make.
I would usually then start to prod at what it is they are thinking of, whilst
 trying my best to
to make out as though I genuinely
genuinely am picking up
up on the
participant‖
participant‖s thoughts.
Performer: “Ok the thing I am feeling at the moment is that you went for
something that is fairly abstract instead on intricate and detailed, to me it
feels like this thing is something that is composed of a few simple shapes. If
 this is not the
the image you are thinking of right now, it might have been one
 of the ones you are still focusing on that you changed your mind from. I am
correct so far right?”
 The participant will likely be inclined to say yes that you have picked up on
specific elements; this is where you can add aanother
nother line.
Performer: “The drawing you are thinking of is not some thing
 thing that would
would be
found outside is it?”
 This is a closed question,
closed question, it really
really doesn‖t matter about the participant‖s
participant‖s
 answer (the closed
closed question is discussed
discussed in detail in the readings
readings document).
Performer: “
Performer: “ Take this and draw the drawing
drawing you are thinking
thinking of so it is at
 the forefront
forefront of your mind as other thoughts
thoughts are getting
getting in the
the way. I need
 to make sure that
that one thought
thought is singled out from every
every other thought
thought” .
”
 This is where the participant will make a drawing
drawing on a billet.
After the participant has made the drawing you will get your peek, don‖
don t
‖
reveal the information straight from here. You need to implement some of the
procedure first outlined in this document.
During this type of routine you can always hand someone else at the table the
 billet and apply your
your peek here, the justification for showing
showing someone else
else
 the billet it is so that two minds are thinking of the information heightening
 the probability of you being able to make an educated deductions.
deductions.
If you really wanted you could after getting the information use a one ahead
 in order to be able to get one
one of the drawings
drawings that the participant changed
 their mind from
from meaning you
you are opening up two hits for the price of one.
A few simple sentences that are implicit towards the fact that you can read
 the participant without
without the need
need for the billet
billet is all it takes to convince
 them of your abilities and the heat completely goes from the
the billet. This sort
of thinking transcends into many other areas of mentalism.
Your most valuable asset as a mentalist is you!
Let your props/ tools/ principles work for you not the other way around
arou nd … In
 … In
other words, don‖
don t
‖ put the entire emphasis on those things;
things; put the emphasis
emphasis on
you and your participant.
It is such a simple theory but very, very effective.
 I think the title totally sums up the point I am trying
t rying to express, more or
less every single aspect of mentalism could be performed using a billet peek,
 but I totally think
think it would be a mistake
mistake to do so.
so.
I really think time should be taken to find out WHEN a billet should be used.
It should be used in conjunction with prop-less
prop- less material. I don‖t think the two
could or should exist without the other.
If you consistently use billet peeks for everything you do it is only going to
to
 be a matter of time
time before a participant
participant or your
your audience wonder
wonder why you
 always have to resort
resort to having
having them write
write something down.
 There is an interesting
interesting story
story that presses
presses this point
point but I will save
save that for
 another time.
Learn to focus where in a routine a billet is going to become utilised, make
sure the spot is the logical spot for the billet to be used within the routine
 and ensure the
the clean-up is perfect
perfect also. Remember
Remember the billet is there only to
 aid you in gaining the information
information from the participant and should
should be seen as
such.
I don‖t want to spend too much time on this point and the opinions I am
am
expressing are purely my own, remember there is no harm in experimenting.

 This is a point I don‖t feel I should have to make but I will as I was suspect
 to making this error
error and I am so glad I managed
managed to get out of it.
 Using plain blank card stock in close
close up performance,
performance, in stage this is fine as
you can be a lot more lenient with props (I don‖t know whether billets
whether billets should
 be classed as props
props or not,
not, or who decides this stuff but I‖m sure
I‖m sure you
understand me). In close up scenarios I think
think taking a totally blank card
ca rd out
of your pocket or your wallet screams irregularity.
 There is a simple
simple way around this
this -
 Go around collecting
collecting company business cards from
from companies that people will
recognise or if there is a particular gsm/ finish you like to use from a
company that provide your billets have businesses printed onto the front of
 the card stock leaving
leaving the reverse
reverse side blank.
I have over the years collected enough to last me some time, Vista print will
send you a few hundred cards for nothing but the postage price! Keep the
 design on the face simple, taxi/ private hire companies are great as they are
cards you would naturally keep inside your wallet and no one would ever
suspect a thing.
If you are in the U.K these bad boys are things of beauty –

 The trusty train ticket, innocent and instantly recognised

recognised wherever
wherever you go in
 the U.K. This will sit in your wallet and no
no one would bat an eyelid if you
 asked something to write on the back of this train ticket.
 That is not why they are so beautiful
beautiful though, the reason these
these are so amazing
 is because of the back of the ticket…
 Isn‖
Isn t
‖ that a thing of beauty?
I probably obsess over things I shouldn‖t but anybody who performs the Acidus
Novus or Busch‖s Billet will look at this and realise just why it is so
 amazing!
 For those who don‖t instantly
instantly realise a lot of the time you
you need to restrict
restrict
 the participant to
to a specific part of a billet in order
order to facilitate the peek,
 this train ticket does
does that without
without having to add any extra work
work or scripting
scripting
 to the routine.
It is truly simple and elegant, ask friends and family to save these tickets
t ickets
for you when they return from a journey and soon you will have a good
 number for free.
free.
If you are outside of England, this is the exact type of thing you are looking
for, as it is something to aid you in utilising billets that seems natural. I
personally never use 3x5 index cards as they are something that are so out of
place over here that they don‖t even
e ven fit naturally into everyday life and
 trying to peek with them is for me like trying
trying to play basketball
basketball with a
medicine ball…Just not happening.
If you want to use your own business cards in performance, think about the
 back design, how does it coincide with
with the peek that you going to use?
If you are restricting the participant to the bottom of the card (in the peek
you are using) have a quote printed on the top half, there is nothing better
 than a restriction that is natural like this.
 There are pros and cons to leaving
leaving the participant
participant with your business
business card –
 t‖s
 It‖s a gre at
 at thing to aid in promoting your
your business but a bad thing if you
you
 are trying to get
get them to forget
forget you had them write something
something down.
- Choose your battles.
Anyway this brings us to the
t he end of this month‖
month ‖s document, it is 5.33am I have
 not slept for
for the last few days and I am now realising I have a cold coming
coming
on … What
 … What luck!
I want to thank you guys for taking the time out to read this document and I
really hope you get a lot of it. Thank you for following and being a part of
my story.
 THE END