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  • Writer's pictureMadison Hagler

The Legacy Collection - Peter Turner

I hope you all had a very Happy Thanksgiving for those who celebrate it. I know I am full of turkey, dressing, and all the fixin's and I am feeling thankful for all of my wonderful subscribers. Thank you! Now enough sappiness, on to the review!

This is a brand new set of ten books that is fresh off the presses and has just hit the market; at the time of writing, these have been out for exactly one week. Peter Turner teamed up with Ellusionist to bring you ten books full of over 30 of Pete's strongest mentalism creations to date, and just in time for the holidays!

First Impressions:

I love the design of this set. Each cover is lovely in its minimalistic geometric approach to design. I’m a fan of black and white, so it’s hard not to like it. The black and white design is off set by brilliant pops of color in the interior cover of each book making for an exciting experience when opening each book long before you even begin to dive into the content.

I will say, I was expecting this to be a set of regular sized books, but the books are actually quite small.

I imagine they were made this way to be used as pocket books you can easily stuff in your inside jacket pocket or your back pocket for easy travel, but I had no idea they were that small. It isn’t a huge problem or anything, but it’s nice to know before you buy.

My biggest pet peeve in reviewing magic books is finding grammatical or formatting errors. Unfortunately, this collection is riddled with both. Words are misspelled, words are missing, spaces between words are missing, references are made to illustrations that aren’t included, references are made to incorrect “volumes”, and several other small errors exist which just irk me. You may find this comical because I’m sure my blog is littered with these same errors, but I am a one man band doing this for free. When a big company puts out a project, they should invest a little time/money into a proofreader. If they DID have a proofreader for this series, they should fire them. While these errors don’t inhibit the reader from learning the material, when I see these errors, it just makes me feel like the project was rushed to market. It is a shame because the quality of the books is great, and as you will read shortly, the quality of the material is great as well; I just wish the quality of grammar and formatting matched.

One final thing that I think is important to note as a reviewer, each book contains an average of fourteen “notes” pages. These are lined pages for you to jot down notes after you read each effect. Fourteen pages may not sound like a lot, but multiply that across the ten books and you have one hundred forty pages of filler. That’s a significant amount. I’m sure some people will actually use these pages to jot down notes, but I have always been the type of person who aims to keep every book free of dog ears, imperfections, or marks, so my pages will always just be one hundred forty pages of blank lines. If I want to take notes, I pull out a notebook and write in it.

With all of those first impressions and irks out of the way, let’s get into the important stuff: the content.

Book 1: Playing Cards

A Blind Coincidence or Fate - This is Peter’s take on a classic card trick. Using a shuffled deck of cards, the spectator holds half and the performer holds half under the table. The spectator and performer each remove a card from their half, swap with the other person’s card, and place the card reversed in their half. During this process, the spectator also generates a random card. When the halves are brought out and spread, the card the spectator created is facing the opposite way in one half, and the mate to their card is reversed in the other half.

The method is simple as could be. Peter teaches a great psychological card force which works beautifully within the context of this routine. I can hardly call it a psychological force; really, it’s a mechanical method that takes place in their head. It should never fail. This combination makes for a very powerful routine.

Ditto - Two decks are on the table. The spectator chooses one, shuffles it under the table, removes any card they want, reverses it, and puts it back in the deck. The deck is brought out and spread to find the reversed card. The other deck is opened and spread to reveal the exact same card reversed in it. The performer never touches their deck. It can even be done FASDIU.

This is clever. It goes to show how easy it is to breath new life into a classic technique. I hate to admit it, but I probably would have been fooled by this if I had it performed on me. The best part: the method is literally described in one sentence in the book.

A Gift From Me To You - The performer reads someone’s mind to tell them what card they are thinking of. The performer then teaches another spectator how to do the same thing, and they accurately read the first spectator’s mind.

The performer doesn’t just tell them the card or whisper what the card is; the spectator genuinely uses a system to determine what the card is. The best part is, even the spectator doing the mind reading won’t understand how it could possibly work. I feel like I’ve seen most of Peter’s work, but I have never seen this routine, or if I did, it certainly didn’t jump out at me like it did here. I think this is brilliant. It’s a powerful concept which leads to great results, and its constructed wonderfully with moments that convince both spectators of its genuineness.

Book 2: Billet Peeks

Psychology of Peeking - This book begins with an essay on billet work in mentalism and goes on to discuss how to squeeze the most out of a reveal.

Peter spends a lot of time going over an example performance to show how one piece of peeked information can be drawn out into a reveal that seems to go much deeper than just revealing what they wrote. It will take some creativity and thinking on your feet to ever be able to do this as well as Peter, but if nothing else, this provides a goal got work towards.

Peek A Boo - This is Peter’s go-to billet peek.

This section begins with a huge digression on how you can use classic card moves in mentalism. It is a long tangent which touches on using a top change for billet work and the best timing to use a nail writer all before going into the actual description of the peek at hand. The entire collection is written in a similar style. It’s conversational in the aspect that there are times Peter will go off on a tangent totally unrelated to the topic before coming back to explain what he is trying to get at. The tangents always provide value, but sometimes they feel like filler.

If you’ve ever seen Peter’s work, then you have probably seen this peek. It is very easy to do, and it has some really great and subtle dual reality built into it to make the peek seem even more impressive to those watching.

Envelope Peek - A billet is written on and placed in a small envelope. The small envelope is placed in a larger envelope. Despite these test conditions, the performer knows the thought.

I would consider this a pretty classic approach to an envelope peek. There are some small subtleties in the beginning which help to sell it, but I wouldn’t say there is anything revolutionary here. If you’ve never done an envelope peek before, then this will definitely be of value to you because it is a nice take on a classic technique.

Book 3: Blurred Reality

This book about using subtle dual reality to accomplish a mentalism effect.

The Book of the Fallen Version 1 - This is meant to be performed on stage. Two spectators select a random word from a dictionary, write it on a notebook, and cover their words with a sticky note. A third spectator is asked to select one of those words. The performer reads their mind.

This is a very clean “double blind” mind reading demonstration for stage. The method is simple and very effective with just the right amount of dual reality to prevent anyone from discovering the method.

The Book of the Fallen Version 2 - This is meant to be performed close up. Two spectator think of words and write them on a blank business card. These are passed to a third spectator who chooses one and creates a totally new word based on the first. You very cleanly read their mind. You are then set to read their mind again in an even fairer manner.

I absolutely love this routine. The first time I saw it, I was just giddy. It has so many clever nuances built into it, and the structure is so good, it would be very difficult for spectators to deconstruct the routine. My favorite aspect of the routine is that it leaves you with an additional piece of information that you can use later on in the performance to give yourself an incredibly strong moment of mind reading. I love everything about this, and I think this collection of Peter’s “best of” material would have been incomplete without this. Don’t sleep on this one!

Trust Your Instincts - A deck of cards is borrowed and placed on the table without the performer touching it. A spectator comes on stage and generates a playing card in their mind. Another spectator names any number. The card and number are said out loud. The spectator deals through the deck stopping at the selected number. The card at the chosen number is the very card the first spectator thought of.

When I think of Peter Turner, I often think of this routine. It is bold dual reality combined with bold pre-show combined with a bold wrap up to create one very strong (albeit bold) ACAAN. This isn’t something you’ll do at every gig, in fact, even Peter admits this is something he mainly uses to fry magicians at conventions; so don’t read it wanting to know your next practical routine. Instead, read it as a demonstration of how far you can go to make something more impressive. I did notice a subtlety in here that I don’t think has been published before. Peter shares how he “tests” the spectator to be sure they are going to do as they must for the routine. This is a great touch and should allow anyone to perform this with confidence.

Book 4: Drawing Duplications

The Almost Perfect Drawing Duplication - A stack of billets is introduced. Some billets have drawings and ways to think of the drawing and some have the words “think of anything” in which case, the spectator decides what to think of. They select a billet secretly. The performer is then able to reveal incredible details about the spectator—things the performer should never be able to know. And eventually, he is able to reveal their drawing despite them choosing a “think of anything” card.

This is one of my all time favorite Peter Turner creations. It absolutely deserves a spot in this “best of” series. There is some “blurred reality” used here, but the impression it creates is unbelievable. It appears to be the fairest drawing duplication ever, and the ability to reveal literally ANYTHING you want about the spectator comes as a nice bonus. You have to be careful with this that you don’t over abuse the power. The key to this is restraint. It’s so good, you’re going to want to use it to reveal everything. Keep it subtle and keep it minimal and you have a show stopping piece without explanation.

Simon Says - This is a drawing duplication for stage under test conditions. Someone comes up on stage, makes a drawing on a whiteboard, and wraps the whiteboard in a newspaper so the performer can’t see it. Yet, the performer is able to duplicate their drawing with ease.

This is one of the first routines Peter published. It allows for a very clean and test condition drawing duplication with hardly any work on the performer. There is no peeking of the drawing, and there is no forcing of the drawing. The spectator can literally draw anything they want, and they can draw it all the way across the stage while you’re blindfolded or even out of the room. Yet, you can duplicate it. This uses some blurred reality but in a way that sort of flips it on its head. Unlike most dual reality, in this routine, everyone receives the exact same effect at the exact same level of power. It’s really a great routine for stage.

Abstract - This is a way to psychologically force a drawing on someone.

Unfortunately, this force is explained at the end of the Simon Says routine even though this has nothing to do with the Simon Says routine. This is one example that I mentioned at the beginning with the formatting errors. I’m sure this was meant to be on its own separate page instead of tagged at the end of Simon Says.

Abstract Association - This uses the method from Abstract and adds to it to bring multiple people into the mix. If all goes well, you can describe three people’s drawings all without anyone every actually drawing anything down. It’s almost like a game of telephone played with drawings.

This whole routine is based on the psychological force of the drawing. If that force fails, this entire routine fails. Peter provides an “out” in case the other drawings fail, but even the out relies on the first psychological force hitting. That said, the psychological force should hit very consistently, and the out described is a nice way to get out of trouble if the other volunteers don’t quite follow along as they should.

Book 5: Mentalism With Numbers

A No Brainer Calculation - Random numbers are added up, yet the total is predetermined.

This is an explanation of the TOXIC force for a calculator or smart phone. It is a generic explanation which also details a little of its history and how Peter came to know it. It’s important for this to be explained because the next two routines rely on this force.

An Educated Guess, I Guess - This is a “Wisdom of the Crowds” idea. Everyone guesses how many jellybeans (or lego pieces or whatever) is in a jar. These guesses are averaged, and incredibly, the wisdom of the crowd holds true because it perfectly matches the exact number of items in the jar.

There is a clever addition to the TOXIC force here which allows the final number to be determined on anyone’s phone. This little subtly really adds a lot to the routine. Be aware that no mind reading or clairvoyance is being shown in this routine. No “power” is being demonstrated unless you consider the power of crowds to be what’s on display.

Serial Killer - A borrowed bill is sat off to the side. Spectators take turns guessing important numbers from the performer’s life. These are added along with random numbers to get a random total. This total matches the serial number of the spectator’s bill.

You know most of the method already, but there are no bill switches here which is nice. The presentation creates some nice moments where it seems you read their mind to determine if they are correct in their guesses or not. It creates a more playful and meaningful flow instead of merely asking everyone to add random numbers.

Missing In Action - Four spectators generate a random PIN together. They first each generate a random number and think of any single digit within that random number. If the four spectator’s numbers were put together, it would be a four digit number like a PIN. The performer then writes down what he believes the PIN is. Amazingly, he is one hundred percent correct.

This is another routine that really piqued my interest the first time I saw it. It’s a clever adaptation of an old Harry Lorayne idea. This routine DOES NOT use Toxic. Each spectator really does create a random number and each spectator really can think of any digit from within that number, yet you will know what it is. The justification in the routine makes complete sense for everyone watching and only goes to show how random it is. The only “problem” with the effect is that I have actually tried to perform this before, and it is quite difficult to do the necessary work four times back-to-back in the moment. It will most certainly take some practice. If you can get it down, you have a great any time, any where PIN divination.

Book 6: Esoteric Mentalism

There’s No Such Thing as a Stupid Question - This is an essay on the Q&A plot specifically related to Q&A in close up conditions. It discusses how to get into a Q&A routine, how to naturally narrow the questions to three categories, a good place to find inspiration for readings, a really nice audience polling which is done very subtly, how to revealing a thought with the invisible person technique, using a billet to reveal one question, getting a free reveal of a question, and how to leave them with one question to make them think deeper and find the meaning.

In essence, you are getting Peter’s entire closeup Q&A routine. It is broken up a bit and it is very conversational in tone which could lead you to miss the fact that this is an entire routine being built from the ground up. It is a very nice closeup take on the Q&A, and there are some really worthwhile thoughts here. This was one of the books that makes references to things that don’t exist. For instant, the book references a volume on zodiac mentalism which isn’t a book in this collection. The book also mentions this is in a chapter on propless mentalism even though this is in a book on esoteric mentalism. It is clear the writing was cut and pasted from past releases and wasn’t double checked to remove references which only relate to previous releases. I found that rather frustrating.

Getting to Know You - The performer is able to ascertain a selected playing card, and give the spectator an in depth reading.

This is a very simple way to give yourself a lot of information about how a spectator views themself. It does require you to use cards, but what you will gain from this is a information which you can recycle into a reading long before you reveal the selected card.

Additional Three Phrase Reading Idea - This is the same as above, but you give a reading based on their past, present, and future.

Two readings for the price of one. The final reveal isn’t even a reading, instead, you allow the spectator to make their own inferences about their future based on what they learn about the meaning of playing cards as an oracle.

Added Drawing Revelation/Reading - This is a small subtlety to add into the reading which allows you to predict a thought of drawing which is used to give a reading to the spectator.

This is a great example of restricting without seeming restrictive, and the reveal is cleverly hidden so that if you don’t hit, the spectator will never know that you attempted to predict the drawing. The process is quick and easy and over before it starts.

A Few Examples of Readings - These are two examples of how to give a reading based on the drawings.

Not too much to discuss here; there isn’t much explanation, instead, the book lays out how Peter would give a reading for two of the drawings to draw from as inspiration.

Additional Ideas - This is how to apply objects other than playing cards to the “getting to know you” concept.

In this section, there’s a brief discussion on using tarot cards, ands then Peter goes pretty in-depth into a method for doing this with coins. If it were me, I would prefer the playing cards over the coins, but I think this chapter is really here to appease those mentalists who refuse to use cards in their work. It shows that the concept can be applied to many objects.

Additional Coin Idea - This is another small idea on how to use coins to get a hot reading.

Really this is more of a presentational idea. There isn’t too much method to be discussed because the presentation is the main point with this particular article.

Book 7: Psychological Effects

Hidden in Plain Sight - This is a lovely discussion on how to safely begin implementing psychological forces into your repertoire without being worried about failure.

I really believe this is one of the best tips in the collection. It is a very small rouse, but it allows you to confidently make a prediction of a psychological force, and if it doesn’t hit, the spectator genuinely will not know you failed, and you will be ready to go right into your next effect. It will take some thinking for you to know how you will apply it, but I love the fact that it will give any one the much needed confidence to pull off a psychological force without fear of failure.

Wish You Were Here - This is another classic Peter Turner routine. The spectator thinks of a scene and you are able to predict it or describe it.

This is a very strong psychological force which has a very high success rate. I have used it in the past, and although it did fail on me once or twice, it succeeded far more often. It’s fun to do this type of mentalism because it feels so real. This article also discusses some great ways of having a prediction without having to worry bout failing. Similar to the previous article, except this concept could even be applied on stage. There’s also a new idea shared here that I don’t believe Peter has ever shared before. It toes the line between magic and mentalism, but it makes for a shocking visual revelation of the location.

Monkeying Around - Zodiac Anagram - You might think this is a zodiac anagram, but in actuality, this section is a brief essay on what bad anagram work looks like, and then it is a presentation-only of Peter’s star sign anagram. The script is there to show what a good anagram process looks like.

This is another section which references something that isn’t relevant to this collection of books. It references Volume #2 on Readings. There isn’t a volume about readings in this collection. This is another clear incident of cutting and pasting without reading to eliminate references to other works.

The Anagram - As the name suggests, this is the actual anagram from before that will reveal a spectator’s star sign. If you know Peter’s work, I’m sure you’ve come across this before. It’s practical and very easy to remember.

This section explains the anagram and then dives deep into the performance from the previous section to explain how Peter erases the “no” that may come up. The way the script is constructed is marvelous, and it should really be studied before attempting to perform it. The way Peter has built in a way to erase any “no” is quite smart and certainly adds to the deceptiveness of the anagram. If you want to reveal a star sign, I really don’t think it gets much better than this.

Book 8: Propless Mentalism

This is there longest book in the collection!

Propless Philosophy - This book opens with a 20 page long essay. It discusses what counts as propless, why you may want to include props in propless reveals, using framing to make the process make sense, a story of showing someone propless mentalism in a magic shop and getting offered a gig and how Peter declined the gig, but added to the guy’s experience of mentalism in general, why using electronic devices is lazy, and a story of an actor saying cruise ships are an actor’s last resort, so why do mentalists WANT to do it? This last point is to say social mentalism is okay and acceptable.

Does that sound like a lot to cover in one essay? It certainly is. There are a lot of tangents and side comments that lead to interesting places, but there is value in everything said here. Peter demonstrated that framing can be used to make selecting a card seem more fair than just thinking of one, and similarly, framing can be used to make thinking of a card seem more fair than picking one. He also shows how framing can be used to make a card reveal can show that you could have revealed a PIN. All of this is a great example of why scripting is of the utmost importance.

A Nifty Introduction - This is a short and sweet routine where a spectator guesses a name you have written down. It’s quick and straight to the point.

This is another routine that caught my eye the first time I saw it. It’s hardly any process, the process is over so quick, and it sort of cleans itself up. It isn’t 100% surefire though. Thankfully, Peter explains why it doesn’t matter if it fails. In fact, the scripting even sets you up for the failure so that you will be immediately ready to go into your favorite billet peek right from the beginning. It’s a great opportunity for those who are interested in dipping their toe into propless mentalism without feeling like they are on the high wire without a net.

Guess Who? - The spectator thinks of a name in a random way, and the performer guesses it.

This is yet another brilliant Peter Turner effect that I loved from the beginning. If memory serves me, it was originally used in Isabella’s Star 3 as a very small part of a much larger process, but on its own, it can be just as effective. The justification is clever and serves as a wonderful example of great framing as discussed in the first essay of this book. Three versions are taught: one-on-one, with a playing card, and with three people. It’s also quite fun because the book performs the routine on the reader before explaining the workings.

The Phantom Dictionary Test - The spectator creates an imaginary diction and thinks of a word from said dictionary. The performer reveals it.

This is another routine of Peter’s that I’ve always enjoyed. However, as it is written, I have found it to be a bit untrustworthy as a force. Phedon Bilek has a wonderful variation on this in Orion which covers all of your bases making it a bit more reliable. The good news is, if you don’t have Orion, even Peter has discovered that it is better suited for multiple outs instead of one guess, so he includes a variation which allows you to revealing the chosen word on your phone. In this variation, you will hardly ever miss.

A Little Cheeky Essay/Effect - This is an essay about how Peter once had a woman following him around at a gig and didn’t believe what he was doing. To convince her, he uses Guess Who on her to make her a believer. It shows the power of using propless material at the right time. After the essay there is an effect that allows you to reveal a thought of card ands a thought of name.

The essay is quite cute, but the effect that is taught is very powerful. I’m actually happy Peter hid it at the end of an essay, because I have used a variation of this routine in my stand up show with great success. It is a clever way to implant a name into someone’s head without anyone being the wiser. There are some additional touches here that I haven’t seen taught elsewhere which wrap it up nicely and practically guarantees the method won’t be unraveled.

Book 9: Hypno Mentalism

This is a book focusing on tricks that appears to hypnotize your spectator without any real hypnosis taking place.

IPI: Instant Pseudo Induction - You apparently cause a spectator to fall into a deep hypnotic trance easily and reliably.

This is a wonderful pseudo induction that is guaranteed to work. It uses some clever wording and staging to ensure the spectator will appear to enter a trance as the performer simply waves his hand in front of their face. It is easy as can be, anyone can perfect it immediately, and it look impressive to all those who watch it. Of course, the spectator doesn’t actually enter a trance, although they COULD but that’s not the goal, the goal is simple to make it appear as if they enter a trance.

Ambidextrous - The performer causes a spectator to go from left handed to right handed with verifiable proof. This hypnotic effect will last a lifetime.

I quite enjoy this. There was a routine by Fraser Parker many years ago called “A Change of Belief” which apparently caused a spectator to go from an atheist to a believer or vice versa. I also liked the idea of that effect, but never felt comfortable with the method or the content. This is a great solution. One of the nice things about the routine is that the set up for the routine takes place during a previous effect, so the distance between the hypnosis and the set up creates a real time delay that would be difficult to backtrack. The workings itself are simple, and the effect is very strong. I particularly liked the story Peter describes as his inspiration for the routine. That story actually contains another brilliant idea for all stage hypnotists (or even close up hypnotists) out there who are having an off night or a bad subject. I will remember this story. It is the perfect out for those scenarios.

Robin Hood - The performer finds a skeptic in the audience who doesn’t believe in hypnosis or mind reading. The performer then places them into a trance and suggests they give him all of their possessions. The skeptic obliges without any hesitation. The performer is then free to read their mind, utterly convincing the skeptic (and the audience.)

This couldn’t be simpler in terms of methodology, but the result would be shocking for an audience totally confirming your “powers.” The difficulty with a routine like this is that it takes real guts to pull it off. You must be brave, be bold, and be 100% confident. If you’re wanting to use this to prove your bully wrong at school, think again—this isn’t that type of routine. If takes a skeptic who is willing to corporate to pull this off. In other words, it takes a skeptic who is willing to test it, and not just a belligerent idiot trying to “prove” you are fake.

Plain Sight & Sound - Long story short, this is an ingenious method for cuing a spectator on stage, in front of everyone, without anyone being the wiser.

This only works in a stage setting where the performer would have a microphone for amplification. This isn’t necessarily the most practical idea, but if you have a long run in a particular theatre or performing venue, then you may be able to pull this off. The advantage it gives you is the ability to get your hypnotized subject to do absolutely anything you need or want them to do.

Book 10: Misc Mentalism

Life With a Unique Twist - A spectator generates a random number, and the number happens to be the PIN of the performer’s phone which is proven by the spectator unlocking the performer’s phone.

This does not use TOXIC like some of the previous routines. Instead, this uses an organic mathematical forcing method. What Peter has really added to this is the concept of the number unlocking his phone. There are a few factors in this which can cause it to work or not work, but Peter provides an idea which allows it to always work with a simple adjustment. Amongst the explanation for this routine, there are a couple of ideas briefly discussed which would allow you to very fairly reveal someone’s star sign. It takes careful reading and reading between the lines to put it all together, but with some thought, anyone would be able to find the value in these ideas.

The Broken Heart Out - The performer is able to predict literally anything a spectator could think of—anything at all (or read their mind to reveal it.)

That description may sound a bit bold, but that is exactly what it allows you to do. It is based on several subtleties which create the impression that you genuinely knew the thought from the very beginning. This is another idea that I loved the moment I read it originally. It is clever and it is very organic. The additional touches completely negate the very method that you actually are using. It won’t be for everyone, but it should be considered at length before tossing the idea aside. This is also a great way to practice building up your real intuition.

Which Hand Serial Divination - A which hand effect is performed with a borrowed bill. After the which hand portion, you are able to reveal the serial number on the bill.

It’s important to note this is only teaching a way to switch a bill in the context of a which hand routine. There is no which hand routine revealed, and there is no real explanation of what to do with the serial number. All of that is up to you to figure out. The bill switch will work, but I’m afraid it may be too transparent.

Simple Yet Psychological - This is Peter’s ESP card matching routine. The performer and the spectator have five ESP symbols. The performer always lays down his card first. Then the spectator lays their chosen ESP symbol beside the performer’s. Along the way, the spectator thinks of an image. At the end of the routine, all of the ESP symbols match and the thought of drawing is revealed in UV ink on the back of the cards.

As the name says, this is simple and psychological. This is an approach to the ESP matching effect that doesn’t utilize mechanical methods, but rather, uses real psychology to actually do the trick for real. I have performed this in the past, and I was giddy to find just how successful it actually is. Don’t worry though, even if things don’t go perfectly as planned, there is a very simple solution so that everything will be correct in the end. The only aspect that isn’t guaranteed is the drawing. Odds are high that it will hit, but if it doesn’t, no one will know that was even supposed to be part of the routine. This is a fun one to play with. I highly encourage everyone who picks this to try it out.

Two Person Telepathy - One spectator thinks of a random image and one thinks of a random name. The performer has able to divine both with incredible accuracy.

This is something I haven’t seen before! I’m not sure where it was originally published (if it was) but I missed it. The routine itself uses one ahead (and there is a very nice subtlety taught at the end which adds a ton to the one ahead) but the real value is in the psychological force! It seems virtually guaranteed to hit. It worked on me as I read it, and I imagine it will work on 95-99% of the people you try it on. What’s really clever is how Peter has routined it. Getting them to think the right thing is one thing, but hiding it in such a brilliant way is what makes Peter Turner one of the best minds in mentalism. This is my favorite piece from the entire collection. Don’t sleep on it because of its simplicity. The scripting and routining make it absolutely beautiful.

That concludes this very in-depth look at The Legacy Collection by Peter Turner and Ellusionist. Here’s the thing, if you have everything Peter has ever produced, you won’t learn much new material here, but hopefully you will be re-inspired to read it in this new context. There are several routines that made me think, “Oh yea! Why did I ever stop doing this?” My favorite thing about this is simply having all of Peter Turner’s best creations in one place. If you don’t have Peter’s previous releases, or you have very little, then I can guarantee you will find material in here that will amaze you and make you excited to get out there and perform. This truly is the best of the best. Plus, as a bonus, the set is gorgeous and feels like it was made to last. It has already found its place on my bookshelf, will it be on yours?

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