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A Professional Routine for Advanced Thinkers In the past, great mind readers such as Charles Foster, Bert Reese, Al Baker and Ted Annemann, have used nothing more than three pieces of paper and three envelopes to make headlines and create awe in their audiences, Now, YOU will be able to do more than just apparently reading minds; you will seem to actually control them. EFFECT: Ann audience member is told to think of three pieces of information that could not possibly be known by anyone present. He writes them on three separate slips of paper, folds them and seals each inn it own
psychically electrocute the subject with 10,000 volts! you never touch the subject and he's not harmed in any way, but by a mere glance the subject is thrown from his seat. again the audience is racked with laughter and you reveal the second piece of information as well as where it's hidden. Finally, by pure mind reading, you expose every thought the subject has left.
People from the audience think of different things three volunteers could do on stage. This suggested tests are written on slips and sealed, by the audience in three envelopes.
But getting the information is only half of this remarkable routine. The presentation brings this effect into stardom. The spectator now assumes the role of a captured spy and you his interrogator. By using a psychological technique you break the subject down until he can't speak! Amid the laughs of the audience, you reveal where the envelope with the information is hidden and what that piece of information is.
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Using the same method as in the above routine, you're able to control the thoughts of three people on stage.
The envelopes are hidden in different locations on the subject's body, such as in his pocket, his wallet or even the tip of his shoe!
The spectator seals the envelopes himself, and can even check to make certain the slips are untouched before he seals them.
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Special Bonus Routine:
EFFECT:
The are no impressions or gimmicks of any kind. There are no one-ahead moves or dummy billets. Just three slips of paper and three unprepared envelopes. Everything can be borrowed.
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This is a quality act that has kept audiences amazed and amused for years. But there's more!
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The stunning fact is, at this point you already know what's written on every slip - AND WHERE THE ENVELOPES ARE HIDDEN!
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The three volunteers concentrate and are able to perform the acts written on the papers! One person may be running in circles squawking like a chicken, another may be skipping through the audience. And the last volunteer may be singing an aria like a famous tenor! Whatever the audience thinks, the volunteers do! It's an amazing act that few if any other mentalists are doing. You can earn a reputation with some borrowed paper and envelopes when you know this secret.
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The new Number 2 Dace Co. - P.O. Box 546022 Bal Harbour, FL 33154 - docc@docchilford,com
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What is Real Time Mentalism? Mentalistic effects are only entertaining if they're shown to someone. There are hundreds of fine effects designed for stage, stand-up or close-up 'situations, but few that can be performed without the necessity of any special props or set-ups. Swami gimmicks, nail writers and peek wallets can be forgotten on the dresser and our best pieces never get seen by anyone. An unprepared performer cannot perform most of the effects available, and so, often doesn't perform at all.
Copyright© 2005 Docc Hilford First printing Docctober, 2005
No portion of this book or original illustrations can be reproduced in any manner without written permission of the copyright owner.
Docc Co.
If an effect is Real Time, it doesn't require any gimmicks. Of course, gimmicked methods may be slightly easier to use, but Real Time Mentalism™ provides alternate techniques. It is left up to the performer whether he or she will use a special gimmick he or she has ready, or entertain with nothing more than borrowed items at hand. Real Time Mentalism is truly 100% impromptu. This is great for those who want to read minds, influence thought or generally chill any audience at a simple request. This series of effects that I'm releasing as Real Time Mentalism" include several tricks that can be preformed "on the fly", that is, without special preparation or special gimmicks. Some require more than one spectator or a few borrowed items, but all are designed for use in everyday situations. They're all tested in front of real people by myself as well as a handful of professional mentalists before they're released to you. As with all of the effects I publish, these are original and strong. I hope you use these effects. That's what they're meant for.
r.o.aox 546022 Bal Harbour, FL 33154
[email protected]
2
Docc Hilford 3
Welcome to the world of billets and envelopes. For those unacquainted with this terrain, it may sound simplistic, but within that simplicity lies true beauty.
This routine is ready to be dropped in to any show. It builds with comedy and ends with strong mind reading. I've been offered $500 to write up the routine and allow one performer exclusive rights. It's that good. You get it for 93% off that price.
In this wonderful place a person can borrow a few pieces of paper and a couple of envelopes and apparently read minds. There are no velvet bags, chalkboards or decks of cards; just billets and envelopes.
I've described every move, even simple billet switches. How to finger-palm a billet is explained, not because I think that you don't know how to do it, but rather to make certain that every detail is explained. Nothing is left out.
This world has been well explored over the years. Such voyagers as Charles Foster, Bert Reese, Al Baker and Ted Annemann have charted paths that lead to success here. Con- . temporary travelers have discovered short cuts and alternate routes. Al Mann was my friend and personal guide through this marvelous land of mind reading.
But that's only part of the value you have here. I'm happy and excited to share a completely new routine that will set you apart from all other mentalists. When you read the routine, you'll understand why. This is a bonus routine, included free. 'Those who learn this system will have a Real Time Mentalism" piece that will make a reputation for you.
Years ago, Al wrote and published a very good manuscript on Al Baker's Three Pellet Trick. In it he updated the moves so they were easier onthe mentalist. He combined a two-ahead principle with the billet switch. It was very good, but I wanted to have all three envelopes sealed before any revelations were given.
Enjoy. Docc Hilford - Docctober, 2005
He and I spent quite some time going over my improvements on his essay. He liked my new approach. Al was also a big fan of Bert Reese and Bert's mentor, Charles Foster. I included bits of business from both men in my version of the pellet trick. Al saw the potential of this combination. Plans were made to publish the new version, but sadly, Al passed away before this, as well as a few other projects were finished. What follows is the routine I worked out after doing Al Baker's routine, then learning Al Mann's version. I still perform it. There's a lot of theatrics in the routine; something not provided by any of my predecessors. 4
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Err~ct: A spectator plays the part of a captured spy. He writes three different pieces of secret information on three separate slips of paper. Each paper is folded and sealed in an envelope. The spectator places the three envelopes in different places on his person, for example in his pocket, in his wallet or even in the tip of his shoe!
"For those of you who may not realize it, I should point out that a very special guest is with us tonight. In London, he's known as an international jewel thief, though now reformed, an accomplished gambler in Monte Carlo, and a cold-blooded spy in Istanbul. I'm certain he'd come up and assist me if you made him feel welcome. So please, a little encouragement for a superlative secret agent and consummate flamenco dancer. Alfred Baker!"
The mentalist plays the part of an interrogator. He wants the information and undertakes to discover both where the information is hidden, as well as what each secret is. He uses three different methods of interrogation, including hypnosis, electrical shocks and brain washing!
Alfred Baker was anything but the types John had described. A fun loving, but small man, Alfred was better known for his obvious sense of humor than for any hidden talents. Alfred stepped forward amid applause and laughter from his friends.
The audience is amazed that the mentalist. gets all the information through psychic abilities.
."Please have a seat, Alfred," John suggested. Alfred got comfortable, knowing full well that John had some devilish plot to entertain the revelers, possibly at his expense. John stood at the left between Alfred and the little table.
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The ballroom was a tapestry of tuxedos, evening gowns and martini glasses. Everyone was having a marvelous time. Sir Edrnund.Allemann, the party's host, approached John Drake, "John, be a sport 01' man. Can you perform some of your ingenious mind tricks for us?" John Drake was well known for his ability to entertain by apparently reading the thoughts of others. With a smile he answered, "Certainly, Sir Edmund. It would be my pleasure." He handed his martini glass to one of the lovely women present, grabbed a chair and asked for a small table to be set to its left. The partygoers gathered round the table, the chair and John. 6
John addressed the group, "Since we're exposing our secret identities tonight, I may as well confess that I am an agent for the international think tank known as The Village. I have developed a three-stage system for breaking down a man's mind so he'll reveal any information, no matter how personal or important. Because this system can truly only be tested on a mind that is as astute and razor sharp as yours, Alfred, I've asked you to assist me." John removed three envelopes from his inside jacket pocket and showed them around. "Alfred, here are three envelopes, each containing a folded slip of paper." John returned two of the envelopes to his pocket and turned the remaining envelope mouth down over the table. His fingers popped the mouth of the envelope open and a single folded slip fell onto the table. John picked up the paper and opened it, then showed it to Alfred and the partiers. 7
"Each slip is blank now, but in a moment I want you fill them in with information known only to you." John placed the open slip against the envelope and took out his Monte Blanc,. "For example, on this slip I'll write the word CODE at the top of the slip and then put three short lines across the middle." He handed the pen to Alfred and let everyone see what he had written on the slip. "You must devise a three digit code number and write it on the paper." John handed the paper to Alfred and turned slightly.away. He held the empty envelope near his eyes so he couldn't see anything Alfred wrote. "It can be any three digit number, as long as it's known only to you. When you've done that, fold the slip and hand it to me." John turned to face Alfred as Alfred finished folding the slip. John carefully slid the folded slip into the envelope, pushed the flap down and set it on the table. He took his pen back and said, "Very good. Let's do another, shall we?" John took a second envelope out of his pocket, opened it mouth down and with the aid of his wiggling fingers droppeda second folded slip on the table. He opened the new slip and began to write something. "This time I'll write the word, CITY on the top of the slip along with a line in the center." John showed the open paper with the word CITY neatly printed across the top and handed it, followed by his pen to Alfred. "Please write the name of a city where you'll meetyour contact." John turned away again, blocking his vision with the empty envelope.."When you've written the city, fold it and hand it to me." .
John took the pen back, retrieved the last envelope, dumped the slip on the table, opened it against the envelope and began writing. "This time I'll write the word, NAME on the slip." He showed everyone the slip with NAME printed on it as well as a bold line in the center. "The name is that of your contact. Of course, it can be anyone's name, but for our experiment, please make it a name of a personal friend." For the final time, John turned and shielded his sight with the empty envelope. Alfred filled in a name and refolded the paper. John took it and everyone watched him carefully place it in the envelope. After closing the flap to the third envelope, John held it up and said, "Here is the name of Alfred's contact, safely concealed in the envelope." He picked up one of the envelopes from the table and added it to the one in his hand. "Here is the name of the city where Alfred's contact can be found. "John picked up the remaining envelope from the little table and added it to the other two. Holding them like a fan, John said, "And the secret code known only to Alfred. In a moment, Alfred will hide these envelopes on his person. Then no one will know exactly where the information is hidden, or what the specific information is.
Again, John' turned and took the folded slip from Alfred. It was carefully placed into the envelope. John even turned the envelope toward everyone so they could see it slide into its hiding place. John placed it on top of the envelope already on the table and said, "Now, the most important piece of information." 8 9
"In fact, we'll mix them so nobody knows where the information is hidden." John moved the envelopes from hand to hand mixing them. He handed one envelope to Alfred and told him, "Here, raise the flap enough to lick it, then seal it closed. But before you do, take a quick peek to make certain your paper is in there." John waited for Alfred to finish sealing the envelope' before he gave him his next instruction. "Tastes great, doesn't it? OK, fold that sealed envelope in half and put it on the table. Alfred did as instructed. When be finished, Jolm gave him another envelope to check, seal and fold in half. This was also placed on the table. The last envelope was checked and sealed by Alfred, folded and put with the other two on the table.
"Mix those around for me, will you Alfred?" Alfred moved the folded envelopes around until no one could be sure which envelope held what slip of paper. John Drake reached over, pick up an envelope from the table and handed it to Alfred. "Here, my friend. Hide this one in your wallet." Alfred complied then returned his wallet to his jacket pocket. 101m handed ~other envelope to Alfred. He was told he could place this envelope in any pocket he wanted. This second envelope was secured in Alfred's tuxedo breast pocket, under his handkerchief. John suggested Alfred pick up the remaining envelope and hide it somewhere special; in the toe of his right shoe! After the group of partiers quit laughing at Alfred Baker stuffing an envelope filled with some sort of secret information into his shoe, John Drake assumed the role of a formal, polite, yet evil genius and addressed the company.
"Ladies and gentlemen. 1 am The Doctor, special agent for The Village. The man you see before you is the infamous secret agent, Number 6! He knows what no other man knows: the name of a special contact, the city where they are to meet and a secret code. "Number 6 wrote the information on slips of paper and sealed them in three envelopes. These sealed envelopes are hidden somewhere on his person. "1 have devised a three stage system of psychically extracting information from even the most iron-clad minds. Based on psychic experiments of the past, this method is quite stealth. The subject may not even be aware that he's revealing the information as he is mentally broken down. "The first stage involves direct attack on the psychological regions of the brain. The second stage utilizes electroshock directed to the spinal cord and, as unbelievable as it may sound, projected psychically. The final stage telepathically wipes the subject's mind clean of all information. Unfortunately, this stage often leaves weaker minds completed obliterated." John looked at Alfred who seemed a little concerned with the last statement. However, John reassured him by adding, "Of course, 1 fully expect a mind as strong as Number 6's, here, to survive. "We will begin with the first stage, psychological break down. Number 6, you must answer every question 1 ask with a question. Do you understand?" "Yes." "No, Number 6, answer my questions with a question, such as when I ask you if you understand, you reply, 'Who are you' or 'What do you want?' Now, do you understand?"
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"Why does it matter?" "Very good. The first experiment has begun. Are you ready?" Alfred paused and answered, "Who are you?" "Is the code three digits?" "What do you want?" Alfred had apparently thought of his question in advance.
"J want the information. Will you give me the information?" Drake asked. The combination of a statement and a question threw Alfred off, causing a pause. Drake repeated the question loudly. "Will you give me the information?!" "No, J mean ... what information?" The code you have written on the paper. It's hidden in your pocket, isn't it?" "Ahh ... where is it?" "The code is written on a slip, sealed in an envelope and hidden in your pocket! Remove it! Why did you hide it there?" "I'm... 1... you... " Alfred started laughing, although it was apparent to everyone that the process had broken Alfred down. "Remove the envelope from your pocket." Alfred took an envelope out of his pocket as John turned away from him. "Open the envelope and check the code. It's the code, isn't Number 6? Just as we said. Thank you, Number 6. We have the information. We know you've hidden the code in your pocket, but we also know the secret code. The code is 3 - 6 - O! The first experiment is completed. Tear the envelope open and reveal your secret." Alfred tore open the envelope, unfolded the slip and
showed the code written on the paper. It was, in fact, 3 - 6 - O! The envelope and paper were set on the table as J 01111 began the second experiment. "Number 6, I want you to focus on this dot." John took the pen and drew a black dot on the center of the back of a business card. He showed the card to the party, then held the card cradled in his hand. "Focus all of your thoughts on the dot. This will protect you, Number 6. We don't want to damage that superior mind of yours. Don't let your mind wonder from what you see on the card. "The second phase has begun. Three, two, one." John Drake put the card away and took a couple of steps away from Alfred. "Number 6, we want to know the city where you'll be meeting your contact. You must give me that information. If you refuse, you will get the impression of a surge of 10,000 volts through your body. Did you write the information down?" Alfred obviously didn't know what was expected of him. He didn't say anything. When Drake asked him again, "did you write it down?!" Alfred answered, "No." There was a moment of silence, then Alfred's feet slammed the floor and he bolted from his chair as if thrown. "Wrong answer, Number 6. We know you wrote the name of the city on a paper and sealed it in an envelope. The question is, where did you hide the envelope. I'm going to force the information from your brain, Number 6. It will be painful. Would you like to give us the information?" Alfred didn't answer, but a moment later, was thrown from his seat again. "Excellent. The envelope is hidden in your wallet. Perhaps you're ready to give us the city, Number 6." Alfred sat quietly.as if waiting for another shock. J olm Drake stared at him intensely. "Thank you for Number 6. The
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envelope is hidden in your wallet. Remove it please." Alfred took the sealed envelope from his wallet. "Another shock Number 6? No? Then relax. Mentally reveal the information I want. Think it, Number 6. Silently repeat the city. It's an American city. Very good. Avoid the terrible shock; think the city, Number 6. Ah, excellent. The city is Atlanta. You will open the envelope and expose the information." Alfred read the folded paper to the group and it indeed read, Atlanta. "There's only the name of your contact left. The sealed envelope is obviously hidden in the tip of your shoe. I'm going to enter your mind with psychic brain waves. Just sit back and close your eyes, Number 6. If you tense even a little, this process could wipe your mind clean." Alfred closed his eyes. John stood about five feet from Alfred; his fingers to his temples. John took a deep breath and said, "We have the information. We see your thoughts clearly. We know about every detail of your life. We know about your high school sweetheart. We know about the scar on your knee. And we know your contact is Charlie Foster!" Alfred almost fell off his chair. His eyes opened wide as saucers, for the name John Drake called was correct. Alfred took the envelope from his shoe, but before he could open it, John had handed him the other two envelopes and papers. "A round of applause for the strongest mind I've ever encountered, Alfred Baker!" The party clapped, laughed and went back to drinking. Jolm Drake returned to his place as the greatest mind reader ever to attend a party of Sir Edmund.
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First you'll need three envelopes, three slips of paper (approximately 2 Y2 by 3 inches) and a pen or pencil. These items can be borrowed so this routine is a very strong Real Time Mentalism" piece.
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The envelopes need to have their flaps bent back and forth a couple of times so they stand open when opened.
Fig. 1
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The slips are folded once each way, but in a special way. 1h The right side is folded to the left about 1/8 inch off. (See 1h Fig.1) The top is folded down about 1/8 inch off. This leaves a square tab 1/8"x1/8" at the billet's lower left corner. (See Fig.2) There are three billet moves that must be mastered before attempting this routine. They're not difficult, but must be mastered so they become invisible. Don't worry; the moves are hidden by the envelopes.
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folded corner goes into the envelope fist, which helps it not to get hung up. (See Fig 3.) Continue pushing the billet down against the envelope '5 edge, letting your fingers and thumb to slide inside and outside the envelope until your fingers hit the bottom of the envelope. Your right thumb hooks the bottom edge of the billet and pushes it up toward your palm. It should come free of the envelope and be in a position to be finger palmed. (See Fig. 4)
Fig. 3
l3illet Moye # 1 T~e Eaveloas Steal I've always credited Al Baker with this idea, although I can't find it in print anywhere now. (It's human nature, I believe, that after we use a particular move for many years and consequently forget its origin, we begin to remember that we invented it. Surprisingly, this is sometimes an accurate assumption.) Hold an envelope in your left hand with address side facing the audience and the mouth facing your right. Hold a billet in your right hand. Grasp it with your thumb and first finger by the single folded edge. Allow the billet to spring open tent fashion and as you insert the billet into the envelope, use the back of your right finger to push the envelope open. Let the side of the billet against your fingers go into the envelope while the side of the billet against your thumb remains outside the envelope. The lower right Fig. 4
Pull your finger straight out of the envelope. Keep the back of your hand facing the audience so the billet is hidden. .Hold the billet in place by curling your fingers slightly. Your thumb is free to push the envelope flap closed as your fingers move to the address side. The closed envelope is lying on top of the finger-palmed billet where it can remain safely hidden for as long as desired.
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This simple move will re-fold an open billet while switching it for a finger-palmed billet. Open an envelope, lay it on your left fingers and place an open billet (#2) on the flap side. Hold the billet with your left thumb on the billet's lower left corner (where the tab would be.). Hold a folded billet (#1) in your right hand with the tab corner up and to the left. Hold it by your thumb and first finger ONLY. (See Fig. 5) ALWAYS HOLD BILLETS LIKE TI-nS when placing them in the envelopes. Apparently put the folded billet (#1) in the envelope. As soon as your right hand is hidden by the envelope flap, bend your thumb and first finger so the billet moves down to a finger palm position. This is a smooth and easy move. Finger palm the folded billet (#1).
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Continue to apparently put the folded billet (# 1) in the envelope, but really use the back of your fingers to flip the right side of the billet (#2) closed. (Because the envelope and billet are at a 900 angle, you're really flipping the paper upward.) (See Fig. 6.)
You're now holding billet #2 at your right fingertips while billet #1 is finger-palmed in the same hand.. (See Fig. 7) The right thumb pushes the now folded billet (#2) into the envelope. Stop as the billet enters the envelope, hold it steady with your left thumb, remove your right hand (with the finger-palmed billet # 1) and show the billet partially in the envelope. What it should look like is
Fig. 6
Fig. 7
Fig. 5
The billet is already half folded. Pinch the billet (#2) with your right thumb and first finger at the upper half. Pull the billet to your right and free of your left thumb. Once it's cleared, immediately begin to push the billet into the mouth of the envelope. It will hit your left thumb, which pushes the lower half of the billet up and closed. Press the bottom fold of the billet (#2) with your left thumb, grasp the billet (#2) with your right thumb and fingers.
that you placed folded billet (#1) into the envelope, What you actually did was to fold the hidden billet (#2) and switch it for another billet (#1) that ends up palmed in your
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Begin with billet #3 finger-palmed in your right hand with the tab comer up left. (See Fig.8) You're holding envelope "C" in your left hand; it contains folded billet #2. On the table is envelope "B"; in it is folded billet #1. Under envelope "B" is envelope "A" and it's empty. Keeping the billet palmed in your right, hold open envelope 'C" in your left hand. While closing the flap with your right hand, secretly add the finger palmed billet to your left thumb. Do this by keeping the billet secured with your second, third and little fingers and reaching back with your thumb and first finger so as to pinch the billet. At the same time pull your other three fingers back and you'll have the billet held by your first finger and thumb only. Simply place with THE CORNER TAB
Fig. 8
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ONL Y under your left thumb and slide the billet over your thumb. The billet sticks on your left thumb like a thumb tip. A little pressure on the envelope and keeps the billet in place.
So take "B" with your right hand and slip it between "A" and the billet. Take "C", move it to the front and pick up "B" with your right hand. You should be holding both "B" and "C" , in your right and the billet is still press against "A" by your left thumb.
In a, moment you'll hold all envelopes with your left hand. Now, you've closed envelope "C" and added billet #3 to your left thumb. Pick up envelope "B" and place it behind and to the right of "C", As you adjust the two envelopes, your right thumb assists your left thumb in unfolding the billet like an umbrella. ' .J list press down into the corner fold with your left thumb and the billet will spring open. Envelope "B" helps hide the open bi Ilct. You look at the envelopes as you adjust them in a two-envelope fan and read open billet #3. Pick up "A" from the table and place it behind and to the right of "C". As your right hand places "A" on the fan, your right thumb lifts the bottom half of the billet and closes it. You finish folding billet #3 with your left thumb as your right hand takes envelope"B" and moves it to the back of the fan. Keep the folded billet #3 under your left thumb and slide "C" from between billet #3 and "A". Put "C" on the back ofthe fan. In your left hand you should now have billet #3 under your left thumb on top of empty envelope "A". Then "B", then "C'' all in a fan. You've read and re-folded billet #3 and it's ready togo into "A".
But before we do that, you should practice mixing the envelopes while keeping the folded billet on "A". Know you can take an envelope from the fan and slip under your left thumb for a moment. It can be slipped away just as easily without disturbing the billet pressed against envelope "A".
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Now just practice shuffling the envelopes about. The billet and envelope "A" will not move. The other two envelopes will move in front and behind "A" and the billet. This gives a great illusion of mixing all three envelopes.
When you've shuffled the envelopes enough, hand out "C" to be sealed. Demonstrate what you want done by opening "A" with your right hand. Your left thumb pushes billet #3 up and under your right thumb. This is hidden by the open flap. Tell the participant to open the envelope like you show him. Instruct him to lick the flap. Bring the flap to your lips as an illustration BUT DON'T LICK THE FLAP and 'gently slide the billet into the envelope. This easy move is covered by the misdirection of the participant licking the awful tasting glue.
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You can certainly put a funny lie in here about the taste of the glue. Some will be tempted to use a clever line they heard another performer say. I know I was tempted by a very funny line Bob Sheets uses in his Cards Across routine, but it's always best to use your own lines. And here is a situation where the comedy is move situational than verbal. It's just funny to see someone on stage lick an envelope. I personally stay away from risque lines about licking, although it may work for others. The participant has sealed envelope "C" and you have envelope "B" and "A" ready to be sealed by him. Later, the audience will remember that the participant checked and sealed each envelope himself, which he-did. 21
line written on it. (See Fig. 11) Slip #2 is open and in envelope B. Slip #3 is open and in envelope C. (See Fig. 12) The envelopes are in your jacket pocket with a pen and .there is a table and a chair for your participant. Pencil Dot ,
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For illustration, the slips will be labeled #1, #2, and #3 and the envelopes will be labeled A, B, and C. Envelope A is secretly marked with a pencil dot the upper right comer of the address side. Envelope B is secretly marked with a dot at the bottom center of the address side. And envelope C is secretly marked with a dot on the center left edge of the address side. (See Fig. 10) Slip #1 is left blank, folded and put in envelope A. Slip #2 has CITY and a line written on it. Slip #3 has NAME and a
Cit:y
Fig. 12
Invite someone to play Number 6. Introduce him as in the patter above; This starts the entertainment off as entertainment. It's fun. This line of patter also lets the audience know that the two of you will be playing parts in a little scenario. ' Now follow the rest of the introductory patter to introduce your character. Remove the envelopes and show the audience.
1
"Alfred, here are three envelopes, each containing a folded slip ofpaper. " Not really the truth, but it's important
2 Fig.11
3
that the audience believe that each envelope has a FOLDED slip in it. 23
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Return two of the envelopes to your pocket and tum the remaining envelope mouth down over the table. Use your fingers to pop the mouth of the envelope open, then wiggle them so the single folded slip (#1) falls onto the table. ALWAYS EMPTY THE ENVELOPE THIS WAY. Pick up the paper and open it; show it to the participant and the audience.
"Each slip is blank now, but in a moment I want you fill them in with information known only to you. " You've pointed out that all the slips are completely blank when you begin. This is important because apparently writing on the open slips will give you a reason to look at the billet and read the information. Place the open slip against the envelope and take out your pen.
"For example, on this slip I'll write the word CODE at the top ofthe slip and then put three lines across the middle. " You're training the audience to see you hold the open slip on the envelope as a desk and write on it. This is the real secret of this routine. Hand the pen to the participant and let everyone see what you've written on the slip. You've just proved each envelope has a folded slip, the slips are blank and that you have to write on them.
"You must devise a three digit code number and write it on the paper. " Hand the paper to the participant and tum away. Hold the empty envelope near your eyes with your right hand so you can't see anything the participant writes. This is good showmanship and because the open billet is secured by the flap and the envelope can be handled casually, it reinforces the idea that everything is as it should be. You also don't want anyone later claiming that you just watched what they wrote. "It can be any three digit number, as long as it's known only to you. When you've done that, fold the slip and hand it to me. " 24
Take the slip from the participant and do Billet Move # 1 - The Envelope Steal. It will appear as if you simply slide the billet into the envelope, but you will have billet #1 finger , palmed. Push the flap down and set envelope "A" on the table. Take your pen back, place it on the table and remove envelope "B" from your pocket. Turn envelope "B" mouth down and apparently use your wiggling fingers to open the envelope so the billet falls out. It should look exactly like it did with envelope "A", but in reality you let the finger palmed billet # 1 fall from your hand and the unfolded billet #2 remains in envelope "B". Open billet # 1 against the face of the envelope, careful not to flash the writing, and read the three-digit number the participant just wrote. Pick up the pen and act as if you're writing the word CITY across the top of the open billet, but don't let the pen touch the billet. Just drag the tip of your middle finger over the slip. Follow that with a false line drawn across the billet. Tell the audience what you're doing, then grasp the pen in a thumb crotch hold and use your first and second fingers, like scissors to grip the open billet #2 from inside the envelope. A light touch is required here. Show the audience billet #2 has CITY and a line on it and hand it and the pen to the participant. Close the flap over the open billet #1 and it's hidden and secure. While he writes the name of a city on the billet #2, turn away and hide your eyes with the envelope. Take the folded billet #2 from the subject and perform Billet Move #2- The Two-Thumb Fold-Switch, let the audience see the billet pushed into the envelope and close the envelope. Place envelope "B" on the table on top of envelope "A". Envelope "C" taken from your pocket and apparently the folded slip inside is dumped on the table. In reality, your fingers wiggle the mouth of envelope "C" open and finger palmed 25
You will get an equal amount of mystery credit with this clever dodge.
billet #2 is dropped from your right hand. Open billet #2 against envelope 'C" and act as if you're writing the word NAME and drawing a line beneath it, when actually you're reading billet #2. Remove billet #3 and hand it and the pen to the participant. Close the flap over open billet #2 and shield your eyes again. When billet #3 is completed and folded, take it and perform Billet Move #2- The Two-Thumb Fold-Switch, allowing the audience to see a billet shoved into envelope "C". At this point, you have billet #3 finger-palmed in your right hand. You're holding envelope "C" in your left hand; it contains billet #2. On the table is envelope "B"; in it is billet #1. Under envelope "B" is envelope "A" and it's empty. Perform Billet Move #3 - The Two-Thumb Umbrella Move. This enables you to read billet #3 and secretly re-fold it on envelope "A". Because the envelopes were thoroughly mixed by the participant, no one will know which envelope contains which piece of information- and even if they think they've followed the envelopes, when the information is removed, they'll be wrong!
Here is a real reputation maker for this routine. I adore extra bits of business without any additional work. Discerning where each piece of information is hidden is straight out of Bert Reese's bag of tricks. Because the audience believes that no one knows which envelope has which piece of information, you can hand an envelope to the participant with instructions as to where to hide it. Bert Reese did this with billets, telling people to hide the "there" or "over here" or even "in the tip of your shoe"! When he revealed a particular thought and then walked over to the drawer where it was "hidden", it made headlines. 26
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Because of the marked envelopes, the participant can mix the envelopes all he wishes. AL WAYS HAND THE ENVELOPES AND REVEAL THEM IN THE MEMORIZED ORDER. Don't try to allow the participant to pick any envelope and put it wherever he wants. You'll have to remember too much and experience has taught me, one tends to forget either where the information is, which information reposes there or even what the information is that was read earlier. Don't tax your memory, follow a memorized order. Hand out envelope "B" first and have it put in the wallet. Hand out "A" next and have it put in any pocket. This doesn't matter because if you forget which pocket, you just say ".. .in your pocket" and you'll be correct. And last give out "C" and, have it placed in the tip of his shoe. This order was designed to build in complexity of hiding places and to build in revelation; both climaxing with the comic relief of the tip of his shoe.
Everything is in place and now the play's the thing! Introduce the characters and give the set-up of why you're doing the demonstration. All of this patter is theatrical reasoning. It gives true reason, if not meaning, to your performance.
Reiterate what you're going to do, explaining your "three stage system". "We will begin with the first stage, psychological break down. Number 6, you must answer every question I ask with a question. Do you understand? "
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Here you want the comic play of getting the participant to answer "yes" so you can respond. In fact, this is based on an ancient chestnut for children's performers. The play is entertaining, but in this setting it becomes bizarre. The more the game is played, the more confidence the participant gets allowing you to trip them up more easily. Soon the participant can't help but become flustered and he'll begin laughing. It really appears as if you're playing with the participant's mind when he goes "ga ga". After the play of words has gone on for a while, hit him with the statement/question. "I want the information. Will you give me the information?" Drake asked. This trips the participant a bit and he will usually answer your next question honestly. After catching him, hit him with another statement/question. The code you have written on the paper. It's hidden in your pocket, isn't it?" He'll falter again as you continue battering him with statement/questions. The statement about the correct location of the envelope makes him mentally stumble. He has to think about your statement, answer with a question and do it in front of everybody. All this really looks as if his mind is breaking down. It's quite funny to watch. When you've gotten him to the point where he can't answer, he'll start laughing. You reveal where the code is hidden. This stands alone as a revelation, however, unknown to the audience, you've told him where to put envelope "B". It is ALWAYS in his pocket. Turn away from the subject, as if you have no further use for him. Instruct the participant to remove the envelope from his pocket and check its contents. Because the audience can't see what's written on the slip, you must have him verify that you're correct. You'll get your first bit of applause.
Follow the script and dramatically reveal the three-digit number. His response will be all the verification the audience needs.
The next phase ofthe routine is a version of the infamous and aged Hot Seat routine. I found, what I believe is the first reference to this trick in Stanyon' s around 1901. There are many good books on this routine explaining that it can stand alone as an excellent bit of entertainment, but combined with the mind reading in this routine, the result is a knock-out presentation. If you're not entirely familiar with the Hot Seat let me tip that it's all stage whispers, but don't let that scare you. You're not making a stooge of anyone. You're simply giving some stage direction that makes the presentation of the mind reading more interesting to the audience. The participant loves getting the laughs and the audience doesn't care about the method. I performed the Hot Seat for many years using children as well as adults and there is nothing to fear. Remember that you're reading minds here. The shocking of the subject is secondary. It's just theater. Here's how you cue the participant to help you out. Instead of whispering to him, you have the instructions written on a business card. I use a modified Out To Lunch principle to hide the writing from the audience. On the back of one card write: LET'S MAKE THEM LAUGH - WHEN I TOUCH MY NOSE, STAMP BOTH FEET ON FLOOR & JUMP OUT OF CHAIR!! Place this card on a stack of business cards. Cover the stack with a single card that's been cut short by 1/8". Put a rubber band around one end of the stack. (See Fig. 13.) When ready, draw a big dot on the center of the single card. Show it to 29
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the audience. Tum the stack toward you and act as if you remove the back card with the dot. In actuality, you grasp the stack with both hands, one at each short end, bend the stack and let the bottom card slip past your right thumb. This is easy because the back card is short. Now just grab the message card with your right hand and pull it free of the stack. Pocket the stack without letting the dotted card show. Cradle the message card in your palm so the audience doesn't see there are words written on it. The patter allows the participant to study the words while it appears as if he's simply looking at the protective dot. When you're certain he understands, look him in the eye and give a wink while pocketing the single message card. He'll smile which all seems perfectly normal to the audience. Tell the subject, "Number 6, we want to know the city where you'll be meeting your contact. You must give me that information. If you refuse, you will get the impression of a surge of1000 volts through your body .... The audience anticipates the shock, but never expects the subject to actually be shocked. This explanation also informs the participant what all the jumping is about. He now knows what game you'll both be playing. When you ask your next question, do so with authority. Because he was instructed to answer with a question earlier, he won't know how r-------." you want him to respond I secret I I I now. When he hesitates, I message '-JI look him in the eye and touch your nose. He should slam both feet on the floor and jump up. If he should fail to see your cue, simply
call him by name loudly and say, "I asked you a question, Number 61 You must give me that information. If you refuse, you will get the impression of a surge of 1000 volts through J:our body ..." and touch your nose again. I've never had anyone miss the cue the second time. Follow the scripted patter and shock him a second time. The audience response to the Hot Seat can be tremendous, but don't get carried away by their laughter. Two times is enough in this circumstance. You're a mind reader, not a comedy pickpocket. Reveal that the information is hidden in his wallet and have him remove the envelope. The audience is waiting for the third shock. For Americans everything comes in threes. Taunt him with threats of electrical shocks and finally reveal the name of the city, The subject verifies it as correct.
This phase is the most fun for me. We've had a lot of theatrical play in the previous phases, now it's time for drama. If you want the audience to remember you as a funny guy, then " ... always leave 'em laughing", But if you want them to remember you as a mind reader, then " ... always leave 'em stunned"!
In this phase, your personality gets to shine through the theatrics. You play the real mentalist. You claim to have total access to the subject's mind and back up your claim by revealing two personal facts about him. These, are of course, standard cold reading bits. There are many, many of these facts that seem personal but relate to everyone in print. Check out the writings of Nelson, Dante, Hull, Webster or Larsen for more than you will ever need. Just a taste is all you want because the big revelation is the name.
Fig. 13
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With a little showmanship and some timing, this final revelation should bring your audience to their feet!
Over the past nine years of performing this routine, many different variations have presented themselves. Here are few of the successful variants.
If you don't mind having to carry a small prop, you can eliminate Billet Move #3 where the last billet is opened, read and re-folded. The move is cut down to simply shuffling the envelopes and finally slipping the billet into the empty envelope (as described above). Because billet #3 is the unknown billet in this version, you must have the name written on billet # 1, the city is still on billet #2 and the code on billet #3. This way the code is what 'you'll not know. The order of revelation is the same. In this version, the code is not openly revealed, but rather the three numbers are apparently written on the outside of the envelope. The participant announces his code numbers and you secretly write them on the envelope with a swami gimmick or nail writer. For me this is a little cleaner than having to read and remember all three billets, but I prefer NOT having to have a swami gimmick with me. It's a trade-off.
published a magazine for mental performers called The Mentalist. He knew more about mentalism than 90% of the professional mentalists I know. He knew his stuff! Jack marketed an effect entitled, Probe. There were three tests. Two of them very clever number and picture tests and the third a word test. The buyer was supplied with an ungimmicked paperback book. The subject selected any word from any page and the mentalist attempted to reveal the chosen word. But that's all he did... ATTEMPTED. Because the word test was a planned failure, a ploy seldom seen today, but a strong convincer of pros of yesteryear. Jack told me that the mentalists of the 1990s hated the effect and so 'fixed" it by inserting their own book test that would work without failure. They missed the point. When the mentalist fails so openly on one of the three tests, it makes the other two seem real to the audience. After all, if it were a trick all three would be correct. So one of the variants of the routine is designed with a planned failure. This is of the code number. As in the swami version, the code number must be on the last billet. It remains the first piece of information revealed - or not! . This is strong mentalism so when using this ploy is only for when you're NOT doing any of the comic theatrics. The entire routine must become flat; simple tests, if you will. The mentalist attempts to read three different thoughts without any theater. . This style may not be the most entertaining, but it can be quite convincing.
Jack Dean was a wonderful mentalist. During the 1950s, 60s and 70s he created some classic mentalistic effects. He 33 32
~U~E~ ~E()~E T I)UNU~ ~()UTINE:
HTfN$r$~'$U$ In November of 2004, the Inner Circle of Bizarre Magicians honored my friend Todd Robbins. I was asked to attend and participant in the evening public stage show. I wanted to perform something so unusual that people would talk about it for some time. The routine you're about to learn was devised, first with a different method, but later it evolved into exactly what you'll read it. The irony is that the show ran a little long and I performed a much briefer piece. I was able to try out the routine at a celebrity fundraiser in Miami. It was the hit of the evening. I couldn't wait to perform it again. Because it's a major piece, I reserve it for special occasions. Now I share it with you.
EFFEOT: People from the audience write various action tests on slips of paper and seal them in envelopes. These tests are randomly selected by some audience members. Three subjects are hypnotized so they can receive telepathic messages from members of the audience. The audience members open their envelopes, silently read the slips and concentrate on the suggested actions. The hypnotized subjects perform what the audience is thinking!
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You can imagine the built-in comedy in a routine such as this. Although action tests were popular when contact mind reading was the rage, there are almost no performers doing anything like this today. This kind of routine will set the performer apart from those who predict three choices on a partitioned chalkboard. (Although, for the record, I think Mental Epic is still a fantastic effect.) Three people are invited on stage to act as telepathic hypnotic subjects. They're seated in three chairs to the right of the stage. The performing telepath, that's you, explains what's about to take place to the audience. Tell them that a telepathic test will be attempted. Explain that what they're about to witness.is based on scientific research. Give them a good story about the use of hypnosis amplifying telepathic responses. Three people will choose thoughts, three different people will concentrate on these thoughts and the three subjects on stage will receive the telepathic messages. Explain that any thoughts could be used, but tonight you want something that's fun. You suggest that the subject of the thoughts be some sort of action that the receiving subjects can perform. You give a few examples such as running in a circle, clapping and laughing, giving a man a kiss or squawking like a chicken. The chosen participants will write their thoughts on slips of paper to be checked later. Show the three envelopes and bring three participants on stage. They stand near a table and you begin. The first envelope is opened and the folded slip dumped out. Sign your name across the top of the billet. Unknown to the audience, the other two billets also you're your name previous signed on them. This set-up is the same as having CITY and NAME previously written on the slips as explained earlier. The first participant writes an action as you remind him to use only three or four words. 35
The billet is placed in the envelope and the other two participants do like wise. Of course, you've followed the routine and now have read all three billets and are handing them to be sealed. Only this time the envelopes aren't hidden on anyone's body; they're mixed by the participants and handed back to you. The participants return to their seats. Going into the audience, you approach three new people and hand an envelope to each. Noting the secret marks on the envelopes allows you to know which person has which test thought.
N()tfl:
Don't let the people select an envelope. You can let them mix them if you like, but always hand them the correct envelope. That way you remember test, or billet, #1 is held by the person on the left of the audience, test #2 is held by the person in the center of the audience and test #3 is at the right. At this point three people have written three action tests and sealed them in envelopes. Three other people know hold an envelope each, but they don'tknow what's written on the slips inside. Three subjects are sitting on chairs ready to be hypnotized. You know what the three tests are and who holds which envelope. The rest of the routine is based on getting the known information, i.e., the tests, to the subjects without the audience knowing how that was done. As usual, I prefer subtle oral deceptions rather than a clever gimmick, as in the above explanation of the Hot Seat cue. Allow me a moment to explain that I think stage whispering is one of the most potent and perhaps the most disregarded modus operandi for mentalists known. I have used Dr. Q's Hypnosis Act for many years. I have enjoyed good fees for" presenting the Hot Seat. Recently I exhibited and explained several solid tricks using simple stage whispers in a lecture. 36
The attendees were, for the most part, argumentative about the use of such whispers. They didn't think it would "fool" anyone! Now, I'm not talking about Dr. Q style stage whispers, wherein the subject is told to go along with the program and " ...we'll fool everyone". I'm talking about making a simple statement that will never arouses suspicion, such as, "Number cards are difficult. Pick the first face card you see." I'm spending this amount of space to sell you on the idea of speaking to your subjects while the audience can't hear you, or more accurately, can't understand what you're saying, because it's a potent weapon in the mentalist's arsenal. Don't be gun shy. Try it once and you'll use it over and over! Return to the stage and address the subjects seated in chairs. Speaking so the audience can hear, you explain that you're going to hypnotize the three subjects. You intend to use you powers of mind reading to be the telepathic bridge between the audience members and the subjects. You will read the minds of the audience members and send the thought to the subjects. But first, you'll hypnotize the subjects. Begin your commands in a voice that's loud enough for the subjects to hear, but low enough that the audience can't quite hear everything. At this stage, it's OK if they hear a little. You tell the subjects to take a deep breath, relax, etc. Repeat the key phrase that makes this all work. Say, "Youwill hear their thoughts through me. Hear their thoughts through me. Listen carefully. Hear their thoughts through me." Step in close to the first subject. Speak in a low voice so only the subject can hear you. Tell him, "Your thought is to act like a chicken." Do the same with the other two subjects, telling them what will be" expected of them in a moment. The audience thinks you're still giving hypnotic suggestions and suspects 37
nothing. Because he's certain you can't know the thoughts, the subject thinks you've read the mind of the writers (the original three audience members) and are conveying it to the subject. The subject doesn't see anything amiss because you told him to " ... hear their·thoughts through me," and he did. Now the subjects know what they're to do, but the audience doesn't know this fact. The first subject is brought to the center of the stage. You instruct the audience member on the left with slip #1 to open his envelope and silently read the slip. He's told to, " ... concentrate on the test written on the slip. Don't say anything, simply try to will the subject to what's on the paper." Tell the subject to do what the audience member is thinking and he'll act like a chicken. After the test and the laughter subsides, have the audience member read the slip and verify it with the writer. Proceed with the second and third subjects.
the effect. The method of knowing what's on the slips is very deceptive. The method of conveying the information to the subjects is bold; bold enough to go completely undetected. But .again, the effect's the thing the audience cares about. There will be only a few who will try this routine. And that's a good thing for that's how it will retain its value.
There you have it, two very strong mentalistic pieces. The first filled with patter and comedy, balanced by remarkable demonstrations of telepathy. The second a unique approach to mentalistic entertainment. Again with built-in comedy and remarkable displays of mind control, Certain effects are classic for a reason; and the three pellet trick is without question a true classic. I only hope that my few additions have actually been improvements.
If you're worried about the subjects tipping what happened to the audience after the show, don't be. The most they can say is that you told them what to do while hypnotizing them. This is no less startling than revealing the hidden thoughts as in the first routine. You had no way of knowing what was written on any of the papers, or who had which paper. So even if one of the subjects tries to explain the trick to his wife, she'll be quite amazed at you abilities. And more likely argue with her husband that his explanation doesn't make any sense. In the half dozen times I've performed this routine (as of 2005) I've not found it necessary to build up the final test as a climax. All three are equally entertaining. I have, though, kept the funniest test for the last. This is easy to do and leaves the routine on a big laugh. Remember that the method to this routine is secondary to 38
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Other Books by Docc Hilford 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.
The Richey Technique Revealed Mephisto's Journey Ball & Tube Band of the Hand The Sign of Four The Hermit of Dreams The Lolita System Fern Fatal The Star Tradeshow Act At the Mountains of Madness The New Cinderella AcL The Dance of Shiva Bum, Witch Burn The $1,000 Secret Seance The Dark Cloak It's a Lu Lu E'Voque Cellular Mitosis Nostrum Necromancy
$20 $20 $20 $25 $25 $20 $35 $35 $20 $30 $40 $45 $15 $40 $35 $20 $25 $25 $35
Other Tricks by Dace Hilfard 1.
2. 3. 4. 5. 6. 7.
The Wizard's Manual The Cassandra Deck Cards of Cairo Million Dollar Deck Rasputin's Secret Raven's Slates Assassin Card Sword
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$65 $25 $20 $10 $20 $175 $350
