Docc Hilford - The Book of Numbers Vol. 3, Ultimate Magic eBooks Collection
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//-->-_• • •...:..• _·_ _·_IIIII_._·_._IIIIIIIIIIIIIIIIIII~IIIII~~~~~~~~~~OOIt .,(J-'--------121'a)TheBook ofrofessionals and amateurs alike~have been wildly enthusiastic about~the first two volumes of The Book......of Numbers. Here is the finalVolume, devoted to stage mentalism. Eachroutine can easily fit into any program. Thisbook has routines for those who want to. - - - - - - . .performprofessionalme.ntalism without specially1..made props or restrictiveconditions. Most of theseperformance pieces use--- .little more than a few....- - - -....envelopes, paper, pencilsand a borrowed phone book:\~NUJl\."Qn?toJSPECIAL BONUS!Three Sided Brain -- If a performerspent double the price of this book for thissingle trick, he would be getting a great deal.This original performance piece has been afeature of a very. successful mentalist on thewest coast since Docc taught it to him. Theexclusive rights agreement has passed andalthough it will possibly be released as alimited DVD in the future, Docc explains ingreat detail the performing nuances necessaryto make this a feature in YOUR program.Three spectators are used. Each decideson a thought. The mentalist writes somethingon a large 9"x 12" card. It's placed in aenvelope numbered "1" and handed to thefirst spectator. This is repeated with the othertwo spectators. Later, it's seen that what thementalist wrote, matches each of their cards.The mentalist is also able to give a lot ofunwritten information about the spectators.There are no carbons, billets, specialenvelopes or pre-show clipboards. You giveintimate details about subjects that youcouldn't possibly know.Ifyou use the CEOof the hosting corporation, he'll neverunderstand how you knew his mother'smaiden name or what he ate for breakfast. Noone ever spoke to him or had him writeanything; in fact, you can decide to use him atthe last minute while you're on stage.II~Flare Optico -- Three people takearithmetic flash cards from a stack, eachcontaining a different problem in addition.Even though the flash cards are hidden, thementalist reveals the total from eachproblem. For an added climax, he reveals allthe numbers in the problem.Dolce Libra -- A spectator holds aphone book behind his back and chooses apage. He brings it around in front and reads aname on the chosen page. The mentalistreveals the chosen name and number! It'ssimple, but oh so clean. Any borrowed phonebook is used. The spectator has an apparentfree choice. You never have to see anything.No cues or glimpses.TJ~eBOOKornUnlB~RSSpecial Delivery -- Two spectators help theThis truly is a professional methodmentalist write a dozen or so names on devised through years of experience.billets. Someone randomly chooses one ofthe folded papers. A spectator seal it in an. .- - - - - - - - - - - - - - -. .envelope. Although the people in theomy_audience are unknown to him, the performeris able to deliver the sealed envelope to theperson in the audience who's name was&.)randomly selected!VOL.3r~UnIael{nj$I~C."00~.STaGeDaceCo.-P.O. Box 546022 Bal Harbour, FL 33154 - doec@docchilford.com11ILFORDl~rr. ~~~llt~'Y;"'"TUAATFtheEBookofNUMBERSVol. 3Number Mentalism ForStage VenuesDocc HilfordWhat is Real Time Mentalism?Mentalistic effects are only entertaining if they're shownto someone. There are hundreds of fine effects designed forstage, stand-up or close-up situations, but few that can beperformed without the necessity of any special props or set-ups.Swami gimmicks, nail writers and peek wallets can be forgot-ten on the dresser and.our best pieces are never seen by anyone.An unprepared performer cannot perform most of the effectsavailable, and so, often doesn't perform at all.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.Itisleft up to the performer whether he or she will use a specialgimmick he or she has ready, or entertain with nothing morethan borrowed items at hand. Real Time Mentalism™is truly100% impromptu. This is great for those who want to readminds, influence thought or generally chill any audience at asimple request.The effects that I'm releasing as Real Time Mentalism™are restricted to tricks that can be preformed "on the fly", thatis, without special preparation or special gimmicks. Somerequire more than one spectator or a few borrowed items, butall are designed for use in everyday situations. They're alltested in front of real people by myself as well as a handful ofprofessional mentalists before they're released to you.No portion of this book or original illustrations can be reproduced in anymanner without written permission of the copyright owner.Copyright© 2006 Docc HilfordFirst printing February, 2006As with all of the effects I publish, these are original andstrong. I hope you use these effects. That's what they're meantfor.Docc HilfordDocc Co.p.a.Box 546022 Bal Harbour, FL 33154docc@docchilford.com23(I1NTROOUCT10NIDedicated toDavid Alexander"As I have been doing it, a one kind forcingdeck is used for cleanness. Some may thinkthis a funny idea of 'cleanness' but I meanfrom the, audience standpoint. The minuteyou start messing around, the spectators getlost in following you, so the presentation, asfar as they are concerned, must be direct andopen."Theodore AnnemannThe mind of a magical performer is a strange country-side. A place too perilous in which to wander around alone.There are rolling hills of justification and endless streams ofdenial. There are rocky slopes of opinion, that although theviews are much clearer from their peeks, they stubbornly refuseto be climbed and conquered. A traveler may voyage to ascenic, yet insignificant hamlet in his head where the conductsof its citizens are so complicated as to confuse Rube Goldberg.If he queries about directions to a destination, he'll begiven a series of procedures that send him in ever wideningspirals, under bridges, around buildings and over fences. Thesad irony is that where he wanted to go is half a block away!Here, nothing is direct. This hamlet's credo is, "The longer thejourney, the better the trip". All of this bizarre behavior andloopy landscape is psychologically created to keep one fromstraying into a dark forest of self-doubt, where rotting carcasses45IIof fear hang from bark-covered arms overhead, like skeletonsdangling pendulums of putrid flesh. The mind of a magicalperformer can be a scary place.I've heard magicians on stage go into lengthy explanationsof why they put silks into handled sacks that appear more akin tocloth-covered ladles than velvet bags. Or attach implausible talesto their Jap Boxes (the name alone makes me shudder) to justifywhy a couple of particularly fragile silks are drawn from theboxes' enormous cavities.These kinds of rationalizations aren't about props, they'reabout methodology. The world of magic and mentalism is domi-nated by methods that use a figurative circular saw to scratch anitch. The performer who believes he never rationalizes invariablydeceives himself more than he deceives any audience. Whatbegins as an excuse to use a ridiculous device that he spent toomuch on, transforms into a validation; a validation needed sodesperately that he's willing to force it upon his viewers.Is there a way to see beyond the confusion of obscuremethods and peculiar props? Is there' a path that remains pure? Ofcourse there is. It's always been here. The mayhem isn't the faultof the method; it's the result of a form of the entertainer'semotional insecurity on stage. A fear, a stage fright. Tooentertainers are scared of being "given up" by the spectators,is accurate in our field, but not restricted to it. The sametrue for comedians, vocalists and musicians.A few years ago, a woman accompanied me to ashow. The performer billed himself as a comedypocket. The act didn't nearly deliver what the<:1r1"'T~r1·1C'~1'YIP'nn;!promised. The quality of magic was mediocre. He was_.L.~~. _,.funny nor a pickpocket. He barely made the minimum"1""'.... '.....ment for a magician, by performing a few tricks betweenloined shtick. While alone after the show, I explained tohow a simple modification of the single billfold trick££ ....4E:>£ .........4£.&Iformed could make him appear to be a clever thief of wallets andwatches. Everything could be changed with a whisper to theparticipant. My companion laughed and declared, "He'll never dothat. He's too afraid of being given up." That was the first time I'dheard that expression used in such a way.Ithit me as clearly aniron mallet strikes a bell. She was absolutely right!Examine the number of card tricks that could be betteredwith an uncomplicated one-way force deck. If this is so, why don'tmore magicians utilize this direct method? Is it because thetechnique is too bold? Is it because, as many claim, it's a form ofcheating the spectators? I contend it's because they're afraid ofbeing "given up" by the audience. They're not merely afraid ofgetting caught, but afraid of being called out.The dispute over the use of hidden assistants continues torage. Annemann is quoted and misquoted. Always somethingabout how he would use ninety-nine confederates to fool oneperson. Then Koran is drawn into the argument, something alongthe lines of how Koran believed using any form of "stooge" is aninsult to the game of mentalism. Neither is an accurate quote, butthat doesn't deter participants in the Roe v. Wade debate ofmentalism.A great platform for condemnation is the fear that thehidden assistant will tell people how the mentalist faked hisperrormance, He could tell important people; people who will barmentalist from performing again. After all, who wants to belabeled a fake and a liar? However, this isn't a rational projection.a fear, plain and simple. Professionals know this through yearsexperience. The backstage thread puller doesn't expound thesecretsof his master's illusions in the pub between gulps on a pintleisure. The head of sales doesn't memo the CEO that theentertainment asked him to write the number 713 inside aIt's an absurd notion. But the fear of entering that£.££I~£U."'££Jl££hforest looms in the stomachs of magical performers.£67
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