Docc Hilford - The Book of Numbers Vol. 2, Ultimate Magic eBooks Collection
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//-->(J":3B]~S":3nnuFTheBook of Numbers.--______._ 00lt~fl1nz'""I~:<tUJ1\.~vol.2he!f you thought number mentalism wasabout arithmetic, you don't know TheBook of Numbers! In this, the second.volume of the three volume set, Doccreveals his original creations as well as somegenuinely concealed secrets of infamousspirit mediums. Of course, these too haveDocc's twists. All are designed for intimatesurroundings. The tricks in this book aren'tabout arithmetic; they're about phonenumbers,QandA,dicelli",QOuija boards.This is strong, close-up mentalism.Tempest _. A person writes a questionon a slip of paper, folds it, and hides it under- - - - - - - -..... oneof threeinvertedcups.Althoughthementalist has hadhis back turnedduringthisprocedure, he'sable to identifywhich cup covers....oIthe paper and toaccurately answerthe guestion! If you want to be a billet reader,this is for you.addition. The mentalist is able to beat acalculator's speed in determining the total toevery problem. Finally, he predicts the totalof a problem yet to be seen! All of this provesan ability to see into the future!Her Number .- Two women both writedown a phone number of a friend and theirown numbers on the back of a business card.While one holds the card, you tell them whichnumber is which, and finally reveal one ofthewomen's phone numbers!: Libretta Minutia _. A spectator putsthree tiny number cards together in anymanner he wishes. This creates a three-digitnumber that represents a random page from aminiature book. He looks at the chosen pageand silently reads a word. The mentalistreveals the mentally chosen word, The charmof this trick is only surpassed by its cleanmethod.Ouijan •• A spectator thinks of anumber from I to 10. The mentalist touches aplanchette on a tiny Ouija board. The spiritsmove it until finally stopping on thespectator's mentally chosen number.The effects in this volume could beplayed together to form a complete andbalanced close-up program. Busy performersare always on the watch for good close-upmentalism; here it is.be--.__..J I'..i; r· . :,· .~: ·. t·. ' ·. "· .· .· ·. ·. . . . ~/1;~lLit ....>_!....TJ~eBOOKOFnUnlB~RSDevil Dice .- The mentalist tells a taleabout gambling with the devil. He puts his'wallet on a table. A spectator rolls a pair ofdice three times. The numbers on the dice aretotaled. Inside the wallet is a· writtenprophesy that predicts the total. There are no. .- - - - - - - - - - - - - - - .forces or indexes. Just one prediction is usedomy_and it's written before the spectator sees thenumbers on the dice.Dicipber Bars _. A set of unusualnumbered bars are randomly positioned tomake more and more difficult problems inM1.Fi;.n1Jr:n~~RVOL. 2$menrat.rsrnFORrnTu:q;.lTeOCCaSIOnSDOCCDoee Co. - P.O. Box 546022 Bal Harbour. FL 33154- doee@doeehilford.eomtheBookofNUMBERSVol. 2Number Mentalism ForIntimate. Occasions.,D occ H ilfordWhat 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.Anunprepared 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 TimeMentalism"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 ahandful ofprofessional mentalists before they're released to you.No portion of this book or original illustrations can be reproduced inanymanner 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 Co.p.a.Box546022 Bal Harbour, FL 33154docc@docchilford.comDocc Hilford23..,I1NTROOUCT10NGive It a ReasonDedicated toDavid Berglas"Anybody. with money can buy tricks and any- .body with a little imagination can invent' em, butselling them to an audience is something elseagain. A pinch of showmanship and a few tea-spoons of build-up are worth a trunk full ofgimmicks."Merlini - Clayton RawsonThousands of years in the future, the human race hadsplit into two distinct factions; the beautiful, yet fragile Over-worlders and the cannibalistic Morlocks. The Time Traveler,as he was known in the H. G. Wells' classic novel, wasreported to have returned to his original time just long enoughto speak to Filby and grab three books that could turn the tidefor future mankind. The eternal question remains; what threebooks would you have taken?We have become the entertainers of the future. One hasbut to read the 1943 classic, Showmanship for Magicians tohear the bygone howls' across sixty-two years. The author'sapparent distain for the performance styles of the day, or moreaccurately the lack of style, prompted desperate pleas of re-form. Dariel Fitzkee's poignant view of the future was one of45theatrical utopia. Sadly, the evils that prompted his writing thebook have increased over time.Yes, our race of theatrical performers has evolved into aclass of passive, delicate Overworlders where the necessity ofskill is not required and in most cases even loathed. Like pallidcattle, they mindlessly chase butterflies of brightly decoratedpackages filled with shiny promises of grandeur. When called,like Pavlovian puppies they're drawn to gingerbread slaughter-houses bearing the assurances of "NO SKILL REQUIRED,HERE". The rotting tomes of reason crumble into dust aroundthem. They do no harm, and as such, contribute nothing to therace. They are feeders; happy, content feeders.The opposing half of evolution's distorted play areaggressive, cannibalistic ghouls, stealing any bloody scrap ofanother's act. Constantly hunting for new material, not freshoriginal matter, but rather that which has been infused withvitality from another. Having not invested time nor energy intothe careful growth and development of a particular performancepiece, they ravage what they steal, breaking bone and suckingthe sweet marrow until the piece no longer satisfies theirhunger. When they have devoured anything beautiful from thestolen property, they attack in the nocturnal safety and feastagain. The future of magical performance is an "us or them"culture.The blessed god of showmanship is so elusive to thesefactions that it's disregarded. Much as a guilty child hides hisuneaten vegetables, knowing his parent watches yet pretendinghis actions are of no concern, the Overworlders and Morlockscontinue to act as if there is no. god, no more required ofperforming than knowledge of the secret method. For theoccasional heretic who parrots the patter lines either includedon a sheet of instructions or from the mouth of another, hebelieves he has paid homage and touched the skirt of showman-6ship. His work is finished.Showmanship is not a god, nor is it an intangible theory.Itis a required ingredient to any performance, whether in asimplistic card revelation or a publicized headline prediction.Itisn't a clawed creature that dwells in a cerebral cave and mustbe hunted nor is it a delectable fruit dangling from a highbranch to be sought and harvested.Itis the result of carefulthought..Consider one of magic's standard effects, that of pro-ducing a red silk, changing its color to blue and causing saidsilk to vanish. As Tommy Wonder remarked, that is a. veryconfused magician. Yet it's a standard presentation, one en-tirely lacking in showmanship. Tony Andruzzi commented thatthere was no good reason for a master of the cosmos tocommand Nature's laws and produce a handkerchief, unless hewanted to blow his nose! He went on to say that the magician'sconfusion continued by changing the silk's color. If he hadwanted a blue silk, why didn't he produce one in the first place?And then, for no apparent reason, without ever using the silk,he makes the thing disappear!Tony touched upon the fundamental problem with thislifeless routine when he mentioned "no apparent reason". The-atrical reason is the fertile soil in which showmanship grows.Without it, there is no place for roots to take hold. The slightestbit of motivation could transform this flat display of fingerflicking into a heartfelt piece worthy of the dramatic stage.Imagine that the aforementioned mage describes anantique, silver hand-mirror. He doesn't actually possess one, itexists only in pantomime.Inbrief patter, he explains that themirror holds the' reflections of a hundred years. With hisremarkable power, he is able to reach into the glass and extracta bit of a forgotten scene. He produces, not a red silk, but alavender colored lace. He goes on to explain that the memory7~;IIIIII'I,I'j'I
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