back about the performance. But you have to play your part right. You have to make it seem that choosing those numbers to use is something you just decided on the spot! That is what makes or breaks a performance. "Now, in order to make sure that no one can possibly discover your credit card number, I am going to ask you ro call out the digits, from the set of 4 that you are each concentrating on in a random order. When I point to you, call out one of those numbers, but not in order." See? You have given a perfectly good reason (although a pretty absurd one if you think about it) for them to call out the digits in random order. But it seems like you are going way overboard to protect them. Additionally, and this is so important,youare nor using the random digit thing as a process to try to make your prediction harder, which only makes people want ro analyze the procedure, but as simply a safeguard to protect the integrity of the credit cards, something that will fly by without much thought. But later, in the collective memory, twill seem like everyrhing done was entirely random! Also, you now can see the reason why credit cards are used and not the number on dollar bills or a phone number, etc., which wouldn't mean a thing. So you point to the first person and they say 7. The second person says 0 and the third person says 5. You write 705 on the pad and say, "That's a pretty random number!" Now you go back to the first person and say, "Now call out another number from the group you are concentrating on." They say 3, the second person says 2 and the third says 2.Youwrite these numbers under the first set. Again you repeat the procedure and get 604. And, finally, you get 350. So your pad should look like this: 705 322 604 350 You say, "Let's total up all these random numbers you made." 49
(Notice the term, "you made".) Make sure when you add them up, you do it the old-fashioned way, carrying numbers and making it as long and tedious a process as you can. 705 322 604 350 1981 Stalk. over ro your prediction, pick it up and say, "You're nor going to believe this!" If you have done your part well, you should start hearing people say, "No way!!!" Open the paper, listen to the gasps and take your applause! A Fpw Lflonp TrroucErrs I hope I have satisfied all the points I set out to make in the beginning of this effect. As you can see, it is the little things that make all the difference in the effect you create. One of those factors is what I call creating inoisibiliry. What I mean is that if you can make something seem unimportant, it becomes unnoticed by the spectators and later disappears from their memory. It has become "invisible!" In this routine, the way you approach each person initially and the way you handle looking briefly at their card, only to see what kind of card it is, makes that move invisible. Later, they will not remember you ever looked at any card long enough, or were even close enough to see it, to tell you any numbers. That, along with the justification of the random calling of the numbers, makes a complete mystery. As mentalists, we think in different ways than ordinary people. We tend to try to justify things that the average Joe doesn't even think about. In a routine like this, with a lot of procedure to it, by the time you are through, the audience just wants to see your prediction match the total of the numbers! Everything else becomes 50
secondary. They know that everything was fair at each step of the way and it's simply too much work for them b try to accurately reconstruct everything. Finally, I should point out that zeros only come into play for the first person you choose. If, for instance, you look down and see 0001 as the first 4 numbers, I would tend to memorize the second set of numbers and then move to my left to find a new "first" p..- son. For spectators two and three. it really doesn't matter. 5t
PnnnDCTETD App-a-IIurlBER This item is the encore of this book. I was originally going to only include five effects in keeping with my idea of odd numbers being right in show business and even ones being wrong. But an encore is really 5 plus 1 and I couldn't resist using the name SexShooter as my title! I can tell you, however, that some will read this quickly to ger to the solution and theywill be disappointed. Theywill say, "I knew it was too good to be true." They will be rhe ones expecting some exotic device or procedure that is new and revolutionary and never been thought of before. Sorry to disappoint that group, but those things really don'r exist. But what does exist in magic are new ways of thinking and using existing knowledge so rhat the end result is spectacular. How often, in your magical career have you seen someone perform an effect that left you floored only to find out larer that the method was incredibly simple and one that you akeady knew? Did that make the miracle any less of a miracle for you when you were ignorant or for those who still don't know the method? The method used here comes from many talks Al Mann and I had about this principle. Although he came up with orher ideas which he published, f'm sure he would have been pleased with this. k's very practical and the actual mechanics have been thoroughly worked out. Finally, and perhaps I am protesting too much, in the Poor Man's Book Test, I talked about Karrell Fox using a library shelf full of over a hundred books to do a resr rhar uses no gimmicks but rather an absurdly simple sleight-of-hand method. I could have presented this final effect as simply a utility apparatus capable of many prediction stunrs, but I wanted you ro see it in full dress. You might think this is a strerch, but it really represenrs how devices like this should be used.
Dnnncln The mentalist shows a large white envelope that he explains contains a prediction and places it in full view. Next he takes up alarge pad and chooses three people from the audience. After verifying that he never met these people before and that nothing was set up, he asks them, one ar a time, to call out loud a three-digit number. There are absolutely no restricrions as to what numbers they call out. Each number is written on the pad in large numbers that can be plainly seen. After all the numbers are called out and recorded, the mentalist draws a line beneath the numbers and adds them all up. The total is clear and visible for all to see. Let's say itis 1764. The mentalist walks over ro the envelope, opens the top and removes a large folded sheet of paper. Opening the first fold, it reads, "The total". He unfolds a second fold and it reads "will be". Finally, he opens the third fold and it reads, *1.76+." f,flnnnron As I said, I know this will come as a disappointmenr ro some, but please read on. I hope I have not disappointed you so far in this book and I don't plan to now. The secret is that the envelope is a gimmicked one. One side is really part of the prediction paper. You are able to write on this side with a swami gimmick fitted with a grease pencil. Then later, when you open it, there are a series of moves that make it look like the written prediction was folded on the inside of the paper. The rest of the secret of the effect is in the routining. Appanarus First, let me address the issue of the pad and pen. I use a larger drawing pad and I use a red marker to fill in the numbers the spectators call out. The reasoning here is that the red color on the pad
requires the audience to focus a bit harder to see it clearly. Since a grease pencil swami is not as dark as a bold marker, this helps with the final revelation. Although the prediction won't be quite as dark as a marker, it will be easier to see than the red marker because it is black! It also has a different look to it and seems more organic. The envelope will require some work to make up, but once you have it, it will last for a long time. As many of you know, my wife Lisa is an avid scrapbooker. I make up my prediction and the envelope from sheets of plain, white, 12" x 12" scrapbook papers. This material is fairly thick and, with the envelope prepared for the effect, supplies 5 thicknesses of material ro supporr the writing. Note: Wbeneaer you d,re doing dny type of suami writing, haaing a firm support makes all tbe dffirence in the world. If you look in your are\you are almost sure to find dealers that supply this paper. We have even found such stores throughout Europe and Scandinavia. Failing this, you can use any paper that has the consistency and thickness of index card stock. The prediction is simply a piece of 8" x 1.2" matenal folded ac55
cordion-style into thirds as shown. Please norice the positioning of the fill-up words as shown in Photo 9. The envelope will take ibit more explaining. The basic design and overall dimensions are here: As you can see from the photos, the bottom flap is folded up and the two side flaps are folded in. The small tabs on the bottom of the side flaps are folded upward and glued in place. This allows the prediction to slide down ro rhe bottom of the envelope (refer to Photos 10, 11 and 12). L e 1,'f 1/4 56
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The folded prediction is inserted into the envelope with the blank space showing (Photo 13). Notice the two X marks in Photo 14 showing where a respositional glue stick is applied to hold the envelope closed. \[hen you are finished, you will have what appears to be a closed envelope, but which is, in reality, the Osterlind Prediction Envelope. The area on the back side, under the flap, is really the prediction space on the prediction paper (Photo 15). Anything written there will later be shown to be recorded on the inside of the folded prediction! Finally, place a grease pencil swami in your right coat pocket. I use the Vernet, but you can use any of the excellent devices now on the market. Basrc PnnsnNTHTroN Begin by showing the envelope and saying how, sealed inside, is an important message. Place it off to the side, possibly on a chair 58
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or table, where the audience can see it and yet where it is a few steps away from your working area. Pick up the large pad and red marker. Choose three people from the audience and verify that you have never met them before and that nothing was set up with them ahead of time. Ask the first person to clear their mind and then call out a rhreedigit number. Record it on the pad. Look to the second person and repeat the same process. They call out a number and you record it under the first one. Finally, you ask the third person to do likewise and, once again, their number is recorded on the pad. Draw a line under the sets of numbers and put a plus sign on the Iine to show that it is an addition problem. Add up the problem and make sure you write in the total nice and big so that it can't be missed. No*, set aside the pad, cap the marker and place it into your right coat pocket. Inside your pocket, drop the marker and get the thumb writer on your right thumb. Walk over and pick up the envelope and hold it in preparation for the secret writing. Write the number tn as you are walking back to your working area (Photo 16). That is why I told you earlier to put the envelope off to the side. If you are on stage, you can have a chair near the wings to give yourself plenty of time to work. Note: Writing, or almost dny secret muue for that md,tter, is well hidden if yow are walking! Psychologically, walking to and from your ruorhing area is not Pdrt of the sbow. It is a necessity that need not be scrutinized. So, what better time to do sometbing sneaky? By the time you are back in your working area, you should have the number written in. Reach into your pocket, drop off the swami, and come back out with the marker. Place the envelope momentarily down as you pick up the pad and go over the numbers one more time. Say to the first person, "tWas this truly your number?" Then to the next, 'And this one was yours?" And to the third, 'And this was yours?" 'And this is the correct total of the numbers? Was that fair?" Now you are going to place aside the pad and open the envelope. This cements the routine, but you have to do these moves smoothly and correctly.
Hold the envelope in your left hand. Pop the flap open with your right fingers and slide out the prediction. You can use your left thumb to help the bottom edge of the prediction from the outside of the envelope. As the prediction paper clears the envelope, you can casually place the empty envelope aside as it looks perfectly ordinary and there is nothing wrong to see. Swivel the prediction so that the number is upside down from your side (Photo 17). Note: tbe audience sees blank paper from their side. Nowyou are going to make the special moves that make it look like the prediction is all folded up. These moves also show the prediction in the most theatncal way possible, so this is a win/win situation all the way around! Bring up the bottom edge of the paper facing the audience at the same time you bring up rhe two layers of paper on your side (Photo 18). This brings the words "The Total" into view of the audience. Next, fold down the next layer so that the audience sees, "will be". Finally bring down the last layer showing the number *1764' (see Photos 19 through2l.) 6l
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This sequence must be practiced until you can do it rn your sleep. When you have it down, it is as good an illusion as any! AnvancnrD PnnsnNnr[roN I saved this for last as it is the hardest thing in the book. It actually is not really that difficult, if you can think the right way, but I know that some people will have trouble with this. Everyone has strengths and weaknesses. I seem to have a knack for this kind of thing, but I am not patting myself on the back as I more than make up for it with a slew of weaknesses! OK, here is the advanced handling. Everything is the same excepq after the three numbers are recorded on the pad, you do not add them up. At least not in the open, but you have added them up in your headl I know that may seem far-fetched, but we are only talking about three three-digit numbers so it really is not all that hard, especially if you do it as you go and work things out in your mind a little differently. Let me try 64
to explain my thinking process. Let's say the first person says 789. I am already figuring at that point. I am thinking that is 800 :'ake away 11. ff the number were 265,I would be thinking that is 250 plus 15. If it were 233, it would be 200 plus 33. But let's use the original number of lgg. So now the second person says 253. I think 800 plus 250 is 1050. Take away 11 plus 3 is take away 8. So now I have 1050 take away 8. The last person says 234.I think 1050 plus 200 is 1250. Then I add the 34 to get 1284 then take away 8leaves 1276.5o that's the answer! If this sounds crazy,I'm sorry but that's the way I think. I guess what I am doing is trying to keep the numbers easy to work with by rounding off to the nearest 50 and keeping a running tab of what's left over, either in the plus or minus column. But, frankly, that's not how I am doing it in my head. I am doing it the way I wrote it. It just seems logical to me. So what does all this gain you? Think about it. You now know the total before you have added up the numbers. You can walk over to the envelope, pick it up and swami on the answer when nobody even knows it yet! There is no heat on you at this time. So that's exactly what you do. You go over and get the envelope, carry it back to the microphone, writing in the right number and set it down. Then you go back into your pocket, ditch the gimmick and get the marker, bring ir out and work out the problem. Now look at where you are! You have a prediction with the right number already inside it! You can end as clean as if you really did predict the total! 65
Frual, Snroucnrrg I want to end this all by taking this last idea just a bit further. I am not doing so just to give you a few more effects to work with, but rather to show you how we) as performers, often limit ourselves with our rigid thinking. Let's use book tests as an example. If we want to predict a word someone will choose in a book, we automatically think "force book." If we want to read someone's mind with a book, we automatically use one where we can learn the word such as Becker's Flashback but we can take everything to a whole new level if we use both ideas together. For example, you pick up a pad and pretend to write something on it. Now you pick up a "Flashback" book and have someone peek at a word, but they don't reveal it. You pick up the pad and swami the word on while you talk about how you made a prediction before anything happened. You set the pad down and ask the spectator to name the word. He does and can turn over the pad himself! Do you see how strong that is? I actually used a similar idea on Li,ue...Witbowt a Net! In my whole career, I have never forced a card for Mental Epic. I always used a stacked deck (BCS) so that the selection could really be fair. Then, instead of the last effect being weaker than the orher two, the nature of the free choice lets it play very strong. On the DVD, I was actually "called out" the first time a card was selecred for supposedly looking at the deck. That gave me the opportunity to have a new card selected and really drive home the fairness. The card effect turned out to be the strongest revelation in the whole routine! Original thinking is not just coming up with a new idea that has never been thought of before. These days, that is about as unlikely as a composer coming up with a new note, but ways ro arrange those notes are infinite and so are the ways we can arrange magic principles to create new wonders and mystery never seen before.