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 Eclitors: Raj Madhok, Tanya Thielke, and Joe Zabel
Cover and Photographs: Doug Moors
Interior Layout: Rose Rings

Serial Thrillers
1"'Edition
Copyright 2A09 by Alain Nu
PO Box 228 Kensington, MD 20895
lr.ww. s hopofs ec ret s. c om

All Rights reseraed. [Yo part of this publication may be reproduced, scanned,
andlor stored in retrieual systems or transmitted in any form or by any rneans-
ele c tr onic, me ch anic al, p ho t o c o p y in g, r e c o r ding, or o the r us is e -
without the prior written permission of Alain Nu
9 Introduetioll ...... o.. o... o o.. o.... o... o.............. .. o o...... o.......... I

P Some Personal Philosophies ................................. ........ 4

'9 Serialissues . .............. o... o.... o................. o........... o.... ... 6

o

'9 5*"ialiStiC ...............................

(D
o.............. o...... o........... tl

w Serialogical L4

'9 Serialocity ... o... o.... o.. o.. ..... . o....... o..... ........... o......
o o.. ... 22

9 Serial Sniper ......o..o.......................................o.... ..... 28

9 4"Lnowledgements ................... ... o.. o................. o...... 30

o
"Serialistic" was originally printed as a
stage rnentalism piece in February of 2OO7 tn a
limited release book of 250 copies entitled Nu
Secrets & Realities. After all 250 copies of this
book were sold, this premise was re-t'eleased
during my premiere appearance in the UK in
2008, as a once again limited edition manuscript
entitled Four Told, and contained four effects
from the original lVs&R. Only one hundred
signed copies of that manuscript are in existence.
Those who read "serialistic" in either of the
aforementioned volunles were able to study
the stage version of this effect. By reading
this volume, however, you will learn my entire
thought process which led me to this work.
The combinations used are a carefully selected
montage of various subtleties I've picked up
along the way frorn my fortunate associations
with many briliiant close friends, intense
personal research in this field, as well as my own
creative adjustrnents using my favorite arsenal of
techniques and principles.
I tend to feel better about myself when I can
explain my entire thought process to the best
of my ability for each effect I develop. This
way, there should rlever be any doubt as to my
personal intentions on how to properly execute
the demonstration once you've internalized the
entire treatrnent.
However, I want those who read these
instructions to try to put an element of their
own selves into the presentation also. To that
end, nothing is fully scripted. The emphasis
throughout the entire book is on maintaining a
theatrical framework built on psychological and
visual conuincers-elements that are designed
Serial Thrillers
to subtly convince the audience that they are
witnessing an actual event, even though it is only
a simulation.
The first part of this book focuses on my personal
philosophical analysis of rnentalism. Before
learning any mental effect, I think it's crucial
that one understands how to think about this
complex and not fully explored subject. I fully
admit that rny viewpoints are only one way of
looking ai this fascinating topic. But with that
in consideration, I do try to show the reader an
understanding that comes from incorporating
different perspectives that are traditional to this
craft. In this section, you will be given a formula
of four "fundarnentals" which should be seriously
contemplated before embarking on per{orming
any mentalism ffict.
The second part of this book concerns itself more
specifically with issues that I've always had about
the "serial number divination effect." Here, you
will discover that my concerns are many, and in
some cases, perhaps even nitpicky... but rrry key
concern here is your motiuation.In this section,
prepare to learn to answer four sirnple questions
that will help you discover your personal
motivation and persona while performing such
demonstrations for the public.
A full description of both the effect and rnethod
of "seriaiistic" follows. It should also be noted
that in 1996, when I published my earliest set
of lecture notes, the first close-up version of
"serialistic" was published entitled "Serial
Filler". This was also a three phase/three bill
serial nurnber effect, and also incorporated
-
the "canceling of tens" procedure which is the
mosi distinct differentiating factor between my
routines on this subject and others like it.
Be sure to remember that every moment placed
into the design of these routines is done as
part of an infrastructure of subtle convincers,
and that your goal, as a practitioner of these
principles and overall technique, is to remember
where each of these subtleties best resides
within your script and presentation. The key
here (in practice) is to try not to leave anything
out. As apsychological performance arr, your
demonstrations are built only on psychological
conuincers. Leaving something out can be like
leaving out an entire wall while building a house!
My personal handling of a close-up uaricttion
which I call "Serialogical" follows. Those
who know my style will know that I am rnost
comfortable when I have multiple ways of doing
the same thing. At its most minimal level, this
personal obsession begins with knowing that I
am able to perform something in an intimate way,
as well as on stage for a huge audience. Nate
Leipzig was the classic per{ormer who could
command his presentations in this manner, and
as such, could perform close-up "miracles"
for a packed house of theatre attendees just
as well as he could per{orm them under one's
nose. I see myself as a dedicated student of this
approach, and now offer my close-up variation
of "Seri ali s ric", a more strai ght-to-the -point
o'Serial
version of its earlier perrnutation, Filler."
A nice feature with "Serialogical" is that it is a
progressive three-phase routine that provides
a lot of room for improvisation and magical
moments. The three phases are also quite
unusual and distinct and fit nicely together'.
In the next chapter, I include my thoughts for
accomplishing a completely impromptu three-
phase routine for close-up called "Serialocity".
This routine takes a little more experience and
assertiveness to accomplish, but you will see that
with practice, it will save you the two minutes of
Alain Nu
preparation needed to per{orm its predecessor.
In my professional opinion, every minute counts!
I think you will find the variety of additional
information that I include here to be flexible,
and just as intriguing as the stage version. I also
depart slightly from the other two methods with
this version.
Finally, I will close this book with a chapter
called "Serial Sniper." This is an overview of
the techniques and principles learned in this
book, and how they can be utilized in the actual
per{ormance so ihal you always know the best
times to be prepared, and how to cut significant
corners in your presentation by being ready for
the right opportunities to manifest.
One thing you will find is that although each
of the three routines may appear identical on
tlre sur{ace, they also are made up of different
principles, techniques, and presentational
handiings, which when broken down, consist of:
(1) Three different switching techniques
(2) A noteworthy memorization technique,
along with subtle tips
(3) A glimpsing technique for serial numbers
(4) Two methods for divining a single digit
from the group of numbers
(5) An original serial number o'correlation
technique"
(6) Ideas regarding numerological readings
from dollar bill serial numbers
(7) A re-sequencing climax which replaces
the traditional divination
Overall, what you will find is that my approach to
the serial number divination is wholly dffirent
from most others out there. When reviewing my
prior theories and philosophies in contrast with
the effects themselves, I think you will see why
I still continue to use these approaches. It can
be done with close-up flexibility, using virtually
any type of paper currency (which has serial
numbers), and is designed as a two-phase or even
three-phase process that will absolutely f,oor
the most intelligent groups of people. I know
this from experience-you will totally devastate
people with this when presented at just the right
time.

The important thing is to learn, understand and

practice, always building onto your repertoire, so
that you will be ready to take on any condition
without hesitation or uneasiness. Any opportunity
you have to showcase a serial number divination
should be seen at least minimally as publicity-
stunt worthy-it's not only a moment for you to
"flex your mental muscles," it's an opportunity to
be seen doing something that no one else who's
there has ever seen in their life.

Keep it "real",
Alain Nu
June 2009

Serial Thrillers
-

w Why Mentalism? Although in most cases the method behind the

mental demonstration is completely different
What is its purpose? My feeling is that than that of the actuai phenomena it illustrates,
mentalism's greatest purpose is exciting in the importance of understanding and using the
people the infinite possibilities of the human related phenomena becomes integral to the
mind and consciousness, possibilities which overall experience.
have fascinated people for millennia and which
science continues to explore. There are other
ways of approaching this subject, but I feel the '9 6ot ternplating Persona
purest approach is to present mentalisrn simply
Some personas, in my opinion, aren't a good
from the above perspective.
fit for cefiain effects. My philosophy has always
been to begin by finding the effects that most
In my opinion, it is the very essence of mentalism
easily fit my persona. Regardless of my love for
to present these demonstrations without wholly
an effect or method, I always choose the ones
explaining that they are mere illusions. I feel so
that are best suited to rny style of performance.
strongly about this that my entire presentational
I will always endeavor to make the effect it has
philosophy is based on this. That wonderfully
on the audience as appropriately power{ul and as
terrifying "grey-area" that most mentalists try
memorable as I can.
to avoid whenever necessary is actually where I
began my journey as a practitioner.
The starting point for mentalism to achieve
its greatest intellectual and emotional impact
Mentalism conveyed as "beyond current
is the performer's ability to focus people's
human understanding" is thus designed to
attention. By taking your audience on some
amaze audiences by provoking a specific sense
kind of psychological journey that has a point of
of awe within them. Even most of those who
departure, stops along the way, and a final arrival
are skeptical secretly desire the experience
point, you provide them with a frarnework for
of witnessing something thrillingly uncanny.
memorable experiences. This includes having
These are the experiences that leave onefeeling
a storyline of some kind as to how you attained
aliue and real, at one with all things, or simply
your extraordinary abilities.
empowered. Through one's work as a mentalist,
I believe it is possible to deliver experiences
Being a rrrentalist nleans you have a sort of
which cause your audiences to feel this. But
acquired power. So YOU must know something
for this to happen, everything rrrust line up
of these powers on an intimate level. Where
perfectly, and you must be in control at all times.
do they come from? Is there a family history?
Mentalism must be psychologi caIIy conuincing.
When did you find out about this? How do your
So the ride the mentalist must take his audience
powers manifest? Do the manifestations have
on should ultimately represent the feeling that
limitations? Are there any side effects? How can
one might get when experiencing some kind of
you best explain what this power represents to
mental power or truly inspired nloment.
you by your justification?

Alain Nu

Ifyou don't have a back story here, I suggest you
start putting together a very basic storyline that
will mesh comfortably with who you want to be as
a mentalist, and what kind of effects you wish to
perforrrt
w 1L* Legend in Aetion
In developing your persona, remember that you
must also consider just hon much of this "poliler"
you can objectiuely be perceiued to haue.The
purpose for any mentalist to present his work in
the tradition of creatinga"real experience" is
to deliver the quintessential presentation of the
mental legend in action. These days, it's a simple
matter of getting on the Google search engine
(or any for that matter) in order to find the true
sources for rnany weird phenomena out there.
Most every mental effect will correlate at least
tangentially to an actual recorded account of
some unexplained phenomena that suggests
the possibility of a hidden human potential. I
believe that finding out and taking an interest in
such documented case studies will not only open
new doors to a more convincing presentation,
it wilt introduce you to the core of what ntakes
mentalism so fascinating.
4) To have a genuine interest in how people
think, and to stay on the "pulse" of what
is being published about the mind and its
processes.
Working "backwards" from the lay audience's
perspective, anyone who is capable of presenting
a demonstration which illuminates the "powers
of our mind" should have the above four qualities
to some degree. If one does not possess any one
of these four qualities, certain audience members'
may wonder just how one could even reach such
a level of mastery without these fundamental
abilities to build upon. Without these initial
qualities, a person claiming to possess mental
powers (even as an entertainer) may appear
disingenuous.
To provide the experience of witnessing such a
great power, you must first conceive of all aspects
of its greatness.

In order to best break it down, a portrayal of such

a rnentally power{ul character should reflect on
four qualities that can ultimately support his/her
role, adding to the "convincingfactor" which is
the uitirnate goal:

l) To be the most effective communicator.

2) To have a transformative quality on

one's audience. To initiate introspection
so that actions, choices, and the ability to
manifest destiny are contemplated.

3) To master effective mentalism techniques

with clarity for a convincing presentation
that illuminates some mental ability'

Serial Thrillers
As i" all the mystery arts, each effect can
be seen as having its genesis in a particular
style, philosophy, or approach. I think it was
Dai Vernon "the Professor" who canle up witlr
the concept of labeling these "problems and
solutions." The "serial number divination" can
be seen as one such problem of which many
a solution may be approached from different
perspectives.
In a mentalism program, this effect might be seen
amidst a backdrop of other ESP demonstrations,
yet the serial nurnber effect is one which is rarely
given much contemplation. Ail too often, in non-
mentalism shows, novice practitioners simply
see these kinds of effects as just being another
'orevelation" to add to their collection; another
"super-power acquired" to add to their bag of
tricks.
In my opinion, the first and rnost difficult problem
of the "serial number divination effect" is that if
it is presented in its most ideal context, the effect
would appear more like an impossible chcrllenge
than one of clever cunning and wit. For this
reason, I see it as more fitting to differentiate
this effect as not being the same as other rrragic
effects your audience may have witnessed, but
rather a strange and real byproduct of some
unusual phenomenon.
Attempts to add too many corny jokes or take
the subject matter too lightly, for instance,
may cause doubt in the perception of skeptical
rnembers of your audience, and thus work against
any psychological conaincers you've built up
over the course ofyour program and worked
hard to mentally anchor within their minds. It
Alain Nu
is therefore also important to frame your effect
properly by choosing other effects that can be
per{ormed compatibly with this one.
Granied, it is not to be expected that you shoul
ever be able to convince anyone who is of a
skeptical nature of anything at all. Your gift
should be your ability to keep people within th
mindset that there is always more to learn; mot
to experience; more to realize about ourselves
and the world. Everyone should be accepted
into your realm- skeptics, believers, and
everyone in between. Your message should be
broadly mind consciousness related. In practic
I believe there is a distinct line drawn which
must be contemplated, between perpetuating tl
moving energy of a mystery, and perpetuating :
blatant lie. My goal will be to always explore at
be inspired by great mysteries, without having I
step irrto any pattern of complete misinformatit
So let's now talk about what makes this effect
conaincingly mysterious. Though I feel that
'oserial number effects", as a general therne,
certainly do create an incredible effect on
an audience, I've always had a problem with
the idea that one could so easily divine such
a complex string of numbers. There is zero
emotional connection between you and randor
money, making it difficult to intellectually
rationalize how anyone should be able to achie
such a thing without trickery.
One good way of getting this done
psychologically is by scripting a presentation
which has already answered any possible
questions a spectator may have. The mentalist
is thus able to justify each claim within the
structure of the demonstration, and onlookers are 3) What is the known science of what it is
less likely to find any holes with the premise. that we are experiencing?

4) What would be the easiest way to

Numbers, throughout history have always
oomystical associations" as well as truly emotionally connect the audience's own
possessed
personal experiences to the strangeness of
strange anomalies within their mathematical
this one?
make up. Just by stating this fact alone, the
mysterious world of numbers begins to reveal
itself. This is the area that a mentalist must Meditate on how you will answer the above
be able to bring to life. Therefore, it is equally questions. No matter what method or style
important that a mentalist learn as much as you choose, your subtext will make your
possible about the actual subject of about demonstrations more convincing, entertaining,
which he is demonstrating mastery. There and informative.
are interesting and mysterious "truths" about
any such subject matters which always help
to support and thus conuince, inform, and
entertain your audience. Taking time to study
and be interested in this area will support the
convincingness of your demonstration.

Though it is not clear who the actual originator

of this concept was, the earliest references to the
serial number divination were from per{ormances
of J. Randall Brown, Washington Irving Bishop,
and Stuart Cumberland in and around l870's to
lBBO's. These three are also considered three of
the earliest stage mind-readers, so the first thing
to take note of here is that the serial divination
effect should be considered a classic work.
There is no doubt that these three regarded this
demonstration as quite the showpiece. To see
these legendary men in action would certainly
cast a great interest (and terror) on the mere act
of thinking.

The "act" of divining the numbers as

convincingly as possible must therefore be
considered. Motiuation must be developed and
contemplated. Questions one must ask oneself
may be:

1) How does one personally experience

having the "visions" of such numbers?

2) How should one's participants be engaged

to help in the seeing of these "visions"?

Serial Thrillers
E-
A random one dollar bill is selected and given to
an onstage audience rnember. Claiming to always
have possessed a strange synchronicity ability
with phone numbers, dates, and other random
number sequences, you ask your volunteer to
use a marker to circle a single digit in the serial
number-whichever one that she would like
to focus on. In order for you to discern which
number was chosen, 1'our onstage helper is now
asked to recite the remaining seven digits, but
to recite them in any random order EXCEPT
the original (American paper currency has eight
digits that make up the serial number). Once this
is done, and after some concentration, a single
digit number is called out by the performer; and
it proves to be the correct number! However; as
the applause dies down, it becomes apparent
that there's more. A pad of paper is now held
up along with another malker, and in a flurry
of inspiration? you manage to write down an
eight digit number on the pad. Now, with the
pad held high for the entire audience to see,
your volunteer is asked now to recite the entire
numbeq from beginning to end as it's seen on the
bill that she is holding. It is an exact match! You
have successfully mentally re-engineered the
sequence of a completely random one dollar bill
chosen from an audience member.
'9 B..ie Handling
This is best done as a stage piece for reasons
that will be obvious in the blocking. The props
you will need are a sketchpad, a one dollar bill,
4 quarters, and two ordinary sharpie markers, of
which one has a cap on both ends.
Alain Nu
The basic concept of this method is old. You
will switch a borrowed bill for one whose serial
number you have previously mernorized or
secretly cribbed. What makes this different is
the actual diaination ffict. Although most of
the subtleties used for this demonstration were
invented by other people, I have organized these
principles into a completely different effect than
what would ordinarily be seen as a "straight-up"
serial number divination. In this effect, there
are two phases (this already differs from other
procedures of this variety), and all the numbers
are called aloud by the spectator in a random
order before the serial number is mentally
divined. In this effect, there are two phases. This
already differs frorn other serial number effects.
Since the spectator starts the effect off by calling
aloud seven of the eight digits in their own made
up sequence, this changes the effect quite a
bit. It's just somehow oddly easier to swallow
than blurting out the correct serial number of a
randomly chosen dollar bill without any context.
The first subtlety is by Ned Rutledge, which
appeared in his effect called "Time and Money."
It is a way of borrowing a bill so that you can
switch it, with every action iustified. You state
that you will need a dollar bill for this next
demonstration. You seek out someone with
a dollar bill and "buy" it from the spectator
using the four quarters. You then hand the
jusi-acquired bill to another spectator for the
demonstration. The beauty of this concept is that
you "buy" the bill from a spectator instead of
borrowing it. Once this is done, your transaction
with them is compiete. It now makes per{ect
sense to hand it to sorneone else and it is in this
handing over that the switch is made.
Whereas the original version used a billet switch,
I wanted it to appear as if I never touched the bill
used in this demonstration, before or after the
routine. For this reason, I linked to a Karrell Fox
idea, which itself was based on an older Al Koran
idea. This involved a double sided "clip-on-a-
stick," that was really two clips on opposite ends
of a slim wooden dowel. After a spectator's bill
is secured to the clip on the end (on the premise
of keeping it at a distance and untouched by the
performer) the stick is passed from one hand to
the other, and in doing so with a subtle pivot,
one bill is hidden while the other is revealed.
Karrell's idea was to replace this clip-on-a-stick
with a pen that had an extra cap on its opposite
end.
Because I have essentially "bought the bill",
as opposed to borrowing it, I can leave it with
the second spectator when the routine is over'.
Leaving the bill with the spectator is a Raymond
Carlyle idea. Doing so successfully solidifies
that the bill will not end up back with the person
it came from, and minimize the chance in case
that they'li try and check it later for identifying
marks, etc.
The final technique is the one used to memorize
the numbers. This takes place before the
routine ever begins, and utilizes the Memory
Test technique of David Jones (from England),
which used a mathematical concept that seemed
to first find its way into card magic in Harry
Lorayne's brilliant Epitome Location. It entails
the principle of casting out lO's. David's idea,
frorn his lecture notes written in the 1990's,
was used as a method in an impromptu memory
demonstration using a borrowed bill, but it
required that you be able to do sorne fairly agile
rnental gyrrrnastics under fire. Although the
impromptu nature is lost in my variation, with
a mastery of the techniques used and with all
the necessary props, this effect will only take 2
minutes of preparation.
Serial Thrillers
To stafi, you wiil need your own dollar bill.
Start by adding up all B of the single digits in
the serial rrumber. In doing so, however, while
you are adding, turn each subtotal into a single
digit while casting out the lO's. For example, if
the first digit read is 6 and the next one B, your
subtotal is 14. You cast out 10, and are left with
for 4. If the next nurnber is 9, you add it to 4
and get 13. When you cast out the 10, you are
left with 3. Simply put, whenever your running
total exceeds 10, subtract 10, which reduces the
surn total of all of your numbers to a single digit
number. Therefore, a serial number 37284896,
added up and reduced, would be 7.
Let's say that the bill you are switching out
indeed adds up and reduces to 7. Once you
have this number, you will want to commit that
number to memory as the reduced value. The
second number that you will want to commit to
memory is the B digit serial number of the one
dollar bill itself. In practice, you will get better
at doing this, but as a tip, and if you have the
time to prepare, I recommend being selective and
finding a one-dollar bill that has a serial nurnber
on it that you find easy to remember for whatever
reason. There may be nurnbers that repeat,
or are arranged in a specific order that makes
remembering this nurnber easy to do. Later, on
page L4I include a memory tip which will make
memorizing serial nurnbers fairly easy.
If you feel too nervous about remembering,
however, feel free to come up with an innovative
way to easily access a secret crib-sheet that you
can glimpse. This will easily and effectively
reveal to you the string of nurnbers, and may also
be used for back up purposes if your memory
fails.

'9 B.gore the Show
Prepare the Koran/Fox Sharpie gimmick by
getting two black Sharpie markers, removing the
cap from one and placing it on the opposite end
of the other. Throw away the uncapped pen' You
now have a Sharpie pen with a cap on both ends
(Figure 1).
Take the bill whose serial number you have
mernorized, fold it in half so that the serial
number is on the inside, and then fold it in
half twice nlore so that you are left with a small
rectangular packet. This is done in the same
manner you will have the person you later "buy"
a bill from fold their own bill. Place it under the
actual pen cap of the Sharpie rnarker (Figure 2).
Place this set-up in your left side jacket pocket,
place the four quarters in your right pants pocket,
and finally the extra marker in your left inside
pocket. You are readY to begin.
€z Acquiring "The Bill"
After a brief talk aboui the peculiarities of
certain strange coincidences, bring someone
up onstage and mention to thern about your
o'uncanny affinity with randomly-generated
number sequences." To prove this you will need
a one dollar bill. Ask everyone in the audience
who has a dollar bill to reach into their pockets,
remove it, and hold it in the air. This creates
10
a nice visual. Inform your onstage spectator to
select the dollar of her choice. Whoever ihey
choose will be the one who you will buy the bill
from. Tell the others to put their bills away.
Instruct this person to fold their bill in the
manner described above (president on the
inside). Remove the pen from your left pocket
with the memorized bill held within the clip
arrd concealed in your left hand. Be uery careful
not to expose th.is. Proceed to remove the four
quarters from your right pocket and complete
your transaction with the spectator, exchanging
the four quarters for the bill. Once they hand it to
you, immediately place their folded packet into
the o'dummy" clip on the sharpie marker; silently
cailing attention to this action and verifying that
you are being careful to keep the bill in {ull view.
Turn to your onstage spectator and tell her to
ready herself and that you are about to gently
toss the pen (with the clipped bill) to her. As you
say this, your left hand with the marker should
be held high, to prove to the audience that no
trickery is being used.
As you tell her to "brace herself," the audience
will look at her to see how she responds' This is
the moment where you wili per{orm this slightly
discrepant maneuver. Your left hand will swing
down in a wide arc, transferring the bill into
the waiting fist of the right hand (Figures 3,
4, and 5). As your left hand moves away, you
will have exposed the memorized bill while
your right hand, as it receives the pen, closes
the fist around the bill concealing it from view
(Figure 6). Your right hand will continue the
"inverted arc" your left hand has started (Figure
7), tn a backwards swing. As your right hand
swings back for the pitch, remove the extra cap
and bili while concealed in the fist. Then, in a
gentle, underhanded rnanner, toss the pen and
bill, delivering it "airntail" style to the onstage
spectator, who will hopefully catch it (Figure B).
Be careful not to ex'pose or drop the stolen cap and
folded bill during this process.
Alain Nu
Serial Thrillers 11

Your onstage volunteer will now be in possession
of the memorized bill. The extra cap and bill
secretly concealed in your right hand are now
ditched in your left inside jacket pocket as you
reach in to get your second marker' Use this
marker to help you illustrate what you'd now like
your volunteer to do with her marker"
'9 p"ocedure
Haae the spectator uncap her pen and unfold
her bill.
Ask her to use the pen to circle any digit on
the serial number of the bill. This will be the
FIRST tirne that you mention the serial number
specificaily, even though you begin the talk
about your affinity with "randomly generated
nuntbers." Your first demonstration will be to
reveal the circled number. To do this, ask her to
eliminate the remaining seven digits by calling
them out in any order. As she does so, she wiil
under'line thent on the biil (to remember which
ones she has called out), while you secretly add
them up, reducing by l0's as you did when you
found the original reduced sum. A{ter all seven
digits have been eliminated (and secretly added),
the number that you now have, subtracted from
the original reduced sum will equal the single
digit number selected. If the final number in
performance is larger than the reduced number
yo, to in preparation, you will need to add
"u-"
10 to your initiai reduced sum. It won't matter
in what order your volunteer recites the string of
numbers, by simply subtracting your new single
digit total from, in this example,12 (2+10), you
*iil ul*uy. end up with the remaining thought-of
digit.
The first revelation is this single-digit number'
l2
What you have just accomplished will iook
extraordinary to the audience.
To contemplate this ability is interestinS, as
you are not just simply exhibiting the ability to
read the mind of your spectator, but rather to
have a progressiveiy extraordinary relationship
with number sequences. This can also lends
itself to "conspiracy theory" presentations that
involve tapping into sorne strange mathematical
matrix that controls reality, the economy, or
just demonstrates a weird correlation you've
observed. I'm just mentioning these as options'
You will now explore these number sequencing
abilities even more deeply, by dramatically
revealing ihe correct order of the eight digit
serial number. If you have indeed memorized the
serial number, the ntost theatricai way to reveal
this is to move out into the audience and have
two spectators cover your eyes. Have the on stage
spectator take the pen and write the numbers, as
large as she can, on a sketch pad in one straight
line, so that the rest of the audience can see what
is written. Instruct the spectator that every time
you call out a number, she will cross it off the
list, and call out "yes!'It is important for them
to cross it out for dramatic effect, and important
for them to say "y."," so that you can have verbal
confirmation, since You cannot see'
The moment before you call out the nurnbers
is an ideal opportunity to review and explain
to your audience just what is taking place' The
numbers that were called out previou sIy were
not called out in sequence and yet you were
successful at being able to deterrnine the missing
number. But now that you have been given
access to knowing att eight numbers, your goal
will not only be to recall all B numbers called -
an impressive feat itself- but to also call out the
numbers in their sequence, which you could have
no way of knowing!
AlainNu
It is important at this point to convince your
audience that there is a possibility that although
you may remember all eight numbers, you might
not be able to correctly guess the full sequence.
Humbly present the possibility of failure. That
"enen if I were to only get the sequeruce partially
correct, would the demonstration still be worth
trying?"

With the encouragement of the audience, you

continue.

It has now been made clear throughout the

routine that you have no way of knowing or
seeing the number sequence. By adding the
dramatic touches of now having your eyes
covered, the spectator on stage crossing out the
numbers as you reveal them, and the lowered
expectations that come from your humble
statement of self doubt, the buildup is significant.
As you correctly and dramatically reveal each
consecutive number in the sequence, and
finish the B'r'correctly, the crowd will burst into
thunderous applause.

It is my belief any great mentalist ought to

develop their "ordinary" mental abilities to
an impressive or extraordinary degree. Cood
memory is part of this. Dramatic and theatrical
edge aside, actually memorizing the eight-digit
number and not relying on a crib sheet, will in
itself make you a better mentalist.

I find that the method above is most suited to

my personal style. If you choose to rely on a crib
sheet, or have different needs, try to also find an
innovative way to reveal the serial number that
suits you. Have fun with this one!

Serial Thrillers 13
 method, you WILL NOT need to use the casting
Here is a close up handling which, with
of tens principle described in the stage version,
practice, can be done anywhere and practically
making the close up version of this effect even
at any time. So long as you have some focus on
simpier.
yourself, and the environrnent is not too noisy,
this variation presents itself as a very strange up
On the other hand, for good Ineasure, it is a good
close experience.
habit to stay in practice of memorizing serial
numbers, and doing this effect close up will
Although Serialogical is not exactly impromptu,
definitely offer you many opportunities to do so'
it can be close to it, depending on your skills'
I also personally believe that this effect plays
After some practice, I've found on average, it
stronger ifyou have someone cover your eyes
takes me less than I minute, to both memorize
while you recite the string of numbers' To most
AND total up the eight digits to arrive at the
people, (even though an American bill's serial
reduced sum value on any random dollar bill
I might have on me. It really is much easier to
,rr-b", will only be eight digits long), to rattle
off those eight digits while someone covers your
accomplish than it seelns.
eyes is incredibly impressive. The reaction is
even stronger when they think that you somehow
.9 P**liminary saw the numbers re-arrange themselves into that
sequence while recailing them. Finally, having
As u first precaution, try to find a bill which people (I like to use kids or women) cover your
rs just a little older than brand new-in other Lye. al.o adds an element of visual spectacle that
words, you ultimately want a bill with no will help you generate more curiosity arnong the
easy identifying marks so that it looks like a
outlying passersbY.
representative bill any person would find in their
wallet.
'9 114.-orization Ideas
To set up, just step over to the side and either
memorize the serial number and quickly add up
Oftentim€s, during a truly impromptu
moment, one might not be so fortunate to end up
and figure out the reduced sum ofyour dollar
biil duplicate. You can also, with a pen, make with a dollar bill which has an easy to remember
a subtle crib-sheet which you rig from which to
serial number. However, there is always a way
easily get a glimpse. Lee Earle once offered me
it can be done' Everyone will have a siightly
a great suggestion of writing the serial number in
different way of latching onto certain numbers,
and with a little practice, it's not as hard as it
small print along the right SIDE of your left third
might at first appear. With eight numbers, I
finger. This way, by keeping your left second and
third fingers together, the serial number isn't usually see them as sets of two or four' If possible
seen at ail. But by separating the fingers slightly,
I relate the four digit numbers in some way to a
year, a pin number, a license plate, or anything
a aery eosy glimpse of your serial-crib will be
revealed to you, and with the right angle, ONLY
to YOU! Also, please note that if you use this

14 AlainNu
that will correspond easily in rny mind. But if I
can't make any immediate correlation, here's an
idea that works best for me:
I break down the eight digits into four groups
of two-digit numbers, and then I visualize each
two-digit set as an experience that I had when
I was that age. Whenever l see a twenty eight,
I know that was the age at which I got married,
but the associations can be simpler,like thinking
of certain friends thal you had at whatever age,
and the correlation will still help you retain
the number. Even if the two digit number is of
an age older than you are now, you can either
think of someone you know who is already
that age, or imagine yourself doing something
that you'd like to do once you reach that age.
You'll find that thinking of four experiences that
correlate to the age you were or will be will make
it easy for you to remernber eight nurnerical
digits within seconds flat. The rnore practice
you put to developing this skill, the faster and
more confidently you will be able memorize an
entire serial number quickly. This opens you
up to memory techniques that have many other
potential applications.
Whichever way you decide to go with this
method, once your initial preparation is out of the
way, simply fold the bill three times over with the
's
serial number on the inside, and stick it in your'
right pants pocket. In addition to this extra dollar
bill which will be switched in, you will need a
writing utensil and paper, also in your right pants
pocket. After sone practice, no more than two
minutes of preparation and one extra dollar bill
will have you ready to go since pen and paper
can be looked for afterwards. You must admit,
that's practically irnpromptu. Later I will talk
about TOTALLY impromptu handlings.
Serial Thrillers
w Proeedure
The exact presentation of how I see this effect
as a close-up piece is slightly different than the
stage version. I might lead in to this effect with
a discussion of how "the mind can sometimes
appear to haue access to information that it could
not haue receiuedfrom just the fne senses alone,
and this is what initially led to the notion that we
haue more than one sense."
"These days, quantum physics shows us that
there is an aspect of reality that we seem to
actually be able to tap into at random times,
but that presents the possibility that all things
are profoundly connected to all other th,ings.
Heauy stuff. Regardless, we ccln sometimes tap
into this 'uhimate realm' in the most unusual
ways. Numbers can create uiuid associations.
For example, if I said George Washington, what
denomination of bill comes to mind? Exactly!
"Bu[ noru let me show you a weird talent I haue
discouered about myself. I haue found I haue an
uncanny ffinity with random numbers. If you
haue afew dollar bills, I can show you what I
rnean."
A Justified Switch
.4s they are looking for dollar bills, reach into
your pocket and grab the folded bill, hiding it
in the curl of your right fingers (finger palm).
Bring out the paper or notepad with the same
hand while concealing the bill. Leave the pen
in your pocket for now. You are now holding the
folded bili in the classic position known as the
"Ramsay subtlety"- so long as you continue
to casually hold the paper in the same hand
as the hidden bill held in finger palm, you will
appear completely natural and be treated without
suspicion.
As spectators begin to remove their bills, they
will ask you if it has to be a one dollar bill. So
long as you see that one of the one dollar bills
15
 ltand'. The left hand takes the prepared
bili and
close match to
that they pull out seems to be a it off to
it doesn't matter continues the action of openly handing
the one you have, tell them that
the one you spied someone.
what kind of bill you use, since
will be the one you will switch out'

If you see that none ofthe bills that they

will match youl's, skip to my compietely
"Loo." at the end of
impromptu version "serialocity"
this book.

In this pariicular method, I apply

a classic

,o"r.ruti.* sleight known as the billet switch'

Whereas in the stage version
"serialistic"' the
prepared
billet switch "rrlplJy"d uses a specially
because
Stlu.pi" markeq here, in "serialogical"' without
amore casual The reason why this can happen
the conditions are more intirn ate' yet know the
suspicion is because no one wili
switch is necessary'
;";:"" for your having folded the bill to begin
that this is
with. You haven't even told them
As soon as you see a bill that will
appropriately
u ."riul number demonstration
yet' You will'
teli
match the one you have linger-palmed' the borrowed
however, need to practice folding
yo.rr rp""rator(s) to lay all the bills
president-
t itt *ltit" the other bill in your curlt
,ia" ao*n. This is also incidentaliy the serial "on""uli"gthat has been mastered and
,igh, nng"rs. Once
number side. Once they've done
this' put down- on this
ioln ,tu"trrrul, no heat will ever be put
the pad you've removed from
your pocket (which
palmed bill)' moment.
al.o h"lp"d to conceal your finger
most closely
und then sirnply take the bill that
matches yours and start folding
it (in the same
are holding) all the
way, of course as the one you
*hii" being careful not to reveal the bill finger
;;fu ir,lot, hand' With onlv three folds' this
should not be a Problem'

the other
As soon as the bill is folded to match
folded
orr", it is placed on top of the duplicate
bill. Orr"" completely aligned' the left fingers'
grasping the iwo packages ut ol"'.
pull them
can
t" tft" tils of the iight fingers' Both hands
is oniy
,to* op"t up briefly to show that there
Whiie having
"one bill" being foltl"d (Figure 9)' would
new position' it's An open-handed alternative handling
repositioned thl package in this to the back o{
thumb to slide the be toacld the finger palmed bili
u .i-pl" rnatter of tn" right
in" Uin immediaielyupon picking it
up and
just folded back into
one b'orrowed' bitt which you This allowi
openly folding/aligning it simultaneously'
your right finger palm (Figure 10)',while to be held complet
bitl to your left V""t n"g"* of both hands
ironrf.:rrrng tL, no*-'*itched-out as you nevel
Lp"n drring this process so long
Ru.tt that the folded packet is he
ui"i,i"ntulil'

AlainNu
16
 against the other side of the borrowed bi1l. If you
choose to do this, don't get too fancy with your
displays. Just fold it, keep it weli-aligned, and
remember which packet you are switching for
which.
As soon as the switch has been made, and you've
handed off the bill to someone to hold onto, your
right hand wlII aery casually go into your right
pants pocket ditching the switched out bill, while
pulling out the pen you left there earlier. Every
moment is justified.
'9 Pl"rt Phase
With the "dirty work" out of the way, it is now
up to you to 'oset the stage" for your audience.
What you say right now must begin to engage the
mind of everyone around you:
"l'm going to fold this one dollar bill up because
I don't want you to think that I can peek while
doing uthat I'm about to do. Although no one
could determine ruhich bills would end up here
infront of me,let's see if a strange ffinity can
be achieued, with a randomly g:enerated, set of
numbers. You see, the reason why I aslted you
to put each bill president-side dorun is because I
didn't want any of the serial numbers which are
printed, on only one side ofthe bill, to be uisible.
This folded, bill is the one I haae appointed to be
the 'target', and I nill try my best to decipher th"e
randomly generated serial number which is right
now printed on this bill. The way I plan to do
this, belieae it or not, is by receiuing inspiratiort
from one or nlore of the remaining bills, which
may possess sorne association to the isolated bill
that you are holding. This strange "number to
number" relationship n'Lay not mahe any logical
sense in our reality, and yet, let's see if something
w A Numerological Twist
real can be made of this!"
Slowly and intentionally, lower your two hands
down on the remaining face down bills.
Serial Thrillers
"Before I begin this process, let me try to sink into
the proper state of mind by closing my eyes. This
will put me into a slight trance, and will h.elp me
to focus on the taslt, at hand."
"OK, now for the f,rst time, unfold the bill you are
holding andfocus on just the serial number-that
random jumble of numbers that d,ffirentiates each
and, euery bill. One of those numbers may hold a
particular ffinity [o you, perhaps a luclry number
or a relationship to a special day or year in your
life. Stick to one single digit which makes itself
more infocus than the rest. Using this pen, circle
the one digit uhich you are thinking of. We'll call
th,is your'psychic nllmber."'
"l ruill now press down on these bills with my
palms to see if I can establish sonle connection to
your bill through these others."
"Noxo, using the pen,I want you to put a small
dot aboue one of the other numbers on, the bill
you are holding, and call it out loud right now. . .
Now put another dot ouer Al{Y one of the other
numbers. And nout call it out loud. You're being
truthful right? Ok. The only number you can't
put a dot ouer is the one you already circled. Go
ahead and do it again. AnrJ call that number out
loud..."
This is done until seven numbers have been
called. After rnaking your calculations, you call
out the number which you'll know it to be. Even
though the odds here are only I out of 10, just
this demonstration performed unembellished is
quite impressive, especially if your eyes are seen
to be shut during the entire time of the process.
The {ollowing is an alternative, and more
personalized way of presenting this second phase
section. If you possess a working knowledge
of numerology, (which is easy to find and learn
about online or at any library or bookstore),
another interesting plot you can create is to ask
I7
the spectator to simply choose and call out digits
in a randont order o{ their personal or arbitrary
importance and then turn this sequence into an
impromptu oracle reading about tlrem, which
is aiways the positive choice when it cornes
io per{orming something intimate for close
up conditions. An example of how you might
approach this would be bY saYing:
"With the number you circled being considered
by you as the most important number in that lot,
please now call out loud two of the other numbers
that you see there in any random sequen'ce" ' A
f,ue and a tu)o... Interesting, there are f'fty two
weeks in a yeary so my immediate instinct tells
me that there is something uthich concerns you
that you must address within the next ye'ar' The
f,ue indicates rnoaement and action, antl
the two
indicates healthy balance and union."
By adding five and two together, ]our secret tally
is now at seuen.
"Narne huo other numbers you see in an arbitrary
order, but not the ones you iust called, or the one
you just circled, unless any of them repeat within
the remaining f'ue digits... Ok, a nine and a zero
means that you will liue past ninety! Seriously,
does your family haue a history of liuing long
liaes? Nine is also considcred the number
representing the highest leuel of chan'ge, so this
inrlicates a def'nite intention on your part toutards
some sort of trarusform&tion. Do these numbers
make sense to your life in any other way that you
can think of?
Adding nine (9+0) to seven, and then canceling
out ten, will bring your secret total to six (9+7=16
/ 16-10= 6). Obviously, if they were to call out
a four and a seven, depending on their age, you
can foretell something meaningful which will
happen or that they have already had happened
to them at that specific age' You will find that
with confidence, correlations are quite easy to
make. Finally, by asking them how these two
numbers correlate to their lives, you will find that
18 Alain Nu
they are more than willing to come right out and
tell you. You now possess even more information
to work with!
"Now narne the last three digits that remain
unannounced in any order... An eight, seu)en'
and two. Diminishing in sequence! The ansloer to
your concern must lie in simplif'cation. Remouing
excess baggage. The eight represents the strength
which you manifest both mentally and physically'
The seaen tells me ilt'at your knowledge and
ability to solue things intellectually is something
you admire and belieue is at your core. An'rJ the
fact that not only did you mention the two earlier,
but it uLas th,e last digit you mentioned, means
that the outcome which' you seek lies in either selJ
balance, or a relatktnship with another person, is
this correct?"
As you are giving the reading, you need to add
those three numbers with six (B+7+2=I7+6=23)'
and cancel out all tens (23-10-10=3), which will
bring your sectet totai to three.
If your initial reduced sum is lower than the
new sunl, {or instance if it was two, you must
remember to add ten to it (2+10=12), thus
turning it into a twelve before subtracting three
frorn it. You have arrived at the nurnber nine (thr
number which you have just calculated that thel
secretly circled). You can now reveal this numbt
as the number which they subconsciously
selected that represents their "self," culminatinl
this reading as an integration of their "self' witl
the other selected combinations of digits and tht
symbolisrn that can be pieced together from thoi
connections.
"The fi.rst number which you circled earlier
represents yourself. This is your'psychic number''
It represents you in the present, and it utill
uhimately mahe sense of eueryth'ing I'ue said thu
fa,n Try and see ,f you can psychically telegraph
this numberfrom your mind to mine. If we can
successfully do this, it really utould be a'psychic
number' now taouldn't it?"

Take a deep breath and ask your volunteer to
concentrate on her number. Close your eyes, for
a moment, and then open them while iooking
at her directly quickly and say, "You,r number is
a nine?" This will seriously surprise someone
even when done just by itself.
"Well, congratulations then! I would, take that
as a positiue sign that good things are on the
uay. The nine is the uery number of personal
transformation, so the fact that you chose it, AND
that it repeats in your serial number is a uery
good sign that things look infauorfor you. Here
you come to point of self,essness, and this giuing
up of your personal control to the 'grauity of the
uniuerse' is uhat you need to do now. kt yourself
f,ow without ffirt, and try to learn what is most
importantfor yourself and those around you. This
is where your personal transformation will begin
to take shape..."
This idea of using 'ospare numbers" to form
system for an oracular reading was taken from
Raj Madhok's effect calied Your Lucky Number
from his lecture notes. Ideas of this nature have
been explored by others as well, but it was my
friend Raj, who offered this priceless suggestion
to me.
'9 glt.cppoint
The bill
which you switched should not have
the least bit of heat on it. This will be the result
of several supporting convincers:
l) The audience is unaware of what you
will be doing with the folded bill until
after the switch is complete and the bill
is in her hands.
2) You have explained beforehand that
you need to first find a bill which you
have a personal affinity for.
Serial Thrillers
3) The motivations culminating into
the completion of the switch are
strategically placed so that they are
virtually undetectable.
4) The first-phase divination should fool
your audience enough into giving you
some credit for your abilities.
From, the outsid,e: Theprelirninary effect
for Serialogical looks as if by simply closing one's
eyes and touching some cash from someone's
wallet, one would be able to have some weird
random serial number connection with another
human being who concentrates on a random digit
found on one of those bills. It's slightly more
justified than the stage version, but it hints at
the inexplicable strange connection between
consciousness and randomly generated number
sequences. Also, the close up version makes
use of more bills. I find I'm most comfortable
when I know that one of their bills will rnore
likely match the appearance of one of my bills,
and the more bills I have immediate access to,
the more of a chance I can tell if there will be a
match. Therefore, the modus operandi required
that I obtain a "fistful of dollars." The nice thing
about this is that sometimes you get more than
one good match, in which case it becomes easier
for you to guide them to a decision if you want
(ie: "Just point to which one of the one dollar
bills you'd, like to use for our 'target."'), and on
those occasions that you see three or more dollars
that match, you can simply say, "About three one
dollar bills nill be f,ne..."
The point above is that NO MATTER WHAT
the conditions are, either you OR your uolunteer
will choose the "target bill", and it wili be
switched for the one palmed in your right hand.
Remember, your goal is to make that moment of
the "target bill selection" to appear inspired, as rf
you had just come up with the idea.
19
W 5."ond
Phase
Since you've already ntemorized (or cribbed)
the seriai number of the bill your volunteer is
holding, you are way ahead at this point. It is now
just a simple matter of revealing. But why not try
one more thing before we go there. Three is the
charm. Remember the bills you are holding down
with your hands? You are about to use them in
an interesting way first in order to justify them
further.
Flip the bills over slowly, one at a time, and see if
you can find ANY correlation between the serial
number you've memorized and any of the serial
numbers that you can now see. If there are two
or more numbers that match the sequence of the
one you switched in, call attention to it, and think
of a good reason as to why these numbers stick
out to you while lightly circling them with your
pen. Call attention to anything that seerns worth
noting. Find as many correlations as you can,
but even three slight correlations (like matching
numbers) will work in a pinch. Call attention
to these and ask if what you are pointing out
can be made sense of. This phase will further
justify the need to have the other bills present,
and there will be times when you will notice that
actual weird synchronicities abound between
the bill they are holding and one or even ALL of
the bills on the table. Of course, this is a good
time to embellish the routine with numerological
connections as well, if desired...
"HrnmftL... I'et's haue a look at the numbers
found on these bills... the nine uas your initial
number... so this t'wenty nine on this bill here
speaks to me. Don't show me your bill, but just
Iook at it and tell me, do you see a tul)o and a nine
in secluential order on your bill? YES? This is
good since two plus nine is eleuen, and one plus
one (in eleven) equals t'tt)o, once again arriuing
at the numerical digit representing harmony or a
relationship... Starting with two now, I also see a
two on this bill in the.fourth position on this bill.
20 Alain Nu
your bill haae a tl,ao at its fourth position? It
Does
DOES? Isn't that interesting?"
Rernember, your volunteer just recited out
loud all of the numbers on his/her bil1, but in a
random order. By staring into the serial number
patterns of the other rernaining bills on the table
and finding two (or more) of the numbers that
you just apparently heard her recite on one of
the other selected bills in its correct order, the
response is tremendous when you can find it. If
nothing inspires you, however, just do your best
to make something up! Remember, you only nee'
two or three numbers to match up for this to be
interesting.
As in the above example, another way you can tl
to synchronize numbers between the bills on the
table and the one in their hand is by seeing if ar
of the bills in front of you contains a single-digit
number (which is also in your memoly or crib
sheet) that lands on the exact same sequential
position as in the serial number of the bill they
are holding. Try to make up a somewhat logical
or inspired reason as to why you gravitated
towards that particular nurnber'.
'w 1h. Convincing Miss
Although finding these organic connections
between the bills on the table and the target
is interesting, there is a random and chaotic
element to this phase which lends itself to havir
you take advantage of using a classic subtle rust
in mentalism. In this craft, there are tirnes when
the mentalist will choose to purposely say or
lead in the wrong direction in order to keep his
audience convinced that he does not know the
information that is being kept frorn him. In my
opinion, one should be careful never to overuse
this concept, since there is always a small
percentage of time that something could go wrol
anyway, but I feel that after a successful first
phase, it is a perfect plan to use this follow-up
phase to not only rnake a few strong "hits", but
also be seen to slightly "miss" once or twice...
 "The seven on this bill is in the third position...
is the seven on your bill, either on the third
position from the left or from the right? No-
neither direction? No. You did say there was a
seven on your bill right? Ok, but just not in those
positions. Well, it's not like this stuff is an exact
science!"
Remember, any demonstration in mental powers
requires a regimented framework of subtle
convincers in order to appear both genuine as
well as genuinely interesting. Adding the above
subtlety near the end of this second phase, will
more than help set you up for your knock-out
punch in the final phase.
are working at understanding a pattern. Using
the example we've been working with, after
the volunteer calls out 52, 90,872, and you
calculated the remaining digit to be 9, you can
say:
"l will now try and, recall the numbers which you
called out to me... So let's see, I noticed that there
were tu)o nines and tu.)o t1,0os, a senen, an eight, a
f,ue, and-- one zero. Was that right? Thank you!"
Here, you are seen again to repeat the numbers,
but since you don't repeat them in either the
correct sequence NOR the sequence which they
recited to you, it will be seen as "brute memory"
and thus further aid as a convincer that you do
not know the actual sequential order.

'w Th'rd Phase It is entirely likely, at this point, that one person
from the group will challenge you to recite the
If yo" went with my recommendation to have
serial number in its actual sequential order.
the serial number and reduced sum total already
mernorized, the third phase is best done while
If this happens, it will be a good indication to
you that you have succeeded in doing your most
your eyes are closed.
difficult job for this effect-to fully convince
"l your audience that you could have absolutely no
try tofind, within my mind. the
wiLL now
idea of the numerical sequence of the 'target bill'
numbers uhich you just called out. Christine,
when in actuality you do!
please record each number I call on this piece of
paper as you hear me sound them ffi Joe, put
"You read my mind, because that is what I'll now
your billface-sid,e down and put your hand ouer
try and do my best to do... Write this dorun..."
itfor a second. I don't eaen wan[ you to think that
somehom you are tipping me off here."
Once all eight digits have been written, open
your eyes. Ask them to compare your written
Here, you are obviously setting the audience up
down thoughts with the target bill that has been
for a grand finale. So in order to make it so that
held by your other participant. Make the final
no one will yet suspect that you will call out and
two numbers match up as accurately as you can
match the order of the serial number, you must
remember it! Was it iuck, or could there be some
create an imaginary process which they can
kind of unknown convergence that we are not
make some sense of. This sets you up to create a
powerful close up experience.
fully aware? Regardless, your audience will love
it.
To do this, start by again recalling the numbers
that were initially called out by your spectator,
but as this is done, DO NOT recall them in the
sequential order that they are printed NOR the
order that they were given to you during the
first phase. Instead, think of what might be a
logical way of recalling them that feels like you

Serial Thrillers 2t

E
=
This way of handling the
o'serial number
problem" is the most subtle, and in some ways
the most difficult, but it is certainly doable. It
requires that you have a real understanding and
experience of how to apply "on-beats" and "off-
beats" to your communication and timing.
The effect will appear almost exactly the same
as "serialogical", with the exception that the
handling is not only different, but more flexible.
The idea I'm about to present to you is one which
I wouldn't even be able to do without the practice
afforded to me by having per{ormed the other two
methods.
'9 1h" Collection Glimpse
As people begin to pull bills out of their pockets,
simply start to collect them, and while you do,
intentionally lay them on your hand so that they
are allface down. You want to ask for as many
bills of the same denomination that you can get.
As soon as you have received three (or more)
bills (remember, you are placing them face down
on, say, the palm ofyourleft hand), count them
and as you do, leave one of them face down in
your right hand. You are essentially in the act of
saying something Iike "Ok, I haue three so far,
can u)e get two more?" (Figure tt)
As your hands come back together, however, your
body will turn slightly to the left, and your right
hand will suneptitiously f,ip ouer the bill which
it holds, and place this bill under the two (or
more) bills which remain overlapped in the left
hand in a sofi-of "reverse fan" (Figure 12). This
move happens in a split second and is especiaily
22 AlainNu
hard to detect when combined with any other
misdirection (iike asking people if they have
more money to give you). Furthermore, at this
point in the effect, no one knows what is about tc
happen. They haven't even been told that you ar,
intentionally placrngthe bills face down on your
hand as ofyet. And because your body position
is turned slightly to the left, your audience will
not be able to see that the face of the flipped-ove
bill can be exposed for a long enough time to
glimpse the serial number (Figure 13).
How long is enough time to giirnpse a serial
number? Well, to break it down, it will take
approximately 5 to l0 seconds for your audience
to respond to your asking them if two more bills
can be found. Essentially, you tell them "the mor
moruey the merrier!" IL's a line that anyone can
relate to. But the point is, during this little chit
chat, you've gotten an easy 5 to 10 seconds to
glimpse and remember the eight digit number ir
front of you. Try during this time to cement this
memory into your brain. Then IMMEDIATELY
after you say, "the more the merrier" , sayr "Giue
me a second, let me see if I can do this... " NOW,
close your eyes ahd repeat the eight digit numbe
in your mind as long as you need to, in order to
truly plant the eight digits into your thoughts.
While your eyes are closed, simply square all
the bills in your hand so the bill underneath the
spread cannot be seen. This should only take
an extra 5 seconds or so, especialiy when using
the mernorization ideas which I described at the
beginning of the last chapter (page l4).
Once you have fully recorded the eight digits inl
your thoughts, open your eyes, and say, "Well,
maybe I can go ahead and iust try it uith these
three." By that time, there will either be people
Serial Thrillers 23
 ready to hand over a few more bills or not' but
either way, you now have fully engrained this
number into Your memory!
's
The Bottom Deal Flip
At thirpoint, you still need to re-reverse the
bottom bill. This can be done in the act of
simply handing the bill to a spectator' Hold the
.tu"kln your lefi hand' (withyour body turned
slightty to the left) and then approach the stack
with your right hand so that the right fingers
slide underneath the stack and can remove
the lowermost bill (Figure 14)' Notice that it is
held right at the fingertips as it's removed' The
quickness of the action of grasping the lowermost
bill of this bunch is not too unlike the secret
action used in the classic card ntove known as
the "Elrnsley Count", as the right hand steals the
lowermost card back into its possession'
As the bill clears the bottom of the stack, the
right fingers quickly close and the right thumb
q,rl"t ly moves out of the way for the bill to
llu",.ontpletely over onto its outstretched palm
(Figure f i t fO;. The large movement made by
ih" ,ight arm acts to cover the smail motion of
flipping the bill over and handing it to someone'
As the arm is extended to hand the bill off' the
right thumb should be back in position to help
d"liu", it to them. This is all done in a swift
rnotion, and is much easier done than explained'
The illusion is perfect so long as your audience is
watching from your right side, but will look good'
for the most part, from any angle with the proper
amount of offbeat misdirection'
Some would wonder why a gamblers flip move
wouldn't be just as effective to use at this point'
Well, the reason is that IT WOULD he the most
effective way of forcing the bill, if the average
antount of bills that one gets while performing
seven biils. Since the average bills one receives
in performance is usually not quite seven'
however, this method of handling works
just as
well with a smaller number of bills'
24
Alain Nu
@ 1u*get Selection
the above move actually allows for,
What
which "seriaiogical" does NOT, is that you are
seerningly able to ALVIAYS give your volunteer
a chance at choosing which bill to use as the
target. Here's how:
"As I lay these bills down on the table, just call
stop." Say this, as you lay the first bill face-dov
on the table. If there is more than three bills to
choose from, continue on with the second bill'
exposing that with each bill you deal down, the
one underneath is also face down' Once your
volunteer calls stop, deal whatever bill you are
holding down to the table, but then immediatel
do the
l'botto- deal/flip over" move as you har
him the now memorized bill, saying something
Irke, "Ok, so this one goes here, and this one wt
go to you!"
If you get to the poini where there are only twc
remaining bills in your hand (the face-down
one on top, covering the face-up one beneath
it), simply do the move, but this time using it
jusi to separate the two bilis into each of your
t*o hund*, as opposed to handing one to the
spectator' As you do this, display each biil
facedown on your hand and say, "We're down t
only two bitts lefi, so next finally, would' you
to go with, the one on the right or the one on th
Lefr?''
Said in the rnanner mentioned above, it doesn
matter which one anybody "goes" with' This
is mainly because the unusual combination o:
the words "ltrext fi'nally" is thrown in to mak'
the last staternent arnbiguous' If he chooses tl
prepared bill, you say,"Very caell, tahe this
biti arud' let's haae a go at it!" On the othe
hand, if he points to the one which isn't the
preparetl one, just place it dramatically on to
of ,ho." on the table, and say 'oThen this on
is the lalst one to go! l{ow take the remaini
it will be used as ou
one and' hold onto this as
'target."'
Remember, up until this point no one knows
why any of this is going on, save a few comments
about quantum mechanics, and a strange affinity
with randomly generated numbers sequences!
w A Four Digit Revelation
Originalll, I tried to duplicate the first
phase of "Serialistic/Serialogical" in the early
stages of trying this one. But it was, frankly,
ridiculous to try and add up eight single digits
AND memorize them onthef,y. As you can
see, even I have a threshold! But I did find that
rnernorizing the eight digits fairly quickly was
not as much of a problem for me. So with wanting
to stay in keeping with the multi-phase spirit
of "Serialogical",I came up with the following
alternative first phase procedure, which still
works quite nicely. To introduce your effect, say:
"Although there's no way to determine which
bills utould end up here infront of me, let's see
if a strange ffinity can be achieaed with a
randomly generated, set of numbers. You see,
the reason why I haue kept each bill president-
side down is because I dicln't want any of the
serial numbers to be out in the open before ue
begin. With the bill which you haue just chosen
to be our'target', I will try to.find some unusual
c orre lations by re c eiaing inspir ation from one
or nlore of these remaining bills, which may
share sorne association to the isolated bill that you
are holding. This strange "nLlnlber to nurnber"
relationship may not make any logical sense in
our reality, and yet, let's see if something real can
be mad,e of this!"
Slowly and deliberately lay your two hands down
on the facedown bills on the table. TLre key here
is to do this deliberately, but not to say anything
about why you are doing this as of yet. Just
allow it to sink in as a mvsterious element of the
process.
Serial Thrillers
will begin by simply hauing you concentrclte
'"1
on just one of the f"rst four number digits that you
see. Just concentrate on one of the f.rst fotLr as a
single digit number in your mind. Do you haae
one?"
Close your eyes. By the way, now would be a
good time to review that serial number in your
mind again. Especially review the first four
digits, because what you will do now is to try and
consider which of the four digits your volunteer
could be thinking of.
You will also break down the four digits
into categories that can help you "fish" for
information which will guide you to the
correctly thought-of number. As you are seen
to concentrate, call out distinctions of "even or
odd" and "high or low", and along with a little
conlmon sense (for instance, and depending on
the person, some will be more inclined to choose
a 7 because it's a lucky number, or a 0 to try and
mess with you), you will learn to quickly gain
knowledge of the number they are thinking of in
MOST cases...
The reason why I say "in most cases" is because
you just never know what the serial number will
be on any given bill, and occasionally you'll end
up with a bill which is just frankly difficult to
pump a number from. One can only hope and
pray that the first four digits will be 2727,but
sometirnes it isn't that easy. In more difficult
cases, have the spectator show the number to
other people around him, because you can learn
a lot from seeing different reactions come from
your statements of even or odd, etc., which makes
it a iittle easier to decipher. It doesn't even
matter if you're wrong, because if you're wrong,
you can say, "Ok, but just out of curiosity, IS there
a seaen as one of the f,rst four digits?" When they
respond by saying "y.r", feel free to count that as
a soft hit. Ah, to never be completely wrong!
25
If you like the idea of adding a nurnerological
presentation around this first phase, please refer
to the presentational touches in A lYumerological
Twist page . and adapt it into this method.
Since Serialogical however does not start off
exactly the same as in this one, I tend to assign
this first thought-of digit in this effect as the one
that represents the volunteer's "self', saving the
more nunlerological divination element for the
correlations you will make in the third phase of
this routine.
Once you come to understand how I utilize each
principle described in this book, you will find
that it is quite dynamic and can either be used,
not used, juxtaposed or varied, depending on
your performing conditions, comfort level, and
general disposition.
'9 5*"ond Phase
For information on this phase, please
^or.
to the second phase of "Serialogical"
refer
in the previous chapter' However, since this
phase relies so heavily on a real element of
synchronicity and inspired improvisation, I will
continue on with a sample description...
Turn the face-down bills face-up now, and
glancing at their serial numbers, see if you can
find any correlations between those that are in
front of you and the one you quickly memorized.
By the way, this is another one of those off-beat
mornents where you can spend a quick moment
reviewing the serial number you just memorized.
Everyone will be reacting io the end of the first
effect. But while all of this is being done, you
are seen flipping the bills over one at a time, still
holding them, but also seemingly trying tofeel
something witltin their texture. Suddenly, you
crumple one of them slightly in your hand, as you
say, "This is the one that is speaking the most to
me right I'm getting a real buzzing feeling
offthis one!"
26
Of course, while that rnay be the case, the reason
why you are pointing out this particular bill
over the others is because you ultimately want
to find a bill which has the most similarity with
either correlating numbers or trto or nlore
correlating numbers that are in the sanne
sequence.
For instance, if your memorized number was
12302560 and a bill which you just spied has the
serial nurnber 09254825 (I really did this using
bills from my wallet as I wrote this passage),
you would have the correlations of the repeated
25 in the latter number which could indicate a
definite 25 sequence within the serial number
of the target bill. Furthermore. the 0, being the
first digit on this bill could indicate that a 0
could be significant as either lhef'rst or last digit
of the target bill, the 9 in the second position
could indicate a 6 sornewhere within the serial,
and so on.
The truth is I made up all of the above
correlations on the spot. But my confidence
remains that I believe (with at least two other
bills to choose from) you will be able to find an
absolute minimum of two corresponding numbers
to call attention to and thus make a noteworthy
correlation. From the outside, it appears as
if you were particularly drawn towards these
correlations, but how? As it's revealed to exist
within the serial nurnber of the target bill, a
whole new meaning begins to take shape within
the rninds of your audience as well!
As a final thought on this matter, should you
find yourself uninspired and can find only one
correlating single-digit connection on one of the
bills, try the following idea:
Have the spectator find the number for you, while
using atiming-force onthem' This would be the
same type of force used by Harry Lorayne in his
effect entitled "The Moving Pencil" from his
book, Close-up Card Ma'gic. Simply hold your
Alain Nu
 finger above the serial number of the bill you
find which has a number that corresponds to the
target bill. The number which you force must be
on the other side of where you start your finger,
so of course that will dictate from which side of
the serial number you will begin.
Whatever the case, hold your right finger (or a
pen) about a two to three inches above the table
directly above one side of the serial number.
Tell the spectator to say stop and as he/she does,
simply time it properly so that your finger is over
the number that you'd like to force. It can't get
much simpler than that. Once your finger stops
above the nurrrber you want to force, simpiy bring
your finger down onto that digit, and call out the
nurnber, while asking them if it corresponds to
any of the nurnbers on their bill. They will be
forced to agree. Furthermore, the fact that no one
in your audience will know the context for which
you are doing this is well in your favor, and since
you are giving your volunteer the credit for taking
part in the spooky correlation, everyone comes
out looking like a winner.
It is always wise to remember, however, that
part ofthe second phase is also best used to
instill doubt into the minds of your spectators
that you have any knowledge of the sequential
serial number of the target bill. Therefore, if you
ever find yourself uninspired during the second
phase, please feel free to make up some incorrect
correlations (see The Conuincing Miss, page
It will pay off at the conciusion! -).
'9 1'1tird Phase
Haaing primed your audience with the first
two "minor" phases, you are now ready for the
big finale. Rernember, you are WAY ahead of
your audience in that NO ONE has suspected
that you have seen the faces of any of the bills,
much less were able to quickly memorize an
entirely randorn serial nurnber within seconds of
time. Keep in rnind that rrrany people can't even
remember their own cell phone number. But
Serial Thrillers
even if you think of YOURSELF as one of those
people right now, TRY IT using my suggestions
(pg t4), and you will see that with only a little bit
of practice and dedication, the eight digit serial
number memorization trick is startlingly easy.
"As afi,nale, I'd like to try something interesting.
This time, I'll use pen and paper to record my
impressions... I utant you to recite any truo
random nlr,mbers...."
Here, you won't have to do any secret math
equations either. Take the pen and paper, and
hold it so that it is facing away from the volunteer
holding the bill. As he calls out each random
digit, you appear to write it down on ihe paper.
Houterser, rather than uriting the scrambled
numbers in the order of the sequence called-out,
you will be seen by tlte rest of your audience
uriting them on the paper in an odd way- each
digit you write down, will be fill each digit on the
paper in the EXACT order of how you memorized
them initially. Of course, as in the lYumeroLogical
Twist, you can have your spectator recite the
numbers in two pairs and one triplet, which
creates the illusion of more of a process than
there actually is.
This is an interesting mornent, because it will
appear to your audience, as your volunteer
reads off random digits, that you are also writing
them down randomiy. The surprise will come
appropriately at the finish, when it is revealed
that the manner in which you scrarnbled your
digits on paper, matches correctly the exact serial
number of the bill that your volunteer is holdingl
My most recent preference in handling is to use
the'oNurnerological Twist" presentation, getting
the volunteer to recite scrambled numbers two or
three at a time, while simultaneously using the
pen and paper to write down the nurrrbers in such
a way to make it seem as though through some
mysterious numerological process I am able to
come up with the correct sequential order. This is
my preferred stage handling as well.
aq-
A serial killer's strength can be found within
the element of surprise; you never know when or
where he may strike...
What if you were able to just have sonteone
just take one of her own bills, have her; call
out the numbers in a scrambled manner and
then irnmediately regurgitate them back to her
in sequential order? That would be a pretty
tremendous Inoment, right?
The following concept pre-supposes that you
have mastered the memorization techniques and
the principles of the prior effects and routines
in this tome. By learning to understand the
framework of exercises and subtleties within
those routines, you will eventually learn to
cultivate shortcuts that allow you the cleanest
most direct serial number divination
You will find, however, that developing an
ability to perform the perfect execution-Ihe
most straight fon'vard dernonstration of being
seen to divine the serial number of a random
bill- will rely not only on the confidence of your
demonstrative abilities by continual practice,
but also on realizing the moment of the perfect
circumstance, and on summoning the perfect
circumstances to occur. ..
The best tirne to perform any serial number
divination effect is whenpoper money is already
out and present-llke at a bar where people are
constantly buying drinks, or at a restaurant at the
end of dinner when the check is being figured
out. Presenting this effect at these times will
rnake this demonstration appear organic and off-
the-cuff, yet the mark you leave behind will be
legendary.
28 Alain Nu
Here's one way to save time and process: as you
see cash get placed on the table or baq try to
catch a good glimpse of one serial number on a
bill that is lying out and cornmit it to mernory.
Then, set up the effect, once you have done this,
to end up with that bill as the one used for the
demonstration. Feel free to use equivoque, one of
the methods or subtleties I mention in this text,
or simply off-handediy ask someone to pick up
the dollar you just glimpsed, and fold it up!
Whatever the case, you now have your audience
where you want them. You are now ready to
o'prior tests", or simply
either go into any of the
go straight into the third phase of divining the
serial number of that bill in the most convincing
way you can using the assortment of techniques
learned from this system.
As I mention earlier, my preference is to
per{orm a straight forward demonstration of the
Numerological Twist and then just dramaticaliy
call out the sequence while someone holds my
eyes shut. It doesn't get rnore engaging as that!
Good timing is everything. Always be aware of
the moments preceding great opportunities so
that you may be ready for them when they arise,
as they always eventually do'
There are, of course, so many other ways to
explore the process of making this "moment"
a magnificent one. That is arrother thing to
appreciate about these methods-they are very
dynamic. They create the space for "empty
moments" that you rnust fill with your personality'
creativity, and personal message.
Always remember, within your creativity-not
my methods-will you find your greatness. The
experience that this demonstration creates is best
seen as a punctuation mark- representing the
context and content which you must create and
inject. I must leave this part to your own personal
aesthetic, but suffice it to say, there are plenty
of creative options you can explore. My only
advice here is to say, make it look good. Make
it look possible. And be sincerely appreciative
of your successful outcomes. To be believable,
your character should never be so sure of oneself
as to expect a perfect hit with these kinds of
o'challenge" demonstrations. After all, performing
a demonstration with random serial numbers
should be given the feel of something truly
beyond extraordinary.

Serial Thrillers 29
L

Others I would like to thank include David

I'd\rk to first thank mY editors Raj effect was his
Jones, whose "serial link" to this
Madhok, Tanya Thielke, and Joe Zabel Next' o'cancelling of tens" addition'
inclusion of the
acknowledgements go to rny historical resource
This was the first idea that inspired me to
team, Gr"g Edntonds and Steve Rivkin' I'd
also
effect'
develop my own style of serial number
iike to thank Rose Rings for the excellent layout
Also a big thank you goes to my friend' Raymond
work and Doug Moors for helping me with the to
Carlyle, who always has important wisdoms
photographr, und another awesonle (last-minute)
impart. My greatest inspiration, whg had nothing
d".ign! Tanya and Doug also doubled with
"ou"t to do with writing this work, is my daughter'
babysitting tasks, while I slaved away at the to
my Nicolette. Thank you all, for helping this work
computer, so thank you both for picking up on
print.
slack!

AlainNu
30
w\,vw. shoPofse c rets' c om