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Copyright© 2009 Docc Hilford

First printing Docctober, 2009

Produced solely for Docc Hilford’s

2009 European Lecture Tour

No portion of this book or original illustrations can be reproduced

in any manner without written permission of the copyright owner.

Docc Hilford Productions

P.O.Box 546022 Bal Harbour, FL 33154 USA
docclecture@hotmail.com
go to:

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 Contents
Introduction 4

20th Century 5
Svengali

Nudie Call 33

Nightmare Coin 40

Newmero! 48

SPECIAL BONUS 65
E’Voque

3
 Introduction
It’s such an honor to be invited to lecture overseas; of
course, to you I’m the one traveling from “overseas”. You’re
here. At any rate, I’m excited to be here with you. This 2009
lecture tour includes cities in Italy, France, Belgium, Nether-
lands, Denmark, Sweden, Germany, Austria and Slovenia.

The mentalism in these notes are very strong pieces

from my personal répertoire. The methods are easy, but the
effect is great. Two of the tricks are powerful stand-up
pieces. I use a form of 20th Century Svengali in my show and
always close with Newmero! These will be released individu-
ally later, but for now there’s yours.

As a BONUS, the entire book, E’Voque is included.

This book is out of print and hard to find, but it’s my gift to
you.

It’s my intention to give the attendees much more than

you expected from this lecture. And so these tricks are not
pieces I would never perform, but rather they are my fa-
vorites. I hope they become yours, as well.

Enjoy.

Docc Hilford - Docctober, 2009

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 20th Century
Svengali
form the book, Nostrum Necromancy

Effect
You’re working at a five star hotel with your
blindfold card reading act.* Relaxing in the cocktail
lounge, a party of fun-loving guests recognizes you
and ask you to join them. There are two couples
and a single woman. The woman’s natural beauty
makes concentration difficult, but you get focused
and perform a couple of Real Time Mentalism™
effects for the group. You learn everyone’s names
and prove your powers of mentalism.

5
 Suggesting one more psychic test, you ex-
cuse yourself temporarily to find a magazine. Hav-
ing found one in the lobby, you return ready to go.
You say you’ll look into the immediate future of
Bob, one of the men who helped you with an
earlier effect. A prediction is written on the back of
one of your business cards. You fold it in quarters
and lay it on the table.

“First”, you explain, “I’m going to try to hyp-

notize and project a thought to one of you. You,
Michelle, I think. Don’t worry, you won’t even
realize you’ve been hypnotized,” indicating the
single woman. “Don’t listen to what I’m whispering
to the others.” You lean near the other four people
and whisper, “My thought is, ‘Do you think the
prediction I just wrote will match Bob’s future
selection?’.” Turning back to the woman you say,
“You’re about to hypnotized. You won’t feel any
different, but you’ll know my thoughts and do as I
wish. I have a question in mind. I want you to
answer it. Unfold that card and read what I wrote.

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Don’t say what’s
on the card, it’s a
secret. Just an-
swer me ‘yes’ or
‘no’.” Michelle
looks at the writing
on the card, looks at you and says ‘yes’.

“I’ll show you that you made the right deci-

sion. Look through this magazine.” You hand the
periodical to the group to examine. The prediction
is handed to Bob for him to secretly write a number
from 1 to 16 on it. Bob complies and puts the
folded card back on the table with the number side
down. You take the magazine and flip through it
with the request for Bob to say, “stop”. A page is
randomly selected and ripped from the magazine.
The page is torn into sixteen equally sized pieces
and held in a stack.

“Bob, what number did you choose?” Bob

says twelve. You hand a torn piece of magazine
page to Bob and count “One”. This procedure of
counting pieces to Bob’s hand is repeated, “two,

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three, four, five, six, seven, eight, nine…” A piece
misses Bob’s hand and falls to the floor. “Sorry,
here, ten, eleven twelve. Take your piece and look
at the other side. Find a big word; one that’s large
in print and number of letters. Do you have one?
Fine.

You take a position of confidence and ad-

dress Bob, “I believe you’ve done exactly as I
predicted. At first, you looked at the smaller word,
didn’t you? But the larger word, the word you
chose is – BEAUTIFUL!” Bob admits you’re cor-
rect. Everyone is impressed with your mind read-
ing abilities, but you go further.

“Remember that I wrote something on that

card and you put a freely chosen number on it, all
before a page was even chosen, let alone a part of
a page,” you say. “Michelle, will you open the card
and read what I wrote before we started?”

The attractive woman giggles when she

reads what was written on the card. She reads,
“Bob will choose the word BEAUTIFUL.”

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 Everyone applauds having been bewildered
by your demonstration, but the most powerful
demonstration is yet to come. You thank everyone,
excuse yourself and extend your hand toward
Michelle. She takes your hand and without either
of you saying another word, you both walk away
hand in hand. Obviously, the woman is still under
your hypnotic spell.

The Force
This is a great magazine test that can be
successfully performed on its own, but with the
combination of a simple billet switch, it becomes a
killer demonstration of mind control. A single man
-- or woman for that matter -- will discover the true
possibilities of this exciting routine. However, the
demonstration is just as strong when performed by
married mentalists. Of course, the procedure is
altered slightly. Instead of a woman walking away
with you at the conclusion of the effect, another
man will order your favorite cocktail. In fact, the

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participant you choose will do almost anything you
wish, within reason.

First, let’s learn the magazine force. It’s

based on Al Koran’s newspaper force. Many men-
talists have their own approaches to this classic
force. Some use a lot of mental calculations, while
others use turning and tearing formulas to position
the force segment. The basic advanced method
th
involves locating the 11 square of a sixteen
square imaginary grid on the magazine page. This
th
imaginary 11 square is often difficult to estimate
accurately. You can guess
the approximate content of
the area, but for me, it was
tricky to get details about
what was in this square.
Then, one had to mentally
calculate the number at
which one wanted the force
square to land and keep
track of one’s actions by

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holding up specific fingers. Thus, one was able to
determine how to turn the stack either to the right
or left and place the torn pieces either on top or on
the bottom of each other. And this was the easiest
version I could find!

I loved the effect; so much that I spent years

trying to simplify the method and improve the
presentation. Oddly, my deliverance was in a back
copy of Bascom Jones’ Magick magazine. The
version I read was infinitely easier than the for-
mula I was using at the time. The author, Danton,
had eliminated the formula by simply noting a
specific corner of a newspaper page and keeping
it on the bottom of the stack while tearing.

Instead of having the force segment posi-

tioned at the spectator’s chosen number, he
flipped the stack over just before the last piece
was dealt. Each piece was dropped on the floor
and the author felt the action provided enough
misdirection for the final switch. I wanted to put the
switch before the final deal, but I didn’t want to

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have to mentally calculate anything. I also wanted
a little stronger misdirection.

I discovered that third from the bottom is the

ideal position for the force segment, for reasons I’ll
explain as we continue. I discovered a simple
formula, based on a ‘key’ segment, that didn’t
require any mental calculations.

The stronger misdirection came from Brother

Bob Cassidy. He showed me a slightly different
handing of the pieces. They were dealt to the
spectator’s hand and only one piece was dropped
just before the switch. The misdirection it created
was excellent.

The Easy-to-Follow Force

Procure a magazine. Riffle through it until
you find a page with a nice, large word in the
upper right corner. This will be the force segment.
It only takes a second and can be done in front of
the audience.

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 Force the page by holding the magazine with
the cover facing you. Riffle the pages from the
back to the front until you see the force page. Here
is a good place for casual patter about the number
of different words in the magazine. Your riffling
through the pages looks like a minor illustration of
your point.

Get a right little finger break at the force

page. Hold your right hand at the middle of the
magazine’s edge. Your fingers are on the back
page facing the spectator and your thumb is on the
cover facing you. Riffle the pages from back to the
pinkie-break. Ask a spectator to stop you while
riffling and let the pages slip by when he says,
“stop”. Open the magazine to the force page and
tear it out. This is a simple and standard page
force.

The FORCE AREA is in the upper right hand

corner, but you’ll keep your eye on the lower right
hand corner; this will be your KEY.

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 F O RCE
ARE A

K E Y

You’ll tear the page in half four times; each

time keeping the bottom right corner ‘key’ on top of
the pile. After the final tear, the ‘key’ goes to the
bottom.

Hold the page facing you. The force word is

facing you in the upper right corner of the page;
your ‘key’ is the lower right corner. Tear the page
horizontally and place the half with the ‘key’ corner
on top of the other half. Tear the two pieces in two.
This, of course, makes four pieces, two in each

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hand. Place the two pieces with the ‘key’ (usually
your right hand pieces) on top of the other two.
Tear the four pieces into eight. Place the halves
with the ‘key’ corner on top again. Make a final
tear and place the eight new pieces with the ‘key’
UNDER the stack. This puts the force corner third
piece from the bottom.

Ask the participant the number he wrote on

the prediction. Mentally subtract 3 from it. Deal
that many pieces onto the hand of the spectator,
but when you come to the piece three from his
number, drop it past his hand so it falls to the floor.
(This is Carlisle’s idea.) When the audience’s
attention follows the falling piece, flip the remain-
ing pieces in your hand over. Now deal the last
three pieces onto his palm to bring the number of
dealt pieces up to the chosen number.

This works for any number except 1 and 2.

If 1 is chosen, you merely correct them by

saying, “I’m sorry, a number BETWEEN one and
sixteen.” You should see him write the number, so

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you can make this correction before the perfor-
mance of the actual trick.

If 2 are chosen, flip the packet of pieces

BEFORE you begin counting and dealing. Deal
two and hand him the NEXT piece. If 3 are cho-
sen, deal to the third piece.
th
(The force piece is 14 from the top, so if 14
is chosen, let the participant deal the pieces with-
out any flipping.)

It’s all pretty self-explanatory if you merely

subtract 3 from the chosen number.

Note A newspaper can be used instead of

a magazine page. The handling is slightly
different and the total number of pieces can
go up to 32. All of this needs to be worked out
by the performer if he (you) decided to learn
how to perform this routine with a newspaper
as well as a magazine.

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 Although a newspaper works well, experi-
ence has shown that a magazine is preferred.
The size of the page and the weight of the
paper make it easier to handle than newspa-
per.

The Billet Switch

The billet used switch is a standard, Anne-
mann style. That is, done in one hand. Finger
palm a folded business card and pick up another
folded card with the same hand. Align both billets
using your thumb. The first billet is still against
your fingers, while the second billet is under your
thumb. Push the second billet forward, to the tips
of your fingers and the switch is done.

h
It’s really that simple. Because no one
expects anything, no one ever sees
anything. (See Annemann’s Practical
Mental Effects or Corinda’s Thirteen
Steps to Mentalism for full explanations
of billet switches.)

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The Routine
This is Real Time Mentalism™ because you
can to do it on the fly. If you’ve noticed a magazine
near where you’re performing, that’s all that’s nec-
essary.

Before the performance, you must write on

the back of a business
card the following: When
I’m done, will you have a
drink with me? ** Fold the
card and keep it in your
right pocket where you
can get at it easily along
with some unfolded business cards.

Approach the group where you see an attrac-

tive woman (or a man you want to get to buy you a
drink). Do a few mentalistic effects, and then offer
to perform one more.

Reach into your right pocket, finger palm the

folded billet and grab an unfolded card. Write on

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the card’s back: Bob will choose the word BEAUTI-
FUL. Fold the card and while doing so, switch it for
the palmed card with the drink message. Put the
billet on the table in front of the woman keeping
the one you just wrote hidden in your hand.

Note: You should have no difficulty keep-

ing a folded billet hidden in your hand for
long periods. If you’re more comfortable
ditching it and picking it up later, that’s fine.
You can put the pencil in your pocket and
leave the billet there as well, picking it back
up when you retrieve the pencil in the future.
It’s all about your comfort level.

Tell the party what you’re going to do.

“First, I’m going to try to hypnotize

j
and project a thought to one of you. You,
Michelle, I think. Don’t worry; you won’t
even realize you’ve been hypnotized.
Don’t listen to what I’m whispering to the
others.”

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 You’ve set up the woman by telling her she’s
going to experience something that the rest of the
group won’t.

You lean near the other four people and

whisper, “My thought is, ‘Do you think the predic-
tion I just wrote will match Bob’s future selection?’.”

Here we use the wonderful “duel reality” ploy

wherein the rest of the group thinks one thing is
about to happen and the woman believes another.

Turning back to the woman you say, “You’re

about to hypnotized. You won’t feel any different,
but you’ll know my thoughts and do as I wish. I
have a question in mind. I want you to answer it.
Unfold that card and read what I wrote. Don’t say
what’s on the card, it’s a secret. Just answer me
‘yes’ or ‘no’.”

It’s very important to get her to answer ‘Yes'

or ‘No’.

Michelle looks at the writing on the card…

She reads the request for a drink. She can

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answer ‘Yes’ if you’ve sufficiently intrigued her and
she wants to spend more time with you, or ‘No’ if
she simply wants to remain with her friends.

…looks at you and says ‘Yes’.

Of course, she’s answering what was asked

on the card, but the audience thinks she’s answer-
ing your mental question and simply looking at the
prediction on the card.

“I’ll show you that you made the right deci-

sion.”

This line confirms the fact that she’ll leave

with you after the trick.

If she answers ‘No’ you still have a shot.

Here’s what you do.

Let’s say she …looks at you and says ‘No’.

Now give her a chance to change her mind

later by saying:

“I hope to change you mind in just a mo-

ment.”

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 Later, she can decide that she does want to
join you for a drink. We’ll have to see.

Reach over, pick up the folded card Michelle

just read and switch it for the prediction. Hand the
prediction to Bob.

Pick up the magazine and hand it around for

inspection. After it’s returned to you, flip through it
looking for a good upper right corner; one with a
single large-print word with a couple of smaller
words. Stick your pinkie in at the force page and
force it, man! Tear out the force page and quickly
tear it into sixteen segments. This is really easy
because all you’re doing is keeping the bottom
right corner on top for all four tears. After the last
tear, place the ‘key’ on the bottom.

Tell the spectator, Bob, to write a number

between 1 and 16 on the billet. After Bob writes his
number on the folded card, have Bob push the
card back over in front of Michelle. The woman will
remember that there was no way for you to switch
cards because of the number on the outside of it.

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You can “go south” with the drink request card
because it’s not used again.

Force the segment of magazine as detailed

above. When he has it on his hand turn around.
Instruct him to turn it over and look at the main
idea on the segment. This is important for a couple
of reasons. First, the force segment is face-down
on his palm due to you flipping the stack. Second,
it appears as if everything has been kept from your
eyes throughout the procedure.

You reveal the word. It’s performed a little

like mind reading, but really you’re revealing your
prediction, not bob’s thought.

“I believe you’ve done exactly as I predicted.

At first, you looked at the smaller word, didn’t you?

K
But the larger word, the word you chose is –
BEAUTIFUL!”

Slowly reveal the chosen word. If

there is more than one word on the
corner, you’ll need to pump a little.

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Notice how Bob could have actually chosen the
smaller word, but you reveal “…the larger word
is…” not necessarily his word. Immediately you
turn it into his word by saying, “…, the word you
chose is…” This is fine because the prediction will
clean everything up at the conclusion. Reveal the
word BEAUTIFUL.

“Remember that I wrote something on that

card and you put a freely chosen number on it, all
before a page was even chosen, let alone a part of
a page? Michelle, will you open the card and read
what I wrote before we started?”

By grouping all the actions together, you

imply that everything was done before you
touched the billet. This statement makes the effect
on the woman stronger.

The attractive woman giggles when she

reads what was written on the card. She reads,
“Bob will choose the word BEAUTIFUL.”

Now, if she answered ‘Yes’ to your query,

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you simply thank everyone, put out your open
hand, take hers and walk away. I can’t describe
the shock that hits the other participants when this
comes off correctly. They’re really stunned and it
seems as if you actually have the woman under
your control!

However, if she answered ‘No’ earlier, you

still have a second shot. Ask her, “So, did I change
your mind?” If she answers that you did change
her mind, the audience thinks you’re referring to
the fact of the prediction matching the selection,
but the woman is answering about having a drink
with you. You put out your hand and the routine
ends the same way.

Alas, if she still wants to hang with her

friends and says that you didn’t change her mind,
everyone laughs. It’s obvious that your prediction
did, in fact, match Bob’s selection, so it appears as
if the woman is being playfully unreasonable. You
wink at her and excuse yourself still a cool as a
cucumber.

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Afterthoughts
Again, I know what you’re thinking. What if
she tells everyone that what she read on the first
billet wasn’t what was on it later? Well, that’s what
you want to happen. You’ll get credit for controlling
her mind anyway. The group will believe the hyp-
notic thought projection bit if you play it up.

Remember that this is simply a playful way of

asking a woman for a drink. Often times women
are with their friends and don’t want to be asked
away in front of them. They’ll agree to join you
secretly, so they’ll answer ‘yes’, but refuse when
you put out your hand. In this case, just let her
know you’ll be at the bar, or some such place,
where she can meet you once she gets away from
he friends.

I’ve never had this little effect fail me because I’ve

pre-qualified the participant before I do the rou-
tine. And also because the routine is so strong.
Don’t be afraid of getting a ‘No’ response. No one

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will know what happened except you and the
woman; and even then, she’s not certain about what
she really read! You’re safe to do this repeatedly.

For The Boys

As stated earlier, you can also use this routine
to get a fellow to buy you a drink. In that case, he’ll
be absolutely knocked of his chair by the billet
switch. After the trick, you merely ask if he has a
desire to “do something”. He’ll most often bring the
wait-person over and order your drink. To which you
add, “My favorite.”

In any case, it’s all a lot of fun.

Finally, keep this in mind. I know there will be

critics who don’t think this sort of thing is good
mentalism. Imagine for a moment that you were
going to do the Koran newspaper/magazine test. A
page is torn up, one segment chosen and a word
revealed. Isn’t that what you just did? But you have
the potential to leave an absolutely awe-inspiring

27
impression on the minds of the audience by con-
trolling the will of one of them. So go ahead and
have some harmless fun.

Lecture Update
In the lecture you
watched me perform this won-
derful trick as a book test. It
can, of course, be a book,
magazine or newspaper. In the
presentation you saw I elimi-
nated the billet, used the
marker board and didn’t force
a specific page.

Here is a reminder of the sequence of

events:

• Show the book’s pages are different. Ex-

plain the subject can select ANY page as
long as it has a full page of text. Ask him to
stop you on a page. Offer to let him change

28
his mind. Instruct him to remember the page
number as you point to the right hand num-
ber. Memorize two words in the upper right
hand corner of the right page. Close the
book and hand it to him

• Ask the audience for letters to make sim-

ple words, eliminating letters that are sel-
dom used. Guide them to call out the letters
used in the two force words, by suggesting
you need vowels or by merely
“misunderstanding” a couple of letters
called out. At any rate, get the required
letters on the board.

• Let the audience participate by creating

words from the letters on the board. If one
of the force words is named, that’s good. If
not, it doesn’t matter. Write the secondary
force word on the back of the board, cross
it out and write the primary word. (Thank
you Richard Osterlind for this little presen-
tational gem.)

29
• Tell the subject to open the book to the
page he has IN MIND. Ask him if he wants
the right or left page. He has already been
guided to the right, but it adds to the free
selection. Tear out the page. This gets an
audience response because it’s something
nice people don’t do!

• Explain you will tear the page into 16

pieces. Do so and along the way have
some fun with the subject. As you tear,
place the key ON TOP, ON TOP, ON TOP,
ON BOTTOM. The force corner is now third
from the bottom.

• Ask the subject for the position any piece,

excluding the top or bottom piece because
you may have seen a word on them. Count
to that number, reversing the pack three
before. Hand the force piece to the subject.

• It will most likely be face down. Remind

him that you can’t see a single word on the
under-side and get them to turn it over.

30
Direct them to look at a word with the same
number of letters as your force words. Do a
little pumping to determine what word
they’re looking at. Guide them to look at
both the primary and secondary words. (If
they haven’t looked at your words at all, tell
them that you psychically see a ___ letter
word that starts with ___. and make them
look at it. They won’t realize you’ve directed
them because at this point the trick is that
you can psychically see ANY word on the
randomly chosen slip!)

• Let them select a single letter form the

force word and reveal it. (Thank you Ba-
nachek for this strong subtlety.) Make dif-
ferent words from the letters in the force
word.

• Finally, reveal the word.

• Reveal the secondary choice.

• Show both words are from the letters the

audience selected.

31
 • Show you predicted both the primary and
secondary word.

(For the record, we discussed in the lecture

the difference between the primary and secondary
words- for those who have this but didn’t see the
lecture. Shame on you.)

This trick is equally potent as a one-on-one

magazine test. I’ll do the whole thing for one
woman and use random strangers for letters writ-
ten on a pad.

It’s one of the best impromptu tricks I know.

*It’s a Lu Lu is a complete blindfold card reading act

available from the author.

** To cause a man to buy you a drink, the message is

altered thusly: If I’m right will you buy me a single malt
scotch?

32
33
 N u d i e C a l l
f r o m t h e b o o k C e l l u l a r M it o s is

This little effect is a cute and clever phone

trick that doesn’t require calling anyone. It’s one of
my favorites for walk around performing. Everyone
carries cell phones today and using a spectator’s
phone is a good way to emotionally load your
performance.

The props are small and simple so it carries

easily in your pocket. The use of an antique
“nudie” deck also makes for a bit of comedy.

PRESENTATION
After amusing some partiers at a local
lounge, you turn your attention to one of the single
men. “You look like a player. I’ll bet you date so
many women, you can’t even remember them all.
Here are some pictures that may refresh your
memory.”

34
 You show the group a miniature deck of
playing cards, each with a picture of a pin-up girl.
They’re obviously from the 1950s and all are
nudes photographed in good taste. You display
the faces of the cards and let the participant mix
them up a bit. You take the little cards and hold
them face-down in your palm.

The rest of the party at the table laugh and

rib him as you continue, “I’ve got a note here from
a very attractive girl who said you’d remember her!
You were with her just the other night. She wrote
the note on the back of one of my business cards
and I put it in my wallet. You remove your wallet,
open it and take out a single business card. It’s set
printing side up on the table and your wallet is set
next to it.

“Let’s see if your subconscious will recall

which girl she is.” Taking the cards, you ask the
man to open his cell phone and to press any
number from 0 to 9 and you’ll deal that many cards
face-down onto the table. He picks 3 and you deal

35
three cards to the table. “Fine, now press another
number. It can be the same or any from 0 to 9.”
This time the man presses the 5 on his phone and
you deal five cards to the table. “Great. Do it
again, please.” The man picks 8 and you deal
eight more cards onto the growing pile.

“So far, your subconscious has said that the

girl’s phone number is 358. Let’s do it four more
times and see what happens. The man presses 4
and you deal four more cards. He presses the 0
and this time you don’t deal any cards. He
chooses the 1 and you deal a single card to the
table. Finally, he presses the 6 and you deal six
more cards.

The balance of the little deck is set next to

your wallet and you pick up the pile of dealt

m
cards. “You say you don’t remember this girl,
but her phone number remains in your sub-
conscious. Isn’t strange that the total number
of cards taken off the shuffled deck is…” and
you count the cards onto the table to get a

36
total. “…twenty-seven; almost exactly half! And
the card you cut to is the… Nine of Hearts.” You
turn over the top card to reveal the Nine of Hearts.

“She’s cute. I can see why you remember

her. And she said you would. Better read the note
she wrote. On the opposite side of the business
card is handwriting covered by a lipstick print. The
notes reads: “Remember me? I’m the girl with the
polka dot scarf. I live on Nine of Hearts Lane. You
know my number, so call me.”

METHOD
This trick is 90% presentation, but there are
some fine points which make it strong. In reality,
you’re just predicting what card will be chosen by
apparently random dealings. What the audience
experiences is a lot of fun. And with the right
timing they have little chance of figuring out how
he got to the right card!

37
 The method is quite simple. If the force card
is on top of the deck, any number of cards can be
dealt to the table. When you count the cards you
reverse their order and put the force card on top of
the dealt pile.

This technique is disguised with the words,

“...the total number of cards taken off the shuffled
deck…” and later “…the card you cut to…”. This
implies that he cut to the card and the audience
forgets the reversal of the dealt cards.

Getting the force card to the top of a shuffled

deck is accomplished with the wallet. The force
card is stuck onto the unseen side of the wallet.
When the mixed cards are in your palm, the wallet
is temporarily laid on top of them so you can open
it and remove the prediction card. When the wallet
is taken away, the force card is face-down on top
of the deck. Mark Striving’s Sight Unseen wallet is
perfect for this because it has a slit that holds the
little card wonderfully. If you wish, you can put a
tiny daub of magician’s wax on your wallet and let

38
the card stick to that. Make certain you press the
wax firmly into the wallet so it remains there and
not on the card when the card is dislodged.

To dislodge the card, use your fingers under-

neath as you place the wallet on the little deck. It’s
all very simple and plays extremely well.

39
40
 Nightmare Coin
from the book, Band of the Hand

The dinner was excellent. After the plates

were cleared, the other guests asked the mage to
demonstrate some of his special magick. He be-
gan, “Have you ever experienced a dream where
you find yourself instantly transported to another
place? I had one of those dreams last night. In the
first part of my dream I was in Texas on a beautiful
Fall day. I was looking down from a window at a
street where a parade was about to begin. Then it
changed and I
was in Ancient
China looking
over endless
fields of waving,
golden grass. And
finally I was in old

41
England in a smoky
pub.

“But that was

where this dream
turned into a night-
mare. For I was in Dallas, Texas in November.
And it wasn’t a parade that began, but a Presiden-
tial motorcade. And I witnessed Kennedy’s head
explode like a ripe mellon! “

And the scene in China was even more

frightening. I saw Gingus Khan lopping off the
heads of his enemies.

“Finally, I found myself back in the pub in Old

England sharing a pint with Jack the Ripper! And
that was when I woke up.

“I reached over and turned on the nightstand

light.” The mage mimed reaching over and twisting
on a lamp. “And there on the table were three
coins. A silver half dollar with Kennedy’s image, a
brass Chinese coin, and a copper English penny.

42
And that frightened me so much, I awoke again.
And realized I had never really awakened in the
first place. But, I was too scared to turn on the
light. So I laid there in the darkness, unable to go
back to sleep, until the room flooded with morning
light.

“But I picked up those three coins, made of

nothing more than imagination, and I brought them
here with me tonight.” He held out his empty left
palm and pointed to where the imaginary coins
were.

“A sliver coin, a brass coin and a copper

coin.” The mage closed his fist around the invisi-
ble coins. “Out of these three
coins, which would frighten you
the most?” He directed his
question to me. I answered that
the copper penny would scare
me. The mage continued, “That
would leave me with the silver
coin,” the mage acted as if he

43
removed an invisible coin from his fist, “and the
brass coin.” The imaginary brass coin was taken
from his fist. Both pieces of dream were placed in
his pocket.

“But your nightmare remains.” The mage

slowly opened his fist and on his palm was a
copper English penny! “And I will keep that safely
away from you.” He put the copper coin in his
pocket and added, “Pleasant dreams.”

The Sinister Method

This is simply a version of finding a half
dollar behind the ear of a spectator. But it is so
much more. There are three parts to this trick: the
production of the coin, the method of making it any
of the three coins and the patter that achieves the
effect.

Producing the coin is rather easy. The easi-

est method is to classic palm the coin in your right
hand and leave it there for a long while, until

44
you’re ready to perform. I have left it there for 30
minutes. When you gesture during the story, such
as when you mime turning on the lamp, it gives the
illusion of an empty hand.

If you wish, you can also hide the coin up

your sleeve until the point of the story where you
display the imaginary coins on your left palm. Drop
your right hand and the coin falls into your right
hand. The misdirection is perfect. At any rate, you
should have the coin classic palmed by the time
you display the dream coins.

Here is the psychological move that makes

the production really work. Use your right hand,
the one with the coin palmed, to stack the invisible
coins on your left hand. As you say, “… the silver
coin, the brass coin or the copper

v
coin…” you act as if you pick them
up, one at a time, with all five fingers
and stack them on the other coins.
Then you act as if your right hand lifts
them off your left palm and closes

45
around them in a fist. This is very important. The
audience will remember that you showed your
palm empty, then simply closed it into a fist. The
transfer of the imaginary coins to your right hand is
so natural it goes unnoticed.

To get any coin called for to appear is slightly

more difficult. The coin you palm is a Sun and
Moon coin, that is a half dollar on one side and a
copper English penny on the other. If the partici-
pant says the copper coin scares him the most,
finish as written above. The same holds true if he
calls the silver coin. You only have to remember
which side you place against your palm. So that
you can either remove the coin from the side of
you fist, as you did with the two other invisible
coins, or open your fist and show the real coin on
your palm. This choice eliminates having to tun
the coin over. I always put the silver side against
my palm in the belief that the copper is less likely
to flash while the coin is palmed.

46
 The final pert of the trick is adjusting your
patter if the brass coin is chosen. When this is the
case, reach into your fist and act as if you remove
the brass coin, then hand it to the participant. Now
turn to another person and ask which coin THEY
would be most frightened of. He will say either the
silver or copper coin. It doesn’t matter which.
Simply act as if you remove that coin and hand it
to them. Then you are left with the coin that
frightens YOU the most. Show the real coin and
finish by telling them, “You have your own night-
mares to deal with, and I am left with mine. Pleas-
ant dreams.”

So if they name the silver or copper coin, that

is the coin that appears. You show them that
THEIR nightmare became real. If they name the
brass, it is eliminated along with a second choice
and the remaining coin is displayed. You show
that YOUR nightmare became real. Two ending to
the same trick.

You will find this to be a very strong pocket

trick. It never fails to elicit an emotional response
from those who see it.

47
48
 N3W M3R0!
from the book, The Book Of Numbers - Vol. 1

I’ve enjoyed performing this effect since high

school. Back then, in the 1970s, calculators were
new and interesting. I wanted a piece where I
appeared sharper than the new hand-held com-
puters.

Years later, I was thrilled when I found David

Berglas also used a nuance in his presentation
that I used in my method. The effect of both tricks
are different, but it’s a delight to see that my mind
was working along the same lines as someone I
was later to admire greatly.

3FF3CT
Members of the audience call out numbers
that the mentalist records on a board as a problem
in addition. Everyone watches as the numbers are

49
written down. He challenges someone in the audi-
ence to try to use a calculator and calculate the
sum total faster than he can do it in his mind. Not
only is the mentalist faster, but he proves to be
more accurate! A prediction is opened and read. It
gives a description of someone in the audience.
The mentalist shows a chart wherein each nu-
meral corresponds with a letter of the alphabet.
When translated, the sum total spells out the
name of the person described!

50
P R 3 S 3 N TAT 1 0 N
Mirador was attending a lecture given by the
great mathematician, Professor Martin Rendrag
when he was noticed by the professor. “Mirador,
why don’t you come up and give these minds a bit
of a break with some of your lightning calculatory
skills?’

The tall mentalist smiled and walked down to

join Rendrag before a huge white board. He took a
marker and drew a chart with the numerals 0
through 9 heading each column. Below he wrote
the letters of the alphabet, beginning with A under
the numeral 2 and carrying through, doubling back
whenever he ran out of numerical spaces. He
concluded when until Z was under the P, the F and
the 7.

“This is a chart similar to those used by

numerologists. But that’s for later,” he laughed.
Mirador wrote something on a sheet of notebook
paper, folded it and handed it to the professor.

51
Then he turned to face the room with the marker in
hand.

“I need some numbers first. Please every-

one, call out a lot of digits and we’ll construct
numbers at random.” A person called out, “Six,”
and Mirador wrote at the top of the white board.

“More please” Another voice called out

‘Five.” And another said, “Two,” and Mirador wrote
them along side the first numeral. “More. Faster.
More!” he requested. More numbers were called
and Mirador wrote each one as it was given from
the audience. He continued writing the numerals
offered, making five digit numbers, each below the
last. Soon everyone was calling out numbers and
Mirador couldn’t keep up. At last, he turned and
said, “Thank you, I think that’s enough.”

d
On the board were five, five-digit
numbers in a column for adding. Mi-
rador kept his back to the board and
said, “In a moment, I’m going to try to
add several multi-digited numbers to-

52
gether. And I’ll attempt to do it fast and more
accurately than a computer! Who has a good
calculator? You? Fine. When I tell you, I want you
to key in the numbers and press add; but wait until
I say ‘Go’, so we start out together. Then, I want
you to add up those five numbers as fast as you
can. I will do the same. Ready? Go!” Mirador
tuned to the board and ran the maker down the
columns putting a number at the bottom of each. In
about five seconds Mirador shouted, “Finished!”

The young man had only entered the first

three numbers into the calculator. “Hurry, Faster!
I’m already finished. Go man, go!” Mirador bad-
gered the young man until he finished and broke
into laughter.

“What is your sum total?” the mentalist

asked. The man replied, “Two hundred nineteen
thousand, eight hundred sixty-seven.”

Everyone laughed because someone was

wrong. On the board, Mirador’s total was 221,245.

53
 “Perhaps a few of you will check my work,”
ask the mentalist. He turned and went over his
addition himself. After a few moments, several
voices called out that Mirador was, in fact, correct.
This caused even more laughter.

“Nothing to be ashamed of, my friend. I’m a

mentalist. I can do things with my mind that may
seem unnatural to you. For example, Professor
Rendrag, will you read what I wrote before any
numbers were up here?”

The Prof. unfolded the paper and read aloud,

“E-109 PINK” no one in the room knew what to
think until Mirador explained. “That is a seat in the
lecture hall. Will the person sitting in seat E-109
stand please?”

A young woman with gold hair and wearing a

pink sweater shyly stood up. ‘What’s your name?”
Mirador asked. She replied, “Autumn.’

Mirador turned to the white board where the

columns of letters were. “Let’s see here. I pre-

54
dicted the random total would have something to
do with the person in seat E-109 and in pink, that’s
Autumn. Have we ever met before? No? OK. Let’s
look at the numerology chart, shall we? The total
was 221,245. And under the 2 is the letter A.”

Mirador wrote a large ‘A’ on the board and

continued, “The letter U is found under the number
2. T is under 1. U under 2 again. The number 4 is
over the letter M and the N is under the 5. So the
total 221,245 spells out the name Autumn!” Mi-
rador finished writing the girls name with a flourish
leaving his had over his head and cueing the
audience for applause. None of the students could
hear Rendrag whisper to his protégé. “You’ve
always been such a ham.”

M3TH0D
In 1936, in the pages of Jinx magazine, Al
Baker took a common number trick of his day and
gave it kick. In his words, “…(it’s) one of those

55
tricks that has an anticlimax but become greater
because of it.” The trick was a prediction of a sum
total brought about through a force of that total.
The force was made through a well known ploy of
“adding to nines”. Al made mentalism history by
eliminating the prediction and making the total
translate into a spectator’s name. Numero! was
born and it was pure genius.

Later, David Berglas changed the double

climax. His prediction was the word “TODAY”.
When he separated the total, it was seen to be
that particular day’s date. As with everything Mr.
Berglas creates, it’s a very clever presentation.

I took the Baker trick Numero!, mixed in the

anomalous prediction idea of Berglas and added
my own lightning calculator premise. The result is
one of my favorite Real Time Mentalism™ pieces.

First, you’ll need to know the standard ploy

of “adding to nines”. If a spectator writes a five
digit number on a pad, such as 12345, under it
you’ll write a number that brings each of his num-

56
bers to a total of nine. In this example, you would
write 87654. You can see that you write an 8 first
because your 8 plus his 1 will equal 9. The same
holds true for the 7; added to his 2 equals 9. And
so on. With just these two numbers added, the
total would be 99999. Repeat this with the specta-
tor writing a second number and you writing an-
other that will total nine. Add just these four num-
bers and your new sum total is 199,998. (Just 2
less than 200,000. Remember that 2, you’ll need it
later.)

Therefore, any two five digit numbers the

spectator writes will be brought to a sum total of
199,998 with two of your numbers.

Add in a key number and you’ll make the

sum total any number you wish. Finding the key
number is easy. If you add only five numbers, the
sum total will always be within 200,000. It will be
one digit longer than the number of digits used in
the adding. Here, it will be six digits long
(200,000). So let’s say you want the sum total to

57
be 291,914. Mentally move the 2 from the front
and add it to the last digit. That gives you the key
number of 91,916. And thus, if this key is added
into our equation: 199998 + 91916 = 291,914.
See, that 2 you added to your force number is the
one you’re remembering from above.

Here’s how the trick was done in Baker’s

day.

Obviously, you must know the name of the

spectator before you begin. It must have the same
number letters as the number of digits we’re
adding. You show a chart with ten columns; A
being under 1, B under 2 and so forth until J is
under 0 and then the letters double back with K

t
under A and 1.

The mage wrote a prediction of

the number 209,367 on a paper.
Then, perhaps on the back of a paper
book of matches…

58
 The mage wrote the key number 91916

The spectator wrote any number 73024

The mage wrote his 1st trick number 26975

The spectator wrote any number 78732

The mage wrote his 2nd trick number 21267

These were added together 291914

The sum total matched the prediction.

You’d drop the first 2 in the total, look at the

letter chart and read off the name SUSAN. S under 9,
U under 1, S under 9 again, A under 1 and N under 4.

In NEWMERO! we changed a few things. Drop-

ping the first number of the total looks suspicious. So
we simply change the chart. We draw a chart with 1,
2, 3, 4, 5, 6, 7, 8, 9, 0 across the top. Under each
column will be letters. Knowing that every

i
total will begin with 2, we place the first
letter of the spectator under the 2. The rest
of the alphabet is filled in accordingly. For
AUTUMN, the A comes under the 2. (If we
were building a chart for SUSAN, we would

59
start with the A under the 4, so that the S would
end up under the 2.) The chart can be constructed
in front of the audience if working on the fly.

Therefore, since we utilize the first 2, the

number of letters in the name will be one more
than the numbers being added. In AUTUMN there
are six letters so we add five-digit numbers. If the
name were SUSAN, we’d add four digit numbers.

How do we get the spectators to call out our

key numbers? This is where NEWMERO! is re-
lated to In-Nile-Ation and where my thinking par-
roted Berglas’ By repositioning where the numbers
go on the board, no one notices that you simply
write in your own numbers while others are called.

60
 st rd
In the old version, your numbers were the 1 , 3
and last rows, this time your numbers will be the
rd th
3 , 4 and last rows. The first two numbers are
written exactly as they’re called. As more numbers
are called more and more rapidly (because you
ask for them to be called as such), you merely turn
the pad to yourself or hide the board with your
body. Make certain that everyone sees you write
the first two numbers (all ten digits) and they’ll
believe that you’re writing what they call. Even if
someone later doubts you wrote every number
called, there’s no possible way to backtrack all the
events. You get credit for lightning calculations,
which is what you claim!

This is no longer a presentation of precogni-

tion. What you’re demonstrating is that you can
calculate faster and more accurately than a com-

B
puter; the prediction is an afterthought. The word
“computer” is more impressive than
“calculator” and is quite accurate. Because
the total is a force number, you will always be

61
faster. But if you can shake the person using the
calculator, he’ll miss a number and you’ll be more
accurate. This is really stunning to a lay audience.
Most can’t even add well, let alone at this speed.
And when you’re correct and the calculator is
wrong, you bring down the house. I always carry a
cheap (mine cost $1) calculator in my attaché bag.
Because it’s cheap, but looks expensive, it never
fails to fail. It takes a clean touch and when
hurried, the spectator gets it wrong every time.

A couple of tips. Make certain you don’t block

the numbers when adding them up. You don’t want
it to look like you beat the computer because the
participant couldn’t see the board.

And mumble when you add the columns. The

carry over is always a 2. Say, “9, 5, 4, 2, 6 are 24
carry the 2…” under your breath. As you move
faster, mumble more as in, “Hmm, hmm, hmm,
hmm, hmm is hmm carry the hmm …” and you’ll
get laughs.

62
 The last bit of chicanery is the prediction and
the name. This is the heart of the piece, so we
savor it. The prediction is purposely unclear to the
audience. They don’t know what it means. But
without this vital point, the trick is about you
messing with numbers. There’s no real mentalism.

In the example above, a seat number with a

single descriptive word is used. In an impromptu
situation, the prediction can describe the known
spectator in a more complete way. Either by the
coffee drink they ordered, the type of chair they’re
sitting in or a word printed on their T-shirt. So your
prediction might read, “M.I.T. GIRL”. The only
person with an MIT shirt on is, of course, Autumn.
It’s easy to find a suitable prediction. For example,
if you wrote, “TALL MOCHA LATTE” you ask a few
people, including Autumn what they’re drinking.
There’s the match. Ask her name and try to tie the
total to her. Then remember the letter chart and
reveal the total codes her name.

63
 What’s in the written prediction, really
doesn’t predict anything. It’s just a clue to lead the
audience to the real prediction, which is the per-
son’s name. So you don’t have to be too clever in
what you write. Just so it requires a beat or two for
the audience to put it all together. Then, when you
spell out the person’s name, you change a demon-
stration of lightening calculation, into a cool pre-
sentation of unexplainable mentalism.

Of course, the revealed word doesn’t have to

be a name. A corporate message can be just as
applause inspiring to the right audience. In one
show I did, the CEO, Mr. Taylor, had given a
rousing talk on profit. He must have said the word
a hundred times in a thirty minute speech. When
my turn came, I did NEWMERO! The total was
237,470. I ended by asking, “And what does this
mean to us?” The prediction was opened and it
read P R O F I T! Everyone looked at Mr. Taylor
and laughed. I went to the board and spelled out T
A Y L O R! And that’s how to get the big bucks.

64
SPECIAL
BONUS

65
 17

’

 RT
™

66
 ’

Copyright© 2005 Docc Hilford

First printing April, 2005

E-Book Version Copyright 2009 Docc Hilford

67
No portion of this book or original illustrations can be reproduced in
any manner without written permission of the copyright owner.
All television and internet performance rights retained by the author

Docc Hilford Productions

P.O. Box 546022 Bal Harbour, FL 33154
docc@docchilfordproducts.com
www.dcocchilfordproducts.com

68
What is Real Time Mentalism™?
Mentalistic effects are only entertaining if they’re
shown to someone. There are hundreds of fine effects
designed for stage, stand-up or close-up situations, but
few that can be performed without the necessity of any
special props or set-ups. Swami gimmicks, nail writers
and peek wallets can be forgotten on the dresser and
our best pieces are never seen by anyone. An unpre-
pared performer cannot perform most of the effects
available, and so, often doesn’t perform at all.
If an effect is Real Time, it doesn’t require any
gimmicks. Of course, gimmicked methods may be
slightly easier to use, but Real Time Mentalism™ pro-
vides alternate techniques. It is left up to the performer
whether he or she will use a special gimmick he or she
has ready, or entertain with nothing more than bor-
rowed items at hand. Real Time Mentalism™ is truly
100% impromptu. This is great for those who want to
read minds, influence thought or generally chill any
audience at a simple request.
This series of effects, that I’m releasing as Real
Time Mentalism™, include several tricks that can be
preformed “on the fly”, that is, without special prepara-
tion or special gimmicks. Some require more than one
spectator or a few borrowed items, but all are designed
for use in everyday situations. They’re all tested in front
of real people by myself as well as a handful of profes-
sional mentalists before they’re released to you.
As with all of the effects I publish, these are
original and strong. I hope you use these effects. That’s
what they’re meant for.

Docc Hilford
69


Controlling a person’s free selection, unbe-

knownst to them, is possibly as close to “mind control”
as a mentalist can hope to come. The lay public knows
little to nothing about forcing techniques. I recall, as a
youth, the unbelievable wonder of discovering that
magicians could “force” a card on someone. My, as
yet, uneducated understanding was that I was going to
learn how to allow anyone a free selection of a card,
and what they chose would be under my control. I
didn’t realize it was, more often than not, accom-
plished by sleight of hand or trick decks. I thought I
was going to get a special power! A power that could
be used to control any choice a participant might
make.

Somewhere between instructions that called for

me to use my favorite method of forcing, and books
that taught intricate sleights, I learned the simple
Magician’s Choice technique. Its origin dates back
hundreds of years to a story of a man named Hobson.
This clever man was credited with a talent that allowed
a buyer to select any horse in the stable, only to be
“forced” to purchase the nag.

70
 Early magic books used a simplified version
where two choices were offered the spectator. If the
participant chose the correct item it was used; if he
chose the wrong item it was discarded. This tactic has
been called the “This or That” method of forcing. As
magicians got bolder, they offered more choices to the
participants. However, because there wasn’t a clear
formula for technique, the method became cluttered.

Phantini, AKA Gene Grant, penned a clear

method in the 1950s in his book, The Mental Key. He
called his method, Phantinism. It allowed for a free
selection from five different objects. His approach was
to try to force a single object by placing it in a
psychologically desirable position. If it wasn’t chosen,
there were a series of outs. Jack Dean followed up on
Phantinism in his manuscript, Mental Choice in the
1990s.

In the 1970s, Phil Goldstein sold a ground-

breaking pamphlet entitled, Verbal Control, and made
the term, Equivoque, a standard title for the Hobson’s
Choice. His approach still used the positioning of the
force item, but he anticipated wrong selections. I used
his method for a quite while with good results.

71
 Subsequent authors’ tactics incorporated wordy
explanations of choices and eliminations that seemed
to be designed to lull the participant into confusion.
Rather than clean outs to adjust the procedure, the
audience was left feeling the magician bullied the
spectator into feeling he wasn’t following instructions.

Some contemporary mentalists have taken this

misunderstood concept even further by introducing
intimidation and humiliation of the participant! With
severe attitudes and harsh commands they leave the
spectator feeling embarrassed she didn’t select the
correct object. Perhaps it wasn’t their intention to
appear so inconsiderate, but that is the audience’s
perception. The sad thing is that a new generation of
mentalists can think this is an acceptable approach to
entertainment. Being a considerate performer isn’t the
same as being a weak performer.

In creating a Magician’s Choice of his own,

David Berglas took a decidedly different tact than
those before him. The force item could be located
anywhere among any number of items. The magician’s
mind-set wasn’t to psychologically force a specific

72
item, but to use a series of multiple choices. This
strategy was the flip-side of the psychological/multiple
out tactic. It had many advantages, but one had to
have a quick and cunning mind to pull it off.

My version of the equivoque uses the Berglas

approach, yet offers the mentalist a simple script. He
doesn’t have to think on his feet, as what he’s going to
say has been learned beforehand, and he says it
every time!

The Magician’s Choice has wrongly become a

childish method of forcing an object, where it should
be seen as a technique for controlling a person’s free
selection. When properly presented, it is “the power”!
But it’s seldom performed correctly, and that’s the
problem.

Most magicians are cornered into having to

pause after a spectator makes a choice so he can
figure which way he wants to direct the participant. If
the spectator chooses wrong, he must stop and think
whether he should keep the selected items or discard
them. And all too often, the instructions don’t follow
the same procedure. At one point the selected items

73
may be used and the next discarded. It doesn’t take
an astute audience to discover the obvious method.

E’Voque eliminates these problems. Its proce-

dure is so clear that the effect can be repeated for the
same audience. There’s little to remember, but there’s
a lot to learn.

Without the trail-blazing techniques of Gene

Grant, Phil Goldstein, Jack Dean and David Berglas
(plus a few others) this new technique would have
never come into existence. Thanks.

I hope this new procedure revolutionizes the way

you force an object on a spectator. I know it did for me!

Docc Hilford

April, 2005

74
 This is my favorite effect in Real Time Mental-
ism™. It can be done anywhere, at any time, with any
objects. In this particular form, it ceases to be a clever
amusement and becomes a potent demonstration of
mentalism. I perform it several times a day; for waiters
and waitresses, hotel staff or anybody who has three
minutes to see something remarkable. I don’t have to
have any special props with me, nor do I have to have
anything set up. It’s ready to go when I am, and that
makes it Real Time.


In essence, a person chooses any number of
dissimilar objects (usually around seven) and lays
them in a row. A second participant looks over the
group of items and jots down the name of one of them
on a piece of paper. The first person is instructed to
make several choices concerning the items. Half of

75
them are eliminated, then a couple more are dis-
carded. Finally, one object remains and it matches the
item the second person chose before any choices
were made!

I can’t stress how powerful this effect is. You’ll

have to hear the gasps of amazement and see the
sparkle in the eyes of your audience for yourself.


Unlike other techniques of Magician’s Choice,
the same things are said every time E’Voque is
performed. So, the presentation has almost no varia-
tion.

Imagine that you’re in an art gallery, standing at

a desk with an attractive saleslady named Amanda.
There is a couple watching what you’re about to do.
Here’s what the conversation during the performance
might sound like:

“Grab a few small items, about seven will be fine.

Make them all different.” Amanda lays out a pen, a
stapler, a notepad, a cell phone, a paperclip, her

76
keychain and a wine glass in a row on the desk. You
address the woman from the couple watching.

“Here, on the back of my business card, write

down the name of any of these items. But don’t let
Amanda see what you wrote.” The woman writes
something and holds it against her body. You turn
your attention back to Amanda.

“You’re going to make a lot of choices. They’re

all your own decisions; in fact, you’ve already made a
few choices. You selected all these items. Now, I want
you to put them in any order.” Amanda re-arranges the
items in a row on the desk.

“Fine, now you’re going to number these things

out loud from 1 to 7. You get to choose whether you
count from your right or from your left. What you
decide will change what number each item gets.”
Amanda counts from her left to her right, touching
each object and calling out consecutive numbers.

“There are odd and even numbers. Which shall

we have, odd or even?” Amanda chooses even.

“Give me the evens.” She pushes the even num-

77
bered objects toward you and you set them aside in a
group.

“Now, arrange these four things in any order you

want.” Amanda re-arranges the objects again.

“Choosing either hand, please hold up your

magic finger.” Amanda looks a little perplexed and
laughs. Eventually, she holds up her index finger.

“How’d you know that’s your magic finger? I’m

just glad that’s the finger she held up! Now, with that
finger, touch one of the items…” Amanda touches the
pen. “…and with your other finger touch another item
and push them both forward.” She touches the key-
chain and pushes both objects toward you. You slide
them to join the other discarded objects.

“Pick up these two objects, one in each hand.

But you decide which object goes in which hand.”
Amanda holds the two remaining items, the wine glass
and the paper clip, one in each hand.

“This is the most important choice you’re going to

make. You can feel that each item is different. They’re
different sizes, different shapes, made of different
materials. You may notice that the temperature of

78
each item is different. Now, hand me one item.”
Amanda hands you the wine glass.

“Amanda, I’m going to give you a chance to

make a decision that can alter your life. Do you want
to change your mind?” The saleslady pauses, thinks
intently, but still chooses to give you the wine glass.
You hold the glass and look it over for a moment. With
your free hand you take the paper clip from Amanda.

“You could have given me the paper clip. Or you

could have chosen any of these objects: the pen, the
stapler, the notepad, the cell phone or your keychain.
But you chose the wine glass.”

Turning to the other woman you ask for her

choice. “Which item have you been concentrating
on?” The woman shows the card and written on it is,
wine glass!

You can see how powerful this effect is on

everyone who witnesses it or participates in it. In the
above example, which really happened, Amanda and
the other woman didn’t seem too interested during the
procedure. But at the climax both were stunned. They
followed me out of the gallery and continued to com-
ment on how amazing the demonstration was!

79

Words are everything in this technique. But
they’re meant to clarify things, not to distract the partici-
pant. Everything you say is important, but even more
important is what you don’t say! NEVER STATE THE
OBVIOUS! In other words, don’t say things like, “…so
that leaves these items,” or “…we’ll get rid of these
things.” Anything the spectator can see and understand
by themselves doesn’t need to be stated. By using
words like those, you direct the spectator’s attention to
the places you don’t want attention. Again, NEVER
STATE THE OBVIOUS!

The next thing you’ll need to learn is the basic

script. You’ll always say:

·1 “Hand me the evens,” (or “odds”).

·2 “Touch one… and another, and push them forward.”

·3 “Hand me one.”

That’s basically it! Of course there is some ex-

planatory patter, but the lines to force the object are:
“Hand me the evens (or “odds”). Touch one… and
another, and push them forward. Hand me one.” You
won’t vary what you say; you’ll simply decide when to
quit saying it.
80
 Now that you know the secret of E’Voque, let’s
break the procedure down into steps. Each step will
be based on a line from the presentational script
above.



“Grab a few small items, about seven will be fine.

Make them all different.”

You can use any number of items for E’Voque.

The best is about seven, but you can use four, five or
twenty-five. Following this explanation, I’ll explain how
to use twenty or more objects, but for now we’ll say the
participant selected seven different objects and laid
them in a row. This is accomplished by suggesting
“about seven”. It’s also important to make certain that
the objects are different enough to be described by

81
one word. If there’s a pen and a highlighter in the row,
the climax may be destroyed when the written predic-
tion says “pen” and the woman says she meant “the
highlighter”.

It makes little difference whether you are stand-

ing facing her and the row of objects, or viewing them
from her vantage point. The row should be, however,
in front of the participant.


“Here, on the
back of my business
card, write down the
name of any of these
items.”

Grabbing a disin-
terested third party to
make the prediction is paramount. It was Bob Sheets
who suggested that I take this approach. He had seen
me do the same thing in a different effect, but it never
occurred to me to apply it in E’Voque. The combina-
tion makes the effect full and rich. The addition of a

82
third party involves another person and brings the
entire audience together. It also takes the heat off you
as a manipulator. In the chapter The Third Line you’ll
see how I make this feature of not really being in-
volved in the method an asset.

Don’t make a big thing out of the third party’s

selection. I did this for a while and it only wastes time
and distracts from the overall effect. Simply have her
write the name of one of the objects on the back of
your business card or a handy piece of paper. (I prefer
the business card because it prompts everyone to ask
for a card for themselves. It’s a little self promotion.)

“But don’t let Amanda see what you wrote.”

You may wonder how you ascertain what the

third party wrote. I initially thought a peek wallet or
glimpse move would be best, but the answer is far
simpler. Just look at the card! That’s right, after she
writes her selection, just openly look at what she
wrote. It’s perfectly natural for you to check to see if
she understood your request and followed your in-
structions. Everyone, including the third party, forgets
your quick glance. There’s no need to secretly catch a
glimpse. If she’s holding the card, take her by the

83
wrist, pull it back and look. If she set the card on the
desk, pick it up, check it and set it aside with the pen
on top of it so it stays hidden. The words emphasize
that Amanda shouldn’t see what was written. So as
long as you keep it secret from Amanda, everything
seems fair. It’s a beautiful thing when 99% of the
audience forgets you saw the card; and that’s what
happens.


“You’re going to make a lot of choices. They’re all
your own decisions; in fact, you’ve already made a few
choices. You selected all these items.”

Now, you set-up the participant to understand

that she’s not choosing an item, but making several
choices. As stated in the introduction, you’re not trying
to get a hit with the first choice; you’re offering a
number of choices. You want to stress that she makes
several free choices so when you adjust her choice it
becomes invisible. Point out that she’s already making
free choices.

“Now, I want you to put them in any order.”

The participant is given another free selection.

84

“Fine, now you’re going to number these things
out loud from 1 to 7. You get to choose whether you
count from your right or from your left. What you
decide will change what number each item gets.”

You’re going to give her the first of three lines,

“Hand me the evens, (or odds)” so you have to pre-
pare for it. She’ll number the objects from either
direction, but doesn’t matter. You don’t care what
number the items get, you’re actually looking for
whether the force item is at an odd or an even number.
In this illustration we’ll say the glass is in position five.
You know that the force item is odd.

IMPORTANT: Even though your script is always

the same, there’s a slight, one word, variation. You will
say either “hand me the evens,” or “hand me the
odds,” depending on where the force item is located.
Wherever the force item is, odd or even, you ask for
the opposite. Here, the glass is in the odd position, so
you ask for the evens. Obviously, if the glass was in
an even position you’d ask for the odds. You want to

85
leave the force item untouched at this point.

“There are odd and even numbers. Which shall

we have, odd or even?”

The key to success in this technique is making

your requests without hesitation. You must know what
you’re going to say before the participant makes her
choice. As soon as you see that the force item is in the
odd position, you mentally repeat, “Hand me the
evens, hand me the evens, hand me the evens.” As
soon as the participant makes her choice you say,
“Hand me the evens.” If she answers, “Odd,” you say,
“Hand me the evens.” If she answers, “Even,” you still
say the same thing, “Hand me the evens.”

See how you’re able to make your command as

soon as the answer is given. You don’t have to think
about whether to say keep the odds or take the evens.

86
You don’t have to think on the fly. You just follow your
script.

When she gives you the even (in this case)

numbered items, set them aside out of play. Don’t say
you’re eliminating some of the objects, that’s obvious
and you don’t state the obvious, remember? If you use
seven items, there will be either three or four items
left, depending on whether you ask for the evens or
the odds. It makes no difference how many items are
left.


“Now, arrange these four things in any order you
want.”

The participant gets another free choice. This

time you’re setting up for the second line in your script.
You’ll also inject some comic relief. If your presenta-
tion is too serious the participant will feel challenged
and not co-operate as freely. Often, in this effect or
any effect without proper comic relief, the audience
will inject their own comic comments. Check out any
horror or suspense movie. You’ll find comic relief.

87
 “Choosing either hand, please hold up your
magic finger.”

This slightly confuses the participant. She didn’t

even know she had a magic finger, let alone which
finger it was. But she’ll eventually choose one. An-
other free choice. She’ll either select her thumb, index,
ring, little finger or her middle finger. No matter what
finger she selects say,

“How’d you know that’s your

magic finger?

This is a reassuring statement.

She doesn’t know if she’s following
your instructions, so this statement
let’s her feel she’s doing everything
right. It causes her to be co-
operative throughout the perfor-
mance.

If she chooses any finger other

than her middle one, say,

“I’m just glad that’s the finger she held up!”

You get the laugh she avoided without saying

anything about the middle finger. It’s implied, yet not

88
implied. This line will play for your grandmother, so
don’t leave it out.

If she chooses her middle finger, she’ll certainly

get a laugh. I had a woman of eighty-plus years use
her left hand to bend her right middle finger up. It was
hysterical! Let the participant get the laugh, you’ve got
an ad lib coming. Say,

“I had a feeling that was her magic finger!”

Either way, you get a couple of laughs, a break

in the tension and have the participant holding up a
finger.

“Now, with that finger, touch one of the items…”

The key words here are “that” and “touch”. You

must say “that” finger to set her up for your next
instruction. And she must touch the item, not pick it up.
If she touches the force item, you stop right there.
Your script is complete. Push the other objects to the
discard pile and finish.

If she touches another object, continue with,

“…and with your other finger touch another item

and push them both forward.”

89
 Because you mentioned “that finger” earlier, you
now say, “your other finger,” and everything fits as one
sentence. Don’t stress the word “that”, just say it. You
want the word to disappear if she touches the force
item.

If the force item is now selected and pushed

forward, immediately push the remaining objects (or
object) aside. If she pushes two indifferent items for-
ward, push them aside to the discard pile. But don’t
say anything about what you’re doing!


“Pick up these two objects, one in each
hand. But you decide which object
goes in which hand.”

The participant is left with the force o b-

ject in one of her hands. You’ve given her another
perfectly free choice; that of which hand the items are
held in.

“This is the most important choice you’re going to

make. You can feel that each item is different. They’re
different sizes, different shapes, made of different

90
 materials. You may notice that the temper-
ature of each item is different.”

The set up
here wraps every-
thing up. You make her
believe that every other
choice has been of little importance. The build up is to
direct her thinking to the differences between the
objects, and away from which one she wants.

“Now, hand me one item.”

IMPORTANT You’ve never stated what she was actu-

ally doing during the demonstration. You haven’t said
that she’s going to eliminate items or eventually
choose one of the seven objects. You’ve said only that
she’s going to make a number of choices; and now
she’s making the most important choice of all. No
matter which object she hands you, say:

“Amanda, I’m going to give you a chance to

make a decision that can alter your life. Do you want to
change your mind?”

This line doubles the strength of the entire effect.

It makes the choice seem imperative. It gives you an

91
answer to the inevitable question that will arise after
the trick; that of, “What if I would have chosen the
paper clip?” Now you can answer, “But you had a
chance to, and you chose the glass.” This line
changes her final action from handing you one of the
objects, to making a choice as to which item she
wants. It’s done without her knowledge, but is in her
memory. I wish I could say that my mind created this
killer line, but that honor goes to Jon Stetson, Amer-
ica’s Master Mentalist.

In previous equivoques, the mentalist is in a

hurry to disclose his prediction. We get a little nervous
about her handing us the force item while she retains
an indifferent object. Or, we’re so overjoyed she se-
lected to keep the force item, we rush to the climax.
Because the last bit is sheer bluff, we want to get it
over with. But, the participant doesn’t know any of this.
By pausing and letting her decide if she wants to
change her mind, we actually strengthen the climax.

And please don’t alter the script so as to ask her,

“Do you want to change your mind?” This is poor
theater at best and rude at worst. If I asked my date
where she wanted to dine and upon hearing her

92
answer asked her, “Do you want to change your
mind?” I might be headed for trouble. It indicates that
I don’t respect her first choice. The build up makes the
chance to alter her decision important. Also, without
the build up, the question seems like you’re trying to
influence her choice. That’s exactly what you’re doing
and if she discovers this fact, the trick turns simplisti-
cally stupid!

If she hands you the indifferent item, merely set

it aside with the others and end the routine.

If she hands you the force item, you need to put

the attention on it as the final choice. Hold it up and
display it. Study it for a moment. Remember, unlike
other equivoques you apparently don’t know what the
prediction is.

“You could have given

me the paper clip. Or you
could have chosen any of
these object: the pen, the
stapler, the notepad, the
cell phone or your key-
chain. But you chose the
wine glass.”

93
 Gently take the remaining object from her other
hand and recapitulate what the other available items
were. Start with the item you take from her hand, in
this case the paper clip. Set it in front of you and pick
up one of the discarded items, name it and set it next
to the paper clip. Go through the remaining discarded
objects, naming them and setting them in a row before
you.

All that’s left is to disclose the prediction made

by the third party and accept your praise.


I open this trick, as well as many different effects
with patter similar to this:

“It really isn’t me doing these cool things, it’s you.

Anybody can read another person’s thoughts; the
difficult thing to do is transmit the thoughts. Let me
explain. Radio corporations spend millions of dollars
on broadcast equipment and towers, but anyone can
buy a two dollar radio and receive the broadcast. So,
when I can receive your thoughts, it’s only because
you have transmitted them so accurately.

94
 “Let me demonstrate what I mean. Grab about
seven different items…”

Some of these opening statements are based in

part on the great Burling Hull’s patter. They set the
mood for your performance. The glory goes to the
participant, but so does the blame if an effect goes
wrong. In that case, you can excuse the participant by
explaining that she’s new to the thought broadcasting
game and she needs a little more practice. Of course,
nothing will go wrong with E’Voque.

The glory only seems to be the participant’s. The

audience, as well as the participant, understand that
the effect couldn’t happen without you being there.
When asked if the same effect could be accomplished
with any two subjects, even if I weren’t present, I
answer:

“Sure. But only after years of study. My mind is

somewhat like an amplifier for your mind. You send
the thoughts, I just help make certain they get to their
destination. You can learn to do it by yourself as your
mind gets stronger.” Then I go into my own metaphysi-
cal teaching. This approach may not fit the type of
performer you are, but the patter’s here if you need it.

95

E’Voque is repeatable for the same audience.
Even if you don’t go all the way through all the
choices, the audience doesn’t care. There’s built-in
misdirection from the third party. If you get to the first
half of the second line, that is, “Now, with that finger,
touch one of the items…” and she touches the force
item, the third party will react. She’ll often squeal or
say “Oh!” and that indicates to the audience that the
procedure is finished. It doesn’t matter to the audience
that you had the first participant push two items for-
ward and pick up the remaining two and hand you one
of them. It’s uncanny, but it works because the psy-
chological points have been addressed in your pre-
sentation so the procedure isn’t a battle between you
and the participant. They want it to work!

David Berglas, the father

of the multiple choice ap-
proach, alters his opening on
the second demonstration by
having the participant divide
the row of seven objects into
two sections. Now, instead of
96
noting whether the force item is odd or even, it’s noted
as being on the participant’s left or right. The line
changes from, “Hand me the evens,” to “Hand me the
ones on the right.” You still mentally repeat, “Hand me
the ones on the right,” several times in your head so
you can make your request immediately after she
chooses her left or her right. This alteration makes the
entire procedure seem a little different from the first
one. So any other variations are explained away
without comment.

Also, you may not want this effect to stand on its

own. You may require a specific item to be selected in
the middle of another effect. E’Voque can be perfect
for such a need. You obviously don’t use the third
party, but the technique remains the same whenever
you use E’Voque.

’
The method of forcing through
the use of E’Voque isn’t limited to
small objects close-up. I’ve done it with
seven people on stage. It was Kirk
Charles who suggested using balloon

97
hats on kids and the PATEO Force as a stage piece. I
started using adults, E’Voque and another person to
make the prediction. It’s a fun routine for parties that
leaves everyone laughing and happy. Here’s how:

You need two baggies with seven different col-

ored (uninflated) balloons in each. Nine people stand
up to help. One baggie is handed to a person, (the
eighth guest), who stands to the side. A different
colored balloon is handed to each of seven of the
remaining people to hold. It’s important that you point
out each person has a different color.

The eighth guest chooses a single balloon from

her bag and holds it hidden in her fist. You either take
a casual peek at it or see which balloons remain in the
baggie when you put it away. In either case, you know
the force color. The ninth person will make all the
choices.

Walk down the row and make a balloon hat for

each of the seven participants. This is great fun.
Drinking adults (as well as sober ones) love the
silliness of a balloon hat. Use all the “shtick” you know
as you make them. (For lots of balloon “shtick” look for
my NEW DVD Two Kids, a Balloon and a Very Funny

98
Man, to be released soon.) When you get to the force
color, make the most outlandish balloon hat you know.

Now, go through The E’Voque procedure with the

ninth person and force the correct color.

Some of the lines are modified for use with peo-

ple. You don’t say, “Hand me the evens,” you say,
“…even numbered people sit down.” You want the
comic relief of the holding up a finger gag, so you still
have her hold up her magic finger. You say, “With that
finger, touch one person and take them by the hand…
and with the other finger, touch another person and
bring them both forward.” If she touches the force
person first, you dismiss the others. If not, the chosen
people are led away to sit down. Same procedure, just
a little different wording.

99
 When it’s time for the participant to hold the two
remaining objects in her hands, this time you have her
hold the two remaining people by the hand. She gives
you one person’s hand and you proceed. Same thing.

Every time you dismiss people you point out that

they’ve won their hat. This way it doesn’t seem like the
chosen people are losers. They’re, in fact, the winners.

When you have the force person standing next to

the participant, the eighth person reveals her choice.
You get climax number one. You blow up the predic-
tion balloon and make a duplicate hat for her. The
participant and you are standing next to two people
wearing the same type and color balloon hat. It’s a
guaranteed applause cue. That’s climax number two.
They sit down and you’re left with the participant. Tell
her how great she is for being able to make all the right
choices. She needs a party prize as well, but no silly
hat for her. Take out the baggie with the six other
balloons and make the cutest balloon animal you
know. You’ll get “aaahs” and “ooohs” and leave the
audience with warm fuzzies. That, my friend, is climax
number three. That’s a lot of entertainment from a
handful of balloons.

100
’
If you don’t do balloon hats or animals (and you
should – even if you’re a mentalist) you can utilize Dr.
Cocktail’s party game. This is one of my “secret”
routines that I keep from other performers. I expect
you to keep it from them as well.

Ask seven people and the hostess to help.

Seven people have different cocktails. (If you can’t
find seven different cocktails already being consumed,
ask people without drinks to join you. The bartender
will quickly make the remaining drinks necessary.)

The bartender makes the prediction.

He writes one of the cocktails on a cocktail
napkin and keeps it hidden. You casually
check what he wrote and whisper to the
bartender to quietly make the drink he
selected. It doesn’t matter if the guests
hear you.

The hostess is the participant, she’ll

make all the choices. The people are num-
bered, the evens sit down, the participant
chooses one person and another and you
follow the E’Voque technique. Some of

101
the lines in E’Voque are modified, but the procedure
is the same.

You get a lot of comic by-play with people and

their drinks. Go down the line of drinkers and tell little
jokes about the cocktail at hand, compare the drink to
the person holding it (when a man has a fruity drink or
a woman is drinking straight liquor), and stage whisper
(when possible) for one guy to keep sipping his cock-
tail so you can say, “If you continue there won’t be
anything left for the trick!”

At the conclusion, you reveal the bartender’s

choice by showing the cocktail written on the napkin.
You emphasize the prediction by handing the
freshly made drink to the participant! And
there’s a kicker. Have a small gift box on the
bar. There’s a gift label on it and a small pen
under the label. The label has the words: “A
gift for______, the last drinker standing” and
a space for the name. As soon as you know
the chosen drink, you also know who has it. When
you’re at the bar with the bartender, quickly write her
name in the space on the label. It only takes a second

102
and nobody knows what you’re doing. After the partici-
pant is given her drink, thank her and dismiss her.

Turning to the last guest who was chosen, ask

the bartender for that little gift on the bar. Say, “I had a
thought yesterday. I saw an image of a beautiful
woman, dressed in a cream colored evening gown.
She had diamond earrings and dark hair. She was
holding a cosmopolitan. Her name was, Nicole. And
your name is Nicole, isn’t it? In my imagination, I saw
a room full of partiers all piled up around her. She
was, in fact, the last drinker standing! So I purchased
a little gift for her, even though I didn’t know what the
vision meant. Here, Nicole, a gift for you.” When she
reads the label, “A gift for Nicole, the last drinker
standing” the audience falls out! It seems as if you
predicted even more than what’s written on the label.
And inside the box are high-end chocolate truffles.
This gift is good for a woman or a man.

This routine is one I do when I’m just an attend-

ing guest. I get invited to a lot of parties. It’s one of my
favorites because I don’t have to remember anything
except which person has the force drink. It’s very easy
and a lot of fun – ask Dr. Cocktail!

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
That’s the credo of the United States Marines;
Adapt, Improvise, Overcome. David Berglas is a master
at it. He uses the Magician’s Choice to force a number of
people from a group of thirty to forty people! E’Voque
allows you to do the same. If you have twenty objects,
have the participant number the objects. Use the, “Hand
me the evens,” strategy. Then have the participant divide
them in half and use the, “Hand me the ones on the
right,” ploy. Follow the rest of the procedure as ex-
plained.

If you want to force an object out of three or four

items, shorten the procedure. Begin with, “Hold up you
magic finger,” and carry on from there.

Of course, E’Voque can be used with any items or

any number. The key to the technique is that you have
the script memorized. You know what you’re going to say
BEFORE the participant makes her choice. You simply
decide when you’ll stop reciting your script.

104
 I have toyed with forcing two items at once. The
final two items have been predicted. One can force
both the item on the participant, and also the selection
of the second party!

In an upcoming video-book, The Return of the

Invisible Stranger, a method is explained for reading a
written questions while performing E’Voque.

On the Monster Mentalism DVDs E’Voque is

used in a triple prediction. It can be the method for a
grand illusion, or an intimate demonstration.

This is one of the most versatile and potent

weapons available in mentalism. I hope you use it
wisely. And, above all, have fun!

Enjoy.

105
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107
The Break-Through Force System
E’Voque will enable you to force any kind of
object at any time, anywhere! And the spectator ’     
feels his choice is completely free.
Has these important features:
Forcing an object on a
spectator is a powerful
weapon in the mentalist’s/
You're always ready to perform -
magician’s arsenal. Causing anywhere, any time.
him to choose an item that
you want selected is strong.
No extra props are needed.
But non-card force methods
are often dependant upon a
No switches or sleight of hand is
special gimmick. There are necessary.
special boxes and hundreds
of types of bags that accomplish the task, but you
Any type or number of objects can
have to have the prop with you. That’s a problem if
you want to work Real Time.
be used.
And what about objects that won’t fit in a bag? How
Can force volunteers on stage.
do you force from items on a dinner table or from a
number of pieces of art without using a list or cards

Completely scripted - You always
with names? know what you’re going to say.
There are a couple of procedural methods of forcing,
The spectator’s choices are free.


however the old “...you picked that one, so we’ll use
this one...” is a very weak alternative. The procedure is REPEATABLE.
E’Voque is the answer. It’s a procedural forcing
A second party can make the
method that is entirely scripted. That’s right, you predication.
know what you’re going to say to the spectator
BEFORE he makes his choice. No more stumbling
No psychological ploys.


with words while you try to figure what you’ll say
based on whether the spectator chooses or leaves an Mental, magic and kid-show
item. It’s so smooth. routines are explained.
E’Voque can force small items such as coins or
large things like people! It can force an item from a

Two full stage routines as well as
group of seven or twenty-seven. There’s no close-up are included.


psychological positioning required; the spectator
arranges the items in any way he wants. Makes the old “Magician’s Choice”
antiquated.
And best of all, another spectator can make the
prediction of what will be chosen!
E’Voque is great for mentalists, but just as usable
by children’s magicians and comedy performers. 

$
Every professional mentalist that has been taught
E’Voque, is now using it in their shows. 
Use E’Voque once, and you’ll use it every day.

Docc Hilford Productions - P.O. Box 546022 Bal Harbour, FL 33154

docc@docchilfordproducts.com
108
All of this material, including each original illustration, is
copyright © Docc Hilford 2009. Any distribution of this file
in any manner is illegle and will be follwed by electronic
fingerprinting and will be prosicuted by the law.
Please support original creators in magic and mentalism
and protect copyright laws.

copyright © 2009 Docc Hilf ord

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