______.

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The Book of Numbers vol.2
e
f you thought number mentalism was addition. The mentalist is able to beat a h

!
.
about arithmetic, you don't know The
Book of Numbers! In this, the second
volume of the three volume set, Docc
reveals his original creations as well as some
genuinely concealed secrets of infamous
calculator's speed in determining the total to
every problem. Finally, he predicts the total
of a problem yet to be seen! All of this proves
an ability to see into the future!
Her Number .- Two women both write
spirit mediums. Of course, these too have
down a phone number of a friend and their
Docc's twists. All are designed for intimate
own numbers on the back of a business card.
surroundings. The tricks in this book aren't
While one holds the card, you tell them which
about arithmetic; they're about phone
number is which, and finally reveal one ofthe
numbers, Q and A, dice lli",Q Ouija boards.
women's phone numbers!
This is strong, close-up mentalism.
: Libretta Minutia _. A spectator puts
Tempest _. A person writes a question
three tiny number cards together in any
on a slip of paper, folds it, and hides it under
manner he wishes. This creates a three-digit
- - - - - - - -..... one of three number that represents a random page from a
inverted cups.
miniature book. He looks at the chosen page be --.
Although the
mentalist has had
his back turned
and silently reads a word. The mentalist
reveals the mentally chosen word, The charm __..J
..I'
i; r· . :,· .~: ·. t·. ' ·. "· .· .· ·. ·. . . . ~
of this trick is only surpassed by its clean
during this
method.
procedure, he's
able to identify Ouijan •• A spectator thinks of a i
t .... >_! .... TJ~e
which cup covers number from I to 10. The mentalist touches a

.... oIthe paper and to
accurately answer
the guestion! If you want to be a billet reader,
this is for you.
Devil Dice .- The mentalist tells a tale
about gambling with the devil. He puts his'
wallet on a table. A spectator rolls a pair of
/1;~lL BOOK
planchette on a tiny Ouija board. The spirits
move it until finally stopping on the
spectator's mentally chosen number.
The effects in this volume could be
OF
played together to form a complete and
balanced close-up program. Busy performers
are always on the watch for good close-up
mentalism; here it is.
M1. nUnlB~RS

Fi;. VOL. 2
dice three times. The numbers on the dice are
totaled. Inside the wallet is a· written
prophesy that predicts the total. There are no . .- - - - - - - - - - - - - - - .
forces or indexes. Just one prediction is used omy_
and it's written before the spectator sees the
numbers on the dice.
n1Jr:n~~R menr at.rsrn FOR
Dicipber Bars _. A set of unusual
numbered bars are randomly positioned to
$ rnTu:q;.lTe OCCaSIOnS
make more and more difficult problems in

DOCC
Doee Co. - P.O. Box 546022 Bal Harbour. FL 33154- doee@doeehilford.eom
 the
Book
of
NUMBERS
Vol. 2
Number Mentalism For
Intimate. Occasions

., D occ H ilford

Copyright© 2006 Docc Hilford
First printing February, 2006
No portion of this book or original illustrations can be reproduced in any
manner without written permission of the copyright owner.
Docc Co.
p.a.Box 546022 Bal Harbour, FL 33154
docc@docchilford.com
2
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 forgot-
ten on the dresser and our best pieces are never seen by anyone.
An unprepared 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™ provides 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 borrowed 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.
The effects that I'm releasing as Real Time Mentalism"
are restricted to tricks that can be preformed "on the fly", that
is, without special preparation 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 ahandful of
professional 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
3
 ,I
..

1NTROOUCT10N
Give It a Reason

"Anybody. with money can buy tricks and any- .

Dedicated to body with a little imagination can invent' em, but
selling them to an audience is something else
David Berglas again. A pinch of showmanship and a few tea-
spoons of build-up are worth a trunk full of
gimmicks."
Merlini - Clayton Rawson

Thousands of years in the future, the human race had

split into two distinct factions; the beautiful, yet fragile Over-
worlders and the cannibalistic Morlocks. The Time Traveler,
as he was known in the H. G. Wells' classic novel, was
reported to have returned to his original time just long enough
to speak to Filby and grab three books that could turn the tide
for future mankind. The eternal question remains; what three
books would you have taken?
We have become the entertainers of the future. One has
but to read the 1943 classic, Showmanship for Magicians to
hear the bygone howls' across sixty-two years. The author's
apparent distain for the performance styles of the day, or more
accurately the lack of style, prompted desperate pleas of re-
form. Dariel Fitzkee's poignant view of the future was one of

4
5
theatrical utopia. Sadly, the evils that prompted his writing the
book have increased over time.
Yes, our race of theatrical performers has evolved into a
class of passive, delicate Overworlders where the necessity of
skill is not required and in most cases even loathed. Like pallid
cattle, they mindlessly chase butterflies of brightly decorated
packages filled with shiny promises of grandeur. When called,
like Pavlovian puppies they're drawn to gingerbread slaughter-
houses bearing the assurances of "NO SKILL REQUIRED,
HERE". The rotting tomes of reason crumble into dust around
them. They do no harm, and as such, contribute nothing to the
race. They are feeders; happy, content feeders.
The opposing half of evolution's distorted play are
aggressive, cannibalistic ghouls, stealing any bloody scrap of
another's act. Constantly hunting for new material, not fresh
original matter, but rather that which has been infused with
vitality from another. Having not invested time nor energy into
the careful growth and development of a particular performance
piece, they ravage what they steal, breaking bone and sucking
the sweet marrow until the piece no longer satisfies their
hunger. When they have devoured anything beautiful from the
stolen property, they attack in the nocturnal safety and feast
again. The future of magical performance is an "us or them"
culture.
The blessed god of showmanship is so elusive to these
factions that it's disregarded. Much as a guilty child hides his
uneaten vegetables, knowing his parent watches yet pretending
his actions are of no concern, the Overworlders and Morlocks
continue to act as if there is no. god, no more required of
performing than knowledge of the secret method. For the
occasional heretic who parrots the patter lines either included
on a sheet of instructions or from the mouth of another, he
believes he has paid homage and touched the skirt of showman-
6
ship. His work is finished.
Showmanship is not a god, nor is it an intangible theory.
It is a required ingredient to any performance, whether in a
simplistic card revelation or a publicized headline prediction. It
isn't a clawed creature that dwells in a cerebral cave and must
be hunted nor is it a delectable fruit dangling from a high
branch to be sought and harvested. It is the result of careful
thought. .
Consider one of magic's standard effects, that of pro-
ducing a red silk, changing its color to blue and causing said
silk to vanish. As Tommy Wonder remarked, that is a. very
confused magician. Yet it's a standard presentation, one en-
tirely lacking in showmanship. Tony Andruzzi commented that
there was no good reason for a master of the cosmos to
command Nature's laws and produce a handkerchief, unless he
wanted to blow his nose! He went on to say that the magician's
confusion continued by changing the silk's color. If he had
wanted a blue silk, why didn't he produce one in the first place?
And then, for no apparent reason, without ever using the silk,
he makes the thing disappear!
Tony touched upon the fundamental problem with this
~
lifeless routine when he mentioned "no apparent reason". The-
atrical reason is the fertile soil in which showmanship grows.
Without it, there is no place for roots to take hold. The slightest
bit of motivation could transform this flat display of finger
;
I
flicking into a heartfelt piece worthy of the dramatic stage. I
Imagine that the aforementioned mage describes an
antique, silver hand-mirror. He doesn't actually possess one, it
I
I'
I
I
exists only in pantomime. In brief patter, he explains that the
mirror holds the' reflections of a hundred years. With his I,
remarkable power, he is able to reach into the glass and extract
a bit of a forgotten scene. He produces, not a red silk, but a I
I
'j'
lavender colored lace. He goes on to explain that the memory
7
made physical is fleeting, as the color disappears from the lace
leaving only white and that soon, it will vanish completely.
, \
\
a\
,--
Having said that, the lace disappears, apparently returning to
the reflection in the imaginary mirror. This is but one simple
illustration of giving a reason to why things happen in a
performance.
In mentalism, the pendulum tends to swing in the
T3MP3sT
opposite direction. Amateur psychic entertainers often want to
A well-known mentalist said he calls me Docc "Billet"
vindicate every step of a procedure. They wish to motivate the
Hilford. Well, it's better than some things I've been called.
participants with lengthy lectures on the cosmic rationale be-
He's right, I do lovebillet effects.
hind writing something on a slip of paper. A simple story can
grow into a grand and poorly written tale of deceased uncles Here is a clean, easy and clever way to secretly read a
and bequeathed cigars boxes containing decks of playing cards billet.
rubbed brown with shoe polish. What these neophytes believe
3FF3cT: A person writes a question on a slip of
to be well-scripted monologues often sound more like babbling
paper, folds it, and hides it under one of three inverted cups.
adolescent boys selling a girl on the benefits of a midnight car
Although the mentalist has had his back turned during this
ride.
procedure, he's able to instantly identify which cup covers the
There must be a balance. It must' be learned, both paper. Then, without any 'apparent effort, he's able to accurately
through intellectual pursuit and through experience. There are answer the question! .
many good books on the subject of theatrical reasoning and
PR3s3NTAT10N: The waitress recognized the
showmanship. Take another look at Henning Nelms' Magic
tall, handsome mentalist. "Aren't you Mirador?" she asked.
and Showmanship, Strong Magic by Darwin Ortiz and the
The group offriends enjoying the bistro's sidewalk sunshine all
previously mentioned Showmanship for Magicians by Dariel
laughed. Mirador was often recognized and expected to per-
Fitzkee. As you travel into the future of magical performance,
form one of his amazing demonstrations. Today was no excep-
what three books will you take?
tion.
Mirador asked the waitress, "Is there something you
Docc Hilford- February, 2006 wish to know about your future? Here, write a question on the
back of my business card. Use as few words as are necessaryto
express your question. Print the letters clearly and concentrate
on each letter as you write them. Make certain I never see what
you write. When you're finished, fold the card so the writing's
on the inside, that way no one will see your query."
The waitress, whose name was Ashley, was an aspiring

8
9

I'
actress and stealthily wrote the words WILL I 13E A STAR?
She folded the card and placed it on the table. Mirador turned
three tea cups mouth down on the table and instructed Ashley,
"Put your question under any of the three cups, like this." He
raised a cup and placed the folded card under it. Almost
immediately, he lifted the cup and used it to push the card
toward Ashley.
"You can pick any of the three cups, but wait until I've
turned away. OK?"
Mirador turned his body from the table as Ashley hid
her question. He continued, "You see, I need to get in touch
with the forces of Fate herself. If I pick the cup that has your
question, Fate wishes for me to answer it with my gift. If, as the
odds favor, I miss the correct cup, I cannot answer. You'll have
to wait for a another opportunity."
By this time, Ashley had hidden the folded card under
the middle cup.
"Ashley, I want to be certain that I'm not influenced by
any subconscious information I may have collected, so switch
the two cups where the paper isn't. That is to say, leave the cup
hiding your question alone and switch the other two."
After she had complied, Mirador faced her. He held his
open hand over the cups, moving it from end to end. Finally, he
lifted the center cup to reveal the card..Mirador picked up the
card, turned the cup mouth up, dropped the folded card into it
and placed it back on the table. He told Ashley to
hold her question in her fist and to relax her mind.
Slowly and with assuredness, he answered
her question. "Ashley, I see you working
under two different hats; one to support
yourself financially and one of your
dream. You must follow that dream.
10
It's important not to give up. You will
twinkle and shine then drop into the dark
. again, but you must persevere. You may not'
attain the brilliance you imagine right now,
but you will reach a level of fame as high as
you believe."
Ashley opened her card and showed il
everyone how accurate Mirador had been with his psychic
answer. "It's a gift," he said. Ii
Ii.1
II
il
M3THOD': What has become know as the KorariCup 'I
iI
II
Ii
Trick actually predates Al Koran by many years. It's believed to
be the creation of that mad genius, Bob Hummer. IIt
II
I'
In this rendition, the mixing of the cups is eliminated. In
I'
Ii
the minds of the audience, the first trick isn't for the mentalist II
to find the hidden paper. It's a test to see if Fate allows him to
I[
answer her question, an idea of David Alexander. !~
i'
As in many of my favorite pieces, the first trick sets up :1
1;
the second. Before you begin the trick, secretly have a duplicate
folded business card finger palmed in your right hand. When
you show the participant how to hide her folded card, pick it up
with your right hand and switch it for the duplicate as you place
it under the cup. (If you don't know about billet switches, refer
to Thirteen Steps to Mentalism by Corinda, or Practical Mental
Effects by Annemann.)
While the participant hides the card and switches two
cups, you have lots of time to secretly open the copped card and
read the question. A tip is to hold your elbows tightly against
your sides so no one sees any movement while you finger the
card. The misdirection is so strong that not one in a hundred
will find it more interesting to look at your back, than what the
participant is doing with the cups and her (apparent) question
11
card. Be certain you're not facing a hidden reflective surface. A
television screen is how Peyton Raven caught me opening the
billet in rehearsal. (Another reason one should rehearse in the type
of venue in which he'll perform.)
After you reveal the correct cup, lift it with your left hand,
turn it mouth up, pick up the billet with your right hand (the hand
that has the question card finger palmed), switch the billets and
drop the question card in the cup. Replace the cup to its original
spot on the table mouth up and you're clean. You're so clean! The
replacement is executed in one, smooth action. The crafty work is
done before you even start the question answering.
All that's left to explain is how to find the correct cup. The
formula is simple. Note an imperfection or distinguishing mark on
the bottom of one cup before you turn around. Remember its
location in the row of cups. If the participant switches the two
cups that DON NOT cover the folded card, it means that either
she moved the marked cup or she didn't. .
Turn around and look at the new positions of the cup. If
the marked cup is in the same position, the paper IS under it. Ifthe
marked cup has been moved, the card ISN'T under it, nor the
position WHERE THE CUP ORIGINALLY WAS! The card is
under the OTHER cup.
Give yourself some time between the revelation of the
hidden card and the answer to her question and everyone will
remember that you never touched the folded card.
NOT3: Here's a little known tip. Many people know that
plastic cups have production numbers embossed on the bottom of
each cup. What most don't know is that each cup, in a sealed stack
of cups, has a different number. It's ·possible to do this effect by
noting a certain number on one of the cups. You can also perform
a version of Pseudo Psychometry with the numbered cups. There
are many possibilities for an active imagination.
12
I
'a
\
.
.\
'/
J
D3VIL D1cs
If you like story performance, this is a prize. It's based
on an effect I created for the Desert Brainstorm videos. I like
this version better.
3 F F 3CT: The mentalist tells a tale about gambling
with the devil. He puts his wallet on a table. A spectator rolls a
pair of dice three times. The numbers on the dice are totaled.
Inside the wallet is a written prophesy that predicted the total.
PR3S3NTAT10N: Having returned to the pala-
cious home of their host, the group of revelers retired to the
study. They needed to relax after an evening of dining, dancing
and cocktails. Mirador was asked to perform a final demonstra-
tion of mind reading.
"Good, it's dark. And I have a strange tale to tell,"
Mirador began. "Francis, you're who I need to help me." He
pointed out one of the young partiers. Francis was well ac-
quainted with strange stories and stood aside the tall mentalist
near a small wine table.
"Have you ever played dice with the devil? I have. It
was on the thirteenth day of the thirteenth month. Lou turned to
me and said, 'Mirador.. .' - Lou, he let's me call him Lou. He
said, 'Mirador, I'm going to roll a set of old bones'." Mirador
showed everyone a set of aged, yellow, ivory dice.
He continued, "The devil told me, 'Each roll will make
a two digit number. After three rolls we'll add the numbers
together'." Mirador grabbed two note pads. He held one up and
13
touched the pad where three numbers will go. He drew a line near
the bottom of the pad and laid it with the pencil on the table.
"The devil smiled at me and said, 'If you can guess the
total, you can have any wish you want granted. If you fail, you
owe me three more souls.' I decided to take the offer; after all,
they weren't my souls I was wagering.
"First, he had me roll the dice a few times to prove they
were void of trickery. Francis, you play my part and I'll play the
part of... well." Francis rolled the dice and each time different
numbers appeared on top. "When the devil got ready to roll, he
made certain I couldn't see the dice. So, I'll tum with my back to
you and cover my eyes." Mirador turned away, took the other pad
and held it over his eyes.
Mirador spoke with his back to everyone, "Francis, I
selected you to participate in our little play because you seem
devilish to me. Please, do exactly and only as I tell you. Roll the
dice once. Then arrange them so they make a two-digit number,
one cube on the left and one on the right." Francis rolled the dice
and set them in a row.
"Are you satisfied that you have a random number there;
if not, you can roll again. To continue, the devil tried to deceive
me a little. You see, because he's from down below, he used the
numbers on the bottom of the dice, not the numbers on the top.
So Francis, flip each dice, one
at a time, a half tum, 180?
over, so the bottoms are now
the tops. The sides that were
touching the table should now
be now visible. Write that
two-digit number on the pad,
near the top."
Mirador took out his
wallet. Keeping his eyes cov-
14
ered with the pad, he dropped the wallet on the table. "This has
something for you --later. Now, pick upthe dice and roll them
again. Make a new two-digit Write the number on the pad in
the middle. Do as before and tum each dice a half turn over.
That makes the bottoms the tops. Write that number near the
bottom of the pad. Finally, total the three numbers. Write it big
across a blank sheet of the pad."
Francis followed Mirador's instructions while Mirador
wrote something on his pad. He turned to face Francis. Mirador
held a pad in his hand. Francis held his pad.
"Here's where I beat the devil. On this pad, I wrote
what I believe to be the total of the numbers you created at
random. Francis, my thought is 90." Mirador held up his pad.
Written across it in pen was the number 90. Francis held up his
pad. It too read, 90.
"But, wait. That night the devil told me he had some-
thing that belonged to me. Tonight, Francis, I'm telling you that
I have something for you in my wallet. Something important."
Everyone anxiously anticipated what was about to happen.
Mirador continued, "There's an envelope inside my
wallet and what's inside the envelope has been in my wallet for
months. Remember, I put my wallet on the table before you
chose a single number. I haven't touched it since. Francis, open
my wallet. Do you see a zipper compartment? Good. Unzip it
and inside you'll see an envelope. Take the envelope out, tear it
open, and read what I wrote on the card sealed inside.
Francis opened the wallet. The envelope inside was
made of tan parchment and sealed with several blobs of red
wax. He read what was written on a folded piece of yellow
parchment. It said, 'I know Francis will choose three numbers
that will total 90. I win! Lou Cypher.'
"You see, you can't beat the devil at his own game!"
15
 M3THOD: Although all the numbers are freely
selected, we're concerned with the total. By using a "top side /
bottom side" ploy, you actually force the number 77 as part of
the total. Here's how. As magicians know, the spots on the top
side of a dice and the spots on the bottom always total seven.
By using two dice as a two-digit number, and by using the top
and bottom sides, the two numbers will always make a total of
77 when added together. For example, if the second numbers
rolled are 3 and 5 the bottom sides are 4 and 2. (35 + 42 = 77)
The total of the second and third numbers will always be 77.
So, when you know the first number rolled, you already
know the total. All you have to do is add the first number to 77.
To get that number requires a.
cheeky little move. You simply look at
the dice. But you do it in a manner
that's invisible to the audience. The
casual glimpse was made famous in
the effect, Mystery of the Blackboard. o
by Ted Annemann. When you tell the
participant, "Are you satisfied that you FIG 1
have a random number there; if not,
you can roll again ..." you tum to the table and look at the dice.
Because you hold the pad over your eyes, no one sees where
you're looking. (SEE FIG 1) It's a natural move to tum and
gesture to the table when talking about the dice. In addition, the
participant thinks you can't see the sides he'll use anyway -
that is if he thinks about it at all.
As soon as you know the number on top of the dice, you
calculate the bottom number. In the example above, Mirador
saw a 6 and a 4. Subtracting each number from seven gives the
number on the bottom. (7 - 6 = 1) and (7 - 4 = 3) so the first
number will be 13. Mentally add that to 77 and you get the
total. (13 + 77 = 90)
16
You explain how the participant
is to flip the dice over and secretly write
'90' on a previously prepared piece of
parchment paper. Everything written on
the parchment, with the exception of the
number, is written ahead of time. The
paper is pre-folded in half, but open
against the pad. It's secretly held in
place on the first page by four little
photo tabs. (SEE FIG 2) This is hidden
under the pad's cover. Fill in the number
. as soon as you know it. It won't be
FIG 2 noticed because you're apparently hold-
ing the pad with both hands. It takes but
a moment to write a number and your back is turned, so you're
safe. Fold the parchment in half and palm it away.
Your wallet is set up for a "Card in Wallet". Reach in
your pocket and load the folded parchment paper into the
envelope inside the wallet. There are hundreds of methods for
Card in Wallet effects, use your favorite method. Again, no
one's watching you; they're all watching the participant. Every-
thing is finished BEFORE the first number is seen by anyone!
i~
This piece isn't actually Real Time Mentalism" be- lI
I
cause you have to have dice available. Since there's a require-
\
ment for a prop, there shouldn't be a problem with having your
wallet set. Note that a business card and a couple of small
t
notepads are organic to any situation, but if you're performing
i
on stage, you may want to use large writing pads so everyone II:
~
can see what's written.
\1
One final thought. Contrary to popular magical jargon,
the singular for DICE is still DICE, not die! ~Ii
Ii
\
17

Mirador laid the bars on the table so that one of the bars
was upside down and they weren't aligned flush at the top or
bottom. "Just be certain that we count any empty spaces as
zeros and that upside down nines aren't counted as sixes."
Tiffany rolled all four bars;
9 o o 0
she flipped one over and slid a couple
up. Mirador jotted a number on the
back of one of his business cards. It
took him less than five seconds to do 2 o 3 0
so. He tossed the card aside and called
out a total. Tiffany wrote what he said @£88
on another card.
7(§)@3
"24,643"
Dr. Wood pressed all the ran- 8·7 ~
dom numbers into the calculator.
9,000 + 2,030 + 4,388 + 7,643 + 875
L 0 7 make up to sixteen numbers as in the illustration without
+ 707 = 24,643! Mirador was correct
again. FIG 3
"I'll tell you how I can do this
little stunt. I cheat! I'm really no math wiz. I simply look into
the future a few moments and see what total you'll come up
with using the calculator!"
The mentalist told the mathematician to push the bars
so they made four, four digit numbers, hold them together like
a block and tum the entire group over as one piece. The four
numbers were 2,768 7,443 3,825 9,387. Tiffany added the
numbers on the calculator. The sum came to 23,422.
"Take a look at that card I wrote before either of us even
saw the numbers," Mirador instructed. On the card was the
number 23,422!
"And that proves that divination beats calculation!"
20
M3THOO: The four bars aren't Persian dice, but
rather a magic dealer item sold under many names. The four
numerals on each side of the bar, or pillar, add up to nineteen
and a key number located in the third position down the column
(SEE FIG 3)
By looking at the third four-digit number (the key
number), you know the total of all the numbers. Just put a 2 in
front and subtract a 2 off the end. Therefore, in the example
above if the numbers to be added are 4,999 5,243 3,487 and
9,756, the third number is the key. Add a 2 at the front (23,487)
and subtract 2 from the end (23,485) gives the total of all four
numbers.
What isn't in the directions of any purchased set of bars,
is the fact that you can flip any or all of the bars end for end
with out disturbing the system. You can also adjust the bars to
changing anything. (SEE FIG 3)You must simply always use
the key numerals on each bar to calculate your total. It's easy,
but very impressive.
Predicting the total on the other side of the blocks is
easy because the second number down on each bar is the key
number from the other side. You have to read the key number
from right to left because it's reversed, but other than that, it's
the same formula. Add a 2 to the front and subtract a 2 from the
back. It takes only a few seconds to see the total before the
numbers are shown.
Because you re-adjust the positions of the bars before
flipping them makes it seem as if a new random number is
generated. If you wished, you could have the participant slide
the bars up or down after they're flipped without changing the
total. However, in performance, it's a bit much.
If you can't find these bars anywhere, and that would be
21
rare, I've listed a set of numbers to make your own out of four
r----~OO\t--------,
pieces of wood or clay. (SEE FIG 4) The illustration is an

H3R N-UMS3R
exploded view, as if a single bar was cut and opened flat.
The only other mentalist I've ever heard of using the
mathematical basis of these bars for more than just an arith-
metic stunt is David Burglas. What he did with the idea is
mentalism history!
Here is a gold mine of showmanship for those who
By performing this first as an addition game, later as a demon- know how to dig it. It combines the drama of a living and dead
stration of lightening addition and finally as a demonstration of test and the stunning accuracy of a billet read under a contem-
seeing into the future makes it an item I carry for intimate per- porary topic; cell phone numbers. In addition, you may end up
formances.
with a date or two out of it. (1 mean as in a date to perform - or
do I?)
FIG 4
3FF3CT: Two women both write down a phone
- - number of a friend and their own numbers on the back of a
2 9 7 6 3 9 4 3 business card. While one holds the card, you tell them which
number is which, and finally reveal one of the women's phone
9 2 5 4 7 4 9 8 numbers!

5 4 9 2 PR3S3NTAT10N: While waiting for his connect-

9 8 7 4 ing flight, Mirador made friends with Amber and Melissa, two
7 7 6 8 8 5 5 7 attractive flight attendants. Offering a little demonstration in
- Fi rst Bar - Second Bar
thought reading, he put the letters A, B, C and D on the back of
his business card. Handing the pencil and business card to
- - Amber, the mentalist said, "Here, beside any of the four letters,
write the phone number of one of your friends. Write it big
4 7 8 4 5 9 7 2 enough to reach across the card, but not so big it runs over into
the spaces above or below. Be careful not to let me see what
5 2 3 6 6 3 8 7 you write or where you write it."
3 6 5 2 8 7 6 3 Amber wrote 555 860-3823 next to the B. Mirador took
the card from Amber, being careful to keep the writing facing
9 9 7 8 7 6 3 9 the floor so no one could see it. He handed the card to Melissa.
- Third Bar
- Fourth Bar "Please dothe same thing. Write the phone number of a

22 23
 eerily ac~urate. Turning to the first woman, the mentalist said,
friend in an open space next to any of the three letters." Melissa "And where did you write your number? Don't answer me
wrote next to the D, 555 659-5528. When she was finished, he aloud, just think it. Ahh, I see. Your number is next to the A."
handed the card and pencil back to Amber, being cautious Amber screamed. He was, in fact, correct again. Finally, Mi-
about keeping the writing hidden. rador took Melissa bythe hand. He looked deeply into her eyes
"Amber, I want you to write your phone number in one and said, "We all know where your number is, on that card
of the two remaining spaces. But keep. it secret from me." you've been holding. However, I want you to concentrate on
Amber put her number next to the A. _ - the last four digits. I see a zero, a six. A five and a three!"
Her phone number was 555 259- The tall mind reader had accurately revealed the last
5429. Amber handed the card four digits of Melissa's phone number, all while she held the
and pencil to card throughout. He took the card from the flight attendant and
Melissa with the verified he was correct. He gave both women a new, clean
request for her business card.
number. She
The call for boarding came and Mirador had to leave,
wrote 555 982-
but not before asking Melissa if he could call the willing
0653 in the last re-
maining space, next to the C. participants the next time he was in their town.

"Even if I could see what's

written on the card, I couldn't tell
whose phone number was whose.
Amber, focus your mind on your
friend's phone number." Mirador
looked at the numbers on the card.
He concentrated and gave the card back to the flight attendant.
"Your friend's number is at position B. Is that correct?"
Amber giggled and affirmed he was right.
Looking into Melissa's eyes, he said, "Melissa, think of
your friend. Not her phone number; her face. Imagine her hair,
her eyes, and her mouth. Concentrate on her personality. I see a
dark haired woman. She's cut it short and she's just a little over
weight, but she's OK with that. And you wrote her number next
to the D, correct?"
Melissa was stunned. The description of her friend was
M3THOD: I do a lot of flying. I meet a lot of people.
This effect came about out of necessity. There's often not
enough time to do a cool demonstration and get a phone
number. When your flight is called, sometimes you have to run.
With this trick, I have the card with the numbers oftwo women,
ifit's appropriate to need them.
However, women are not the only people you may want
phone numbers from. A surprising number of contacts, who
>, could be potential show buyers, don't have a business card with
them. This is a great way to sample your talents and get contact
numbers.
The methodology is based on an old mediumistic living
dead test done with slates. Instead of soft chalk, the
?"'/'TIlUIIlbers are written in soft lead pencil; a grade that smudges

24 25
 whose ... " This statement indicates that you won't look at the
As you take the card from one participant to hand it to card; however, immediately after saying it, you look at the card!
. the other, you pinch it with your middle finger and thumb and
slide your fingertip down, over the numbers. This smudges the You do handle the card, but only for a moment, then it
number. If there's only one phone number on the card, (as it is goes back to the last person who wrote on it. You reveal the
when Amber's friend's number is on it) a small area is first fact after looking at the card, but every other revelation
smudged as you hand the card to Melissa. You must drag your comes while the card is held by the participant. They often
finger the full height of the card, because you don't know forget you ever looked at the card.
where the number is. With the card face-down, smudge along When take your look, remember the order of the first
the right side. This will three numbers (in the example, B, D, A) and the last four digits
make the mark on the left 1 2 3 ofthe fourth written number (in the example, 06-53)
side of the number. s n r
t d d .To make remembering three letters and four numerals
5 5 5 easy, make up a list of simple phrases using the three letters.
When Melissa m m m
writes her friend's number
u u u (SEE FIG 6) The phrases can be anything at all. In this
d d d
on the card, you secretly 9 9 9 example, the phrase is Beautiful DAme. You don't have to
e e e
smudge it memorize the phrases, they're just to help you. Read them a
again. This time
~ ~ ~ few times and they'll come to mind when you need them. If you
in a different lstGi rl-.. A-s'r'!"~4;.'l forget a phrase, make one up on the spot. "Beautiful DAme"
spot, slightly to- . 1st Fri end-" B- :(ss1t~" -11':1-3 could become "Buy Daddy Ammunition" if need be. It's just a
ward the center. 2nd Gi rl~ c-(MV'8>..-a~5: secret, mental crutch.
Now, the first 2nd Friend-" D4r~~-. After you see the numbers were written in the order
number has two B-D-A, mentally repeat "BEAUTIFUL DAME 06-53" several
smudges on it. FIG 5 times. That's all there is to it. Now you give the card back and
The third num- reveal the information.
ber gets a smudge along the left side of the face-down card. At
this point, the first number has three smudges, the second The first name written was the first person's friend. It's
number has two smudges and the third number has one at position B (Beautiful). The second friend's number is at
smudge. The secret marks are in three different areas and are position D (Dame). The first person's phone number is at
unnoticed by the participants. (SEE FIG 5) position A (dAme). And the second person's number ends with
06-53. Having to recall, Beautiful Dame 06-53 is pretty simple
The last number gets no smudge, so Melissa can hand it
for the amount of impact you get from this effect.
to Amber herself. YOU DON'T TOUCH IT. This fact remains
in their minds because it's the last exchange of the card and The second person's friend is described using another
pencil. Re-read the script and you'll find statements that help medium ploy. Just describe attributes that are opposite to the
control their memories.. Like, "Even if I could see what's woman. She doesn't get a chance to say you're wrong because
written on the card, I couldn't tell whose phone number was
27
26
 you link the statements to the fact of where the number is on the
card. She must say "yes". You also say it in a manner that's a
bit like pumping. When the woman silently indicates you're on
.
I-
I
\
..
..
. r

the right track, you continue. If she shows you're off the mark,
you recant a bit. It's all done quickly and with confidence.
Take a moment to imagine what the audience remem-
L1BR3TTA M1NUT 1A
bers. They both wrote down a phone number of a friend and
. Everyone, especially women, love miniature props. Dr.
their own numbers. While she holds the card, you tell them
Stanley Jaks made a wonderful career with close-up mentalism.
which number is which, describe the friend and reveal the girl's
He used unusual miniature props. This treasure is the type of
phone number! effect he loved. I hope you love it as well.
If it seems like this is too much brain work, that's good. It
means this pet routine will remain hidden and only a few will
3 F F 3CT: A spectator puts three tiny number cards
together in any manner he wishes. This creates a three-digit
attempt it. The amusing fact is that once you try this, it's easier
number that represents a random page from a miniature book.
than any double lift. He looks at the chosen page and silently reads a word. The
mentalist reveals the mentally chosen word.
PR3s3NTATION: "Tell me what I'm thinking,"
CAB Cindy Almost Barfed
The large bearded man bellowed. Evil Dan was a lovable man
ABC Always Be Clean
who told fortunes for fun and profit. He had watched Mirador
ABD ABig Dog CAD Crush A Doorknob
amaze people with his apparent mind reading skills.and desired
ACD A Cold Drink CBA Can't Buy Alcohol
a turn.
.;~ ACB A Cute Boy CBD Could Be Destroyed

ADB A Dumb Brat CDA Can Do Anything

Mirador opened a leather covered box the size of a
CDB Count Dracula's Bat
matchbox. Inside was postage stamp sized dictionary and three
ADC A Dark Cloud
tiny numbered cards. He laid all the miniature items on a table.
Begin At Camp DAB Down Around Brazil
BAC "Let's try a little experiment. This diminutive dictionary
BAD Before Any Day DAC Discuss About Communism has, let's see, just over six hundred pages. Dan, I want you to
BCA Be Careful Amy DBA Drunk But Alert use these little cards to select a page and then a word on that
BCD Big Cute Debutante DBC Don't Be Cruel page. After that, I'll try to read your mind.
BDA Beautiful DAme DCA Debbie Came Along The tall, handsome mentalist flipped through the tiny
BDC Be Dreadfully Concerned DCB Dead CraB tome to Show the total number of pages and they that were
different. He spread the three tiny cards on the table. Each card
FIG 6 had a different number printed on it. There was a 1 on the first

29
28

card, a 2 on the center card and a 3
on the card to the right.
"I need a three digit number
and it has to be random. See how the
lowest number these three numerals
can make is 123. On the other side
are three more numbers, four, five
and six. So the largest number you
can make is 654." Mirador turned
each card over to show the numerals
on the other side. On the back of the
FIG 4
card with a 1 was a 4. One the back
of the card with the 2 was a 5. And on the opposite side of the
card with a 3 was a 6.
"Again, I need a three digit number and it has to be
random. I'll turn away so I can't see what you do. When I tell
you to 'mix the cards', I mean slide them into a different
position, like this. When I say 'flip a card', I mean turn it
completely over once."
Mirador turned his head away from the table so he
couldn't see the arrangement of the cards.
"I need a three digit number. Mix, that is slide, the cards
around to any order." Dan slid the numbers around to form 465.
"And it has to be random, so flip anyone of the cards
over to get a new number. Flip one card." Dan flipped the 5
over so it became a 2.
"I need a three digit number, so arrange them into any
order." Dan rearranged the pieces of card to make 642.
"And it has to be random, so add all the digits together.
OK? Fine. And it must be a three digit number, so add a zero to
the end of the number."
30
The 6, the 4 and the 2 added up to 12. With a zero on
1
the end, the number became 120.
"You have a three digit number? Good. Put the little
cards away so I can't see them and look up that page number in
the miniature dictionary. Find the first word defined on that
page." Dan opened the tiny dictionary to page 120 and saw the
word, CONJURE.
Mirador stared into space and seemed to form some
image in his mind. "The word you have in mind has seven
letters. Three of them are vowels. I also see N J U, but I don't
know any words that have those letters in them. Please read the
definition silently, to yourself.
"Ah, I see the images of magicians and wizards in your
mind. You have a very strong mind, so if you don't want me to
read it I can't. Please help me out. Concentrate on the first letter
of the word. Ah, yes. It's a C. C N J U. Canju, cenju, conju.
Conju, Conjure! THE WORD IS CONJURE! You did very
well. Thank you."
M3THOD: Obviously, the method is a force of the
page number, but the force is executed so slickly that the
participant believes he had an entirely free choice.
Everything is dependant upon leading the participant to
believe that he is forming a page number by arranging the tiny
cards, and then switching the procedure so that he adds the
numerals together. The switch is completely covered with the
language deception of repeating why each step of the procedure
.. ;..;.,.:- necessary. The words repeated several times are, "1 need a
digit number, and it has to be random. "
Before we get deep into the subtle method, let me
remind you that any Real Time Mentalism™ piece can be
<tlleatric;all,v dressed up with special props; but they aren't
31
necessary to it. The same holds true here. Although a miniature
dictionary and tiny number cards look great for walk-around,
Dr. Jaks-style mentalism, you don't need anything more than a
borrowed book and three scraps of paper or business cards.
The force works like this. Get three pieces of paper and
lay them out in a row. One the left piece draw a 1. On the center
piece draw a 2 and on the right piece draw a 3. Now flip each
piece over to the blank side. On the left piece draw a 4. On the
center piece draw a 5 and on the right piece draw a 6. At this
point, the piece on the left has a 1 and a 4. The center piece has
a 2 and a 5 and the right piece has a 3 and a 6.
When you lay the papers out in performance, you do so
to show the smallest possible number that can be made with the
papers. Lay the papers out with the lowest numerals shows, i.e.,
1, 2 and 3. Then flip each paper over to show the highest
possible number that can be made with the papers, i.e., 654.
The statement you make is correct; the lowest number that can
be made with a 1, a 2 and a 3 is 123. But this procedure leads
the participant to understand that he will make a page number
by arranging the three papers. This is a misassumption.
Begin with the smallest numbers showing, flip them so
the largest numbers are face-up, and you're set. If you flip any
of the three numbers, the new combination will always total 12.
Make certain the participant understands not to
flip the little cards when mixing them.
With the 4, 5 and 6 showing, tell the
participant, "1 need a three digit number ... "
That's the reason he slides the cards into any
order. Again, you're creating the understand-
ing that he's making a three-digit number with
the cards.
Next, explain, "And it has to be ran-
dam ... " and instruct him to flip one card over,
32
thus creating a number he wasn't expecting; or at least that's
how he sees it.
Repeat, "1 need a three digit number... " and allow him
to arrange the new numbers.
Finally deliver the velvet blow, "And it has to be
random, so add all the digits together... " The last instruction
makes sense because you've previously given your reasoning
three times. However, the procedure changes everything.
Adding the numbers together is incidental in his mind and later
forgotten. He will mostly recall he mix three littie cards or
papers around to make any page number he wanted.
The participant gets a total of twelve. By adding a zero,
the total becomes 120. This odd command goes undetected
because of your reasoning, "And it must be a three digit
number ... ".
The system of forcing the number twelve with three
numbered papers seems to be an old one. Its creator remains a
mystery to me. Banachek first showed me the ploy for use on
radio. George Anderson created a three-digit page number by
forcing a seven spot playing card and multiplying the seven by
ten. That's as close to credits as I can come.
However, those two phrases, repeated in unison, are the
real method to this effect. They are the verbal means by which
the mentalist controls what the participant believes is happen-
ing and elevates this little trick to one I'm proud to perform
anywhere.
I developed this piece because I purchased a miniature
dictionary when I performed at the Smithsonian Institution. It's
perfect for Jaks type mentalism, but is so small that the know
methods don't apply. With some research, some effort and
some imagination Libretta Minutia wCl:s born.
33
 /
..
I
- -
au 1 JAN
This trick was almost discarded in a simpler form,then I
discovered that many professional mentalists. and spiritualist
have used it to great success. The great Maurice Fogel thought
so much of its direct method that his first pamphlet was
devoted to a presentation of this trick. If it was good enough for
him, it's good enough for me.
I often use this in conjunction with Libretta Minutia
explained in this book.
3 F F 3 CT :. A spectator merely thinks of a number
from 1 to 10. The mentalist touches a planchette on a tiny Ouija
board. The spirits move it until finally stopping on the specta-
tor's mentally chosen number.
PR3S3NTAT10N: Children aren't usually found
at cocktail parties, but Raven was a ten-year-old whose com-
pany was welcome in most situations. Mirador had an intimate
party of three women and a man for cocktails and they were
ready for a little entertainment. Raven was ready to amaze them
with her psychic abilities.
She showed a miniature Ouija board, one that might be
used by Barbie'P'. She carefully placed the board on a coffee
table and a tiny planchette on the board. Raven addressed a
pretty, Chinese girl, named Chris.
"Please think of one of the numbers on the board. It can
be 1 to 9, but please don't think of 0, because if you think of
nothing, nothing is the result. When you concentrate on your
34
chosen number, the spirits
.. will reveal it to us. Do you
have a number in mind
now? Thank you.
"Keep your chosen
number in your mind. This
little pointer is called a
planchette. The spirits will
move the planchette and
stop on different numbers. Each time it stops, I want you to
silently count. You'll start counting with the number you have
in mind; no matter what number is under the planchette. Each
time the planchette stops, count one number higher. If you're
thinking of number three, start counting with 'three' and then
mentally count 'four' wherever the planchette stops. The next
time the planchette stops count 'five'. Don't say anything, just
count mentally. When you mentally count 'thirteen', say
'STOP'. Do you understand? Thank you. .
Mirador addressed the group, "The reason Raven wants
you to begin with your chosen number is to keep her from
knowing when you'll reach thirteen. If she knew when you
would say 'stop', she might use her own intuition as where to
stop the planchette. By beginning on a number unknown to
Raven, she can only be guided by the spirits."
Raven took a deep breath. She gently closed her eyes and
let her mind go. Her small index fingers touched either side of
the planchette. It seemed to move by its own impetus. When it
stopped, Raven told Chris to begin counting with her secret
number. The planchette moved up, down, side-to-side and
stopped on another number. Raven said to count another num-
ber higher. The planchette moved to a different number and
Chris mentally counted one more. This was repeated several
times until Chris suddenly said, "STOP!"
35
 Raven looked down at the number the planchette was
on. "The spirits say your number is seven," Raven said.
Chris fell back from the table. "Remarkable!" she cried.
"How does she do that?"
After everyone in the room had Raven disclose a chosen
number, Raven's personal, full-sized Ouija board was brought
out and the spirits continued to communicate throughout the
evemng.
M3THOD: The trick works almost automatically.
You stop anywhere for the first four stops, after that, you stop
on 9, 8, 7 and on down. When the participant mentally reaches
thirteen, the planchette automatically falls on the chosen num-
ber.
Disguise the fact that you're moving from 9 down by
moving the planchette all over the board before each stop.
Make certain the participant knows you've stopped. Pause there
for a couple of beats.
The history of this gem is fascinating. Its greatest glory
is in the fact that the world famous spirit medium, Charles
Foster, used it frequently. Charles Foster, for those who don't
know, was the mentor of billet great, Berthold Reese. And
Reese was Ted Annemann's billet guru. Charles Foster made a
fortune in the spook game and the method of "tapping to
thirteen" was a lethal weapon. (Although the final number has
most often been twenty, I find modem audiences feel this is too
much tapping. I reduced twenty to thirteen.)
Foster used it when a bereaving family wanted to know
if the spirits would prove their identity by telling Foster a
particular detail that he couldn't possibly know. For example, a
family had been communicating, through slates, with their
deceased child. The mother needed more proof. and asked
36
Foster to have their child reveal
his age when he was drowned.
Foster took a piece of paper and
wrote the numerals 1 through 14
on it. (The ages the boy could
have been.) He told the mother
to concentrate on the boy's age.
He performed his "tapping" ef-
fect and the family was con-
vinced.
My introduction to this trick was with the numerals on
a watch. It's explained with little detail in 101 Trick You Can
Do. (SEE FIG 5)Having performed this trick since I was about
ten years old, I thought it impossible to fool a thinking audience
of adults with it. I taught it to my then, nine year old daughter.
She decided to use a miniature Ouija board instead of a watch.
At a dinner party, she performed her little trick. It floored
everyone! Each guest had to have her present it for them. She
added the effect of steering the planchette by pulling down with
her right finger and pushing up with her left. Sliding the
planchette at the same time, makes it appears as if it's moving
under its own power.
She also added the reason the participant starts counting
with the selected number as explained above. This little tip
moves the demonstration out of the mere magical amusement
arena and propels it into the real spirit activity field.
Peyton Raven's professional approach was no mere
accident. She has been trained in theatrical performance,
studied Michael Chekhof and Stanislavsky and performed since
the age of five. She knows a bit about theater.
The miniature Ouija board is a key chain available at
novelty stores. It has a tiny drawer that holds the planchette.
You can return the presentation to Real Time Mentalism™ by
37
doing as Foster did. Just use a piece of paper and a pencil. Other Books by Docc Hilford
Alternatively, draw numbers on nine separate papers and use an
upturned glass as a planchette. This is the origin of the Ouij a 1. The Richey Technique Revealed $20
board. I

2. M eph'1StO 'sJourney $20

Perform this for intelligent audiences and I'm certain 3. Ball & Tube $20
you'll be pleased with the response. 4~. Band of the Hand $25
5. The Sign of Four $25
3XTRA Tlp for those who opt to perform this with 6. The Hermit of Dreams $20
a full sized Ouija board: After the demonstration of revealing a 7. The Lolita System $35
mentally chosen number, have the spirits answer a question. It
8. Fern Fata1. $35
isn't necessary for you to touch the planchette to control it.
Through mere verbal suggestions you can completely direct 9. The Star Tradeshow Act $20
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13. Burn, Witch Bum $15
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ideo-motor responses. 17. E 'Voque $25
This sounds bold, but works 18. Cellular Mitosis $25
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Try it.
20. Number 6 $35
Wll<:h 0111. M..>I"v boglanlng *""
Someone Is told 10 think of • nudler on •
OM numb.,
lbow the """ "- thoUgIIl at. he fa I. ItItt
cac.mlnQl .. thl perfarmor l.IllII ttli dIal ane liP 21. Mestha, Book of Numbers VoU $35
far uch number.".. ...n _ he lftlIIlIllIy caunll
to :ZO. hi 10 10 ..., alap. At thla paint. the 22.
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thought all SECREt: Mok. _ 1.1'" lit random.
but on ttll lIlghltlllP hava your pencft lll\ numbar
12. Now Italt tappnll c:ounl. clocl<wIoa around
23. Tuamautef, Book ofNumbers Vo1.3 $45
Ihi diol. No manarwltal nuriJaf w. uklll. whan
Ihi aptICl1ItllfCauntl to:ZO. yaa. pericll wi! ... on
lhe .llIht numbar.

FIG 5

39
38
 Other Tricks by Docc Hilford
1. The Wizard's Manual $65
2. The Cassandra Deck $25
3. Cards of Cairo $20
4. Million Dollar Deck $10
5. Rasputin's Secret $20
6. Raven's Slates $175
7. Assassin Card Sword $350

"</;,

All books and tricks can be purchased from your

local magic dealer or directly from Docc Hilford.
For a catalogue send your name, address and $3 to:
P.O. Box 546022 Bal Harbour, FL 33154
or visit us on the web at:
DoccHilford.com

40