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Whatever the audience thinks, the volunteersdo! It's an amazing act that few if any othermentalists are doing. You can earn a reputationwith some borrowed paper and envelopes when youknow this secret.

Everything is explained and fully illustrated ­nothing is left out. YOU CAN DO IT!

People from the audience think of different thingsthree volunteers could do on stage. This suggestedtests are written on slips and sealed, by theaudience in three envelopes.

The three volunteers concentrate and are able toperform the acts written on the papers! One personmay be running in circles squawking like achicken, another may be skipping through theaudience. And the last volunteer may be singing anaria like a famous tenor!

EFFECT:

psychically electrocute the subject with 10,000volts! you never touch the subject and he's notharmed in any way, but by a mere glance thesubject is thrown from his seat. again the audienceis racked with laughter and you reveal the secondpiece of information as well as where it's hidden.

Finally, by pure mind reading, you expose everythought the subject has left.

This is aquality act that has kept audiences amazedand amused for years. But there's more!

Special Bonus Routine:

Using the same method as in the above routine,you're able to control the thoughts of three peopleon stage.

Only...

The spectator now assumes the role of a capturedspy and you his interrogator. By using apsychological technique you break the subjectdown until he can't speak! Amid the laughs ofthe audience, you reveal where the envelope withthe information is hidden and what that piece ofinformation is.

Next, you use your strange metal powers to

Dace Co. - P.O. Box 546022 Bal Harbour, FL 33154 - docc@docchilford,com

The are no impressions or gimmicks of any kind.There are no one-ahead moves or dummy billets.Just three slips of paper and three unpreparedenvelopes. Everything can be borrowed.

The spectator seals the envelopes himself, and caneven check to make certain the slips are untouchedbefore he seals them.

But getting the information is only half of thisremarkable routine. The presentation brings thiseffect into stardom.

envelope.

The envelopes are hidden in different locations onthe subject's body, such as in his pocket, his walletor even the tip of his shoe!

The stunning fact is, at this point you alreadyknow what's written on every slip - ANDWHERE THE ENVELOPES ARE HIDDEN!

Now, YOU will be able to do more than justapparently reading minds; you will seem to

actually control them.

EFFECT: Ann audiencemember is told to think ofthree pieces of informationthat could not possibly beknown by anyone present. Hewrites them on three separateslips of paper, folds them andseals each inn it own

In the past, great mind readers such as CharlesFoster, Bert Reese, Al Baker and Ted Annemann,have used nothing more than three pieces ofpaper and three envelopes to make headlines andcreate awe in their audiences,

A Professional Routine for Advanced Thinkers

iI ',1,

r~

~i llecc ~ilfol4~

Copyright© 2005 Docc Hilford

First printing Docctober, 2005

No portion of this book or original illustrations can be reproduced in anymanner without written permission of the copyright owner.

Docc Co.r.o.aox 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 forstage, stand-up or close-up 'situations, but few that can beperformed without the necessity of any special props or set-ups.Swami gimmicks, nail writers and peek wallets can be forgot­ten on the dresser and our best pieces never get seen by anyone.An unprepared performer cannot perform most of the effectsavailable, and so, often doesn't perform at all.

If an effect is Real Time, it doesn't require any gimmicks.Of course, gimmicked methods may be slightly easier to use,but Real Time Mentalism™ provides alternate techniques. It isleft up to the performer whether he or she will use a specialgimmick he or she has ready, or entertain with nothing morethan borrowed items at hand. Real Time Mentalism is truly100% impromptu. This is great for those who want to readminds, influence thought or generally chill any audience at asimple request.

This series of effects that I'm releasing as Real TimeMentalism" include several tricks that can be preformed "onthe 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 toyou.

As with all of the effects I publish, these are original andstrong. I hope you use these effects. That's what they're meantfor.

Docc Hilford

3

Welcome to the world of billets and envelopes. For thoseunacquainted with this terrain, it may sound simplistic, butwithin that simplicity lies true beauty.

In this wonderful place a person can borrow a few piecesof paper and a couple of envelopes and apparently read minds.There are no velvet bags, chalkboards or decks of cards; justbillets and envelopes.

This world has been well explored over the years. Suchvoyagers as Charles Foster, Bert Reese, Al Baker and TedAnnemann have charted paths that lead to success here. Con- .temporary travelers have discovered short cuts and alternateroutes. Al Mann was my friend and personal guide through thismarvelous land ofmind reading.

Years ago, Al wrote and published a very goodmanuscript on Al Baker's Three Pellet Trick. In it he updatedthe moves so they were easier onthe mentalist. He combined atwo-ahead principle with the billet switch. It was very good, butI wanted to have all three envelopes sealed before any revela­tions were given.

He and I spent quite some time going over my improve­ments on his essay. He liked my new approach. Al was also abig fan of Bert Reese and Bert's mentor, Charles Foster. Iincluded bits of business from both men in my version of thepellet trick. Al saw the potential of this combination. Planswere made to publish the new version, but sadly, Al passedaway before this, as well as a few other projects were finished.

What follows is the routine I worked out after doing AlBaker's routine, then learning Al Mann's version. I still per­form it. There's a lot of theatrics in the routine; something notprovided by any of my predecessors.

4 I\ .I

This routine is ready to be dropped in to any show. Itbuilds with comedy and ends with strong mind reading. I'vebeen offered $500 to write up the routine and allow oneperformer exclusive rights. It's that good. You get it for 93%off that price.

I've described every move, even simple billet switches.How to finger-palm a billet is explained, not because I thinkthat you don't know how to do it, but rather to make certain thatevery detail is explained. Nothing is left out.

But that's only part of the value you have here. I'm happyand excited to share a completely new routine that will set youapart from all other mentalists. When you read the routine,you'll understand why. This is a bonus routine, included free.

'Those who learn this system will have a Real TimeMentalism" piece that will make a reputation for you.

Enjoy.

Docc Hilford - Docctober, 2005

5

Err~ct:A spectator plays the part of a captured spy. He writes

three different pieces of secret information on three separateslips of paper. Each paper is folded and sealed in an envelope.The spectator places the three envelopes in different places onhis person, for example in his pocket, in his wallet or even inthe tip of his shoe!

The mentalist plays the part of an interrogator. He wantsthe information and undertakes to discover both where theinformation is hidden, as well as what each secret is. He usesthree different methods of interrogation, including hypnosis,electrical shocks and brain washing!

The audience is amazed that the mentalist. gets all theinformation through psychic abilities.

~~Bs8"tati(),,:

[]~~~tB~ 1The ballroom was a tapestry of tuxedos, evening gowns

and martini glasses. Everyone was having a marvelous time. SirEdrnund.Allemann, the party's host, approached John Drake,"John, be a sport 01' man. Can you perform some of youringenious mind tricks for us?"

John Drake was well known for his ability to entertain byapparently reading the thoughts of others. With a smile heanswered, "Certainly, Sir Edmund. It would be my pleasure."He handed his martini glass to one of the lovely womenpresent, grabbed a chair and asked for a small table to be set toits left. The partygoers gathered round the table, the chair andJohn.

6

"For those of you who may not realize it, I should pointout that a very special guest is with us tonight. In London, he'sknown as an international jewel thief, though now reformed, anaccomplished gambler in Monte Carlo, and a cold-blooded spyin Istanbul. I'm certain he'd come up and assist me if you madehim feel welcome. So please, a little encouragement for asuperlative secret agent and consummate flamenco dancer.Alfred Baker!"

Alfred Baker was anything but the types John had de­scribed. A fun loving, but small man, Alfred was better knownfor his obvious sense of humor than for any hidden talents.Alfred stepped forward amid applause and laughter from hisfriends.

."Please have a seat, Alfred," John suggested. Alfred gotcomfortable, knowing full well that John had some devilishplot to entertain the revelers, possibly at his expense. Johnstood at the left between Alfred and the little table.

John addressed the group, "Since we're exposing oursecret identities tonight, I may as well confess that I am anagent for the international think tank known as The Village. Ihave developed a three-stage system for breaking down a man'smind so he'll reveal any information, no matter how personal orimportant. Because this system can truly only be tested on amind that is as astute and razor sharp as yours, Alfred, I'veasked you to assist me."

John removed three envelopes from his inside jacketpocket and showed them around. "Alfred, here are three en­velopes, each containing a folded slip of paper." John returnedtwo of the envelopes to his pocket and turned the remainingenvelope mouth down over the table. His fingers popped themouth of the envelope open and a single folded slip fell ontothe table. John picked up the paper and opened it, then showedit to Alfred and the partiers.

7

"Each slip is blank now, but in a moment I want you fillthem in with information known only to you." John placed theopen slip against the envelope and took out his Monte Blanc,."For example, on this slip I'll write the word CODE at the topof the slip and then put three short lines across the middle." Hehanded the pen to Alfred and let everyone see what he hadwritten on the slip.

"You must devise a three digit code number and write iton the paper." John handed the paper to Alfred and turnedslightly.away. He held the empty envelope near his eyes so hecouldn't see anything Alfred wrote. "It can be any three digitnumber, as long as it's known only to you. When you've donethat, fold the slip and hand it to me."

John turned to face Alfred as Alfred finished folding theslip. John carefully slid the folded slip into the envelope,pushed the flap down and set it on the table. He took his penback and said, "Very good. Let's do another, shall we?"

John took a second envelope out of his pocket, opened itmouth down and with the aid of his wiggling fingers droppedasecond folded slip on the table. He opened the new slip andbegan to write something. "This time I'll write the word, CITYon the top of the slip along with a line in the center."

John showed the open paper with the word CITY neatlyprinted across the top and handed it, followed by his pen toAlfred. "Please write the name of a city where you'll meetyourcontact." John turned away again, blocking his vision with theempty envelope.."When you've written the city, fold it andhand it to me." .

Again, John' turned and took the folded slip from Alfred.It was carefully placed into the envelope. John even turned theenvelope toward everyone so they could see it slide into itshiding place. John placed it on top of the envelope already onthe table and said, "Now, the most important piece of informa­tion."

8

John took the pen back, retrieved the last envelope,dumped the slip on the table, opened it against the envelope andbegan writing. "This time I'll write the word, NAME on theslip." He showed everyone the slip with NAME printed on it aswell as a bold line in the center. "The name is that of yourcontact. Of course, it can be anyone's name, but for ourexperiment, please make it a name of a personal friend."

For the final time, John turned and shielded his sight withthe empty envelope. Alfred filled in a name and refolded thepaper. John took it and everyone watched him carefully place itin the envelope.

After closing the flap to the third envelope, John held itup and said, "Here is the name of Alfred's contact, safelyconcealed in the envelope." He picked up one of the envelopesfrom the table and added it to the one in his hand. "Here is thename of the city where Alfred's contact can be found. "Johnpicked up the remaining envelope from the little table andadded it to the other two. Holding them like a fan, John said,"And the secret code known only to Alfred. In a moment,Alfred will hide these envelopes on his person. Then no onewill know exactly where the information is hidden, or what thespecific information is.

9

"In fact, we'll mix them so nobody knows where theinformation is hidden." John moved the envelopes from hand tohand mixing them. He handed one envelope to Alfred and toldhim, "Here, raise the flap enough to lick it, then seal it closed.But before you do, take a quick peek to make certain your paperis in there."

John waited for Alfred to finish sealing the envelope'before he gave him his next instruction. "Tastes great, doesn'tit? OK, fold that sealed envelope in half and put it on the table.Alfred did as instructed.

When be finished, Jolm gave him another envelope tocheck, seal and fold in half. This was also placed on the table.The last envelope was checked and sealed by Alfred, foldedand put with the other two on the table.

"Mix those around for me, will you Alfred?" Alfredmoved the folded envelopes around until no one could be surewhich envelope held what slip of paper.

John Drake reached over, pick up an envelope from thetable and handed it to Alfred. "Here, my friend. Hide this one inyour wallet." Alfred complied then returned his wallet to hisjacket pocket.

101m handed ~other envelope to Alfred. He was told hecould place this envelope in any pocket he wanted. This secondenvelope was secured in Alfred's tuxedo breast pocket, underhis handkerchief.

John suggested Alfred pick up the remaining envelopeand hide it somewhere special; in the toe of his right shoe!

After the group of partiers quit laughing at Alfred Bakerstuffing an envelope filled with some sort ofsecret informationinto his shoe, John Drake assumed the role of a formal, polite,yet evil genius and addressed the company.

10

"Ladies and gentlemen. 1 am The Doctor, special agentfor The Village. The man you see before you is the infamoussecret agent, Number 6! He knows what no other man knows:the name of a special contact, the city where they are to meetand a secret code.

"Number 6 wrote the information on slips of paper andsealed them in three envelopes. These sealed envelopes arehidden somewhere on his person.

"1 have devised a three stage system of psychically ex­tracting information from even the most iron-clad minds. Basedon psychic experiments of the past, this method is quite stealth.The subject may not even be aware that he's revealing theinformation as he is mentally broken down.

"The first stage involves direct attack on the psychologi­cal regions of the brain. The second stage utilizes electroshockdirected to the spinal cord and, as unbelievable as it may sound,projected psychically. The final stage telepathically wipes thesubject's mind clean of all information. Unfortunately, thisstage often leaves weaker minds completed obliterated."

John looked at Alfred who seemed a little concerned withthe last statement. However, John reassured him by adding, "Ofcourse, 1fully expect a mind as strong as Number 6's, here, tosurvive.

"We will begin with the first stage, psychological breakdown. Number 6, you must answer every question 1 ask with aquestion. Do you understand?"

"Yes."

"No, Number 6, answer my questions with a question,such as when I ask you if you understand, you reply, 'Who areyou' or 'What do you want?' Now, do you understand?"

11

"Why does it matter?"

"Very good. The first experiment has begun. Are youready?"

Alfred paused and answered, "Who are you?"

"Is the code three digits?"

"What do you want?" Alfred had apparently thought ofhis question in advance.

"J want the information. Will you give me the informa­tion?" Drake asked.

The combination of a statement and a question threwAlfred off, causing a pause. Drake repeated the question loudly."Will you give me the information?!"

"No, J mean ... what information?"

The code you have written on the paper. It's hidden inyour pocket, isn't it?"

"Ahh... where is it?"

"The code is written on a slip, sealed in an envelope andhidden in your pocket! Remove it! Why did you hide it there?"

"I'm... 1... you..." Alfred started laughing, although itwas apparent to everyone that the process had broken Alfreddown.

"Remove the envelope from your pocket." Alfred took anenvelope out of his pocket as John turned away from him.

"Open the envelope and check the code. It's the code,isn't Number 6? Just as we said. Thank you, Number 6. Wehave the information. We know you've hidden the code in yourpocket, but we also know the secret code. The code is 3 - 6 - O!The first experiment is completed. Tear the envelope open andreveal your secret."

Alfred tore open the envelope, unfolded the slip and

12

showed the code written on the paper. It was, in fact, 3 - 6 - O!

The envelope and paper were set on the table as J01111

began the second experiment. "Number 6, I want you to focuson this dot." John took the pen and drew a black dot on thecenter of the back of a business card. He showed the card to theparty, then held the card cradled in his hand.

"Focus all of your thoughts on the dot. This will protectyou, Number 6. We don't want to damage that superior mind ofyours. Don't let your mind wonder from what you see on thecard.

"The second phase has begun. Three, two, one." JohnDrake put the card away and took a couple of steps away fromAlfred. "Number 6, we want to know the city where you'll bemeeting your contact. You must give me that information. Ifyou refuse, you will get the impression of a surge of 10,000volts through your body. Did you write the information down?"

Alfred obviously didn't know what was expected of him.He didn't say anything. When Drake asked him again, "did youwrite it down?!" Alfred answered, "No." There was a momentof silence, then Alfred's feet slammed the floor and he boltedfrom his chair as if thrown.

"Wrong answer, Number 6. We know you wrote thename of the city on a paper and sealed it in an envelope. Thequestion is, where did you hide the envelope. I'm going to forcethe information from your brain, Number 6. It will be painful.Would you like to give us the information?"

Alfred didn't answer, but a moment later, was thrownfrom his seat again.

"Excellent. The envelope is hidden in your wallet. Per­haps you're ready to give us the city, Number 6."

Alfred sat quietly.as if waiting for another shock. J olmDrake stared at him intensely. "Thank you for Number 6. The

13

1:'1 . -~ ···..s I

'Tbe lJiliet Fol~:

The slips are folded once each way, but in a special way.The right side is folded to the left about 1/81h inch off. (SeeFig.1) The top is folded down about 1/81h inch off. This leavesa square tab 1/8"x1/8" at the billet's lower left corner. (SeeFig.2)

There are three billet moves that must be mastered beforeattempting this routine. They're not difficult, but must bemastered so they becomeinvisible. Don't worry; themoves are hidden by theenvelopes.

First you'll need three en­velopes, three slips of paper(approximately 2 Y2 by 3inches) and a pen or pencil.These items can be borrowed sothis routine is a very strongReal Time Mentalism" piece.

The envelopes need tohave their flaps bent back andforth a couple of times so theystand open when opened.

Fig. 1

. ;.;..

..._---

envelope is hidden in your wallet. Remove it please."

Alfred took the sealed envelope from his wallet."Another shock Number 6? No? Then relax. Mentally revealthe information I want. Think it, Number 6. Silently repeat thecity. It's an American city. Very good. Avoid the terrible shock;think the city, Number 6. Ah, excellent. The city is Atlanta.You will open the envelope and expose the information."

Alfred read the folded paper to the group and it indeedread, Atlanta.

"There's only the name of your contact left. The sealedenvelope is obviously hidden in the tip ofyour shoe. I'm goingto enter your mind with psychic brain waves. Just sit back andclose your eyes, Number 6. If you tense even a little, thisprocess could wipe your mind clean."

Alfred closed his eyes. John stood about five feet fromAlfred; his fingers to his temples. John took a deep breath andsaid, "We have the information. We see your thoughts clearly.We know about every detail of your life. We know about yourhigh school sweetheart. We know about the scar on your knee.And we know your contact is Charlie Foster!"

Alfred almost fell off his chair. His eyes opened wide assaucers, for the name John Drake called was correct. Alfredtook the envelope from his shoe, but before he could open it,John had handed him the other two envelopes and papers.

"A round of applause for the strongest mind I've everencountered, Alfred Baker!"

The party clapped, laughed and went back to drinking.Jolm Drake returned to his place as the greatest mind readerever to attend a party of Sir Edmund.

Fig. 2

1415

16

Fig. 3

This simple move will re-fold an open billet whileswitching it for a finger-palmed billet.

Open an envelope, lay it on your left fingers and place anopen billet (#2) on the flap side. Hold the billet with your leftthumb on the billet's lower left corner (where the tab wouldbe.). Hold a folded billet (#1) in your right hand with the tabcorner up and to the left. Hold it by your thumb and first fingerONLY. (See Fig. 5) ALWAYS HOLD BILLETS LIKE TI-nSwhen placing them in the envelopes.

Apparently put the folded billet (#1) in the envelope. Assoon as your right hand is hidden by the envelope flap, bendyour thumb and first finger so the billet moves down to a fingerpalm position. This is a smooth and easy move. Finger palm thefolded billet (#1).

Ilille. MUYB #'1.TbB Two-Tr.l!m~ Ful~-Swiicr.:

folded corner goes into the envelope fist, which helps it not toget hung up. (See Fig 3.)

Continue pushing the billet down against the envelope '5

edge, letting your fingers and thumb to slide inside and outsidethe envelope until your fingers hit the bottom of the envelope.

Your right thumb hooks the bottom edge of the billet andpushes it up toward your palm. It should come free of theenvelope and be in a position to be finger palmed. (See Fig. 4)

Pull your finger straight out of the envelope. Keep theback of your hand facing the audience so the billet is hidden..Hold the billet in place by curling your fingers slightly. Yourthumb is free to push the envelope flap closed as your fingersmove to the address side. The closed envelope is lying on top ofthe finger-palmed billet where it can remain safely hidden foras long as desired.

I've always credited Al Baker with this idea, although Ican't find it in print anywhere now. (It's human nature, Ibelieve, that after we use a particular move for many years andconsequently forget its origin, we begin to remember that weinvented it. Surprisingly, this is sometimes an accurate assump­tion.)

Hold an envelope in your left hand with address sidefacing the audience and the mouth facing your right. Hold abillet in your right hand. Grasp it with your thumb and firstfinger by the single folded edge. Allow the billet to spring opentent fashion and as you insert the billet into the envelope, usethe back of your rightfinger to push the enve­lope open. Let the side ofthe billet against yourfingers go into the enve­lope while the side of thebillet against your thumbremains outside the en-velope. The lower right Fig. 4

l3illet Moye # 1

T~e Eaveloas Steal

17

that you placedfolded billet (#1)into the envelope,What you actuallydid was to fold thehidden billet (#2)and switch it foranother billet (#1)that ends uppalmed in your

Fig. 7

(lille1 M()v~ #3

,T~e Two-TtI.,m~ Um~pell~ Muve:Begin with billet #3 finger-palmed in your right hand

with the tab comer up left. (See Fig.8) You're holding envelope"C" in your left hand; it contains folded billet #2. On the tableis envelope "B"; in it is folded billet #1. Under envelope "B" isenvelope "A" and it's empty.

Keeping the billet palmed in your right, hold open enve­lope 'C" in your left hand. While closing the flap with yourright hand, secretly add the finger palmed billet to your leftthumb. Do this by keeping the billet secured with your second,third and little fingers and reaching back with your thumb andfirst finger so as to pinchthe billet. At the sametime pull your otherthree fingers back andyou'll have the billetheld by your first fingerand thumb only.

Simply place withTHE CORNER TAB Fig. 8

right hand.

Fig. 5

Fig. 6

18

Continue to appar­ently put the folded billet(# 1) in the envelope, butreally use the back of yourfingers to flip the right sideof the billet (#2) closed.(Because the envelope andbillet are at a 900 angle,you're really flipping thepaper upward.) (See Fig. 6.)

The billet is alreadyhalf folded. Pinch the billet (#2) with your right thumb and firstfinger at the upper half. Pull the billet to your right and free ofyour left thumb. Once it's cleared, immediately begin to pushthe billet into the mouth of the envelope. It will hit your leftthumb, which pushes the lower half of the billet up and closed.Press the bottom fold of the billet (#2) with your left thumb,grasp the billet (#2) with your right thumb and fingers.

You're now holding billet #2 at your right fingertipswhile billet #1 is finger-palmed in the same hand.. (See Fig. 7)

The right thumb pushes the now folded billet (#2) intothe envelope. Stopas the billet entersthe envelope, hold itsteady with your leftthumb, remove yourright hand (with thefinger-palmed billet#1) and show thebillet partially in theenvelope.

What itshould look like is

19

ONLY under your left thumb and slide the billet over yourthumb. The billet sticks on your left thumb like a thumb tip. Alittle pressure on the envelope and keeps the billet in place.

In a, moment you'll hold all envelopes with your lefthand. Now, you've closed envelope "C" and added billet #3 toyour left thumb.

Pick up envelope "B" and place it behind and to the rightof "C", As you adjust the two envelopes, your right thumbassists your left thumb in unfolding the billet like an umbrella. '.J list press down into the corner fold with your left thumb andthe billet will spring open. Envelope "B" helps hide the openbiIlct. You look at the envelopes as you adjust them in atwo-envelope fan and read open billet #3.

Pick up "A" from the table and place it behind and to theright of "C". As your right hand places "A" on the fan, yourright thumb lifts the bottom half of the billet and closes it. Youfinish folding billet #3 with your left thumb as your right handtakes envelope"B" and moves it to the back of the fan.

Keep the folded billet #3 under your left thumb and slide"C" from between billet #3 and "A". Put "C" on the back ofthefan.

In your left hand you should now have billet #3 underyour left thumb on top of empty envelope "A". Then "B", then"C'' all in a fan. You've read and re-folded billet #3 and it'sready togo into "A".

But before we do that, you should practice mixing theenvelopes while keeping the folded billet on "A". Know youcan take an envelope from the fan and slip under your leftthumb for a moment. It can be slipped away just as easilywithout disturbing the billet pressed against envelope "A".

20

~'I

So take "B" with your right hand and slip it between "A"and the billet. Take "C", move it to the front and pick up "B"with your right hand. You should be holding both "B" and "C" ,in your right and the billet is still press against "A" by your leftthumb.

Now just practice shuffling the envelopes about. Thebillet and envelope "A" will not move. The other two en­velopes will move in front and behind "A" and the billet. Thisgives a great illusion of mixing all three envelopes.

When you've shuffled the envelopes enough, hand out"C" to be sealed. Demonstrate what you want done by opening"A" with your right hand. Your left thumb pushes billet #3 upand under your right thumb. This is hidden by the open flap.

Tell the participant to open the envelope like you showhim. Instruct him to lick the flap. Bring the flap to your lips asan illustration BUT DON'T LICK THE FLAP and 'gently slidethe billet into the envelope. This easy move is covered by themisdirection of the participant licking the awful tasting glue.

N()i~: You can certainly put a funny lie in here about

the taste of the glue. Some will be tempted to use a clever linethey heard another performer say. I know I was tempted by avery funny line Bob Sheets uses in his Cards Across routine,but it's always best to use your own lines. And here is asituation where the comedy is move situational than verbal. It'sjust funny to see someone on stage lick an envelope. I person­ally stay away from risque lines about licking, although it maywork for others.

The participant has sealed envelope "C" and you haveenvelope "B" and "A" ready to be sealed by him. Later, theaudience will remember that the participant checked and sealedeach envelope himself, which he-did.

21

23

Invite someone to play Number 6. Introduce him as in thepatter above; This starts the entertainment off as entertainment.It's fun. This line of patter also lets the audience know that thetwo of you will be playing parts in a little scenario. '

Now follow the rest of the introductory patter to intro­duce your character. Remove the envelopes and show theaudience.

"Alfred, here are three envelopes, each containing afolded slip ofpaper. " Not really the truth, but it's importantthat the audience believe that each envelope has a FOLDEDslip in it.

Fig. 12

line written on it. (See Fig. 11) Slip #2 is open and in envelopeB. Slip #3 is open and in envelope C. (See Fig. 12)

The envelopes are in your jacket pocket with a pen and.there is a table and a chair for your participant.

3Fig.11

2

Cit:y

Fig. 10

Pencil Dot:~;~

, .,'

Pencil Dot

~

.~

1

For illustration, the slips will be labeled #1, #2, and #3and the envelopes will be labeled A, B, and C. Envelope A issecretly marked with a pencil dot the upper right comer of theaddress side. Envelope B is secretly marked with a dot at thebottom center of the address side. And envelope C is secretlymarked with a dot on the center left edge of the address side.(See Fig. 10)

Slip #1 is left blank, folded and put in envelope A. Slip#2 has CITY and a line written on it. Slip #3 has NAME and a

22

Return two of the envelopes to your pocket and tum theremaining envelope mouth down over the table. Use yourfingers to pop the mouth of the envelope open, then wigglethem so the single folded slip (#1) falls onto the table. AL­WAYS EMPTY THE ENVELOPE THIS WAY. Pick up thepaper and open it; show it to the participant and the audience.

"Each slip is blank now, but in a moment I want you fillthem in with information known only to you. "

You've pointed out that all the slips are completely blankwhen you begin. This is important because apparently writingon the open slips will give you a reason to look at the billet andread the information. Place the open slip against the envelopeand take out your pen.

"For example, on this slip I'll write the word CODE atthe top ofthe slip and then put three lines across the middle. "

You're training the audience to see you hold the open slipon the envelope as a desk and write on it. This is the real secretof this routine. Hand the pen to the participant and let everyonesee what you've written on the slip. You've just proved eachenvelope has a folded slip, the slips are blank and that you haveto write on them.

"You must devise a three digit code number and write iton the paper. "

Hand the paper to the participant and tum away. Hold theempty envelope near your eyes with your right hand so youcan't see anything the participant writes. This is good show­manship and because the open billet is secured by the flap andthe envelope can be handled casually, it reinforces the idea thateverything is as it should be. You also don't want anyone laterclaiming that you just watched what they wrote.

"It can be any three digit number, as long as it's knownonly to you. Whenyou've done that, fold the slip and hand it tome."

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Take the slip from the participant and do Billet Move # 1- The Envelope Steal. It will appear as if you simply slide thebillet into the envelope, but you will have billet #1 finger

,palmed. Push the flap down and set envelope "A" on the table.Take your pen back, place it on the table and remove envelope"B" from your pocket.

Turn envelope "B" mouth down and apparently use yourwiggling fingers to open the envelope so the billet falls out. Itshould look exactly like it did with envelope "A", but in realityyou let the finger palmed billet # 1 fall from your hand and theunfolded billet #2 remains in envelope "B".

Open billet #1 against the face of the envelope, carefulnot to flash the writing, and read the three-digit number theparticipant just wrote. Pick up the pen and act as if you'rewriting the word CITY across the top of the open billet, butdon't let the pen touch the billet. Just drag the tip of yourmiddle finger over the slip. Follow that with a false line drawnacross the billet. Tell the audience what you're doing, thengrasp the pen in a thumb crotch hold and use your first andsecond fingers, like scissors to grip the open billet #2 frominside the envelope. A light touch is required here.

Show the audience billet #2 has CITY and a line on it andhand it and the pen to the participant. Close the flap over theopen billet #1 and it's hidden and secure.

While he writes the name of a city on the billet #2, turnaway and hide your eyes with the envelope.

Take the folded billet #2 from the subject and performBillet Move #2- The Two-Thumb Fold-Switch, let the audiencesee the billet pushed into the envelope and close the envelope.Place envelope "B" on the table on top of envelope "A".

Envelope "C" taken from your pocket and apparently thefolded slip inside is dumped on the table. In reality, your fingerswiggle the mouth of envelope "C" open and finger palmed

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billet #2 is dropped from your right hand.

Open billet #2 against envelope 'C" and act as if you'rewriting the word NAME and drawing a line beneath it, whenactually you're reading billet #2. Remove billet #3 and hand itand the pen to the participant. Close the flap over open billet #2and shield your eyes again.

When billet #3 is completed and folded, take it andperform Billet Move #2- The Two-Thumb Fold-Switch, allow­ing the audience to see a billet shoved into envelope "C".

At this point, you have billet #3 finger-palmed in yourright hand. You're holding envelope "C" in your left hand; itcontains billet #2. On the table is envelope "B"; in it is billet#1. Under envelope "B" is envelope "A" and it's empty.

Perform Billet Move #3 - The Two-Thumb UmbrellaMove. This enables you to read billet #3 and secretly re-fold iton envelope "A".

Because the envelopes were thoroughly mixed by theparticipant, no one will know which envelope contains whichpiece of information- and even if they think they've followedthe envelopes, when the information is removed, they'll bewrong!

Here is a real reputation maker for this routine. I adoreextra bits of business without any additional work. Discerningwhere each piece of information is hidden is straight out of BertReese's bag of tricks. Because the audience believes that noone knows which envelope has which piece of information, youcan hand an envelope to the participant with instructions as towhere to hide it. Bert Reese did this with billets, telling peopleto hide the "there" or "over here" or even "in the tip of yourshoe"! When he revealed a particular thought and then walkedover to the drawer where it was "hidden", it made headlines.

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. ,

You will get an equal amount of mystery credit with this cleverdodge.

Because of the marked envelopes, the participant can mixthe envelopes all he wishes. ALWAYS HAND THE EN­VELOPES AND REVEAL THEM IN THE MEMORIZEDORDER. Don't try to allow the participant to pick any envelopeand put it wherever he wants. You'll have to remember toomuch and experience has taught me, one tends to forget eitherwhere the information is, which information reposes there oreven what the information is that was read earlier. Don't taxyour memory, follow a memorized order.

Hand out envelope "B" first and have it put in the wallet.Hand out "A" next and have it put in any pocket. This doesn'tmatter because if you forget which pocket, you just say ".. .inyour pocket" and you'll be correct. And last give out "C" and,have it placed in the tip of his shoe.

This order was designed to build in complexity of hidingplaces and to build in revelation; both climaxing with the comicrelief of the tip of his shoe.

Everything is in place and now the play's the thing!Introduce the characters and give the set-up of why you'redoing the demonstration. All of this patter is theatrical reason­ing. It gives true reason, if not meaning, to your performance.

Reiterate what you're going to do, explaining your "threestage system".

"We will begin with the first stage, psychological breakdown. Number 6, you must answer every question I ask with aquestion. Do you understand? "

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Here you want the comic play of getting the participant toanswer "yes" so you can respond. In fact, this is based on anancient chestnut for children's performers. The play is enter­taining, but in this setting it becomes bizarre. The more thegame is played, the more confidence the participant gets allow­ing you to trip them up more easily. Soon the participant can'thelp but become flustered and he'll begin laughing. It reallyappears as if you're playing with the participant's mind whenhe goes "ga ga".

After the play of words has gone on for a while, hit himwith the statement/question. "I want the information. Will yougive me the information?" Drake asked. This trips the partici­pant a bit and he will usually answer your next questionhonestly.

After catching him, hit him with another statement/ques­tion. The code you have written on the paper. It's hidden inyour pocket, isn't it?"

He'll falter again as you continue battering him withstatement/questions. The statement about the correct locationof the envelope makes him mentally stumble. He has to thinkabout your statement, answer with a question and do it in frontof everybody. All this really looks as if his mind is breakingdown. It's quite funny to watch.

When you've gotten him to the point where he can'tanswer, he'll start laughing. You reveal where the code ishidden. This stands alone as a revelation, however, unknown tothe audience, you've told him where to put envelope "B". It isALWAYS in his pocket.

Turn away from the subject, as ifyou have no further usefor him. Instruct the participant to remove the envelope fromhis pocket and check its contents. Because the audience can'tsee what's written on the slip, you must have him verify thatyou're correct. You'll get your first bit of applause.

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Follow the script and dramatically reveal the three-digitnumber. His response will be all the verification the audienceneeds.

The next phase ofthe routine is a version of the infamousand aged Hot Seat routine. I found, what I believe is the firstreference to this trick in Stanyon' s around 1901. There aremany good books on this routine explaining that it can standalone as an excellent bit of entertainment, but combined withthe mind reading in this routine, the result is a knock-outpresentation.

If you're not entirely familiar with the Hot Seat let me tipthat it's all stage whispers, but don't let that scare you. You'renot making a stooge of anyone. You're simply giving somestage direction that makes the presentation of the mind readingmore interesting to the audience. The participant loves gettingthe laughs and the audience doesn't care about the method. Iperformed the Hot Seat for many years using children as well asadults and there is nothing to fear. Remember that you'rereading minds here. The shocking of the subject is secondary.It's just theater.

Here's how you cue the participant to help you out.Instead of whispering to him, you have the instructions writtenon a business card. I use a modified Out To Lunch principle tohide the writing from the audience.

On the back of one card write: LET'S MAKE THEMLAUGH - WHEN I TOUCH MY NOSE, STAMP BOTH FEETON FLOOR & JUMP OUT OF CHAIR!!

Place this card on a stack of business cards. Cover thestack with a single card that's been cut short by 1/8". Put arubber band around one end of the stack. (See Fig. 13.) Whenready, draw a big dot on the center of the single card. Show it to

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Fig. 13

r-------."I secret II II message I'-- J

In this phase, your personality gets to shine through thetheatrics. You play the real mentalist. You claim to have totalaccess to the subject's mind and back up your claim by reveal­ing two personal facts about him. These, are of course, standardcold reading bits. There are many, many of these facts thatseem personal but relate to everyone in print. Check out thewritings of Nelson, Dante, Hull, Webster or Larsen for morethan you will ever need. Just a taste is all you want because thebig revelation is the name.

call him by name loudly and say, "I asked you a question,Number 61 You must give me that information. Ifyou refuse,you will get the impression of a surge of 1000 volts throughJ:our body..." and touch your nose again. I've never had anyonemiss the cue the second time.

Follow the scripted patter and shock him a second time.The audience response to the Hot Seat can be tremendous, butdon't get carried away by their laughter. Two times is enough inthis circumstance. You're a mind reader, not a comedy pick­pocket.

Reveal that the information is hidden in his wallet andhave him remove the envelope. The audience is waiting for thethird shock. For Americans everything comes in threes. Taunthim with threats of electrical shocks and finally reveal the nameof the city, The subject verifies it as correct.

This phase is the most fun for me. We've had a lot oftheatrical play in the previous phases, now it's time for drama.If you want the audience to remember you as a funny guy, then" ... always leave 'em laughing", But if you want them toremember you as a mind reader, then " ... always leave 'emstunned"!

The patter allows the participant to study the words whileit appears as if he's simply looking at the protective dot. Whenyou're certain he understands, look him in the eye and give awink while pocketing the single message card. He'll smilewhich all seems perfectly normal to the audience.

Tell the subject, "Number 6, we want to know the citywhere you'll be meeting your contact. You must give me thatinformation. If you refuse, you will get the impression of asurge of1000 volts through your body ....

The audience anticipates the shock, but never expects thesubject to actually be shocked. This explanation also informsthe participant what all the jumping is about. He now knowswhat game you'll both be playing.

When you ask your next question, do so with authority.Because he was instructedto answer with a questionearlier, he won't know howyou want him to respondnow. When he hesitates,look him in the eye andtouch your nose. He shouldslam both feet on the floorand jump up. If he shouldfail to see your cue, simply

the audience. Tum the stack toward you and act as if youremove the back card with the dot. In actuality, you grasp thestack with both hands, one at each short end, bend the stack andlet the bottom card slip past your right thumb. This is easybecause the back card is short. Now just grab the message cardwith your right hand and pull it free of the stack. Pocket thestack without letting the dotted card show. Cradle the messagecard in your palm so the audience doesn't see there are wordswritten on it.

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With a little showmanship and some timing, this finalrevelation should bring your audience to their feet!

Over the past nine years of performing this routine, manydifferent variations have presented themselves. Here are few ofthe successful variants.

If you don't mind having to carry a small prop, you caneliminate Billet Move #3 where the last billet is opened, readand re-folded. The move is cut down to simply shuffling theenvelopes and finally slipping the billet into the empty enve­lope (as described above).

Because billet #3 is the unknown billet in this version,you must have the name written on billet #1, the city is still onbillet #2 and the code on billet #3. This way the code is what'you'll not know. The order of revelation is the same.

In this version, the code is not openly revealed, but ratherthe three numbers are apparently written on the outside of theenvelope. The participant announces his code numbers and yousecretly write them on the envelope with a swami gimmick ornail writer.

For me this is a little cleaner than having to read andremember all three billets, but I prefer NOT having to have aswami gimmick with me. It's a trade-off.

Jack Dean was a wonderful mentalist. During the 1950s,60s and 70s he created some classic mentalistic effects. He

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published a magazine for mental performers called The Mental­ist. He knew more about mentalism than 90% of the profes­sional mentalists I know. He knew his stuff!

Jack marketed an effect entitled, Probe. There were threetests. Two of them very clever number and picture tests and thethird a word test. The buyer was supplied with an ungimmickedpaperback book. The subject selected any word from any pageand the mentalist attempted to reveal the chosen word. Butthat's all he did... ATTEMPTED. Because the word test was aplanned failure, a ploy seldom seen today, but a strong convin­cer of pros ofyesteryear.

Jack told me that the mentalists of the 1990s hated theeffect and so 'fixed" it by inserting their own book test thatwould work without failure. They missed the point. When thementalist fails so openly on one of the three tests, it makes theother two seem real to the audience. After all, if it were a trickall three would be correct.

So one of the variants of the routine is designed with aplanned failure. This is of the code number. As in the swamiversion, the code number must be on the last billet. It remainsthe first piece of information revealed - or not! .

This is strong mentalism so when using this ploy is onlyfor when you're NOT doing any of the comic theatrics. Theentire routine must become flat; simple tests, if you will. Thementalist attempts to read three different thoughts without anytheater. .

This style may not be the most entertaining, but it can bequite convincing.

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~U~E~ ~E()~ET I)UNU~ ~()UTINE:

HTfN$r$~'$U$

In November of 2004, the Inner Circle of Bizarre Magi­cians honored my friend Todd Robbins. I was asked to attendand participant in the evening public stage show. I wanted toperform something so unusual that people would talk about itfor some time. The routine you're about to learn was devised,first with a different method, but later it evolved into exactlywhat you'll read it.

The irony is that the show ran a little long and I per­formed a much briefer piece. I was able to try out the routine ata celebrity fundraiser in Miami. It was the hit of the evening. Icouldn't wait to perform it again.

Because it's a major piece, I reserve it for special occa­sions. Now I share it with you.

EFFEOT:People from the audience write various action tests on

slips of paper and seal them in envelopes. These tests arerandomly selected by some audience members. Three subjectsare hypnotized so they can receive telepathic messages frommembers of the audience. The audience members open theirenvelopes, silently read the slips and concentrate on the sug­gested actions. The hypnotized subjects perform what the audi­ence is thinking!

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You can imagine the built-in comedy in a routine such asthis. Although action tests were popular when contact mindreading was the rage, there are almost no performers doinganything like this today. This kind of routine will set theperformer apart from those who predict three choices on apartitioned chalkboard. (Although, for the record, I think Men­tal Epic is still a fantastic effect.)

Three people are invited on stage to act as telepathichypnotic subjects. They're seated in three chairs to the right ofthe stage. The performing telepath, that's you, explains what'sabout to take place to the audience. Tell them that a telepathictest will be attempted. Explain that what they're about towitness.is based on scientific research. Give them a good storyabout the use of hypnosis amplifying telepathic responses.

Three people will choose thoughts, three different peoplewill concentrate on these thoughts and the three subjects onstage will receive the telepathic messages. Explain that anythoughts could be used, but tonight you want something that'sfun. You suggest that the subject of the thoughts be some sortof action that the receiving subjects can perform. You give afew examples such as running in a circle, clapping and laugh­ing, giving a man a kiss or squawking like a chicken. Thechosen participants will write their thoughts on slips of paper tobe checked later. Show the three envelopes and bring threeparticipants on stage. They stand near a table and you begin.

The first envelope is opened and the folded slip dumpedout. Sign your name across the top ofthe billet. Unknown to theaudience, the other two billets also you're your name previoussigned on them. This set-up is the same as having CITY andNAME previously written on the slips as explained earlier. Thefirst participant writes an action as you remind him to use onlythree or four words.

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The billet is placed in the envelope and the other twoparticipants do like wise. Of course, you've followed the rou­tine and now have read all three billets and are handing them tobe sealed. Only this time the envelopes aren't hidden onanyone's body; they're mixed by the participants and handedback to you. The participants return to their seats.

Going into the audience, you approach three new peopleand hand an envelope to each. Noting the secret marks on theenvelopes allows you to know which person has which testthought.

N()tfl: Don't let the people select an envelope. You canlet them mix them if you like, but always hand them the correctenvelope. That way you remember test, or billet, #1 is held bythe person on the left of the audience, test #2 is held by theperson in the center of the audience and test #3 is at the right.

At this point three people have written three action testsand sealed them in envelopes. Three other people know hold anenvelope each, but they don'tknow what's written on the slipsinside. Three subjects are sitting on chairs ready to be hypno­tized. You know what the three tests are and who holds whichenvelope.

The rest of the routine is based on getting the knowninformation, i.e., the tests, to the subjects without the audienceknowing how that was done. As usual, I prefer subtle oraldeceptions rather than a clever gimmick, as in the aboveexplanation of the Hot Seat cue.

Allow me a moment to explain that I think stage whisper­ing is one of the most potent and perhaps the most disregardedmodus operandi for mentalists known. I have used Dr. Q'sHypnosis Act for many years. I have enjoyed good fees for"presenting the Hot Seat. Recently I exhibited and explainedseveral solid tricks using simple stage whispers in a lecture.

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The attendees were, for the most part, argumentative about theuse of such whispers. They didn't think it would "fool" anyone!

Now, I'm not talking about Dr. Q style stage whispers,wherein the subject is told to go along with the program and" ...we'll fool everyone". I'm talking about making a simplestatement that will never arouses suspicion, such as, "Numbercards are difficult. Pick the first face card you see."

I'm spending this amount of space to sell you on the ideaof speaking to your subjects while the audience can't hear you,or more accurately, can't understand what you're saying, be­cause it's a potent weapon in the mentalist's arsenal. Don't begun shy. Try it once and you'll use it over and over!

Return to the stage and address the subjects seated inchairs. Speaking so the audience can hear, you explain thatyou're going to hypnotize the three subjects. You intend to useyou powers of mind reading to be the telepathic bridge betweenthe audience members and the subjects. You will read theminds of the audience members and send the thought to thesubjects. But first, you'll hypnotize the subjects.

Begin your commands in a voice that's loud enough forthe subjects to hear, but low enough that the audience can'tquite hear everything. At this stage, it's OK if they hear a little.You tell the subjects to take a deep breath, relax, etc.

Repeat the key phrase that makes this all work. Say,"Youwill hear their thoughts through me. Hear their thoughtsthrough me. Listen carefully. Hear their thoughts through me."

Step in close to the first subject. Speak in a low voice soonly the subject can hear you. Tell him, "Your thought is to actlike a chicken."

Do the same with the other two subjects, telling themwhat will be" expected of them in a moment. The audiencethinks you're still giving hypnotic suggestions and suspects

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nothing. Because he's certain you can't know the thoughts, thesubject thinks you've read the mind of the writers (the originalthree audience members) and are conveying it to the subject.The subject doesn't see anything amiss because you told him to" ... hear their· thoughts through me," and he did.

Now the subjects know what they're to do, but theaudience doesn't know this fact. The first subject is brought tothe center of the stage. You instruct the audience member onthe left with slip #1 to open his envelope and silently read theslip. He's told to, " ... concentrate on the test written on the slip.Don't say anything, simply try to will the subject to what's onthe paper."

Tell the subject to do what the audience member isthinking and he'll act like a chicken. After the test and thelaughter subsides, have the audience member read the slip andverify it with the writer. Proceed with the second and thirdsubjects.

If you're worried about the subjects tipping what hap­pened to the audience after the show, don't be. The most theycan say is that you told them what to do while hypnotizingthem. This is no less startling than revealing the hiddenthoughts as in the first routine. You had no way of knowingwhat was written on any of the papers, or who had which paper.So even if one of the subjects tries to explain the trick to hiswife, she'll be quite amazed at you abilities. And more likelyargue with her husband that his explanation doesn't make anysense.

In the half dozen times I've performed this routine (as of2005) I've not found it necessary to build up the final test as aclimax. All three are equally entertaining. I have, though, keptthe funniest test for the last. This is easy to do and leaves theroutine on a big laugh.

Remember that the method to this routine is secondary to

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the effect. The method of knowing what's on the slips is verydeceptive. The method of conveying the information to thesubjects is bold; bold enough to go completely undetected. But.again, the effect's the thing the audience cares about.

There will be only a few who will try this routine. Andthat's a good thing for that's how it will retain its value.

There you have it, two very strong mentalistic pieces. Thefirst filled with patter and comedy, balanced by remarkabledemonstrations of telepathy.

The second a unique approach to mentalistic entertain­ment. Again with built-in comedy and remarkable displays ofmind control,

Certain effects are classic for a reason; and the threepellet trick is without question a true classic. I only hope thatmy few additions have actually been improvements.

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Other Books by Docc Hilford

1. The Richey Technique Revealed $20

2. Mephisto's Journey $20

3. Ball & Tube $20

4. Band of the Hand $25

5. The Sign of Four $25

6. The Hermit of Dreams $20

7. The Lolita System $35

8. Fern Fatal $35

9. The Star Tradeshow Act $20

10. At the Mountains ofMadness $30

11. The New Cinderella AcL $40

12. The Dance of Shiva $45

13. Bum, Witch Burn $15

14. The $1,000 Secret Seance $40

15. The Dark Cloak $35

16. It's a Lu Lu $20

17. E'Voque $25

18. Cellular Mitosis $25

19. Nostrum Necromancy $35

Other Tricks by Dace Hilfard

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