THE ULTIMATE CHAIRSPREDICTION

(PLUS)

• GARY KURTZ·

THE ULTIMATE CHAIRS PREDICTION(PLUS)

Routine Conceived, Written and Illustrated byGary Kurtz

© 1997 · GARY KURTZAll Rights Reserved

Including perfonnance rights for national or syndicated television, videotape, and firstpersonperfonnance rights over conflicting acts • unless through express pennission from Gary Kurtz.

1

THE ULTIMATE CHAIRS PREDICTION(November 14, 1994)

Efmc.t:With four chairs inarow across the stage, four spectators are invited onstage. After the spectators are 'seated in thechair oftheir choice, five envelopes are introduced. Four envelopes contain worthless pieces ofpaper, one contains a"Special Prize". After having the envelopes mixed by aone ofthe spectators, they are numbered 1 through 5.

Each spectators is given a free choice of one of the envelopes - One envelope remains for the mentalist The .spectators open their envelopes, each finding aworthless piece ofpaper. A spectator from the audience opens andremoves the Prize from the mentalisrs envelope. The "Special Prize' isapiece ofpaper YttIich reads: "I, thewinnerof this piece of paper, agrees, noquestions asked, to giveGary Kurtz $5,000.00."

To the oil-stage spectators you say: 'You're not feeling sobad about not winning the prize now, are you?"

Continuing, you state: 'ButI have tostress that using my psychological influence toensure that nobody won thePrizewasnY the entire point of this exercise... "was to prove that I could control each and every one of their choices, allthe way along. • .

To prove your statemen~ you point out that each persons worthless piece of paper is a different color. The personwho got the blue paper is asked to turn around the chair he sat in - The back of the chair is blue like the paper hechose. The person who got ayellow paper issitting in ayellOW-backed chair; the winner ofthe pink paper issitting inapink- backed chair, and the winner ofthe orange paper issitting inaorange-backed chair!!!

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2

¢i'ectits: ••...•• <+> •••• /)....... ..••••••••• •.• •.•.• ..+:.:<............................................................ ...•. .TlJe 1cI8at'Orttie BoOrlWritiftg~iS inSl)itedby aruceBemstien's "VolitiOnPius-, (page 56. in•Bernstien's higJIy. tecomm8tJd8d2ll'fb!c- f«tJjfdcEQttrtaiMrl.••~~med a. t.w. Olhet. metho(jS .·and ••~.SAWetlflayer$ .Of.psyehOlOj. to.ElriIe$'$.~pr~tiOri; Tl1Elijctlral effeCtSbear Ill) resemblanCe to each other, ••• , ••••• .: •• ···· .. · . . 0:::: ..

ReQuisites: Two bill-sized ·Special Prize' papers with the following message printed (or hand-written if you don't havea computer and printer): "I, the winner of this prize, agrees, no questions asked, to give Onsert your NameHere) $5,000.00. (oryournational equivalent).n

Additionally: 5 - 3 %'x 4 W Pay Envelopes. Each envelope contains a bill-sized accordion-pleated piece of coloredpaper (colors asper Fig. 1), and are subtly pencil-marked in the indicated areas (anatural mnemonic system basedon the physical position ofthe eventual recipient ofthe envelope - The Chairs - Fig. 2). The papers in envelopes A, B&Care inserted into the envelopes so they lie ata slant and are easily removed (Fig.4). The papers inenvelopes 01&02 are lodged in the very bottom of the envelope, and the accordion-pleated ·Prizes" mentioned above (or $100bills - if you opt for that approach) are inserted at the very top of the envelopes (Fig. 3), secured in position with asmall dab ofmagician's wax, orPost-it™ Repositionable Glue Stick (my preference). Lick and seal.

D1 +D2

~~II:oo IIY~I:II ~:'II :'1Markings on Envelopes + Color Contents

FIG. 1

+ __Accordian-foided PRIZE- - - - - intop ofenvelope, with

magician's wax holding

it inplace

------,L..-__-....lr...- - Accordian·foIded Paper

Orange Blue Yellow PinkChairs and Color ofBacks ofChairs

FIG. 2

A,B&C

FIG. 3 FIG. 4You will also need a long pencil, and a Boon Writer. I keep a large paper clip holding my stack ofenvelopes together,and the Boon Writer is stuck to the edge of the paper clip. In removing the paper clip, I get the Boon Writer into"working position'. Alternately, if you use a large diameter children's pencil, you can stick the Boon Writer onto theunsharpened end ofthe pencil, and have access toit that way.

The last requisite istohave four (borrowed) chairs, on theback ofeach ofwhich isstuck a laminated 8Wx 11'sheetofcolored paper, as per Fig. 2.

PACKS FLAT, PLAYS BIG.

-3

THE ROUTINE

Invite four spectators on stage, and ask them to each sit down in the chair oftheir choice. Stand atthe left end of therow of chairs. Remove the paper clip from the envelopes, and pocket it secretly transferring the Boon Writer to aclipped position between your right second and third fingertips (Fig. 11, Boon Techniques):

'A little game ofmental strategy now... with the contents of these five envelopes... Give them a mix if you wouldplease. Mix, mix, mix. '

Hand the envelopes to Spectator Afor mixing, as you continue talking:'Now whatever game you're playing at- hockey, football, chess, contract negotiations -whatever - anticipating youropponenfs moves is a definite advantage, yes? - And thafs what this game is about - Me trying toanticipate andmanipulate your choices - and I'm telling you this inadvance soyou can prepare your counter-offensive, O.K? I try tooutguess you, you trytooutguess me. Keep that inmind. '

Retrieve the envelopes from Spectator PI. 'You can stop mixing now -Its the thought that counts. '

'And I should mention at this point that four of these envelopes contain worthless pieces of paper; one of themcontains a Special Prize - the nature ofwhich I'm going toleave a mystery for now, butsuffice ittosay, that it involvesquite asum ofmoney. '

'I'm going togive each ofyou a choice ofone of the envelopes... The challenge for me - being the cheapskate that Iam - istotry and keep the Prize for myself. Not very generous ofme, I know, but, ...you'll understand later...'

Fake writing numbers on enyelopes

'Now I'm going tonumber the envelopes, in the order that you justmixed them into, allright? In the exact order youjustmixed them into. The first one: #1; the second: #2; the third: #3;... #4and #5... '

As you deliver the last sentence, bring out your pencil and pretend to number the envelopes.

Openly toss the pencil aside.

The First Choice - Spectator A Sitting in the Orange-backed Chair A

Walk behind the spectators, positioning yourself between Spectators A&B:'. 4ndsince you mixed, mixed, mixed theenvelopes we'll start with you...'

Re-mix envelopes asthe above line isdelivered, repositioning Envelope-A totop ofstack, facing you. To spectator PI.

'Which ofthe five envelopes would you like? Keeping inmind: Last week Iperformed this five times: Every single timethe money was inenvelope #2.... So, which envelope would you like tonight? 1, £ 3, 4,or5.'

4

Re-mix envelopes as the above line isdelivered, repositioning Envelope-A to top ofstack, facing you. To spectator A:

·Which of the five envelopes would you like? Keeping inmind: Last week Iperformed this five times: Every single timethe money was inenvelope #2....So, which envelope would you like tonight? 1,1 3, 4, or5.•

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Asyou talk casually drop your hand to your side and perform a Reverse Boon Roll (Boon Techniques) to get theBoon Writer onto the ball of your right thumb. When the spectator names the number of his choice, secretly Boon­write itonto the top envelope ("The Two-handed Technique #1" - Boon Techniques). If you lean forward between theSpectators A&Bto verify Spectator A's choice (as though you didn't hear him properly the first time), your hands willnaturally fall into shadow, behind the spectators, as you secretly Boon Write.

Having Boon-written in the number, separate your hands and continue talking, doing the Boon Roll to get the Boonback to right third fingertip:

(Ifhe names anumber other than #2): ·Reverse psychology - Works every time.."(Ifhe names #2): ·Works every time. "

Inthe guise oflooking for the correctly-numbered envelope - perform the following Displacement CountWith the stack ofenvelopes held inavertical position in left hand dealers grip, push the top 4 envelopes to the right(Block Push-off). Grip the right edge of these envelopes with your right hand, then use your left thumb tip to pull thetop envelope back into alignment with the bottom envelope. Pull out the 3 middle envelopes with your right hand, andapparently thumb through them, looking at the "numbers". Upjog the numbered envelope now fourth from the top,leaving it sticking out ofthe fan ofenvelopes.

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With your right hand, pull out the upjogged envelope and hand it to Spectator A

The Second Choice - Spectator C Sitting inYellow-backed Chair C

Walk behind and just between Spectators B &C. Get Envelope C to the top of the stack in the guise of feeling theenvelopes and getting psychic vibrations from them. To Spectator C:·Your tum now. Keeping in mind I get the strong feeling that the prize has yetto be won. •

·Would you like #...J -' -' or#_. Keeping in mind, its really too bad for him he didn1 take my advice concerningenvelope #2. •

As soon asthe spectator names his number, repeat the previous Boon Writing'Displacement Count actions to upjogand then hand Envelope-C, bearing the number just named, toSpectator-C.

5

The Third Choice Spectator B Sjtting inBlue-backed B-Ch8ir

Tum to address Spectator Bnow:'Your tum now...But waitjustasecond. •As you deliver the 1ust a second' line, fan the remaining envelopes and pull out Envelope B, (in preparation for the"One-Handed Technique'· Boon Technigues). Holding it up with atyour right fingertips, displaying it to the rest oftheaudience, MIMING to them: 'He's going tochose this one, justwatch...• Continue holding this envelope high overyour head asyou go on:

"Now: EnveJope#-I#-I or#_? #-1 --I or_?'Assoon as the Spectator-B calls his number, casually droplrelax your right hand to waist level as you lean in towardshim toverify hischoice (your hand will be oompletely hidden behind Spectator C & you secretly Boon-write the just­named number onto Envelope B - One-handed Boon Technique). Raise and display the numbered side of theEnvelope Bto the audience atlarge, gesturing to it"Number_? I knew it Number-I you seel":

Having handed Envelope B to Spectator B, walk over so you are between Spectator C & O. As you pass behindSpectator C- secretly Boon-write one ofthe preViously unnamed numbers onto the top envelope (Boon Techniques- "Two-handed Technique #1"). The spectator's body willoomplete hide the action. Take the top Oust-numbered}envelope in your left hand, the lower envelope inyour right hand and raise both your hands:

'Just two envelopes left..•

The Final Choice - Spectator 0 inBlue-backed D-Chair

Extend your left hand between Spectators C&0, gesturing and asking Spectator D tohold out both his hands infrontof him. During this, your right hand naturally falls behind Spectator 0, and you secretly Boon-write in the lastremaining unnamed number on the last envelope. Lay Envelope 01 onto the spectator's left hand, then walk aroundto his right side and place Envelope 02 onto his right hand:

'Envelopes # -' and_'•

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'Weigh your choices very carefully.,. Decide which envelope you want to keep - hand me back the other. Keepone.., Handme back the other... •

'So you want tokeep #_?... Aperfectly free choice on your part, yes? You don't want tochange your mind? No?Goooodl"

Insert your envelope into your breast pocket, leaving it protruding ~ ofthe way up.

6

To audience:"Now asI said, the challenge for mewas to anticipate and manipulate their choices so Iwouldn't lose the Prize. "

"AII ofyou now, tear open your envelopes, take outwhat you find, unfold itand hold itup high soeveryone can see..."As you deliver the above line, demonstrate what you want them to do: Casually take Spectator D's envelope, tear ofthe top (with the "Prize" inside), demonstratively mime the action of taking out the contents, then hand tha envelopeback to the Spectator-D, for him to continue the actions.=•••W".~.~Sn.~.~••~··If·~~·[J.·~···Still holding onto the tom-off top of Spectator B's envelope, openly remove the envelope protruding from your breastpocket and walk towards the audience, asking someone inthe front row to approach the stage:"You, please, step forward for asecond, ifyou would... I

Tear off the bottom end ofyour envelope (the end with the blank paper), and hand the in-audience spectator the restofthe envelope, telling them:"Don't take out the contents justyet...justhold onto it... "

Casually pocket both torn envelope ends (and the Boon Writer) as you tum back to the on-stage spectators:

"What did you get? Blank piece ofpaper, blank piece ofpaper, blank piece ofpaper, blank paper..."

(Applause cue to audience):"The challenge for me was tokeep the Prize for myself. Nobody won the Prize. Thank you!"

H8rttlin9Y()IJI'~env8lopetO anaUci81r.e~isCrUCi8l tO~. ~ataPQillt~)#ltl8\18tl1 ~.tti8. p.nze.~:~:: •.•.•tudienC$~~ngj$outOf~tl8nl:1$"_·k1low.thePrlzel\l$tri~.~inth.la$t~H.~YOU~jt~ ..n\.l1andedltfual\Other@t~\· .•.••.••••.•.••••••.•••••••y••.•••.•.........

"Luke-warm applause, because you'd rather have seen someone else win the Prize. But the fact that nobody won thePrize isn't such a bad thing..."

To in-audience spectator holding envelope:"pull outthe Prize. Open itout I

After the spectator has removed the Prize himself and unfolded it, take it from him and read it - letting him verify whatiswritten :

"". Whafs written there? "I, thewinner of this piece of paper, agrees, noquestions asked, topayGary Kurtz$5,000."

._a~l'!tE .._~;;il=~~~1(Walking back to onstage spectators, to show them the Prize):

"I, the winner ofthis piece ofpaper, agrees, no questions asked, topay Gary Kurtz $5,000. •

7

Addressing the audience:

'They're not feeling sobad about not winning the Prize now, are they?'

.... •.••:: ••••• Perfllrn1llf1C8Ng, So YOU'lIe llI'nedoUt tobeagClodmllfter aD! •••.•• :: .: •... ..... ..

With hardly apause (you don't want them to think the effect isover) - Continue, addressing the audience atlarge:

'Butat this point I have to stress that using mypsychological influence to ensure that nobody won the Prize was notthe entire point of this exercise... Itwas toprove that I could control each and every one of their choices, allthe wayalong. '

To on-stage spectators:

'You'll notice that your worthless pieces of paper are different colors, yes? Toss aside the envelopes, open thepapers out wide soeveryone else can see them. Your paper is yellow; yours is blue, yours is orange and yours ispink.'

Continue, addressing Spectator A:.

'You could have satin any chair - You could have chosen any envelope and thus gotten any colored paper - Butyougot the orange piece ofpaper - Ifyou tum your chair around soeveryone can see - you'll see - your orange papermatches the orange back ofthe chair you decided tositin....

To Spectator0:'You chose the blue paper. Tum your chair around soeveryone can see... that you chose tositin the blue-backedchair.

To Spectators B&C, demonstratively miming the action that they should tum their chairs around quickly:'You chose yellow - show them - yellow. And you chose Pink, and Pink. '

)rlllJ .\1/IlInoticce ~t ..... \\0 ti& tel.~aI!rJr~ fiS YOI1 goaIong.l\1ter1he fin;t spectator1umshis.chai .• Itte. 8LdeOOe cana/l~c~. thefirial endirtg., .•••80 jOO. YIiII1t the ~liOn tJ .accettnte.atld. for.1he :lby1tIm. to.bUild..MimingtheBCtion (If hrning the chars:~. "';111llake.itdeertothespeet.a1m1lOW'they$bOUldtllmthercbers8rourld.<e1imina1i!lgeoofu$iOiHlnd~; % ..

Final Bow to the audience:'Gary Kurtz (insert your own name) - Mind Game Specialist. Thank you!'

(SUbtle Tag-line - to on-stage spectators):'If only I'dbecome asalesman instead... '

8

BOON TECHNIQUES

The Boon Writer: The Boon Writer is the late, great Eric Mason's design for the Nail Writer/Swami Writer. It isbasically a small metallic disk with a short pencil lead glued to its center. The Boon Writer sticks to the ball of yourthumb (or anywhere else) by means ofareusable adhesive putty.

For more brilliant routines and effects using the Boon, buy acopy ofA Boon for all Seasons. by Eric Mason &BarrieRichardson.

The following section isto pass on some ofmy research and discoveries ofworking with a Boon Writer. There seemto be quite a number of effects in print, but very few teaching the proper techniques for secretly Boon-writing. Thefollowing are the methods I've found to be most effective.

BOON DISPLACEMENTSYou wear the Boon Writer stuck to the ball ofyour right thumbwhen secretly writing with it (Fig. 5· If you're left-handed,obviously you'd be more comfortable using it on your leftthumb).

I have found it a very good idea to transfer the Boon Writer tomy third fingertip (or toclip itbetween my 2nd and)d fingertips)during the course of various routines, in order to give myselfmore freedom in my gestures, and to allow myself to use mythumb and first two fingers to more freely perform other tasks(such as writing, ormiXing envelopes). Magicians and

Fig. 5educated laymen will be "thrown offthe scent' when youcasually gesture and they see that you're not wearing aNailWriter orThumbtip Stylus.

Fig.6 Fig. 7 Fig. 8

The Boon Roll (Ball ofThumb to third fingertip):With the Boon Writer stuck to the ball ofyour thumb, bring your thumb and second fingertip together (Fig. 6 - the topedge ofyour third fingertip resting on the lower edge ofthe 800n Writer). With aslight outward, upwards movement ofthe third fingertip you roll the Boon Writer onto the third fingertip (Fig. 7 &8).Atthis point you can freely gesture asinFig. 9 , oruse your thumb and first two fingers to easily donormal tasks.

9

Fig. 9 Fig. 10 Fig. 11

The Reverse Boon Roll (Third fingertip to Ball of Thumb)

You can easily reverse the above actions to roll the Boon Writer back to the ball of your thumb: Anchor the BoonWriter between your thumb tip and second fingertip (Fig. 10), lift the rear edge ofthe Boon with your thumb, and roll itback into writing position on the ball ofyour thumb (Fig. 6).

The Partial Boon Roll (Ball of Thumb toClip Position between 2nd and 3rt! Rngertips)

Using exactly the same actions as described in the Boon Roll above • don't press the Boon all the way onto the thirdfingertip. Instead, clip it between the 2nd and 3rd fingertips, leaving the rear edge unattached (Fig. 11). From thisposition you can very quickly and easily do aReverse Boon Roll to get the Boon back onto the ball ofthe thumb.

This is very useful for short, quick gestures, and for a feeling of security if you have to perform various tasks withyour hands.

BOON-WRITING TECHNIQUES

All of the techniques about to be described rely of the classic magician'spsychological principle ofActive and Relaxed States (stUdy Slydini!!!, or checkout the synopsis in my booklet 'Leading with your Head"). To paraphrase myown writings - 'The aim is todo al/ "moves" during apsychological, theatricalandphysical momentofrelaxation"

The One-handed Boon-writing Technique:

Boon Writing with one hand requires that the card orpad you are going tosecretly write on isheld in astable position. Rg. 5 shows the most stableposition, thelower part ofthe pad stabilized by your pinkie finger and the toppart stabilized by your first fingertip.

Fig.12

10

Starting Position:: Utilizing the principle ofActive and Relaxed States, begin with the card orPad held as inFig. 12.Use this position for your Active/Tense demonstrative gestures, your hand opened wide and splayed (Boon Writer inposition on the ball ofyour thumb).

From the forward + upward + Active position described above, relax your right hand/arm, letting right hand fall to waistlevel - into the position illustrated by Fig. 5. If your fingers are spread wide in the Opening Position (Fig. 12), it willtake just a little practice to get naturally into this position (depending on your size of your hand, you may want toexperiment with the size ofthe card/pad as well). As you hitthe lowest position ofyour relaxation, you Boon-write inthe necessary number or letter. Fig. 13shows the most efficient way I have found to secretly write numbers, allnumbers requiring but asingle stroke.

Fig. 13

Having secretly written in the numbernetter, retum to the original Starting Position.

Writing a number or letter should be the work of a half-second - at the very bottom point of your momentaryrelaxation. .

The Two-handed Boon-writing Method #1

After considerable experimentation, I have found the followingTwo-handed Boon-writing method to be the most deceptiveas far as eliminating extraneous (visible) movement of thethumb joint during the secret writing. Keep in mind that thetechnique utilizes the same principle of the Active andRelaxed States discussed above - the actually writingoccurring at the lowest point of your relaxation - the onlymuscular action taking place being the minuscule movementofthe tip ofthe right thumb - amovement which iswell hiddenby naturally cupped position ofboth hands.

The starting position isillustrated inFig. 14: Simultaneouslygesture with both your hands - the card/pad/envelopes held

Fig. 14 inyour left hand - your right hand equally Active (Boon Writer.inposition on the ball ofthe right thumb). (In coordination with atheatrical lull inthe delivery ofyour script): Drop/relaxboth your hands so they fall clasped together (Fig. 15- audience view, Fig. 16, view from behind). You will find thatyou can Boon-write inthe number in an instant (starting the writing action as soon as your hands touch, finishing asthey separate), and that the r~lative positions ofyour hands will render the movement ofyour right thumb-jointvirtually imperceptible. The larger up and down (relaxation/reactivation) movement ofyour hands will render thesecret writing completely invisible.

11

Fig. 15 Fig. 16

Both routines in this manuscript utilize Theatrical Staging and Blocking to hide the secret writing, and studying theroutines will give many examples of how to 'cover" the moment the secret writing takes place.

12

BONUS ROUTINE

G.K. on Dr. Jaks' "Master Secret of the Swami"

EFFECT:Aspectator isinvited onstage to participate inan exercise inThought projection.

The spectator isgiven asmall file card and apencil, and is asked by the performer to jotdown the first three-digtt numberthat pops into her head. After the spectator has written her number, the performer asks:Was thata perfectif free choice on yourpart? IdidnY influence you in any way?... No?... Well to behones~ Iwas tryinglQ... Iwas trying to project to you thenumber Ihad written on mycard here... "

Aspectator in the audience verifies the number written on your card. "642". The on-stage spectator isasked whatnumberthey jotted down - they saj (for example): "SgT. Performer continues:"Iwas trying toprqeet thenumber 642 You got the number 697... 642. 697... Shedid the firstdigtright anyway. Give herahand, she did get thefirst digt right! •

Continuing tothe nextphase:'One outofthree, on your first try. Mostpeople donYeven dothat well, so we've got to try this again. •

The Test isrepeated, and the second time the spectator gets the last t\W digitsofthenumbers righ~ but nisses the firmdigit

The Test isrepeated and the spectator finally gets the entire three-digit number correct!

Qomrnertt,ary. . .......................:. •••••••••••• ....:. ..::::::::: :::::::::::::::::... :::::::::::~~: >~ ~:~: ~\j~j:\\,}H:~.~ ~~\~~';:~:~~-~~ ~\ H~-;) ~ :::: ~ ~ ~: ~ ~ ~~;: ~;:;:; ~ ~: ~ ~ ~:::::: :;::;::;;;::: ;-;:;;::::::.":":.. :::::::::::::::: :-:::::::::::::::::::: ::::::.: ;.; ii::

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~)by.~acingattentlon()n.ltI8.~~The~ii·thel.<:Jrl&~iS~llOOand'or.S1.~llotthe.pfllf~;.~aa.:··::·::n:~goeslOthet'n.••MY~tO.~~·.routineaJtlin.1l'If).~··.~(txNI.tolXN8rthe~rij~),~ ••• ·th&~~~~1hEt~.1tiat~""seen~·~~.haSWrittentJ1tllafterYritcarlhllS·······.~~lo~~.~~ln~~t>.n't1&OI~Qvjs.predcliart".·forme,the~l1wortdrg>Mlh ••ihBBoonWritMistofindw,j$of·~·{~the~.ihB.~.-MitingtakeSPIal::8;.VIIhat'soffMldl'ter&I~~.~waY Of tlSirij lhespectatOrsbc:l6i:(shol1dlijtO~your secAtvm~l'Ig. > .. .....: p

~:

ABoon Writer, a1d the ability to. use it

Reguisites: ABoon Writer, t\W stiff file cards (3" x5j ,one for the performer, one for theassisting spectator and alargesoft-leaded children's pencil. The lower ofthe t\W cards (performer's) has aBoon Writer stuck to the lower right comer ofit(half on the card, hatoff, to make removing iteasier).

For the firm phase ofthe routine, you will only Boon-write in one digitofthe number, so a l'tNO-digit number ispre-written onthe your card (leave aspace infront ofthese t\W digits, so you can Boon-'Mite the correct first digit in front ofthem). Boon­write these t\W nurrbers for consistenq ofprint Additionally, try tomake these numbers ~choIogically unpopular choices.

13

THE ROUTINE

FIg.17

Invite aspectator forward. Pick up the file cads andpenal from your table withyour LH. Upjog the top card momentarily andsecretly clip the Boon Writerbetween the right third fingertip and thumb (FIQ. 17), clipping itbetween yourright 2nd and )II fingertips as you hand the top card andpencil to the assistingspectator.

Rrst Phase ([heSpectator Gets One Digit Right)

Transfer the Boon Writer tothe ball ofyour right thumb (The Reverse BoonRoll) , and take your C3"d atyour right fingertips {Rg. 12 -preparation for theOne-handedBoon Technique}, holding ithigh andgesturing with itas you talk:

70 start, I'dIkeyou to make your minda blank...Acomplete blank...Good. That was fast Now when Isnap my fingers, Iwant you to jotdown a fhre&.digt number... The first one that comes into your mind......«doesnYmatter ifIsee what youwrite, O.K I'wonYbe trying to readyour mind.... Isnap myfingers, you to jotdown athree-digit number... The first onethatcomes into your mind "

Take astep forwad and Sightly toyour left {eyesstiD closed}, passing the cardto your left hald.Hold theup card high - acting unsure:"Have you jotted down anumber?"

Fig.18

Move closer to thespectator, soyou are standing just behind her left shoulder:"Now! The first three digit-number thatpops into yourhead -jotitdown...."

/4s you S8'f "Now", drop your right hand into One­handed Boon Writing position {Fig. 5} with the cardresting on thespectator's left shoulder, the righthand actually hidden byher shoulder, but the cardstill invifNJ {FIQ. 18} .Simultaneously set yourselfinto Gypsy Glimpse position (Fig. 18 again - Yourright eye isclosed, and your left fingertips arecovering your partially open left eye). You INiIl besecretly glancing down your nose at what thespectator writes, but thei"1lf'8SSion for theaJdience isthat your eyes are closed inconcentration. The instant you've glmpsed the firstdigt thespectator has written, legitimately closeboth eyes, and raise your left hand flNaj from youreyes. Secretly Boon-write the correct first digtt infirst position (usingspectator's bodylshoulder tocover the movement).

14

You're now stalding beside the spectator again, unable to see Yttlat is'Mitten on their ca'd (CasuaJy dothe Boon Roll to getthe Boon Writer onto your 3d fingertip):"Now thatnumberyoujotteddown, was aperfectly free choice, yes? IdidnY influence you in any way? No? ..But in anhonesty, I was trying to. Iwas trying to project to you the number Ihad written on mycardhere.., "

Go down a1daskaspectator in the audience to verify the number 'Mitten on your cad:

"Whafs the number Ihad written there? 642. 642, yes?"

The on-stage~ isasked Yttlat number they jotted down. They~ (for exa'J1)le): "697".

Continue talking esyou walk briskly back to the onstage spectator, with your card, COI'll>aring your cads:"/ was trying to project the number 642... You got the number 697... You did the first di(/t afl)W8Y. Give herahand, she didget the first digtright!..."

Lead the applause for the spectator.5econd Phase [we digits rQlt)

"We've gotto flythis again.. We've got to fly this again."

f>s you~ the above, take thepencil from the spectator, cross outyour first three-digit number a1d fake scribbling downnew nurrber, this time only jotting down thefirst digitofyour eventual3-digit nurrber - ego 4,~ j. Hald thepencil back tothe spectator CJ1d secretly get theBoon Writer back onto your thurm.

Exactly repeat theprevious "thought projection" process:"A different number this time. Make yourmindablank... DonY think. NCYN. DoIlY think, justjotdown the ht three-<fgtnumber thatcomes into yourmind. "

Repeat the Gyp&)' Glimpse, and subsequent "behind-the-spectator's-shoulder Boon-WTiting" to secretly fill inthecorrect lastlwo-digits oftheir number on your ca'd, uSng the same staging and "cIosed-eye" actions as the last time to move~ fromthespectator once you've gotten the g1irTl)se:"Have you written down anumber?"

Excitedly godown a1d hand your card to your jn=audjence §P8Ctator-assjsta'rt. PaJS9 asecond, as ifreading theon=stagespectator's mind , then aJow slight disappointment to~ on your face:"Yes! yes!....Well, maybe better, but I think its stiR not right "

Go back to the on=stage spectator:"What was the numberyou jotted down? 967.? 967. Uke Ithought - Better, butsb1J notcompletely right. "

Going to retrieve your cad for theaudience:"She got the number967- whafs the number /was trying to project? 467. 467, yes?"

Returning to theonstage spectator:"Iwas trying to project the number467.. . You got 967? 467. 967. Thehttime you got the fistdigtright- this time youmissed thefiTst digtandgot the second two right.... Two outof.three! You got two outofthree - We've got to flythis one laWtime. One last time....

15

Thjrd Phase (Spectator Gets ,AJI three digits right):

(Ta<e thespectators pencil, aoss out ofthe old numbers on your card and supposedly jotdown anew numbers (this tirrByou fake Ytfiting all the way, not Ytfiting anything atall). Retum the pencil tothe spectator.

Repeat "thought projection· theatrics previously described.

Secretly Boon-vmte inthecorrect three-digit number as you secretly glimpse the spectator writing her numbers. Walk behindthe spectator (avoiding looking ather card) and (Ner tothe stage-right side oftheaudience, excitedly handing your card tosomeone inthefTont rrm.

·I'm sure she g:X it this time... I'm sure she got it this time...Keeping in mind that ifshe did, its aone inathousand chance...forwhich I think she deserves an incredible round ofapplause.'..•

Whatdid you get? 845. 845. •

Take her card and thepencil \Wh you asyou go down to the audience, asking the in-audience spectator to callout thenumber you were trying toproject. (Casually pocket the pencil and the Boon writer as you go). Take both cards and walkalong thefront rc:1N oftheaudience, showing the numbers on thecards for everyone to see:

·845... Iwas trying toproject thenumber 845...Shegot the number 845. 845. 845. Aone in a thousandchance... Forwhich Ibelieve she deserves an incredible round ofapplause!!!·

Lead theapplaJse for thespectator, thank her profusely and go on toyour next miracle.

© 1997 •GARY KURTZAll Rights Reserved

Inducing performance rights fornational orsyndicated television, videotape, and firstpersonperformance rights ov.conflicting acts •unless through express permission from Gary Kurtz.

© 1997· GARY KURTZAll Rights Reserved

Including perfonnance rights fornational or syndicated television, videotape, and first personperfonnance rights over conflicting acts • unless through express pennission from Gary Kurtz.