4746.Human Phone Number by Bob Kohler 电话号码预言书籍

BOB KOHLER’S

Human Phone Number “A Reliable Closer For The Working Professional” • Commercial • Easy To Do • • Packs Small - Plays Big • • Practical For Close-Up, Stand-Up, Or Stage Shows • Integrates Into Any Magic Or Mentalism Show •

BOB KOHLER MAGIC

©Copyright 2006 by Bob Kohler All rights reserved including manufacturing, sale, and distribution rights, reproduction or utilization of this work in any form, by any means now known or hereinafter invented, including xerography, photocopying and recording, and in any information storage and retrieval system, is forbidden without express written permission from the copyright holder.

Table of Contents Foreword

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Introduction

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What You Get

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A Brief History

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The Barry Wood Routine

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The Combined White Pages/Yellow Pages Test

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The Scroll

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The Human Phone Number Routine

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The Paper Airplane

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A Final Word

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HUMAN PHONE NUMBER

“Give a man a fish, and he’ll eat for a day. Teach a man to fish, and he thinks he’s a mentalist.” ~Michael Weber~

Foreword Bob Kohler is mentalism’s greatest secret. You may be asking yourself, “Hey wait just a second, isn’t Bob Kohler the Three Fly guy? The Holdout guy? One of the greatest close-up magicians it has ever been my pleasure to see, guy?” The answer is yes, that is Bob Kohler. Bob is not one of the many who are jumping on the mentalism bandwagon. What most of the Magic world does not know is that Bob, for years, was flying around the world, earning top dollar performing mentalism for Fortune 500 companies. Bob was not just performing “mentalism’s greatest hits.” His act featured several original routines that showcased his great insight into the art and performance of mentalism. Napoleon Hill, in his classic book Think and Grow Rich, suggests creating your own “master mind group.” I am blessed to have surrounded myself with such a group – one that I profoundly thank and acknowledge in whatever successes I have achieved. Bob is the first person I turn to for sound, practical, honest solutions for the problems I present. Bob is never content to find one single solution to a problem, but rather everything is always a work in progress. As you will discover in reading this work, Bob approaches the subject from every angle. He processes these results and hands them to you on a silver platter. We aren’t talking “Easy to Master” here; however, Bob has done most of the thinking for you. The Human Phone Number is Bob’s first mentalism release, and I am afraid my secret source is no longer a secret. When you digest the valuable information contained in this e-book, you will know why I “climbed the mountain” to seek the wisdom of my “Mental Buddha,” Bob. Enjoy the first layer of the onion. There are more on the way. Jon Stetson

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Introduction The Phone Book Test is a classic of mentalism. Dunninger performed it on the radio, and it has been featured in many mentalists’ acts over the decades. I first became aware of the Phone Book Test in Bob Cassidy’s book The Art of Mentalism published in 1983. When I read Bob’s routine, I loved the conditions and the effect presented to the audience. I believed then, and after performing various incarnations of the routine for almost twenty years, I still believe that the Phone Book Test is simply the strongest book test. Why? There are several reasons. 1) The effect is clear and simple to understand. A spectator randomly selects any number from a phone book and it matches the target (that is, the prediction) that has been in full view since the beginning of the test. 2) All phone books are fairly big; in some cases they are huge. Everyone in the audience knows that there are thousands, if not hundreds of thousands (perhaps even millions) of phone numbers in the book. Everybody has at least one phone number. We are all emotionally attached to our phone number. Now with the proliferation of cell phones most of us have more than one phone number. So at a core level, the audience inherently knows the number of possibilities. 3) All of the tests covered in this treatise are direct in method, and appear to give the spectator an absolutely free choice of any phone number in the book. To me this is the crux of any book test. Most book tests suffer from limits on the spectator’s choice of word (such as “think of the first word on the page”) or from fishing for information (so that you can reveal the word). The methods covered here are all forces of one type or another. They all appear to give the spectator complete control of his final choice, although nothing could be further from the truth.

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4) The forces used are subtle. They are disguised by using language, a hands-off approach, covered actions, spectator control, and lies. 5) The primary goal is generating the audience’s reaction and creating a memorable effect they will talk about for years. The Phone Book Test is a performance piece that creates an effect that is so staggering to the audience that on a bad night they’ll go wild, and on a good night you’ll receive a well-deserved standing ovation. I guarantee it. Since 1988, I’ve closed all of my stand-up shows and many of my close-up shows with the Phone Book Test.

One of the toughest challenges facing the professional stage mentalist is to make the show bigger and more visual. The Human Phone Number is my solution to this problem for the Phone Book Test. My goal with every routine is to create the best routine possible that packs small, but plays big. Professionals travel, so the size of your prop bag is important. The Human Phone Number certainly does the job. Even though the display props pack into a space that is 2 inches by 10 inches by 13 inches, your final display on stage will be enormous and easily seen by 1000 people. The methods presented in this treatise are like a Swiss Army knife. They are tools that will allow the thinking performer to travel nationally or internationally without having to carry a phone book. No matter what type or style of phone book you find in your hotel room when you get to your destination, you’ll be able to use it for your show. It can be White Pages, Yellow Pages, or the type of book that is a combination of the two (White Pages and Yellow Pages bound together in one book). You’ll be armed and dangerous no matter what type of show you’ll be doing: close-up, parlor, or stage. Had Barry Wood not shared his routine with me, I probably would not have fallen in love with the Phone Book Test. Once I performed Barry’s routine a few times I was hooked. And once I discover an effect I love, I never quit thinking about it. Thanks, Barry! Over the years I’ve shared The Human Phone Number with only three performers, three of my best friends: Tim Conover, Michael Weber, and Jon Stetson. All of us have had enormous success using The Human Phone

INTRODUCTION

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Number with our own variations of the Phone Book Test. I thank them all for keeping the secret and helping me all these years. I’d like to thank Barrie Richardson for his kind permission to include his method in this work. To me, Barrie is a “National Treasure” for mentalists. I’d also like to thank my good friends Michael and Lisa Close for writing and publishing this e-book. I couldn’t have done it without them. Bob Kohler Las Vegas, NV 2006

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What You Get Here are some notes from Bob Kohler about The Human Phone Number Kit: The Human Phone Number is a kit that provides the professional performer the necessary training to be able to successfully perform the classic Phone Book Test in just about any situation. As a professional, you are never quite sure of the performing conditions you’ll be facing when you arrive at the show. Even the best plans can change on a moment’s notice. I’ve been hired to perform outside close-up, when a sudden storm forced the party inside. The host wanted me to “do a show for everybody” instantly. The Human Phone Number will give you the tools to be able to effectively perform in close-up, stand-up, and stage situations. Most of the necessary materials are common, ordinary objects that you will already have, or can easily obtain. The included training will show you how to construct the necessary gaffs and how to handle them. The training will also teach you upgraded handlings and strategies that have never been published. In some cases, the details are small changes that really make a difference in the results. Please try the routines’ methods as written before making the decision to “play” with them. All of the included methods have been audience tested for many years. You’ll notice that, unlike many of my releases, I did not include the presentations. I made this decision because I really don’t want everybody doing exactly the same routine. This product is for professionals. Professionals should be able to script, block, and choreograph their routines to fit their personalities and styles. 555-0011

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The main props that are included are the envelopes and the signs. First, let’s talk about the envelopes. I use the bright yellow color. There are three colors that stand out on stage: white, red and yellow. I did a test at an I.B.M. convention held at the Fox Theater in St. Louis. I watched the stage shows from the last row in the balcony. There is no doubt that the best colors for important objects are white, red, and yellow. You can see them a mile away. I chose yellow for the envelopes because yellow is a color most people don’t wear. Since you’re going to have eight spectators on stage holding these important envelopes, they need to be seen against their clothing. I think they do the job quite nicely. There are eight Tyvek 10” x 13” envelopes included with your kit. Tyvek as a material is virtually bombproof. These envelopes will last for years. You’ve also received twenty 12.5” x 9.5” signs. Why twenty? This kit will allow you to easily find phone numbers that you’re going to choose to force – phone numbers that are remembered when heard and are easily spoken. The numbers range from 0 to 9; included are two of each number with the exception of 6 and 9. Since 6s and 9s are essentially the same number inverted, only three are included. Personally, I usually don’t choose phone numbers that contain 6s and 9s, because if a spectator who holds a 6 or a 9 happens to turn the sign upside down, it would look correct to the audience, but it would not match the prediction. However, sometimes you need these numbers, so they are included in the kit. So far we’ve covered nineteen numbers. The last sign is the dash. You need it between the third and fifth spectators to make the sign into The Human Phone Number. The signs are professionally produced. Every detail has been thought out. First is the size of the signs. They are big enough to been seen by 1000 people. Shows with crowds larger than this usually have video support. GE makes the sign material, and it is an industry standard called Sintra. It’s

WHAT YOU GET

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extremely tough and wears like steel. We’ve rounded off the corners to prevent cracking and to make the signs easy to get in and out of the envelopes. I also really like the fact that Sintra is black all the way through. If it happens to get scratched, it’s not a big deal; it stays black. The letters are professional-grade vinyl. They will outlast screen-printing by many years. I selected the font for maximum readability. It’s a non-serif font with sharp, crisp numbers. The audience will instantly be able to read The Human Phone Number. The numbers are on both sides of each sign. I found out early on that when the spectators pull the signs out of the envelopes, some would turn their sign around to see what’s on it. With the numbers on both sides, this problem has been eliminated. High-grade vinyl also allowed us to use a matte finish. You can’t do that with screen-printing. The matte finish is a big deal. Since both the vinyl and Sintra are matte finishes, you’ll discover that the audience will always be able to read the signs, regardless of the lighting conditions. When the spectators pull the signs from the envelopes you want the audience to immediately read the number. Reflections from stage lighting or spotlights can turn a sign into a mirror that would kill the moment. With matte finish signs, you won’t have to worry about that at all. The end result is a kit that’s 10” x 13” and less than 2” thick; it will produce a display that is 16’ wide (estimating about 2 feet of space per person). The old axiom “Packs flat, plays big” has never been more accurate.

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A Brief History Joseph Dunninger was probably the first to do a book test with a phone book. Actually, the first might have been Thomas Watson, Alexander Graham Bell’s assistant. (Watson had a big advantage, however, since at that time there was only one phone number in the book.) Dunninger performed the trick on the radio. Theodore Annemann published his Test of the Tiber in 1932. (It was included in J.G. Thompson’s book My Best in 1945.) Using a billet switch, Annemann forced a page from the phone book, but allowed for the free selection of one of the first nine phone numbers of the first column of the forced page. These nine names and phone numbers were penciled in on a slate, and, through the use of judicious pumping, Annemann was able to reveal the phone number the spectator was thinking of. In 1935, Annemann published a different version (that eliminated the billet switch) in Annemann’s Complete One-Man Mental and Psychic Routine. Paul Curry created an ingenious version of the Phone Book Test, titled Out of This Phone Book. It was published in The Phoenix (No. 25, December 2, 1942), and later reprinted in Paul Curry’s Worlds Beyond (Hermetic Press, 2001). Curry, inspired by Franklin Taylor’s Peek Deck, turned an ordinary phone book into a “peek book.” Curry’s trick was not designed as a prediction, although Bruce Elliott used it as such in a routine called The Master Mentalist (Magic as a Hobby, 1958). After determining the phone number (using Curry’s peek phone book), Elliott used a thumbtip with an attached ball bearing to write the number on a piece of paper sealed inside three envelopes. (The innermost envelope had a piece of carbon paper in it.) Bob Kohler’s interest in the Phone Book Test was sparked by Bob Cassidy’s Phone Book I and Phone Book II, both published in The Art of Mentalism (Collector’s Workshop, 1983). Most book tests limit the selection of the word on the page. (“Think of the first word on the page,” or, “Think of the word at the end of the fourth line.”) These restrictions seem nonsensical. Instead of a phone number, Cassidy divined the name of the person. He would force a page, and all of the surnames on that page were the same. This would 555-0015

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allow the spectator to run his finger around the page, stopping at a (supposedly) random name. Unfortunately, Cassidy’s gaffed phone book is very time consuming to construct. Billy McComb came up with a variation that’s in his book The Professional Touch. He also did a surname version. At the time Bob Kohler became interested in mentalism, one of his closest friends and confidants was Barry Wood. Barry developed a Phone Book Test that exploited a new principle. It is a remarkably fair-looking book test that Bob Kohler performed for several years. Barry’s routine is the subject of the next chapter.

The Barry Wood Routine Barry Wood’s Phone Book Test was a prediction, and it made use of the Yellow Pages phone book. Barry’s big breakthrough was this: Many pages of the Yellow Pages contain multiple listings – perhaps a hundred or more businesses listed per page, Photo 1. But there are also pages (in major categories, such as florists or tire stores) that only contain one, two, or three ads, Photos 2 and 3. When displaying the phone book to the audience, the performer flips to the pages that have multiple listings. However, when the time comes to select a page, a page that has only one ad (and Photo 1 one phone number) on it is forced. The assisting spectator knows he only has one phone number to pick, but the remainder of the audience (who cannot see the page) thinks he has a multitude of choices. Here’s how Barry used this principle.

Photo 2

Photo 3

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Before the show, Barry searched through the Yellow Pages and found three different pages, each of which had only one big ad with one phone number on it. He found one near the front of the phone book with the ad on the right-hand page; one in the middle of the book with the ad on the left-hand page; and one near the back of the book with the ad on the right-hand page. The three page numbers were written on one side of an Add-a-Number pad. Each of the three phone numbers was written on a large sheet of paper, and each sheet of paper was sealed in a large envelope. But here’s a key point: Each of these three envelopes was slightly different in size. These three envelopes were then sealed in an even larger envelope, with the envelopes placed in descending order of size, Photo 4. This allowed Barry to easily locate and remove the proper envelope in an instant.

Photo 4

Barry would display the Yellow Pages phone book to the audience, showing pages that had multiple ads. He’d then bring a spectator up on the stage, hand him the phone book, telling him to look through it. Barry would then walk through the audience, getting three three-digit numbers written on the Add-a-Number pad. He’d then walk back on stage, flipping the pad over, and he’d lay the pad down on the table in front of the assisting spectator.

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He’d then walk over to the big prediction envelope. He’d tell the spectator to think of one of the three numbers on the Add-a-Number pad, turn to that page in the Yellow Pages, and put his finger on the center of the page. From across the stage Barry could see if the spectator had opened the book near the front, the center, or the back. The side of the book the spectator’s finger was on confirmed the location, so he knew what the number was going to be. Barry would time it so as soon as the spectator put his finger down on the page, he would open the large envelope, take out the correct smaller envelope, and then toss the bigger envelope aside. The bigger envelope went away so early that no one even remembered that it existed. The moment was very clever. Barry then had the spectator close his eyes, move his finger around the page, and stop anywhere he wanted. He then told the spectator to remember the phone number that is closest to his finger. He would also give this important instruction, “If your finger is in an ad, remember the closest number in that ad. (This is vital. If the spectator’s finger is near the spine of the book he might remember a number on the adjacent page.) The spectator read out the phone number; Barry opened the envelope and revealed the prediction. To the audience this seems like the fairest test possible. This routine has stood the test of time. Bob Kohler has used it mostly for repeat shows (that is, audiences that have seen The Human Phone Number) and for shows in a parlor situation. Barry’s idea of the multiple-out envelope’s construction and the moment of extracting the correct envelope may be very well suited for other multipleout prediction type effects. It’s certainly worth thinking about.

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The Combined White Pages/Yellow Pages Test As was mentioned in the previous chapter, Bob Kohler used Barry Wood’s effect for several years. As Bob’s mentalism act evolved, however, he changed to a different method. He was using Add-a-Number in another trick in his show, so he needed a different method for forcing the page. Also, he discovered that he often encountered phone books that had the White and Yellow Pages bound into one book, so he created a funny gag to be used with the combined book. First, here’s the gag: Bob found the spot where the White and Yellow Pages met, and, using a very sharp knife, he sliced down the spine vertically, separating the White Pages from the Yellow Pages, Photos 5 and 6. This sounds like it’s easy to do, but it’s not so easy. You need a real knife to get the job done; an Exacto blade won’t do it. Bob would then cut out several pages from the front of the White Pages section to construct a new spine

Photo 5

Photo 6

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for the book. This is done by placing the two halves of the book together (carefully lined up), and then gluing a piece of the white paper to the spine using a glue stick. This piece of paper is trimmed down to fit the spine, and the glue is allowed to dry. Then another piece of paper is glued to the first sheet. This process is repeated several times, until a new spine has been constructed. This spine will hold the book together, but can be easily torn, Photo 7.

Photo 7

In performance, Bob holds the phone book toward the audience, with his fingers in the book at the spot where the White and Yellow Pages meet. He says, “Tonight you’ve seen several examples of mental power. But I want you to know that I am also physically powerful. I’m going to rip this phone book in half, right in front of your eyes.” Because of the way he’s holding the book, people think he’s going to tear it across the middle, the way a circus strongman would. He builds this up, opens the book in the right spot (between the White and Yellow pages), and then he tears the book along spine into two halves – one with the White Pages, one with the Yellow Pages. It’s a good gag. As in the Barry Wood routine, Bob would invite a spectator on stage and would hand him the Yellow Pages section of the phone book. Bob would then go into the audience with the White Pages section, and he would use that section to force the proper page in the Yellow Pages. (Remember, this is a page with a full-page ad with only one phone number on it.) Bob used two methods to the force the page: The David Hoy miscall (from the Hoy Book Test) or a riffle force. The Hoy method should be familiar to any wellread mentalist. If he planned to riffle force the page, Bob attached a small, white paperclip to the lower edge of the page to be forced in the White Pag-

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es, Photo 8. (For security, Bob made sure that several pages were forced into the jaws of the clip. In this way, there’s no chance the clip will accidentally fall off.) The paperclip forms a break in the book, and it is easy to open the book at the break as the pages are being riffled and the spectator says stop. When the book is opened, the fingers cover the paperclip.

Photo 8

By this time in his performing career, Bob had changed the Yellow Page ad idea a little bit. He wanted the onstage spectator to feel as if he had a greater freedom of choice. So, Bob would find a page (in the Yellow Pages) where the bottom half was one ad (with a single phone number) and the top half contained two quarter-page ads, each with a single phone number. Bob likes to use a page that has ads for florist shops. Florist shops have lots of colors; they have lots of odors. If he has an audience of all men, Bob uses a page of tire shops – lots of noises, lots of smells. (In a moment you’ll understand why Bob wants a shop that can be vividly described through sounds, smells, or colors.) Bob memorizes the phone numbers of the two ads in the upper half of the page, and uses the phone number of the lower-half ad as his big prediction. Having three ads on the page opens up the possibility of some bonus effects.

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There are three scenarios. Bob has forced the page in the White Pages, and his onstage spectator opens his Yellow Pages to that page. Bob tells him to close his eyes and bring his finger down onto the page. (It’s important that you are as far away from the phone book as possible during this stage. However, you must make sure that you can determine which quadrant of the page the spectator is in.) If for some reason the spectator stops right in the middle of the page, Bob tells him to move his finger around in a circle, stopping anywhere. This will bring him to either the lower half of the page or to one of the two upper quadrants. If he ends up in the bottom half (which contains the phone number that matches the prediction), then the trick is over. If he stops in the right-hand quadrant (for example), Bob will first give him a chance to change his mind. If he doesn’t, Bob tells him to look at the phone number that’s nearest his finger. Bob knows this number, so he can then read his mind, calling off the number the spectator is looking at. Bob now tells him to move his finger to another spot on the page. He’ll either go to the other quarter-page ad, or he’ll go to the half-page ad. So, if the spectator goes for the second quarter-page ad, Bob first describes the shop (using the images of color, smell, or sound), reveals that it is a florist shop, and then gets the number. (Please don’t leave out the apparent “remote viewing” of the shop. It is necessary for the impact of the routine to build properly.) The spectator again moves his finger to another location; the only place that remains is the lower ad at the bottom of the page. Bob has the spectator call out that number, and Bob reveals it as his prediction.

The Scroll In the Barry Wood routine, the predicted phone numbers (remember, there were three, each in an envelope inside a large envelope) were written on large sheets of paper. One of the most difficult aspects of mentalism is to find a way for a routine to “play big.” Writing a prediction on a big sheet of paper helps this. Another method of revealing the phone number is to use a scroll. This will not work for the Barry Wood version (which uses multiple outs). It will work for both the method described in the previous section and the method that will be described in the next section. Bob takes several sheets from a big drawing pad and tapes them together. Barrie Richardson uses a scroll made from shelf paper. Using shelf paper eliminates the need to tape sheets of paper together, but Bob doesn’t use this method because he carries the pad with him for another trick, and this way doesn’t have to carry an extra prop (the shelf paper). Regardless of the type of paper used, it should be rolled up nice and tight and tied with a red ribbon. This way it looks like something, not just a prop you made up in your room. Bob uses the scroll in a way inspired by Steve Spill – a gag Bob learned at the Brook Farm Inn of Magic. Spill and Bob Sheets used a hula-hoop in their levitation presentation. They’d hand the hoop to someone in the audience and say, “Later on in the show, I’m going to scream out, ‘Who has the hoop?’ and you’re going to yell, ‘I’ve got it, I’ve got it!’” Addressing the entire audience, Spill would say, “Your job is to go wild.” This strategy accomplishes two important things. First, it trains both the spectator holding the scroll and the audience what to do at the climax of the trick. This insures the ending will build properly and move forward at the proper pace. Second, it generates a ton of energy just before the climax of the trick. This insures a tremendous reaction and can often lead to a true standing ovation (as opposed to the “begging” type of standing ovation).

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A free major benefit is that this scenario is packed with laughs and entertainment value without telling a joke. Depending on your character you can play this situation in many ways. Kohler’s patter is this: “Sir, you are going to be the single most important person in the entire show. You are Guardian of the Scroll. [The spectator is handed the scroll.] Later in the program I’m suddenly going to get the urge to yell out, ‘Who’s got the Scroll?’ Your job is to stand up, hold it high above your head, and scream out at the top of your lungs, ‘I’ve got it, I’ve got it!’ And that’s the audience’s cue to burst into thunderous applause. Sir, I don’t think you’ve got it. I think we need a practice run. So, I’ll just be walking around doing what I do. [Bob walks nonchalantly around the stage.] Who’s got the Scroll?” Depending upon the type of individual you’ve selected, their reaction will go from inhibited to wild. Both reactions can work. If they go wild, your job is done. If they are inhibited, rather than chastise them, simply say, “We’ve got to do it again, and we’re going to do it until you get it right. Everybody’s job is to go wild and inspire him.” The second time the guardian will do much better, and the crowd will go wilder. It’s almost better when this reaction happens. Some of you may feel that this approach puts the spectator in an uncomfortable position, and to some degree, it does. But the payoff is huge. The smartest thing you can do is to determine the best person to use either before the show or during the performance. This isn’t rocket science. Pick out somebody who is outgoing and laughing. The idea of enlisting the aid of a spectator who will participate with a lot of noise and hoopla is something that Kohler has incorporated into his Bill in Lemon routine and other routines with Steve Spill’s permission. This technique is also featured on the training DVD for Scott Alexander’s The Final Answer. (Incidentally, Barrie Richardson’s Theater of the Mind contains a very valuable suggestion on how to unroll the scroll to produce maximum audience response.)

The Human Phone Number Routine The final step in the evolution of the Phone Book Test combines an apparently free choice of any phone number in the White Pages with a revelation that fills the stage. This routine is The Human Phone Number, and it is Kohler’s preferred method for performing the Phone Book Test. The method for revealing the prediction is an original idea of Bob’s that he came up with around 1987. The method of forcing the phone number is based on Barrie Richardson’s One in a Million, which was published in the December 1977 issue of Pabular. A more complete explanation (including Barrie’s presentation) was published in Theater of the Mind (Hermetic Press, 1999). We will first discuss the forcing method, including the construction of the necessary props, and then we will outline the routine and the proper way to handle the revelation. The phone number force is based on an old trick called Wordo. Bruce Elliott applied this principle to a paperclip in a trick called Fate, which was published in The Phoenix (No. 177, May 1949). The gimmick is simply a paperclip that has a small piece of paper from a phone book glued to it, Photo 9.

Photo 9

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The paper is glued and trimmed so only one number can be seen through the loop of the clip. When this clip is placed on phone book, the white-onwhite principle goes to work, and it looks as if a number from the phone book can be seen through the clip, Photo 10.

Photo 10

As mentioned above, Barrie Richardson uses the idea of the gimmicked paperclip, but he actually attaches the clip to the edge of a freely selected phone book page, Photo 11. There are some issues with this. One problem is that you must limit the spectator to the far right column of phone numbers, which seems to negate the freedom of choice that you are trying to establish. Nevertheless, Bob used this method in his shows. But on one occasion he was stymied because the local phone book he had to use had grayscale printPhoto 11

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ing along the right edge of the book. The paperclip was not only too short to reach the proper position, because of the discrepancy that appeared in the printing along the side when the paperclip was attached, it was obvious that something was not as it should be. That night Bob developed the idea of the floating paperclip. To make the gimmicked paperclip you’ll need the following items: UHU brand glue stick, Dennison Removable Glue Stick (Photo 12), several large paperclips (Photo 13), and an X-acto brand knife (Photo 14). The video clips on the next page will teach you exactly how to make the gaff.

Photo 12

Photo 14 Photo 13

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Click Here To View Video Clip Paperclip Preparation Part 1

Video Clip 1

Click Here To View Video Clip Paperclip Preparation Part 2

Video Clip 2

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Here are some points to remember: The UHU glue stick is important because the glue starts out purple in color and then dries clear. This makes it easy to see where the glue has been applied. The phone number choice is important, because you want a phone number that is memorable; one that the audience can chant easily. Also, you really want to avoid phone numbers that contain the digits 6 or 9 (because the spectator who holds that envelope could remove and hold the number upside down). Be sure that the glue sticks you use are fresh. The success of the trick depends on the gaffed paperclip. If the glue is old, the piece of paper stuck to the clip might fall off. At the end of this section you’ll find a method for salvaging this situation, but it is not the preferred solution. You should be charging enough for your show that you can afford to buy fresh glue sticks. The gaffed paperclip must be brought into play secretly. You could keep it in a pocket, but there is the chance that the glued piece of paper could be dislodged. Also, the paperclip must be in the proper orientation. Bob has solved all these problems by gaffing a small flashlight to act as a secret holder for the paperclip. You’ll need the following items: a MiniMag AA flashlight (Photo 15), some black gaffers tape or duct tape (Photo 16), and some small, thin, flexible magnets (Photo 17). The video clips on the next page explain how to prepare the flashlight.

Photo 15

Photo 16

Photo 17

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Click Here To View Video Clip Flashlight Preparation Part 1

Video Clip 3

Click Here To View Video Clip Flashlight Preparation Part 2

Video Clip 3

THE HUMAN PHONE NUMBER ROUTINE

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In addition to its secret function, the flashlight serves a practical function as well. Through hard experience, Bob discovered that even in places with good lighting, it can be hard to read the phone number that is glued to the paperclip. The MiniMag AA flashlight has a beam that can be focused to a sharp circle, clearly illuminating the phone number. The flashlight is held so the light is shining in from the performer toward the audience; that is, the beam points away from, rather than toward the spectator. If you accidentally aim the flashlight so that the beam reflects back towards the spectator’s eyes, you can actually make the number more difficult to read. Now that we have constructed all the necessary props, here’s how the routine works. The flashlight (with the gaffed paperclip attached in the proper orientation) is in the right-hand jacket pocket. The performance table is stage left. Bob’s table has a top that is about the size of an opened phone book. This table was marketed and sold by comedy magician Bruce Gold. Although light weight, it is very sturdy. On the table is the phone book, which is closed. On top of the phone book are the eight prediction envelopes, each containing one digit of the phone number that will soon be forced. Bob takes the precaution of numbering each envelope one to eight using a pencil. These pencil marks should be light enough that they are not obvious to the audience, but should be bold enough that you can easily see them. The spectator who will select the phone number is now chosen. When he comes to the stage, Bob positions him behind the table. Bob picks up the envelopes and offers the spectator a chance to flip through the phone book, making sure that it is free from guile. As this is happening, Bob enlists the aid of eight people to hold the envelopes. If the stage is big enough, Bob will call up the eight people, handing each one an envelope as they come up on stage. These spectators will stand stage right, in a row. Each will hold an envelope in front of him. Because the envelopes are numbered, Bob can make sure that they are handed out in the correct order. The numbering also serves as a check: Before the final revelation, Bob can walk over to the spectators and make sure that no one has switched his envelope with another spectator while Bob wasn’t looking.

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If the stage is too small to accommodate the eight spectators, Bob will ask eight people to stand, either at their seats in the audience or by the stage. Again, these people should be stage right. (Or, to put it another way, they should be to the left as the audience looks at the stage.) The reason for this is that people read from left to right, and positioning the assisting spectators stage right makes it easy for the remainder of the audience to read the phone number when it is revealed. If possible, it’s also beneficial to have them stand facing the audience in a straight line. Your goal is to position them so that the rest of the audience will be able to easily see the final revelation. As Bob moves back stage left, he brings out the flashlight. The spectator is instructed to open the phone book at any point he wishes. As he does this, Bob steals the paperclip from the flashlight; the right thumb simply pushes the paperclip out of the holder. Because of the removable glue, the paperclip will stick to the right thumb. The left hand takes the flashlight as the right hand retains the paperclip. Note: In Barrie Richardson’s handling, the paperclip begins clipped to the phone book. It is then removed, and reattached to the right edge of the selected page. The clip is then slid down the page to the spot where the spectator has placed his finger. As you will see, Bob’s handling is much freer, and there is much less for the audience to see. The spectator has opened the phone book at a random point. Pointing to the right-hand page, Bob says, “This is the spot where you wanted to open the book, correct?” (Bob uses the right-hand page, because that page will lie flat, making it easier to position the paperclip properly.) The spectator replies in the affirmative. Bob says, “Okay. Let me mark the page.” He moves his right hand over the right-hand page, and immediately deposits the paperclip near the bottom of the page. The paperclip is easily dislodged from the thumb. The paperclip should land in the proper orientation so the phone number could be read through the clip. In other words, it lands with the correct side up. Without hesitation, Bob’s hand moves to the upper right-hand corner of the page, and he folds the upper corner of that page, dog earring

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it slightly. To the audience (who cannot see the face of the pages of the phone book) all Bob has done is turn up the corner of a page. It does not matter if the paperclip lands slightly askew, the assisting spectator’s attention is on the folded corner. Remember, all these actions take place on top of a table that is of a good size to hold the phone book. The table should also be at a height that the assisting spectator doesn’t have to bend over too far when he puts his finger on the book. It is now time for the spectator to select a number from the right-hand page. Most phone books have four columns of numbers per page. Bob prefers to work with the center two columns. Bob directs the spectator to place his forefinger near the top of the page (indicating the area of the middle two columns.) The spectator is told to close his eyes and move his finger very slowly back and forth as he moves his finger down the page. Bob tells him to stop whenever he wants. The spectator stops anywhere. If he stops between columns, Bob says, “Well, you’re in between columns; move left or right just a little bit.” This will place him on an entry in the phone book. Bob now says, “Okay, hold your finger steady, and let’s mark that spot.” Bob slides the paperclip so it lies just above the spectator’s finger (touching it, in fact), and lines it up so the gaffed phone number is in perfect alignment. (Use the small inner loop of the paperclip as an aid to lining up.) He then pushes the clip against the paper so the removable glue holds it in place. If the spectator hasn’t opened his eyes by this point, Bob tells him to do so. Once the paperclip is in place, Bob shines the flashlight on it, narrowing the beam so the spectator can easily see the phone number. (Remember to hold the flashlight so it is shining away from the spectator.) The spectator reads the number. Bob leans in toward the spectator so his lavaliere microphone can pick up the spectator’s voice. The spectator reads the number out loud. After the spectator says the number. Bob says, “Let’s say it together,” and Bob and the spectator repeat the number. Then Bob says, “Let’s all say it together,” and he gets the entire audience to repeat the number. The audience repeats the number four or five times, until everyone is participat-

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ing and the excitement builds into a small frenzy. Then Bob says, “When I count to three I want you to pull out the card that’s in your envelope, place it against your envelope, and hold it up so everyone can see it. Ready? One, two, three!” This is done, and the audience sees the entire phone number. To clean up: Bob shakes the assisting spectator’s hand. He starts to close the phone book with his left hand (which now holds the flashlight) as his right hand moves onto the right-hand page and removes the paperclip. The left hand transfers the flashlight to the right hand, and the paperclip magnetically sticks to it. The left hand tosses the phone book to the stage as the right hand pockets the flashlight. Bob gathers the envelopes and numbers as he dismisses the spectators. The show is over. The reaction that this routine gets makes it impossible to follow with another trick. Bob has never done a trick on a stage that got a bigger reaction, and for that reason The Human Phone Number was always his closer. People will remember this effect and talk about it later. Notes: 1) On two occasions, Bob prepared the gaffed paperclip using a stick of UHU glue that was not fresh. When he removed the flashlight from his pocket, the paperclip was there, but the piece of paper with the phone number on it had fallen off. Bob managed to get through the trick by simply miscalling the phone number that showed up through the (now ungaffed) paperclip. This requires huge cajones, and is not a recommended procedure. Instead, be sure to use a fresh glue stick. 2) Bob always refers to the phone number as a “target” and not a prediction. The idea is that the assisting spectator will somehow be psychically steered to select the proper phone number. This eliminates the possibility that spectators will bug Bob to give them the next week’s winning lottery numbers. 3) When the spectator has opened the phone book to the page they want, you should take a look at the page. Depending upon where the book has been opened you may find that the column closest to the

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spine has a pronounced curve in it. You must get the spectator to stop with their finger on a flat part of the page. The two center columns are always flat. Here’s a strategy that limits them to these two columns but seems incredibly fair: Have the spectator put the first finger of each hand on one of the center columns. Now have him close his eyes and move his fingers down the columns. It doesn’t matter if the hands move together at the same speed. Once the spectator stops, you can make a big deal about the fact that their next decision is the most important one of the show. They are now down to two phone numbers. Here’s the patter for this important presentational moment: “Even if I’ve somehow managed to influence your decision to open the book to the right page…even if I somehow managed to get you to stop one of your fingers on the number that’s my target…you still have one last decision that will affect either the success or failure of this test.” Ask them to lift either finger; the finger that remains on the phone book determines the final position. Obviously, this is all BS. It makes absolutely no difference what finger is lifted, but it gives you a great way to sell the impossibility. When using this presentation, Bob has heard his assisting spectator wondering (after the show) how he controlled their final decision. 4) Barrie Richardson has an excellent presentation for this effect. It would be well worth your time to study One in a Million in Theater of the Mind. 5) Bob always picks a spectator who is wearing glasses. In any type of book test there is the danger of the assisting spectator announcing that he can’t read the text because he doesn’t have his glasses with him. Choosing a spectator who is already wearing glasses minimizes this possibility.

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The Paper Airplane This parlor/close-up version of the Phone Book Test came about as Bob, Bob Sheets, and Jimmy Gibson were driving to Montreal airport after one of Bob Fitch’s performance camps. Bob Kohler had worked on The Human Phone Number during camp, but nothing radically new was added. In the cab, Jimmy Gibson suggested that the prediction be a paper airplane that is sailed into the audience to find the spectator who will help with the trick. The airplane is tossed around the audience, and the fourth spectator to catch it comes up. This gave Bob the idea of using a big sheet of paper and adding a genuine paperclip to the nose of the airplane to aid in its flight. In a parlor situation, it is almost impossible to hide the existence of the gaffed paperclip from the audience, because they can see the top of the phone book. Bob solved this problem by (apparently) using the paperclip from the nose of the airplane. Actually, he switches paperclips, bringing the gaffed clip into play. Here are the details. The phone number that will be forced (using the gaffed paperclip) is written on a large sheet of paper. This piece of paper is folded into a paper airplane, and a genuine paperclip is placed on the nose of the plane, ostensibly to provide a bit of weight and aid in its flight. Bob sails the plane into the audience. Whoever catches it sails it to someone else. This is repeated twice more, and the fourth person to catch the plane brings it forward to the performing area. Bob also asks the two people sitting to either side of this person to come forward as well. The spectator who caught the airplane stands directly behind the table; he will use his finger to find a phone number. Bob stands next to this spectator. The other two spectators stand on either side of the table; one spectator holds the real paperclip that was on the nose of the airplane (a genuine clip); the other spectator holds the airplane (which will later be opened revealing the prediction).

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The spectator behind the table begins to examine the phone book. The gaffed flashlight is in the left jacket pocket. In this routine the paperclip goes in the pocket upside down from way shown in Photo 15. In other words, the open end is up. The left hand removes the flashlight and steals the clip. Bob asks, “Who’s guarding the paperclip?” His right hand reaches for clip. As soon as the right hand takes the genuine paperclip, the left hand puts flashlight in right hand as the right hand apparently transfers the clip to left hand. Actually, only the flashlight is transferred. The right hand holds on to the genuine clip (which is now covered by the flashlight), as the left hand places gaffed clip onto the selected page exactly as in the previous version. In this case, the paperclip is openly used as a method for exactly marking the spot where the spectator places his fingertip. A phone number is now selected as in the previous version. The spot is marked with the paperclip exactly as before. The spectator reads the number and the audience chants it along with him. As the crescendo builds, the paper airplane is unfolded, revealing the phone number. It is a simple matter to remove the gaffed clip from the book and switch it for the genuine clip (simply reversing the earlier moves) during the pandemonium at the end of the trick. Everything is now examinable, and all the props can be left with the audience.

A Final Word You now have in your possession one of the strongest and most dramatic mental effects possible. In addition to the Human Phone Number revelation, you have at your disposal several very powerful methods and advanced handlings for accomplishing the Phone Book Test. With these methods you will be able to adapt to any performance conditions. Although the methods explained are not difficult, they will require practice so that all your energies can be directed toward a dynamic performance. The Human Phone Number has been a well-kept secret for many years. The few professionals who were given the routine have valued it as an important feature of their acts. Please treat the routine with the respect it deserves. The Human Phone Number is a reputation maker, and it will serve you well.

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