THE ULTIMATE CHAIRS

PREDICTION
(PLUS)

GARY KURTZ

THE ULTIMATE CHAIRS PREDICTION

(PLUS)

Routine Conceived, Written and Illustrated by

Gary Kurtz

1997 GARY KURTZ

All Rights Reserved
Including perfonnance rights for national or syndicated television, videotape, and firstperson
perfonnance rights over conflicting acts unless through express pennission from Gary Kurtz.

1
THE ULTIMATE CHAIRS PREDICTION
(November 14, 1994)

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With four chairs ina row across the stage, four spectators are invited onstage. After the spectators are 'seated in the
chair 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 of paper. A spectator from the audience opens and
removes the Prize from the mentalisrs envelope. The "Special Prize' is a piece of paper YttIich reads: "I, the winner
of this piece of paper, agrees, no questions asked, to give Gary 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 the Prize
wasnY the entire point of this exercise... "was to prove that I could control each and every one of their choices, all
the way along.
.
To prove your statemen~ you point out that each persons worthless piece of paper is a different color. The person
who got the blue paper is asked to turn around the chair he sat in - The back of the chair is blue like the paper he
chose. The person who got a yellow paper issitting in ayellOW-backed chair; the winner ofthe pink paper is sitting in
apink- backed chair, and the winner ofthe orange paper issitting inaorange-backed chair!!!

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2
i'ectits: ...

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TlJe 1cI8at'Orttie BoOrl Writiftg~iS inSl)itedby aruceBemstien's "VolitiOnPius-, (page 56. inBernstien's higJIy. tecomm8tJd8d2ll
ftJjfdcEQttrtaiMrl.
~~med a. t.w. Olhet. metho(jS .and ~.SAWetlflayer$ .Of.psyehOlOj. to. ElriIe$'$.~
Tl1Elijctlral effeCtS bear Ill) resemblanCe to each other, , .: .. .
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ReQuisites: Two bill-sized Special Prize' papers with the following message printed (or hand-written if you don't have
a computer and printer): "I, the winner of this prize, agrees, no questions asked, to give Onsert your Name
Here) $5,000.00. (or yournational equivalent). n
Additionally: 5 - 3 %'x 4 W Pay Envelopes. Each envelope contains a bill-sized accordion-pleated piece of colored
paper (colors as per Fig. 1), and are subtly pencil-marked in the indicated areas (anatural mnemonic system based
on the physical position ofthe eventual recipient ofthe envelope - The Chairs - Fig. 2). The papers in envelopes A, B
& C are 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 $100
bills - if you opt for that approach) are inserted at the very top of the envelopes (Fig. 3), secured in position with a
small dab ofmagician's wax, orPost-it Repositionable Glue Stick (my preference). Lick and seal.

~~II:oo IIY~I:II ~:'II :'1

Markings on Envelopes + Color Contents

Orange

Blue

Yellow

Pink

Chairs and Color ofBacks ofChairs

FIG. 2

FIG. 1

+ __Accordian-foided PRIZE
in top ofenvelope, with

- - - - -

A,B&C

magician's wax holding

D1 +D2

it inplace

------,

r...- - AccordianfoIded Paper

L..-_ _-....l

FIG. 3
FIG. 4
You 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 the
unsharpened end ofthe pencil, and have access toitthat way.
The last requisite istohave four (borrowed) chairs, on the back ofeach ofwhich isstuck a laminated 8 W x 11'sheet
ofcolored 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 the
row of chairs. Remove the paper clip from the envelopes, and pocket it secretly transferring the Boon Writer to a
clipped position between your right second and third fingertips (Fig. 11, Boon Techniques):
'A little game of mental strategy now... with the contents of these five envelopes... Give them a mix if you would
please. 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 your
opponenfs moves is a definite advantage, yes? - And thafs what this game is about - Me trying to anticipate and
manipulate your choices - and I'm telling you this inadvance soyou can prepare your counter-offensive, O.K? I try to
outguess 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 them
contains a Special Prize - the nature ofwhich I'm going toleave a mystery for now, butsuffice ittosay, that it involves
quite a sum ofmoney. '

'I'm going togive each ofyou a choice ofone ofthe envelopes... The challenge for me - being the cheapskate that I
am - 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 to number the envelopes, in the order that you justmixed them into, allright? In the exact order you
justmixed them into. The first one: #1; the second: #2; the third: #3;... #4 and #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:
'. 4nd since you mixed, mixed, mixed the envelopes we'll start with you...'
Re-mix envelopes as the above line isdelivered, repositioning Envelope-A totop of stack, facing you. To spectator PI.
'Which ofthe five envelopes would you like? Keeping inmind: Last week I performed this five times: Every single time
the money was inenvelope #2.... So, which envelope would you like tonight? 1, 3, 4, or 5.'

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 I performed this five times: Every single time
the 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 the
Boon Writer onto the ball of your right thumb. When the spectator names the number of his choice, secretly Boonwrite it onto the top envelope ("The Two-handed Technique #1" - Boon Techniques). If you lean forward between the
Spectators A & Bto verify Spectator A's choice (as though you didn't hear him properly the first time), your hands will
naturally 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 Boon
back 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 Count
With the stack ofenvelopes held in a vertical 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 the
top envelope back into alignment with the bottom envelope. Pull out the 3 middle envelopes with your right hand, and
apparently 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 itto 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 offeeling the
envelopes 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
envelope #2.

too bad for him he didn1 take my advice concerning

As soon asthe spectator names his number, repeat the previous Boon Writing'Displacement Count actions to upjog
and 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 waitjusta second.
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 ofthe
audience, MIMING to them: 'He's going to chose this one, just watch ... Continue holding this envelope high over
your head as you go on:

"Now: EnveJope#-I#-I or#_? #-1

or_?'
As soon as the Spectator-B calls his number, casually droplrelax your right hand to waist level as you lean in towards
--I

him to verify 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 the
Envelope 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 behind

Spectator 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 infront
of him. During this, your right hand naturally falls behind Spectator 0, and you secretly Boon-write in the last
remaining unnamed number on the last envelope. Lay Envelope 01 onto the spectator's left hand, then walk around
to 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. Keep
one.., Hand me back the other...
'So you want to keep #_?... A perfectly free choice on your part, yes? You don't want to change your mind? No?
Goooodl"

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

6
To audience:
"Now as I said, the challenge for mewas to anticipate and manipulate their choices so I wouldn't lose the Prize. "

"AII ofyou now, tear open your envelopes, take outwhat you find, unfold it and hold it up high so everyone can see..."
As you deliver the above line, demonstrate what you want them to do: Casually take Spectator D's envelope, tear of
the top (with the "Prize" inside), demonstratively mime the action of taking out the contents, then hand tha envelope
back to the Spectator-D, for him to continue the actions.

W".~.~Sn.~.~
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Still holding onto the tom-off top of Spectator B's envelope, openly remove the envelope protruding from your breast
pocket and walk towards the audience, asking someone inthe front row to approach the stage:
"You, please, step forward for a second, if you would... I
Tear off the bottom end ofyour envelope (the end with the blank paper), and hand the in-audience spectator the rest
ofthe 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 to keep 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~
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.l1anded ltfual\Other @t~\ ......y...........

"Luke-warm applause, because you'd rather have seen someone else win the Prize. But the fact that nobody won the
Prize 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 itfrom him and read it - letting him verify what
iswritten :

"". Whafs written there? "I, the winner of this piece of paper, agrees, no questions asked, to pay Gary 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'ned oUt to beagClod

mllfter aD! .:: .: ...... . ..

With hardly a pause (you don't want them to think the effect is over) - Continue, addressing the audience atlarge:
'Butat this point I have to stress that using mypsychological influence to ensure that nobody won the Prize was not
the entire point of this exercise... It was toprove that I could control each and every one of their choices, allthe way
along. '
To on-stage spectators:
'You'll notice that your worthless pieces of paper are different colors, yes? Toss aside the envelopes, open the
papers out wide so everyone else can see them. Your paper is yellow; yours is blue, yours is orange and yours is
pink.'
Continue, addressing Spectator A:.
'You could have satin any chair - You could have chosen any envelope and thus gotten any colored paper - Butyou
got the orange piece of paper - If you tum your chair around so everyone can see - you'll see - your orange paper
matches the orange back ofthe chair you decided tositin....
To Spectator 0:
'You chose the blue paper. Tum your chair around so everyone can see... that you chose tositin the blue-backed
chair.
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. '

tel. ~aI!rJ r~ fiS YOI1 goaIong.l\1ter 1he fin;t spectator 1umshis. chai. Itte. 8 cana/l~c~. the
firial endirtg.,. 80 jOO. YIiII1t the ~liOn tJ .accettnte. atld. for.1he :lby1tIm. to. bUild.. MimingtheBCtion (If hrning the LdeOOe
chars:~. "';111llake. it

)rlllJ .\1/IlInoticce ~t ..... \\0 ti&

deertothespeet.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 a salesman 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 is
basically a small metallic disk with a short pencil lead glued to its center. The Boon Writer sticks to the ball of your
thumb (or anywhere else) by means of a reusable adhesive putty.
For more brilliant routines and effects using the Boon, buy a copy ofA Boon for all Seasons. by Eric Mason &Barrie
Richardson.
The following section isto pass on some of my research and discoveries of working with a Boon Writer. There seem
to be quite a number of effects in print, but very few teaching the proper techniques for secretly Boon-writing. The
following are the methods I've found to be most effective.

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

I have found it a very good idea to transfer the Boon Writer to

my third fingertip (or toclip it between my 2nd and)d fingertips)
during the course of various routines, in order to give myself
more freedom in my gestures, and to allow myself to use my
thumb and first two fingers to more freely perform other tasks
(such as writing, ormiXing envelopes). Magicians and
Fig. 5
educated laymen will be "thrown offthe scent' when you
casually gesture and they see that you're not wearing a Nail
Writer 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 top
edge ofyour third fingertip resting on the lower edge ofthe 800n Writer). With a slight outward, upwards movement of
the third fingertip you roll the Boon Writer onto the third fingertip (Fig. 7 &8 ). Atthis point you can freely gesture as
in Fig. 9 , oruse your thumb and first two fingers to easily donormal tasks.

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 Boon
Writer between your thumb tip and second fingertip (Fig. 10), lift the rear edge ofthe Boon with your thumb, and roll it
back into writing position on the ball ofyour thumb (Fig. 6).

The Partial Boon Roll (Ball of Thumb to Clip 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 third
fingertip. Instead, clip it between the 2nd and 3rd fingertips, leaving the rear edge unattached (Fig. 11). From this
position 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 with
your hands.
BOON-WRITING TECHNIQUES
All of the techniques about to be described rely of the classic magician's
psychological principle of Active and Relaxed States (stUdy Slydini!!!, or check
out the synopsis in my booklet 'Leading with your Head"). To paraphrase my
own writings - 'The aim is to do al/ "moves" during a psychological, theatrical
and physical moment ofrelaxation"

The One-handed Boon-writing Technique:

Boon Writing with one hand requires that the card orpad you are going to
secretly write on isheld in a stable position. Rg. 5 shows the most stable
position, the lower part ofthe pad stabilized by your pinkie finger and the top
part 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 in
position on the ball ofyour thumb).

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

The Two-handed Boon-writing Method #1

After considerable experimentation, I have found the following
Two-handed Boon-writing method to be the most deceptive
as far as eliminating extraneous (visible) movement of the
thumb joint during the secret writing. Keep in mind that the
technique utilizes the same principle of the Active and
Relaxed States discussed above - the actually writing
occurring at the lowest point of your relaxation - the only
muscular action taking place being the minuscule movement
ofthe tip ofthe right thumb - amovement which iswell hidden
by naturally cupped position ofboth hands.
The starting position isillustrated inFig. 14: Simultaneously
gesture with both your hands - the card/pad/envelopes held
Fig. 14
in
your 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/relax
both your hands so they fall clasped together (Fig. 15- audience view, Fig. 16, view from behind). You will find that
you can Boon-write inthe number in an instant (starting the writing action as soon as your hands touch, finishing as
they separate), and that the r~lative positions ofyour hands will render the movement ofyour right thumb-joint
virtually imperceptible. The larger up and down (relaxation/reactivation) movement ofyour hands will render the
secret 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 the
routines 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:
A spectator isinvited onstage to participate inan exercise inThought projection.
The spectator isgiven a small file card and apencil, and is asked by the performer to jotdown the first three-digtt number
that pops into her head. After the spectator has written her number, the performer asks:
Was that a perfectif free choice on yourpart? IdidnY influence you in any way?... No?... Well to be hones~ Iwas trying
lQ... I was trying to project to you thenumber Ihad written on mycard here... "

A spectator in the audience verifies the number written on your card. "642". The on-stage spectator isasked what number
they jotted down - they saj (for example): "SgT. Performer continues:
"Iwas trying to prqeet thenumber 642 You got the number 697... 642. 697... Shedid the first digtright anyway. Give her
a hand, she did get thefirst digt right!
Continuing tothe next phase:
'One out ofthree, 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 digits ofthenumbers righ~ but nisses the firm
digit
The Test isrepeated and the spectator finally gets the entire three-digit number correct!

Qomrnertt,ary.

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ABoon Writer, a1d the ability to. use it

Reguisites: A Boon Writer, t\W stiff file cards (3" x 5j , one for the performer, one for the assisting spectator and alarge
soft-leaded children's pencil. The lower ofthe t\W cards (performer's) has a Boon 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 digit ofthe number, so a l'tNO-digit number ispre-written on
the 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
Invite a spectator forward. Pick up the file cads and penal from your table with
your LH. Upjog the top card momentarily and secretly clip the Boon Writer
between the right third fingertip and thumb (FIQ. 17), clipping itbetween your
right 2nd and )II fingertips as you hand the top card and pencil to the assisting
spectator.

Rrst Phase ([heSpectator Gets One Digit Right)

FIg.17

Transfer the Boon Writer tothe ball ofyour right thumb (The Reverse Boon
Roll) , and take your C3"d atyour right fingertips {Rg. 12 - preparation for the
One-handed Boon Technique}, holding ithigh and gesturing with it as you talk:

70 start, I'dIkeyou to make your mind a blank... A complete blank... Good. That was fast Now when I snap my fingers, I
want you to jotdown afhre&.digt number... The first one that comes into your mind......doesnY matter if I see what you
write, O.K I' wonY be trying to read your mind.... I snap myfingers, you to jotdown a three-digit number... The first one
that comes into your mind
"

Move closer to the spectator, soyou are standing just behind her left shoulder:
"Now! The first three digit-number that pops into your head -jotitdown...."

/4s you S8'f "Now", drop your right hand into Onehanded Boon Writing position {Fig. 5} with the card
resting on thespectator's left shoulder, the right
hand actually hidden byher shoulder, but the card
still invifNJ {FIQ. 18} . Simultaneously set yourself
into Gypsy Glimpse position (Fig. 18 again - Your
right eye isclosed, and your left fingertips are
covering your partially open left eye). You INiIl be
secretly glancing down your nose at what the
spectator writes, but the i"1lf'8SSion for the
aJdience is that your eyes are closed in
concentration. The instant you've glmpsed the first
digt thespectator has written, legitimately close
both eyes, and raise your left hand flNaj from your
eyes. Secretly Boon-write the correct first digtt in
first position (usingspectator's bodylshoulder to
cover the movement).

Fig. 18

Take a step forwad and Sightly toyour left {eyes

stiD closed}, passing the card to your left hald.
Hold the up card high - acting unsure:
"Have you jotted down anumber?"

14
You're now stalding beside the spectator again, unable to see Yttlat is'Mitten on their ca'd (CasuaJy dothe Boon Roll to get
the Boon Writer onto your 3d fingertip):
"Now that number you jotted down, was aperfectly free choice, yes? IdidnY influence you in any way? No? .. But in an
honesty, I was trying to. Iwas trying to project to you the number Ihad written on my card here.., "
Go down a1daskaspectator in the audience to verify the number 'Mitten on your cad:
"Whafs the number I had written there? 642. 642, yes?"

The on-stage ~ is asked 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 hera hand, she did
get the first digtright!..."
Lead the applause for the spectator.

5econd Phase [we digits rQlt)

"We've gotto fly this again.. We've got to fly this again."
f>s you ~ the above, take thepencil from the spectator, cross out your first three-digit number a1d fake scribbling down
new nurrber, this time only jotting down thefirst digitofyour eventual3-digit nurrber - ego 4,~ j. Hald thepencil back to
the spectator CJ1d secretly get theBoon Writer back onto your thurm.

Exactly repeat theprevious "thought projection" process:

"A different number this time. Make your mind ablank... DonY think. NCYN. DoIlY think, justjotdown the ht three-<fgt
number that comes into your mind. "
Repeat the Gyp&)' Glimpse, and subsequent "behind-the-spectator's-shoulder Boon-WTiting" to secretly fill inthecorrect last
lwo-digits oftheir number on your ca'd, uSng the same staging and "cIosed-eye" actions as the last time to move ~ from
thespectator once you've gotten the g1irTl)se:
"Have you written down a number?"
Excitedly godown a1d hand your card to your jn=audjence P8Ctator-assjsta'rt. PaJS9 a second, as if reading the on=stage
spectator's mind , then aJow slight disappointment to ~ on your face:
"Yes! yes!.... Well, maybe better, but Ithink its stiR not right "
Go back to the on=stage spectator:
"What was the number you jotted down? 967.? 967. Uke Ithought - Better, butsb1J not completely right. "
Going to retrieve your cad for theaudience:
"She got the number 967- whafs the number /was trying to project? 467. 467, yes?"
Returning to the onstage spectator:
"Iwas trying to project the number 467.. . You got 967? 467. 967. The ht time you got the fist digt right- this time you
missed thefiTst digtand got the second two right.... Two out of.three! You got two out ofthree - We've got to fly this one laW
time. 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 a new numbers (this tirrB
you fake Ytfiting all the way, not Ytfiting anything atall). Retum the pencil tothe spectator.

Repeat "thought projection theatrics previously described.

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

I'm sure she g:X it this time... I'm sure she got it this time...Keeping in mind that if she did, its aone ina thousand chance...
forwhich I think she deserves an incredible round of applause.'..

What did you get? 845. 845.

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

845... I was trying to project thenumber 845... Shegot the number 845. 845. 845. Aone in a thousand chance... For
which Ibelieve she deserves an incredible round ofapplause!!!
Lead the applaJse for the spectator, thank her profusely and go on toyour next miracle.

1997 GARY KURTZ

All Rights Reserved
Inducing performance rights fornational orsyndicated television, videotape, and first person
performance rights ov. conflicting acts unless through express permission from Gary Kurtz.

 1997 GARY KURTZ

All Rights Reserved
Including perfonnance rights for national or syndicated television, videotape, and first person
perfonnance rights over conflicting acts unless through express pennission from Gary Kurtz.