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© All copyright owned in its entirety by Luke Jermay - December 2006

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WORDS

EFFECT:

The  performer  asks  his  audience  if  anyone  has  ever  worked  in  telemarketing,  sales
conducted over the telephone.  The performer spots one such person and has them join
him onstage.

Removing a script from his pocket the performer explains:

“Telephone  sales  much  like  psychic  readings  revolve  around  a  predetermined  script
designed  to  influence  the  person  on  the  other  end  of  the  phone.   Whether  the  outcome
happens to be the illusion of telling that person their future or that an item is the best
investment  they  can  make.    I  have  designed  my  own  script  that  has  a  very  specific
outcome intended.”

The performer hands the script to the spectator who is asked to take a seat and to remove
their cell phone.  The performer ask they call someone they are certain will be in.  The
performer quips:

“I would recommend your least interesting friend or a baby sitter”

Continuing on the performer moves to the front of the stage and allows the spectator to
read the script to whomever they happen to have called.

While the spectator does this performer holds large boards up to the  audience at large.
Each board has a different sentence printed on it the face board informs the audience:

“Each word is designed to influence”

This board is dropped to the stage revealing another board explaining that:

“The words we use can often say much more than we are actually saying”

This board is dropped to the floor and the next board says:

“My  script  is  designed  to  influence  a  choice.    The  choice  of  a  number,  shape  and  a
color”

The  onstage  spectator  finishes  their  conversation  and  hangs  up  the  phone.    During  the
course of this conversation the onstage spectator has asked their conversation partner to
name a color, shape and number.

The  performer  directs  the  spectator  to  remove  an  envelope  from  beneath  their  chair.
Inside this envelope is a prediction detailing the  color shape and number select via the
telephone.

OPENING OBSERVATIONS:

This is a routine that I have performed in both my corporate and theatrical performances
for the past three years.  It has served me well and I hope it will you too.

I have been fascinated with the images of holding boards with writing on them to express
and  idea  and  or  dialogue  ever  since  I  was  child.    I  remember  seeing  the  famous  Bob
Dylan music video for ‘Subterranean Homesick Blues’ in which he uses boards to deliver
key messages to the viewer.

This  strong  imagery  stayed  with  me  for  many  years.    I  eventually  decided  to  use  this
inspiration to create a presentation for the classic invisible deck routine.  This is still a
sequence I use from time to time as it is very strong features a good hook and takes little
room in my case.   However in my full show this sequence is not included.  This is due to
a simple rule I have set myself – I limited card sequence in each performance to know
more than one effect.  My current opening routine using cards and hence I do not include
the invisible deck sequence.

I however loved the hook of using the boards and over time I worked out a replacement
effect  and  method  for  the  invisible  deck  routine  in  the  form  of  a  prediction  sequence
using a thumb writer and the cover provided by the boards themselves.  This worked very
well but the routine still was not complete.

The final piece of the puzzle came with the addition of the “script” handed to a spectator
to read via the telephone.

Suddenly now the routine felt more complete.  It had several layers of presentation that
were  both  fresh  and  modern  but  more  importantly  interesting.    The  staging  of  the
sequence  provided  many  great  “mental  snap  shots”  for  the  audience  to  take  with  them
long after the show has finished.

After working the sequence in after several performances I made some tweaks here and
there. Since that time the routine has been ever present in my performances for the past
three years.  I hope it might become an old friend to you too.

I have broken down each part of this routine into separate sections.  This allows you to
read  and  understand  each  of  the  elements  that  combined  create  the  finished  product.
These  sections  combined  with  the  various  points  made  in  each  section  along  with  the
routine  over  view  should  provide  you  with  everything  you  need  to  put  this  routine  to
work very quickly.

PROPS NEEDED:

In order to perform the effect you will need to collect the following items.

1) A thumb writer of your choice:

I personally opt for the use of a listo lead thumb tip style writer when working onstage.
This  allows  the  marking  made  using  the  thumb  tip  too  much  darker  than  the  pencil
marking.    I  also  carry  a  spare  writer  in  my  right  jacket  pocket  at  all  times.    I  would
recommend having a spare writer at hand whenever you make use of a thumb writer.

2) An envelope:

I use a brown manila US catalogue envelope. You will need to cut a slit in the backside
of the envelope, which will be used to load the prediction inside later in the routine.

3) Blank Paper:

I use an index card sized pad of blank paper to record my predictions on. I would
recommend adding your contact details on the paper, as it will be handed to your onstage
spectator as a gift.

4) Paper Clips:

You will make use a paper clip to create a “hold out” for the prediction billet which will
be marked using the thumb writer later.

5) The Script:

I have included the template of the script I make use of in my own performance for both
the non-card version and the script for the invisible deck routine. Simply print these out
and make use of them.

PREPARING THE PROPS:

In  order  to  use  the  props  you  have  collected  you  will  need  to  prepare  them  in  the
following manner.

Begin by printing the script and placing it in your right jacket pocket along with a thumb
writer. I fold the script and place the thumb writer itself inside of the folds of the script.
Because  I  prefer  to  make  use  of  a  thumb  tip  style  writer  it  allows  me  to  simply  apply
pressure to the folds of the script which will “pop” the thumb tip upward and allow me to
easily place the writer on my thumb.  I have experimented with several other forms of
stealing and placing the thumb tip style writer on my thumb however this simple method
is  highly  effective  and  pretty  much  failsafe.    I  would  highly  recommend  this  over  any
kind of hold out device or thumb tip dropper.  I for a while made use of a commercially
available product designed to hold and deliver thumb tips to the performer upon demand.
This product had a habit of failing at the worst possible moment and thus I switched to
the simple and low-tech method of stealing the tip from the pocket along with the script.

The script is folded as below with the tip resting between the sheets of the fold.  Finally
give  the  script  a  strong  scoring  with  your  thumbnail  and  the  tip  will  rest  in  place
throughout your performance ready for you when you need it.

PREPARING THE BOARDS:

Next you will mount the printed ‘boards’ onto poster board or thick cardboard.  On the
final boards back in the upper right corner superglue a paper clip.  This paper clip will
become a hold out for the folded prediction used in the routine.  This is I hope is clear in
the illustration below.  In the illustration below the prediction billet in its folded position
is highlighted in red.

PREPARING THE PREDICTION:

The  final  step  is  to  prepare  the  prediction  using  a  pencil  that  matches  as  closely  as
possible  your  thumb  writer.    I  personally  make  use  of  a  grease  pencil  style  writer  for
stage  performances.    This  allows  me  to  use  a  marker  pen  to  create  the  bulk  of  the
prediction as the thick black grease marker matches very closely to a marker pen.  The
prediction should look something like the image on the following page.

Notice  the  use  of  tick  boxes  to  allow  a  simple  and  quick  way  of  marking  a  seemingly
long  word  on  the  prediction.    I  frequently  make use  of  this  tick  box  concept  and  have
included  in  the  ‘bonus  chapter’  a  personal  routine  that  makes  use  of  the  tick  box  idea
along  with  some  very  easy  to  construct  props  that  I  am  sure  you  will  want to  put into
action during your own thumb writing routines.

FOLDING THE PREDICTION BILLET:

In order to produce a folded billet you will need to ensure your folding of the prediction
leaves the blank spaces and the check mark box exposed.  This is very much the same as
you might do in a confabulation style routine.

Begin by folding the prediction in thirds.  Fold the top third over and under the printed
text.  This will leave the lower thirds of the text visible to you.  Next fold over and under
the lower third.  This will leave the central portion of the prediction with the text facing
outward.  This allows you to access the areas left blank in the prediction with your thumb
writer later in the routine.  The image above is an example only.  Feel free to play around
with various script in your prediction.

PREPRING THE ENVELOPE:

The prediction envelope requires a very simple adjustment to allow you to load the folded
prediction from the outside and appear to remove it from within the envelope.  I simply
use a long slit one third of the way from the bottom seem of the envelope using a craft
knife.    I  have  over  the  year’s  experimented  with  many  other  forms  of  loading  the
prediction into the envelope.  Including the addition of envelopes within envelopes much
like the classic nest of envelopes. I have however found that these additional envelopes
and  such  make  no  difference  to  your  audience  perception  of  the  effect.    I  would
recommend the simple slit envelope above all other forms of introducing a prediction.

I think the real strength is the perceived free handling.  This casual handling having the
spectator hand you the gimmicked envelope require your being able to direct and control
your audience member.

SET UP:

Begin by placing the folded prediction billet with the side to be filled in facing out into
the  paper  clip  on  the  final  board.    I  place  these  boards  leaning  against  the  chair  the
spectator will later sit on.

Beneath this chair place the prediction envelope with the slit side stuck toward the chairs
surface.

Next place the thumb writer and script into your right hand pocket (I use my right hand
pocket as I write with my right thumb – however switch this if you write with your left
thumb.)

One final precaution you must make before performing the routine is to check that the
performance area has mobile/cell phone reception.  Trust me I have learnt this one the
hard way.

The  very  last  things  I  do  are  set  my  own  phone  to  silent  and  place  it  inside  my  case
onstage.  I have this ready and waiting in case there is a problem with having spectators
make a phone call on their own cell/mobile phone.  I have again learnt this tip the hard
way.   Ignore these two points at your own risk.

ROUTINE OVERVIEW:

Begin by having a spectator joins you onstage.  Hand them the script and ask they take a
seat.    As  you  reach  into  your  right  jacket  pocket  to  remove  the  script  and  work  your
thumb writer into position ready to write.

Hand the script to your spectator and have them take the seat.  At this point instruct the
spectator to call a friend they are certain will be at home at this moment.  Tell them to

read the script to the person on the phone and remember their decisions as they progress
through the wording

At this point move to the right side of the stage and pick up your boards.  Display each of
the boards.  Try to time out reaching the last (loaded with your prediction) board so the
spectator is reading the final paragraph of your script.

As soon as you reach the final board you will mark the correct information chosen by the
spectator  onto  the  held  out  billet  as  already  detailed  in  the  “marking  the  prediction”
chapter.

Reposition  the  board  to  your  left  hand  and  steal  the  folded  marked  billet  into  a  finger
palm position.  Place the board on the floor and move toward the onstage spectator.

Have them remove the envelope from beneath their seat and hand it to you.  Be confident
at this moment and the slit in the envelope will go unnoticed.  Rip open the top of the
envelope  and  position  the  billet  still  resting  in  a  finger  palm  position  beneath  the
envelope in line with the slit.

Reach into the envelope with your right hand and reaching through the slit pull the folded
prediction billet through the slit and into the envelope, finally removing the billet from
the envelope fully.  The illusion is perfectly suited to this loading and removing of the
prediction billet.

At  this  point  hand  the  folded  prediction  billet  to  your  onstage  spectator  and  rip  the
envelope  in  half  at  the  slit  to  both  display  the  lack  of  any  duplication/additional
predictions and also to remove any lasting evidence of the slit in the envelope.  Finally
screw the torn envelope up and in the action of screwing the paper up unload the thumb
writer into the screwed paper ball.  Throw this ball into a case you have waiting onstage
for your used props.  Your hands are now clean.

All that remains is for you to read the prediction having the onstage spectator confirm
what  is  written  on  the  pad  and  that  the  prediction  details  the  choices  made  via  their
telephone conversation.

WRITING ON THE PREDICTION:

To fill in the correct information on the prediction using your thumb writer you simply
write as you would on any other surface.  The poster board forms a rigid surface to “lean”
against as you write.  The position of the board in the hands as shown in the illustration
below  taken  from  an  actual  performance  shows  how  naturally  the  thumb  rests  on  the
prediction paper ready to write.

You will grip the board with your four fingers on the face of the board facing toward the
audience at large.  You thumbs will rest of the backside of the board.  Your right thumb
complete with its swam/thumb tip writer ready will naturally rest on top of the prediction

billet.  You will take all of the weight of the boards with your left hand allowing your
right thumb to move freely without an odd grip marking the prediction billet with your
thumb writer.  A little practice with this style of secret writer will easily bring you to a
good level of proficiency with this.

I discovered this very natural way of writing while performing the invisible deck version
of this effect.  However it was later brought to my attention that John Riggs has published
a similar grip to this in conjunction with secret writing in one of his many manuscripts.  I
am told it is featured in his version of the classic Add A Number plot.  Personally I much
prefer using this nature way of writing under the context of this routine than the rather
tame application of an “Add A Number” style routine.

The script handed to your spectator to read via the telephone, as you will notice is written
to  ensure  the  onstage  spectator  will  say  aloud  the  choices  made  by  their  telephone
spectator.  This allows you to fill in the information without seemingly asking for it.  The
information is rather offered in a seemingly natural process.  One final tip in a difficult
situation is to listen.  Often cell phones speakers are loud enough to simply over hear the
conversation.  This allows you to hear the information should the  spectator not  state it
aloud as the script intends them too.

Finally  failing  all  of  this  simply  ask  the  spectator  to repeat  their  friends  choices  to  the
audience at large.

With these three approaches working for you your hearing the information is a sure thing.

The combination of tick box’s and simple to write information such as the number and
shapes allow for a very speedy writing procedure.  I have chosen these items for that very
reason.  I think they seem strong enough for the routine as well as allowing me to reduce
my writing on the prediction.  I am fully aware that my thumb writing skills are not quite
up to par with Fogel and try to structure such effect with this in mind!

STEALING THE PREDICTION FROM THE BAORD:

To steal the folded prediction from the board you will transfer the board from your two
handed grip to a one handed grip with the board hanging by your side.  Your thumb still
wearing the writer fingers can contact the prediction easily and covertly with the board in
this position.  You will push forward with your fingers and remain still with your thumb
while  it  applies  a  downward  pressure.    This  causes  the  board  to  move  away  from  the
prediction rather than the prediction move away  from the board.  This is a small point
however  this  point  ensures  that  the  movement  of  the  board  will  cover  the  smaller
movement of stealing the prediction.

In  one  continuing motion  move  the  board  to  your  free  hand  and  place  it  on  top  of  the
stack of boards on the stage floor.

LOADING THE PREDICTION INTO THE ENVELOPE:

With the prediction resting in a finger palm position you will simple have the envelope
removed  and  grip  it  in  your  free  hand.    Pausing for  a  beat  you  will  essentially  lay  the
prediction envelope onto the awaiting folded prediction billet in your right hand.  This is
a casual move that relies on timing and smoothness.  You will need to work this through
in front of a mirror or camera.  This is a knack rather than a technique.  After a few trial
runs you will have this mastered in no time.

REVALING THE PREDICTION:

Of course the way in which you will reveal the prediction is totally up to you.  However I
would recommend removing the prediction from the envelope and immediately handing t
to  your  spectator to  read  TO THEMSELVES.   I do  this  as  I reach  for  the  microphone
stand  to  place  the  microphone  into.    I  then  have  the  prediction  returned  to  me  and
explain:

“I want you to make sure that what I read is really written on here.  You let everyone
know if I’m just making this up!”

I  then  read  the  prediction  into  the  microphone  with  my  spectator  reading  over  my
shoulder to confirm what I am saying is indeed true.

I recommend this for several reasons.  The first  and believe me it has happened.  You
may have someone onstage who simply can not read.  If this happens you have not only
blown the climax of the effect but really made someone fee bad in front of a room full of
people  also  and  the  most  obvious  you  are  the  one  with  the  experience  at  delivering
speech to an audience not your spectator.  You can use tone, speed and pauses to create
drama from the prediction that your spectator simply could not.

BONUS CHAPTER – WRITING SURFACES.

I have long harnessed the power of thumb writing in several routines.  I am especially
found of the Jaks thought transparent sequence and my own “Swami Pad” routine.

I however like many hate the awkward grip of the pad required to write on the surface.
This has leaded me to create three options to remedy this problem.

THE STABLE PAD:

The first I call the “stable pad” an image of which appears below.

This is the version I make use of more often than not.  To put it simply the pad features a
hinged flap that can be gripped during the writing sequence attached the back of the pad.

To make this pad you will require two matching small pads.  I use a jotter pad of paper
with card backing and covers.

I cut the barcode image from the card backing and affix it to the second pad matching up
the extra barcode with the barcode on the backing of the pad.  I use a scotch tape to attach
the barcode, which creates a hinge.

When I wish to make use of my thumb writer I allow the hinge to flap open and grip the
hinge between my middle fingers of my left hand.  The cover is now open and obscures
the  hinge.    This  hinge  is  now  gripped  securely  in  my  left  hand,  which  also  wears  the
writer on the left thumb.  The pad is now stable and allows me to write on the pad with
the writer without the awkward grip often associated with thumb writing.

This may read complex however the images below should make this concept very clear.

The second of my concepts I call the Thread Pad:

THREAD PAD:

This pad is constructed using a nylon thread.  On the back cover of the pad I run two lines
of thread from the top of the back cover to the bottom.  I tie the lines in knots and finish
them with a small drop of super glue.  I use nylon thread tested to a ten-pound weight.

When I wish to write on the pad I simply insert my fingers between the thread and the
back cover of the pad.  This thread causes the pad to “stick” to the hand and  allows  a
stable writing surface for the performer to write on without the awkward grip often seen
with thumb writing.

The final of these three concepts is very simple but very effective.

THE POST IT NOTE PAD:

This pad is made from a stack of post it notes.  To construct this pad take a stack of post
it notes and breaks them in half.  You will now have two stacks both with their sticky
surfaces exposed.

Place the pads back together reversing one of the stacks before you stick it back to the
other exposed sticky section of the other half.  This now leaves you with a full stack of
post it notes that has a sticky side exposed on each side.

When writing the performer presses hard on the sticky section of the pad which will stick
to his hand allowing a stable writing surface.  The other bonus of this pad is that the top
sheet will be facing sticky side out allowing the performer to write and peel the top note
from the pad and stick it writing side obscured either to yourself or even to a spectator.

This is the simplest form of thumb writing pads I have used and is very practical however
for formal performances I make use of the ‘stable pad” the most.  The post it note pad is
worth noting in case you are ever stuck in a tough spot.

BONUS EFFECT – THE MULTI-PURPOSE PAD:

This  is  a  close  up  performance  piece  that  I  have  used  successful  for  some  time.    It
combines several principles to create what I think is an elegant solution.  The whole is
much larger than the sum of its parts.

In effect:

The performer explains that rather than he reading the minds of his audience he is going
to try to switch things around and have one member of the audience read his mind.

The performer selects one person from the group and removes a pad and pencil from his
pocket.  He openly records something on the pad cautioning the assist sting spectator not
to look at what he writes.

The  performer  closes  up  the  pad  and  places  the  pencil  behind  his  ear.    He  has  the
spectator focus and eventually name a color.  The spectator replies:

“Yellow”

The performer opens the pad and displays what he recorded to the spectator.  It is sure
enough the word ‘yellow.’

The performer excitedly continues.  He records something on his pad once again closing
the pad and placing the pencil behind his ear.  He has the spectator focus on two simple
shapes.  The spectator replies:

“A circle and a triangle”

Opening  the  pad  and  showing  it  to  all,  the  performer  has  sure  enough  a  circle  and  a
triangle.

The performer now openly draws the outline of a hand on the pad.  The performer has the
spectator hold their hand to the performers, the performer cautions the spectator to hold
their hand close but not to make contact.

The  performer  now  marks  an  X  on  the  outline  of  a  hand  and  closes  the  pad.    The
performer has the spectator hold their hand close to his again and finally has her decide
which finger he is focusing on.  Sure enough the X is marked on that very finger.

Finally  the  performer  grabs  the  spectator’s  hand  for  a  second  and  suddenly  records
something on his pad.  He throws the pencil away and holds the pad high in the air.  The
performer hurriedly has the spectator name a three-digit number.  Instantly the performer
opens the pad and sure enough the performer has recorded the very number the spectator
named.

METHOD:

This routine makes use of the “stable pad” outlines earlier in the manuscript. With the
pad prepared and ready I then on the first page write a checklist of seven colors:

1.  Pink
2.  Red
3.  Green
4.  Yellow
5.  Blue
6.  Purple
7.  Orange

I have found these colors cover almost every situation. I have the spectator think about
which color I am focusing on.  I however explain that it is not obvious.  I often wear a lot
of black and would say something like:

“Now its not obvious.  I mean I didn’t just look at my shirt and think of black. It’s a little
more difficult than that.  Do not try to work it out because simply you cannot work it out
it would be impossible for you to guess.  Rather focus and let a color flood your vision.
Imagine  everything  around  has  become  one  color.    Almost  like  you  could  turn  up  and
down the contrast on a TV set.  Which color do you see?”

I have found that stating the above will lead the spectator away from the colors black and
white.    I  have  chosen  not  to  include  these  colors  on  my  checklist  however  you  can
expand and reduce the number of colors covered in your checklist.

I have the spectator name aloud the color they are seeing and at that moment mark the
correct color with a “tick” using my thumb writer.

You will notice that I make a point of placing the pencil behind my ear throughout the
routine.    I  also  stand  with  my  body  turned  to  the  right.    The  pencil  is  always  placed
behind the right ear.  In this way it is constantly on the eyes and minds of the spectator as
being away from the pad at the moment of the spectator naming their thought.

I have also on occasion used the checklist to seemingly predict a star sign.  Having each
of  the  12  signs  in  a  list  marking  the  checklist  with  a  tick  upon  discovering  the  correct
sign.

Display the correct color to your spectator only.  I point to the correct color and run my
finger along to the tick next to it.  I then state:

“Which color did I write and mark on this pad?”

This wording is enough to imply to your audience at large that you’re recording of the
entire word and the word alone.  Now rip the page from the pad and screw it up I screw

up this pad due to the checklist.  The other pages can remain open or hand them to people
in the group.

Next you will use the classic psychological force of the shapes circle and triangle.  I have
chosen to include this so I can at this point in the performer actually show people what I
am  recording  on  the  pad  before  I  have  the  spectator  focus  on  a  set  of  shapes.    This  is
included to break down any suspicion about what I am or am not recording on the pad.
In  my  experience  this  open  recording  combined  with  a  subtle  flash  of  the  pad  coming
later in the effect cut down this train of thought in your spectators minds.

Have  the  spectator  think  about  two  simple  shapes  as  in  the  classic  force  and  display
you’re hit or miss whatever the case may be.

Regardless of whether this force hits or not you continue with the next phase. If the force
hits I excitedly continue if not I explain we need to do one final warm up before moving
onto  the  hardest  one  of  all.    This  is  a  minor  failure  that  will  be  forgotten  if  it  misses
however  the  ability  to  openly  show  what  is  recorded  before  the  spectator  names  their
shapes is worthy of inclusion regardless of the outcome.

The next phase is the “correct finger” I draw the outline of a hand on the page. At this
point you will seemingly focus for a moment and record an X on one of the fingers.  I
explain to the group:

“I’m going to mark one of these fingers with an X.”

I now fake write the X on the page and quickly flash it to the audience as I now have the
spectator  place  their  hand  close  to  my  own  without  it  coming  into  contact.    Have  the
spectator imagine an invisible line contacting your finger to theirs. This flash is so quick
and subtle that the audience will later remember your showing them the X before your
spectator announced which finger they were focused upon.

Have them explain which finger they imagined and display your thumb written X at the
correct finger.

You will notice that so far in this sequence you  have only record a tick mark and a X
using thumb writing I think this is a really good thing.  I always try to reduce the amount
of writing needed in any routine as the less you  have to write the  easier it becomes to
cover.

The  final  phase  is  nothing  more  than  the  standard  three-digit  thought  transference
sequence.  I have the spectator hold my hand and think of the number I have apparently
recorded.  In actual fact I have fake written a number on the pad.  I then fill in each digit
as the spectator names them.