Effect 3

A committee of three is invited to meet with the performer prior to showtime to participate in a test conditions experiment. Each spectator is handed a small slip of paper and a pencil. While the performer's back is turned, one spectator is instructed to print the name of any city in the world on his slip. A second spectator is asked to write any three digit number on his slip. The third spectator is asked to print any word in the English language on his slip. The spectators are instructed to quarter-fold their slips, print their names on the outside and seal them in a small leather case.

The performer brings out the unlocked, nested chests on a tray. The small chest is removed and placed along side the larger one. The leather case containing the spectator's slips is placed inside the small chest which is locked. The spectators initial the label on top of the chest. The small chest is then locked inside the large one and once again, the spectator's initial a label on top of the chest. The locked nested chests are then retained by the committee until they are called on stage during the performance.

At that time, the performer recaps what transpired prior to the show. The committee confirms that while the performer's back was turned, they recorded their thoughts on three slips of paper which were then placed in a leather case and locked inside two nested wooden chests. Further, they certify that the locked chests have not left their possession since that time. The committeemen bring the chests on stage. (Note: Have the tray and a large drawing pad on the table). The large chest is unlocked and the small chest is removed and placed adjacent to it on the tray. The performer picks up the tray to allow the committee and the audience to look at and confirm that the initials on the chests are theirs. At this point, you eject the leather case from the tray into the small chest as you tilt the tray and chests to enable the committeemen to see the labels.

Replacing the tray on the table, the performer removes a marking pen from his pocket and picks up the drawing pad. The performer asks one of the committeemen to concentrate on his recorded thought, any city in the world. The performer jots something on the pad. Flipping to a second page, the performer asks the second member of the committee to concentrate on his thought, any three digit number. The performer writes something on the pad. Flipping to a third page, the performer asks the final member of the committee to concentrate on his thought, any word in the English language. After writing something, the performer closes the pad and hands it to a fourth spectator to hold. (Note: To prevent "bleed through," glue every other page so each sheet consists of a double thickness.)

The committee unlocks the small chest and removes the leather case. The three slips are removed by the committee and each is returned to its proper owner. The first spectator is asked to open and read aloud the city that he freely selected, for example, "Paris." the spectator holding the pad is asked to open the pad and display the first page. There, boldly printed on the page is one word, "Paris!" The second spectator is asked to unfold his slip and to read aloud his mentally selected three digit number, for example, "8-1-3." The spectator with the pad is asked to display the second page. Written on page in large, bold strokes is the number, "813." Finally, the third spectator is asked to open his slip and read aloud the one word out of thousands that he wrote, for example, "fake!" The spectator with the pad is asked to show what's written on the third sheet. It's the word, "fake."

I hope you you've enjoyed this rather detailed revelation. The workmanship was outstanding and the quest for making the effect workable was rewarding, to say the least. I can't begin to tell you how many prototypes were made and discarded, or how many transatlantic phone calls were made before we were satisfied with the working, appearance and performing ease of this effect. Creating the Nostradamus Prediction effect was a labor of love.

record your act? What use do you make of it?

egy inch of videotape that's ever been taken iewing it is very painful since, five minutes after it's a fan accompli, I've always found . someihingio dislike ,

. Excerpt from Vibrations interview withRobert L. Bluemle about everything I ve ever done creatively.

Obviously, recording the act is an indespensible tool in recognizing and correcting flaws in one's performance. I use it to evaluate everything from my delivery, stage presence, and blocking, to microphone technique and audience response.

It doesn't require expensive or complex equipment. A camcorder at every performance is easy enough to arrange.

No performer who is serious about his art should be without its benefits.In the long haul, you'll be glad you made the effort.

This effect originally appeared in Volume II of my "World of Super Mentalism," as "Psi-Stebbins." It's always been one of my favorite effects and it quickly spread throughout magicdom. Many years later, the very talented Chicago mentalist, Ross Johnson altered the presentation (to speed up the climax) by cutting the number of cards revealed from 10 to 5 using the well known "Magician's Choice" artifice. In this version, I've combined my original effect with Ross' improvement and added a kicker finish from a humorous Karroll Fox card effect.

The Art Of Cold Reading

The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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