The How To

The second and third lines from the bottom of every pair of facing pages throughout the four gaffed books is specially worded. You'll note that the proper noun in the third line from the bottom of the left hand page as you look at it is "Robert". The proper noun in the third line from the bottom of the facing right hand page is "Mr. Brewster." Obviously, all you have to do is memorize the respective force names. Depending on which page, the left or right hand page, the spectator is looking at, you're prepared to reveal the name the spectator will be thinking of.

How to get to the third line from the bottom of the selected page is clearly described under the description of "THE EFFECT." When you drop down to the second line from the bottom of the selected page, you'll note that the sentence is constructed of all three and four letter words. There is only one long word containing over four letters in the sentence. Forcing this word is just a question of directing the spectator to select a word of more than four or five letters.

In the event the spectator is working with the left hand page as he looks at it, you simply write the following code: "82-L-1." Naturally, the first word in the left hand column on page 82 is "difference", your left hand page force word. If the spectator is looking at the right hand page, you write the code: "165-L-1." If you check, the first word in the left hand column on page 165, it's "judiciary", your right hand force word. That's all there is to it, except for your acknowledgment of the audience's applause.

Every effect possible with "Ultimate Flashback" is direct, fast and totally baffling. By combining two or three of the effects, you'll have a blockbuster routine, one your audience will long remember.

Unless you have the "Ultimate Flashback" books, you'll be at a loss to perform these effects. If that sounds like a commercial, it is. I can't think of another book test on the market that will surpass its versatility. But, whether you choose to acquire "Ultimate Flashback" or not, I wanted to share its secrets and history of development with you, just for the record.

(Note: "Ultimate Flashback" is in the works at the time this book is being published. If all goes well, it should be available in the near future, barring any unforseen problems with the publisher.)

There has been some controversy over the years relative to the use of playing cards in mentalism. Just in case I have not made myself abundantly clear on this issue, I've always used them and always will. However, mental card effects should be restricted to a single usage during any one stand-up performance. The exception, of course, is close-up, but even then, I limit myself to two or three effects. It goes without saying (but I'll say it anyway) if you choose to use playing cards, make sure the effect produced is of blockbuster proportions and extremely "mental." Anything less becomes a "card trick."

The following effect is one that does utilize a bit of sleight of hand, but it's minimal. Perhaps you're already familiar with the move since it's generally been credited to a number of people, from Trevor Lewis (Pg. 22, Close-up Lecture Notes) to Ken Krenzel (The Collected Almanac). Regardless of who originated the sleight, it's very deceptive and clean enough to use in a close-up mental 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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