Luke Jermay – BOB – A confabulation routine

Description

This is Luke’s excellently engineered confabulation routine. This routine combines several different methods to create a rather detailed prediction effect. The routine showcases the possibility of mixing such methods as mechanical forces, psychological forces, double writing, reverse engineered predictions, planted predictions and extending predictions using ‘bolstering’ techniques. Within the whole routine, the performer will only need to ‘double write’ three times. Each of these happen under the logical ‘covers’ of writing another piece of information. This is also a solution to the time delay often linked with double writing, as the performer will only write a single word at any time and therefore avoid any delays.

It is assumed that if you are buying this ebook, you are at least on some level already versed with the classic ‘Confabulation’ routine. This assumption leads Luke to leave the choice of wallet and the style of load for the prediction to the performer. He wrote the effect description using the generic example of a wallet and an envelope.

Effect:

The performer begins:“Despite my rough exterior and prison tattoos, I have a slight confession to make. I am addicted to pulp romance novels. I love them. I especially like Susan Grant. She – as any true romance novel enthusiast can attest – is the queen of tacky romance. This one is especially good. ‘Rough Love – a rouge gentleman had known stormy seas for too long’ — oh it is great. I really should read this one again.”

The performer places a pair of reading glasses on and begins turning the pages of the book as if reading them. After a few beats he continues:

“Now probably isn’t the best time.”

The performer places his glasses away with a smile and continues:

“Every night before the shows starts, I sit backstage and I read a little bit of a romance novel. I know it is embarrassing, but it is true. As I walk out onstage and look around the audience I look for one woman in the crowd who I think could be the female lead in a romance novel. However, as with all great romance novels, finding that woman is not as easy as one might think.”

The performer removes an index card from his pocket and explains:

“Before the show, I let whichever romance novel I happen to be reading fall open on a page at random. I write that page number down on this index card. Every lady in the room — please think of a number. A number between 1 and 300, as this book only has 300 pages in it.”

The performer pauses and catches the eye of a man in the audience and quips:

“Sir – really, I am flattered, but there is no need for you to think of a number. I just don’t see you as the female lead tonight.”

The performer asks a few people what number they thought of in order to show the wide selections made. The performer then continues:

“I wrote down a number on this index card. That number is between 20 – 30. Please stand if you thought of a number between 20 – 30. I wrote the number 27. Everyone please sit unless you were thinking of the number 27.”

The performer walks to the lady still standing in the audience and as he talks, he hands her the romance novel.

“This evening, you are the lead lady. You will be the driving force behind our novel. However before you do make any decisions, I want to show you something I made for you.”

The performer removes his wallet and opens it to display an envelope. Drawn on this envelope is a heart with an arrow running through it. The performer continues:

“Miss, what is your name?”

The spectator responds with her name and the performer removes a pen from his jacket and fills in the heart on the envelope with the spectator’s name. The envelope is replaced inside the performer’s wallet, which is further replaced into his jacket pocket. The performer has the spectator join him onstage and continues:

“We are going to create our very own romance novel this evening. As any Susan Grant fan would know, no love story could take place in Milwaukee or Long Island. They happen in amazing places like New York or Paris or Russia. Somewhere with a romantic vista and beautiful landmarks for the lead characters to meet and reflect in the glory of their surroundings.”

The performer removes a small note pad and a pen and continues:

“Where this evening do you think our romance novel should take place?”

The performer records the spectator’s answer on the pad, displaying it to all openly as he writes. The performer then continues:

“Good. Now I want you imagine what your love interest in our romance novel will be called and what he might look like. Now I know you’re here with your husband so don’t worry. Instead of you picking one, I want you to find a name at random.”

The performer retrieves the romance novel from the spectator and riffles the pages toward her, asking that she say the word “stop.” She is then handed the book, asked to scan over the various names on the page and select one for her love interest in the imaginary romance novel. The performer instructs the spectator:

“Take a moment to look over the page and read a little of the book. When you do spot a name, see if you like the sound of that person’s name.”

The performer once again records the spectator’s choice on his note pad. The performer then continues:

“What do you think this person might look like?”

The performer allows the spectator to describe the appearance of the person chosen. The performer does not write this on his pad, but simply listens. The performer then continues:

“Now we have established where and with whom — we need to decide on when. After we have done that the scene is set for our tale to take shape.”

The performer removes his watch and instructs the spectator to turn it so the face is downward, then spin the hands and stop at any point they wish. The watch is checked and the time is read aloud. The time is recorded on the performer’s note pad. The performer then continues:

“Perfect. Now if I asked you to name a colour without thinking, what would it be?”

The spectator names a colour, which is recorded alongside the other information on the performer’s note pad. The performer continues:

“Perfect. And now the final piece to our puzzle — a special object. A present that your newfound love will bring with him. Again, select this at random.”

The performer once again riffles the pages of the book toward the spectator, who calls “stop” and selects a ‘special item’ printed on the page. The performer continues:

“Very good. Now we have everything set. You will remember at the very beginning I showed you an envelope that now has your name written on it. I believe that means that letter is now addressed to you. I couldn’t possibly open another person’s mail, so please take it and tear it open.”

The performer removes his wallet and hands the spectator the envelope. The envelope is opened and inside a letter is seen. The performer has the spectator open the letter and reads it to her as he recaps the decisions made by the spectator. The performer then takes the letter explaining:

“I am going to read everything that is written on this letter. Now you have read it, so please make sure that I did not add anything or say something is written on it when it, in truth, is not.”

The performer reads the letter aloud. It predicts each choice made by the spectator from the moment they walked on the stage. The performer then stops and remarks:

“There is something interesting on the other side of this letter. You did not know you were going to be the one lady in this room that thought of the number I chose at random before the show started. However it seems you fit the role very well.”

The performer reads what is written on the back of the letter and it accurately describes the spectator’s appearance. Finally the letter details the ‘special object’ and lists it as an early birthday present. The performer pauses and requests:

“Please tell everyone here your birthday. Not the year — just the month and the day.”

Despite the spectator having not mentioned her birthday before this moment, the letter is shown to accurately predict her birthday.

1st edition 2008; 19 pages.
word count: 5951 which is equivalent to 23 standard pages of text