To Perform

The working is identical to the first routine. Prior to the performance, have the spectator print her Social Security number at the top of the 3" x 5" file card in invisible ink. Next, the telephone number of someone you couldn't possibly know, and beneath the telephone number, this individual's name. I first saw this outstanding telephone routine performed many years ago by the well known and highly respected mentalist, Ross Johnson. Actually, what was so unique about the routine was the line that Ross used to close it. However, since I haven't obtained his permission to publish the line, you'll just have to create your own.

That's all there is to it. After you've closed the Himber Wallet under the pretext of allowing the invisible ink to dry, wait a second or two and then open the wallet to the opposite side. Have the spectator remove the blank card, which she mistakenly assumes is the card with her invisible writing on it. Have the spectator fold the card and seal it in a small envelope. The spectator is requested to retain the envelope for safekeeping. Once you're alone, you develop the writing on the spectator's card and you're all set to feed the information back to her as described under "THE EFFECT."

I can assure you, this is one of the boldest, simplest, most deceptive information getting devices ever conceived. Use it, you'll be happy that you did. You say you're not satisfied? Tell you what I'm going to do.

There are quite a few other presentations that you can use in conjunction with the "Transparen-See" principle. Here's a couple to get you started. Take your pick. Both are extremely entertaining.

1. Obtain a clock face rubber stamp available in most stores that sell stock design rubber stamps. The clock design simulates a clock face with the exception of the hands. To perform, print a clock face on the index or file cards on either side of the Himber style wallet.

During a pre-show encounter, have a spectator think of an hour and then, using the invisible ink pen, have him draw the hands on the face of the watch to represent the hour he is thinking of. If you have a quartz wristwatch, prior to showtime, simply set the hands on your watch to the hour the spectator has mentally selected and leave the stem pulled out. Why? Because quite a few quartz watches stop running when the stem is pulled out. Give it a try.

During your performance, have the spectator hold your wristwatch face side down in his hand. Ask him to reveal the hour he is thinking of. When he does so, have him call out the time showing on your watch.

2. During your pre-show meeting with a spectator, ask her to print the name of her favorite movie star on an index card, using an invisible ink pen to preclude the possibility of your seeing what he or she has written. After the spectator has sealed the card in an envelope and departed, develop the "hot" card you switched out and you're all set to do a little acting of your own.

During your performance you ask the spectator to imagine she is attending Hollywood's glittering Academy Awards presentation. After the show, she spots her favorite movie star and immediately moves in to ask for an autograph. At this point, you announce that you will attempt to place yourself in the spectator's mind and visualize the celebrity at the moment he signed the spectator's autograph book. Approaching a large easel, the performer proceeds to correctly duplicate the signature of the spectator's favorite movie star.

Naturally, I've only skimmed the surface. Check the presentations included in the effect entitled, "Midnight Miracle" elsewhere in this book. They too can be used in conjunction with "Transparen-See."

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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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