Richard Busch - Mothers Home Companion

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MOTHER

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H O M E C O M P A N I O N

BY

RICHARD BUSCH



C O N T E N T S

DEDICATION

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FOREWARD by Ted Karmilovich

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THERE'S NO SUCH THING AS A BOOK TEST !

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THE MOMMY MANEUVER OR THE DIFFERENCE THAT MAKES ALL THE DIFFERENC E

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HANDS OFF MOTHE R (AN EARLY PATH ) OR LOOK MA . . . NO HANDS !

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IMPROMPTU MOTHER : THE LITTLE MOTHER BOOK TES T OR LOOK TED . . . NO HANDS!

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EPILOGUE

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DEDICATION :

To the loving memories of

. . Celia Busch and Anna Dubi n

My Mother and Grand Mother, the best Mothers anyone coul d still miss . That they have not come back via spiritua l means is proof enough to me that such a return journey is a t least, for now, impossible .

To Cynthia dev i ne .

. . . who is still thinking of words for me t o

To Jennifer and Eric

. . . never out of our hearts and minds .

Special thanks to : Ted Karmilovic h Marc Sky Ford Kros s Roy Mille r and all the other members o f THE LEGENDARY THIRTEE N and Tom Interva l

MOTHER'S HOME COMPANION is a copyrighted manuscript b y Richard Busch . If you xerox it, you're a putz! If you ti p it to others, . . . don't ask !

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RICHARD BUSCH 199 6

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F 0 RE W ARD by Ted Karmilovich, Jr .

Since its release one year ago, the Mother of All Boo k Tests has been met with praise and critical acclaim fro m members of the fraternity both here in the United States an d around the world . During this short period of time, I have received call s and letters from performers eager to share their thought s and ideas on one of my favorite effects . I have been amaze d and delighted at the many different directions othe r performers have taken this simple effect, molding it an d shaping it to fit their particular needs and personalities . My good friend, Richard Busch, is one such performer . What you have before you are the results of hours o f Richard's thinking, trial, and error, which have produce d applications and approaches that reach far and beyond th e basic MOAB presentation . Beginning with a wonderful no-pum p solution to the first letter problem, and ending with a n impromptu version of MOAB, Richard's thinking takes yo u along devious paths and explores other diabolica l presentational avenues for this celebrated effect . It's a book of ideas and psychological reasonings tha t you will use, and which will allow you to get the most ou t of your MOAB .

Enjoy ! Ted Karmilovich, Jr . April 4, 199 6 Plainsboro, New Jerse y

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THERE'S NO SUCH THING AS A BOOK TEST ! People talk about "common sense ." People talk about man y things . But most people do not have common sense or ofte n any kind of sense . Those who do are usually in the minorit y so therefore there is nothing common at all about commo n sense . It is a misnomer, an improper designation o r understanding of a word . Ever since the word "hypnosis" was first coined in th e 1840's by Scottish physician Dr . James Braid (1795-1860) , most everybody continues to know that hypnosis is sleep . H e also invented the terms "hypnotist," "hypnotism," an d "suggestion ." After all, the word "hypnosis" comes fro m Hypnos, the greek G-d of sleep . Braid soon discovered tha t "hypnosis" is the very antithesis of sleep . If anything , people are already stuck in their sleep and as Buddha said , Braid tried to change his new word t o need to wake up . "monoideism" but it was too late . Ormond McGill had alread y written "The Art of Stage Hypnotism ." [He wrote abou t "animal magnetism influence" but we'll save such . . . inaccuracy . . . for another book or perhaps video . Mayb e something on speed techniques which have never been shown t o the fraternity .] Meanwhile young magicians who didn't eve n shave yet read the book, had business cards printed up, an d learned how to use "it" to put people "under" whil e undercutting the real workers in the process . The ar t received an early black eye . And the misnomer lives on . Nu, common sense is not very common . Just go to a magi c club meeting, most any committee meeting, or G-d forbid ge t anywhere near a lawyer and you'll see what I mean . And pe r se, there is absolutely no such "thing" as hypnosis, a t least the way most people mean it . But that's thei r erroneous hypnosis or focused concentration, awareness, o r belief . Misnomers are common . Now, what about this boast of mine that there is no suc h thing as a book test? To me, a test is something we firs t began passing or failing in school . It was a chance t o prove our adequacy or goodness . It was also a chance t o prove we weren't inadequate or had . It was at best a n adversarial, dualistic event where it was either us agains t the teacher, or us against a class average . Whatever i t was, it has no place now on a stage where people just wan t to be entertained and amazed . I also don't prefer word s like "trick" or "spectator," where some rube is supposed t o passively get taken in or badly fooled by something sill y and cheap .

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NOW YOU SEE IT . . . NOW YOU DON' T This reminds me of comedian Jerry Seinfeld's parody of (o r if you wish satirical warning for) immature magicians : "HERE'S A QUARTER . . . NOW IT'S GONE . . . YOU'RE A JERK!" A s Brother Ford and I have discussed over N .J . "cwahfee," I don't present any card tricks anymore than I do book tests . Those who do I feel weaken their presentation and our art . I do not present magical misnomers, puzzles, tricks, stunts , or tests . As Dr . Braid found out, once a word sticks and get s believed, good luck trying to change it, or people's minds . Hey, isn't that what "hypnosis" is really all about? So to o we are stuck these days with the misnomer "book test," bu t we certainly don't have to present it as a test . I realize you've already spent a pretty fair amount of mone y to own The Mother Of All Book Tests . Me too . I invite yo u to join me in the pages that follow and share in m y treatment of the greatest book test of our time . I think i t is a defining example of what professional, psychi c entertainment is all about and should always strive to be .

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THE MOMMY MANEUVER OR THE DIFFERENCE THAT MAKES ALL THE DIFFERENC E Ted Karmilovich proclaims his MOTHER OF ALL BOOK TESTS a s "THE GREATEST BOOK TEST . EVER ." Since it's a fact tha t none of us can really know the future, I'd agree that MOA B is THE GREATEST BOOK TEST . SO FAR . Since you own it an d have delighted in its audience reaction, you know this i s true . You also know that the workings of MOAB are worthy o f your absolute best attention and presentation because it i s truly one of the strongest effects you will ever perform . DID YOU NOTICE THE HEADING FOR CHAPTER 13 ? After the word has been selected, the book is closed and se t aside . It is time for your revelation, your mind becomin g one with your participant, not passive spectator . As m y friend Ford Kross might put it (and he was the first to sa y it and get it in print!) : "I AM GOING TO REACH OUT AND TOUCH YOUR MIND WITH MY MIND . YOU MAY ACTUALLY FEEL MY MIND TOUCH YOURS . " I suggest building on Kross's powerful concept o f "suggestive mentalism" to deeply involve our participant i n a joint venture of mental focus and concentration, a far cr y from any concept of "test" to prove how clever the performe r is . I am sure that all MOAB owners realize that what is sai d next is essential, crucial, and pivotal to the entir e effect . The ploys Ted and his colleagues of the Legendar y Thirteen suggest are needless to say already magnificent an d brilliantly thought out ; each one tried and true . But MOA B is such an evolutionary landmark in the history of our ar t that I feel especially drawn to it . . . to ponder, t o create, to go another way as I inevitably do . O .K . It's time for the revelation . Not mind against mind , but mind working with mind, the mental collaboration of tw o minds linked in centered focus . Only after this atmospher e has been gently established, you might say something like : "I'D LIKE YOU TO SILENTLY CONCENTRATE ON ALL THE LETTERS O F YOUR WORD . WORKING TOGETHER, I REALLY BELIEVE WE CAN D O THIS . LET'S TAKE A BREATH TOGETHER AND BOTH BE SENSITIVE . PLEASE, . . . JOIN MY BELIEF! " CO-PARTICIPAN T The un-magician-like ideas of taking a deep breath together , both being sensitive coupled with the invitation to "please , 7

join my belief" makes you a co-participant with someone wh o now really can be more calm and focused as they really wan t to work with you . The mind and body are now set fo r miracletime . FOUR REASONS NOT TO PASSOVER After acting your part of the sensitive, receptive on e (which we should all strive to be anyway), boldly jot dow n the letter "E" on your pad or business card . Put you r writing marker down and table your card face-down (or fo r stage, hold your pad at arm's length) . If there is even on e other person present (or better yet a whole audience), yo u may purposefully allow the "E" to be clearly seen by them . In fact, you want it to flash for four very importan t reasons . 1. It shows the audience members that you are being up-fron t and honest, telling the truth, and not hiding anything fro m them . You really wrote something down and they can see wha t it is, even before your co-participant . For once in thei r lives, they are "in the know" and like that feeling a lot . They therefore like you a lot too . 2. You are inviting the audience to be involved and share i n your thought process . They are working with you and no t left out or bored as in some long, drawn-out, convolute d mental magic processes I'm sure you have seen other peopl e do . 3. You are seeding the idea that every time you writ e something down, past or future, you were or will be just a s honest . Do not underestimate this important psychologica l weapon to have in your corner . It just may take the hea t out of a hot kitchen later on . After all, you just aren' t the kind of person who would ever fool anybody . 4. It's simply FUN for you to let the "E" flash because yo u deserve to have fun as you perform and THE MOMMY MANEUVER i s the only method that allows you the freedom and luxury to d o so at this point . With me? Good . It is time to perform the all importan t stratagem I am referring to as : THE FIRST LETTER PLOY Say : "THERE, I'M COMMITTED . WHAT WAS THE FIRST LETTER OF YOU R WORD? " They reply . As an example, let's say that "A" is called . 8



You continue : "GREAT . AS YOU SILENTLY CONCENTRATED ON ALL THE LETTERS I N YOUR MIND, THE FIRST LETTER THAT STOOD OUT TO ME FROM YOU R FOCUS WAS "E . " As you simply reveal the written "E," (by showing the pad o r in close-up, allowing your active co-participant to turn i t over) immediately continue with : "AND THERE IS AN "E" in APARTMENT, A .P .A .R .T .M .E .N .T . " THE FIRST LETTER PLOY is my version of the Max Maven-esqu e principle of double entendre . The double speak applicatio n and meaning of "the first letter of your word" vs . "th e first letter that stood out to me from your focus as yo u concentrated on ALL the letters in your mind" completel y disarms our participant who after all is trying and wantin g to accomplish a miracle with you . THE FIRST LETTER PLOY i s the stuff of which miracles and legends are made, especiall y at this all-important moment of MOAB . My unique approach to MOAB enables us to never need to b e "wrong," "close," or "pump" ever again . What we initially write and immediately show is exactl y correct! To my knowledge, no other method has so solve d this problem . The word can now be immediately revealed either by name , sketch, or both as you wish, just as Ted intended . WHY "E" ? This is called THE MOMMY MANEUVER for a very good reaso n besides the obvious MOMMY from MOTHER . MOMMY sounds lik e MOM-E . Yes E! That's the secret! I discovered tha t virtually every acceptable MOAB word has an E . You jus t can't miss even though there is (of course) one lon e exception . But fear not . The "out" for E-les s "Illustration" is so good you'll hope it is selected . I t plays like : "WHAT'S THAT, NO "E?" BUT I FELT MY MIND TOUCH YOURS . WAI T . . . E. . . . THERE MUST BE AN "E ." . . . THIS FEELS SO RIGHT . . . . Y. . . . E . . . . E .Y .E . SPELLS EYE . YOU THOUGHT A "LETTER" AND I SENSED A "PICTURE" AS IMAGERY (OR PICTURES ) IS THE LANGUAGE OF THE BRAIN . THIS IS AMAZING, NOT "E .Y .E . " BUT "I" [as you point first to your eye, then yourself] . . . . AND IT'S TRUE . THERE IS AN "I" IN ILLUSTRATION , I .L .L .U .S .T .R .A .T .I .O .N . AND NO WONDER I SENSED IT . THER E ARE TWO "I"'S IN ILLUSTRATION AS THERE ARE ON YOUR FACE! "

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THE YES SET You see, this all fits perfectly . No matter what MOAB wor d is selected, you simply have to be correct . We call thi s establishing a "YES SET" with our co-participant . What I' m doing here is borrowing a very powerful principle from th e clinical hypnotherapy of the late and highly revered Dr . Milton H . Erickson, M .D . and applying it to mentalism . [Don't worry, I think the old man would have loved th e compliment as he did a lot of real magic with hundreds o f colleagues, patients, and even J .B . Rhine himself . How? Sorry to disappoint you . He listened and observed bette r than anyone of his generation and knew what to do with it . ] Our co-participant nonverbally must think YES there is a n "E" and YES that's my word so YES, this is all just . . . THE GREATEST BOOK TEST . PERHAPS EVER . The inescapable cascad e of truisms leaves our helper with no other possibl e conclusion . The effect is staggering, just as Ted intended . Please re-read this carefully until you thoroughl y understand it . Many of us tend to be skimmers who want t o find the secret in seconds and hurriedly move on fo r something else to rush through, judge without cause, an d predictably not understand . This form of "persona l speeding" is deeply embedded in our culture . We can' t change others (nor would it help to even try) but we ca n learn anew to slow down and change ourselves . Imagine that . If MOAB is a delicious European chocolate torte, then TH E MOMMY MANEUVER is but the daub of whipped cream on top . But if you like whipped cream, I'd be honored for you to perfor m my approach . I think it's the difference that makes all th e difference . For me, MOAB is now complete and a delight t o present . I think it is the most compelling, powerful momen t in psychic entertainment . Thank you Ted . Thank yo u Thirteen . But is the search really over? Until the wand i s broken, NEVER, N .E .V .E .R . (And NEVER has two E's) .

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HANDS OFF MOTHER (AN EARLY PATH ) OR LOOK MA . . . NO HANDS ! Before I developed THE MOMMY MANEUVER, I experimented wit h this variation . The idea was to allow the Psychi c Entertainer [P .E .] to do the effect without handing out th e . . . You see, most of my higher paying venues thes e book . days are at Burger King/McDonalds type establishments an d not everyone in my audience has washed the ketchup, mustard , dirt, germs, and grime off their hands . . . perhaps not sinc e the last time they were in . Oh my yes, I really pack 'em i n at Kiddieland, at least on their birthdays during lunch . But, for $5 .50 an hour ($6 .50 if I sweep up), I want to d o something memorable even if Mom neglected this time to chec k . . . Point being : I didn't fee l those cute little hands . comfortable handing out MOAB even to some adult children . All kidding aside, these days if I don't feel comfortabl e handing out the book, I'll probably do something else . Since I (and now you too) know THE MOMMY MANEUVER, all on e need do on this rare occasion is for you yourself to fli p through the pages in an opened wide Spectator Peek positio n (with pages toward your participant [P .]) and proceed a s previously described in THE MOMMY MANEUVER . However, I wan t you to at least read through what I used to do because i t soon grew into a pathway towards my IMPROMPTU method tha t follows . Stay with me on this just to follow my thinking . I think it will make THE LITTLE MOTHER a little clearer . EFFECT With your head clearly turned away, MOAB is freely riffle d to any page and then held open with the spread fingers o f the right hand . P . is invited to look at any "appropriate" word on eithe r page and as an afterthought, the page number as well . Both thoughts are held firmly in mind by P . MOAB is tabled . P .E . asks P . to "THINK OF JUST THE FIRST LETTER OF THE WORD , A MODEST WAY TO BEGIN ." P .E . jots something down on a billet, says "GOT IT," and puts the folded paper in a glass . Next P .E . asks for the page number to be focused on . On a second billet, P .E . jots it down, says "I THINK THIS I S PRETTY CLOSE," keeps holding it, and concludes the test b y saying : "O .K . WE'RE FINISHED .

WHAT WAS THE LETTER? " 11

It is announced by P . Let's say (again) it was the lette r "A . " "GREAT -- BOY ARE YOU GOING TO LOVE THIS! THIS IS REALL Y INCREDIBLE! NOW, THE PAGE NUMBER I'M ALMOST SURE OF . JUST TELL ME THE TRUTH, YES OR NO, IS THIS AT LEAST VERY CLOSE? " P . is shown the slip and says YES, thereby admitting tha t indeed the page number is very close . Concentrating super intently, P .E . sets aside or pockets th e "close, page number attempt" (billet #2), apparently jot s down the revised page number on a second, new billet #2, an d puts it in with the first slip (that supposedly has th e "first letter") in the glass . I'm using a small glass s o that the slips will be indistinguishable from each other . Somehow, I sense you suspected as such . Needless to say, when the slips are opened and read by th e P ., the page number will be exactly correct and the shocke r is, you'll be happily able to say : "THIS IS TRULY AMAZING . I NOT ONLY FIXED THE PAGE NUMBER S AND SENSED YOUR LETTER, BUT BECAUSE YOU HAVE SUCH A CLEAR FOCUS, . . . I WROTE (OR SKETCHED) YOUR WHOLE WORD (OR IMAGE ) AS WELL! UNBELIEVABLE! ! P . is totally amazed to see "apartment"

. . . and should be !

METHOD The page number is peeked in one brief glance by turning th e head back around as P . is scanning both pages to not e approximately how many words are present . YOU WANT TO KNOW THE PAGE NUMBERS BEFORE P . EVEN BEGINS TO DECIDE ON A WORD! ! This is the same type of "peek on the offbeat" peek tha t appeared in Annemann's "Practical Mental Effects" (pg . 228 ) and before that his JINX #1 (pg . 4) from October 1934 unde r the title of "The Mystery of the Blackboard ." Max Abrams ' biography of Annemann (pg . 222) suggests that the pee k should be credited to magician Paul Rosini . This type o f offbeat ATTITUDE AND THEN ACTION (!) fits wonderfully here . It is easy to peek the pages by looking back and subtractin g 1 (odd on left, even on right from your perspective in thi s position) . For example, if you peek pg . 139 (as you alway s peek the left page), write on the first slip "SCANNING PG . 138-139 ." Set it in the glass as described . On the secon d slip, write a "close guess" like "SCANNING PG . 132-133?" an d hang on to it . Falsely announce you are done .

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You lie . P . names the letter . Reply how they are going to be trul y amazed . Next, show the pg . number on the second slip a s described . They admit you are very close . Set it aside o r pocket it . Now write/draw the word/image (which you kno w from the letter) and put this new second billet in the glas s along with the first slip . You are finished . End as indicated . The "letter" slip blows 'em away because it contains th e entire word/image which was truly never more than a thought ! Our old and dear friend MR . JUAN AHEAD has been expertl y employed . I hear he needed the work probably because he ha d been spending too much time with magicians . TIPS The peek must be handled congruently with the book held i n only the right hand as the brief glance is made on th e off-beat . Our P . is busy looking at all the words an d obviously feeling secure in the sanctity of his/her menta l privacy as your head is absolutely in the other directio n before the word selection is even hinted at let alone acte d upon! ABSOLUTELY DO NOT TRY TO LOOK LONG ENOUGH TO KNO W WHICH PAGE P . IS LOOKING AT . JUST GET THAT LEFT PAGE NUMBE R AND LOOK AWAY WHILE THE GETTING IS GOOD ! Naturally, one must convey a believable sense of reall y being "DONE" writing before asking for the letter to be named . As I said, you lie . I lie . We all lie . It's our nature . Even if you don't actually perform this because of th e superiority of THE MOMMY MANEUVER, I predict that some o f you will use bits and pieces in your own routine . Please keep in mind, I was only trying to come up with somethin g tangible to write down immediately without pumping , guessing, risking being "wrong," etc . THE MOMMY MANEUVE R took care of that . But, good efforts are never wasted . There is great wisdom, opportunity, and seeding even in wha t some people mistake for defeat . Kipling was right . Thi s exercise influenced me and guided me further on my path . A s proof, the solution to my own impromptu challenge follows . Perhaps you may use it on your path .

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IMPROMPTU MOTHER : THE LITTLE MOTHER BOOK TES T OR LOOK TED . . . NO HANDS ! Nothing is going to top MOAB, at least not for a good lon g while . NOTHING . However, being the sort of person wh o carries on long and sometimes confrontational conversation s with himself (if Ford isn't by the phone), I asked mysel f one day what I would do if I was caught without MOAB or i f someone dared to ask me to do it with THEIR book . The Ho y Test leads the list of many methods that immediately come t o mind and is great as are (and have been for many many year s now) my peeks and forces of thousands of "first words ." Bu t they want to see a REPEAT of the MOAB EFFECT without MOAB ! No Busch's Billet, no center tear . What would you do ? Feign fatigue and exhaustion? Any word on any page?? Thei r book in their hands??? . . . Oiy vey . . . ! What I'm going to describe I promise you is no pipe dream . It is only a marginal approximation of the original, a mer e shadow at best . But as a follow-up, or challenge . . . ? Please don't be like the young man who bought my INSTANT Q . & A ., read it once, and wrote me the same day to tell me ho w and where I went wrong . I am not an armchair writer . I don't review in PERSPECTIVES nor offer you ever what I haven't repeatedly performed for real people (beside s Cynthia) . One of our PEA members once told me he didn' t have to try things out . He just somehow "knew" what woul d work for real people . Must be nice to "just know . " Remember how we agreed we all lie (and certainly know it) ? He lies to himself and doesn't know it . It's his nature . Assuming you have carefully read the previous chapter, a fe w of you will almost instantly understand the crux of m y impromptu approach just by looking at the sketches on th e next page . Have a look and I'll break down the specific s for you .

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Psychi c Entertaine r FIGURE *1

THE LONG DISTANCE PEEK

FIGURE #2

THE GET-AWAY

Participan t

Psychi c Entertainer

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EFFECT An impromptu MOAB-type approximation . METHOD Any book can be used . Before you begin, you need only touc h it long enough to briefly riffle the pages once to ascertai n where the page numbers are . This can be done easily b y nonchalantly thumbing through the book, perhaps to see ho w many pages there are in the book or words on each page . Top or bottom, you really don't care . I personally prefer th e top corner . For a bottom peek, P .'s arms must be held a little higher "AT TRUE EYE LEVEL ." You just need to know i n advance to where you'll be making a LONG DISTANCE PEEK . I f I just frightened you because of myopia, I'll include som e suggestions later on that may nullify the short-sightedness . Can you recall from years back the advertising slogan use d by the phone company to get you to spend even more mone y each month ? LONG DISTANCE IS THE NEXT BEST THING TO BEING THERE ! After you know where the page numbers will be, toss the boo k to your now quite active P . Ask that the book be held a t eye level . Hold out your arms and demonstrate for P . the correct position . Request P . to repeatedly riffle the page s back and forth with the thumbs and "LITERALLY FEEL TH E BREEZE OF THOUSANDS OF WORDS FLYING BY ." P .'s eyes shoul d look straight ahead and whenever the impulse to stop i s felt, that's exactly where the book should be slowly opened . THE SHORTEST DISTANCE BETWEEN TWO POINTS . . As in figure 1, note that you have positioned yoursel f slightly to the P .'s left just a few feet away . It is from here that you stand facing on a direct line to that fa r (left) page number ("X" in figure 1) you can glimpse i f you've positioned yourself and the height of the boo k correctly . WHO'S IN CHARGE? Remember, you're in charge! The P . just wants to work with you if your "PLEASE, . . . JOIN MY BELIEF" schpiel wa s convincing . I believe you can successfully and quickly se t up this easy geometric relationship . Will you join my belief? All you really need to do is (1) watch the P .' s line of vision, (2) be ready to make your peek, and (3) mak e sure the book is opened slowly and kept open so they can se e all the type . I've found that if the book is opened slowly , you can enjoy the greatest window of opportunity to mak e your peek . You can handle this every time if you believ e you can . I do and if I can, I know for sure you can too . 16

YOU'RE DONE BEFORE THEY START ! At some point, the P . will stop riffling . Ask that the boo k be opened slowly and kept open for their visual inspection . Under the verbally distracting question of "APPROXIMATEL Y HOW MANY WORDS WOULD YOU GUESS ARE ON THOSE TWO PAGES?, " glimpse the page number, turn your back, and unobtrusivel y move away as in figure 2 . P . should feel the space o f visual privacy and yet you are in fact already done . You are Mr . Juan Ahead . DEJA VU Follow the same procedure with the 2 (really 3) billets an d the glass . BILLET #]. : P . thinks of virtually any good WORD (without th e limited range force) anywhere on either freely selecte d page . You really write down the CORRECT SCANNING PAGES . This is why you secretly glimpsed that page number befor e you turned your back and moved away . Remember how we did i t in the previous chapter? If you glimpsed pg . 243, you' d write "SCANNING PAGES 242-243" and put it folded in th e glass . BILLET #2 : P . thinks of the page number . You write down a "close guess" of the page, perhaps "SCANNING PAGES 238-239, " keep holding it, and pretend to be finished, exactly a s before . Pretend you are done . The exercise is apparently over . Both billets have been written on and P . has said nothing . At this point, you will seem as real as they'd like t o believe . Do not continue until you sense they believe yo u are done . "O .K . WE'RE FINISHED (or I'M COMMITTED) . NAME THE WORD . " After hearing it, claim that your impression is not exact , but actually very close, quite impressive actually . Just t o be on the safe side, have P . look at your still held PAG E NUMBERS and ask the same question as earlier . "I REALLY WANT THIS TO BE SOMETHING MEMORABLE FOR US . I WANT YOU TO BE VERY IMPRESSED THAT TOGETHER WE COULD IN FAC T FOCUS OUR MUTUAL CONCENTRATION . JUST TELL ME THE TRUTH, YE S OR NO . IS THIS AT LEAST VERY CLOSE?" (as you show them th e billet) . When you get your YES, set aside or pocket the "close, pag e number attempt" BILLET #2, and pretend to be thinking abou t writing a revised page slip . In fact, you may now finish b y writing a word . But first say something like : 17

"WE ARE CLOSE . . . GREAT! LET'S SEE NOW JUST HOW SOON AN D PROFOUNDLY YOU CAN FEEL MY MIND TOUCH YOURS AND TOGETHER, B E ONE ." SHADES OF DR . JAR S I do not write the exact word . I go for something ver y close, either a LOOK alike, SOUND alike, or FEEL alike wor d for the NEW SECOND BILLET . For example, fork/spoon , eagle/bird, shook/shaking, read/bed, light/bright , watch/clock, pencil/pen, etc . In this manner, you ca n appear to have received two thoughts in a very believabl e manner that smacks of the real (?) thing . A similar wor d play idea was once used by Dr . Jaks . The revised BILLET #2 goes into the glass with BILLET #1 . P . is invited to open them both and be amazed by your join t (ad)venture in mutual concentration . For all this to hav e happened, with their book in their hands, with you 10 fee t away and facing the other direction, ! And wha t myths and legends will P . be walking off with? GELLER'S SECRE T For a selected word like TABLE, you could write ABLE , STABLE, or even CHAIR . The psychology here is that the ver y close, 99% hit is perfectly acceptable, especially when i t negates and cancels out the true method . It is m y contention that this close nature of the words unconsciousl y registers the sincerity and integrity of the process . Who wouldn't write down the exact word if they had only jus t heard it? Uri Geller confounded so many in his heyday i n part because he knew the value of not needing nor wanting t o be too exact all the time . The invocation of the "to o perfect theory" fits perfectly here . Since we didn't sens e the exact word, we wanted to be more precise with the pag e number . The red herring used justifies the necessary ° workings of the one-ahead . One of the differences between a magician and a psychic entertainer is that we can us e nuance, suggestion, and the power of a near exact-hit in th e context of a larger routine and still the magician in hi s trick-laden tracks . A TIP FROM JOSEPH DUNNINGE R :f you can't easily see that all important page number fro m a few feet away, all is not lost . Assuming you can see a t arm's length, perhaps a small palmable mirror could b e employed when you position P .'s hands or briefly, touch thei r temple with your finger tips to sense their energy . [If you need to do this (and it works for you), be sure to do i t when P . is still scanning the entire page WELL BEFORE YOU 'EVER MENTION SELECTING A WORD! Remember, before the wor d 18

selection, you want to be long gone as in figure #2 .] I used to get my mirrors from auto supply stores . A piece of shiny mylar could be glued to the back of your small pad o r finger-palmed . Joseph Dunninger made a sensational livin g doing these and similar ploys, . . . and he did them mor e powerfully than anyone else including his latter-da y imitator (and by George, I bet you know who I mean)! Ro y Miller tells me that Dave Lederman (who just recently passe d away) used to love those little mirrors as well . One could I suppose secretly force the page number in an y number of ways but that would be getting away from th e freedom and impossible nature of Ted's MOAB . For thi s reason, I would not recommend using a second book (gimmicke d or not) from where a page number could be forced or peeked , at least not as a first choice . It will work, but som e elegance might be irrevocably lost and replaced with th e distinctive aroma of a magic club meeting! ! THE ORIGINAL DAVE LEDERMAN Perhaps you may still be visually uncomfortable seeing tha t left page number by either the long distance peek or shine r methods . Perhaps the light is hopelessly dim or you r participant is being a . . . difficult . If you perfor m outside of the armchair, you know these things can and wil l occasionally happen . In such a pinch, you might resort t o using "The Ultimate Flashback" book from the wonderful boo k test of the same name by Larry Becker . If you own it, I know you're shaking your head up and down . Anothe r possibility would be to use an idea I wrote up in my April , 1996 PERSPECTIVES column . I call it DAVE'S TOOTHPICK, a n idea he shared with me at the 1992 THIRTEEN INVITATIONAL . In his honor, let me share it with you . Dave showed me how a horizontal toothpick tightly jammed into a book's spin e can mark a force page when the pages are riffled . The toothpick is perpendicular to the spine and sticking int o it . The feel is perfect but I think that even Dave woul d advise us (if only he were here) to master the long distanc e peek . It's worth it and good practise in chutzpa . I' m sorry I can't remember the two jokes Dave then told, but I do remember how his eyes sparkled in our laughter . That wa s the very special essence of Dave Lederman . AND FINALLY Practice coming up with suitable near exact-hit words . Obviously your thinking should not show but be automatic . Remember to check first to see where the page numbers wil l be, on top or bottom . For me, I find it visually awkward i f the page numbers are in the center of the page . With my eyes, such a glimpse becomes ill-advised and uncomfortable , 19

a possible source of hesitation or glitch best avoided b y doing another method . I know you'll pick one and have a good back-up ready to go just in case, always one-ahead . My preferred back-up however is not another book, ungaffed , toothpicked, or gaffed by a printer . It is not a curve d mirror, shiner, or mylar ., In keeping with my approximation of the MOAB effect, I rely on myself to make a shorter pee k that I can see . How? All I (and you) need to do is move i n a little closer (on the same direct line as alread y suggested) to peek the left page number and immediately mov e away as described . My misdirection is to raise up an ar m and with extended index finger point to the back of (and i n essence through) the book as you ask the "APPROXIMATELY HO W MANY WORDS WOULD YOU GUESS ARE ON THOSE TWO PAGES? " question . Before the answer is even estimated, you shoul d have your page number (as in fig . 1) and be on your way (a s in fig . 2) . If Moses could part the Red Sea with thi s gesture, I know you can glimpse a page number every time . Lastly, practice and experiment to see where your optimu m peek range is . Be sure you do not inwardly regard the pag e number revelation only as a necessary set-up for th e one-ahead . If you do, it will show and weaken the power o f the illusion you are creating . Think of it as a "bonus, " something else for you both to mutually concentrate an d focus on . Remember, ATTITUDE AND THEN ACTION . Will you join my belief? You must join my belief before the audienc e will . And of course, take quality time to master the casua l handling of the geometric ballet (your footwork, their ar m position and proper height), and you will be in possessio n of a prized impromptu effect suitable for any venue tha t will serve you admirably well for the rest of your days . Oh, by the way, . . . about my remarks on page 5 . Your teachers lied to you! They were only repeating the inan e drivel that they had been taught as kids by their parent s and teachers . May I offer you a little "bonus?" ... THREE WISDOMS TO REMEMBER 1. You have nothing to prove to anyone about your adequac y or goodness . 2. You aren't bad until you "do" something or someone else tells you otherwise . 3. You have no one to fight, argue, or compete with (as lon g as you aren't fooled by the illusions of the magic show) . . . except maybe yourself . -------------------- Believe that and you will be (and feel) freer than you eve r thought possible . -------------------- 20

EPILOGUE For you who also love and perform THE MOTHER OF ALL BOO K TESTS, I hope you will regard your small investment in m y work as a real bargain . It is . If you get out of it all I intended, I know you'll be more than pleased . Annemann wa s right . And there is great power and beauty in the MOA B effects you now possess . Moreover, I hope you will rea d this all through again slowly with book in hand . Let i t become part of your own performing style and verball y personalize it as something that really fits your character . That's an important secret known to and mastered by th e greatest of all wonder-workers the world will ever see . From my past literary efforts, I've received many wonderfu l calls and letters from some of the most successful amongs t us . That does my heart good . There are some performers i n all performing arts (and I've performed many) who eventuall y evolve past and transform their own immature, selfish , irrational, petty egos and actually become just about th e most sincere folks one could ever hope to meet . To kno w such people is a blessing . To get past one's own ego i s often a miracle . My thanks to Ted Karmilovich, the FATHER of THE MOTHER O F ALL BOOK TESTS . Without his encouragement and enthusiasm t o go ahead and release this now, I would have waited for th e possible release of a future book of additional MOAB tip s including bits of business from many of his purchasers , perhaps even some of you . He can have my order for tha t right now . Well, that's my PERSPECTIVE . Any comments? I welcom e yours . Until next time, . . . I bid they always feel you r mind touch theirs!!

Richard Busch 8209 Thompson Run Roa d Pittsburgh, PA 15237-634 7

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