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i ~ i
MOTHER '

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 3

FOREWARD by Ted Karmilovich 4

THERE'S NO SUCH THING AS A BOOK TEST ! 5

THE MOMMY MANEUVER 7


OR
THE DIFFERENCE THAT MAKES ALL THE DIFFERENC E

HANDS OFF MOTHE R 11


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

IMPROMPTU MOTHER : 14
THE LITTLE MOTHER BOOK TES T
OR
LOOK TED . . . NO HANDS!

EPILOGUE 21
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 . . . who is still thinking of words for me t o


dev i ne .

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 !

Oc RICHARD BUSCH 199 6

3
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

4
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 ,
need to wake up . Braid tried to change his new word t o
"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 .

5
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 .

6
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 .

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


. . . THERE MUST BE AN "E ." . . . THIS FEELS SO RIGHT . . . . E.
. . . 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! "

9
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) .

10
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
book . . . . You see, most of my higher paying venues thes e
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
those cute little hands . . . . Point being : I didn't fee l
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 .

12
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 .

13
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 .

14

Psychi c
Entertaine r

FIGURE *1 THE LONG DISTANCE PEEK

Participan t

Psychi c
Entertainer

FIGURE #2 THE GET-AWAY

15
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 :

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"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

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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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