ORIGIN

MATT MELLO
 ORIGIN
by

MATT MELLO

 No part of this publication may be duplicated, copied, or transmitted in any form
without written, explicit permission from the author.
Copyright © 2017 by Matt Mello

2
 TABLE OF CONTENTS

Opening Thoughts……………………
Thoughts………………………………………………………
……………………………………………………………
…………………………4
4

Keywords………………………………………………………
Keywords…………………………………………………………………………………
…………………………………
……….6
.6

Jungle Animal………………………
Animal…………………………………………………
………………………………………………………
………………………………
…......7

Guidelines…………………………………………………
Guidelines……………………………………………………………………………
……………………………………
…………..11
..11

Jungle Animal 2.0………………………………

2.0…………………………………………………………………
………………………………………………..13
……………..13

Star Sign……………………
Sign………………………………………………………
……………………………………………………………
…………………………………
………16
16

Triangulation 3.0…………………………
3.0………………………………………………………
………………………………………………………
…………………………20
20

Favorite Things…………………
Things……………………………………………………
…………………………………………………………
………………………..
..……
……25
25

Source Code……………………………
Code………………………………………………………
……………………………………………
…………………...
...…………
…………30
30

Closing Thoughts……………………………
Thoughts………………………………………………………………
………………………………………………...…
……………...…36
36

3
 OPENING THOUGHTS

When considering the history of anagrams, whether progressive or branching, the underlying
methodology has remained relatively unchanged in the magic community at large. Atlas
Brookings, Max Maven, and most recently, Phedon Bilek, have made great progress in this area,
and I hope to now add a bit more to this ever-growing subject. Not long ago, I released a
manuscript titled  P.A.T.H.S.,
 P.A.T.H.S., in which I outlined a few concepts to make anagrams even more
deceptive, as well as to remove the ‘hit or miss’ approach to
approach to letter guessing typically associated
with this work. In this project, I intend to further that logic in new and exciting ways.

We’ll
e’ll now be able to learn what our participants are thinking of without ever having to
ask about a specific letter. Even with proper justification, if we ask if the letter (A) appears in
their word and we get a ‘yes’ response, it appears to give us an abundant amount of information.
With the approaches featured in this manuscript, when we ask a question, it doesn’t
doesn’t seem to
 provide us with as much information as an outright letter would. We are merely asking the
spectator if they can focus on certain things in their mind, and we’re
we’re then able to read their
thoughts, revealing star signs, jungle animals, seemingly ‘random’ thoughts,
thoughts, or even personal
information like their favorite color or their favorite sport.

Most of my work in this area has, so far, concentrated on the area of branching anagrams;
although all of the concepts could be applied to a progressive anagram. Branching anagrams are
often intimidating when compared to a traditional progressive anagram. It’s the difference
 between remembering a small grocery list and memorizing a map of the grocery store. In Origin,
Origin,
we’re almost creating
creating a hybrid of the two.

Two core procedures will be taught in this book: “ Keywords”

 Keywords” and “Guidelines”
Guidelines”. The
mingling of these techniques will allow us to simply go down a list in our mind until we arrive at
their chosen thought. There is still a fair amount of memory work, but compared to the sprawling
web of lines that create a traditional B.A., origin anagrams should seem much more manageable.

“Source Code” is
Code” is the only piece in this book that uses a separate process for progressing
through the anagram. It is slightly different procedurally, but it felt like the perfect fit to include

4
in this project. With it, we’ll be able to learn a spectator’s birth month, as well as a random
number that they think of. I suspect this will probably be a hit or miss piece for most
most of you, but
I personally love performing it.

This sort of work certainly won’t be for everyone, but for those who study and apply the
tools in this text, you will have access to one of the most deceptive methods of propless thought
reading available today.

I hope that you enjoy my new thoughts on the subject.

Matt Mello

5
 KEYWORDS

This first concept is something that I’m incredibly

I’m  incredibly proud of. As I mentioned in the introduction,
it will allow us to ask questions of our participant without them appearing to giving us very
much information should they say ‘yes’ or ‘no’. It’s all a process, and if they say ‘yes’, we
simply continue with that process, and if they say ‘no’ we continue. There
continue. There is no sticking point, or
a ‘failure’,
‘failure’, because they’ve
they’ve answered ‘no’.
“ Keywords”
 Keywords”, at its heart, is the idea of finding words within words. For this example, I
might ask a person to focus on a jungle animal. I include one stipulation, “Preferably an animal
with all different letters in its name…so   giraffe or gorilla wouldn’t work , but cougar
would.”
would.”
To start, once they’ve
they’ve chosen an animal, I would say, “I want you to repeat the
animal’s name in your mind, over and over…like tiger…tiger…tiger…”
Presuming that this ruse doesn’t garner a reaction from my participant,
participant, I’d continue with,
with,
“Very good. Now, let’s try to break down the word in your mind. I want you to f ocus
f ocus on the
last two letters of your animal’s
animal ’s name.
name . Is it possible that these two letters make a small
word that you could focus on?”
If the answer is ‘no’, I would then
would then ask, “Okay, how about the last three letters? Is it
possible that these three letters make a word, or could you mix them into a word in your
mind?”
mind?”
Let’s assume that they’ve said ‘yes’. In this case I would 
would   say, “Excellent, please
concentrate on that smaller word this time, and repeat it in your mind.” Taking a pause, I
continue with, “Okay, I think I have a good idea of which animal you’ve chosen, but I’d like
to try one last thing to be sure. Focus on the whole name of the animal again. Is there
possibly a two letter word near the beginning that you could focus on?”
If they say ‘no’,
‘no’, we now know that they’re thinking of a (ZEBRA), and
and we can reveal it
in whichever way we wish. I prefer to simply write it down on a piece of paper. I have them say
it aloud, and then turn it over. In a completely propless, unprepared performance, we can just
name the animal that they’re thinking of.

6
 Below,
Below, you’ll find the short list of jungle animals that
that make up this first anagram. By no
means would I consider this to be a surefire list, but it is here as a simple example of the
“ Keywords”
 Keywords” technique. When I teach “Guidelines”
Guidelines” in the next chapter, I’ll
I’ll provide a more
detailed list of jungle animals for you to use.
There is a method to how we descend down this list, which is relatively easy to grasp
with a little practice. The rules are
a re simple:
The first thing that we focus on in each bracket is always the bold word.
Whenever we get
get a ‘yes’ confirmation, we remain where we are.
are . If we get a ‘no’ answer,
then we move down to the next word, or the next bracket.
Upon receiving a ‘yes’, we may need to instruct our spectator to focus on a second 
a  second  word
  word
in the name. This will be indicated by a circle around the second word.
word. On the next page, I’ll
detail the full instructions for progressing through the anagram.

JUNGLE ANIMAL
“TIGER”

LION

MONKEY

ZEBRA

SNAKE
7
 We begin with our suggestion to think of a jungle animal with all different
d ifferent letters, adding,
“So elephant or gorilla wouldn’t work, but cougar would.
would. Please don’t think of a cougar
since I’ve said
said it aloud. Just get a jungle animal in your mind, now.”

Give them a moment to think of an animal that fits the criteria, and then we make use of
Derren Brown’s “Repeat Ploy” 
Ploy”  saying, “And now just repeat the animal’s name   in your
mind, over and over, like tiger…tiger…tiger.”

By mentioning (COUGAR) and telling them not to think of it, they will often jump to
another jungle cat, and (TIGER) is a very likely option. If we don’t get a hit on (TIGER), we
 proceed forward as
a s if nothing was amiss. I always
a lways think that this ruse is worth taking a shot at in
the very beginning, as nothing compares
compa res to this sort of direct mindreading with no process.

If our (TIGER) option doesn’t land, we continue with, “Very good. I’d now like you to
break the name down in your mind. I want you to focus only on the last two letters of the
animal’s name. Is it possible that these two letters make a small word that you could focus
on?”

Should they answer ‘yes’, we can safely assume that they’re thinking of   a (LION). To
complete the process, we ask that they repeat this smaller word in their mind. There must be a
 justification for asking them to focus on it.

Had they answered ‘no’ to

‘no’ to the last two letters forming a word, we would drop to the next
 box and say, “Okay, what
w hat if you focus on the last three letters? Is it possible that these three
letters make a word, or could you mix them into a word?”

What I really like about this questioning sequence is that it feels more like an extension
of the first question than an altogether separate question. We’ve asked about the last two letters,
so it seems like a logical progression to ask about the last three letters.

Assuming that they’ve

they’ve   answered in the affirmative to the last three letters forming a
word, our options would be: (MONKEY) and (ZEBRA).

After asking them to repeat the three letter word in their mind, we would then say, “I
think I have an idea which animal you’ve chosen,
chosen , but I want to be sure. Is there possibly a
two letter word near the beginning that you could focus on?”

8
 If they say ‘yes’, we stay at the top of this box,
this  box, which is (MONKEY), and we know that
the two letter word is (ON). You can see it circled on the anagram l ist.

If they had said ‘no’ to an additional two letter word, then we would move from
(MONKEY) down to (ZEBRA), which would be our final option in that box.

But, had they said ‘no’ to the last three letters making
ma king or mixing into a word, we would
descend straight into the final box and reveal that they’re
they’re thinking of a (SNAKE).

As I’ve mentioned already, this is not a full list of jungle animals, but I can guarantee that
if you went out and used this as is, you would likely still get a very high hit rate.
rate .

I’ll end with some tips that will help you with the memorization and success of this piece.
When memorizing the anagrams, I would recommend learning the entire list first and foremost.
Just memorize the animals, not the bold words or the circles, or the separate blocks of animals.
Go over the list in your mind until
un til you can easily recite it.

Only then, when you’ve got the list locked in your mind, should you begin to memorize
why the list is in that order. Soon enough, it will all click together and you can just focus on the
small words to remember everything.

For instance, with “Jungle Animal”,

Animal”, by the end of my memorization work, I might just
focus on the words (ON), (KEY), and (BRA). The full list of words is in my mind, and I know
what (ON) correlates to on the list, and so on. For (KEY) and (BRA), I know that the word (ON)
at the beginning means (MONKEY). It’s really a very simple process when you’ve worked with
the words for a bit.

One final piece of advice that I would give you in performance is to always pepper in
comments like, “Please take your time. There’s absolutely no rush or pressure.”

If a person is feeling stressed, they are likely to make a mistake. Perhaps ask to use a
 person who is good with words, if performing for a group. Although, all
a ll of the ‘keywords’ I’ve
chosen are fairly obvious. Everyone will know (KEY) or (BRA) is a word, or will be smart
enough to mix the letters into (BAR).

When initially developing this concept, I had first asked a lot of questions like, “Is there
a two letter word   anywhere in the word?” or “Is there possibly a 
a   three letter word
 som
 somewhere
here in there that you could focus on?”
9
 Testing this out in the real world, especially with three letter words, I realized that it was
a bit difficult for a person to search through the whole word in their mind and find these smaller
words scattered throughout.

Understanding this issue, I began directing the spectator a bit more by having them focus
on the last two letters, or the first three letters, or a two letter word near the beginning, etc. This
change has helped to simplify the process immensely, and as long as you give the participant the
time that they need, they should have no problems discovering any ‘hidden’ words,
words, and we
should have no problems discerning their thoughts.

10
 GUIDELINES

When I initially conceived of the process behind “Guidelines”

Guidelines”, it was much more elaborate than
its current form, and it involved far more questioning. The
T he main idea behind this is that we’re
we’re
instructing a spectator to draw a capital letter in their mind, line by line.
Originally, I might have said something like, “Please focus on the last letter of your
word, and imagine it as a capital letter. I’m going to have you draw this letter in your
mind, one line at a time. Please draw the  first 
 fi rst line in your mind… only the first line.”
I would then have asked, “And is there a second line that you could draw?”
Were they to have said ‘no’, we would know they were thinking of a letter like (C) or (S)
or (O), etc.
I would then continue after the second line, and ask, “Is there a third line that you can
add?” Once more, if they say ‘no’, this would alert us to two-line letters like (L) or (T) or (V)
etc.
If they answered ‘yes’, then I would continue. Knowing that there are no letters in the
English alphabet with more than four lines, when we ask, “There isn’t a fourth line, is there?”
we have reached the end of our questioning.
If they had said ‘no’, I would know that they were thinking of a letter like (A) or (H) or
(I) etc.
If they had answered ‘yes’, I
‘yes’, I would know that it was (E) or (M) or (W).
While it was still deceptive to an extent, it was a lot of questioning. I had initially
designed anagrams that only made use of these
of  these guidelines. I would concentrate on having them
draw the first letter, line by line, and then the second letter, or last letter; whichever letter
 position made the most sense.
When I later developed “ Keywords”
 Keywords”, the benefits of combining the two concepts became
overwhelmingly obvious. I could now have a person break their word down into small words,
and then have them focus on only a single letter and draw it in their mind. But, even better, I
created a more deceptive way of moving through the letter drawing procedure, so that we only

11
ask a single question, and the process is cleverly designed to end in a place where it seems like
we don’t
don’t know where they’ve finished.
The “Guidelines”
Guidelines”  procedure is always the last   piece of the puzzle. Beginning with
“ Keywords”
 Keywords”, we go as far as we need in the anagram until we get to a possibility of two choices,
where we then segue into “Guidelines”
Guidelines” on one specific letter position in the words.
If you move ahead to “Jungle Animal 2.0” on the next page, you’ll notice that there are
little numbers above certain letters. These numbers represent the number of individual lines that
make up the letter.
A (1) above a letter indicates that
th at it is made of only a single line.
A (2) above a letter means that the letter contains two lines.
A (3) means three lines, etc.
It’s pretty self explanatory. But the great thing about the anagrams in this book is that
nearly all of the letters are paired to produce a more deceptive process.
If we look at the first example in “Jungle Animal 2.0”,
2.0”, we have the letters (O) and (A) in
the second to last positions of the names.
Instructing a spectator through the guidelines, we would say, “Focus on the second to
last letter of your word, and imagine it as a capital letter. I’m going to have you draw this
now …only the first line.”
letter in your mind, line by line. I’d like you to draw the first line now…
We give them a second to do this, before continuing with, “I f  there’s a second line,
please draw that in your mind, now.”
Once more, we give them a moment, and then say, “There isn’t a third line,
line , is there?”
If they
they say ‘no’, we know that they’re
they’re thinking of the letter (O). But, because of how I’ve
I’ve
scripted and constructed this moment, it seems as though we don’t know if there’s one or two
lines in the letter.
Likewise, had they said ‘yes’ to there being a third line, I could finish with, “And if
there is a fourth line, please draw that in your mind, as well. So do you have a finished
letter in front of you? Excellent, just visualize that letter in the air. ”
Either way, we end in a deceptive position, where it
it seems like we don’t know exactly
when they’ve completed the letter.

12
JUNGLE ANIMAL 2.0
“TIGER”

LION
3

T O U C A N
1

MONKEY
3

P A N T H E R 

ZEBRA
1

FROG
3

SNAKE
13
 As I’m sure you’ve noticed, there are only three new animals on this list: (TOUCAN),
(PANTHER), and (FROG). In my experience, they’r e really the only additions that are needed.
The same conditions are implemented in this list, that they’re to th ink of an animal with all
different letters in its name.
Additionally, when I give examples of appropriate choices, I add, “So lizard or cougar
would work, but giraffe or gorilla wouldn’t. Please don’t think of one of those, since I’ve
named them. Just get
ge t a jungle animal in your mind.”
With the inclusion of (LIZARD), it tends to remind them of options like (FROG) or
(SNAKE). The inclusion of (GORILLA) will often trigger (MONKEY), as (COUGAR) triggers
(TIGER). These little pieces of psychological forcing will only help to increase our odds of them
thinking of an animal on our list.
Of course, it’s a possibility that they could think of an animal that isn’t  on the list. For
instance, a person might think of (PYTHON) instead of (SNAKE), but the generality of
(LIZARD) tends to force a more general (SNAKE).
I’ve only gotten (PYTHON) once, and that was from a man. I highly doubt many women
would choose it. Otherwise, there really aren’t that ma ny obvious
ny obvious options, if you think about it.
Many jungle animals have repeated letters in their name. So our participant might go
through some choices like (PARROT) or (ALLIGATOR) before landing on one of the more
obvious animals from our list.
At the very top of this origin anagram, we have (LION) and (TOUCAN). Presuming that
the repeat ploy
repeat  ploy doesn’t lead to a hit
hit on (TIGER), we instruct them to break the word down in
their mind into smaller chunks, “Focus on the last two letters of the animal’s name. Is it
possible that these two letters make a small word that you could focus on?”
‘Yes’ means that we stay in the top box. For (LION) and (TOUCAN), we move directly
into guidelines. We have them
the m focus on the second to last letter, and draw it in their mind, line by
line. As explained earlier, we instruct them to draw the  first line only. We follow this with, “I f 
’s a second line, please draw it in your mind.” And then, “There isn’t a third line, is
there’s
there
there?”
If ‘no’, we know that they’re thinking of (LION).
If ‘yes’, we know that they’re thinking of (TOUCAN), but we would add, “And if
there’s a fourth line, please draw that in your mind, as well.”

14
 In the event that they say ‘no’ to the last two letters forming a word, we drop down to the
next box and ask, “How about the last three letters? Do these three letters make a word, or
could you mix them into a word?”
Should they respond ‘yes’, our
‘yes’, our options are: (MONKEY), (PANTHER), and (ZEBRA).
We continue through this bracket by asking them to focus on the beginning of the word,
“Is there possibly a two letter word near the beginning of the animal’s name?”
‘Yes’ means
‘Yes’ means that they’re thinking of (ON) in (MONKEY) or (AN) in (PANTHER). To
differentiate which animal they’ve chosen, we would use guidelines on the second letter of the
name. This is the exact same setup as the box above with (O) and (A).
They would draw the first line, and then the second. We would ask about the third line,
and this would give us our answer.
Fewer than three lines indicates that they’re thinking of (MONKEY) and three lines or
more indicates (PANTHER).
If they had said there wasn’t a two letter word at the beginning, we would know
immediately that they were thinking of (ZEBRA).
Had they answered ‘no’ to the last three letters forming a word, we would drop down into
the final box: (FROG) and (SNAKE). Transitioning straight into guidelines, I would ask them to
focus on the second to last letter, which would give us: (O) and (K). This is the same (1) or (3)
setup as before.
Using our guidelines, if there isn’t a third line, we know that they’re thinking of (FROG).
If there is a third line, we know that they’ve
they’ve chosen
 chosen (SNAKE), but we would add, “And
if there’s a fourth line, please draw that in your mind , as well.”
well.”
Alternatively, on (FROG) and (SNAKE), we could have them return their attention to the
last two letters and ask, “Is it possible that you could mix these letters into a word?”
If ‘yes’, it’s (FROG), as (OG) can mix into (GO).
‘No’ would mean that they’ve chosen (SNAKE).
I will leave it up to you to decide
de cide how you’d prefer to end this sequence.
That’s about all there is to this anagram. As you can see, even with the combined
 processes,
 processes, it isn’t really that complex to
complex  to memorize. The entire path is laid out before you in this
text. You could probably just read these last two pages over and over and have the entire
anagram memorized in short order.

15
STAR SIGN
“VIRGO”

SAGITTARIUS
3

G E M I N I
2

T A U R U S
3

A Q U A R I U S
2

C A P R I C O R N
3

C A N C E R
1

S C O R  P
 P I O
3

P I S C E S
1

LEO
3

LIBRA

ARIES

16
It seems that star sign divinations are obligatory in nearly every propless mentalism release these
days, so I thought
thought it would only be fitting to include yet another in this manuscript. I’m not much
into the ‘psychic’ performance style 
style   myself, so I typically steer clear of astrological signs in
general, but some of you may
ma y find this anagram to be more fitting within your work.
We start by using the “repeat ploy” on (VIRGO). “Think of your star sign. And just
repeat it over and over in your mind…like Virgo…Virgo…Virgo….”
For the sake of teaching, we’ll assume that this misses. Same as the previous origin
anagrams, we then ask our participant to focus on the last two letters of the word. The difference
here is that we say, “Focus on the last two letters of your star sign. Is it possible that these
two letters form a word, or could you mix them into a word?”
A ‘yes’ answer
answer leaves us with: (SAGITTARIUS), (GEMINI), (TAURUS), and
(AQUARIUS).
Following the system, we now ask, “Now, focus on the first three letters. Is it possible
that these three letters make a word, or could you mix them into a word?”
If ‘yes’,
‘yes’, we know that these words are (SAG) and (GEM), as indicated by the circles in
the anagram. We would then segue directly into guidelines for the finish with the last letter of
their star sign.
We’re
We’re in the same (1) or (3) scenario as we’ve already seen,
seen, but the letters are now (S)
and (I). Same as before, they draw the first line, add a second, we ask about a possible third line,
and then finish.
Fewer than three lines equals (SAGITTARIUS) and three lines or more equals
(GEMINI).
But if they had said ‘no’ to the first three letters forming a word, our options remaining
options would be: (TAURUS) and (AQUARIUS).
There are two options that we have here. We could either ask them to focus on the first
four letters to make a word, which would lead to (AQUA), or we could move into guidelines on
the first letters of each star sign (T) and (A).
Even though the options are now (2) and (3),
(3), the scripting doesn’t need to be changed.
We have them draw the first line, and then say, “If there’s a second line, please draw that in
your
your mind. There isn’t a third line, is there?”
‘No’ leads us to (TAURUS) and ‘yes’ leads us to (AQUARIUS).

17
  Now, had they initially said ‘no’ to the last two letters forming a word, we would
a two letter word anywhere
immediately drop down to the second box and ask, “Okay, is there a two
in there that you could focus on?”
Similar to the last anagram, I like how this question doesn’t come across as another
question, but more of an extension of the first question. I also mentioned that I don’t prefer to
have a person
person ‘search’ for a word, but when it’s a two letter word, it typically isn’t that difficult,
as they just have to focus around the vowels.
Should they say ‘yes’ to a two letter word appearing  somewhere in their word, our
choices are: (CAPRICORN), (CANCER), (SCORPIO), and (PISCES).
Our next instruction is for them to focus on the first three letters of their word, “Do these
three letters make a small word that you could concentrate on?”
Answering ‘yes’, we remain at the top of this box with (CAP) and (CAN). From
From here, I
ask them to focus on the third letter in the word. Once again, this puts us into the (2) and (3)
 position with the letters (P) and (N).
We would proceed through these as previously explained, where fewer than three lines
signals us to (CAPRICORN) and three or more lines signals (CANCER).
If they had answered ‘no’ to the first three letters making a word, we would drop down to
the next two star signs in that box: (SCORPIO)
(SC ORPIO) and (PISCES).
Once again, we have options to use either keywords or guidelines to progress. We could
either ask, “Well…could you mix those three letters into a word?”
‘Yes’ would mean (PISCES) as the letters can be mixed into (SIP), and ‘no’ would mean
(SCORPIO).
On the other hand, we could also transition into guidelines on the second letter of the star
signs: (C) and (I). I won’t bother going through the procedure again, but as you should know by
now, less than three equals (SCORPIO) and three or more equals (PISCES).
Had they said ‘no’ to the first three letters creating a word,
w ord, we would drop down to the
third box and ask, “What about the last three letters? Do these three letters make a word or
a name that you could focus on? Or could you mix them into a word? ”
‘Yes’ would mean that they are thinking of ( LEO) or (LIBRA).
Performing guidelines on the last letter of the star sign would leave us with (O) and (A).
Fewer than three lines means (LEO) and three or more means (LIBRA).

18
 On the rare occasion that they’ve said ‘no’ to all of our questions,
questions, that only leaves us with
(ARIES) in the final box, which we can reveal with no further process.

19
 TRIANGULATION 3.0
“REPEATED LETTER?”

YES NO

“SEVEN” “RED”

YELL OW O N E
2

NINE H E A RT
3 4

GREEN F I V E
4

THREE O R  A
 A NGE
1

I N D IGO BLUE

3

P U R PLE S T A R 
2

RECTANGLE VIOLET
4

CIRCLE SQUARE

TRIANGLE

20
This particular anagram is a bit different from the others, as you can see. If you own my
 P.A.T.H.S. manuscript, you will be familiar with this new concept in anagrams that
that I’ve
developed called “Triangulation”.
“Triangulation”. If you aren’t familiar, this is simply the idea of mixing
multiple categories into a single anagram. This small change can heavily increase the
deceptiveness of the piece, as we seemingly give our participant the option to think of
‘anything’. Let’s take a look at the scripting. .
I start by saying, “I’m going to have you think of something random. So perhaps you
could think of a simple, basic shape…like an oval or a diamond, but not one of those, since
I’ve named them. If you don’t want to think of a shape, you could maybe think of your
favorite color in the rainbow…or any odd number between one and ten. When I snap my
fingers, think of something.” SNAP
Following this scripting, it appears that we’ve given the participant
participant the opportunity to
think of anything, but we can safely assume that they’ll think of
o f something from the options
we’ve  provided. Given the choices, it’s
t’s almost impossible for them to think of something that
doesn’t appear
appear on our list. The only items that wouldn’t work are things like an (OCTAGON) or
(DODECAHEDRON), or that sort of complex shape. Everything else is covered, unless the
 participant makes a mistake of some kind.
As you may have noted, the beginning of this anagram starts by innocently asking, “Is
there a letter repeated in your word?”
If ‘yes’,
‘yes’, then we proceed with the “repeat ploy” with (SEVEN).
If ‘no’,
‘no’, then we repeat (RED).
Let’s review the ‘yes’ response first. Suppose that our repeated (SEVEN) doesn’t hit. We
would then have them break the word down into smaller pieces in their mind. “Concentrate on
the first four letters of your word. Is it possible that these four letters form a word that you
could focus on?”
‘Yes’ would direct us
direct us to (YELLOW) and (NINE).
We then ask, “And what about the last three letters? Do they form a word, or could
you mix them into a word?”
If ‘yes’, then they’re thinking of the color (YELLOW).
If ‘no’, they’re thinking of the number (NINE).

21
 But if
if the first four letters don’t form a word, then we drop to the second box and ask,
“How about the first five letters? Do the first five letters make a word that you could focus
on?”
(GREEN) and (THREE) would be our options if they say ‘yes’, and we would move
straight into guidelines on the last letters: (N) and (E). These letters correlate to the numbers (3)
and (4). We haven’t had this
this situation come up yet, and it’s the only guideline in this book that
can sometimes lead us to a less deceptive finish.
We have them draw the first line in their mind. “And if there’s a second
second line, please
draw that. If there’s a third line, please draw that, as well. There isn’t a fourth line, is
there?”
Should they
they say ‘no’, we actually have a very deceptive reveal of (GREEN), because it
now seems like the letter they’ve drawn could be made up of one, two, or three lines.
In the unfavorable situation where they say ‘yes’, we know that there are four lines in the
letter, and they’ve chosen the number (THREE).
But, had they said the first five letters didn’t form a word,
a  word, we would drop to the third box
and switch things up, saying, “Okay, let’s try for a smaller word  instead. How about the first
two letters? Do these two letters form a word, or could you mix them into a word in your
mind?”
A ‘yes’ answer leads us to (INDIGO) or (PURPLE).
To distinguish between the two colors, we finally have them to focus on the last two
letters, and ask, “Do these last two letters make a word, or could you mix them into a
word?”
‘Yes’ means (INDIGO) and ‘no’ means
mea ns (PURPLE).
If they had said ‘no’ to the first two
first  two letters creating a word, we would move to the next
 box and ask, “Well is there a two letter word anywhere in the word that you could focus
on?”
‘Yes’ would lead us to (RECTANGLE).
If ‘no’, we drop down to the last box, and can instantly reveal that they’re
they’re thinking of a
(CIRCLE).
That’s the ‘yes’ side of the anagram finished, but if they had said ‘no’ in the very
 beginning to a letter being repeated in their word, we would progress down the ‘no’ side.

22
 Supposing that repeating the color (RED) doesn’t pr oduce
oduce a reaction, we move down the
list to break the word down in their mind. Our first question is, “Please focus on
focus  on the first two
letters of your word. Do these two letters possibly form a word, or could you mix them into
a word?”
‘Yes’ would equal: (ONE),
(ONE), (HEART), (FIVE), and (ORANGE).
We would next ask, “Now focus on the first three letters. Do t hese three letters form
a word that you
y ou could focus on?”
If ‘yes’, we learn immediately that they’re thinking of the number (ONE).
lis t and ask, “Okay, how about the last three  letters. Do
If ‘no’, we move down the list
these three letters form a word that you could focus on?”
You may have noticed on this anagram sequence that there are underlined words. Just as
the circled words are the second
the second keywords, any underlined words that you see represent our third
keywords.
A ‘yes’ to the last three letters would mean (HEART)
(HEART) or (FIVE).
We would then perform guidelines on the last letters (T) and (E), leading us to (2) and
(4).
As per usual, they would draw the first line, and then the second. We ask about the third,
and then we continue if we need to.
Fewer than three lines means (HEART) and three or more lines means (FIVE).
If the last three letters don’t form a word, we move immediately down to (ORANGE) and
 proceed into the revelation.
But if they had said ‘no’ to the first two letters making a word, we would drop down to
the second box, and ask, “How about the first four letters? Do   these four letters make a
word that you could focus on?”
on? ”
‘Yes’ would give us (BLUE) and (STAR).
Guidelines on the second to last letters leave us with (U) and (A), which translate to (1)
and (3).
Technically, some people may draw a (U) as one or two lines, but it doesn’t affect the
method or scripting.
Fewer than three lines equates to (BLUE) and three or more equates
equa tes to (STAR).

23
 Should the first four letters not yield us a result, we drop to the third box and ask, “How
about the last three letters? Do these three letters make a word that you can focus on?”
‘Yes’ indicates the options (VIOLET)
options (VIOLET) and (SQUARE).
Guidelines on the last letters (T) and (E) brings us to a (2) or (4) scenario.
Fewer than three lines means (VIOLET). Three o r more means (SQUARE).
Finally,
Finally, if the last three letters don’t form a word, we move into the very last br acket
acket and
can reveal that they’re
they’re thinking of a (TRIANGLE).

24
 FAVORITE THINGS
“REPEATED LETTER?”

YES NO

“BASKETBALL”
BASKETBALL” “RED”

1 1

F O O T B ALL B R O W N

3 3

B A S E B ALL P I N K

2
YELL OW B O X I NG
2 4
P U R PLE BOW LING
4
SO CCER G O L F
1 1

V O L L E Y B A L L H O C KEY

4 3
TEN NIS O R  A
 A NGE
2 1
CRICKET BLUE
3 3
GREEN GRAY

B L A C K 

WHITE

25
Revealing thoughts that mean something to a person will always elicit a stronger reaction than
the revelation of random thoughts. It not only conveys the idea that we’re
we’re inside their head, but
that we actually know things about them. If we guess a shape or an image that they’ve drawn, it’s
impressive,
impressive, but it doesn’t have as deep
de ep of an impact on the participant. With “Favorite Things”,
Things”,
we’ll be able to reveal a stranger’s favorite
favorite color or their favorite sport, whichever they choose to
think of.
We begin by saying, “I want
“I want you to think of something simple, but I want it to mean
something to you. So, if you have a favorite color, you could maybe think of that. I would
 just ask that you try to focus on a solid color and not a mix of colors like teal. If you don’t
want to think of your favorite color, you could maybe think of your favorite sport, if you
have one…that sort of thing. When I snap my fingers, just lock a thought in your mind.”
As in “Triangulation 3.0”,
3.0”, an illusion is created through the scripting where we’ve
seemingly given them the option to think of any favorite thing, even though they’ll think of
something from our suggested categories.
Once more, we begin the procedure by asking, “Is
“Is there a letter repeated in your
word?”
If they say ‘yes’ to
‘yes’  to a repeated letter, we ask them to repeat the word over and over in their
mind, “Like basketball…basketball….”
In the likelihood
likelihood that this doesn’t hit, we ask  them
  them to focus on the first four letters of the
word. “Do these four letters possibly make a word that you could focus on?”
A ‘yes’ at this point in the anagram would direct us to three choices: (FOOTBALL),
(BASEBALL), and (YELLOW)). We would ask them to repeat this smaller, four letter word in
their mind.
 Next, we would ask, “Okay…now focus on the last four letters. Do these letters
possibly make a word, or could you mix them into a word?”
‘Yes’ would mean (FOOTBALL) or (BASEBALL),
(BASEBALL), and we would perform the usual
guidelines procedure on the second letter of the words: (O) and (A).
Fewer than three lines would be (FOOTBALL) and three or more would be
(BASEBALL).
Had they said ‘no’ to the last four letters forming or mixin g into a word, we would know
that they’re thinking of (YELLOW).
(YE LLOW).

26
 But if they had said ‘no’ to the first four letters creating a word,
w ord, we would drop into the
second box and ask, “How about the first two letters? Do these letters make a word, or could
you mix
mix them into a word?”
A ‘yes’ response would be (PURPLE) or (SOCCER), and we would immediately move
into guidelines on the second to last letter: (L) and (E).
Fewer than three equals (PURPLE) and three or more equals (SOCCER).
If the first two letters don’t
d on’t cr eate
eate a word, we drop to the third box and move into
something a little different than what we’ve seen in the previous origin anagrams.
We would now ask, “Let’s try branching out a bit further. Do the first three letters, or
the last three letters, form a word that you could focus on?”
Pulling from our remaining options, a ‘yes’ here would mean that they’re thinking of
(VOLLEYBALL) or (TENNIS).
Guidelines could be performed on the second letter of the words: (O) and (E).
As usual, fewer than three lines indicates (VOLLEYBALL) and three or more indicates
(TENNIS).
If the first or last three letters don’t form a word, then we move into the final box:
(CRICKET) and (GREEN).
Performing in the United States, it’s highly unlikely that a person’s favorite
favorite sport will be
cricket, unless one is performing for a British participant. We can then assume with a fair amount
of certainty that if performing within the U.S. that the person will be thinking of (GREEN). Still,
for the sake of covering as many options as possible, we could do a final check by performing
guidelines on the last letter of the words: (T) or (N).
Fewer than three lines is (CRICKET) and three or more is (GREEN).
That’s the end for the ‘repeated letter’ side of the anagram. Now let’s t ake a look at what
we would do if they say ‘no’ to a letter being repeated in their word.
“Okay, let me have you just repeat the word over and over in your mind…like
red…red…red….”
Presuming that this misses, we say, “Very good. I’m now going to have you  break the
word down in your mind. Focus on the first three letters of the word. Is it possible that
these three letters form a word that you could concentrate on? Like ‘bro’ in brown is
technically a word.”
word. ”

27
 I include that last line because
line  because I don’t think most people would think of ‘bro’ as an actual
word, but more of a slang term. In actuality, it is considered a real word. Along with (BROWN),
if they answer ‘yes’, the other options
opti ons would include: (PINK), (BOXING) or (BOWLING).
To anagram through these four options we ask them to focus on the last three letters of the
word, “And do these three letters form a word that you could focus on?”
If ‘yes’, they are thinking of (BROWN) or (PINK).
Pink seems the more likely option for a favorite color, but to leave no doubt, we use
guidelines on the third letter: (O) or (N). Fewer than three lines means (BROWN) and three or
more means (PINK).
If they answer ‘no’ to the last three letters generating
generatin g a word, our options are: (BOXING)
or (BOWLING).
Guidelines on the third letter of the words give us (X) or (W). Fewer than three lines
means they’re thinking of (BOXING) and three or more means they’re thinking of (BOWLING).
Had the first three letters not formed a word, we would drop down into the second box and
ask, “How about the first two letters of the word? Do these letters make a word, or could
you mix them into a word?”
Our options if they say ‘yes’ are: (GOLF), (HOCKEY), and (ORANGE).
After having them repeat the two letter word in their mind, we immediately say, “And
actually, can I have you focus on the first three letters again? Is it possible that you could
mix these letters into a word?”
The only choice that would work here is (GOLF), as they could create the word (LOG)
from the first three letters.
If not, we are left with (HOCKEY) and (ORANGE). Performing guidelines on the third
letter of the word would be the same as previously mentioned. Fewer than three lines means
(HOCKEY) and three or more means (ORANGE).
If the first two letters
letters don’t create
create a word, we say, “Okay, what about the first four
letters of the word?”
A ‘yes’ here would mean
would mean (BLUE) or (GRAY). Using guidelines on the third letter would
give us (U) and (A). As I’ve said earlier in this book, (U) could be represented as either a (1) or a
(2), depending on how the participant draws it, but it doesn’t change the process. Fewer   than
three letters equals (BLUE) and three or more e quals (GRAY).

28
 At last, if the first four letters don’t form a word, we ask, “How about the last four
letters?”
letters?”
‘Yes’ means they’re thinking of (BLACK).
‘No’ means we drop into the last box, which is (WHITE).
Instead of keywords on the last four letters of the word, we could also use guidelines on
the second letter of the word: (L) or (H). Fewer than three lines is (BLACK) and three or more is
(WHITE).

29
 SOURCE CODE

1x2=2x2=4x2=8

2 x 2 = 4 x 2 = 8 x 2 = 16

3 x 2 = 6 x 2 = 12 = 3 x 2 = 6

4 x 2 = 8 x 2 = 16 = 7 x 2 = 14

5 x 2 = 10 = 1 x 2 = 2 x 2 = 4

6 x 2 = 12 = 3 x 2 = 6 x 2 = 12

7 x 2 = 14 = 5 x 2 = 10

8 x 2 = 16 = 7 x 2 = 14 = 3 x 2 = 6

9 x 2 = 18 = 9 x 2 = 18 = 7 x 2 = 14

10 x 2 = 20 = 2 x 2 = 4 x 2 = 8

11 x 2 = 22 = 4 x 2 = 8 x 2 = 16

12 x 2 = 24 = 6 x 2 = 12

30
As I mentioned in the “Opening Thoughts” section, “Source Code” is the only piece in this
manuscript that uses its own method of progressing through an anagram. This is an anagram for
numbers, but ironically, I wouldn’t use it to reveal a random number that a spectator thinks of. I
much prefer to have a spectator think of their birth month, and then create a random number in
their mind that I could guess, as well.
The great thing about this demonstration in comparison to some other ‘math’ effects is
that the spectator never has to say a number aloud. We are asking questions, but they always
seem to lead us to a logical progression in the process. I know that this anagram may intimidate
some of you who aren’t comfortable with mental math, but I personally didn’t
didn’ t find it any harder
to memorize than a traditional P.A. After I explain the basic procedure, I think you’ll see that it
isn’t as complicated as it first appears.
My personal presentation would typically be, “I want you to think of the month that
you were born. Just repeat the month over and over in your mind. Very good! I’m going to
try to guess the month you were born, but in order to do that, I’ll need to distract you a bit.
I’d like you to think of a random number, which we’ll create using your birth m onth. Can
you imagine your birth month as a number instead of the month?”
Giving the participant a second to do this, we now continue with the instruction,
“Whatever number you’re thinking of now, I’d like you to double it in your mind.”
Allow them a moment to do this, and then we ask, “This new number that you’re
thinking of, is it a single digit number?”
If they say ‘yes’, it seems as though we’ve made a hit, and we would stay in the top box:
(1) through (4).
They’re now instructed to double the number
number a second time. “If this new number is a
two digit number, I’d like you to add the two digits together. If it’s a single digit number,
 just focus
focus on it.”
After a moment, I ask, “This new number that you’re focusing on, is it an even
number?”
A ‘yes’ response,
response, once again, appears to be a hit, and it would indicate that they’re
thinking of (1) or (2). We ask them to double the number one more time and ask, “Is it still a
single digit number?”
If ‘yes’, they’re thinking of the number (8), which leads us back  to
 to (1) - (JANUARY).

31
 If ‘no’, they’re thinking of the number (16), which le ads us back to (2) -
(2) - (FEBRUARY).
A ‘no’ response to the new number being an even number would mean (3) or (4). We
would then transition by saying, “Okay, then double it again, so th at it becomes an even
number. And is this new number a single digit number?”
‘Yes’ would mean they’re thinking of (6), leading ba ck to (3) - (MARCH).
‘No’ would mean they’re thinking of (14), lead ing back to (4) - (APRIL).
Going back to the very first question,
question, had they said ‘no’ to the new number being a single
digit, we would redirect and say, “Okay, then add both digits together, so that it  becomes a
single digit number. Is this new number an even number?”
If ‘no’, we move down to (5) through (9).
If ‘yes’, we move down to (10) through (12).
Let’s cover (5) through (9) first. We know that they’re 
they’re   currently thinking of an odd
number, so we say, “Okay, then double the number, so that it becomes an even number.
Now this
this new number that you’re thinking of, is it a single digit number?”
‘Yes’ means that they’re thinking of either (5) or (6). We ask them to double it one more
time. “And finally, this last number, is it a single digit number?”
If ‘yes’, they’re thinking of (4), which tracks back to (5) - (MAY)
If ‘no’, they’re thinking of (12), which tracks back to (6) –  (JUNE).
 (JUNE).
Had they said ‘no’ to it being a single digit number at the start of this box, we would be
left with (7) through (9). We would then ask, “Is the first digit higher than the second digit?”
A ‘yes’ answer means that they’re thinking of (10), which leads ba ck to (7) –  (JULY).
If ‘no’, we redirect the question with the instruction , “Okay, then minus the smaller
number from the higher number.”
Allow them a few seconds to do this, and then instruct them to double this new number
one last time.
Ask, “Finally, is this new number a single digit number?”
‘Yes’ equals (6), which leads us back to (8) –  (AUGUST).
 (AUGUST).
‘No’ equals (14), which goes back to (9) –  (SEPTEMBER).
 (SEPTEMBER).
That is the end of this box. Now let’s
let’s go down to (10) through (12). We would have
moved down to this box if they had said ‘yes’ to the first ‘added’ digits  being ‘even’. It would

32
look like we got a hit, and we would continue with, “Okay, now double this new number.
Once again, is it a single
sing le digit number?”
A ‘yes’ here would mean (10) or (11).
A ‘no’ would lead us instantly to (12), which actually leads back to (12) –  (DECEMBER)
For (10) and (11), we would have them double the number one final time and ask, “Is it
still a single digit number?”
numb er?”
‘Yes’ would mean (8),
mean (8), tracking back to (10) – 
(10) –  (OCTOBER).
 (OCTOBER).
‘No’ would mean (16) tracking back to (11) –  (NOVEMBER).
 (NOVEMBER).
I should mention that every instance in this anagram where it ends with a two digit
number, I always finish the process by
b y having them add the two digits together.
So, in (NOVEMBER), when we finish at (16), I would complete the procedure by having
them add the digits together to make (7). The same can be said for all of the rest of the two digit
endings. If I ask a question, then I always want to follow it up with a mathematical procedure to
redirect said question.
Instead of presenting this as a ‘random’ number that we’re creating, we could also make
up something about discovering their ‘astrological’ number. I believe Peter Turner, and likely
others, have used this sort of presentation in the past. As I brought up in “Star Sign”,
Sign”, I don’t
 personally believe in psychic abilities,
abilities, so I don’t wish to further the notion that these things
actually exist.
If we wanted to use this to learn the day a person was born, we could very easily combine
Code” with Michael Murray’
“Source Code” Murray’s Springboard concept. My only issue with this is that I
went through a painstaking amount of work to avoid the spectator having to say a specific
number aloud, so I prefer for it to stay that way, as I only reveal the month. At most, depending
on the specific month, I might ask the person, “Were you born before the 22 nd?” Based on
their answer, I could determine what their star sign is, as well.
Aside from star signs and birth months,
months , I’ve used the “Source Code” procedure
Code” procedure to create
crea te
a very powerful and fair watch test. A person creates a random time in their mind, and then spins
the tab and stops on a random time. At the end, they both match.
We would accomplish this by first having them focus on an hour. We would then use
their mentally chosen hour to create a more random number of minutes. Leading them through

33
the anagram, we eventually learn the hour they’ve chosen, and the random number  of
  of minutes
that they’ve ended on.
We now take off our watch and say that we’re going to try to set it to the time they’re
thinking of, which we actually do.
But instead of showing this, we say, “Actually, let’s try something a little more
interesting. I don’t want you to look at the watch face, but I want you to spin the pin until
you decide to stop at any time. When you’re finished, just push the pin back in to set the
time.”
time.”
Making use of the classic ‘double pin’ watch force, they can spin the dial to their heart’s
heart’s
content without actually changing
changing the time you’ve set. I now have the participant hold the watch
away from them, as they announce their mentally chosen time. With this presentation, the
audience watching can react, and then the participant can turn the watch around and react
themselves. This presentation makes it impossible for them to think it was a gimmicked watch.
We could also have one participant think of a “random” time, after which we give the watch to a
second participant to continue spinning the dial, producing more of a synchronization effect
 between two spectators.
One last alternative idea is that we could say ten items as we hold up a number of fingers
for each item. Saying “tree” , you would put up your thumb. Then on “car”, you would add your
index finger, indicating the number two. You would do this with ten items, counting on your
fingers all the way up to ten.
By having the person create a more “random” number  using
 using their thought of item, we can
then reveal the new number that they’re thinking of, and the item they
item they chose. These items could
 be anything from colors to drawings, or even a letter in the alphabet.
We could say, "I'm going to go through the alphabet on my fingers, and whenever I
say the letter you're thinking of, I want you to focus on the number of fingers I'm holding
up."
You could go through the first ten letters of the alphabet on your ten fingers and then we
would ask, “Are you thinking of a number, yet?”
If ‘no’, we continue with the next ten letters of the alphabet, and we ask the same
question, “Are you thinking of a number, now?”
If ‘no’, we finish
finish with the last six letters of the alphabet.
alp habet.

34
 Personally, I’m not that big a fan of this
th is idea. It just seems too odd of a procedure to learn
a single letter. Still, it’s here as an option. And I’m certain that there are other
are  other applications and
 presentation of the “Source Code” concept waiting to be explored.

35
 CLOSING THOUGHTS

Thank you, as always, for purchasing and supporting my work. I hope that you’ve enjoyed my
thoughts on this subject of anagrams, as I suspect this will be the last manuscript that I offer on
this topic for a while. This is the method that I had wanted to create for a very long time, a
method where the process was interesting, and didn’t seem to give us a lot of open information.
The combination of “Keywords” and “Guidelines” makes for what I feel is one of the most
deceptive systems of progressing through an anagram. I’ll finish this manuscript by offering up
some final bits of advice and thoughts on the Origin process.
Origin process.
First off, I can already imagine that some of you will be thinking that this is too much
work for the participant, or that the whole procedure will take too long. Personally, I enjoy
having the participant be mentally invested in the effect. I think it means more when they’ve
done more to achieve the ending. Just as having a person focus on a peeked letter and bringing it
to the tips of their lips is fascinating for a spectator, the presentation of having them focus on
smaller words within their word is also intriguing and logical. It is an interesting process for our
audience to latch on to. The same can be said for having them draw a letter in their mind. And
when considering the length of time that this piece takes to perform, you’d actually be
b e surprised
 by how quickly you can blow
blo w through the process. Depending on how far you need to go into the
anagram, it can typically be over in around a minute or less, and it
it certainly doesn’t feel like that
long of a process.
As for some valuable advice, a time delay between learning the information, and
revealing it, can be quite powerful with
with this type of work. This doesn’t necessarily mean that we
have to say, “We’ll get back to that in a moment,”  but it could certainly be that easy. Even
something as simple as switching from the anagram sequence to having them simply visualize
the actual item that they’re imagining, drawing it in their mind. Just change the process at the
end to shift attention away from the first procedure. Another option would be combining an
origin anagram with something like the one-ahead principle.
After learning their thought, we don’t say it aloud, but now that we’ve warmed up, we
ask them to think of something else, like a name or any word, etc. We bring out a pencil and a
couple slips of paper and have them repeat this new word in their mind. While
While they’re doing this,

36
we actually write our anagrammed thought on the first piece of paper. We then have them say
this random word aloud before asking them to refocus on their first thought. Writing whatever
name or word they’ve
they’ve said
 said aloud on this second card, we add it to the first and then turn both
over to reveal our guesses are correct.
We could also combine any of these anagrams with my Thought Control technique to
create what I would consider to be one of the most powerful pieces of propless mindreading that
we can perform.
perform. If you’re a member of the Thought Control facebook
facebook group, you’ll already be
aware of how you can use this new work in conjunction with it. The possibilities are really quite
exciting.
How you ultimately decide to use and present this concept is entirely up to you, and I
often choose in the moment, based on what word they’ve picked.
For instance, if a person is thinking of the color (PINK), I might draw a pin on a slip of
 paper, as well as a scribbled mess on the other side of the paper, indicating the words (PIN) and
(INK). I would write (PINK) underneath these drawings and could then reveal everything, and
how we got to this particular thought. I typically only do this with the more visual words that I
can draw.
Having tried to make the anagrams in this book as surefire as possible, I’d like to finish
 by once
on ce more pointing out that there will always be a time when our participant doesn’t
do esn’t follow
our instructions as we’d hoped, or answers a question incorrectly. The best way that we can
avoid this is to have studied the material enough to be able to deliver the script clearly and
effectively. There is just as much nonverbal communication in this work as there is verbal. If
you’re comfortable and in control of
control of the situation, the participant will feel more comfortable and
at ease during the process.
Just remember to shower your helpers with compliments. Remind them to take their time
and that there’s truly no pressure. Besides anagrams, I believe this is good advice to live by.
It’s been
been a pleasure sharing my thoughts with you all.

Sincerely,

Matt Mello

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