IVIOTHER OF ALL BOOK TESTS 7 20 By Tep KARMILOVICH The Book Test. Redefined.OTHER OF ALL Book Tests 2.0 BY Ted KARMILOVICH Copyright © 2011 Ted Karmilovich INSTRUCTIONS, TEXT, CONCEPT. ALL RIGHES RESERVED, Reproduction or utilization of this work in any form, by any means now known or herein after invented, including, xerography, photocop- ying and recording, and in any information stor- age and retical system, is forbidden without written per m from the copyright holder. Printed in the United States of America. T would like to thank my friends and espe- cially tle members of NYC’s legendary Thir- teen tor then assistanee in the development of Mother 0, Special thanks to Marc S. and Nick Belleas tor thei time and the ideas they contrib uted. ‘Thr. project would not have been possible without thewCONTENTS Introduction Basic effect Basic presentation To memorize or not Other handlings for obtaining the first letter Read a thought, not a word/ design duplication The more the merrier The more the merrier (1) The more the merrier (III) Close-up ideas Radio suggestion Television suggestion Radio/television presentation One ahead 4th Dimensional Telepathy A prediction Other thoughts WHAT'S NEW IN 2.0 The Adrian Bint ploy Pseudo-Hellstromism and venue object revelation Name game Occupations Bob Baker’s reverse book test Hellstromism and action tests ARR 16 16 19 20 20 24 Magic, mentalism, bizarre magick, etc. Any card, any number Ashes on arm 27 7 Card under glass Card (Seven of Hearts) Chain on neck Chair effect Chapel effect Charles Reynolds’ mass telepathy tactic Denmark Description (black top) Description (white top) Eiffel Tower Equivoque Fine fiction Invisible Deck Invisible Deck (Ted K.) Jackpot Coins Key-R-Rect Living and Dead Mr. Wizard’s mother OKAY PK Touches Ring Flite Royal flush Stigmata Tarot card force Tarot card lovers Wallet (item inside) Watch (time of death) ‘Watch steal (pickpocket) About the text formatting About the cover 27 27 28 28 29 30 31 31 32 32 32 32 33 33 33 34 34 34 34 35 35 35 36 36 36 36 37 37 39Introduction Welcome to Mother 2.0! It has been 15 years since we released the original Mother of All Book Tests. The original set new standards for book tests with many calling it the best, most direct, and simplest hands-off book test of it’s kind. It became the book test of choice for many of the working pros. So why 2.0? Simply put, over the years we received many requests, from both mentalists and magicians, to up- date the original at some point. They requested a softcover, a differ- ent set of key words (so that it could be used in conjunction with the original Mother without spectators choosing the same word), and possibly some other added features making it more of a ‘tool’ for the working performer and not simply a one-function trick. Thad always considered the original to be a tool as it left the performer with a number of options for different pres- cutations (reveal a word, duplicate a drawing, demonstrate pseudo-contact mindreading, etc.). Many purchasers of the original ei- ther did not read the instructions in their entirety or simply did not exercise their creativity to explore other presen- tations that could be built around the original concept. And of course, with time, many add- ed presentations were developed, but were kept underground for various rea- sons. I'm sure that Mother 2.0 will excite and inspire it’s owners, both mentalists as well as magicians, with the vast range of possibilities and presentations that it offers, and I look forward to see- ing the dynamic directions in which other performers take this powerful ‘tool’! Basic effect You have received a standard-size softcover novel which will withstand the closest scrutiny. The book supplied is of the highest quality available. With proper care it should last for years. The text itself is comprised of twen- ty-four pages recycled throughout the book. This recycled text has been brok- en up into different paragraphs throughout the book hiding the fact that it is the same body of words cycled throughout. Also, chapter numbers have been distributed throughout the book to fur- ther add to the appearance of a ‘nor- mal’ novel. No two pages are the same. It is this text that makes the effect work. Every word of the text is made up of six letters or less. There are, how- ever, twenty-three key words that ap- pear throughout the text. These words are comprised of more than six letters. They contain anywhere from 8-13 leucis, Bach of these twenty-three words begins with a different letter of the alphabet. It is this fact that enables the Mother of all Book Tests to work. These words are as follows: A-automobile L-lighthouse B-butterfly M-motorcycle C-coffeehouse —_N-neighborhood D-dermatologist O-oceanview E-earthquake —_P-policewoman F-flashlight R-rollercoaster G-grandfather _S-supermarket H-headphones —_‘T-thunderstorm I-imprisonment —U-university J-jellyfish V-volleyball K-kindergarten W-watermelon Y-yearbook The letters Q, X, and Z have been avoided for a couple of reasons. First, there aren't many long words that be- gin with these letters, and secondly, during the course of the performance,you would rather have the spectator choose words that begin with the more common letters. These twenty-three specific words were also chosen for another reason. Each one of these words are things that can be visualized. This is helpful for committing the list to memory, which is easily done, as the first letter of each word triggers the word. Although a cue sheet can be em- ployed, you will see how much more effective the routine is if the list is committed to memory. More impor- tantly, the fact that these words can be visualized will give you flexibility for a number of different presentations as you will see! Basic presentation The basic presentation is as follows: The spectator is asked to participate in a test of mind-to-mind communication. She is handed the book as the perform- er comments on his interest in murder mysteries or contemporary fiction. She is asked how many pages the book contains. After her response, the performer invites the spectator to open the book to any page. She is given the option of changing her mind and ulti- matcly arrives on a page of her own choosing. The performer can either be facing the spectator as this is done, or he can be turned away, The performer then in- quires as to approximately how many words are on the page she has chosen, indicating to her and the audience that there are hundreds of words to choose from. After her response, the performer in- vites her to simply think of any word on the page. He then cautions her not to choose a simple word like ‘of’ or ‘the’, but a longer word. As the per- former says, “The longer the word, the more challenging you make it for me.” Once she has chosen a word, the book is closed and placed off to the side. Now, the only thing you need to know to discover the word she has in mind, is the first letter of the word. There are a number of ways of 2 complishing this. I°ll first share with you the procedure I use, and then I’ll present you with alternate handlings that have been suggested and used by members of the Thirteen. First, I ask the spectator to concen- trate on the first letter of the word. I use the word “concentrate” or the phrase “think of”, but I do not use the words “picture” or “visualize.” You'll see why in a moment. As she concen- trates, I pick up a pad of paper and a marker, and on the pad I simply write any letter of the alphabet without let- ting her sce what I’ve written. Now, at this point in time, you can actually go with your intuitive feelings, or you can go with the first letter of the most commonly selected words which T'll go into shortly. Or, you can simply put down any letter. It really doesn’t matter. After you have written down your letter, (in this case, Iet’s assume I’ve written the letter ‘T’), you simply ask her what letter she was concentrating on. If she says the letter you have writ- ten down, you're on your way to a mir- acle. If she doesn’t, I simply respond by saying, “And I got the letter ‘T.’ Pretty impressive, huh?” I tur the pad around and show her the letter I wrote on the pad. This will usually bring some chuckles, especially if there are other people viewing the test. If she does happen to say the letter that you’ve written down, turn the pad around to show her, and be prepared tohear some gasps. In either instance, you now know the first letter of her word, and in effect, you now know what word she’s thinking of! Now at this point, if I have missed the letter, I follow up with the question, “Were you saying the letter in your mind?” Most people will respond with a “yes”, so I immediately say then, “Well, I rely upon visual images, so I really need you to picture it in your mind.” If they respond with “no”, then I simply respond with, “Well, I really need you to say the letter in your mind.” Either way, whatever their response is, you instruct them to concentrate the other way. Now the interesting thing is, occasionally you will write down a let- ter, like the letter ‘T’ for instance, and it will sound like, or rhyme with, the letter they were thinking of. Such as: B,C,D,G,P, V, etc. A nice ploy to use should this situa- tion arise, is to simply say, “Oh, you were saying the letter in your mind, and hearing it, I thought you were say- ing ‘T’.” It makes perfect sense. So now that you know the first let- ter, you, in essence, know their word, and now it’s just a matter of finishing through in whatever way appeals to you. I prefer to ask them now to con- centrate on the second letter. After suitable concentration, I re- spond with, “That’s much better. You're thinking of the letter ‘A’ (or whatever the second letter in their word happens to be).” At this point, after telling them how to concentrate and correctly identifying the second letter, they are genuinely surprised and most often taken aback by the fact that you have correctly identified this second letter. Next, I ask them to concentrate on the third letter. Without saying what this third letter is, I appear as if I have received it and then say, “You're doing such a fine job, now visualize the entire word in your mind.” I pick up my pad once again, and jot down the entire word without letting them get a glimpse of what I have writ- ten. Now it’s time for the build-up. “Ma’am, you’ve been thinking of one word out of literally hundreds of thou- sands of words. Does anyone know what you’re thinking?” She will usually respond with “No,” although at times they are so impressed by the fact that you got the second let- ter, they may say, “You do,” which again brings a chuckle. I then ask them to state the word that they were think- ing of, and then I turn the pad around to show them that I have correctly re- ceived it! This is extremely strong! That is the basic presentation. I would like to just briefly comment on some aspects of this presentation. First, there will be some mentalists who will be concerned about missing the first letter of the word. There are other ways of dealing with this concern that will be discussed in other handlings later on, but I want to say this now: It is not a big deal. In other book tests that use pumping techniques or anagram principles, a mistake is usually made somewhere along the line. Sometimes as many as two or three mistakes are made! It makes much more sense for the performer to make that mistake at the beginning and then re-instruct the spec- tator on “how to concentrate,” than it is for the performer to make that mistake somewhere in the middle or end of the presentation. Also, missing that first letter accom- plishes something else. It adds legiti- macy to the test and emphasizes toyour audience the absolutely impossi- ble nature of what you’re attempting! Now, I’m not going to say that get- ting every letter from start to finish is necessarily bad, but sometimes when that happens it can actually be too strong. Others times, though, it does bring those well-deserved gasps! And if you do miss that first letter, it’s the only letter that is missed. More often than not, spectators forget that you missed that first letter. One of the many strengths of this method is that there is only one miss at most and no obvious or prolonged pumping. Also, some of you may be con- cerned about the spectator choosing a word that is not 8-13 letters in length. You may, in fact, be tempted to ask the spectator to choose a word that is “sev- en letters or longer.” Do not take this approach! It will cause all sorts of red flags to go up in not only the mind of the participating spectator, but also in the minds of those viewing the presentation. Your directions must appear to be casual and unimportant. You're en- couraging the spectator to choose a longer word because, quite frankly, you don’t think the audience will be that impressed if you guess a simple word like ‘of’ or ‘the.’ By stating, “Choose a longer word. The longer the word, the more chal- lenging you make it for me,” you are giving the spectator instructions that are very Dunningeresque: the instruc- tions seem to make your task much more difficult, when in fact, they make it easier and actually provide the mo- dus operandi for the effect. To memorize or not This effect can be accomplished with the aid of a cue sheet, or it can be done by simply committing the twenty- three words to memory. The effect is much stronger when the words are committed to memory as opposed to having to rely on a cue sheet. Although they took the time to memorize it beforehand, many mem- bers of the Thirteen had a cue sheet on their performance table when first per- forming this effect. It may give you the extra bit of con- fidence knowing that the list is close at hand, but after performing it a number of times, (and you will perform this all of the time), the words become second. nature. It is suggested, however, that initial- ly the cue sheet be available on your ta- ble so that after missing (or receiving) the first letter of the word, you can tear off the top sheet of the pad, crumple it, and place it on your table taking the op- portunity to glimpse your cue sheet. Or, you can, if you choose, have the cue shect lightly penciled on the back of the top sheet. Now, when you tear off the top sheet and place it on your table with the cue side uppermost, you can obtain your glimpse! Other handlings for obtaining the first letter Let's talk about some other ways of approaching the first letter. This was, by far, the most discussed aspect of MOAB by members of the Thirteen. Ken Weber, and other Thirteen mem- bers have employed this stratagem. After having a spectator think of a word from the MOAB, the performer invites the other audience members to test their psychic skills. The spectator on stage, who has mentally selected a word, is asked to concentrate on the first letter of their freely chosen word and attempt to sendit to members of the audience, sort of a New Age “Let’s see how you do” ap- proach. Members of the audience are asked to use their intuitive skills to try to re- ceive this first letter, After a suitable length of time, the performer asks the spectator to name aloud the letter they had been focusing on. After it is named, the performer asks for a show of hands to see how many people in the audience successfully re- ceived it. Thirteen member Bob Baker uses an excellent line at this point. He says, “How many people, besides me, got that letter?” It can be said seriously, or with tongue in cheek. Either way, it’s an effective line. Whether you use that line or not, you can make some suitable comment as to how difficult it is to receive thoughts, etc. You now explain to the audience that you are going to try to perceive the rest of the word. You can now reveal the remaining letters one at a time, or proceed in any manner that suits your own perfor- mance style. The Miller Method Roy Miller’s brilliant solution is as follows: The performer has a spectator think of a word from the book as in the pres- entation. He asks her to concentrate on just the first letter. Appearing as if he has received it, the performer appears to jot it down on his pad. In reality, he writes nothing. He asks the spectator, “What letter were you concentrating on?” She gives her response, ‘K’ for ex- ample. The performer, smiling, says, “That’s great!”, but he doesn’t turn his pad around just yet. He asks her to focus on the second letter in her word. Because she has said the first letter, the performer now knows the word (in this case, ‘K’, so the word is ‘kindergarten’). The performer, while apparently jot- ting down the second letter, really writes down both the first and second letters (In this case, “KI’). Turning the pad around to the spec- tator he says, “For the second letter I’m getting an ‘I’.” The spectator, seeing both the ‘K’ and ‘I’ on the pad assumes that the ‘K’ was initially written by the performer. The performer can now spell out the entire word and leave the paper with the spectator as there are no mistakes. This method is ideal for close-up and requires just a little care for stage use. It is the ONLY way I present it in a close-up setting. It’s that strong! Read a thought, not a word/design duplication You can, if you choose, take this ef- fect out of the realm of a word test. Since the twenty-three key words that are used have been specifically chosen because of the fact they are all things that can be visualized. You've missed the first letter, but you now know what the chosen word is, so proceed as follows. Ask the spectator if their word is something that can be pictured (You know that it can), Instead of revealing the rest of the letters, have them visualize the object in their mind and start to describe it in your most theatrical manner. Or, pick up your pad and draw it! You can also turn this into a design du- plication by having the spectator draw the image on one pad while you draw ‘on another!The more the merrier We've looked at presentations geared for use with one spectator, but what about reading the minds of more than one spectator at the same time. At this point, I'd like to share with you some ideas and concepts along this line. Proceeding along the lines of the basic presentation, let’s involve two spectators in the presentation. After one spectator has selected a page and mentally chosen any word on that page, the book is closed and passed to another person, say, on the other side of the room. This person also selects a word and the book is closed and put aside. You now have two people standing, each fo- cused on a word. You instruct both of them to concen- trate on the first letter of their respec- tive words. Picking up a pad, you ap- pear to concentrate and eventually jot down two letters on the pad. Turning to the first person, you ask him to announce the letter he was thinking of. Then, turning to the second person, you do likewise. Now, depending upon their respons- es, four things could occur: ONE: You have correctly guessed both letters. Highly unlikely, but possi- ble. TWO: You have correctly guessed one of the two letters. It happens quite often. THREE: You have correctly guessed neither of the letters. It hap- pens most often. FOUR: They have thought of the same letter. It has never happened to me, but it is possible. Let’s examine each situation, one at a time. ONE: You have correctly guessed both letters. Turn the pad around to the audience and announce the two letters that you received. Prepare to hear a col- lective gasp from the audience! You can now work with them one at a time and perceive their individual words. I don’t have to tell you how strong this would be for both magicians and laymen. TWO: You have correctly guessed one of the two letters. At this point, I turn the pad around and show the audi- ence the two letters that I received. I make a comment about having correct- ly perceived one of them. I then ask the person whose first let- ter I missed if they were saying the let- ter in their mind and proceed with that individual as described under the basic presentation. I get their word, and then follow through with the spectator whose first letter I correctly perceived. You can, if you so choose, work first with the spectator whose first let- ter you got right, making a comment that it may be easier to work with them first, and then follow through with the person whose letter you initially missed, since you now know the word anyhow. I find it to be a matter of personal preference. As I said earlier, guessing one of the two first letters happen quite often. THREE: You have correctly guessed neither of the first letters Now, you may be thinking that this is < terrible situation to be in. Aside from situation #1, it’s actually my persona favorite. Let me explain why. When working with two people which is how I always present. the MOAB on stage, I have favorite two letter combinations which I initially write as my perceptions on the pad These two-letter combinations are: 7 A,B S,P U and occasionally F U.Now, if I ask the two spectators what the letters were that they were concentrating on, and they don’t say ei- ther of the two letters that I’ve written down, I tum the pad around and say, “And I got the letters T and A. Pretty impressive, huh, folks?” This line, as I’ve said before, gener- ates much laughter. I then point to a gentleman seated down front who ap- pears to be a good sport and say, “Gee, T and A. I must have been getting this gentleman’s thoughts.” It is a much more harmless line than it appears, although I do believe it de- pends upon your personality and how it is delivered. I find it to be perfectly fine in the nightclub setting (especially for those of you who work comedy clubs, like myself), but it may not be suitable for all venues or for all audiences. Once again, in this age of political correctness, use a little common sense. The same applies for the other combi- nations of two letters. If you're working a college, like Rutgers University for example, it makes sense to write down the letters R U, and make an appropriate comment about “somebody must be thinking about the school,” etc. The same concept can he applied to corporate presentations. Write down G E for a General Electric show (“Somebody is wondering if they’re going to be promoted (or fired”). You've made a joke, gotten a laugh, and now you know what they’re think- ing! Proceed as in the basic presenta- tion with both parties. I would just like to mention here that [ never reveal both words in the same manner. I don’t like to be redundant. I may write one of the spectators’ words on the pad, ask them to announce what “one word out of hundreds of thou- sands of words they were concentrating on,” and turn the pad around to reveal the matching word. For the second person, 1 wouldn’t even use the pad. I would just ask them to concentrate and then I would state, “You're thinking of the word » aren’t you?” Or, I draw a picture of what the sec- ond person is thinking. You can even turn this second revelation into a de- sign duplication as is mentioned earlier in the instructions. The point is: try to make the two revelations a little bit dif- ferent. FOUR: They have thought of the same letter. As I’ve said, it’s never happened to me in all the years of per- forming it, but it could happen. So, how do you handle it? Well, given your particular set of circumstances, there are two logical ways to go: (A) You approach it the way Dave Hoy would have. You ask both spectators to once again concen- trate and visualize their words in their minds. After suitable concentration on your part, you announce that the two words you're getting are and the word they’re both thinking of. Follow that up with, “If P’ve correctly perceived your thought, please be seated.” Of course they will both sit down. Just make sure that the first word you call off is a word that starts with the same letter of the alphabet as their cho- sen word! Or (B) ask them both to visualize their words in their minds. After suita- ble concentration on your part, you write down their one word. Mention that this is strange, that you seem to be getting only one word. Ask the first person what word they were concentrating on. Then ask the second. 10Then tum around your pad! Telepathy? Synchronicity? T'll leave it up to your own perfor- mance style as to what you'd like to call it. As I’ve said, whenever I present the Mother of all Book Tests on stage, I always involve two people. The pres- entation is very strong! The more the merrier (II) There are some members within the Thirteen who would like to avoid com- ing across possibility #4 at all, and so this is the way they proceed. After the first spectator opens the book and mentally chooses a word, they are invited to point their selection out to someone else either close to them or some distance away. The performer instructs this second person to also think of a challenging word on either of the two open pages, other than the word that the first person has in mind. This guarantees hat the two specta- tors will in fact have selected different words, thus avoiding the possibility that they will choose the same word. Proceed as in Part 1. The more the merrier (III) There are some members within the Thirteen who have gotten very creative combining MOAB with other book tests that are on the market. A couple of our members use MOAB in conjunc- tion with Larry Becker's original Flashback. One of the Flashback books is dis- played along with the MOAB. A spec- tator is asked to choose cither book. If MOAB is chosen, give this person the book, and approach a second person with the Flashback book. If the Flashback book is chosen, hand someone the MOAB book for lat- er. Either way, you will work with the Flashback book first. Two spectators are asked to peek at words in the Flash- back book. They are asked to concen- trate, and the performer now reveals the words one at a time. Owners of the original Flashback will note that the majority of the time, short words, (words of 2,3, or 4 letters) are peeked at. After divining the two selected Flashback words, the performer says, “Let’s try it one more time. Sir, (the gentleman holding the MOAB book), open your book to any page and think of any word on that page. Try to pick a longer word than what we’ve worked with so far. As a matter of fact, the longer the word, the more challenging you make it for me.” Now you're set to knock their socks off! Close-up ideas Some of you may find it desirable to get the word 100% correct frum start Ww finish. You might consider using a swami gimmick to write the first letter on your pad after the spectator an- nounces it. You can then take it from there. Per- sonally, I see no reason to incorporate other gimmicks into this routine. It’s strong enough as it is. Another idea for close-up: you can, once you have ascertained the first let- ter of the chosen word, write out the chosen word on a piece of paper, fold it up, and hand it to the spectator. Ask the spectator to reveal his se- lected word and direct him to open up the folded sheet he is holding. This can be very strong. Radio suggestion When using this effect on a radio program, a subtle approach to take is as 11follows. Have with you the MOAB book and two other books. Suggest to the host of the program a test in mind- to-mind communication. Mention that you have a number of books and that “you'd like her to take one,” then hand her the MOAB. Ask her how many pages it has, etc. as in the basic presentation. By saying to her “that you'd like her to take one,” and then simply handing her the MOAB, you have implied to the listen- ing audience that she has simply cho- sen one by herself. Television suggestion Along the lines of the radio sugges- tion, here is an approach to take when using MOAB on a television show with a live audience, Display three books (including MOAB) stating that you had originally hoped to try this with three spectators, but because of time constraints, you will only be able to do it with one. Then hand MOAB to a selected spectator and place the other two books aside. The impression that is made is that any or all of these three books could be used for the test. Radio/television presentation I have used this idea often over the years, Prior to going on the air, I sug- gest a basic test with the host to see if we're in tune. I have him or her think of a word from the Mother. I miss the first letter, but now know what the word is. I say, “[’'m obviously having trouble picking up letters from you. Is the word you have in mind something you can visu- alize? Could you possibly draw a sim- ple picture of it?” I now have them go anywhere in the building and draw a picture of their word and seal it up inside three enve- lopes. They are told not to show the drawing to anyone and to keep the en- velopes on their person. Later, on air, I say, “I asked you ear- lier to go anywhere in the building and draw a picture and seal it up in three envelopes. Has anyone seen it? Has it been in your possession the entire time? Etc.” The book is never mentioned, and I now proceed to duplicate their picture. love this because the pictures are nev- er absolutely identical, but close enough to freak out the host and audi- ence! One ahead The MOAB can be used in conjunc- tion with an ordinary novel with devas- tating impact. Although this routine can be used on stage, I find it to be par- ticularly effective in a close-up setting If I am performing at a house party, I'll bring along MOAB. I'll ask the host or hostess if I may borrow a novel from them and I’ll use it along with MOAB. Two spectators are asked to participate. One is given the ordinary novel, the other is given MOAB. Each is asked to select any word in their novel as in the general presenta- tion. After this is done, the books are placed aside and each is asked to focus on the first letter of their chosen word. You jot down any two letters as in the normal presentation and ask them to announce the letters they were con- centrating on. When they reveal their letters you know the spectator’s word whose se- lection was made from the MOAB. At this point you pick up a business card, 12point to the spectator whose word you don’t know, and ask them to concen- trate on their word. While appearing to receive this word, you actually jot down the second spectator’s word (the word chosen from MOAB), and place the business card with your impression face-down off to the side. Ask them to name aloud their word. Let’s say it’s ‘volunteers’. Smile and say, “Great!” Now point to the second spectator (whose word you actually wrote down). Ask them to concentrate on their word. Appearing to write down your perception of this word, you actually write down the first spectator’s word, BUT verbally describe the MOAB word. For example, if this spectator’s word is ‘motorcycle’, you might say, “I sense that your word has to do with travel. I’m getting a feeling of wind in my face.” As mentioned above, this is being said as you write down the other word, ‘volunteers’. This verbal descrip- tion really helps to sell the idea that you're recording the thought, or word, that you’re describing. When you finish writing, the card is placed along with the first card and the second spectator is asked to name aloud their word. Both cards can now be turned over to reveal that you correctly perceived both thoughts. This is very strong as you are involving MOAB and a bor- rowed book from which any word can be chosen. You'll find this to be a very effective presentation. 4th Dimensional Telepathy The use of MOAB in a 4th Dimen- sional Telepathy routine affords the performer the opportunity to present such a routine with no forces, no car- bons, and no billet switches. The performer begins, “We tend to communicate in three different ways: through letters, numbers, and pictures.” He has a spectator select a word from MOAB, Another is asked to think of a two or three-digit number of some significance. And a third is asked to visual a simple picture; something they could easily draw. Each is given a prefolded billet, a pencil, and a small coin envelope. They are all asked to open their paper, print their thought (the third spectator is in- structed to draw their thought), refold the paper, end seal it in the envelope. They are all asked to hold their sealed envelopes up to the light attest- ing to the fact that they can not be seen through. Now the performer collects them in order: first the envelope containing the MOAB word, then the envelope con- taining the number, and finally the en- velope containing the drawing. The first spectator’s envelope should be on top of the stack with the second of the stack containing the number, and the bottom envelope of the stack contain- ing the drawing. ‘As the performer returns to the stage, he pauses briefly in front of an- other audience member and takes the top envelope and holds it to the light. “You can’t make out what’s inside can you, sir?” The spectator responds and the per- former returns the envelope to the stack, but places it underneath the other two. This is a Ty Kralin subtlety that now places the envelopes in order from the top down: number, drawing, word. Returning to the stage the performer now numbers them in order 1, 2, 3. He hands them to someone in the 13audience to hold. Picking up his pad, the performer asks the first person to concentrate on his chosen word. The performer misses the first letter, but now knows the word (as in the ba- sic presentation). He has this spectator concentrate again, and this time the performer writes out the selected word, but does not allow the audience to see it just yet. The pad is given to someone down front who is asked to hold it face down for the time being. The performer now asks for envelope #1. Tearing it open, the performer ex- tracts the folded slip and misreads it as the chosen MOAB word. (He is, in fact, seeing the chosen number). After he has misread the slip out loud, the spectator holding the pad is asked to turn it around to the audience and an- nounce what’s on it. It will be the matching word. Now the performer is well on his way to working one ahead as in the standard 4th Dimensional Telepathy routine. Asking the second spectator to concentrate on his number, the per- former writes it down on the pad and once again gives it to someone to hold face down for the moment. Asking for envelope #2, the per- former opens it, unfolds the paper, and misreads it aloud as the chosen num- ber. (He is actually looking at the third person’s drawing). Once again, the pad is turned around, and the audience sees that the performer has correctly received the number. Next, the performer takes the re- maining envelope (numbered 3), crum- ples it up, and tosses it aside saying, “We're not even going to use this.” He has the spectator who made the draw- ing come up on stage. She is handed a pad and marker, and she is asked to stand back-to-back with the performer who has his own pad and marker. On the count of three she will draw the image she drew earlier, but this time larger. The performer will commence draw- ing at the same time attempting to du- plicate her picture. Needless to say, af- ter the drawings are completed and shown to the audience, they both match ending a very straight-forward demon- stration of 4th Dimensional Telepathy. A prediction I am loath to include this presenta- tion here simply because I'm not sure it’s such a good idea to use MOAB to predict a word. However, I realize that many mentalists might want to incor- porate this idea, so here goes: ‘The only time I would consider pre- senting MOAB this way, would be dur- ing a stage performance involving two spectators. Proceed along the lines of the presentation for ‘The More The Merrier’. Since the most commonly thought of words are ‘thunderstorm’, ‘volley- ball’, and ‘earthquake’, prepare three separate predictions, one for each of these words with a brief cold reading before each. The cold reading can be the same for each word. For example: “Later today, a young lady will participate in a special test. She is kind, thoughtful, and makes friends easily. People are naturally drawn to her. She is intuitive herself and has undeveloped creative skills. She will think of the word ‘volley- ball’.” Write out similar predictions for ‘thunderstorm’ and ‘earthquake’ seal- ing all three in separate envelopes. Place all three envelopes in one pocket in a known order, or place them each in 14a different pocket so that you know which prediction is where. Now, after you have ascertained the first letters of your two. spectators’ words during your presentation, if one of them should be either ‘volleyball,’ ‘earthquake,’ or ‘thunderstorm’, save that person for last. Finish with the other person, first, by correctly perceiving their thought of word. Turn to the second spectator and say that you’re having difficulty receiv- ing their word. Reach in your pocket and remove the appropriate envelope that predicts her word. Now, ask her to name her word aloud. State that you had certain feelings earlier in the day regarding to- night’s show. Mention that you recorded these and sealed them up in an envelope. Invite this spectator up on stage, hand her the envelope, and ask her to open it, re- move its contents and read it aloud. She will be just as stunned as the au- dience when she realizes you have cor- rectly predicted the word she would think of. You’ve taken the book test and used it to demonstrate telepathy and precognition. It can be very strong. Please use this prediction approach with discretion. Other thoughts Just a few thoughts, comments, and asides. Should you decide that you would like to offer the spectator a choice of books, feel free to use your favorite method to force the MOAB on someone. Quite often, I will have a stack of three or four books on stage (including MOAB), and I will comment to the au- dience that I have a number of books, and that I'd like to try something using one of them, and I simply hand MOAB to someone. Later the audience recalls that there was a stack of books and that one was used. The book test itself is so strong, that the audience is left to believe that you could have done the same thing with any of the books. It’s interesting to note that at one performance, I had set up my equip- ment and went for a walk outside of the restaurant to get some fresh air. I came in to find one of the waitresses holding MOAB. She had started reading it and was now on page six! She simply as- sumed it was a regular novel. I usually perform this effect with two women when I’m working on- stage. Often, when I use the phrase, “Choose a longer word. The longer the word, the more challenging you make it for me,” the woman’s skeptical hus- band or boyfriend will lean over and point out one of the longer words to her, smiling as if to say, “He’ll never get this one.” At this point I smile too, because I know he has just guaranteed my suc- cess! For the credit-conscious practition- ers of the art, U.F. Grant made use of the first letter concept early on in his True Test magazine effect. Also, Larry Becker’s new and improved Flashback incorporates this idea for use in a sin- gle paragraph of text. 15WHAT’S NEW IN 2.0 The Adrian Bint ploy Ten years ago Adrian Bint shared an idea with me, and eventually with members of the PEA, for his ‘no- pump’ handling of the first letter. He created a list of synonyms, all begin- ning with the letter S, for the original list of key words. With his permission, we have applied his concept to 2.0. Below you will see the key list of words along with their S synonyms. Knowing this list of pairs will allow you to reveal the chosen word without any apparent pumping! Automobile (sedan) Butterfly (sky) Coffeehouse (Starbucks) Dermatologist (skin) Earthquake (shake) Flashlight (searchlight) Grandfather (senior citizen) Headphones (stereo) Imprisonment (solitary) Jellyfish (sea) Kindergarten (school) Lighthouse (seashore) Motorcycle (scooter) Neighborhood (suburbs) Oceanview (seashore) Policewoman (security officer) Rollercoaster (screaming) Supermarket (supermarket) Thunderstorm (storm) University (school) Volleyball (sand) ‘Watermelon (seeds) Yearbook (school) The presentation is as follows. Let’s say the spectator is thinking of the word ‘kindergarten’. The performer asks her to concentrate on the word. “I’m getting the letter S,” he says. “Does it begin with the letter S$?” If she says no, he asks her for the first letter. She says K at which point he continues, “The reason why I said S was because 1 was seeing a School... with very young children in attendance. Does this make sense to you?” Of course it makes sense to her and it gives the appearance that although you incorrectly identified the first let- ter, your choice of first letter was based upon the mental impression you were receiving right from the start. And THAT was correct! Another example would be as fol- lows. Let’s say the chosen word is ‘mo- torcycle’. You ask the participant to concentrate on her chosen word. Once again you start by saying, “I’m getting the letter S$. Does it begin with the let- ter S?” She says no, and you ask for the first letter. She says M and you imme- diately follow with, “The reason I said S was because I was seeing a Scooter. I saw a man driving what appeared to be a large 2-wheel scooter. Does that make sense to you?” If you intend to use Adrian’s ploy as your standard presentation, it would be best to commit the pairings to memory so you can present the appropriate wording without hesitation. While one could use a prompter or cheat sheet for the lists, please make sure that you smoothly transition into the S word during your presentation. A long hesi- tation will only ruin was is otherwise one of the strongest MOAB presenta- tions possible! Pseudo-Hellstromism and venue object revelation Over the course of the fifteen years since the original Mother was released, 16I came across opportunities in my per- formance that enabled me to present what seemed to be something more than the revelation of a word. The first time it occurred, the wom- an was thinking of the word Bartender. On the spur of the moment an idea came to me. Having missed the first letter (I now knew the word was ‘Bar- tender’), I asked the woman to join me on stage. I instructed her to hold my wrist and concentrate. Slowly I moved about the stage with the woman holding my wrist and fol- lowing along. We walked down the stairs, away from the stage, and onto the floor of the banquet room. We con- tinued to walk about the room. I'm sure the audience was wonder- ing what exactly was going on. But they were quiet. And they were on their edge of their seats. With the woman in tow, I approached the bar in the back of the room and rested my hand on the bartender’s shoulder. “Would you join me,” I said. “Quickly!” And I brought both the woman and the bartender back on stage. “Ma'am, what were you concentrating on?” I asked. When she said ‘bartender’, the place erupted! I realized I had taken a simple word revelation and incorporat- ed some added drama and suspense to the presentation. It also made for a moving and visual presentation. From that moment on, whenever a key word from the perfor- mance environment was chosen, I opt- ed to perform this pseudo-contact min- dreading presentation for my audiences. And the opportunity presented itself many times. For those who own the original Mother, there are a number of words that made this possible: Bartender, Candlestick, Eyeglasses, Handkerchief, Illustration, Kitchenware, Loudspeak- er, Newspaper, Photographer, Televi- sion, etc. The successful presentation of this idea and the reactions it generated led me to explore the idea of having this option available at cach of my shows. And so, this led to another exciting fea- ture of Mother 2.0. We have compiled a list of over 225 objects that can be found in various performance environments. Things found in homes, restaurants, banquet halls, auditoriums, country clubs, etc. are on this list. We made sure that each object was six letters or less so as not to interfere with the working of the standard MOAB routine. Now, if you wish, you can perform this feature at each of your shows. We have included an alphabeti- cal listing of these contact-mindreading words and the page numbers on which they appear. They are the FIRST word on the noted page. Once you arrive at your ve- nue, you look around for the MOST INTERESTING object from the list. We have many common objects listed, but we have also included things that are not so common. Note on the cue sheet the page that it appears on. Later during your show you're going to force that page on a person asking them to note the first word on the page, remember it, and close the book and place it aside. Let’s talk briefly about various ways of forcing the page. My choice is sim- ply a miscall as used in the standard Hoy Book Test. After presenting the basic MOAB routine, you hand the book to another spectator. Because you have just dem- onstrated that you can get any word from any page without knowing the 17page number, the following presenta- tion flies by those watching. “Ma’am, let’s try something quick- ly. Take this book (2.0), and I'll take this one (any other book). I'll flip through it and just say stop at any time.” Let’s say you want to force the word ‘statue’ found on page 240. When she says “Stop!” you glance at the chosen page and regardless of it’s number call it as 240. You instruct her to turn to that page in her book and remember the first word on the page. You can now locate the object using the pseudo-contact mindreading presentation! Of course there are other ways to force the page. You could hold a break, riffle to the page, and let them look at the forced number. Along these lines I often put a one- inch clear plastic collar-stay into the force pages. When inserted perpendicu- lar to the spine, it’s easy to riffle the pages stopping at the secret break. One could also use Lee Earle’s ‘Sil- ver Bullet’ in this regard. ‘Again, use whatever method you feel comfortable with to force the page. We suggest that you make a copy of the list of words to bring with you to your performances. We have provided a cue sheet in the center of the book which references all of the possible ef- fects. Even better would be to take the entire instruction booklet as there are other routines available for you to ref- erence if need be. It should be noted that you always ask the person to remember the first word on the forced page. There are some exceptions, however. For in- stance, on page 65, the first word is ‘bottle’. That would cover ANY bottle in the venue. You'll note, however, that the word “bottle” is followed by the words ‘of rum’. Now, if you want to just force the word bottle, have them remember the FIRST word on the page. If you want to be more specific and force a ‘bottle of rum’, simply ask them to re- member the first FEW words on the page. This idea applies to a number of oth- er words. On page 73 the first word is ‘candy’. If you’re performing during the Christmas holidays you may want to have them remember the “first couple of words” on the page, forcing the more specific ‘candy cane’. The same applies for page 149, ‘cuff’ or ‘cuff link’. Also on page 174, ‘glass’ or ‘glass of juice’. Also, page 58, ‘ice’ or ‘ice cream’. Page 279, ‘key’ or ‘key lime pie’. Page 249, ‘pool’ or ‘pool table’. Page 151, ‘tea’ or ‘tea bag’. And page 150, ‘gift’ or “gift bag’. Remember, it’s always asking the spectator to remember the FIRST word, or first COUPLE, or first FEW depending upon your chosen object. Paycheck presentation For those who are daring, here’s a presentation that takes the basic routine to the extreme. The performer uses the person or committee who booked him. The page is forced and the word noted. The performer asks the committee to write the word down and seal it in an envelope. The performer asks if the chosen word is a thing or object (of course it is). Can it be found in the ve- nue (of course it can)? Using one or more of the committee members, the performer offers to try to locate the ob- ject. If he fails, he states he will forfeit his paycheck. Of course the object is located in a dramatic fashion, For more drama, the 18performer can use one or two of the committee members before actually lo- cating the object. This routine is best done with the trustworthy booking person/committee and, of course, the chosen word is writ- ten down to ensure no shenanigans take place. The actual test is announced AF- TER these precautions are taken and we accept NO responsibility for any presentation that may go wrong. Bartender (unknowing accomplice) I've used this idea many times with great success. Often I will approach one of the bartenders on-site and say to him, “Would you mind helping out lat- er on? I sense that at some point during my show someone will think of the word, ‘bottle’. If they do, I’m going to ask them to try and send the word to you. Pause as if you're getting a thought, and then pick up one of the bottles from the bar.” I later force page 65 on a spectator and ask them to think of the first word on the page and attempt to send it to the bartender. People are stunned when he picks up a bottle and I ask the spec- tator what she was thinking and she says “bottle!” The bartender has no idea how the effect is accomplished. I do tip him nicely at the end of the evening. This helps ensure what little he does know remains secret. Besides objects, we’ve also come up with a listing of some of the most pop- ular names from the 1940’s through 2010 to cover different generations of audicnce members. The United States Social Security Administration has compiled a list of the most frequent given names for male and female babies born in each year 1910-2010. We have drawn from that list in put- ting together the names in the book. These are among the top five male and female names given in the decades 1940 - 2010. Let’s say that prior to the show (pre- show) you find out the name of an au- dience member whose name is on the list we’ ve compiled. You can then force the page with that name (again, first word on the page) on another person. They grasp your wrist and concentrate. You slowly move about the room and stop and place your hand on the person whose name you secretly know. Ask them if you’ve ever met before. They will say “No.” Ask the person who is holding your wrist what they were concentrating on. They will say “Matt” for instance. Ask the person you stopped on for their name. Amaz- ingly, it is Matt! This can be a killer effect! You can secretly get a person’s name pre-show by simply overhearing a conversation. Or by watching someone sign-in at an event. Do NOT perform this test if folks are wearing badges or name tags, or if there are place cards on the table. That defeats the purpose and reveals part of the method. It must appear to everyone that you have NO idea of the name of the person you stopped on. Also, please note that some of the names on our compiled list could serve for more than one name: Jess could cover Jesse and Jessica. Kathy could cover Kathy, Cathy, Katherine, and even Kate. Pat could be Patrick or Pa- tricia, etc. 19Occupations As with names, we've listed a few job titles, as well. If you secretly find out that someone is a doctor, lawyer, nurse, cop, etc. force that page on a an- other spectator. Lead them to the person whose job title you secretly know. The conversa- tion with them is similar to the one with names. “Hi, have we ever met before?” “No.” “Ma'am, what were you thinking of?” “Cop.” “Sir, what do you do for a living?” “T’m a policeman.” Bob Baker’s reverse book test Bob first showed this concept to the Thirteen over a decade ago. We've kept it to ourselves until now. Bob’s idea was to follow up the basic MOAB presentation with this. “Now that I’ve been able to read someone else’s mind, let’s see if someone can read my mind,” the performer says. He casually flips through the book stopping on a page. Holding the book open with one hand, he places the fore- finger from his other hand onto the page doing his best to shield where it lies from those around him. He looks at a woman in the audi- ence. “Ma’am, I’d like you to imagine yourself walking down the street in a strange neighborhood. As you walk along the sidewalk you come to a house that’s for sale. Picture yourself stopping there and admiring the home. In your mind, you slowly move along the walkway and up the steps to the front door. You open the door and walk inside. The realtor invites you to walk around the inside of the house. You take your time walking through it as you admire the lavish interior. You move slowly from room to room, up and down the stairs, and all around the inside. You are about to end your visit and you finally stop inside ‘one room. Would you announce for everyone the room that you've stopped in.” The audience member says, “The den.” The performer slowly lowers the book in his hand and asks someone to announce the word his finger is on. It is “den”. Bob’s idea was to have an audience member read his mind. But, he wanted it to appear that he was taking them on a mental journey, not simply getting them to name a word. Bob’s concept was to have a page that contained a number of common ‘targets’ for the joumey he was taking his audience member on. These would be located in different areas of the page he was using so that if he started with his finger on a target word in the center of the page, he could easily slide it to one of the other words if need be. We have included NINE different target pages in Mother 2.0 to accom- modate a number of different presenta- tions. As most people are right-handed, we have put these chosen pages on the right side of the book making it easy to hold the book in the left hand and open to the chosen page. The right forefinger is what is placed on the center word to start and may be easily slid along to one of the other words that may be chosen. Basi- cally, you have a page that contains seven different outs. In the example on the next page, the performer casually flips through the 20Reverse book test alphabetical order A donut shop was on the)co some watermelon, chip a After th she ran water for a bath junch sh h calls. him the idea for the case. I sipped his tea, While he bed, he heard a knock at came he knew all of his grandfather earthquake a year ago, Night turned to day. other day. John Tana had. voi D rte dining room. His radio began to play his choice of coffeehouse music, Once done, John made notes about the day He'd head to the gym, Kitchen. His forgot his ja He found it and took the He had to swing by supermarket. His list wi milk and eggs, but he al book until he comes to page 113. The book is held open in the left hand and his right forefinger is placed on the words ‘dining room’ in the center of the page. There are six other rooms indicated on this page in alphabetical order. The first word, BATH, is located at the top 21 John looked at the yearbook that had given The torn sofa in his rec room ne so he necded to stop by fhe fabric shop, as well All in all, this day just Ile needed to get home Ind relax ner. Mary had laid out ind dip for their lunch waded home. Once there, she made a few whi looked at a book as he rested his feet on the the door. From the den too well. He knew the Who was caught in an Monday b his first mi n like any 1 of the day things he had to do that but first he went to the cet in the living room, st of his things, the only neighborhood nade up of things like led a tlashlight Jed some repair, so ne beat the hell out of him, in the center. The second word, BED, is located a few lines down and to the extreme left. The third word, DEN, is located on the same line and to the ex- treme right. DINING ROOM is located in the center. KITCHEN is located a few lines down and to the left. LIVING ROOM is located on the same line andto the extreme right. And finally, REC ROOM is located in the center on the very bottom of the page. You'll notice that’s it’s fairly easy to keep track of which word is where. Follow the above presentation with your finger on the center words. If these are the chosen words, slowly turn to someone down front to reveal the words you've selected. If one of the other words are chosen, slide your finger to them as you slowly turn the book around. There’s no need to rush if you have to slide your finger to a different area. You can slide it as you turn the book. Or, you can invite someone up to join you onstage to an- nounce the word. Slide your finger as the audience watches the spectator make their way to the stage. Or, slide your finger as you approach someone down front to announce the word. Keep in mind that you want to pay attention to angles. It would be ill- advised to have people sitting directly behind you for this routine, although with attention to detail it can be accom- plished. Use your body to shield the book from the people in back of you. So that’s the basic presentation. You'll note below the other categories and targets that will likely be named. I say likely because we have chosen the most obvious for each category. If they were to say a word that isn’t one of the most chosen, like ‘base- ment’ in the above example, just show the center words that your finger is on and say they simply weren't getting your thought. You can now ask the audience if anyone got your chosen thought. Of course, many hands should go up. This, by the way, is a great addition to the routine even if they name one of the chosen seven. Again say, “Did anyone else get that?” Note: some of the extreme left/right words are not at the very beginning or very end of the line, but very near to it. Study the layout and words before you perform it. You'll note that for the categories listed below, all seven words appear on the appropriate page in alphabetical or- der and in the same area of the page. There are two exceptions, however. One is the Compass category, and the other is the High School category. See the notes under each of these topics to see how they have been laid out. Here, now, are the guiding words spoken by the performer for the other categories. Child’s drawing (page 115) “You wake up in the morning and head into the kitchen. You pour your- self a cup of coffee and go over in your mind the things you must do that day. As you sit there, you glance up at the refrigerator. You see a drawing that your child drew the day before in kin- dergarten. It is a drawing of what?” Color (page 101) “Imagine yourself indoors. Outside you can hear the clap of thunder and through the window you see the flash of lightning. The storm slowly moves away and you walk outside, You can see the sky brighten as the sun appears. In the distance you see a rainbow be- ginning to appear. One color scems brighter than the others. What color seems to stand out?” Compass (page 109) This is included here for those per- formers who want to make sure their presentation is guaranteed to succeed. Because there are only four definite outcomes it may not seem as amazing as some of the other categories. Also, because there are only four possibilities 22instead of seven, the four outcomes are placed on the bottom half of the page where it is much easier to conceal what word the finger is placed upon. NOTE: These are NOT on the page in alphabetical order. They can be viewed on the page as the points on a compass: ‘North’ is uppermost. ‘West’ is to the left. ‘East’ is to the right. And ‘South’ is lowermost. “Imagine yourself going to the park. It starts off as a nice day as you begin your hike through the woods. You trav- el deeper and deeper into the forest. The skies turn grey as you realize you’ve become lost. You need to make your way out so you remove a compass from your pocket. Looking at the com- pass you realize that you must walk in one of the four compass directions to find your way to safety. Which direc- tion do you head?” Golf (page 117) “You are out with your friends for a day on the golf course. It’s a beautiful day and the temperature is just right. You have already teed off. Now it is one of the other’s turn. They place the ball on the tee and swing at the ball. It isn’t a hole-in-one. Where does it land?” High School (page 111) Once again, this is a category that has four possible outcomes which are located on the bottom half of the page. NOTE: These are NOT on the page in alphabetical order. These are placed in order from top, to left, to right, to down following the order of grades in high school. So, the first, ‘Ninth’ is up- permost. It is followed down and to the left by ‘Tenth’, and ‘Junior’ to the right. ‘Senior’ is the lowermost on the page. “See in your mind’s eye the high school that you attended. You enter it and walk around the halls. You pass the cafeteria and the school library. You walk to a classroom and sit down. You can picture your favorite teacher seated at their desk up front. What grade are you in as you create these memories?” Pet store (page 107) “You're walking through the mall. You see a pet store at the end of the line of stores. You go inside and stroll up and down the aisles. There’s an aisle for food. There’s an aisle for cag- es, carriers, and toys. There’s an aisle for books dealing with the care and feeding of various pets. On a whim you decide to purchase a pet for your child or a child you know. What type of pet do you purchase?” Question about future (page 105) “You're walking down a seaside boardwalk. You can smell the sea and feel the sun on your face. You notice a gypsy reader on the boardwalk. She in- vites you inside for an insightful read- ing. At the end of the reading, she tells you that you may ask a question about any of the major areas of your life. Which area of your life are you most interested in?” Transportation (page 103) “You're talking to a friend on the phone. You makes plans to see them. You can see them in your mind’s eye. You’re going to see them soon. How do you travel to meet up with them?” NOTE: As with all of the other pres- entations in Mother 2.0 we’ve done our best to keep words at six letters or less. There are, however, a few words in the Reverse Book Test that are longer than six letters. 23Because they only appear ONCE in the book, we felt it was worthwhile to use the longer words if it gave this test it’s strongest outcome. For instance, we felt it was much stronger to use ‘kitchen’, than say ‘oven’ or ‘stove’, etc. Please make note of this fact. Also, feel free to use your own words to guide your spectator. The above ideas serve to give you an idea of what you should say. Again, please make it about an expe- rience as Bob has envisioned it, as op- posed to, “I have my finger on a color. What is it?” Bte. Hellstromism and action tests The following are effects that can be achieved when the performer forces the page numbers listed below. Once a page is forced, the performer has a spectator onstage turn to the selected page. She is instructed to read the first line or so to herself and focus on it. While she remains onstage, the performer moves into the audience. As if sensing her thoughts, he begins to interact with people or things in the audience in ways that will ultimately mirror what the person onstage is thinking. After the performer has finished his interaction, the person onstage is asked to read aloud the first line that she was focusing on. The performer’s actions are seen to be a perfect match! If you prefer, you can ask the wom- an to memorize the first line, close the book, and place it aside. Now, as in the classic test of Hell- stromism, she can hold on to your wrist and concentrate. She continues holding your wrist as you complete the series of actions. At the end, she is asked to announce what she was concentrating on. If you feel she might not be able to remember the series of actions, have her show the first sentence to another person or committee of people. You can now work with her or any member of the committee having them hold your wrist as you complete the task. Bar “He went over to the bar, got a drink and gave it to the lady.” (177) Bizarre Magick These are meant for performers who wish to connect with their audience in a mediumistic way. These are not for everyone and are included here at the request of some prominent bizarrists and seance workers. The performer, who finds out about an audience member who has a connec- tion with someone recently deceased (cither by overhearing a pre-show con- versation, ctc.), forces the chosen page on a different audience member. She concentrates on the first line. The performer moves about the audi- ence, ultimately resting his hand on the shoulder of the audience member whose conversation he has previously heard. He verifies that they have never met. The person onstage now reads aloud the forced passage. “Does this have meaning for you,” he asks the person he has stopped on. The person verifies that it does! “A member of my family passed away in this month,” she said. (155) “Even though she’s no longer with us, she’ll always be in your heart.” (159) 24“Even though he’s passed on, he’ll always be with you.” (169) “An angel told me to tell you the person is OK.” (185) Candle “Candle was blown out.” (173) Comedy Here are two opportunities to inject a little bit of humor into the action test. First, the person onstage concentrates on the first few lines of the forced page (193). The performer moves into the audi- ence and stops near a couple who ap- pear to be good sports. He whispers to her, “Please playfully hit your husband and say loudly, “I can’t believe you forgot our anniversary!” She does, eliciting laughter from the crowd. The person onstage reads the lines she was focusing on, “He had to laugh at the man who was hit by his wife when he forgot about their anni- versary.” In this second option, the person on- stage concentrates on the first few lines of the forced page (195). The perform- er moves into the audience and stops near a child who is seated with his or her parents. The performer whispers to the child to loudly yell at the parents, “Go clean up your room!” The child does, eliciting laughter from the crowd. The person onstage reads the lines she was focusing on, “They found it funny when the child yelled at his mom and dad, ‘Go clean up your room!”” Cute kid moment As the person onstage concentrates on the first line, find a young boy in the audience and whisper these instructions to him. You can have him give the flower to his mom, his sister, etc. “Just then, a young boy handed a flower to her and smiled.” (93) Date These pages may be used when you overhear, prior to the show, that some- one is celebrating a birthday, anniver- sary, promotion, etc. Again, another person concentrates on the top couple of lines while the mentalist moves into the audience stop- ping on one person. The person on- stage reads aloud the lines, and the per- son stopped on is asked to verify their meaning. “This day means a great deal to me.” (151) “Today is a very major day in my life. It’s the day I was born.” (175) Health These pages allow the performer to stop on a person who is wearing a cast, using crutches, a cane, etc. A person onstage reads and concentrates on the first few lines. The mentalist moves into the audi- ence resting his hand on the person with the noticeable physical ailment. And the passage is read aloud. “The broken bones fast.” (181) “Their health got better with time.” (189) healed very Murder mystery Find appropriate people in the audi- ence and pose them to match this line. Use a BUTTER knife for the gentle- man. “The murder made it hard for her to focus. It seemed that as the lady in red sipped her drink, the man in blue began to stab her.” (92) 25Musical instruments “They walked over to the drum, and he hit it.” (163) “He asked the blond to meet him at the piano.” (171) Name introduction These pages may be used if you are able to secretly obtain the two names (prior to the show) needed for each of the following. The person onstage con- centrates. The performer walks about the room. He brings one person over to the other and asks them to introduce them- selves to each other. Now the passage is read out loud. It mirrors their interac- tion exactly! He said to her, “Mary, my name is Robert.” (153) The person said, “Jen, my name is Chris.” (161) He said, “Pat, my name is Rich.” (179) Physical descriptions and actions This is your opportunity to ‘read’ and perform a series of actions that in- volve more specific details and move- ments. While the opportunity may not present itself at every show, when it does, you have a powerful presenta- tion. While the person onstage turns to the forced page and concentrates, the performer slowly moves about the room to mirror these thoughts. “He took the flower off the table and handed it to a woman in red.” (157) “He walked over to the woman who had on a hoodie, jeans, and sneakers.” (183) “He took her over to the woman in blue.” (187) This presentation is one of my favor- ites! After you set up for your show, hang around the lobby and watch as people arrive in their cars. Make note of someone driving a black SUV with out-of-state plates. Later, force this page (191) on someone else. She reads the first few lines and concentrates. Slowly you move through the room stopping on the person who drove the noted car. Place you hand on his shoulder. “Sir, hi I’m (your name) And you are? (He says his name). “Have we ever met before?” He verifies the two of you have not. Addressing the woman onstage the per- former says, “Ma’am, please read out loud the sentence you were concentrat- ing on.” She reads, “They drove their black SUV with out-of-state plates to the af- fair.” The performer now says to the gen- tleman, “Sir, do you drive an SUV? You do! And what color is it? It’s black! And are you from around here?” Oh, you're from out-of-state.” ‘An amazing effect! Pregnant Stop on a noticeably pregnant wom- an in the audience while the woman onstage concentrates on the forced page. “She gave birth to a joyful baby.” (167) Watch Remove a woman’s watch and set it to 12:35. “He took her watch off and set it to 12:35,” (165) 26MAGIC, MENTALISM, BIZARRE MAGICK, ETC. The following are a number of pres- entations for those who perform magic, mentalism, and bizarre magick. Some are routines that simply use Mother 2.0, while others are presentations that use the Mother to enhance standard ef- fects. Some critics might believe that add- ing MOAB 2.0 to some of the follow- ing magical presentations is simply un- necessary. It is true that these classic effects can well stand on their own. However, for those performers who are looking to enhance or to take their presentation to a different level, these ideas can be most appealing. They’re particularly effective for performers who are doing an intimate, after-dinner presentation, etc. Any card, any number At the beginning of a close-up ses- sion, the performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says,”and I came across a passage that I thought might be of interest later on.” The magician performs his close-up act and ends with one of the Any Card, Any Number routines on the market that has the spectator opening the card box, removing the deck, and counting down to a selected number. Before they do, the performer has one of the spectators turn to the book- marked page (81) and read aloud the first sentence. She will read, “She looked inside his case, and the card was found at the chosen number.” They do and are amazed that the pas- sage foreshadowed what was to occur! Ashes on arm The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” Later, right before he is about to re- veal the image on his arm with ashes, he has a spectator turn to the book- marked page (85) and read aloud the first sentence. She will read, “Clues from the fire were still there. The ashes on his arm made them uneasy.” The performer then proceeds to rub ashes on his arm to complete the eerie effect! Card under glass The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” During the course of his close-up magic, the magician does any of the available routines where a chosen card. ends up under a glass. Before the card is brought to the at- tention of the onlookers, the magician has someone read from the book- marked page (79), “While at the bar the night before, Dr. Bay met a woman. She tossed him a card, He looked down to find it under his glass.” The spectators glance down at the card that has miraculously appeared underneath the glass! Card (seven of hearts) The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I 27came across a passage that I thought might be of interest later on.” He per- forms any number of effects ending with one that involves the force of the Seven of Hearts. Before the card is revealed, he has someone read from the bookmarked page (87), “Once there, he looked over the crime scene. The area was taped off and he saw a face-down card from the poker game the night before. Slowly, he tumed it over. It was the seven of hearts.” The chosen card is found to match! Chain on neck The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” He performs any number of effects ending with an effect where a chosen card, etc, may be found attached or en- graved on the performer’s necklace. Before the necklace is shown, some- one reads from the bookmarked page, “It was weird. It was found on the chain around his neck.” Chair effect The mentalist invites a woman on stage and hands her Mother 2.0 with his business card protruding as a book- mark from the book. “Earlier today I came across a passage in the book that Tam reading that I thought might be of some significance tonight,” he says. He hands the woman the book and asks her to hold onto it for the moment. In a line across the stage are four chairs in a row. “I need a few people to help me out,” he says as he invites four people up from the audience. They take seats in the chairs in order from the au- dience’s left to their right as each is se- lected. Once the four are seated, the per- former stands in front of them facing the audience so that the four people are behind his back. He says to these four while facing the audience in front of him, “In a moment, the four of you are going to be making some decisions. These will be entirely up to you. Larry (one of the seated four), you will say out loud, “Done,” every time a decision has been completed.” Larry is seated in the first seat. The next three seats are occupied by women. “Larry, I'd like you to quietly ex- change seats with onc of the two ladies in the middle seats. Your choice.” Lar- ry and one of the ladies in the second or third seat exchange places. “Done,” Larry says The performer continues, “Next, I'd like the two ladies who didn’t ex- change seats, and I don’t know who you are, to quietly exchange seats with cach other.” They do and Larry says, “Done.” “Larry, I’d like you exchange seats with the woman on your immediate left.” They do and Larry says, “Done.” The mentalist says, “Larry I don’t know if you now have a woman to your left, but if you do, I’d like you to exchange seats with her. If there isn’t anyone, simply say “Done.” He does as requested and says, “Done.” The performer now tums to the four seated spectators and walks behind them. Looking over their heads and out at the audience he continues, “I said that earlier today I read a passage in that book that I thought would be sig- nificant tonight.” He addresses the woman holding the 28book. “Ma’am, would you open the book at the bookmark and read aloud the first paragraph on page 221. She reads, “The DA sat them in a row. A lady in glasses was first. Next, was a woman in red. As he walked behind the third chair, a woman in glasses stared ahead. Seated in the fourth and final chair was the only man in the line-up. He wore blue and had a guilty look about him.” Of course, this paragraph describes exactly what the audience is secing. And as the woman reads aloud the pas- sage, the performer is walking behind the seated persons holding his hand above each one as the passage de- scribes each individual. The effect is self-working as long as the performer seats the four people ini- tially in the following order: In seat number ONE is a man in blue (blue suit or blue shirt), In seat number TWO, a woman wearing glasses. In seat number THREE, another woman wearing glasses. And in seat number FOUR, a woman in red. You must also make sure that the two women wearing glasses are not wearing red, and that the woman in red is not wearing glass- es. Follow the presentation word-for- word to bring about the climax. The words are important as you want to give the impression that the four people have free choices when, in fact, the only free choice is the first one made. Also, if you think that the audience believes that you’re listening to where the sound of the gentleman’s voice is coming from, you can have the woman holding MOAB 2.0 be the one to call out, “Done!” after each action is com- pleted. Chapel effect This routine was created by Nick Belleas and while it can be used on stage, it’s more suitable for close-up. Force page 223 on someone. Have them read the first few lines silently. (They will read: ‘She had just come from the chapel. Less than ten people had made their way inside. The church bells rang once the mass was over.”) They concentrate on what they’ve just read. The mentalist picks up a pad ‘and begins to draw. On the pad, and out of their view, you draw a chapel: a house with a cross on top. In a moment you're going to have them read out loud the lines they were concentrating on and you're going to show your drawing, but with a kicker. Now, if you have a nailwriter handy, you can either write the word ‘people’ or the word ‘rings’ with your pencil un- demeath the drawing of the chapel. This means that after they read aloud the passage you can say to them, “How many people were you pictur- ing?” Since the book says ‘less than ten’ you can easily swami their number be- fore the word ‘people’ right before you show them the drawing. Or, you can ask them how many times they imagined the bells ringing and swami in that number. If you don’t have a swami available, we’ve used the term “less than ten” to psychologically force the number 7 for ‘people’ which you can legitimately write after making the drawing. It’s taking a chance, but even if you miss the number, you’ve still drawn the appropriate picture of the chapel. 29Charles Reynolds’ mass telepathy tactic This is an idea that the late Charles Reynolds shared with the Thirteen many, many years ago. It is being shared outside our group for the first time. Charles’ idea was that as the mentalist reads someone's thoughts, he is able to subtlety guide the audience so that they, too, pick up the specta- tor’s thought. We've included three pages that use Charles’ idea. For the first one, force page 91 and have the spectator read the first few lines to herself and focus on them. The performer says, “I’m getting a sense of something happening outdoors. I’m seeing two people about to have lunch. There’s a bottle of wine involved. I be- lieve there is a year associated with the wine, Nineteen hundred-something. Maybe folks in the audience can pick up the year as well. Focus on the last two digits of the year. I’m getting that it’s a number between 1 and 50 and that both digits are odd. And they’re both different. So it could be 15, but it wouldn’t be 11 as both of those numbers are the same.” The performer picks up a pad and jots down a number without showing the audience or spectator. “Ma’am, would you please read aloud the first few lines.” She reads, “John and Mary had waited to enjoy the day’s picnic. They sat on the ground and opened up a pricy bottle of wine from “37. It was a good year.” The performer turns around the pad and shows that he has written ‘37. And gasps will be heard from some mem- bers of the audience who got the num- ber 37, as well! For the second one, force page 95 and have the spectator read the first few lines to herself and focus on them. The performer says,” I’m getting a sense of something happening out- doors. There’s an ominous feeling in the air as if a storm were approaching. And a sports car. A red sports car. I be- lieve there’s a year associated with it. Nineteen hundred-something. Please focus on the last two digits in the year. Maybe folks in the audience can pick up the year as well. I’m getting a sense that it’s a number between 50 and 100. Both digits in the year are even, and both are different. Maybe folks in the audience can pick up the year, as well.” The performer picks up a pad and jots down a number without showing it to the audience or spectator. “Ma’am, would you please read aloud the first few lines.” She reads, “And with the thunderstorm, he’d be safer in his car. His red sports car turned many heads, and he was rather proud of his classic ‘68 model.” The performer turns around the pad and shows that he has written ‘68. And gasps will be heard from some mem- bers of the audience who got the num- ber 68, as well! For the third one, force page 97 and have the spectator read the first few lines to herself and focus on them. The performer says, “I’m getting a sense that it’s beginning to rain. And there are two things that you're thinking of. Maybe some folks in the audience can pick up on the two things, as well. They are both things you could find outside like a bird or a flower, but it’s neither of those. The performer picks up a pad and writes down ‘tree’ and ‘car’ without showing it to the audience or spectator. “Ma’am, would you please read alond the first couple of lines.” She 30reads, “A nearby tree swayed gently, and the car began to get wet.” The performer turns around the pad and shows that he has written ‘tree’ and ‘car’, And gasps will be heard from some audience members who go either one or both of the objects, as well! NOTE: only one of the three scenar- ios should be used per performance. Denmark The performer forces page 83 on a person and has her read the first couple of lines to herself. “Concentrate,” the performer says. “Hmmm. I think I’m getting something, but let’s see if I can get everyone involved.” He continues, “Everyone here think of a number from 1-10. This will be your key number. Now, in your mind, add ten to your number. Next, subtract six from the number you now have in mind. Finally, subtract you original num- ber from the one you now have in mind.” (Through this simple procedure, everyone should now be thinking of the number FOUR). The performer continues, “I would like each of you to think of the the let- ter of the alphabet that corresponds with the number you now have in mind. For example, if you’re thinking one, that would be the letter ‘A’. Two would be ‘B’. Three would be ‘C’, and so on.” (Byeryone should now be thinking ‘D’). “Think of any month that might be- gin with that letter,” he says. (Everyone should now be thinking DECEMBER). “Take the last letter of the month and think of a color that begins with that letter.” (Everyone should be thinking RED). “And finally, take the last letter in the color, and think of a European country that begins with that letter.” (Everyone should now be thinking DENMARK). The performer now asks the woman holding the Mother to turn to the book marked page (83) and read aloud the first two lines. She reads, “The day had just begun. She marked the December date in red for her round trip flight to Denmark.” Everyone gasps as the passage matches what they were ALL thinking! Description (black top) The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” Toward the end of his set, he gives the spectators a chance to test their powers of intuition. Holding a business card in his hand he says, “I’ve written down a number from 1-100. I want each of you to take a moment and try to get a sense of the number I’ve writ ten down.” They all concentrate. Going around the table, he asks each person to name aloud the number they got. He turns around the business card and shows the number. No one got it exactly, but one wom- an was only off by one. The performer has someone read aloud from the book- marked page (43). He reads, “He was shaken by what had taken place. The woman with dark hair and a black top had seemed to be the most in tune.” Of course, this description matches the woman who was one-off and who had come the closest! This description was chosen so that if you approach a 31table, you don’t have to be able to see what the seated people around the table are wearing from the waist down. If your table has one woman at it who matches this description, you can do the effect. The business card is blank on the back. After the target woman says her number, you simply swami a number that is one-off on the back of the card. Don’t make it too perfect by nail writing her exact number. It’s a small group and the ‘one-off’ makes it much more believable! Description (white top) The same effect as above except that the marked passage (page 75) will read: “He was shaken by what had tak- en place. The woman with dark hair and a white top had seemed to be the most in tune.” Eiffel Tower The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” Later, the performer forces ‘PARIS’ on someone at the table. It could be done using postcards, souvenirs, etc. The book is opened at the marked page (47) and read aloud. “The bird seed fell from the bench as the man sat there. He smiled. It was his first visit to Paris. As he looked up, he viewed the Eiffel Tower.” The passage from the book has foreshadowed the climax! Equivoque The performer places Mother 2.0, with a business card protruding as a bookmark, on the table, “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” At some point in his set, the per- former borrows a number of objects from the spectators. They are lined-up and objects are then eliminated until only a ‘watch’ is left. Someone turns to the marked page (65) and reads aloud, “As each object was taken away, only the watch was left.” Use your favorite equivoque han- dling to bring about the desired result. Also, try to borrow the objects from the people in attendance as opposed to providing them yourself. Fine fiction (mind control, hypnosis) The following is our take on the classic psychological test often referred to as Finished Files. In that version, you ask the spectator to read a sentence and count the number of letter ‘F’s. Typically, most people will say they saw that letter three times. There are actually six letter ‘F's. Based on the way the brain works, they tend to miss those extra three letters. Our version works the same way. However, we have created a different sentence, since many people have seen the classic test and are familiar with the original sentence. Have a spectator turn to the last page in the Mother containing the quote from the publisher (Annie Mann). Have them read the quote out loud once, then a second time. Then ask them to read it silently to themselves. Finally, ask them how many letter ‘F's are in the quote. Most people only see three; ‘Fine’, ‘Fiction’, and ‘terriFic’. Most people seem to miss the three ‘OF’s and are shocked when you point them out! 32You can present this as an example of mind control or hypnosis. Presenta- tion-wise, it’s structure is similar to the hypnosis routines where you tell the subject that they can’t remember their name, or the number ‘7’ no longer ex- ists, or a letter of the alphabet is gone, etc. This test will not work every single time. Sometimes they may see four or five letters. Very rarely they will see all six letters. If they see four, you’re still ok. If they see five or all six, not to wor- ry. They don’t know where you’re go- ing with this. Say, “The way you read that sentence tells me a lot about the way you think...” Now just transition into another ef- fect with the book. Invisible Deck The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says,” and I came across a passage that I thought might be of interest later on.” At some point in his set, the per- former lays down a boxed deck of cards and has one named, Someone reads from the marked page (71), “He also saw a box on the ground. He opened it and found cards inside. One was tumed over.” The performer removes the cards and shows that the named card is the only one reversed! Invisible Deck routine (by Ted Karmilovich) The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and T came across a passage that I thought might be of interest.” At some point in his close-up set, he takes a deck of cards and places them behind his back. “I’m going to reverse one card in the deck, behind my back, so I don’t even know which card is re- versed,” he says. He brings the cards forward and places them in their box and leaves the boxed deck on the table. He asks every- one at the table to try to get a sense of which card he reversed. Going around the table, each guest mentions the card they believe to be re- versed. The cards are removed and one is shown to be reversed. And one of the people actually guessed it! The performer compliments the woman who got it right. Now, he has her open the book to the marked page (either 43 or 75) and she reads aloud the top lines. The lines describe her ex- actly! This is a variation of the Description effects mentioned earlier. You simply show whatever card she names as the reversed card! Jackpot Coins The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” At some point the performer per- forms a version of Jackpot Coins or The Trick That Fooled Einstein. The performer removes some coins from his pocket and has a spectator remove some coins from theirs. For those familiar with the routine, arrange it by placing 14 coins in your pocket so that the outcome matches the wording of the first paragraph on page 3357, “The new guy took some coins from his pocket. John said, “I have as many coins as you have, plus two ex- tra, and enough to bring your total to twelve.” We've designed this so that the per- former need only carry 14 coins on him. Enough to ‘generally have more than the spectator, but not so much that it’s a burden to carry. Key-R-Rect The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” Performing the standard Key-R-Rect routine, it is shown that only one key opens the lock. The keys are mixed and six people each select a key. They may exchange keys or positions as much as they want. Then dhe bovk is upened tw the marked page (49) and the top lines are read aloud. “She also gave him a lock and a number of keys. The third person had the only key that would open the lock.” Everyone drops their key into a glass except for the third person. She now tries her key. And as the passage had foreshadowed, hers opens the lock! Living and Dead The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest.” The mentalist performs his favorite Living and Dead Test using slips of paper, business cards, photographs, ob- jects, pendulum, etc. Before the chosen paper or card is turned over, someone reads from the marked page (89), “As he slept, a dream began to haunt him. He saw many faces, but there was one that stood out. It was the one person who was no longer living.” Now the chosen slip, card, etc. is re~ vealed. It is the dead name! Mr. Wizard’s mother Here’s a great effect for cell phones. Once you know the first letter of the chosen word in the basic MOAB pres- entation, say that you're really just not getting the word. Instead, say maybe your friend can get it. Write your friend’s number down and have the spectator call on their cell phone. Now, whatever the first letter of the word is, you’re going to use it to code the word to your friend. Just think of a first name that begins with that let- ter. And use the name ‘Moab’ as his last name. Su, if the chosen word be- gins with the letter F (flashlight), tell the spectator to ask for Frank Moab. If it begins with a W (watermelon), have them ask for William Moab. All your friend has to do is listen for the first letter of the first name when he hears the name Moab. This is incredi- bly strong as you couldn’t get the word, but your friend does, ‘And, you never handle or speak on the phone! The spectator codes every- thing for you! OKAY Force page 267 and have the specta- tor remember the first word (Okay). Ask them to focus on the first letter. “Is there a fruit that might begin with that letter,” you ask. She says, “Yes.” “Picture the fruit. Is that an orange?” 34“Yes!” “Focus on the second letter. Is there an animal that might begin with that letter?” “Yes.” “Picture it. Is it a kangaroo?” eves! “Think of the next letter. Is there a fruit that might begin with that letter? If so, picture the fruit. Is that an ap- ple?” “Yes!” “Think of the next letter. If there is a color that begins with that letter, pic- ture the color. Is that yellow, and are you thinking of the word ‘Okay’?” “YES!!!” This is included here as a way of re- vealing much more information than just a four-letter word. Also, note that ‘kitten’ be could chosen instead of ‘kangaroo’, but seldom is. PK Touches The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later.” He has a woman close her eyes as he proceeds to ‘cleanse her aura’. All can see that he doesn’t physically touch her in the process. She opens her eyes and says that she felt ‘touches’ or ‘sensa- tions’. From the marked page (53) is read, “She felt an odd touch and it made her uneasy.” Ring Flite The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” At some point in his close-up ses- sion, the magician performs any of the various Ring Flite-style effects found on the market. Once the ring is van- ished, the book is referred to. Opening to the book-marked page (73), the spectator reads aloud, “During this time, he saw that the ring was gone. He took his keys from his pock- et. The ring was found on his key chain.” The performer follows suit to the amazement of those watching! Royal flush The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and 1 came across a passage that I thought might be of interest later on.” At some point in his series of card effects, five cards are dealt from the deck face down. The passage from the marked page (77) is read aloud. “There the men played cards. The game the night before was loud. It looked like all was lost, until the man with the most money turned over a royal flush.” The performer’s hand is tumed over and he has, indeed, been dealt a royal flush! Simply perform any of the published effects whose climax is the revealing of a royal flush, Stigmata The performer places Mother 2.0, with a business card protruding as a bookmark, on the table. “I was reading this novel earlier,” he says, “and I came across a passage that I thought might be of interest later on.” At one point, the performer rolls up his sleeve and has the first line of the page (59) read aloud. “One time, an ec- 35