Mind in


-4«y pianist plays the correct tune, one of six, seven or eight, which is being thought of. Tune titles suggested by audience and a free selection made. .Vo stooges. (The most surprised person is the pianist !).


Slips of paper, 2 in. x 3 in., folded once one way, twice the other; eight of these each have a number on them, the numbers 1 to 8; these are folded and placed in a small billet index which reposes in mentalist's right trouser pocket (therefore you can get hold of a slip bearing any number from 1 to 8 inclusive). 10 or 12 blank slips and pencil on table.

Request the assistance of any person who can play the piano. Seat, him at piano. State that you're going to attempt an experiment in thought-control.

Number the blackboard, 1-8, down the left-hand side (6 or 7 will do if there's not room for 8 titles).

Ask the audience to give you the names of popular tunes and explain that the pianist must know these tunes, so you ask pianist to play a bar or two of each tune as it's called out; this also lets anyone in audience, who doesn't know tune, hear what it's like, and, the real reason, it lets you know in case you're not sure of the melody ! As each tjine is called out and played, you write title down on blackboard opposite a number : 1st tune goes opposite fig. 1; 2nd opposite fig. 2, etc., till you've got a list of 6, 7, or 8 tunes on board.

You now explain that you want one of these tunes chosen, that you will concentrate on the melody of that tune and attempt to transmit that melody to the pianist; " However," you add, " if I were to ask someone to point or whisper one of these tunes they would probably select the most popular one of the bunch or one which they prefer for their own personal reasons Now, I want the selection to be perfectly fair and free from any personal or popular prejudice, I want it to depend on chance alone." You now show the blank slips and proceed to openly number them from 1 to 8, and to fold them; explaining as. you do so that these are 8 slips, numbered 1 to 8, that these will be mixed, one chosen, and the number on that slip will indicate which tune you will attempt to transmit to the pianist. (An alternative procedure is to have the 8 slips numbered already and to give these out for examination.) The slips are shown folded, and dropped into a hat, bowl or onto a table for a member of audience to mix. You now either take hat to audience, getting a spectator to pick out one, or you ask a spectator tp come forward and to choose one. You hold this slip, still folded in left hand. You face audience, " A number has been selected," turn to spectator who selected slip and say, " Would you like to change your mind, sir, or are you quite satisfied with your choice?" If he wants to, he can make another selection, the first-chosen slip being replaced beside others first of all and slips re-Jnixed by spectator. You continue, " I will open this slip, read the number on it, and then concentrate on the chosen tune indicated by that number." Turn to pianist and say, " I want you, sir, to just relax, just let your eyes wander over the tunes written on the board in front of you, then relax; just try to make your mind a blank. I will concentrate on the chosen tune and attempt to infiltrate my thoughts into your mind. Just rest your hands lightly on the keyboard and relax, close your eyes if you wish, just set your mind at rest. Various notes will come into your mind, don't resist, just let your fingers obey your thoughts and start playing, anything that comes into your thoughts; a melody will gradually develop, one of these 8 tunes; suddenly you will get the whole thing, one of these 8 tunes will imbue your whole mind, play it, don't try to think about anything else, just play whichever one of these 8 tunes comes into your head. O.K.?"

" Just give me time to read the chosen number and to concentrate on that tune and then carry on."

You now walk forward, open paper slip, glance at it, as though reading number, look at blackboard as though you were looking at tune written opposite that number, refold slip.

Stand to one side of blackboard, half facing it, half facing audience. Hold slip in left hand, about chest height, at fingertips. Casually put right hand in trouser pocket. You now ' concentrate ' on tune, staring at blackboard as though you were looking at one tune only. One, of these tunes is going to come into the pianist's head, anyone, it's bound to ! Pianist starts playing. As soon as you recognise the tune he's playing (and as they're all popular tunes, you'll get it within the first 2 or 3 bars) you note which number is written before it on blackboard and right hand in trouser pocket withdraws correct numbered slip from index. This slip is finger-palmed in right fingers. Let pianist play tune for a few more seconds so that everyone recognises it, then, raising left hand and billet, say, " Thank you, that's enough ". Your right hand and palmed slip has come out of pocket by this time and is held in a natural position.

You now ask spectator who selected slip, (who you ushered t6 a chair beside blackboard after he selected slip), to take " chosen " slip, to open it, and to draw a large chalk circle round '' chosen '' tune to show audience that pianist was correct. However, as you go to him you do a two-handed switch and hand him correctly numbered slip that you stole from index. Left hand and palmed slip drops to pocket* where slip is dumped. Spectator, of course, opens slip, reads number, and rings correct tune on blackboard.

Instead of spectator ringing tune on blackboard, you can switch slips as you hand slip to a spectator in front row for him to open it, and to shout out title of tune opposite that number on blackboard; this is, of course, the tune pianist played. You can now repeat effect, but don't do it more than twice.

2nd Presentation (taking pianist into your confidence) .

In this method you take the pianist into your confidence, but you don't need to tell him much and his instructions are very simple. You say to him beforehand, " I'll ask you to play two tunes, play the 3rd tune first, then the 7th the 2nd time. Don't play them right away, muck about on the keyboard for a bit then gradually start playing the correct tune. Remember, 3 then 7. Just listen to my patter, that will let you know how to go about it."

You don't have an index this time, just 2 extra folded slips, one has a 3 printed on it, the other a 7. The one with the 7 is folded squint or has the corners dog-eared or any other method whereby you can distinguish it from the other. These two slips are in your right trouser pocket or at any other concealed gat-atable place.

Introductory patter as before. 8 slips shown marked 1 to 8. Folded, and mixed by a spectator as before. Two slips selected by audience or any spectator is called up to do this. These held together, in view, at left fingertips. Right fingers palm the two force ones and the slips in left hand are switched for the force ones. (You can switch 2 slips at a time quite easily, try it, just do an ordinary two-handed switch, but using two slips together instead of one.) The 2 slips now concealed in left hand are disposed of and th^ 2 force ones tossed onto table. A spectator is asked up (or you use the spectator who you got up before) and this spectator is asked to select one of the 2 tabled slips. If he takes the dog-eared (No. "7") one you ask him to put it in his pocket or wallet. It he takes the No. " 3 " one you ask him to put the remaining one in his pocket !

You patter as before, also giving same patter to pianist, but this time you state that the audience themselves cannot direct their thoughts to the pianist, their thoughts will be too weak and scattered. What you're going to do, you state, is to attempt to pick up their thoughts and to direct them to the pianist. You'll act as a radio relay station, picking up their thoughts and pushing them out much more powerfully and only in one direction, the pianist's.

You now allow yourself to be genuinely blindfolded and stand up, front facing audience. Spectator with slip is asked to read number on it and to circle with chalk or point to that tune on blackboard, taking care that pianist and yourself doesn't see what one is chosen. (Pianist can be blindfolded or taken out of room, etc. You, too !). You ask the audience to concentrate on chosen tune and to keep as silent as possible. The pianist, of course, does his stuff and the correct tune is played.

The 2nd slip (No. " 7 ") is dealt with in same way or you can patter to the effect that the first time let you get ' onto the beam ' with the pianist, now that you're on you'll attempt a more difficult feat, doing it with one man's thoughts. The spectator who has pocketed slip is asked to open it and to concentrate on appropriate tune, without letting audience know what it is this time. Tune played, etc. and you then ask spectator to ring with chalk the tune he was concentrating on; this, of course, is the correct one. Again, this 2nd slip can be handed by spectator, to anyone in audience for them to concentrate on, this person acknowledging correctness at end of tune.

It will be realised that, in this 2nd presentation, the pianist can glance at tunes on board to memorise 3rd and 7th one.

You can use a window-display stand to clip billet in if you want; it stands on table in full view. You look at number, refold billet, clip it in stand and concentrate. When tune is played you get correct slip finger palmed and you get a perfect switch as you remove slip from stand for spectator to check.

By not opening billet to concentrate on number you can make the test one of ' clairvoyance '.

continued from page 18 of Sorrow", a breathtaking pulsating saga of the court life of Charles I, in which vivid descriptions of political intrigues and love affairs of the highest in the land and how, through the tireless efforts of a humble retainer, the enemies of the Crown were unmasked.

The effective build up should be quite simple to an efficient and experience mentalist. It is no more difficult than building up a sensational answer to a sealed question. And don't forget you have been given this information to help you :—

The Author's name.

Title of Book.

The type of Book.

The period iii which the story takes place.

The country in which the story takes place.

Added to this is the fact that because of the impromptu nature of the test, the spectator has no more idea of how he or she would develop the story and will readily accept the description you build up as being exactly what they intended to write about.

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