## Rr r m czr czr czz nz ez i

"Number twenty-three is OUT AT SEA" "Number twenty-four is ON THE SHORE" "Number twenty-five is BURIED ALIVE" "Number twenty-six is ON TWO STICKS" "Number twenty-seven GOES BACK TO DEVON" "Number twenty-eight ARRIVES LATE" "Number twenty-nine is ON THE LINE" "Number thirty is DIRTY".

The Second Stage: This is the next stage. Having memorised the code you then create a "picture" to go with the number so that it is impressed even more into the mind. It is what I call "The Action Key"—and means doing something—always the same thing—with the key. For example let us take No. 6 The Key is "Number six is a trick". We could stop at that— but we can improve the system considerably by adding an action, so:— Number six is a trick—and whenever we have this number, we always think of a magician pulling something out of a top hat. The "trick" suggests a top hat and should always be remembered.

Other/Action Keys to reinforce the number code are as follows:—No. 1: Always shooting at something. No. 2: Always putting something into a shoe. No. 3: Always an object with a flea hopping about on it. No. 4: Always something being sawed into two pieces. No. 5: Always a hive, with bees swarming over an object. No. 6: Always a top hat with something being produced. No. 7: Always two angels carrying an object to Heaven. No. 8: Always an object standing on a farmyard gate. No. 9: Always three objects, and you find yourself trying to look down a row and get them in line—but one is always out of line. No. 10: Always writing something on an object with a pen. No. 11: Always unpacking a box which contains something. No. 12: Always something standing on a shelf on its own. No. 13: Always something hanging on a nail knocked into the wooden skirting that runs around a room at floor level. No. 14: Two people trying to kiss—always something comes between their lips! No. 15: Always an object which you try to balance on the outstretched finger. No. 16: Always pouring treacle or honey (sweet) over an object. No. 17: Always looking down a microscope to try and see something very small. No. 18: Always pulling a fishing line out of the water to see an object hanging on the hook. No. 19: Always at the Lost Property Office reporting the loss of an object. No. 20: Always a Sentry standing on Guard with an object in place of his rifle. No. 21: Always covering something with Sun-tan lotion. No. 22: Always painting with a large brush an object in bright blue. No. 23: Always something floating on some high waves out at sea. No. 24: Always an object lying on the beach at the seaside. No. 25: Always something being ceremoniously buried in a coffin. No. 26: Always something balanced on two matchsticks. No. 27: Something you must always parcel up to send back to Devon. No. 28: "Arrive late" an object always standing on top of a big clock on the mantelpiece. No. 29: Always an object placed in front of an oncoming train on a railway line. No. 30: Always something which you must give a good wash with detergent.

### The Application of The Amazing Memory System

For stage work, have everything written on a big blackboard so that all the audience can see—for small audiences, simply have the objects written on a sheet of paper.

Take a piece of paper and write a column of figures from one to thirty down the left-hand edge. Now invite anybody to call out any object they like for "Number One". The audience should remember their objects. As soon as you hear what object is chosen, you quickly work out your "Key" for "Number One"—(That is—"Number one is a gun") and immediately associate your key with their object in your mind. Don't worry about being sensible—the more stupid the picture you create—the better it will be. Suppose we were given as the first object a MOUSE. We could think of a little white mouse standing in a begging position whilst we tried to shoot at it with a gun.

Having created a vivid picture, associating your key with their object, you immediately FORGET IT, and go on to the next, mimber two and do the same. Every time you get an object, taking them in correct order, of course, you make up this mental picture and then forget it—until finally you have completed the thirty. Each object given by the audience is recorded as it is given on the sheet—a task which may be given to any member of the audience to do. Be sure you remember the "Action keys" and always do the right action with the object selected by the audience. This will make it a lot easier for you "when you come to the next stage.

### Calling the Objects Back

When you have "accepted" the thirty objects, hand the sheet to someone who acts as "Scorer". He is to tick off every time you are right. The audience are now invited to call out ANY number from one to thirty. You immediately call back the name of the object given for whatever number they say. It is very easy. As soon as you hear the number—think of your "Key" and the very moment you remember your key—you will find you also remember their object! When you do this for the first time—you will be amazed that it really works. That is all there is to it—and a very good effect can thus be performed.

To conclude the performance, you may if you wish run through the complete list of objects backwards, starting from thirty. You may also have an object called here and there—and you give the correct number. One aspect of presentation that improves the effect is to enlarge in detail on one or two objects as they are given. For example, suppose at Number 8 we were asked to accept "CAT" as the object. We could say, "Any particular type of cat?" And even though you are told it is a Cheshire Cat wearing a yellow spotted cravat and dancing the Hornpipe"—you will still get it! Moreover, it adds comedy to the presentation. Such is the Amazing Memory.

## Understanding Mind Control

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