III. If your Transmitter does not seem to be Con-

centrating properly, you should speak to him firmly,
SIMPLE DEMONSTRATIONS 63
but kindly, about it. Say to him : "Please concen- trate your Mind, and Will earnestly — fix your Mind on the right Spot — make a determined Mental Ef- fort that I move in the right direction — it is your Mind and Will that gives me the impression, re- member— it all depends upon you," etc. This will often have the effect of bracing him up to renewed mental activity, and you will notice the improve- ment at once.
A WORD OF WARNING.
Beginning your entertainment, caution the audi- ence about placing the hidden objects in places that you cannot conveniently touch — such as high up on the wall; under the strings of a piano, etc. Tell them that you can find the article anywhere, but it must be placed so that you can get at it with only ordinary care and work. Some "Smart Alicks" may try to play pranks on you in this way, but discour- age same vigorously at the start, informing the audi- ence that this is a scientific test and not a circus. And, remember this, tell them that the article must never be hidden about the Transmitter, for the rea- son that he is seldom able to think as intently about his own location as about some place away from him. These are the only restrictions that you need make. Caution the Transmitter to guide you away from obstacles over which you might stumble, or
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which you might overturn. Tell him that you place yourself in his hands for protection, and then en- deavor to think no more about the matter, for such thought tends to distract your passivity.
The above feats or demonstrations are all per- formed along the same general lines as indicated a little further back, and all are capable of being ac- complished by anyone of ordinary intelligence, with a little study, care and practice. Practice makes perfect, in Mind Reading as in everything else, re- member, so keep at it until you have worn off the rough edges, and have polished up the details of the work. You may vary, improve, add to, the above feats, and may also insert many new ones for your- self as you proceed with your work. Use your in- ventive faculties.
THE WIRE CONTACT.
A sensational and effective method of performing some of the simpler feats is performed by some pub- lic performers, and consists in having a piece of thick wire, about one foot in length grasped by the Re- ceiver's left hand, and by the Transmitter's right hand, instead of the ordinary contact. A little prac- tice will surprise you in the facility in which the impressions are transferred over the wire from the Transmitter to the Receiver. The methods of oper- ation in this case are identical with those employed
SIMPLE DEMONSTRATIONS 65
* — ■ -■ ■
in the ordinary methods. A wooden "ruler" may be substituted for the wire. Some performers succeed even with a long walking-cane.
THIRD PERSON INTERPOSED.
Another variation is that in which a third person is interposed between the Transmitter and Receiver. Practice along these lines will enable the skilled Mind Reader to receive the impressions as usual, notwithstanding the interposition of the third per- son. Do not attempt to try these variations until you have thoroughly mastered the ordinary methods.
(The student is here advised to turn to the con- clusion of Lesson VI, of this book, and acquaint him- self with the "Simpler Method" there described. It may help him in this phase of his work.)
We shall now pass on to the consideration of some of the more complicated or difficult feats of Contact Mind Reading.
66 PRACTICAL MIND READING
LESSON VI. DIFFICULT DEMONSTRATIONS.
WE shall now direct your attention to a class of demonstrations of a rather more complicated I order than those related in the last chapter. But even these difficult feats may be rendered com- paratively easy of accomplishment by careful prac- tice, and development of receptivity.
PRELIMINARIES.
In these experiments or demonstrations the Trans- mitter stands by your left side, you grasping the fingers of his right hand in your left hand, and holding as in the case of the former experiments, i. e. either with his hand pressed against your head, or else held out and up, as before described. You receive the impressions in the same way. The fol- lowing demonstrations may be performed after a little private practice, so as to be shown at a public performance almost as easily as the simple** feats heretofore described.
DISCOVERING THE CARD.
DEMONSTRATION I. Spread a number of cards over the table. Then retiring from the room, have the audience select one card of the number,
DIFFICULT DEMONSTRATIONS 67
which the Transmitter must be sure to remember distinctly — that is the Transmitter should remem- ber just where the card is, the position being the important feature, rather than the name of the card. Then taking the Transmitter's hand as above de- scribed, you should move your right hand to-and- fro over the table, moving it backward and forward, and in circles. You will soon find that this feat closely resembles the one of the last chapter in which you find small objects; the pin hole, etc. You will soon find that the impressions tend to centre over a certain spot on the table. Begin to lessen your circles and hand movements until you gradually centre over this spot. Then slowly lower your fingers until you touch the card resting on the said spot, when you will be sure that you are right, when you must pick up the card and exhibit it to the audience. The same indications mentioned in the feats of the last chapter will be felt by you. You will feel the "No, no!" impression when you are wrong, and the "That's right" impression when you are moving in the right direction, until at last you will distinctly feel the relaxation of the mental urge, which you will have learned to translate into "Right you are!" when you finally touch the right card. This feat is really no more difficult than the one in which the small object is found, and we have included it in the list of "Difficult Demonstrations"
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simply because it is practically a "connecting link" between the two classes of demonstration, as you will see as we proceed.
THE CHECKER MOVE. DEMONSTRATION II. This is akin to the last experiment. Have a checker board arranged by some of the audience who understands the game. Then let some one decide on the next move. Be sure that the Transmitter thoroughly understands the piece to be moved, as well as the place to where it is to be moved. Then, proceeding as above indi- cated, first find the piece to be moved, and then move it to the proper place. This feat consists of two parts, you will notice. The finding of the piece is like the finding of the card. Then with the piece grasped between your thumb and forefinger, make a small circular and backward and forward move- ment, until you feel the mental impression of "There!" when you will place your piece directly on the spot. This may seem difficult, and appears so to the audience, but you will find by a little pri- vate practice that it is really as easily performed as some of the simpler tests.
THE GAME OF CARDS. DEMONSTRATION III. Similar to the above is the feat known as the "Game of cards." Two
DIFFICULT DEMONSTRATIONS
players sit opposite each other at a table, having dealt themselves two hands of euchre. Have the Transmitter lead you behind the first player, and standing there have the player silently point out the card he wishes to lead, to the Transmitter. The Transmitter then should concentrate his mind on the card, and you will find it in the usual manner, and having found it will play it on the table. Then leading you around to the other player, the Trans- mitter repeats the process, and you find and play the card. Then back to the first play, and repeat. Then alternate between the players, in the same manner, until you have played out the game. This may be improved upon by the Transmitter thinking of which player has won the trick, when you will push the cards over to the winner, having discov- ered the direction in the usual manner. This feat is very effective indeed when properly performed.
THE MAPPED-OUT TRIP.
DEMONSTRATION IV. Have a map laid open on the table, and have the audience decide upon a trip between two points, either by rail or by water. Then returning to the room, stand as above de- scribed, and with your forefinger find the place from which the trip starts. Then move slowly along the selected course in the same manner in which the checker-game was played, passing along the chosen
70 PRACTICAL MIND READING
route until the end is reached. These feats are all really variations of the one principle.
THE PACK OF CARDS.
DEMONSTRATION V. This is a very effective feat, and requires some little skill and practice, but there is no reason why any careful, patient, and per- sistent student should not be able to master it. It consists in the audience selecting any given card from the pack, and then replacing it with the others, being sure that the Transmitter is familiar with the card chosen, and knows enough about cards to rec- ognize it when he sees it again. Then the pack of cards should be placed on the table, face up. Re- turning to the room, you take the Transmitter's hand as usual, and with your right hand pick off the cards from the pack, slowly and one by one. As you pick up each card, slowly weigh it in your hand, so to speak, and then place it aside if you re- ceive no "stop" orders from the mind of the Trans- mitter. Having previously practiced this feat in private you will have learned that peculiar "heavier" sensation that comes to you when you lift the right card from the pack, so that when you finally reach it you will know it. We cannot describe just what this sensation will feel like — you must learn it by actually experiencing it in private practice. We ad- vise you to diligently practice this feat in private,
DIFFICULT DEMONSTRATIONS 71
for it is wonderfully effective. You will find that after a bit of practice you will be able to get the "heavy" feeling when you lift up and "weigh" the right card. You should perform this feat slowly, and carefully, shaking your head, "No," just before you discard a card. If by the lack of concentration of the Transmitter, you fail to feel the "heavy" feel- ing when you pick up the right card, the shake of the head will be apt to arouse him to exert his Will more actively, and you will receive the "hold on" impulse immediately. Do not be in too much of a hurry to discard, but make several feints at it before finally letting go. This feat may be improved by having the audience select a "poker-hand," such as a "flush," a "straight," "three-of-a-kind" ; a "full- house," etc., etc., and having you find the hand one card at a time. This latter is a fine effect, and always brings down the house. But be sure that your Transmitter really knows and remembers the cards, else the feat will fail, of course. He must re- member each card, and recognize it when it appears face up on the pack before you, as you proceed with the discarding. Never attempt this feat in public without previous careful, private, practice, for it re- quires the most delicate perception and skill. If you find that you cannot master it to your satisfaction, after sufficient practice, you may try it by the "Sim- pler Method" given at the conclusion of this Lesson.
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THE CHOSEN WORD IN THE BOOK. DEMONSTRATION VI. Like the last feat, this is a complex and difficult one, but one that always arouses enthusiasm in an audience when well per- formed. It will repay you for the private practice that you will have to employ upon it, before you produce it in public. The feat consists of the audi- ence selecting a book from a pile, or a book-shelf, of book-case, etc. — then a given page is chosen — then a line of printed matter on that page — and then a word in that line. It is well to have the Trans- mitter draw a pencil circle around the chosen word, so that he may be sure to remember it later. The