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Telepathy In Action by Orville Meyer Introduction Many years ago I was extremely fortunate in wit- nessing the act of Professor George Lyman—the act that is described in detail in this book and which he called “Exploring the Labyrinth of the Human Mind,” T recall vividly how the Professor kept his audiences nearly hysterical with laughter almost from the very Start and, in addition, left them wondering how these amazing feats were possible, It was an act that was talked about for many months, even years, afterward. He had no trouble get- ting bookings; in fact he usually had more prospects than he could handle. As a mentalist-magician, [ quickly recognized the psycholory of his act. At subsequent performances | studied his patter, mannerisms, and his routine as a whole. After Professor Lyman’s death T began to present his act so that I could yet the full “feel” and depth of it. My description therefore, is based on both observation and personal experience, The pages that follow set forth this material, as closely as it can be done with the written word. Experience alone can pro- vide the personal subleties, twists and nuances that will personalize the act for you. At this time I know of no one who is presenting this act, or has, for the past several years, nor have T ever seen an act of this nature ‘leseribed and explained in print. , Part of my motives in w riting this book was to assure that this wonderful act would nor be forever lest to the world of entertainmunt, Tt is, therefore, different and new, with unlimited possibilities for the 6 capable performer. With perseverance and experience, there is no limit to the fame, fortune and personal satis- faction the presenter of ths act can achieve, The act is also unusual in that it requires no special Props, equipment, stage requirements or costume, or manual skills, Tt does, however, require study, practice, a good command of words, a keen understanding of human nature and psycholoy, showmanship, nerve, and the ability to appear before large groups with confi- dence, poise and assurance. With no more expenditure than the cost of this hank, plus serious study, understanding, and application of the principles involved, the purchaser can develop an act that will equal, in entertainment value, any act on the boards today. Chapter 1 THE MIND IS POWERFUL! Books showing how to make practical use of the great powers of the mind have increased in numbers and popularity during recent years. Few bookstore ad:licts can browse very long without encountering (and buy- ing, if they are wise) such books as TNT—The Pow- er Within You, The Magic af Believing, Think and Grow Rich, The Secrei of the Ages, and many dozens of others. Countless persons owe their happiness and success to the truths contained in these books. The skeptic of course, reads, smiles, and lives his material life in piti- ful ignorance. This book, most especially through the laughter and entertainment which it makes possible, endeavors to pro- vide an insight into some of the workings of the human mind. It includes a brief discussion of how even the jew rudiments of such knowledge that we possess can he the basis for a healthier, happier life. The experiments are performed wilh the aid of members of the audience who have never been seen be- fore by the performer. They are invited up to the stage and the performer, without the exertion of force . merely by suggestion . . . gets them to do things that virtually astound and delight the audience, But this book has another object: to show that self- applied mental force, with self-control of our minds, will enable us to achieve and attain those things which we earnestly desire. The millions of people that Prof 10 or Lyman enter- tained were mystified by the hidden powers of the mind that he reached. ‘These secrets are now, for the first time, made available for those who desire to apply them. Tt is my belief that the act described in this bools is not suitable for the youthful performer. With due re- spect for the general appeal of youth, the many psycho- logical factors throughout the act require application by an older, assured and, preferably, experienced entertain- er, Because of the number of assistants selected from among the audience, the performer should have an aud- ience of at least fifty persons, preferably larger. 1B