Calostro - The New Radio Vision Mind-Reading Code

WILL

ALMA

M.I.M.C. (LONDON)

The New

R A D I O - V I S I O MIND READING CODE By

"CALOSTRO"

Siia.

SsJ

A Complete Two-Person A R T I C L E Code FOR THE SUCCESSFUL PERFORMANCE OF

Second Sight - Thought Transmission — Telepatliio and Other Thought Provoking Types of Entertainment CONTENTS:

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PART ONE

THE ANATOMY OF MIND READING This section alone is worth moro than tho price of the entire work. It Is the result oi twenty years of research and a considerable outlay of money to secure every available published or unpublished mind reading code, over one hundred of which have been tabulated, analyzed and phonetically and mnemonically studied. Twenty-five of the best were then alphabetically and numerically broken down into their basic parts and the resulting charts are completely reproduced in this section. Never before has this type of study been directed to mind reading codes and been offered In such form a s will enable the student to set up, if he desires, a code, simple or intricate, based on his own selection of the best code words and suitable to his own particular style and preference.

PART TWO

THE RADIO-VISION MIND READING CODE — The Basic Cue Words — The Number Code — — — — — —

The Alphabet Code The Birth Date Code Tho Horoscope Coda Lucky Numbers The Article Code A Comprehensive Llsl of Articles (Pocket and Purse Contents, Garments, Documents, Instruments and Common Objects)

— Code for Coins and Money — Pictorial Transmission. Codes for Cueing Drawings Alphabetically, or Line by Line — Code for Playing Cards — Code lor Titles and Vocations — Code for Animals and Birds

— The First Name Code and Lists of Common Male and Female Names — The Last Name Code and List — Special Cues and Advice — Special Tests with Watches, Newspapers, Books and Letters

— Code for Sports and Recreations — Code for Fraternal Orders and Emblems — Code for Countries and Nationalities — Code for Materials, Condition and Colors — Code for Metals — Code for Stones and Jewels — Code for Emblems and Mementos — Code fcr Relations and Photographs

Complete Coverage of a Fascinating and Profitable Entertainment

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The New

RADIO-VISION

Mind-Reading Code

by

"Calostro"

THE NSW RADIO-VISION MIND READING CODE

COPYRIGHT MCMXL •by

CALOSTRO PUBLICATIONS, Box 199, Closter, New J e r s e y .

•Yarr.i ng: The publication, reproduction of, or quoting from, t h i s work, or any part thereof, i s forbidden by the Copyright owner. The entire t e x t matter, c h a r t s , phraseology, special words and combinations are fully protected. Infringements of Copyright will Tje Prosecuted. ALL RIGHTS ARE RESERVED BY THE PUBLISHER.

THE NEW RADIO-VISION MIND READING CODS Ths State Library of Victoria INTRODUCTION "ALMA CONJURING COLLECTION" The i n s p i r a t i o n for the compiling and writing of t h i s manuscript dates tack a f u l l decade - the year was 1920 to he e x a c t - when through f i r s t meeting my friend, David J* Lustig (La Vellma), I "became i n t e r e s t e d in Stage Second Sight methods, and published his "Vaudeville Mind Reading". Two editions have "been printed of t h i s standard a u t h o r i t a t i v e work and over four thousand copies sold, and there continues to t e a steady and c o n s i s t e n t demand for t h i s publication, even a f t e r twenty years. From that time t o the present, I made i t my hobby to gather together every possible version of the two-person code a c t that was obtainable, und many friends among the magical f r a t e r n i t y who knew of my c o l l e c t i n g i n t e r e s t s gave me invaluable a s s i s t a n c e and data. Among those to whom I owe s i n c e r e s t thanks for t h e i r helpful a s s i s t a n c e in one form or another, in addition to tho aforementioned "Dave", I am most happy to include Joseph Dunningor, Walter Gibson, Leo Rullman, Ralph ff. Read, Lee Webster S e l f e , Jean Hugard, Dr. Ben Pardo, A1 Baker, Martin Sunshine, Ted Annemann, Burling Hull, Jack S t e i s o l , Robert Hale, Major Donald D. Millikin, in-tornationally known authority on m i l i tary codes and ciphers, and the l a t e Dr. Milton A. Bridges, Clinton Burgess, Robert Gysel and Frank Ducrot. The thought of Frank Ducrot, that encyclopedia of magical knowledge, brings to my mind the many d i f f i c u l t i e s confronting tho c o l l e c t o r of data on the Zancig Code, and, i n c i d e n t a l l y , i t was through the good o f f i c e s of Frank that I met Zancig personally. From Frank I secured a handwritten version of Zancig'b Code, l e f t with him, i f my memory serves ne c o r r e c t l y , by one of the proteges of J u l i u s Zancig, who worked in the a c t f o r a period following the death of the f i r s t Mrs. Zancig. This version was somewhat incomplete, but a version which supplied much of the information missing in the f i r s t copy was l a t e r secured from Martin Sunshine, whose a b i l i t y in the handling of his own a r t i c l e code was unsurpassed. Then Dunninger, out of his voluminous f i l e s , produced a version I long sought, "Our S e c r e t s " , by J u l i u s Zancig, which was sold f o r the then enormous sum of $ 7 , 5 0 0 , and published s e r i a l l y in a popular non-magical B r i t i s h weekly in eight i n s t a l l m e n t s . TMB version, though lengthy, was not a l t o g e t b s r complete, but i t did serve t o corroborate some of the data previously obtained, and i t did give many i n t e r e s t i n g side l i g h t s on Zancig's methods. Another v e r s i o n , in printed booklet form, was issued by a purchaser of the a c t d i r e c t from Zancig and published under a sworn a f f i d a v i t of c o r r e c t n e s s . The impression conveyed to as by confidants of Zancig i s that on numerous occasions he sold a version of the A r t i c l e Code, not always the e x a c t one he used, t o ambitious amateurs f o r sums ranging from $50 to $ 1 , 0 0 0 . When the l a t t e r fee was charged, personal i n s t r u c t i o n was given. Of the many other systems and codes t h a t have been offered through hundreds of magical supply o u t l e t s o f the past and present, priced a t from $ 2 . 0 0 to $100, there were only twenty-five that contained any semblance of, o r i g i n a l e f f o r t and thought. All the others were obviously p i r a t e d . The twenty-five that remained are more or l e s s b u i l t up from the foundations laid out by Robert H e l l e r , and l a t e r J u l i u s Zancig, even to the extent of continuing the ungrammatical expressions o r expressions t h a t have since becore quite obsolete. I have spent long and seemingly endless hours d i s s e c t i n g and breaking these down s c i e n t i f i c a l l y , phonetically and mnemonically i n t o t h e i r fundamental p a r t s , as you w i l l gather from reading t h i s work. Then, from the data so obtained, I have b u i l t up what ought to prove the foundation of a more s a t i s f a c t o r y and more e a s i l y acquired system, "The New Radio-Vision Mind Reading Code". I t r u s t i t will give the reader as much enjoyment and s a t i s f a c t i o n in p r a c t i c i n g and p e r f e c t i n g the use of i t as I was afforded in compiling i t .

None of the a r t i c l e codes are easy to master. Neither i s a new language, which, in e f f e c t , i s what the memorizing of a second sight a r t i c l e code r e a l l y i s . I t takes a p a r t i c u l a r type o f mentality and s k i l l on the part of both the sender and r e c e i v e r . The s k i l l necessary f o r finished public presentation can be acquired through close study, p r a c t i c e and application. In my estimation, the Question Answering Act, calling only f o r advice or general answers, i s equally as entertaining as the A r t i c l e Code terein described. Such an a c t has been thoroughly covered in my previous publication, "The Calostro Mind Reading A c t , " and authored by Ralph W. Read. The wide sale, the favorable comment, and the p r a c t i c a l usage that t h i s a c t has received, would lead me to believe that the present reader e i t h e r has i t or will eventua l l y get i t i f he professes t o be well infoimed on Mind Reading methods. Since publishing that work, however, I have received many requssts for a r e a l l y good a r t i c l e cods and, evidently, there are a great many who favor this type of a c t . The basic principles of the two a c t s are a l t o g e t h e r d i f f e r e n t , but I will f e e l amply repaid i f in the next few y e a r s , as many e n t e r t a i n e r s use my A r t i c l e Code as are now successfully and p r o f i t a b l y presenting Mr. Read's Act. The A r t i c l e Code i s d i f f i c u l t to simplify, but u n t i l some future author comes along with a new method, perhaps a d i f f e r e n t basic p r i n c i p l e , I am sure t h i s analysis will prove a valuable contribution to the a r t . The f i r s t part o f the volume will surely give a s p i r a n t s to fame as Mind Readers the basis for working out for themselves a code adaptable to t h e i r own requirements. I do not claim that the second p a r t , "The New Radio-Vision Mind Reading Code," i s one hundred percent p e r f e c t . I do claim that i t comes nearest to being the type of code that I had, through the y e a r s , been looking f o r , but never found. Many a showman has made an enviable reputation as a mind reader by building up an a c t from instructions considerably l e s s informative and complete. The Author.

PAST ONE

THE ANATOMY OF MIND READING I t i s generally "believed t h a t , "The "best way t o "become acquainted with a subject i s t o write a "book a"bout i t . " I recommend t h i s t e n e t , in substance, t o you who are a"bout t o fathom the d i f f i c u l t i e s of mastering an a r t i c l e code. I t will "be no easy t a s k , "but when you g e t through putting down on paper the r e s u l t s of your research, you will have acquired a knowledge of the thought transmission or second sight a r t that w i l l prove e v e r l a s t i n g l y helpful. Mate notes of every code that you can find in your l i b r a r y ; compare one with the other; adopt t h i s , discard t h a t ; and f i n a l l y put down on paper just the advice you would recommend to a p o t e n t i a l user of your system. This, and more, have I done in the development of "The New Radio-Vision Mind Reading Code." Over a long period o f y e a r s , I have accumulated and c a r e f u l l y studied over one hundred a r t i c l e codes. A comparative study of twenty-five o f the "beat codes of t t e past d i s c l o s e s t t e following i n t e r e s t i n g compilation.

AN ALPHABETICALLY ARRAIEED FREQUENCY LIST OF ARTICLE CODE WORDS, USED FOR CUEING NUMERALS AND THE ALPHABET. The figures represent the number of times each word was used as a cue word in the twenty-five codes analyzed and tabulated. Wtere no figure i s given, the word was used in only one of the codes. A All right ( 5 ) And (3) Answer (3) Are (3) At once ( 2 ) Ain't Also And here And now And t h i s Another thing Aren't Aside from Audience B Be ( 3 ) But ( 2 ) Begin Be quick Be smart Can (17) Come (9) Call ( 4 )

Can't ( 4 ) Correct ( 4 ) Could (3) Called ( 2 ) Can you Can you see Careful Commence Concentrate Correctly D Do ( 5 ) Don't (4) Describe (3) Do you know ( 3 ) Do you see (3) F Favor ( 2 ) Fast Favor me Figure Fix Further

G Go ( 8 ) Give (6) Go on ( 4 ) Good ( 3 ) Get t h i s one Go ahead Go and Go please H Hurry (9) Hare (3) Hurry up ( 3 ) Have ( 2 ) Hurry please I (11) I ' d l i k e to know ( 2 ) I want to know J Just K

Kindly ( 8 )

L

Look (15) Let(s) (7) Let me know (2) Let us have (2) Letter Let ub know Look sharp M Madam (7) Make haste (2) Master Mention More

Possibly Professor Put

That's right Think This a r t i c l e This time

Quick (13) Quickly (2)

V Very good Very well

B

Right (3) Right away (2) Ready S See (11) Say (8) Speak (3) See this Sir Speak up Start Sure

N Now (21) Next (10) Name (5) Now then (2) Name t h i s Now what

T Tell (13) Try (7) Then (5) Tall us (3) Tall ne (2) The (2) There (2) Take Thank you

0

Observe Oh Outside of Over here Over there P Please (21) Pray (3)

W Will (15) What (11) Well (10) What's (2) Won't (2) Walt We want to know What e l s e What iB i t What i a this Whit now What will" Which Will you Will you look Will you t r y Y Yea (3) You (2) You'll find You'll obaerve

Note that the above tabulation showB there were no cue words used in any of the twenty-five codes that began with E, 0 , X and Z, but a l l t l » remaining l e t t e r s o f the alphabet were represented in frcm one to twenty-one o f the twenty-five codes. Two words, "Now" and "Please", as will be shown in the next tabulation, were used as cue words in twenty-one of the twenty-five codes.

A NUMERICALLY ARRANGED FREQUENCY LIST OF ARTICLE CODE WORDS, USED FOR CUEING NUMERALS AND THS ALPHABET. The r e s u l t of tabulating the cue words in twenty-five codes. 21 times - Now; Please 17

rt

- Can

15

n

- Look; Will

13

n

- Quick; Tell

12

it

- a i r r y (up)

11

n

- I ; See; What

Each word or phrase used 10 times - Next; Well 9

"

8

"

- Go; Kindly; Say

7

"

- L e t ( s ) ; Madam; Try

6

"

Give

5

"

A l l r i g h t ; Do; Name; Then

4

"

Call; Can't; Correct; Don't; Go on

3

"

And; Answer; Are; Be; Could; Describe; Do you know; Do you see; Good; Here; Pray; Right; Speak; Tell us; Yes

2

"

- At once; But; Called; Favor; Have; I ' d l i k e to know; Let me know; Let us have; Make haste; Now then; Quickly; Right away; Tell me; The; There; What's; Won't; You

1 time

Come

- A i n ' t ; Also; And here; And now; And t h i s ; Another thing; A r e n ' t ; Aside from; Audience; Begin; Be quick;

Be smart;

Can you; Can you see; Careful; Commence; Concentrate; Correotly; F a s t ; Favor me; Figure; Fix;

Further;

Get t h i s one; Go ahead; Go and; Go please; Hurry please; I want to know; Just; L e t t e r ; Let us know; Look sharp; Master; Mention; More; Name t h i s ; Now what; Observe; Oh; Outside of; Over here; Over there; Possibly; P r o f e s s o r ; Put; Ready; See t h i s ; S i r ; Speak up; S t a r t ; Sure; Take; Thank you; That's r i g h t ; Think; This a r t i c l e ; This time; Very good; Very well;

(V)

Each word or phrase used

1 time -

Wait; We want to know; What e l s e ; What i s What i s t h i s ; What now; What w i l l ; Which; Will you; Will you look; Will you t r y ;

it;

Y o u ' l l find; Y o u ' l l observe.

I t i s i n t e r e s t i n g to compare the preceding tabulations with the following l i s t of the words most commonly used i n conversation. You will note that about one-half of the words have been used to a g r e a t e r or l e s s e r e x t e n t in second Bight a r t i c l e codes. The code compilers obviously aimed a t the use of cue words t h a t could be used frequently without creating suspicion.

THE WORDS MOST USED IN CONVERSATION L i s t e d in the order o f t h e i r frequency. The words in c a p i t a l l e t t e r s are those t h a t a r e a l s o more or l e s s commonly used in a r t i c l e codes, and the numerals i n d i c a t e the number of times the accompanying word was used f o r cueing in the twenty-five codes t a b u l a t e d . In f i v e hundred conversations recorded by sound engineers, the f i f t y words given below were used about 97$ of the time in a l l the conversations c o n s i s t ing of a t o t a l of 8 0 , 0 0 0 words. Only 2 , 2 4 0 words, or l e s s than 3 $ , were d i f f e r e n t words. The F i f t y Commonest Words L i s t e d in the order o f t h e i r frequency.

I

(11)

GO ( 8 ) TELL (13) with me him about a t AT ONCE ( 2 ) THINK ( 1 ) t h i s IHIS ARTICLE ( 1 ) THIS TIME (1) day thing SAY ( 8 ) CAN (17) CALL ( 4 ) would them was NOW (21) from WHAT ( 1 1 ) WHAT'S ( 2 ) morning an JUST (1) over OVER IE RE ( 1 ) OVER THERE ( 1 ) BE ( 3 )

YOU ( 2 ) THE ( 2 ) a on to that THAT'S RIGHT ( 1 ) it is AND ( 3 ) get GET THIS ONE ( 1 ) WILL (15) of in he we WE WANT TO KNOW ( 1 ) they SEE (11) HAVE ( 2 ) for know DON'T (4) DO ( 5 ) ARE ( 3 ) want

(B)

PART TWO

THE RADIO-VISION MIND READING CODE A New and Modern A r t i c l e Code for Two Persons. I t i s not the intention of this author to describe the routine of presenting the second sight or thought transmission a c t . That f i e l d has teen ably covered many times by other authors. ThiB work, I "believe, will cover more thoroughly than ever "before the proper cueing of names, dates, a r t i c l e s and a l l things other than questions, so that a performer working in the midst of an audience may transmit verbally enough information to the medium on the stage f o r that medium to describe the a r t i c l e s a t i s f a c t o r i l y , and a t the same tine puzzle the audience as to the method, and have i t assume that the only possible explanation i s second sight or telepathy. All my suggested cue words for "The Radio-Vision Mind Reading Code" have "been selected through the t r i a l and e r r o r process for t h e i r i nte reliancea b i l i t y in ordinary conversation and with respect to ease of reroeiabering, but there is no reason why you cannot mate your own substitutions, i f you p r e f e r . You may find "wait" preferable to " w i l l " , or you muy want to use both to cue the number 3. The Basic Cue Words Code for 0 it •t 1 *t T o it 3 ft tt tt 4 •t 5 it »r •t 6 »t t? 7 »r 8 u tt 9 " 10 n »t tt •I

(Naught or Zero) is And »! (One) Tell tt (Two) Now >t Will (Three) tt Hurry (Four) ft Go (Five) ft Can (Six) tt Look (Seven) tt See (Eight) •f Please (Nine) tt Answer (Ten) tt Describe Repeat *t Describe Quickly Two "Repeats"

The above basic cue words should be thoroughly memorized so that without the l e a s t hesitation the cue word suggests the companion number, and vice versa. For smoothness of conversation, they may be combined with other non-cue words without change of meaning, such a s : 1 2 3 4 5 6 7 8 9 10 "Repeat"

Tell ( u s ) , Now (then), Will (you), Hurry (up), Go (on), Can (you), Look ( o u t ) , See ( t h i s ) , Please ( r e p l y ) , .answer (sharp), and may be cued as, Describe

(this).

The following memory aids will a s s i s t the student to form c e n t a l pictures of the numbers and t h e i r companion cue words and to memorize the code in a remarkably short time. For the Naught or 0, picture the N u m e r a l " 1 , " 2, " 3, " 4, " 5, r? 6, f, " " S , " 9 i For "Repeat", picture the

longhand a in "and" as being shaped l i k e an C. T as having one upright. N " " two uprights. W " " three uprights. H " " four branches. G " being remindful of the figure 5 reversed.

Q

tt

it

n

tt

tr

tt

L " " " " an inverted figure 7. S " " " " the figure 8 . P " " " " '" " 9 reversed. D as meaning "Ditto", or the Q, in "Quickly" as something transnitted or repeated quickly.

The reader may devise mental picture aids of his ora in some instances and they will serve equally well to those mentioned above.

The Number Code Assuming that you and your partner have memorized the basic cue words and devoted much practice to sending and Teceiving them, you should now practice on two number groups, up to thirty-one for days o f the month, and on four number groups, up to two thousand for the years. Examples:-

"Itell "Will "Tell "Tell "Tell

the you Aid the the

number, Describe i t . " Tell the number?" Describe the number." number. Describe i t Quickly." number, Please. Will you Please?"

means " " " "

11 31 100 111 1939

Develop a nervous, impatient mannerism for sending, and t h i s will cover up the necessity of using choppy sentences. At this point, i t would help the students i f they would make up two charts, identical copies for each performer, translating a l l the numbers from one to one hundred into combinations of cue words, and thsn p r a c t i c e sealing and receiving them over and over again. Eventually, you will become proficient in handling even as many as six figure numbers. Example:-

"Go! See and Tell the number. Now Please. Can you?" means 581296.

Notice that the fact that you are sending a number i s injected into the sentence as soon as possible, so that the medium will know what i s coming. With p r a c t i c e , you will find out i f sending them in groups o f twos o r threes, with a slight pause between, i s best. A good practice stunt and one that i s very e f f e c t i v e before an audience i s for the performer to write down, apparently a t random, a group of numbers, such as: 357 24 4680 57913

The audience can see the numbers written on a large black-board and the medium may have her back turned or be blindfolded, but i s able, nevertheless, to c a l l out the numbers in any row indicated by the performer. This i s e a s i l y dona by cueing the f i r s t number only. For the f i r s t row, cue, "Will ( f o r 3) you s t a t e the number?" The medium now knows that the number s t a r t s with 3, and also cons i s t s of three numerals, each of which i s two higher than the one preceding i t . This i s true on a l l four rows, and once the f i r s t numeral i s transmitted, tie r e s t i s easy. When the medium comes to the end o f a row, the performer c a l l s out, "Right!" and then cues the f i r s t numeral of the next row. The performer next draws a l i n e under the figures, and t o t a l s them up. The sum i s 62974. Translated into code words, this i s , "Can you t o t a l i t Now? Please Look! Hurry!" P r a c t i c e should be given to the relaying o f dates on c o i n s . "Tell the date P l e a s e ! Will you? Can you?" cues "1935", e t c . Small sums of addition should be completely memorized by pre-arrangement, and the t o t a l called off rapidly by the medium upon being cued by a Bignal arranged in advance. The performer should write down a figure of about ten numerals previously memorized by both, and this is rapidly called off by the medium. Secure a book on lightning calculation and many stunts will be found therein that will makB excellent "openers" f o r the a c t , and they will have tha e f f e c t o f livening up your audience. Flash stunts are good showmanship. Members of the audience will sometimes ask the performer, when he i s going among them for a r t i c l e s and names, to transmit small sums in addition, numbers on watches, e t c . , so the a r t i s t s should thoroughly p r a c t i c e the cueing and receiving of number combinations u n t i l t h e i r transmission i s p e r f e c t . Pass up any requests that appear too d i f f i c u l t and suggest another and e a s i e r question whenever possible.

The Alphabet Code The next step i s t o extend the memorizing o f cue words to cover the e n t i r e alphabet and have each o f the twenty-six l e t t e r s represented by a single cue word. The following l i s t should be thoroughly memorized, so that ths cue word of any number will i n s t a n t l y bring to your mind i t s companion l e t t e r . Tho a b i l i t y to do t h i s quickly and accurately i s t i e most important feature o f t h i s a c t . Spend plenty of time memorizing the following c h a r t . Cue A tt B II C ft tt tt fl Tt tt tt tt tt tt

Note:

D E I 0 H I J

as tt n tt tt tt tt tt tt tt

K

tt

L M

ft

ft

i 2 3 4 5 6 7 8 9 10 11 12 13

or ti TT ft tf It tf tt

TELL NOW WILL HURRY GO CAN LOOK SEE

tt tt

PLEASE

tt tt

TRY

tt

ANSWER NEXT WHAT

as tt

14

P

tt

R S

tt

16 17

Cue tt

N

tt tt tt tt tr tt tt tt

0

T U V

tt it ft ti tt it

tt tt

w X

«

tt

z

Y

n t.

15

18 19 20 21 22 23 24 25 26

o r HERE ft GJVE » COME it ti

LETS

tt

PUT

it tt tt tt n tt tt

SAY ARE THEN NOTE WELL HAVE GET CALL

The single word cues for sending l e t t e r s K to Z, as given above, are not reconmended for sending numbers. Use only the basic cue words f o r t h i s purpose, as described heretofore.

The saiao method of memorizing the "basic cue words applies to the alphabet cue words to this extent: The number 1 , or a l l numbers ending in 1 , are cued by a "T" word, and the same principle follows through on a l l the numerals and zero. T r a m p l e :

T Group N

-

"

i s Tell,

2

W

"

-

H G

"

-

3 4 5 6

0

L S P A

1

" " "

-

7

rr

n n tt *

n

8 9

tt

10

tt

tt

Now,

Will, Hurry, Go,

Can, Look, See, Please, Answer,

meaning A *t B tt C ft D

11 12 13 14

ft tt

E

15

tl tt

F

G

16

tt tt

H

17 18

I

19

J

20

is

r»

if tt »f Tt H M tt tt

Try,

-

Next, What, Here, Give, Come, Lets, Say,

Put, Are,

meaning K tt L n M ft N rl rf

tt tt ft t?

0

P

21 22 23 24 25 26

i s Then, meaning tJ; tt Note, V; n Well, W; tt X; Have, tt Get, Y; tt Call, Z.

Q, R S

T

Memorizing the cue words of the alphabet will not prove too d i f f i c u l t , even though the foregoing charts are awe-inspiring. In some instances, you might wish to substitute other cue words; "Place", instead of "Please", occurs to me as a p o s s i b i l i t y ; and then use "Please",instead o f "And",to indicate "Repeat". Apply yourself to the task aa though you were learning a new alphabet, which i s what i t a c t u a l l y amounts to. Once you get over t h i s hurdle, your future e f f o r t s will be productive of enjoyment and entertainment, and you will move more rapidly towards a p r a c t i c a l application of "The Radio-Vision Mind Reading Code" as a means of conveying information between two persons. Your partner, we will now assume, has also progressed in the study of the foregoing lessons, and you are both able to transmit cue words f o r l e t t e r s to twenty-six, and can, likewise, without hesitation, translate each cue word into i t s companion l e t t e r .

The B i r t h Date Code Now, proceed with the memorizing o f a code f o r months of the year. The cue words for the numbers 1 to 12 may be used to cue the numerically corresponding months, or, i f the performer p r e f e r s , and I believe i t would be p r e f e r a b l e , be may a l p h a b e t i c a l l y cue the months. "Answer. T e l l t l » month.'" meaning JA, cues for January, and a l l the months may be sc abbreviated and cued, as JU f o r June, .XL f o r J u l y , e t c . I have already taken up the cueing o f days o f the month and the y e a r s . Combine a l l t h i s to cue a b i r t h date. Example:-

February 1 9 , 1904. "The date? Can you Go on?" cues FE, or February. " T e l l the day, P l e a s e . " cuss 19. " T e l l the year Please and Hurry," cues 1904. "Right - February 1 9 , 1 9 0 4 . "

Th3 Koroscope Code Transmit or cue the signs o f ths Zodiac alphabetically by the abbreviations given below. I f you do not care to memorize the periods covered by the Zodiacal signs and the b i r t h stone of each group, this information should be typed on a anall card, available for quick reference when necessary. The performer could carry i t on the bottom of a pad of paper, and the medium could r e f e r to a large reproduction of i t posted o f f - s t a g e , but within her v i s i o n . Cue

Si B n

AQ for tt P A

T G C L V LI S SA

CP

Aquarius Pisces If Aries ft Taurus If Gemini tt Cancer • 1 Leo " Virgo tf Libra ft Scorpio tf Sagittarius ft Capricorn

Constellation Period Jan. Feb. Mar. Apr. May June July Aug. Sept. Oct. Nov. Dec.

20th 20th 21st 20 th 21st 22nd 23rd 23rd 23rd 23 rd 22nd 22nd

-

-

-

Feb. Mar.

19th 21st 20 th Jtpr. 20th May June 21st July 23rd Aug. 23rd Sept. 23rd Oct. 23 rd Nov. 22nd Dec. 21st Jan. 19th

Month

B i r t h Stone

January February March April May June July August Sep teinbe r October November December

Garnet Amethyst Bloodstone Diamond Emerald Pearl Ruby Sardonyx Sapphire Opal Topaz Turquoi se

The medium should study books on fortune telling and a s t r o l o g y for helpful information regarding flowers, lucky days, numbers and c o l o r s , and read books on superstitutions, customs, myths and related subjects. They will provide a fund of data that may be used when a b i r t h date i s transmitted by the performer.

Lucky Numbers According to an old a s t r o l o g i c a l theory, Lucky Numbers are c a s t from b i r t h dates by a system of reducing their numerical value to one d i g i t , the lucky one. Let us take the b i r t h date of November 19, 1918. November i s the 11th month; reduce 11 to one d i g i t by adding 1 plus 1, which equals The day i s

tie

19th;

The year i s 1918;

reduce 1 plus reduce 1 plus

19 9, 10 0,

2

to one d i g i t by adding which equals 10; then to one d i g i t by adding which equals

1

reduce tliis to one digit by adding a l l the numbers together, which r e s u l t s in 19, which added together equals 1 0 , which added together equals

1

Adding the f i n a l numbers together, you get your lucky number, which i s

4

This type of lucky number casting could be demonstrated by the medium on a black-board a f t e r the b i r t h date i s cued t o her by the performer. The i n t e r p r e t a t i o n of the numbers will be found in any good t e x t book on numerology.

The A r t i c l e Code The cueing of this code and the name and vocation codes which w i l l "be described further on, has long "been the stumbling "block of the p o t e n t i a l mind reading team "but t i e present aspirant should "be heartened "by the f a c t that the most successful second sight workers of the p a s t , Philip Breslau ( 1 7 8 1 ) , Signor P i n e t t i (1784), Robert Houdin ( 1 8 4 6 ) , Robert Heller (1851), and even those within present memory, Berol, Zancig, Chilo, Mercedes, Tie Sunshines, Jloyda, Trees, Roucleres, Ushers and Zomah's, had access t o f a r l e s s material upon which to build than i s to be found within the covers of this work. They did have determination to succeed, however, which i s more important. Much of the information in this section was given to ne by a s k i l l f u l performer of long and successful experience, and I consider i t the most valuable and l e a s t known data with respect to a r e a l l y p r a c t i c a l method of building up or cueing an a r t i c l e code that ever appeared in p r i n t . Instead of attempting to do a l o t of immediate and useless memorizing of long a r t i c l e l i s t s that will plague and only confuse you and your p a r t n e r , get out some paper and pencils and s t a r t from " s c r a t c h " . S t a r t writing down a l i s t of the a r t i c l e s that are most l i k e l y to be handed to you as you work in an audience, and alongside each of the a r t i c l e s write down a two o r three l e t t e r abbreviation that you will a s s o c i a t e with the a r t i c l e every time you, the performer, see that a r t i c l e , or you, the medium, hear the two o r three l e t t e r s cued. By doing t h i s , you are mnemonically caking an impression on both your minds that will s t i c k u n t i l the time canes f o r you to think fast and r e c a l l t i e cues and t h e i r meaning. Remember, there are usually two types of a r t i c l e s , those of a male, and those of a female. The cue words of the l a t t e r type are to be prefixed "by "Madam", or the medium's stage name, and the absence of this designation will indicate that the a r t i c l e i s probably presented by a male. Now, for a few cues in case the foregoing i s not c l e a r . BK, KF, BG, PC, PN, HT,

cued cued cued cued cued cued

as, as, as, as, as, as,

"Madam, See the a r t i c l e . Try!" i s "Try another a r t i c l e , Can you?" i s "Madam, Now LookJ" iB "Come again, Will you?" is "Come, fere's one." is "See the a r t i c l e ; Are you ready?

a a a a a

lady' s handkerchief. man's knife. lady' s bag. man' s p e n c i l . man's pen. means a ma'n's hat.

Yes, you will make mistakes a t f i r s t , but a f t e r a while, become so used to the cues, and the fun of doing i t will become so game, that you will derive pleasure out of inventing new cues, and know i t , you will have mastered a marvelously long a r t i c l e code of cues.

you will both much l i k e a before you two'letter

At every possible opportunity, go over the l i s t you have compiled, p r a c t i c e sending and receiving, and add more cues. L a t e r on, use three l e t t e r cues. The number of a r t i c l e s commonly offered will be comparatively small, arri you will acquire s k i l l in passing over the more d i f f i c u l t a r t i c l e s u n t i l sush time as your experience qualifies you and your partner to send and receive a l most anything, and thiB s k i l l can be arrived a t only by doing the a c t over and over again under a c t u a l audience conditions.

The four best and most con®leto codes in my possession give l i s t s of a r t i c l e s which are supposed to be memorized with t h a i r companion numbers i n the following amounts: F i r s t Code - 80 A r t i c l e s Second Code 260 A r t i c l e s Third Code 292 A r t i c l e s Fourth Code - 500 A r t i c l e s The authors expected the student to e s t a b l i s h a r e l a t i o n s h i p between an a r b i t r a r y number and one or more a r t i c l e s each, by sheer memory. Usually, no a l p h a b e t i c a l arrangement or a s s i s t a n c e was attempted. In t h i s "Radio-Vision" method, i t i s possible t o build up, by two l e t t e r combinations only, cues f o r almost 700 miscellaneous a r t i c l e s , once the proper or s a t i s f a c t o r y a l p h a b e t i c a l abbreviations are s e l e c t e d and memorized. In tlB "A" group alone, you can use AA, AB, and up to AZ, twenty-six a r t i c l e s in a l l that s t a r t with the l e t t e r A, or can be a s s o c i a t e d with the l e t t e r A. There a r e twenty-six such groups, or e x a c t l y 676 miscellaneous a r t i c l e

cues.

The f a c t t h a t you have to work out such a l i s t yourself brings the " a s s o c i a t i o n of ideas" theory i n t o p l a y , and in the assembling o f the l i s t , you and your p a r t n e r w i l l v i s u a l i z e the cue l e t t e r o r l e t t e r s and the a r t i c l e they r e p r e s e n t , and in t h a t way they will be impressed more i n d e l i b l y on both your minds. I f you use BU f o r Button, BO f o r B o t t l e , BY for B a t t e r y , BT f o r B a t , BI f o r B i t , BW f o r Bow, BM f o r B i r t h Mark, and so on, through the twenty-seven possible uses of B and i t s combinations, and then find t h a t you need sore more, or that you need another ccrabination of the same s e t o f l e t t e r s t h a t were p r e v i o u s l y s e l e c t e d f o r another a r t i c l e , then you can devise three l e t t e r groups o f cues which will make i t t h e o r e t i c a l l y possible to add many thousands o f new cues to your l i s t . KxHTnples of three l e t t e r cueing: ABC, ACB, BAC, BGA, CAB, CBA,

cued as n rt tt

tt

ft

tt

tt

tt

tt

tt

" T e l l the " T e l l the "Now Tell "Now Will "Will you "Will you

a r t i c l e Now: Will you?" a r t i c l e , Will you Now?" the a r t i c l e , Will you?" you Tell the a r t i c l e ? " Tell the a r t i c l e Now?" Now Tell the a r t i c l e ? "

I n c i d e n t a l l y , the above i s a good t e s t of the f l e x i b i l i t y of tbe cue words used in t h i s "Radio-Vision Coda". There are c e r t a i n combinations, such a s , AAA, which w i l l have t o be avoided, or e l s e cued a s , "Tell (A) the a r t i c l e . Describe Quickly." (Two Repeats.)

At t h i s p o i n t , I am tempted t o end the i n s t r u c t i o n s on A r t i c l e Cueing, and merely suggest t o the student t h a t he s t a r t from " s c r a t c h " and ccanpile h i s own l i s t of a r t i c l e s . By so doing, he w i l l have the cue l e t t e r s and the a r t i c l e s they represent more firmly impressed on his and his p a r t n e r ' s minds than by following a ready made l i s t . But, f o r the benefit o f those who do n o t c a r e to make t h i s e f f o r t , and in order that i t w i l l not be said t h a t these i n s t r u c t i o n s are not complete in every sense, I have decided to include a r e a l l y comprehensive

list. The cue l e t t e r s for tha "A" Group only are given to serve a s a guide. The students will then f i l l in for themselves the cue l e t t e r s f o r a l l the other groups, and thus secure the advantages t o "be gained "by "both inventing and memorizing the cue l e t t e r s and a r t i c l e s gradually. When the following l i s t i s memorized, i t will serve f o r most a l l the a r t i c l e s that are ever su^aitted, but for additional a r t i c l e s , you might cons u l t the index of one of the l a r g e r mail order catalogues, and also c a r r y a amall note-took in which to sntor a l l now a r t i c l e s as thoy occur to you»

A COMPREHENSIVE LIST OF ARTICLES (Pocket and Purse Contents, Garments, Documents, Instruments and Common Objects.) "A" Group, (with cue l e t t e r s ) AC ACT ACR AD ADR ADH AIR AL ALB ALM AMM AMU AN APL APR ART ASP ATL AUT

Accordion Account (Book) Ac orn Adding (Machine) Address (Book) Adhesive (Tape) Airplane Alarm Album Almanac Ammeter Amulet Angle (Iron) Apple Apron A r t i f i c i a l (Limb) Aspirin AtlaB Auto (Registration)

Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell Tell

t h i s . Will you? t h i s , Will you? Are you ready? t h i s , Will you? Sa£ i t J t h i s . Hurryi t h i s . Horry! Say i t ! t h i s . Hurry! See i t ! t h i s , Please. Say i t ! "the Next a r t i c l e . the Next a r t i c l e Now. the Next a r t i c l e . What i s i t ? What Quickly. T/hat Then. this Hare. t h i s . Came, the Next! t h i s . Ccme, Say i t ! t h i s . Say Are you ready? t h i s . Put i t down. Cctae on! t h i s . Are you ready? Next! this then. Are you ready?

n j n

Baby Badge Bag Baggage (Chock) Bald Ball Ballot Bandage Bangle Bank (Book) (Note) (Draft) Banner Basket Bat Battery Beads

Beer Bell Belt Bicycle Bill Bingo (Card) Bird B i r t h (Mark) Biscuit Bit Block Blue ( P r i n t ) Board Bobby (Pin) Bolt

Bone Book Bottle (Opener) Bouquet Bow Box Bracelet Brooch Brush Buckle Bulb Bullet Bundle Bus (Ticket) Button (Hook)

Cake Calculator Calendar Calipers Cameo

Camera CandyCane Cap Cape Carbon Card Cartridge Case Chain Chalk Charm Chart Check

Checkers Cheek Chemical Chessmen Child Chin Chip Cigar (Cutter) (Haider Cigarette (Holder) Coil Claw Cleaner Clip Clock CIorer Coat Coin (Holder) Collar Comb

Compass Cork (Screw) Cosmetics Cotton Cough (Medicine) Coupon Counter Court ( P l a s t e r ) Cream Cross Crown Crucifix Crutch Cuff (Links) (Button) Cup Curio Cushion Cutter

"D" Depressor Desk (Key) Device Dice Dictionary Die

Discharge Dividers Doll Domino Draft Drawing (Board)

Drawing (Pen) (Instrument) Dress Drill Driver Driving (License)

" E "

Ear (Rings) (Trumpet) Electrical

Embroidery Envelope Epaulet

Eye (Cup) (Drops) (Glasses) (Lashes)

nytt

Face Fan Fastener Feather Fever (Thermometer) File Film Finger (Ring)

Fish hook Flag Flash (Bulb) (Light) F l o w e r

Fob Foot Forceps Foreign (Money)

Fork Form Fossil Fountain (Pen) Fringe Fruit Fur Fuse

"G" Gambling (Device) Game Garter Gauze

Gimlet Glass (Cutter) Glasses Globe

Glove s Gauge Guard Gum Gun

Hair (Net) (Pin) Karrmer Hand (Bag) (Cuff) Handke rchief Harmonica Harp Hat (Pin)

Headache (Powder) Bearing (Device) . Hinge Holder Hook Horoscope Horse (Chestnut)

Hsrse (Shoe) Base Hotel (Key) &>use (Key) Hypodermic (Needle)

I d e n t i f i c a t i o n (Tag) Idol

Image Inhaler

Insect Instruments

Jewel

Jews (Harp)

"H"

"K"

Key (Ring) Knife

Knitting (Needles) Kodak

Knapsack Knickknack

L e t t e r (Opener) Level License Light (Meter) Lighter (Cigar) Links

Lip (Stick) Lock Lo6ket Lotion Lottery Lucky (Piece)

Medal Medicine Membership (Card) Menthol (Inhaler) Menu Metal Meter Microscope Mineral Miniature

Mirror Mittens Money (Order) Mouth Muff Muffler Music Musical (Instrumsnt) Mule

" L "

Lace Lashes Laundry (Ticket) Lava Leash Lenses "M" Machine Magazine Magne t Magnifying (Glass) Marble Mark Marriage (License) Mascot

Match Measure Memento

(IB)

"N" Nail (Clip) (Pile) Napkin

Neck (Piece) (Lace) (Tie)

Needle Nose Note (Book) Nut

"0"

Opener

Opera (Glass)

Orange Overcoat

Package Padlock (Key) Paint Pamphlet Paper (Clip) (Fastener) Parasol Parcel Part Pass (Key) Pattern Pedometer Pen Pencil

Pencil (Holder) (Guard) (Sharpener) Pendant Perfume Petrified Phonograph (Record) Photo Picture Piece Pin (Cushion) Pipe (Cleaner) Pistol P i t c h (Pipe)

Plaster Pliers Plug Pocket (Book) Poker (Chip) Pouch Powder (Puff) Prescription P r i n t e r s (Rule) Probe Programme Puff Purse Puzzle

n^ft

Quoit

"R"

Rabbit (Foot) Racing (Foim) Radio (Tube) (Part) Railroad Raincoat Razor

Receipt Record Reference (Book) Registration Religious (Charm) Revenue (Stamp)

Revolver

Rheostat Ribbon Ring Rivet Roll Rosary (Beads) Rule

"S" Safe Deposit (Key) Safety (Medal) (Razor) Sand (Paper) Sandwich Satchel Saucer Scales Scar Scarab Scarf (Pin)

Screw (Driver) Scissors Seal Season (Ticket) Seat Seed Service (Pin) Share Shawl Shell Shield

Shirt Shoe (Horn) Sharpener Shoe Shorthard (Book) Skate (Key) Skull Sleeve (Holder) Slide (Rule) Slippers Snuff

"S" (Continued) Soap Social Security (Tag) Sock Song Souvenir Spangle Spark (Coil) (Plug) Specimen Sphinx S p i r i t (Level)

Spool Spoon Spring Spy (Glass) Stamp Star Steamship Stethoscope Stick Stock Stocking

Stone Stop (Watch) Strap String Strong (Box) Stub Stud Submarine Suit (Case) Summons Switch

Thermostat Thimble Thread Ticket Tie (Clip) Time (Table) Tire (Gauge) Tobacco (Pouch) Token Tongue (Depressor) Tool

Tooth (Pick) Toy Trade (Money) Transfer Tray Trunk (Key) Tube Tuning (Fork) Tweezers Type Typewriter

rtrpM

Tack Tattoo Tag Tape Tassel Telegram Telephone (Book) Telescope teeth Tester Thermometer "U"

Union Card

Umbrella ftytt

Veil Vial

Vanity (Case) Vege table

Violin

"VP Wheel Whiskers Whiskey Whistle

Wallet Wart Washer Watch ttytt

Yale (Key) "Z"

Zipper

Whip Wig Wire Wrench Wriet (Watch)

The F i r s t Name Code This code i s equally desirable to acquire e f f i c i e n t l y , u I s the a r t i c l e code, and the sens general rules of building i t up will apply. There i s one r e a l l y major and satisfying advantage that the "Radio-Vision" code has over any other second sight method whBn i t comes t o transmitting nares. Suppose an uncommon f i r s t name i e submitted, as often happens, and for which cue l e t t e r s have not been agreed upon. I t i s only necessary to sertf a few o f t t e phonetically important l e t t e r s by means of the alphabet code and they will usually give enough of a clue to have the medium guess the name a c c u r a t e l y , o r very c l o s e l y . Example;-

Gretchen Performer: Medium:

Cue: "Look! Say the name. Go on. Are you ready?" (Meaning, G r e t . l " I get tha name G r e t e l . "

Performer: "Wrong." Cue: "Will you see a g a i n . " (meaning, " c h " . ) Medium:

"The name i s

Performer:

Gretchen."

"That's r i g h t . "

For a l l ordinary purposes, the two l e t t e r C U B S will s u f f i c e , and to a s s i s t those who do not have at hand a r e a l l y good l i s t of common f i r s t M U I B S , and I have never a c t u a l l y come across anything l i k e a complete one in a l l tha second sight codes I have examined, the following l i s t s are offered f o r your convenience and guidance. S t a r t o f f by memorizing the two l e t t e r cues given with the f i r s t groups of one hundred each. NAMK GROUP ONE (Complete with cues) Female F i r s t Names Ab Ad Ag Al Am An Ar Bb Ee Bt Bu B1 Br Ca Ct Ce Ch Cr Cn Co Da Do Di Do Dy

Abigail Adele Agnea Alice Amelia Anne Arline Barbara Bella Bettina Baulah Blanc he Brenda Carol Catherine Cecile Charlotte Christine Constance Cora Daisy Delia Diana Dora Dorothy

Ed Ez El Em Es Eu Fa F1 Fr Gv Ga Gd G1 Gw Hr HI Hs lb Id In Ir Is Ja Jt Js

Edna Elizabeth Ellen flmma Estelle Eugenia Fanny Florence Frederica Genevieve Georgia Geraldlne Gladys Gwendolyn Harriet Helen Hester fbpe Ida Ina Irene Isabel Jane Jeanette Jessica

Jo Js Ju Ka Kt La Li La Lr Lo Lu Mb Mg Mr Mt Ma Mj Ml Mm Mu Na Nn Na Ni 01

Joan Josephine Julia Kay Katrina Lena Lily Lola Laura Louise Lucy Mabel Margaret Marion Matilda Maria Marjorie Mildred Miriam Muriel Nadine Nancy Naomi Nina Olga

Pm Pt Py Rb Ro Rs Sn Sh St Sy Th Un Va Vr Vi Vg Vv W1 Wf Wn TL 21 Zo 2a Zr

Pamela Patricia Phyllis Rebecca Roberta Rose Sandra Shirley Stella Sybil Theresa Una Valerie Veronica Viola Virginia Vivian Wilhelmina Winifred Winnie Yolande Zelma Zoe Zola Zora

Male F i r s t Names Ab Al Ar Ax Af An By Bd Bn Br C* Ch CI Ck ct Cf Da Dn Dg Eg Ed El Em Er Eu

Abraham Allen Arthur Alexander Alfred Andrew Barney Benedict Bernard Bruce Carlos Charles Clarence Clark Clemsnt Clifford Daniel Dennis Douglas Edgar Edward Elliott Elmer Ernest Eugene

Ev F1 Fr Fd Gb Ge Gi Go Hi Hr Ha Ho Hw Hu la Ir Iv Jc XL Jn Js Jd Kn Kr Lr

Everett Floyd Frank Ferdinand Gabriel George Gilbert Gordon Harold Harry Herbert Homer Howard Hubert Ira Irving Ivan Jacob Joel Jonathan Joseph Judson Kenneth Kennit Lawrence

Le Ld Lp Ly Lo Ml Mt Mx Me Ms Mn Na Nd Ne Nw Nh Nr Og Os Ot Ow Pt Pe Ph R1

Lee Leonard Leopold Leroy Lowell Malcolm Martin Max Merle Morris Morton Nathan Ned Neil Newell Noah NorriB Ogden Oswald Otto Owen Patrick Peter Philip Ralph

j

Ry Ri Ro Rg Rs Ru Sa Sh SI So Sy 11 Td Th Va Vc Vn W1 Wr Wn Wf Wm Wi Wn Wf

Raymond Richard Robert Roger Ross Rudolph Samuel Sherman Silas Solomon Sydney Talbot Thaddeus Theodore Valentine Victor Vincent Wallace Warren Warner Wilfred William Wilson Winfield Wolfe

Difficult Examples Mm cuod as Vv cued as Ry cued as

"Madam, What's the name? Peacrl"be i t I" means Miriam. "Madam, Note the namB. Doscrlho c a r e f u l l y . " means Vivian. "Say the name. Get i t . " means Raymond.

In the foregoing l i s t s , you will notice that some o f the two l e t t e r cuss are more obvious and e a s i e r to remember than others. I t i s not intended that you adhere to my suggested cues in a l l cases. Retain, in the two l e t t e r cua group, only those that you and your partner consider " n a t u r a l s " , and than s e l e c t three l e t t e r cues for the more d i f f i c u l t ones, or where more than one name may be transmitted "by the earns two l e t t e r ci>3. For instance, i f you use

Al to cue Alb for Alf for Alx for

Allen, you might adopt Albert, Alfred, Alexander, e t c . ,

or any other arrangement that you and your partner find the most p r a c t i c a b l e .

NAME GROUP TWO

This l i a t is offered without cue l e t t e r s , so that the students will not attempt to learn too long a l i s t a t once, and will further get the memorizing "benefits of inventing t h e i r own cues. ( F i l l in your own cue l e t t e r s ) Female F i r s t Names Adeline Agatha Alma Angelina Anita Annatelie Antonia Beatrice Bernadette Bernice Bertha Beth Betsy Carlotta Caroline Cecelia Clara Claudia Corinne Delia Delia Dolores Doris Edith Eleanor Ella Eloise Elsie Ethel Eunice Eva Evelyn Faith Fern Flora Frances Georgiana Gertrude Gilda Gloria Grace Greta Hazel Henrietta Ibr tense Imogene Inez Iris Irma Jacqueline

Janet Jennie Johanna Juanita Juliet June Justine Kathleen Leona Lillian Lois Loretta Lucille Martha Marilyn Mary Maureen Minnie Myrtle Natalie Nora Norma Olive Pauline Pearl Penelope Phoebe Polly Priscilla Regina Rita Ruby Ruth Sarah Sophie Susan Sylvia Thelma Theodora Ursula Vanessa Vera Victoria Violet Wanda Wilda Wilma Winona Yvonne Zelda

Male F i r s t Names Aaron Albert Amos Archibald Austin Benjamin Bertram Boyd Carl Cecil Chester Claude Clayton Clyde Cyrus David Donald Duncan Earl Edmund Edwin Elbert Elwood Emerson Eramatt Francis Frederick Freeman Gerald Giles Gregory Guy Harvey Henry He xnan Hiram Horace Hugh Irwin Isaac Isador Ivor JameB Jerome John Julius Keith Kingdon London Leon

Leslie Lloyd Louis Mark Marshall Matthew Slaynard Michael Milton Nathaniel Nelson Newton Nicholas Noel Norman Neil Oliver Orin Oscar Otis Paul Perelval Perry Randolph Reginald Rex Rodney Roland Roy Russell Seth Severin Simon Stanley Stephen Stuart ThcmaB Timothy Vernon Ttelter Walton Wesley Whitney Wilbur Willard Willis Winthrop Woodrow Xavier Zachary

L i s t hare a l l f i r s t names that you come across not noted on Groups One or Two. Invent new cue l e t t e r s and memorize as you write them i n . NAME GROUP THESE (For f i l l i n g in new names and cue l e t t e r s ) Female F i r s t Names

Male F i r s t Names

LAST NAME CODE ability common, study. letters

The cueing of l a s t names should only "be attempted a f t e r you have the to cua f i r s t names s a t i s f a c t o r i l y . The l i s t that follows gives the most and the perusal of any l o c a l telephone book will give plenty for further For l a s t names, I would recommend cueing a t l e a s t three alphabetical code that have the nearest possible phonetical sound to the f u l l name.

Family Surnames (Complete with three l e t t e r cues) Adm All Aln And Arm Ayr Bkr Bid Bar Brt Bnj Bth Byd Bre Brk Bwn Buk But Cbl Crr Car Cvr Clk Cob Col Cln Cok Cpr Cun Dvs Don Drk Edy Els EMR

Evn Fio FOB FOX

Frh Ful Gib Gld Gib Gls Gdn Gnn Grn Grf Hal

Adams Alexander Allen Andrews Armstrong Ayer Baker Baldwin Barnard Bartlett Benjamin Booth Boyd Breen Brooks Brown Buckley Butler Campbell Carr Carroll Carver Clark Cobb Cole Collins Cook Cooper Cunningham Davis Donnelly Drake Eddy Ellis triers on Evans Fisher Foster Fox French Fulton Gibson Gold Goldberg Goldsmith Gordon Graham Green Griffith Hall

Hrs Hrt iky H.1 Bow Huh Ifyd Irv Jax Jon Jns Kel Kng Knx Lne Lws Lit Lyo Mar McD Mcy McN Mor Mrg Mrs Upy

Mur Nel Pkr Pip Rei Rca Ryn Set Sha Stnh Stp Sul Tyl Val Wak Wad Wat Wht Wme Wis Wrt Yrk Yng

NAME GROUP FOUR

Harris Hart Hayes Hill Howe Hughes Ifcrde Irving Jackson Johnson Jones Kelly King Knox Lane Lewis Little Lyons Marshall McDonald McCoy McNeill Moore Morgan Morris Murphy Murray Nelson Parker Phillips Raid Rice Ryan Scott Shea Smith Stephens Sullivan Taylor Valentine Walker Ward Waters White Williams Wilson Wright York Young Zimmerman

Family Surnames (For f i l l i n g in)

The student may find i t helpful to cue "ph" "by i t s phonetic sound represented "by the l e t t e r " f " . The name " P h i l l i p s " , f o r instance, instead of being cued as "Pip", as suggested above, might very well be cued as " l i p " . Instead of cueing "Murphy" as "Jv|?y", you might t r y "Mfy", e t c . Adopt the method which i s the e a s i e s t for the medium to receive.

Krarplea:Adm cued as Bkr " " Cbl " " Pre " " Edy " " Fls " " Gib " "

"Tell the name.' Hurry! ffhat i s i t ? " means "Now Try to Say the name!" " "Will you Now Next s t a t e the name?" " "Hurry! Note the name. Put i t r i g h t . " " "Go on, Hurry! Get the name." j "Can you PleaBe Put in the name?" " "Look, P l e a s e ! Now the name." "

SPECIAL

Adams. Baker. Campbell. Davis. Eddy. Fisher. Gibson.

C U E S AND A D V I C E

In the foregoing t e x t , you will notice that I have mentioned special cues (or cues other than those covering l e t t e r s of the alphabet or the numerals), such as, "Madame" f o r female; "Describe" for one repeat; "Describe Quickly" for two repeats; also "and" for zero. There are a number of other usee for special cues, some of which you may wish to adopt once you become skilled a t sending and receiving the regular cues. Only adopt the ones that you find in p r a c t i c e will prove of genuine help. Special cues usually precede your saying "this". Change of Test, Closing Signal, Numbers (sequence of a l l the same) Numbers (progressive, as 1 , 2 , 3 , 4 , 5 , 6 , e t c . ) Numbers (reversed, as 6 , 5 , 4 , 3 , 2 , 1 , e t c . ) Repetition of l a s t cua, S t a r t e r or Opener, S t a r t over,

cue as " " " " *» "

» " « "

"Very Good." "Right" or " C o r r e c t . " "Quickly the numbers." "Fast the numbers." "The numbers - slow." "Describe t h i s . " "Ready." "Very P o o r . "

"Madams," always means female. "Madame, the name," always means woman's nama. "Tha name," always means man's name. "ffhat (for M) name," may also be used to cue man's name. Designate A for " A r t i c l e , " so as to avoid constant r e p e t i t i o n o f t i e word " A r t i c l e . " Cue the A only - "Tell t h i a . D F H I

for n

if ti

Damaged A r t i c l e , Fractions Half or Portion of Initials I n i t i a l s C.O.D.

IC

n

IY IY

tt tt

I n i t i a l s Y.M.C.A. I n i t i a l s Y.W.C.A.

L M

tt tt

L e t t e r (Coirespondence) L e t t e r frcm Motler L e t t e r from Father

F

ti

M

n

MC

it

Money or

Mc

Mac

cue tt

n

as tt tt

«

tt

tt

ti

it

tt

it

n

it

tt

ti

tt

«

«

tt

tt

tt

ft

"Hurry t h i s . " "Can we have t h i s . " "See t h i s . " "Please, t h i s . " "Please,will you this." "Please get t h i s . " "Madam, please get this." "Next t h i s . " "ffhat w r i t e r . " "Can you identify the writer?" "What i s t h i s ? " "What'11 (What Will) begin the name?"

N for ft 0 tt PL tf PW ft PM ft PY ft S T U 2

cue as Newspaper n tt Old Coin n P i c t u r e (inside l a d y ' s l o c k e t ) tt tt tt P i c t u r e (inside man's wallet) tt n Paper Money t. tt Penny Set or pre-arranged group of n it numbers, t» it Torn or portion of a r t i c l e ,

T»

U.S.A. Special cue for pre-arranged blunder or s t a l l i n g ,

tt

n

•Examples

tt

"

«

"Hare, t h i s . " "Give t h i s . " "Come,Madam, t h i s next "Ccme! Well, t h i s . " "Come, what's t h i s ? " "Come, got t h i s . " "Put down the numbers.1 "Are you concentrating on t h i s ? " "Then t h i s . " "Call t h i s . "

: -

To transmit numbers 4 4 4 , 4 4 4 , eve "Hurry, the f i r s t number," meaning 4 . " "Describe this quickly, tha numbers," meaning repeat the l a s t cue and continue repeating. " "Right" to stop medium when s i x t h 4 i s given. To transmit

"Article",

To transmit "Watch",

cue "Tell t h i s ! " "

meaning a r t i c l e i s being t r a n s mitted. "Well, t e l l this a r t i c l e , " meaning WA or Watch.

With a large group of numbers on a blackboard in front of him, the performer, by cueing "Put down the numbers," will l e t the medium know that lie intends to rapidly point out one number a f t e r another in an exact pre-arranged sequence which they both have memorized. The audience must be given the impression that the s e l e c t i o n s are haphazard, of course. After each number i s c a l l e d by the medium, the perforrnar points to the next and merely says, "This". To apparently c a l l o f f ten or twelve numbers in rapid succession i s grand showmanship and i t makes a very good opener to enliven your audience and arouse i t s interest. Every onoe in a while, a member of tha audience w i l l , as a "gag", ask you to transmit "nothing" or " z e r o " . In t h i s c a s e , point a t a blank space, cueing same t o tha medium as "And t h i s " . Make i s possible to Matter-of-fact of covering up

i t a point to address as many casual remarks containing cues as members o f the audience r a t h e r than d i r e c t to the medium. comments o f t h i s s o r t can be developed into a most valuable means the f a c t t h a t you are using a code.

Once in a while, purposely make a blunder, o r have the medium hold back the right answer by cueing "Call t h i s " . Don't always give the impression that thought transmission i s too easy. A success a f t e r a few mistakes w i l l often secure a surprisingly big hand, and i t gives a human touch to your work. S t a l l ing a l s o helps cover up transmitting a long or d i f f i c u l t name which has to be more or l e s s spelled out. Don't be too serious. Get as many laughs as possible without embarrassing a p a r t i c u l a r member o f the audience, unless i t i s a confederate or "plant". Then you can go the limit in describing the contents of a l e t t e r , package o r purse, which has been prepared for comedy purposes, or in transmitting a p a r t i c u l a r l y funny and f i c t i t i o u s name. The noisy and i n s i s t e n t "smart aleck" type of plant i s always good to arouse an audience when you f i n a l l y put over his seemingly d i f f i c u l t demand or t e s t .

Be s a t i s f i e d to make reasonable progress in acquiring new cues. Don't t r y to absorb too much in any one day or week, as i t only leads to discouragement and stalenesa. Tie up the cueing of a man's name with the cueing of his profession, as a great many business cards will be handed you. Be wary about cueing addresses and telephone numbers, unless requested to do so. Look for i n i t i a l s on handkerchiefs when they are offered to you as a r t i c l e s for a t e s t . After cueing handkerchief, the cue, "Please t h i s , " informs the medium that t t e next cues are i n i t i a l s . The same will apply to watches and other monogrammed a r t i c l e s . A great many f i r s t and l a s t names are s i m i l a r . c a r r y similar two and three l e t t e r cues, such as:

These should always

WM for f i r s t name, William. WMS for l a s t name, Williams. JN JNS

for f i r s t name, John. for l a s t name, Johns.

When cueing professions, metals and colors that are also names, such as Farmer, S i l v e r , Gray, keep the cues similar in a l l c a s e s , and this will cut down on the amount o f memorizing necessary. Many performers have attempted and developed only one type of cueing. For the business o f selling horoscopes or Buddha readings, they a t t r a c t a t t e n tion by transmitting b i r t h dates, f i r s t names o r i n i t i a l s . One of the most successful stage performers in the business transmitted only the names of musical compositions to be played by his a s s i s t a n t on the stage. Others r e s t r i c t themselves to questions or a r t i c l e s . I t i s not necessary to undertake too imxsh a t f i r s t . The wider scope of the work will come gradually and n a t u r a l l y . Whatever you undertake to do, do i t accurately. Do not aim for speed or brevity a t f i r s t . Take your time in cueing properly and l e t the short cut t r i c k s develop with experience. Some of the most e f f e c t i v e t e s t s given by experienced performers have been based on nothing more than hunches r a t h e r than on the information contained in the cues. A good general knowledge of human psychology i s a marvelous asset to a mind reader. Zanzig was constantly on the a l e r t and always trying out new ideas, discarding t h i s , and adding t h a t . Read a l l the l i t e r a t u r e available on the subject. The books of Dunninger, La Vellma, Read, Gibson, Hugard, Anneman, Alexander, Hull, Nelson, Clever, and others, a l l contain individual features to recommend them. Know the subject from the ground up i f you expect to make i t a business, or even a hobby. One of the i n t e r e s t i n g r e s u l t s of my investigating mind reading codes was that i t inspired an i n t e r e s t in cryptography and ciphers, which in turn led to my inventing and securing a patent on an e l e c t r i c a l l y or manually controlled device for enciphering a a l deciphering s e c r e t messages. Devote p r a c t i c e to the cueing of long groups of numbers by cueing a few, l e t us say, four, a t a t i n e . The medium guesses a f i f t h (not having been cued the closing signal, "Right"), and i f she guesses wrong, the perfonaer cues the s t a r t over signal, "Very Poor", followed by cueing the next group of four numbers u n t i l the entire group has been conveyed.

CODES FOR SPECIAL TESTS Ttese t e s t s are suitable only f o r the most advanced workers. They are very e f f e c t i v e when presented properly, but require a great deal o f ingenuity and self-confidence. Watch Test Cue WA " SI

"Well, t e l l t h i s , " f o r Watch. "Put the metal, p l e a s e , " f o r S i l v e r .

Note: I f "put" f o r £ sounds awkward, t r y a substitution, Cus OF " CF " S " 2:15 " 11:45

"Place".

"Give the s t y l e , can you," for Open Face. "Will you state the s t y l e , can you?" f o r Closed Face. 'Tut the time," for Watch Stopped. "Now the time. Tell i t . Go on." for 15 min. past 2 o ' c l o c k . " T e l l , describe the time. Hurry. Go on." for 45 min. past 11 o ' c l o c k .

Note: The hour i s always given f i r s t . Cue "

A.M. P.M.

Cue A " IN " SW " WA

as as

"Tell what p e r i o d . " "Come, what i s the period?"

"Tell the make," f o r American. "Please, here, the make," f o r I n g e r s o l l . "Put the make. Well!" f o r Swiss. "Well, t e l l the make," f o r Waltham.

Newspaper Test For locating a ward or section as requested. Cue

N

"Hare, t h i s , " f o r Newspaper.

Note: Check on a l l the newspapers that are sold l o c a l l y and have cues provided and ready, such a s : Cue tt tt tt tf tf tt

WT EJ 1 5 1 UP LO

"Well, are you sure?" Answer, "Yes, World-Telegram." "Go, answer the nama," means, Evening Journal. "Tell the page," " f i r s t page. "Go on, the column," " f i f t h column. "Tell the column," " f i r s t column. "Then, come, the s e c t i o n , " " upper s e c t i o n . "Next, give tha s e c t i o n , " " lower s e c t i o n .

Note: Cue only the number of l i n e s from the top or bottom, as the case may be. I f , a f t e r Upper Section i s cued, the 15th l i n e from top i s indieated, Cue 15

"Tell the l i n e , £0 on,"

means 15th l i n e from top.

I f the word i s easy to transmit, continue; t e s t end here by saying, "That i s c o r r e c t ! "

otherwise, l e t the

Book Teat Cue

BK

"Now t r y t h i s , " means Book. I f the t i t l e ia one easy of transmission, c a l l a t t e n t i o n to i t .

Cue

TI

"Are

P l e a s e , " means, answer, "You are pointing a t the Then cue the t i t l e , i f p o s s i b l e . a u t h o r ' s name, and

Cue

FRE

"Can you aay the author? GoI"

Cue

EM

"Go, what i n s c r i p t i o n ? "

title."

Otherwise, turn to the i

meaning, Freeman.

means, "The book i s inscribed t o Enma."

This can be followed now by the s e l e c t i o n o f a word from tha book, as described in the Newspaper Test above.

L e t t e r TeBt Cue

L

"NextI this J"

i e special cue for L e t t e r .

The usual routine for the l e t t e r t e s t i s to cue the f i r s t name of addressee, than the f i r s t name o f the addressor, the place postmarked from, tho stamp and value, i f desired, time posted, and i f A.M. or P.M. I f tha re are any unusual features, such as c o l o r , foreign language, t i t l e of sender or r e c e i v e r , r e l a t i o n , fine penmanship, these features should be provided for and cued. Example:Cue n tf M rt

n tr tt

AL BL NY 1:15 AM GD PR CSN

"Tell next the sender," moans A l i c e . "Now, next, the r e c e i v e r , " means Blanche. "Here, get the p l a c e , " means New York. "Tell the time; describe; go on," means postmarked 1 : 1 5 . "Tell what p e r i o d , " means ITU. "Look, anything e l s e ? Hurrjln means Good {penmanship). "Come, say, anything e l s e ? " msans Poor (penmanship). "Will you pu-fr in here something e l s e ? " means Cousin.

COSE FOR COINS AND MONEY Devote a great deal of p r a c t i c e to the speedy transmission o f coins and money, t h e i r description and dates. Work out as many ehort cuts as are possible, such aB cuBing the l a s t two figures only for a l l coins of the present century. "Will you now s t a t e the yoar?"

could cue 1932.

Refer to date when you are cueing a date within a century, and to year when you are cueing a century or a century combined with a year. Cue 8 only, or "See the y e a r , " f o r 1800. "Sea the year, will you now," for 1832, aoi "Will you now f i l l in the d a t e , " f o r 32.

For tan, o r multiples o f ten, Cue " "

"Answer tha v a l u e , " "Mow answer the v a l u e , " "Answer the value, hurry!"

f o r ten; " twenty; or " ten d o l l a r s .

The following l i s t will serve as a guide u n t i l you develop your own short c u t s , the same as a court stenographer works out his own short cut charact e r s f o r speeding up hi8 " t a k e " .

c

"Will you name t h i s coin?" "Will you t e l l t h i s ? " "Euriy, this c o i n . " "Hurry, please, this amount." "Go on, give t h i s . " "Can you give t h i s ? " "Look a t t h i s l " "Next, ccsne on, t h i s . " "What's t h i s ? " "What's this? Give d e s c r i p t i o n . " "Hare, w i l l you name t h i s ? " "Give t h i s . " "Come, what's t h i s ? " "Come, get t h i s . " " L e t ' s know t h i s . " "Put t h i s down, hurry!"

CA D DI BO FO G IP M MO NC 0 PM PT Q, SD

One Cent Canadian Money Dollar Dime Express M.0. Foreign Money Gold Piece Lucky Piece Money P.O. Money Order Nickel Old Coin Paper Money Penny Quarter S i l v e r Dollar

The cue preceding value, amount, year or date i e always a numerical Five D Seven Eight Nine Nine D Ten D Forty D Fifty C Fifty D 1830 1821 1920 1930 1921

-

-

"Go on, tha value, hurry!" "Look, the y e a r . " "See the y e a r . " "Please, the y e a r . " "Please the value, hurry!" "Answer the v a l v e , hurry!" "Can you answer the amount? Hurry!" "Go, answer the amount, will you?" "Go, answer the amount, hurry!" "See the year, will you, and correctly." "See the year. Now t e l l i t . " "How, answer the y e a r . " "Will you answer the year?" "Now answer. Tell the y e a r . "

Five Dollars 1700 1800 1900 Nine Dollars Ten Dollars Forty Dollars F i f t y Cents F i f t y Dollars 1830 1821 1920 1930 1921

PICTORIAL TRANailSSION A coranon telepathic t e s t that the second sight e n t e r t a i n e r must be prepared for i s the transnission of drawings and designs offered "by members of the audience. The psychologists term t h i s t e s t , " e x t r a sensory perception" (perception through channels other than those of the recognized senses), and i t would be well for the student to digest the book bearing t h i s t i t l e written by Dr. Joseph B. Rhine of Duke University, and a l s o his more recent work, "New Frontiers of the Mind." Within the pages o f these books and others of a like nature, which t r e a t telepathy seriously and s c i e n t i f i c a l l y , w i l l be found convincing terminology with which t o embellish your entertainment. The books on telepathic experiments by Rhine, S i n c l a i r , P r i n c e , Podmore, Warcolller and others, are packed with actual t e s t drawings and to glance over these drawings will quickly dissuade tha e n t e r t a i n e r of any idea that i t i s possible to memor i s e a sequence of pictures or simple geometrical designs t h a t will cover anything near the wide v a r i e t y of free hand drawn objects t h a t are l i k e l y t o be handed for t e s t transmission. The best way to get around t h i s i s t o accept for immediate .transmis-. sion only the simple designs which may be cued in the usual manner, such a s , square, t r i a n g l e , house, e t c . When an i n t r i c a t e design i s offered, you eay, "This would make an excellent feature t e s t » I ' l l ask you to duplicate this drawing more legibly on one of these c a r d s . " At the same time, hand to the person so addressed a blank card of about playing card s i z e . While he i s making the sketch over again, you continue on with tha transmission of other obj e c t s , and occasionally hand out a blank card on which more drawings for the ' special t e s t may be made. You explain that as your time i s limited, you w i l l be unable t o undertake the transmission of a l l the special t e s t drawings, but in older to give every one an equal chance, you will ask a volunteer from the audience to shuffle the drawings thoroughly (in the meantime, you have mixed the drawings with soma prepared drawings o f your own) and then cut the pack one or more times and place the top card o f the lower cut half o f the deck in an envelope. Several more are selected in the same way, and on account of your cards with the pre-arranged drawings being s l i g h t l y smaller in s i z e , or what gamblers know as "short" cards, when the pack i s cut as directed, the short cards will remain a t the top of the' lower half deck and be placed in the envelope and sealed. All t h i s looks f a i r , but these fake drawings have a d i s t i n c t i v e embossed impression on the corners or ends that may be f e l t through the envelope and in this way the contents of any of the sealed short cards i s knowi t o you and cued to the medium. Ths medium reproduces, with appropriate showmanship, a reproduction of the drawing in the sealed envelope. This sanB procedure may be followed f o r several more t e s t s , o r i f the performer i s familiar with "one—ahead" b i l l e t reading (described in "One Man Mind Reading S e c r e t s , " by Ralph W. Read), i t would be a simple m a t t e r , a f t e r the f i r s t drawing i s completed, to hand the sealed envelope ' to the medium to be opened and v e r i f i e d ( a c t u a l l y handing her the next envelope ! or the "one-ahead") and a switch made to the original "planted" sketch as i t i s returned to you, to be then passed to the- audience for v e r i f i c a t i o n . Another, and perhaps e a s i e r plan, would be not to seal the drawings in envelope, but to c o l l e c t them as i s and place a pre-arranged drawing on top of the pack. The medium i s standing a t a large blackboard supported by an easel near the back drop. The performer stands c l o s e r to the audience with a small blackboard in his hand, In front o f which, and towards the audience, he holds with his thumb the f i r s t dummy drawing being t e l e p a t h i c a l l y transmitted. At the same tima, he holds the next drawing o r the "one-ahead" a t the back of the s l a t e so that the medium may catch a glimpse o f i t . This manipulation i s covered up by having the stack o f cards on a small table and placing the small s l a t e over or in front of them, Just before he takes the sketch just transmitted down to the f o o t l i g h t s to be passed around and v e r i f i e d .

Alphabetical Code for Drawings For the performer who p r e f e r s to cue the designs, the following l i s t will prove helpful in memorizing cues for common a r t i c l e s , designs, positions or d i r e c t i o n s . In many instances, i t may be possible f o r the performsr to a c t u a l l y suggest the drawing of some p a r t i c u l a r design t o a member of the audierce.

A - Above An - Anchor Ap - Apple Ac _ Arch Ar _ Arrow Au - Auto B Bk Bt Ba B1 Br Be Bt Bo Bb Bk By Bx C Ct Ci CI Ch Cr Cc Cx Cv Cu Cy Cs dl Dt DS Do Di Dg

-

_ _ _ _ -

_ -

Below Back Bottom Banana Ball Bridge Bell Boat Boy Baby Brick Bicycle Box

_ Center _ _ _ _ _ _ _ _ -

_ —

_ _ _

Cat Circle Clock Chain Crescent Concave Convex Curve Cube Cylinder Cross Dotted Line Dot Dollar Sign Doll Diamond Dog

SI _ Elevation En - Enclosing £y - Eye

F Fa F1 EP Fe G Bo He Hr Ht Hx I K L Li La Lf Le Lo Ma Mo 0 Ob Ov P Ps Pp Pr PI Py

-

-

-

-

-

-

-

-

-

-

-

-

-

-

Front Face Flag Floor Plan Fence Girl House Hsart Horse Hat Hexagon Inside Keystone L e f t Side Line Ladder Leaf Letter Locomotive Man Moon Outline Oblong Oval Parallel Perspective Perpendicular Prism Plane Pyramid

4 R RA Re Ri Rb S SB Si Sq SC St Sp SD Sw T Ta Te Tr TT Tw Dp Urn Ub Ta

-

-

-

-

-

-

-

-

»

WWv Wa Wh Wi Wb Z

-

Question Mark Right Side Right Angle Rectangle Ring Rabbit Straight Line Suspension Bridge Side Square Semi-Circle Star Spade Sun Dial Swastika Triangle Table Tent Tree Tic-Tac-Toe Tower Upside Down Umbrella - closed Umbrella - open Vase Woman Waving Line Watch Wheel Window Wishbone Zigzag

How to Cue Drawings, Line "by Line These instructions would not "be complete i f a method of alphabetically cueing drawings, line by l i n e , were omitted. While there w i l l not be a great many p r a c t i c a l ways in which t h i s stunt may be applied, the p r a c t i c e of doing i t w i l l be most helpful in coordinating the minds of both sender and r e c e i v e r , and w i l l make the p r a c t i c e of alphabetical cueing most i n t e r e s t i n g . The same general principles may be applied to other stunts, such a s , locating a place on a map or an a r t i c l e in a room. The r e c e i v e r ' s blackboard (or the map, or room) should be visualized as being divided into nine imaginary squares, each having alphabetical designations from A to 1 , as i l l u s t r a t e d below:

I t i s important to remember that each l e t t e r r e f e r s to the exact center of each p a r t i c u l a r square. Each of these smaller squares i s again divided into the same s o r t of aub-divisiona or p o s i t i o n s .

TS" D

hE

F

. 1 1

This time, the l e t t e r s , with one exception (the E p o s i t i o n ) , mean some p a r t i c u l a r place on the border of each square.

a

When this imaginary lay-out i s a c c u r a t e l y increased on both your minds, proceed in this manner to cue and d i r e c t the drawing of sane simple designs on the E square, s t a r t i n g a t the H p o s i t i o n . Line cue f o r Tree:Cue Square E P o s i t i o n - H to E to F to B to D t o S

Example:- "Go, see t h i s drawing," means to s t a r t on Square E a t bottom c e n t e r , position H. "Go on, can you. Now! Hurry! Go on!" means to E to F to B to D to E. "That's c o r r e c t - a t r e e , " means " t h a t ' s a l l . " Note:- After f i r s t cueing the large square or space E, a l l further cues r e f e r to the p a r t s of that p a r t i c u l a r square u n t i l the word "and" i s spoken, which means to proceed t o another square, which w i l l be indicated by the f i r s t cue a f t e r "and" The following examples show how other simple forms may be alphabetically cued. Line Cue for Envelope: Square Square Square Square

B, C, B, C,

Position Position Position Position

A, to G, to I , to c , to A, to E. to C.

Line Cue for Hour Glass: Square E, Position E, to A to C to £ to I to G to E.

Line Cue for House: Square E, Position B, to F to I to G to D to B to Square F, P o s i t i o n B, to F to I to G.

Example:-

G"

I

Or

"Go, now, this drawing," means Square E, P o s i t i o n B. "Can you please look?" means to F to I to G. "Hurry, now, and can you now complete i t ? " means to D to B to Square F, Position B. "Can you please look a t i t - c o r r e c t , means to F to I to G.

Line Cue for Pyramid: Square E, Position B, to H to F to B to D to H.

CODS FOR PLAYING CARDS Cue •t

tf ff ft

Cue ti ft

ff ft ft

ft

ff tf •f

PC PC H C D S

"Come, will you identify these?" "Come, will you identify t h i s ? " "See the s u i t . " "Will you state the s u i t ? " "Hurry, s t a t e the s u i t . " "Put down the s u i t . "

means

1 2 3 4 5 6 7 8 9 10 11 12 13 14

"Tell the v a l u e . " "Now t i e v a l u e . " "Will you s t a t e the value?" "Hurry, s t a t e the v a l u e . " "Go_ on! the v a l u e . " "Can you identify the value?" "Look to the v a l u a . " "See ths v a l u e . " "Please identify the v a l u e . " "Answer the v a l u e . " "Tell the value. Describe i t . " "Tell now the v a l u e . " "Tell tha value , will you? "Hare, t h i s c a r d . "

means

TT IT '1 TT TT

TT Tt TT Tt TI TT Tt Tt ft Tt Tt Tf Tf

Pack of Cards Only One Card Hearts Clubs Diamonds Spades Ace Device Trey Four Five Six Seven Eight Nine Ten Jack Queen King Joker

Many impressive e f f e c t s with playing cards may he accomplished through ths use of the Si Stebbins System of card arrangement, as contained in an inexpensive booklet on sale a t a l l magical supply houses.

CODE FOR TITLES AID VOCATIONS Ac Ad Ag An Ar At Av

Actor Advertising Man Agent Antique Dealer Artist Attorney Aviator

Bk Bn Ba Bo Bx Br B1 Bu Bt

Baker Banker Barber Bookkeeper Boxer Broker Builder Butcher Butler

Cp Cr Cs Ct CP

Captain Carpenter Cashier Caterer C e r t i f i e d Public Accountant Chauffeur Cigaimaker

Ch Cg

CI Cn Co Ck

Clerk Conduc t o r Contractor Cook

Gd Ga Gu Gi

Dc De Ds Dt Dr Do Df En Dg DD

Decorator Dentist Designer Detective Doctor Doorman Draftsman Dressmaker Druggist Doctor of Divinity

Ha Hairdresser Ho Honorable Hs Hostess Ht Hotel

El En Ex

Electrician Engineer Examiner

Fi Fs Fl Fr

Fireman Fisherman Florist Furrier

Gardener Garment Worker Guard Guide

IA Id In

Insurance Agent I n t e r i o r Decorator Inspector

Ja Je Jg

Janitor Jeweler Judge

KP Kitchen Police Kn K n i t t e r LI La Lb Lt Lk

Landlord Lawyer Laborer Lieutenant Locksmith

CODE FOR TITLES AID VOCATIONS (Continued) Maid Major Manager Manicurist Mason Mechanic Milliner Miner Mortician Motion P i c t u r e Operator Mv Moving Man Mu Musician

Pb PI FO Ps Pr Pf Pu

RE Rp Rt

Real Estate Reporter Retailer

NP Notary Public NW Needle Woman or Worker

SI Sa Se Sy Sg Sx Sc Sh Si So

Sailor Salesman Seamstress Secretary Sergeant Sexton Sculptor Shipper Singer Soldier

Ma Mj Mg Mn Ms Me Ml Mi Mo MP

Plumber Policeman Post Office Clerk Priest Printer Professor Publisher

Hi

Hand B a l l Backey Horseshoe Pitching Hunting

Ic

Ice Skating

Jm

Juagiing

Kn Knitting MJ Ma MP MC Mo

Mah Jongg Marbles Motion P i c t u r e s Motor Cycling Motoring

GM Old Maid Pi PP

Piano-Playing Ping Pong