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or unpublished mind reading code, over one hundred of which have been tabulated, analyzed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
<JM Quartermaster
Sp
St
Sr
Sv
Specialist
Student
Surgeon
Surveyor
Ta
Te
TI
Ti
Ty
Tailor
Teacher
Telegrapher
Tire Maker
Typist
Un Unemployed
Ut Undertaker
Va
Valet
Wa
Wm
Wt
We
Wh
HP
Wr
Waiter
Watchmaker
Watclman
Weaver
Wholesaler
WPA
Writer
Yo
Yeoman
Pg
Pi
Po
Pn
Pig
Pigeon
P o l a r Bear
Penguin
Kn Kangaroo
Ra
Rt
Rv
Rh
Ro
Rabbit
Rat
Raven
Rhinoceros
Robin
Dr Deer
Dg Dog
Do Donkey
Dv Dove
La
Le
Li
LI
Lark
Leopard
Lion
Llama
Sk
Sn
Sp
Sw
Skunk
Snake
Sparrow
Swallow
Ea Eagle
El Elephant
Em Emu
Mp
Mk
Ms
Mo
Mu
Magpie
Monkey
Moose
Mouse
Mule
Ti
Tu
Tiger
Turtle
Nt
Nightingale
Oc
Op
Occuliat
Optician
Pk
Pe
Ph
Packer
P e t t y Officer
Photographer
CODE FOR ANIMALS AND BIRDS
Al A l l i g a t o r
Ap Ape
Be
Bu
Bear
Buffalo
Cm
Ca
Co
Cr
Camel
Cat
Co*
Crow
Fn
Fi
Fx
Finch
Fish
Fox
Gr Giraffe
Go Goat
Gf Goldfish
Gs Goose
Hk
Hark
He Han
Hi Hippopotamus
Ho Horse
lb
Ibis
Jg
Jk
Jaguar
Jackal
Ostrich
Ow Owl
Ox Ox
Ob
Pa Panther
Pc Peacock
Pd Panda
Un Unicorn
Vi Viper
Vu Vulture
Wa Walrufl
Wh Whale
Wf Wolf
Yk
Yak
Zb
Zebra
CODS FOR SPORTS AND RECREATIONS
AV
Auc tion
Aviation
Bm
Ba
Bb
Bt
Bi
Bn
Br
Bo
Bw
Bx
Badminton
Baseball
Basketball
Bathing
Billiards
Bingo
Bridge
Boating
Bowling
Boxing
Ck
Ch
Cc
Cr
Cq
CP
cy
Checkers
Chess
Cricket
Crochet
Croquet
Crossword Puzzles
Cycling
Au
Da Dancing
Di Dice
Dr Dramatics
Do Dominoes
Fe
Fi
Ft
Fencing
Fishing
Football
Pn Pinochle
Pk Poker
Po Polo
PI Pool
Go Golf
Gy Gymnastics
HB
Ho
3>
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
<lt
Quoits
Ra
Re
Ri
Ro
Rw
Rn
Racing
Reading
Riding
Roller Skating
Rowing
Running
Sa Sailing
Sh Shooting
So S o l i t a i r e
Sw Swiimiing
Te Tennis
Th Theatre
Tea Tumbling
Wa
WP
Wh
Wr
Walking
Water Polo
Whist
Wrestling
CODS FOR FRATERNAL ORDERS, ORGANIZATIONS, SOCIETIES AND EMBLEMS
AD
AM
AA
AF
Alpha Delta Phi
Alumni
American Automobile Association
American Federation of Labor
American Legion
BL
Blue Lodge
Boy Scouts of America
CD
CC
CH
CE
CS
CT
CI
Catholic Daughters of America
Chamber o f Commerce
Chapter
Christian Endeavor
Christian Science
Commercial Travelers
Committee for Industrial
Organization
AL
BS
£UL Daughters of American Revolution
DR Daughters of Rebecca
Ea
El
ES
Eagle s
Elks
Order o f Eastern Star
FU
Fo
FT
Farmers Union
Foresters
Fraternity
GR
GK
GW
Gt
G.A.R.
Greek F r a t e r n i t y
Native Sons of Golden West
Grotto
IE
Hotel Greetars of .America
IR Improved Order of Red Men
IM International Brotherhood of
Magicians
JL
Junior League
KI
KC
KL
KM
KP
KT
KK
Kiwanis Club
Knights of Columbus
Knights of Labor
Knights of Maccabees
Knights of Pythias
Knight Templar
Ku Klux KLan
CODE FOR FRATERNAL ORDERS, ORGANIZATIONS, SOCIETIES AND EMBLEMS (Continued)
LU
La
LH
LI
Labor Union
Lambs
Legion of Honor
Lions
Re
Ro
RA
RL
Redman
Rotary Club
Royal Arcanum
Royal League
Ma
MC
M
Me
Mo
My
Maccabees
U.S. Marine Corps
Masons
Mechanics Order
Moose
Mystic Shrine
SS
SM
SG
sv
So
SW
Secret Society
Society American Magicians
Sons of S t . George
Sons of Veterans
Sorority
Spanish War Veterans
NS National Sojourners
National Vaudeville A r t i s t s
m
Ts
Tt
Thirty-second Degree
T h i r t y - t h i r d Degree
Od Odd Fellows
Ow Owls
UL Union League
UM United American Mechanics
UW United Workmen
PS
Pythian S i s t e r s
VF Veterans of Foreign Wars
RR Railroad Order
RC Red Cross
WW Woodmen of the World
wv World War Veteran
A complete l i s t of associations and s o c i e t i e s in the United S t a t e s i s contained
in the World Almanac.
CODE FOR COUNTRIES AND NATIONALITIES
Ge Germany
GB Great B r i t a i n
Gr Greece
Pa
Pr
Pe
P
Palestine
Persia
Peru
Portugal
Ha
He
H
Ha
Hawaii
Jfebrew
Holland
Hungary
Ro
Ru
Roumania
Russia
B1 Belgium
Bz B r a z i l
Br B r i t i s h
Bu Bulgaria
Ic
In
Ir
It
Iceland
India
Ireland
Italy
Ca Canada
CI Ceylon
Ch China
CS Czeoho Slovakia
J
Jv
Jw
Japan
Java
Jewish
Sc
St
Si
Sb
Sp
Sw
Sz
Scandinavian
Scotland
Siam
Siberia
Spain
Sweden
Switzerland
T
Turkey
Labrador
Liberia
Lithuania
Af
Al
A
AC
Ar
Ag
Au
As
Africa
Alaska
America or American
Any CountryArabia
Argentina
Australia
Austria
Dn
Denmark
La
Li
Lt
Eg
E
Eu
Egypt
England
Europe
M Mexic o
Mo Montenegro
Fi
F
Finland
France
N Norway
NZ New Zealand
US United S t a t e s
UK United Kingdom
Ur Uruguay
Ve
Venezuela
Wa Wales
Wo World
Zn
Zanzibar
CODE TOR MATERIALS, CONDITION AMD COLORS
Be
B1
Bu
Bo
Bk
Br
Bs
Bn
Bent
Black
Blue
Bone
Broken
Brown
Bruised
Burned
CP
Ce
Ck
Ch
CI
Cm
Ct
Cr
Cellophane
Celluloid
Chalk
Checkered
Cloth
Composition
Cotton
Crushed
G1 Glass
Go Gold
Gray
Gy
Gr Green
Hf Half of
Ho Hole
Iv
Ivory
La
Le
Lace
Leather
Mi Mink
MP Mother of P e a r l
Mu Mutilated
D Damaged
Di Dirty
Do Dotted
Pa Paint
Pi Pink
PI P l a s t i c Conposition
Pu Purple
En
Enameled
Or
Fi
EI
Fo
Fu
Fiber
Flattened
Folded
Fur
Ra Raccoon
Ry Rayon
Rd Red
Rs Resin
Orange
Ri Ribbon
Ru Ruby
Sa
Sc
Ss
Sk
Sh
SI
Si
St
So
Sp
Satin
Scratched
Sealskin
Sharkskin
Shot a t
Silk
Silver
Slate
Soiled
Striped
Ta
Tr
Ti
To
Tan
Tarnished
Tile
Torn
Va
VI
Variegated
Violet
Wx
Wt
Wh
Wd
W1
Wax
Wet
White
Wood
Wool
Ye
Yellow
CODE FOR METALS
A
Aluminum
I
Iron
R
Radium
Bs
Bz
Brass
Bronze
L
Lead
Copper
Nickel
Silver
Steel
C
N
Si
St
0
Ore
T
Tin
P
Platinum
Z
Zinc
G Gold
Gu Gun Metal
CODE FOR STONES AND JEWELS
M
Agate
Amber
Amter with hug)
Amethyst
Aquamarine
B
Br
Bloodstone
Brilliant
C
Ct
Co
Cr
Cameo
C a t ' s Eye
Coral
Crystal
D
Diamond
Ag
Am
(Amb
A
E
Emerald
Ga
G
GC
GN
oq
Garnet
Gold
Gold Coin
Gold Nugget
Gold Quartz
IT
Ivory
J
Jewel
Ma Marble
M Moonstone
(40)
On Onyx
0
Opal
P
Pearl
Rh Rhinestone
R Ruby
S
Sc
Sapphire
Scarab
T
Tu
Topaz
Turquoi se
CODE FOR EMBLEMS AND MEMENTOS
A
America
G
Bb
Bt
Be
Baby
Beauty
Beloved
C
Columbia
Ha Happiness
He Health
Hn Honor
Hp HDpe
Da
De
D
Darling
Dearest
Detective ' s Badge
E
Eternity
Fa
F
iin
Fr
Faith
Foreman's Badge
Freedom
Friendship
God
In
Independence
Je
Jerusalem
Li
Lo
Liberty
Love
P
Pe
Policeman's Badj
Peace
Sh
Si
Sp
S h e r i f f ' s Badge
Sincerity
Special Officer
Tr
Ts
Truth
Trust
Un Union
Unt Unity
Md Medal
Ve
VI
Veritas
Vic tory
Na National
We Welcome
CODE FOR RELATIONS AND PB3TOGRAPB3
A
Aunt
Gdf
Gdm
Gf
Gm
Gr
Godfather
Godmother
Grandfather
Grandmother
Group
Bb
B
B1
Bd
Baby
Brother
Brother-in-law
Buddy
Ch
H
Husband
c
Chum
Cousin
L
Living
D
D1
De
Daughter
Daughter-in-law
Deceased
Ma Man
M Mother
Ml Mother-in-law
F
F1
FC
Fr
Father
Father-in-law
F i r s t Cousin
Friend
Ne Nephew
N1 Niece
0
Old - Elderly
P
Pal
Sm Schoolmate
SO Second Cousin
Ss S i s t e r
Son
SI Son-in-law
Sw Sweetheart
s
U
Uncle
Wi Wife
Wo Woman
Y
Young
IH CONCLUSION
Telepathy 1b a subject about which the majority of your audience will
be mightily interested and their minds will be very receptive to your demonstrations.
I t ' s your job to entertain and mystify.
Be constantly on the a l e r t to
take advantage of every l i t t l e circumstance and build i t up to a spectacular
effect.
Act as though each demonstration i s a phenomenon.
The Zancigs' f i r s t code consisted of cue words for only ten numbers
and a similar group of conmon a r t i c l e s and names.
Zancig once referred to being
embarrassed during MB f i r s t public performance by his i n a b i l i t y to think of a
way of cueing "corkscrew" and of having to plead that "the s t r a i n on Mrs. Zanc i g ' s nerves was too g r e a t , " and then pass on to the next a r t i c l e .
At that time,
Mrs. Zancig concealed in her sleeve, for reference purposes, a small v i s i t i n g
card on which the e n t i r e b r i e f l i s t of code words was written.
Frcm t h i s humble
s t a r t , they eventually became internationally famous, mystifying and e n t e r t a i n ing crowned heads, great s c i e n t i s t s and millions of l e s s e r mortals.
There i s one important f a c t o r that enters into an entertainment such
as t h i s , which unfortunately cannot be acquired by reading, and that i s showmanship.
Both Zancig and Houdini carved enviable c a r e e r s , and so has today's "tops"
in mystery showmanship, Dunninger, because of t h e i r development of this important
facility.
Showmanship i s d i f f i c u l t to define.
I would say i t i s a well balanced
mixture of a b i l i t y , egotism, personality and nerve.
I f you have i t , o r can ac-
quire i t , you will mould out of these instructions a vocation or avocation t h a t
will amply repay you for the study and e f f o r t required.
In the vernacular of the
day, you will "go p l a c e s " .
I f you have any comnents, helpful suggestions, or sincere c r i t i c i s m s
that you may care to o f f e r regarding t h i s work, they will be very welcome, and
will contribute towards making future editions more informative and helpful.
So ends a long, but pleasant t a s k .
"CALOSTRO"
Box 199,
ClOBter, New Jersey.
THE
"QUESTION
ANSWERING"
ACT
—has always held audiences spell-hound.
Properly
presented, the nature of the work is certain to c r e a t e —
Entertainment,
Utter
Amazement
and
Great
Prime
T T T H E N these elements of human interest can be stirred by
* * the use of the old-time methods, it doesn't require much
imagination to realize the greater success—and greater money
— t h a t are now made possible through this new, complete and
vastly improved system now revealed and offered to the Profession for the first time—•
THE
CALOSTRO
Personal
Interest
TARBELL
"You
have done a
marvelous
j o b and I c o m p l i m e n t you on
the c l a r i t y and c o m p l e t e n e s s o f
your instructions—nothing was
overlooked. It's a B i g T i m e A c t .
a n d e a s i l y w o r t h $1,000 t o a n y
Mentalist."
MIND
READING
Conceived and A r r a n g e d by R a l p h W .
ACT
Read
T w e n t y - f i v e y e a r s w e r e s p e n t in p e r f e c t i n g t h i s s u p e r - s y s t e m
w h i c h , u n k n o w n to others, has been r e t a i n e d all these y e a r s
f o r the author's private use.
A sensation w a s ere
ated w h e n its r e l e a s e w a s r e c e n t l y announced.
It
has excited more c o m m e n t and created more talk
a m o n g the P r o f e s s i o n t h a n did t h e i n t r o d u c t i o n , o v e r
a q u a r t e r of a c e n t u r y a g o , of the s a m e a u t h o r ' s
invention, " T h e Wireless Mind R e a d i n g A c t , " and
his " T a l k i n g T e a k e t t l e " w i t h w h i c h m a n y a r e f a miliar.
NOW
BEING
PERFORMED
SUCCESS
WITH
GREAT
T h e C a l o s t r o M i n d R e a d i n g A c t is b e i n g p e r f o r m e d
t o d a y , and h a s m a d e a n i n s t a n t hit w i t h C l u b and
T h e a t r e audiences, M a n a g e r s and A g e n t s , w h e r e v e r
shown.
E v e r y o n e p r o c l a i m s it to be the m a s t e r p i e c e in t h i s line, a n d t h e f a s t e s t a n d s m o o t h e s t
"Question A c t " ever seen.
Read w h a t they say. . . .
T H E E F F E C T : The act requires two people (either
sex).
T h e s p e c t a t o r s a r e r e q u e s t e d to m e r e l y t h i n k
of any questions t h e y wish answered. T h e " m e d i u m "
m a y be g e n u i n e l y b l i n d f o l d e d , a n d r e m a i n s on t h e
MAX
For O u r Protection
C O P Y R I G H T h a s been secured on " T h e C a l o s t r o Mind
R e a d i n g A c t " c o v e r i n g the
S y s t e m in w h o l e a n d in part.
R e p r o d u c t i o n in a n y form
is f o r b i d d e n , all r i g h t s b e i n g
r e s e r v e d by t h e p u b l i s h e r ,
and a n y i n f r i n g e m e n t will be
rigorously prosecuted.
Each
Copy,
MASTERED A N D PERFORMED W I T H EASE A N D SPEED
HOLDEN
" . . . I can honestly
say that your System
is f a r a h e a d of a n y thing . . . a revelation
. . . the cleverest, easiest and most subtle
method f o r the modern mind reader . . .
all other methods are
out of date."
stage.
The p e r f o r m e r steps down a m o n g the spectators, and
f r o m t h a t m o m e n t he n e v e r s p e a k s a w o r d to the " m e d i u m "
during the entire performance.
A spectator whisp e r s h i s q u e s t i o n in t h e p e r f o r m e r ' s e a r . . . t h e
s p e c t a t o r r a i s e s his h a n d f o r i d e n t i f i c a t i o n a n d r e q u e s t s the " m e d i u m " to " P l e a s e a n s w e r m y question."
The "medium" instantly responds,
giving
the intimate details as to the person, or persons,
articles, dates, places, etc., involved. T h e " m e d i u m "
never addresses the p e r f o r m e r nor does she e v e r ask
a n y q u e s t i o n s of t h e s p e c t a t o r s , i n o t h e r w o r d s ,
t h e r e is no " f i s h i n g " f o r i n f o r m a t i o n , and no i n t e r r u p t i o n to h e r s p e e c h a s s h e g i v e s t h e c o m p l e t e
a n s w e r to the question.
T h i s is
acknowledged,
whereupon the p e r f o r m e r locates the next
questioner who raises his hand and repeats the simple
DUNNINGER
request, "Please answer m y question"—and
thus
" Y o u r
Calostro
t h e p e r f o r m a n c e c o n t i n u e s in s n a p p y f a s h i o n w i t h
S y s t e m , a s a two
o u t w a i t s o r i n t e r r u p t i o n s f r o m s t a r t t o finish. I n
person a c t . is un
questionably
the
each instance the spectator himself m a k e s the refinest I h a v e e v e r
q u e s t of the " m e d i u m , " and a l w a y s r e p e a t s t h e s a m e
seen—and I think
w o r d s in t h e s a m e f o r m , " P l e a s e a n s w e r m y q u e s I k n o w them a l l . "
tion."
T h e well k n o w n difficulties a n d d r a w b a c k s found in o t h e r m e t h o d s h a v e been e n t i r e l y
e l i m i n a t e d In t h e C a l o s t r o S y s t e m w h i c h c a n b e q u i c k l y and easily m a s t e r e d — q u i c k l y e a s i l y
and s m o o t h l y p r e s e n t e d with t e l l i n g effect, and with no f e a r o f detection. J u s t n o t e t h e
following f e a t u r e s No m e c h a n i c a l devices, t h e r e f o r e n o t h i n g to Install, n o t h i n g to get out o f o r d e r and
n o t h i n g f o r i n q u i s i t i v e s t a g e h a n d s to discover.
No w r i t i n g of a n y kind, n o t h i n g to collect, s w i t c h , or h a n d l e , and no t i m e lost
No HljriiH or motion** o f a n y kind, n o t h i n g to e x c i t e suspicion
T h e c u r s e h a s been removed f r o m the t e r r i b l e j o b o f m e m o r i z i n g which is r e q u i r e d in m a n y
m e n t a l a c t s . T h i s f e a t u r e will appeal to all p r o f e s s i o n a l m e n t a l i s t s , and o t h e r s w h o h a v e
s t a g g e r e d u n d e r the s t r e n u o u s d e m a n d s o f t h e old s y s t e m s . I t is not n e c e s s a r y to be a
m e m o r y wizard to l e a r n t h e C a l o s t r o S y s t e m , in f a c t , the m a s t e r i n g of t h e w o r k i n g d e t a i l s
will p r o v e a s e a s y a n d f a s c i n a t i n g a s is t h e p u b l i c p r e s e n t a t i o n o f t h e a c t .
A CLEVER ACT FOR CLEVER PEOPLE
T h i s Is s o m e t h i n g t h a t will a m a z e a n d delight all w h o a r e i n t e r e s t e d in
mind r e a d i n g and p s y c h i c p h e n o m e n a the old t i m e M e n t a l i s t who will
find t h e C a l o s t r o S y s t e m a p p l i c a b l e to h i s present w o r k — a n d t h o s e w h o
a r e newly c o n s i d e r i n g t h e s u b j e c t
Once a c q u i r e d , you a r e r e a d y to
present t h e a c t on a m o m e n t ' s n o t i c e a t a n y time, or p l a c e — s t a g e , hall,
p l a t f o r m , club, residence, or on t h e open p r a i r i e — a l l you need is an a u d i e n c e who h a v e q u e s t i o n s t h e y wish a n s w e r e d . A c o n v i n c i n g d e m o n s t r a t i o n
of the a c t c a n be given i m p r o m p t u f o r a s i n g l e s p e c t a t o r such a s an A g e n t ,
or M a n a g e r . E x p e r i e n c e h a s s h o w n t h i s to be very e f f e c t i v e in s e c u r i n g
dates.
Printed,
Bound,
GET YOUR COPY NOW
Signed
and
needed
once
Sealed
you
Is
Shipped
possess
this
by
Registered
valuable
work.
First
Class
For Y o u r Protection
T h i s Is a P r i n t e d . B o u n d V o l ume, sold only In Its o r i g i n a l
8 P E ( I A IJ I, Y
SEALED
W R A P P E R , a n d e a c h copy
bears the P K R S O N . M , P E N
A N i l I N K S I G N A T U It K <> V
T H E A U T H O R . R a l p h \\.
R e a d . S e e t h a t y o u r copy Is
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and
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BOOKS FOR ENTERTAINERS
MENTAL MAGIC WITH CARDS, by Jean Hugard.
A now and valuable work, giving the methods by which
even a beginner may entertain any audience with playing cards. Forty "mind reading" e f f e c t s , requiring
comparatively l i t t l e sleight of hand.
$2.00
ONE MAN MIND READING SECRETS, by R. W. Read.
$1.00
For the entertainer who works alone, this new, i l l u s trated monograph i s a revelation. The best methods
of finding out questions s e c r e t l y written, or "sealed"
and retained by the audience, are described. Bogus
mediums have made fortunes by methods less s k i l l f u l
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VAUDEVILLE MIND READING, by D. J . Lustig.
Big value in exclusive mental and mind reading
e f f e c t s . There i s hardly a system or code that this
book does not explain. Twenty chapters of club or
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price of the book), telepathy, s t a r t l i n g sealed
message reading and psychic e f f e c t s .
$2.00
LA VELLMA'S VAUDEVILLE BUDGET, by D. J . Lustig. '
Mystifying mind reading t r i c k s , magic and v e n t r i l o quial a c t s . More than t h i r t y a c t s and e f f e c t s ,
including a method of performing the Egg Bag t r i c k
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Sight, Publicity Tests, Answering Questions for
Crystal Gazers, and many others equally as good.
§2.00
VAUDEVILLE MAGIC, by D. J . Lustig.
The pet e f f e c t of one o f the best known magicians
in New York was admittedly gleaned from this book.
He has built for himself an enviable reputation on
the strength of this one t r i c k , a card e f f e c t .
You c a n ' t go wrong on this book i f you want to
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VAUDEVILLE VENTRILOQUISM, by D. J . Lustig.
X comprehensive book that r e a l l y t e l l s you how to
"throw the voice". Contains many valuable dialogues, r e c i t a t i o n s , hints and tips for the amateur
or professional.
$1.00
MARGERY, by Harry Houdini.
One of the most interesting books of the l a t e
Hand-cuff King. A canplete expose of methods the
famous Boston medium used to mystify many of the
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"The Man with the X-Ray Eyes," are also ezposed.
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