"er" of course represents
hesitation, as though you were
thinking whether the answer is correct or not. It is a perfectly natural pause. )
thinking whether the answer is correct or not. It is a perfectly natural pause. )
Although the above may appear somewhat formidable, at first sight, it is really simpler than it appears. For, if the above list of replies be studied, it will become apparent that certain words are repeated in their regular order, though with another key-word in front of them. Thus, That's right--right--all right--quite right--good, etc. , are given in this precise order, with "yes" placed in front of them; and the same with "er" in front of them, and so on. In other words, when the first few words are committed to memory, these are repeated throughout the list, with the additional key-word in front of them. This makes their memorizing all the easier.
The way in which these affirmations should be used may be illustrated very readily. Suppose, for example, the original question dealt with the business of selling a home (BSH). This is given in the original Cue, and your assistant starts off telling what is in the mind of the questioner. But it is then intimated to the performer that the questioner is doubtful as to whether or not the person proposing to buy the house is to be trusted; is he responsible, etc. ? This additional information may be cued by giving the letters. HO (Is someone to be trusted?) So the performer says, as though in reply to what the assistant has just said, "All correct, yes good. " This tells her that there is a doubt in the questioner's mind as to the integrity of the proposed buyer, and she proceeds accordingly. Or, supposing the original question is, "Is my husband true to me? " (L). If it develops that there has been a quarrel (Q), this may be intimated by "Yes, correct. " This conveys the information to your assistant that the estrangement has been brought about through a quarrel, and the husband's subsequent actions (or the wife's suspicions) have resulted in consequence of this. And so on. . . . These additional confirmations keep supplying your assistant with new data, in other words, which she utilizes and continues to elaborate--though the replies seem innocent and natural enough.
If your assistant on the stage has not heard your cue clearly, or it is not plain to her , she says "concentrate, " and the performer knows that he has to repeat, or cue in some other way, "Concentrate please" (from the stage) means "speak louder. "
Relationships: The following letters, when cued, will give the proper relationship between the parties involved: M - - Mother, F-- Father, S --Son, D -- Daughter, B-- Brother, SS -- Sister, C-- Cousin, A -- Aunt, U -- Uncle. Grandparents should be followed by the cue-letter G. In-laws are followed by L. Step-relations by S (except in Son).
All relationships given should follow questions--except when this proves conflicting. They may easily be conveyed by one of your replies or "affirmations. " They follow, of course, the context of what your assistant is saying.
Spelling Out Words: General information, of the sort easily conveyed by the key-questions and the subsequent Affirmations, is usually all that is required, and a. convincing answer can be given, based on this simple data. The spectator realizes that his question has been grasped by the performer's assistant on the stage, and she has shown her uncanny knowledge in replying to it. Occasionally, however, it may be desirable to provide a real "knock-out, " in the form of some definite name, or piece of information, which could not possibly have been guessed or acquired normally. This constitutes a special "test. " Such names and information must be spelled-out letter by letter --usually in the form of replies. Thus, suppose the name Omaha is to be given. This involves the following: "Yes good--allright--that's right--all correct --that1 s right. " This may seem a formidable list, not easily given. But in the hands of an expert it should not prove difficult. As your assistant is rattling along about some lost will, let us say, you break in with, "Yes good, all right, that's right, " which gives the impression merely of your pleased approval. Then, as your assistant hesitates for a moment, you go on, almost impatiently, "all correct, that's right." This spells out the rest of the name, and she can now proceed with the knowledge that the lost will is connected with Omaha.
Suppose the name John is to be spelled out. The Affirmations for this name are: "Very good--yes good--all correct--yes quite right." In many such cases, it is better to break up the information given into two or more parts, interrupted by some "impressions" given by your assistant. For instance, having intimated that a name is required, your assistant might begin by saying: "This gentleman wants me to give him his name, as a test, to see whether I can tell him or not. Am I right? " To which the performer would reply, "Very good, yes good. " She now has J-O, and quite possibly may hazard the name John at that point. But if she is not sure, or the name is unusual and more complicated, she may begin by giving the initial of the name, and then perhaps the second letter, as though groping for the name with great difficulty. The performer may then feel quite justified in encouraging her by saying, "All correct--yes quite right, " which gives her the rest of the name. Such encouragement will appear perfectly natural to your audience, and not in the least strained. They are still marveling as to how she got the first letters of the name; and the subsequent remarks by the performer are sure to be overlooked, or taken as a matter of course by the average listener.
Needless to say, the assistant must be alert and use her imagination when words are being spelled out in this manner, and often the simplest of abbreviations are all that are required. For example, the generally recognized abbreviations for States may be employed: NY obviously standing for New York, LA for Louisiana, GA for Georgia, etc. A man's name beginning with HE is probably Henry, and a woman's name beginning with HE is probably Helen, etc. This much can be guessed. If not right, the performer can easily say "No! " and proceed to give the next letter or two, which will almost invariably give the key to the right answer.
Thus far, in our Code, we have dealt exclusively with the letters of the alphabet. But it will be noted that each letter of the alphabet also represents a number : C--3; P--16; W--23, etc. There is a reason for this, and these key-numbers must also be learned by heart, and their associations with the letters represented. Such associations must become automatic, so that M immediately brings 13 to mind, and so forth. Numbers are employed in giving the numerals on bank-notes, bonds, social security cards, etc. In all such cases, when the original questions are asked or affirmations given (through the letters), the corresponding numbers are implied, and it is these numbers which must be given by your assistant.
Suppose a young lady is asking her age! If this is less than 26 (the number of letters in the alphabet) this number may be given in a single question (for example l'7--"Think next, this lady. ") If over 26, the numbers must be given separately: e.g. 37 must be given 3--7. This applies to house numbers, telephone numbers, etc. If a longer and more complicated number be required, such as 4-7-3-1-9 (such as the number of a Note), this may be given partly in the original question and partly in the "affirmations. " For example, "Now, here next, " would give 4 and 7. Your assistant would start with these. Then, by way of confirmation, you go on, "all right, that's right, quite correct, " which would give her the balance of the numbers.
Bear in mind that, in spelling out numbers in this fashion, only the numerals 1 to 9 are employed, plus 0 (zero). The Cue for Zero, you will remember, is "call" or "put. " This may easily be given in such remarks as "call it clearly" or "put your mind on it, " etc. These seem to the audience mere reprimands for her slowness in getting the full number properly. In this way any complex combination of numbers can readily be given, by using a little ingenuity.
Names of the months can be cued by means of the following Table: 1 - January, 2 - February, 3 - March, 4 - April, 5 - May, 6- June, 7 - July, 8 - August, 9 - September, 10 - October, 11 - November, 12 - December. Merely give the figure, and the month is indicated. This is useful when giving birthdays, etc. When the day of the month is required, give the month first and the day afterwards. The year, of course, must be spelled out.
In giving the time (on a gentleman's watch in the audience, etc. ) the word "right" signifies the minutes before the hour, and the word "correct" the minutes after the hour. The number of minutes must of course be given (cued). Usually the assistant knows the hour, as judged by the time of the performance, so that this may be given first. If, however, the sceptic decides to reset his watch, by twisting the hands around, so as to point to another hour completely, it would be perfectly natural for the performer to comment (aloud)
on this fact, calling the audience's attention to the fact that he is dealing with a sceptic etc. Needless to say, his assistant upon the stage would at once realize that she must no longer give the regular hour, but must wait for the proper cue, which will tell her what this is. That is given in the first (regular) question, while the number of minutes may be given in the "affirmations, " coupled with the word "right" or "correct, " telling her whether this number of minutes is before or after the hour named.
You have now learned the entire Code, and henceforward it is merely a question of adapting and extending it to cover any exigencies which may arise. Both performer and assistant must first memorize the Code thoroughly, so that there is not a moment's hesitation in making the proper associations, either in numbers or letters. This once done, the rest is merely practice, ingenuity and showmanship. All the necessary factors are here. Any normal question can easily be cued, and subsequent information conveyed by means of the "affirmations. " Names, dates, problems, questions of all kinds are completely covered by this Code, and any desired information can readily be conveyed. Once mastered, it will prove clear, simple and quite easy, almost casual, in his questions and particularly in his replies ("affirmations") as though these were relatively unimportant, and had really nothing to do with the "impressions" of the assistant at all. They should merely give the impression of confirming what she has already said, in a natural tone of voice. Above all, you must avoid the impression of giving additional information in these replies. They should be spoken as much to yourself, or to your audience, as to your assistant upon the stage. She is supposed to have the complete information already, but has some difficulty in "seeing" it clearly and presenting it, and you are merely encouraging her in this attempt on her part to give her "psychic" impressions correctly. Presented in this way, this Act should prove a "Knockout. "
Above all, if you get flustered, or your assistant fails to get your Cue, do not let this "rattle" you, so that you cannot go on with the Act properly. If your assistant fails to hear you, or your Cue is not clear, she can always say "concentrate" or "concentrate please, " addressed either to you or the member of your audience, which will tell you that she must be cued anew. If one Cue is not clear, try giving the information in some other way. Keep calm, be natural, take your time, don't hurry or get excited. If you fail in a certain case, well, occasional failures are to be expected; your subject has not concentrated properly. You can always place the blame on him. So long as you remain master of yourself, and of the situation, everything will go along smoothly. But of course continued practice and proper showmanship are always e ssential--in mind-reading Acts --especially. If you possess these, you should--armed with this Code--be in a position to baffle any audience, and demand a high price for your presentation anywhere.
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