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The principle can be developed to a high degree. Bringing in pencils of different colour or length, paper, visiting cards, cigarettes and matches, etc., it is possible to signal quite an amount of information. We will give an effect to illustrate the advanced form of this principle later in this book.

(11) Graph or Chart Codes

There are a diversity of code systems based on what is called a "Code Chart". One example will suffice to illustrate the fundamentals of the principle. Under the section dealing with tricks in Step Ten, we find an effect called "Card Code" by Punx, the German Mentalist. This is a card-transmission two person stunt or routine and the method of transmission, although partly a verbal code, is also considerably improved by the use of a Key Chart. Reference to this particular trick will show you exactly how it works. Other charts for coding cards, numbers and letters have been devised as for example A1 Baker's "Over the Phone" trick to be found on page 26 of A1 Baker's "Mental Magic".

thread under suit

(12) White Elastic Indicator

This is another rather old principle but it can be quite effective. A small piece of white elastic is pinned under the back of the collar (coat) or, alternatively, under the back of the jacket hem. A piece of fine thread is tied to the elastic which is then lead either through the legs and attached to the vest button at the front, or into one of the trouser pockets—or any other convenient position as may suit you.

When the thread is pulled slightly, the white elastic comes into view with about half an inch showing. As soon as the tension is released, it pops back under the collar with the result that by developing a code of longs and shorts (i.e. Dots and dashes) you can transmit to the medium with your back turned. Again it is silent and so deserves consideration.

It is quite surprising to find that at a considerable distance—this small tail of elastic is clearly visible. Since the merest touch is required to pull it into view, no conspciuous movement will be necessary and it will operate faster than you will want to use it. Another old, simple—but reliable method.

(13) Conclusion of Part Two

Sufficient has been said to illustrate the basic simplicity of most systems of communication. In general we have tried to stick to methods which are known to be practical and although the selection is by no means comprehensive, it is more than enough to start you on the right road.

If you are genuinely interested in methods of communication between two people, you won't stick to any one code. As you progress, you will find that certain methods suit you more than others do and you will begin to enlarge upon the best suited method until you develop your own system. It is well worth remembering that if you do go to the trouble to develop your own system—it is time well spent because you alone know the answer!

Finally we end on another method which has not been awarded a heading of its own. The Stooge Signal System is one of the most powerful weapons for the two person routine. Everybody naturally centres their attention on the performer and medium which means that a third person, apparently a member of the audience, is in a remarkably strong position to give the signals. I don't think it's a matter of ethics, 1 wouldn't think twice about using a stooge for any mental effect that I considered was worth it, I consider the extra person an added assistant who takes part in the act. Decent ethics are generally impractical in the field of Mentalism; you must be a first rate liar, cheat at least opportunity and stoop to any level which brings about a first class trick that entertains all and harms no one. Idealism is one thing, but the higher you go—the further you have to fall!

PART THREE: ROUTINES

(1) "The Lady is a Mindreader'" By Corinda.

The Effect. Performer introduces his assistant who, he claims, has the ability to read thoughts. As an example of her powers she will conduct a test. The lady holds a card and pencil, one person in the audience is asked to stand for a moment and to concentrate on the date of any coin taken from their pocket. This person now sits, but keeps the coin in his hand. Another spectator stands and thinks merely of their date of birth. On a second card, the medium writes her impressions once more. Taking a third card, the Medium writes the thoughts of a third spectator who has been asked to stand and think "of any three numbers that enter his head".

The performer now takes the first card from the medium, explains that although any coin was selected—the medium has written a date. "Would the spectator who thought of the date please stand and tell all what were his thoughts?" As soon as he names the date, the performer reads aloud the date written by the medium and immediately hands the card into the audience for examination. It is correct—the Medium is right!

Next he takes the second card, asks the person in the audience to confirm his date of birth, or more important, the one he thought of, and again the Performer reads what was written by the Medium before hinding the card into the audience. Once more the Medium has read a mind! Lastly, the Performer rightly explains that for the Medium to have divined a date on a coin and a person's birthdate—was quite an achievement—although not entirely beyond natural forces because by some strange means the medium may have known the coin and could, by a large stretch of imagination, have discovered the gentleman's birthdate. However, the last test will prove beyond all doubt the Medium's Powers—as now we deal with a set of three numbers, selected at random as they were, there could be no way of knowing beforehand what they were going to be. The performer takes the last card asking if the gentleman who thought of the numbers will stand. He asks if the gentleman will tell everybody his choice; immediately he does this, the Performer hands the card to a person in the front and says "And will you call out loud the number received by the Medium" it is the same.

Method. Medium writes nothing; Performer writes the answers with a Swami Gimmick as they are called by the audience. Two dozen methods of doing this are given in Step One—further instruction would be repetitive.

(2) "Smoke Gets in Your Eyes" By Corinda.

A few pages back we were talking about Positional Codes; this is one and it is used to good effect for a two person stunt suitable for drawing room.

rhe Effect. Medium leaves the room and during her absence, a card is chosen by one spectator who puts it in one of his pockets. This having been done, the medium is called in and proceeds to divine the name of the chosen card. First she finds the person with the card, next she names which pocket it is in and finally she names the card!

The Method. We have three factors to deal with. Which person chooses the card, which pocket he puts it in and what card it is. The first factor, is best done by pre-arrangement; you both agree (secretly) who will be used for the test and when you come to offer the card, you go to the selected spectator. The next factor is equally as easy. When the medium returns she moves from person to person apparently trying to locate the bearer of the card. Whilst this goes on, you blow your nose and when you put away your handkerchief, return it to the similar pocket as was chosen by the spectator when he put a card in his pocket. Lastly, the card. On the table you have an ashtray and you are smoking a cigarette when the card is chosen. Each corner of the table represents a SUIT and you move the ashtray to the corner required to designate the chosen suit. The ashtray is now regarded as a clockdial. You put your cigarette in the tray pointing to a certain time. If it is a King, keep the cigarette in the hand. So that you both know where to start from, rotate the suits anticlockwise, H.S.D.C. starting from the corner of the table nearest to the door, and have position 12 o'clock on the ashtray-clockdial the point also nearest the door, moving around the ashtray anticlockwise. The diagram shows a table top with ashtray and cigarette signalling "3 of Spades".

(3) "All in Order" by Corinda.

This is the application of the pre-arranged list of objects as described on page 259. To illustrate the principle we shall concern ourselves in this instance, with an effect for drawing room. Two people, namely Performer and Assistant or Medium are ready to demonstrate a power of mental communication.

The Medium sits on a chair in the corner of the room, she is blindfolded and faces the wall. The company is told to take objects from their pockets and hold them in their hands.

The performer moves rapidly around the room, en route he touches many articles of furniture, he picks up ornaments and odd things that come to hand. Every now and then he takes an object from one of the onlookers and that too is "transmitted". Each time he chooses an object—he calls out loud "What's This?" using the same words and tone every time. The Medium replies, naming the object and he then answers "That's Right" or "That's Wrong". Again there is no deviation from the wording or tone used.

The Method. We have already discussed the elementary principle involved; all that is left to work on is a list of objects that will be met in practically every drawing room and a few commonplace articles almost certain to be found in the pocket. However, aside from the list—there is the matter of presentation. We have to make the whole thing seem authentic and if you intend to use this type of routine, you would be well advised to pay attention to details—such things as making a deliberate mistake on one call, and coming back to it later in the pre-arranged code when it is named correctly after some "mental strain" on the part of the Medium. Also, aim at speedy presentation and make the descriptive answers humorous when the opportunity presents itself. A few examples are given alongside the list—what the Medium answers is given in brackets:— ^

Suggested Pre-arranged List for Drawing Room: \

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