what I was thinking of, but
what's this?' On which she said whatever it was correctly,
and the performance went on as usual; my friends in due time
getting their tests efficiently done. Nobody noticed the
incident in particular; it was over in a second. It
conveyed no impression of anything except of a slight
confusion,--an error, in fact, immediately corrected,--but I
could not fail to notice that the very unimportant incident
tended in favour of the view that a power of sympathy or
communication between them was genuine, since she got an
undesired and unintended impression which certainly was at
the moment in Mr. Zancig's mind.

"O. J. L."

Later, on the same evening of the experiment with the numbers on my
cheque-book which I have described above, my wife and I attended the
public performance at the Alhambra. We were seated at a distance from
the stage. When Mr. Zancig came amongst the audience my wife handed him
a piece of something black, the nature of which it was difficult to tell
at first sight. He stooped down and asked in a whisper, "What is that?"
My wife answered, also in a whisper, "Liquorice." Madame Zancig
immediately called out from the stage, "Liquorice." No word had been
spoken by Mr. Zancig after my wife had whispered the word "Liquorice." I
then handed a visiting-card with a double name. Zancig read to himself
in a low voice the last name, which was Hutchinson, and said, "What is
the first name?" Madame Zancig called out "Berks"; this was correct. It
appeared to me suspicious, however, that the question, "What is the
first name?" although appropriate and natural, should contain the same
number of words as there are letters in the name Berks--namely, five.
Therefore some months after, at another performance, I wrote the same
name, Berks Hutchinson, on a piece of paper and handed it to Mr. Zancig.
This time he asked, "What is this?" Madame Zancig replied, "A piece of
paper with a name." Mr. Zancig said, "Give the name." She replied,
"Berks Hutchinson."

I attended a series of performances at the Alhambra, and took down the
questions and answers in order, if possible, to discover the code. On
witnessing a first performance the spectator might be led to believe
that word-coding alone is at the bottom of the mystery, but if notes are
taken at a number of performances he will find that the same ques