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experiments designed to muddle rats. It is here that we are introduced to the Triangle Plan, under which the buyer is led around in a triangle, or rather in a series of triangles. He is started off at position A, a casket costing $587, which he is told is “in the $500 range”—although, as the manual points out, it is actually $13 short of $600. He is informed that the average family buys in the $500 range—a statement designed to reassure him, explain the authors, because “most of the people believe themselves to be above average.” Suppose the client does not react either way to the $587 casket. He is now led to position B on the diagram—a better casket priced at $647. However, this price is not to be mentioned. Rather, the words “sixty dollars additional” are to be used. Should the prospect still remain silent, this is the cue to continue upward to the most expensive unit.

Conversely, should the client demur at the price of $587, he is to be taken to position C—and told that “he can save a hundred dollars by choosing this one.” Again, the figure of $487 is not to be mentioned. If he now says nothing, he is led to position D. Here he is told that “at sixty dollars additional, we could use this finer type, and all of the services will be just exactly the same.” This is the crux of the Triangle Plan; the recalcitrant buyer has now gone around a triangle to end up unwittingly within forty dollars of the starting point. It will be noted that the prices all end in the number seven, “purposely styled to allow you to quote as ‘sixty dollars additional’ or ‘save a hundred dollars.’ ”

Some grieving families will be spared this tour altogether, for a sales technique of the nineties is to sell caskets by catalogue only. One might not think of a casket as “photogenic,” but morticians exclaim with enthusiasm that families are choosing more expensive caskets when they don’t have to look at the real thing. The buyer is not likely to have caught the significance of this guided tour, whether it be through the catalogue or the display room. As a customer, he finds himself in an unusual situation, trapped in a set of circumstances peculiar to the funeral transaction. His frame of mind will vary, obviously, according to the circumstances which brought him to the funeral establishment. He may be dazed and bewildered, his young wife having just been killed in an accident; he may be rather relieved because a crotchety old relative has finally died after a long and painful illness. The great majority of funeral buyers, as they are led through their paces at the mortuary—whether shaken and grief-stricken or merely looking forward with pleasurable anticipation to the reading of the will—are assailed by many a nagging question: What’s the right thing to do? I am arranging a funeral, but surely this is no time to indulge my own preferences in taste and style; I feel I know what she would have preferred, but what will her family and friends expect? How can I avoid criticism for inadvertently doing the wrong thing? And, above all, it should be a nice, decent funeral—but what is a nice, decent funeral?

Which leads us to the second special aspect of the funeral transaction: the buyer’s almost total ignorance of what to expect when he enters the undertaker’s parlor. What to look for, what to avoid, how much to spend. The funeral industry estimates that the average individual has to arrange for a funeral only once in fifteen years. The cost of the funeral is the third-largest expenditure, after a house and a car, in the life of an ordinary American family. Yet even in the case of the old relative whose death may have been fully expected and even welcomed, it is most unlikely that the buyer will have discussed the funeral with anybody in advance. It just would not seem right to go around saying, “By the way, my uncle is very ill and he’s not expected to live; do you happen to know a good, reliable undertaker?”

Because of the nature of funerals, the buyer is in a quite different position from the one who is, for example, in the market for a car. Visualize