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can read what you see. One day, the billet is opened and for the one hundredth go you find yourself looking at hieroglyphics which could be Chinese or Uro-Afghanistani; you may not be educated. You also emphasise "in the circle" because if you don't, and they write outside, later on you will have to be psychic because their word is in ashes—really! You say "block letters" because the word on the billet has to be read with a glimpse lasting a fraction of a second. Have you ever tried reading a doctor's prescription in 0.5 seconds? You cannot read bad handwriting quickly.

Having given the instruction—add quietly, "tell me when you have done that".

He tells ^ou he is ready. Without approaching the table yet, say casually—"very well, fold the paper in half please" wait a moment, and then add—"Can you see through it?" He will look and whether he replies "yes" or "no" add, "well to be sure—better fold it once more—in half please . . .

(k) Walk back to the table and if necessary collect the ashtray on the way and put it on the table. If it is on the table, move it to the centre —don't say why or anything, just move it. You want to telegraph psychologically that fire is going to be used.

(l) As soon as you arrive at the table—ask for the pencil if it is yours, saying, "that's how I got it . . You see there is no rush to get the Billet. You worry about an ashtray and a pencil—towards the Billet you are INDIFFERENT.

(m) Look at the billet in his hands and sight the centre corner. Diagram No. 1 shows where this will be, the dotted line representing the circle on the inside. You say to the subject "thank you" and at the same time reach forward and take the Billet in the right hand between thumb and first finger, holding it by the centre. (No sharp torn edges are on the centre corner).

Push the Billet between the fingers so that the ball of the thumb and finger give full protection to the centre corner. Diagram No. 2 shows the holding position:—

(n) Proceed to tear the billet into strips. Tear two-thirds off with a downward pull of the left hand. Immediately place the centre corner strip on top of the other pieces and tear the bottom strip again—making it three strips in all with the centre corner held on top of the stack under the ball of the thumb. Diagrams 3 and 4 showing first and second tear and Diagram 5 showing enlarged view of the stack after two tears—the centre corner being marked with a cross.

(o) Turn all the strips sideways keeping the centre corner under the thumb and on top, tear off two-thirds and stack again, as always, centre corner bits on top. Tear for the last time and stack as before. Diagram No. 6 shows the strips held sideways ready to commence the third tear. Altogether you have made four tears, forming nine sets of pieces, you have them all stacked in one pile and the very top piece is the folded centre corner.

~ Generally speaking, keep the hands open during the tearing process —and do it "at the fingertips". It takes very little time to do, when you know what you are doing, and you don't have U> look all the time. V

(p) Hold the pieces in one block at the fingertips (thumb and first finger) of the right hand. Keep the other fingers close together and gently curled. Face the back of your right hand straight at the spectator's face (which is the best guide to angles you can get) and with the left hand pull forward the ashtray. "Now I think we can burn them in here . . .

(q) You are about to perform the only hard move in the routine. You must "steal" the centre corner without him knowing it.

Look him straight in the face and say "have you got a match please —oh! never mind, I've got one here . . Timing is ESSENTIAL. As you ask him for a match he is distracted by the question and with half a second delay you follow up with the line "never mind . . As you say that, pinch the stack a bit pulling the ball of the thumb with the top section (centre corner) back a bit; take all the other pieces into the left hand—holding them at the fingertips, and quickly reach into your pocket with the right hand. Without any pause whatsoever, drop the centre tear into the pocket and bring out the matches and give them a shake. (See d).

(r) Drop the matches on to the table and drop all the pieces of paper into the ashtray. Brush your hands together as though rubbing off some dust—to show them empty without saying "examine my empty hands . . . ." (See c).

(s) Strike a match and set light to the papers. As they begin to burn say to the subject "they might unfold as they get hot— so you burn them and tell me when there are ashes only left". Stroll away and turn your back. Put your right hand into your right trouser pocket and do what is called the "umbrella move". That is, slip the thumb into the folded Billet and push it open. Hold it in the fingers (there is no call for palming) and bring it out. Cough and cough again; on the second cough, bring your hand up to your mouth and on the way down with that hand, look into the palm and read their word. If it should be upside down, drop the hand to the side, twist it round and repeat the cough-move. (t) Never get flustered over reading the centre Billet. Take your time—

never do it as soon as you get away, relax, wait and be natural, (u) You have read their word—remember it. Drop the Billet back into your pocket and return to the table saying, "have you done that yet?" Make sure that most if not all of the paper is in ashes—tell them to use another match from the box on the table if necessary. Once the pieces are in ashes—the evidence of your trickery is destroyed, (v) Ask the spectator to crush the ashes and to give you any one small ' particle of ash. Take it on your open palm of the left hand. Take another piece of paper and the pencil again. Tell the subject to put his fingertips on the ash—forming a complete circle between you, the ash and the spectator. This, you will say, creates the basic harmony required to establish psychometric vibrations or some such twaddle!

Tell him you are about to begin the experiment! Everything depends on his power to co-operate. Remind him that up to now test conditions have been imposed . . . "you chose any word out of many thousands, you wrote it down, folded the paper—tore it up and burnt it. All that we have is a small piece of ash to establish contact". You deliberately alter what happened as you remind him—and played skilfully, he will think back later and swear blind that at no time did you touch the paper, (w) "Now this may sound silly, but please do exactly as I say. Close your eyes and imagine that you are going into an empty room. There is nothing in that room excepting a blackboard. You go to the board and take a piece of white chalk from your pocket. Now write your word on that board—do it in your mind, only think of your word and write it in your imagination . . . Wait a moment and say, "have you done that?"

(x) Do not omit to say that last line, "have you done that ?" it is important. If not, you may write his word before he has done so in his mind and he will certainly tell you "I've not finished yet".

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GUMPS'IMG TViC

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GUMPS'IMG TViC

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Friendly Persuasion

Friendly Persuasion

To do this successfully you need to build a clear path of action by using tools if necessary. These tools would be facts, evidence and stories which you know they can relate to. Plus you always want to have their best interests at heart, in other words, you know what is good for them

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