T t r t ri i ra

Say "have you done that—the same wordV' This gives you a warning if he is a clever boy who waits until you write the word on his billet and then tells you "ah! but the word I wrote on the board was a different one . .

(y) Tell him, after the first attempt, that it is not quite right. "Do it again please in larger letters—keep your eyes open this time".

Look him straight in the eyes and holding the pencil in the right hand begin to print the letters of his Billet-word on your paper. Don't look down—it looks very good if you appear to be doing automatic writing. He will see your pencil moving but continue to stare into his eyes and he will still look at you. When you havet written his word, drop the pencil and cover the paper with the right hand. Say, "now will you please say what word YOU WERE THINKING OF —out loud please"—and as soon as he speaks, hand him the paper and say "and read that out loud".

(z) That is the complete routine. One trick—worth its weight in gold. Every detail is here, follow the moves carefully, practice it time and time again and in doing so, do justice to one of the greatest mental effects you can use.

(2) Centre Tear (Punx-Mier Variation)

Punx has some brilliant ideas and this is just a simple move, but such a move can make all the difference to a practical Mentalist. The word is written as normal and the Billet folded twice. The performer takes it and without the slightest hesitation licks it and sticks it, still folded, on to his forehead. Punx tells me the originator of the move is Mier.

Now the performer begins to give a reading. He sees lettdrs and finally a word. He names the first word that enters his head—but adds that it's "pretty vague".

If the spectator tells you that you are right—you faint! If not, say, "no, I knew something was wrong it was very vague—never mind, try again, write it again but write it backwards this time please because I get a mirror image when it works . . Take down the billet, tear it up and throw the bits away—and in doing so, perform the Centre Tear!! He thinks the billet is done with and pays no attention to your action but begins to write it out again. You read the Centre Tear and this time when he has re-written the word and folded his paper, say "will you hold it please to my forehead". Whilst he holds the billet in his own hands—you name the word!! The "offbeat" misdirection of this subtlety is so cunning and natural that it will fool magicians who use the Centre Tear. Such is the simplicity of the Punx move. In using this variation, since no burning is involved, I have found it a good dodge to refold the centre tear after reading and give it a couple of extra tears—then drop it amid the other pieces on the table. If the spectator should be a deep thinker he's going to find it disappointing when he finds ALL the bits on the table in the old pile!

Centre Tear (One Hand Variation)

From time to time during the performance of a Mental effects with Billets, you will find it necessary to hold a Billet in each hand, and yet one of them has to be used for the centre tear. With both in view at the same time this could present a cumbersome problem. However, this variation solves the problem and it will be found a clean and convincing version.

Several effects with Billets have made use of the Centre Tear Variation where the end on an oblong billet is torn off. Usually the move involved a two-hand operation; the Billet was held by the end in the left hand and it was taken in the right, the torn end being left behind as it was taken. This principle is made use of in Ron Baillie's "Universal Mind". That is the two-handed operation.

Discussing this matter with A1 Koran one day, he taught me a handling which to my mind is superior to the original handling and quite useful as it is a one hand tear—without any trouble and very little practice. A piece of paper is cut to size about two by six inches. The paper should be a brand that tears easily and yet is not too flimsy—as for example, ordinary duplicating paper which is ideal:—

(a) The folding of the billet by the spectator can be done erroneously. To prevent this, you pre-fold the Billet so that he will follow the creases made by you when he comes to fold. Fold the paper once in half long ways and in half again long ways. Then fold once in half so that the six-inch strip is three inches long. Open out the paper again and you will have creases in the position shown by dotted lines in Diagram No. 8.

(b) The next important thing is to be able to control where the spectator writes on a fairly large strip of paper. To do this, draw three circles, and with some suitable explanation, write your name in one of the end ones and his name in the other. The centre circle leave blank— that is where he writes his word. Diagram No. 9 shows the Billet ready to be given to the spectator.

(c) Have the spectator write in the blank circle a word, number, name, , etc. . . . and tell him to fold the paper when he has done that. Take the folded Billet from him and hold it by the fingers of the right hand just so:—Ball of thumb pressing the middle of the billet on to the first joint of the index finger. Centre tear section of the billet resting on the second joint of the second finger. Billet is seen sticking out

FIG 9. BILLET *EADY TO BE CfVEKI TO THE SPECTATOR .

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