Center Tear Magazine 2 7

Center Tear is brought to you by the letters C & T, and also by Arcane, Gardinski and Lesault.

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Center Tear

the thinking persons journal

Volume 2 Xmas Special

December 2003

Many people worry that Christmas is becoming too
commercialised. Santa Claus has sold out. The marketing men
have taken over the world. It's all money, money, money!

So as an escape from the crass materialism of the holiday
period, we're giving you a special festive edition of CT,
focussing on a subject dear to our hearts... Notes and Coins!!!

Merry Christmas & Happy New Year

from

The Center Tear Staff

EFFECTS:

Euro Coins by David Lang
Shining Credit by Sandman
Moneybags by JonyO
Every Woman’s Gift by Nicodemus
Coin in Hand, Mentalist in Casualty by Andy Hymen

REVIEWS:

Building Blocks (by Luke Jermay), reviewed by Sean Boon
Double Deceptions of Burnside & Cameron, reviewed by Lesault

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Euro Coins by David Lang

Larry Becker has an effect in Stunners called ‘Kliptomania’ that has always intrigued me.

It involves divining the dates on three hall dollars sealed in envelopes.

Difficult to make this work with UK coins and Larry’s method uses an ‘out’ which was

designed to provide a humorous alternate climax. So here it is, my "no out" version,

which enables you to infallibly identify the nationality of three similar coins, sealed in

envelopes.

With the advent of the Euro, the patter ‘remember when each country had it’s own

coinage’ springs to mind.

What you need:

A magnetic 10p piece, three wage envelopes, an A5 envelope and a paper clip! You

also need to find two foreign coins, similar in size & appearance to a 10p piece, one

must be ferrous (attracted by a magnet) and the other non-ferrous (not attracted by a

magnet).

Not difficult to find such coins, the old one-Franc, some Spanish & Danish coins meet

the requirements.

The paper clip is not entirely innocent! It needs to be ferrous (attracted by a magnet).

You can buy paperclips that appear to be brass, but are actually plated steel in most

shops.

Use the paperclip to fasten the 4 envelopes together and introduce the coins.

Waffle on about how coins that have been in circulation for a while pick up vibrations

from their country of origin. For example, Spanish coins give off vibrations about sea,

sand & sangria. French coins fine wines, haute cuisine and blocking motorways with

tractors. You get the idea!

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Tell the spectator that you will shortly turn your back and he is to select any coin and any

wage envelope, place the coin inside, seal it and drop it into the large envelope. He is

the to select another coin & envelope and so on.

Remove the paperclip and retain it in your hand - no need to palm it! It’s a paperclip! It

held the envelopes together! Drop the envelopes on the table.

Make sure the spectator is going to follow the instructions properly. Tell him to “select

one coin. Now select one envelope”. There is a small danger of him scooping up the

coins, whereupon two will stick together.

Once all three coins are in the wage envelopes and all are inside the big envelope, you

can face the spectator.

Grab one of the wage envelopes and place it into the hand that is holding the paperclip,

directly over it.

One of two things will happen; either the paperclip is attracted to the coin, in which case

it’s the magnetic 10p, or nothing will happen, in which case its one of the other coins.

Whatever, you need to find the magnetic 10p. If you don’t get it first time, place the

envelope aside and take another, adjusting the patter accordingly and appearing

confused.

Once you have isolated the envelope containing the magnetic 10p, retain it in your hand

and write ‘English’ on the envelope, claiming to feel vibrations about roast beef, football

hooligans etc. Grab another envelope and place it on top of the one containing the 10p.

One of two things will happen: the coin in the second envelope will stick to the magnetic

10p, in which case it’s the Ferrous coin, or it won’t, which indicates the Non-ferrous coin.

You obviously have to remember which is which.

Patter on about the vibrations of the national psyche of the country of origin and mark the

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envelopes accordingly!

Hand the envelopes to the spectator one at a time for opening & verification. We don’t

want them stuck together do we?

There is a lot potential for humour in this effect playing blatantly on national stereotypes -

in a sensitive, caring way of course!

Shining Credit by Sandman

Here’s a little something that I had stumbled across years ago. While my library seems

to hold no reference to the idea, it seems so obvious that I suspect it to have been

thought of before. If it has, any info as to where would be much appreciated.

Effect:

A spectator is asked to draw a simple design on the back of a business card that you

pull from your wallet. The drawing is sandwiched between two other cards from your

wallet and secured between the spectator’s hands. After due theatrics, the design is

duplicated.

Method:

If you look at your credit cards, you will notice that they have a hologram on them. The

hologram acts as a wonderful impromptu shiner. In actual performance, I ask the

spectator to draw a design and place it face down on the table. In an effort to be certain

that I cannot see through the card, I pass the person a gym membership card (or other

wallet card that is not a credit card) to place on top of the tabled card.

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The cards are then picked up and placed by me on a second credit card that is in my

hand. As the two cards pass over the second credit card, you can catch a glimpse of

the design. Hand the packet back to the spectator requesting that he place it between

his palms. Since the only time you every touch anything is to add the third card, and at

that you immediately hand them over to the spectator, it becomes easy to suggest

through linguistics that the design is something you never touch.

For example, while holding the cards I might say “Could I ask you to hold this for us so

that I don’t touch it and you know that it is secure?” Of course having the person take

your credit cards lends to some comedy lines.

I find the effect to work best if the drawing is forced to be off center. In other words, with

the card the in a vertical orientation, I draw a TV screen with legs for the person to draw

the design in. This forces the drawing to be to one end of the card and makes the

glimpse much easier to catch. I normally nail nick the business end of the card so that I

will know which end to glimpse. I also recommend a thick tip felt pen. It may well bleed

through the card giving a reason for the other card being placed on top and the shiner

card to the bottom. If you want to avoid the bleed through, a Stabilo art pencil works very

well. Both the Stabilo and felt tip create a thicker line and are easier to see in the

hologram than a ballpoint.

The feedback I have had with this effect has been great and hope it works well for you

too.

I had used the idea of the full card at one point, but found that my cards dulled too fast.

Maybe that should clue me not to buy so much on them! ;)

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Moneybags by JonyO

Effect.

You ask your audience to bring with them a small plastic money bag and two indifferent

coins. You point out that written on the money bag in big letters are the words “NO

MIXED COINS.”

Taking the two coins from the audience (a pound and penny) you slowly place them into

the bag. The bag is sealed (strange seals on these bags eh?) and held at the fingertips

showing the pound and the penny inside the bag.

You then explain why they write “NO MIXED COINS” on the bag. Taking the bag by the

fingertips you press the pound into the penny and the penny is seen to visual penetrate

the plastic of the bag and fall on the floor. I can’t emphasise how visual this is: it literally

melts through the plastic.

Of course the snatchers go straight for the unprepared bag and examine it with all their

might!

Now before we go into the secret, I urge you to try this. As with all secrets there is a

sudden sigh, and then an urge to skip on to the next effect. If you do this you will miss

one of the most beautiful penetrations I’ve seen since I first saw that pencil fall through

the note in Mislead. This penetration however, is done very, very close up and very, very

slowly…………….

Method:

Some of you may have already guessed that a coin unique is used. However please

read on as this handling really makes for a kicker visual melt that will make your

audience’s eyes light up.

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First of all switch the coins you are given. (I’m not going to bore you with my version of

“quick look over there” whilst I squabble to do something Bobo wouldn’t be very proud

of!)

Part one: proper preparation prevents a piss poor performance.

Now here are the important parts before we start. The writing on the money bag will only

be on one side. You must have that side of the bag facing the spectator at all times.

This is so the melt stage looks right. You will also need a normal one pence piece that

sticks to magnets palmed in your right hand. (We are fortunate here in the UK that only

some pennies are attracted by magnets, this is a big bonus and you will see why soon!)

All left and right directions given will be as if you are looking down at your hands.

Part two: the loading

Drop in the bag the fake one penny and have it

seated in the bottom right hand corner. Hold the

bag at Fingertips. Swing the bag slightly to seat in

there minds it’s in there.

Now move to a position where you can lightly hold

the penny still with your right fingers as you drop in the pound. (We don’t want them

colliding!) Make sure the pound sits in the bottom left hand corner of the bag.

Now move back up to your original position holding

the top of the bag by the fingertips and show the

two coins hanging in the bag. A little swing of the

bag again here.

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Part three: I love misdirection

Now you are going to do a very bold move right under their noses. (OK, I’m starting to

sound like Richard Busch!) You are going to show them that the pound is in the bag,

and at the same time attach the regular penny you have palmed to the back of the

magnetic penny in the bag. (Get it? The real penny will be on the outside of the bag

facing you and the fake one inside. The real penny is held by the magnet of the one

inside the bag.)

Here is how it works: Grasp the penny with the right hand and cover it with your thumb.

Tilt the bag so that the pound coin is as low as it can go in the left corner. Now show

people the pound by holding it in the fingers of the left hand.

Now use your right thumb as cover and look down

as you attach the penny with the right hand fingers

under the bag.

People will think you are looking at the pound. They

will also be looking at the pound. However you are looking at the penny and making

sure you attached the real penny, to the outside of the bag flushly

(always wanted to make up a word.) with the magnetic penny. All

this time you are rubbing the pound with the left hand fingers to

show it’s in the bag.

Once the real penny is flush with the magnetic one, tilt the bag

down in the right hand corner direction to show the penny, left hand keeping the pound

from moving. You will notice (if you own a mirror) that you can hide the penny stuck on

the outside of the bag very easily. Again take time so they can see it’s inside the bag.

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Now bring the bag back up again with a little swing,

(I like these swings. It makes sure people believe

that the coins are in the bag.)

Part Four: the teleportation.

Now we are going to need to get rid of the penny in the bag, and this bit takes a little

practise.

You are going to hold the bag flat on both hands and explain that the coins don’t like

being in the bag at the same time. You are going to move the pound across to the

penny with your left fingers as clearly as you can inside the bag. At this moment the right

fingers grab the real penny under the bag and get ready to slide it to the left.

Be careful now. You can’t just sit the pound on the

penny it won’t work! You must release the real

penny behind the bag first. (Try it without releasing

the penny and the bag will just shrivel into the shell.)

So as the pound crosses the magnetic penny

towards the right in the bag, move the penny

outside the bag to the left with the right hand fingers.

Got that? Pound goes right, real penny goes left.

Once this move is completed you should have the

pound on its own inside the bag and the real penny

outside the bag stuck to the pound coin through the

bag… Is that clear?? You will have some of the

penny showing and all the pound showing. The

penny will hold even if it isn’t flush.

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Now it gets beautiful!

Part Five: you will kid yourself it’s really

going through.

So, explaining that the coins don’t like to be in the

bag together, hold up the bag again and give is a little swing. Even though one coin is

outside the bag it won’t look that way to the spectators who have been conditioned to

see this as a real setup.

You explain that, “given a little bit of time, they will start fighting. But let’s speed it up,

watch what happens if I push the pound onto the penny?”

Now you really need to follow this with bag and

setup as above because you won’t understand the

feelings I’m about to describe. So drop your Coin

unique into a money bag, stick a penny on the

outside of the bag attached to the pound and follow

this in your own hands.

I'm looking down at the bag flat on my hand. I can

see the pound and some of the penny protruding

from the pounds left hand edge.

Hold the bag with the left hand and hold the pound

with the right thumb. You are going to push the

pound coin down and put force on the penny.

At the same time you are going to stretch the bag down over the far left hand side of the

penny. Lastly as you are doing this you are going to start pushing the penny to the left

with the right hand fingers underneath the bag.

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You should start to see the penny pushing through the plastic. It will get to a point where

it will start to stand up and rise of the bag. It will do this very slowly. Milk it for all its

worth! As you continue pushing with your right fingers to the left and stretching the

plastic over the coin with the left hand it will melt through the bag and fall on the floor.

Now wait! Hold still, let the moment sink in, then

hand the bag (pound and all) to someone, bend

down and pick up the penny. As people are

looking at the bag, switch the penny for one that is

not attracted by magnets. You must do this

because people are going to want to play with the

pound, bag, and penny in a few seconds.

Please try this its looks so good and it only takes 10 minutes to master

May you amaze many bank clerks with this one!!

Every Woman’s Gift by Nicodemus

Inspired by “ Delta Deck, Tony Binarelli, adapted using Ted Lesley’s ‘Teleport’

envelopes.

What I have here are twenty dollar bills that have been torn in half giving us forty half

dollar pieces. Now one of these pieces is unique. It’s different from the others. And your

job, should you decide to accept, it is to locate that unique piece.

Of course, I could have used coupons but I wanted to keep the men interested!!!

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The other day my wife and I were in the check out line at the grocery store. We had

about $200 dollars worth of groceries in the cart, and Mary says, “Be sure to give her the

coupon.“

I look and there a coupon totaling a discount of 62 cents! I said “Wa-Hoo! Let’s book

the cruise!”

What I would like you to do, “Sue”, is to choose which hand full of bills we will keep?

(At this point, you have divided the stack of bill halves in two parts and hold one part in

each hand.)

Right? Fine I will discard the left hand bills. O.K. “Anita” which handful shall we keep?

(Repeat the discard process until you have only about 3-5 halves in your hand.)

Now, “Liz” would you please come up here and select which of these few bills we shall

keep as our final selection? Good. Are you sure? Is that you final answer?

To eliminate the possibility of any Hanky Panky we will place your choice into a small

envelope which you will hold for us, alright?

(Bring out the Teleport envelope and slip the chosen dollar bill half into it and seal it

shut.)

Earlier today I ask “XXX” to hold onto an envelope for me. “XXX” could you please bring

that envelope up here for everyone to see? Thank you.

(This also plays very strong if you mail the pre-loaded envelope to someone that will be

in attendance!)

I have a confession to make… I told a fib… but it was a little one. There were not forty

dollar bill halves in that bunch that you ladies chose from. There were only 39 !

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Earlier today I removed one of those halves at random and slipped it into this envelope

that “XXX” has been holding since before we began. So what you were looking for in

your selection was the mate to the half that “XXX” has in her envelope.

Let’s see just how good woman’s intuition really is shall we?

Cut open the envelope that was just brought up and let “XXX” slide the half out to display

it. Now cross over and cut open the Teleport envelope and have the other guest display

it.

Select an assistant and have her do the division process to follow. The selection of this

half is done by dividing the stack of halves in two, approximately 15 in each hand. Then

ask another lady to choose which handful to discard. Continue with a different lady each

time until only a single half remains. Make a big deal of never touching this selected half

by sealing it in a tamper proof envelope, to eliminate any chance of ‘hanky panky’.

Now show the audience you have a similar target envelope openly placed somewhere

else nearby. Retrieve that envelope & have it cut open and the half dollar removed.

Then cross over and cut open the other envelope, the one selected by committee, and

have that half dollar removed. Ask for the last three digits of the serial number, and then

have the halves physically matched up. Exact match!

Give a small gift to the women that helped.

Coin in Hand, Mentalist in Casualty by Andy Hymen

Effect:

A participant is asked to select a coin from their pocket, place both hands behind their

back. Have them choose to put the coin into either hand and then bring both fists out in

front closed tightly. After much physical and mental exertion, the correct hand is divined.

This effect can be repeated as many times as you and your participant can physically

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stand.

Method:

Before I divulge an incredibly diabolical secret based purely on science, I would like to

make it clear that this effect is really a lesson in developing your own performance

character and personality. I hope that you enjoy reading this and can learn valuable

lessons from this short essay.

The participant really is chosen at random. It really is their coin. There are no switches,

and no special devices hidden upon your person. This effect is almost self-working!

The participant has joined you on stage and has placed the coin into one of their hands.

They are instructed to keep very tight fists and bring them out level in front of them.

“Sir/madam, there is a 50/50 chance that I could simply guess which hand you have

placed the coin into, correct?”

“You may have played such a game yourself as a bet. You may have seen this

performed on television by gamblers, psychics or other types of thought-readers.”

(“Hmm, and I am thinking that the person on your mind is quite short.... Not small but just

below average height... hmmm I’m visualizing a goatee beard...? Never mind, let’s get

on!”)

“Just pull one arm back, so that it is still level with my eyes but bent at the elbow....”

“I’m still getting this influence from this other person... he did this effect, didn’t he?!”

“He has his own TV series doesn’t he? …He’s richer and more famous than me, isn’t

he? ... His presentation is quite something, isn’t it? hmmmm.... keep those fists tight!”

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“Now, I’m just going to lean forward.... repeat after me: ‘You are not Mr. Brown, you are

an individual... you are not Mr. Brown you are an individual...’, and bring that retracted fist

forward quickly!”

Bang! Smack! “Keep repeating it: You are not Mr. Brown, you are an individual!”

“Now the other hand! Keep chanting…”

Using all your formidable powers of perception, pay careful attention to the sharp

throbbing in your skull. See if you can detect any telltale fractures. Terminal migraines

caused by shards of bone splintering off and burrowing into the brain are always a good

indicator. Whichever side hurts the most has more weight behind it, and that fist must

therefore contain the coin!

You can repeat this as many times as you like!

* In the interest of lawsuits, please do not attempt this effect in public!

Enjoy your Christmas!

REVIEWS:

Building Blocks by Luke Jermay

reviewed by Sean Boon

An eagerly anticipated book by Luke which appears to be one of very few written

specifically on the subject of suggestion and the uses of it for enhancing or creating

effects.

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This is Luke’s first hardbound volume and as such carries the mass of over 140 pages.

I will therefore discuss the book in a concise manner although presented as an overview.

There is simply so much information within it!

The book is written in two parts, the first being theory and the second being some 14

effects or thoughts on effects which use suggestion.

Part one contains a foreword by Steve ‘Banachek’ Shaw, which is inspiring stuff itself. If

you do not own any of Banachek’s work, I urge you to buy his products: a whole new field

of possibilities will open up to you.

Luke begins this journey by defining suggestion use in routines and explaining a ‘rule’ he

uses called the ‘definition = creation’ rule. This formula is the basis of creating many, if

not all suggestion based routines. The fabulous ‘Power of silence’ essay, which

featured in a previous Center Tear, is also included in its entirety for you to wonder over

as you realise that new ways of thinking already open up to you.

The next part in this section is what I consider to be the most important aspect in

suggestion routine structure, ‘Convincers’. Luke discusses how they can strengthen

your initial suggestion and guide your participant down a certain route into its goal.

There are five different methods of using a convincer that really will affect how both

audience and participants perceive your routines, although I do feel that a couple of

them could have been discussed a lot further than they were.

The title of the book is ‘Building Blocks’, and this is the method Luke uses for

constructing routines. Each aspect discussed is seen as a block and the next part

shows you how routines and patter are structured using those previously mentioned

techniques as the blocks.

As the first half of the book draws to a close, Kenton Knepper provides a wonderful

essay, which would not look out of place in his publication ‘Miracles of Suggestion’.

However, fortunately for us it also fits into the book rather well. It also serves as a quick

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reminder of all that is discussed previously.

At last we move on to the effects. Included is the remarkable ‘Divided by Hate’, which

as you may recall was also featured in the last issue of Center Tear. If you perform

bizarre magick or any kind of storytelling magic, I really would suggest you take a look at

this routine.

There is a positively brilliant Voodoo style routine that has gone straight into my act:

incredibly strong and in the right circumstances could evoke some emotions. When you

read through the effect, a couple of methods spring to mind, but Luke has this habit of

turning things upside down and giving you a kicker.

Luke’s book test routine, (which itself is quite fine, although you may need to put in some

hard graft for preparation), includes the ‘bubble pop’, a rather nifty idea of causing a

participant to feel a thought actually leave their mind as you receive it! Really nice, and

applicable to a lot of other routines too.

Luke also takes risks with old classics as well as new effects: pseudo-psychometry with

business cards and a touch of suggestion; ‘Out Of This World’, a fine effect itself, is

given the Jermay treatment; and he has an ESP test which will blow you away when you

find the right moment to perform.

Which is where the book comes to an unfortunate abrupt end, discussing the ‘when and

who to use’. It is a shame really as the book is really fine: a lot of great thinking which

you know will work! It is only very slightly marred by a couple of points not being

discussed further and the end of the book coming a little too quickly, although it may just

be me being a little niggly and wanting to learn so much more about this area of

mentalism.

If I were to score it in percentage, I’d give this book 90%. I really like it: it’s a great read

over and over. There are some wonderful routines, plenty of ideas to get you thinking,

and so much to learn and discover for yourself.

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An Alakazam exclusive priced £32.49

The Double Deceptions of Harry E. Burnside & Charles W.

Cameron

By Karl Bartoni

reviewed by Lesault

Printed as a limited edition of 75 copies to raise funds for the Charles W. Cameron

Memorial Plaque which was recently erected in Edinburgh, this 40 page comb bound

book contains a number of effects drafted in the early seventies by Charles Cameron

and Harry Burnside. Cameron and Burnside had intended publishing 'Double

Deceptions', but due to illness they were unable to complete it before Cameron's death

in 2001 and Burnside's shortly after. Karl Bartoni had been given the notes for the book

by Cameron and he edited and compiled Cameron's notes to produce the book.

The book begins with a short but interesting biography of Cameron and Burnside along

with a few photographs of the pair performing and of them discussing their act, followed

by a foreword by Cameron and Burnside themselves.

The seven effects are very clearly described. Along with the methods there are often

included variations, refinements and alternative presentations. In my opinion, a couple

of the effects are a bit dated, but can easily be brought up to date. The methods are

perfectly useable today, indeed 'The Sixth Sense' which is an ungaffed book test went

straight into our double act with a couple of tweaks to make it fit our style.

The parts that I really like are the 'test conditions' effects such as 'Telephonic Telepathy'

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where one performer is removed to another room and kept under guard, a participant

freely chooses an ESP symbol. He phones the other room where the phone is first

answered by one of the guards to ensure no code is passed by the performer before the

'medium' is given the phone. The participant asks in his own words what symbol was

chosen and the medium answers correctly. This could be done impromptu now that we

have mobile phones.

The effects:

•

The Sixth Sense - Ungaffed Booktest (2 person - could be done by 1 person

though)

•

Prediction by Reverse - Card Prediction (2 person)

•

The Witch, Fakir and Magician - Synchronicity / Mind Control / Par Optic Vision

•

Flying S'auc'ery - UFO themed prediction

•

Clip Change - Card Switch

•

One Thought From Many - ESP with playing cards (2 person)

•

Telephonic Telepathy - Test Conditions ESP (2 person)

Cameron and Burnside had planned a second part to their book which would have

included effects and methods as used in one of their full program acts - they intended to

include 'reminder scripts' with this. Unfortunately, all that was written were the reminder

scripts. Karl has reproduced these on the same type and size of paper as Cameron

and included them free with 'The Double Deceptions of Burnside and Cameron'.

If you are part of a double act, you should definitely have this book - there has obviously

been a lot of thought put into the routining of the 2 person effects. Even if you work

alone, there is something here for you too.

Available from Karl at www.dragonskull.co.uk for £18.95