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
Center Tear is brought to you by the letters C & T, and also by Arcane, Gardinski and 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!
� David Lang 2002
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! ;)
� Stan Alexander (Sandman) 2003
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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!!
� J. Onsloe 2003
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.
� Nicodemus 2003
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!
� Andy Hymen 2003
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 Ł32.49
� Sean Boon 2003
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 Ł18.95
� Lesault 2003
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