AL SCHNEIDER ON COINS BY AL SCHNEIDER
Initially Edited by John Braun Photography by John Ghastin Initial Cover by Frank Tougas Published by Al Schneider June 1975 Electronically published by Al Schneider Feburary 2004 Copyright 1975, 2004 Al Schneider
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TABLE OF CONTENTS
FORWARD .......................................................................................... 4 INTRODUCTION .................................................................................. 6 CHAPTER ONE: SIX PROPERTIES OF DECEPTION .................................... 7 CHAPTER TWO: VANISHES ................................................................ 11 SCHNEIDER VANISH ....................................................................... 11 SCHNEIDER CLASSIC VANISH .......................................................... 15 SNAP BACK VANISH........................................................................ 18 FINGER CLIP VANISH...................................................................... 19 CHAPTER THREE: MISCELLANEOUS MOVES ......................................... 22 POP-UP-COIN MOVE ....................................................................... 22 TWIRL LOAD.................................................................................. 26 HAND LOAD................................................................................... 29 CHAPTER FOUR: COINS ACROSS........................................................ 31 QUICK SILVER ............................................................................... 31 QUICK CENTAVOS .......................................................................... 36 CROSSED CARDS I ......................................................................... 41 CROSSED CARDS II ........................................................................ 48 CHAPTER FIVE: COINS THROUGH THE TABLE....................................... 55 THREE HALVES THROUGH ............................................................... 55 QUICK SHOT ................................................................................. 61 CHAPTER SIX: BOX ROUTINES ........................................................... 64 ONE HALF GONE ............................................................................ 64 SOC II .......................................................................................... 68 CHAPTER SEVEN: HANK BITS ............................................................ 80 ONE COIN THROUGH ...................................................................... 80 COIN GROWTH .............................................................................. 82 CHAPTER EIGHT: HEAVY MANIPULATION............................................. 87 DYNAMIC COIN .............................................................................. 87 TRI-VANISH .................................................................................. 91
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FORWARD
As you can see from the title page, this book was initially published in 1975. About 1000 copies were sold. A second printing was done of another 1000 books. Eventually most of them were sold. Orders came in from all over the world. This included India, Japan, Germany, France and even Russia. Part of this book was translated into French. Since going out of print, copies of this book have been sold for many times the initial price of $15. At the time this book came out, $15 was considered very high for a book this size. Several times this book has been offered on ebay and scooped up by those that value its contents. I know this for occasionally I get email from someone telling me the book is on ebay. Several times over the years I have been asked to republish it. I have hesitated for several reasons. Rewriting always seemed a daunting task. Some of the material has been improved over the years and I feel guilty putting out something that has been changed. Those that have pressured me into doing so claim that these are not problems. Eventually I decided to put it into electronic form. The book has not been changed other than some grammatical corrections I have noticed. The pictures from one of the original books were simply captured with a digital camera and inserted into this copy. In a sense this has been an effort to capture the feeling of what was done back in 1975. As I have reread the material in the process of checking for errors, I see there are a lot of good ideas that I have forgotten. I have come to the conclusion that this still is a decent work. Occasionally I have offered suggestions and expressed a few ideas that I just could not hold back. At the time this material was produced, I thought it was simply some cute stuff that other magicians might be interested in. As the years have passed I have come to see that this material has revolutionized coin magic in the world. One might consider the work you have in front of to be a bridge from the material in Bobo’s Modern Coin Magic to the plethora of coin magic that surrounds us today. Indeed, during my travels around the states and the few times I have been to Europe, I have seen those that are regarded as masters of the coin using the material in this book. When I watch many of them, I see their hands held as the pictures in this book depict. I have asked a few where they got their material. Sometimes the answer is that they developed it themselves. Since they are often 25 years younger than myself, I smile.
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However, they might have a point. To master this material is a task. To really master it you must make it your own. So, as you pick up this book or click on a mouse button to view it, you are beginning a journey. Welcome to the world of coin. Al Schneider
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INTRODUCTION
The focus of this book is coin manipulation. While most effects use normal coins, there are a number of items using gaffs. The book begins with a presentation on theory. The idea behind this is that little can be accomplished without some understanding of what is transpiring in the minds of the spectator and the magician. Then, in the next couple of sections, moves basic to the performance of many effects in the book are presented. This book attempts to be self-contained, not requiring the reader to refer to other books to understand some aspect of the routines presented. This book, does however, assume some reader knowledge. This book does not explain basic palms, for example. Then, the meat of the book delves into the presentation of many classic areas of magic. These are: o o o o o
Coins Across Coins Through Table Box Routines Handkerchief Routines Straight Coin Manipulation
As always with my writing, there is an effort to fill in many details as the effects are presented. Indeed, many readers seek these details regardless of what the core material is about.
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CHAPTER ONE: SIX PROPERTIES OF DECEPTION
What makes magic, magic? You buy a trick, show it to someone, and they are fooled. That, anyone of us can do. However, as in most crafts or arts we want to be better. How then does one proceed? Well, we must develop a theory or a store of knowledge or at least some sort of list of what to do or not to do. What follows is a theory of magic developed by AL Schneider. It is not complete, and quite possibly has faults, but it seems to work. At the present time it is the result of fifteen years of studying magic. When these theories are taught to people relatively new in magic they seem to develop into competent magicians. So, here is the list. 1. 2. 3. 4. 5. 6.
Mechanical Sleight-of-hand Misdirection Body Language Intention of Reality Intention of Magic
To be sure, there is no clear separation between each of these as one is dependent on the other. However, let’s look at each one as if it were separate, to better isolate a thought. I. Mechanical Deception The most easily understood. This is the elastic pull or the trap door in the table or the flap on the slate. In short, this includes apparatus constructed in such a manner as to achieve deception. II. Sleight-of-Hand This is deception achieved without special apparatus but relying upon the hands to hide and make things appear, as they are not. Palming coins and cards or other small objects or switching one object for another with only the hands are in this category. III. Misdirection The ability to cause the audience to view one action while another action is executed unknown to them is misdirection. It can be further subdivided into the following;
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A. Misdirection by repetition. Some natural action is repeated often during a performance. At perhaps the fourth time the action will go unobserved. B. Two point misdirection. Doing something with the right hand for the audience to watch while the left is busy with a move necessary for deception. The audience looks at one point while the deceptive act occurs at another point. This is the most accepted type of misdirection. C. One point misdirection. Deceptive action occurring at the same point and time as audience observed normal action. This occurs when a handkerchief is placed openly into a pocket. D. One point in beat direction. This is the above type of misdirection applied to sleight-of-hand. The hands move with jerks, stops, and starts. Muscles are contracted and relaxed. One point in beat misdirection involves having the sleight-ofhand deception; muscle movements match the same beat or timing of the real normal action. That is, every time a muscle contracts for a deceptive move, a muscle also contracts for a move apparent to the audience. This way the audience will be totally unaware of the deceptive move. IV. Body Language Body Language is the study of normal actions of the body in moving objects around and the influence of those actions on other people’s thoughts. With knowledge of Body Language we can intelligently mask sleight-of-hand motions. We can also use Body Language to attract attention to where want it, or remove attention from where we don’t it. A list of important items used in deception is: A. Question the spectator while doing a critical move. His mind goes into a spin. His eyes watch, but his mind will not be aware. B. Lean forward to attract attention to something. When the result of the trick is displayed, lean forward so the audience will be more aware of something happening. C. Lean backward in your chair when you want to remove attention from you. When you do a magic move, lean back.
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D. Eyes generally lead the action of the hands. When you pick up a pencil, your eyes first find it. Then as your hand reaches for it, your eyes move away to the next item. The eyes won’t leave, however, if the object requires some balance such as a full glass of water. E. Tenseness in the shoulder and elbow is often a give away that that hand palms something. The audience is subconsciously aware of a tense shoulder or elbow. F. Normal voice should be maintained during a sleight. Many performers will stop talking while they do a move. Here, good patter is important so you won’t have to think while you talk. G. Speed of action is very erratic during normal motion. Normal motion has many starts, stops and changes in action. Also, the speed of the hands goes from fast to slow. To go too fast at the wrong time or too slow at the wrong time can attract unwanted attention. H. Eyes watching the action of the hands generally attract attention to the hands. I. Production relieves attention. When something is magically produced, the audience’s attention is not on you but on the item produced. J. A vanish builds attention. They are watching you, to determine where it went. V. Intention of Reality This is the act of mentally creating the appearance of reality to the audience to see some occurrence or thing. You also intend yourself to see that same activity as real. If your intention is strong enough you will behave as if you are doing what you intend to be doing. Then all the Body Language techniques given above, plus more, will fall line. Intending is not pretending, acting, willing or believing. For example, pick up a pencil. You can will yourself to pick it up also. But, it only gets picked up when you actually intend to do so. Hence to make something real, intend it to be real. VI. Intention of Magic Intention of magic is the opposite of the above, but follows. If the audience believes some situation to be true, but is not, you can do magic by showing the actual situation. As you do, your body language should reflect a feeling that you are accomplishing the effect at that moment. That is, you intend that magic is happening. Let’s make a coin disappear:
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A. You somehow intend a coin to be in your left hand. B. To make it disappear use intention, making it vanish. C. While intending it to disappear you body language should reflect effort of the task. D. Then open your hand to show the coin gone Intention of magic locates in time the occurrence of magic. Hence, the time you actually did the deceptive move is not located in time by the audience. The material that follows in this book is a product of the above concepts. One-point-in-beat-misdirection as applied to sleight-of- hand is by far the most outstanding factor in this book, followed by a study of the actual motion of the body parts in moving objects around. In the text of this book reference will be made to this idea of intention. If your hand is empty but the audience is to believe a coin is there, the text will refer to it as the intended coin. Further, when some magic is to occur, the text will say, “intend the coin to do whatever.”
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CHAPTER TWO: VANISHES
SCHNEIDER VANISH This vanish is simple, powerful and embodies the principles presented in the previous chapter. It embodies intention of reality, a very good demonstration of body language and one point in beat misdirection. The Schneider Vanish is a unique vanish. It can be done surrounded. It can be done with anything from a coin, to golf ball, to egg, and it is virtually perfect as often the spectator “sees” the object fly into the other hand. Indeed even magicians who do it and watch other magicians do it; still see the object fly though the air. Some magicians have accused me of sleeving the coin when all I did was this vanish. It requires little skill as the only movement required is the thumb changing position by one inch. Part of learning this vanish is the requirement that the performer learn exactly how a coin is actually transferred from one hand to another. That is, you must study something you have been doing all your life. (Author note: 2004 update.) At one time I offered magic lessons to other magicians at magic conventions. These people saw this vanish and wanted to acquire the ability to do it. During the lesson I would present the principles you see before you. As the lesson advanced I could see that the student was becoming very dissatisfied. After going through this experience several times, I eventually discovered what was going on. These people wanted to cause a coin to disappear like I did. When I began having them put their mind on a coin in their hand, and study what happened when a coin actually fell from one spot to another, they felt cheated. They wanted to learn moves. Possibly they wanted to learn moves that no one else knew. The truth is that there is no move involved other than that of the thumb moving but an inch. The move is in the body motion that actually requires no skill what so ever. So, let’s take a look at the body actions. What do the hands do when a coin is moved from one hand to the other? Display a coin lying on the right hand. With the coin lying there you may say something about it. For example, “Everyone knows money doesn’t grow on trees.” When the action begins, the left hand and arm are in a dead position, relaxed, hanging at the side, or perhaps resting on the table. Both hands start towards each other at the same moment. The left turns palm up to receive the coin: the right turns palm down to drop the coin. Both hands will 11
stop at the same time. The right will be above the left by about 1 to 2 inches. The right is, of course, palm down, and the left is palm up. These first actions have started quite suddenly and ended just as suddenly. The coin in the right hand has “gone along for the ride” until the hands come together. When the hands stop, the little guy falls from the right hand onto the left where he is really startled because the left hand snaps shut around him like a bear trap. While the coin is falling through the air and while the left fingers are snapping it up, the right hand has remained perfectly motionless. Also the left fingers close under the right hand. When the left hand has secured the coin within its grasp, it moves to the left very slowly and up a bit as if to show the spectators where it is. As soon as the right hand realizes the left has secured the coin, the right falls limp and drops to the side, or to the table, like a dead fish. If we incorporate the above actions when vanishing a coin, we should convince the spectator we have actually moved the coin. The main points in the above actions are: 1.
The left began from a rest position.
2.
The right hand was dead still during the actual moment of transfer.
3.
Then, after the transfer, the right hand falls to the side like a rock.
Now, we move on to the Schneider Vanish. The moves are exactly the same as the description just given, except that when the coin is about to fall, the thumb holds it against the fingers. As the right hand turns palm down, the right thumb moves about an inch to hold the coin. When the right hand is apparently dropping the coin, the thumb side is away from the audience so the audience doesn’t see the thumb bent under and holding the coin. Since the coin was originally in finger palm position the fingers can curl slightly palming the coin as the hand drops. Magicians are impressed with the disappearance but at first explanation they do not believe I simply hold it with my thumb. The mechanics of this vanish are so very simple that one can devote all of their effort to the subtle actions I have been talking about. The beauty of it is that, when correctly performed, there seems to be a visual retention of the coin going into the left hand. Every magician I have taught fools me with it. When I see someone I have just taught how to do it, I swear I see the coin go into the left hand. 12
Let’s go over the sequence of actions. Begin with a single coin. A half dollar would be fine. 1.
The coin is lying on the right hand in a display position. Note the coin is in exact finger palm position, (Fig.1). The left hand is relaxed; the arm is hanging at the side or resting in you lap, or on the table if you’re seated.
2.
Now two actions start at precisely the same time. The right hand moves toward the left, turning as if to dump the coin; and the left moves up from rest position, its palm rotating upward to receive the coin when it falls from the right, (Fig. 2).
3.
Next the right hand turns to dump the coin; the thumb presses the coin against the fingers preventing it from falling, (Fig. 3).
4.
When the left is about two inches directly under the right, the left hand snaps shut as if it caught the coin, (Fig. 4). Very important: the fingers close under the right hand. At this point all actions stop. All actions began with a sudden start and ended with the same suddenness. Although action comes to a complete stop, it is only for an instant. Two new actions are quick to follow up.
5.
The left hand rises about three inches turning palm down, the right hand drops to the right side, or table, palming the coin, (Fig. 5.) Again, all actions begin at the same time, but now they do not move with the same speed. The left hand moves at a slow speed, and the right falls quickly. To the audience, its job is done, so the right hand falls very limply to the right where, if standing, the arm will swing slightly before coming to a complete rest. Don’t stop the swing of the right hand when it falls to the side. When the arm stops cold, it is a dead giveaway to the audience that something is wrong. At the table however, the right will fall dead on to the table. The right hand does slow down just a bit before it strikes the table to prevent a loud bump.
6.
Now that you’ve apparently tossed the coin into your left hand your job is not over. With your mind, place an intention of the coin in your left hand. Just for a second; then squeeze your hand a bit as if crushing the coin. Mentally use intention of magic to cause the intended image of the coin to disappear. If you do this, your body will do something indicating to the audience something has happened to the coin. You might frown just a bit; your gaze at your hand might become intense. Everyone will look different but because you are 13
using intention of magic to make the coin disappear, you will appear to the audience as if you are doing MAGIC! Since you have intended the coin to disappear you can relax and show your hand empty. Job well done! The main points of the Schneider Vanish are as follows. 1.
Left hand starts from rest position.
2.
Both hands start moving toward each other at the same time.
3.
The right stops above the left, palm down, apparently allowing the coin to fall.
4.
The right stops and waits above the left while the coin falls and while the left fingers close around the coin.
5.
The left fingers close under the right hand.
6.
At the moment the left hand fingers stop closing the right will not have moved as yet.
7.
Then they move at the same time.
8.
The right drops like a dead fish.
(Author note: 2004 update.) This method of causing a coin to disappear is unique to Al Schneider. The primary concept presented in this move is that the receiving hand’s fingers close under the hand dropping the coin. This method has been described in a number of books without being credited to this author. There was a book published and sold widely to the lay public. That book presented this method. The line drawings appeared to be made from the pictures in this book. The hands could have been mine.
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SCHNEIDER CLASSIC VANISH This vanish evolved in an attempt to solve some problems with the Schneider Vanish. Often in my coin work I must vanish a coin, then immediately pick up something with the hand that palmed the coin. The simple finger palm was sometimes a bit awkward. The Classic Palm however, allowed the hand to move freely, so I took a look at it. The vanish which resulted duplicates the real motion of a coin moved from one hand to another. Of course coin vanishes wherein the coin ends up in the Classic Palm have been around for a long time. The problem with them was that there was always an extra motion in moving the coin to that position. This violates the one-point-in-beat misdirection principal. Then in other vanishes utilizing the Classic Palm the motions were not real, hence violating good body language. In this vanish, the coin is always displayed in the Classic Palm position on the open right hand. The right hand turns palm down apparently allowing the coin to fall to the fingertips. Actually, the coin remains in the Classic Palm. The intended coin at the fingertips is then dropped into the left hand from which it apparently disappears. There is never any finger motion revealing that the coin is moved, as it simply never moves! Let’s go over this in detail with pictures.
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1.
To start off we must get the coin into the right hand in Classic Palm position. I do that by picking up the coin from the table with my right hand. Just after the coin is raised from the surface, while my hand is palm down, the fingertips press the coin into Classic Palm. Be careful not to allow thumb to stick out away from the hand while moving the coin to palm position, but hold it along side the hand. Once the coin is in the Classic Palm, turn the hand palm up, relaxing your grip on it. Now all you need do to palm the coin is to close down on it as it is in perfect position, (Fig. 6).
2.
Begin the vanishing action by rotating the hand palm down as if to drop the coin to the fingertips. As the right hand turns palm down, the fingers come up and press coin into a solid classic position, (Fig. 7). The finger motion seems to suggest the coin has moved to the fingertips. (One-point-in-beat-misdirection).
3.
Then straighten the fingers of the right hand slightly as if the coin were at the fingertips. Note that all four fingers of the right do not curl around the intended coin, but only the two middle fingers hold it. The first and little fingers relax, being a small distance away from the intended coin, (Fig. 8).
4.
Now the left hand turns palm up to receive the coin from the right, (Fig. 9).
5.
The left hand closes as the right hand relaxes, (Fig. 10). Note that the fingers of the left hand close under the fingers of the right hand. The right hand just relaxes; it does not spread wide open. During this action use intention of reality to make a coin apparently fall through the air. Also when the left hand closes it must snap shut. I mean it must really snap shut fast. If that hand closes slowly there will be no illusion that a coin fell into it. (Author note: 2004 update.) This manner of using the Classic Palm to do a vanish move is original with Al Schneider. This point of closing the hand under the hand dropping the coin, is a very critical point. It is more than critical. It is the essence of the move. Dr. Rubinstein in his DVD’s and tapes presenting an encyclopedia of coin moves does not recognize this aspect of the move. He presents this vanish calling it the Schneider Vanish using the Classic Palm. In that tape, he drops the coin to the fingertips, as above, but puts the intended coin directly onto the palm of the receiving hand. The fingers of the receiving hand are then surrounding the fingers of the hand dropping the coin. This is a major, major error. 16
It violates all of the concepts I have struggled to develop during my entire life. 6.
At this point the hands are temporarily not moving. Then, the right drops to the table while the left turns palm down. (Fig. 11).
Quite often during step 5 when the coin is supposed to be falling through the air there is open space between the hands. Most magicians say, “The spectator can see that nothing has fallen.” If all actions are performed naturally and with correct intention the mind of the spectator fills in the missing coin. Indeed, the spectator actually “sees” a coin fall when in fact, there is none. To learn to do this vanish well you must practice two things. First, the classic palm, and second, the real actions you intend to imitate. These must be rehearsed over and over. You must actually take the coin in the right hand, and then place it in the left. As you repeat the actions, notice how the left is relaxed the moment before it is to receive the coin. The left hand will snap shut when it receives the coin and the right fingers won’t open wide when the coin is dropped. They’ll separate just enough to allow the coin to fall. Note that when the coin actually falls, the hands are about one inch apart. Don’t forget to memorize the speed of the hands when they are in motion, especially when the right hand drops after the apparent transfer.
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SNAP BACK VANISH The snap back vanish is a novelty vanish which I use only occasionally. It has powerful visual retention capability. This vanish is very useful when not doing some serious kind of magic routine. Use it for an interlude where the audience perceives that you are just playing with your magic ability. 1.
Hold the coin about chest high. The coin is primarily held by the first finger and thumb. The second finger should be touching the coin, (Fig. 12).
2.
The left hand fingers move in front of the coin, the thumb going behind the coin, (Fig. 13).
3.
Just as the left hand closes down on the coin, the second finger of the right hand slides the coin from the tip to the side of the thumb, (Fig. 14). Figure 14 does not show the action well. The coin is sticking past the left side of the right thumb. The coin has been marked white in an attempt to show where the coin is. The motion is very quick and sudden. The left hand closes down on the intended coin image. Note that the second finger must extend a bit to get a good grip on the coin. This task is a bit easier if the coin is tipped toward the audience a little so that gravity is pressing the coin against the second finger somewhat.
4.
The left hand moves away closing around the intended coin while the right drops to the table. An important point not shown in the figures is that after the coin is apparently taken from the right hand; the right first finger and thumb remain extended. The illusion is that the left hand removed the coin and the right hand has not changed. The back of the hand is turned toward the audience, (Fig. 15). The major problem with this vanish is, that after the execution of the move, the coin is sticking out of your hand toward your body. This is not clear in figure 15. In that figure the round shape beside the thumb at the 18
bottom of the picture is the coin. For this reason the right hand is turned in, toward the body after the vanish is executed.
FINGER CLIP VANISH Well now, I just pulled out my copy of Modern Coin Magic by Bobo to find out where this vanish came from. It’s not in the book. At least it is not under vanishes. I don’t know where I got it. I suspect I developed it along the way or someone showed it to me. I have been doing this vanish since back in 1961. It’s the first decent vanish I mastered. It has a few problems. First, it leaves you in an awkward position. Your hand is contorted with a coin in finger clip position. There isn’t much you can do with it except lap it. An alternative is to move it to Classic Palm position, but that requires movement. Fortunately, the effect for which this move is used, “One Coin Through,” depends on the coin being in finger clip position so all works well. Another problem with this vanish is that it does not obey the "one-point-in-beat misdirection" principle. That is, it takes more hand movements to vanish the coin than it does to naturally place the coin in the hand. Here are the steps to accomplish the move. 1.
Hold the coin at the fingertips of the right hand. The coin is held with the first finger and thumb; the second finger is resting on the coin; the side of the third finger is below the coin and touching the edge of the
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coin, (Fig. 16). 2.
The left hand turns palm up. The right hand moves toward the palm of the left hand until the coin touches the palm, (Fig. 17).
3.
The fingers of the left hand close until they touch the back of the fingers of the right hand, (Fig.18). Do not steal the coin until the left fingers have closed to form a shield for the right hand.
4.
When the left fingers have formed a shield, the right hand second and third finger move forward a bit to clip the coin. The first finger and thumb do not move, but allow the coin to be pulled from their grasp, (Fig. 19).
5.
The right hand second and third fingers curl toward the palm with the clipped coin, (Fig. 20).
6.
The left fingers close over the intended coin as the right hand moves away with the coin in clip position, (Fig. 21).
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CHAPTER THREE: MISCELLANEOUS MOVES
POP-UP-COIN MOVE This sleight allows you to apparently place two coins into your hand, one at a time. The spectator believes they see both coins fall into the hand, whereas only one falls. This move is basically a sponge ball move that appears in the Tarbell Course on magic, and also like the basic sleight from "Three Ball Transposition," a beautiful effect from The Dai Vernon Book of Magic. In this handling, coins instead of sponges or balls are used. As a coin move, it is not new to the magic world. I have been told that Edward Marlo had it in print in the June 1965 issue of "The Linking Ring". I attempted to get a copy of it, but was not successful. So, what follows is my handling for the Pop-Up Coin Move. This move depends greatly on the preceding Schneider Classic Vanish. 1.
Begin execution with two identical half dollars on the table. Pick up one coin with the right hand, displaying it in Classic Palm position, (Fig. 22).
2.
Turn the hand over allowing the coin to fall into the fingertips, just as in the Schneider Classic Vanish except the coin is actually allowed to drop to the fingertips, (Fig. 23). As the coin is transferred to the fingertips, the left fist is raised a few inches from the top of the table, thumb side up.
3.
The coin is then placed on top of the left fist, (Fig. 24).
4.
After the right hand has moved away and come to a rest position on the table, the coin is allowed to sink into the left fist. The coin can sink two ways in preparation for the next motion. In the first way it is resting more on the index finger than the side of the hand. Open the index finger. The coin will follow the index finger until it tips and falls into the hand where it slips down, coming to a stop on the second finger, (Fig. 25). Now it is allowed to drop a bit lower, then the thumb closes over the coin, pinching it between the thumb and side of the hand. This is similar to a thumb palm, (Fig. 27). The second way is to place the coin on top of the hand nearer the base of the index finger so more weight is on the side of the hand. 22
Then the index finger is opened. Since the weight of the coin is more on the hand than on the finger, it will stick to the hand while the finger opens. As the index finger opens the coin will tip, falling into finger, (Fig. 26). Then the thumb closes against the coin holding it in thumb palm position, (Fig. 27). One of these methods is used to manipulate a double-sided coin. Then a double-sided coin, showing copper, and a silver coin can be placed into the hand. The audience then will see a copper and silver go into the hand. The result is that only the double-sided coin remains in the hand. You will see more of this later. 5.
The left hand is rotated palm down, (Fig. 28). The index finger is placed on the lower edge of the coin in preparation to push the coin up, (Fig. 27). The other three fingers are wiggled slightly to give the impression the coin is moved lower in the hand.
6.
The second coin is picked up with the right hand and displayed in Classic Palm Position, (Fig. 29).
7.
This coin is apparently dropped to the fingertips, as the hand is turned palm down. As in the Schneider Classic Vanish the coin is retained in the classic palm position.
8.
The right hand moves over to the left, (Fig. 30), apparently to place the coin on top of the left hand. (Author’s note, 2004.) Unfortunately the right hand in figure 30 is too far from the left hand. The right hand should be covering the two knuckles of the left hand so that when the hand turns, the right hand will cover the coin that is emerging from the hand.
9.
The left rotates to bring the thumb side up. As the left rotates, the left index finger pushes the coin up and the left thumb moves to the right, allowing the coin to Pop-Up and fall to the right, (Fig. 31 & 32). As the right fingers approach from the top they actually land on top of the coin, aiding its motion.
10.
Now the right hand moves away from the left. To the audience, a coin has apparently been placed on top of the left fist, whereas, the right actually moves away with a coin classic palmed, (Fig. 33).
Once the Schneider Classic Vanish is mastered, the Pop-Up sleight is quite easy. After I have taught this move to someone, they will often complain 23
about it being somewhat clumsy. When they do it, however, it looks very deceptive. This is a move, which can feel clumsy but will still look good in operation. I feel awkward when I do it, yet audiences are stunned at the effects it is responsible for. After having written the above move, practice was devoted to routines utilizing the Pop-Up move. I decided that the handling of the first coin was perhaps not sufficient for the move. When placing the first coin into the hand the spectator actually sees the coin only enter the top part of the hand, and then when the second coin is apparently dropped in, it also only goes into the top part. The astute observer will realize that there should be a coin there. There are two solutions to this problem. Here is the first which is suitable for regular coins. Once the first coin is placed on top of the hand, the left index finger opens, the coin sliding with it. As the first finger opens, the coin tips so it is sitting on the first finger but tipped downward and touching the second finger. The index finger closes a bit to cause coin to flip over and lie flat on the curled up second finger. Then the coin is allowed to tip off the second finger. The coin is apparently tilted deeper into the hand. The second finger then presses the coin against the inside of the hand and upward a bit moving the coin into thumb palm position. At this point the hand is closing and rotating palm down to get on with the routine. This sequence of actions creates the idea in the spectator’s mind that the coin has slipped deeper into the hand. Hence, the coin has apparently fallen deep within. The thumb finally closes covering the coin and inside of the fist. The other way to accomplish the same end is to actually allow the coin to slide to the bottom of the hand and allow the spectator’s to see this. Then after the hand is closed, the left fingers move the coin upward into thumb palm position. The moving fingers then create the illusion that the coin is moving even deeper into the hand. This would be appropriate for double sided coins and regular coins.
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25
TWIRL LOAD This is a move, which can be quite useful in routines with coins and cards. This move was an attempt to duplicate the card loading moves from Bobo's book. I have been playing with this move for about ten years. I had the move down well. Magicians would compliment me on the smoothness of execution, but there was something missing. The Body Language was not correct. Only recently I came up with an extra detail that really "makes" the move. I was teaching the move to one of my student's in my magic class. He asked a question about execution. Often I really don't know how my hands are actually doing something, so I had to dig for the answer. Well, in searching for the answer, I discovered something new. The coin that is loaded under the card must be lowered all the way to the table before releasing the card. Apparently when teaching the move to someone I neglected to point this out. At times I forgot to do this myself. When I incorporated this touch consistently into the move, the move flowed more, was easier to execute, and more deceptive. During this move a card face up on the table is turned face down. In the process a coin is loaded under the card, with very little motion to suggest that "something" has been done. In the following steps, as the card is turned over it will be placed on a coin which is visible to the audience. 1.
Begin with the card face up on the table, one of the long edges being parallel to your edge of the table. The coin is classic palmed in the right hand (Fig. 34).
2.
The right hand approaches the card from above. The thumb presses the edge closest to you while the second finger digs under the edge opposite you, (Fig. 35). The second finger raises the card, and then the thumb slides up the surface of the card to join the index finger in holding the card.
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3.
Raise the card an inch off the table, (Fig. 36). Figure 37 is a closer view of this.
4.
Now the three fingers, which aren’t doing anything, bend so the tips of the second and third finger can touch the classic palmed coin, (Fig. 38). Once the tips of those fingers touch the coin, it is released to lie on the fingertips.
5.
The index finger presses against the card pressing the card onto the second finger, (Fig. 39). NOTE: in the picture the hand is open to show the approximate position of the coin. The thumb rises to allow the card to slip off the thumb and fall against the second finger. An important point here is to not allow the card to snap against the coin, (Fig. 40 & 41). If the card hits the coin there will be an audible click indicating its presence. So, be careful to snap the card against the second finger only.
6.
Now the hand drops to the surface of the table. The card is perpendicular to the surface of the table. As the long edge of the card comes to rest on the table, the hand continues to drop. This forces the card to slide up between the fingers, (Fig. 42). Thus, the coin resting on the fingertips will be lowered to the surface of the table. This is the critical point mentioned earlier. If the fingers slide all the way to the surface of the table the coin can be placed quietly onto the table in the next step. If the fingers do not go all the way to the table, the coin will fall in the next step with a small clunk and disrupt the smoothness of the move.
7.
Once the fingertips touch the table the coin can be dumped off the fingers, (Fig. 43). The first and second fingers release their grip on the card, so the whole hand can move to the right allowing card to fall on the table and on the coin, (Fig. 44). You will note during the above actions that there is almost no physical action utilized to manipulate the coin. The biggest motion is the classic palm relaxing to allow the coin to fall.
Here is one last note. The move can be done quickly and will look very nice. Since you are simply covering a coin and, from the point of view of a spectator, nothing is going on, moving quickly is desirable. There are those times, however, you might like to move slowly. The part of this move that inhibits this is the need to push your hand all the way to the table before releasing the coin. When doing the move very slowly, you can press the card against the second finger higher on the finger than presented above.
27
Then, when the long edge of the card is placed against the table, the coin will be very near the table avoiding the need to move the hand down.
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HAND LOAD This move is basically from Bobo's book Modern Coin Magic. The move is credited to Milton Kort of Detroit. He does the move from thumb palm, whereas I am doing it from the classic palm position. 1.
Begin the move with the left fist palm down. The right hand has a coin Classic Palmed. The right hand is also palm down. The tips of the two middle fingers of the right hand touch the back of the left hand far on the left side, (Fig. 45). The fingers of the right tap twice. After tapping, the fingers remain touching the right. Note the reason for tapping twice. During the move the right hand fingertips are to remain in contact with the back of the other hand. Tapping once would not make sense for then the fingers would appear to have been simply placed on the back of the other hand. However, tapping twice appears as if you are tapping and the fingertips can remain touching the back of the hand without drawing undo attention.
2.
Now, both hands turn palm up. While the hands turn palm up the right fingers remain touching the back of the left. As the hands turn you will notice the right palm passes over the left thumb, (Fig. 46).
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3.
At this point the left thumb moves to the right and the classic palmed coin falls from classic position into the left hand, (Fig. 47).
4.
During all of this action the hands have been moving smoothly. Both hands turn palm up. The right taps the back of the left hand a couple of times again, (Fig.48). The left can now be opened to reveal the coin.
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CHAPTER FOUR: COINS ACROSS
QUICK SILVER My involvement with this routine began at an IBM convention in Milwaukee, in 1969. I was talking to Larry Jennings about the “Matrix” coin trick. He expressed the opinion that perhaps it wasn't involved enough. Well, “Matrix” was a fixed routine with me. I didn't want to experiment with it. So, I sat down attempting to come up with an involved routine. The result was the “Dynamic Coin Routine”, which I put in a one man “Linking Ring” Parade in August 1972. During the development of the routine much material was taken from Bobo's Modern Coin Magic. I have done this routine many times, so I know it is effective. Laymen appreciate the routine as much if not more than the magician. It was first changed at Abbott's Get Together the summer of 1972. Barry Hurd from Detroit, Michigan, and I were talking magic. Together we agreed that a move in the Dynamic Coin Routine was not as desirable as it could be, since the angles to the left of the performer were bad. That evening the Pop-Up coin sleight was developed. However, the move was not incorporated into the routine for sometime. You know how difficult it is to change an established trick, but after a year, I was using the Pop-Up move more than the old one. At that time the Dynamic Coin Routine consisted of three major parts. The next big change was to drop the first two major parts of that sequence leaving just the coins across segment. One of the problems was that I was overusing vanishes. Most of my coin work consisted of them as well as most of my cups and balls routine. So, the first two segments had to go. Then, I decided the coins across routine had other problems. After a conversation with John Kaiser at the 1974 IBM Convention in Dayton, Ohio I applied some ideas we worked out together. Quick Silver is an audience-tested routine. The moves are half standard and half my style. It is a good routine where the emphasis is on magic rather than a lot of finger-flinging. 1.
Come forth with three silver halves and a copper. Toss them on the table. Move the copper to the upper right corner of your working surface.
2.
Pick up a half with your right hand, displaying it in classic position. Pick up the others, one at a time, placing them on your right hand in a row, (Fig. 49).
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3.
Say, "Three silvers". Gesture toward the copper with your right, and then toss the coins from the right to the left hand retaining one in classic palm. Say, " And a copper." The gesture here is quite important. If you just throw the coins into your left hand the audience may notice something odd, as there is no reason to toss the coins into the left. However, if the copper is in the upper right corner you can act as if you want to pick up the coin with your right while it is displaying the coins. Realizing the hand is full of coins they are tossed into the left hand to allow the right to pick up the copper coin. Thus, the motions are explained with gestures allowing them to go unquestioned.
4.
The left hand closes around the coins as the right picks up the copper, (Fig. 50). Drop it on the table as if showing it to be a real coin; pick it up again curling the fingers around it, (Fig. 51).
5.
Allow the half to fall from classic position against the copper, as if the coin just arrived. Open the left hand palm up, and then dump the coins on the table, (Fig. 52). Put the coins in the right on the table showing that the silver has arrived.
6.
With the two coins on the left execute the Pop-Up move, so that apparently two coins are placed in the fist. Actually, one is palmed in the right hand. The right hand picks up the two coins lying on the table.
7.
The right hand again allows the coins to click in the right fist, and then both hands open putting their coins on the table to show another coin has made the voyage, (Fig. 53).
8.
Pick up the last coin; display it in classic palm position in the right hand, duplicating the motions of the Pop-Up move, place the coin on top of the left fist, (Fig. 54). Allow it to fall into the fist just as you had done before. The right hand picks up the other three coins on the table, (Fig. 55). While picking them up, one half is placed in the classic palm.
9.
Act as if another coin is going to pass through space. However, just before you let the intention of magic fly, stop, (Fig. 56). Ask how many coins are in the left hand. This is done as if to assure all that you have done has been fair. When you ask this question you move you hand and hold it about four inches off the table directly in front of your body, (Fig. 57).
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10.
Show the coin in your left hand, (Fig. 58). Then turn your palm down, (Fig. 59). As you turn your hand down move the coin to heel clip position as in Figure 60. Once you turn your hand palm down do not move it from that position of Figure 59. That is, the hand remains directly in front of your body in preparation for the next move.
11.
Ask how many coins are in the right hand. As you ask this question move the right hand forward as if gesturing, (Fig. 61).
12.
Before they answer toss the coins backwards under the left hand. As the hand moves back it moves in front of the left, (Fig. 62). The right opens, but retains the one coin in classic palm position. The coin in heel clip position in the left hand is dropped to join the two on the table. You may be asking why all of the involved actions. Well, it begins with the second transposition. If you did the Pop-Up move correctly the audience will believe two coins are in one hand. A second later you show only one. When you placed the last coin on top of your fist and allowed it to slip in as before the audience won't believe it's there simply because it wasn't there when you did it last time. In fact, when you ask how many coins are there they usually say, "none." So, you have all the reason in the world to show the coins again. Now, when you show it a second time, you very carefully open your hand, show them the coin, and close your hand. Since you are trying to be careful about what it is in that hand you don't relax it. Instead you hold directly in front of you as if to convey the idea you aren't going to try anything funny. This logic gives you a reason not to relax your hand, allowing it to remain in position to do the Han Ping Chen move. Also the audience will not focus their attention on the left hand. This is the bit of information I referred to earlier that John Kaiser and I worked out. To reiterate, you first draw attention to the left hand, causing the audience to focus their attention there. As they are focused on that point and since a person's awareness is always shifting from one point to another, everyone will look away from that hand as you shift your attention. That is good misdirection. Just as the audience’s attention shifts to the right hand, it tosses its coins onto the table. The left, remaining perfectly motionless, drops its coin. You have done everything openly and logically and succeed with the deception.
13.
The right hand picks up three coins on the table. The hands slowly move a foot apart. Intention of magic is used to cause a coin to move 33
from the left hand to the right. Allow the classic palmed coin to fall against the other coins in the hand making the clink. Then, just reveal the position of the coins, (Fig.63).
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QUICK CENTAVOS This routine is another step in the search for the perfect coins across routine. This time we introduce a gimmicked coin. The idea is to use the best of the foregoing methods and use a gimmick for a solid finish. Here we use a regular shell, not an expanded one. A regular shell has an advantage over the expanded shells. They tend to like normal coins. Most expanded shells I've had look a bit odd. I've had laymen call me on them! They say, "what's wrong with that coin, it looks fat!" Magic dealers tell me that the expanded shells fool laymen. They tell me I am too picky. However, I can't get away with it. Maybe I should learn how to do magic better? Anyway, if you use a regular shell you can fool the laymen, and maybe even the magicians. I have with a regular shell. With the regular shell I am using centavos since they will fit in the shell well. 1.
Line up three centavos on the left and leave the shell half on the right, (Fig. 64).
2.
Pick up the first centavo; display it in classic position, (Fig.65). Pause a bit and then place it on top of the left fist. Then allow it to sink low into the fist. Figure 66 shows the hand open demonstrating that the first coin slid all the way to the bottom of the left hand.
3.
With the remaining two centavos execute the Pop-Up move, apparently placing those two coins also in the hand one at a time.
4.
Pick up the shell half, (Fig 67). Close the right hand around it being careful to not allow the coins to clink together, (Fig. 68).
5.
Intend a coin to transfer from the left hand to the right, and then the hands thumb their respective coins onto the table, again being careful not to allow the coins to touch. Show the hands palm up, (Fig. 69). The reason for not allowing the coins to touch each other in the right hand is so that no one will hear the unreal clank of the shell coin.
6.
With the coins on the left, execute the Pop-Up coin move sequence; apparently placing the two coins into the left fist one at a time.
7.
Now the thumb and first finger pick up the centavo on the right, (Fig.70). Then use the first and second fingers to pick up the silver (Fig. 71). In this way the first finger is sort of trapped between the centavo and half. Press the coins together, and pull the index finger out from between them. This causes the coins to snap together with a very normal sound, (Fig. 72). This will throw off those that know a bit 36
about gaff coins. 8.
Pull the two coins into the right hand, intend a coin to transfer, (Fig. 73).
9.
Carefully thumb the three coins onto the table so as to avoid the telltale clank, (Fig. 74). The coins are lined up as they are placed on the table, the shell on the audience end of the row.
10.
Pick up the last coin, displaying it, (Fig. 75). Execute the Schneider Classic Vanish to the left hand.
11.
The right hand moves to the shell half picking it up by placing the thumb under the back edge of the coin, (Fig. 76). The coin is not raised from the table, but is slid backwards toward the performer directly over a centavo, (Fig. 77). Both of these coins are now raised by the right thumb, then slid back again to the next centavo, (Fig. 78). All three of these coins are now raised off the table by the right thumb, (Fig. 79).
12.
The coins at the tips of the right fingers are turned over as the tips of the fingers move toward the palm of the hand. Figure 80, shows an exposed view of the coins at the fingertips.
13.
Just before the coins at the fingertips touch the right hand palm, the right hand turns palm up. The fingers of the hand open, and the right hand tips forward so the coins will spread out, (Fig. 81). Since one centavo is in the shell only two centavos are seen giving the impression one is still in the left hand. Done carefully the coins should sound normal as only centavos are sliding against each other. Note that the shell and centavo are slid almost off of the other two coins.
14.
Close the right hand around the coins. While closing the tips of the fingers of the right hand give an extra flip to the shell centavo set. The right thumb aids this action. This is a setup for the final placement of the coins onto the table. Once the hand is closed intend a coin to travel from left to right, (Fig. 82).
15.
Open left showing it empty, (Fig. 83).
16.
The four coins are placed onto the table one at a time. Figure 84 shows an exposed view of the coins being grasped by the edges by the insides of the first and little finger. Because the shell and centavo set was given an extra flip while the hand was being closed, the centavo is 37
positioned to fall out of the shell when the hand is opened and held palm down. Do that next, (Fig. 85). Next thumb the remaining three coins out on the table, (Fig. 86). You can press the shell against the centavo above it and it will make a very solid coin noise as the silver is pushed onto the table. Then turn the right hand palm up, (Fig. 87).
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40
CROSSED CARDS I My real education on coin work began with Bobo's Modern Coin Magic. The effect of this book on me is very apparent as almost all of my material with coins had its beginning on those pages. One effect which always intrigued me was the appearance of half dollars under four cards placed on the table. I had trouble classic palming four coins. Then dropping them one at a time to load under a card was unthinkable. After much practice I finally managed to do it, but my hand appeared as if it were partially paralyzed. As my nature is to futz with things, I toyed with various ways of loading coins under cards. I came up with two different ways with a single coin. One of these was incorporated into a routine I called Crossed Cards, which appeared in the Linking Ring Parade in Aug. 1972. The other load move was incorporated in the original Matrix routine. The load move was part of Matrix for about two years then I dropped it leaving Matrix as it now stands. The original “Crossed Cards” from the “One Man Parade” was always a pleasing effect but it seemed to stop too soon. The finish with appearance of a copper coin fooled everyone, but it never generated the reaction a good finish should demand. Well, for some time I put “Crossed Cards” aside, hauling it out only when I was around a bunch of guys doing card tricks just so I could change the subject. By and by thinking of doing a cup and ball routine, except using coins, the “Crossed Cards” was redressed and a very pleasing sleight-of-hand routine was the result. The routine is very direct. It uses both load moves mentioned above. In “Crossed Cards I”, the handling from “Linking Ring” Parade is not used. Hence, this routine can be done impromptu with a deck of cards and four similar coins. When performed for an audience of layman, the reaction is not one of awe. They behave like they are listening to Mozart. They often say aloud, " Isn’t that pretty?" 1.
The right hand holds the deck by the short ends, the deck face down and hand palm down above the deck. The left hand goes to the left pocket as if you were looking for something. Finger palm the coin 41
there. Bring the left hand from the pocket; the right hand places the deck into the left on top of the half. The right hand then goes into the right coat pocket bringing out the three half dollars, tossing them on the table, (Fig. 88). In Figure 88 the deck is elevated to show the position of the half. 2.
You may overhand shuffle the cards in the right hand, and give them a cut. All the while the coin will stay concealed under the cards. Just allow the coins to lie on your fingers. Make no effort to palm it; as long as the deck is over the coin, its presence will not be known. Since you are making no effort to grasp or hold the coin, your hands can manipulate the deck very naturally. With the left thumb, riffle the left corner of the deck, requesting someone to say stop, (Fig. 89). When they do, cut the cards at that position by lifting the top section with the right hand, then placing it under the other section in the left, (Fig. 90). Of course the coin is still concealed. Figure 91 shows position of the coin while section in the right hand is placed under the section in the left.
3.
Now, the right hand palm grasps the coin and the deck, holding the coin against the bottom of the deck, (Fig's. 92 & 93).
4.
The left thumb and first finger slide off the top card of the deck, (Fig. 94). Then the hand turns to show its value. The card is transferred to between the first and second finger of the left hand, (Fig. 95). This allows the thumb and first finger of the left to pull the bottom card and the half from the bottom of the deck, (Fig. 96 & 97).
5.
The face of this card can be partially shown since the first card will cover the half, (Fig. 98).
6.
Now drop the card between the first and second finger, face down on the table, (Fig. 99).
7.
To the left, drop the card and concealed coin. Set the deck to one side, (Fig. 100).
8.
Pick up the first card dropped, placing it across the other card.
9.
You are now ready to do magic by picking up the first coin displaying it in classic palm position, (Fig. 101).
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10.
Now with the coin in the right palm position, execute the Schneider Classic Vanish, retaining it in the right, (Fig. 102).
11.
Open the left hand to show the coin is gone, (Fig. 103.)
12.
Grasp the top card by the left short end with the left hand, (Fig. 104). Flip the card to the right. The right hand flips the second card backwards, (Fig. 105 & 106).
13.
The right hand reaches forward flipping the half over towards the audience, (Fig. 107). This manner of turning the cards over is very clean leaving the spectators convinced the cards are being fairly handled. Also, with these motions the right hand is busy naturally handling the cards and coins so the hand appears empty giving the illusion there is only one coin.
14.
Pick up the card on the right (Fig. 108) executing the Twirl Load placing a card and coin on top of the single coin in the middle of the work area. (Fig. 109).
15.
Pick up the other card (Fig. 110), placing it across the first card, (Fig. 111).
16.
Pick up another coin and use the Schneider Classic Vanish to make it disappear.
17.
Raise the two cards just as before, (Fig. 112) and flip the newly appeared coin forward just a bit.
18.
Cover up the two coins once again using the Twirl Load, (Fig. 113).
19.
Pick up the last coin in the classic palm position, (Fig. 114). Use the Schneider Classic Vanish to make it disappear, (Fig's. 115 &116).
20.
While the left reaches forward to flip the top card to the right as before, the right comes to the edge of the table lapping the coin secreted there.
21.
Then the right moves forward to flip up the second card to reveal three coins, (Fig. 117).
43
After taking the pictures for this trick and the following effect Carroll Hovland and I were sitting around talking magic and these routines. While we were talking I came up with the idea of putting numbers on the coins with a wax pencil or cutting numbers from tape and putting them on the coins. One coin would have a one on both sides, and would be the one loaded under the cards to begin with. Another coin would have one on one side and a two on the other. This would be the first to be vanished. Another coin would have a two on one side and a three on the other. This would be the second to be vanished. The last to be vanished would have a three on both sides. The moves would be almost exactly the same as above. To make the effect even more novel, do this with red, white, and blue poker chips. Somehow, make double sided poker chips.
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45
46
47
CROSSED CARDS II Carroll Hovland always liked Crossed Cards. One day Larry Kahlow, the owner of Eagle Magic in Minneapolis, noticed that the coins turned over when the coins were loaded under the cards. This suggests that three different coins can be used. Well, Carroll pursued the concept coming up with this routine. It's really a mixture of many moves that have come before, but they all work together pleasantly. Carroll elected to use a move in which one can show the underside of a card empty even though there is a coin there. This move (like many in this book) is from Bobo’s Modern Coin Magic. The move was used in a routine called "Coin Production From Two Cards." In this routine three different coins disappear one at a time to appear under two cards on the table. Two gimmicked coins are used. One is a "Chinatown Half" so you must put some material inside the double-sided coin to match the material of your close-up pad. Set up by putting a double-sided copper-silver, a Chinatown Half, and the Chinese coin that comes with the Chinatown set in a small coin purse so that when removed from the purse during performance the copper-silver double will be copper side up, and the Chinatown will be "Half" side up. Also have a deck handy, and a copper coin to match the double coin in the purse. 1.
Acquire the loose copper coin. Place this coin in the hand a bit lower than finger palm position, (Fig. 118).
2.
Place the deck on top of the coin, so the deck is in dealing position, (Fig. 119). With the coin in this position the deck can be shuffled and cut without the coin’s presence being revealed.
3.
Riffle the left corner of the deck requesting a spectator to say stop, (Fig. 120).
4.
Cut the cards at this point by pulling out the bottom section with the right hand, (Fig. 121), then placing the bottom packet on top of the packet in the left hand, (Fig. 122).
5.
Drop two lower finger of the left hand (Fig. 123), so the right hand can grasp the deck and the coin, (Fig. 124).
48
6.
The right hand raises the deck from the left hand (Fig. 125). In so doing the right second finger pushes the coin from its initial position, (Fig. 126) to a position as close as possible to the left long edge of the deck, (Fig. 127).
7.
The left hand slides the bottom card off the deck taking the coin along with the card, (Fig's. 128 & 129). Figure 130 shows the position of the coin and fingers.
8.
The card in the left hand is turned face up, (Fig. 131). The left fingers pull the coin back as in Figure 132 where this action is exposed.
9.
Immediately the left hand turns its card face down, the fingers pushing the coin back under the card as the card is placed on the table while the right hand sets the deck on the table. The tips of the right fingers retain the top card when the right hand sets deck on the table, (Fig. 133).
10.
While the left was placing the card on the table the left second finger was pulled back, (Fig. 134). The grip by the other fingers was released to allow the coin and the card to be held by only one finger, (Fig. 135) to facilitate its placement on the table, (Fig. 136).
11.
After the card in the left hand is placed on the table the card in the right is placed across it, (Fig. 137).
12.
Bring forth the purse, open, and remove the three coins. (Fig. 138).
13.
Pick up the copper-silver, copper side showing, then display in classic position, (Fig. 139).
14.
Execute the Schneider Classic Vanish, and then toss the intended coin at the cards on the table, (Fig. 140).
15.
The right hand approaches the cards from the top. The thumb is on long side of the card closest to the performer and the second finger goes to the long side away from performer to pick up the card, (Fig. 141).
16.
The second finger releases the card when the first finger presses the card against the thumb so the card is snapped, (Fig. 142).
49
17.
The left hand picks up the second card in the same manner revealing the first coin has arrived, (Fig. 143).
18.
Now both cards are turned face down. As the right turns its card face down the lower three fingers of the right hand are brought back over the card into the palm touching the coin still in classic position. The coin is allowed to fall to the fingertips as in Figure 144. In this figure the hand is over opened to display the position of the coin. The thumb is raised so the first finger can press on the card twirling it onto the lower three fingers and over the coin. The thumb drops back down on top of the card, (Fig. 145).
19.
As if to bring more attention to the coin, which just appeared, the right hand turns its card, face up executing the slide back move as before with the concealed coin so the bottom of the card can be shown empty. The card is then used to slide the coin on the table forward just a bit (Fig. 146). This is to be done as just a small gesture, but it makes the card and the right hand appear very empty.
20.
The card is turned face down, the hidden coin being slid back under the card as before. Then the card is immediately placed on top of the coin on the table, (Fig. 147). The card in the left hand is placed across the card on the table, (Fig. 148).
21.
Pick up the Chinatown Half with the half side showing. Execute the moves above causing another coin to appear under the cards with the exception the coin which just appeared, the half, is slid, (Fig. 149).
22.
Pick up the last coin, the Chinese coin, in classic palm position. Execute the Schneider Classic Vanish. Before showing the left hand empty, lap the coin in the right hand. Reveal the last coin arrived, (Fig. 150), and then place the coins back in the purse.
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51
52
53
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CHAPTER FIVE: COINS THROUGH THE TABLE
THREE HALVES THROUGH What would a coin book be without a coins through the table routine? So, here is another for the bunch. Many penetration routines seem to me to be a bit contrived. They seem to focus the attention of the audience on the coins going under the table and not on the coins above the table. This author believes the spectator's are more concerned about the coins above the table. Here I am making an attempt to keep the attention of the audience on the hand which is above the table in hopes the audience will realize more that they are seeing magic. 1.
Start off with three coins of the same kind. Just toss them on the table. Don't make an effort to keep them near the edge. In the photos I have them there just to center everything for the pictures, (Fig. 151). Hold the left hand palm up back by the table edge.
2.
The right slides one coin towards the body, (Fig. 152). Picking the coin up as it goes over the edge of the table then slaps it onto the left hand, (Fig. 153).
3.
The same is done with the second coin, (Fig. 154).
4.
The third coin is slid off the edge of the table just as the others; but the thumb remains holding the coin, (Fig. 155). The third coin is only slapped against the others to make a clank, (Fig. 156). The right hand drops to the edge of the table with the third coin while the left closes over the two coins there, (Fig. 157).
5.
The right hand allows its coin to drop into the lap, (Fig. 158) then immediately goes to the center of the table, the index finger tapping the middle of the table, (Fig. 159). During these actions say, "One, two, and three coins, a table." Show the right hand empty saying, "And a hand."
6.
Slap the left hand coins on the table, reach under the table with the right, the hand coming back to get the lapped coin, (Fig. 160).
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7.
Raise the left to reveal the two coins and bring out the right tossing its coin on the table. (Fig. 161).
8.
Slide one of the two coins off the edge of the table, (Fig. 162), place it on the left fist, (Fig. 163), showing palm of the right hand empty. Allow the coin on top of the left fist to drop into the hand in Pop-Up position.
9.
The right slides off the second coin, (Fig. 164). As the coin passes over the edge of the table the coin is allowed to fall into the lap. The right continues with the intention of a coin placing it on top of the left fist executing the Pop-Up move, (Fig. 165). Show the right hand empty, (Fig. 166). Allow the coin to fall in the hand, (Fig. 167).
10.
Slide the third coin off the table, show it, (Fig. 168), place it under the table, reach back with the right hand getting the lapped coin, while the left slaps its only coin on the table. Intend one coin to go through, (Fig. 169).
11.
Show one coin on top of the table, (Fig. 170) and toss the two from the right onto the table, (Fig. 171).
12.
Slide the last coin off the edge of the table placing it on top of the left fist in the same manner as the previous two coins were placed on top of the fist, (Fig. 172). Allow the coin to fall all the way in, and then turn the hand palm down, (Fig. 173). Here the hand may be far out in the middle of the table.
13.
Open the hand again showing the coin, (Fig. 174). Say, "Remember, one coin!" Turn the hand palm down moving the coin to a heel clip position. As the hand turns palm down it is also pulled back to a location immediately above the edge of the table, (Fig. 175). The hand is held about two and a half inches above the table. Figure 176 shows the position of the coin in heel clip position.
14.
Immediately the right hand reaches for the other two coins. As the arm reaches the body moves forward to help the right arm in its reach. The left hand is automatically lowered to the edge of the table by the action of the body leaning forward, (Fig. 177). At that moment of touch the coin is released. The right displays its two coins, (Fig. 179) and then places them under the table.
15.
The left places the edge of the intended coin on the table, (Fig. 180), then lets it fall flat on the table, (Fig. 181). Under the table the right 56
can strike the edge of the table with a coin, and cause the coin to be snapped against the underside of the table so the sound is coordinated with the motions of the intended coin above the table. 16.
Intend that the coin go through the table, raise the left, (Fig. 182) and then bring out the three coins from under the table, (Fig. 183).
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QUICK SHOT I have always thought of using the glass through the table routine, but have never thought the routine logical. Also I have always liked Milton Kort's Coins Through the Table routine in Bobo's Modern Coin Magic. Here I am blending the two together to make a good routine with a solid finish. Here we use white magicians wax on the face of the coin. A small piece of double-sided tape will do also. Before performance, one of the regular coins can be placed against the wax or tape to prevent dust from accumulating on it. When getting ready for the trick, just peal the coin from the sticky surface as you set up. 1.
Show three coins, one being the shell coin. A matching coin is already in your lap. A shot glass and a paper towel or napkin is handy.
2.
Place the three coins overlapping on the table.
3.
Place the shot glass over the three coins being careful not to cause the shell to slip over one of the other coins. Then, tell the audience you can’t let them see what's going on. So you then cover the glass with the napkin. Just cover the glass with the paper napkin, approaching the glass from the top. Then press the paper down around the edges of the glass. Hold the glass through the paper with your left hand.
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4.
Raise the glass showing the three coins. Lower the glass moving it around nesting the coins. Put your right hand under the table. Push on the glass with your left index finger while the fingers and thumb of that hand hold the glass.
5.
Raise the glass showing two coins, and bring out the coin from under the table setting it to your right.
6.
Slide the two coins off the table holding the coins by the edge so the coin inside the shell can fall into your lap.
7.
Place the coins in the middle of the table one overlapping the other.
8.
Again, cover the coins with the glass nesting the two other coins, push, then bring out the coin from under the table, placing it to your right.
9.
Raise the glass, slide the shell and coin off the edge of the table so the coin falls out of the shell into your lap.
10.
Place the shell in the middle of the table. Cover it with the glass.
11.
Put your hand under the table and move the coin in your lap to your knee.
12.
Raise the glass coming back over the edge of the table. The right hand comes out from under the table and pushes the shell forward a bit in a gesture indicating "watch." While the glass is back over the edge of the table it is released from the paper.
13.
Now place the empty paper shell over the shell coin. The right hand goes under the table and retrieves the glass.
14.
Apparently the index finger of the left hand pushes the intended glass through the table. The paper is pushed against the white wax or tape on the coin.
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15.
Under the table the right hand holding the glass by the little finger fetches the coin on the knee with the index finger and thumb and drops the coin into the shot glass at the same moment the paper shell is crushed on top of the table.
16.
Pick up the paper from the table to show nothing under the paper. Actually the shell coin is stuck to the paper.
17.
Then, bring out the glass with a coin in it from under the table.
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CHAPTER SIX: BOX ROUTINES
ONE HALF GONE I have never had a great deal of love for gimmicked coins, the principal reason being the lack of ability to treat them like real coins. Gimmicked cards are a bit different. You can drop a double-sided card on the table and it sounds like a regular card. It even looks like a playing card. No one will know the difference until you turn it over. Well, gimmicked coins are not blessed that way. When you drop one it sounds funny. Double sided coins land with a thud, shells sound tinny and will ride high when set on a piece of cloth, as if they didn't weigh anything. Well, a few years ago I acquired a set of gimmicks. I must admit they are fun to play with. In attempting to overcome some of the problems with phony coins I stumbled across a pretty routine, which has the appearance of openness and honesty. In the effect a silver coin is placed between two copper coins in an Okito coin box. Fingers never handle the coins, but a playing card is used to move them about. The card is laid aside. One coin manages to disappear from between the two coppers and appear under the playing card, which was shown on both sides before being put on the table. The routine can be done with absolute slowness, as there is nothing to be seen. You can devote all of your energy to a dramatic presentation. A few times when I have presented this effect I have heard the beautiful sound of someone saying, " that's impossible!" In this routine the magic appears to happen without any moves. To prepare for the effect, put a real copper coin, a double-sided coin, and a copper shell into an Okito coin box. On top of the box put a wad of cotton, a real silver coin, and finally the lid to the box. The double-sided coin is silver side down while the shell is real side down. The copper-silver and copper shell is from a standard nested set. Place a wide rubber band around the box to keep the lid on. The cotton wad is big enough so that it will keep the silver coin in the lid of the box when the rubber band is removed. That is, the cotton will lift the lid and coin off the box. You may want to keep the box and coins in a small bag instead.
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1.
Come forth with loaded box and a playing card. Remove the band from the box, (Fig. 184). The lid should spring up, due to the cotton wad.
2.
The right fingers pick up the lid and half together, concealing the half, (Fig. 185). Figure 186 shows half held in lid. The left hand puts the main part of the box on top of the lid, (Fig. 187).
3.
Now set all on the table, (Fig. 188).
4.
Pull the cotton from the box, (Fig. 189) and dump the coins onto the table quickly, so the bad side of the shell coin is not seen, (Fig. 190). Due to the arrangement of the coins the audience should see two copper coins and a silver one. Place the cotton aside and transfer the box to the left hand.
5.
Pick up the playing card. With the card pick up the real copper coin, (Fig. 191). Tilt the box toward you as you begin to place the coin in the box, (Fig. 192). Then tilt the box toward the audience so they can watch you put the coin carefully into the box, (Fig. 193).
6.
Next pick up the double-sided coin with the card and place it in the box. Again hold the box at an angle, so the coin makes very little noise, (Fig. 194). Of course the silver side is showing.
7.
Then the card is used to pick up the shell placing it into the box, (Fig. 195). Again the box is held at an angle allowing the shell to fall softly into the box.
8.
Show the card on both sides and transfer it from between thumb and first finger to between first finger and second finger, (Fig. 196).
9.
Now with thumb and first finger pick up the cover on the table, (Fig. 197).
10.
As you do this, the card will automatically cover the lid. When you grasp the cover and raise it from the table toward your body, the card is allowed to fall on top of the half, (Fig. 198).
11.
Now that you've picked up the lid show it on both sides and place it on the box, (Fig. 199).
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12.
Set the box down then "intend" magic to happen. You need not explain to the audience what has happened.
13.
Open the box showing that there are now only two coppers in the box being careful the double and shell remain nested, (Fig. 200). Place the coins onto the table and then turn them over. The sets are so well made that the coins can be shown on both sides easily.
14.
You can say the silver coin has escaped and found its way under the card, or say nothing and very slowly slide the card to one side. No one should suspect the coin is there and so will be a complete surprise for a fitting finish, (Fig. 201).
During the insertion of each coin into the box it is held with the bottom almost perpendicular to the table. In this position the coins will fall very lightly against the bottom and hence will make very little noise, so that the gimmicked coins sound very much like the real ones. To the audience you are apparently trying to be as fair as possible. Play this up by openly showing both sides of the card and the fact that your hands contain nothing.
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SOC II The summer of 1972 found me visiting Simon Aronson in Chicago. Two other magicians and myself got together at Simon's place for a magic session. One of the effects presented, was SOC, an Edward Marlo routine. Well, I forgot it as time passed. Then one day about a year later when I was hanging around Eagle Magic in Minneapolis someone asked about a book that was on sale. The book happened to be Coining Magic. Seeing the author's name to be Edward Marlo, I said it would be an excellent book to purchase. Then I flipped through the pages and noticed one of the tricks was SOC. Immediately I guaranteed the book to be excellent. I don't recall if the customer bought the book or not, but I got hold of some silver and copper coins and began to learn SOC. A few different ideas popped up, and the following routine evolved. It's basically the second half of SOC from 68
Coining Magic. The biggest difference is the use of the Pop-Up move to get away from the regular coin vanishes. Vanishes are much overused, like the double lift in card magic. At least they are in my work, so I always make an effort to remove them. To get ready to perform place the following items in the box. One doublesided coin, copper side down, followed by a silver coin, and then a copper to match. Put in a wad of cotton big enough to make the lid rise up slightly, another copper coin and then put on the lid. The cotton's function is to keep the copper coin in the lid of the box. Use a big rubber band or a small bag to keep the lid on the box ready for performance. 1.
Come forth with the loaded box. Remove the rubber band setting it aside. Hold the box in the left hand, (Fig. 202).
2.
Lift the lid off the box. The right hand thumb raises the lid a bit. The cotton keeps the coin in the lid. With the lid slightly raised, the thumb slides under, grasping the coin and lid between the thumb and first finger, (Fig. 203).
3.
With the lid and hidden coin grasped between the thumb and first finger, the first finger and second pinch the cotton wad, (Fig. 204) pulling it from the box.
4.
The left hand dumps the coins to the table, (Fig. 204), and places the box mouth up to the left, (Fig. 206).
5.
The right hand leans the lid on the box. Of course the coin is still in the lid. The coin will clank against the box, but the audience will believe it is just the lid, (Fig. 207). Set the cotton wad aside, (Fig. 208).
6.
As a casual gesture show your hands empty as if to say, "Now we start." Slide the lid of the box up onto the box until the lid is almost on correctly. The coin is still going along for the ride. The lid should be resting half on the box. Pull your hand away from the box slightly, then with one finger push the lid the last little bit so the lid drops into correct position. Since the coin is in the lid the coin will fall into the box the same time the lid falls onto the box. The noise the coin makes will appear to the audience to be sound coming from the lid.
7.
Pick up the half dollar from the table displaying it in Classic Palm Position, (Fig. 210), then place it on top of the left fist, (Fig. 211).
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Allow the coin to slip into the left hand down by the little finger. 8.
Pick up the double-sided coin with the copper showing. Display it in Classic Palm position, (Fig. 212). Place it on top of the left fist, (Fig. 213).
9.
Allow the coin to fall into position for the Pop-Up move. The coin should be positioned so that when the Pop-Up move is executed the copper side of the coin will be showing. For me this means the copper side is toward my palm when the coin is waiting to be popped up.
10.
Pick up the last copper coin, display it in Classic Palm Position, (Fig. 214), then execute the Pop-Up move apparently placing the coin on top of the left fist, (Fig. 215). While the coin is resting on top of the left hand, the right can lap its palmed coin.
11.
The right hand touches the left hand, and then touches the box with intention of magic, (Fig. 216). The left hand opens displaying two copper coins, (Fig. 217).
12.
The right hand raises the lid of the box, (Fig. 218).
13.
Now, you lean forward a bit looking inside the box. As you do so the right hand slaps its coins onto the table under the right hand, (Fig. 219). As the coins fall the tips of the left hand fingers flip the doublesided coin so the copper side will show on the table. This business of placing the coins under the right hand is necessary for later the same thing will be done except a move will be executed.
14.
The left approaches the box from the top, the thumb and second finger grasping the box. The second finger is curled so the box is held with the side of the finger and the thumb, (Fig. 220). With the box held in this manner the left index finger is free to rotate the box toward the performer, so the coin will fall out, (Fig. 221). As the box is rotated the lower three fingers of the left hand straighten. Again these moves are necessary as later they will be duplicated but for deception.
15.
Place the box mouth up on the table behind the coin, (Fig. 222). Pick up the copper with the left hand; place it on its edge in the box as if to clearly display it, (Fig. 223).
16.
The right hand moves forward with the cover. The grip on the cover is switched from holding it by the edges to holding it flat between thumb and fingers. The cover is inserted half into the box behind the copper, 70
(Fig. 224), and tilted forward knocking the coin down into the box, (Fig. 225). The downward motion of the cover is continued until the cover is on the box in correct position. 17.
Pick up the double-sided coin and display it, (Fig. 226) place it on top of left fist copper side up, (Fig. 227), then allow it to sink into the fist in Pop-Up position. Now the silver side is toward the palm, so when the Pop-Up move is executed the silver side will show.
18.
Display the silver, (Fig. 228), execute Pop-Up move so the silver coin is apparently placed on top of the left fist, (Fig. 229). Allow the double-sided coin to sink into the left hand.
19.
The right hand touches the left, then the box as you intend magic to happen. At this point the right hand has a silver Classic Palmed, (Fig. 230).
20.
Open the left displaying the silver side of the double-sided coin, (Fig. 231). As the hand opens make sure the coin falls into a Finger Palm position. Also the right hand removes the lid from the box, the right hand moving back toward the body but remaining palm down, (Fig. 232).
21.
Just as before, lean forward to peer inside the box. As you do so the left apparently drops its coin to the table under the right. Actually, the double-sided coin is Finger Palmed, the silver coin palmed in the right being allowed to fall on the table. Note: the right hand does not move at all. It has every reason in the world to remain where it is since it is fulfilling a function by holding the lid, (Fig. 233).
22.
The right hand just as before reaches for the box from the top grasping the box with the side of the second finger and thumb. In this position the finger palmed coin is concealed, (Fig. 234).
23.
Again the index finger of the left hand aids the turning of the box mouth down as the lower three fingers of the left hand straighten, (Fig's 235 &236). Of course only one coin falls out of the box. The Finger Palmed double-sided coin will automatically fall giving the appearance both fell from the box. Attempt to have the Finger Palmed coin fall first. Place the box on the table mouth up, (Fig. 237).
24.
Now pick up both coins placing them on the edges in the box. If the coins are staggered, they will sort of lock themselves into position. Note the double coin is above and behind the real copper, (Fig. 238). 71
In Figure 239 I have turned the box so you can see what the audience sees. The upper coin is the double coin with the copper showing. 25.
At this point show your hands openly and show the cover openly. Attempt to make this moment stand out in the spectator's memory. Causing the silver to appear in the box is the high point of the effect. The idea of placing two coppers in the box to have a silver appear inside using a copper-silver coin is directly from SOC in Coining Magic. This idea is totally responsible for my interest in the routine. The audience should be very aware there are only two coppers.
26.
Holding the lid flat between the thumb and fingers of the right hand, insert the lid behind the two upright coins, (Fig. 240). Figure 240 is an attempt to demonstrate what is going on. This is not done during performance.
27.
Once the lid is behind the coins, tilt the lid forward tipping the coins forward knocking them into the box, the lid continuing on down to cover the box, (Fig. 241). Thus, the coppers are placed into the box, the silver side is left uppermost in the box, and the lid is placed on.
28.
Display the coin in the right hand, (Fig. 243). Execute the Schneider Classic Vanish. The right hand touches the left and then shows the left empty, (Fig. 244).
29.
The right removes the lid from the box, and then the left tips the box forward so the audience can see the silver coin, (Fig. 245).
30.
Place the lid on the table, (Fig. 246). Place the right hand over the box, the palmed silver coin being immediately over the opening, (Fig. 247). Turn the right hand palm up and the box mouth down, (Fig's 248 & 249).
31.
Lift the box showing all three coins, (Fig. 250).
To finish you can just put the coins in the box along with the cotton wad. Some may want to retrieve the lapped copper and swing it in for all to examine. Before moving on to the next effect here are a few variations of handling. During the first disappearance while loading the coins into the left an alternate move may be used instead of the Schneider Classic Vanish. For the opening place the coins near the edge of the table. The right hand turns up to show its palm empty. The silver is allowed to fall deep into the left fist. Next the copper silver coin is slid off the table immediately being placed on top of the left hand again showing the right hand palm up. The copper72
silver is dropped into position for the Pop-Up move with the copper side toward the palm. Remember as the coin falls into the hand it rotates palm down to the table. Now as the next copper is slid off the table the coin is allowed to fall into the lap. Now as the next copper is slid off the table the coin is allowed to fall into the lap. The right hand is held as if it holds the coin by the fingertips. The coin is apparently placed on top of the left where the Pop-Up move is executed. The right hand turns palm up again. To the spectators it appears you have placed a copper on your left hand. Allow this coin to fall into your left fist, and then continue with the routine. This handling is as clean as a handling can be. Done correctly there will be no doubt in the spectator's mind. He knows there are three coins in the left hand. Another manner of ditching the extra coin during the first part of the trick is to drop the coin in the upper left breast coat pocket. When the last coin has apparently been placed on top of the left fist executing the Pop-Up move, the right could pull up the left sleeve a bit and go close enough to the left breast pocket to drop the classic palmed coin in. Then the coin, which is resting on top of the left fist, can drop into the hand continuing the presentation. Here, however, you continue without an extra coin.
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CHAPTER SEVEN: HANK BITS
ONE COIN THROUGH This short effect comes almost directly from the pages of Modern Coin Magic by Bobo. It is version number two of "Through a Handkerchief” from the "Quick Tricks" chapter. My handling on it has changed of course. When I do this for magicians they usually raise their eyebrows in surprise. The request "Do that again!" usually follows quickly. A coin simply penetrates a handkerchief. 1.
Spread a handkerchief over your palm up left hand. Your left hand should be positioned in the center of the handkerchief, and one corner of the handkerchief should be resting on your arm. Display a coin at the fingertips of your right hand in position to execute the Finger Clip Vanish. Approach the center of the handkerchief, with the coin, (Fig. 251).
2.
The left fingers start to close so they cover the coin held at the fingertips of the right hand, (Fig. 252).
3.
The right executes the Finger Clip Vanish, (Fig. 253).
4.
The right hand comes away from the left hand, (Fig. 254).
5.
The thumb and second knuckle of the right index finger grasp a bit of the handkerchief at a point on the wrist of the left hand. You do not grasp the edge of the handkerchief. The idea is to grab a point midway between the center of the handkerchief and the edge of the handkerchief, (Fig. 255).
6.
Now tug upward with the right hand, (Fig. 256).
7.
Drop the right hand a bit as if to tug again, and extend the second and third fingers of the right hand, which are holding the coin. This folds the outside edge of the handkerchief so the coin may be dropped into the left palm, (Fig. 257).
8.
Tug once more, (Fig. 258). Open the left hand, and slowly pull the handkerchief to the right, (Fig. 259).
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9.
Continue pulling the handkerchief to the right until the coin in the hand is exposed. You will find this handling considerably different than that in Bobo's book.
(Author note: 2004 update.) Since 1975 I have used this sequence exactly like this many times. It is a real pleaser. I will not claim that it is Virtual Magic for the first words out of the audience’s mouth is, “Do that again.” It really startles the audience. Usually I go on to something else. However, I started doing just a little bit more. You can repeat the vanish sequence above. Instead of pulling the handkerchief to the right, grasp the corner lying on your arm and tug the handkerchief toward your body. Before showing the coin gone, the right hand drops it into your left breast pocket. Then show the coin gone. However, if you like the scruitiny, you can simply repeat the effect. It will still work. If you are the kind that likes to go for the real kill, put a duplicate of the coin in your left sleeve before you start. Then, when asked to, “do it again,” you can lower you arm getting the extra coin. Proceed as normal but ditching the coin in your upper left pocket as if you were vanishing the coin. Then show the duplicate as if it penetrated the handkerchief. I can see you are the kind of person that really enjoys doing magic.
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COIN GROWTH Here is a very quick trick. Its biggest problem is it is very startling and over too quick. A penny is held for display in a handkerchief. One corner of the handkerchief is flipped over the penny. During the instant the corner is over the penny it suddenly becomes one of those big ones. The real penny is nowhere to be found. (Author note: 2004 update.) Al Schneider created this sequence of moves. It is presented in David Roth’s tape on handkerchief magic. He claims he did not know where it came from. The initial idea for this move is from Bobo’s book Modern Coin Magic. There is a method of using a handkerchief to make a coin disappear. In that move a covering motion is used to make a 82
coin disappear. It was the simple addition of another coin to make one coin change into another. David Roth also presents a way to get into position to do this change move. The method he presents in the tape on handkerchief magic is very awkward. The handling here is very smooth. 1.
Begin by classic palming the big penny, (Fig. 260).
2.
Hold the real penny at the fingertips of the right hand. The handkerchief is held by the middle of one of the edges, (Fig. 261).
3.
The right hand moves under the handkerchief. The penny is moved to between the first and second finger, (Fig. 262).
4.
As the hand moves under the handkerchief the three fingers come back into the palm. The big coin is dropped to the tips of the second and third fingers. The coin is brought forward to a position where the thumb can assist holding it, (Fig. 263).
5.
The above actions occur as the hand swings under the handkerchief, (Fig. 264).
6.
The left hand then moves under both coins so the thumb can grasp both the big and small coin, (Fig's. 265 & 266). Figure 267 is the same position except without the handkerchief. Note: do not grasp the coins from the left side. Grasp the coins approaching from the bottom. The left hand must be palm up.
7.
After the left hand grasps the two coins the right moves back uncovering the penny but being careful not to uncover the big penny, (Fig. 268).
8.
Figure 269 shows the position of the two coins in the handkerchief. They are very close to each other, almost touching.
9.
Grasp the corner of the handkerchief deep in the crotch of the right thumb, (Fig. 270). The fingers are left free.
10.
The right hand moves forward over the coin. The right hand moves past the coin and downwards past it by about one inch. Then, the penny is dropped. The left hand also tips forward at the same time, (Fig. 271).
11.
The right continues downward to the bottom of its possible motion.
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12.
At this point the left thumb pushes the big penny forward. This must be done now so when the coin is uncovered it will be in its final display position, (Fig. 272).
13.
The right hand is brought back over the left arm exposing the big penny, (Fig. 273). Since the right hand is near the left breast pocket, the penny can be easily dropped in. You are totally clean.
As mentioned before, this trick is so fast it is over before it starts. A good way to handle the effect would be to first do another quick trick with a coin and a handkerchief. For example, first bring out a penny and make it disappear using the handkerchief. Then, reach into your pocket, classic palm the big penny, and bring forth a regular penny to do this routine. Here is a thought by Mike Skinner. He suggests using a double-sided coin, with a bigger coin classic palmed. He then covers the coin twice. The first time he turns the double coin around. The second time the double-sided coin changes into the big one. The material given in this book should give you a number of ideas to work with. (Author note: 2004 update.) Here is one more suggestion. You need not Classic Palm the large penny. The routine as presented here can be done by finger palming the large penny. Then, it is even easier to do.
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CHAPTER EIGHT: HEAVY MANIPULATION
DYNAMIC COIN The Dynamic Coin was initially part of a larger routine with several coins. This was the Dynamic Coin Routine in my parade of tricks in the “Linking Ring” in 1972. I used just the part with one coin when I was hanging around with friends and required to "do something." However, as time passed the one coin routine grew. This routine solves the problem of what to do when you only have one coin. If you just vanish one coin, they will usually say, "It's in the other hand." Well, this routine solves that problem. The sequence consists of several minor effects. The coin starts off by going through the back of the left hand. Then, the right hand is shown empty, and then taps the left hand a few times. The left opens empty. The coin is produced from the left elbow. Next, the coin is apparently pushed into the right elbow only to suddenly appear at the left elbow. 1.
Display coin in classic palm position, (Fig. 274).
2.
Just as in the Schneider Classic Vanish "intend" that the coin be dropped to fingertips, then is held above left hand, (Fig. 275).
3.
The right hand apparently attempts to push the intended coin through the back of the left hand, (Fig. 276). Touch the right fingertips to the back of the left and press a bit.
4.
After the intention of pushing the coin into the back of the left hand the right fingers open so the audience can see there is no coin at the finger tips, (Fig. 277). Note that the second finger is still touching the back of the left hand.
5.
Just as in the Hand Load, Chapter 3, both hands rotate palm up while the tips of the right fingers remain touching the back of the left hand. As the right palm moves over the top of the left fist, the half falls from palm position into the left fist, (Fig. 278). The hands continue to rotate until they are palm up, (Fig. 279). The left hand opens exposing the coin.
6.
The coin is tossed to the right hand where it is again placed in Classic Palm position for display, (Fig. 280).
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7.
Execute the Schneider Classic Vanish into the left hand.
8.
Rub the intended coin in the left a bit, intend the coin to disappear, and then show the left hand empty.
9.
While the left hand is held palm up to display its emptiness, the right pretends to pick up a bit of dust from the table or anything handy. Pretend to toss the spot of dust into your left hand, which closes over it. Open your left to show it empty then close it again turning the hand palm down.
10.
Execute the Hand Load, then open left to show the coin has returned, (Fig. 281). All of the above action is to keep the right hand in action. You have just vanished a coin. You want some time to pass before you get on with the show so the audience can appreciate that something has happened, but you can't just stand there without moving. Otherwise their minds will start working and you'll be challenged. So, the above action keeps you busy.
11.
Now turn your left hand palm down moving the coin to heel clip position, and show your right hand empty, (Fig. 282). The coin is moved to heel clip after the hand has been turned palm down. To move the coin to heel clip position first move the fingers forward, (Fig. 283), then slide the coin back, (Fig. 284). Figures 283 & 284 show a view not seen. Normally the hand is palm down here.
12.
The right hand approaches the left. The fingertips tap the back of the left hand twice. After this motion of tapping, the fingers remain touching the back of the left hand. Note: the tips of the fingers are to the far left of the left hand. Also note the thumb is already in position to get the half dollar.
13.
The left hand rotates. While the left rotates the right remains touching the left hand. The right is motionless while the left slips by, (Fig. 286).
14.
The left hand continues to turn bringing the half into a position where the right thumb and fingers can grasp the coin by the edges. The right will be shielding the position of the half dollar, (Fig. 287).
15.
The right hand picks up the half by the edges. After the coin is grasped the tips of the right tap the heel of the left hand, (Fig. 288). Please note the philosophy here. In standard moves in which a coin is removed from the hand after it is actually placed into the hand, there 88
is normally an unnatural jerk when the coin is picked up. Dr. Rubinstein missed this point in the presentation of this move in his tapes. This is the reason the hand taps the hand twice. If the hand is tapped once and allowed to remain on the hand while it turns produces a suspicious looking move. Tapping twice, however, creates the illusion you are moving the hand about normally, but enables you leave your hands in contact without looking odd. 16.
Show the coin gone, (Fig. 289).
17.
Produce the coin from the left elbow, (Fig. 290).
18.
Display the coin after producing it from the elbow, (Fig. 291).
19.
Execute the Snapback Vanish. During execution of the Snapback Vanish look at your audience. After doing the move, you should remain holding the intended coin at your fingertips.
20.
Take the intended coin to your right elbow where you apparently push it into your elbow, (Fig. 292).
21.
After pushing the intended coin into the elbow, reach over to the left elbow reproducing the coin, (Fig. 293).
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TRI-VANISH Tri-vanish is a small routine inspired by Tony Slydini. It began with a desire to create a routine that displayed a lot of audience pleasing manipulation. Three coins vanish one at a time, and then suddenly reappear. When
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performed for the layman it always generates a reaction. There is usually a laugh of surprise. 1.
Place three half-dollars in a row near the edge of the table.
2.
Place your right hand on the right most coin, (Fig. 294). In the picture the fingers are spread just a bit so you can see the coin. Normally the coin is not seen under the hand. Slide it off the table toward yourself and hold the coin against the inside of your hand with your thumb as the coin leaves the top of the table. Curl the fingers as the coin is lifted from the table, pressing the coin into the Classic Palm. Display the coin to the audience, (Fig. 295).
3.
Execute the Schneider Classic Vanish into the left hand, and intend the coin to vanish, and then show the left hand empty, (Fig. 296).
4.
Begin to slide the next coin off the table, (Fig. 297). As the coin is slid off the table, it is allowed to fall into the lap. The right hand intends that it has actually picked up the coin, pressed it into Classic Palm position, and then displays it to the audience, (Fig. 298).
5.
Again execute the Schneider Classic Vanish causing the coin to disappear. Then show the left hand empty.
6.
Now, the right hand slides the third coin off the table allowing the coin to show slightly from the fingertips, (Fig. 299). The coin is picked up and remains in view at the fingertips. It is held in position for the Snapback Vanish.
7.
With the coin at the fingertips execute the Snapback Vanish. Figure 300 shows the second half of the vanish. The right hand drops to the table, while the left closes around the intended coin, (Fig. 301). During these motions turn the right side of your body towards the audience slightly so the back of your right hand will be towards them.
8.
Cause the intended coin to vanish, (Fig. 302).
9.
The right hand produces the coin, just vanished, from the left elbow. As the hand reaches to the elbow to produce that coin, the left drops to the lap to pick up the coin, (Fig. 303).
10.
The right hand tosses the coin just produced on the table and the left reaches under the right arm producing a coin, (Fig. 304 & 305).
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11.
Toss that coin on the table.
12.
Produce the Classic Palmed coin from the left elbow, (Fig. 306).
13.
Then toss it on the table for the end of the effect, (Fig. 307).
Just as I am about to go to press, I have discovered something. Instead of using the Snapback Vanish on the third coin, one can use the Heel Clip vanish from the previous routine. It is step 14 in Dynamic Coin. (Author note: 2004 update.) I have been presenting this routine since 1975 without change as presented steps 1 to 13. I always use it and it never fails to please. This is one of those items that you could well do the rest of your life and worth the price of the book.
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