A RRGTORE aY DAVID ROTH COINS CLOSE-UP MAGIC (212) 260-2118wingeD SELVER a to the othel Four coins travel invisibly from one han EFFECT: ‘or one at a time. A fifth half dollar HAS cour half dollars on the table. Se eatal owing it 1e clageterpe tip vone of the coins with the left hand, shoving £ ond and thir’ : ng lying at the Page Che sane time, let the coin in the right pa aloud, . f0) (5) “turn the dere. tly dumping the coin onto (3. rere othe ight hands bat really finger-paim the coin in right han the feft’nend ae the foin on the right fingertips is brought into he key move in the view. (This move, called a Shuttle Pass, 8 tne key move in the routine, so whenever you see es cae wt re(G} the right hand now places its coin on top of any one of the coins on the table, this being your count "Two." Then place both these coins on still another coin, counting aloud, "Three Meanwhile, the left hand picks up the last coin and drops it on the right palm, along with the other three coins. This is count "Four." (5) Both hands close into fists, about eight inches apart Secretly palm one of the coins in the right hand. (6) Open both hands at the same time, palm down, about one thgh above the table. One coin falls from the left hand. and three from the right. (The extra coin is in the right palm.) ‘The firee coin has now gone across, (7) The left hand picks up its coin and pretends to pass it to the right hand, really doing the shuttle pass -- (see steps 2 and 3 above). The right hand displays the coin for a moment, then tpeees tt back into the left hand, being careful not to lee it hee the finger-palmed coin. The left hand closes into a fist, keeping the two coins quiet. (8) The right hand picks up the three coins on the table and Shows them on the palm-up hand. As the hand closes intone fist, Palm one of the coins. Now repeat step (6) to make the sccons coin coin’ dg a) fhis time two coins will fall from each hand. the ecece coin is in the right palm. (9) The left hand picks up one of its two coins and passes the %S, the right hand, really doing the shuttle pase, “Ae pases, the right hand shows its coin, the left hand pioke up its other foin and adds it to the one at the right fingertips. The right pand shows both coins cleanly, then drops them back inte tre left hand, which closes into a fist. Pick up the two coins on the otie with the right hand and show them on the paim. As you makes fist, palm one coin, (20) Repeat Step 6 to make the third coin go across. Now you have three coins under the left hand and one under the right. The fifth coin is in the right palm (11) The left hand transfers its three coins to the right hand, one at a time, doing the shuttle pass with the first coin, then -1-id Bh Othe lett hand, waite ohree, ir £0 across by palming 4 in the rigne hand 4 YOu pretend to throw it toward the left hand. "at the left hand opens to show four coins, the sent eats laps ite coin, to COMMENTS: The shuttle pass is a true utility move that can be used to position a coin, switch a coin, or simply conceal a coin 88 you apparently show both hands empty.COPPER AND SILVER EFFECT: A silver coin in one hand changes places with a cop~ per coin in the other. The effect is repeated, and everything can be examined. _ REQUIREMENTS: A silver coin, a copper coin, and a double~ faced coin showing silver on one side and copper on the other HANDLING: (1) Have the two coins on the table, silver on the left, cop- per on the right. the c/s coin is classic-palmed in the right hand, silver side against the palm (2) Using both hands, turn the coins on the table over a few times, thus showing both sides of both coins. Now pick up both coins, silver in the left hand and copper in the right, making fists with both hands, and meanwhile asking the spectator which hand holds which coin. As you make the fist with the right hand, secretly do a palm- to-palm change, switching the copper coin for the c/s coin in the palm. This puts the copper coin in the palm and the c/s coin in the finger-palm, copper side against the fingers. Whatever the specta- tor answers, put the coins back on the table, only this time the right hand puts down the ¢/s coin, copper side up. (The real cop- per coin is, of course, in the right palm.) (3) Explain that the easiest way to make the coins change places would be to move them yourself. While you say this, visibly transpose the coins, putting the silver coin on your right, and the c/s coin (copper side up) on your left. Remarking that that wasn't real magic, pick up the c/s coin with the palm-down left hand and the silver coin with the palm-down right hand. As both hands close into fists, do a palm change with the right hand switching the copper coin in the palm for the silver coin that has just been picked up. The left hand secretly turns the c/s coin over, so that its silver side is against the fingers. Now both hands cleanly lay down their coins, showing that a transposition has taken place. (4) Repeat the moves in Step 3, this time causing the coins to transpose again, leaving the silver coin on the right, the c/s coin on the left (copper side up) and the real copper coin in the right palm. Pick up the c/s coin with the left hand and display it lying at the base of the second and third fingers. Now pretend to toss it into the right hand, really doing a shuttle pass (re- taining the c/s coin finger-paimed and showing the real copper coin at the right fingertips.) Show the copper doin on both sides, then take it with the left hand and hold it at the fingertips while the right hand shows the silver coin on both sides. At this point, you have a coin held at the fingertips of each hand, while the c/s coin is in the left finger palm, silver side against the fingers. (5) Say, "The easiest way to make the coins change places would be to put the copper coin here, and the silver coin here." As you say this, place the copper coin on the table to your right. Now pretend to transfer the.silver coin to the left hand, but 5really retain the silver coin in the right hand while the left hand puts the c/s coin, silver side up, on the table to the left. Now make the coins change places by repeating the moves in Step 3 (right hand does palm change, left hand turns c/s coin over). By repeating this sequence and doing Step 4 again, you can continue the effect as long as you like, yet show both sides of both coins at any time. (6) To finish, have the c/s coin on the left, copper side up. the silver coin on the right, and the real copper coin in the right palm. With the right hand palm down, pick up the silver coin, lay it on top of the c/s coin, and put both coins on the open left palm, c/s on bottom, silver on top. Slowly close the fingers around the coins. Turn the left fist palm down. With the right hand, reach into the thumb side of the left fist, take out the c/s coin, silver side showing, and place it on the back of the left hand. Say, "Sil- ver coin on the hand, copper coin in the hand." Now take the c/s coin with your right hand, do a palm change as you close the hand into a fist, and finally lay the coins down with both hands, silver in the left and copper in the right, to conclude the routine. The ¢/s coin is safely palmed in the right hand, and the other two coins may be examined. COMMENTS: You can do the sequence in Step 6 in a spectator's hand for a strong finish, In this case, you must remove the c/s coin from his fist and then finish as written. aheTHE OPTICAL PASS This 18 a retention-of-vision coin-vanish that is extremely deceptive when properly done. Once mastered, it can be used as a utility move whenevera coin vanish is required. HANDLING: The coin is shown in the right hand held at the tips of the thumb and first and second fingers. (2) The right hand turns palm down and places the coin on the open left palm, without releasing its grip on the coin. The left fingers start to close over the coin. (3) As soon as the left fingertips touch the backs of the right fingers, the right second and third fingers extend over the coin (which is now held by the right thumb and forefinger) and, curling in quickly, carry the coin back on their fingertips. The right thumb and forefinger release their grip as the second and third fingers hook the coin back into the right hand. It ends up here, on the fingertips of the curled-in second and third fingers, ready to be classic-palmed. COMMENTS: ‘The move is fast, very natural, and requires no "get ready." The important thing is, don't extend the right fin- gers to hook the coin back until the left fingers provide adequate cover. When properly done, the coin appears to be in the left hand after the hands have separated.COIN BOX ROUTINE EFFECT: Four coins travel invisibly from a small brass box to your hands, one at a time. REQUIREMENTS: An Okito coin box and four coins. HANDLING: (1) Have the box on the table with the lid about one inch to the left of the box. In front of the box, in a horizontal row are four half dollars. (2) Pick up the four coins with the left hand and display them on the left palm. Bring the right hand over, and, as you apparently square up the stack of coins at the fingertips of both hands, allow one coin to fall into the left finger palm. The left hand drops to the table in a relaxed position as the right hand drops its three coins into the box. Now the right hand reaches over the box, picks up the lid, and covers the box. Reaching over the box effectively obscures the height of the stack of coins in the box. (This first steal is never suspected because you haven't yet told the audience what you intend to do.) Now elaborately go through the motions of extracting a coin from the box with the right hand pretending to "throw" it into the left. ‘The left hand "catches" the coin, then opens to reveal an actual half dollar. Place the coin on the table to the left. Open the box and spill out the "remaining" three coins. (3) Hold the box in the left hand, fingers pointing to the right, and back of hand to the audience. The box is held by its sides with the left second finger and thumb, the bottom of the box parallel to the table. (4) Pick up one of the coins on the table with the right hand and place it in the box. Now lift the other two coins and hold them together at the fingertips. Turn the right hand palm down and, while apparently putting both coins into the box, actually putting in only the upper coin. The lower coin 1s secretly fed under the box by the right thumb, which snaps the coin against the bottom. Here it is retained by pressure on its edges by the left thumb and se- cond finger. The entire move is covered by the upper coin and the back of the right hand. (5) Put the lid on the box and casually show that the right hand is empty. Now take the box with the right hand, thumb on top, fin- gertips on the coin at the bottom, and shake the box as you show your left hand empty. Take the box back with the left hand, retain- ing the coin on the fingertips of the right hand. The right hand drops to the table in a relaxed, half-closed fist while the left hand places the box on the table. (6) With the left hand, pick up the first coin that jumps from the box, and, apparently tossing it into the right hand, really do a shuttle pass (retaining the coin.in the left finger palm, and showing the coin that was on the right fingertips). ‘Place the coin in the right hand aside, Then go through the motions of extracting another coin from the box with the right hand and pretending to throw it into the left hand. Open the left hand to reveal its coin, place b=this coin to the right, next to the first coin that had left the box, open the box, and spill out the "remaining" two coins. (7) Repeat step 3, getting the box into position in the left hand. Now do the move in Step 4, with the two coins just spilled from the box. This puts one coin in the box and one under it. Place the lid on the box. (8) Pick up the two coins on the table with the right hand and display them on the hand, palm up, with one lying at the base of the second and third fingers. Now bring both hands toward each other as you turn your right hand palm down and apparently dump the two coins on the table. Actually, retain one of the coins in finger palm position, as you let the coin from the bottom of the box fall. In this way, two coins hit the table, both seemingly coming from the right hand. (This 1s a very disarming move, for not only does it get the coin off the bottom of the box, but it also convinces the audience that your right hand is empty.) Now the whole procedure is repeated: pretend to extract a coin from the box with the left hand, "throw" it into the right, and open the right hand to reveal its coin. Next, open the box and spill out the last coin. (9) Openly place the last coin back in the box and put the lid on. Then, as if to give the audience one last look at the coin in the box, the right hand, with second finger and thumb, lifts the lid off the box. Meanwhile, the left hand, holding the box by its sides between thumb and second finger, tilts it forward so that the audience can have a’ glimpse of the coin inside. The left hand now lowers the box back to the table. As soon as the bottom touches the table, the left thumb presses down on the rear rim of the box, causing it to turn over toward the performer. The right hand, hold- ing the lid, moves in to cover the box and thus helps shield the move. (This is not difficult, but calls for practice in timing. Done well, this tabled turnover is invisible.) (10) With the box reversed on the table and containing one coin, pick up the remaining three coins in the right hand, show them very cleanly, and lay them on the left palm, Display them again, then slowly close the left hand into a fist. For the last time, pretend to extract a coin from the box with the right hand and "throw" it into the left. ‘The left hand opens palm up, half spilling, half tossing its three coins on the table. At the same time, the right hand lifts the box slightly and places it aside. The three coins from the left hand merge imperceptibly with the coin from the box, giving the illusion that all four coins have come from the left hand. Now take the box and, by doing the stan- dard drop turnover, open it and show it empty, to conclude the routine. COMMENTS: ‘The effect is practical, with the use of only four coins and one box; it isn't too hard, and is almost completely angle-proof. Done smoothly, this routine "flows," and always goes over well with laymen or magicians.CONTINUOUS_ONE-HAND CHANGE EFFECT: A coin held at the fingertips changes continuously from silver to copper, both sides of the coin and both sides of the hand being shown throughout. HANDLING: (i) Secretly classic-palm a copper coin (English penny) in the right hand. Now, standing with your left side to the audience, show a silver coin (half dollar) held by the tips of the right tbumb and second finger. The hand is held almost palm down, so that the copper coin won't flash. By turning the back of the hand toward the audience, the other side of the silver coin is exposed (as well as the back of the right hand), but the copper coin re- mains hidden in the palm. After showing the back of the coin and hand, turn the right hand back to its original, almost palm-down position. (2) To make this change, clip the silver coin between the tips of the right first and second fingers. At the seme time, take the right thumb off the coin, and by bending the first and second fin- gers, Downs-palm the silver coin in the fork of the right thumb (3) The instant the silver coin is Downs-palmed, let the cop- per coin in the palm fall onto the tips of the curled second and third fingers (which immediately extend), placing the thumb on the coin. Show the copper coin held between the thumb and second fin- gertip, with the silver coin Downs-palmed, and with the palm toward the audience. By bending the hand inward at the wrist, you can show the back of the copper coin, as well as the back of the right hand, but the silver coin in Downs-palm won't be seen if you watch your angles. The hand looks empty except for the copper coin at the fingertips. (4) To continue the change, simply reverse the moves: that is, the copper coin is classic-palmed as the first and second fin- gertips clip the Downs-palmed silver coin and bring it out to where the thumb can hold it against the second fingertip (as in Step 1). By repeating the moves in Step 1, both sides of the coin can be shown, and the change continued as frequently as you like. The change is covered by a slight up-and-down movement of the hand, and looks very convincing, as a trial in, front of a mirror will show. COMMENTS: This move is an extension of a change by Dr. E. M, Roberts in Bobo's "Modern Coin Magic." By using a c/s coin and a "Chinese" coin with a hole in the middle, you can get three changes while apparently using one coin.CHOP CUP ROUTINE The following is a practical chop cup routine, with no pocket loads. It is fast, to the point, and retains the usual double load finish. REQUIREMENTS: One chop cup, one magnetic ball, one matching ordinary ball, and two large balls, each of which just about fills the cup. HANDLING: (1) Start with the two large balls in your lap. Bring out the cup in the left hand mouth upward. The ordinary ball is inside the cup. The cup is held by the thumb and first and second fingers the third and fourth being curled under the cup concealing the mag ball (which is held by magnetic attraction to the bottom of the cup). Tip the cup forward to roll the ordinary ball into the waiting right hand. Briefly display the ball at the right fingertips, allowing the hand to be seen otherwise empty. (2) Place the ball on the table and transfer the cup to the right hand, holding it as described in Step 1, so that the mag ball remains hidden. Be careful to keep the mouth of the cup toward the audience during the transfer, so that the ball does not flash. Tip the mouth of the cup toward the audience, simultaneously finger-palming the mag ball. (Simply clip the mag ball off the cup with the third and fourth fingers as the thumb tilts the cup for- ward. You will end up holding the cup almost like a gun aimed at the audience.) ‘Transfer the cup to the left hand, letting the right hand drop to the table with the finger-palmed ball. (The hand should be in a loose closed fist.) With the left hand, tilt the cup so that the bottom points toward the audience, as if you were about to drink from it. In this way, the empty left palm is exposed to the audience. All of the above takes only a moment, accompanied by the pat- ter: "A little trick with a small ball and a cup that is open at one end and closed at the other.” At the end of this sequence, the audience will be convinced that you are using one cup, one ball and nothing else. (3) The right hand picks up the tabled ball between thumb and forefinger, comes over the cup, and drops both balls into the cup the palmed mag ball falling first. Since the backs of the right fingers are toward the audience, they cannot see that more than one ball is dropped in. The cup is immediately tipped over, allowing the ordinary ball to roll into the waiting right hand. (Of course, the cup is tilted over toward the performer, so that the mag ball adhering to the cup is not exposed.) Table the cup mouth downward, dislodging the mag ball in the process. The covering patter is, "The idea 1s to get the ball into the cup. The hard part is to do it magically. (4) Pretend to place the ball in the left hand, but actually retain it in the right hand, which drops to the table with the ball finger-palmed. Show that the ball has vanished from the left hand and lift the cup with the left hand to show that it has arrived under the cup. -9-(5) Replace the cup over the ball. Tilt the cup back with the left hand to expose the ball again. The right hand now pre- tends to remove the ball and place it on top of the cup. Actually, when the right hand sweeps over to apparently scoop up the ball, the finger-palmed ball is allowed to roll down to the fingertips. It is this ball that is placed on top of the cup while the mag ball remains under the cup. At the critical instant when the sub- stitution takes place, the backs of the right fingers are again shielding the action from the audience's view. (6) Pick up the ball with the right hand and repeat the se- quence of Step 4. (7) ‘The right hand picks up the tabled ball between thumb and forefinger and drops both balls in the cup, as in Step 3 However, this time the palmed ball should fall second. ‘The cup is immediately tipped over, allowing the ordinary ball to roll into the waiting right hand. Table the cup mouth downward. You are now going to execute a variation of the Charlie Miller move, as follows: The right fist is placed on top of the cup so that the little finger side rests on the cup and the thumb side points upward. The ball should rest on top of the fist (1.e., on the thumb side). The left hand now takes hold of the cup. The cup and fist are lifted together a few inches above the table, then brought down sharply against the table, and immediately lifted up again. As the cup is brought down, the ball is allowed to roll down into the fist into finger-palm position. The cup should strike the table hard enough to dislodge the mag ball. Properly timed, it will appearthat the ball has penetrated through the cup. ‘The left hand then revolves the cup mouth upward and places it into the right, so that the finger-palmed ball is held directly against the bottom of the cup. The left hand picks up the tabled ball and drops {t into the cup. As soon as this ball hits bottom, the finger-palmed ball is allowed to drop to the table. The patter for all of the above is: “Normally, 1f you drop the ball into the cup, the bottom prevents it from going through." (Say this as both balls are dropped in.) “But if you use magic, you can make the ball penetrate through the cup." (Charlie Miller move.) "Right through the cup." (Second penetration.) (8) The right hand picks up the ball and pretends to place it in the left hand, but actually retains it. The right hand then drops to the table edge for a moment and laps the ball. As soon as the ball is lapped, the right hand moves to the cup and lifts it to show that nothing is there yet. (The left hand is still closed in a fist, supposedly holding the ball.) As the cup is replaced on the table, the mag ball is dislodged, The left hand opens to show that the ball has vanished. As the left hand reaches for the cup, the right drops to the lap and picks up one of the large balls. The left hand lifts the cup, brings it to the table edge, and transfers it to the right hand, which loads the large ball and tables-the cup next to the mag ball (9) Once again the right hand picks up the ball and pretends to place it in the left hand while actually retaining it. The right hand drops to the table edge for a moment and laps the ball. =10-The Jeft hand opens to show that the ball has vanished. As the left hand reaches for the cup, the right drops to the lap and picks up the other large ball. The left hand lifts the cup to reveal the first giant load. Under this strong misdirection, the second large ball is loaded by the right hand, as above. Finally the cup is lifted to reveal the second giant load, concluding the routine. elleCHINK~A-CHINK EFFECT: The classic four object assembly, done with coins. HANDLING: tm 1) Have four coins on the table, arranged in a square, ust A B c D A fifth coin is palmed in the right hand.’ Explain to the audi- ence that during this trick you will not touch the coins, but merely cover them with your hands. As you say this, let the coin in your right palm fall to the table (a close-up pad 1s required) and cover the coin with the base of your thumb. (2) Cover "D" with the right hand, the extra coin sliding easily along the mat, covered by the base of the right thumb. ‘The left hand covers "A", but actually presses the base of the left thumb on thé coin. (3) The right hand moves to the side, leaving two coins at "DY. The left hand steals the coin at "A", sliding it to the left side of the mat. (4) The right hand covers "D". The left hand covers "Cc" The right hand leaves a coin, while the left steals a coin. Both hands move the sides together to reveal the coins. (5) The right covers "B". The left hand covers "C", The right hand leaves a coin, while the left steals a coin. Both hands move the sides together to reveal the coins. (6) The right hand covers "D",. The left hand covers "B", The right hand steals its coin, while the left leaves a coin (7) Finally, cover "c# with the left hand and "B" with the right. As the left hand covers its coin, it slides the coin back over the edge of the table, into your lap. The right hand leaves its coin at "B", and both hands move aside to reveal the four coins at "B". COMMENTS: The sliding of the coin under the base of the thumb 4s very deceptive when done smoothly. ‘The routine is not hard, but looks very magical, which is why it's such a strong effect. -12=THE PURSE AND GLASS EFFECT: ‘Three silver coins in a glass change places with three copper coins in a purse, one at a time. REQUIREMENTS: Six silver coins, three copper coins, a small leather purse, and a small glass with a recessed bottom, large enough to fit over one of the coins. PREPARATION: Place the three copper coins and three of the silver coins in the purse. The remaining three silver coins are finger-palmed in the left hand. The purse and glass are on the table, glass to the right. HANDLING: 1) Using both hands, open the purse and, gripping the purse from the bottom with the right fingers, extend your arm to the nearest spectator and ask him to tell you how many coins are in the purse, He will, of course, say "six." ‘The coins should lie in the purse with the three copper coins nearest the spectator. (2) As you bring your right hand back, pinch the coins through the purse, causing the three copper coins to ride up in the purse Here they are separated from the silver coins and held against the inside of the purse by the left fingers, which take the purse (and the three copper coins) from above. (3) As the left hand holds the purse and coins, the right re-grips the three silver coins by squeezing the sides of the purse (4) Release the left hand grip on the coins and purse. Turn the right hand palm down, letting the copper coins fall but re- taining the silver ones in the purse by pressure on the sides. At the same time as the copper coins are released, the left hand re- leases its three finger-palmed silver coins. These fall to the table with the copper coins from the purse. The effect is as if all six coins came from the purse. Quietly close the purse and place it to your left. Arrange the six coins in two vertical rows, cop- pers to the left, silvers to the right. (5) Explain to the audience that something magical will happen every time you drop coins in the glass, meanwhile dropping the three silver coins into the glass. (6) The left hand lifts the purse as the right lifts the three copper coins and displays them on the palm. Now turn the hand palm down and catch the coins in a stack at the fingertips. (7) The left hand holds the purse at the fingertips, with the bottom of the purse resting on the side of the left third finger. The purse is open but tilted slightly toward you, so as not to flash the coins inside. Also, be sure the coins don't "talk." (8) The right hand, with the three copper coins held in a stack at the fingertips, moves to the left and pretends to drop its coins into the purse. Actually, as soon as the back of the right hand is toward the audience, the left thumb reaches up and snaps the three coins down behind the purse. Here they are held in place by the left thumb. -13+(9) The right hand immediately closes the purse and takes it from above, with the right thumb behind the purse holding the three coins in place. Shake the purse, and the silver coins in- side are mistakenly heard as if they were the three copper coins. The covering patter for this sequence is: “If I drop coins in the purse, nothing magical happens." (10) Take the purse with the left hand from above, the left thumb slightly spreading the three copper coins, so that they can be released one at a time. (11) The right hand takes the glass, and, spilling out the three silver coins, goes with this patter: "Silver with the glass." As you spill the coins, the left hand lowers until the purse touches the table, where one of the copper coins is released and falls flat, hidden by the purse. Immediately bring the right hand, with the glass, back toward the purse and over the copper coin. The left hand raises and shakes the purse, as you say, "Copper in the purse." 12) The right hand moves the glass with the coin under it, to the right side of the mat. Now the right hand takes the purse for a moment. Meanwhile the left hand shifts its grip, taking the purse from below, with the left thumb pressing the two copper coins against the purse. . (13) The left thumb slides the top copper coin down, almost off the coin beneath it, but still holding it in place, At the same time, the right hand lifts the three silver coins and shows them, Drop the coins to the table and take the purse from above with the right thumb holding the copper coin in place. The other copper coin is allowed to fall to finger-palm position in the left hand. The right hand shakes the purse a few times, then passes it to the left hand, which takes it, as well as the coin behind it placing both to the left. SITUATION: Three silver coins on the table and three in the Purse} one copper coin under the purse, another under the glass, and a third finger-palmed in the left hand. (14) The right hand picks up one of the silver coins and places it in the left hand, making sure that it doesn't hit the copper coin. The left hand closes into a fist. Now the right hand picks up the other two silver coins and drops them in the glass, while the left hand laps its silver coin. Remind the audience that whenever you drop coins into the glass, something amazing happens. Open your left hand and show that the coin has changed. (15) Display the copper coin cleanly, finally leaving it on the left hand at the base of the fingers. Move the glass (with the coin under it) to the center of the table. (16) Turn the left hand palm down, and pretend to drop the coin to the table, but retain it, finger-palmed. At the same time, the right hand lifts the glass slightly and‘moves forward and to the right, revealing the coin beneath it. The illusion is that the coin from the left hand has dropped to the table. The right hand spills out the coins from the glass as you say, "That leaves two silver coins." -14-(17) Pick up one of the silver coins with the right hand and put it into the left, which closes into a fist. Make sure the coins don't "talk." Pick up the other silver coin anddrop it into the glass. At the same time lap the silver coin in the left hand. The sound of the coin falling into the glass covers the sound of the coin falling into your lap. Open the left hand, showing that the silver coin has changed to copper. Place it next to the coin on the table. (18) Pick up the purse (and the coin beneath it) with the left hand. ‘Transfer it to the right hand, which takes the purse and the coin from above and shakes the purse. The patter is, "The coins in the glass are changing places with the coins in the purse." (19) The left hand picks up the two copper coins on the table and displays them palm up, with one coin lying at the base of the fingers. The right hand moves toward the left hand, As the left hand turns palm down-and releases one of its coins (the other being finger-palmed) the right thumb releases the coin behind the purse. This falls to the table, along with the coin from the left hand. The illusion 4s perfect. (20) The left hand immediately takes the purse from the right and places it to the left. The right hand spills the silver coin in the glass onto the table and, picking up the silver coin, puts it into the left hand. The right hand lifts the two copper coins and drops them into the glass as the left hand laps its silver coin. Once again the noise of the drop to the glass covers the drop to the lap. (21) Open the left hand, showing the copper coin. Drop it into the glass, spilling the three coins onto the table. Now cleanly open the purse, revealing three silver coins. COMMENTS: ‘The hands are seen empty after each change, and yet they never go to the lap, so the changes are quite magical.THREE COIN VANISH EFFECT: Three coins disappear one at a time, then reappear all at once, both sides of both hands being shown empty throughout. HANDLING: (1) Show four coins held in a fan at the tips of the left hand fingers. The back of the hand is toward the audience, and the fingers are pointing up. The coin at the right end of the fan 4s nearest you. (2): Lower the left hand until the edges of the coins point toward the audience. Now come over with the right hand, back of hand toward the audience, and fingertips pointing to the left Take one of the coins from the fan in this manner: The coin at the right end of the fan (uppermost fan) is taken by its opposite edges, between right thumb and second finger, keeping the coin in Tine with the second finger and about an inch from its tip. The back of the right hand prevents the audience from seeing that the coin is held on edge. They believe it is held flat against the fingers. (3) The right hand moves away with its coin, still keeping the back of the hand to the audience, while the left arm bends at the elbow, raising the left hand until its fingers point upward. Now pretend to put the coin that is in the right hand into the left. However, really keep it in the right hand, still gripped by its edges. The left second, third and little fingers close, ap~ parently around the coin, with the fan of three coins still held be- tween left thumb and forefinger. (4) Turn left hand palm down, bringing the fan of three coins within easy reach of the right hand. The right hand grasps the three coins between the tips of the second finger and thumb, with the coin gripped on edge still in place. In this position, the right hand looks absolutely empty, except for the fan of coins at the fingertips. Even with the entire palm shown, as well as the back of the hand, the edge-gripped coin cannot be seen. Remember always to keep the edge-gripped coin at eye level, and parallel to the floor, or else it will flash. Done well, this concealment is extremely deceptive. (5) The right hand (holding the fan at the fingertips with one coin edge-gripped) moves away to the right. Meanwhile, con- centrate all your attention on your left hand, making the coin that is apparently in that hand disappear by pretending to "hang" it in the air in front of you. At this point, both hands are palm toward the audience, with three coins showing at the right fingertips. (6) Drop the three coins in the right hand onto the left palm, one falling at the base of the left second and third fingers. Im- mediately dump the coins back into the right hand, but retain one coin finger-palmed in the left hand. Two coins fall from the left hand and join the edge-gripped coin in the right hand. Here the three coins are displayed lying on the right palm. Transfer the three coins to the left hand, where they are held in a fan at the fingertips, as before. -16-(7) Repeat Steps 2, 3, and 4, except this time, at the end of Step. , you will actually have a coin in the left hand as well ae One; edge-gripped, in the right, and two coins at the right fingertips. Now pantomime an‘ attempt to hang the coin that you pave in the left hand in the air. Of course, it won't disappear As you can see, this phase sets you up for edge-gripping the next \ coin. (8) Transfer the two coins at the right fingertips to the left hand, where all three coins are held at the left fingertips. Ex. Plain to the audience that you will try it again. (9) Repeat Step 2, taking the top coin from the left hand underneath the coin that is edge-gripped in the right hand. The coins inthe left hana fan cover the sound of this coin sliding into place. Now do Steps 3, 4, and 5 to make the second coin vanish. At the end of Step 5, transfer one coin to the left finger- f4ps, showing both hands palm out, with a coin at the fingertips of each hand. It looks incredible. (10) Take the coin from the right fingertips with the lett hand, so that both coins are held at the left fingertips. The right hand has two coins edge-gripped. Now repeat all of Step 9 However, this time, when the third coin vanishes, you will have one coin showing at the right fingertips, and three edge-gripped in the Same hand. Now show both hands empty except for the one coin qt is amazing how close you can bring your hands to the spec- tator's face without revealing the coins. As long as you keep the edge-gripped coins at eye level and parallel to the floor, they will not be seen, yet the entire hand looks empty. (11) To bring the three coins back, pretend to pluck three coins from the air with the left hand, then toss the phantom coins into the air. Apparently catch them with the right hand, which sud- denly releases the coin at the fingertips as well as the three edge-gripped coins, catching the for coins in a fist, then dra- matically opening to reveal the missing coins. Say meanwhile "Instead of making the last coin vanish, I can bring back the other three!" COMMENTS: This effect is very strong, and never fails to register well with laymen or magicians. The concealment that I call an “edge grip" is a very old method of hiding a coin, but the moves for getting coins into and out of the grip are my own. -17-