Modern Coin Magic. J. B. Bobo

      Turn the right hand inward and downward, apparently dumping the row of coins into the cupped left hand held below. The back of the right is toward the spectators, and the back of the curled fingers of that hand rest momentarily on the upturned left palm, Fig. 2. In sliding into position on the curled right fingers, the coins make a distinct jingle and, since the hands are in close juxtaposition at that moment, the illusion is perfect, both the eye and ear being deceived. Lower the left hand a few inches and close the fingers. Bend the second, third, and fourth fingers of the right hand inward, holding the coins, and point to the closed left hand as it then moves away to the left. Keep your attention fixed on the closed left hand for a few moments. Suddenly move the left hand upward, tossing the non-existent coins into the air. Follow their flight upward with the eye and you will be surprised how the spectators will, too. The coins have vanished.

      The coins are hidden in the right hand and must be either reproduced or disposed of. The better plan is to quickly reach behind the right knee, jingle the coins, and bring them into view.

      Method (b): Stand with your right side toward the audience, holding the coins to be vanished in a stack at the base of the middle finger. With the right thumb, push forward the top coin, then throw it into the left hand. As the right hand throws the coin, the left moves in unison to the right and catches it. The two hands come almost together in this action. Repeat these moves with every coin except the last. Instead of throwing it into the left hand the left hand tosses all its coins back into the right hand. The right hand catches and holds the coins as the left hand closes. There must be no stoppage or slowing down of action as the coins are tossed back. They are tossed back into the right hand without breaking the tempo of movement. Since the right side is toward the audience, the right hand acts as partial cover for the coins as they are tossed back, it being in the spectator’s line of vision.

      If the entire action is carried out rather smartly it appears that the last coin is thrown exactly as the rest. The noise of the coins flying back simulates the sound the last coin would have made had it actually been thrown into the left hand. Point to the closed left hand with the right forefinger (second, third, and fourth fingers are curled inward holding the coins) and finish as described in first effect.

      A TRIO OF VANISHES

      ROOS BERTRAM

      Here are three ways of vanishing a coin, each appearing the same but each entirely different from the other in method. They can be performed in the order given or separately. If performed together each builds on the preceding one, the spectators becoming more puzzled as each vanish is executed.

      Number one: Turn your right side toward the spectators and show the coin pinched flat between the tips of the right first and second fingers. Hold the left hand palm down and close it into a loose fist. Fig. 1 shows the two hands with the right hand about to push the coin into the left fist. Move the right hand toward the left and push the coin into the left fist. Once the coin is within the fist the two fingers gripping it bend downward, carrying the coin around the left thumb to the right thumb palm. Then extend the fingers before bringing them, empty and separated, out of the left hand, which proceeds to reduce the coin to nothingness in the usual manner.

      Number two: Hold the hands in the same position as in the preceding vanish, with the coin between the tips of the first two fingers of the right hand. Apparently repeat the same moves as described in the first vanish except when the coin enters the left fist it is transferred from its position between the first two fingers of the right hand to the ball of the thumb of the same hand. You must be careful not to close the left fingers so tightly as to interfere with this action.

      With the back of the right hand toward the spectators slowly withdraw the first two fingers of that hand. Careful attention must be given to angles at this point in order to keep the coin (which is balanced on the tip of the right thumb) hidden from the spectators. Fig. 2 shows the performer’s view of this action. The back of the right hand acts as a screen and conceals the coin from view. Now bend the right thumb inward and press the coin into finger palm position of the same hand. Curl the second, third, and fourth fingers inward to hide the coin from view and swing your right hand around so its palm is toward the onlookers. The forefinger points upward in a gesturing manner as you caution them to watch what is about to take place. The spectators see the hand as in Fig. 3, and since it appears empty it is not suspected, so their attention naturally returns to the closed left hand. Make crumbling motions with the left fingers, and then open the left hand and show both sides to prove that the coin has disappeared.

      Number three: The movements in this vanish appear the same as the first two, but with this method the coin vanishes entirely. Both hands are shown unmistakably empty at the finish of the effect.

      Take the same positions with the body and the hands as in the first two vanishes. Hold the coin between the first two fingers of the right hand as before and push it into the closed left hand and execute the same movements as described in Number two, up to the point where the first two fingers of the right hand transfer the coin to the tip of the right thumb. Now the similarity ceases.

      Immediately after the coin is transferred to the right thumb it swings inward toward the left wrist and tosses the coin into the left sleeve. Just prior to this vanish drop your left arm to the side and allow the sleeve to hang down as far as it will go. Without further movement of your left arm bring it up and proceed with the vanish. This slight advance preparation will bring the sleeve well down over the wrist and thus make the action of tossing the coin into the sleeve an easy one. However, you will find in practice that the coin need not be tossed—merely move the right thumb inward toward the left sleeve and allow coin to tumble off into the sleeve, Fig. 4.

      This is done while the first two fingers of the right hand are within the left fist. The left fist and the back of the right hand screen this slight action from the spectators.

      Withdraw the right first and second fingers from the left fist as in the two previous versions. Make crumbling motions with the left fingers, and then open the left hand and show it empty. Show both hands back and front to prove the coin has completely vanished.

      The transfer of the coin from the tips of the first two fingers of the right hand to the ball of the thumb and then into the left sleeve should be made without undue haste, but also without interruption, the hands coming together for only a moment for the depositing of the coin into the left fist. Without presenting too great difficulty, this sleight demands assurance and delicacy in its performance.

      For additional methods of vanishing a coin see Chapter VI, Cuffing and Chapter VII, Sleeving.

      Chapter IV. Complete Coin Vanishes

      The Bobo Complete Coin Vanish • Complete Thumb Palm Vanish Knee-zy Vanish • Sucker Vanish • Pocket Vanish • With a Handkerchief (3 methods) • In a Spectator’s Pocket (3 methods) • Bluff Vanish • Sucker Bluff Vanish • The Coin Fold • The Envelope Vanish

      Here is a collection of time-tested methods for vanishing a coin completely. When I say “completely” I mean they can be performed with the sleeves rolled up and both hands shown unmistakably empty after the coin has vanished. And the coin