effort, so here is a practical method of using it, with all moves natural, smooth, and unsuspicious, for the vanish and recovery of a coin.
A coin is apparently placed in the left hand, but really retained in the right; the thumb palm, classic palm, Bobo Vanish, or any equivalent vanish may be used. While gazing at the left fist the right hand drops to the side and the coin is allowed to fall onto the right cupped fingers. The right hand now comes up and grasps the left wrist, thumb above and fingers below, Fig. 1.
With the right thumb, indicate a particular spot on the left wrist, saying that by pressing on that spot the magic is done. At the same time move the hands toward the spectators, and under cover of this larger motion the right fingers slip the coin underneath the wrist watch; it need only go about half way under.
Count to three as you press with the right thumb on the “magic spot,” and at “three,” the left hand opens to show the coin has vanished. The right hand moves away to the right, palm out, so it also can be seen to be empty. If you are wearing a coat or even a long-sleeved shirt, drop the hands downward to the sides so that the left sleeve will cover the watch, and turn both hands around to show their backs. The effect can even be done with short sleeves, by showing only the palms.
To reproduce the coin, bring the hands together again, left hand closed in a fist, the right hand grasping the left wrist as before. As you count to three, moving the hands forward, the coin is slipped loose by the right fingers and allowed to rest on them. At the count of three, the left hand opens, but is still empty. Look chagrined for a second, and then pretend to remember that to make the coin return, the other wrist must be pressed.
The right hand moves away to the right, carrying the coin and closing into a fist. The left hand now grasps the right wrist, and at the count of three the right hand is opened to show the coin has reappeared.
I have used this quite a bit, and it makes an easy and effective vanish and reproduction.
THE PULSE TRICK
GLENN HARRISON
Ever since Glenn Harrison showed me this trick in Denver a few years ago, it has been one of my favorite bits of close-up chicanery. The effect is new and different and possesses all the essential elements of smart magic. It is intriguing to the onlookers for the patter fascinates them, and at the same time makes a perfect cover up for the one simple sleight.
Effect: The performer shows a silver dollar as he tells a spectator that he is going to test his nervous system. He asks the spectator to extend his right hand, palm down, then taking the coin in his left hand, performer presses the pulse of the spectator with the other, while the left hand goes underneath the spectator’s palm with the coin. The magician explains that by pressing his pulse it sets up a nervous reaction which prevents him from feeling the coin. Opening his hand, the performer runs his fingers over his helper’s palm. “Pressing a little harder,” continues the performer, “your vision is affected also, and you are not able to see the coin.” Accompanying this remark the magician removes his left hand from underneath the helper’s and it is seen to be obviously empty.
“But a strange thing happens if I touch a nerve up here at your elbow and release your pulse again. Not only are you able to feel the coin—you can see it as well.” With these words the performer brings his left hand into view from underneath the spectator’s hand and the missing coin is seen lying on his palm.
Here is one of the best reasons I know of for mastering the back palm. This one secret move is perfectly covered by the subtle misdirection and patter.
Method: Begin the experiment by showing a silver dollar. (If you can back palm a half dollar it will work as well.) Place the coin in your left hand using the same movements as you would to retain it in the right hand, so when you apparently repeat the same action a moment later, nothing will be suspected. (The Slide Vanish is an excellent sleight for accomplishing this effect.)
Approach a spectator as you tell him you are going to test his nervous system. Casually place the coin into your left hand, then toss it back into your right. Gesture with your left hand as you ask the spectator to hold out his right hand. Apparently place the coin back into your left hand but retain it in the right. Then the right hand, which is palm down, makes a movement toward the spectator’s outstretched hand as you exclaim, “No, turn your hand palm down.” (Spectator usually extends his hand palm up.) Back palm the coin as you take hold of his wrist, your patter running something like this: “Now if I press strongly on your wrist like this, it sets up a strange nervous reaction. Then if I place the coin against the underside of your hand like this . . . (place your closed left hand under his hand, then slowly open it and rub your fingers over his palm) . . . you are not able to feel it. And if I press a little harder on your pulse, your vision is affected also, and you are not able to see it, either.” With these remarks slowly open your left hand, rub your fingers across his palm, then bring the hand into view. Slowly show the left hand on both sides with the fingers wide apart. The coin has disappeared.
“But,” you state, “a peculiar thing happens if I touch a nerve up here at your elbow . . . (press a spot near his elbow with your left hand) . . . and release your pulse; you are again able to feel the coin, and also you are able to see it.” Here your actions must be perfectly timed with your patter. Beginning with “and release your pulse,” you do release his pulse with the right hand, and at the same time your left hand, which is palm up, comes straight down underneath his forearm to a position directly under his outstretched hand, which you have cautioned him to keep in this position throughout the experiment. At the exact instant your right hand releases his pulse it also releases the back palmed coin, which falls into the left hand as it passes underneath on its way down to his palm. There must be no hesitation as the left hand moves down underneath the spectator’s forearm. It merely passes underneath the right hand, catches the coin as it falls, and continues on down to the spectator’s palm. Then you gently press the coin against his down-turned palm, so that he is able to feel it. Following this you reveal the coin, which ties in with the patter, . . . “and also you are able to see it.”
The spectator’s right wrist masks the back palmed coin in your right hand, and because all the attention is on the left hand during the action the right is never suspected.
If there is one trick that goes over with the women, this is it. It affords possibility for much comedy and byplay, and is one hundred percent entertainment.
THE CRANIUM VANISH
WALLACE LEE’S VERSION
No, this is not a vanishing head trick but a trick where the top of the head is used as a hiding place for a vanished coin.
Since the coin must be secretly placed on top of the head the trick is only practical to perform before children whose eye level is lower than the top of the head.
Get a group of small-fry in front of you and show them a coin in your right hand. Tell the children that you will place the coin in your outstretched left hand three times, and on the third time you want one child to grab the coin. Keep your eyes on the left hand as you raise the right hand to the top of your head. Next time you raise the hand find the exact spot on top of your head where you can leave the coin. On the third time place the coin on this spot, bring the hand down and pretend to deposit the coin in the left hand. The child grabs, but the coin is gone.
To get the coin back, hold
