This is a utility move. It is for use with Sympathetic Coin routines as well as other card/coin/mat tricks. It is fairly easy to do if you have had any experience with The Goshman Pinch (or Tenkai Penny Grip). It will remind you of using Scotty York°s method of getting into the Goshman Pinch except that you do it while holding a card. And, the handling with the card affords opportunities to show the hand front and back in a very natural fashion.
Start with a quarter on the close-up mat. (You can use any size coin you wish but I will describe it with a quarter.) Hold a playing card between the right thumb and first two fingers as shown in the illustration. The position of the thumb relative to the front and back edges of the card is important.
Use the card to scoop the coin up as the right hand swings to the right.
The left edge of the card should come into contact with the coin as close to the performer as possible. You want the coin to slide along the face of the card up to a position where the coin can be clipped between the card and the thumb as shown in the illustration.
Note that the coin is on the performer°s side of the thumb. The right hand does not pause during the scoop. It scoops the coin up and apparently dumps it into the left hand immediately. As the coin is supposedly being dumped into the left hand, the back of the right hand is being shown empty. During the dumping action, the card is held vertically with its left long edge resting on the left palm.
The card is now removed from the left hand which has closed into a fist around the imaginery coin. The card is now going to be used in a gesture. You are going to touch the back of the palm up left fist with the face of the card. You will do this as you say something like, "The coin will travel from this hand (tap the hand twice with the card) to join the coins underneath the
As the card goes under the fist, the right thumb pulls the quarter down so that it hangs over the near short edge of the card for more than half its diameter. See the illustration to help make this clearer.
Now for the take. The right third finger comes up over the part of the coin which protrudes over the card while, the right pi.nky rests its pad on the back of the coin. At this point, the card is held by the first two fingers and the thumb. The coin is taken between the third finger on top and the pinky on the bottom.
The coin is brought down just enough to clear the edge of the card and the fingers are brought together in the same plane. The coin is now in the
Goshman Pinch. You may now turn the card toward the audience and use it to gesture to either the audience or an object on the table. As long as the right hand remains palm up, the coin cannot be seen. You can even toss the card onto the table show lag your erapty, palm up, right hand.
Regurgitations, This is the basic move. It takes less than a second to take the coin from the front of the card to the back. You do want to be sure the coin doesn°t snap off the card as it passes from on top of it to underneath. The move has many uses as will be demonstrated later in this issue. I will mention one more here. In the above description, the coin apparently vanishes from the left hand. You can use the same move to vanish the co in from underneath a tabled card.
Start with a quarter on the table. Place a card face down on the table parallel to the table edge nearest you. Arrange to have the coin underneath the lower right corner of the card. Pick up the coin using the Dingle snap move. That is, place the right thumb at the near right corner of the card and the right second finger at the far right corner. The right first finger is curled on top of the card.
Slide the card forward until you feel the coin contact the right thumb. Pinch the coin between the right thumb and the card as the forefinger pushes down on the middle of the card. As the card comes away from the table, allow the far side to snap away from the r i.ght second finger as the forefinger comes together with the right thumb. This is the move used in mo .si; MaLrU type routines,
The coin has now apparently vanished from underneath the card. Actually, it is held by the thumb and first finger Ln perfect starting position for the third and fourth finger clip move described above. You can execute the move as your hand turns to toss the card onto the table exposing an empty right hand. Once again, the coin is secretly grasped in the Goshman Pinch.
One final note. When the coin is held behind the thumb immediately before being clipped by the third and fourth fingers, the card can be aimed at the audience. The coin hides behind the thumb and will remain out of sight as long as the hand does not rotate clockwise too much. While this subtlety is not used anywhere in this issue, I just thought Ll: might be of interest.
Tom says he uses this coin change for magicians only. While I believe this to be the case, I think it can be used for laymen when part of a larger routine. If you are just using the change to demonstrate how one coin can change to another, stick to your fellow addicts.
Effect. A half dollar and a playing card are on the table. The hands are shown to be completely empty. The card is picked up in the right hand and used to scoop up the half dollar. The coin is allowed to slide off the card, back onto the table. This sequence is repeated,
It is repeated for a third tune. However, this time, the half dollar changes into a Chinese (or other obviously different) coin. The hands are again seen to be empty.
The Work. There is a small price to pay for achieving such a clean, open, and visible change. You must have a shell coin. The value of the coin is not important, only that it is bigger than the coin you want to nest within. I will assume you are going to use a half dollar shell and a Chinese coin as used above,
You also need to coat the shell coin with a small amount of magicians wax. If needed, you can also coat your right thumb with a small amount.
Start wi.th the Chinese coin loaded in the shell and the shell resting on the table. Your hands should be obviously empty as you ask the spectator to hand you a playing card.
Take the card from the spectator (or from the pack) and use it to scoop up the coin on the table. At the end of the scooping action, the coin should be in the middle of the playing card. Allow it to slide down and off the card onto the table.
Repeat the exact same scooping motions, again allowing the coin to slide off the card. Now you are ready for the change. Imitating the first two scoops as closely as possible, scoop the coin up so that it comes to rest under the right thumb. This is the exact same move you learned in "The Scoop" described earlier.
The coin is under the right thumb. It is only going to be there for a second so the next few things happen fairly quickly. First, push down on the coin, causing it to adhere to the pad of the right thumb. Make a slight forward movement with the right hand as you lift up on the thumb and the shell.
The coin underneath will slide out of the shell and down and off the card. Since you have set them up with two previous scoops, they do not have time to comprehend the fact that for a spl It-second, they are seeing two coins, The half dollar is almost completely obscured from their view by your right thumb. As far as they are concerned, everything looks as it did before. As of this poiuL , Lliey still haven°L noLiced that a change has occurred.
As soon as the Chinese coin Ls clear of the card, the right hand turns counterclockwise at the wrist. It brushes back across the coin with a paintbrush type of motion.
As the hand completes its brush of the coin, it continues back to the magician where it is turned over with a wrist turn. It is now parallel with the table edge. The hand does not stop here. It is going to move forward again to use the tip of the card to flip the coin over a few times.
However, while it is back toward the magician, take advantage of the cover provided by the right hand and the card to transfer the coin to the Goshman Pinch as you learned to do in both "The Scoop" and "The Slide." described earlier. The card in the hand is then used to flip the coin over a few times, displaying both sides.
To conclude, the palm down left hand approaches the playing card. It takes possession of the card with the thumb underneath and the fingers on top. The card is flipped over and dropped to the table, allowing the palms of both, hands to be seen empty.
After a moment or two in this position, it is a simple matter to curl your right fingers in to the pal. a as your right hand executes a counterclockwise wrist turn. This shows the back of the right hand empty, but also gets you into a better position to go south with the coin.
Before I leave the description of the change, it is important that you understand the moves you are supposed to be imitating. I would suggest you run through them several times with one coin and one card before spending too much time learning the actual change using the gimmicks.
Scoop an ordinary coin up off the ¡:.able a couple of times. Do it a third time. Brush the card back across the tabled coin. Then, bring the card back around to the coin and use it to fl in the i'. .) In over a couple of i: i.*s. Finally, finish by using the left hand to flip the card over onto the table, showing both hands to be empty.
Regurgitations, One of the nice things about this change. L.s the open««a* with which it is conducted. One coin changes into a completely different cola without ever being touched by the hands.
The purpose of the card is to allow you to handle the coin without touching it. It is also nice in that it can be performed totally with one hand if desired. The only time the left hand is used in the above change is to turn the card over at the end to table it. If you prefer, you could use your right hand to toss the card out toward the spectator while your left hand is holding something else.
One idea would be to pick up but one of the coins used in a routine and place them into the hand. The right hand then execute change just explained with the single remaining coin. After it changes, the left hand opens to reveal that the other coins have followed suit and have also changed.
all co in left the
explain, stand by for the follows will require a fair amount of practice to acquire the knack. ~ is not as difficult, to do as it is to It is a utility move. It can itself or would be excellent final coin in a Sympathetic Coins routine. I am going to describe this move as if you were going to use it alone. It is doubtful that you would ever perform it without a routine, but this will allow you to get the feel for its many uses.
I should also mention that this gives the appearance of involving some lapping. In fact, it is much easier to accomplish the moves when standing ----
thereby eliminating the lap as a possible method.
The effect is simple. The magician places two coins on the table. One is at the front of the mat (away from the magician) while the other is directly behind the first on the rear edge of the mat. Two cards are removed from a pack. The first is used to cover the outside coin. The second is used by the right hand to scoop up the inside coin and toss it into the waiting left hand.
After using this second card as a shovel, it is discarded. The coin in the left hand instantly vanishes and is found with the first coin, underneath the card at the front of the mat.
The Work. Place a quarter on the far edge of the mat. Another quarter is placed on the near edge of the mat. Both coins should be at least two inches from the front and rear edges of the mat.
Take two cards face up in the left hand in dealing position. You are going to bow the top card as you turn it face down to place it on top of the outside coin, This is done by placing the right second finger on the far short edge and the right thumb on the near short edge of the top card. The right first finger is curled in on top of the card.
Pick this top card up off the other card. Push down with the right forefinger forcing the card to bow. After a sufficient amount of bend is placed in the card (the proper amount will soon become apparent) the far edge of the card is snapped off the second finger. The card is now held face down between the right thumb and first finger. This card is now placed on top of the far coin, enough so that the coin is just barely covered by the front of the card. It is okay if some of the coin protrudes from the spectator°s side of the card.
You want these motions to appear casual. Do not appear to be positioning each piece in a specific place (although that°s what you are doing). Note that you can bow the card before you start or use any other method. This bowing procedure is provided merely as a suggest ion.
Take the remaining card from the left hand into the right and hold it in position for "The Scoop" already explained. That is, hold it from the right side at the near right corner with the right thumb on top and the right first and second fingers underneath.
Execute The Scoop as follows. Use the card in the right hand as a shovel to scoop the exposed coin off the mat. Pretend to let it drop into the left hand. Keeping the card in the same vertical plane, move it forward to touch the tabled card. This shows, without saying so, the back of the right hand empty. Now use the card to touch the back of the left hand. As you do, turn the card so that it is parallel to the tabletop. It is while in this position that you slide the coin back over the edge of the card and into the Goshman Pinch as detailed earlier in The Scoop.
With the coin now secretly held in the Goshman Pinch, pivot your palm up right hand at the wrist, allowing you to toss the card onto the mat out of the way. This shows the front of the right hand empty. If you have a large enough table, this card should be tossed over the tabled card and toward the spectator. If the mat is not deep enough, you should toss the card to the right of the tabled card.
Eithe r way, you will end the tossing motion with the right hand over, but slightly behind the tabled card. Now you are apparently going to come to rest for just a second. Your right hand drops to the table where your knuckles apparently support part of the weigh!: of your body. At this point, the clipped coin is released onto the mat. The right pinky is behind the rear edge of the coin while your right second and third fingers rest lightly on top.
Note that you can revolve your right hand and the coin that it is resting on counterclockwise so that the back of the hand is toward the audience with the right hand apparently resting on the right knuckles, AFter a brief pause,, rotate your right hand clockwise at the wrist, rotating palm up again where you were at the start of this paragraph.
Here comes the all important move. Your hand is only stationary for a second. In a gesture, you are going to move your right hand foreword to touch the top of the tabled card. (Remember that the left hand is still apparently holding a coin at your side out of the way.) Your hand moves forward smoothly with the right pinky pushing the coin.
It is pushed with just enough force that while the hand continues over to the top of the card, the coin sails underneath the card to join the other coin. This was the reason for bowing the card at the beginning of the routine. If the card were not bowed as outlined above, the coin would strike the edge of the card instead of sailing beneath it.
This move is a fooler. I let Dawn (my better third) watch Tom do this half a dozen times in a row on tape and she had no idea where the coin went. The moves are that natural. And she was watching just this move done over and over. Think about the potential when this is used in the middle of a routine.
The right hand now comes back over to the left. Pause for a few seconds of time misdirection and then clap both hands together. The farther you are from the tabled card at this point, the better. Show both hands empty. Finish by revealing both coins underneath the card.
In this move, you are emulating a common gesture with the right hand. It rests on the table and then taps the top of a card --- directing all to where the magic is about to happen. It _is gutsy and probably the most difficult thing in this issue to perfect --- but you should see Tom do it.
While working on this and writing it up for publication, I must admit that there were a few more creative gestures which came to mind. Maybe I will illustrate the finger positions in some later issue.
You Have My Sympathy
This is Tom°s version of the classic Yank Hoe coin trick called, "The Sympathetic Coins" which was published in T. Nelson Downs0 The Art Of Magic. Tom suggested the title which may clue you in as to what is ahead. Actually, if you have followed the other coin and card material in this issue, you shouldn°t have any problems with this rout ine.
As you read and practice the following routine, take the time to note the subtleties Tom has spread throughout. A lot of the explanatory time will be spent on details such as the way in which a card is turned over. While this may seem unimportant when viewed as a single action, it takes on a new significance when viewed as part of the whole.
The Work. To perform this routine will require a close-up mat. In addition to -providing a surface upon which to work, the mat actually plays a part in the routine. Twice a coin penetrates up through the mat to join other coins resting on top of the mat.
We will assume that the spectator has access to a deck of cards and that you have five quarters in your right front pants pocket. Remove the coins with your right hand, securing one of the five in the Goshman Pinch.
Display the four coins and toss them onto the table, at the same time showing your palm up right hand to be empty. Turn your right hand counterclockwise at the wrist as you curl your second, third, and fourth fingers into a loose fist. This allows you to show the back of your hand to be empty and allows you to move the coins around with your extended forefinger. Using the extended forefingers o£ both hands, push the coins to the four corners of the mat.
Tom has a nice subtlety he uses as soon as the coins are in their respective corners. With his right hand pointing as above, he points to the coin at the near left corner. Then he points to the coin at the far left corner. Then he opens his hand palm up as he turns his wrist clockwise and gestures to the coin at the far right corner. He finishes with a gesture to the coin at the near right corner. This is accompanied with a statement that, "I would like to show you something with one... two... three...four coins." It is a convincing display move which shows both sides of the right hand apparently empty.
Extend the palm up right hand to the spectator with the request that he deal two cards face up onto the hand. As soon as you receive the two cards, use your palm up left hand to point to the two coins on your left. "With two coins over here...", turn your left hand palm down and take the two cards just dealt from the right hand and turn them over as you turn the left hand palm up again. "...And two coins over here...", gesture to the two coins on your right with your palm up right hand. "There are any number of possibilities we could put together."
Tills series again shows both hands to be empty although the right hand still conceals a coin in the Goshman Pinch. You are now going to alternate covering different pairs of corners. Cover the outer left coin with the card in your left hand and the inner right coin with the card in your right hand. "We could start with one of these two coins..."
Move your left hand back to cover the left rear coin. Your right hand doesn°t move so it is still covering the right rear coin. "Or we could start with one of these two..."
This time your left hand remains stationary as your right moves to the outer right corner. "Or we could start with one of these two..."
Finally, your right hand remains stationary while the left hand moves forward to cover the outer left coin. Both cards are dropped onto the table, with the pinched coin secretly released beneath the right hand°s card.
Pause for a second. "Since we have to start somewhere, let°s start with this coin." As this is said, the right hand picks up the card just placed at the outer left corner by the left hand. The card is snapped face up in position for "The Scoop" already described.
Use this card to scoop up the coin at the inner right corner of the mat. The coin is clipped between the thumb and the card as in The Scoop. With your left hand, lift up the inner right corner of the mat. Your right hand carries the coin and card underneath that corner of the mat. As soon as they are out of sight, the coin is transferred to the Goshman Pinch as described in "The Scoop".
You may obtain a noise which will simulate the placing of the scooped coin onto the table by placing your right second finger under the forward edge of the pinched coin and allowing the coin to snap off this finger against the top of the table.
Bring the hand and empty card back up from under the mat. Your palm down left hand now approaches the right hand. It takes the card (thumb beneath and fingers above) and turns it over, thereby showing an empty right hand.
"The first coin is going to travel from this corner (gesturing at the inner right corner with the palm up right hand) to this corner (gesturing to the outer right corner."
The right hand turns palm down as the second, third, and fourth fingers curl in. The right forefinger remains extended and this finger drags the card off the two coins at the outer right corner of the mat. The card is dragged straight to your left exposing two coins there now.
Use this forefinger to position the coins in a horizontal row. You don°t want the coin you are about to add to talk when secretly added underneath the card. Pick up the card at the right side and slide it over on top of the two coins, secretly releasing the clipped quarter. It is important that you keep the back of your hand close to the mat and at a tight angle so as not to expose the third coin prematurely. You now have three coins under this card, two under the outer edged and the one just released under the inner edge.
The left hand still holds one of the cards. This card is placed on top of the coin at the near left corner in readiness for the pickup and displacement move which will be used on the last coin. For now, the coin should be under the near right corner of the card which is parallel to the near edge of the table,
The right hand now picks up the coin at the left outer edge of the mat and flips it in the air. The left hand lifts the near right edge of the mat up enough where the right hand can carry the coin underneath the mat --- this time without the playing card.
As soon as the coin is out of sight, it is placed in the Goshman Pinch. It comes back into view, gesturing from the near right corner to the far right corner. "The third coin will travel from over here... to over here."
Turn your right hand palm down and extend your right forefinger as already described. Use this forefinger to drag the card at the outer right corner to your left, exposing three coins. Now use this same finger to push the three coins into a horizontal row --- getting them out of the way of the coin you are about to load.
Repeat the same load used to load the third coin. That is, your right hand takes the card with the thumb on top and forefinger underneath and drags it to the right. Meanwhile, the right little finger releases its grip on the pinched quarter. Keep the back of your fingers close to the table to avoid flashing the extra coin.
You are now ready for the fourth coin. They saw the coin placed very cleanly at the near right corner of the mat and covered with a card. It is still there. However, you are going to lift the card and show both the coin gone and the hand empty.
Pick up the coin using the Derek Dingle pick up move (or the A1 Schneider
Matrix move). In other words, the coin is picked up behind the card between the thumb on the bottom and the forefinger on top. The card is allowed to snap off the right second finger which is at the far long edge of the card.
As soon as the card snaps off the second finger, it is held perpendicular to the tabletop with its back to the audience. You are going to bring the face of the card toward the audience. As you do, you are going to simultaneously transfer the coin from the face of the card to the back of the card where it will be held in the Goshman Pinch.
This is identical to the mechanics which were described in "The Scoop" except in the way the card is handled. In this handling, the card is very openly and casually snapped up and then turned over to point toward the other tabled card, As the hand makes this larger move to the right outer corner of the mat, the smaller move of pinching the coin occurs invisibly.
As soon as the card in the right hand points to the tabled card, the palm down left , hand approaches (thumb underneath and fingers above) to take the right hand°s card. This card is taken in the left hand and turned over as the left hand turns palm up. The right fingers curl in again as the right forefinger moves to the outer right corner of the mat to drag the tabled card to the right exposing the arrival of the fourth coin,
Regurgitations, While the routine takes quite a lot to describe, all I can say is that it fooled me in several places. The handling is natural and designed to give so many flashes of empty hands that many times you think the hands were just shown empty when, in fact, they weren°t.
Tom has several versions of this including versions which use different si-^es and different denominations of coins. I find it fairly easy to do (relatively speaking) when using quarters. It would be considerably more difficult to guard the angles if you prefer half dollars or something larger.
so, I have been bothered by chronic ear and throat infections. When I say chronicj I mean about eight or so per year. This was bad enough. However, having been forced to attend three conventions during the last two years impaired by this type of thing, I decided enough was enough.
I went to my third specialist since this mess began and he suggested I have a tonsillectomy. Tuesday, May 3rd, I was the proud father of a pair of bouncing, baby, infected tonsils. While this is a piece of cake to most youngsters, this old man who recently turned thirty is having a quite a time between the nausea, pain, and drugs.
I had planned to use the two weeks off to take care of my "to do" list of things magical. However, the drugs and the nausea left the list virtually untouched. Television was all that remained as the primary entertainment source for the two weeks of R & R (rest and regurgitation). Things just weren°t going my way. I had to pick the week that WTBS was doing an Elvis tribute for the morning movie and a four-part rerun of How The West Was Won for the afternoon movie.
With magic and television out, this left belly-aching as the major source of
joy. After two weeks of moaning and groaning, Dawn said that she didn°t mind the removal of my tonsils --- but she wished they would have removed my Wimp Nodes as well.
I just received my annual letter from Dick Dale. Since my first book was published over a decade ago, I have received orders along with a brief letter from him whenever I have something new on the market. Since I stopped writing books and started The Trapdoor, I get my annual letter at renewal time.
As the letters many times take a violent turn, perhaps I should explain. Dick is always in the unfortunate position of sending money. I have never sent him money with a letter. Thus, over the years, he has become more and more jaded with each letter. I asked his opinion of Computer Cards in my last letter to him since he was one of the first magicians to order it ($25.00). Those of you who have been with this magazine from the start, will understand the following.
Here°s a check. I sometimes wonder why, but every once in a while, a little tiny bit of usable business comes out of The
Trapdoor --- like once, several years ago. But, I figure even a blind hog can find an acorn once in a while. So, I
just keep supporting you --- literally and figuratively --- and keep hoping while you root around.
"You asked for my comments on your computer card tricks. I°m glad you asked, because I°ve been thinking about writing you regarding this subject. I have sensed growing resentment toward the use of subscription renewal letters to comment on other profit-making projects. You don°t have to hit me over the head with a divided lady. I did think that it was very interesting that as I performed "Random Card" during the filming of a national TV commercial for AT&T, that the director"
That was not a typo. That is where the letter ended. If it doesn°t make any sense, refer to the Leftovers & Subscription sections of previous issues.
I responded with the following. "Dear Dick; Thank you for the renewal check (maybe I can go buy a new car or something!) and the annual letter. Also, thanks for not moving yet another time forcing untold hours of paperwork on this already tired editor/publisher/ gopher.
"Your comments on Computer Cards were appreciated --- but not necessary since I saw the AT&T commercial. I thought your handling of the presentation to be totally original ---
as I had not intended for the on-line help screens to be seen by the audience. I was also flattered that out of the four tricks you performed, Random Card worked.
"Sorry to hear about the trouble with your vision... I hope it°s nothing serious. I look forward to hearing from you again --- same time next year."
I am putting together a lecture for mid-September. If your group is interested, contact Wayne Kyzer at 213 Laurel Meadows Drive, Columbia, SC 29169. The phone number is (803)-796-2783 and you can always leave a message on tape. I have already told you how much he enjoys his new machine.
In the next issue, you have more of the same, including some excellent material by John Riggs and Mark Lefler. Some of you may wonder where I get all of this great material. Well, from John Riggs and Mark Lefler. Where else?
Steve Beam May 14, 1988
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