EFFECT: Beginning with three coins in each hand, one at a time the coins travel from the left hand into the right in a very deceptive fashion.
COMMENTS: Previous to the publication of ENCORE II few people outside of Buffalo, New York had heard of Mike Gallo. However, as you can see from the items Mike has contributed to this project, he is a uniquely creative and talented close-up performer. Mike has the rare ability to look directly at the basic effect as he develops entirety new methods for their accomplishment. This coins-across routine of his is baffling because of an entirely new and unheard-of method. Strange as it may seem, Mike is never one-ahead, instead he is one-behind. Confusing? Yes, it is. The effect is still clear cut, yet when properly performed this new method will deceive virtually anyone.
PROCEDURES: Although you will appear to be using six coins in this routine, you will actually be using only five. But it will be very important for the viewers to be totally convinced of the existence of six coins. Mike does this in a very nice fashion, which not only sets up the routine, but sets up the spectators as well.
Openly show six coins (quarters, half dollars or silver dollars) and an odd coin, and clearly take three coins in each hand. Take the odd coin in the right hand and perform the Han Ping Chien move which will leave all six coins along with the odd one in the right hand. Ill explain a slightly different handling of this move shortly. Make a gesture and reveal that the coins have traveled across. It's at this point that Mike 'sets-up'. After the coins have gone into the right hand there is a break in the attention. Mike places only five coins onto the table in an uneven stack. This will be taken as the six coins. Keeping one of the halves palmed, pick up the odd coin and place both of the coins away. You are now set up for the routine and the audience is completely convinced that you will be using six coins.
The Han Ping Chien is one of the most powerful moves in the realm of coin magic. It will be necessary for it to be used three times in this routine, so we will consider it to be the Basic Move. Despite the fact that it has been explained numerous times, it's so important here that I'll try to clearly ex
plain some of the thoughts behind the move.
In this routine you will not be retaining three coins in the right hand in order to add three extra coins to that hand. You will be using it to add a single coin from the left hand into the right. For this reason it will not be necessary for you to hug the table as in FIG. 1. Many performers tip the move because they perform it too tightly against the table. Properly performed, it is a loose move based more on rhythm and confidence than a hurried attempt to fool the eye. When done in a smooth, natural action it will fool the mind, and therefore it will deceive the eye as well.
Since a single coin from the left will be added to coins which will be tossed from the right, it won't be necessary to slap the hands to the table. As I think about it, slapping the hands flat onto the table is not how I would display the coins in that hand. Rather, I would casually toss the coins onto the table. Also, the rhythm of the routine itself must be considered.
Some may disagree with me here, but I don't believe it will be necessary to slap the left hand down, then pick up those coins, set up for the move, and then slap the right hand down. In performing for the public it simply takes too long to do all that three times in one routine. FIG. 2 shows the left hand opening to display the coins in that hand. Depending on the presentation you use, I believe this is all that is necessary to convince the spectators of the number of coins in that hand. FIG. 3 shows the right hand beginning its toss to the table, and an exposed view of the single coin dropping from the closed left hand. Do not make any move with the left hand which might convey the idea that it is doing anything other than moving out of the way after displaying its coins. No wiggles, no opening and closing, nothing. The hands don't have to touch the table. In fact, if s better if they are a few inches above it. The extra coin slides from the bottom of the left hand as the right dumps its coins onto the table. As this is done, the left hand moves out of the way to the left. Now for Mike's routine.
Take the coins into the right hand in a jumbled fashion. Before they can be counted, the left hand approaches and takes three coins, leaving two coins in the right. Both hands close over the coins.
'That was pretty quick. Can you guess how many coins are in each hand? That's a good guess. There are actually three coins in the left hand, and of course three corns in the right."
As this is said, the left hand shows its three coins and the Basic Move is performed to show three coins in the right. The right hand picks up its three coins and classic palms one of them. The left hand (which now only has two coins) gives a very slight tossing motion towards the right hand, which releases its coin, causing an audible click.
"Just a toss and the first coin travels invisibly from the left hand, leaving only two coins behind. It has arrived in the right hand which now has four coins. I'll do it again."
The beautiful part of this routine is that magicians who recognize the Basic Move will still be fooled because of the One Behind principle. As the above lines are said, the left hand openly shows its two coins as you perform the Basic Move to show the four coins in the right hand.
Repeat this sequence to cause the second coin to travel across. Show one coin in the left hand and perform the Basic Move to show five coins in the right hand. The left hand is now empty, and the viewers believe it contains the last coin. To convey the fact that the last coin travels, act as though you are invisibly flipping the last coin into the air. Follow it across with your eyes onto the forefinger of the left hand (FIGS. 4 and 5). As soon as the coin would have arrived, the last coin clinks into the right hand.
The clink is very important because it helps sell the idea that the coin has already arrived in the hand. If they believe this then you will have less heat on the hands as the Basic Move is done.
To finish, Mike simply opens his hands to show the five coins in an uneven pile in his right hand. The coins are not suspected as to the total, but Mike has developed a false count for coins which is very effective here.
The left hand comes over as in FIG. 6 and apparently removes one coin as you count "One". The right hand immediately
begins to toss the coins into the left hand, one at a time (FIG. 7). Simply continue counting "Two,, three, four, five, and six coins/' This bold move fits perfectly into this incredible routine.
Here I am with two of magic's most brilliant practitioners, both from Spain. Left to right you see, Jose Carroll, myself, and Juan Tamariz. These two, along with Ascanio, Camilo, and others are helping to preserve a tradition of thoughtful magical analysis. Such depth goes into their thinking, that they each bring a refreshing dignity to our Art
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