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 is 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-brfiind. 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 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. IH 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 breakin the attention. Mike places only/zVecoins 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, ifs 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 coinfrom 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 itselfmustbe considered.
Some may disagree with me 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 otherthanmovingoutofthewayafterdisplaying its coins. No wiggles, no opening and closing, nothing. The hands don't have to touch the table. In fact, it's better if they are a fewinches 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 k h 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 '' That's a good guess. There are actually three coins in the left hand, and of course three coins 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. i? 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
VîfMagicX : A, il;,'.:: Anu^r begins to toss the coins into the left hand, one at a time (HG. 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 Tamarin, 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
David Williamson REVERSE MATRIX
EFFECT: Four coins are placed at the corners of a close-up mat and are then covered with four cards. One at a time the coins vanish and reappear under the upper left card. Finally the last coin vanishes. However, after turning over the upper left card instead of finding all four coins, only one coin is seen. The remaining cards are turned over to reveal that all the coins have returned to their original positions'.
COMMENTS: This routine was used in David Williamson's Gold Medal winning performance at the Pittsburgh IBM convention in July, 1981. As in all of Dave's material, he gets right to the heart of the effect with this handling. Paul Gertner caused quite a stir with his original reverse matrix and several variations have appeared. This is the best one I have seen. Not only is it direct, but the effect and the method go extremely well together. They compliment one another, rather than clutter the effect for the viewers. Best of all, only one extra coin is needed.
PROCEDURES: Begin by having a coin classic palmed in the right hand. The four coins are placed at the four comers of the mat, and the four cards are openly displayed. Take the four cards into the left hand as shown in FIG. 1. Notice that the cards are deep into the hand so that the left thumb and fingers are easily able to reach underneath the card to pick up a coin. The left hand goes over the upper right coin, and the right hand slides the top card off from the packet in order to cover that coin. The left hand moves to the lower right corner to repeat this action, but as the right handslides the top card from the packet, theleftthumbandmiddlefingerpickupthecoinatthatposition. Moving to the upper left position to cover that coin, the left hand deposits the coin it picked up as the card is peeled off to cover that coin. There are now two coins under the upper left card. The opening sequence is concluded as the last card is openly dropped on the lower left coin. This is one of the loading moves which has become standard with the matrix effect.
At this point you will need to learn the basic move used in this routine. Paul Gertner called it the "Scoop" in his original routine, so I will do the same. Drop the palmed coin to the fingertips of the
right hand. FIGS. 'I, 3, and 4 show how the thumb and index finger turn the card over onto the coin in the fingerpalm. This causes the coin under the card to come into view. The right thumb helps the card "scoop" up the visible coin in order to place it into the opposite hand. However, as FIGS. 5,6,and7show, the coin which was originally fingerpalmed is allowed to drop into the left hand, while the right thumb retains the coin which is at the face of the card. The left hand displays the coin as the right hand sets down the card/coin. This is a beautifully effective move because of the natural flow behind it. It is first performed in this routine with the coin in the lower left position.
Perform any coin pass which retains the coin in the right hand palm position, and reveal the disappearance of the first coin. The right hand picks up the card at the upper left position to reveal the
two coins underneath. However, contrary to most routines,you do not load the extra coin under the card. Keep the coin classic palmed but bend the card as you reveal the coins as in FIG. 8. Once again perform the Scoop, this time with the upper right coin. Do a coin pass which leaves the coin in the leftfingerpalm, and reveal that the second coin is gone. FIGS. 9,10, and 11 show a loading sequence which was first printed in the Earl Nelson book, VARIATIONS.
The coin is worked to the tips of the left fingers, which approach the front of the slightly bowed card. In the process of snapping the card up to reveal the coins the coin is slipped under the front edge of the card. FIGS. 9 and 10 in particular should make the
move clear. If s not a difficult move, but you must fight not to /eel guilty as you do it. It should be the psychologically correct time to do a "move", because the coin has apparently already traveled.
Now you have to steal back one of the three coins from the upper leftposition. The beauty of this routine may lie in the fact that one single coin is used for so much. The right hand picks up and shows the three coins. Timing plays an important role here. Place the first and second coins back down as the left hand begins to cover them with the card. As the third coin is being placed down, the card now blocks them from view. FIGS. 12
and 13 show how the third coin is clicked against the other two and while under cover of the playing card it is drawn back into the rightfingers;a tabled click pass if you will. This move goes by because it is not suspected that you would steal a coin away at this stage of the routine.
This coin is palmed in the right hand as a magic wave is made over the card in the lower right position. Lift this card to reveal that the last coin has vanished. Pause a beat for the reaction, and as you do, load the coin from the right hand under the card as you replace it in the lower right position.
The left hand comes to the upper left position to remove the card to apparently show the fourth coin. Actually it performs the standard pick up move to show only one coin. Pause an instant, then pick up the lower left card to show that the coin has returned. Place this card into the left hand, covering the coin picked up an instant ago, and then immediately reveal the third and fourth coins have returned to their original locations.
Each card is placed into the left hand as it is picked up. After all four coins are revealed the hands gesture as the extra coin slides into the left fingerpalm from between the cards (FIG. 14). Drop the cards to the table and you are dean.
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