Finger Clip Vanish

Well now, I just pulled out my copy of Modern Coin Magic by Bobo to find out where this vanish came from. It's not in the book. At least it is not under vanishes. I don't know where I got it. I suspect I developed it along the way or someone showed it to me. I have been doing this vanish since back in 1961. It's the first decent vanish I mastered. It has a few problems. First, it leaves you in an awkward position. Your hand is contorted with a coin in finger clip position. There isn't much you can do with it except lap it. An alternative is to move it to Classic Palm position, but that requires movement. Fortunately, the effect for which this move is used, "One Coin Through," depends on the coin being in finger clip position so all works well. Another problem with this vanish is that it does not obey the "one-point-in-beat misdirection" principle. That is, it takes more hand movements to vanish the coin than it does to naturally place the coin in the hand. Here are the steps to accomplish the move.

1. Hold the coin at the fingertips of the right hand. The coin is held with the first finger and thumb; the second finger is resting on the coin; the side of the third finger is below the coin and touching the edge of the coin, (Fig. 16).

2. The left hand turns palm up. The right hand moves toward the palm of the left hand until the coin touches the palm, (Fig. 17).

3. The fingers of the left hand close until they touch the back of the fingers of the right hand, (Fig.18). Do not steal the coin until the left fingers have closed to form a shield for the right hand.

4. When the left fingers have formed a shield, the right hand second and third finger move forward a bit to clip the coin. The first finger and thumb do not move, but allow the coin to be pulled from their grasp, (Fig. 19).

5. The right hand second and third fingers curl toward the palm with the clipped coin, (Fig. 20).

6. The left fingers close over the intended coin as the right hand moves away with the coin in clip position, (Fig. 21).

CHAPTER THREE: MISCELLANEOUS MOVES

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