EFFECT: This lets you show both hands empty, front and back, while concealing a coin.
COMMENTS: The ability to do this just once in a one-coin routine, or a more complicated coin routine, will make every other vanish in the routine stronger by association. By this I mean that if you show both hands empty in a clean, natural movement when you vanish one coin, then the spectators are much more likely to assume your hands are empty every time. Do it just once in a routine, and later some will "remember" how "both hands were empty the whole time."
PROCEDURES: The coin, classic palmed in the right hand, approaches the left hand which is palm up and open (FIG. 1). With the right hand palm-down, the fingers brush lightly over the right half of the left palm. The brush starts from the base of the left thumb and goes to the fingertips (FIG. 2). The right thumb hangs naturally below the left hand. This helps to hide the "clinching thumb" look that some palms have.
At the close of the "brush," the right middle fingertip will be on the left middle fingertip.
Timing is crucial in the next move. Both hands start to turn over while the middle fingers are contacting each other (FIGS. 3 and 4). As the right hand turns palm-up, the left turns palm-down and "rides" along the right middle finger on into the palm. Just as the right hand turns palm-up, the left middle and index fingers cover the palmed coin.
The left hand causally "brushes" the coin along with it down the palm-up right hand (FIG. 5). At the end of the brush the coin will have been slid along the right palm to the ends of the middle and third fingers. The coin is covered by the ends of the left middle and first fingers (FIG. 6).
The left hand freezes, the right hand turns palm down with its middle finger still in contact with the left first finger. This helps conceal the coin as the right second, third, and fourth fingers curl in (FIG. 7).
The right is extended as it brushes from the left fingers to the left wrist and back down to the fingertips. Ifsan up-and-down motion along the back of the left hand (FIG. 8).
The left hand moves back and brushes the right hand from the wrist to the right knuckles as the right hand palms the coin (FIG. 9). Say, almost to yourself, "It's gone!" Move both hands in a slight upward gesture to help punctuate the end of the sequence. It looks fair, and helps the right-hand palm look natural.
The move shouldn't look as if if s being done with concentrated effort. Also, even if you have never shown your hands empty this way before, if you do it casually and comfortably, it will appear impossible to conceal a coin this way.
Although it was described in several steps, if s a single, flowing up and back movement. There are no beats or pauses. Rather you should try for a rhythm in doing it
The patteris very simple, and explanatory: "Thecoinhasvanished.Itsnothere,nothere;it'snotthere orthere.lt's gone!"
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The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.