Effects:
Three coins materialize in the hands from various locations on the body. One by one, they dissolve, vanishing completely from the fingertips. To conclude, all three coins return, each one produced at a different location on the body.
Setup:
Two half dollars and one matching shell are required to perform the trick. Place the face of the shell against the fingers and then nest a normal coin into the shell. The other half is finger palmed in the left hand.
Performance:
The production
Begin the routine by looking around your body, tugging at various points on the shirt with the fingertips. This conditions the audience for future actions and also gives the hands something to do, making them appear natural and empty.
"Some people carry change in their car or piggy bank; others carry their coins in their pocket. I carry mine all around me." While pattering, both hands come up to chest height, fingers curled and index fingers extended. The hands should mirror each other. This is natural body language that, thanks to Ramsai Subtlety, allows the spectator to see into the palm of both hands while still concealing the planed coins.
Look around the body, tugging once or twice at each side of the shirt, as if looking for a coin. "I keep one coin over here". Reach over to the left sleeve, above the biceps, and produce the shell/coin unit from the right fingertips. Produce the coin with the face of the shell toward the audience. Treat the unit as one coin, keeping the shell with the help of the left hand, re-grip the unit by placing it in spellbound position, holding it by its edges with the thumb and fingers (fig. 1)
By relaxing the grip, the nested half dollar will fall from the shell onto the right fingertips. Next, snap the shell back to an upright, display position by sliding the thumb down the back of the shell to grip the bottom with the thumb and fingers. Transfer the shell into the left hand, holding it with the thumb and first finger. The left hand is still concealing its coin in finger palm.
To Produce the next coin, go back to the same area on the sleeve with the right hand and produce the second coin. In some settings, troy prefers to pull the coin from the spectator's sleeve or ear. He never fails to get a powerful response with this bit of audience interaction. "You just never know where coins are going to pop up. There's the second coin."
Take the produced coin and place it into the left hand, above and behind the shell coin, starting a little fan of coins. Transfer theese two coins to the right hand, keeping the coins and the grip the same.
Reach up to the right sleeve with the left hand and produce the palmed coin. Place this coin below and in front of the other two coins in the right hand, completing the fan. The order of the coins is normal, shell, and normal. The thumb grips the fan by top coin, fingers contacting the bottom coin (fig. 2).
To vanish the first coin, bring the left hand next to the fan of coins. It will look as though the top coin of the fan is transferred to the left hand. Hold the left hand up, with the back of the hand toward the audience. Bring the fan of coins to the left hand. When the top two coins are out of audience view, begin to close the left of the fan into the shell. Imeediately draw the fan out from the left fist. It is the perfect illusion of transferring one coin to the other hand. It is also easy to accomplish
Turn the left wrist over so that the fingers are toward the audience. "I don't know if you've ever noticed this, but if you squeeze a coin the right way, it vanishes." To vanish the coin, open the hand in a gentle tossing motion. The toss should be toward the audience. When completed, the fingers should be pointing up with the palm facing the audience. Troy has discovered that vanishing a coin at chest level, putting action on the vanish, and moving the wrist in a circular motion is much more effective than opening the hand on a flat, horizontal plane.
Take the nested shell/coin into the left hand, leaving a normal coin on display in the right hand. Grip the coins in each hand at the lower edges with the thumbs and fingers. Casually show only two coins left. Manuver the nested unit between the thumb and base of the first finger. It is clipped only by its extreme edges, allowing most of the coin to protrude from the hand (fig. 3)
By gripping the shell/coin this way, the left fingers still have the capability to open and close. Take the remaining coin in the right hand and execute a Retention Vanish, keeping the coin in the right hand palm. Troy does not emphasize the Retention Vanish. Instead, it is done casually, the coin is almost dropped from the fingertips to finger palm. A slow deliberate Retention Vanish, no matter how convincing, would tamper with the flow and timing of routine, interfering with the actions that follow.
Take the unit protruding from the closed left fist, keeping the other half dollar in finger palm. Use this shell/coin as a magic wand, waving it toward the left fist. Open the hand in the same manner described above to reveal the vanish of the second coin. "There goes coin number two"
Transfer the unit at the right fingertips to the left hand. Produce the coin in right hand finger palm by bending the left arm at the elbow, and raising it so that the left hand contacts the shoulder at the base of the neck. Produce the coin in the right hand at the tip of the elbow, eyes following the right hand's action throughout the sequence (fig. 4). "That coin didn't actually vanish, it jumped to my elbow."
While the coin is being produced, the left hand deposits the shell/coin on the shoulder base, resting it there temporarily (fig. 5 is an exposed view). The coin will rest there as long as the body remains stationary. The misdirection is powerful for this temporary ditch, and the unit will go unnoticed.
Bring the left hand back down to chest height, keeping the left fist tightly clenched. While this is going on, the right hand takes its produced coin and rolls it down the fingers once. Go into the finger roll right after the coin is produced. It will take any undue heat off the left hand. It also puts action on the coin, filling the moment with efficiency and style.
Bring the ocin in the right hand to spellbound position. You will now execute Chris Kenner's One Handed Vanish (Totally Out of Control, 1992). Briefly, the right thumb releases its grip on the coin, allowing it to fall onto the right fingers. As this action occurs, the right wrist rotates the hand counter clockwise. The coin is gripped in finger palm as the wrist is turned. Throughout the move, the fingers and thumb remain in their original positions. At the end of the vanish, the fingers are above the thumb, palm toward the audience. The coin is finger palmed from above and the spectators can see directly into the hand, which appears emplty due to Ramsay Subtlety (fig. 6).
As soon as the right hand's coin has vanished, shift your gaze from the right hand to the clenched left fist. Open the left fist with the palm toward the audience. As the left hand is revealed empty, the right hand drops to the side. it's coin is pushed into classic palm. The two vanishes must be done in one motion, not two separate moves. During vanish, Troy patters, "If i squeeze too hard, all the coins vanish".
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