DAVID ROTHS

StHELL
C.QINS
ACROSS

This proved to be quite popular in David's second lecture. Perhaps that's because it's fairly
easy to do and the shell is handled safely. You will need four half dollars and an expanded shell.

To start, stack the four coins so the shelled coin is on the bottom. Place the stack onto the
first finger base of your palm-up left hand. Spread the stack forward and to the right, out onto
the fingers. Say "These are four coins, four half dollars.They´re going to travel across one by
one, and at the end al four coins will be in my rlght hand''. During the first sentence your right
hand lifts the uppermost coin, displays it and drops it back into your left hand. During the
second sentence you pick it up again, display it on your palm, and as you say "...in my right
hand" close your right hand into a first and raise it. At the same time pres the coin into classic
palm.

e.2
 .. ····-------------~ "

Lower your right hand and straighten you r fingers, moving your thumb behind them as if
Loer your right hand and straighten your fingers, moving your thumb behind them as if holding
holding the coin there (though it's actually classic pal med). Move your right hand over you r
the coin there (though it's actually classic palmed). Move your right hand over your left hand and
left hand and grasp the shell between your th u mb and ti ngers (fig.1 ). Lift the shell very
grasp the shell between your thumb and fingers (fig.1). Lift the shell very slightly and move
- slightl y and move it and th e coins above it outward (fig.2). When the shell hal f over laps the
it and the coins above it outward (fig.2). When the shell half overlaps the lower coin gently
' lower coin gently lower everyt hing back into place and move yo ur righ t hand away, fi ngers
lower everything back into place and move your right hand away, fingers spread (fig.3 is an
spread (fig .3 is an audience view). lt appears as if yo u have si mply replaced the rig ht- hand
audience view). lt appears as if you have simply replaced the right-hand coin back onto the
coin back onto the others.
others.

. .
1•
·''·
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,, ''' '
' ' 'J
'' ''
'' '
' '

1 2
Close
Gloseboth hands
both handsintointo
fists fists
and and
turn them palm down.
turn them palm The shellThe
down. should
shellnest over nest
should one ofover
the one of
coins
the in your
coins left hand.
in your Give your
left hand. Give fists
youra fists
little awiggle
littl e and
wiggturn themturn
le and palmthem
up, opening
palm up. both
opening
to reveal
both threethree
to reveal coins in
cothe
ins left
in hand andhand
the left one inand the right.
one in Turn
theyour rightTurn
right. handyour
over right
and table
hand over
its coin.
and table its coin.

"
1 '
•'
' --- .

3 4
Say, "I´ll take the second coin (do so with your right hand, taking it onto your palm) and make
it Say,
jump" from here the
1'11 take (raise your left
second hand)
coin (dotosoherewith(raise
youryour right
ri ght hand)
hand, to joinit this
ta king ontoone..."
your Onpalm) and
the last
make word of
it jump the here
from sentence turnyoyour
(raise righthand)
ur left hand topalm down
here and use
(raise youryour first
right fingertotojoin
hand) pointthis one
...toOnthethe
tabled
lastcoin
word(fig.4).
of theAt sente
the same
ncetime
turnyour
yourright second
ri ght handand thirddown
palm fingers
and press
usethe second
your first finge r
coin into classic palm.
to poi nt to the tabled coin (fig .4). At the same ti me your right second an d third fingers press
the second co in into c lassic palm.

63
 Raise your right hand and straighten your fingers, moving your thumb behind them as if the coin
was held there. Repeat the fake put back into your left hand as already described, lifting the shell
andRaise your right
coin above hand and
and moving themstraighten your (as
gently outward fi ngers,
alreadymoving
shown inyour thumb
figures 1 andbehi2, nd them as if
though
herecothere
the will held
i n was be one less coin
there. in your
Repeat theleft
fakehand).
put Alter
backyour intoright
you hand
r left moves
hand away three coins
as already described,
willng
lifti be the
seenshel
in your
l and leftcoin
hand.above and moving them gently outward (as already shown i n fig-
Your 1right
ures andhand lifts thehere
2, though tabled coinwill
there andbetakes
oneit less
into cofingertip
in i n yorest. Both
ur lef hands Alt
t hand}. turnerpalm
you rdown
r ight hand
and close into fists, the shell nesting over
moves away three coins will be seen i n you r left hand. one of the coins in your left hand. Give both fists a
wiggle and let the classic-palmed coin fall onto the coin in fingertip rest. Turn them palm up,
opening them, to reveal two coins in each hand.
Your
Youright hand
r right handturnslifts
palmthedown andcoin
tabled tablesand
its takes
two coins.it intTake both coins
o fingertip res!. from
Bothyour left hand
hands turn palm
between
down andyour right into
close thumb an fingers,
fists, the shellthennesti
takeng theoverupperone (clean) coincoins
of the back with your left
in your left hand.
hand. Give
both fists a wiggle and Jet the class ic-pal med co i n fa ll onto the co i n in fi nger ti p side
Both hands maneuver their coins into "French Drop" position (the right hand's coin is shell rest. Tu rn
outward). Raise your left hand, snapping its coin
them pal m up, o pening them, t o reveal two co i ns i n each hand.
to a vertical position. Al the same time your
right thumb relaxes and allows the coin to fall out of the shell and into finger palm (fig.5).
lmmediately raise your right hand and snap the shell to a vertical position.
Your r ight hand turns pal m down and tables its two co i ns. Take both coins from you r left
hand between your right thumb and fingers, then take the upper {clean) coin back with your
left hand. Both hands maneuver their coins into " French Dro p" position (the right hand's
coin is shel l side ou t ward). Raise your left hand, snappi ng its co in toa vertical positi on. Al
the same t i me your right thumb relaxes and allows the co i n to fall out of the shel l and into
fi nger palm (fig.S). lmmediately raise your right hand and snap the shell to a vert ical posi-
tio n.

Place the shell between your left thumb and fingers, overlapping the coin already there.
Your right hand lifts the two tabled coins and holds them in an identical position (fig.6 is an
audience view). Both hands open and close quickly, letting the coins drop inside. The noise
from the right-hand coins will cover the sound of the shell and coin nesting in your left hand.
Turn both fists palm down and wiggle them. Turn them palm up and open them, revealing
three coins in your right hand and one in your left. Say, "It would be easy for me to make
them go across like this" At the same time your lelt hand turns palm down and places the
shelled coin on top of the stack in your right hand. Pause, then lift only the shell with your left
hand. At the same time turn your right hand inward and palm down (fig.7).
5Ask a spectator to hold out his right hand, onto
6 which you place the coins. Close his hand and
turn it palm down.
Place the shell be tween your left thumb and fingers , overlappi ng the coin already there.
Your right hand lifts the two tab led coins and holds them i n an identical posit ion (fig.6 is an
audience view). Both hands open and close quickly, let ting the coins drop inside. The noise
from the ri ght-hand co ins wi ll cover the sound of the shell and coi n nesting in your left
hand.

Turn both fists palm down and wiggle them. Turn the m palm up and open them, reveal-
i ng th ree co i ns in your ri ght hand and one i n you r left. Say, " 11 would be easy tor meto
make them go across líke this ." At the same time your lelt hand turns palm down and
pl aces the shelled coin on t op of the stack i n your right hand. Pause, then lift only t he shell
To end vanish the shell using "Skinner´s Spidergrip Vanish". Let the spectator open his hand to
find all four coins. (Note that this method of handling the shell eliminates the hand to hand
counting of the coins so common in other routines of this type).
64
TRADUCCIÓN:

Esto resultó ser bastante popular en la segunda conferencia de David. Tal vez sea porque es
bastante fácil de hacer y el caparazón se maneja de forma segura. Necesitarás cuatro medios
dólares y un caparazón expandido.
Para comenzar, apila las cuatro monedas para que la moneda pelada quede en la parte inferior.
Coloque la pila en la base del primer dedo de su mano izquierda con la palma hacia arriba.
Extiende la pila hacia delante y hacia la derecha, hacia los dedos. Diga "Estas son cuatro
monedas, cuatro medios dólares. Van a viajar una por una, y al final las cuatro monedas estarán
en mi mano derecha".
Durante la primera oración, su mano derecha levanta la moneda más alta, lo muestra y lo vuelve
a colocar en su mano izquierda. Durante la segunda oración, lo levanta nuevamente, lo muestra
en la palma de su mano, y cuando dice "... en mi mano derecha", cierre la mano derecha en
primer lugar y levántela . Al mismo tiempo presiona la moneda en la palma clásica.
Arrastra tu mano derecha y endereza los dedos, moviendo el pulgar detrás de ellos como si
sostuvieras la moneda allí (aunque en realidad es una palma clásica). Mueva su mano derecha
sobre su mano izquierda y agarre el caparazón entre su pulgar y los dedos (fig.1). Levante el
caparazón muy levemente y muévalo hacia afuera y hacia afuera (fig.2). Cuando la mitad del
caparazón se superpone a la moneda inferior, vuelva a colocar todo suavemente en su lugar y
mueva su mano derecha hacia afuera, con los dedos extendidos (fig.3 es una vista del público).
Parece como si simplemente hubieras reemplazado la moneda de la mano derecha por las otras.
Cierra ambas manos en puños y gíralas hacia abajo. El caparazón debe anidar sobre una de las
monedas en su mano izquierda. Deje que los puños se muevan un poco y gírelos hacia arriba,
abriendo ambos para revelar tres monedas en la mano izquierda y una en la derecha. Voltea tu
mano derecha y mesa su moneda.
Diga: "Tomaré la segunda moneda (hazlo con tu mano derecha, llevándola a tu palma) y salta
desde aquí (levanta la mano izquierda) hasta aquí (levanta la mano derecha) para unirte a esta".
En la última palabra de la oración, gire la palma de la mano derecha hacia abajo y use el dedo
índice para señalar la moneda que se muestra (fig.4). Al mismo tiempo, su segundo y tercer
dedos derechos presionan la segunda moneda en la palma clásica.
Levanta la mano derecha y endereza los dedos, moviendo el pulgar detrás de ellos como si la
moneda estuviera allí. Repita la falsificación puesta en su mano izquierda como ya se ha descrito,
levantando el caparazón y la moneda arriba y moviéndolos suavemente hacia afuera (como ya se
muestra en las figuras 1 y 2, aunque aquí habrá una moneda menos en la mano izquierda).
Después de que su mano derecha se aleje se verán tres monedas en su mano izquierda.
Su mano derecha levanta la moneda presentada y la lleva al descanso de la yema del dedo. Ambas
manos bajan la palma hacia abajo y se cierran en puños, el caparazón anida sobre una de las
monedas en su mano izquierda. Dale la vuelta a los puños y deja que la moneda con palma clásica
caiga sobre la moneda con el apoyo de la yema del dedo. Gírelos con la palma hacia arriba,
abriéndolos, para revelar dos monedas en cada mano.
Tu mano derecha gira la palma hacia abajo y junta sus dos monedas. Tome ambas monedas de su
mano izquierda entre su pulgar derecho y sus dedos, luego tome la moneda superior (limpia) con
su mano izquierda. Ambas manos maniobran sus monedas en la posición de "caída francesa" (la
moneda de la mano derecha está hacia fuera). Levante su mano izquierda, colocando su moneda
en una posición vertical. Al mismo tiempo, su pulgar derecho se relaja y permite que la moneda
caiga fuera de la concha y hacia la palma de la mano (fig.5). Levante inmediatamente la mano
derecha y coloque la carcasa en posición vertical.
Coloque el caparazón entre su pulgar izquierdo y los dedos, superponiendo la moneda que ya está
allí.
Su mano derecha levanta las dos monedas y las mantiene en una posición idéntica (la figura 6 es
una vista de la audiencia). Ambas manos se abren y cierran rápidamente, dejando que las
monedas caigan dentro. El ruido de las monedas de la derecha cubrirá el sonido de la concha y la
anidación de monedas en la mano izquierda.
Gire ambos puños con la palma hacia abajo y agítelos. Gírelos hacia arriba y ábralos, revelando
tres monedas en su mano derecha y una en su mano izquierda. Diga: "Sería fácil para mí hacer
que se crucen así". Al mismo tiempo, su mano izquierda gira la palma hacia abajo y coloca la
moneda pelada sobre la pila con la mano derecha. Pausa, luego levanta solo el caparazón con tu
mano izquierda Al mismo tiempo, gire la mano derecha hacia dentro y la palma hacia abajo
(fig.7).
Pídale a un espectador que extienda su mano derecha, sobre la que coloca las monedas. Cierra su
mano y gírala hacia abajo.
Para finalizar, desaparece el caparazón con "Skinner's Spidergrip Vanish". Deje que el espectador
abra su mano para encontrar las cuatro monedas. (Tenga en cuenta que este método de manejo
del caparazón elimina el recuento mano a mano de las monedas tan comunes en otras rutinas de
este tipo).
 Relax your pal m and allow lhe copper coin to drop straight down i nlo finger pal m (fig.2).
Curl your lhird fing er up and around the copper coin. carrying the silver coin upward into
classic pal m (fig .3).

Once lhe silver coin is palmed, yo ur fingers drop so your thumb can move onlo the cop-
per coin. Push lhe copper coin onto your second fingertip, where the silver coin was , as
your hand turns palm up lo display the coin using " The Kaps Subtlety."

The most difficult part of lhe move is curling your second finger around the just-dropped
co in so that it doesn' l hit the coin moving up into your palm. Since the concealed coin is in
cl assic palm at both the beginning and end of the sleighl lhe hand main tains an extremely
natural position before and afterward without either bent fingers oran immoble thumb.

SKINNER'S
SPIDERGRIP
VANISH

Ross Bertram prin ted the precurser of th is type of sleight in his " Coin Assembly " in THE
STARS Ross Bertram printed
OF MAGIC (1951).the Sixprecurser
years laler of this
Ed type
Marioof sleight
publishedin his""Coin Assembly"
The Spider Vaninish"
THE in
STARS
COIN-
OF MAGIC (1951). Six years laler Ed Marlo published "The Spider Vanish" in COINING MAGIC,
which ,was
ING MAGIC a different
which was ahandling
d ifferentof the same type
handling of idea,
of the same that being
type of to apparently
idea, take atocoin
thal being in
appar-
youraright
ently take coinhand. You right
in your reallyhand.
do takeYou thereally
coin indothat hand,
lake the butcoin simultaneously
in that hand, create suspicion
but simultane-
ously ethat it'ssuspicion
reate still in yourthat
left hand. That
it's still in takes
your the
leflheat
hand.off That
your ríght
takes hand,
the so youoff
heat canyour
make the coin
ríght hand.
so you vanísh
can makesimplythe by coin
spreading the sím
vanísh fingers
ply of
bythe palm-down
spreading the hand, whichofyou
fi ngers thecould not do under
palm-down hand,
ordínary circumstances. lt simply would not be convincing enough. Once your right hand has
which you could
opened, the not do under
audience ordínary
is positive that thecircumslances. lt simply
coin is in your left hand, whichwould nol shown
is then be convincing
empty.
enough. ByOnce
that time
youryourríghtright
handhandhashasopened,
already lhe
started doing something
audience is posit ive else,
thatrobbing themisofinany
the coin your
time which
left hand, to backtrack.
is then shown empty. By that time your right hand has already started
Michael Skinner's
doing something else, handling
robbingisthem actuallyof somewhat
any time lo of abacktrack.
combination of both the Bertram and Marlo
sleights, though it begins in a position different than either of those methods.
Michael Skinner's handling is actually somewhat of a co mbinati on ol both the Bertram
and Mario sleights, though it begins in a position dilfere nt than either of those methods.

13
 Your left hand holds a co in in " Spellbound" positio n. Your right hand, held palm down,
moves in front of the coin (fig.1 ). Your right thumb moves up behind the coin and presses it
Your left
against thehand holdsofa the
inside coin right
in "Spellbound" position.
fingers. Raise Yourri ght
your righthand
hand, aheld
fewpalm down,taking
inches, moves the
in coin
front of
(fig.2). the should
This coin (fig.1). Your duplicate
exactly right thumbthemoves up behind
actions of a the coin and
" French presses
Drop," it against
though youtheactually
inside of
take the coin.the right fingers. Raise your right hand a few inches, taking the coin (fig.2). This should
exactly duplicate the actions of a " French Drop," though you actually take the coin.

.<_-
•
\

1 2

Your
Yourleltlelt
hand immediately
hand turns palm
immediately turnsdown,
palmfirst finger
down, andfinge
lirst thumb extended
r and thu mb in an awkward in
extended andan awk·
suspicious manner (fig.3). Your right hand turns palm down with the coin
ward and suspicious manner (lig.3). Your ri ght hand turns palm down with the in fingertip rest as thecoin i n
hand begins to glide toward some object (this is always provided for in a routine).
fi ngertip rest as the han d begi ns to gli de toward so me object (this is always provided for in

'
....
'""\ ), --
<. '\), -~./

\ '\
1:( "

\ \ \

.' ..- ...

~
' -'
3 4
As your hand moves, classic palm the coin. Make a small tossing motlon down-ward and spread
ayour
rout right
ine). fingers
As yourfarhand
apartmoves,
(fig.4). cYou've
lassic gotpalmthethe
audience
coin. off
Makebalance
a smallhereto- ssing
since they
motlonhall down·
wasuspect
rd a ndthat the coin
spread is rig
your stillhtinfiyour
ngersleftl arhand you(lig.4).
apart can getYou've
away got
with the
giving the impression
audience that he re
ofl balance
- your rightthey
since handhall
is empty
suspecin tthis
thatway.
the co in is still in you r left hand you can get away with giving
th e im pression that your rig ht hand is empty in this way.

14
 ·---·~ ~. '"""'-'--''-'-----~---------

Now, turn your left hand palm up and open it, showing it empty. lmmediately continua on
withNow, turn your
whatever is left handfor
called palm
in up
theand open
rout ine.it,Do
showing
not, it empty.
under Inmmediately
any continue
circumstance, on with the
emphasize
whatever
sucker aspect is of
called
the for in the- routine.
vanish Do inot,
it is both nsultiunder any rude
ng and circumstance, emphasizeJust
to the audience. the sucker
do it, show
aspect of the vanish - it is both insulting and rude to the audience. Just do it, show your left
left empty,
yourhand hand empty,
pause forpause forand
a beat, a beat, and continua.
continue.
lt's the application and routining that make this sequence work.
lt's th e application and routming that make this sequence work.

TRADUCCIÓN:
Ross Bertram imprimió el precursor de este tipo de prestidigitación en su "Asamblea de
monedas" en THE STARS OF MAGIC (1951). Seis años después, Ed Marlo publicó "The Spider
Vanish" en COINING MAGIC, que era un manejo diferente del mismo tipo de idea, que consistía
aparentemente en tomar una moneda en la mano derecha. Realmente tomas la moneda en esa
mano, pero simultáneamente creas la sospecha de que todavía está en tu mano izquierda. Eso
le quita el calor a su mano derecha, por lo que puede hacer que la moneda salga simplemente
extendiendo los dedos de la mano hacia abajo, lo cual no podría hacer en circunstancias
normales. Simplemente no sería lo suficientemente convincente. Una vez que su mano derecha
se ha abierto, la audiencia está segura de que la moneda está en su mano izquierda, que luego
se muestra vacía. En ese momento su mano derecha ya ha comenzado a hacer otra cosa,
robándoles cualquier tiempo para retroceder.
THE
El manejo de Michael Skinner es en realidad una combinación de los juegos de Bertram y
Marlo, aunque comienza en una posición diferente a cualquiera de esos métodos.

SCOOP
Su mano izquierda sostiene una moneda en la posición "Hechizo". Su mano derecha, con la
palma hacia abajo, se mueve delante de la moneda (fig.1). Su pulgar derecho se mueve hacia
atrás detrás de la moneda y la presiona contra el interior de los dedos derechos. Levanta la
ADDUNDER
mano derecha unos centímetros y toma la moneda (fig.2). Esto debería duplicar exactamente
las acciones de una "Gota Francesa", aunque realmente tome la moneda.
Su mano derecha inmediatamente gira la palma hacia abajo, extendiendo el dedo índice y el
pulgar de una manera incómoda y sospechosa (fig.3). Su mano derecha gira la palma hacia
abajo
You conbe
must la moneda
workingenon la yema
a softdel dedo mientras
surface in orderlato
mano
usecomienza a deslizarse
this sleight, whic h hacia algúnyou to
enables
objeto (esto siempre está provisto en una rutina).
secretly add a coi n or coi ns beneath another group as it is lífted off the table.
A medida que su mano se mueve, la palma clásica de la moneda. Haga un pequeño
movimiento
Say that three hacia abajo
coins arey stacked
separe sus ondedos derechos
the table and(fig.4). Aquíthat
the coin tieneyou
a lawant
audiencia fuera
to add to de
them is
balance, ya que sospechan que la moneda todavía está en su mano izquierda,
in fingerti p rest in your right hand, which i s held palm down in a relaxed fist. Lift your right puede salirse
handcon andla suya
move dando la impresión
it around and de
in que
frontsu of
mano
thederecha está vacíacoins.
three stacked de estaYour
manera.
right hand begins
Ahora, back
sweeping levantetoward
la palmayoudeinsuamano
ci rcuizquierda y ábrala,
lar motion. yourmostrándola
right thumb vacía. Inmediatamente
coming to rest on the
in nercontinúe
edges con lo que
of the se requiera
tabled en la ).rutina. No bajo ninguna circunstancia, enfatice el aspecto
coi ns (fig.1
tonto de la desaparición - es insultante y grosero para la audiencia. Solo hazlo, muestra tu
mano izquierda vacía, pausa por un tiempo y continúa.
Es la aplicación y la rutina lo que hace que esta secuencia funcione.

'
1 2
Press down on the in ner edges so the outer edges lever upward (fig.2). Your fingert ips
carry the fourth coin under the stack as th ey slide beneath it (fig.3).

15