Slydini Encores

5 fb z hi

ENCORES

CONTENTS AUTHOR’S

11

PREFACE ........................................................

13 25 IMP-PASS ........................................................................ 31 REVOLVE-VANISH ............................................................ 35 ONE COIN ROUTINE ...................................................... 47 PREDICTION IN RED ...................................................... 55 CAPRICIOUS CORNUCOPIA ................................................ 67 BALL VANISH IN THE HANDS .......................................... 79 PURSE OF ALADDIN ........................................................ LONG AND SHORT OF IT .................................................. 85 93 WRONGWAY COINS ........................................................ 99 SWEET SALT .................................................................. 107 INTERLUDE WITH A PAPER NAPKIN ................................ 115 .......................................... CIGARETTE RE-INCARNATION 125 Two CIGARETTES FROM ONE .......................................... 137 UNPREDICTABLE COINS .................................................. 145 POSTSCRIPTUM ................................................................ 149 .............................................................. THUMB-TIPPING EDITOR’S NOTES ......................................................

..‘.....

INTRODUCTION FOR THOSE OF us who have the pleasure and privilege of close association with Slydini, the present volume is a reference work to his exquisite artistry. Those of you who know “Tony” only through the pages of The Magic of Slydini, will find this book an excellent opportunity to renew the acquaintance. It is, however, much more. In these pages, Slydini discloses for the first time a devilishly original sleight which opens the door to performing seeming miracles. It has been aptly named, “The ImpPass.” Take it from a sophisticated eye witness: In the Imp-Pass, Slydini has given Magic a tool of almost limitless application, a basic sleight which -when properly executedwill make your audience gasp in sheer amazement. Whether you use it for coins, cards, cups and balls, cigarettes, or what have you, the effect is incredible. Among many other select items, this book also contains one of Slydini’s choice tid-bits : the “Revolve Vanish.” These sleights and effects are described in minute detail, supplemented with illustrations. The next best thing to having Slydini personally showing you, is this book. Nevertheless and regardless of the excellent work done by Dr. Leon Nathanson, the late Al Stevenson and Blanca Lopez’s editing, there is no substitllte for personal instruction. If ever you find yourself in mid-Manhattan, pay a visit to Slydini and ask him to perform any of the effects in this “ENCORES.” I’ll wager anything, he’ll mystify you even though you “know all about it.” It is indeed a pleasure to write this introduction for “ENCORES.” This book is really a tribute to a great artist and a fine human being. -CLIFF

GREEN

Thank you! X0 take &LA oppotiutiy $0 thank a.42 XhObe @ien& who have been abking thLtt 7 put mane 06 my magic into ptint. 1 hope lthat the ~o.Uoting page wi.U pkZea?lethem ti much an those ;tha.t have gone be,$ohe. 7 want

1 want Xta fhank V~L, Leon Na.thanson whohe obatin&e pm&ttence &inaUy made me give in and a tie down ;to lthe ;ttik. 7 wanat zto lthank Mike Lman and PM MartbhakT who pa;tienHy took and then developed and ptinted the invuuntiable photognaph6 &am which we ae-&cted the not incotiidmabte numba which ,i.Uu&ti&e .thtie Pages l

7 want to Xhank Al Stevetion (poHhumo~Ly1 I(O'L Xhe warm &en&hip which p&&d kim, a&% a day’s hmd wotLk, to walk to my atidio and &he 2he noa% &torn which mahat 06 the edbe& htie given WCYVL &ashioned. To AL 7 am ai20 indeb;ted don ;the book’s We and tha.t 06 ;the “imp-Paba.” They ahe bofh a memottiae 20 him. 7 want .to lthank Cl&(6 GtLeen ho/r hi2 lntnodution, ki6 wtLite-up 04 “Thumb-Tipping” and h.& un&tugging &ien&hip and help. 7 want Xta thank AUan Gheenbmg 60~ kia mahal and ma.t&.a.t buppoti and encounagemeti. 7 want ;to thank my o&d &Gmi, BkZanca Lope:, do& making avaLtab&e .-to Leon fhe expdence hhe gacned

uLth Jean lfugahd in eclXng ma&v&xi? do& fhe magic &ld. 1 Xhanh http too, dOh Xhe book’4 dtiign. La&, bti no;t .tka~, 1 want ;to ;thanh anoxhet o&d &end, Na$ B&f~ti;tein, don ki6 h&p in phOO~head.ing, ptwte-up and phodution, and N&U! (MA. Benn&t&n) 6Oh hen angelTic ptience at ouh phodution and ed.iAotidt meetingA .in ;th& FanaX i-LX& apahlmeti which ahe made W~JWIand bearcable w.L.th coun;te~b cups 04 w&t-bhwed coddee-and. Needltih

to bay, th-4~ book cot&d neva have been 7 heceived &am each

done wLthou.t ;the coopehation and a&L 7 .I%& ti

apphove

Xha.t you, ion whom Lt ha6 been published, ;the &inal hG5u-tf. v

NW Yohk, Septembm 1966

AUTHOR’S

PREFACE

I had seen a magician perform here and there and I had been entertained. In 1947, a Washington friend invited me to accompany him to a magic “convention.” I didn’t even know there were such things! For want of something better to do, I went -and magic came alive for me when Slydini stepped to stage front. I do not lack words, merely space, to describe my impressions. To state it succinctly: I was enthralled, delighted, entertained beyond my wildest imaginings. In my opinion: if Magic is an Art, Slydini is its Michaelangelo. Tony’s stage act in Atlantic City that night included his “Knotted Silks.“* If you have seen Tony’s performance, enough said. If you haven’t, there’s no sense trying. . . . I overheard one distinguishedlooking spectator (later I discovered he was one of Magic’s ‘“greats”) say: “Only one outstanding magician ever attempted to entertain an audience, from the stage, with this effect. In comparison-there is no comparison. Slydini is truly great!” I sought Slydini’s acquaintance and took my first lesson in magic at the close of that convention. Slydini has been teaching me, on and off, ever since. Following his success at Atlantic City, many magical devotees insisted on being taught by Slydini and so Tony opened his New York “Studio.” Over the years all of Magic’s greats have visited “Slydini’s Studio of Magic” in New York’s west forties and have gone back to their several countries singing Slydini’s praises. Slydini himself has made several performing and teaching tours in the U.S., Europe, England and Latin America. His first book “The Magic of Slydini” has gone to many corners of the world and so, today, wherever Magic is organized throughout the world the name of Slydini is its synonym.

LIKE

*See

MOST PEOPLE,

“The

Magic

of Slydin?’

11

My readers may think that I exaggerate. I can only say: See for yourself. Slydini is the only modern performer I know to whom all superlatives are applicable. His virtuosity and creativity are incredible. And no amount of description can ever do justice to his performances. I felt that permanence should he given them in print, no matter how much the description beggared the facts and talked to Tony about doing a second book--this one. At first he wouldn’t even listen. He had already gone through hell and high water with the first one and did not feel up to going through it again. But he finally consented to talk to Blanca Lopez (who knew his work thoroughly and who had experience in editing material for the magical field through her association with Hugard’s MAGIC Monthly). To make a long story short, there were innumerable trips between New York and Washington by Tony and me. We’d also meet with Miss Lopez at Tony’s studio. Another magician now gone to the great beyond, Al Stevenson, helped between trips in making rough notes from which many of the effects were later re-written. Cliff Green, anothe,r of Magic’s truly great exponents and a close friend of Tony’s was an interested collaborator and has written up the “Thumb-Tipping” postscript. Cliff’s introduction to this book testifies to his own opinion of Slydini’s work. Slydini worries that many feel his principles are of difficult application. I can assure you that all that is required is good will, reasonable dedication to practice, and faith that you can master the instructions. This book is the result of Slydini’s love for Magic and the love of those who have put it together for Slydini’s magic. We trust that you will be rewarded and pleased with our combined efforts. -LEON

NATHANSON,

M.D.

EDITOR’S NOTES THOSE OF us who have had the unadulterated pleasure of witnessing Slydini’s performances and have the basic knowledge necessary for true appreciation, know that each of his effects is an epitome of what magical presentations should he. Slydini is a superb performer not only because he has an inspired imagination and the infinite patience to practice until he can perform automatically -one could say by reflexbut because he is a first class psychologist, a student of human nature. The knowledge he has acquired of how and why people think, feel and react, he has applied to his presentations ; combining that knowledge with split-second timing, he has developed a unique technique which has justly earned him the title of “Mr. Misdirection.” Because the basics are so all-important to a performance of his effects, bscause some of our readers may not have the material at hand, and because it bears repeating, we give you a resume of Dr. Jacob Daley’s directions for Slydini’s “The Art of Using the Lap as a Servante” (published in 1954) : 1. For natural performance, you should be comfortable and perfectly relaxed. The table and chair which you are to use must suit you. The average performer is usually at ease at a normal dinner or card table and an avelrage four-legged chair. It is only important that both table and chair are not of such construction that either the one or the other will interfere with placing your feet comfortably under the table or with moving them back. Your sitting position must permit you complete freedom of motion backwards and forwards as well as to left and right. Your body should be eight to ten inches away from edge of table. 2. In the action of sitting down, pull a fold of cloth from one leg to overlap the other leg thus forming a small pocket or gutter in your lap from where a lapped object may be easily repossessed. If the table is covered with a long enough cloth, this may do. Or, stretch a handkerchief across your lap. 3. You must remember to synchronize the forward and backward movements of your body with the upward and downward movements of your hands. This is of maximum importance. 4. Second in importance is the complete relaxation of hands and body at the end of each series of moves. 5. The strongest misdirection is provided by looking directly at your audience -singular or pluraland not at your hands. 13

6. When your hands are beneath the table performing some secret maneuver, it is of primary importance that your arms and shoulders be immobile. Move the fingers only or, at most, turn your hand at the wrist alone. FOTO 1 illustrates the starting or “rest” position. Sit erectly but not stiffly. FOTO 2: Your body leans forward. At the same time your hand goes up to display the object with which you are performing.

EDITOR’S

NOTES

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14

FOTO 3: Back almost to “rest” position of foto 1. Note that the only change is that right hand is a little more open and slightly over edge of table. In the sequence covered by these three fotos, Slydini has displayed an object and dropped it into his lap but his audience believes he still holds it in his hand. FOTO 4: Your right hand comes up again and your body moves forward as you say to spectators: “Watch!” pretending to show

15

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EDITOR’S

NOTES

the object supposedly in your hand. Note that, during this sequence (Fotos 2 through 4)) the eyes are always directed at spectator and that position in this foto is identical with foto 2. FOTO 5: Immediately upon saying “Watch!” -and simultaneouslyturn your left hand up, fingers curled, and put right fingers into it feigning to place therein the object you have previously displayed. For illustrative purposes, let’s say you are performing a coin effect. Summing up fotos 1 through 5: You start out with a coin, you pick it up and display it; drop the

EDITOR’S

NOTES

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16

hand with the coin momentarily back to original position as you make some preliminary remark and allow coin to drop into your lap; instantly, bring up your right hand saying “Watch!” and put it into your cupped left hand. FOTO 6: Turn left hand over, rub its back with open right fingers -or make a “magical pass,” or sprinkle “woofle dust” on it. Open left hand . . . the coin has vanished! (Foto 7). Your e’ntire attitude should say: “There! It’s gone . . . I’ve finished.” FOTO 8: To complete the illusion, lean back. As you do so, your hands slide back over table top. Your left hand remains on top of

IT

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EDITOR’S

NOTES

table but your right falls to your lap momentarily and onto the lapped coin which it palms. Instantly bring both hands up (Foto 9) and simultaneously make some pertinent remark. F~TO 10: Drop both hands to table as you say (for instance) “Where is it?” FOTO 11: Turn your head to right, then left, keeping hands motionless as you apparently look for the coin. FOTO 12: Your head turns left and down pursuing its search;

EDITOR’S

NOTES

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18

your right hand comes up and under left side of jacket, produces the vanished coin, and tosses it onto table. Once more, lean back in rest position. REPEAT: The movement of your hands and body must be perfectly synchronized. The hands move vertically as the body moves horizontally. Quoting Slydini on some small -but vitalpoints: a. Going through the motions in the performance of an effect

19

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EDITOR’S

NOTES

and having appropriate patter is not enough. The motions and the patter must be precisely coordinated and timed to the exact psy chological second. b. Both timing and misdirection are indispensable to a magical performance. You may be able to produce or vanish an object using only one or theother. But, to create an illusion you must combine them perfectly. The effects which appear in this book have been described and illustrated in full detail so that a serious student can achieve this coordination if he sets his mind to it. c. It has been well said that “a magician is an actor playing the part of a magician.” A good actor lives his role, believes the part he is playing. If you don’t believe a coin has vanished, if your general attitude merely says: “See, I fooled you!” your audience won’t believe you either and you’ll wind up by antagonizing your spectator (s) . You have a great advantage as a performer: the average spectator wants to believe you. It’s up to you not to disappoint him. d. “Gestures,” “mannerisms,” “flourishes’‘-a rose by any other or simply to prove your hands are name. . . . Used as misdirection clean, they are very useful and even ornamental. But don’t exaggerate. Jean Hugard used to say that public handwashing did not constitute entertainment. Waving your hands like windmills merely makes for mistrust but keeping them still for too long a period will make your effect static and uninspiring. e. When you practice, turn on your radio or TV set-preferably to some program which doesn’t interest you or in a language which you do not understand. At first the noise will be distracting but you will gradually get used to it and will then not be thrown out of stride when there is background chatter anywhere you may perform. f. Practice in front of a mirror but tilt the mirror slightly back at the top by bringing it out at the bottom. The mirror will then reflect back to you the true angle from which your audience will be watch. ing. You will thus know in advance where a move requires additional cover and be prepared to act accordingly. The Magic of Slydini dealt principally with the art of misdirection and the use of the lap as a servante, usually termed “lapping.” That book was completely sold out and those fortunate enough to have a copy and who have made use of it to learn bnd apply the art of misdirection should be well on the way to proficiency in close-up magic. The present volume deals with another phase of close-up magic which, when used in conjunction with lapping, compliments the use of the lap as a servante. This is known as “retrieving.” When one disposes of or vanishes an object by dropping it into the lap at the proper moment of misdirection, it is equally important EDITOR’S

NOTES

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20

to retrieve the object as efficiently and as naturally as possible, or the final effect may become rather suspicious and revealing. When the average close-up magician finds it necessary to retrieve an object from his lap, he very often telegraphs the movement by an unnatural position of body, shoulders, hands-even the position of the fingers. As a result, the audience’s suspicions are aroused and there is a feeling that “he did something”! This often results in a loss of interest -and therefore, impactin the entire effect. Slydini, with his usual careful analysis of misdirection and close-up magic, has perfected the art of retrieving with a series of natural movements that allay suspicion. This well-kept secret is thoroughly explaineld in this book for the first time. Proficiency in the art of retrieving in conjunction with the use of the lap as a servante, plus the art of misdirection -always emphasized by Slydinishould make it possible for the close-up magician to use almost any object at hand, at any time, and become a master at close-up magic. For many years -and yet in retrospect they seem all too fewI had the great joy of close! association with one of Magicdom’s great teachers: Jean Hugard. I should like to add a few of his general suggestions to those of Slydini: 1. Read through the entire effect you intend to master before you so much as attempt the first move. You will then know the direction in which you are going. 2. Have at hand all the necessary objects required just as you would if you were going to perform in public. Don’t substitute. The “feel” of each object is important to the acquisition of familiarity and, therefore, assurance. 3. Go through the entire effect. Don’t split it up into segments or you will unconsciously do so in performance. If -after you can go through the entire sequence without referring to the directionsyou still have trouble with a particular sleight, practice that sleight until you can do it smoothly beginning always at the previous move and continuing on to the next. You will thus achieve continuity. In his Secrets of 20th Century Magic, Mr. Hugard said: The principle of misdirection plays such an important role in Magic that one might almost say that Magic is misdirection and misdirection is Magic. This principle is divided into two parts: mental misdirection and physical misdirection. Mental misdirection may be defined as the art of misdirecting the minds of the audience from the real cause of the effects that are produced. Physical misdirection denotes the method of diverting the attention of the spectators away from the point at which a certain sleight or move is made. Slydini 21

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EDITOR’S

has made an exhaustively NOTES

intensive

study of misdirection

and Dr. Nathanson has worked mightily to put some of it into common language. But it is impossible for a mere human to translate it all into words even with the aid of as many photographs as are included in this book. Slydini has given unstintingly of his time and has patiently and repeatedly gone over every move while I have striven to the best of my ability to capture the elssence of his magic for those who love it as I do and would put it into living motion. But cold type remains inadequate to the task. I once compared the attempt to that of trying to describe Beethoven’s “Pastoral” with words. Now that I’ve finished editing, I am more emphatic: Trying to put Slydini’s magic into words is like trying to illustrate Niagara Falls by bringing home some of its water in a vial. Dr. Nathanson and I are satisfied that we have done our best. The late Al Stevenson (who helped by taking preliminary rough notes) would also have been satisfied. All three of us, however, remain dissatisfied with the final result. I can only repeat some of Cliff Green’s introductory words: “If you ever find yourself in mid-Manhattan, pay a visit to Slydini . . .” I’ll wager anything he will not only mystify you but entertain you as you’ve never been entertained before. To conclude, I should like to quote another well-known magician, Peter Warlock of England: Though there is, and always will be, only one Slydini, his herein described . . . can become your own favorite effects. them well, not only will you gain credit for yourself, but at the performance will allow you to pay homage to a true master

fabulous feats, By performing same time, such of magical art.

Regardless of its literary shortcomings, it has been a pleasure to have helped in putting this book together. I sincerely hope that Slydini’s many friends throughout the world will enjoy its contents as much as I have enjoyed working on them. -BLANCA

LOPEZ

P.S. : Slydini is planning to do a series of film strips (which will fit most standard-size hand viewers) of the effects contained in this book. If the demand so warrants it, he will then make corresponding film strips for the effects contained in The Magic of Slydini. EDITOR’S

NOTES

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22

As you lean back, turn your left hand up at the wrist, so object comes to edge of table where your right hand grasps it as that hand falls back to rest in original position. (Foto 4; 4A is exposed rear view.) Note in the exposed view that thumb and forefinger of right hand extend downward from edge of table. The fingers should be in this position when your right hand comes to rest. You must not come to rest and then extend fingers. As you drop your hand, extend the fingers and grasp the object-all in one single, continuous motion. Immediately, extend your left arm and hand towards left, leaning slightly in that direction (Foto 5) ; look at your empty left hand, surprised, as if you expected to find it holding something. Now, say something like: “Oh no, it’s here!” and produce the object from wherever it is convenient to the effect you are demonstrating.

Slydini CCTouches” In performing, it is extremely important fectly timed and coordinated. When Slydini performs the Imp-Pass, 27

l

IMP-PASS

that

all

moves

it takes exactly

be per-

12 seconds

from the moment he shows his hands empty duces the lapped object.

to the moment

he pro-

1: From the moment your right hand comes to rest at edge of table (Foto 2)) keep your eyes on the spectator. 2: Don’t try additional patter to that given because words take time, and delay -to the Imp-Passis fatal. 3: It is of prime importance that your left hand remain completely stationary from the moment it falls into your lap and onto the lapped object (Foto 2) until you start to lean back after having motioned with right hand (Foto 3)) because it is the motion of leaning back which covers the slight move of turning your left wrist. It is always good to keep in mind that only when the body moues is the right time to make secret moves. When the body is at rest, any motion will be noticed. 4: When you are going to perform the Imp-Pass and have vanished the object to be later produced, show your empty hands and drop them to “rest” position. As you drop your hands, shrug and say “That’s all!” 5: “Rest” position is really that position into which your hands will drop comfortably and naturally if you just allow them to fall. You must neither “bang” them down nor slow them up. They must come to rest, naturally, as if exhausted. When this is done properly, your body will also move without your will as a natural result of the fall of the hands. IMP-PASS

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28

E

m

5.- REVOLVE-VANISH f$ini’S

SLYDINI has another “utility” move which, on its own, is one of his sneakiest; combined with the Imp-Pass it has aided and abetted him for years in bewildering, baffling and ---last but certainly by no means least- entertaining his audiences wherever he has used it in his performances. The layman is normally entertained and is therefore satisfied with the effect which he knows is accomplished by some mysterious hand-is-quicker-than-the-eye hocus pocus-the method for which interests him not at all. The most bewildered are, usually, magicians who know an impossibility when they see one. Here, then, is not only the answer to a puzzle but an invaluable tool for instantaneously vanishing any object which can be displayed in the palm of your outstretched hand. The effect, simply stated, doesn’t seem startling: Slydini tosses a coin (say) into his palm, he makes a fist, opens his hand-the coin has vanished! Start by placing your left hand palm up at edge of table as in foto 1: Knuckle of little finger is at edge of table, outstretched fingers point slightly towards right, outside of hand barely touches table. Using the knuckle of the little finger as a pivot, turn your hand over, curve your fingers inwards, and allow your fingertips to come together on table top (Foto 2). Don’t move the hand. Keep knuck-

le at edge of table. If you raise it, you will expose the fall of the object you are lapping. Keeping your fingers motionless and together, start to lean forward. Allow the forward motion of your body to push your arm forward and your fingers to 31

curl

inwards from their stationary tips and to form a fist (Foto 3). The foregoing, of necessity, reads as if it were three separate moves. For purpose of description this is unavoidable. However, it is all one continuous motion. Don’t complicate it: Display the object you are going to vanish on your palm, turn the hand over, show the fist. Period. REVOLVE-VANISH

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32

ONE COIN ROUTINE

e. 54 z t3ini’S ONE COIN ROUTINE “One Coin Routine” possesses all the characteristics of a modern miracle. With fluid motions, he swiftly vanishes a coin and, winged-like, it reappears in the most unexpected places. In his hands, the coin seems to he a thing alive; it is actually seen all the time during the movements of his hands; it vanishes and reappears in different odd places, making one wonder “How did it get there?” Slydini does not perform the routine in divided units. He presents it in a single, continuous, flowing phrase from beginning to end. When presented in this manner, it is graceful and fascinating. Even though Slydini performs it without music, one almost senses an underlying musical accompaniment. The ethereal-like capriciousness of the coin is tauntingly humorous. Slydini’s “One Coin Routine” contradicts the fact that repetition is monotonous. Regardless of how many times you witness its performance, it is always entertaining. In fact, the more it is performed, the more it is appreciated. In the performing arts, this might well be considered its greatest attribute. The “One Coin Routine” is an outstanding solo effect. It may also be included in any type of coin routine. When Slydini presents it as a second climax to his multiple coin routine it is virtually a larger, rousing climax Those who have seen Slydini perform this routine will attest to the fact, that in all conjuring history with one coin, his is the greatest. Slydini would like the readers of this book, his many students (past and present), and friends to know that the reason he did not reveal his exact method for performing his “One Coin Routine” before now was because it included his “Imp-Pass.” In effect, a single coin goes through a series of impossible

SLYDINI’S

35

gyrations, it vanishes and reappears in the most unlikely places. As the effect progresses, the comedy builds to an explosive climax, to the delight of the spectators. To begin, take a coin (50~ or $1) and toss it into your left palm (Foto 1). Execute the Revolve-Vanish (see page 31). On a continuing motion, bring left hand forward, over center of table and slap hand on table smartly (Foto 2). Gradually turn palm up to show coin has vanished. Straighten up and slap your palms together (Foto 3). In perfect coordination, drop left hand into lap as your right hand pretends to pick a coin from the air (Foto 4). As you lean to the right, pick up lapped coin with left hand and exclaim “Here it is . . .” Immediately, right hand crosses to left elbow and left hand to right

elbow

(Foto

5). ONE

Coin COIN

at left

ROUTINE

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36

fingertips, look to the left and down; surprised, say “. . . Oh, no, it’s here!” Raise right hand so it is seen empty. Immediately look to the right and show coin at fingertips of left hand (Foto 6). As you move body and hands to center, bend left fingers inwardly allowing coin to flip over into center of palm. Display it there momentarily. “Take” the coin from left with right hand thus: Keeping left hand open and motionless, start to pick up coin at outer edge with fingertips of right hand. Right thumb rests on coin to keep it from falling as your open left hand starts to turn (Foto 7). Tilt your still open left hand until its palm -and the coinare no longer visible. In exact coordination close left hand loosely around coin and rest it at edge of table. At the same time, bring 37

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ONE

COIN

ROUTINE

up right hand, fingertips together as if holding the coin (Foto 8). Looking at spectator -not at your fingertipssay “Look!” and instantly make the next move. You can now repeat the same moves (Fotos 5 through 8) two or three times. Finally, flip the coin over from left fingertips to left center palm and wind up as in foto 1. Perform Revolve-Vanish (page 31). Your left hand -apparently holding the coingoes in a continuous motion forward and about a foot above center of table; lean over and peek into underside of hand (Foto 9). Open your hand, shake. your head, spread your arms with hands palm up (Foto 10). The coin has vanished! Now, slap your hands together (coin is in your lap) and once more do the moves described for fotos 4 through 6. Perform the Revolve-Vanish and, ONE

COIN

ROUTINE

d

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38

time, as your right hand starts towards center of table, your left moves to your lap, palm up, ready to receive the coin which your right hand will release in its journey to table center. Foto 13 is an exposed view after the drop is completed. This pass and drop must be perfectly timed and coordinated. You must practice until your left hand arrives naturally and smoothly at your lap at the precise instant prior to the coin being released by your right fingers on passing in a continuous, even, motion from your left lapel to table center. This time, produce coin from right lapel. Follow up with same flourish from right lapel to center of table as described for fotos 11 and 12 and repeat Imp-Pass and production from left lapel. ONE

COIN

ROUTINE

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40

Leaning towards right, then back, toss the coin smartly from your right fingers into your flat left palm (Foto 14). Between tosses, rest your right hand lightly at edge of table (Foto 15) displaying the coin on left palm. Each time your left palm receives the coin, close and open its fingers quickly. This is the feint which you may repeat two or three times. Now, for the “real thing”: Take the coin at the edge with the balls of the thumb, middle and ring fingers (Fotos 16 and 16A) as if to continue tossing. As your right hand swings back, release the coin at the point where your moving hand passes the table edge (Foto 17) in its swing back. Foto 18 is the end of the swing and is an exposed view showing coin no longer in your hand. Naturally, in performing, your hand should be turned towards you-not audience. 41

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ONE

COIN

ROUTINE

Practice this “swing” which begins with foto 16 until there is absolutely no hesitation between your pick-up of the coin and the raising of your right hand as if to toss the coin. Notice that position of hands and body as well as facial expression and direction of gaze are all practically identical in fotos 14 and 18. You now synchronize both hands, bring them together and face center as you “put” the coin from right into left hand (Foto 19) and make a fist. Turn your closed left hand over and rub its back lightly (Foto 20) or make any other slight gesture you may prefer, then open the hand to show coin has vanished. Show your hands are clean and perform the Imp-Pass. Produce the coin from anywhere you please. Toss the coin from right into left hand, held directly before you and ONE

COIN

ROUTINE

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42

over table (Foto 21) and say you’ll pass it through your hand. Pretend to take the coin from your left palm (same moves described for foto 7) with your right fingers, turn the left hand over, fingers loosely curled ; with right fingers bunched as if holding coin, tap back of left fist. Open fist (Foto 22) and coin drops “through”! Close your left hand into a fist as if to repeat (Foto 23). Your right hand drops, fingers outstretched, over coin as if to pick it up. In the motion, sweep the coin off edge of table into your lap and bunch right fingers as if holding coin. Tap back of left fist with bunched right fingers. Open left hand. Coin has vanished! This ends the routine. If you have borrowed the coin, do the Imp-Pass and return it. If the coin is yours, produce it or not as you prefer. 43

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ONE

COIN

ROUTINE

Slydini

CT-ouches”

REFER TO FOTO 8: In feigning

to take coin from left hand, keep right fingers hunched together and, as you “show” the coin keep your hand fairly close to you. Practice this hold in front of a mirror with the coin actually in your hand. When properly done, the coin is not visible. The misdirection consists of directing your eyes at the spectator at the exact moment when you raise your right hand (supposedly) holding the coin and say “Look!” Naturally, spectator will look at you. By the time his eyes revert to your right hand, that hand is no longer there but he will swear he saw the coin held by your right fingers.

REFER TO FOTO 11: When you are about to release the coin in going from your lapel to center of table, keep your hand up but pass close to edge of table. Don’t hesitate. As your hand gets to edge of table just release the coin and continue to center. Consult foto 17: If you use the middle, ring and little fingertips as guides (thumb and forefinger holding coin) to brush table top, there can be no flash as the coin drops. Keep your fingers together until hand stops.

REFER TO FOTOS 14, 15, 16, 16A: In tossing the coin from right hand to left palm, the right hand makes a wide sweep and the left is held clear of table. After each toss, be sure to rest right hand at edge of table. When you are ready for the monkey business, bring left hand close to table.

PATTER: Use only short phrases, such as “look,”

“watch,” “here it is,” “oh no, it’s here,” “and . . . if. . . it’s . . . not . . . here . . . it’s . . . there . . .” between moves. This is very important. If you say more, you lose the rhythm and will be forced to hold up the action for the words; instead of a routine you will have a series of vanishes. When you perform the routine using just some such short phrases as those given, the entire effect flows like a digital ballet which will delight the eyes and entertain the mind. One move merges into the next with your patter serving as counterpoint. ONE

COIN

ROUTINE

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PREDICTION IN RED

3 zbini’S” PREDI CTION; IN RED THIS BEAUTIFUL and astounding effect has baffled top magicians and laymen for many years. All who witness this are completely mystified and the effect gains in amazement with repetition. Slydini borrows a deck of cards and requests that they be shuffled by a spectator. After this is done, Slydini shuffles the pack himself, then hesitates and remarks: “I’ll bet you think I have set the cards in some arrangement. . . Shuffle them again.” Slydini continues: “Place the deck face down on the table; I won’t touch the deck. All I want you to do is to take about six or ten or fifteen cards from the top of the deck, and place them face down in my hand.” Slydini takes the packet of cards, looks at the spectator and says: “I’ll bet you won’t believe I know how many red cards are in this packet . . .” The spectator usually says “No.” Slydini feels the cards, looks at the spectator and states: “I have here five red cards -not four, not six- there must be five!” And he says this in a very positive manner. Slydini slowly fans the cards, faces towards himself, squares up the packet and places it face down on his palm. He then turns the packet face up and slowly, one by one, deals out the cards onto the table-full faces showing, black cards to one side, showing each card to be a single card and counting the red cards aloud as he deals them out. When all the cards have been shown, Slydini’s statement proves correct: There are five red cards on the table! Slydini then says: “I know it is hard to believe, so please give me another small packet of cards.” Again, he correctly foretells the number of red cards in the packet. If the spectator so desires, Slydini goes on until the end of the pack and requests the spectator to handle the cards if he has any doubts. METHOD AND PRESENTATION : Before beginning this effect, contrive to remove a couple of red cards from the pack and drop them into your lap. Hand the pack to a spectator to shuffle and, when he has done so, you shuffle the pack. Then inquire: “Do you think I have made some arrangement of the pack? . . . Please shuffle again. Shuffle well because if, when I ask you to give me some cards, they are all red or all black, we’ll have to start all over.”

PREPARATION,

slowly, but keep the last two tightly together as in a double lift. This will build suspense as, slowly and deliberately, you separate the last two cards to show that you have predicted correctly. If you have one or two cards over the amount stated, put them at the back of the packet and close the fan allowing the red cards to protrude about half an inch. Do this with hands resting at edge of table. Now, with thumb and first finger of right hand, pinch the packet of cards together at a forward corner preparatory to turning the entire packet over (Foto 3; foto 3A is performer’s view). Your left hand can do this by sliding over the faces of the cards to turn the packet (Foto 4) ; this enables your right thumb and palm to clip the extra red cards at the edge (Fotos 5 and 5A) in the Slydini back palm. The right hand remains ,stationary as the left rnoves to the left and you lean towards the left to look at the cards which you riffle with your thumb at upper left corner. Meanwhile, right hand rests momentarily at edge of table (Foto 6), releases the clipped cards without 49

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PREDICTION

IN

RED

moving the fingers, and immediately swings toward center of table (Foto 7). To count, square the packet with both hands (Foto 8)) turn it face up and proceed as above described. If you find only one or two red cards in the packet handed you, hide them behind the black ones, spread the cards deliberately and loosely between your hands (Foto 9) and say, “Now, you see? All black cards . . . I told you to shuffle well . . . This doesn’t count . . . Let’s start again.” Immediately close the cards, drop them on top of the deck and say: “Shuffle once more.” When you are handed a packet which is short of your prediction by one or two red cards, perform the ImpPass as follows: After inspecting the cards (Foto 2)) square them up, drop the packet face down on the table, to your left, and say; “Cut them” (Foto 10). As you drop the packet on the table from your right hand, your left falls PREDICTION

IN

RED

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50

naturally into your lap-onto the lapped cards; now, bring your right momentarily to rest position at edge of table (Foto 11). Having dropped the packet, raise your right hand in an invitation to “Cut the cards.. . Go ahead, cut them!” (Foto 12). This extra motion and patter gives your left hand the time necessary to pick up and up-end the lapped cards in order to put them in the position illustrated in foto 13. After gesturing, your right hand drops to rest position at edge of table, with thumb and forefinger extending downward (Foto 14). When you turn the cards up in your left hand, don’t mozle your arm: turn your left wrist slightly and raise the cards with its fingers. In picking them up with right forefinger and thumb, your right hand must remain stationary at edge of table (Fotos 15 and 15A). If your right fingers cannot reach the cards, don’t lift your left hand: bring it closer to right by raising your left knee from your toes-or even off the floor if necessary. Position the cards into your right hand ready for the Slydini back palm 51

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PREDICTION

IN

RED

(Foto 5A) e This is accomplished when left fingers -aided by left knee, if necessary -lift the cards into right hand as shown in fotos 15 and 15A. Note that right hand is perfectly positioned. Raise the cards and your right hand clips them between joint of thumb and center of palm. As soon as spectator cuts the packet, your right hand (with the palmed cards) goes over right portion of packet and completes the cut. In this action, the palmed cards are added to the top of the packet. You can now proceed to count the red cards openly.

1. Make sure the cards are well shuffled. Too many reds or blacks together will make your task difficult. So, you shuffle the pack thoroughly. Then, give to spectator to shuffle. 2. Talk slowly, as if in doubt. Let your facial expressions give your audience the impression that you feel you just might make a mistake. 3. Choose a spectator towards your left. This will prevent anyone from catching a flash of the palmed cards. PREDICTIONIN RED*

52

CAPRICIOUS CORNUCOPIA

5 $b id

7 5

CAPRICIOUS CORNUCOPIA “ONE PICTURE is worth a thousand words”. . .“Descrihe a spiral without using your hands”. . . There is nothing like trying to put Slydini’s magic into words for appreciating the truth of both those old phrases. However, using enough words it could be done if one really set one’s mind on it-and had the time and the inclination. Whether even the most serious and dedicated student would wade through the directions is something else again. So, thank God for Monsieur Daguerre and his invention and for all the improvements which have followed since the Paris Opera’s scenarist captured and fixed light and shadows on a silver plate. If it weren’t for the pictures, the description of this effect would never even have been attempted. EFFECT: Slydini shows a magazine cover front and back, makes cone, shows the empty cone and produces a rubber ball from it.

a

PREPARATION: Buy a solid rubber ball to fit comfortably in your hand. Insert a needle threaded with nylon fish line, just below crest of ball, for about one inch. Pull line through and tie it securely to

55

form a loop just large enough so that ball reaches center of your palm when it hangs from your thumb (Foto 1). It is important that the line should have a least an inch of length through the ball. If this base of loop is smaller, the ball will twist and turn making manipulation difficult. After tying, pull the knot into the ball so loop is completely smooth. Place the ball on your work table in such a way that nylon loop will stick up and be clear of other objects. Obtain a sheet of firm, opaque colored paper (such as that used by artists) or a magazine cover approximately 10 x 12 inches and put it on your table next to the ball. As you pick up the paper, contrive to insert your thumb in the loop of the ball in the same motion (or do it your way). The ball hangs from your thumb throughout the whole effect. You are now set for PERFORMANCE: Face your audience and display the sheet of paper in the manner shown in foto 2. The ball hangs from your right thumb comCAPRICIOUS.

CORNUCOPIA

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56

pletely covered by the paper. Note that both hands convey the assurance that they hold nothing but the paper. As you patter, move forefingers so that both are be&d the sheet clipping it with aid of middle fingers (Foto 3). Start to turn slightly towards left. At the same time, raise lower edge of paper and drop top edge simultaneously opening your right hand (Foto 4; foto 4A is exposed view at this point). The open hand hides the ball completely but is very convincingly “empty.” Reverse the action just described for a repeat until you are again in position shown in foto 2. It is important that you keep your right thumb up in coming back up and your hand flatly open so that the ball will not flash nor be caught by edge of paper. As soon as you bring lower edge of paper back to top position, lower your thumb and clip the paper between thumb and forefinger. Slip right forefinger behind top edge of sheet and bend sheet slightly 57

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CAPRICIOUS

CORNUCOPIA

corner close to right fingers. Clip corner of paper between thumb and side of forefinger (Foto 9). AS soon as right fingers grasp the paper, move your left hand to grasp paper at diagonally opposite corner (Foto 10). Bring lower corner up and around right hand (and ball). Meanwhile move right hand back in front of chest as your body also turns full front. These are not three separate motions but three parts of one continuous action. You should now be in position illustrated in foto 11. Your right hand should be holding ball and paper against your chest as your left hand continues to pull edge of paper up and around to form a cone (Foto 12). Your left hand curls around bottom of cone and starts to turn and tighten .it. Meantime, your right thumb and forefinger move to edge of cone to help in its formation. The ball hangs from thumb and is hidden by cone (Fotos 13 and 14). When peak of cone is at left, stop “adjusting” cone, bring right hand out as in foto 15. Keeping your right hand stationary 59

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CAPRICIOUS

CORNUCOPIA

in that position, pull the cone down and out towards left with your left hand and your right hand points to empty cone (Foto 16). Bring cone, mouth up, again and smooth its outside surface from the bottom up with your right hand so that as your hand starts downward once more the dangling ball will hang in the cone as in foto 15. You can now repeat the motions and moves described for fotos 14 through 16. From pointing to empty cone, move right hand and rest its edge on top of left hand (Foto 17). Note that there is no opening between edge of right hand and back of left. Lower your right thumb so that it rests for all its length on top of left hand and ball dangles behind your left wrist. As soon as ball is covered, turn your right hand so that all can see it is empty and make motions as if smoothing the side of the cone with your forefinger (Foto 18). The moves described for fotos 16 through 18 should be one continuous motion. Reverse the motions thus: Bring the edge of your right hand back against your left, lift the right thumb and -simultaneouslypoint with your right forefinger to empty cone which left hand lowers and points mouth towards audience (Foto 16). Once again, bring right hand over to smooth cone (from the bottom up) as left lifts it mouth up (Foto 15). This time release the ball so it falls into the cone, and make a couple of turns of the cone with both hands. Finally, tip cone mouth down and produce the hitherto non-existent ball (Foto 19). CAPRICIOUS

CORNUCOPIA

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Foot Note MOST PERFORMERS, preoccupied

with hand manipulations (and this is particularly true when they are doing effects with such items as cards, cigarettes and billiard balls), forget that their feet play an important role in their presentations. The tendency is to practically turn their backs on the audience until they are almost face to face with the back drop. For Slydini’s “Capricious Cornucopia” it is imperative that you coordinate the movements of your feet with the movements of your body. Foto 1 shows normal stance for beginning: Your weight distributed evenly on both feet and facing your audience. When you find it necessary to turn either to left or right, don’t move your feet first! As your body turns in either direction, the corresponding foot will follow; then, and only then, move that foot out in the desired direction and at a slight angle (Foto 2). To turn to the other side, turn your body in the new direction, bring the angled foot back to original position, continue the turn with

61

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CAPRICIOUS

CORNUCOPIA

your body, and then follow up with your other foot just as you did before. If you are not to stand stiffly in one position, move around a little while performing thus: Step back or forward, to right or left, but always maintain the relative position of your feet; that is, center, left, center, right; center, forward, center, back; etc. You can practice in rhythm by counting 1, 2, 3, 4, as you lift and then put down first one foot, then the other. Don’t drag or slide your feet. Make your steps short but natural and smooth. All of the foregoing dissertation is to keep you from making the same faux pas of which too many performers stand accused: Because they feel “guilty,” or are unsure of their angles, or are self-conscious, or for any other reason, their toes start to creep and their arms and body turn until they have almost entirely faced stage rear. So, make sure to maintain your poise by keeping your feet in the position of foto 2. The foregoing directions apply to practically any stage or platform effect where it is important that you be careful of your angles. Remember that if you stand stiffly facing forward, your position will be ungraceful, you will lose your personality and it will cause your manipulations to look awkward. CAPRICIOUS.

CORNUCOPIA

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U§ING the same principle --ball with loop-lxtt a ho~&x~ haI& you can do a production of salt, sugar or liquid from the “empty” cone. How? PKEPARATION: Buy, hrrow or steal a hollow rdher bail. Loop it in the same manrler described above. At the end of ball opposite to loop, make an inch-long slit with a razor blade. (Fete shows slit forced open 1)~ syueezin g sides of ball.) Fill the lralh with salt, sugar or any liquid. Proceed

to make

a paper

at the point where hall ball and turn the cone ing the ballsqueeze and allowing them to

cone as above descril,ed

until

you arrive

is hanging inside cone (Foto 15). a couple of times. Now --instead of producit from outside the cone, releasing the contents flow through bottom of cone.

NOTE: If when you first squeeze the hall, the contents are not released, give the cone a slight turn and squeeze again. The slit will not open up unless you squeeze it at tire ends. 63

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